SEE THEM: Synetic, Olney, and STC are spoiling audiences with exceptional performances and designs
At first thought, this combined review seemed a bit forced. But as I sit with the idea, I am glad to be bringing these productions together. They could not be more different — a wordless, movement-based Shakespeare adaptation from Virginia; a hilarious farce from Maryland; and a sprawling historical epic from DC — yet they exemplify the eclectic excellence of programming found in our region. Year after year, selecting a local production to attend has been the most artistically exhilarating “choose your own adventure”, and our audiences should not take that for granted.
These three productions showcase powerfully versatile performances and impressively bold designs, making me all the more excited for what’s to come in 2024. Prepare to be wowed.
Synetic Theater’s “Romeo and Juliet”
Of the three, this production was the one I was most excited for. I have extensively studied (and even performed) William Shakespeare’s Romeo and Juliet — it has helped shape my theatrical core. It contains the most beautiful expressions of love ever written. Is the plot an over-the-top, fleeting, preventable tragedy? Yes, but I love it still.
A bittersweet production of “star-crossed lovers”, this remounted adaptation of Romeo and Juliet marks the end of Synetic Theater’s residency in their Crystal City space. Embracing the moment by choosing one of Shakespeare’s greatest tragedies and love stories, Synetic says farewell to 1800 S Bell Street in quintessential form, showcasing exuberant choreography, intelligent design, and enchanting performances.
Let’s set the scene: On one side of the city of Verona, a despondent Juliet (Irinka Kavsadze) submits to her parents’ will for her to marry Paris (Jacob Thompson). On the other side, Mercutio (Tony Amante) can no longer tolerate his moping, heartbroken friend Romeo (Zana Gankhuyag). To raise his spirits, they crash a masquerade party thrown by Juliet’s parents, where they are not welcome. Among the dancing and suspicious glances, Romeo and Juliet meet, and do the most dangerous thing they could do — fall in love.
Co-adapted by director Paata Tsikurishvili and Nathan Weinberger, the show captures the transcendent beauty of this play without using a single word. The foundation of the adaptation is the concept of time: time standing still; racing against the clock; a once in a lifetime love. Phil Charlwood’s scenic design, composed of the gears and cogs of a massive clock, wonderfully depicts Verona as a rigid, mechanical society: everyone plays their part, and some — like the Capulets and Montagues — must be kept apart. However, Romeo and Juliet refuse to be two cogs in a machine designed to separate them.
The star-crossed lovers are stunningly portrayed by Zana Gankhuyag and Irinka Kavsadze, reunited once more after Synetic’s breathtaking Beauty and the Beast. You will be captivated by Gankhuyag’s sincere, graceful Romeo. He physicalizes Romeo’s delicate adoration and frenetic desperation with great clarity. As Juliet, Kavsadze beautifully embodies her hesitancy and despair. The play’s tragic elements hit deeply due to her committed portrayal. The chemistry between Gankhuyag and Kavsadze is one of the strongest you will see on DC stages (the promotional photo of them embracing in the light could not be more perfect).
Elevating the show even further is an extraordinarily talented ensemble. Tony Amante steals the show as Mercutio. From his jaunty entrance onward, you cannot look away from that sassy, rebellious rascal. So delightfully unserious, Amante’s energized performance was a standout. He shares an impressively choreographed tussle with Janine Baumgardner’s wily Nurse, who deftly animates the physical humor. Vato Tsikurishvili is formidable as Juliet’s bullish cousin Tybalt, masterfully performing the aggressive, ravenous choreography during the deadly fight scene.
Choreographer Irina Tsikurishvili and fight choreographers Vato Tsikurishvili and Ben Cunis crafted visual storytelling so remarkable that, in typical Synetic style, words became unnecessary. In the masquerade party scene, the high-paced, passionate dancing of the guests is brilliantly contrasted with the slow, creeping Paris attempting to woo Juliet. Rising solid and still from the moving figures is the suspicious Tybalt, spotting the uninvited Mercutio and Romeo among the crowd. Later in the play, when Romeo and Juliet share an intimate moment, their passionate movement work is seen only through a sheet, with their twirling shadows cast from surveilling flashlights. What the production lacks in words is made up for with an abundance of affecting visuals that will thrill, charm, and devastate you.
I will miss attending that quaint auditorium in Crystal City, which housed some of the most impressively creative works the DC region has ever seen. Synetic’s future home will be lucky to have them, and I am very excited to hear what comes next. Until then, catch Synetic doing what they do best — it is my UnProfessional Opinion that you SEE Romeo and Juliet.
Olney Theatre Center’s “Lend Me a Soprano”
It’s not often I walk into a theatre saying “Wow”. It’s not often I walk out of a theatre saying “Wow”. I think the last time may have been last season’s The Jungle — and rightfully so. It’s nice to be reminded that productions of all scopes and subject matter can elicit that amazed response.
From the design, to the performances, to the direction, to the script, Olney Theatre Center’s Lend Me a Soprano is a magnificent delight. I speak on behalf of the entire audience when I say we all would have happily stayed in our seats for hours had the ushers let us. Crafted with the utmost precision and abundant enthusiasm, this has been one of the most joyfully entertaining theatrical experiences I have had in ages.
Let’s set the scene: to celebrate the opening of their 10th anniversary season, the Cleveland Grand Opera Company is bringing celebrated Italian soprano Elena Firenzi (Carolann M. Sanita) to star in their one-night-only performance of Carmen. General Manager Lucille Wylie (Tina Stafford) insists that her assistant Jo (Rachel Felstein) keep their saucy celebrity guest away from alcohol and men until show is over. When Elena takes an unexpected turn for the worse, Jo must step up to save the night — by stepping into the spotlight.
Many local productions have been tackling important social issues and challenging subject matter, which I encourage — they frequently makes for the best theatre. But it is also important to come to a show to decompress and simply enjoy yourself. Olney’s production was a refreshing and welcome change of pace. A gender-swapped version of his acclaimed Lend Me a Tenor, playwright Ken Ludwig has constructed a zesty, high octane (or octave) farce that I giddily consumed from start to finish. The characters are boldly elaborate; the circumstances are ridiculous yet complex; and the intelligent humor frequently caught me off-guard. It is easy to tell that this is a play that everyone enjoyed directing, designing, performing, and watching, and the results were more than satisfying.
Remember that “Wow” from the introduction? That is primarily (but not only) due to this production’s design elements. Upon entering Olney’s mainstage, I was captivated by Andrew R. Cohen’s beautifully elaborate set of a 1930s upscale hotel suite. From the ornate crown molding, to the glistening chandeliers, to the lavish burgundy and gold furniture, to the grand windows with a picturesque view of the Terminal Tower, this two-room suite was the definition of opulence. Olney’s designers and craftspeople executed this vision flawlessly. It was further enriched by Alberto Segarra’s lighting design. From the sunset’s golden glow to distinguishing action between one room and the other, the lighting was enchanting and animated. And once the actors arrived onstage, another course of the visual feast began. Sarah Cubbage’s costume design was a spectacle of vivid colors, textures, silhouettes, and symbolism. I particularly enjoyed Jo’s modest outfit of clashing patterns positioned directly opposite Mrs. Wylie’s extravagant ensemble of green and gold (cha-ching). The production design elements were truly top-notch, rich in detail and purpose — you could not ask for better.
Lend Me a Soprano is not a casual production — it has a hefty list of demands on its actors, ranging from operatic singing, multiple European accents, fight choreography, and simply zipping all over the massive set. Olney has assembled a fearlessly exuberant cast that nimbly tackled these demands. Rachel Felstein shines as the timid yet ambitious Jo. Her transformation throughout the show, both in disguise and character growth, was impressively skillful. Tina Stafford had me cackling as the snobby, exasperated Mrs. Wylie, delivering the show’s most humorous lines with curt panache. Carolann M. Sanita brought everything to the table as Elena. She was the perfect sensuous diva, elevated by Sanita’s marvelous singing and comic agility. Dylan Arredondo immediately stole the show the moment he entered as Elena’s aggressive yet insecure husband Pasquale. His thick Italian accent and imposing physicality created endlessly hilarious moments, such as his jealous, flailing tantrum on the bed. As the Norwegian himbo/opera singer Leo, Tom Patterson’s performance was boldly ridiculous, infusing the character’s lusty masculinity with comedic flair. Maboud Ebrahimzadeh was refreshing as the comedy’s straight man Jerry, incredibly sincere in his anxious infatuation with the celebrity singer. Even in their brief roles, Donna Migliaccio and Natalya Lynette Rathnam made a splash, earning great laughs with their characters’ flamboyance.
This production could not have been in better hands than those of director Eleanor Holdridge. A fascinating storyteller, she constructed a whirlwind of blocking, established a perfect rhythm for the script, and shaped the performances with smart characterizations and business. Her production of Theater J’s Queens Girl in the World was one of my very first reviews, a definite highlight of 2015's productions. I am thrilled to be reviewing her local work once more, and I encourage all of you to witness it for yourself. You’ll come for the laughs, but stay for the impeccable quality of every element — it is my UnProfessional Opinion that you SEE Lend Me a Soprano.
Shakespeare Theatre Company’s “The Lehman Trilogy”
The road to hell is paved with good intentions.
The collapse of Lehman Brothers, the financial services firm which held about $600 billion in assets, seismically exacerbated the global financial crisis in 2008. It is a historic moment that impacted all Americans and took years to recover from. The story of this dramatic demise, rife with the highest of stakes, is well-suited for an intense stage adaptation.
But Stefano Massini’s The Lehman Trilogy does not take the expected approach of recounting this story. Instead of focusing on the downfall, it starts from the very beginning, over 160 years beforehand. What could have simply been an encyclopedic dramatization instead examines the resilience of ambition and the insidiousness of greed. What could have been a story about a business instead became a tale of three brothers from Bavaria, whose American dream would one day turn into America’s nightmare.
A marvel of theatrical storytelling, Shakespeare Theatre Company’s The Lehman Trilogy is an impressively absorbing accomplishment. Epic in its historical and artistic scope, the demands of this play would intimidate any theatre practitioner. However, under the direction of Arin Arbus, the execution of this production is a masterful triumph. In a feat of creative endurance, the virtuosic three-person cast and the highly sophisticated design elements will leave audiences astounded.
Let’s set the scene: In 1844, Hayum Lehmann (Ed Gero) leaves his home country of Bavaria (now Germany) to start anew in the United States. His new life brings him the new name of “Henry Lehman” and the launch of a suit and fabric shop “that serves only the poor”. His brothers Emanuel (René Thornton Jr.) and Mayer (Mark Nelson) grow the business, changing the name to “Lehman Brothers”. Together, they overcome a series of threatening setbacks, strategically shifting operations that will both help society and benefit themselves. As years go by, the company grows, leadership switches hands, and the company begins to turn their sights away from their original values towards what is most valuable — profits.
For three and a half hours, we witness over 160 years of history. Without context, that sounds utterly exhausting, or worse, boring. Honestly, this play did not sound enticing. But it brings me great joy to tell you that The Lehman Trilogy is an engrossing tour-de-force that subverts all expectations. From the moment the stage lights flashed on, it was evident that I was embarking on a truly special theatrical experience.
Without question, this is one of the most sophisticated plays I have ever seen, particularly in its ability to condense and concisely share a wealth of history in a fashion that is moving, humorous, informative, and captivating. Its method of doing so is ingeniously fitting and refreshing. The play’s form harkens back to the theatrical origins of Greek tragedy, with three actors presenting what are essentially sprawling messenger speeches. Instead of a variety of scenes, the script is a winding stream of narration and dialogue, with the actors communicating to the audience directly, reciting the tragic tale and cycling through countless characters with refined fluidity. It is rare to experience a play written in this style nowadays, but there is a reason why it is still utilized thousands of years later: this style showcases the immeasurable, exhilarating power of storytelling, with the human body and voice as the primary, if not only, instrument.
The production’s elegant design elements have the immersive, consuming quality of an IMAX theatre, which, when paired with the compelling script, ignites the imagination. Marsha Ginsburg’s boxy set first appears as the desolate dregs of an office facility, with bare walls, fluorescent lighting, and a massive mound of shredded paper. This woebegone space soon becomes an enthralling visual realm with the addition of Hannah Wasileski’s projections. Grayscale images transport us through time and locales: 19th century New York City, factories, offices, and more. Only through periods of great intensity or consequence does the stage become awash with color, such as the blazing fires destroying the cotton plantations or the characters’ symbolic dreams going awry. Yi Zhao’s lighting and Michael Castagliola’s sound further tap into our wonder and dread. The costumes, designed by Anita Yavich, accomplish the hard task of being period-specific yet neutral enough to span centuries, genders, and ages. That same task is demanded of the three actors, each of whom excel beyond all expectations.
For their memorization and stamina alone, Ed Gero, René Thornton Jr., and Mark Nelson deserve endless praise. Their impressive talents invigorated the complex script, and their masterful acting volley engaged me without end. Gero grounds this “temple of words” with commanding magnetism. He approaches each character with razor-sharp point-of-view, swiftly transitioning through them with specific physical and vocal adjustments. His characterization of Philip Lehman, from gleeful boyhood to menacingly calculating adulthood, was mesmerizing. Thornton imbued the rich language with forceful brightness, giving weight, meaning, and imagery to every single word. He particularly shined with his nasally, opinionated Herbert Lehman and his stoner dude Harlan. Across all his characters, Mark Nelson brought an impish exuberance that balanced and energized the entire production. His transformations, particularly during Philip’s wife selection sequence, wonderfully showcased his strengths with comedy and creative versatility. Together, these exceptional storytellers left me in awe. I urge acting students to attend this production to witness how relaxed, dynamic, motivated, and specific these actors’ performances were during a theatrical marathon.
This massive undertaking was in excellent hands with director Arin Arbus. Many will be hesitant to attend a show that is 3.5 hours long, but rarely does it feel it. The action is exceptionally paced, continually growing in momentum — never once did it falter. She found many opportunities for humor and lightness to energize the storytelling, at times catching us pleasantly off-guard. The airtight vision for this production was executed brilliantly. I will note, however, that the play and the production’s weak point are the last 20 minutes, beginning with an overlong dance scene that drains the creative energy. The play then quickly wraps up, and this production’s final moment is underwhelming, compared to the ends of acts one and two. However, although disappointing, it may be strategic — there is something about “satisfying” endings that end my thought process, allowing me to disengage. By the end of The Lehman Trilogy, I remained present and kept thinking, reflecting on the story and its correlations to the current world. It is also a smart choice because many people may be upset that the play doesn’t cover the demise of Lehman Brothers. Keeping us present may help us connect that we are still living in a world impacted by it.
I commend Shakespeare Theatre Company for their recent season planning. Following The Jungle and Here There Are Blueberries, STC has shared monumental productions that focus on historic events of great importance and consequence which everyone should know and learn from. Some of you may be wondering why is there a play about Lehman Brothers, and why see it? I start this review with the saying “The road to hell is paved with good intentions”. That popped into my mind about halfway through the production. This is a tale of how a small business, which grew to accomplish extraordinary things, went from “serv[ing] only the poor” to serving their own interests. Despite their involvement in matters of immense significance— the construction of railroads, the Panama Canal, the atomic bomb, and more — their actions became motivated by greed, which then consumed their entire enterprise. They lost sight of their origins as a good corporate citizen and harmed the entire world’s economy in the end. This play shows audiences how the actions of people in power, despite initial good intentions, can have enormously devastating consequences.
To wrap up what is perhaps my longest review, it is my UnProfessional Opinion that you SEE The Lehman Trilogy.
Romeo and Juliet by William Shakespeare
Directed by Paata Tsikurishvili
Synetic Theater
February 9 — March 24, 2024
90 minutes, no intermission
Lend Me a Soprano by Ken Ludwig
Directed by Eleanor Holdridge
Olney Theatre Center
February 7 — March 10, 2024
2 hours, including an intermission
The Lehman Trilogy by Stefano Massini
Adapted by Ben Power
Directed by Arin Arbus
Shakespeare Theatre Company
February 22 — March 30, 2024
3 hours and 35 minutes, including two intermissions
