A 'gentleman's' rampage in Reston

The Reston Community Players' ensemble in A Gentleman's Guide to Love and Murder now onstage at the Reston Community Center/Jennifer Hefner Photography

The Reston Community Players  have done it again: Produced another great musical comedy, sure to draw full houses once word reaches the street.

That A Gentleman's Guide to Love and Murder  was presented only six years ago on Broadway (where it won four Tonys, including Best Musical) and counters the sensation that it has been around a while longer. It exhibits all the traits of classical theatre.

This "gentleman" ain't especially the nice kind. How could he be a nice guy and be the subject of a play? What's a play (life?) with a bunch of nice guys? A boring play.

"Monty" (Aaron Paige) slays the dragons who clutter the highway on his climb to the summit of his success, namely, to become the Earl of Highhurst. His methods consume the story which is hilarious from beginning to end, boosted by elegant apparel of the Edwardian age, post-Victorian, 1909 London. (Costuming by Lori Crockett surely will gain her a WATCH nomination.)
 
Director Richard Farella guides the best from the star, Patrick Graham (another likely WATCH nominee) in his knockout roles as eight (or nine?) members of the D'Ysquith family in uncanny fashion with individualized antics, pauses, bends, voices, inflections, what have you, easily a class in theatre itself. 

Rapid costume changes for Mr. Graham are necessary, but who's counting? Certainly, no one in the audience.

The Reston Community Players' ensemble has a lovely dinner in A Gentleman's Guide to Love and Murder now onstage at the Reston Community Center/Jennifer Hefner Photography

Two ladies (both with splendid personalities and voices to match: AnnaBelle Lowe who is Sibella, Monty's first love, and Holly Kelly is Phoebe) vie for Monty's attention.
 
In a memorable scene, the lover boy sails from one closed hallway door to another where his lady friends await behind opposite doors as he tries to keep the presence of each unknown to the other. (We've seen it once; we've seen it before, yet slamming doors never get old when they produce the desired effect. The precise door choreography is cause for applause.)
  
It doesn't take much to see portraits come alive! Talk about talking heads!

The actors' voices all seem strong enough to carry throughout the auditorium, making microphones unnecessary which cause too much amplification at times.

Simple but effective sets by Dan Remmers with Cathy Rieder,  scenic designer, and Sandy Dotson, set decorator, are changed by slides with nominal interruption.

Mary Jo Ford supplies basic props which are perfectly adequate in number and style for their short presence on stage. 

Kudos to the excellently executed ensemble dancing, choreographed by Paige Wakefield, who is also the assistant director.

Marvelous musical accompaniment mingles throughout the performance from the 14-member orchestra in the pit, led by Blakeman Brophy who singles as a romantic pianist in an interlude for Monty and a lady.  (Emily "EJ" Jonas is the "intimacy coach," a title increasingly found in theatre credits. I wonder what the training is. )

The play (by Robert L. Freeman based on the 1907 novel by Roy Horniman) is not entirely fictitious since H. H. Asquith (1852-1928) was the first Earl of Oxford and Asquith and UK prime minister from 1908-1916. Wikipedia notes, "it was a matter of family pride" for Lord Asquith that his family had an ancestor who served jail time for participation in a movement to reject a return to the monarchy (1663).

Gentleman's Guide opens with Monty writing his memoirs from a prison cell.

Attention, Audience:  You are about to witness murder in the ninth degree which is nine removed from Earldom.  Perfect timing for Halloween!

Other cast members are the naughty Sara C. Watson as Miss Shingle, Jolene Vettese, Julia A. Braxton, Joey Olson, Maura Lacy (also dance captain), Jake Lefler, Brandon Steele, and James P. Maxted. 

Creative team members include Steven Lutvak, music and lyrics; Robert L. Freedman, book and lyrics; Janet Bordeaux, producer; Colleen Stock, production stage manager; Mitch Macdonald, stage manager; Ryan Desmond, lighting designer; Phil Natalini, sound; Sheila Hyman, hair and makeup; and Alden Michels, dialect coach.


Language: G (no "bad words"!)
 
Ages: Appropriate for all who may not be able to follow every moment of the story, but quick costume and scene changes and dialogue combine to keep everyone happily engaged.

Who: Reston Community Players

What: A Gentleman's Guide to Love and Murder

When: Friday and Saturday nights at 8 p.m. through Nov. 9 with a Sunday matinee at 2 p.m., Nov. 3, 2019.

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. $28, adults; $24, students and seniors.


The Reston Community Center’s CenterStage box office is open on Tuesday, Wednesday, and Thursday from 4 - 9 p.m.; Saturday from 1 - 5  p.m.; and 2 hours before any ticketed performance. 


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Extended! Olney's 'Cabaret,' a sensational feast, now thru Oct. 13

Mason Alexander Park is the Emcee and Alexandra Silber is Sally Bowles in CABARET at Olney Theatre Center/Photo credit: Stan Barouh
 
What good is sitting alone in your home when you can come to the play? Life is a Cabaret, old chum. Come to the Cabaret.

It's a holiday in September! 

It's raunchy, robust, and it rocks Olney Theatre Center's 82nd season start.

It's the music which brings us to the show.

The timing is post-World War I in Weimar Germany, in Berlin, then the third largest city in the world where citizens sought joy amidst dire economic circumstances, and here they came!  To the "cabaret."

If Joel Grey is the actor who immediately pops into your mind when you think of Cabaret, Olney Theatre Center's newest show has got his double starring on stage. (Joel Grey is still kickin' at age 87.)

Mason Alexander Park, the master of ceremonies, is magnificent. He's the centerfold with a personality and voice who directs the pizazz and revelry which increase alongside spreading Nazi weeds in this garden of tawdry delights.

Besides Mr. Park, the marvelous music is the star here.  Forget the growing gloom and sit back (or sit up right on stage, if you like) and enjoy "Money, Money," "Two Ladies," "Tomorrow Belongs to Me," and "If You Could See Her," among many tunes.

Mason Alexander Park (center), the Emcee,  with the Kit Kat Girls in CABARET at Olney Theatre Center/Photo: Stan Barouh

The Kit Kat Klub, the place to be for ribaldry, is every bit as raucous as the name sounds with a stage at a nightclub and a glittering backdrop of rich, velvety floor-to-ceiling drapes which cascade behind an 11-member orchestra (led by Christopher Youstra) who are decked in tails.  

Overshadowing the fun on the backdrop is a ghastly face in a cracked mirror which reflects the hot dancing girls in spectacular ooh-la-Las Vegas costumes whose kicks almost reach the chandeliers.
    

Gregory Maheu is Clifford Bradshaw, an American who arrives in Berlin to write a novel.  He woos a cabaret star, Sally (Alexandra Silber) and tries to convince her to eventually return with him to America and save herself.  Director Alan Paul successfully changes Mr. Bradshaw from a timid weakling into a confident man who can say no.

It's not all debauchery. Some balance is presented by the sweet relationship which develops between Herr Schultz
 (Mitchell Hébert) and Mr. Bradshaw's landlady, Fraulein Schneider (Donna Migliaccio) until.... The credibility of both actors swept up the audience which hoped for the best.

That Cabaret was chosen for staging now was not by chance, but planned to coincide with events as a reminder that this, too, can happen again in a world of persistent evil.

The powerful ending is a shocker and leaves you dazed. Artistic Director Jayson Loewith writes In program notes that it's a bit different from Olney's usual climax, but as anyone will tell you who's seen the show, Cabaret is another huge hit in Olney's expanding and renowned musical portfolio.

Lights out!  

The Cabaret is closed.

Other cast members are Jessica Laurel Ball, Jessica Bennett, Patrick Ford, Ben Gunderson,  Andre Hinds, Lina Lee, Connor James Reilly, Bridget Riley, Tyler Quentin Smallwood, Tom Story, Katy Tabb, Louisa Tringali, and Rick Westerkamp.

More members of the creative team, Wilson Chin, scenics; Kendra Rai, costumes; Colin K. Bills, lighting;
Matt Rowe, sound;   Ali Pohanka, wigs;  Zach Campion, dialects; Madison Bahr, assistant stage manager; John Keith Hall, production stage manager; Josiane  M. Jones, director of production; Katie Spelman, choreographer; and
Katie Ciszek, dramaturg.

What: Cabaret by Joe Masteroff, John van Druten, Christopher Isherwood with music by John Kander and lyrics, Fred Ebb

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

When: Through Oct. 6, 2019, Wednesday through Saturday at 8 p.m.; matinees on Saturday, Sunday and some Wednesdays (Sept. 11, 18, Oct. 2) at 2 p.m. An audio-described performance for the blind and visually impaired Wednesday, Sept. 11, at 8 p.m. and a sign-interpreted performance Thursday, Sept. 19 at 8 p.m. 

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

Ages: Olney rates this as "PG-13" but I rate it an "R" although most of the sex and debauchery are not pronounced.  One "F-bomb."

"Afterwords": Post-show discussions after most Saturday matinees with the cast and crew
  
Duration: About 2.5 hours with one 15 minute intermission. You'll wish the show would go on.

Refreshments: Available and may be taken to seats

Parking: Free, lighted and plentiful on-site

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

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'Aretha' is alive in Herndon!

Kayla Gross is Aretha Franklin in NextStop Theatre Company's Beehive/Photo by Lock and Company

You just thought she had passed.  

Guuurrrrlllll...When you hear Kayla Gross sing Aretha and belt out those tunes, you'll think you've gone to heaven and are right there with the star, I promise you that. 

Landsakes alive, you're in Herndon at the NextStop Theatre, swayin' and wavin' and rockin' with the rest of 'em, to Aretha's hymns and a few more, like about 30 from all sorts of swingin' 60s singers which this show is all about.

It's not just Aretha!  No sirree.  How about Janis Joplin, Tina Turner, Lesley Gore, the Shirelles, Supremes, Chiffons, Connie Francis, and more! How about that?  Let's go to the show!

The cast of Beehive now on stage at Herndon's NextStop Theatre Company/Photo by Lock and Company

The singing is big, brassy, and feisty (Lawdhavemercy! That Hilary Morrow can shake a tail feather!), and the name of the show is Beehive where those bees are buzzing just fine and flying around and having themselves a good time and carrying the audience right along with them, yes, they are. 

I loved this Beehive (which refers to big hair designed by Maude Salon and not insects).

It was a happy time, and the girls don't just sing.  They dance all night long and change costumes rapid fire, costume designer Sandra Spence made sure of that. 

All six actresses are way done up and beautiful in about 20 different outfits each, it seemed, and dominated by white go-go boots. (Applause to wardrobe assistants who helped with changes.)


If I have to name favorite performances, all of them made the cut, but definitely, the solos I would welcome hearing again, most strengthened by the ensemble, especially 
 Bethel Elias when it comes to Aretha.

Ms. Morrow's sexy, naughty "You Don't Own Me" set the pace which the others mastered with skill and pizazz. 

When Rebecca Ballinger comes out from behind a curtain in a semi-formal gown wearing long white gloves and a corsage to sing Connie Francis and "Where the Boys Are," she's better than Connie Francis singing "Where the Boys Are," and I'll wager there wasn't one person over a certain age in the audience who didn't go back decades remembering, remembering...


Tina Turner's "Proud Mary" led by Shayla Lowe was a crowd favorite, and then there was Allison Bradbury who sings Janis Joplin better than Janis Joplin, and she had no trouble electrifying the audience. (She plays guitar, too.)

Another favorite early on was "One Fine Day" with Ms. Lowe, Ms. Bradbury, and Ms. Ballinger.

Beehive's Creator Larry Gallagher smartly mixed the numbers up with fast and slow tunes.

The set (by Jack Golden) is what's expected, no more, no less: A performing stage with glittering, shimmering curtains, changing lights, elevation, and a utility pole or two on which to cling, slink and sing. Who needs set changes when magnetic actors and their songs lock our attention?

Marika Countoris is one of the music directors, joined by  Matthew Winslow Brown who plays keyboards and leads the orchestra of five other musicians who are a huge factor in the show's success. 

Fabulous choreography by Shaylyce Hemby match the beats and the effusive energy of these versatile singers.

At the start a few male audience members were asked to join the frolics on stage, but the majority's resistance convinced me they were genuine and not "plants." (One accepted the invitation for a few brief seconds for his "night in the lights.")

It's not all rosy at NextStop. Just before intermission the stage darkens and the unforgettable video of Walter Cronkrite is played to remind us that JFK was shot dead, as if we could forget. Please, leave it out. Girls just want to have fun. 

Despite that sad interruption, you may find yourself humming later a few bars of whatever tunes you remember the most. For me, it's You Don't Own Me which is still making the rounds in my head.  

Opening night was a sell-out and set the stage for the remainder of the run, once word gets to the street about the sheer entertainment Beehive is, the most enjoyable I've seen at NextStop.  


Director Monique Midgette can put this one in her "win" column, for sure. 

Other creative team members are Brittany Shemuga, lighting; Kevin Alexander, sound; Alex Wade, properties;
Laura Moody, production stage manager; Quoc Tran, rehearsal stage manager and assistant, lighting; Rachel Appel and Kelly McNesby, assistant stage managers; Suzy Alden, scenic painter; Rachel Holcomb, master electrician; Kristin Hamby and Jeremy Jackson, sound mixers;

In the orchestra: Mitch Bassman and Allen Howe, tenors;
Andrew Velez and Mark Davis, trumpets; Rick Peralta, guitar; Jonas Creason, bass; T.J. Maistros and Kendell Haywood, percussion.

What: Beehive by Larry Gallagher

When: Now through September 22, 2019, Friday and Saturday nights at 8 p.m.; Sunday matinees at 2 p.m.; Sunday, Sept. 8 at 7 p.m.; Thursday, Sept. 12 and 19 at 8 p.m.; Saturday matinee, Sept. 21 at 2 p.m. Check dates and times.

Where: NextStop Theatre Company, 269 Sunset Park Drive, Herndon, VA 20170 in the back right corner of Sunset Business Park, near the intersection of Spring Street/Sunset Hills Road. Right off the Fairfax County Parkway. Lots of great restaurants nearby.

Lighted, free parking: Available near the door.

Admission: General admission tickets start at $40. Buy online or through the box office at 866-811-4111.

Duration: About 90 minutes with one 15-minute intermission

Rating: G

Refreshments: Available and may be taken to seats

For more information: 703-481-5930 or info@nextstoptheatre.org

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