Olney's 'Soprano' is a scream!

Carolann M. Sanita and Tom Patterson in Lend Me A Soprano at Olney Theatre Center/Teresa Castracane 

It's that good, that charming, that delightful! 

As my friend Sheila says:  "I don't want 'preachy' at the theater; just give me fun."  This, Sheila, is fun. 

From left, Rachel Felstein and Carolann M. Sanita in Lend Me A Soprano at Olney Theatre Center/Teresa Castracane 

Upon my arrival at the Olney Theatre Center and from the moment I spied the luxurious set, I was happy to have a few moments to sit and swoon a bit with no action on the stage, enthralled by the opulence, the exaggeration, to admire and take it all in, and catch my breath. 

A set which was fit for royalty with the chair rail, the arched doorways, chandeliers, the French provincial look of gay Paree, the view outside the windows, and the vases (pronounced vaaa-sis, darhling) overflowing with flowers, a heavenly contrast for my eyes fixated on the gray drabness of winter on my way to the Olney, awaiting spring and here it was!

"The rich are different from you and me." 

Say it again, Scott, but enough about Andrew Cohen's set, already!

From left, Tina Stafford, Rachel Felstein, Dylan Arredondo, and Carolann M. Sanita in Lend Me A Soprano at Olney Theatre Center/Teresa Castracane 

I loved, loved, loved Lend Me A Soprano! Hilarious and with the acting, the costumes, the plot, combined, it's absolutely smashing. 

Hometown playwright Ken Ludwig has done it again, written another fantastic play, this farce based on his successful Lend Me A Tenor, which won two of nine or ten Tony Award nominations (depending upon which Wikipedia site you read), and opening in London in 1986 three years before it reached Broadway. 

Tenor has been translated into 16 languages and has run in 25 countries, and it's not necessary to know a Tenor to enjoy a Soprano.

Soprano is a delightful escape with Shakespeare thrown in (both playwright and director are Shakespeare scholars, but don't let that keep you away), mistaken identities, doors opening, closing, mismatched persons, and the list goes on.  (Shakespeare knowledge is not required for pure enjoyment.)

Lucille Wylie (Tina Stafford), is a strong, domineering woman who's also the Cleveland Grand Opera's manager and absolutely beside herself with worry that the diva hired to sing the title role in Carmen for a "one night stand" will not show up. 

The time is 1934.  

Suddenly, there's commotion and ... boom!  

Enter, please, the diva Elena (Carolyann M. Sanita) and her perfectly stereotypical husband, Pasquale (Dylan Arrendondo), a big, robust fellow with a voice to match. 

Like the fiery Italians they are with passions inflamed, their ardor knows no bounds, and they continue their argument upon landing, surprise!

Elena becomes "incapacitated," unable to perform, and who's this?

Jo (Rachel Felstein) is Mrs. Wylie's assistant, an "understudy" who comes to the rescue and away we go.

Not only are we treated to hysterics, but beautiful singing, including duets by Ms. Felstein and Ms. Sanita (and how I wished for more! Musical direction is by Christopher Youstra).

In and out of bed(s) and couches they roll and one of the most hilarious characters is "Leo" (Tom Patterson), who struts his talents (in several ways), gathering more likes with every appearance as his apparel takes off (?). 

He is Jo's boyfriend, but wait, that is Jerry (skillfully acted by understudy Ben Topa when I saw Soprano), so maybe Leo belongs to Elena when her husband is "away"?

Sweet "Julia" (Donna Migliaccio) is the opera guild president, who makes a late arrival on set to temper things, dressed in a beautiful gown with a crown on top, reminiscent of New York's Chrysler Building.

Meanwhile, the impish, mischievous bellhop (Natalya Lynette Rathnam) pops in every so often, producing more audience laughter whenever she's on stage.

Soprano debuted worldwide in Houston in 2022 with the same Olney director, Eleanor Holdridge, and aren't we lucky to have her experience? ("Practice makes perfect"! She's also "local," chair of the Catholic University's drama department.)

Chandelier lights (by Alberto Segarra) dim and glow, depending upon who is where.  And the costumes!  Oh, la, la!  Sarah Cubbage has made them more than adequate for a Met gala, gowns, resplendent in exquisite designs. Larry Peterson was wig designer. 

Other members of the creative team are Ashara Crutchfield, assistant director; Matt Rowe, sound designer, and Ben Walsh, stage manager.  

Also, Robb Hunter, fight choreographer; Helen Aberger, intimacy choreographer; Melissa Flaim, dialect consultant; and Tori Niemiec, assistant costume designer.

At the end, Mr. Topa received special recognition from the cast while the rest of us wildly applauded the entire cast and team for a  marvelous show.    

What: Lend Me A Soprano

When: Now through Mar.10, 2024, at 7:30 p.m. Saturday and Sunday matinees at 1:30 p.m.

Where: Main Stage, Olney Theatre Center, 2001 Olney-Sandy Spring Road, Olney, MD 20832.

Tickets: Start at $40 with discounts for seniors, students, military, and groups.

Ages: PG-13 

Refreshments available.

Parking: Free, lighted and plentiful on-site

Duration: About two hours with one 15-minute intermission

For more information: 301-924-3400 for the box office or 301-924-4485

patricialesli@gmail.com

Olney's ghoulish gal terrified us all

From left, Lolita Marie, Tommy Bo, and Eymard Cabling in The Brothers Paranormal at Olney Theatre Center/Christopler Mueller, photo

At the Olney Theatre Center during the second act, I was so taken by the story I never lifted my pen to take a note.

The Brothers Paranormal is a Halloween story for the thinker, with a thickening plot, twists and turns that I dare say there is nobody who can accurately predict the outcome. (I deplore predictability. Surprise me every time, please.) 

It begins sweetly enough as Max (Tommy Bo) describes his and his brother's new business of ghost busting to a first customer, Delia (Lolita Marie). To help with family finances, Max and Visarut (Eymard Cabling) have a few tricks to get rid of the weird.

Delia explains why her house needs "cleansing"; crazy things are going on. 

Really?

Is she, or isn’t she, off her rocker?  Maybe, some dementia?  

But, who's to turn down a customer and perhaps reject mental health issues when income is the goal? 

In humorous dialogue, the brothers accept the assignment and away they fly to Delia's house, to scout it out, and meet her husband, Felix (DeJeanette Horne), a loving man who, with Delia, come to steal the show with their acting, palpable chemistry, and dances of mayhem (?).

Every so often the brothers' mother, Tasanee (Cindy Chang) makes an appearance to scold her youngest (Max) for not taking better care of his brother.  Only in the second act does Mom become a little too preachy in a monologue (and for me, in the center of the audience, difficult to hear since she was not directly turned center).

Make up artist (?) weaves an incredible design of hair, makeup and gown for the supernatural Jai (Justine "Icy" Moral) that (or whom) you won't soon forget. 

Olney first time directors, Hallie Gordon and Aria Velz, polish performances with emotion and strength to make audience members writh and feel (temporary) pain. But, hope?  

This is not a happy Halloween show filled with funny characters and whimsy but it carries themes (some, ever so slightly) of love, loss, suicide, addiction, grief, but not enough to create confusion and wonder of "what's going on?"

  

The set includes two parlors, a kitchen and a hospital room, all effectively laid out and designed by Misha Kachman with sudden sounds (expertly crafted by Sarah O'Halloran) to leave you a little jumpy. 

Jim Steinmeyer is illusions consultant; Robert Ramirez, illusions instructor; Minjoo Kim, lighting designer; Jeanette Christensen, costumes; and Ben Walsh, production stage manager. 

Jason Loewith, Olney's artistic director, writes in program notes that the theatre is proud to present its first by a Thai-American playwright, Prince Gomolvilas, with the regional debut of Brothers, close to a masterpiece and, no doubt, to be found on other nearby stages in the future.  

Special events:

Brothers and Sisters Paranormal Trivia Night, Thursday, October 19, 6:30-7:30 PM, Actors Hall, $5.

Ghost Stories with Weldon

Sunday, October 29, 430 to 5:30 PM, 1938 Original Theater, free with RSVP. Weldon Brown is the director of sales who’s been at Olney for 30 years and has scary stories to tell. Come dressed for Halloween! 

What: The Brothers Paranormal

When:  Now through Oct. 29, 2023, Wednesday through Saturday at 7:30 p.m. Saturday and Sunday matinees at 1:30 p.m. 

Where: Mulitz-Gudelsky Theatre Lab at Olney Theatre Center, 2001 Olney-Sandy Spring Road, Olney, MD 20832.

Tickets: Start at $50 with discounts for seniors, students, military, and groups. 

Ages: PG-13 and above for intensity and some adult language  

Masks: None required.

Refreshments available which may not be taken to seats.

Parking: Free, lighted and plentiful on-site

Duration:  About two hours with one intermission

Printed programs? You may print your own or buy one for $2 at the theatre.

For more information: 301-924-3400 for the box office or 301-924-4485  

patricialesli@gmail.com

Extended by popular demand! Olney's 'Fela!'

 

Duain Richmond as Fela Kuti and Melody A. Betts as Funmilayo in Olney Theatre Center and Round House Theatre's Fela! By Teresa Castracane

Strap on your seat belt, baby, and join the fun and dance at Olney Theatre Center with the best of 'em at Fela!  the new stage show which will leave you breathless…and maybe several pounds lighter. 

And the run is extended through August 20!

Co-produced with Round House Theatre, it's the first regional production, the first professional production anywhere in the world since Fela!'s national tour more than ten years ago.

Duain Richmond as Fela Kuti in Olney and Round House's Fela! By Teresa Castracane

It's an electric production of fast happenins with African music and gorgeous costumes, right from 1970s Nigeria, where Fela Anikulapo-Kuti (1938-1997) grew up to native sounds which he sculpted into his own music, a mix of Afrobeat with James Brown and some western instruments thrown in.

Don't be fooled at the beginning by the lazy spin of the ceiling fans as band members take their seats:  They don't match the lightning speed of this show within a show!

Duain Richmond as Fela Kuti in Olney and Round House's Fela!  By Teresa Castracane 

Ten musicians (under the strong arm of pianist S. Renee Clark) play on stage with a colorful backdrop which scenic designer Arnel Sancianco has realistically modeled after Fela's real club, Lagos's Afrika Shrine. Here Fela's life unfolds in jukebox style in oranges, yellows, warm and bright pigments of the sun. 

Director Lili-Anne Brown brings a huge, happy cast to the stage to sing and dance Fela's life wearing different African  designs in splashing colors (by Rueben D. Echoles).

Duain Richmond as Fela Kuti in Olney and Round House's Fela! By Teresa Castracane

Fela Kuti was more than just a composer and sax player: He was also a poet, composer, band leader and activist who used his voice and music to assail Nigeria's oppressive regime which came looking to silence his message, kill his mother and commit other atrocities. 

Leading the way for his followers is Duain Richmond, a Broadway star who takes hold of Fela with seeming ease which is no surprise after starring in the New York show and on national tour.  

Richmond is an energetic saxophonist who plays his instrument often and astonishingly, in-between songs and stunning dance routines (by Breon Arzell).

But it’s Fela's mother, Funmilayo  (Melody A. Betts) in an angelic appearance dressed from head to toe in white, who captures every scene when she utters a song's note, in a beautiful soprano voice bringing whoops and shouts from the audience in enthusiastic approval. Her too few duets with Richmond were the best vocals of the night.  

Not to forget about all the other women in his life (and there were a few), some who line up with 'tude to stand by their man, the women dressed in colorful apparel of the day with striking headgear to match.   

Despite tragedy, theatregoers leave with an an uplifting message that 

“Hope” is the thing with feathers -

That perches in the soul -

And sings the tune without the words -

And never stops - at all -*

As long as people use their voices, speak up, sing, and write, change will happen! 

Fela! was nominated for 11 Tonys in 2010 and won for best choreography, costumes, and sound. The show was nominated for a Grammy in 2011. 

Other cast members are:Malachi Alexander, Bryan Archibald, Terrence Bennett, Simone Brown, Patrick Leonardo Casimir, Shantel Cribbs, Jyreika Guest (also, intimacy consultant), Bryan Jeffrey, Raquel Jennings, and Emmanuel Kikoni (dance captain). 

Also, Amadou Kouyate, Raven Lorraine, Vaugh Ryan Midder, Yewande Odetoyinbo, Nova Y. Payton,  Jantanies Thomas, Galen J. Williams, Jalisa Williams, Kanysa Williams, Shawna Williams

Creative team members include Sherrice Mojgani, lighting; Kelly Colburn, projections; Matt Rowe, sound; Kim James Bey, dialects; and Jamie Berry, production stage manager. 

Book:  Bill T. Jones and Jim Lewis

Lyrics and music:  Fela Anikulapo-Kuti

Related community events: 

Fashion show and trunk sale, Sat., July 22, 4:00 p.m. free. Olney's first fashion show featuring designs by  the works of local Nigerian creator Busayo Salahdeen, director of Bibiré International. 

The movie, Finding Fela, Tues. July 25, 6:45 p.m., AFI Silver Screen 8633 Colesville Road, Silver Spring, MD 20910, $8 - $13.

How to dance Afrobeat, Sun., July 30, 6:30 p.m., Omi’s Pavilion at Olney, $10.

Viva Africa! Community Night at Olney Theatre, Thurs., AG 3, 6:00 p.m. $45 

Aug. 10. 8 p.m., a sign-interpreted performance. Contact Weldon Brown, Director of Sales and Audience Experience (wbrown@olneytheatre.org) to confirm. 

What:  Fela!

When:  Now through August 20, 2023, Wednesday through Saturday nights at 8 p.m. Saturday and Sunday matinees at 2 p.m. 

Where: Olney Theatre Center, 2001 Olney-Sandy Spring Road, Olney, MD 20832.

Tickets: Start at $47.  Sit side stage, cabaret-style for $100! 

Ages: For mostly all ages  

Rating:  (Mostly) G 

Masks: None required.

Refreshments available which may not be taken to seats.

Parking: Free, lighted and plentiful on-site

Duration:  About 2.5 hours with one intermission

Printed programs?  Yes!  Thank you, Olney and Round House!

For more information: 301-924-3400 for the box office or 301-924-4485  

patricialesli@gmail.com

'Kinky Boots" strikes and lights up Olney

Kinky Boots at Olney Theatre Center/DJ Corey Photography

Broadway comes to Olney...again.  

Ladies and Gentlemen of the theatre, I present to you another fabulous show at the Olney Theatre Center, based on a true tale, but this one, a "kinky" story, an unlikely story, one filled with entertainment, dancing and costumes to make your eyes pop and yearn for sunglasses.

Plus, the show's got a message. (Not that it needs one.)

Solomon Parker III is "Lola" in Kinky Boots at Olney Theatre Center/DJ Corey Photography

The glam, the dancing, and the costumes!  (Repeat) The costumes!  

Who needs a plot when you've got costumes like these?  Kendra Rai must have worked vigorously to complete them, aided by a "few" helping hands.

Harvey Fierstein has written a great book accompanied by singer/songwriter Cyndi Lauper's score.  The show won six Tonys (including the most coveted, "Best Musical") in 2013, three Laurence Olivier's (London) and the Grammy in 2017, and more.

Can all these judges be wrong?

The Angels and Solomon Parker III (center) as "Lola" in Kinky Boots 

at Olney Theatre Center/DJ  Corey Photography

I dare say, Olney must have spent more than a shoestring of its budget outfitting these "ladies" (and gentlemen) in this energetic production which, sadly, is missing from the repertoire of theatres in some states (according to director Jason Loewith in his introductory remarks on opening night) because...well, fear of the unknown, the different, those who are not like you and me, the future, and the small world goes on.

Ahem, ahim, aher, aaahhhit.   

Kinky Boots' roots stem from a family shoe factory going out of business in Northampton, England.

Market conditions and changing fashions have sent the once successful family plant into near closure until circumstances bring family member "Charlie" (Vincent Kempski) together with a drag queen, "Lola" (Solomon Parker III), whose apparel for all her "lady" friends could stand a boost with better, supportive heels, and ones that are elevated, if you please.  

Talk about serendipity!

Coaxed by an employee (Alex De Bard as "Lauren") and ding! ding! ding! circuits in Charlie's brain flash and spark the realization of the opportunity to make fancy boots, kinky boots, big boots, shiny ones, jeweled boots to showcase in an Italian shoe show.

(For those needing a definition, the Urban Dictionary defines "drag" as "someone [who] dresses in an exaggerated style, typically that of a woman." A man is called a drag queen and a woman who takes part is called a bio queen. It's a lot of fun.  Anyway...)

Yellow boots, red boots, green boots, sparklies which go up beyond the knee!  Thigh highs! Yowee!  But, back to the fine story with songs to boot.

The star is, of course, Mr. Parker who leads them all, supported by Charlie who manages ongoing side story romances with two predictable personalities, the uppity "Nicola" (Candice Shedd-Thompson) and the more down-to-earth "Lauren,"  both roles the actors capture well, vying for Charlie's attention. 

"Could it be? Could it be?" Lauren asks herself. "Is he the one?"

Mr. Loewith, the always smiling Olney artistic director, celebrates ten years at the theatre by directing this show, and I doubt he ever had so much fun. (On opening night, the show gave him specially handmade "jeweled" tennis shoes, the tennies for which Loewith is known far and wide, and what a perfect combination with the title.)

Kinky's outstanding choreographer is Tara Jeanne Vallee, assisted  by Christopher Youstra who leads the excellent orchestra of eight musicians.

Other cast members are Chris Genebach, Stephen F. Schmidt, Grayden Goldman, Dustin Sardella, Zach Cook, Karl Kippola, Kaiyla Gross, Sarah Anne Sillers, Henry Harleston, Ricardo Blagrove (also fight captain), and Calvin McCullough.

Also, Stephen Russell Murray, Catrina Brenae, Alexis Krey, and Tyrell Stanley.

And not to forget, of course, the "angels," a heavenly crew who never stop kicking up storms: Malachi Alexander, Quadry Brown, Robbie Duncan, Shane Hall (also, dance captain), Daniel Powers, Connor James Reilly, and David Singleton.

Others on the creative team are Larry Peterson who must have used a ladder to pile the wigs so high (and how did they stay in place amidst all those dance numbers?) and Leigh Wilson Smiley whose dialects convinced me everyone is British. 

Milagros Ponce de Leon is scenic designer; Max Doolittle, lighting; Matt Rowe, sound; Casey Kaleba, fight director; and Devon Vaow, drag consultant.

Also, Ben Walsh, production stage manager, and Allison Ann Bailey and Cat Moreschi, assistant stage managers.

The original Broadway production was directed and choreographed by Jerry Mitchell. Kinky Boots is based on the Miramax motion picture of the same name by Geoff Deane and Tim Firth.

We can change the world when we change our minds.

What: Kinky Boots 

When: Through Mar. 26, 2023 (held over!), Wednesday through Saturday nights at 8 p.m. Saturday and Sunday matinees at 2 p.m.

Where: Olney Theatre Center, 2001 Olney-Sandy Spring Road, Olney, MD 20832.

Tickets: Start at $42 

Ages: For ages 10 and up. 

Rating:  PG-13

Masks: Optional at Thursday - Saturday performances and required on Wednesday and Sunday shows

Refreshments available which may not be taken to seats.

Parking: Free, lighted and plentiful on-site

Duration:  About 2.5 hours with one intermission

For more information: 301-924-3400 for the box office, Wed. - Sat., 12 - 6 p.m. or 301-924-4485  

patricialesli@gmail.com

Olney's 'Beauty,' a delightful holiday gift!

From left, Bobby Smith as Lumiere and Jade Jones as Belle in Olney Theatre  Center's Disney's Beauty and the Beast/Teresa Castracane Photography 

If there are one or two words to capture the essence of Olney Theatre Center's Disney's Beauty and the Beast, I would choose "adorable" and "charming."

Not a theatre lover? You will be.

Folks, it's Broadway comes to Olney in the revival of Beauty and the Beast which was cut short last year by a Covid variant, of course.

From the start, the show dazzles with action, verve, and terrific choreography (by Broadway star Josh Walden) which never stops.

My fav (per usual whenever he's on stage) is the hilarious Bobby Smith as Lumiere whose light fantastic on national and New York stages becomes obvious in short order.

How did he hold up those lights, candles, lamps whatever they were for so long? An arm support, maybe?

The show has lots of comedy, including Lumiere's slapstick partner, a (cuckoo) clock named Cogsworth (Dylan Arrendondo). The two are a natural duo of fast conversations, dancing and jumping around opposite each other to often steal a scene.

From left, Kelli Blackwell as Mrs. Potts, Jade Jones as Belle, and Tracy Lynn Olivera as Madame de la Grande Bouche in Olney Theatre Center's Disney's Beauty and the Beast/Teresa Castracane Photography

Another amazing "hold" is found in the right arm of Mrs. Potts (Kelli Blackwell), frozen as it were in the shape of a teapot (that's what she is) whenever she's on stage, tottering from side to side.

From left, Jade Jones as Belle, Evan Ruggiero as the Beast, Bobby Smith as Lumiere, and Dylan Arrendondo as Cogsworth in Olney Theatre Center's Disney's Beauty and the Beast/Teresa Castracane Photography

Speaking of perpetual physical demands, I found myself silently applauding the skillful maneuvering by the "Beast" (Evan Ruggerio) who kept his peg leg well hidden behind his knee and the long coats he wore. Little did I know what truth lay under the garments! More than meets the eye! A surprising feat!

Ruggerio was mysterious and stooped in all the moments that demanded a hunchback until...

It wasn't only the "beast" whose looks are deceiving but the beauty's, too, acted by Helen Hayes' two-time nominee Jade Jones as Belle, the centerpiece of the story with a vibrant, stellar voice to undercut any doubts for those who judge by appearances only.

She has lots of competition when it comes to stars in the show.

Where to begin? 

The dimmer ones almost outshine the brightest ones!

Like another of my other favorites, Tracy Lynn Olivera who is Madame de la Grande Bouche (French for "madam of the big mouth"). This multi-Helen Hayes winner has a sharp delivery and effervescent humor in addition to an excellent voice whose high notes never faltered and always peaked with ease.

Michael Burrell is Gaston whose sidekick, LeFeu (French for "the fool") make an energetic team trying to win the girl. (John Sygar is LeFeu whose acrobatics with Mr. Burrell made me envious of their abilities to leap, sprawl, rock and roll.)

The ensemble couldn't have been better! From dancing to vocals, they enlivened every scene with their performances and costumes (by Ivania Stack whose stunning, luxurious gown for Belle drew gasps when Belle first appeared in it on stage, sometimes with sharp utensils which could bend at every angle (? You have to be there.).

Wig designer Ali Pohanka had her head full of creations for the many 18th-century wigs which never fell or slid from the tops of any actor. 

How did they keep them attached amidst all the gyrations?

Helen Hayes winner Walter “Bobby“ McCoy leads the hidden nine-piece orchestra, the live music which is critical to increased enjoyment of the production even while sometimes competing with voices onstage.

If you've never seen the show, it's about a missing father (Sasha Olinick is Maurice) whose daughter, Belle, goes in search for him and stumbles upon a mysterious and cobwebbed mansion filled with all things ghastly. (Applause to Narelle Sissons for her magnificent sets.)

The story may be a bit predictable, but it's marvelous entertainment and sure to enchant all who come (save the very youngest).

Alert: Do not judge a book by its cover. There's more than meets the eye. Especially if horns are attached. 

Others in the show are Hailey Ibberson, Connor James Reilly, Michael Wood and ensemble members,

Jessica Bennett, Ariana Caldwell, Selena Clyne-Galindo, Miya Hamashige, Erica Leigh Hansen, Ariel Messeca, David Singleton, Megan Tatum, and Tyler M. White.

Tony-nominated Marcia Milgrom Dodge directs.

Other creative members are Colin K. Bills, lighting; Matt Rose, sound; John Keith Hall, production stage manager; Phillip Snider, Cat Moreschi and Conri Connell, assistant stage managers; and Robb Hunter, fight choreographer who achieves immense success with the various physical conflicts.

What: Disney's Beauty and the Beast by Alan Menken, Howard Ashman, Tim Rice, and Linda Woolverton


When: Through Jan. 1, 2023, Wednesday through Saturday at 8 p.m. except Christmas Eve and New Year's Eve; matinees at 2 p.m. Saturdays, Sundays, and Wednesday, Nov. 30, Dec. 21 and Dec. 28.

A sign-interpreted performance Thursday, Dec. 1st at 8:00p.m. (Email wbrown@olneytheatre.org.)

Draw Yourself Into the Story! For children, Sunday, Dec. 11, 2022, 11 a.m. Olney provides the paper, colored pencils, and lots more! $5 each or free for members.

Where: Olney Theatre Center, 2001 Olney-Sandy Spring Road, Olney, MD 20832.

Tickets: Start at $42-$99 available at olneytheatre.org and 301-924-3400.

Ages: For all, except toddlers

Language: G

Masks: Required at Wednesday and Sunday performances; recommended at other performances.

Parking: Free, lighted and plentiful on-site

For more information: 301-924-3400 for the box office, Wed. - Sat., 12 - 6 p.m. or 301-924-4485


patricialesli@gmail.com

Free online classes and 'Amateurs' online at the Olney

Michael Russotto, left, and Evan Casey in The Amateurs at Olney Theatre Center
/Photo, Teresa Castracane Photography

The Amateurs were anything but at the Olney Theatre Center before coronavirus shut them down early.

But, the show will go on! Via streaming online beginning March 28 at noon through April 5 at Vimeo-On-Demand ($20 for a 24-hour rental with a free trailer).

This is just part of the Olney's digital public offerings to keep theatre alive in this turbulent era. Beginning Monday, March 30 the Olney will host free online classes daily for all ages via Zoom which staff members, National Players, and apprentices will teach.

Story times, playwriting, acting, movement and monologue coaching, play reading, and more will be offered over eight hours of daily classes, arranged by age. It's a fun schedule and welcome diversion for weary parents and children. Check the listings here. No pre-registration is required.

But, back to what brought us here in the first place, The Amateurs: Noah's wife is mad because she doesn't have a name.

The Amateurs was a production for the sophisticated theatregoer, a play within a play or maybe, within another play, too. It's not a "happy ending" play, but an existentialist provocation haunted by the Black Death ravaging the world in the 14th century, somewhat like coronavirus ensnares the world today, and AIDS did.

Searching for the meaning in this medieval setting with several themes left me confused beginning with the Seven Deadly Sins (can you name them?)* presented in ghoulish costumes.

The characters seem lost, without clear direction, much like we are. Jumping from then to now, the playwright, Jordan Harrison, presents an explanation before the play returns to the original setting. The issues are the same: Disaster, ever present.

The wife of Noah (as in Ark) lacks a first name and refuses to board her husband's boat. Actors unroll animal likenesses from a long scroll, and the big, versatile prop, a wagon cart, effectively serves as the ark, a setting for lovers, a birthing place, a speaker's platform, and more, as the actors roll it back and forth from one side of the stage to another, like a slow-motion tennis ball on a court with the audience on two sides facing one another, moving heads to follow the action.

It wasn't all negative; some comedic moments lightened the fare.

Michael Russotto was the screechy God, a conceited and narcissistic image aided in his mission to deliver a production, which the remaining cast members did. They were John Keabler, Noah; Emily Townley, Noah's wife; Evan Casey, Gregory; James Konicek, the physic; and Rachel Zampelli, Rona.

Lighting by Colin K. Bills never missed a moment, whether it was an actor delivering a solo speech or words for a moonlight.sonata.

Sound by Karin Graybash and folk music between scenes flavored the show.

*Pei Lee's Old World costumes captured the times beginning with gluttony (including drunkenness); lust, sloth (acedia?), wrath (anger), greed (avarice), envy, and pride (vanity, vainglory) all dressed head to toe in black, all on stage together.

More members of the creative team were Jason King Jones, director; Misha Kachman, scenic designer; Ben Walsh, production stage manager; and Josiane M. Jones, production director.

Leave it to Olney's talented staff of Jason Loewith, artistic director, and Debbie Ellinghaus, managing director, to keenly forecast the future and choose Amateurs for this season which keeps going.

About 90 minutes without intermission.

Coming April 4 at 11 a.m. is announcement of next season's selections at the Olney and also on April 4 at 5 p.m. is a panel discussion: "What's Next for D.C. Theatres," both presentations to be live-streamed on Facebook and YouTube.

Where: Olney Theatre Center, 2001 Olney-Sandy Spring Road, Olney, MD 20832

Next up: Read all about it here.

For more information: 301-924-3400 for the box office or 301-924-4485

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Olney's 'Miss You' embraces all

Valeria Morales, left, and Karmine Alers in Miss You Like Hell at Olney Theatre Center
Photo: Stan Barouh



For a show that's only 90 or so minutes without an intermission, Olney Theatre Center's Miss You Like Hell covers a lot of territory, racing through so many hot button issues, it's a fast socio-psychological study in what ails the nation and what ails you (but not me).

Illegal immigration, discrimination, suicide, mental health, sexism, family matters (including, but not limited to mother-daughter relationships), are all here. What have I overlooked? 

A lot to grasp in one show, but all is not totally droll since it's got humor. 

Pulitzer Prize winning playwright Quiara Alegría Hudes's main characters are a mother, Beatriz (Karmine Alers) who convinces her estranged 16-year-old daughter, Olivia (Valeria Morales) to go with her on a coast-to-coast journey and try and iron out some of their interpersonal difficulties and "find themselves."

While Beatrix, an illegal immigrant, suffers the silent anxiety of being discovered by ICE, Olivia endures suicidal tendencies. What better time to work it all out? Which they attempt with the help of convincing characters they meet on the road, who befriend them and provide sustenance to help overcome life's "evils," and find everybody. They become family of more than blood lines.

Dialogue between mother and daughter is ageless, the same (with some variation) likely to be found on parchment in the Middle Ages (sans the X-rated words.  What were X-rated words in the Middle Ages? But that's another script!)

Two of the most delightful new friends are a gay couple, Mo (Bradley Mott) and Higgins (Lawrence Redmond) whose humorous lines and duet "My Bell's Been Rung" contrast with dour first impressions.
 
Later, Pearl (Kayla Gross) is another stranger-now-friend whose strong and beautiful voice threatens to overtake the stars' and Yellowstone National Park.

Director Lisa Portes places nonspeaking cast members in scattered positions on a mostly shadowy stage until they start to emerge like butterflies, slowly gathering energy to float and soar, sing and dance.  (The harmonies are magnificent.) They use chairs as props, and sometimes they sit or stand on elevated levels which sounds hokey, but once I figured out what was happening, the effect was all right. 

While Matt Rowe's automotive and road sounds hum in the background, unobtrusive landscapes are projected up as moving backdrop (by Thomas Ontiveros). (Videos are so ubiquitous in theatre nowadays, it's an unusual production which doesn't have them. I guess the performing artists must try any and all additions to keep the audience, and especially younger members, in check.  Try the Symphony, for another.)
  
Walter “Bobby” McCoy directs the onstage seven-member orchestra which provides excellent accompaniment (per standard Olney fare).

Other cast members are Jyline Carranza, Carlos L. Encinias
Jay Frisby, Olivia Ashley Reed (also dance captain), Kara-Tameika Watkins, and Michael Wood.

The creative team also include Milagros Ponce de Leon, scenics; Ivania Stack, costumes; Pablo Santiago, lighting; Richard Lundy, production stage manager; Josiane M. Jones, director of production; Christopher Youstra, associate artistic director and director of music theatre; Breon Arzell, choreography.

Congratulations to Ms. Morales, a freshman at Our Lady of Good Counsel High School, making her Olney debut!

What: Miss You Like Hell with music and lyrics by Erin McKeown

Where:  Olney Theatre Center, 2001 Olney-Sandy Spring Road, Olney, MD 20832.

When: Through March 1, 2020, Wednesday through Saturday at 8 p.m.; matinees on Saturday, Sunday and one Wednesday, Feb. 19, at 2 p.m. An audio-described performance for the blind and visually impaired on Wednesday, Feb.12, at 8 p.m. and a sign-interpreted performance Thursday, Feb. 20, at 8 p.m. (Contact Julia Via at jvia@olneytheatre.org to confirm.)

Tickets: Begin at $42 with discounts for groups, seniors, military, and students

Ages: Olney rates this as "PG-13" but I rate it "R." Olney recommends a parent attend with children aged 13 and older; no parent necessary for those aged 16 and more. 

Language:  X


"Afterwords": Matinee post-show discussions on all Saturdays in February.


Free tickets with pre-registration for Erin McKeown's concert at the Olney Feb. 15 at 5 p.m.  She wrote the music and lyrics for Miss You Like Hell.
 
Refreshments: Available and may be taken to seats

Parking: Free, lighted and plentiful on-site

For more information: 301-924-3400 for the box office or 301-924-4485
 

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