A 'dead man' returns to Alexandria

Isn't she beautiful?  Two men vie to claim "her" in Little Theatre of Alexandria's Is He Dead?  starring Lanny Warkentien as Jean-Francois Millet and the Widow Tillou /Little Theatre of Alexandria  

It’s the last week to see another delightful show at the Little Theatre of Alexandria by the maestro of words, Mark Twain who wrote Is He Dead?  in 1893 in the middle of deep depression after the death of his daughter, Suzy, from spinal meningitis. 

And yet during this dark, troubling time, Twain was able to write what's considered to be his best composition for the stage, Is He Dead?, a comedy, no less.

From left, Hanlon Smith-Dorsey is "Dutchy," Brendan Chaney is "Chicago," Zachary Litwiller is Phelim O'Shaughnessy, and Lanny Warkentien is Jean-Francois Millet and the Widow Tillou in Little Theatre of Alexandria's Is He Dead?  They are moving a casket loaded with bricks/Little Theatre of Alexandria

Mark Twain wrote plays?  Who knew?

You're not the only one who is surprised!  And he tried writing more than one!

Leave it to a scholar to bring this show to life only in this century  when Shelley Fisher Fishkin found it in the archives at the University of California at Berkeley and got it going on stage.  

But it wasn't a surprise to scholars.  Many of them had been aware for years of Dead's existence.

The story of this dead man is based on a fictional tale of a great but starving actual French painter, Jean-Francois Millet (1814-1875) who feigns his death with the help of his buddies "Dutchy," (Hanlon Smith-Dorsey), "Chicago," (Brendan Chaney), and Phelim O'Shaughnessy (Zachary Litwiller), the purpose to raise the value of Millet's art which will reduce the debt he owes to the evil collector, Bastien André  (Kirk Lambert), who, of course is in love with the same woman, "Marie" (Sarah Keisler) as painter Millet (Lanny Warkentien). 

 

Did you get all that? 

The place is, where else? Gay Paree in 1846. The sets (by Matt Liptak) are divine, mon chéri, to match the luxurious costumes (always fun to see, by 

Jean Schlichting and Kit Sibley). 

Upon Millet's "death," André buys up Millet's paintings and the value goes whoosh!  Just like that and Millet is freed of debt.

To hide himself after he "dies," Millet  becomes his sister, the Widow Tillou and naturellement, "she" becomes André 's new love interest.  And also that of Marie's father (Leo Mairena).

Who would have guessed?

But how is our hero supposed to come back to life and marry Marie?  Where there's a will, there's a way and Twain made it happen, of course!

With a dash of Shakespeare thrown in, the production is a romp in mistaken identities and other humorous deceptions to tell us something more about love and money.  (We can never have enough of either.)

 

Lies do not stand the test of time and is love more important than money? It depends upon whom you ask.

Other cast members are Alayna Theunissen as Cecile Leroux (Marie's sister), Justin Beland, Anne Shively, Justin von Stein and Beverly Gholston.

More production crew members are Eleanore Tapscott, producer; Joey Pierce, director; Margaret Chapman, properties; Allison Gray-Mendes, set dressing and

Adam Konowe, lighting.

 

Michael Page was fight choreographer; Sue Pinkman designed hair and makeup; Robin Worthington was wardrobe coordinator; Russell M. Wyland was in charge of rigging; Alan Wray and Crystina McShay, sound.

Melissa Dunlap and Micheal J. O’Connor are stage managers.

What:  Is He Dead? As adapted by David Ives 

When: Now through June 8, 2024, Wednesday - Saturday nights, 8 p.m.

Where: Little Theatre of Alexandria, 600 Wolfe St., Alexandria, VA 22314

Tickets: $21 (weeknights) and $24 (Saturday night) + $3 fee/ticket. 

Audience: General

Duration: About 2 hours with one 15 minute intermission

Public transportation: Check the Metro and Dash bus websites. Dash is free to ride and has routes which are close to LTA.

Parking: is free on streets and at Capital One Bank at Wilkes and Washington streets, a block away. Paid parking is available at nearby garages.

For more information: 

Box Office: 703-683-0496; Main Office, 703-683-5778 or boxoffice@thelittletheatre.com.

patricialesli@gmail.com

  

Alexandria loved this 'Murder'!

From left, Brian Lyons-Burke is Monsieur Bouc, Michael Kharfen is Hercule Poirot, Brianna Goode is Countess Andrenyi and Paul Donahoe is the Head Waiter/Michel in Little Theatre of Alexandria's Murder on the Orient Express/ photo by Matt Liptak

Leaving the show, all I heard were gushes of adoration coming from the crowd for Agatha Christie’s Murder on the Orient Express, the newest production of the Little Theatre of Alexandria with its huge cast who all deliver marvelous performances on a knockout set!  (By Matt Liptak)

My head did spin a few times ogling the elegantly designed 1930s parlor/lounge car which swings to compartments and hallways and who went where?

We go chug, chug, chugging along, just like we're on the train, too. 

Indeed, after experiencing Ken and Patti Crowley's big train headlamp shining in our eyes, coming right at us (with sound by Janice Rivera) against a black backdrop surrounded by long drapes, I was on the Polar Express

Get out of the way!

On left, Patricia Nicklin is Princess Dragomiroff and Julia Rudgers is Greta Ohlsson in Little Theatre of Alexandria's Murder on the Orient Express/ photo by Matt Liptak

The show is an adaptation by notable playwright Ken Ludwig who makes this train ride one heckuva really big show, loaded with tricks and detours to keep the audience guessing. Mr. Ludwig has infused the production with a goodly amount of humor to stir the interactions and make it more fun.  

 

Murder is near the top of Agatha Christie’s most loved mysteries, made into films, television productions, radio, a graphic novel, and games.  She keeps the audience (and readers) guessing.

"Whodunnit"?

The time is 1934 and the train has left Istanbul bound for the west, until it can't, when it gets stuck in snow. 

The year was about six years after Ms. Christie was actually on a train which stalled for six days in Turkey, and it, like the one here, was filled with unusual characters whom the writer used to mold into her fictional characters.

 

Right off the bat (none of these onboard, as far as we know) the bad guy enters, a Mr. RATchett (Paul Caffrey) who is shortly snuffed out, and most of the passengers seem to have a motive to do him in.  

A rat may be dead, but fear not, since

the herculean Detective Hercule Poirot (Michael Kharfen) is onboard and at your service, please, delightful with a twitching mustache, who sets off to find whodunnit (with a little help from his friends) before the killer strikes again!  

Brian Lyons-Burke is Monsieur Bouc, the stuffy train line president a la grumpy Santa.  

Eleanore Tapscott is the eccentric (they all are) and outgoing Helen Hubbard who talks and sings loudly, to the aggravation of all.

 

Avery Lance is Hector MacQueen, Mr, RATchett's secretary while Patricia Nicklin is the arrogant and "titled" Princess Dragomirof of Russia who has a bone to pick. Her servant girl,  Greta (Julia Rudgers) follows nicely along. 

Then there's the beautiful countess from Hungary (Brianna Goode, also the fight captain), Paul Donahoe who has a good time as conductor, Colonel Arbuthnot (John Paul Odle), and Mary Debenham from England (Danielle Comer). 

Aren't these the sort you meet on your train ride?

Costumers Jean Schlichting and Kit Sibley have fitted the players in classy apparel.  After all, who but the well-off could afford a train ride like this in 1934?

Hats off to Larissa Norris, the wig designer, who had more than enough heads to fit!  

Other production crew are Stefan Sittig, director, who has triple responsibilities as the fight choreographer and voiceovers, the latter duties he shares with Samantha Regan. 

Luana Bossolo and Kadira Coley are the producers; Alden Michels, dialect coach;  Jennifer Hardin and Caitlin O'Leary, stage managers; Julia Lisowski, properties design; Art Snow, special effects

Comedrama or dramacomedy? It's also known as a portmanteau dramedy.

All aboard!

 

When: Now through April 13, 2024, Wednesday - Saturday nights, 8 p.m. Sundays at 3 p.m.

Where: Little Theatre of Alexandria, 600 Wolfe St., Alexandria, VA 22314

Tickets: $21 - $24 

Audience: General

Duration: About 2 hours with one 15 minute intermission

Public transportation: Check the Metro and Dash bus websites. Dash is free to ride and has routes which are close to LTA.

Parking: is free on streets and at Capital One Bank at Wilkes and Washington streets, a block away. Paid parking is available at nearby garages.

For more information: 

Box Office: 703-683-0496; Main Office, 703-683-5778 or boxoffice@thelittletheatre.com.

patricialesli@gmail.com

 

Alexandria's 'Young Frankenstein,' the hit of the season!

 

Dr. "Fronkensteen" (Noah Mutterperl) and Inga (Claire Jeffrey) take a buggy ride in Young Frankenstein at Little Theatre of Alexandria/Photo by Matt Liptak

Attention, theater lovers and others: rush, do not tarry, but go straight to the Little Theatre of Alexandria‘s website for tickets for Young Frankenstein, if there are any tickets left. You can send me thanks later.

It's a hoot!

A delight!

Lots of fun throughout the night! 

Love makes the hair of Elizabeth (Liz Colandene) stand on end when she mixes it up with the Monster (Joshua Nettinga) in Young Frankenstein at Little Theatre of Alexandria/Photo by Matt Liptak

Although billed as an adult comedy, the matters at hand go by so swiftly, youngsters of all ages will enjoy the music, the action, the costumes without getting too caught up in the fast-paced adult themes.

It's the work, music and lyrics of Mel Brooks (still kickin') just so you know you're in for a good time.

The story centers on the inheritance of a spooky castle in Transylvania by Frederick Frankenstein (Noah Mutterperl), the grandson of the celebrated monster scientist of the same last name (Joshua Nettinga).

Frederick (who insists on being called Dr. "Fronkensteen" to separate himself as much as possible from his famous ancestor), needs to sell his new castle quickly so he can return home to the arms of his fiancee, the gifted (in real life) singer, Elizabeth (Liz Colandene).

Off he ventures to see his grandfather's castle and find out just what his grandfather did.

Along the way he meets a humpback, Igor (Joshua Redford) and a lab assistant, Inga (Claire Jeffrey), no relation (we don't think) a young lass who yodels and whose presence, alas, takes Dr. Fronkensteen's mind from Elizabeth as much as he tries to keep the faithful.

Together they all recreate his grandfather's monster who comes alive, escapes into the town and later meets up with Elizabeth who has suddenly arrived in town to find her fiance mixing it up with Inga. 

Alass!

Meanwhile, the townspeople are going  mad.

That Redford was able to maintain his stooped back and moving hump through the show is a marvel. Inga's playful innocence and gestures are perfect for the role and hear! hear! to those ninnying horses who don't care too much for she "vas his girlfriend," the grandfather's totally serious amour (Judy Lewis) who was able to make the good doctor rise from the dead.

Nettinga's stalk and enormous height with his makeup (by Natalie Turkevich) match all the visuals you may have mentally stored for decades.

The rich sounds of music from the hidden 10-member orchestra under the direction of Francine Krasowska and Christopher A. Tomasino make the show all the more enjoyable.

There's lots more to make the evening one of solid entertainment.

Give me laughs!

Make me smile and let's talk about the show to all who'll lend me an ear!

Other cast members are: James Maxted (the Hermit), Brian Ash (the Inspector), and ensemble members,
Daria Butler, Emily Carbone, Andrew Edwards, Louis, Eggleston, Odette Gutierrez del Arroyo, Patrick Kearney, Evie Korovesis (also dance captain), Luke Martin, James Nugent, and Lourdes Turnblom.

Congratulations to director Frank D. Shutts II who has outdone himself!

Additional crew members are Sherry Clark and Rob Cork, stage managers; Robert S. Barr, Jr., set design; Mike Taister, set decoration; Donna Reynolds, properties; Ken and Patti Crowley, lighting and special effects; Allan Wray, sound; Jean Schlichting and Kit Sibley, costumes; Robert Worthington, wardrobe coordinator; Kadira, Coley, hair and wigs; and Kathy Murphy, set painting and design. 

Music and lyrics by Mel Brooks who co-wrote the book with Thomas Meehan.
Rachel Alberts and Russell M. Wyland, producers. Stefan Sittig, choreographer

When: Now through Nov. 11, 2023, Wednesday - Saturday nights, 8 p.m.

Where: Little Theatre of Alexandria, 600 Wolfe St., Alexandria, VA 22314

Tickets: $29 (Wed.- Fri.), $37 (Sat.). Prices includes fees.

Audience: General

Duration: About 2 hours with one 15 minute intermission

Public transportation: Check the Metro and Dash bus websites. Dash is free to ride and has routes which are close to LTA.

Parking: is free on streets and at Capital One Bank at Wilkes and Washington streets, a block away. Paid parking is available at nearby garages.


For more information: 

 Box Office: 703-683-0496; Main Office, 703-683-5778 or boxoffice@thelittletheatre.com.

patricialesli@gmail.com

Alexandria's queens duke it out

From left, Sally Cusenza, Paul Donahoe, Sarah Cusenza, and Maria Ciarrocchi in Little Theatre of Alexandria's Mary Stuart/Matt Liptak

The present drama on stage at the Little Theatre of Alexandria is a 2005 version by Peter Oswald of the 1800 play Mary Stuart, by German playwright Friedrich Schiller (1759-1805), a masterpiece production certain to attract historians and theatre lovers alike to learn more about the conflict between two queens, to gauge accuracy and see nobles vie for the throne of England before ostensible  orders by Elizabeth I ended Mary's life with beheading, like Elizabeth's mother, Anne Boleyn, had died upon direction by Elizabeth's father, Henry VIII, who was Mary's great uncle.

(Did you get all that?  If not, the play provides clarity and background for  better understanding.)

Mary Stuart of Scotland (AKA Mary, Queen of Scots, 1542-1587), a Catholic, and Queen Elizabeth I (1533-1603), a Protestant, experienced different upbringings and lifestyles which no doubt contributed to their clash.

The two powerful women never met but Schiller brings them together for his play. 

A fierce verbal battle erupts on stage when Mary and Elizabeth compete amidst secrets and courtiers who have no allegiance except to themselves. 

But Mary's chilling words hurled at her cousin cannot be forgotten and seal her doom. 

In the production, both actors (Sarah Cusenza is Mary Stuart, and Maria Ciarrocchi is Elizabeth) are more than convincing in their styles and portrayals of the two queens, although Ciarrocchi's screams became taxing at times.

From left, Sarah Cusenza and Maria Ciarrocchi in Little Theatre of Alexandria's Mary Stuart/Matt Liptak

The Earl of Leicester (Thomas O'Neill) was a typical hypocrite who does a splendid job of loving both two queens, but neither is more important than his love of self. 

John Paul Odle is the Schiller-fictionalized and aptly named "Mortimer," Mary's confidant who commits suicide after Mary's enemies learn about his plan to rescue his queen from imprisonment.

Poor William Davison (Stuart Fischer), one of Queen Elizabeth's aides who is understandably confused by the death warrant for Mary which Elizabeth gives him.  

To kill or not to kill?

The surly and conceited Lord Burleigh (John Henderson) takes the warrant from Davison without hesitation, making headway to do the Queen's will...which was? 

Lord Burleigh will interpret it his own way, if you please. Off with her head!   To which Elizabeth claims error.  

"How dare you?" and to the tower and banishment they go. 

The show runs three hours, but its complexity, intrigues, and costumes (!) demand attention, and make it seem shorter.  

Elizabeth had Mary imprisoned for 19 years and the play begins and ends in 1587 at the Castle of Fotheringhay, the scene of Mary's last confinement and her trial. 

The set by Matt Liptak is a realistic depiction of high brick walls (and landscaping) found in pictures of English castles in the Middle Ages.

With a few quick turns, Mary's prison quickly converts to Queen Elizabeth's Westminster Palace.

If the script were absent, Juliana Cofrancesco and Abbie Mulberg's  lavish costumes and hair and makeup by Robin Maline and Lanae Sterrett, assisted by Karen Malin, are practically worth the cost of admission. 

Elizabeth's gowns sparkle with jewels, multiple "diamonds" lining her apparel. Standup collars, and the men's white stockings and their own luxurious wardrobe produce gladness and a singing heart that these styles are not in vogue today.  

Wardrobe coordinators, Mary Beth Smith-Toomey and Margaret Snow help fit Mary in a white gown for her execution, like the one she wore for her death by ax.  

To maintain historical accuracy as much as possible, bright red and auburn hair for the queens result in appearances similar to portraits of the women.  

Queen Elizabeth I, c. 1575/Wikimedia Commons

Mary, Queen of Scots/Kelvingrove Art Gallery and Museum, Glasgow Life Museums, unknown artist

Sound director Janice Rivera and her crew use drums to herald strife and stringed instruments, choruses, crowd and animal noises in the background at critical moments to complement the show.  

Even now, hundreds of years later, the interminable themes of man v. woman and who's in charge here? can be heard and seen today, echoing in courtrooms, state legislatures and found in daily (and hourly) news reports, including art reviews, like one recently in the Washington Post about the misognyist, Pablo Picasso.  

 Sam Beeson, John Barclay Burns, Paul Donahoe, Richard Fiske, Kirk Lambert, Sally Cusenza, and Lee Swanson are other cast members.

Production crew members also included Margaret Chapmen and Hilary Adams, producers and (Adams) dialect coach; Helen Bard-Sobola and Fred C. Lash, assistant producers; Kathleen Barth, director; Mia Amado and Jenna Dawkins, assistant directors.

Also, Dana Maksymova, stage manager; Lauren Markovich, assistant stage manager; Griffin Voltmann, dramaturg; Matt Liptak, set design; Julie Fischer, set construction; Luana Bossolo, set painting; Donna Reynolds, set decoration; Allison Gray-Mendes, properties; Matthew Cheney, lighting, Pam Leonowich, master electrician; Ian Claar, fight/intimacy choreographer; and Russell M. Wyland, rigging.

 When: Now through May 13, 2023, Wednesday - Saturday nights, 8 p.m.; Sunday matinees, 3 p.m.

Where:  Little Theatre of Alexandria, 600 Wolfe St., Alexandria, VA 22314

Tickets:  $24 (Wed.- Fri.), $27 (Sat. and Sun.). Prices includes fees.

Masks are required in the auditorium and strongly encouraged but optional in other areas of the theatre.  

Audience:  For ages 13 and up. 

Duration:  About 3 hours with one 15 minute intermission

Public transportation: Check the Metro and Dash bus websites. Dash is free to ride and has routes which are close to LTA.

Parking: is free on the streets and at Capital One Bank at Wilkes and Washington streets, a block away.  Paid parking is available at nearby garages.

For more information:  Box Office: 703-683-0496; Main Office, 703-683-5778 or boxoffice@thelittletheatre.com.

patricialesli@gmail.com

'Lettice' Alexandria's stars entertain you again

From left, Patricia Nicklin is Lettice and Rachael Hubbard is Lotte Schoen in Little Theatre of Alexandria's Lettice and Lovage/Matt Liptak, photo

Patricia Nicklin is a frequent actor on stage at the Little Theatre of Alexandria and she's up there again, this time as the star of Lettice and Lovage, a British comedy Peter Shaffer wrote for Dame Maggie Smith.

In 1990 Ms. Smith won the Tony Award for her performance of the daffy lady whose circumstances bring her together with another goofy woman, Lotte Schoen (Rachael Hubbard), their conversations, frictions, and relationship the story describes.

Whew!

And that's what you might say after listening to these two swat word circles for a while.

Ms. Nicklin is Lettice, a tour guide at an historic English country house where the detailed Ms. Schoen objects to Lettice's embellishments of events, and away they go.

Naturally, common ground is found between them and a common drink which Lotte consumes a lotte of the concoction Lettice brings to the table.  

Ms. Hubbard's portrayal of a increasingly drunk lady is spot on!

When it all goes pear-shaped, you know something's up!

Joan Lawrence has fashioned dowdy costumes to fit these two whose characters need no more sparkle anyway. 

Indeed, they are jolly good sports at chin-wagging.(?)

For a fan of British humor, this script will tickle your fancies, I dare say. 

As they say across the Atlantic, Lettice is "a picnic short of a sandwich."

Other cast members are James Blacker, Tegan Cohen, Colin Davies, Nicole "Nicki" Gray, and Nicole Lamberson.

The production crew:  Hilary Adams, dialects; Kirstin Apker, set decoration; Juli Tarabek Blacker, director; Julie Fischer, set design; Allison Gray-Mendes, properties and technical director; Kira Hogan and Ramah Johnson, stage managers; and JK Lighting Design.

Also, Janet Kennelly, assistant set painter; Chanel Lancaster, hair and makeup; Manuel Medina, sound; Dan Remmers, master carpenter; sheri ratick stroud and Griffin Voltmann, producers; Mona Wargo, set painting; Robin Worthington, wardrobe coordinator; and Russell M. Wyland, rigging.

When: Now through March 18, 2023, Wednesday - Saturday nights, 8 p.m.; Sunday matinees, 3 p.m.

Where:  Little Theatre of Alexandria, 600 Wolfe St., Alexandria, VA 22314

Tickets:  $24, weekdays; $27, weekends (These prices include fees.)

Masks are required in the auditorium and strongly encouraged but optional in other areas of the theatre.  

Language:  Rated "G" 

Duration:  About 2.5 hours with one 15 minute intermission

Public transportation: Check the Metro and Dash bus websites. Dash is free to ride and has routes which are close to LTA.

Parking: On the streets and in many garages nearby with free parking during performances at Capital One Bank at Wilkes and Washington streets.

For more information:  Box Office: 703-683-0496; Main Office, 703-683-5778 or boxoffice@thelittletheatre.com

patricialesli@gmail.com

Outstanding 'Sister(s)' Act in Alexandria

Nun ensemble and Deloris (Ashley Williams) in Sister Act at Little Theatre of Alexandria/Photo by Matthew Randall 

Rush! To get an early Valentine's present found on stage in Alexandria.

But, there're not many Valentines left!

It's a delightful Sister Act which is fun!  It's delightful!  Entertaining!  And, oh, will you leave happy!

These "sisters" act, sing, and dance the night away to bring a really great show  to the stage at Little Theatre of Alexandria. 

Did I say fun?

Where did the producers find her? Ashley Williams is the star of the show, a teacher of pre-K. 

Her character is Deloris Van Cartier who shines and leads the musical, spreading her charm on those around her, including the audience.

She's the wannabe, runaway singer who needs to hide after witnessing a murder committed by her boyfriend and his cronies and what better place to run to than a convent, says a friendly cop (Alonzo Cook), who just happens to be an old friend from school.

At the convent, Deloris (as my mother used to say) "upsets the routine." 

You got that right, sister!

The show has so many stars, where to begin?  

Besides Ms. Williams, several "sisters" (who are all named "Mary") play key roles like the perpetually giggling Sister Mary Patrick (Gina Tune) whose face I know must be hurting at show's end from smiling so big and broadly from start to finish. 

The novitiate, Sister Mary Robert (Allison Meyer) has a voice to reach the highest nave, and Sister Mary Lazarus (Jennifer Reynolds) is an old cripple who widens the age range of the participants, appreciatively.     

From left: Mother Superior (Christine Maxted) and Monsignor (Peter Fannon in Sister Act at Little Theatre of Alexandria/Photo by Matthew Randall

Some of my other favorites were the Monsignor (Peter Fannon) who gradually picks up the beat there in the corners, gathering momentum and rolling his shoulders in time with the music.  

That man's got rhythm! 

The stern Mother Superior (Christine Maxted) is super stern and shows off her global acting experiences.

Even the Pope gets in on the act. 

From left: Paola (Odette Guiterrez del Arroyo), Curtis (Paul Caffrey), and Joey (Evan Zimmerman) in Sister Act at Little Theatre of Alexandria/Photo by Matthew Randall

Kathleen McCormack's terrific choreography has the nuns kickin' up their heels, none funnier that the gangsters' prance, led by Joey (Evan Zimmerman) who made me gleeful very time he and his buddies in crime (Luke Martin and Odette Guiterrez del Arroyo who was also, dance captain) appear.

The lead bad guy, Deloris's BF, Curtis (Paul Caffrey) is the stereotypical hoodlum all the way up to his long, greased mop, flying and a'floppin, requiring the wearer to constantly brush it aside in time with the music.

Jean Schlicting and Kit Sibley's' costume designs are fitting for nuns with some sparkly thrown in for Ms. Williams's performances.

Colin Taylor directs the 19 (!) member orchestra offstage and starts the rocking, setting expectations for a "really good show."

Live music is like seeing a work of art up close and in person.  It far exceeds taped sounds and "tinniness," making such a difference with added depth and enjoyment to a terrific night at the theatre.  (But, I am unaware of any LTA performances with artificial music.)   

Director Mike Baker's notes say his team had to produce something creative to accommodate 30 set changes, and they succeeded with fast-paced floor to ceiling photography and video for backdrops with props onstage (by Janie Downey.  Julie Fischer designed the sets and was assistant producer.).

Do you like to leave happy at the end of a show?  

This will leave you laughing and dancing down Alexandria's brick sidewalk, but hurry!  Several shows are already sold out!

Other cast members are Jenni Philp, Eddie Perez, Margaret McGarry, Maria Ciarrocchi, Jennifer Levy, and Sandy Kozel.

Also, Aja Goode (who plays Deloris Jan. 17 - 19), Gifty Amponsem, Claire Aziza, Maria Ciarrocchi, Julianna Laseter, James Miller, Josie Morgan, Bob Thompson, Lourdes Turnblom, and David Valderrama

Other crew members: Kadira Coley and Alan Wray, producers; Sherry Clarke and Micheal J. O'Connor, stage managers; Charlotte Corneliusen, set dressing; David Correia, sound; Ken and Patti Crowley, lighting; Jim Hutzler and Jeff Nesmeyer, master carpenters; Robin Maline, hair and makeup; Steven J. McBride Jr., vocal director; Mary Beth Smith-Toomey, master electrician; Margaret Snow and Robin Worthington, wardrobe coordinators; and Russell Wyland, rigging.

Book by Cheri Steinkellner and Bill Steinkellner

Additional book material by Douglas Carter Beane

Music by Alan Menken

Lyrics by Glenn Slater

Based on the movie by Joseph Howard

Sister Act was nominated for five Tony Awards in 2011, including Best Musical.

When: Now through Feb. 4, 2023, Wednesday - Saturday nights, 8 p.m. Sunday matinees are sold out.

Where:  Little Theatre of Alexandria, 600 Wolfe St., Alexandria, VA 22314

Tickets:  $29, weekdays; $34, weekends

Covid policy:  LTA has returned to full seating with no proof of vaccinations necessary, however, masks are required in the theatre. 

Language:  Some mild profanities 

Duration:  About 2.5 hours with one 15 minute intermission

Public transportation: Check the Metro and Dash bus websites. Dash is free to ride and has routes which are close to LTA.

Parking: On the streets and in many garages nearby with free parking during performances at Capital One Bank at Wilkes and Washington streets.

For more information:  Box Office: 703-683-0496; Main Office, 703-683-5778; or boxoffice@thelittletheatre.com

patricialesli@gmail.com

Alexandria stages a 'murder' or two

From left: Erin Gallalee is Martha, James Lorenzin is David, and Kathy Ohlhaber is Celia in Design for Murder at Little Theatre of Alexandria/Brian Knapp Photography 

Go ahead!  Pick out the killer. If you get it right, set up your own detective agency.

As for me:  I was a bit off-key.

At the Little Theatre of Alexandria, there are so many murders and so little time, it's an unusual production, Design for Murder, from the happy-go-lucky shows LTA usually throws, but well worth your time and money.

We need some edge every so often, right?  This one will keep you guessing. 

Who dunnit?  (Or, them?) Let’s play "Clue" in this play by George Batson (c. 1916-1971).

Wait a minute!  Isn't David (James Lorenzin) engaged to someone else besides Kathy (Elizabeth Loyal)?  They're in Design for Murder at Little Theatre of Alexandria/Brian Knapp Photography

The show has fantastic costumes as always (by Judy Whelihan), and an elegant, sophisticated set (by Julie Fischer), the home of a wealthy Hudson River Valley family who have paintings on the walls to match their residence. (Shelby Baker, property designer.)

The rich are different from you and me and they were different back in the 1930s of this Design when manners mattered.  Besides, it's always fun to peer in and grasp a bit of the haute affluent.

The stars are Celia Granger (Kathy Ohlhaber) and her son, David (James Lorenzin), their mansion suddenly swamped with murders in the first degree, following David's engagement party.

He does love his fiancée, doesn't he? Then, what's he doing making moves on the housemaid? 

And another housemaid?  This is love?  Ahem.

Lorenzin's performance strengthens from scene to scene as he gains more self confidence in dialogue with his overbearing mother whose superb acting commands the spotlight.

Two older ladies, Martha (Erin Gallalee) and family friend Louisa (Janice Zucker) both always dressed to the nines, provide infrequent and much desired comic relief to match those of Mrs. Hamilton (Patricia Spencer Smith), the family cook, of nearly the same age who teeters, totters, and bends with the best of them in short step shuffles.  

The arrogant chauffeur, Moreno (Denny Martinez-Barrera) seems to have a hold on most of them and you wonder what his story is. Where did he get that attitude? For a chauffeur?

Blackmail, anyone?  Too obvious, right?

I couldn't help but wonder if it were his character or Director Jessie Roberts just letting him go and show off his sauntering self.  Whatever, Moreno is a saucy servant, a mystery, and a likely perpetrator, but what are the goods?

Jon Roberts is the sound man and projectionist, busy during the show with vehicles hitting the gravel driveway. (A gravel driveway for a mansion?  It happens.) 

All the characters are suspect, and all the world's a stage! 

Go for it.

Also in the cast: Elizabeth Loyal,  Brendan Chaney, Pete Leggett, and Frank Cooper

Other crew members:  Hilary Adams, assistant producer; Kirstin Apker and Deborah Remmers, set decoration;  Brittany Huffman, stage manager; Jim Hutzler and Jeff Nesmeyer, master carpenters;  Stefan Sittig, fight choreography.

And, Cleo Potter and Jay Stein, lighting and (Stein) master electrician; Lanae Sterrett, hair and makeup; Carol Strachan, producer; Robin Worthington, wardrobe; Russell M. Wyland, rigging; Dierdre (De) Nicholson-Lamb, set painting.  

When: Now through Nov. 5, 2022, Wednesday - Saturday nights, 8 p.m.; Sunday, 3 p.m.

Where:  Little Theatre of Alexandria, 600 Wolfe St., Alexandria, VA 22314

Tickets:  $21, weekdays; $24, weekends

Covid policy:  LTA has returned to full seating and no proof of vaccinations are necessary, however, masks are required in the theatre.  No exceptions. 

Language:  All "G" rated.

Duration:  Two hours with one 15 minute intermission

Public transportation: Check the Metro and Dash bus websites. Dash is free to ride and has routes which are close to LTA.

Parking: On the streets and in many garages nearby with free parking during performances at Capital One Bank at Wilkes and Washington streets.

For more information:  Call the Box office, ph. 703-683-0496, the main office, 703-683-5778, or email:boxoffice@thelittletheatre.com

patricialesli@gmail.com