Floris UMC: The Music Man

Floris UMC:  The Music Man

Floris United Methodist Church, Herndon, VA, August 9-11, 2012

Sadie Jones

Drove over in storm threatening skies to see the Floris UMC first full length musical only because I had read in the Centreview Mike Cash was playing the mayor. Loved Mr. Cash as the Scarecrow, Cogsworth, Grandpa Joe and Wilbur Turnblad in previous Alliance theatre productions and was not disappointed here. Actually saw quite a few TAT actors and familiar faces from 11 other local theaters. The director, Barbara Carpenter, used a well rounded adult cast to its full potential and polished the teens and children as bright as pennies.

Floris UMC has one of the longest stages in the area, allowing for seamless scene transitions from one side to the other. The set design, dressing and props were rivaled only by the costumes. Everything was top notch. The orchestra was a little loud for some of the younger voices to sing over as they played the old, well known tunes to a happy, swaying, toe tapping audience.

Newlyweds Ward and Katie Ferguson as Harold Hill and Marion Paroo, had us on the edge of our seats waiting to see what we knew would happen. Mike Cash and Laura Kelmelis as tongue tied Mayor George Shin and his involved wife Eulie had us laughing out loud. The squabbling School Board, Alex Bhargava, Ron Kronz, Jim Edwards, Jim Daily, transformed into a charming barbershop quartet right on key. John Totten was a wronged and righteously indignant Charlie Cowell.

The large cast acted not only during monologues and snappy conversations but also as they danced and sang, which is expected from a more established theatre group. It was a pleasant surprise for so young a company. Great choreography, staging, musical direction, hair and make up. It would take pages to describe in detail how good the production was and neither you nor I have time for that. So, I’ll only mention one more person.

Samuel Elliott played the shy, awkward Winthrop Paroo who comes out of his shell when Prof. Harold Hill brings the promise of a boy’s band to town. My theatre buddy, Cookie, is of the opinion this little boy stole the show. I disagree. But I will say he stole my heart.

TAT: Legally Blonde, The Musical

TAT: Legally Blonde, The Musical

 The Alliance Theatre    July 27-August 5, 2012   Chantilly High School

Sadie Jones

Recently ran into an acquaintance who, like me, saw the last show of TAT’s summer production Legally Blonde. He jabbered about how wonderful it was. Surprised at his enthusiasm I asked “what did you like about it?” He said “You know, the girl who played Ellie and the one who played the hairdresser were fantastic”. And, that about sums it up.

Taylin Frame was a brilliant not-so-dumb blonde Elle Woods. Kathy Arnold was funny and endearing as Paulette the Hairdresser. Both of them had the best voices in the show.

If my friend searched his memory he may have remarked Gray O’Reilly warmed up to his role as Emmett Forrest by the second act. Warren Huntington, played by David McVicar, was as shallow, callous and slick as he could be, but had no chemistry with his northeast beauty Vivienne. And although Michael Clendenin was the cold hearted, stereotypical lawyer as Professor Callahan, I didn’t believe he had sexual harassed anyone. The only believable and fun to watch couple was Kathy Arnold (Paulette) and Brian Johnson, (Kyle the delivery guy). Those two could have stolen the show. 

Amanda Mason who played Vivienne, was too young and too nice personally to make us believe she was a conniving ice queen. Ms. Mason’s singing added to our listening pleasure but she may have been better cast as a Delta Nut.

And here is the big casting question, Why not cast more people who can sing and dance if you are doing a musical? Unless previously mentioned, the voices were unremarkable.  The program said there were two chorographers and a dance captain. The dancing consisted mainly of stomping and clapping plus a simplistic Irish jig. In the vernacular of Aunt McFee, “If it was a horse I would have shot it”.

The Wardrobe dept. started and ended with the main characters. It was as if the cast searched their own closets for what they thought was appropriate for each scene. TAT followed Broadway’s lead by leaving the law school set in plain sight during the show while pushing out props and min-sets. It was distracting on stage that size.

Ending on a positive note, the orchestra gets full marks. They played gallantly behind the curtain in what must have been sweltering conditions.

See you later,

Sadie

CFTC: Into The Woods

City of Fairfax Theatre Company : Into the Woods

Had decided not to write about CFTC’s  Into the Woods last week because it was the last showing. Frequently I see shows on the last weekend, so haven’t shared observations on a half a dozen venues this past spring and summer.  I saw NovaShowbiz as a vehicle to comment on shows people had a chance to buy tickets. My mind’s been changed.

City of Fairfax Theatre Company started in 2009 on a frayed shoe string budget and no home to call its own. You know, the usual way to start a theatre company. Still they managed to put on a couple of productions a year, run a Youth Ensemble during the school year and a summer camp. Many of the un-paid staff are FCPS teachers whose calling it is to bring out the best in the next generation. As of August 1, CFTC has suspended operations, http://www.fairfaxcitytheatre.org/fairfaxcitytheatre.org/Home.html.

It’s a shame. Into the Woods was delightful. The set was beautifully constructed with a live orchestra silhouetted behind a canopy of trees and undergrowth. Offstage sounds and lighting was everything it should be. And the voices were clear as bells. The production was not perfect, but well worth the price of the ticket.

If anyone has the energy or assets to help these folks out, the NoVa theater community would be the better for it.

See you later,

Sadie

Anything Goes cast

Anything Goes cast before performance on two story set. Scene changes and a pit orchestra bring the 1943 cuiseship, the SS American to life.See report on last night's perfomance in comments under Anything Goes.

Anything Goes!     July 20 -28   5 shows   2 Weekends

Westfield Summer Stage celebrates 12 years of summer musicals with the classic Cole Porter musical comedy ANYTHING GOES , which taps its way to the Westfield High School stage for five performances July 20, 21, 27, 28 at 7:30 pm and July 22 at 2 pm. All performances are at Westfield High School in Chantilly, Virginia. Tickets are $12 in advance and $15 at the door. Seating is reserved. Buy tickets online at www.westfieldtheatreboosters.com 

ANYTHING GOES is a saucy and splendid production of Cole Porter’s musical romp across the Atlantic. When the S.S. American heads out to sea, etiquette and convention head out the portholes as two unlikely pairs set off on the course of true love — proving that sometime destiny needs a little help from a crew of singing sailors, an exotic disguise, and some good old-fashioned blackmail. 

Stowaway Billy Crocker ( Colby Dezelick ) is out to win back true love Hope Harcourt ( Rachel Shirley ) from Lord Evelyn Oakleigh ( Joshua Ewalt ), with the help of singer-turned-evangelist Reno Sweeney ( Katelyn Reimer ), wanted gangster Moonface Martin ( Julian Sanchez ), and Moonface’s girlfriend Bonnie Letour ( Corinne Holland ). Along for the ride are a minister ( Jake Ehrlich ) and his shady converts ( Estella Massey, Olivia Witt ), a hapless captain ( Chaz Coffin ) and a harried purser ( Brandon Sanchez ). Peppering this hilariously bumpy ride are some of musical theatre’s most memorable standards, including “You’re the Top,” “Blow, Gabriel, Blow,” “It’s De-Lovely,” “I Get A Kick Out of You,” and “Anything Goes.” 

The show features 56 actors ranging from grades 7 to 12 from more than 15 area schools.  The cast also includes recent Class of 2012 graduates.

 

Taking Flight Theatre Presents: Next to Normal

By Ashley Kinney

                Sex, drugs, and rock n’ roll are just a few things to be found in Taking Flight Theatre Company’s production of “Next to Normal.”

                “Next to Normal” tells the story of Diana Goodman, a mother suffering from bipolar disorder, and possibly more.  As she tries various “cures” and ways to cope with her illness, her family, and those connected with it, fly in and out of focus.  Everyone struggles, grasping towards a concept of “normal” they can’t achieve.  Brian Yorkey’s rock lyrics emphasize this world turned on its head as we find out that this is anything but the “perfect, loving family.”

                Taking Flight’s production makes some unique choices in terms of the art direction.  A cartoonish house takes up the majority of the stage.  Light glows through the various windows and mirrors in the house, creating some interesting stage images.  Having some characters visible through a window on the top level of the house also contributes nicely to the layers onstage.  There is also the use of a projector screen as Diana tries various medical combinations, slipping further and further out of control.  The colorful images, reminiscent of the original Willy Wonka movie, add to the disconcerting situation onstage.

                Unfortunately, in the attempt to portray a fully furnished house on a small stage, the house seems a bit overcrowded at times, causing the actors to block each other.  There is a bed that remains onstage for the whole show, and is only used in the opening number.

                The show truly shines through the cast.  All six of the cast members can sing, most extremely well.  The harmonies are, more often than not, simply beautiful and strongly sung.  While over half of the cast is new to Taking Flight, all of them have impressive theatrical resumes.

                Holly McDade gives a strong performance as Diana, almost deceptively so.  At times, one may wish for a varied performance in terms of emotional range, but just have patience.  As the circumstances in Diana’s life drastically change, so does McDade’s performance.  It’s not that she withholds her emotion; it’s that she chooses her moments carefully.  As the show goes on, she portrays not only the depression from her frustrating circumstances, but an intensity and childlike innocence.  This seems to leave the audience more and more impressed.

                And you’d have to have the emotional range of a rock not to love Claire O’Brien as Diana’s daughter Natalie, and Michael Bigley as Natalie’s boyfriend Henry.  O’Brien and Bigley team up with adorable chemistry as the perfectionist who finally cracks and the lovable stoner who just doesn’t give up.  O’Brien gives an extremely strong performance throughout, particularly vocally, and avoids the easy trap of portraying Natalie as merely a whiny 16 year old.  Bigley wins the audience and gains some well-earned laughs during his song “Perfect For You”, hitting his awkwardly comic moments perfectly.

                “Next to Normal” is an intrinsically emotional show, but that only makes it more difficult to perform.  Taking Flight’s company really works to make the audience feel the frustration Diana and her family face as she relapses.  One of the main themes, which seems to be, “Perfect isn’t achievable,” may not leave the audience warm and fuzzy inside, but it’s true.  Perfect isn’t achievable, but that’s okay.  You can still survive, and you can still find a way to eventually be happy.

                “Next to Normal” plays for six more performances, on June 3^rd, 8^th, 9^th, 10^th, 15^th, and 16^th.  Friday and Saturday performances are at 8 pm, Sunday performances are at 7 pm.  They perform in the Waddell Theater on the NOVA campus in Sterling.  For more information, visit tftheatre.org.

Jazz and Pizzazz 26 at Chantilly High School

by Sadie Jones

This year’s Jazz & Pizzazz is a bittersweet extravaganza. The amazing choral director, Glenn Cockrell, whose vision and dedication made The Chantilly Jazz and Combo bands and the Touch of Class show choir what they are, retires in a few weeks. The show plays 5/23 - 5/26 so don't miss out.

The 40 plus piece Jazz and Combo bands are worth the price of the ticket as they set your toes tapping with  hot jazz or mellow your mood with cool blues. Thirty (30) numbers from start to finish and the kids were just as fresh at the finish; as well, you’d expect kids to be. Except the musicians are far more polished, far more professional in demeanor and talent than what anyone should suppose from people who aren't yet old enough to vote. Amazing.

The Touch of Class show choir is, for those who don’t know, the type of choir the TV show “Glee” is about. This glee club was voted America’s Favorite Show Choir in 2011. The featured vocalists were as wonderful as expected, but the diva moments were a little surprising. Hopefully it was opening night nerves that caused one songstress to yank her partner into place while the lights were dim and glare at another partner for some unseen faux pax. The only other suggestion to make it more enjoyable for the audience is to rotate the lines so we aren’t seeing the same half dozen faces for most of the night or space the performers in group numbers so we can see the people in the back more clearly. The serious numbers such as “Fix You” (Wed/ Fri performances only) and the pure
fun “California Gurls” shows what range these young people are capable.

The wardrobe, scenery and lighting folks get full marks. The smoke machine did make the first few rows foggy for a couple of numbers, but they may have control of that now. The audience participation number is a hoot. Sit close to an aisle if you think you may want to get caught in a “Time Warp”.

You don’t have to be a parent or know a child in the Chantilly School pyramid to come down to see Jazz and Pizzazz. For $10 a seat, you can bring someone along for 2 hours of pure fun, stop for ice cream on the way home and have had a grand night for less than $30 combined.

See you later,
Sadie


Jazz and Pizzazz 26 plays May 23–26, 2012, 7 pm, Chantilly High School, 4201 Stringfellow Road
Chantilly, VA 20151 - Tickets are just $10 assigned seating and can be purchased on line here: http://www.fcps.edu/ChantillyHS/ > Up Coming Events > CHS Performing Arts Box Office

Or click here:
https://www.vendini.com/ticket-software.html?w=5c92fe00cb9d1a425b3e1a1949103145&t=tix

The Castaways Repertory Theatre Presents: Fiddler on the Roof

By Ashley Kinney

www.castawaystheatre.org

When asked to review Castaways Repertory Theatre’s production of “Fiddler on the Roof”, I couldn’t say no.  My father has commented throughout my life that he sometimes feels like Tevye, “blessed” with four daughters and no sons.  It seemed only natural that I had grown up with the film of this show.  Simply saying “Fiddler on the Roof” made the fiddle intro start playing in my head, and the imaginary Tevye that lives there walked out front and center of my brain and began “A fiddler on the roof.  Sounds crazy, no?” I eagerly found my seat.  Some ladies behind me were discussing what the show was going to be about, clearly new to the show, and they were terribly mispronouncing Anatevka.  This made me smile, because I love the thought that people were being exposed to “Fiddler” for the first time.  As for me, I was going home to Anatevka.
Anatevka wasn’t exactly the way I remembered it, but it was still home.  The minimal set made it seem somehow smaller and less defined, and some of the brighter costumes seemed out of place for a poor town, but the important elements of Anatevka were still there.  We still have the bottle dance at Tzeitel and Motel’s wedding, Yente is still arranging the matches (because, “Young people can’t decide these things for themselves, you know.”) and, most importantly, Tevye still wrestles with God over tolerance versus tradition.  It is this theme of tolerance versus tradition which makes “Fiddler” relevant today.  Our debates may not be over prayer shawls and men and women dancing together, but we still seem to struggle with how far we can deviate from past tradition.
“Fiddler on the Roof” is a very demanding show for the man playing Tevye.  Not only does he have the important job of narrator, and he has the most lines in the show, it falls to him to make sure that the audience understands just why the traditions of Anatevka are so important.  Jim Mitchell, a clearly seasoned performer with the resume to prove it, takes this responsibility with gusto.  He has the “Tevye eyes”, the incredulous and comic look as he is forced to accept that the world is changing, and some of his traditions may need adjusting.  Mitchell clearly relishes his comic moments, and his excellent projection and strong singing voice makes sure that the audience doesn’t miss a word he says.  My one regret was that this Tevye failed to do the traditional “Tevye shimmy” made famous by Zero Mostel during “If I Were a Rich Man.”
A standout performance is also given by Rebeca King as Hodel, Tevye’s second eldest daughter.  She delivers her somewhat sassy lines without becoming shrewish, has a natural stage presence, and gives a truly beautiful performance of “Far From the Home I Love.”  Clearly King’s time as a private vocal instructor has been well spent.
What is different about this version of “Fiddler on the Roof” is the audience interaction.  When Tevye gives his opening monologue, he delivers it while walking down the aisle, gesturing and speaking directly to the audience.  During the Sabbath prayer, Tevye and his family directly face the audience while the ensemble sings from the aisles.  This type of direction strives to make the audience feel like they too have grown up in Anatevka, so they should share in their celebrations and tragedies.  I believe this is why the audience so easily clapped along at Tzeitel and Motel’s wedding.  It was a very welcome deviation from my expectations.
What CRT’s production may lack in budget, it makes up for with the heart of its cast.  Many of the actors were clearly thrilled to be onstage, and you couldn’t help but smile at their enthusiasm.  The cast clearly enjoys the show, and the audience can’t help but reciprocate.
“Fiddler on the Roof” is playing for one more weekend, on May 17th, 18th, and 19th at 8 pm.  They perform at the Dr. A.J. Ferlazzo building in Woodbridge, Virginia.  For more information visit www.castawaystheatre.org.