skip to main |
skip to sidebar
From left, John de Lancie, Brian George, and Haaz Sleiman in Mosaic Theater Company's Vicuna and The American Epilogue/photo by C. Stanley Photography
It's at the Mosaic Theater on H Street, easily accessible by the free trolley which runs up and down H, boarding behind Union Station, and it's a h-u-g-e show, amazing (!), really, really great. It's beautiful with some very, very good laughs. A surefire winner! And everyone loves a winner, right?
In Vicuña & The American Epilogue, John de Lancie is "Kurt Seaman," a really, really smart person and also a presidential candidate getting ready for a debate. Director Robert Egan ensures Mr. de Lancie is as non-p.c. and morally outrageous as possible, enough to inflame belly gut laughter from the audience which, at times, is so loud, dialogue cannot be heard. But, no matter, it's all part of the fun and the show's pleasure.
You will likely recognize Mr. de Lancie. His presentation and remarkable delivery will leave you wanting more.
The production concerns the egotistical candidate (with never a mention of comparison to the current president) who preps for his debate, in words and apparel, as a clothier, Anselm (Brian George), tries to outfit him in vicuna wool, a precious material whose cost makes it affordable for only the One Percent. (Costuming by Brandee Mathies is a mite improbable since Mr. Trump does not wear brown and grey, but this is not about Trump, believe me.)
Complementing the fantastic comedy are incredible, amazing men and women, an all-star cast which leaves audience members in awe of their fast-paced dialogue and flawless memories.
First on the rung is "Senator Kitty" (Kimberly Schraf), who does a fantastic job and happens to be the head of the Republican National Committee who will pay Mr. Seaman an outrageous sum if he'll agree to withdraw from the race. (Fat chance. Ms. Schraf is so realistic, she must have held elected office at some point.)
Laura C. Harris is Mr. Seaman's daughter, Srilanka (a tad more liberal than her dad), and Haaz Sleiman is an apprentice to his father.
The effective set (by Debra Booth) is a modern, fab-50s styled New York apartment with excellent use of an "elevator" center-stage, a handy device for quickly moving actors on and off the floor.
Jon Robin Baitz is the writer of this area premiere and the dark epilogue which is the world premiere here in Washington.
Other creative team members are Brigitte Thieme-Burdette, understudy as Srilanka; Alberto Segarra, lighting; Karl Lundeberg, music and sound; Michelle Elwyn, properties, and C. Renee Alexander, stage manager.
In his short three years at the helm of Mosaic after a departure from Theater J, Ari Roth's success leaves one marveling at what all he has achieved with one hit after another. Congratulations to him and his staff.
Mosaic's mission statement includes: "Our plays speak truth to power and to the private parts of our soul. In
short, we make art with a purpose and strive for impact." And that, playgoers, is what Mosaic has done again. Bravo for theatre in D.C.!
And, while I am at it, the Atlas Performing Arts Center is absolutely stunning, comfortable, modern and more, a thoroughly delightful place to be and, easily accessible.
What: Vicuña & The American Epilogue
When: December 3, 2017 at 3 p.m.
Where: Mosaic Theatre, Atlas Performing Arts Center, 1333 H Street NE, Washington, D.C. 20002
Getting there: Riding public transportation from Union Station on the streetcar is easy and free, if you can master the first hurdle, that of finding the streetcar behind Union Station. Signage in the station is inadequate. Parking options are available for those who wish to drive.
Tickets start at $20 for students and those under age 35. Neighbors, seniors, military, and first responders get discounts. Other tickets start at $45. A $4.50 "box office fee" is added per ticket online. Order by phone (202-399-7993, ext. 2), online (boxoffice@atlasarts.org), or at the box office.
Language: Adult (but not much)
Duration: About two hours minutes with one intermission.
For more information: Please call the box office and leave a message: 202-399-7993, ext. 2.
patricialesli@gmail.com 
.JPEG)
Susan d. Garvey (on left), Kathy Ohlhaber, and Patrick David star in Other Desert Cities at Vienna Theatre Company/Photo by Matthew Randall
That Other Desert Cities was a finalist for a Pulitzer Prize for Drama in 2012 and won five Tony nominations is not surprising. It's a critic's play.
Which demonstrates in living color that things are not what they seem, folks, even though you may think you know-it-all.
Sometimes a minor character can steal a show.
Like Jessie Roberts who is Silda, the mother's half-crazed, alcoholic sister, with a personality amplified by her flyaway hair, apparel, and funny lines which bring much needed humor and balance to the somber tone and message heard all night.
What darkness lurks beyond?
Other Desert Cities is a family affair with father (Patrick David) and mother (Susan d. Garvey) pitted (or so she thinks) against grown daughter, Brooke (Kathy Ohlhaber) whose brother Trip (Jeff McDermott) is along for the ride, to tell his sister just how self righteous she really is.
Their older brother, Henry, is dead, and the negative aftermath of his passing are borne by the survivors who blame each other. They lash out with mean and heartless words, similar to what audience members may think about saying to their own family members from time to time (well, maybe, not quite so extreme), but refrain from uttering to preserve family peace, or what remains of it. (That would not happen here, of course, since there would be no show!)
It's Christmastime at Polly and Lyman's, the parents, which adds even more stress to conditions, especially with the holiday arrival of their "me-me-me-me-me, it's all about me!" daughter.
Would you be surprised to learn it doesn't take long for conflict to erupt? And that Polly and Lyman share conservative leanings which happen to be the opposite of Brooke's? It's 2004 and the Iraq War is raging. But, not too much is said about it.
From beginning to end, it's all about Brooke, and how she feels and is affected by the family's tragedy. Never mind offending anyone else. Never mind considering that she's not the only one. What does that matter as long as her new book gets published that lays out the horrors of her brother's death and how her family deals with it? "I'm as sorry I'm a writer as you are," she says. Amen, sister. She got no sympathy from me.
On this Christmas trip home, you'll observe no pauses, inactivity, or boredom. Just heartbreak and enlightenment about those you love.
The outstanding set (by Skip Gresko) is what's to be expected of wealthy landowners living in Palm Springs, California. In their large Western-style house, the living room has a curving beige stone wall with fireplace (into which is tossed a marijuana cigarette that Silda covets) and big windows which look out on a splashy, orangy sunset which changes with the time of day, I suppose, but being hooked on the dialogue, I didn't notice. (What does that say about the script?)
That the Washington, D.C. area is blessed with great actors is well known, and, under the direction of Rosemary Hartman, the Desert quintet is more proof. Especially the performances by Ohlhaber, David, and Roberts who seem so natural in their roles, it's hard to imagine them off stage as anyone but Brooke, Lyman, and Silda.
Vienna audiences always turn out for good shows. I've never attended a production here which did not appear to be a sellout.
With contemporary street talk, Other Desert Cities is not a production recommended for children.
This will be the last of Vienna Theatre Company's productions for a while at the Community Center since the center's renovation will soon begin, but the theatre troupe will find other places to stage. You can't keep a good company down.
Other key Desert Cities crew members are: Richard Durkin, producer; Gerald Kadonoff, assistant producer; Mary Ann Hall, stage manager; Tigan Hughes, assistant stage manager; Chris Hardy, lighting designer; Benjamin Allen, sound designer and composer; Susan Boyd, costume, hair, and makeup designer; Jocelyn Steiner and Mary Frances Dini, set dressers and props.
What: Other Desert Cities by Jon Robin Baitz
When: 8 p.m., Fridays and Saturdays on April 24 and 25 and May 1 and 2, with 2 p.m. Sunday matinees, April 26 and May 3.
Where: Vienna Theatre Company,120 Cherry Street, Vienna, VA 22180 (Vienna Community Center)
Tickets: May be purchased online (vtcshows@yahoo.com) or at the box office.
Admission: $14
Parking: Lots of free parking on-site
For more information: 703-255-6360 or visit the website
To read other local reviews of shows still on the stage, click Other Reviews on DCMetroTheaterArts.
patricialesli@gmail.com
Posts
