This has become the summer of “girl power” in Richmond. When one thinks of plays with all female casts, there are few classics beyond Steel Magnolias or Nunsense. Luckily for Richmond, local playwright Bo Wilson has added a strong entry to that list with a charming original comedy now playing at Hanover Tavern.

Virginia Rep is presenting The Charitable Sisterhood of the Second Trinity Victory Church, a comedy with a script as complex as its title; with numerous twists and dramatic turns broken up with comedy at its best.

The Charitable Sisterhood is a group of women in 1977 Coal Mountain Country Virginia, who get together to help those in need around the world. Every religious denomination has some form of the group (I remember as a child, my mother going to “Sisterhood” meetings) so the characters are in many ways universal and familiar.

Catherine Shaffner shines as the bossy Pastor’s wife, who runs every activity by stealing other’s ideas and then making them sound like her own: “Ladies, here’s what we need to do…” While Shaffner is one of Richmond’s most consistently stellar comediennes, the rest of the cast reaches the high bar that she sets. Their comedic timing is effortless and natural and they each interact so perfectly, you would think they have been doing this together for years not weeks.

Debra Wagoner is Lorraine, a super religious mother of nine, whose deadpan humor is filled with great facial expressions and wonderful asides. Jan Guarino portrays Jan, a hyperactive transplanted northerner, with a smile and supportive word for everyone. Donna Marie Miller is the vixen of the group. Without revealing too much, Miller’s Janet is one part Scarlett O’hara and one part Rhoda Morgenstern. Janet is new to the town and has a couple of secrets that are revealed along the way.

The last member of the group is Riley (Louise Keeton) a stranger who shows up suddenly to help the Sisterhood, while hiding some secrets of her own.

In a play filled with great moments, one highlight is utilizing the singing talents of Wagoner in a rendition of “Put Your Hand in the Hand.”

While some of the plot resolution is a bit contrived, the strong performances of the cast and the fascinating twists and turns of the story add up to one thing. To borrow a page from Bea, ladies (and gentlemen) what we need to do is support this wonderful piece of original local theater.

Photo Gallery

Jan Guarino, Cathy Shaffner, Debra Wagoner	Donna Marie Miller, Jan Guarino, Debra Wagoner, Cathy Shaffner
Donna Marie Miller, Jan Guarino, Debra Wagoner, Louise Keeton, Cathy Shaffner

Photos by Jay Paul

The Cast

• Tina Yates: Jan Guarino
• Lorraine Jensen: Debra Wagoner
• Bea Littleton: Catherine Shaffner
• Janet Murchison: Donna Marie Miller
• Riley Reynolds: Louise Keeton.

The Crew

• Director: Bruce Miller
• Playwright: Bo Wilson
• Stage Manager: Skyler Broughman
• Set Designer: Terrie Powers
• Lighting Design: B J Wilkinson
• Costume Design: Marcia Miller Hailey

Disclaimer: Virginia Repertory Theatre provided two complimentary media tickets to ShowBizRadio for this review.

With our long, hot Richmond summer nights; there is no need to sit at home watching re-runs or lame TV pilots. An amazing summer of theater has become even hotter with Virginia Rep’s The Color Purple.

The powerful story based on the Pulitzer Prize-winning novel by Alice Walker (and turned into a 1985 film which introduced the world to Whoopi Goldberg and also starred Oprah Winfrey and Danny Glover) mixes serious topics with laughter and music that works on every level. The singing, the dancing, the acting and the music are all spot on; and each performer is perfectly cast in this technically breathtaking production.

The story follows the lives of two African-American sisters from the days of sharecropping through the 1930’s. One, Celie (Felicia Curry) is shy and unattractive. The younger, Nettie, Katrinah Carol Lewis, is beautiful and self-assured. The old widowed man who they believe is their father, treats them as property, both physically and sexually. Celie, after giving birth to two children by this man who has raised her as her father (and he promptly gives them both away) is sent to live with Mister (Jerold Solomon) an equally mean, abusive and cold widower. When Nettie comes to live with Celie, after tiring of her father’s sexual advances, she fights off a sexual advance from Mister, who then sends her away as well. Throughout the remainder of the plot, Celie seeks to find her sister, her children and her own self-respect, inner strength and inner beauty.

It is difficult to single out performers in this Broadway quality production; but Curry does stand out in her emotionally deep performance. She captures all of Whoopi Goldberg’s charm – right down to the shy, toothy smile, while still making the role her own.

Desiree Roots Centeio likewise is reminiscent of a young Oprah, yet makes the character of Celie’s spirited daughter-in-law, Sophia, a masterpiece of her own as she commands her husband and the stage. Solomon transforms from odious to penitent with skill and believability. Josh Marin brings youthful energy, charm and charisma to Mister’s son Harpo.

All the performers are amazingly true to life as they develop their characters over a span of more than 30 years of their lives. Curry is especially poignant in developing Celie from that shy and confused 14-year-old to a gray-haired, strong woman.

Carolyn Minor Daughtry brings a sultry sizzle to Shug Avery, a Juke singer who both Celie and Mister are in love with.

Comedic stand outs include Ciara McMillian as Harpo’s girlfriend Squeak and Shalimar Hickman-Fields, Stephanie M. Hill and Amanda Montague as three church ladies who serve at times as the musical’s Greek Chorus/narrators.

Director Chase Kniffen keeps the show energetic and visually appealing. Leslie Owens-Harrington’s choreography and Ben Miller’s Music Direction keep the audience enthralled, with huge applause following every number and a standing ovation even before the final number ended.

Ron Keller’s visually interesting set is made up almost entirely of old wood planks which sets the time and poverty. Various forms of doors, windows and clothing hang about to give a generic feel to the entire set. Hopefully, some opening night kinks with the set will be worked out.

Lighting Designer Joe Doran sets the mood perfectly, while also highlighting individual performers and singers. Costume Designer Sue Griffin also enhances the production with lavish costumes for African tribal dancers and club partiers; and simple, basic outfits for Celie and Nettie.

As Shug says, God created the color purple to say “look what I made.” Take the time this summer to enjoy the beauty of Virginia Reps’ The Color Purple to witness the rich, beautiful theatrical art they have made.

Photo Gallery

Felicia Curry as Celie	Cast photo
Cast photo	Cast photo
Carolyn Minor-Daughtry as Shug and Felicia Curry as Celie	Cast photo
Desirée Roots Centeio as Sofia and Josh Marin as Harpo	Cast photo

Photos by Aaron Sutten

The Cast

• Celie: Felicia Curry
• Shug Avery: Carolyn Minor Daughtry
• Mister: Jerold Solomon
• Sofia: Desiree Roots Centeio
• Harpo: Josh Marin
• Nettie: Katrinah Carol Lewis
• Squeak: Ciara McMillian
• Jarene: Shalimar Hickman-Fields
• Darene: Stephanie M. Hill
• Doris: Amanda Montague
• Preacher/Ensemble: Billy Dye
• Pa/Grady/Ensemble: J. Ron Fleming
• Ol’ Mister/Ensemble: Thomas Nowlin
• Church Soloist/Ensemble: Karla J. Brown
• Buster/Chief/Ensemble: Tybias Whitehead
• Young Nettie/Chief’s Daughter: Tyandria Jackson
• Young Celie/Mister’s Daughter: Ayana Williams
• Young Harpo/Young Adam: Donathon Arnold
• Young Olivia/Henrietta: Jada Evans
• Ensemble: Skye Hagood, Anthony Cosby, Taylor Walls, Trent Williams, Courtney Jamison, Alana S. Thomas, Cariel Hughes, Will Anderson, Pamela Shaw, Ashlee Heyward, Jessi Johnson, Andrew Reid, Devante J. Wells, Mike Brown

The Crew

• Director: Chase Kniffen
• Choreography: Leslie Owens-Harrington
• Musical Director: Ben Miller
• Scenic Designer: Ron Keller
• Lighting Designer: Joe Doran
• Costume Designer: Sue Griffin
• Stage Manager: Wendy Vandergrift

The Band

• Conductor/Keyboard 1: Ben Miller
• Keyboard 2: Anthony Smith
• Drums/Percussion:Joe Lubman
• Bass: Derrick Englert
• Guitars: Forrest Link
• Trumpet: Mark Ingraham
• Reeds: Susan Davis

Disclaimer: Virginia Repertory Theatre provided two complimentary media tickets to ShowBizRadio for this review.

It is hard to find fault with the script of a play that was nominated for Pulitzer and Tony Awards; yet that is just the situation I find myself in with Other Desert Cities. The script is talky, often contrived and predictable, frequently does not sound like natural conversations and is very preachy in its anti-Republican slant. However, strong performances by a flawless cast help breathe life into the current Virginia Rep production.

Brooke Wyeth (Sandi Carroll) returns to her conservative Republican parents’ Palm Springs home for Christmas, 2004. She has just finished writing a tell-all memoir about the death of her brother back in the 70’s, but has not yet sprung it on her parents; former actor Lyman (Joe Inscoe) and former Hollywood writer Polly (Irene Ziegler). The pair represent the old guard Hollywood Republicans who travel in social circles with the likes of Ron and Nancy Reagan, and playwright Jon Robin Baitz takes every opportunity to blame every problem in the last 40 years on the Republicans — from the Vietnam War to current wars in “other desert cities.” Also present are her other brother Trip (Mike Long) who is producing a cheesy TV courtroom show and recovering alcoholic aunt Silda (Melissa Johnston Price).

Much of the conflict is presented through divergent truths and differing accounts of past family history. The cast gels as a family being torn apart. Their casual conversations (sans some awkwardly written dialogue) are just as believable as are the angry outbursts in a typical family dynamic. The most captivating and heartfelt moments are the dramatic ones, except for Long, who is more effective in the light-hearted moments. Johnston Price is strong in both modes, in a role that plays perfectly to her laid back earthy talents.

Ben Burke’s set is both functional and eye-popping as the Wyeth’s living room that has been frozen in time in the desert and looks as if it came from a ’70’s Andy Williams Christmas special. Lynne M. Hartman’s lights add nice touches, especially in lighting a desert mountain backdrop and reflections from an unseen swimming pool. With the cast not miked in the large November Theatre it does get difficult at times to hear some pieces of the dialogue, especially when actors turn partially upstage.

Under the direction of Chase Kniffen, the cast makes Other Desert Cities a theatrical oasis of dramatic performances you don’t want to miss.

Photo Gallery

Joe Inscoe, Irene Ziegler	Mike Long, Melissa Johnston Price
Irene Ziegler, Melissa Johnston Price, Sandi Carroll, Mike Long, Joe Inscoe	Irene Ziegler, Joe Inscoe, Sandi Carroll
Melissa Johnston Price, Sandi Carroll	Mike Long, Sandi Carroll
Joe Inscoe, Irene Ziegler	Irene Ziegler, Sandi Carroll, Joe Inscoe

Photos by Aaron Sutten

The Cast

• Polly Wyeth: Irene Ziegler
• Brooke Wyeth: Sandi Carroll
• Lyman Wyeth: Joe Inscoe
• Trip Wyeth: Mike Long
• Silda Grauman: Melissa Johnston Price

The Crew

• Director: Chase Kniffen
• Stage Manager: Wendy Vandergrift
• Assistant Stage Manager: Luke Robinson
• Set Designer: Ben Burke
• Lighting Design: Lynne M Hartman
• Costume Design: Sarah Grady
• Light Board Operator: Linwood Guyton
• Cover art: Robert Meganck

Disclaimer: Virginia Repertory Theatre provided two complimentary media tickets to ShowBizRadio for this review.

 
Shrek the Musical is the movie, with music added, live right in front of you! It is directed by Robin Arthur, with music direction by Sandy Dacus at The Children’s Theatre of Virginia at Willow Lawn, where they always have family friendly plays.
 
I am not usually drawn to musicals, but Virginia Repertory keeps changing my mind this season. The music was absolutely fantastic, the acting was spot on from every cast member and the dancing was fun and unique.
 
For those of you who have seen the movie, you will recognize the overall storyline. For those of you who haven’t, here is a simple breakdown without spoilers. An ogre loses his swamp to fairytale creatures who have been kicked out of their homes by an evil Lord. Shrek goes on an epic quest to save a princess with the reward of getting his swamp back. There are many twists and everything is not as it seems.
 
Jason Marks is incredible and believable as Shrek. I am baffled by his ability to sing like a champ, act like a pro, and wear that hot heavy mask and costume all at the same time. He carries the show with ease! Much applause to Ronnie Brown (Donkey). He is funny and dynamic. Aly Wepplo (Fiona) has the voice of an angel! A special shout out to Hanna Clinton (Teen Fiona/Ensemble and my classmate at Thomas Dale)!
 
Nothing is perfect, but this show is close! One problem from a sound perspective, is when Shrek roars, both Shrek and a recorded voice roar simultaneously. This is somewhat distracting as they have distinctly divergent sounds. There were also some minor set issues such as a window that is designed to ‘shatter’ open kept moving during the scene, which drew my attention to it instead of the action taking place directly in front of it.
 
Set design, by Brian C. Baker, is beautiful and creative and matches each scene well. It is the most complex set I have had the privilege to see at The Children’s Theatre. It matches the needs of the scenes and the theater space equally. Lighting design, by Lynne M. Hartman, transfers night/day and inside/outside with smooth transitions.
 
If you feel like watching the movie “Shrek” this weekend, don’t! Go see it happen right before your eyes at The Children’s Theatre of Virginia. A great play for all ages (as long as they are old enough to sit through a 2 1/2 hour performance, the recommendation is about 6 and up), all genders, and all races…even ogres.

Photo Gallery

Hanna Clinton (Teen Fiona), Aly Wepplo (Fiona), and Ellie Wilson (Young Fiona)	Jason Marks (Shrek) and Aly Wepplo (Fiona)
Ensemble	Jason Marks (Shrek)
Ronnie Brown (Donkey)	Robert King (Lord Farquaad) and Jason Marks (Shrek)
Aly Wepplo (Fiona) center, and Ensemble	Aly Wepplo (Fiona) and Jason Marks (Shrek)

Photos by Jay Paul

Cast

• Shrek: Jason Marks
• Princess Fiona: Aly Wepplo
• Donkey: Ronnie Brown
• Lord Farquaad: Robert King
• Pinocchio: Matt Shofner
• Young Fiona: Ellie Wilson
• Teen Fiona: Hanna Clinton
• Dragon: Ashlee Arden Heyward
• Ensemble: Brianne Chin, Keydron Dunn, Brent Gallahan, Audra Honaker, David Janeski, Carolyn Meade, Sara Ann Meinhofer, Todd Patterson, Mark Persinger, Joe Winters, Hannah Zold

Crew

• Stage Management: Wendy Vandergrift
• Sound Design: Derek Dumais
• Costume Design: Elizabeth Weiss Hopper
• Light Design: Lynne M Hartman
• Set Design: Brian C Barker
• Music Direction: Sandy Dacus
• Direction and Choreography: Robin Arthur

Disclaimer: Virginia Repertory Theatre provided two complimentary media tickets to ShowBizRadio for this review.

Greek gods pretending to be human with a campy fourth wall breaking chorus, what could go wrong? Nothing! This show is just right — unless you speak to Mercury about Charis!

Olympus On My Mind, directed by K Strong, is currently running at Virginia Repertory’s Hanover Tavern. This is the third time Hanover Tavern has produced this play and if the saying “third time’s a charm” is to believed, Olympus is complete charm and worth every moment!

The story takes place in Greece. The god Jupiter (Richard Travis) and his son Mercury (Arden Moscati) come down from Mount Olympus for one night to have a bit of fun with Alcmene (Sara Sommers) while her husband is away at war. One thing leads to the next as her husband, Amphitryon (George Spelvin), arrives home earlier than expected. The comedy of errors is hysterical laughter for the audience.

No show can ever be perfect, but this show is quite as close as can be. The chorus, a fourth wall breaking group, including the ever-talented Maggie Roop as Delores, turns the audience into participants in the show. Scott Wichmann’s Sosia could not have more perfect comedic timing. The chorus did struggle in one of their first dance numbers, but quickly gained their rhythm and never skipped another beat. There is also the possibility of some initial confusion when Jupiter and Amphitryon come face to face, but it is short-lived and the scene is so well delivered the confusion is instantly forgotten.

Set design, by Terrie Powers, conveys the Greek Era with ease — giving the proper patterns to the floor, lighting the stairs, and using mannequins as statues is just brilliant. Lighting design, by K. Jenna Ferre, is well suited to each scene and truly amazes in the dance number that throws out any idea of a fourth wall in this show.

The posters for this show are tongue in cheek with the suggestion of a naked lady behind a column. Don’t let it deceive you. There are no naked ladies, only a most incredibly fun cast! This show is a show for most ages. Though some of the Greek mythology might be lost on younger children, they will still love the jokes, physical comedy, singing and dancing. You will be dying laughing by the end of the show.

Break the fourth wall and visit Hanover Tavern, Olympus will be on YOUR mind – a can’t miss show!

Photo Gallery

Maggie Roop	Scott Wichmann
Richard Travis and Sarah Maynard Sommers as Alcmene	Richard Travis and Sarah Maynard Sommers
Scott Wichmann as Sosia and Richard Travis as Jupiter	Mary Anne Furey as Charis and Scott Wichmann
Cast	Maggie Roop as Delores

Photos by Jay Paul

Cast

• The Chorus
  • Tom: Tyler D. Wilson
  • Dick: Paul S. Major
  • Horace: Dan Cimo
  • Delores: Maggie Roop
• Jupiter: Richard Travis
• Mercury: Arden Moscati
• Charis: Mary Anne Furey
• Alcmene: Sara Sommers
• Sosia: Scott Wichmann
• Amphitryon: George Spelvin

Behind the Scenes

• Stage Management: Kristy Bell
• Costume Design: Sarah Grady
• Light Design: K. Jenna Ferree
• Set Coordination: Chase Kniffen
• Music Direction: Jason Marks
• Direction & Choreography: K Strong
• Cover Art Illustration: Robert Meganck
• Accompaniment Creation: Jason Marks
• Deck Crew: Maggie Peterson
• Light Board Operator: Kristy Bell
• Sound Engineer: Zach Baumann

Disclaimer: The reviewer volunteered with Virginia Rep as an usher.

Just about everyone knows the story ‘Twas the Night before Christmas. Do you know the story of Clement Moore, the man who wrote the poem? Virginia Repertory Children’s Theatre of Virginia’s ‘Twas the Night before Christmas teaches you all about Clement, his family, and the famous poem.

I saw the play Sunday afternoon with my mom and two great friends. I had in my mind that the play would be targeted for young children, maybe too young for me. Within the first few minutes my mind was quickly changed. Children come in all ages of the heart, and this play is fun for everyone!

The play is funny, cheerful, and very light-hearted. I am usually not one for smiling and laughing at a play. When I watch a play, I like to understand it and get a feel for all aspects of it from the cast to the set, lights, etc. I found myself simply enjoying everything; the cast and the set make the entire experience fun.

The only issue was the microphones. The mics were attached to the actors and varied in pitch. When Santa (John Hagadorn) was talking to Clement (P.J. Freebourn), Clement’s voice was loud and Santa’s voice was soft, making Santa harder to hear.

The lighting, by K. Jenna Ferree, is excellent — especially the projections in the back showing weather and time of day changes. The set, by Ron Keller and Jacob Sailer, is absolutely amazing with sliding doors and painted floors. The set totally pulls you right into the scene. I really liked the chimney and the fact that Santa does actually come up and down it!

If you’re looking for a happy holiday show, take your family to ‘Twas the Night Before Christmas. Perfect for the kids, perfect for the adults, and perfect for teenagers (who I admit sometimes think we are not kids any longer). I recommend this show to children of all ages!

Photo Gallery

Pamela Shaw, P.J. Freebourn, Jessi Johnson, and Ashlee Heyward	Sophia Bunnell and Audrey Snyder
Jessi Johnson, P.J. Freebourn, Pamela Shaw, and Ashlee Heyward	Audrey Snyder, Laney Yoo, Sophia Bunnell, and P.J. Freebourn
P.J. Freebourn and John Hagadorn

Photos by Jay Paul

Cast

• Clement C. Moore: P.J. Freebourn
• Eliza Moore: Audrey Snyder
• Charity Moore: Sophia Bunnell or Audry Kate Taylor
• Margaret Moore: Laney Yoo or Adelaide O’Connor
• Kris Kringle: John Hagadorn
• Diana Mouse: Jessi Johnson
• Sugar Plums: Ashlee Arden Hayward, Pamela Shaw
• Children’s Company: Donathan Arnold, Rebekah Blackburn, Christopher Chavez, Claire Daniel, Evelyn Dumeer, Avery Edmundson, Brandon McKinney, Scott Neely

Crew

• Stage Management: Rebecca Brooks
• Costume Design: J. Theresa Bush
• Light Design: K. Jenna Ferree
• Set Design: Ron Keller & Jacob Sailer
• Music Direction: Paul Deiss
• Direction and Choreography: Jan Guarino

For This Production

• Assistant Costume Design: Shea O’Neil
• Scenic Painter: Greig Leach
• Cover Art Illustration: Robert Meganck
• Sound Engineer: Emily Clarkson
• Deck Crew: Maggie Peterson, Zach Baumann
• Light Board Operator: Rebecca Brooks
• Wardrobe: Sarah Grady

Disclaimer: The reviewer volunteered at the theater as an usher for this review.

This has been a busy and interesting weekend as a reviewer. It’s been the first time I have reviewed three shows in one weekend and they have all been musicals. After seeing two shows I had never seen before, today I went to see Virginia Rep’s Fiddler on the Roof. Fiddler is not only the play I have seen the most; it is also the one I have performed in the most (six different casts, including four times as Motel the Tailor. I used to tell people I was a “professional Motel!”) With all that history, it was going to be challenging to make the production interesting or new for me, but Virginia Rep succeeded in doing just that.

The greatest asset of this production is David Benoit as Tevye. Benoit is bombastic, personable and charismatic as the father of five Jewish daughters in Tsarist Russia in 1905. His energy, comic timing and powerful vocals add a touch of Broadway star power to the Richmond stage. As my guest said, Benoit was just awesome not only in his talent, but in showing his heart and love of God and his family!

The second greatest asset is Brian Prather’s set design. While made of only bare essentials such as wood frames, bare trees and picket fences, it is always visually appealing. Special effects such as tableaus seen through a scrim, characters who fly, and a final scene where the stage rotates while the actors walk in place were all effective touches.

My only complaint with the set was latticework containing Jewish symbols on all four corners of the stage which seemed a bit heavy-handed and out-of-place.

Overall I was impressed with the staging by Director Richard M. Parison Jr and Choreographer Karen Getz, except for the initial musical number where the small village of Anatevka became even smaller — with only a handful of actors on stage to perform “Tradition.” The choice seemed to be to go with bigger dance steps and fewer actors on stage, which weakened the power of the iconic number. This was corrected in the wedding scene, where the size of the village seemed to double.

The performances of the other members of Tevye’s family were also high quality. Tamara Johnson, as his wife Golde, was strong and formidable. While her singing wasn’t quite to the level of Benoit’s, the two worked well together as a couple. The three principal daughters; Audra Honaker as Tzeitel, Brittany D. Simmons as Hodel and Ally Dods as Chava, were all youthful, sweet and vocally strong. In another personal note, I once performed opposite Broadway Diva Carolee Carmello as Hodel, and Simmons showed every bit the promise Carolee displayed back in the day.

Other noteworthy performances came from Nicholas Park as Motel the Tailor and Mary Anne Furey as Grandma Tzeitel. A bit more work was needed on the accents of some of the performers attempting Russian dialects, however.

As we start the holiday season, there will be Christmas shows galore. With no Hanukkah anthem show, Fiddler serves as a good substitute; and Virginia Rep’s production serves as an excellent evening of musical theater.

Photo Gallery

Photos by Aaron Sutten

Cast

• Tevye: David Benoit
• Golde: Tamara Johnson
• Tzeitel: Audra Honaker
• Hodel: Brittany D. Simmons
• Chava: Ally Dods
• Shprintze: Kendall Wilkinson or Mila Cesaretti
• Bielke: Maggie Scott or Tori Eriavez
• Yente: Debra Clinton
• Lazar Wolf: Richard Travis
• Rabbi: Cary Houseman
• Mordcha: Barry Pruitt
• Mendel: Boe Wank
• Avram: Matthew Curiano
• Motel: Nicholas Park
• Perchik: Matt Zimmerman
• The Fiddler: Neil Rushnock
• Boy: Zachary Kenney
• Constable: Andrew C. Boothby
• Fyedka: Samuel Elton
• Sasha: Kevin Scott
• Grandma Tzeitel: Mary Anne Furey
• Fruma-Sarah: Bianca Bryan
• Russian Soloist: Daniel Bontempo
• Company: James Bock, Daniel Bontempo, Bianca Bryan, Jon Cooper, Matthew Curiano, Mary Anne Furey, Lauren Marie Hafner, Shaina Virginia Kuhn, Will Meredith, Bryan Charles Moore, Neil Rushnock, Kevin scott, Boe Wank

For This Production

• Director: Richard M. Parison Jr.
• Musical Director: Anthony Smith
• Choreographer: Karen Getz
• Stage Manager: Wendy Vandergrift
• Set Designer: Brian Prather
• Lighting Design: Robert Perry
• Costume Design: Sue Griffin
• Sound Design: Derek Dumais
• Cover Art Illustration: Robert Meganck
• Assistant to the Choreographer: Lauren Marie Hafner, Bryan Charles Moore
• Dance Captain: Bryan Charles Moore
• Assistant Stage Managers: Rick Brandt, Kristy Bell
• Sound Engineer: Derek Dumais
• Assistant to the Lighting Engineer: Skyler Broughman
• Studio Assistant Lighting Designer: Angie Jorgensen
• Deck and Fly Crew: Luke Robinson, Tommy Hawfield
• Head Flyman: Jason Wineberger
• Follow Spot Operators: Skyler Broughman, Libby Majette
• Light Board Operator: Linwood Guyton
• Music Operator: Katie Monfet
• Wardrobe: Ruth Hedberg, Rosanna Bencoach

Disclaimer: Virginia Repertory Theatre provided two complimentary media tickets to ShowBizRadio for this review.

This COULD be my shortest review ever! Say Goodnight Gracie is a one-act, one man show. Now, to fill the rest of this review, I could ask Gracie about her brother (once you see the show, you will understand). I could also say it is presented by Virginia Repertory Company at Hanover Tavern’s Barksdale Theater.

Say Goodnight Gracie tells the story of the life of George Burns, who along with his comedy partner and wife Gracie Allen, was one of the few performers to find success in vaudeville, movies, radio and television.

In Say Goodnight Gracie Burns has just passed away at the age of 100 (I remember it like it was yesterday, even though it has been almost 20 years). He is appearing before God to “audition” his way into heaven and be reunited with Gracie. For 90 minutes he recalls his life story through a series of stories, sketches, slides and video snippets.

Say Goodnight Gracie was written by Rupert Holmes (Yes, the Pina Colada song guy) and was nominated for a 2003 Tony Award for best play, and won the 2003-04 National Broadway Theatre Award for best play.

Scott Wichmann as Burns took on a major challenge in portraying a person who was so well-known to those in my generation and beyond (and who can still be seen nightly on digital cable). In most aspects, Wichmann was spot on, capturing Burns’ warmth, charm and many of his physical nuances. When he licked his lips or smirked it was amazingly like having Burns present. He even captured Burns’ style of speech (but it would take 100 years of cigar smoking to actually capture his signature raspy voice). Wichmann made the 90 minute retelling of 100 years of history fly by.

He was assisted, of course, by the strong direction of Chase Kniffen, who made great use of the small Barksdale stage and many multi-media elements. K. Jenna Ferree’s lighting kept Wichmann’s performance even more visually entertaining. Special recognition goes to Sue Griffin and Marcia Miller-Hailey whose costumes and make up were also spot-on; helping transform Wichmann into Burns.

Whether you are a lover of George Burns, a lover of history or a lover of just plain good theater, Say Goodnight Gracie makes for 90 minutes of great entertainment. Of course, I could not live with myself if I did not close by saying…say good night Bruce…(yes it was a) good night!

Photo Gallery

Photos by Jay Paul

The Cast

• George Burns: Scott Wichmann

The Crew

• Director/ Video Designer: Chase Kniffen
• Stage Manager: Wendy Vandergrift
• Set Designer: Terrie Powers
• Lighting Design: K. Jenna Ferree
• Costume Design: Sue Griffin and Marcia Miller-Hailey

Disclaimer: Virginia Repertory Theatre provided two complimentary media tickets to ShowBizRadio for this review.

For those who have never seen To Kill a Mockingbird; either the classic Gregory Peck movie, or the play (or read the American Classic novel by Harper Lee); it is the ultimate story about racism in the old south. Attorney Atticus Finch (Adrian Rieder) is assigned to defend a black man, Tom Robinson (A.J. Calbert) who is accused of beating and raping a white woman, Mayella Ewell (Suzanne Grey) in 1935 Depression Era Alabama.

The difficulty in tackling a well-known work like this is avoiding comparisons; however Virginia Rep has made the show their own. The novel and movie tell the story from the perspective of Finch’s daughter Jean Louise “Scout” Finch (Molly Nugent). However, in this version, several characters take on a narrative role; most notably neighbor Maudie Atkinson (Laine Satterfield) who serves as the voice of the true minority at the time — those who believed in equality.

The two keys to the story are Finch’s integrity and the innocent naïve hopefulness of his two children, Scout and Jem (Nick Dauley) and their friend Dill (Henry Boyle) who all serve as the audience’s moral compass.

Rieder’s portrayal of Finch clearly distinguishes itself from Gregory Peck’s. He is more home-sprung and simple and less imposing. While his dialect sounded more New England-like to me (reminiscent of the Pepperidge Farm commercials) his character and demeanor were consistent and steady. One of the shows’ most poignant scenes is when Finch directly addresses the audience as if they were the jury in a style more like Jimmy Stewart’s everyman.

Nugent’s Scout is spunky, inquisitive, and innocent-yet wise beyond her years. Both she and Dauley deftly display their father’s serious, introspective and no-nonsense nature. Boyle stands out as their young friend. He is quirky like the character of Brick on “The Middle;” yet natural and believable. It is through the trio’s eyes that the audience must come to grips with ideas of prejudices against race, gender and mental illness; and each young actor expresses compassion and maturity in their performances.

Notable supporting performances include Gray as the emotionally volatile accuser; and Ron Reid as her dark, evil and ignorant father. Gordan Bass is a powerful presence as Sheriff Heck Tate and Debbie Gayle Taylor is down to earth as the domineering housekeeper Calpurnia. Satterfield, Terri Moore and Mollie Ort (who effectively portrays a woman much older than herself) are all natural as three of the Finch’s neighbors expressing divergent opinions on the trial and on racism. A.J. Calbert was a bit too calm and emotionless as the man on trial for his life. Director Rusty Wilson’s staging works well overall, but some minor touches need to be ironed out, such as having Jem lightly toss a football into the wings when he was angry; and a clearly faked gunshot used instead of blanks.

Ron Keller’s set design was ambitious, making one of the area’s largest stages almost seem small, but finding ways to transform it into both the exterior of the Finch’s house and the courtroom. The choir seated on a second level throughout the play, which also serves as the Negro-seating section of the courtroom, gave them an image of almost serving as a Greek Chorus, watching over all the action. There were some glitches in the transition to the court room, and having the women in their fine southern outfits double as set crew was a bit distracting. Lynne M. Hartman’s lights worked beautifully in creating the mood and time of day. Elizabeth Weiss Hopper’s costumes were period appropriate and enhanced the characters and their images and stations in life.

The moral messages of To Kill a Mockingbird are timeless: trying to understand others and considering things from their perspective — walking in their shoes; and treating others fairly — just as it’s a sin to kill a mockingbird because they don’t do any harm. It would also be a sin to miss Virginia Rep’s morally provocative production of To Kill A Mockingbird (however, parents beware, in presenting the poignant messages there is some strong language).

Photo Gallery

Adrian Rieder as Atticus Finch	Molly Nugent as Scout
Henry Boyle as Dill, Molly Nugent as Scout, and Nick Dauley as Jem	R. Lee Gregory as Reverend Sykes
Photo 1	Photo 2

Photos by Aaron Sutten

The Cast

• Jean Louise “Scout” Finch: Molly Nugent
• Jeremy “Jem” Finch: Nick Dauley
• Atticus Finch: Adrian Rieder
• Calpurnia: Debbie Gayle Taylor
• Maudie Atkinson: Laine Satterfield
• Stephanie Crawford: Terri Moore
• Mrs. Dubose: Mollie Ort
• Arthur “Boo” Radley: Dean Knight
• Charles “Dill” Baker Harris: Henry Boyle
• Heck Tate: Gordon Bass
• Judge Taylor: Frank Creasy
• Reverend Sykes: R. Lee Gregory
• Mayella Ewell: Suzanne Gray
• Bob Ewell: Ron Reid
• Walter Cunningham: Frank Creasy
• Mr. Gilmer: Ford Flannegan
• Tom Robinson: A.J. Calbert
• Choir: Keydron Dunn, Stepahnie M. Hill, Jessi Johnson, Anthony Smith and Alana S. Thomas

The Crew

• Director: Rusty Wilson
• Stage Manager: Rick Brandt
• Set Designer: Ron Keller
• Lighting Design: Lynne M. Hartman
• Costume Design: Elizabeth Weiss Hopper
• Dialect Direction: Amanda Durst

Disclaimer: Virginia Repertory Theatre provided two complimentary media tickets to ShowBizRadio for this review.

A good children’s play entertains the kiddies. A great one also amuses their parents.

Busytown meets that criterion. Adapted from Richard Scarry’s popular children’s books, the musical brings familiar characters to life in a fun, cheerful production staged by Virginia Repertory Theatre for its Children’s Theatre at Willow Lawn season. The show, with music by Michael Koerner and book by Kevin Kling, breezes by at precisely the right length — one hour — which is long enough to pack in plenty of Busytown antics without overstaying its welcome. It’s not long, but it’s indeed busy, with lots of clever bits of business along the way.

The ensemble cast is fantastic. You’ll believe an actor can become a cartoon character.

Dan Cimo plays young Huckle, essentially our viewpoint character who’s trying to find his place in Busytown, and the rest of the cast takes on an assortment of roles. PJ Freeborn, Allison Gilman, Michael Brown, Jessi Johnson, and Jan Guarino each bring their own brand of animated exuberance to the proceedings.

Guarino doesn’t just act, sing, and dance. She also directed and choreographed the production. Apparently, being a triple threat wasn’t enough. She excels in all roles, as this very physical show remains in constant motion, never losing the attention of the little ones. Everyone involved maintains the necessary enthusiasm to charm the audience from start to finish.

The main plot involves preparations for Grandma Bear’s birthday (she’s turning over 30!) while Huckle tries to be helpful. However, the show is basically a string of humorous, inventive episodes.

Freeborn’s Lowly Worm is a highlight. The actor serves as the puppeteer for the long, thin, and mostly mute worm, though he goes a step farther by providing his own animated facial expressions to convey the puppet’s reactions to events. He nails the character without saying a word. And a worm puppet, it seems, provides numerous opportunities for excellent physical comedy.

Johnson’s Nurse Nellie takes a hilarious interest in Lowly Worm following an injury, which is tended to by Gilman’s Doctor Lion in a terrific scene full of wonderful interplay between the performers.

Brown gives us another treat with his portrayal of Captain Salty — a pirate whose favorite letter is the one that comes after Q. His crew (Gilman, Johnson, and Guarino) is a delight.

Creativity is all over the place in Busytown — in a construction ballet, in the slow-motion eating of over-risen bread, and even in a house fire that also sneaks in a safety message.

Lynn West’s costume designs clearly suggest the various animal characters without burdening the actors with bulky masks. Ears, hair, and hats help them become the characters, and their expressive faces remain free.

Chase Kniffen provides a set design worthy of a picture book. It’s vibrant, colorful, and feels like a character in its own right. Even the stage floor shows painted grass, bushes, roads, and railroad tracks. The Willow Lawn theater space is fully utilized.

Busytown is the perfect outing for families with small children. Older kids might fancy themselves too mature for such a show, but preschoolers and early elementary school students will be delighted. The opening night kids were certainly laughing and bopping to the music quite a bit.

And the grown-ups seemed to have a great time, too.

Photo Gallery

Lowly Worm	Jan Guarino, Allison Gilman, Jessi Johnson, Dan Cimo, PJ Freeborn, and Michael Brown

Photos by Jay Paul

Cast

• Dan Cimo: Huckle
• PJ Freeborn: Lowly Worm, Blacksmith Fox, Construction Worker, Fire Chief, Able Baker Charlie
• Allison Gilman: Farmer Alfalfa, Jason the Mason, Doctor Lion, Train the Dog, Grandma Bear, Pirate
• Michael Brown: Sergeant Murphy, Dig Pig, Captain Salty, Humperdink
• Jessi Johnson: Grocer Cat, Sawdust Carpenter, Postman, Nurse Nellie, Pirate
• Jan Guarino: Betsy Bear, Stitches, Pirate

Designers

• Adapted for the stage by Kevin Kling from the book “What Do People Do All Day” by Richard Scarry
• Lyrics by Kevin Kling & Michael Koerner
• Music by Michael Koerner
• Set Design: Chase Kniffen
• Light Design: K. Jenna Ferree
• Costume Design: Lynn West
• Stage Management: Kate Belleman
• Musical Direction: Paul Deiss
• Direction & Choreography: Jan Guarino

Disclaimer: Virginia Repertory Theatre provided two complimentary media tickets to ShowBizRadio for this review.