'Man of La Mancha' is a dream in Manassas

From left, Emilie Marshall Peace is Aldonza, Nate Mikami is Don Quixote, George Fulda is Sancho Panza, and (above) Adam Cook is the Innkeeper in Prince William Little Theatre's Man of La Mancha/Photo by Heather Reagan

For those who may need a picker-upper, take my advice and go online right now and get tickets for Prince William Little Theatre's marvelous musical, Man of La Mancha.

It’s a wonderful cure for whatever might ail you, certain to provide healing and a mental uplift since it’s likely a few bars of The Impossible Dream may strum in your head for a few days after you see it, and maybe thrust you into ... whatever.

And why not?

Nate Mikami is the man who commands the show with a passionate, convincing portrayal (let alone singing voice) of Don Quixote, the fictional character created by Miguel de Cervantes in the early 17th century, in a story Wikipedia calls the first modern novel, one of the most translated in the world.

Bob Rosenberg is the Captain of the Inquisition in Prince William Little Theatre's Man of La Mancha/Photo by Heather Reagan

Cervantes writes fictionally of himself, thrown into a dungeon in the late 16th century during the Spanish Inquisition with his manservant (who later becomes Sancho [George Fulda]). 

The show is a play within a play but don't let that confuse you because it doesn't.

To convince fellow prisoners in the dungeon to save his belongings (his manuscript), Cervantes pleads with them to let him tell his tale and they can be part of it! 

 A good deal, no? 

 And away they go on a trail of adventures with the newly names Don Quixote as the leader of the pack, a man who can turn windmills into giants and make castles out of taverns.

From left, Kaitlin Craig, John Totten as the Padre, Caroline Kinney as Antonia sing I'm Only Thinking of Him in Prince William Little Theatre's Man of La Mancha/Photo by Heather Reagan

"I hope to add a measure of grace to the world," Don Quixote says, following his quest to see things that others don't (and maybe, not see what others see!).

The energetic and humorous Sancho who likes Don Quixote a lot (!), hop scotches all over the stage while they "travel" and soon encounter a lovely lady, a sassy harlot (Emilie Marshal Peace) besotted by a bad reputation. Don Quixote makes a quest to rescue her from her poor self-image, shepherding the lass into becoming the remarkable woman of confidence and strength she is.

He changes her name from Aldonza to Dulcinea. She, not so willing for a name change.

Please! Be wary of scoundrels along the travel route, like "moors" who can bewitch adventurers with song and dance and steal their prized possessions (like a manuscript) while subjects are under their spell. (Tammy West in a red skirt with the long dangly silver belt danced circles around the victims in more ways than one. [The audience groaned and tried to warn the blissfully ignorant of impending theft!])

Throughout the show, the actors’ conviviality is evident and their delight transfers to the audience.

The music of the 14 (!) member orchestra under the direction of Chuck Schmidt was a critical piece of the show's enjoyment, impossible to dream this show without them.

Ken and Patti Crowley’s always effective lighting with changing colors and intensity give certain scenes a special glow to complement the story. Their spotlight is especially prominent when the captain of the Inquisition (Bob Rosenberg) in silver armor opens the iron gate at the top of the dungeon to deliver a haunting message in a shimmering combination. (Riley Leonhardt, designer of period costumes.)

It's been years since I've seen this Man, and how I’ve missed him and his message of perseverance and hope that never grows old.

The show is one of the first historically fictionalized musicals to be presented on stage, winning five Tony Awards in 1966, including Best Musical and Best Original Score for Dale Wasserman, Mitch Leigh, and Joe Carion.

Other cast members are: Chris Anderson, John Totten, Caroline Kinney, Kaitlin Craig, Adam Cook, Luis Vasquez, Brad Blythe, David Maeng, Dave Reph, Sally Ann Flores, and Amy Treat.

Suzy Moorstein directs with stage management by Samantha and Elliot Fulda.

Other production creators are Will Taft, sound direction; Vince Worthington, set design; Laura Mills, properties; and Kim Leone, intimacy coordinator and fight choreographer.

What: Man of La Mancha

When: Friday and Saturday, Oct. 16-17 at 8 p.m. and 7 p.m., respectively, and Saturday and Sunday matinees at 2 p.m. Oct. 17-18

Where: Hylton Performing Art Center, 10960 George Mason Circle, Manassas, VA 20110

Cost (with fees): Adults, $35; Seniors, $29; Students, Military, Groups, $25

For more information: Ticket office: 703-993-7759, Tuesday - Saturday, 10 a.m. - 6 p.m. or email: Hylton@gmu.edu, ph. 703-993-7550

Alert: Before the curtain goes up, an announcement is made that the show contains matters of mental health and sexual assault.

Don Quixote and Sancho Pancho. Engraving by Gustave Doré/Wikipedia, 1863

Don Quixote goes mad from his reading of books of chivalry.  Engraving by Gustave Doré/Wikipedia. Originally published 1863; this edition 1906.

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'Head over Heels' in love at Prince William Little Theatre

 

From left: Pamela (Brittany Washington), King Basilius (Chris Anderson), Queen Gynecia (Jolene Vettese), Dametus (Andrew Morin), Mopsa (Meredith Kilmartin), and Philoclea (Grace Miller) in Prince William Little Theatre's Head Over Heels, on stage through Sunday night/Heather Regen Photography

It’s quite a combo to mix 500-year-old characters with today's hipsters, but that what the Prince William Little Theatre has done with its latest show, Head Over Heels, an adult comedy on stage through Sunday night at the Hylton Performing Arts Center in Manassas.

It's all about the royal family of Arcadia on a musical journey to save its "beat" as the Oracle Pythio has warned the nobility to act now or forever forget their kingdom.

What's love got to do with it? 

Why it makes the world go 'round, of course, especially when the King and Queen of Arcadia (Chris Anderson and Jolene Vettese) have two daughters they're just itching to get hitched.

In a gentle but authentic performance, Grace Miller is Princess Philoclea, the younger daughter, who is smitten by Musidorus (Nathan Peck), a mere shepherd boy and not good enough for his offspring, thinks the king.

The older daughter, Pamela (Brittany Washington), is the more beautiful child (she says so herself), with so many suitors, what's a poor girl to do? 

(She eventually wakes up to love in the most conspicuous of places. Thank you, handmaid Mopsa [Meredith Kilmartin].)

The Royal Couple isn't the happiest of married couples, it soon becomes obvious. To be kind: They tolerate each other but they got the beat and shout out "This Old Feeling" when the king's eyes shut so tightly I thought they were permanently glued. 

It was a stunning delivery (the king also doubles as music director) like the queen's exasperations and wifely responses known to too many wives throughout Arcadia. (Make that, the world.)

Pythio (Clayton Alex Jones) comes on scene (an absolute killer whenever they make an appearance with sweeping gestures and exaggerated slow talk), surrounded by aides wearing head dresses of rhinestoned snakes.  

The non-binary oracle adds to their allure that that "heaven is a place on earth" if we become more tolerant and generous to those around us. 

 

Clayton Alex Jones is the Oracle in Prince William Little Theatre's Head Over Heels on stage through Sunday night/Heather Regen Photography

Although language in the show is rated "g," it's got the best simulated sex scene I've seen, moving to the audience's whoops and whistles.  (Wowsers! "Love with a Stranger" is not sung.)

Also in the cast is Andrew Morin as Dametas, the king's courtier and Mopsa's father.

This show has lots of action and great duets, particularly when Princess Pamela and Mopsa sing duets and harmonize.  

A big painting in the middle of the stage announces scene changes to show exactly where on their trip the Royal Family is. (Joey Olson, set designer.) 

It's no surprise to learn the costumes (by Susy Moorstein and Riley Leonhardt) are a mix of yesterday and today.

The welcome six-member band, under the baton of Matthew Scarborough, is mostly unseen on an elevated platform. 

Members of the creative team include Melanie McGuin, director and choreographer; Laura Mills and Melissa Jo York-Tilley, producers; Cristina Casais, assistant choreographer; Kasey Moore and Esther Wells, stage managers; Leonhardt and York-Tilley, hair and makeup; Draconia Craig and Melanie McCleerey, properties.

Also, Ken and Patti Crowley, lighting; Tim McCleerey, sound; and Lanny Warkentien, lion tamer.

With adaptation by James Magruder, Jeff Whitty wrote this "jukebox musical" of mostly popular tunes from the past, like those by the "Go-Gos" featured at the show. 

With fees included, tickets are $35 for adults; $29, seniors and students; $24, military and children The Hylton Performing Arts Center, 10960 George Mason Circle, Manassas, VA 20110. Ticket office, ph. 703-993-7759.

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A delightful 'Charlie Brown Christmas' lands in Manassas

 Nick MacFarlane, left, is Charlie Brown and Trevor Nordike is Linus in Prince William Little Theatre's A Charlie Brown Christmas/Photo by Melissa Jo York-Tilley

It doesn’t matter that you may have seen A Charlie Brown Christmas 100 times on television because the live show now on stage in Manassas is 100 times better than any old TV version.

And there's just one more weekend to see it.

 The cast from Prince William Little Theatre's Charlie Brown Christmas/Photo by Melissa Jo York-Tilley

Produced by the Prince William Little Theatre, this Christmas special at the Hylton Performing Arts Center is a joyful holiday treat for families to share together in the spirit of the season.

The message never gets tiresome, the scenics are always refreshing, and the Manassas players present a hilarious, sad, and charming musical, sure to leave theatergoers (yes, even the Scrooge in the bunch) happy, especially with a surprise ending.

Any director (Chrissy Mastrangelo here) would be hard put to find actors more fitting for these main roles than Nick MacFarlane as Charlie Brown and Trevor Nordike who is Linus.

Prince William's slumping, stooped-shouldered Charlie Brown shuffles his feet across the stage, accompanied by his able-bodied lieutenant, Linus (comforted, of course, by his blue blanket) in Charlie Brown's quest to find the real meaning of Christmas.

To capture Charlie Brown's essence, it would seem that Director Mastrangelo required Mr. MacFarlane to watch hours of the real Charlie Brown, so reminiscent is Mr. MacFarlane of the cartoon character.


Not to be outdone by any competitor is the effervescent Lucy ((Kacie Brady), the dynamo psychiatrist who is always game for whatever aids her.

"You've been dumb before," she says to Charlie Brown, "but this time you've really done it!"

He sighs:  "Nobody sent me a Christmas card today. I know nobody likes me."


To which mean Violet (Bevin Hester) shouts at our star: "I didn't send you a Christmas card!"


With friends like these, is it any wonder that poor Charlie Brown lacks pep in his step?

All is not lost, however, among Peanuts gang members.

The colorful set opens with a "skating rink" where actors ably glide their sock skates to dance in circles with later action shifting to Snoopy's huge, lighted dog house.

And what a dog to steal the show!

This Snoopy (Katherine Blondin) can even make animal sounds.

A big snowball fight adds merriment. (What were those snowballs made of?)

To make the show even better is the live music on stage, lead by Justin Streletz who plays the piano and reminds us of all the melodies lying at the back of our minds. Chris Anderson is the drummer and an unnamed bassist add immense enjoyment to the production.

A Charlie Brown Christmas is a great way to introduce youngsters to the joys of live theatre while basking in togetherness of the moment with loved ones (including yourself).

Throughout the presentation youthful laughter flows from the audience, an indication that not only does this Christmas have an important theme, but it's fun, too.

Other members of the Peanuts gang are Lisa Arnold, Timothy Burhouse, Cana Jordan Wade, Darcy Heisey, Laura Castillo, and Lindsey Capuno.

Crew members include Hayley Katarina, assistant director; Jennifer Rodriguez, producer; Katie Morris, stage manager; Suzy Moorstein, costume designer; Michelle Matthews, sound; Nick Mastrangelo, set; Peter Ponzini, lighting; Jeanie Ingram, program, and Ms. Mastrangelo choreographs.

What:  A Charlie Brown Christmas by Charles M. Schulz, based on the television special by Bill Melendez and Lee Mendelson. Major sponsor: Mark Moorstein of Offit/Kurman

When:  Friday, Dec. 20, 8 p.m.; Saturday, Dec. 21, 7 p.m.; Saturday and Sunday, Dec. 21 and 22, 2 p.m.

Where:   Hylton Performing Arts Center, George Mason University,10960 George Mason Circle, Manassas, VA 20110

Admission:  $13 for 12 and younger; $17 for seniors, students, and active military; $20, general admission

For more information: Click here or call 703-993-7759, Tuesday – Saturday, 10 a.m. – 6 p.m.

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'Bye Bye Birdie' is a hit in Manassas

Conrad Birdie (Landon Dufrene) is surrounded by his fans in Prince William Little Theatre's current production, Bye Bye Birdie. On his right leg is Ursula Merkle (Clare Baker) and on his left, the mayor's wife (Tina Mullins) whom the mayor (Don Wilson) tries to unhitch.  At the rear is Albert Peterson, Conrad's agent (Josh Wilson), and hidden is Rosie, Albert's "fiancee" (Holly McDade).  Photo by David Harback.

 

Now I know why the pleasurable memory of Bye Bye Birdie that I saw way back in high school in Danville, Virginia has stuck with me over the years. It’s so entertaining!

The newest local rendition is on stage now in Manassas, gleefully performed by members of the Prince William Little Theatre who have as good a time putting on the show as the audience who watches the dancing and hears the Fab 50s songs of Conrad Birdie (Landon Dufrene) and his many fans.

Conrad’s story parallels that of a big 1950s star, one Elvis Presley when he was drafted in the Army, and Conrad is drafted, too! We hate to see him go.

The show starts out a little slow before it picks up steam and starts rocking to the tunes of Conrad's agent (Josh Wilson as Albert Peterson) and his wannabe wife (Holly McDade).

The most enjoyable songs are the group harmonies (Put On a Happy Face, Kids, Ed Sullivan, One Last Kiss, One Boy, A Lot of Livin’ To Do, Baby, Talk to Me) and a short solo by Danny Waldman who plays Hugo Peabody, the boyfriend of a starstruck teen (Kim MacAfee played by Megan Griggs).

Favorite actors are Dave Ermlick as Mr. MacAfee, Kim's father whose acting takes lift once he quits his silence and sulking “in his chair” to become a man frightened by current events.  

Without uttering a word, the mayor’s wife (Tina Mullins) captures attention in one of many large group scenes with her polka dots and her “falls” for Conrad, amidst all the screaming teens. (The large cast of 39 increases audience pleasure.) 
 

Jonathan Faircloth has multiple roles, but he and partner Katy Chumura's dancing stands out, noticeably because they are quite the professionals with genuine smiles and steps right in sync.

But, without question, the show stopper, the scene stealer, is the mother of mothers, Susy Moorstein, perfect as the nagging parent, always dressed in a long fur coat, white gloves, black hat, old woman’s purse, and 1950s pointed glasses. She’s a riot.

 

 

Albert's mother (Susy Moorstein) and Albert (Josh Wilson) ponder relationships in Prince William Little Theatre's Bye Bye Birdie.  Photo by David Harback

Theatergoers are so happy when she waddles back on stage time and time again to wave and make snide comments, mostly about her son’s girlfriend, but to also beckon pity for a poor mother, as in “When you get back, can you stop by the kitchen and take my head out of the oven?”

For the play the simple set of neon backdrops fits the times and was adequate.

Tucked away on an upper level beside the stacked audience, an orchestra adds immensely to the show with music that suggests more than four pieces (Meredyth Stirling, piano; William Schillinger, guitar; Marie Juliano, percussion, and Theresa Arnold, bass).

What makes the production all the more charming are a couple of miscues: The phone rings while Kim is talking on it and her mother (Danica Shook who also acts as choreographer) is exiting the stage.  Mother doesn't miss a beat and turns around and flashes an irritated look: “What’s that?”

In another scene, the lights went out for a few seconds in the middle of dialogue, but no one was affected. The microphones worked sporadically.

What is awkward is the too large multi-stepped wooden platform which performers constantly struggled to move between scenes, under the lights. (The only scene changes without dimmed lights were accompanied by a crash or two.) Direction got mixed up for one scene (probably more), and the platform had to be moved again, taking more time than usual and stretching the performance to almost three hours with one intermission.

 

The evocative costumes were designed by Ms. Moorstein, a stage star for more than 29 years.  Don Petersen directed, and Melissa Jo York-Tilley produced. 

 

Why sit home when you can get out, support the arts, and exit happy, made possible by the crew of the Prince William Little Theatre?  It's a night for laughter.  Enjoy!

What:  Bye Bye Birdie   

When:  July 27, 2 p.m. and 8 p.m.; July 28, 2 p.m.

Where:  The Gregory Family Theatre of the Hylton Performing Arts Center, George Mason University, 10960 George Mason Circle, Manassas, Virginia

Duration:  About two hours and 45 minutes with one intermission

How much: $20 for adults and $16 for seniors and students and groups of ten and more.

For information:   703-993-7759 or 888-945-2468 (for tickets, or save $ and buy tickets at the box office.  Call ahead to see if seats are available.)

Language:  Nothing objectionable.  Take the family!

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