Everybody Rise! – I’d Like to Propose a Toast to Signature Theater’s "Company"

By Mark A. Newman
Photos by Scott Suchman

After a 2012 – 2013 season that got off to a less-than-stellar start with Best Little Whorehouse in Texas, all is forgiven after Signature Theatre’s rapturous season finale with Stephen Sondheim’s Company.

Aside from a 2005 revival of Pacific Overtures, I’ve yet to see a Sondheim show that can match Company for being about as perfect as a piece of theatre can be [Note: I have never seen Merrily We Roll Along but love the score]. The problem with Company is its popularity; you can’t help but compare the production you’re watching with the one you saw previously. For me, it was the Lincoln Center concert version starting Neil Patrick Harris as Bobby and Patti LuPone as Joanne in an ensemble that included Stephen Colbert, Martha Plimpton, Christina Hendricks, and Craig Bierko.

That’s a hard cast to live up to, but by golly the skilled ensemble assembled by director Eric Schaeffer does a brilliant job. Schaeffer’s direction was exceptionally fluid and incorporated more choreography than I think I’ve ever seen in this show. Matthew Gardiner’s choreography is a perfect accompaniment to Sondheim’s '70s-era pop score as he has the actors gliding up and down a main staircase and around the levels that serve as the main stage. The moves are logical without being dull, and intricate without being complicated, basically something any New Yorker at a cocktail party on the Upper East Side could do, without spilling a drop of their vodka stinger.

However, that aforementioned '70s score is one of Company’s greatest strengths as well as one of its weaknesses. The music, lyrics, and much of the show’s sentiment firmly ensconces the world of perennial bachelor Bobby (an adorable and exceedingly likable Matthew Scott) firmly in the era of Nixon, Laugh-In, and the Vietnam War. It’s not that any of those are mentioned but it’s a feel that the show embodies. Lyrics that refer to an answering service or Marta asking Bobby if he has any black or Puerto Rican friends clearly indicate that this is not a show taking place in the age of RENT.

But would we want it to? 

The fact that it takes place in another era is part of the show’s charm and the staging keeps it from being antiquated. As do the costumes (by Frank Labovitz) and the hairstyles. Bobby’s product-laden coif is more Chelsea of the '90s than Park Avenue of the '70s. It would seem that if we’re watching a fable from that era then EVERYTHING needs to be consistent otherwise there’s an imbalance to the show. That one line about having black or Puerto Rican friends is the one line that keeps the show from being multi-cultural. It’s the one statement that prohibits the show from progressing into our own modern era. Would an Upper East Sider really have to ask a fellow New Yorker if they had minority friends in this day and age? Only if they were a Romney.

Then again, does this incongruous dichotomy between what we hear and what we see impact the theatre-going experience? Only for an idiot critic. However, there are likely some who might question a few of the phrases, e.g., “Boy hoo boy!” in “Have I Got a Girl For You.” Boy hoo boy? Who says that? Who ever said that? Wouldn’t “Boy oh boy” be a more acceptable turn of phrase?

But the overarching themes of the show are as relevant now as they ever were. Bobby seems to be the glue that holds his gaggle of friends together. They only seem to gather as a group when Bobby is somehow involved. You have to wonder if Joanne and Larry would hang out with Susan and Peter if Bobby wasn’t around. I doubt it. The couples don’t have any interaction with one another independent of Bobby; they appear to only have a fleeting familiarity with one another as evidenced by Joanne’s comment on Susan’s Southern charm at the top of the show. Without Bobby these couples – and the trio of single ladies Bobby is stringing along – would cease to exist in the world in which we view them. 

The second act opener “Side by Side by Side/What Would We Do Without You” really hammer this point home. When asked what they would do without you to Bobby, he simply replies, “Just what you usually do.” This indicates that Bobby doesn’t view himself the way we do. While we see him as the force that holds these people together, Bobby almost has a George Bailey view of his world; his friends would be the same with or without him. We know that’s not true, but gives a bit of insight into Bobby’s wayward balancing act as he meanders through life. However, right up until the very last song it’s evident that Bobby is adored by his friends and their singular goal seems to be to make sure he’s happy.

Scott’s portrayal of Bobby is rare in that this Bobby is actually likable. Raul Esparza’s performance was magnificent in the last Broadway revival but with his Bobby you wouldn’t be surprised to discover there were dead hookers in his crawl space. Harris’ aforementioned Bobby was brilliantly buoyant but a bit on the douchey side, a character Harris has perfected. And although I didn’t see it, I can only imagine that Boyd Gaines’ Bobby was very Jimmy Stewarty with an abundance of “aw shucks” annoyance (because that’s how he plays everything), while the clips I’ve seen of the original Bobbys of Larry Kert and Dean Jones show different men, one with an underlying secret, the other who’s somewhat disengaged. Then again, you shouldn’t judge a performance by a grainy YouTube video. Wow, talk about a multitude of Bobbys!

The truth is that the weight of the entire show rests on the success of whether the actor playing Bobby can pull it off. Otherwise you’d have to wonder what all these people see in this guy. Scott’s winning portrayal should leave no question in anyone’s mind what Bobby’s friends see in him; he’s a sweetheart, considerate, and really doesn’t seem to have any ulterior motives. We should all have a friend like Bobby.

The characters in Bobby’s orbit aren’t a particularly diverse bunch. Then again, how could they be? It’s New York City and we’re watching a bunch of white Upper East Siders eat, drink, and toke. As brilliant as Company is, 75% of the actors are stuck in truly thankless roles and only a few of them get to shine in solos. 

First and foremost in Bobby’s entourage is Joanne – made famous by the irascible Elaine Stritch – and here played by Signature’s resident comic genius Sherri L. Edelen. When it was announced that Signature would be closing the season with Company, I knew that only Edelen could play this role. While she won’t make you forget Stritchy, Barbara Walsh in the recent Broadway revival, or La LuPone, Edelen’s Joanne is a completely different animal from what we’re used to seeing. Still a boozy older broad, this Joanne is more in the vein of an Auntie Mame than a black widow; she’s fun, crass, sassy, and Edelen’s uproarious laugh brings some much-needed levity to the character. Her rendition of “The Ladies Who Lunch” is more of a celebratory showstopper than an ode to bitterness and Edelen brings down the house.

Signature fave Carolyn Cole makes Marta a standout. As one of Bobby’s flings, Cole’s Marta is a funky downtown chick and she belts one of the show’s most popular numbers “Another Hundred People” with pizazz and gusto. Cole plays Marta with a more devil-may-care joie de vivre than just being kooky for kooky’s sake. It’s obvious what Bobby sees in her but it’s just as obvious that these two have no chance in hell of working out in the long run.

Madeline Botteri’s April – the ditsy flight attendant – is another standout. Botteri plays the girl who always wanted to live in Radio City as awash in innocence and you really feel her pain when she talks about the injured butterfly. Sexy and unassuming, Botteri played April as one of the many seemingly lost souls that surround our man Bobby.

As Amy – one of the most memorable roles in the ensemble – Erin Weaver is neurotic knockout. While Amy tries to figure out exactly which way to go on her wedding day, Weaver plays this dingbat with a layered authenticity that makes you want to slap her even though you totally empathize with her if you’ve ever been in this situation. “Getting Married Today” was truly a star-making turn for Weaver, who has had plenty of such turns in past Signature shows (her Kathy in Signature’s Last Five Years was sublime).

The rest of the cast was all exceptional and it was great to see some great actors from great shows (Matthew Gardiner, Erin Driscoll) as well as some great actors from not-so-great shows (Thomas Adrian Simpson, Tracy Lynn Olivera) blend their voices to create a truly remarkable ensemble. The only sour note was Amy Conley replacing Sandy Bainum’s Susan; her Southern accent seemed forced and she didn’t seem at all comfortable in the role. Maybe she had to step in at the last minute, maybe it was her first time in the role, but it was a noticeable weak link in a very strong chain.

Featuring: Matthew Scott (Robert), Sherri L. Edelen (Joanne), Tracy Lynn Olivera (Sarah), Evan Casey (Harry), Sandy Bainum (Susan), Bobby Smith (Peter), Erin Driscoll (Jenny), James Gardiner (David), Erin Weaver (Amy), Thomas Adrian Simpson (Larry), Carolyn Cole (Marta), Jamie Eacker (Kathy), Madeline Botteri (April), Amy Conley (Susan u.s.)

Music & Lyrics by Stephen Sondheim
Book by George Furth
Originally produced and directed on Broadway by Harold Prince 
Orchestrations: Jonathan Tunick
Director: Eric Schaeffer
Choreography: Matthew Gardiner
Music Direction: Jon Kalbfleisch 
Scenic Design: Daniel Conway 
Costume Design: Frank Labovitz
Lighting Design: Chris Lee
Sound Design: Matt Rowe
Production Stage Manager: Kerry Epstein
Tickets: Ticketmaster (703) 573-SEAT (7328)
Signature Theatre • 4200 Campbell Avenue • Arlington, VA 22206
http://www.signature-theatre.org

He Sang, She Sang: "The Last Five Years" at the Signature Theatre, Arlington, Va.

Review by Mark A. Newman

Has it really been a decade since I saw the original version of The Last Five Years, the two-person Jason Robert Brown tuner, off-Broadway? Yeah, it has. Oddly, as much acclaim as it garnered “back in the day,” the show didn’t stay around that long. Its original stars have gone off to quite acclaimed careers – Norbert Leo Butz has two Tonys on his mantle and Tony-nominated Sherie Renee Scott is a household name (in certain Broadway-loving households, that is).

The show itself – seemingly a master class of audition tunes for both males and females – has gained quite a reputation in the intervening decade. Make no mistake, the songs are fantastic but maybe, just maybe the show’s chief conceit – telling the same story from different perspectives and timeframes – may also be its biggest flaw. For anyone who’s never heard of the show, it goes like this: Jamie and Cathy are a couple. They’ve been together five years (hence the title). He’s a successful author; she’s a not-so-successful actress. But here’s where it gets complicated: Cathy sings her songs from the end of the relationship to the beginning while Jamie sings his songs chronologically from the beginning of the relationship to the ending.

The only time the two doomed lovebirds are together are smack dab in the middle when Jamie proposes in Central Park.

I am very familiar this structure, have had the original cast album since it was released, and have now seen the show performed live three times. And STILL I find myself getting confused as the musical unwinds. Maybe that’s just my muddled brain, which is likely. Maybe it’s the author’s dependence on the audience’s memory that is the real problem. For example, after the proposal a reference to a trip to Ohio in the second half confused me because it seemed like Cathy took two trips to Ohio for god-awful summer stock productions. But when she wrote Jamie a letter, things seemed to be okay. Was she in Ohio then? The second trip to Ohio (the first one in the musical) Jamie was obviously being sung to by Cathy and things were not going well at all. 

The storytelling doesn’t quite make it clear where the relationship hit the skids and each other’s reaction to it because what happens in “act one” is often not referenced until “act two.” The so-called act one gun is Kathy’s opening number “Still Hurting” immediately followed by Jamie’s “Shiksa Goddess.” While she’s lamenting the courtship’s downward spiral, he’s rejoicing over finding a non-Jewish girl to love. This juxtaposition either sets the tone for the audience or royally confuses them. Probably a little of both.

As Jamie, James Gardiner is excellent. In his first number – the aforementioned “Shiksa Goddess” – he tried to shove in every over-the-top bit of comic timing he cab and it borders on being too much but as the show goes on and you get to know Jamie, you realize he would totally do that. Unfortunately you don’t have that knowledge right away so you think he’s just a very overly enthusiastic Jewish guy. And you’d be right. 

The yin to Gardiner’s Jamie’s yang is Erin Weaver, recently nominated for a Helen Hayes award for her remarkable turn in Signature’s production of Xanadu last season. Even though she’s not on skates this time, she still keeps on rolling along as we see Cathy evolve (or devolve) from lonely, sad, and newly single to downright giddy when she meets the man of her dreams as the final curtain falls.

Due to the show’s structure, it’s sometimes hard to tell exactly where the relationship went wrong. Suffice to say that due to his burgeoning literary success Jamie became impossible to deal with, at least according to Kathy. However, it also seemed like Cathy could not be happy for Jamie because of her own lack of success as an actress. Okay, this is a given. But where the relationship really hit the skids is hard to tell. What was the breaking point, the proverbial last straw? We don’t really know.

Then again, it’s not all that important. What is important is that this delicate, two-person show walks a fine line between the two witnesses to a relationships decline while never pointing a finger of blame at either. That’s the audience’s job. Due to the fairly typical circumstances of this bad romance, most people will have strong feelings of empathy over the course of this 90-minute show.

As with a low-key chamber musical such as The Last Five Years, the show’s design aspects should be equally subdued. The lighting by Andrew F. Griffin is striking in its simplicity as is the off-the-rack costumes by Kathleen Geldard. The sound design by Matt Rowe perfectly captures the show’s intimacy to the point it felt as though the audience was eavesdropping on a relationship that was alternately crumbling and growing from song to song. Daniel Conway’s delicate scenic design was capped by the flourish that rose from Jamie’s writing desk and into the rafters. A twisted sculpture of clocks and manuscript pages tenuously tangled, this set piece was always the visual center of attention, signaling how easily time slips out of our hands. 

It should be noted that the show comprises some of the smartest and well written theatre songs of the last 20 years. Just to hear the songs performed live is reason enough to get yourself to Arlington, Virginia to witness one of the best crafted shows Signature has put on the last year or so. The direction by Aaron Posner is sublime, shifting the focus from him to her and back effortlessly in a production that is as eloquently crafted as a ballet.

We may never figure out if we should blame Jamie’s self-destructiveness or Cathy’s insecurities that doom this Manhattan love story, but you only have yourself to blame for missing this jewel of a musical shining ever so brightly in Northern Virginia.

  

Music and lyrics: Jason Robert Brown
Direction: Aaron Posner
Lighting: Andrew F. Griffin
Costumes: Kathleen Geldard
Sound: Matt Rowe
Scenic design: Daniel Conway
Music direction: William Yannesh
Music supervision: Jon Kalbfleisch

Featuring: James Gardiner (Jamie) and Erin Weaver (Cathy).

Tickets: Ticketmaster (703) 573-SEAT (7328)
Signature Theatre • 4200 Campbell Avenue • Arlington, VA 22206
http://www.signature-theatre.org

Supreme Beings: “Dreamgirls” at the Signature Theatre in Arlington, Virginia

By Mark A. Newman

Photos by Christopher Mueller

Many people whom I respect in the world of theatre cite Dreamgirls as one of their favorite shows if not their all-time favorite. This is one of those things I simply do not understand in the way I don’t get the popularity of “Two and a Half Men.” As the second musical in Signature’s 2012 – 2013 season, Dreamgirls is a show filled with immensely talented people stuck with singing unmemorable, mediocre songs.

Dreamgirls is an odd show; there are really only two standout roles (not performers, mind you): Effie White, played with show-stopping prowess by Nova Y. Payton and Jimmy “Thunder” Early portrayed with spirited cheeky glee by Cedric Neal. And then there are other characters who seem to spend most of their time waiting for Effie and Jimmy to hit the stage. So is the audience.

However, that is not an indictment of the talent on the stage of Signature’s Max Theatre; nothing could be farther from the truth. The cast is nothing short of amazing, but by now it is a familiar tale that we’ve all seen over and over again. What was new in 1981 seems somewhat trivial and lackluster in 2012. In all honesty, Henry Krieger’s score for the Broadway cult phenomenon Side Show was much more compelling than what is heard here (hint hint, Signature).

Matthew Gardiner’s direction is spot on as he sends our heroes – the Supremes-like divas, the Dreams – on their way through the ups and downs of the music industry. The show really kicks into gear in the middle of the first act when the full-figured Effie is pushed aside to make room for the Beyonce of her day, Deena Jones (the lovely Shayla Simmons) while Lorrell (Crystal Joy), C.C. – Effie’s brother who writes the group’s songs – (David Bazemore), and a last minute addition to the group, Michelle (Kara-Tameika Watkins) all get caught up in the roiling backstage antics. Most of these antics are engineered by the suave music operator Curtis Taylor, Jr. played with impeccable smarm and charm by the debonair Sydney James Harcourt.

A supporting character in this show would have to be the amazing costumes by Frank Labovitz who obviously let his inner Bob Mackie escape to create the lavish, sequin spewing dresses the Dreams wore, as well as the period-savvy attire worn throughout the show. A special kudos must go to the actresses and their dressers for the lightning speed in which they changed costumes almost two dozen times!

Despite the show’s highpoints, it feels like the first act is simply a prelude to Effie’s bring-down-the-house-and-the-rest-of-Shirlington-Village showstopper “And I am Telling You (I’m Not Going).” Payton’s entire career could be boiled down to that cathartic moment when Effie lets everyone know what’s what. It’s a “come to Jesus” meeting all encapsulated in that single number. Payton was born to play the role of Effie White and it is a star turn that lights up the night.

Payton shines further in the second act as Effie attempts to make a meager comeback beginning in Chicago’s club scene and further progressing to the point she has a hit of C.C.’s showstopper ballad “One Night Only” that competes with the Dreams own disco version of the same song. Effie’s version is wrought with heartfelt emotion while Deena and the Dreams raise the show’s kitsch level to the extreme.

During this time the married Jimmy is carrying on with Lorrell as he moves from being a James Brown-like firebrand into a milquetoast Johnny Mathis clone. When Jimmy finally has his breaking point, the audience breathes a sigh of relief that the old Jimmy is back. But I guess that wasn’t enough for book writer Tom Eyen; that’s the last we see of Jimmy. He’s fired and sent packing. I guess we all know there’s no happy ending there.

By the time the Dreams have their farewell concert and Effie is brought in for one final number, you are relieved that the show is finally coming to a close. While the performances were stellar, the design was amazing, and the feel and pace of the production were top notch, I just can’t get over the mediocre score and less-than-dazzling book. The performers are the reason to see Dreamgirls because you will not see better diva moments on the DC stage for a long, long time.

DREAMGIRLS

Book & Lyrics by Tom Eyen

Music by Henry Krieger

Directed & Choreographed by Matthew Gardiner

Orchestrations: Harold Wheeler

Music Director: Jon Kalbfleisch

Lighting designer: Chris Lee

Costume designer: Frank Labovitz

Sound designer: Matt Rowe

Scenic designer: Adam Koch

Co-Choreographer Brianne Camp

Tickets: Ticketmaster (703) 573-SEAT (7328)

Signature Theatre • 4200 Campbell Avenue • Arlington, VA 22206

http://www.signature-theatre.org

Don’t Mess With Texas: "The Best Little Whorehouse in Texas" at the Signature Theatre

By Mark A. Newman

Despite a game cast and charming design, the Signature Theatre’s production of late 1970s chestnut, The Best Little Whorehouse in Texas makes for a dull night at the theatre. Don’t get me wrong, Signature has put on some amazing productions that should have seen the lights of the Broadway stage — Chess, The Visit, and Les Miserables, to name a few — but the first show of the 2012-2013 season is a relic from another time that has lost its relevance in the intervening decades.

While I can appreciate the thought of trying to breathe new life into something so old and creaky, this is a patient that died back when Reagan was still in office and does not need to be resurrected. Signature stalwart Sherri L. Edelen takes on the role of Miss Mona the madam with a heart of gold. As genius as Edelen’s comic timing has been in other shows, Miss Mona simply doesn’t allow her to shine. Musically she was spot on but Edelen needs a more multi-faceted and fun character to work with.

That was probably my biggest issue with Whorehouse: the characters were barely developed and those that were, well, stopped being developed. For example, the show starts with two new aspiring girls showing up at the house wanting jobs. One is an innocent farm girl whose daddy took a shine to her (ewww) and the other was an experienced call girl from, ahem, Galveston. Promising start, no? Promising finish? No. These two characters were pretty much abandoned by the middle of the first act.

Admittedly my only familiarity with this property prior to seeing it on the Signature stage is the campy movie starring Burt Reynolds and Dolly Parton from 1982, and I was none too fond of that either. But at least the characters were better defined in the film. Plus you had Dom DeLuise who never disappoints. Wish I could say the same for this lackluster show.

I can’t really lay all the blame on the show’s creators; at times the cast seemed to be “going through the motions” somewhat. During the one big dance number toward the end of the first act there were more than a few missed steps and the timing was way off. Also, the characters didn’t seem to connect to one another which is odd considering they were all from this tiny Texas town.

Despite my mostly adverse reaction to the show, the scenic design by Collin Ranney was nicely done with lots and lots and LOTS of red throughout the able-bodied set that served the action well. Colin K. Bill’s lighting and the costumes by Kathleen Geldard also contributed to the show’s antiquated look and feel but in a good way. Speaking of antiquated, it was difficult to tell exactly when Whorehouse was taking place; I thought I heard the year as 1972, and the costumes would indicate as much. But there was a reference to “The Gong Show” which didn’t premiere until 1976. 

However, regardless of the “when,” the bigger question is “why” as in why would such a reputable company pick such a lackluster show to start off its season? With such a simplistic, mediocre score and poorly developed characters, maybe Signature was bound to have a misstep…and I’m not just talking about the dancers clattering on the boards in cowboy boots.

The Best Little Whorehouse in Texas

Featuring: Sherri L. Edelen (Miss Mona), Christopher Bloch (Melvin P. Thorpe), Thomas Adrian Simpson (Ed Earl), Nova Y. Payton (Jewel), with Jay Adriel, Madeline Botteri, Brianne Camp, Matt Conner, Erin Driscoll, Jamie Eacker, Nadia Harika, Davis Hasty, Benjamin Horen, David Christopher Jennings, Vincent Kempski, Dan Manning, Amy McWilliams, Gannon O’Brien, Tracy Lynn Olivera, Nora Palka, Maria Rizzo, Stephen F. Schmidt, Stephen Gregory Smith, and Tamara Young.

Book by Larry L. King & Peter Masterson

Music & Lyrics by Carol Hall

Scenic Design: Collin Ranney

Costume Design: Kathleen Geldard

Lighting Design: Colin K. Bills

Sound Design: Matt Rowe

Music Direction: Gabriel Mangiante

Choreography: Karma Camp

Directed by Eric Schaeffer

Signature Theatre

4200 Campbell Avenue

Arlington, VA 22206

Tickets: 703 820 9771; Ticketmaster: 703 573 SEAT tickets@signature-theatre.org

Information: www.signature-theatre.org

“Xanadu:” A Vivid 1980s Flashback at Arlington’s Signature Theatre

By Mark A. Newman

The 1980s and all its garish colors and awful fads (leg warmers, head bands) have come skating back to life on the stage of the Signature Theatre in Arlington, Virginia, in its rollicking production of “Xanadu,” marking the surprise Broadway hit’s Washington D.C. bow. Who would’ve thought that a musical based on a tepid movie starring Olivia Newton-John and Michael Beck (who?), and featuring Gene Kelly’s final on screen appearance would be such a crowd pleaser? I’m here to tell you that’s exactly what it is.

Douglas Carter Beane’s book is by and large the reason for the show’s success as he has either excised or highlighted the biggest slabs of treacle from the screenplay and made it work onstage. The plot—such as it is—involves the Greek muse Clio (a magnificent Erin Weaver) who descends onto this mortal coil in Venice, California in 1980 to inspire the lunkheaded but sweet natured hunky artist Sonny Malone (a winning Charlie Brady) to pursue his artistic vision. The fact that this vision involves opening a roller disco is beside the point, Clio has staked her claim on making Sonny’s artistic dream a reality.

However, her sister muses Melpomene (the always showstopping Nova Y. Payton) and Calliope (a hilariously scene-stealing Sherri L. Edelen) are plotting against her via a curse that will make Clio fall in love with Sonny and thus by the rule of the ancients must be put to death. I’ve heard of sibling rivalry, but seriously! When Sonny finds the perfect spot for his disco, it is owned by Danny Maguire (a jaunty and whimsical Harry A. Winter) a Los Angeles land baron who might or might not have been in love with Clio 40 years ago when he still had his own dreams of being an artist.

First off, you have to realize that you’re not in the theater to see O’Neill, Chekhov, or even Sondheim. “Xanadu” is a slice of frothy fun. In fact, all audience members are given glow sticks as they enter the theater so “tragedy tomorrow, comedy tonight!” The score consists of Olivia Newton-John and ELO tunes that populated the original dud movie with a few extras thrown in for good measure. In all honesty, these tunes are not exactly the best of the bunch when it comes to the ‘80s era songbook, but in the context of this show, they work perfectly. Matthew Gardiner’s quickly paced direction keeps the 90-minute, intermission-free show bouncing along nicely. Gardiner’s choreography is another exercise in bouncy fun and reminded me of those Saturday mornings watching “American Bandstand” and catching the latest moves. But some of these moves are done on roller skates. Take that, Kool & the Gang!

This little trifle of a show is simply a fun night at the theatre. Let’s face it, sometimes it’s nice to see a musical where most of the cast doesn’t die horrific deaths (I’m looking at you, “Les Miserables!”). Is “Xanadu” entertaining? Yes! Will you laugh your spandex off? Yes! But there are two mini impressions you should gird your loins for: Edelen’s brief but guffaw-inducing Cher impression in “Evil Woman” and Winter’s exaggerated Laurence Olivier as Zeus when the action moves to Mt. Olympus. Any child of the ‘80s who watched Clash of the Titans over and over again on HBO in the summer of 1982, as I did, will get the joke! Actually the joke is on anyone who misses this uproarious finale to Signature’s award-winning 2011—2012 season.

NOTE: Anyone allergic or averse to mirror balls—and lots of ‘em!—are strongly advised to avoid this show.

“Xanadu”

Featuring: Erin Weaver (Kira/Clio), Charlie Brady (Sonny), Harry A. Winter (Danny Maguire/Zeus), Sherri L. Edelen (Calliope/Aphrodite), Nova Y. Payton (Melpomene/Medusa), with Mark Chandler, Jamie Eacker, Kellee Knighten Hough, and Nickolas Vaughan.

Book: Douglas Carter Beane

Music & Lyrics: Jeff Lynne & John Farrar

Based on the 1980 Universal Pictures film

Direction & Choreography: Matthew Gardiner

Set Design: Misha Kachman

Costume Design: Kathleen Geldard

Lighting Design: Chris Lee

Sound Design: Matt Rowe

Skating Coach: Gregory VanderPloeg

Associate Choreographer: Brianne Camp

Music Director: Gabriel Mangiante

Signature Theatre

4200 Campbell Avenue

Arlington, VA 22206

“Brother Russia” -- Arlington’s Signature Theatre debuts another original musical

By Mark A. Newman
Photo by Scott Suchman

I have to admit to being somewhat hesitant about the new musical Brother Russia at the Signature Theatre in Arlington, Virginia. It is another creation by the duo of John Dempsey (book and lyrics) and Dana Rowe (music), whose past efforts include The Fix and The Witches of Eastwick. While I never saw The Fix, I have been enamored of its score for over a decade; as for Eastwick…I saw it in London and utterly loathed it. So you can easily understand my wariness prior to dipping my toe into their new endeavor.

Fortunately I am glad to say that the duo’s latest creation, Brother Russia, is a stirring musical romp despite trotting out a few tired old theatrical chestnuts. The show begins with a traveling Russian acting troupe trying to decide which show to perform when the show’s makeshift narrator and title character (John Lescault) ascertains that tonight they will be performing a show about the Mad Monk himself, Rasputin. Brother Russia also purports to be Rasputin so you’ve got that going on too.

And speaking of tired old theatrical chestnuts, how often have we seen the “traveling troupe of actors performing a show within a show?” A lot, by my count. I’m still not convinced it’s the best way to tell a story and within the context of Brother Russia, it detracted from the onstage action more than it helped. The storytelling would be interrupted to change an actress or comment on the cheap-looking stage blood to varying degrees of success. For example, when the actress playing Anastasia was to be replaced, there was no reason given other than Brother Russia’s own personal whim.

Another one of these whims is when stage manager Sasha is commanded to take on the role of Rasputin “because he knows every line in the show.” Umm, okay. Thankfully Sasha is played with leading man star quality by Doug Kreeger, but there was no reason given for Brother Russia’s decision. Where was the regular leading man?

While framing the show within this context is not original at best and distracting at worst, I found myself categorizing the characters as those I’ve seen in other musicals: Sasha, the bearded everyman at the center of the show = JeanValjean; Brother Russia, the wheelchair-bound storyteller = The Man in Chair from Drowsy Chaperone; Felix, the flamboyant Russian emissary = Frank N. Furter from Rocky Horror; Tsarina Alexandria = Norma Desmond with an entrance down a staircase with a funky headdress to boot; Anastasia, the ignored daughter who plods about an attic full of memories = Little Edie from Grey Gardens. Then again, think how cool a musical would be that incorporated all those characters. One number called “The Great War” actually reminded me of “War is a Science” from Pippin, a show I haven’t seen in three decades.

Despite the lapses in originality and the hiccups in the storytelling, all is forgiven due to the able and hardworking cast. But the proof is in the pudding, or at least in terms of musical theater, in the score and on this count Brother Russia delivers handily. Not only is the rock-oriented score a nice entry into the musical theatre pantheon, the orchestrations by August Eriksmoen are, in a word, stellar. There are some very interesting choices in terms of instrumentation on a few tunes that will grab your attention.

The Signature Theatre is to be commended for presenting an exhilarating array of new musicals each season and Brother Russia is certainly worth seeing. Despite the above nitpicking, the show has much going for it, especially the winning cast, the rocking score, and Eric Schaeffer’s deft direction.

Brother Russia

Book & Lyrics by John Dempsey

Music by Dana Rowe

Scenic Design Misha Kachman

Costume Design Kathleen Geldard

Lighting Design Colin K. Bills

Sound Design Matt Rowe

Orchestrations August Eriksmoen

Music Direction Gabriel Mangiante

Choreography Jodi Moccia

Directed by Eric Schaeffer

Featuring: Natascia Diaz, Erin Driscoll, Doug Kreeger, John Lescault, Kevin McAllister, Amy McWilliams, Christopher Mueller, Tracy Lynn Olivera, Stephen Gregory Smith, Russell Sunday, and Rachel Zampelli.

Signature Theatre

4200 Campbell Avenue

Arlington, VA 22206

Tickets: 703 820 9771; ticketmaster: 703 573 SEAT

Information: http://www.signature-theatre.org/

Closed April, 15th.

Divine Intervention – Tony-winning "Hairspray" Can’t Stop the Beat in Northern Virginia

Review by Mark A. Newman

Baltimore is reborn with newfound glee (allusion intended) on the stage of the Signature Theatre in Arlington, Va., with the rollicking new production of Hairspray, a show that threatens to literally bring down the house. I was doubtful when Signature announced it was mounting this musical ode to John Waters’ 1988 film namely because there was so much dancing. While the other shows at this venue have been great, if not phenomenal, none of them has ever really had a lot of dancing. Until now.

The choreography by Karma and Brianne Camp was delightful but the group of actor/singer/dancers who pulled off the moves deserve accolade after accolade. As previously mentioned, when the entire cast was busting a move on the Singature’s thrust stage, the audience could not stop the beat either as everyone felt the vibrations from the stage reminiscent of  the “Sensurround” effect touted when the 1970s disaster movie Earthquake played in theaters. But this shaking, rattling, and rolling was a lot more fun. Plus, no Charlton Heston.

I don’t feel compelled to recount the plot since anyone who reads these blogs is already in the know about storylines to major musicals. However, I will say that the racial inequality aspect of the storyline—the raison d’etre for the show’s plucky hero, Tracy Turnblad—seems even more poignant in 2012 when the U.S. is in the midst of our first black president’s first term. I actually wondered what these fictional characters would have thought of our country’s progress from the show’s 1962 setting.

As portrayed by Carolyn Cole, this Tracy has a sweetness, cuteness, and awkwardness that can only be described with one word: adorable! Hairspray is to Tracy Turnblad as Les Miserables is to Jean Valjean; the show rests on her petite shoulders. A lackluster Tracy will definitely mean a lackluster Hairspray. Fortunately Cole will make you forget all about the previous Tracys you may have seen in the past. Her singing and dancing abilities are without compare and her cuteness makes her a very believable romantic interest for the show’s Elvis wannabe, Link Larkin. That wasn’t necessarily the case for some other Tracys.

As Link, Patrick Thomas Cragin could be considered an atypical choice. While you could see why Tracy would swoon for him with his youthful swagger and boyish looks, it may be less obvious why the girls of Baltimore would. While not unattractive, Cragin has a look that is, well, more subjective. Tracy’s best friend Penny Pingleton would likely say when informed of Tracy’s crush, “Yeah, if that’s your type.” And speaking of Penny, Lauren Williams’ portrayal of this awkward nerdy girl is goofy, odd, and nothing short of awesome.

If Tracy carries the show, then the object of Penny’s desires, Seaweed J. Stubbs played by James Hayden Rodriguez, is the unabashed scene stealer. The role is a showcase for whoever plays it; had the role existed in the 30s or 40s it would’ve been ideal for a young Sammy Davis, Jr. But Rodriguez lights up the stage—especially in “Run and Tell That.” Sammy would be proud.

Aside from Tracy, the other two divas are Motormouth Maybelle portrayed by Nova Y. Payton and Edna Turnblad portrayed by D.C. radio and TV personality Robert Aubry Davis. Like the show’s boot-scooting cast, Payton brings down the house; at the end of the only serious song in the show—Motormouth’s ode to hard times, “I Know Where I’ve Been”—she got applause, cheers, and a standing ovation from an admiring audience, and it was much deserved. It was one of those goosebump-inducing moments so rare in the theatre.

And then there’s Edna. Played on Broadway by the great Harvey Fierstein and in the film by John Travolta, Davis has some pretty big orthopedic shoes to fill. It should be noted that Davis is not an actor. Unfortunately that is evident in his uncomfortable portrayal of the show’s “biggest” character. Davis should be given props for being game for the role but his Edna had the same flailing reaction throughout and reminded me of those “womanless weddings” rural communities would perform as fundraisers where the city fathers and sons would dress up as women to the delight of their wives/sisters/constituents. Edna’s reservations about Tracy’s desire to be on TV and then to make herself the voice of a local social movement seem to echo Davis’ own reticence about taking this over-the-top role.

But wait, there are more divas: Amber Von Tussle is Tracy’s rival for virtually everything, and her mother Velma Von Tussle is the producer of the Corny Collins Show, the American Bandstandish dance program that figures prominently in the show. Erin Driscoll’s Amber is a classic “mean girl” and she plays her with a snappy attitude and oozes contempt…in a good way. As her mom, Sherri L. Edelen’s Velma is self-entitled, underhanded nitwit who will stop at nothing to make sure Amber is the star attraction. Oh, and she’s racist. And a control freak. Instead of a soccer mom she’s a sock hop mom…from hell. Edelen plays her with just the right amount of vitriol and venom to inspire fear in those around her.

The only person who did mess with Velma was Corny Collins himself who, like Tracy, was ready to take his show into the brave new world of integration. Filling Corny’s plaid suit was Stephen Gregory Smith whose mixture of smarm and integrity was an interesting balancing act but Smith seemed comfortable as a makeshift ringmaster for the nutty antics going on around him; Corny is actually as close to normal as any character in the show.

While the ensemble was exceptional—the dancing was easily as good as any I’ve seen on the Great White Way—I need to single out one supporting player whose expressive face and dancing eyebrows deserve an award of their own. Chorus member Nick Hovesepian resembles the living caricature of Dick York from the opening of the Bewitched TV series. He looks nothing like York—he actually looks like the love child of Jim Carrey and Roddy McDowall—but with his slicked-back hair, sugar bowl ears, and a rubber face, he would fit right in with the antics at the Stevens home and his reactions always inspired a chuckle.

The sets by Daniel Conway were ideal for the era and the Signature’s limited space and brought a whole new meaning to the phrase “shabby chic.” However, the theater space, which has worked so well in the past, seemed to encumber the production during key scenes. For example, when the “nicest kids you know” were all dancing their hearts out on the Corny Collins Show, Edna, Penny, and Wilbur were watching on TV. The TV watchers were situated at the rear of the stage and not easily visible to a good portion of the audience. Having the secondary scene on a raised platform or even in the front would’ve solved this problem but it certainly didn’t detract from the enjoyment of the show. Colin K. Bill’s lighting was spot on (no pun intended), but Kathleen Geldard’s costumes were a bit of a letdown, especially in the big reveal after Tracy and Edna’s makeovers. When they stepped out from backstage, their matching dresses were pretty plain, the colors blended in too easily with what the rest of the cast was wearing, thus they didn’t stand out and take center stage as they should.   

Make no mistake, Signature Theatre’s Hairspray will move you. And when the entire cast is rocking and rolling onstage in the show’s uproarious finale of “You Can’t Stop the Beat,” you might actually need a seatbelt!

Side Note: “Good Morning Baltimore” has got to be one of the best opening numbers written for a Broadway musical in the last 20 years. Why the city of Baltimore hasn’t adopted it as its official song is a mystery to me…maybe it’s the lyrics about rats, bums, and the flasher? At least the rats dance and the bum and flasher are friendly.

 

Follow Mark on twitter at MarkNYC64.

Hairspray

Signature Theatre

4200 Campbell Avenue

Arlington, VA 22206

Featuring: Robert Aubry Davis (Edna Turnblad) Carolyn Cole (Tracy Turnblad), Nova Y. Payton (Motormouth Mable), Sherri L. Edelen (Velma Von Tussle), Patrick Thomas Cragin (Link Larkin), Harry A. Winter (Wilbur Turnblad), Erin Driscoll (Amber Von Tussle), James Hayden Rodriguez (Seaweed), Stephen Gregory Smith (Corny Collins), and Lauren Williams (Penny Pingleton), Jennifer Cameron, Matthew Conner, Parker Drown, Jamie Eacker, Nick Hovsepian, Brandi Knox, Sean-Maurice Lynch, Kirstin Riegler, Nickolas Vaughan, Kara-Tameika Watkins, Matthew Wojtal, and Stephen Scott Wormley.

Based on the 1988 film Hairspray by John Waters

Book: Mark O'Donnell and Thomas Meehan

Music: Marc Shaiman

Lyrics: Scott Wittman and Marc Shaiman

Director: Eric Schaeffer

Scenic Design: Daniel Conway

Costume Design: Kathleen Geldard

Lighting Design: Colin K. Bills

Sound Design: Matt Rowe

Music Directon: Jon Kalbfleisch

Choreography: Karma Camp and Brianne Camp

Tickets: 703-820-9771; ticketmaster: 703-573-SEAT tickets@signature-theatre.org

Information: http://www.signature-theatre.org/

“A Second Chance” – Signature Theatre’s barrage of original musicals continues with an intimate look at a Manhattan couple’s courtship

Review by Mark A. Newman

Two-person musicals are a mixed bag. For every masterpiece like Jason Robert Brown’s The Last Five Years, there are at least five misfires like The Story of My Life, a Broadway failure from a season or so ago. A Second Chance by Ted Shen playing at the Signature Theatre in Arlington, Va., I’m happy to say, is a pleasant entry into this genre. It should be noted that Shen is a musical newbie, having recently left a life in the financial sector to let out his inner Lloyd-Webber. It should also be noted that Shen has donated a lot of money to the non-profit theatre’s coffers, so it’s easy to dismiss this show as simply quid pro quo for helping to keep the footlights on another season.

Not so fast. Knowing this backstory I walked into the Signature’s intimate ARC Theatre wanting to dismiss A Second Chance as a vanity project by a rich benefactor with too much money and too little talent. Happily my preconceptions were swept away as soon as the five-piece ensemble started in on Shen’s upbeat, jazzy score. With shades of Sondheim, the aforementioned Jason Robert Brown, and lots of Maury Yeston, Shen’s tunes bounce along nicely throughout the 90-minutes we get to see the blossoming of Dan and Jenna’s budding romance.

Said budding begins when the two “meet cute” at a mutual friend’s dinner party. Dan (a stoic Brian Sutherland) recently lost his wife and Jenna (a bubbly Diane Sutherland) just got through a less-than-amicable divorce. Both are wary of the other and each voices their concern that the relationship is pointless since it won’t go anywhere. They voice these concerns to us rather than to each other in conversation. Speaking of conversations, that’s essentially how most of the lyrics prattle on—like a conversation. The entire 90-minute show is mostly sung-through so points have to get across in an as tuneful manner as possible. Conversations about past loves and losses, art, friends, Sondheim—a blatant homage—and even the plot of the television show “Mad Men” are all sung with lyrics that are unusually real (people really do talk that way) rather than in a manner that would make the rhymes work.

While both Sutherlands are likable and skilled at their craft, the advantage goes to Diane whose Jenna is simply a more approachable, adorable character. Brian’s Dan—obviously wounded at the loss of the woman he considered the love of his life—remains standoffish and reserved throughout the courtship. It’s easy to see what Dan would see in Jenna—she’s funny, quirky, ebullient, full of life, and fun to be around. It’s less obvious trying to figure out what Jenna sees in Dan—he’s, um, tall and I mentioned stoic, right? In my opinion, Jenna could do better in this equation since there are other fish in the sea that is the dating world in New York City.  

The story, the location and Robert Brill’s beautifully sparse yet elegant set reminded me of the most recent revival of Sondheim’s Company, another fantasia on single life in Manhattan. A Second Chance could be the unofficial sequel to this early 1970s chestnut with Dan stepping into Bobby’s bachelor shoes a couple of decades after Bobby’s friends have divorced amid his own failed attempts at romance.

Aside from Brill’s set, Matt Rowe’s sound design, and Jennifer Schriever’s lighting, special attention must be given to Rocco DiSanti’s projections which were displayed across the stark white rear wall throughout the production. Used to transport us to different times and places, the projections ably succeeded in contributing to the show’s subtle elegance. Creative mastermind Susan Hilferty is credited with the costumes, but they simply look like anything bought off the rack at Ann Taylor Loft or Banana Republic, the likely places Dan and Jenna would pop into before their trip to Central Park, the museum, or after brunch with Dan’s judgmental friends.

Kudos to Shen for creating a lovely and intimate little musical and kudos to Signature Theatre for continuing to embark on brave new journeys by taking chances on new artists. I should add that the Signature’s own production of the Broadway sensation Hairspray was playing at the larger theatre next door, but A Second Chance was the perfect antidote to Beltway traffic, throngs of Christmas shoppers, and the quickening descent of December darkness.

A Second Chance

Featuring: Diane Sutherland (Jenna) and Brian Sutherland (Dan).

Book, Music & Lyrics: Ted Shen

Scenic Design: Robert Brill

Costume Design: Susan Hilferty

Lighting Design: Jennifer Schriever

Sound Design: Matt Rowe

Projections Design: Rocco DiSanti

Orchestrations: Bruce Coughlin

Music Directon: Zak Sandler

Directed by Jonathan Butterell

Tickets: 703 820 9771 or www.ticketmaster.com

Information: www.signature-theatre.org

Running time: 90 minutes, with one intermission

Signature Theatre

4200 Campbell Ave. Arlington, Virginia 22206

Closes December 11