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

  

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

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

'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

GALA's 'Gardens' grow hilarious!

From left, Victor Salinas, Alina Collins Maldonado, Juan Luis Acevedo, and Luz Nicolas in GALA Hispanic Theatre's Jardin Salvaje (Native Gardens)/Daniel Martinez, photo


It's a laugh-a-minute at the garden show onstage now at GALA Hispanic Theatre, the Spanish world premiere of the English version with surtitles on two overhead screens.

From start to finish, Jardin Salvaje (Native Gardens) is hilarious and the solid acting makes it that much more enjoyable.

Like a rose blooming in spring, neighbors begin their relationship nicey nice which doesn’t take long for smoldering issues to break ground and open.

Juan Luis Acevedo as Fabio almost steals the show with his antics, swoops, dives, and other gymnastic feats to portray increasing dissatisfaction with his new next-door neighbors (Democrats without a doubt) who have invaded his space and may cause him to lose (once again!) the community's garden show competition.

Dios mio!

Plus, those youngsters look to be wretched "tree huggers" who shun insecticides!

Can it be? Next door to me?

Oh, my! Look how my garden grows...or did, until Pablo (Victor Salinas) and his very pregnant wife, Tania (Alina Collins Maldonado) moved in, at first, kind people, good people, until...until!

Hilarity sprouts, takes root, and blossoms without fertilizer.

Fabio's wife, Virginia (Luz Nicolás), the consummate professional frequently seen on GALA's stage, is a realistic mate who helps nurture the "friendship" with the newbies. And (worst of the worst!), she smokes! 

She smokes!


A silent team of landscapers (Fabian Augustine, Janine Baumgardner, Edwin Bernal, and Lenny Mendez) come to clean up the yard and make ready for Pablo's law firm party about to take place in the back yard, and party is what they do, all right:  Making light of their customers, dancing and sharing their joyful personalities to add more merriment to an already merriful show.


That the setting is in Washington with some wonderfully snide remarks about certain neighborhoods produces lots of laughs.

The set is a marvel with the tallest tree I've seen on a stage with...could this be right? Individually placed pieces of bark? It's a treasure, one that the new couple adores but the old fuddy duddies next door want removed. (Nominations, please, for Grisele Gonzalez, scenic designer, and Chelsea Dean, properties.)

My goodness, whose leaves are those?

It all comes down to a fence which happens to be the dividing line between the properties, or is it?

Sound designer Justin Schmitz fills the land with happy music, at least at first.


Costumer Jeannette Christensen was busy dressing the characters quickly in different outfits every time they went in the house and when they came out.

Alberto Segarra lets the sunshine (and nighttime) in with perfect lighting.

Gardens is written and adapted by Washington's own transplant from Mexico, Karen Zacarias, one of the most produced playwrights in the nation. Once seen, you'll definitely buy tickets when you see her name attached to other shows.

Applause to director Rebecca Aparicio and other production team members: Deja Collins, projections; Alyssa Hill, stage manager; Jon Townson, technical director; P. Vanessa Losada, production manager; Hugh Medrano, producer; and Gustavo Ott, translator.

What: Jardin Salvaje (Native Gardens)


Covid policy: Masks are optional for guests who are fully vaccinated and boostered. Otherwise, masks, please.

When: Thursday - Sunday nights through Feb. 26, 2023

Where: Gala Theatre, 3333 14th St NW, Washington, DC 20010.

Tickets: $48, or seniors (ages 65+), students, teachers, military, and groups (10+), $35. Ages 25 and under, $25. To purchase, visit galatheatre.org or call 202-234-7174.

Handicapped accessible

Duration: About 90 minutes plus one intermission

Metro stations: Columbia Heights is one block from GALA. Or, get off Metro at McPherson Square, take bus #52 or #54 up 14th, or, walk the two miles from McPherson Square and save money and expend calories! Lots of places to eat along the way.

Parking: Discounted parking at Giant's garage around the corner on Park Road. Validate your ticket in GALA's lobby.

For more information: Call (202) 234-7174 and/or email info@galatheatre.org


patricialesli@gmail.com

 

 

 

 

A 'Full Monty' comedy in Vienna

Appearing in Vienna Theatre Company's Monty Python's Edukational Show are, from left: Charlie Boone, Bruce Alan Rauscher, Peter Storck, Kevin Lukacs, and Bill Evans/Photo by Claire Tse 

I laughed and laughed.  After all these years, it was my first venture with "Monty" and his crowd.  

It won't be my last.

The Vienna Theatre Company   presents a lampoon of Monty Python's (Famous) Flying Circus, complete with sketches, songs and animation in an abbreviated  collection of some of the British troupe's crazy scenes.

Hilarious skits involving a parrot (PETA won't like) to a fine dining experience fill the stage in quick successions of all things ridiculous.   

"Election Night Special" is special indeed!  A "silly party"?  Aren't they all?

 

From left, the actors in this scene at Vienna Theatre Company's Monty Python's Edukational Show are Peter Storck, Charlie Boone, Benjamin Zimmerman, Bruce Alan Rauscher, Rachel Heffron, and Patrick Hogan/Photo by Claire Tse 

My favorite skits were the restaurant scene with its overworked staff and "who's got the cheese?"

Spam, spam, spam! That's all you fill me with! 

What better break from the depressing news of the day than to spend time with Monty and his gang of troubadours who take you on a twisted escape trip through a world of absurdity?  

We need it!

Thirteen actors spread the goods through 20 or so  scenes which meant about 80 different costumes charged to designer Lauren Brooks who pulled the huge number off with seemingly seamless effort.  

The experienced actors and their stage skills quickly become evident as one scene transitions nicely into another. And their love of theatre permeates the show which seems far shorter than 90 minutes (plus intermission).

Sets are minimal (by Adrienne Kammer, John Vasko, and Bill Evans with props by Kristy Dautant), and who needs 'em when your brain is flying fast to keep up with the rapid-fire dialogue?  

The backdrop "art work" must be by one of those new and upcoming AI artists, excepting the scenery from Vienna, of course, which brings it all home.

I think it takes a special kind of humor to "get" the full works by Monty. It sure helps to always look on the bright side, Monty or not.

Hold tight for a wacky night in Vienna! 

Cast members are Charlie Boone, Thomas Breen, Bill Evans, Shayne Gardner, Rachel Heffron, Patrick Hogan, Kevin Lukacs, Joe Neff, Steven Palkovitz, Bruce Alan Rauscher, Reece Smyth, Peter Storck and Benjamin Zimmerman

Writers: Monty Python, Graham Chapman, John Cleese, Terry Gilliam (also, animation), Eric Idle (also, music and lyrics), Terry Jones, and Michael Palin.

Other production team members are Eric Storck, director; Ann Storck, producer; Allison Shelby, music director; Emily Steindl, choreographer; Katie Boone and Nicholas Boone, stage managers.

Also, Ann McSherry, lighting; Rhett Russell, sound;  David Shelby, projections; Mason Shelby, animations;  Mary Ann Hall, program; Turner Bridgforth, graphics, and Jeff Storck, photographer.  

What: Monty Python's Edukational Show

When: Friday and Saturday nights at 8 p.m. through Feb. 4, 2023 with Sunday matinees at 2 p.m., Jan. 29 and Feb. 5, 2023.

Where: Vienna Theatre Company, Vienna Community Center, 120 Cherry St., SE, Vienna, VA 22180

Tickets: Online at Vienna, VA – WebTrac Ticket Search (myvscloud.com) or in person at the Vienna Community Center during open hours or before each performance, if available. $15.  

Language: "G" with a sprinkling of a few adult words 

Audience: For teens and adults

Duration:  About 90 minutes plus one intermission  

For more information, please call: (703) 255-6360

patricialesli@gmail.com

 

Alexandria has greatness thrust upon it

Noah Mutterperl is Shakespeare in Little Theatre of Alexandria's ''Something Rotten''/Photo by Matthew Randall

There's nothing "rotten" in Alexandria recently named by Travel and Leisure to the nation's Top 15 Best Cities to visit,* but Something Rotten at Little Theatre of Alexandria has got the whole crew and townspeople eggstraeggcited (?) and happy.

Theatregoers, this show is LTA's best musical comedy ever!  

Chuck Dluhy (left) is Nostradamus and Matt Liptak is Nick Bottom in Little Theatre of Alexandria's 'Something Rotten'/Photo by Matthew Randall

Immense will power to bring this off was required of director Frank D. Shutts II and choreographer Stefan Sittig who met the challenges with wondrous excellence.

The centerpiece is one William Shakespeare and the competition to beat him, can it be?

Evan Zimmerman, left, is Robin with ensemble members, Daniel Boos, center, and Josh Mutterperl in Little Theatre of Alexandria's 'Something Rotten'/Photo by Matthew Randall

Never fear, Shakespeare sufferers:  Knowledge of the bard's works is not required.  But, surely, you've seen at least one of 30-odd shows mentioned in the production?**

The title, Something Rotten comes from one of the bard's plays***, but this Rotten of 1595 finds two brothers in England with a sad last name (Bottom) competing to top the best and write the world's first musical.

As soon as laugh-a-minute Nostredamus (Chuck Dluhy) makes his appearance, it's non-stop hilarity, amplified by the increasingly wild gyrations of eggomaniac Elvis Shakyspeare (Noah Mutterperl) who rattles and roils the stage.  

He bears a charmed life.

Evan Zimmerman is Robin, another favorite actor, who never abandons long frocks to dance with delight and glide across the stage as if hopscotching the clouds,  floating across the sky in new apparel each time.  

Speaking of frocks, costumers Jean Schlichting and Kit Sibley, aided by wardrobe coordinator, Robin Worthington, skilfully outfit the cast of 23, most in multiple scenes and most in different dress.

Hair and makeup artist Robin Maline has her hands full, perfecting the looks of Elizabethan characters in exceptional manner.

Lighting designer Ken and Patti Crowley are busy, giving the audience an "aaahhhh" moment when brother Nigel Bottom (Jack Dalrymple) and Portia (Katie Conn) realize in a starstruck milli-second, that the other is their one and only. Lights flicker, hearts flutter and pounding pulses could be heard, or maybe that was just the effect created by sound designer David Correia.

Christopher A. Tomasino leads an orchestra of nine  unseen-but-well-heard-and-received musicians who add tremendous depth and enjoyment to the show.  

These performers are Gwyn Jones, Terry Bradley, John Fargo, Emilie Taylor, Tom Fuller, Francine Krasowska, Mila Weiss, and on alternate nights, Randy Dahlberg, Ruben Vellecoop, Bill Wright and Scott Fridy. 

In real life, brothers Karey and Wayne Kirkpatrick spent years talking about this play before they finally got down with John O'Farrell to put it all together and write the book, music and lyrics. 

(Read about their odyssey here.)

"We know what we are, but know not what we may be."

In 2015 Rotten received nominations for nine Tonys, eight Drama Desks, and 11 Outer Critics Circle Awards and I wondered why it only lasted for 708 performances on Broadway, but it's here now, and that's what counts.

Other cast members are Brian Ash, Marcus Barbret, Brittany Bolick, Daniel Boos, Paul Caffrey, Peter Fannon, Odette Gutierrez del Arroyo, Julia Hornok (dance captain), Matt Liptak, J.P. McElyea, Luke Martin, Amanda Mason, Josh Mutterperl, Eddie Perez, Anna Phillips-Brown, Mary Rodrigues, Andrew Sanchez, and Lourdes Turnblom.

The production and technical crew:  Russell M. Wyland, technical director, rigging and co-producer with Rachel Alberts and Robbie Herbst ; Helen Bard-Sobola and Margaret Chapman, properties; Robert S. Barr Jr., sets; Myke, set dressing;  Luana Bossolo, Jim Hutzler, Mary Hutzler, Jeff Nesmeyer, set painting and construction; 

Also, Jennifer Rhorer and Sherry Clarke, stage managers, and Jacquanna David, assistant to the director.

The Kennedy Center might just want to cross the Potomac, take a look and import this cast and crew!

*Alexandria was #8 in readers' choices. 

** At the theatre, ushers give theatregoers a list of 31 musicals referenced in Something Rotten, but there's more.  Which four did it omit?  

***Hamlet has the reference to "something rotten."

What: Something Rotten

When: Now through August 13, 2022, Wednesdays through Saturdays, 8 p.m.; Sundays, 3 p.m.

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

Tickets: $29, weekdays; $34, weekends. 

Duration: About two hours plus one 15-minute intermission.

Fowl language: Many "s" words

Masks and vaccine cards or proof of a negative covid test within 48 hours of show time are required. No exceptions.

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; Business: 703-683-5778. boxoffice@thelittletheatre.com or Asklta@thelittletheatre.com

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Reston's 'Delightful Quarantine' is just that

L-R, Anthony Pohl is "Tug Goff," Liz Weber is "Mavis," and Kim Thornley is "Violet" in Reston Community Players' A Delightful Quarantine/Heather Regen Photography  
 

Attention, Theatregoers:   This one I could see again!  There aren't many shows I can write that about, but Reston Community Players' A Delightful Quarantine is so much fun.

What's to say that all quarantines are bad?  

Not necessarily so in  Susqua Creek Acres, Pennsylvania where some "extra-terrestrials" have landed and it's  immediate confinement to whatever house you're in!  

Head for the doors! 

Liz Shaher's surround sirens ignite the show and away we go!

Charlene Sloan is "Shirley" and Kevin Dykstra is "Roy" in Reston Community Players' A Delightful Quarantine/Heather Regen Photography

It's an hilarious romp with a huge cast (I love 'em), multiple scenes (ditto), many costume changes (yes!) and just about everything one could want in a stage show.

Director Liz Mykietyn writes in program notes that she found the play by Mark Dunn 15 years ago, but it took 10 years to convince anyone to do it. Enter and thank you, RCP! 

How some strangers come to be commingled is life as it is! And, not to be discriminatory, but I do believe the female actors  outshone the men!

The cast has uncoupled couples (?) stuck together, a crossdresser, a long-lost daughter, a prayerful sister, and many more. 

"It" is not the "it" you think "it " is!

My favs were the two "elderly" women (Liz Weber as Mavis, Kim Thornley as Violet) perfectly costumed (by Kathy Dunlap) in little old lady garb of flowered dresses, sweaters (de rigueur!)  and pearl necklaces. (Wait! They're in vogue!)

But it's their mannerisms, the weaves, the bobs, and "Violet's" teetering and tottering which steal the show.  I never wanted them to leave. 

Ms. Mykietyn choreographed the fights and helped design and paint the set, but her tutelage of the two women could be an acting class. 

Although I am not a "cat woman," Shelby Kaplan as the convincing "Judeen" almost made her stumbling date, "Chester" (Michael Wong) and me, into cat fanciers. 

Ms. Kaplan was another favorite whose performance, delivery, and voice grow stronger in every scene she's in, producing cat howls from the audience, for to get 14 cats on stage simultaneously is quite the feat.

A sneeze is a sneeze is a sneeze (maybe, two). (?) He flushed the toilet twice! (?) 

"Professor" Lucy Fuller (Beth Atkins) is the seesawing "moderator" who leads the show with a terrific voice to boot!  It is no wonder she's the music coach, too.

The playbook calls for seven different interior house scenes and before the show, I wondered how that would be achieved.  

Not to worry.

Minimalism may be in vogue, but here, not so much.

One scene easily flows into another on the complicated, stacked stage of different rooms which all work splendidly with Jeff Auerbach and Kimberly Crago's expert lighting, blinking in different colors to target the speaker. 

A laughing good time at the theatre will set your mind apart from another world, for this Quarantine is a fantastic escape to kick off spring to a rollicking start.

I must say I felt some guilt and unease having a jolly good time watching the play unfold in this time of global tragedy and death and destruction in Ukraine.  It's impossible to escape all the horror, but RCP managed to make me forget troubles for a little while and I am grateful.

Other cast members are Alexa Yarboro Pettengill (also, properties designer and set dresser), America Michelle, Nida Syed (another standout actor), Rebecca Asch, Josh Keiter, Charlene Sloan, Kevin Dykstra, Allie Blanchet (Mar. 5, 6, 11),  Birdie Thomas (Mar. 11), Jane Keifer (Mar. 5, 6, 11),  Cara Ethington (Mar. 12), Eileen Marshall, Danny Seal, Anthony Pohl, Ryan Heise (also the stage manager), Kate Keifer (also, the marketer), Anna Mintz (also, set designer and painter), Charlotte McIntosh (also, assistant stage manager), David Reph, Richard Durkin (also the producer).

The production team included Dan Widerski, master carpenter, electrician, and with Sara Birkhead, technical director; Kat Brais, hair and makeup; Jon Roberts, projections; and Ali Althen, marketing.

Who: Reston Community Players

What:  A Delightful Quarantine by Mark Dunn

When: March 5, 11 and 12 at 8 p.m. and March 6, 2 p.m.

Where: Reston Community Center, 2310 Colts Neck Road, Reston, VA 20191

Tickets:  Buy online, at the box office at the Community Center, or call 703-476-4500 and press 3 for 24-hour service. $30, adults; $25, juniors and seniors, plus, $2, fee each ticket. The Reston Community Center’s box office is open Tuesday, Wednesday, and Thursday from 4 - 9 p.m.; Saturday, 1 - 5 p.m.; and 2 hours before any ticketed performance.

Ages: For all but likely too complex for those under age 12. 

Duration: Two hours plus one 15-minute intermission. 

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