One of my favorite cartoons as a kid was “Rocky and Bullwinkle.” What does this have to do with Henley Street Theatre and Richmond Shakespeare’s production of Wittenberg? Part of the old Rocky and Bullwinkle show was a segment called “Fractured Fairy Tales” where they would combine various stories into one. History meets Fractured Fairy Tales in the comedy, Wittenberg.

Star pupil Prince Hamlet attends Wittenberg University circa 1517 in Germany. His professors Doctor Faustus and Reverend Doctor Martin Luther teach philosophy and theology respectively. They each try to use their opposing belief system to help Hamlet solve his emotional angst about his pending kingship, his nightmares and his tennis game, while competing with each other for Hamlet’s heart, mind and soul.

In her introduction, Managing Director Jacqueline O’Connor reminds the audience that the combined theaters produce plays that are rich in language. Wittenberg uses Shakespearean English filled with modern references and plays on words. The fast paced comedy also uses language to explore the human belief system, whether it be religion which speaks to our souls, not our minds; or philosophy which seeks to free the mind.

Each of the four actors gives entertaining performances. Dixon Cashwell is innocent and likeable as the emotionally tortured Hamlet. Jeffrey Cole is charming and energetic as the devilish Faustus and Andrew Hamm is proper, stoic and anal retentive as Martin Luther. Stacie Rearden Hall is multi-talented in the multiple female roles. While at times it is distracting having just one woman play four different parts, Rearden Hall gives each character enough nuance to pull off the “Eternal Feminine” Greek chorus.

Director J. Paul Nicholas uses the intimate staging space at Richmond Triangle Players well, with Tennessee Dixon’s basic multilevel set and enough action within the audience area to keep it interesting. BJ Wilkinson’s lighting design also works well, especially during Hamlet’s nightmare and in a night-time scene.

I must add, philosophically some audience members may find some of the dialog as heretical as Luther’s teachings were in his time. As a part of the Acts of Faith Festival, however, this is certainly one of the most thought-provoking productions this year.

To see or not to see, THAT is the question; and unquestionably this clever and creative comedy makes for a quality evening of entertainment.

Photo Gallery

Dixon Cashwell as Hamlet	Jeffrey Cole as Dr. Faustus, Dixon Cashwell as Hamlet, Stacie Rearden Hall as the Eternal Feminine and Andrew Hamm as Martin Luther

Photos by Chris Smith

The Cast

• Hamlet: Dixon Cashwell
• Dr. Faustus: Jeffrey Cole
• Martin Luther: Andrew Hamm
• The Eternal Feminine: Stacie Rearden Hall

The Crew

• Director: J. Paul Nicholas
• Production Manager: Austin Cooper
• Stage Manager: Cameron Tarry
• Set Design: Tennessee Dixon
• Costume Design: Jocelyn Bowman
• Lighting Design: BJ Wilkinson
• Sound Design: Andrew Craig
• Properties: Jacquelyn Craig
• Technical Director: Vinnie Gonzalez
• Dramaturg: Brittany Ginder
• Music Director: Andrew Hamm
• Costume Assistant: Lauren Venezia
• Wardrobe: Jackie Cook
• Interns: Kyra Anderson, Amanda Billips, Nick Dauley, Julia McKinnon

Disclaimer: Henley Street Theatre provided two complimentary media tickets to ShowBizRadio for this review.

I have to be honest. After a year and a half of reviewing theater in Richmond, there are some actors I look forward to seeing perform. One such performer is Katrinah Carol Lewis. For me, it is almost a guarantee that it will be an emotional, intense and mufti-dimensional performance.

Death and the Maiden, which is being produced by the newly combined Henley Street Theatre and Richmond Shakespeare does not disappoint.

Lewis is powerful as Paulina, a woman in an undisclosed Latin American country who was the victim 15 years ago of state sponsored torture and rape. Her husband Gerardo (David Clark) has recently been appointed by the newly elected president to serve on a commission investigating all abuses by the former government that ended in death. In a twist of fate, Gerardo gets a flat tire and accepts a ride home from a man named Dr. Roberto Miranda (Christopher Dunn), who Paulina believes is the doctor who tortured and raped her in her captivity. Paulina takes the man captive and forces him to stand “trial” in their living room for his crimes.

The first five minutes of the play contain no dialogue, yet Lewis commands the stage.

Clark and Dunn stand their own with Lewis in creating a poignant tale which leaves the audience wondering whether Miranda is guilty or Paulina is simply paranoid and crazy. Is Miranda really the man who played Schubert’s “Death and the Maiden” while committing his crimes?

In introducing the show, Artistic Director Jan Powell pointed out that the theatre company not only produces classics, but works that are critical to be discussed. Death and the Maiden is truly one such work. Who is the voice of civilization? When “crazy people” are in power, do we have to indulge them?

There are many intense moments in this play, including a slide show at the end, and some “interesting” action during intermission (that I won’t spoil for future audiences).

While director Gary Hopper did an overall outstanding job in his casting and presentation, there were a few choices I questioned. For instance, Paulina puts her gun away at a strange moment, only to bring it back out later on. A fight scene is a bit unrealistic with some clearly missed blows and others that seemed quite realistic.

Also, BJ Wilkinson’s lights and Andrew Craig’s sound were mostly perfect and added a great deal to the intensity and mood of the play; but it became a bit odd that thunder and lightning only took place between scenes.

Tennessee Dixon’s set worked well for the Latin American home, but I am on the fence about an odd backdrop of stiffly starched clothing from floor to ceiling. While it worked well in the final moments, it might have worked better if it could have been dropped in for the ending, rather than serving as a distraction throughout the play.

Except for these minor flaws, Death and the Maiden is one of the most intense, effective and thought-provoking dramas of the year. The performances and story make this a drama not to be missed.

Photo Gallery

Christopher Dunn as Roberto Miranda and Katrinah Lewis and Paulina Salas	David Clark as Gerardo Escobar and Katrinah Lewis as Paulina Salas

Photos by Chris Smith

The Cast

• Paulina Salas: Katrinah Carol Lewis
• Gerardo Escobar: David Clark
• Roberto Miranda: Christopher Dunn

The Crew

• Director: Gary Hopper
• Production Stage Manager: Austin Cooper
• Set Design: Tennessee Dixon
• Costume Design: Elizabeth Hopper
• Lighting Design: BJ Wilkinson
• Sound Design: Andrew Craig
• Technical Director: Kevin Johnson
• Fight Choreographer: Aaron D. Anderson
• Dramaturg: Mac MacDaniel
• Wardrobe: Jackie Cook

Disclaimer: Henley Street Theatre/Richmond Shakespeare provided two complimentary media tickets to ShowBizRadio for this review of the preview performance.

As I have said before, I am not a big Shakespeare fan. Until I started writing these reviews, my last experiences with Shakespeare were in AP History in 12th grade. As such, I am a big fan of any production of Shakespeare that take a unique and innovative approach.

Director Jan Powell has done just this in the current production of The Taming of the Shrew presented by Henley Street Theater and Richmond Shakespeare. Powell’s production is placed as a play within a play on a 1930’s movie set. A group of actors has two hours to produce The Taming of the Shrew. The “cast” is rife with familiar 1930’s iconic actor types.

At times, this device works well, such as McLean Jesse’s Betty Boop-like ingenue and Kevin Grantz spot-on W.C. Fields. At other times, it really did not work for me, such as three women attempting to portray the Marx Brothers. Also, while the movie studio set really did work for me; having the actors who were not in a scene mull around on wooden chairs on the sidelines really was more of a distraction.

The plot of any Shakespeare play can get complicated in and of itself, but the cast managed to pull off the many twists and turns even with the added subtext of the 1930’s characters. For those who are not familiar with Shrew, it is basically the story of a man with two daughters. The youngest can not marry until the older one, who is a total shrew (a B-word, for those who don’t know what a shrew is) gets married. The story then focuses on their various suitors.

There were strong performances from Matt Hackman as Petruchio and Liz Blake White as Kate (the Shrew — in the form of a Katherine Hepburn-esqe actress); who also doubled as a feuding husband and wife acting team off the set. Other notables included the always infectious John Mincks as Lucentio and the always powerful Stacie Rearden Hall as Grumio (whose character seemed primed to sing “Shoeless Joe from Hannibal Mo” from Damn Yankees).

And speaking of singing — one of the devices Director Powell used that worked best for me, was having the actors sing 1930’s style songs during each of the scene changes. It was worth the trip to the theater just to hear Hall and Mincks (among the many) sing.

This and the many other innovative and interesting touches make an evening with a Shrew very pleasant and entertaining. Even my 15-year-old enjoyed it!

Photo Gallery

John Mincks as Lucentio, McLean Jesse as Bianca and Jeffrey Cole as Hortensio	Liz Blake White as Kate and Matt Hackman as Petruchio
McLean Jesse as Bianca, John Mincks as Lucentio and Liz Blake White as Kate

Photos by Vinnie Gonzalez

The Cast

• Petruchio: Matt Hackman
• Kate: Liz Blake White
• Bianca: McLean Jesse
• Lucentio: John Mincks
• Gremio: Kevin Grantz
• Grumio: Stacie Rearden Hall
• Tranio: Patrick Long
• Hortensio: Jeffrey Cole
• Baptista: Mark Persinger
• Director, Groucho, Tailor, Widow: Wendy Carter
• Cameraman, Vincentio, Biondello: Zach Campion
• Grip, Haberdasher, Pedant: Mercedes Valacer
• Maid, Harpo: Danielle Thompson
• Maid, Chico: Alessandra Hernandez

Production Team

• Director: Jan Powell
• Production Manager: Corrie Barton
• Stage Manager: Jacquelyn Craig
• Set Design: Joshua Bennett
• Costume Design: Ginni McConnell
• Lighting Design: Michael Jarett
• Sound Design: Dave Maier
• Properties: Paige Skidmore
• Technical Director: Dennis Kennedy
• Choreography: Paul Dandridge

Disclaimer: Henley Street Theatre provided two complimentary media tickets to ShowBizRadio for this review.

The Importance of Being Earnest is all about relationships and partnerships. First, it is the first official production in the new partnership between Henley Street Theatre and Richmond Shakespeare. Second, it is also a partnership with Richmond Triangle Players, utilizing their theater space.

Also, the Oscar Wilde play is all about the evolving relationships between the characters. Wilde’s dialog contains an endless repartee of metaphors, sayings and one-liners.

Algernon (Ian Stearns) and Jack (Thomas Cunningham) are twenty-something bachelors in Victorian England. The two engage in “bunburying” or maintaining alternative personas in order to woo their love interests – Gwendolyn (Audra Honaker) and Cecily ( Aly Wepplo). The intertwined families are ruled over by matriarchal and Queen Victorian-esque Lady Bracknell (Robert Throckmorton).

The cast is rounded out with Jennifer Frank in dual roles as Miss Prism, Cecily’s teacher and Lane, Algernon’s butler; John Storck Maddox as the Reverend Chausable; and Stephen Ryan as Jack’s deadpan, dark and disgusted butler aptly named Merriman.

The entire cast play off each other with expert comedic timing and high energy pacing. Even with the rapid fire dialog, their diction and articulation are consistent and clear (with credit to Dialect Coach Susan Schuld). Director Jan Powell uses a series of poses and overly dramatic responses to effectively keep the action clever and creative.

A couple of elements of the play bothered me at first – such as overtly fake flowers and birds in the garden and Lady Bracknell’s overly short walking stick which forced Throckmorton to walk in an oddly hunched manner. However, my guest for the evening, Morgan, pointed out to me during the second intermission that this was likely intentional since everything about the play is stylized to show that things are not what they seem to be. Tennessee Dixon’s sets and Emily Atkins’ costumes, like the characters, are presenting a facade and an exaggeration of the truth. As one of the characters says: Style not sincerity is the vital thing.

However, I sincerely enjoyed all aspects of The Importance of Being Earnest. Its campy yet classy elements and energetic and likeable cast had just the right style.

Photo Gallery

Ian Stearns as Algernon Moncrief, Thomas Cunningham as Jack Worthing, Audra Honaker as Gwendolen Fairfax, Aly Wepplo as Cecily Cardew	Audra Honaker as Gwendolen Fairfax and Aly Wepplo as Cecily Cardew
Audra Honaker as Gwendolen Fairfax and Thomas Cunningham as Jack Worthing	Robert Throckmorton as Lady Bracknell

Photos by Vinnie Gonzalez

The Cast

• Miss Prism/Lane: Jennifer Frank
• Algernon Moncrieff: Ian Stearns
• Jack Worthing: Thomas Cunningham
• Lady Bracknell: Robert Throckmorton
• Gwendolyn Fairfax: Audra Honaker
• Cecily Cardrew: Aly Wepplo
• Reverend Canon Frederick Chausable: John Storck Maddox
• Merriman: Stephen Ryan

The Crew

• Director: Jan Powell
• Stage Manager: Hannah Adaway
• Production Manager: Corrie Barton
• Set Designer: Tennessee Dixon
• Lighting Design: Michael Jarett
• Costume Design: Emily Atkins
• Sound Design: Brandyn Moreno
• Dialect Coach: Susan Schuld
• Scenic Painting: Christina Delli Santi
• Stitchery: Lindsay Austria
• Wardrobe: Cherish Maldonado
• Interns:
  • Assistant Stage Manager: Georgina Coffey
  • Properties: Lily Hargis, Cameron Tally
  • Costume Assistant: Anastazia Whittle
  • Crew: Eric Brothers, Stephen West

Disclaimer: Henley Street Theatre provided two complimentary media tickets to ShowBizRadio for this review.

Having seen The Pillowman by Cadence Theater Company earlier this year, I figured I knew what to expect in seeing The Beauty Queen of Leenane at Henley Street Theatre, since they are both written by Martin McDonagh. It would be a dark comedy.

The cast has the comedy elements down, but there just wasn’t enough angst and sinister-ness in the performances for me and my guest for the evening Katie, to consistently play out the “dark” part.

The play is set in the west of Ireland. The story revolves around Maureen (Jill Bari Steinberg), a middle-aged spinster, who lives with her elderly and manipulative mother Mag (Mary Best Bova). Maureen lives a lonely, boring life, longing for romance to take her away from her mother and their drab life. When the chance seems to come along to find love with a former school mate, Pato (Tony Foley), Maureen sees an opportunity to escape.

The Irish dialects are consistent, although at times Bova is a bit hard to understand. I also never realized until watching this play, how much like Yoda the Irish talk-how backwards they speak!

Bova’s Mag is clearly old, miserable and annoying, but her Mag needed to be just a bit more evil and dislikeable. There are moments, such as when she tries to embarrass Maureen in front of Pato where this comes forward. Her finest moments come in her final seen where she is finally able to let go and show a great deal of believable emotion and pain. On the plus side, holding back early on in the play did make this perhaps even more horrifying.

Steinberg is too young and attractive to truly play an old maid, however she does pull off Maureen’s unbalanced nature. She truly has you wondering if Mag is senile or she is crazy. She gives a strong performance but could also allow more of the craziness to come out earlier on in the play. She reminded me too much of a teaching assistant I had, who had a dry, biting wit and you could never be quite sure if you should be laughing or offended.

As staged by Director Bo Wilson, the relationship between mother and daughter is almost like The Odd Couple. Can an old mother and daughter share an apartment without driving each other crazy? The dialogue is crisp and conversational and the staging energetic and effective.

The best comedy moments come from Pato (Foley) and his younger brother Ray (Alexander Sapp). They both bring an every man, straight-faced energy to their scenes. Sapp is especially good at helping the audience forget about the tension and pain between the mother and daughter and receives some of the bigger laughs in his frenetic energy.

Tennessee Dixon’s set is appropriately drab and bare, as you would expect their apartment to be. Sarah Jarrell Wade’s costumes also add to the drabness and plain-ness of their lives, as does Michael Jarrett’s light design.

This play is the winner of four Tony Awards, the Drama Desk Award, the Drama League Award and the Outer Critics Circle Award. With summer re-runs abounding on TV, it would be time much better spent to come out and see the live suspense in The Beauty Queen of Leenane.

Photo Gallery

Mary BestBova	Tony Foleyas Pato and Jill Bari Steinberg as Maureen
Mary BestBova as Mag, Tony Foley as Pato and Jill Bari Steinberg as Maureen

Photos by Vinnie Gonzalez

The Cast

• Mag: Mary Best Bova
• Pato: Tony Foley
• Ray: Alexander Sapp
• Maureen: Jill Bari Steinberg

The Crew

• Director: Bo Wilson,
• Stage Manager: Andrew Resnick
• Set Designer: Tennessee Dixon
• Lighting Design: Michael Jarrett
• Costume Design: Sarah Jarrell Wade
• Costume Assistant: Kirsten Fox
• Sound Design: James Ricks
• Dialect Coach: Amanda Durst
• Assistant Stage Management Intern: A.R. Cooper
• Properties Intern: Sam Martin
• Lighting Intern: Tessa Hoerst
• General Production Intern: Julia Weinberg
• Crew: Jenny Carlson
• Set Construction: Ross Aitken, Ryan Gallagher and James Ricks

Disclaimer: Henley Street Theatre provided two complimentary media tickets to ShowBizRadio for this review.

As I have said before, since becoming a reviewer here in Richmond a few months ago, I have been amazed at how much this theater community has to offer. There is literally something for everyone.

Now, I have also said consider myself to have “more common” tastes in theater. I love comedy, and musicals and an occasional modern drama, but I have never been a fan of Shakespeare (yes, I shall fall upon my dagger in shame). However, Henley Street Theatre’s production of Julius Caesar has changed that.

In an “Orson Wellesian” production, the play is moved to an early 20th century totalitarian state. The play then explores the universal themes of walking the line between patriotism and personal ambition; and friendship and loyalty vs. self-interest.

Adrian Grantz (Murellus, Metullus, Messala) starts out both acts speaking the words of Shakespeare (which I must confess is all Greek to me) but in a modern conversational tone. This immediately put me at ease that I might actually be able to follow the action and be entertained.

Indeed, the two principal characters Brutus (Dan Stearns) and Cassius (Jonathan Hardison) maintained this style of performing. The effect was, even when I could not totally comprehend the words; through their inflection, body language and emotion, I was able to follow the plot (plot being the key word).

For those not familiar with the classic story, it is rife with plotting and backstabbing (literally). Julius Caesar (Jay Milliman) is about to ascend to be the country’s leader. While Mark Antony (Jeffrey Schmidt) remains loyal, all the other leaders plot his death.

Margarette Joyner’s modern business-like costumes and Tennessee Dixon’s set (which could double as the cold drab marble halls of Congress) set the scene perfectly. James Ricks’ direction; utilizing multiple exits and entrances and crosses into the house and up into the risers; was more like watching a captivating modern theatrical extravaganza than a 500-year-old play. Andrew Bonniwell’s lighting alternated nicely between dim shadows during the plotting, and bright flashes of light during a thunderstorm and battle. The lighting of Caesar’s ghost is indeed haunting.

Interestingly, it is as Caesar’s ghost that Milliman best portrays Caesar’s commanding, imposing and empirical side. When alive, he seemed more like a warm, charismatic, yet self-doubting U.S Senator running for office. Kyle Butler as his young successor Octavius, is brash, brazen and cocky.

Schmidt’s Antony would indeed make a great modern-day politician. His eulogy for Caesar was a cross between a 21st century political attack ad (I loved the way he increasingly attacked the words “Brutus is an honorable man” to turn it into an insult) and a 1961 Kennedy address (friends, Romans, countrymen; ask not what your country can do for you….)

Katrinah Carol Lewis was extremely strong and powerful as Brutus’ wife Portia. She gave emotion and modern depth to a small supporting role as the loving woman behind the man. It was also extremely nice to see four young student acting interns in supporting roles (David Adams, Eric Evans, Ben Fox and Diego Salinas). Each did well with the various characters they were given; but Fox stood out in a beautiful, soft and touching rendition of a lullaby to Brutus, accompanying himself on the lute (a la Zac Efron in the 2008 movie “Me and Orson Welles”).

There was an occasional actor who started to sound a bit like a truly overacted Shakespearean than the rest of the cast’s modern tone; and the sounds of a cheering crowd started and stopped rather abruptly, like the laugh track on a sitcom; but otherwise it was truly an impeccable presentation. Whether you are a Shakespeare fan, or a novice, you will enjoy Henley Street’s modern take on this classic.

Photo Gallery

Photos provided by Henley Street Theatre

The Cast

• Julius Caesar: Jay Milliman
• Brutus: Dan Stearns
• Cassius: Jonathan Hardison
• Antony: Jeffrey Schmidt
• Portia: Katrinah Carol Lewis
• Calpurnia: Melissa Johnston Price
• Casca: Andrew C. Boothby
• Octavius/Soothsayer: Kyle Butler
• Decius: Michael J. Perez
• Murellus/Metullus/Messala: Adrian Grantz
• Flavius/Cinna/Titinius: Frank Creasy
• Student Acting Interns/Ensemble: David Adams, Eric Evans, Ben Fox and Diego Salinas

The Crew

• Director/Sound Design/Fight Choreography: James Ricks
• Assistant Director: Christine Hillgrove
• Stage/Production Manager: Tiffany Shifflett
• Scenic Designer: Tennessee Dixon
• Lighting Design: Andrew Bonniwell
• Costume Design: Margarette Joyner
• Choral Director: Valerie Accetta
• Studio Choral Director: Stan Baker
• Latin Translator: Jeremy Gershman:

Disclaimer: Henley Street Theatre provided two complimentary media tickets to ShowBizRadio for this review.

The second of the entries in the Richmond “Acts of Faith Festival” that I was able to attend was the preview performance of Henley Street Theater’s Faith Healer.

Written by Brian Friel, one of Ireland’s most beloved playwrights, Faith Healer depicts three characters — an alcoholic, charismatic faith healer Frank, his love-starved companion Grace and his devoted promoter Teddy — who tell conflicting versions of the same story. This darkly lyrical tale examines how subjective truths inform the choices we make.

In a series of four monologues, the three characters tell their versions of a series of events. Each has overlapping truths yet glaringly conflicting details. Minimal sets and action leave the audience to create their own mental images as each actor tells their version of the truth. Each actor maintains both a believable accent and dialect as well as a conversational tone with the audience. At times, in breaking the fourth wall, it is almost more a lecture or discussion than a play.

Faith Healer stars Joe Pabst, as the Faith Healer, Frank. He is both charismatic and likeable, yet mysterious and sneaky. Pabst not only uses his words, but his mannerisms, facial expressions and even his eyes to tell his story. Pabst has a commanding presence both physically and vocally with his deep, booming voice. He makes great connections with individual audience members with just a glance or a gesture. As Frank says, you can “see it in your mind.”

Katie McCall, is strong and believable as Frank’s wife (or companion, depending on who you believe) Grace. She also maintains great presence and a believable connection with both the character and the audience. Her nervous energy is maintained via chain-smoking, drinking and hand gesture and body language. She had a great ability to draw the audience in and to share in her anguish.

Williamsburg award-winning actor Ron Reid makes his first Richmond appearance as Frank’s promoter, Teddy. He had the best comedic timing and energy in the show, and was the most engaging in his interactions with the audience. He brings the audience with him through a range of emotional highs and lows.

James Ricks wore multiple hats as director, as well as set and sound designer. He utilizes the small stage well, and enhances the production with simple sets such as mismatched wooden chairs a la an old-fashioned gospel show/meeting-house. Andrew Bonniwell’s lighting also enhances the mood and setting, and Margarette Joyner’s costumes are attractive and appropriate.

Parents beware, there is some strong language as well as live cigarette smoke.

In the end, the play ends suddenly, with no real insight into who was telling the truth, but yet it doesn’t really matter. The play is about language and the telling of the story. The resolution is left to the audience’s own interpretation. I have faith, that Faith Healer will leave you thinking and debating even after the final bows.

From the Director

When I irst saw this play, I was affected for days.

On the one hand, I was overwhelmed by Brian Friel’s ability to point out such vivid characters under a mosaic of language that is both layered and lyrical. On the other, I couldn’t define exactly what I had just witnessed. As a theatre practitioner, I found this reaction frustrating and tantalizing, offering yet another layer of contradictory feelings. And quite frankly , I’m pretty sure the playwright would be satisfied by this.

Interestingly, the playwright’s intent happens to match the packaging. With his piece, Friel invites us to play the role of investigator. We are presented with three disparate versions of the same story, pressing us to consider the implications of subjective truth and the choices we make as a result of that truth. What exactly is the truth about their shared experience? Does it even matter in the end? What is certain is that those who are beguiled by carefully crafted language that deals in absolutes will not be disappointed this evening.

Mr. Friel describes this piece as a ‘portrait of the artist’ both as a diviner and a charlatan. In this particular case, the artist is portrayed in the form of a healer who has varying degrees of success with his ‘gift.’ Therein lies what we believe to be the heart of this piece. What it means. To possess a gift and the way we allow that gift to define us-even when it isn’t always there for us. How do we allow something that is so variable and difficult to control to define who we are? And why do we put put faith in something that is so elusive? For me, the questions offered in this piece are both dizzying and electrifying. But ultimately, they demonstrate the kind of language-centric artistry that restores my faith in what we do.

This evening, I hope you enjoy wandering with us through those labyrinthine and contradictory considerations and savor the lyrical jungle gym that Mr. Friel has provided these actors.

-James Ricks

Photo Gallery

Photos provided by Henley Street Theatre

Cast

• Frank: Joe Pabst
• Grace: Katie McCall
• Teddy: Ron Reid

Crew

• Director:James Ricks
• Stage Management: Nata Moriconi
• Costume Design: Margarette Joyner
• Light Design: Andrew Bonniwell
• Set and Sound Design: James Ricks
• Dialect Consultant: Amanda Durst
• Scenic Artist: Megan Heart
• Stage Management Intern: Amena Durant
• Crew: Lily Hargis and A.R. Cooper

Disclaimer: Henley Street Theatre provided two complimentary media tickets to ShowBizRadio for this review.

In the two months that I have been reviewing shows for ShowBizRadio.com, I have been exposed to the vast and impressive theater venues throughout the Richmond area. I have been learning that there is truly something for everyone in this area.

The Henley Street Theater Company’s production of The Search For Signs Of Intelligent Life In The Universe is an example of a good show that just wasn’t to my taste, or that of my guest, my fellow teacher Michael. The story and humor are clearly aimed at a “more mature and seasoned” audience (and the one young guy, with a very loud laugh).

The show features one actress, one white wall and a chair. Eva DeVirgilis is perfectly stellar in this one woman show, made famous by Lily Tomlin. However, DeVirgilis’ style is less like Tomlin and more akin to Tina Fey, Gilda Radner, my ex-girlfriend Lori, and one of my older special education students…but I digress…

DeVirgilis is truly amazing in her ability to weave together the tapestry of the lives of over a dozen characters; jumping from one to another with a simple lighting change and a flip of her hair. Her comedic timing, facial expressions, vocal variety and physical expression were all spot on. Just memorizing all those lines earned her a well-deserved standing ovation.

The two biggest problems for me came in the director’s choices to remain true to the original script and style. There are no props, no costumes and no sets in Henley Street’s production; as in the original. In later productions, and of course in the movie made by Tomlin as well, some of these have been added to enhance the performance and make it more visually appealing.

It detracted from the performance for me to have a bag lady pantomiming her bags, and other characters lacking easy essentials like a glass, a soup can or a TV remote. Likewise, it would have helped distinguish between the characters to just add in “essence” of costuming such as a skirt, necklace or flea collar (see the show — you’ll understand). Especially towards the middle of the second act, it became very confusing trying to follow which character DeVirgilis was slipping into — they came so fast and furious. (Even the photos provided by Henley Street show DeVirgilis in a variety of costumes).

In addition, the production kept a lot of the 80’s humor with references to Betamax, Geraldine Ferraro and Henry Kissinger. Unless licensing prohibited it; modernized references would have added to the appeal of the show to all ages.

Andrew Bonniwell’s lighting design added to both the mood of the scenes and the distinguishing between characters. James Ricks’ sound effects and music also enhanced the performance. DeVirgilis’ projection was sufficient without mic-ing to be heard throughout the show; but even she noted, at one point, the bleed over of bass from one of the neighboring theaters. I’m no architect, but I’m guessing it is hard to totally sound proof an old, large building like this.

By the end of the show, playwright Jane Wagner weaves the intricate lives of the various characters together into one shared and overlapping universe.

Also, in the end, the main character, Trudy the bag lady comments that a show is all about the audience. For the right audience, The Search For Signs Of Intelligent Life In The Universe can be an enjoyable evening of theater.

From the Director, Laine Satterfield

In the words of Trudy, the bag lady: “Everything is everything.” As Trudy’s creator, playwright Jane Wagner has woven together a beautiful tapestry of ideas with this collection of characters-people who search for the meaning of life through their stories and experiences. In Search For Signs of Intelligent Life in the Universe, we get to experience the world through their eyes: their fears, hopes, passions, vulnerabilities, pain, happiness, and ultimately , their choices and the outcome of those choices. Through her characters, Wagner reminds us that humanity is fundamentally connected through these emotions and experiences, regardless of age, background, gender or belief systems. She even includes alien life forms in the mix.

This play explores what it means to be alive. It asks us to ask ourselves important questions. What is revolution? Where did we come from? How has our story shaped us? How does one define sanity? What is art? How can we, as a species, cultivate “more feeling, more forgiveness, more capacity for life”? When we look at the meaning of our lives and our connections to one another, we all, at some point, have asked these fundamental questions. Trudy gives us an answer: “It’s not so much about what we know, but how we know, and that’s what it is about us that needs to know.”

I want to thank Henley Street for producing this very relevant piece of theatre and the creative team behind it: Jessi, Jacquie, Andrew, and Holly. This play was first realized by Wagner’s partner, the incredible Lily Tomlin. We have Eva DiVirgils, whose amazing talent, diversity, diligence and love for storytelling not only made Wagner’s play come to life but has made the whole journey an absolute inspiration. “Every particle effects every other particle everywhere.” I hope this “particle” on this night leaves you with a goose-bump souvenir.

Photo Gallery

Photos provided by Henley Street Theatre

The Cast

• Trudy and others: Eva DeVirgilis

The Crew

• Director: Laine Satterfield
• Stage Manager: Jessica Malicki
• Stage Management Intern: Kennedy Lorenzen
• Lighting Design: Andrew Bonniwell
• Lighting Design Intern: Tessa Hoerst
• Costume Design: Holly Sullivan
• Sound Design: James Ricks
• Artistic Director: James Ricks
• Managing Director: Jacqueline O’Connor

Disclaimer: Henley Street Theatre provided two complimentary media tickets to ShowBizRadio for this review.