'Blithe Spirits' land in Alexandria

From left are Cameron McBride (Dr. George Bradman), Eric Kennedy (Charles Condomine), Eleanore Tapscott (Madame Arcati), Sarah Cusenza (Ruth Condomine), and Raeanna Nicole Larson (Mrs. Violet Bradman) in Little Theatre of Alexandria's Blithe Spirit/Photo by Matt Liptak

The Little Theatre of Alexandria stages another welcome classic with Sir Noël Coward’s Blithe Spirit, a comedy that’s been around longer than most (b.1941) and there's a reason for its continual return to the world's stage: It's a treat and a (sky) lark (?)! A great escape!

Percy Bysshe Shelley in 1819: "Hail to thee, blithe Spirit!"

It was England and World War II when the bombs were dropping a'plenty, but its citizens needed a respite every now and then, like we all do (like now).

To the manor house, they go, some, from the “other side.”

Ruth (Sarah Cusenza) and Charles Condomine (Eric Kennedy) are hosting a dinner party in their elegant home with friends (who are real life husband and wife, Cameron McBride and Raeanna Nicole Larson) and a “medium” (Eleanore Tapscott).

Charles is a famous novelist and plans to milk medium Madame Arcati for any tips she can give him for a story he’s writing.

Things do not go as planned. Madame Arcati is anything but "medium."

Post dinner, she becomes a big scarlet macaw (whose colors Madame matches), sweeping around the room, landing momentarily at one spot or another before flying to her next perch with a wingspan of almost four feet, while the other adults in the room sit in amazement, mouths ajar.

Katie Weigl is Elvira in Little Theatre of Alexandria's Blithe Spirit/Photo by Matt Liptak

Madame conducts a séance and unwittingly summons the ghost of Charles’s first wife, Elvira (Katie Weigl), who died young, after only five years of marriage.

And here she comes, through windswept doors, the sassy Elvira, dressed all in grey, a long flowing gown with cape and face color to match.

Like all ghosts, she flits around the stage, rushing left to right and back again, throwing her hands in the air and seeking to disrupt Charles and Ruth’s marriage.

Charles is the only one who, initially, can see and hear Elvira, her teasing which begins to create havoc in the Condomines’ household.

Ruth can hear Charles speaking to Elvira and thinks his words are meant for her.

Charles to Elvira: "I could drink you under the table."

Ruth: "There's no need to be aggressive, Charles. I'm doing my best to help you."

A few minutes later, Charles tells Elvira to "shut up!"

Ruth: "How dare you speak to me like that!"

(Ms. Cusenza’s Ruth is splendid, talking to a wall or sofa or portrait on the wall, the piano, wherever she thinks Elvira sits or stands, not an easy task to perform with someone who is not there but is there. [Huh? You have to be there.])

Soon, there’s a murder and now there are two ghosts, each in ghostly grey apparel and caked in heavy grey makeup (which made me wince to think about removing it. Maureen Roult designed the hair and makeup).

Just what a man needs: Two wives screaming at him simultaneously after a brief interlude in a menage a trois ahead of chaos. (May I suggest to a producer that he or she exchange principal roles so the wife endures two ghostly husbands?)

The setting is absolutely divine, darling (by Julie Fischer), the parlor of a 1930s luxurious home where the servant, Edith (Caroline J. Berger) runs hither and yon or slows (per Ruth) to serve tea and refreshments to gents and ladies whom costumers Jean Schlichting and Kit Sibley have dressed to the nines: the women in floor length silken gowns with gloves and fancy jewelry, the men in equal getup.

Which ghost “wins”? Come, blithe spirits, see and laugh at them.

The biggest “star” of the night was the superb acting by all the characters, no disappointments by nary a one. Hats off to director Ward Kay, assisted by Liz Isbell.

Other crew members are David Correia, sound; Ken and Patti Crowley, lighting; Maureen Dawson and Jennifer Rhorer, stage managers; Olivia Hinebaugh and Misty White, combat and intimacy directors; Meredith J. Ludwig, producer; Monique Morman, technical director; and Emilie Pade, properties.

I’ll have one of those cucumber sandwiches, if you please and thank you.

What: Blithe Spirit

When: Now thru Sept.19, 2026, Thursday – Saturdays, 8 p.m., Sunday matinees, 2 p.m.

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

Admission: $30 (fee, included)

Duration: Almost three hours with one intermission

Audience: Mature teens on up

Language: A few “adult” words sprinkled here and there 

Parking: Park for free on the streets or at the nearby Capital One Bank. 

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

patricialesli@gmail.com 

A wild night in Alexandria

 

From left: Siena Butler, Will MacLeod, Jermaine Mitchell, Luke Martin, and Suzy Alden in Little Theatre of Alexandria's The Play That Goes Wrong/By Bob Aronstam

Hold on to your seat at the Little Theatre of Alexandria for a raucous time in the old city for the theatre's latest show, The Play That Goes Wrong.

It's a play within a play, and play is what they do! Opening in this wrong play is The Murder at Haversham Manor and if you're confused now, just wait.

On a recent Saturday night the audience was almost as wild as the performers: Those who were still in their seats hooted, they hollered, they couldn't get enough of the antics and shenanigans on stage. 

There are a few.

The title says that something's awry in Alexandria and that's putting it mildly: Everything crashes, falls, slides, burns,  explodes; what else?

Would you like a fall outside a window?  

And a murder on a wedding eve? 

Coming right up!

Who dunnit? Is the bride (Suzy Alden) carrying on with her brother-in-law (Cameron McBride)?  They've got different kinds of ... motivation.

The imperturbable Inspector Carter (the skillful Adam R. Adkins), is summoned to find the murderer. The snooty British stereotype is, of course, dressed in a boring three-piece suit (by Jean Schlichting and Kit Sibley), ye alas!  

Before he can find the killer, there's another murder!  My gawd!  

A standout on the stage is the magnificent butler, "Perkins" (William Wheat) who darts hither and yon serving his masters' pleasures and attracting more than his share of laughs.

At the start of this madness (hold on to your hair strands), members of the audience are recruited to help figure it all out, and a "lost dog" poster is distributed in case anyone has seen "Winston."  What has Winston got to do with it?

Wait! 

Is that his portrait above the mantle?

Don't even think about consulting the program to figure out who's who for it takes a manor to sort them all.

The set (by Dan Deisz and Dan Remmers) is a luxurious 1920s mansion complete with Victorian draperies, Orientals, chair rail, a grandfather clock, a chandelier, you name it, the works. 

Jim Hutzler has constructed a second floor which, naturally, collapses and is miraculously lifted up, saving the actors from having to board an exploding elevator.  

It’s crazy! It's fun!  It’s slapstick! At the end the audience laughed out the doors, making it another good time in Alexandria and Haversham Manor.

Other cast members are Sydne Marie Chesson, Jermaine Mitchell, Andy Izquierdo, and Justin Beland. 

Production team members include Frank D. Shutts II, director; Zell Murphy and Russell M. Wyland, producers; Ken and Patti Crowley, lighting; Natalie Turkovich, makeup and hair; Ian Claar, fight director; Carol Strachan, dialects; Alan Wray, sound; Jennifer Rhorer and Christine Farrell, stage managers; Kira Hogan and Joanne Tompkins, properties.

The original production began in London in 2012 where it won the Laurence Olivier Award for Best New Comedy, and still runs...as fast as it can to drive playgoers crazy. 

What: The Play That Goes Wrong by Henry Lewis, Jonathan Sayer and Henry Shields

When: Now through June 28, 2025, Thursday - Saturday nights, 8 p.m., and Sunday matinees at 2 p.m. Just added:  a Wednesday night show on June 25, 2025 at 8 p.m.

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

Tickets: $29, reserved seating

Recommended audience age:  8 and up (some adult language)

Duration: Less than 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: Free on streets and at Capital One Bank at Wilkes and Washington streets, a block away, during non-banking hours. 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

Vienna's 'Rumors' is hilarious

Steve Rosenthal is Ernie Cusack, the husband of Cookie (Anne Hilleary), right, in Vienna Theatre Company's Rumors/By Eddie Page

 Football game?

What football game? Who's talking football?

There was an important football game in the DMV on Sunday but who was minding the television? There was a lot more action in the games on stage at the Vienna Theatre Company where players were flying high and fast! 

Who's talking? Who cares?

Well, they were all were talking, some at the same time in Neil Simon's play Rumors presented to a packed house on Sunday afternoon.

From left, Kate Bierly is Cassie Cooper; Dave Wright is Lenny Ganz; Anne Brodnax is Claire Ganz, and Liz Owerbach is Chris Gorman in Vienna Theatre Company's Rumors/By Eddie Page

The play is a one-night stand on a summer evening in New York when words and actions go awry as Rumors’ characters try to sort out what's going on. 

Leave it to Neil Simon to make merry from stress.

Four couples meet at Myra and Charley’s house to help the happy couple celebrate their 10th anniversary, but, … where was Myra? 

And Charley?  He was missing, too.

A gun goes off, and soon another! (Prepare yourselves for really loud bang, bangs with bang!  bang! adult language.)

Ken (Ilan Komrad) and Chris (Liz Owerbach) are the first party goers to arrive and discover Charley is hurt, but is he still alive?

They try to hide the truth, if only they knew it. Ken soon loses his hearing due to another gunshot blast and repeats what he thinks he is hearing but he's not.  

(With the dynamism of a talking human volcano and under the directorship of Eddie Page, Komrad’s antics and expressionism while he weaves on the second floor from bedroom to bathroom and back again are wild comic scenes.)

Meanwhile, Chris patiently puts up with her husband’s sudden peculiarities to welcome Lenny (Dave Wright) and Claire (Kim Paul) who've been in a car accident in Lenny’s brand new BMW and into the fold of lies and super lies they fall at the party. (Or, is it a wake?)

Arriving next are the funniest couple, the oldest, the most doddering, Ernie (Steve Rosenthal) and Cookie (Anne Hilleary), who well display the mannerisms of old folks.

Cookie has an aching back and can’t find her grandmother's precious earrings. 

Wait!  What’s this? She's holding them in her hand.

And here comes the youngest but certainly not the lovingest couple, Glenn (Nick Koutris) and Cassie (Kate Bierly), who argue over ... what else? You got it! Crystals! Yes, crystals! (You have to be there.)

The couples bicker and lash out at themselves, trying to cover tracks and spill the beans to the...oh, no!

Here come the cops in the form of Officer Welch (Christian Aguilar) and more police to question the circumstances and for sure, Aguilar is so real as a cop, he’s gotta be a real cop with his long drawn and suspicious speech, holding his belt while he ambles in the parlor, walking around from side to side.

Whatever can the anniversary party tell the police?

It’s an entertaining show that gains momentum with each passing scene, as one couple after another enters, argues and becomes confused by the crime.  

What crime?

Michelle Harris dresses the actors to the nines for the festive occasion. Lighting director Ari McSherry has hands working fast to shine on those commanding the stage which are all of them.

Charles Dragonette composed a realistic parlor and upstairs setting, complete with bar and fluttering art of flowers on the walls to set the stage for flittering flirtations of flames, but who’s talking?

Affairs? Who?

Bob Hannan's skillfully designed sounds of cars, phones, and crashes complement the fun. 

Other production team members are Margaret Chapman, properties; Art Snow, special effects; Adrienne Kammer and George Farnsworth, set construction.

Vienna is fortunate to have one last weekend of this hilarity to leave you smiling when you exit the doors. 

What: Rumors by Neil Simon

When: 8 p.m., Friday and Saturday, Jan. 31-Feb. 1, 2025 and 2 p.m., Sunday, Feb. 2, 2025

Where: Vienna Community Center, 120 Cherry St., SE, Vienna, VA 22180 (703) 255-6360.


How much: $16.


For more information: vtcshows@yahoo.com or call the Community Center, ph. 703-255-6360 

Patricialesli@gmail.com

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