'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, $52. 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

 

 

 

 

Last weekend to steak out a Renaissance artist at the National Galley of Art

     

"Come in to my abode, my pretty, and see what jewels I have to show you." One of Vittore Carpaccio's dragons, considered to be the devil.

Vittore Carpaccio, Saint George and the Dragon and Four Scenes from the Martyrdom of Saint George (detail), 1516, oil on canvas, Abbazia di San Giorgio Maggiore, Benedicti Claustra Onlus, Venice

The first retrospective exhibition ever held outside Italy of a Renaissance artist's paintings and drawings will close Sunday at the National Gallery of Art.

Because few museums in the U.S. can boast of having any of his works, the name of Vittore Carpaccio (c.1460/1466–1525/1526) is unfamiliar to most Americans who more likely recognize his surname, chosen by a Venetian restauranter in 1963 for a special dish he cooked up for an ill countess.

Based on the artist's unique reds, the cook anointed  his special dish of raw meats, "steak carpaccio."

Vittore Carpaccio, Portrait of a Woman Holding a Book, c. 1500-1505, Denver Art Museum Collection, gift of the Samuel H. Kress Foundation

The National Gallery show has mounted a glorious show of 45 paintings and 30 drawings by Carpaccio, a native Venetian, who made them for societies, churches, and wealthy families.

He painted large, colorful religious scenes from Bible chapters, and for individual patrons, his works were mostly secular, all in the era's style of flat faces, mostly lacking expressions (except when it comes to bored women).

For the wealthy, Carpaccio's figures are, naturally, dressed in the finest fashions of the day.

Carpaccio made several portraits which included women with books, which is commendable that patrons wanted him to paint subjects in intellectual pursuits, however, most women then didn't read to gain knowledge per se but to learn how to teach their children how to read. 

Wealthy families hired tutors to educate their daughters.  

Carpaccio's characters occasionally hint at a smile as in Portrait of a Woman Holding a Book, above, compared to Leonardo da Vinci's Mona Lisa, whose mouth is more flirtacious than Carpaccio's Portrait. I suppose one must strain to catch a glimmer of a smile in Carpaccio's Woman, but my imagination permits me to see one because I want to see one. Rather like hearing what you want to hear other than what is really said. 

Since the two Italian artists lived about the same time [da Vinci, 1452-1519], might they have been trained in the same school?

Vittore Carpaccio, Two Women on a Balcony, c. 1492/1494, Fondazione Musei Civici di Venezia, Museo Correr,  Venice.This work has been reunited with its partner, Fishing and Fowling on the Lagoon, c. 1492/1494, from the J. Paul Getty Museum. Both were painted on the same wooden panel and believed to have been part of a folding door at a Venetian palace.  In the 1700s, the works were split in two but reunited to introduce the exhibition. The forlorn, sculpted women wait patiently on their husbands who are out fishing. (More than 500 years later, things remain the same.) 

Vittore Carpaccio, A Young Knight, 1510, Museo Thyssen-Bornemisza, Madrid. This is a large painting, filled with symbols. Pick them out before you check the link

Another large painting is Carpaccio's The Martyrdom of the Ten Thousand Christians on Mount Ararat, 1515, loaned by the Gallerie dell'Accademia, Venice. It is based on the lives of the saints and 10,000 Christian converts killed by Romans and Muslims with whose empires Venice was engaged in conflict. Vasari mentions The Martyrdom in his 16th century Lives of the Most Famous Painters, Sculptors, and Architects.

Vittore Carpaccio,The Martyrdom of the Ten Thousand Christians on Mount Ararat, (detail) 1515, loaned by the Gallerie dell'Academia, Venice

Vittore Carpaccio, Allegorical Figure, (detail) c. 1498, private collection. She's probably "Virtue"; read below.

Vittore Carpaccio, Youth in a Landscape, (detail) c. 1498, Accademia Carrara, Bergamo. He is probably Hercules who weighs whether to follow "Virtue" (the woman above) or "Vice," pictured on another panel which is missing, and, of course, a woman. For all good Venetian fellows, Hercules chose "Virtue," laying the groundwork for them to follow.  A flowing landscape also connects these works, probably part of a chest. Giorgione was thought, originally, to have been the artist, according to the catalog. Until the 1930s, they were in a private Venetian collection, but the two female panels entered the New York art market in 1939 where "Vice" was swallowed up by...? And since absent from the public.  

Wherefore are thou, "Vice"?  To show up on "Antiques Roadshow"? Check your attic.  "Vice" looks like a twin of "Virtue" (disguised, per usual), looking in the opposite direction towards Hercules, according to an illustration found in the catalog.  "Virtue" and "Vice" originally appeared on either side of our hero, much like you see the morning "tee-hee" talk show hosts positioned on CNN and Fox.  Without a doubt, those producers studied Carpaccio to design their sets.

At the exhibition's exit,  one of Carpaccio's dragons bids "arrivederci" to departing guests. 

On the exhibition website, NGA’s John Strand writes Carpaccio drew his dragons smaller than imagination, likely because they could be more easily "defeated." Dragons were a symbol of the devil and Carpaccio makes them into scary creatures with the  teeth of daggers. 

Carpaccio is a favorite son of Venice which, at the turn of the 16th century, was a thriving marketplace, equivalent to New York City today and what was Hong Kong. The city looks forward to the artist's return March 18 to the Pacazzo Ducale, where his works will be on view through June 18, 2023.

A large catalog with 300 illustrations, many in color, has over 340 pages and is available in the shops, or it was. Since I now cannot find it, perhaps it's sold out and once seen, readers will understand why!

I nominate Susan Marsh and her team of book designers for the Academy Award in Book Covers for their magnificent choices of Carpaccio's, Two Women on a Balcony, c. 1492/1494, who grace the cover and look longingly towards the book's spine where, on the back cover, Carpaccio's men enjoy a sporting good time fishing and boating in Fishing and Fowling on the Lagoon, c. 1492/1494.

If you can't find the catalog, the National Gallery has plenty of other Carpaccio items for you to consider, ranging from prints, magnets, china, cards, and (the symbol of Venice) the Lion of St. Mark Corset Cuff Bracelet, made especially for NGA ($370, choice of red or blue with gold).

Valentines, anyone?

Peter Humfrey of the University of St. Andrews was the curator, in collaboration with Andrea Bellieni from the Museo Civici di Venezia and NGA's Gretchen Hirschauer.

What: Vittore Carpaccio: Master Storyteller of Renaissance Venice

When: Through February 12, 2023. The National Gallery hours are 10 a.m. - 5 p.m. daily.

Where: West Building, Main Floor National Gallery of Art, 6th and Constitution, Washington

How much: Admission is always free at the National Gallery of Art.

Metro stations for the National Gallery of Art:
Smithsonian, Federal Triangle, Navy Memorial-Archives, or L'Enfant Plaza

For more information: (202) 737-4215

Accessibility information: (202) 842-6905

patricialesli@gmail.com

A 'Full Monty' comedy in Vienna

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

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

It won't be my last.

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

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

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

 

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

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

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

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

We need it!

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

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

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

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

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

Hold tight for a wacky night in Vienna! 

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

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

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

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

What: Monty Python's Edukational Show

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

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

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

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

Audience: For teens and adults

Duration:  About 90 minutes plus one intermission  

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

patricialesli@gmail.com

 

Adieu (soon) to 'King Tut' at National Geographic

At the entrance to King Tut's simulated tomb at National Geographic/Photo by Patricia Leslie

History.com says the discovery of King Tut's tomb 100 years ago is "the greatest archeological find of all time," while Wikipedia calls it "the best-preserved pharaonic tomb ever found in the Valley of the Kings."  

And if you can't get to Cairo to see King Tut's tomb and all his worldly afterlife possessions, National Geographic has brought a semblance to you.

Inside Immersive King Tut at National Geographic/Photo by Patricia Leslie

Although the presentation lacks any artifacts, the tomb story is told in pictures, maps, video and recreations in another "immersive experience," but something is better than nothing, yes? 

Yes! 

A reproduction of the Dec. 12, 1922 page from the Times of London and its explosive pictures and articles upon the discovery of King Tut's tomb, pictured at National Geographic/Photo by Patricia Leslie

The entrance to King Tut’s tomb from a newspaper photograph at National Geographic/Photo by Patricia Leslie

An enlargement of the photograph of a luncheon party on site after the tomb was discovered, pictured in the London Times, Dec. 12, 1922. At National Geographic/Photo of a photo by Patricia Leslie

Some of the artifacts found in the King's antechamber, to help the King on the way to the afterlife. It took ten years to record all the contents. A photograph of a photograph at National Geographic/Photo by Patricia Leslie

It was 100 years ago that the tomb of King Tut (1342 B.C.E. - c. 1323 B.C.E.) was discovered and several times since then that millions of people have seen some of his funerary pieces which have traveled the globe (including Washington, the last stop here at the National Gallery of Art, 1976-1977).

Besides National Geographic, museums around the world are celebrating the centennial of the discovery of the tomb located with about 5,400 artifacts and undisturbed by evil intruders which spells its significance, the only Egyptian pharaoh's tomb discovered mostly intact, one grave robbers had not plundered, although some contents were damaged by humidity and dry conditions. 

At National Geographic/Photo by Patricia Leslie

At National Geographic/Photo by Patricia Leslie

At National Geographic/Photo by Patricia Leslie

At National Geographic/Photo by Patricia Leslie

King Tut became pharaoh when he was only nine years old, about the same time that he married his half sister. He died mysteriously about nine years later, perhaps of gangrene, the effects of a broken leg, or was it blood poisoning or something else?

The tomb's artifacts have permitted archaeologists to examine his life, that of other pharaohs, and the lifestyles of Egyptian royalty, leading to more questions and more research. 

Biography.com says the king accomplished little in his lifetime.  (But, in death..., oh my!)

At National Georgraphic a fascinating family tree is on a wall which shows King Tutankhamun's wife was also his half sister. King Akhenaten was the father of both. Inbreeding was common then/Photo by Patricia Leslie

The nine-foot high golden sarcophagus in King Tut's tomb held as many as eight coffins which nested one inside the other. This reproduction at National Geographic is similar in size to the actual one in Cairo/Photo by Patricia Leslie

A copy of King Tut's gold mask,  the most recognizable symbol of Ancient Egypt and weighing in at 22 or 25 pounds (depending upon your source), pictured at National Geographic/Photo by Patricia Leslie

At National Geographic all King Tut merchandise is priced at half off. Scarves, books, cups, and reproductions of period postcards are some of the products available/Photo by Patricia Leslie

The entrance to the National Geographic presentation starts in a closed "antechamber" with a pre-recorded introduction and film. Then, when the talking ends, a large door opens to reveal the beginnings of a cavernous, darkened hallway where visitors slowly wind their way on a a self-guided tour where wall displays tell the tomb's story. 

To add to the experience, rushing water sounds and funereal music fill the hallways to create a sense of underground hallowed spaces. 

Visitors have plenty of unlimited time to walk and read at  leisurely paces since large crowds were absent, at least when I was there, but more may come, the closer it gets to the ending date of February 6, 2023.

At the entrance to King Tut, National Geographic has free beautifully designed, 24-paged booklets in full color and in different languages about the tomb. The booklet informed me that a "water boy" was the actual discoverer of the tomb when during Howard Carter's sixth attempt to find King Tut, the boy made room in the sand to prop water jars upright and he found a step which eventually led to the tomb.

When I visited and descended into the tomb in 2017, no mention was made of the "water boy."

To ease navigation during the exhibition and for study of various scenes, National Geographic has available at no charge, portable, lightweight seats which guests may carry and use throughout the show.

Immersive King Tut has already traveled to many major American cities with more on the calendar. 

Cairo will "soon" exhibit the King's tomb and all its belongings when it opens its long-awaited Grand Egyptian Museum at the Giza pyramids, to be the largest museum in the world and  about five years behind schedule. 

(A note to the producers:  What I'd like to see:  Prince Harry's "Spare" as an immersive experience.)

 

What:  Beyond King Tut:  The Immersive Experience

When:  Daily through Feb. 6, 2023, 9 a.m. - 5 p.m. The last tickets are sold at 4 p.m. Allow about an hour.

Where:  National Geographic Museum, 1145 17th Street NW, Washington, DC, 20036

Tickets:  From $12 (children, ages 5 - 12) to $20 (adults) with $4 discounts for seniors, military, students, and educators. Children under age 5 are free. Discounts for groups of 20 or more. Same day tickets are not available online but may be purchased on site, subject to availability. 

For more information: (202) 857-7700.

Metro stations:  Near Farragut West and North, McPherson Square.

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