Skies light up after timpanist plays at the Kennedy Center

At the Kennedy Center guests who attend performances by the National Symphony Orchestra see and hear shows indoors and out/Photo by Patricia Leslie

At intermission Tuesday night, guests attending the National Symphony Orchestra performance streamed out onto the veranda at the Kennedy Center to catch a breath of fresh air, to sip beverages, admire the scenery, and praise the performance of timpanist Jauvon Gilliam who had just finished, in vigorous fashion, Timpani Concerto No. 1, "The Olympian," by James Oliverio (b. 1956).

Jauvon Gilliam/Photo from blogs.Kennedy-Center.org

At the conclusion of the piece moments earlier in the Concert Hall, the composer came up on stage and joined Mr. Gilliam and guest conductor Thomas Wilkins to receive enthusiastic applause and shouts of "Bravo!" from the audience.

Mr. Gilliam, the NSO's principal timpanist and also guest principal timpanist for the Budapest Festival Orchestra, had pounded the eight kettledrums which encircled him at the front of the stage, swirling in his chair and making music with what seemed like four hands.  He waved his sticks like a juggler tossing flames, with arms that sometimes flashed behind him.

The combinations of jazz, dance, Duke Ellington, and George Gershwin made for a spectacular presentation in the inauguration of the NSO's series "New Moves:  symphony + dance," the latter expertly supplied by members of Katie Smythe's New Ballet Ensemble from Memphis. 

Now in its eleventh year, the New Ballet comprises children from different social and economic backgrounds, those who cannot afford to pay for dance training and those who can, to learn professional dance on their way to stage careers.  Several alums have already made it up.

Thomas Wilkins, conductor of the Omaha National Symphony and principal guest conductor for the Hollywood Bowl Orchestra, had no trouble leading the NSO. Indeed, every time he turned around to face the audience, a broad smile brightened his face.

Thomas Wilkins/Photo from the Omaha Symphony Orchestra

Selections from Porgy and Bess by George Gershwin (1898-1937) with arrangement by Robert Russell Bennett (1894-1981) got the show off to a stellar start, leading me to wonder if the best was saved for first, but it was an introduction to all the evening's finery which lay ahead, including the fantastic Martin Luther King from a ballet composition, Three Black Kings by Duke Ellington (1899-1974) and arranged by Luther Henderson (1919-2003). Ellington died before he finished Kings, and his son, Mercer, completed the piece. 

(Up against the night's competition, Souvenirs, Op. 28 by Samuel Barber (1910-1981) was a trifle uninteresting.)

All this served to build anticipation for the night's climax, the debut of Ellington's Harlem ballet, commissioned by the NSO and the Kennedy Center.

New Ballet Ensemble dance Harlem with the National Symphony Orchestra at the John F. Kennedy Center for the Performing Arts/Photo by Scott Suchman

Dressed in Sunday clothes for Harlem's streets (except for one lass wearing a long dress who may have just stepped off the train from Kansas), the young performers exuded confidence and grace that belied their years and made viewers aware of their futures as career performers.

The choreography had some gaps, namely, the frequent freezes-in-positions which left the majority of the nine dancers stationary and motionless while one, two, or three colleagues twirled around them.  The ballet was far more enjoyable when all nine danced, like the old-fashioned way.

I wondered what a Porgy and Bess ballet would be like and discovered the Dallas Black Dance Theatre brought it to the Kennedy Center in 1998.

The combination dance and music series continues this weekend with compositions by John Adams and Aaron Copland and performances by violinist Leila Josefowicz and Jessica Lang's Dance Company.

This summer will find Maestro Wilkins, a Norfolk, Virginia native, in the area again when he conducts the NSO at Wolf Trap August 2 with guest artist, Yo-Yo Ma.  At last check, only lawn spaces remained.  Take your back brace.

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Free trumpet and organ concert May 7 at St. John's, Lafayette Square

A. Scott Wood

A finalist in the International Trumpet Guild Solo Competition in London and the organist at St. John's Episcopal Church, Lafayette Square, will present an Easter concert on Wednesday, May 7, at the church, and the public is invited to attend at no charge. 

Performing will be A. Scott Wood on the trumpet and organist Benjamin Hutto, the director of music ministry at St. John's.  Both serve on the faculties at St. Albans and National Cathedral schools.  Mr. Wood is the conductor of several local orchestras including the Arlington Philharmonic and the Amadeus Orchestra, and he is assistant conductor of the Fairfax Symphony Orchestra.

Benjamin Hutto

Mr. Hutto was named a Fellow of the Royal School of Church Music in 1998 and was president of its North America chapter for seven years. He has served as president of the Association of Anglican Musicians, and several of his works are found in The Hymnal 1982 of the Episcopal Church. 

St. John's hosts First Wednesday concerts every month from October through June at 12:10 p.m. The last program of the season will be June 4 when organist Alan Morrison shall play.

St. John's Episcopal Church, Lafayette Square/By Patricia Leslie

Well known as the yellow church at Lafayette Square and the “Church of the Presidents,” St. John's was founded in 1815. President James Madison, who served as president from 1809 to 1817, began a tradition for all presidents who have attended and/or joined St. John's. A plaque at the rear of the church designates the Lincoln Pew where President Abraham Lincoln often sat when he stopped by St. John's during the Civil War.

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Who: Benjamin Hutto, organist, and A. Scott Wood, trumpeter

What:  First Wednesday Concerts
 
When: 12:10 p.m., May 7, 2014

Where: St. John’s, Lafayette Square, 1525 H Street, NW, at the corner of 16^th and H, Washington, D.C. 20005

How much: No charge

Duration: About 35 minutes

Wheelchair accessible

Metro stations: McPherson Square, Farragut North, or Farragut West

Food trucks: Located two blocks away at Farragut Square

For more information: Contact Michael Lodico at 202-270-6265, Michael.Lodico@stjohns-dc.org.

Patricialesli@gmail.com

An art party at the Embassy of Austria

Myra Maslowsky was one of the featured artists at the Roger Nakazawa Art Reception at the Embassy of Austria. Her Spiritual Journey can send a viewer into her own kaleidoscopic venture/Photo by Patricia Leslie

 

It took only a few seconds to consider a response to the Embassy of Austria inviting me to an art auction, wine bar, hors d'oeuvres, and diplomats, all for $29 with a third of the art sales to benefit Charlie's Place, a homeless service center which has assisted clients in the Dupont Circle area for more than 20 years. 

Yes.

Hosting the event on Friday evening was Roger Nakazawa, the major sponsor, for whom the reception was named.  Other sponsors were the embassy and Summit Connection, LLC.  Andreas Pawlitschek, the embassy's counselor for cultural affairs, welcomed guests.  Bruce McBarnette was the producer.

Registration at the Roger Nakazawa Art Reception at the Embassy of Austria/Photo by Patricia Leslie

Seven artists brought their paintings, drawings, watercolors, photographs, and sculpture to describe, sell, and discuss with attendees.  One, Myra Maslowsky, the curator for the show and a University of Maryland graduate, focuses her sci-fi influenced designs on global warming, the Earth, and what appeared to be Utopia.

She exhibits at Washington galleries and her Party Animal Project was selected by the Smithsonian's National Air and Space Museum for display there.

Myra Maslowsky talks about her Cold Winds and Jack Frost at the Roger Nakazawa Art Reception at the Embassy of Austria/Photo by Patricia Leslie

Other artists who participated and whose names are familiar to Washington art enthusiasts were:

Eloy Areu, a self-taught sculptor from Cuba and the U.S., formerly an aerospace engineer

Eloy Areu was a featured artist and sculptor at the Roger Nakazawa Art Reception at the Embassy of Austria.  He brought along paintings, watercolors, and aluminum sculptures he designed and made/Photo by Patricia Leslie

Phil Bolles,  a D.C. photographer and filmmaker who trained at the NYU's Tisch School of the Arts, the BBC, and Duke University
 
Stephanie Glover, a photographer from Hagerstown Maryland who began her career taking pictures of her four children.  She is a full-time student at Frostburg State University.

Katie Ikeler, a Washington, D.C. artist and recent graduate of William and Mary whose president has three of Ms. Ikeler's works in his private collection. Ms. Ikeler uses handmade box dioramas for her pastels, and for her oils, a palette knife.

Donna L. Shields, a portrait artist and graduate of the University of Maryland, draws people and animals. 

Donna L. Shields of Germantown, Maryland, was another featured artist at the Roger Nakazawa Art Reception at the Embassy of Austria/Photo by Patricia Leslie

Norman Strike, a Washington self-taught printer and picture framer whose prints are in the collections of the Library of Congress, the National Museum of Women in the Arts, the Corcoran Gallery of Art, and the Baltimore Museum of Art.  In 2007 the National Museum of American History bought Ben's Chili Bowl by Mr. Strike.

Also on hand was Gail Romiti, face reader. 

At the Roger Nakazawa Art Reception at the Embassy of Austria/Photo by Patricia Leslie

 

It pays to get out...and get early notices for other happenings, like the EU Open Embassies Day from 10 a.m. to 4 p.m. May 10 with free shuttles and admission, homeland treats to drink and eat, ambassadors to meet. 

Click here for the schedule of events on May 10 at the Embassy of Austria.

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Vienna Theatre's 'Willy Wonka' wows the town

From left, Melissa Handel, Faith Skeen, and Mia Parnaby are Oompa-Loompas who follow the orders of Sedrick Moody as Willy Wonka, in Vienna Theatre Company's Roald Dahl's Willy Wonka The Musical which runs through May 4, 2014/ photo by Jessica Sperlongano

The family that plays together stays together, and laugh and enjoy they will at Vienna Theatre Company's Roald Dahl's Willy Wonka: The Musical now on stage at the Vienna Community Center.

It's the story of a poor boy, Charlie Bucket (excellently played by Adam LeKang) who lives with his impoverished family, so destitute that Charlie's four grandparents have to sleep together in one bed. (Why their bedroom remains on stage throughout the first act is perplexing.)

How would you like to sleep every night with your four grandparents in a single bed?  They do in Vienna Theatre Company's Roald Dahl's Willy Wonka The Musical which runs through May 4, 2014 at the Vienna Community Theatre. From left are Bob Maurer (Grandpa Joe), Toby Nelson (Mrs. Bucket), Nora Zanger (Grandma Josephine), Emily Franks (Grandma Georgina), Adam LeKang (Charlie Bucket), and Joseph LeBlanc (Grandpa George)/Photo by Jessica Sperlongano

Near their falling-down house is a chocolate factory which Charlie's Grandpa Joe (Bob Maurer is quite funny and believable) often describes in stories he tells his grandson.  (But it is Joseph leBlanc as Charlie's hard-of-hearing Grandpa George who has the best lines.)  The chocolate factory is owned by the mysterious and magical Willy Wonka (performed with sophistication by Sedrick Moody).

One day Willy Wonka announces a big contest with global ramifications since five winners will be chosen from around the world to compete and take a tour of Willy Wonka's chocolate factory with the grand prize to be...a lifetime supply of chocolate.

(How delish! If you could wish for anything, would it be a lifetime supply of chocolate? Me, too.)

The winners are to be determined by finding Golden Tickets inside candy bars.  Imagine!  What better reason to gorge your way out of house and home than by eating chocolate bars to find a ticket? (Has General Mills tried this with Cheerios?)

If Charlie did not find one of the Golden Tickets, this story would stop too soon. 

For the grand prize he has to compete with the other winners who are horrid children who treat their parents like children: a gum chewer (Violet, adoringly performed by Kaia Griggs), a spoiled brat (Amelia Lindsey is Veruca Salt), a boy named Augustus Gloop (Erik Peyton) and another one by the name of Mike Teavee (Tashi Poe).  Can you guess what their specialities are?

Then there is "plain ole" Charlie, and guess who wins. You have to see the play to find out, but I will tell you that Willy Wonka gives glorious tours of his factory and strange things happen to the "tourists."  Funny things. Well-deserved things. Like meeting Willy Wonka's workers, the Oompa Lompas who are dressed like giant M and Ms in various colors. 

Costume designers Judy Whelihan and Kati Andresen assisted by Francoise Davis created the smashing outfits with wiiiide waistlines for the Oompa Loompas. Their faces are heavily endowed with globs of makeup which must take hours to apply (by Erica Longshore), and their hair styles (by Jocelyn Steiner, also the show's producer) will throw you for oompa loompas.
 
In the show Willy Wonka frequently waves his magic hand with spread out fingers like the spokes on a bicycle, and the solo sounds of what sounded like the strings of a harp matched his movements, except there was no harpist among members of "Music Village" who provided welcome music:  Larry Zimmerman, Francine Krasowska and Beth Atkins on keyboards, Kristina Westernik, violinist, and Abel Ruiz, percussionist.

Choreography by Rossyln Fernandez for many different ages, some of whom may never have had a dance lesson, was striking and happily made a part of almost every scene.

Nobody stole the show (except for, maybe, Grandpa George's lines) but Mr. Moody's voice stood out with its breadth and strength followed by the singing of Daniel Marin as the Candy Man. 

Other members of the cast are Emily Franks, Nora Zanger, Alex Graur, Toby Nelson, Kimberly Baker, Melissa Handel, Hannah Hess, Mia Parnaby, Kyla Poe, Faith Skeen, Kathryn Skeen, and Wayne Jacques.

Jessie Roberts, the director, with assistance from Ms. Krasowska, Ms. Atkins, Mr. Zimmerman, Ms. Steiner, Scott Richards, and Colleen Stock, the stage manager, was able to pull off a musical...without a music director.  Applause!

Other key Wonka crew members are Tom Epps, lighting designer, Jon Roberts, sound, Janice Zucker, vocal coach, Leta Fitzhugh, sets, and Suzanne Maloney, properties.

Willy Wonka's got so much action and dance even the fidgetiest child (or adult) will not cry for chocolate at intermission (which happens to be available for purchase). On Saturday night the show was (or close to) a sell-out with children younger than 14 filling about half the seats.

There are few community events more enjoyable than a production with many local children starring in it, and Willy Wonka fits that playbill. 
 
For a listing and reviews of other area performances, click DC Metro Theater Arts.

What:  Roald Dahl's Willy Wonka: The Musical

When:  May 2 and 3 at 8 p.m., and  May 4 at 2 p.m.

Where: Vienna Theatre Company,120 Cherry Street, Vienna, VA 22180

Tickets: $14

For more information: 703-255-6360 or visit the website

Duration: About two hours with intermission
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Young troupe rescues 'Two Gentlemen of Verona'

Emily Young is the maid, Lucetta, and Jessie Austrian is her mistress, Julia, in William Shakespeare's Two Gentlemen in Verona, now on stage at the Folger Theatre through May 25, 2014/Photo by Theresa Wood

In the first act, they needed help. 

It's the script which is not quite as lively as throwing torn love letters up in the air with feverish frequency like the action in Folger Theatre's latest William Shakespeare production, Two Gentlemen of Verona, but it's all in good fun.

Zachary Fine is Valentine walking through one of the many letter showers in William Shakespeare's Two Gentlemen in Verona, now on stage at the Folger Theatre through May 25, 2014/Photo by Theresa Wood

The performers who bring what is generally considered the playwright's weakest (and perhaps his first) play to life with delight are the six-members of New York's Fiasco Theater, mostly graduates of the Brown University/Trinity Rep theatre arts program (with an outlier from the University of Tennessee) who launched their own company when they could not find jobs.  And what a happy ensemble it is.

Sweet are the uses of adversity,
Which, like the toad, ugly and venomous,
Wears yet a precious jewel in his head

And that was before.

In multiple articles the New York Times has praised the mastery of the New York City teachers and actors who make their debut in Washington with the smallest cast of any Shakespeare play .

Two Gentlemen is deemed a comedy and in two scenes, the actors had to take a few seconds to regain composure. Andy Grotelueschen stifled laughter when he briefly appeared as a maid in appropriate garb and matching cap which contrasted nicely with his thick red beard and made the audience howl. 

He's a maid? Andy Grotelueschen has multiple roles in William Shakespeare's Two Gentlemen in Verona, now on stage at the Folger Theatre through May 25, 2014/Photo by Theresa Wood

Grotelueschen is one of three who have multiple roles. Emily Young is Sylvia (pursued by the "two gentlemen") and Lucetta, who is maid for Julia (Jessie Austrian, also the co-director), who is the (temporary) love of one of the two gentlemen, Proteus (Noah Brody) who becomes the subject of ridicule by his best friend, Valentine (Zachary Fine) who mocks Proteus for being blinded by love of Julia and neglect of his own worldly pursuits.  Say what?

Says Proteus:

I leave myself, my friends and all, for love.
Thou, Julia, thou hast metamorphosed me,
Made me neglect my studies, lose my time,
War with good counsel, set the world at nought;
Made wit with musing weak, heart sick with thought.

(Does any of this sound familiar? If not, forsooth and alas, you have never experienced love.)

Haunted by Valentine's words, Proteus follows Valentine to Milan where Proteus becomes enchanted with thoughts of capturing his best pal's gal, Sylvia. But her father, the Duke (Paul L. Coffey), has other ideas and wants Sylvia to link with the wealthy but undesirable Thurio (Grotelueschen).  Suspicious of a relationship between his daughter and Valentine, the Duke keeps Sylvia locked in a tower to thwart ambitions not his own.

Valentine tells Proteus he intends to climb a ladder to free Sylvia from the tower, but Proteus betrays Valentine and squeals the plan to the Duke who banishes that unwanted suitor.

So much for love and friendship.  Which comes first?

Best friends forever are Valentine (Zachary Fine), left, and Proteus (Noah Brody) in William Shakespeare's Two Gentlemen in Verona, now on stage at the Folger Theatre through May 25, 2014/Photo by Theresa Wood

Meanwhile, Julia dresses up like a boy (it is Shakespeare) to spy on Proteus in Milan and find out what's going on.

She dreams of him that has forgot her love;
You dote on her that cares not for your love.
'Tis pity love should be so contrary;
And thinking of it makes me cry 'alas!'

If this sounds confusing, it is Shakespeare.  (It is always advantageous for us non-Shakespeare scholars to read ahead to gain some knowledge of who does what, to whom, where and when. And is there money involved?) 

The ending is happy, and all is well that ends well.

It is not a long play, lasting just about two hours with intermission.

The set is slim to almost non-existent (increasingly favored by the critics, it seems), and the characters never disappear but exit the wooden semi-circular stage to a slightly lower level where they sit in strategically placed chairs at 9, 10, 12 and 3 o'clock positions and watch the action or play the guitar, banjo, cello and other instruments, adding welcomed period ambiance to the play.  And they pull props for the next scene from large baskets which straddle their seats.  (James Kronzer is scenic designer.)

There are no costume changes other than additions or removals.  Designer Whitney Locher dresses the men mostly in F. Scott Fitzgerald beiges and whites with vests and spats (indeed, Mr. Fine does suggest Mr. Fitzgerald with his sleek hair), and Ms. Young wears a simple, cream-colored dress with appliques (Kate Middleton would love) which works well when covered by an apron and a maid's cap on her head when Lucetta is speaking, and shed when she becomes Sylvia.  

Ms. Young's transition from one character to another mirror the effective changes the other actors make.  (Coffey is also Speed, Valentine's servant, and Grotelueschen, Lance or Launce (both are used) who works for Proteus.)  That the quality of acting is excellent is expected and realized.

It is hard to grasp that a "weak" Shakespeare exists, but for all the playwright's aficionados in the land, this is one they'll mostly love, like the Fiasco members whose exuberance is palpable and easily transfers to the audience (after the first act).

O, how this spring of love resembleth
The uncertain glory of an April day,
Which now shows all the beauty of the sun,
And by and by a cloud takes all away!

Ben Steinfeld co-directs, and Tim Cryan is lighting director.

After they complete Two Gentlemen, Fiasco performs Cymbeline at the Folger from May 28 through June 1.

What:  Two Gentlemen of Verona

When: Now through May 25, 2014

Where: Folger Theatre, 201 East Capitol Street, S. E. Washington, D.C. 20003

Tickets: $40 - $72 with discounts for groups, students, seniors, military, and educators

Metro station: Capitol South or Union Station

For more information: 202.544.7077 or 202.544.4600

Other Two Gentlemen events at the Folger are:

Pre-Show Talk
Wednesday, May 7, 6:30 p.m.
A scholarly discussion of the play with Folger Director Michael Witmore and a light fare reception. Click here for more information and to purchase tickets ($15).

Post-Show Talk with Cast
Thursday, May 8
Following the 7:30 p.m. performance

Folger Friday
Friday, May 9, 6 p.m.
Poets Michael Gushue and Regie Cabico respond to the play with original works.  Free

James Shapiro, Shakespeare author and scholar
Monday, May 12, 7:30 p.m.
Shapiro will discuss his newest book, Shakespeare in America, with a reception to follow ($15).

Open-Captioned
Sunday, May 18, 2 p.m.
The box office has details (202.544.7077).

Special Preview Screening
Monday, May 19, at 7 p.m.
Still Dreaming, the story of a remarkable version of A Midsummer Night’s Dream staged by Fiasco directors Brody and Steinfeld and a lively group of elderly entertainers from New Jersey’s Lillian Booth Actors Home. Reserve here ($20).

Exhibition in the Great Hall
Now through June 15
Shakespeare's The Thing, an exhibition in celebration of his 450th birthday which demonstrate his influence on the visual arts, performance and scholarship.

For more area productions and reviews, check out DC Metro Theater Arts.

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A fete to remember: the 30th Annual Helen Hayes Awards

At the 30th Helen Hayes Awards April 21, 2014 at the National Building Museum/Photo by Patricia Leslie

There was a big party goin' on. 

Attendees may well have talked while presentations were made, but it was such a good (make that great) party,  and we could hear the winners' names and their brief acceptance talks, so why halt a good time to hear people talk from a microphone?  Besides, they were so far away.

The bars overfloweth with more than water at the 30th Helen Hayes Awards April 21, 2014 at the National Building Museum/Photo by Patricia Leslie

It was a coat of snake skin and tiger with a matching yellow bow tie at the 30th Helen Hayes Awards April 21, 2014 at the National Building Museum/Photo by Patricia Leslie

At the 30th Helen Hayes Awards April 21, 2014 at the National Building Museum, where were the men?/Photo by Patricia Leslie

Well, maybe next year, at the 30th Helen Hayes Awards April 21, 2014 at the National Building Museum/Photo by Patricia Leslie

It's our party and we'll talk if we want to,
Talk if we want to,
You would talk, too,
If it happened to you.

Sweet nothin's at the 30th Helen Hayes Awards April 21, 2014 at the National Building Museum/Photo by Patricia Leslie

Big screens everywhere at the 30th Helen Hayes Awards April 21, 2014 at the National Building Museum/Photo by Patricia Leslie

At the 30th Helen Hayes Awards April 21, 2014 at the National Building Museum, where were the men?/Photo by Patricia Leslie

Stationed at the food tables. At the 30th Helen Hayes Awards April 21, 2014 at the National Building Museum/Photo by Patricia Leslie

A blurry bar at the Helen Hayes Awards April 21, 2014 at the National Building Museum/Photo by Patricia Leslie

It was the night of Washington's Oscars, the annual Helen Hayes Awards (judges are listed here) hosted for the first time at the National Building Musuem all decked out in finery with a big, loud band, efficient registration to accommodate thousands with almost no waiting,  an apt, energetic, and ample wait staff which swooped up every dish languishing for more than 15 seconds, and short bar lines whose length grew with the night. 

He and Kramer may have the same hairdresser.  At the 30th Helen Hayes Awards April 21, 2014 at the National Building Museum/Photo by Patricia Leslie

At the 30th Helen Hayes Awards April 21, 2014 at the National Building Museum where he's looking at a big screen, and she's getting ready to ditch the panty hose?/Photo by Patricia Leslie

"Ahoy, mate!  I've lost my date!" At the 30th Helen Hayes Awards April 21, 2014 at the National Building Museum where the fountain ceased to flow during presentations/Photo by Patricia Leslie

The two intermissions seemed longer than 20 minutes each, but the open bars (until 10:30 p.m.) and mac and cheese (could have stood a bit more flavoring) and chicken bar-b-cue (equivalent to that found in Mumphis (sic)), heaping salmon, and excellent champagne, with popcorn (? a bit too salty) made for a tasty affair catered by Occasions.

In attendance were parents, actors, musicians, press, theatregoers, directors, managers, you name it and why not throw in a member of the U.S. Congress? 

Love between the chicken crepes and the big golden column.  Hey, isn't that U.S. Congressman James Moran (D-VA) at the 30th Helen Hayes Awards April 21, 2014 at the National Building Museum? Photo by Patricia Leslie

Indeed it was the good Congressman James Moran taking up a new seat and relinquishing his old one on Capitol Hill at the 30th Annual Helen Hayes Awards April 21, 2014 at the National Building Museum. Projected retirement certainly bodes well for the congressman who looked rested and happy partying with theatregoers rather than Capitol Hill naysayers/Photo by Patricia Leslie

At the 30th Helen Hayes Awards April 21, 2014 at the National Building Museum/Photo by Patricia Leslie

And you just thought Sinatra was dead.  At the 30th Helen Hayes Awards April 21, 2014 at the National Building Museum/Photo by Patricia Leslie

At the 30th Helen Hayes Awards April 21, 2014 at the National Building Museum mobile devices were out/Photo by Patricia Leslie

"Now, darling, your turn will be next year." At the 30th Helen Hayes Awards April 21, 2014 at the National Building Museum/Photo by Patricia Leslie

He is over at the fountain looking for you at the 30th Helen Hayes Awards April 21, 2014 at the National Building Museum/Photo by Patricia Leslie

Tired feet and $5 got you comfy slippers at the 30th Helen Hayes Awards April 21, 2014 at the National Building Museum/Photo by Patricia Leslie

Stargazers at the 30th Helen Hayes Awards April 21, 2014 at the National Building Museum/Photo by Patricia Leslie

Joseph came, too, for the 30th Helen Hayes Awards April 21, 2014 at the National Building Museum.  Overall, the costumery was sedate and much more conservative than one might have expected for the theatre community, but this is Washington, D.C. Nominees wore small flashing multi-colored stars on their lapels/Photo by Patricia Leslie

At the dessert bar at the 30th Helen Hayes Awards April 21, 2014 at the National Building Museum/Photo by Patricia Leslie

 

They looked real at the 30th Helen Hayes Awards April 21, 2014 at the National Building Museum/Photo by Patricia Leslie

In good humor the trio of Sam Ludwig, Rachel Zampelli, and Ashleigh King sang right off the stage any speaker who talked longer than 30 seconds, including Linda Levy, the president and CEO of theatreWashington, the event's host.

And the winners were... all those in attendance, and the award recipients were... right here. 

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Olney's 'Island' is non-stop dance and song

Aisha Jackson, left, and Theresa Cunningham star in Olney Theatre Center's Once On This Island/photo by Stan Barouh

The costuming by Helen Huang In Olney Theatre Center's new production, Once On This Island, threatens to upstage it all.  

Skirts made of reflective recycled plastic and tie dye make a splash in shirts, vests, and shorts.  Long dresses with handkerchief hemlines, and colored plastic strips follow the female dancers wherever they go.

Blue cellophane becomes a god's robe, silver painted cardboard makes cool royal vestments, and bottle caps decorate head pieces.

Raindrops made of long silver icicles, twittering parrots and umbrellas from colorful plastic bag pieces, and...

OK, enough already about costuming. What's the story? 

While members of the audience find their seats before the show starts, the cast drifts in with abandon, casually alighting on stage until Jeff Dorfman's thunder suddenly stops all action with a loud clap, lights go out, flash, and then... silence.

Let the show begin.

The musical is a story about a young girl frightened by a storm who hears the story of Ti Moune, an orphan adopted by an old couple who watches over time as their new child grows into a beautiful young woman. In the eternal love story, set in a nameless Caribbean land (but adapted from Haiti and Jamaica, according to program notes), she falls for Daniel (Eymard Cabling) from across the way whose high place in society endangers their relationship. Ti Moune's ability to weather her station and accept or deny her fate unfolds. 

Once stars nine-year-old Ariel Cunningham as a young Ti Moune (alternately played by Shelby Renee Fountain) in her first theatre performance where Ariel easily captures attention whenever she is on stage, looking wonderingly at her playmates and flying around the scenes with the speed and confidence of Peter Pan. 

In one excellent transformation Ti Moune dashes off the stage, and returns immediately, several years older in the role continued by the lovely and sincere Aisha Jackson. 

To be or not to be an opera, or light opera, since the vocals are all sung and accompanied by marvelous dance (with choreography by Darren Lee), especially by Ms. Jackson in a solo piece where she becomes a twirling jazzerina in a white plastic gown under a spotlight, a scene which contrasts effectively with the darkened stage.

Aisha Jackson in Olney Theatre Center's Once On This Island/photo by Stan Barouh

Under the direction of Darius Smith, the six member orchestra plays Stephen Flaherty's Caribbean island music practically non-stop. Lots of samba, an electric keyboard, and percussion dominate. That the singers' harmonies in duets and trios make the best music of the night is no surprise.

An unexpected and well received shadow story provides a glimpse of Haitian history and the French occupation.

The lighting by Marc Hurst is an outstanding aspect of the show, and Milagros Ponce de Leon's scenic designs change the backdrop skies from blue to dark with a full moon and a glowing red whenever the Demon of Death (James T. Lane) makes his appearance. (With an evil, wide smile, gear, and spread feet in a perpetually threatening stance, Lane's devil is the most realistic demon one would never hope to meet.)

Clever designs transform a handheld skateboard with big lights on its bottom into a car which Daniel "drives" fast around the stage. Standing cots with chains become big iron gates which clang shut to keep the peasant girl out of the kingdom.

Once is part of Olney's family series but billed for children over age five.  Action and energy keep the young (and old) enthralled throughout, if the story is hard to follow at times. It played on Broadway from 1990 to 1991 and received eight Tony Award nominations.

Jason Loewith, Olney's artistic director, said he chose the play because of its stories of rebirth, forgiveness, and love, especially poignant at this time of year  

At the Olney all the characters are African Americans with exception of Mr. Cabling who is Asian.

Others stars are Theresa Cunningham, Fahnlohnee Harris-Tate, Wendell Jordan, Kellee Knighten Hough, Nicholas Ward, Duyen Washington, Stephen Scott Wormley,Jessica M. Johnson, and David Little. 

Sesame Street's Alan Muraoka directs.

Lynn Ahrens wrote the books and lyrics, basing her tale on the novella, My Love, My Love, by Trinidad's Rosa Guy (1925-2012) who used The Little Mermaid by Hans Christian Anderson (1805-1810) for foundation.

Herewith, a Helen Hayes nomination:

Outstanding Costume Design, Resident Production:  Helen Huang, Once On This Island

What: Once On This Island

When:  Now through May 4, 2014 with evening and matinee performances

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

How much: Tickets start at $32.50 with discounts for groups, seniors, military members, and students.

Parking: Abundant, free, and on-site

Duration:  About 90 minutes with no intermission

For more information: 301-924-3400

For more area productions and reviews, check out DC Metro Theater Arts.

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