Herndon has a hit!

The cast of The Wedding Singer at NextStop Theatre in Herndon is getting ready to swing from the lights/Photo by Lock and Co.

You are invited to crash one of several weddings in The Wedding Singer and have almost as much fun as the cast at the NextStop Theatre where one theatregoer was heard to say, "I could see that again."
 
The Wedding Singer is packed with frivolity, a large cast, pretty costuming, and rockin' music. (It's 1985, after all.)
 
And what can go wrong at a wedding (or two)? Audiences love 'em.

Everyone is dressed up in wedding finery, designed by costumer Amy MacDonald who has her hands full creating numerous outfits for many guests at many weddings.

Weddings mean music and dancing, and it's almost non-stop in this show, put on by choreographers, Cathy Oh and Mark Hidalgo, who have dancers matching steps magnificiently in great time, all the while singing. That it's a smaller stage than one would expect for a dance team this large is never a consideration. In this production, size does not matter.  

THE bride and groom are the stars, of course: Molly Rumberger's tiny frame belies her strong voice, and Ricky Drummond carries the show.
 
Acting from one extreme to another is James Finley who is quite at ease, mind you, in duplicitous roles as the conniving Wall Street baron, another groom (the one you grow to hate), and a preacher man, characters all dressed appropriately in slick con man attire or clergy clothing, whatever is required. (Clothes make the man as Robbie, THE groom, shortly discovers.)
 
Several of my favorite characters are performed by Rick Westerkamp, the dance captain, who, like several cast members, has multiple roles, but he doubles, triples, barreling out on stage in the first number as the lucky groom, then, in the last scene, after several other roles, he is Imelda Marcos (still living, age 89) in varying shades of pink, head-to-toe with a wig (one of several crafted by Sue Pinkman) which extends about a foot towards the hanging lights, and "she" carries a shoe box!

Two of my other favorites were Grandmom Rosie (Marylee Nicholas) whose every sentence was a scream, and George (Evan LaChance), the adorable band member with long hair and bearing a great resemblance (at least in the dark, after the show (?)) to Conan O'Brien. With each of their appearances, the audience laughter grew louder. 

My only complaints were the lighting, which no doubt has improved from missing the main performer a few times, and the "bad," totally gratuitous, offensive words which serve no purpose other than to make old fogies like me cringe. We did not use these now commonplace, vulgar words in the 80s and their omission would make the show suitable for a larger audience.

(The strip tease numbers and simulated sex scenes were not off putting.)

On the top row I had trouble at times hearing the single word which produced gales of audience laughter, but a youngster in her 20s who sat on the front row told me she missed some of the words, too.

Another reason not to sit on high is because you stand no chance of being selected by cast members to twirl around the dance floor before the show begins.

Take your dancin' shoes and get ready to spin!

The Wedding Singer is based on the 1998 movie starring Adam Sandler and Drew Barrymore. It opened on Broadway in 2006 and was nominated for eight Drama Desk awards and five Tonys, including Best Musical and Best Choreography.

The book is by Chad Beguelin (who also wrote the lyrics) and Tim Herlihy with music by Matthew Sklar. Evan Hoffmann directs. 

Other cast members are: Joshua Redford, Amanda Leigh Corbett, Rachel Barlaam, and in the ensemble, Carolyn Burke, Jaclyn Young, Ivana Alexander, Carl Williams, Colton Needles, and Amanda Spellman.

Also on the creative team are J.D. Madsen, scenics; Brittany Shemuga, lighting; Reid May, sound; Alex Wade, properties; Laura Moody, stage manager; Kathleen Veer and Kate York, assistant stage managers; James Morrison and Jonathan Abolins, master electricians

Steve Przybylski conducts the orchestra and plays keyboards, assisted by Elisa Rosman; Chip Carvell and Rick Penalta are the guitarists, and on alternate nights, on the bass are Jared Creason and Jonas Creason, and, drums, Jim Hofmann and Alex Aucoin. 

What: The Wedding Singer
  
When: Thursday through Saturday nights at 8 p.m., Sunday, Oct. 7 at 7 p.m., weekend matinees at 2 p.m., now through October 14, 2018.

Where: NextStop Theatre Company, 269 Sunset Park Drive, Herndon, VA 20170 in the back right corner of Sunset Business Park, near the intersection of Spring Street/Sunset Hills Road. Right off the Fairfax County Parkway. A wee big hard to find on a first visit, so allow an extra 15 minutes. The program notes that GPS map systems often give incorrect driving directions once inside the Sunset Business Park. From the "Taste of the World" restaurant, circle counter-clockwise around the building and look for maroon awning
 
Free parking: Available near the door.

Admission: Tickets start at $40 with 20% discounts for eight or more. If any seats remain at curtain time, student rush tickets may be sold for $5 cash. Before the show, there are student discounts and senior discounts (for season purchases). For more information, check here.

Duration: About two hours with one intermission

Language rating: X

Skin and sex: Striptease numbers and simulated sex scenes
 
For more information: 703-481-5930 or BoxOffice@NextStopTheatre.org
 
patricialesli@gmail.com

You don't have to be Jewish to love Herndon's 'Bad Jews'

The cast in NextStop Theatre's, Bad Jews, from left, Noah Schaefer, Elizabeth Kate Vinarski, Sophie Schulman, and Vitaly Mayes/Photo, Lock and Company

I loved these Bad Jews, and at the end, the single word which popped into my mind as emotions swept me, was "powerful" which was the word a woman two seats away said out loud.

If two of us think so, it's got to be.

Three cousins meet in New York after their grandfather's death to try and sort things out.

In one corner of the boxing ring stands Daphna (Sophie Schulman), the wicked witch of the show whose mouth runs negative non-stop, and on the other side is Cousin Liam (Noah Schaefer), equally as domineering and loudmouthed, although kinder and gentler, qualities which Daphna has no knowledge nor possession. 

To convey some idea of the power of the script and director's Cristina Alicea's skill with Ms. Schulman, it takes just a short while for the audience to develop intense dislike of Daphna and increasing astonishment over her choice of words.

What happened to her?  Was she ever loved by anyone?  Has she ever loved? Liam wants to know.

Just like a dog (but not a Golden Retriever), Daphna constantly grooms her hair all over the place, spinning her web and taking ownership.  Liam complains.

Where is the vacuum? And the civility?

Liam's discourse is spellbinding, such that I hoped his head's protruding blood vessels did not explode when he did.

Adding balance and levity to the scenery are Liam's brother, Jonah (Vitaly Mayes), and Liam's girlfriend, Melody (Elizabeth Kate Vinarski) who is as pretty as her name implies, with all the freshness and innocence of a blooming yellow rose, in contrast to a suffocating insecticide.  (Kind of like the Good Witch and the Bad Witch in the Wizard of Oz, or Melanie and Scarlett in Gone With the Wind, although Scarlett to Daphna is baking soda to cayenne pepper.)

Bad Jews takes place in a contemporary studio apartment right on Riverside Drive which overlooks the Hudson, with stylish kitchen, entryway, living area, and ceiling and hallway lighting to easily divide transitions and script. (Kudos to scenic designer Jack Golden and lighting designer Sarah Tundermann.)

Costume designer Kristina Martin dresses Daphna all in black, of course (at least, to start the fireworks which glow better in the night) which match Daphna's hair color.

Since many of the lines seem to be lifted from our national dialogue and chieftain, I imagined that playwright Joshua Harmon wrote it within the last year, however, it opened off-Broadway in 2012, and he wrote it the year before.     

The dark comedy is filled with messages which hit us in the gut and remind us what it's all about.
I imagine many of us have a Daphna in our midst, or a variation of her (why is it always the woman?) which made me happy at the end, knowing my family is not quite as bad as Liam and Daphna's. We mostly treat each other with respect because, like my mother used to say:  If you can't say something nice, then don't say anything at all.

This NextStop Theatre production continues to strengthen Herndon's growing reputation as a suburban center for professional theatre in Washington.

Other Bad Jews crew members are: Caitlin M. Caplinger, assistant director; Jonathan Powers, sound designer and composer; Laura M. Moody, stage manager;
Kristen Hunter Fitzgerald, assistant stage manager; Sarah Kamins, properties designer; Casey Kaleba, fight choreographer; and master electricians,
Jonathan Abolins and Maeve Nash 

What: Bad Jews

When: Thursday through Saturday nights at 8 p.m. and Sunday matinees at 2 p.m. through June 17, 2018. A Saturday  matinee will be presented at 2 p.m., June 9.

Where: NextStop Theatre Company, 269 Sunset Park Drive, Herndon, VA 20170 in the back right corner of Sunset Business Park, near the intersection of Spring Street/Sunset Hills Road. Right off the Fairfax County Parkway. A wee big hard to find on a first visit, so allow an extra 15 minutes. The program notes that GPS map systems often give incorrect driving directions once inside the Sunset Business Park. From the "Taste of the World" restaurant, circle counter-clockwise around the building and look for maroon awning.
 
Free parking: Available near the door.

Admission: Tickets are $35.

Duration: About 90 minutes without intermission
 
Language rating:  X, like Samantha Bee's and plenty of it

Sex and skin:   None

For more information: 703-481-5930 info@nextstoptheatre.org

patricialesli@gmail.com

Herndon's 'Godspell' is next stop for theater fans

Alan Naylor (center) is Jesus in Godspell at NextStop Theatre/Photo by Lock & Company


Godspell is so good that on his show last Thursday night, Stephen Colbert carried around a Barbie doll who was wearing a Godspell t-shirt!  

Talk about great press!  

The performance in Herndon at the NextStop Theatre Company is like watching a party of Jesus freak college kids dance and sing non-stop while they present his parables in high kickin' fashion.

The cast's chemistry and enthusiasm can't help but infuse audience members with a good dose of the power of the message and reminders to "let the one of you who is faultless cast the first stone" and "no man can serve two masters—God and money," and the most important:

Love the Lord your God with all your heart and with all your soul and with all your strength and with all your mind

and

Love your neighbor as yourself.

You don't have to be Christian. 

It all started in 1970 with a master's thesis by John-Michael Tebelak at Carnegie Mellon University who wrote the script, and Stephen Schwartz, another Carnegie Mellon alumnus, who was hired by producers the next year to compose music and lyrics when the show moved to off-Broadway.

Mr. Schwartz based many of the songs on selections from the Episcopal Hymnal, like "Save the People," "Bless the Lord," "All Good Gifts," "Turn Back, O Man," "We Beseech Thee," and the most popular, "Day by Day."  

Most of the parables are from the Gospel of Matthew.

Alan Naylor is "Jesus," and he authentically looks the part  and has no trouble convincing anyone on stage or in the audience that he's the man to follow. 

The production opens on the interior of a modern day, used furniture, locally owned coffee bar (you've been there), this one aptly named the "Holy Grounds Café," found in Everywhere, USA, and occupied by solo guests attached to their devices, all heads down, please.

(On the backdrops projectionist Sean Cox casts their words  to insure their non-privacy.)

Jack Golden has created a single effective set whose actors deftly move furniture pieces to side shows, their actions almost undetected until the lights (by Brittany Shemuga) shine on the next artists who let loose in melody.

With plenty to fill eyes and ears, the audience is never left yearning for more.

That the director, Lorraine Magee, is also the choreographer demands considerable acclaim since constant dancing and action pack the production, quite a role.

Jennifer Lambert is a member of the ensemble in Godspell at NextStop Theatre/Photo by Lock & Company

The delightful ensemble is essentially nameless but Jennifer Lambert as the sexy "come here, Sugar Boy" tease is memorable, and the baseball player (A.J. Whittenberger) wearing a Washington Senators uniform (he said at the play's end) makes him easy to pick out. 

Costumer Maria V. Bissex fits everyone in varied and typical millennial styles.

Willing audience participation is invited to play "Charades." 

Elisa Rosman on keys directs the hidden six-piece orchestra who add depth and enjoyment although the musicians occasionally eclipse some of the soloists.

Everyone has a good time, and the show's infectiousness quickly transmits to the audience who gradually realize that despite the mostly merry mood prevailing, the Last Supper and the crucifixion loom.

The scene in Godspell reminded me of Salvador Dali's The Sacrament of the Last Supper, 1955, on view in the West Building at the National Gallery of Art

At the closing a member of the audience was overheard to say: "This is great timing for Easter" which is the last day for the show (April 1).

Stadium seating means there is not a blocked view in the house.

The ensemble includes Angeleaza Anderson, Philip da Costa, Javier del Pilar, Tess Higgins, Bobby Libby, Jolene Vettese, and Chani Wereley.

Other creative team members are Neil McFadden, sound; Rebecca Talisman, stage manager; and Colleen O'Brien, assistant stage manager and properties.

What: Godspell

When: Thursday through Saturday nights at 8 p.m., Sundays, 7 p.m., and weekend matinees at 2 p.m., through Easter, April 1, 2018.

Where: NextStop Theatre Company, 269 Sunset Park Drive, Herndon, VA 20170 in the back right corner of Sunset Business Park, near the intersection of Spring Street/Sunset Hills Road. Right off the Fairfax County Parkway. A wee big hard to find on a first visit, so allow an extra 15 minutes.  The program notes that GPS map systems often give incorrect driving directions once inside the Sunset Business Park. From the "Taste of the World" restaurant, circle counter-clockwise around the building and look for maroon awning.

Free parking: Available near the door.

Admission: Tickets start at $35 with dynamic pricing which fluctuates with demand. Groups of eight or more get a 20% discount, and student rush seats, if available, sell for $5.  See FAQ or call 866-811-4111 to purchase, however, online ordering is recommended.

Duration: Under two hours with one intermission.

Rating: G without any adult language although the crucifixion ending may be too intense for young guests .

For more information: 703-481-5930 or info@nextstoptheatre.org

patricialesli@gmail.com

NextStop Theatre targets 'Assassins'

Assassins is on stage at NextStop Theatre in Herndon/photo by Lock and Company 
 
Leave it to Stephen Sondheim to take an idea about assassins and write music and lyrics for a show. This is one you aren't sure is about assassins, but it is, with songs to boot.

Wikipedia says the play began off-Broadway in 1990 and opened in 2004 on Broadway, winning five Tonys.

The actors at Herndon's NextStop Theatre Company put on a big, provocative  show with lots energy and a desire to please, impressive for a young troupe in only its fifth year.
 
Their exaggerations and lampooning of guns, starting out with seven or eight lying on a table while a Secret Service agent stands immobile nearby (so etched in permanence I thought at first he must be a mannequin), is filled with coarseness and surprising bits of humor. (No one will leave humming, Walking on Sunshine.)

Action is swift. Director Jay D. Brock elicits strong portrayals about these detestable creatures, with standout performances by Bobby Libby as John Wilkes Booth (fierce in his opposition to President Lincoln and his creed) and Katie McManus, brash and obnoxious as Sara Jane Moore  who quietens her son (Logan Wagner) when she aims a gun at him, accompanied by soft, awkward laughs from some members of the audience.

Jaclyn Young bears an eerie resemblance to Squeaky Fromm (whose love for Charles Manson never ends). 

The subjects are not glorified but that the script gives them recognition is troubling. Their crimes are presented in vignettes in helter-skelter order. It's doubtful that audience members will recognize every character, like Samuel Byck (Alex Zavistovich), attempted assassin of President Richard M. Nixon, Giuseppe Zangara (Brice Guerriere) and Leon Czolgosz (Daniel Westbrook).

(I kept hoping JFK's murder would be omitted since I don't want to relive it over and over and over like the media presents.)

The timing of the show's opening weekend coinciding with President Trump's announcement that he would release documents related to JFK's assassination was prescient, however the producing artistic director, Evan Hoffman (who is also the sound designer) writes in program notes that he and Director Brock selected the title a year ago, and it has no relationship to the present administration.  
  
In no way do they seek to exalt the men and women portrayed or to castigate the current administration, Hoffman writes.  (Actually, that never entered my mind while watching the show. What I did think about was gun control and keeping weapons out of the hands of crazies, like assassins. The play's Broadway opening was delayed three years because of September 11.  How immune have we become to these horror stories, this production following so closely the tragedy of Las Vegas this month?  Not to fault the timing of the show which must "go on.")

"Our hope is by providing a relaxed and entertaining venue for the community to gather together and be immersed in stories highlighting diverse perspectives, that we can help break down barriers which divide."  What is the diversity here? That assassins think differently from you and me?

For gun control advocates, the play is a great selection to take on the road. That Americans continue to tolerate extreme violence and death and quickly discard these events from the public consciousness is almost as shocking as the sudden deaths presented. Who will be the next perpetrator to step up to the window and claim temporary fame? 

An excellent stage design (by JD Madsen) with flowing red velvet curtains as backdrop is clever and simplified, with emphasis on the American flag styled in flooring (meaning?) and platforms which have multiple purposes. A rectangular box at the front becomes a table, a seat, and the sound of gunfire when actors flip it on its side. 

Flashing lights (by Catherine Girardi) are not bothersome, but too-frequent and loud sounds of gunfire, especially when the chorus line aims the weapons at the audience (more than once) are jarring.


Marc Bryan Lilley is music director. Seven musicians make noticeable contributions with haunting solos by an electric pianist and percussionist. In vocals, group harmonies, naturally the strongest, are the best.

Playbill calls it a dark comedy but is it?  "Dark" and "bleak" certainly apply to "perhaps the most controversial Broadway musical ever written." That's up to the viewers.

Other cast members are the proprietor, Mackenzie Newbury; John Hinckley, Jr.,  Mikey Cafarelli; Charles Guiteau, Andrew Adelsberger; the Balladeer/Lee Harvey Oswald, John Sygar; Emma Goldman/Ensemble, Megan Adrielle; Gerald Ford/Ensemble, Jason Hentrich; Ensemble, Madeline Cuddihy and Colton Needles.

Also on the Creative Team are assistant director, Christie Graham; costumes, Kristina Martin; stage manager, Laura Moody;
props coordinator/ASM, Jade Brooks-Bartlett; costume apprentice, Marilyn Lopes; ASM, Quoc Tran; co-master electricians, Jonathan Abolins and Maeve Nash. 
 
What: Assassins, book by John Weidman, based on an idea by Charles Gilbert, Jr.

When: Thursday through Sunday nights and weekend matinees, now through November 12, 2017.

Where: NextStop Theatre, 269 Sunset Park Drive, Herndon, VA 20170 in the back right corner of Sunset Business Park, near the intersection of Spring Street/Sunset Hills Road. Right off the Fairfax County Parkway. A wee big hard to find on a first visit, so allow an extra 15 minutes.

Free parking: Available near the door.

Admission: Tickets start at $20 with group discounts and student rush seats (if available). Call 866-811-4111.

Duration: A little under two hours without intermission

Rating: R due to frequent vulgar language and phraseology.

For more information: 703-481-5930 or info@nextstoptheatre.org
 
patricialesli@gmail.com