To prepare to see Hair at Firehouse Theatre, I watched a couple of reruns of “The Partridge Family.” If you are old enough to understand why, then you are also from the Love generation. If not, let the History teacher in me step out and give you a brief history lesson.

The late sixties was a time when America first really explored our collective way of life, our values and our morals. The duality is exemplified in the fact that it was the time of “The Partridge Family,” “The Brady Bunch” and “Mary Tyler Moore,” and also “Love American Style,” Woodstock, and the rock musical Hair. The Vietnam War raged on. College sit-ins, street protests and the military draft all became a part of the American way of life.

It is against this backdrop that Hair first appeared in 1968. Thin on plot, the musical focuses on songs — with over 30 of them shattering cultural norms of the time by discussing sex, drugs, race, religion and war. There is simulated drug use, sex and even brief nudity — all relatively mild in our current culture, but shocking in its time.

The script itself follows a group of hippies who call themselves “the tribe.” Their nominal leader, Claude (Matt Polson) is faced with the dilemma of whether to burn his draft card or go and fight in Vietnam.

The young and exuberant cast is filled with amazing vocal and dance talent. Polson’s pure voice and innocent demeanor carry the show well. Carolyn Meade’s powerful vocals open and close the show with strength. Nicklas Aliff displayed a strong voice and stage presence; however at times his vocals overpowered others when he sang in duets or trios. In this strong cast, I found myself repeatedly drawn to the emotional power Sasha Wakefield put in to every dance number, and the expressiveness Morgan Meadows face exudes every time she is on stage. Maura Burroughs was warm and sensitive as pregnant Mother Earth-like Jeanie.

Director Jase Smith has assembled a top-notch cast and uses the audience and Benjamin Burke’s minimalist stage well (actually the Firehouse removed the stage in lieu of some platforms and Oriental rugs on the floor). Nathan Wunderlich’s lights and Joey Luck’s sound add a great deal to the atmosphere (be prepared for lots of flashes and loud booms). At times it seemed either actors missed their lighting marks or lights weren’t quite set right, as performers stepped in and out of darkness, especially in whole cast numbers. Karl Green’s costumes are period appropriate and visually appealing. Starrene Foster’s choreography is visually exciting and energetic; however, at times it left some of the cast rather sweaty and breathless.

The history teacher in me must come back one more time to encourage those who remember the 60’s to come out and relive that time; and those who are too young to remember to come out and experience a two and a half hour acid trip of a show. You will leave with a tear in your eye, a smile on your face and will be humming the uplifting finale, “Let the Sunshine In.”

Photo Gallery

Photos by Laura Cliburn

The Cast

• Claude: Matt Polson
• Berger: Nicklas Aliff
• Sheila: Grey Garrett
• Jeanie: Maura Burroughs
• Dionne: Carolyn Meade
• Hud: Keydron Dunn
• Woof: Ian Page
• Chrissy: Morgan Meadows
• Dad, Principal, Margaret: Paul Major
• Mom, Hubert: Starlet Knight
• Ronny: Chloe Williams
• Steve: Austin Tate
• Walter: Cory Johnson
• Paul: ReShad Horton
• Suzzanah/Mary: Sasha Wakefield
• Emmaretta: Avia Fields

The Creative Team

Directed by Jase Smith
• Choreographer: Starrene Foster
• Music Director: Leilani Giles
• Costume Designer: Karl Green
• Light Designer: Nathan Wunderlich
• Set Designer: Benjamin Burke
• Sound Designer/Technical Director: Joey Luck
• Production Stage Manager: Nata Marconi
• Props Master: Katherine Wright
• Master Carpenter: Joshua Bennett

The Band

• PianoLeilani Giles
• Keys 2: Starlet Knight
• PercussionBentley Cobb, Jr.
• Lead GuitarGrant Oliver
• Bass Guitar: Joe Barry
• SaxophoneRon Fixx

Disclaimer: Firehouse Theatre Project provided two complimentary media tickets to ShowBizRadio for this review.

A director has many important choices to make, especially when taking on a classic play like A Streetcar Named Desire. It is hard to be innovative and different without being over the top and campy. Tawnya Pettiford-Wates utilizes many such innovative approaches in the Firehouse Theatre’s current production with mixed results.

In Streetcar, Blanche Dubois (Bianca Bryan) is a fading Southern Belle who is losing her charm as well as her family’s estate in Mississippi and her sanity. She is forced to stay with her sister Stella (Lauren Marie Hafner) and her husband Stanley Kowalski (Joseph Carlson) who she has never met, in their small two-room (actually one room divided with a curtain) New Orleans apartment. Stella and Stanley are Blanche’s polar opposites. Stella is down to earth and laid back as compared to Blanche’s histrionics. Stanley is simple, common, primitive and low-class.

The play is a study of man’s ability to inflict deliberate cruelty on one another. Tennessee Williams made a career of creating strong, yet fragile and unbalanced women.

Much of the strength of a production of Streetcar rests on the shoulders of the three principal characters and their interpersonal conflict. While Carlson is powerful, raw and believable as Stanley, Bryan tends to create more of a caricature than a character. Her Blanche is a bit of Blanche from “Golden Girls,” Eunice from “Mama’s Family” and Norma Desmond from “Sunset Boulevard.” Her strongest scenes are those with Carlson, where her nervous energy seems more realistic. Carlson and Hafner also create emotional and sexual sparks in the volatile chemistry between Stanley and Stella.

Going back to directorial choices; a live jazz band in the off-stage lobby area and vocals by Margarette Joyner are a nice New Orleans touch in Act 2 that are for some reason not used in Act 1. Joyner’s vocals are a show stopper.

Scene changes and sometimes background scenes are done in drawn out slow motion that starts out innovative, but due to overuse becomes distracting. By the second act, they make the three-hour show seem even longer. The final scene change contained what seemed like an eternity of watching the upstairs neighbor come in and sweep the floor.

Likewise, the back wall of the apartment is a projection screen, with often grainy black and white street scenes that seemed out-of-place, contrived and distracting. One final issue comes with the use of accents and dialects that under Dialect Coach Janet Rodgers vary from traditional southern to Bostonian to unidentifiable to Forrest Gump-ish.

On the more positive side, Edwin Slipek’s set is elaborate, intricate and well designed for the Firehouse’s small stage. It effectively portrays the tight quarters that create a hot and volatile setting. Andrew Bonniwell’s light design helps set the mood and focus the action. Devario Simmons’ costumes fit the period and help establish and develop the characters, although some of the men’s costumes seemed a bit ill-fitting.

Overall, Firehouse Theatre’s A Streetcar Named Desire makes for an interesting character study with a mixed bag of innovative touches and some strong performances.

Do be advised there is strong sexual content, live cigarette smoke and a couple of loud gun shots.

The Cast

• Blanche DuBois: Bianca Bryan
• Stanley Kowalski: Joseph Carlson
• Stella Kowalski: Lauren Marie Hafner
• Harold Mitchell (Mitch): Charley Raintree
• Eunice Hubbell: Anne Carr Regan
• Steve Hubbell: Bill Brock
• Maybell, Street Vendor, Jazz Singer, Nurse: Margarette Joyner
• Percy Delacroix, Street Vendor: Jeremy Morris
• Young Man, Doctor: Alexander Gerber

The Crew

• Director: Tawnya Pettiford-Wates
• Assistant Director: Brandon Rashad Butts
• Stage Manager: Sharon Gregory
• Production Manager: Annie Colpitts
• Set Designer: Edwin Slipek
• Lighting Design: Andrew Bonniwell
• Costume Design: Devario Simmons
• Sound Design/Technical Director: Joey Luck
• Projections Design: Nathan Wunderlich
• Assistant Set Designer/ Master Carpenter: Joshua Bennett
• Assistant Costume Designer: Casey Jones
• Props Master: Katherine Wright
• Dialect Coach: Janet Rodgers
• Light Board Operator: Tessa Hoerst
• Music Director: Andrienne Wilson

The Band:

• Saxophone: Trey Sorrells
• Bass: Justin Esposito
• Percussion: Joe Lubman

Disclaimer: Firehouse Theatre Project provided two complimentary media tickets to ShowBizRadio for this review.

The Elaborate Entrance of Chad Deity is both simple and complex. Even the title of Firehouse Theatre Project’s current show is simple and complex. It simply tells you that the show is about professional wrestling (ALA the elaborate entrances of classics like Hulk Hogan); yet it is quite a wordy and complex title for a play.

For the first act and a half it is a simple comedy; but it becomes more complex and turns into a drama for its final minutes.

The 2010 Pulitzer Prize finalist by Kristoffer Diaz tells the story of Macedonio “The Mace” Guerra (Axle Burtness) a Hispanic Pro-wrestler from New York City. He is one of those wrestlers who wait on stage and never get to beat the champions like Chad Deity (Josh Marin), who get to make the “elaborate entrances.” After meeting a charismatic Indian-American kid from Brooklyn,Vigneshwar “VP” Paduar (Mauricio Marces) he finally decides to take his fame and fortune into his own hands and create and manage a new arch nemesis for All American Chad Deity — The “Terrorist.” The duo become a mish-mash of every racial stereotype imaginable.

Director Kerry McGee’s show is perfectly cast, flawlessly executed and filled with non-stop action, laughter and entertainment. Burtness is energetic and totally likeable as the lynch-pin of the play and the one who narrates long sections. Marin and Marces are thoroughly believable, charismatic and commanding as the over-the-top rivals. Nicklas Aliff is loud, gruff and perfectly disagreeable as the head of the second-rate wrestling federation — the “T.H.E.” and James Long makes the most of multiple comic moments as various supporting wrestlers The Terrorist faces along the way. Together, all they work off of each other with expert timing and perfect comedic flair.

Geno Brantley’s lights and Joey Luck’s sound thoroughly enhance the production — especially during the “elaborate entrances” and high energy original rap numbers. Edwin Slipek’s set is authentic albeit smaller than a real professional wrestling stage, to fit the Firehouse’s stage (it totally took me back to the 1980’s when I took my first foster son to see WWF wrestling at the Glens Falls Arena in Upstate NY) right down to the springy trampoline like ring that makes the body slams and other moves seem so much bigger. Likewise, Starrene Foster’s costumes were spot-on.

Back to the simple yet complex theme, while Diaz’ script won many awards, I felt it became a bit heavy-handed in the final moments when it tries to bring its message across, causing an otherwise fast-moving play to slow down drastically. Also, while I understood those messages about the arbitrariness of nationalism, racism and our choices of what makes “good guys versus bad guys” I had a hard time seeing how this fits into the Acts of Faith Festival.

On another positive note my teenage son absolutely loved the play with its slick and modern themes, audience participation and multi-media visual effects. However, while lighthearted and fun, the play contains a great deal of strong language, so parents will need to choose carefully whether it would be appropriate for their teens.

The fast paced, action filled “hip” and humorous play is the perfect evening of entertainment for every teenage boy who loves professional wrestling, every man who is still a teenage boy at heart and every woman who loves them. I can see us “wrestling” in the future over which performers and members of the production staff might be receiving additional recognition.

Photo Gallery

Katherine Wright (Ring Girl) and Josh Marin (Chad Deity)	Mauricio Marces (Vigneshwar ‘VP’ Paduar) and Axle Burtness (Macedonio ‘The Mace’ Guerro)
Mauricio Marces (Vigneshwar ‘VP’ Paduar) and Axle Burtness (Macedonio ‘The Mace’ Guerro)

Photos by Andrew Bonniwell

The Cast

• Macedonio “The Mace” Guerra: Axle Burtness
• Everett K. “EKO” Olson: Nicklas Aliff
• Chad Deity: Josh Marin
• Vigneshwar “VP” Paduar: Mauricio Marces
• The Bad Guy, Billy Heartland, Old Glory: James Long
• Ring Girls: Arunima Abraham, Sasha Wakefield, Katherine Wright
• Ring Announcer: Chad Painter

The Crew

• Director: Kerry McGee
• Assistant Director: Phil Vollmer
• Stage Manager/ Light Board Operator: Nata Moriconi
• Production Manager: Annie Colpitts
• Set Designer: Edwin Slipek
• Assistant Set Designer/ Master Carpenter: Joshua Bennett
• Lighting Design: Geno Brantley
• Costume Design: Starrene Foster
• Technical Director, Sound Design and original music: Joey Luck
• Projections Design: Benjamin Burke
• Promotional Videography: James Long
• Props Master: Katherine Wright
• Directing Intern: Chelsea Burke
• Sound Board Operator: Tessa Hoerst
• Run Crew: Patrick Holmes, Katherine Wright
• Set Crew: Brian Hahl, Jimmie Lee Jarvis, Jackie Lowe, Weldon Smith, McKenzie Werner, Colleen Wooley

Disclaimer: Firehouse Theatre Project provided two complimentary media tickets to ShowBizRadio for this review.

After a long and tiring first full week back to teaching full-time, I was a little overwhelmed by so many shows opening this weekend in Richmond. However, I was also looking forward to them, and especially expected Firehouse Theatre Project’s production of The Wild Party to be a fun evening. Unfortunately, the show was neither wild nor much of a party.

The musical is an adaptation by Andrew Lippa based on poetry of Joseph Moncure March; whose writing was considered scandalous and sometimes even banned back in the 1920’s. But the world has changed, and although there is some strong sexual content and language, there is little that is shocking about The Wild Party. From start to finish, much of it is predictable and a bit repetitive.

Two 1920’s performers; Burlesque singer Queenie (Grey Garrett) and Vaudeville clown Burrs (Terence Sullivan) have a tempestuous and often violent and abusive relationship. Queenie decides to throw a “Wild Party” to get even with him during the 1920’s prohibition era. The remaining two and a half hours are filled with expository songs in a semi-operatic storytelling style; with little dialogue.

Director Jase Smith frequently has the actors perform as if this was the Vaudeville era; facing the audience and staying fairly stagnant. This is broken up with several vivacious dance numbers, which are greatly enhanced by masterful lighting effects from Andrew Bonniwell. Starrene Foster’s choreography is hit or miss, much like the rest of the show, as the small stage and varying abilities of the performers leave many of the numbers looking unbalanced, unsynchronized and awkward. Edwin Slipke Jr’s 1920’s apartment set is basic but authentic, with a large window frame used well to frame performers in various songs.

The greatest strength lies with the four principal performers involved in a love quadrilateral, who vocally make up for much of what was otherwise lacking. Sullivan and Garrett (who sizzles as a sensuous Marilyn Monroe-esque blonde bombshell) are joined by Josh Marin (Black) and Joy Marie Newsome (Kate) in most of the stand out numbers. Newsome especially infused life into the show with her glittery dress and even more dazzling singing and stage presence.

Carolyn Meade (Madeline True) also stood out with some of the only comedic moments that brought me beyond a giggle.

I should point out that audience response was very mixed. While several people I spoke to after the show agreed with my assessment, many others in the audience gave the performers a standing ovation. So I guess the best way I can close this is to say, go see the Wild Party for yourself and see which group you agree with.

Photo Gallery

Photos by Bill Sigafoos

Cast

• Queenie: Grey Garrett
• Buris: Terence Sullivan
• Kate: Joy Marie Newsome
• Black: Josh Marin
• Madeline True: Carolyn Meade
• Oscar: Andrew Dilday
• Eddie: David T. Zimmerman
• Mae; Brianne Chin
• Sam: Charley Raintree
• Max: Brian Baez
• Nadine: Sasha Wakefield
• Dolores: Anna Starnes
• Jackie: Egbert Vongmalatthong
• Neighbor: Jason Roop

The Production Team

• Director: Jase Smith
• Musical Director: Ben Miller
• Choreographer: Starrene Foster
• Production Manager, Promotional Videographer: Annie Colpitts
• Production Stage Manager, Light Board Operator: Sharon Gregory
• Assistant Stage Manager, Spot Light Operator: Tessa Hoerst
• Technical Director, Sound Designer, Sound Board Operator: Joey Luck
• Assistant Set Designer, Master Carpenter: Joshua Bennett
• Production Assistant, Scenic Painting Assistant: Christina Delli-Santi
• Spot Light Operator: Eric Brothers
• Props Master: Kiari Hicks
• Dramaturg: Alexander Gerber
• Backstage Crew: Katherine Wright
• Set Crew: Tessa Hoerst, Brian Yatsko, Kerriann Crosby, Kyle Mcclurgy, Ryan Miller, Cary Whiteside

The Band

• Piano: Ben Miller
• Percussion: Joe Lubman
• Bass: Mike Cruz
• Guitar: Joe Barry
• Reeds: Chris Sclafani

Disclaimer: Firehouse Theatre Project provided two complimentary media tickets to ShowBizRadio for this review.

September: the start of the new school year, the new football season and the new theater season in Richmond (as can be evidenced by my calendar which has four shows opening in the next two weeks).

The first of these shows that I am reviewing will be the most controversial. ‘Night Mother, which marks the official début of Jase Smith as the official Artistic Director at Firehouse Theater will unfortunately be missed by many in the Richmond area due to last season’s turmoil. I say unfortunately, because it contains two extremely strong performances by two of Richmond’s strongest actresses, Kimberly Jones Clark and Catherine Shaffner. The pair has set the bar high for other actresses in this new theater season.

Clark is Jessie, a severely depressed, unemployed, divorced epileptic, whose son is on the run from the law, her emotionally absent father has died, and she now lives an empty life with her widowed mother, Thelma.

The one-act play begins as Jessie asks her mother for her father’s old revolver. Once her mother tells her where to find it, she coolly reveals that she is planning on setting her affairs in order and killing herself that night.

At first, Thelma does not take her seriously, but as the evening progresses, Jessie not only cleans up their home, but the pair cleans up a lot of unfinished business between them. Thelma goes from dismissive (“People don’t really kill themselves”) to pleading with Jessie not to do it (“If you have the guts to kill yourself; you have the guts to stay alive.”) Having known too many people who have taken their lives, these are both extremely poignant statements.

The mother and daughter alternate between talking, arguing and bargaining. Each emotional level seems real and their portrayals feel multidimensional, believable and honest. Clark (who bears a strong resemblance to Edie Falco with her short blonde hair) is effective in bringing emotional depth to Jessie, with a calm exterior masking inner turmoil. Her distant gazes and blank stares are filled with pathos and emotion.

However, it is Shaffner whose powerful emotional climax tore at the audiences’ hearts and left few dry eyes in the intimate theater. Thelma’s matter of fact sarcasm and wit turn to a mother’s anguish on an extremely visceral level.

Director David Emerson Toney pulls all of the elements of Marsha Norman’s play together nicely, with excellent casting.

Margarette Joyner’s costume design is appropriate. There was not much for lighting designer Geno Brantley to do since the lights remain the same throughout the single scene play, but I found one choice odd — the use of a pink light in the attic crawl space. Edwin Slipek Jr.’s set is true to the characters and setting, with a fully functional kitchen that is pivotal in the business of the two characters. Joey Luck’s sound design includes audio that comes from an actual TV set.

Again, as a relative newbie to the Richmond theater community, I tread lightly when I say that if it does not go against your own strongly felt personal emotions, I strongly urge you to see two top quality emotional performances.

Photo Gallery

Photos provided by Firehouse Theatre Project

The Cast

• Jessie: Kimberly Jones Clark
• Thelma (Mama): Catherine Shaffner

The Crew

• Director: David Emerson Toney
• Assistant Director/Dramaturge/Properties Design: Jeannie Melcher
• Stage Manager: Nata Moriconi
• Assistant Set Designer/Master Carpenter: Joshua Bennett
• Set Designer: Edwin Slipek Jr
• Lighting Design: Geno Brantley
• Costume Design: Margarette Joyner
• Sound Design: Joey Luck
• Assistant Lighting Design: Nathan Wunderlich

Disclaimer: Firehouse Theatre Project provided two complimentary media tickets to ShowBizRadio for this review.

There are comedies. There are dramas. There are musicals. There are murder mysteries. Then there is POP! which combines all of these into one wonderful, unique, dynamic show.

POP! tells the true life story of who shot and nearly killed “Pop” artist Andy Warhol on June 3, 1968. Even those of us who are old enough to remember Warhol and know what happened can enjoy the ride in this Magical Mystery Tour trippy murder mystery.

Putting all the past few months’ controversy aside; the Firehouse Theater has made a wise choice in achieving their mission to bring to Richmond edgy contemporary American Theater. The Firehouse is only the fourth theater to take on this new musical with book and lyrics by Maggie-Kate Coleman and music by Anna K. Jacobs.

In order for the show to work, director Jase Smith had to find just the right Warhol; and he did in John Mincks. Mincks not only looks the part in his white-haired wig and glasses; he embodies Warhol’s persona, complete with Warhol’s understated speech patterns, dazed and confused demeanor and posed body language. I have a feeling someday, I will be watching the red carpet, pointing and saying: “That’s John Mincks, who got his start in Richmond!”

The show starts off with a bang — literally. Larger than life drag queen Candy Darling (Ian Stearns) then serves as the narrator, guiding us through the cast of characters who inhabited Warhol’s “Factory” art studio in the 1960’s. The entire cast is filled with some of Richmond’s best singers, who get to perform a wide range of song styles in this quirky musical.

The group is also introduced by Darling as the suspects in the shooting. There is Edie Sedgwick the “It Girl” (Grey Garrett), Viva the intellectual (Christie Jackson), feminist activist outsider Valerie Solanis (Audra Honaker), and drug addled associates Gerard Malanga (Evan Nasteff), and Pope Ondine (Axle Burtness). Gerard and Ondine double as detectives, trying to “solve the case” who are one part Starsky and Hutch and one part Scooby Doo and Shaggy and have some of the show’s best comedic moments.

Eddie Slipek’s double-level smoke-filled set appropriately sets the Beatnik 60’s mood and Margaret Joyner’s colorful costumes effectively portray the period. Slipek even managed to find room for a live 5 piece band on stage.

Among the show stoppers are Mincks singing Warhol’s “Retrospective,” where Mincks’ masterfully moves Warhol from a caricature to a real life, pained and flawed man; and Stearn’s poignant “Candy’s Lament.”

There were a few technical glitches with late light cues, occasional missed marks by actors leaving them in the dark and microphone imbalances (especially Edie’s mike which occasionally cut out or became garbled). Thunder sound effects sometimes also overpower the dialogue.

Director Smith and choreographer Starr Foster keep the action moving on the small stage. Foster’s sometimes frenetic movements were a bit inhibited by the small space, but were fascinating to behold, especially with the multi-talented Stearns (who also did an impressive spot on Walter Cronkite impression).

Just as the show starts with a bang, it ends with one as well. I won’t spoil the ending, but Smith chose a great way to close out the show.

Again, as a reviewer, it is my job to put all the controversy aside and share my honest opinions. Honestly, the talented young cast of POP! truly does pop and you will have a blast watching this novel piece of theater.

Photo Gallery

Photos by Bill Sigafoos

The Cast

• Andy: John Mincks
• Candy: Ian Stearns
• Edie: Grey Garrett
• Viva: Christie Jackson
• Valerie: Audra Honaker
• Gerard: Evan Nasteff
• Ondine: Axle Burtness

The Crew

• Director: Jase Smith
• Choreographer: Starr Foster
• Music Director: Leilani Giles
• Costume Designer: Margaret Joyner
• Lighting Designer by Andrew Bonniwell
• Set Designer: Eddie Slipek
• Projection Designer: Nathan Wunderlich
• Production Manager: Annie Colpitts
• Stage Manager: Christin Boone
• Technical Director/ Audio Design: Joey Luck
• Master Carpenter: Joshua Bennett
• Props Master: Kiari Hicks

Disclaimer: Firehouse Theatre Project provided two complimentary media tickets to ShowBizRadio for this review.

They say you only get one chance to make a first impression. Unfortunately, most of my first impression of Firehouse Theater Project in its production of Death of a Salesman was pretty negative. First, they could not find my reservation at Will Call. Fortunately they found me a seat in an almost sellout crowd (and fortunately my guest was running late because there was only one seat). Unfortunately the ushering staff was not very helpful in finding that seat. One walked away from me and the other stood and stared. When I took a program from his basket and asked for help finding my seat, he pointed at the aisle and said to count “x number of rows” and find it!

Also, unfortunately, my seat was against a wall near the top and behind 3 rather large floor to ceiling columns that partially blocked my view of many scenes. Also, the temperature of the theater was well above 80 degrees.

But while my first impressions of the theater were negative, my impression of the show and the actors were positive from the first entrance to the last blackout. From the moment Joe Inscoe (Willie Loman) walked on stage, you felt a tired, withering man who carrying the weight of the world on his shoulders. Inscoe’s stage presence maintained your interest through every moment of the play. He touched every nuance of this characters life and soul with his body, face and voice — even creating little mannerisms that made the character so life-like. Inscoe was very believable as the aging salesman who just wants to be liked and just wants his life to have had some lasting meaning. In many ways, his performance of Loman were one part Archie Bunker, one part Peter Boyle (from “Everybody Loves Raymond”) and one part my own grandfather. He was the every man, who life has hardened on the outside but maintains a heart of gold and love of family on the inside. He was especially poignant in juxtaposing Willie’s dual worlds — the present and the past that Willie was reliving as he grasped to maintain his grip on reality.

Jacqueline Jones (Linda Loman) was equally true to life as Willie’s long-suffering wife. She was Loman’s Edith Bunker to his Archie in her warmth, character and likeability, with a double helping of down to earth intelligence and strength (no dingbat there). Matt Bloch (Happy) and Adrian Rieder (Biff) performed at the same professional level as their stage parents. All four principal characters showed such a range of emotions and realistic pain that the audience was silently captivated throughout the show. That pain was not only evident in their voices, but as true professionals, it was consistently evident in their faces and bodies. The strong performances were rewarded in the end with a heartfelt standing ovation.

The supporting performances were equally strong. Especially noteworthy were Gordon Bass as Charley, Willie’s one true friend and Bill Patton as Willie’s late brother Uncle Ben. Both brought a level of timing, presence and professionalism that further enhanced an already superior performance.

Director Rusty Wilson and Scenic Designer Phil Hayes worked amazingly with the small stage to denote separate spaces and present levels to the various rooms in the house and exterior scenes. Andrew Bonniwell’s lighting design further enhanced both the set and the mood throughout the play.

Firehouse Theater Project’s mission is to promote contemporary American theater. Willie Loman’s mission is to leave a legacy and be liked. Both achieved their missions in this performance.

Director’s Note

My connection to Death of a Salesman began many years ago when I was preparing audition pieces for college. I was looking for a monologue that somehow felt true to my sensibilities, and would give voice to my own feelings of an uncertain future. Enter Mr. Miller, and Biff’s monologue to Willy at the end of the play. Through Biff, Miller gave me the language to speak to my own father about feeling lost in the world, and about how difficult communication between people can sometimes be. Thanks to Mr. Miller, I went to college, and started talking with my dad.

For a long time, I could only see the play from Biff’s point of view. With age and experience, however, my lens opened opened up a bit revealing to a much greater extent, the totality, and scope, of this amazing play. Death of a Salesman is a play for all times and all peoples because it addresses two universal themes: relationships and values. It asks the eternal questions, who we are, an what do we hold dear. The story is told through the intimate prism of a family, but also addresses both our national and global communities. Who are we? What do we hold dear? It seems to me that the answer to the second question most certainly informs the answer to the first. Currently these questions are at the center of our national dialogue. If we listen, I believe Mr. Miller has some things for us to consider.

-Rusty Wilson, Director

Photo Gallery

Photos by Jay Paul

The Cast (in order of appearance)

• Willie Loman: Joe Inscoe
• Linda Loman: Jacqueline Jones
• Happy Loman: Matt Bloch
• Biff Loman: Adrian Rieder
• Bernard/ 2nd waiter: Dean Knight
• Charley: Gordon Bass
• Uncle Ben: Bill Patton
• Jenny/ woman: Lauren Leinhass-Cook
• Howard Wagner: Jay O. Millman
• Stanley: Andrew C. Boothby
• Miss Forsythe: Maura Burroughs
• Letta: Heather Falks

The Crew

• Director: Rusty Wilson
• Technical Director: Philip Milone
• Assistant Technical Director/ Sound Engineer: Joey Luck
• Stage Manager/ Sound Board Operator: Sharon Gregory
• Assistant Stage Manager/ Light Board Operator: Christin Boone
• Producer: Pamela Wilson
• Scenic Design: Phil Hayes
• Lighting Design: Andrew Bonniwell
• Costume Design: Holly Sullivan
• Run Crew: Rain Clements, Taylor Mitchener
• Props Manager: Samantha Kittle
• Scenic Artist: Lizzie Barnett

Disclaimer: Firehouse Theatre Project provided two complimentary media tickets to ShowBizRadio for this review.