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

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

In Memoriam: Tina Turner, 1939-2023

 

The Lunt-Fontanne Theatre, April 2, 2022/By Patricia Leslie

Kayla Davion was Tina Turner in The Tina Turner Musical at Lunt-Fontanne Theatre, New York City, April 2, 2022/By Patricia Leslie

Kayla Davion was Tina Turner in The Tina Turner Musical at Lunt-Fontanne Theatre, New York City, April 2, 2022/By Patricia Leslie

Kayla Davion was Tina Turner in The Tina Turner Musical at Lunt-Fontanne Theatre, New York City, April 2, 2022/By Patricia Leslie

Kayla Davion was Tina Turner in The Tina Turner Musical at Lunt-Fontanne Theatre, New York City, April 2, 2022/By Patricia Leslie

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

Outstanding 'Sister(s)' Act in Alexandria

Nun ensemble and Deloris (Ashley Williams) in Sister Act at Little Theatre of Alexandria/Photo by Matthew Randall 

Rush! To get an early Valentine's present found on stage in Alexandria.

But, there're not many Valentines left!

It's a delightful Sister Act which is fun!  It's delightful!  Entertaining!  And, oh, will you leave happy!

These "sisters" act, sing, and dance the night away to bring a really great show  to the stage at Little Theatre of Alexandria. 

Did I say fun?

Where did the producers find her? Ashley Williams is the star of the show, a teacher of pre-K. 

Her character is Deloris Van Cartier who shines and leads the musical, spreading her charm on those around her, including the audience.

She's the wannabe, runaway singer who needs to hide after witnessing a murder committed by her boyfriend and his cronies and what better place to run to than a convent, says a friendly cop (Alonzo Cook), who just happens to be an old friend from school.

At the convent, Deloris (as my mother used to say) "upsets the routine." 

You got that right, sister!

The show has so many stars, where to begin?  

Besides Ms. Williams, several "sisters" (who are all named "Mary") play key roles like the perpetually giggling Sister Mary Patrick (Gina Tune) whose face I know must be hurting at show's end from smiling so big and broadly from start to finish. 

The novitiate, Sister Mary Robert (Allison Meyer) has a voice to reach the highest nave, and Sister Mary Lazarus (Jennifer Reynolds) is an old cripple who widens the age range of the participants, appreciatively.     

From left: Mother Superior (Christine Maxted) and Monsignor (Peter Fannon in Sister Act at Little Theatre of Alexandria/Photo by Matthew Randall

Some of my other favorites were the Monsignor (Peter Fannon) who gradually picks up the beat there in the corners, gathering momentum and rolling his shoulders in time with the music.  

That man's got rhythm! 

The stern Mother Superior (Christine Maxted) is super stern and shows off her global acting experiences.

Even the Pope gets in on the act. 

From left: Paola (Odette Guiterrez del Arroyo), Curtis (Paul Caffrey), and Joey (Evan Zimmerman) in Sister Act at Little Theatre of Alexandria/Photo by Matthew Randall

Kathleen McCormack's terrific choreography has the nuns kickin' up their heels, none funnier that the gangsters' prance, led by Joey (Evan Zimmerman) who made me gleeful very time he and his buddies in crime (Luke Martin and Odette Guiterrez del Arroyo who was also, dance captain) appear.

The lead bad guy, Deloris's BF, Curtis (Paul Caffrey) is the stereotypical hoodlum all the way up to his long, greased mop, flying and a'floppin, requiring the wearer to constantly brush it aside in time with the music.

Jean Schlicting and Kit Sibley's' costume designs are fitting for nuns with some sparkly thrown in for Ms. Williams's performances.

Colin Taylor directs the 19 (!) member orchestra offstage and starts the rocking, setting expectations for a "really good show."

Live music is like seeing a work of art up close and in person.  It far exceeds taped sounds and "tinniness," making such a difference with added depth and enjoyment to a terrific night at the theatre.  (But, I am unaware of any LTA performances with artificial music.)   

Director Mike Baker's notes say his team had to produce something creative to accommodate 30 set changes, and they succeeded with fast-paced floor to ceiling photography and video for backdrops with props onstage (by Janie Downey.  Julie Fischer designed the sets and was assistant producer.).

Do you like to leave happy at the end of a show?  

This will leave you laughing and dancing down Alexandria's brick sidewalk, but hurry!  Several shows are already sold out!

Other cast members are Jenni Philp, Eddie Perez, Margaret McGarry, Maria Ciarrocchi, Jennifer Levy, and Sandy Kozel.

Also, Aja Goode (who plays Deloris Jan. 17 - 19), Gifty Amponsem, Claire Aziza, Maria Ciarrocchi, Julianna Laseter, James Miller, Josie Morgan, Bob Thompson, Lourdes Turnblom, and David Valderrama

Other crew members: Kadira Coley and Alan Wray, producers; Sherry Clarke and Micheal J. O'Connor, stage managers; Charlotte Corneliusen, set dressing; David Correia, sound; Ken and Patti Crowley, lighting; Jim Hutzler and Jeff Nesmeyer, master carpenters; Robin Maline, hair and makeup; Steven J. McBride Jr., vocal director; Mary Beth Smith-Toomey, master electrician; Margaret Snow and Robin Worthington, wardrobe coordinators; and Russell Wyland, rigging.

Book by Cheri Steinkellner and Bill Steinkellner

Additional book material by Douglas Carter Beane

Music by Alan Menken

Lyrics by Glenn Slater

Based on the movie by Joseph Howard

Sister Act was nominated for five Tony Awards in 2011, including Best Musical.

When: Now through Feb. 4, 2023, Wednesday - Saturday nights, 8 p.m. Sunday matinees are sold out.

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

Tickets:  $29, weekdays; $34, weekends

Covid policy:  LTA has returned to full seating with no proof of vaccinations necessary, however, masks are required in the theatre. 

Language:  Some mild profanities 

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

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


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