Solas Nua’s Artistic Director, Rex Daugherty, mans the bar as Tim Finnegan, an Irish immigrant who has settled on the small island of Amity, just off Martha’s Vineyard. Once having dreamt of being a writer, Tim is now struggling to make ends meet as a bartender. All of that may change, however, when he’s given an offer he might not be able to refuse and he learns what price he may have to pay to become an American.

The Smuggler, which won the Best Playwright Award at the 1st Irish Festival of New York in January, is a 9000 word rhyme-poem by Irish-American playwright, Ronán Noone. Originally from County Galway and now settled in Boston, Noone brings a journalistic eye to the modern immigrant experience and ruminates on the impossibility of the “American Dream”. As Tim weaves his tale, there are shades on Noone’s own experience of coming to the United States, set against the backdrop of some very current political issues. In the end, Daugherty says, the audience will come away with an appreciation of how we are all culpable in some way for the situation our country is in today.

As we’ve come to expect from Solas Nua, the performance space is just as important as the play itself. This time, the setting is Allegory, one of DC’s newest and swankiest cocktail bars (located inside the Eaton Hotel) and the audience (which is limited to 30) will be served specialty cocktails, mixed by Daugherty throughout the one-hour performance. Thanks to the craft cocktail trend, bartending has become even more of a performance art in recent years but, contrary to the stereotype, Daugherty has never actually tended bar. He’s had to learn the skills involved all while incorporating the art of mixology into the art of theatre. Working with director Laley Lippard, the rehearsal experience has been a unique and challenging one. Daugherty calls the process “mind-boggling” and notes that the “spectacle is in the dance, the danger of the elaborate machine” of it all.

The Smuggler is the first theatre production for the Eaton, which bills itself as “at the intersection of arts and advocacy” and espouses a philosophy of “radical hospitality”. “Eaton’s commitment to social justice is one we’ve designed to be a part of every aspect of our ecosystem,” says Director of Culture, Sheldon Scott. ”The Smuggler was the perfect opportunity for us to take a timely and contentious issue like immigration and give platform for another way for people to build a relationship with it.”

Throughout the production run, Solas Nua and the Eaton Hotel will be partnering with several local DC organizations within the immigrant rights community to host a series of post-show discussions.

The Smuggler opens September 8, 2019. Run time is 60 minutes, without intermission. For more information and to purchase tickets, visit solasnua.org.

Performed by Rex Daugherty

Written by Ronán Noone │Directed by Laley Lippard

Lighting Design — Marianne Meadows │Sound Design — Matt Nielson

**This article originally appeared on BroadwayWorld.com.**

Synetic Theater brings its unique spin to the high seas with Robert Louis Stevenson’s Treasure Island. The adaptation, by Tori & Dallas Tolentino, is much more inclusive than Stevenson’s original, notably in the creation of Jane Hawkins (the character is Jim Hawkins in the novel) and the welcome casting of several women in traditionally male roles. The Tolentinos have condensed the novel’s action and cast of colorful characters down to a much tighter and more manageable level.

The cast of this production is stellar and features many actors making their Synetic Theater debuts, including Chris Daileader (Long John Silver), Karina Hilleard (Squire Trelawney), Da’Von T. Moody (Dr. Livesey), and Billie Krishawn (Captain Smollett). Company member, Anne Flowers, shines as Jane Hawkins, growing up and into herself as the play progresses. Daileader is deliciously manipulative as the villainous Long John Silver. Karina Hilleard and Da’Von T. Moody make for warm and hilarious pair, watching over young Jane, while indulging their own thirst for adventure. Billie Krishawn is somewhat under-utilized as Captain Smollett, but delivers an impressive performance nonetheless.

Phil Charwood’s scenic design is exquisite, anchored by a moveable ship’s hull that at times evokes Les Miserables’ famous barricade. It makes the perfect setting for Dallas Tolentino’s invigorating choreography and is complemented by the atmospheric lighting design of Paul Callahan. Resident Composer Konstantine Lortkipanidze’s original music, in collaboration with Thomas Sower’s sound design, strikes just the right note, whether in grand swash-buckling scenes or more intimate moments. There were a few slight issues with overlapping audio on the night I attended, but would hope it is worked out in subsequent performances. Jeannette Christensen’s costume design ensures that each actor’s look both serves their character, allows for significant and strenuous movement, all while not distracting from the overall story.

Tori Tolentino’s love of the Stevenson tale is evident in her adaptation and direction of this production. She balances a respect for her source material with a keen desire to create a response to it that is more inclusive and immersive. On the evening that I attended, there were several young children in the audience. Tolentino’s work gives them a vision of adventure that is open to all.

Synetic Theater’s Treasure Island runs through August 18, 2019 at their Crystal City theatre. Run time is approximately 90 minutes with no intermission. For more information and to purchase tickets, visit synetictheater.org.

Jane Hawkins Anne Flowers / Long John Silver Chris Daileader / Squire Trelawney Karina Hilleard / Dr. Livesey Da’Von T. Moody / Captain Smollett Billie Krishawn / Billy Bones, Israel Hands, and Ensemble Lee Liebeskind / Ben Gunn, Clem, and Ensemble Scott Whalen / Innkeeper, Morgan, and Ensemble Anna Lynch / Pew, Merry, and Ensemble Raven Lorraine / Black Dog, Tommie, and Ensemble Irene Hamilton / Flint, Gates, and Ensemble Conor Donahue / Abraham Grey, Tarth, and Ensemble Darius Johnson / Understudy, Jane Hawkins Emily Whitworth / Male Swing Thomas Beheler / Female Swing Suzy Alden

Director Tori Tolentino / Movement Director Dallas Tolentino / Resident Composer Konstantine Lortkipanidze / Adapters Tori & Dallas Tolentino / Scenic Designer Phil Charwood / Costume Designer Jeannette Christensen / Lighting Designer Paul Callahan / Sound Designer Thomas Sowers / Properties Designer Kelli L. Jones / Resident Stage Manager Marley Giggey / Production Manager Phil Giggey Sr.

**This article originally appeared on BroadwayWorld.com.**

Resurrecting and redefining the misunderstood women of myth and history is not breaking ground for a Fringe Festival in the #MeToo era, but Rewiring Eden manages to make its mark with a thoughtful enough conceit — what if all of those women had the opportunity to meet one another? The setting for this loaded occasion is, naturally enough, the Garden of Eden. The Biblical Lilith (Rebecca Rose Vassy) and Eve (Star Bobatoon) are recast as two doty old aunts who manage their local community garden. When they take in a wayward traveler, Veronica (Rebekah D. Mason), an entire cast of misused and misrepresented women wanders in, sharing their stories on their own terms. While each actor gives an admirable portrayal of their character, the script becomes a bit crowded. Veronica, in particular, is under-utilized as she plays exposition fairy each time a new woman appears on the scene. The resolution to her story would ring more true, if we were given better glimpses into her life as the play evolves. Bobatoon and Vassy have an easy, natural chemistry between them. You can definitely imagine them as bickering sisters, whose bark is worse than their bite.

As is the case with most plays in this vein, it helps to have some background knowledge of the women in question. Lead writer Jenny Oberholtzer, in collaboration with the actors, has crafted a script that includes women that you do not see mentioned often in pop culture, such as Jochebed (another Biblical figure, she is the mother of Moses, Aaron, and Miriam) and Medea (do not confuse her with Medusa).

Set designer Rebecca Fischler has created a wonderland of light and life that fits the scene and allows for a natural flow of action. Costume designer Emily Mullin crafts a unique, timeless look for each character, serving, but never overshadowing, their story. Pulling it all together is director Victoria Glock-Molloy, who infuses an almost balletic quality into the entire production.

Eve Star Bobatoon / Medea Noa Gelb / Veronica Rebekah D. Mason / Morgan le Fay Carol McCaffrey / Jochebed Denise Sanchez / Lilith Rebecca Rose Vassy

Director Victoria Glock-Molloy / Lead Writer Jenny Oberholtzer / Producer and Set Designer Rebecca Fischler / Costume Designer Emily Mullin

**This article originally appeared on BroadwayWorld.com.**

Body. is the kind of kinetic theatre experience that Fringe was created to showcase. An ensemble of eight using movement and spoken word to encounter all of the things we don’t want to talk about: body image, gender, race, toxic masculinity, the menstrual cycle, masturbation…The group works almost as its own living organism, filling the space its given as one unit, while differentiating and highlighting individual members at various times. It is an intensely effective and moving performance.

The piece is meditative in its use of indistinct dialogue and chanting. Devised using Theatre of the Oppressed and Viewpoints techniques, it is uniquely a creation of its artists, with the potential to grow and evolve with time. It is a testament to the ensemble and creative team that there is no one single narrative or performance that sticks out. All are fantastic in their own right and yet the “wholeness” of the production is preserved throughout.

Director Madeleine Regina writes that the core question of the performance is “how much does ownership over your physical narrative influence your life?” As the ensemble shares their stories, the audience cannot help but think back on their own life experiences with this myriad of touchy subjects. These topics are almost universal and yet they are some of the most taboo. Body. works to break down these barriers in a very visceral way.

The Ensemble Jennie Bissell / Reid Herreid / Rebecca Kiser / Mel Nichols / Axandre Oge / Greg Ongao / Tatyana Ridgeway / Katie Wicklund

Director Madeleine Regina / Assistant Director and Dramaturg Katie Keddell / Producer Jennie Bissell / Marketing Director and AD Kanea MacDonald / Stage Manager Elliott Shugoll / Graphic Design Aimee Ambriz

**This article originally appeared on BroadwayWorld.com.**

Part of the adventure of any Fringe show is how best to utilize a space that was not necessarily built as a performance venue and there are plenty of approaches to creating an immersive experience for your audience. One of my personal favorites is live music. In Air Mail / Par Avion, the mood for this devised musical is immediately set as you enter the space to the sounds of a jam session. The five-person band clearly enjoys playing together and their fun is infectious.

Music director and composer, Chris Mayhew, gives a brief introduction that quite captures the essence of this piece, saying, “We know the story we’re going to tell, but not how we get there”. Basically, strap in and enjoy the journey. The show is formatted around a set list, with Sarah Marksteiner portraying Maggie, a recent college graduate backpacking through Europe who happens to have an amazing voice. The songs in the set list are curated to bookend several short scenes and the lyrics to each give us a hint of what stories may lie ahead.

Overall, the songs and scenes balance each other out, though there are several establishing scenes between the first and second music breaks, making the second song almost a surprise when it arrives. We see Maggie meet Henri (Michael Williamson), another American living in Belgium. Their initial encounters are painfully awkward, but in a completely relatable way. You may even wince or cringe, remembering a few of your own past less-than-graceful social interactions.

Like most romances of stage or screen, what unfolds is heavy on coincidence and requires some suspension of belief, which is not necessarily a criticism. Where the plot falls apart is in the lack of emotional development of the Henri character. Maggie expresses herself beautifully in her vocal performances, but we’re not given equal insight into Henri. Williamson does an admirable job of enfusing his performance with sensitivity and emotion. However, the absence of a stronger narrative for Henri makes the end of the piece fall flat.

Marksteiner shines best during Maggie’s songs. She shows wonderful command of the performance space and keeps the audience engaged during each musical interlude. The five-member band of Mayhew, Luke Koszycki, Andie Matten, Alex Bulova, and Adam Atienza should also be given their due. While at times the sound was a bit overwhelming for the space, their performance was wonderful and served the story very well.

The potential is there for Air Mail / Par Avion and it may prove interesting to sit in on several performances to see how the story evolves with each new telling.

Maggie Sarah Marksteiner

Henri Michael Williamson

Piano Chris Mayhew

Drums Luke Koszycki

Bass Andie Matten

Cello Alex Bulova

Guitar Adam Atienza

Director Sophie Mezebish / Music Director and Composer Chris Mayhew / Stage Manager Andie Matten / Lighting Designer Alex Poirier / Marketing and Publicity Director Alex Bulova

**This article originally appeared on BroadwayWorld.com.**

Some events in history are too large in scope for us to properly grasp and process them. It is in small, personal stories that we are able to gain a greater understanding of just what has occurred and how it may echo through time. Time and time again, we return to the individual narratives, the threads that make up the unfathomable, to anchor us. Originally conceived by playwright John Sowalsky almost ten years ago, Passing is just one of those intimate threads and it echoes with renewed urgency in our modern world.

At its core, Passing is the story of two sisters, in the aftermath of their mother’s death. As they sift through the detritus of her life, one of them discovers a secret that has the power to tear the family apart. Sowalsky spends more time on telling the story of that secret than creating any tension over whether or not the secret will come out.

The sisters, played by Margaret Anne Murphy (Gretchen/Hannah) and Cristen Stephansky (Emma/Ruth), have a family dynamic that will be familiar to anyone who has siblings. Who is the favorite, the most successful, the most helpful? As happens in many families, these petty competitions fade into the background as circumstances, and tragedy, dictates.

The emotive performances of Murphy and Stephansky, along with Sowalsky’s music and use of auditory cues during scene shifts, truly immerses the audience in this tale. When the end comes, it is almost inevitable, but no less heartbreaking. It is an indictment that reinforces that the more things change, the more they stay the same. And it is a warning that those who do not learn from the past are doomed to repeat it.

Gretchen / Hannah Margaret Anne Murphy

Emma / Ruth Cristen Stephansky

Director Harley Venton / Co-Director and Stage Manager Stephanie Zambrano / Artwork Hannah Halpern / Production Assistant Ann Venton / Playwright, Producer, and Original Music John Sowalsky

**This article originally appeared on BroadwayWorld.com.**

Is there a more over-done piece than Shakespeare’s Romeo and Juliet? Call me unromantic, but I’ve never been much of a fan. Enter author Rachel Garnet. Garnet’s Starcrossed: The Tragedy of Mercutio and Tybalt turns the familiar tale on its head. Taking its lead from and then expanding on Shakespeare’s original, Starcrossed imagines a love affair between Mercutio, loyal to House Montague, and Tybalt, of House Capulet. We know how their families’ ridiculous feud ends up for Romeo and Juliet, but what about everyone else? What stories may have been erased from the narrative and lost?

Garnet’s writing is witty and moving, often simultaneously. Her original text blends seamlessly with the well-known Shakespearean lines and is beautifully delivered by all three actors. Eric Bermudez shows us a Tybalt upended by his attraction to and love of Mercutio. It calls into question his sense of self and his place within the Capulet household. In particular, he exudes eloquence at the inevitable end. Connor Delves’ Mercutio is that friend we all love: sarcastic and fun, always in a whimsical mood, but with unplumbed depth and hidden personal sadness. He deftly balances between loyalties, hesitating to put his own desires first. Credited as “The Player”, Jonathan Cobrda portrays a host of other characters on the periphery of the story, including Romeo, Lord Paris, Capulet, and Salvatore, a beggar with a secret. Cobrda changes character with whiplash speed, but always very effectively. Using textual references and a well-worn red garment that changes position with each quick-change, the audience always has a good grasp of just whom Cobrda is playing.

Director Michael Hernandez-Phillips keeps a tight pace, whether in the many combat scenes or in more intimate ones. (Note: due to the nature of the staging, if you arrive late or leave during the performance, you will not be allowed to enter the performance space) Matthew Cornpropost’s lighting design serves well the play’s quick action, as well as supporting its more emotional and raw moments.

The cast and creative team of Starcrossed deliver one of Capital Fringe’s best bets this year. It is not to be missed.

Tybalt Eric Bermudez / Mercutio Connor Delves / The Player Jonathan Cobrda

Author Rachel Garnet / Producer Jacob Schott / Director Michael Hernandez-Phillips / Stage Manager and Assistant Director Andie Lerner / Lighting Designer Matthew Cornpropost

**This article originally appeared on BroadwayWorld.com.**

As soon as you walk in the door, you know this won’t be just another night at the Kennedy Center. Members of Sister Cipher, FRESHH Inc.’s writing circle for Black women in theatre, draw you into the intimate Family Theatre. A timeline of the evolution of Hip Hop escorts you up the stairs and into the theatre proper, where you are greeted by the thumping beats of Miss H.E.R. and DJ Cleveland Browne.

Inspired by Common’s 1994 “I Used to Love H.E.R.”, director and playwright Goldie E. Patrick has brought together a dynamic cast of five to tell the story of the role of women in Hip Hop. HERstory: Love Forever, Hip Hop continues this personification of Hip Hop and this time we find HER in a hospital bed, on life support. Gathered by her side are Isys (Aakhu TuahNera Freeman), KK (Heather Gibson), Lele (Preshona Ambri), Eve (Billie Krishawn), and Maxine (Audei Polk).

What unfolds is a love letter to HER and to all women who have shaped and influenced Hip Hop. Patrick’s writing and creative direction allows each of the five characters to beautifully articulate their own connection to HER. These women are strong, fierce, and independent; they push back against each other, never agreeing for agreement’s sake. You can feel the bond between the cast while they struggle to determine their future relationship with HER and whether she is worth saving.

Isys/Imani (Aakhu TuahNera Freeman) has been with HER the longest, a callback to the Afrocentric rap roots of Hip Hop that began with The Sugarhill Gang’s “Rapper’s Delight” in 1980. Freeman’s Isys carries a weariness and wisdom born of experience. Maxine (Audei Polk) is a former dancer who struggles to bridge the HER that she knows and the HER that her daughter revers. Lele (Preshona Ambri), music producer and object of Maxine’s daughter’s adoration, struggles to reconcile her sexuality with her career in Hip Hop. Heather Gibson pulls double duty as unabashed celebrity reporter K.K. and as the voice over for HER, each role requiring enormous authenticity and vulnerability.

Patrick’s script allows for several breakout moments for each actor, but the storyline turns on the experience of Eve, played by a luminescent Billie Krishawn. Eve, as the youngest of the group, reminds us of why and how we first fell in love with HER. As she eloquently puts it, she has a deep respect for the past, but it is her generation’s turn to have their time with HER, to make HER their own. It is a beautiful reminder that those of us of a certain age often need to hear.

Make no mistake, HERstory is poetry in sight and sound. Designers John D. Alexander (Lighting), Timothy Jones (Scenic), and Katherine Freer (Projections) weave the perfect canvas on which this moving narrative plays out. Special kudos to sound designer Crescent Haynes, who artfully balances the extensive use of music with dialogue throughout the performance.

As sometimes is the case with poetry, the thread can be a little confusing, especially if you’re not familiar with the history of Hip Hop, its evolution, and its controversies. The role of dramaturg for HERstory is filled by “Hip Hop Veritas”, Ayana Patrick. Through interactive lobby displays to playbill notes to a specially curated playlist, even those new to Hip Hop will gain an appreciation for this amazing music and culture.

To learn more about the Kennedy Center Hip Hop Culture series, visit http://www.kennedy-center.org/calendar/series/HHC

Isys Aakhu TuahNera Freeman / The Reporter/HER Heather Gibson / Lele Preshona Ambri / Eve Billie Krishawn / Maxine Audei Polk

Director, Playwright Goldie E. Patrick / Associate Director Fatima Quander / Assistant Director Niree Turner / Lighting Designer John D. Alexander / Sound Designer Crescent Haynes / Scenic Designer Timothy Jones / Projection Designer Katherine Freer / Stage Manager Kendall Arin Claxton / Hip Hop Veritas Ayana Patrick

** This article originally appeared on BroadwayWorld.com.**

Shakespeare’s Richard III has been no stranger to DC theatre goers this season. In true Synetic fashion, their current production turns a well known tale on its…crown. In this case, we are treated to a Richard who is half-man and half-AI. Director Paata Tsikurishvili describes him as “an individual totally warped by the unfeeling machinery that consumes him [following his injuries on the battlefield], in a terrifyingly surreal synergy of the organic and the synetic.”

Richard’s anti-hero psyche is addictive and the audience is quickly drawn into it from the first moment, as combatants thrust themselves into the audience, with weapons drawn and lasers pointed. We immediately feel the chaos of battle, indicative of the roller coaster ride on which we’re about to embark. In appearance, this Richard (Alex Mills) evokes Robert De Niro as “The Monster” in the 1994 film, Mary Shelley’s Frankenstein, minus the redeeming humanity, of course. While Synetic’s production (their 14th “Wordless Shakespeare”) does make use of some of the familiar Shakespearean text, Mills is particularly adept at conveying Richard’s skill at manipulating those around him without compunction. We recognize him as evil personified and yet we are powerless to resist joining him on this dangerous journey.

He is well matched, and at times, exceeded by the acting chops of Irina Tsikurishvili as Queen Elizabeth and Maryam Najafzada as Lady Anne. Both carry the emotional weight of the play, losing husbands and children, while being caught up in a web of patriarchal intrigue, before both Elizabeths turn the tables on Richard. As the Princess Elizabeth, Nutsa Tediashvili convincingly grows from hopeful youth, to mournful daughter and sister, to hardened young woman of the world. As the devious Buckingham, Matt R. Stover does a complete 180 from his previous role as the romantic but tongue-tied Christian in Synetic’s Cyrano. His ambition is matched only by his drug addiction before he inevitably outlasts his usefulness to Richard. Philip Fletcher’s King Edward is indeed the “sun of York”, seeing the best in his brother, until it is too late. This impressive ensemble also includes Thomas Beheler as the unjustly accused Clarence, Tim Proudkii and Aaron Kan as the Princes, and Jordan Clark Halsey as the victorious Richmond. Richard’s fellow AI slash minions, Tyrell and Ratcliffe, played respectively by Ana Tsikurishvili and Scean Aaron, spend most of the performance in Hannibal Lector-esque masks, but are convincing as programmable henchmen, nonetheless.

As with every Synetic production, the technical team is an integral part of the show’s success. Tennessee Dixon’s scenic design evokes both the technological and ephemeral aspects of the world we inhabit. The throne at the center of the conflict appears to be constructed of warped ladders which literally lead nowhere, illustrating the very human folly of ambition. Screen projections and video footage meld seamlessly with the live action on stage, augmenting the sense that we are in a very technologically surreal landscape, a world that is bigger than the small band of humans on stage.

Synetic’s Resident Composer, Konstantine Lortkipanidze again strikes just the right notes to complement and enhance the performances of the actors. Costume Designer Erik Teague does an exceptional job of balancing the narrative function of each character with the physical demands of such a performance.

Synetic Theater’s Richard III runs through June 16, 2019 at their Crystal City theatre. Run time is 105 minutes with no intermission. For more information and to purchase tickets, visit synetictheater.org.

Richard Alex Mills / Queen Elizabeth Irina Tsikurishvili / Buckingham Matt R. Stover / Lady Anne Maryam Najafzada / Clarence Thomas Beheler / King Edward Philip Fletcher / Richmond Jordan Clark Halsey / Prince Tim Proudkii / Younger Prince Aaron Kan / Princess Elizabeth Nutsa Tediashvili / Tyrell Ana Tsikurishvili / Ratcliffe Scean Aaron

Director Paata Tsikurishvili / Choreographer Irina Tsikurishvili / Resident Composer Konstantine Lortkipanidze / Adapter Nathan Weinberger / Scenic and Multimedia Designer Tennessee Dixon / Costume Designer Erik Teague / Lighting Designer Brian S. Allard / Sound Designer Thomas Sowers / Properties Designer Kelli L. Jones / Video Producer and Editor Scott Brown / Resident Stage Manager Marley Giggey / Technical Director Phil Charlwood

** This article originally appeared on BroadwayWorld.com.**

Carson McCullers’ The Member of the Wedding, is about as intimate a story as they come. The novel, as well as her play adaptation, centers around several steamy post-World War II Southern days as seen through the eyes of twelve-year-old Frankie Addams. Frankie, or F. Jasmine as she requests we call her, is on the cusp…of what she does not know, but in the way of preteen girls, she feels a sense of detachment from the world, a restlessness, and yet she yearns to better understand the complicated adult world spinning around her. McCuller’s novel is beautiful, dark, ethereal and still painfully real. The play adaption, however, struggles to find its balance between that darkness and a superficial coming-of-age story.

The heart of both the novel and the play is the “family” of Frankie, her six-year-old cousin John Henry West, and their housekeeper, Berenice. Interestingly, where the novel centers Frankie’s narrative, the play gives more weight to Berenice, played warmly and wonderfully here by Deidra LaWan Starnes. As Frankie, Zoe Walpole dances along the line of someone feeling the pull of their roots while struggling to test their wings. The two share an easy camaraderie and the push-pull of their circumstantial mother-daughter like relationship rings true. Stealing several scenes on the night of this review was William Carroccio as John Henry (alternately played by S. Gabriel Mackenna). With a precociousness that vacillates between amusing and annoying, his animated facial expressions prove that we adults actually hide nothing from the children in our lives.

Rounding out this strong ensemble are Rebecca Ballinger as Mrs. West; Michael Crowley as Mr. Addams; Caroline Dubberly as Janice; Dylan J. Fleming at T.T. Williams; Jonathan Helwig at Jarvis; and Jonathan Del Palmer as Honey Camden Brown. Under the fine direction of Cara Gabriel, each character is fleshed out in a way that the novel merely hints at and each actor brings a sense of the ambiguity of adulthood to their role.

Jonathan Dahm Robertson’s set design is exquisite. A small kitchen anchors the action for much of the play and, thanks to Felysia Furnary’s props design, we are fully immersed in mid-1940s Georgia. Jason Arnold’s lighting and Neil McFadden’s sound complete the effect, authentically transitioning us between scenes and evoking the chaos of a sudden thunderstorm. Debra Kim Sivigny’s attention to detail in costume design is extraordinary. Frankie’s wedding dress, Berenice’s two pairs of shoes, and John Henry’s glasses, all work together to bring their stories to a life beyond the spoken word.

Director Cara Gabriel / Lighting Design Jason Arnold / Dramaturgy Deb Crerie and Kay Rzasa / Props Design Felysia Furnary / Dialect Coach and Casting Director Jane Margulies Kalbfeld / Sound Design Neil McFadden / Set Design Jonathan Dahm Robertson / Costume Design Debra Kim Sivigny / Stage Manager Sarah Usary

The Member of the Wedding runs through June 2, 2019, at 1st Stage in Tysons Corner. Run time is approximately two hours with one intermission. Open captioned performances will run May 16–19, 2019. Post show community conversations will be held on May 18 and 19. For more information and to purchase tickets, please visit http://www.1ststagetysons.org.

** This article originally appeared on BroadwayWorld.com.**

Ohio Impromptu

Scena Theatre’s Beckett Trio, Part 2 opens with Ohio Impromptu. Two men, “as alike in appearance as possible” sit at a table, a black bound book and black wide-brimmed hat set between them. The atmosphere is somber and dream-like. We are thus pulled into the world of Samuel Beckett. As with all three pieces performed in this production, identity and story are up for debate. Most importantly, the audience is left to wonder about the relationships involved in each piece. In Ohio Impromptu, we are left to wonder if we are seeing versions of the same person, mirror images, or the respective consequence of roads not taken. The play revolves around the grieving process, but the details are sparse and much is left to the audience’s imagination. The Reader ends on the phrase, “Nothing is left to tell”, which may be true, but there is plenty left to feel.

Listener Kim Curtis / Reader Buck O’Leary

Come and Go

An extremely rare Beckett piece that features only women, Come and Go is quite nearly the perfect play. The script is a mere 121 words, but, as with much of Beckett’s work, the life of the play is in the spaces between. Scena’s version mainly adheres to Beckett’s original notes on staging, positioning, and delivery. Lighting Designer Jonathan Alexander keeps the focus tight, allowing the three actors to execute their entrances and exits in the close black box theatre space. Costume Designer Mei Chen’s use of fascinators, rather than a larger hat, to obscure each actor’s face, bows to current fashion, while still maintaining their anonymity and the mystery regarding each one’s story. The heavy silence that Beckett strove for with this piece is somewhat lost in the small space. With the audience so close to the action and a lack of insulation from outside noise, the effect that those 121 words might otherwise have is diminished, but this in no part takes away from the performances.

Vi Jen Bevarelli / Flo Ellie Nicoll / Ru Lewshá-Camille Simboura

Catastrophe

The final piece in this trio, Catastrophe, was commissioned in 1982 and dedicated to the imprisoned Czech author and political dissident, Václav Havel. What Come and Go lacks in actual dialogue, Catastrophe more than makes up for it, and yet, inarguably the central figure, the Protagonist, is silent throughout. Evaluated, poked, and prodded by the Director and the Assistant, the Protagonist endures this indignity, calming submitting to their adjustments. It is only in the final moment, when he dares to raise his head, do we catch a full glimpse of his face. Kim Curtis, as the Protagonist, holds the audience in rapt attention; we cannot look away from his humanity and his defiance. Beckett asks us to consider how often we do look away, how often we are the Assistant mindlessly enacting the whims of a Director. It is a message that is as relevant today as it was in 1982.

(Interesting side note: In the David Mamet-directed production of Catastrophe for the Beckett on Film project, Harold Pinter plays the Director. Some of his works can be seen in repertory with Beckett Trio, Part 2 on alternating nights.)

Assistant Jen Bevarelli / Protagonist Kim Curtis / Director Buck O’Leary

Director & Artistic Director Robert McNamara / Sound Designer Denise Rose / Lighting Designer Jonathan Alexander / Set Designer John D. Antone / Costume Designer Mei Chen / Fight Director Paul Gallagher / Stage Manager Mavonte Johnson / Assistant Director Anne Nottage

Scena Theatre’s Beckett Trio, Part 2 runs through May 5, 2019, in repertory with Pinter Rep, at the Atlas Performing Arts Center. Run time is approximately 70 minutes with no intermission. For more information and to purchase tickets, please visit http://scenatheatre.org/

** This article originally appeared on BroadwayWorld.com.**

Even if you’re not familiar with George Bernard Shaw’s Pygmalion, you’re most likely familiar with Lerner and Loewe’s adaption, My Fair Lady. At the core of both is the classic question of how much can we really change our stripes? Tearrance Arvelle Chisholm gives us a modern take here with his world premiere of P.Y.G. or The Mis-Edumacation of Dorian Belle. The action centers on a hip-hop duo from Chicago, Blacky Blackerson (Seth Hill) and Alexand Da Great (Gary L. Perkins III), better known as P.Y.G, the Petty Young Goons, and a Canadian pop heartthrob, Dorian Belle (Simon Kiser). The unlikely trio is thrown together, in a reality television set up reminiscent of MTV’s The Real World, for a “cultural exchange”. What ensues is a hard-hitting look at the nature of appropriation, collaboration, race, class, celebrity, and, ultimately, relationships.

Making his directorial debut, Chisholm enfuses each scene with messaging, sometimes overt and sometimes more subtle, but always there. There is no wasted dialogue, no wasted action. Even seemingly minor conflicts, such as whether you’re from Chicago or Naperville, are loaded with meaning and consequence. P.Y.G. or The Mis-Edumacation of Dorian Belle is also a very physically demanding piece. The action moves swiftly between scenes, with quick changes and tempo changes abounding. Additionally, each of the three actors is physically very distinct from the others, but all inhabit their respective character in both body and speech.

As the easy-going Blacky Blackerson, Hill’s tall and lanky frame expresses well his mostly laid back attitude. Yet, it is Blacky, who is most willing to question the status quo as the play progresses. Perkins, as Alexand Da Great, is a powerhouse of energy and anxiety. Alexand is very aware of his position, image, and platform, initially less inclined to rock the boat. Kiser’s Dorian Belle is by turns unbelievably clueless and nervously endearing. He reminds you of the stereotypical “cool kid” who is, underneath it all, quite insecure and desperate for affection. Of course, this is also a play about music and musicians…and all three actors have definitely got the moves. Movement coach, Tony Thomas, puts them through their paces, particularly during an exhilarating history lesson on hip-hop, told through dance.

P.Y.G. or The Mis-Edumacation of Dorian Belle, which plays on Stage 4, is part of Studio Theatre’s Studio X series, “a collection of purposefully eclectic, encompassing plays enhanced by intimate and immersive stagings.” The effect is stunning. From the moment you enter the space, you are cast into the role of live studio audience, complete with overhead “on air” signs, a green screen, and moving cameras helmed by crew members. While setting the mood for the piece, set designer, Richard Oullette, and lighting designer, Jesse Belsky, also draft the audience into the conflict brewing between the three actors. No longer just passive spectators, are we also collaborators and what would that mean?

Kelly Colburn’s projection design further evokes the disorientation of reality television — green screen shots, tilted or multiple camera angles, animated wallpaper — can we believe what is right in front of us? It also adds a depth, and at times brevity, to the piece particularly during the faux commercial breaks. Gabriel Clausen’s sound design is breathtaking in its geographic and historical scope. And for those who might need a primer in hip-hop…they have you covered.

At almost two hours and with no intermission, the play is unrelenting. Chisholm asks some very tough questions throughout and the ending is not a fairy tale or tied up in a nice, neat bow, but it does offer the hope that through engagement and collaboration, perhaps we can begin to evolve as a society.

Playwright and Director Tearrance Arvelle Chisholm

Featuring Seth Hill (Blacky Blackerson), Simon Kiser (Dorian Belle), and Gary L. Perkins III (Alexand Da Great)

Set Design Richard Oullette / Costume Design Danielle Preston / Lighting Design Jesse Belsky / Projections Design Kelly Colburn / Sound Design and Composition Gabriel Clausen / Dramaturg Lauren Halvorsen / Movement Coach Tony Thomas / Production Stage Manager Becky Reed / Casting Alaine Alldaffer / Assistant Director Mari Andrea Travis / Assistant Stage Manager Lauren Pekel

Studio Theatre’s world premiere production of P.Y.G. or The Mis-Edumacation of Dorian Belle runs through April 28, 2019. Run time is approximately one hour and 50-minutes with no intermission. For more information and to purchase tickets, visit https://www.studiotheatre.org/plays/play-detail/2018-2019-PYG

P.Y.G. or The Mis-Edumacation of Dorian Belle is supported by Studio R&D.

** This article originally appeared on BroadwayWorld.com.**

**Additional BroadwayWorld.com coverage of P.Y.G. or The Mis-Edumacation of Dorian Belle includes Jack Read’s interview with playwright/director Tearrance Arvelle Chisholm and actors Simon Kiser and Gary L. Perkins III.**

There’s “beauty in the dark” Tino McGoldrig tells us and in Silent that darkness has many, many layers. You see, Tino (named after silent film icon Rudolph Valentino) “once had splendid things”, but has lost it all and is now living on the streets. There is the literal darkness of a theatre, the literal darkness of the night, and then there is the darkness that lives inside Tino, heavy and unrelentingly oppressive.

Over the ninety minutes that follow, we are introduced to Tino and his story. We hear about the suicide of his beloved brother and the havoc that event has created. We hear about the unraveling of a life, of a marriage, career, and fatherhood, as Tino battles memory, guilt, and substance abuse. Memories that unspool in undulating waves, like film from a canister, or suddenly become illuminated like the invasive flash of a camera bulb.

As Tino, Pat Kinevane is extraordinary. His movements are sinuous and sensual. He not only breaks through the fourth wall, but obliterates it, reaching into the audience’s soul with his tale. As he literally moves between shadow and light, Kinevane’s emotional portrayal of grief and survivors’ guilt is hauntingly authentic. Of his time spent on the streets, Tino describes the most difficult hour as 4pm, when everyone else is hurrying happily back to hearth and home. It is an incredible peek inside the life of someone you may never had considered before, as you yourself race between destinations.

Under the direction of long-time collaborator, Jim Culleton, Kinevane ably commands the stage in this one-man production, but the sound design by Denis Clohessy is almost another character in and of itself, swinging between the ambient lullabies of the streetscape to the lush symphonic melodies that evoke the golden age of silent films. Both performances transport the audience from the dark of the theatre into the darkness that reigns within Tino’s mind. Its uncomfortable in the best possible way and yet it is a safe bet that each audience member will find something of themselves in Tino.

And since this is an Irish play, amid the heavy stuff, there is plenty of humor — gallows and otherwise. Silent is not for the faint of heart and it is not to be missed.

Solas Nua’s presentation of the Olivier Award-winning Silent runs through March 24 at the Atlas Performing Arts Center. Run time is 90 minutes, without intermission. For more information, including a schedule of post-show discussions, and to purchase tickets, visit solasnua.org.

** This article originally appeared on BroadwayWorld.com.**

**Additional BroadwayWorld.com coverage of Silent can be found at https://www.broadwayworld.com/washington-dc/article/BWW-Feature-SILENT-at-Solas-Nua-20190226**

Mean Girls, Big Little Lies, Heathers, Broad City, Thelma and Louise, Parks and Recreation, Sex and the City…These are some of the better known vehicles for female friendship that inhabit our pop culture universe. Paling in comparison to the numerous portrayals of male friendships and “bromances”, too often these relationships center on competition or jealousy, on getting the guy. Very few take a deeper, more comprehensive dive into the complexity of female companionship. Even fewer are the product of female authors, directors, playwrights, etc.

That is what makes Shakespeare Theatre Company’s Vanity Fair such a welcome breath of fresh air. Adapted from William Makepeace Thackeray’s original novel by Kate Hamill, the play centers on the lives of two school chums: Becky Sharp (Rebecca Brockman) and Amelia Sedley (Maribel Martinez). Becky, who hails from humble beginnings as the social climbing daughter of an artist and an opera singer, is the requisite “whore” to Amelia’s “Madonna”. As in Thackeray’s original, the Hamill adaptation reminds the audience throughout that no one is all this or all that and that there lie shades of gray in all of us.

The small ensemble of seven is admirably helmed by director Jessica Stone. Stone employs a Victorian burlesque approach to frame the production. “It’s a mode of performance from the early to mid-19th century when there was a fertile cross-pollination between traditional theatre and English music hall,” she writes in her Director’s Note. “These scrappy companies would lampoon literary works with the aid of music and a playful, metatheatrical sensibility that still took advantage of beautiful painted scenery…The principle element of Victorian burlesque is the perception of something beautiful right next to the ragged reality.”

This approach is well served by Alexander Dodge’s scenic design, which evokes a sense of the “professional amateur” theatrical and hints at the moral rot beneath society’s veneer. Jennifer Moeller’s costume design is playful, colorful, and, most importantly, flexible. Her designs are well suited to the many quick changes required by an ensemble playing multiple roles, some of them gender-bending. Fitting a novel that spans over a thousand pages and a thirty-year time span is no easy task. David Weiner’s lighting design helps keep the action on pace and lucid, as scenes change quickly and several sets of characters interact simultaneously. In keeping with Stone’s Victorian burlesque, sound designer and composer Jane Shaw, assisted by choreographer Connor Gallagher, gives us a few fun musical numbers that manage to convey the satirical nature of Thackeray’s original and propel the story forward.

Dan Hiatt is in perfect form here, playing the Manager (an emcee type role), the elderly Miss Matilda Crawley, and the licentious Lord Steyne. He puts on each character as easily as he changes costumes, both often done in full view of the audience. Adam Magill is a dashing and romantic Rawdon, among his other characters. Rawdon is clearly reckless and superficial, the perfect co-conspirator for Becky, yet Magill masterfully portrays his growing agitation with her and true pain at her final betrayal.

Anthony Michael Lopez, first introduced to us as the pious Miss Pinkerton, spends most of the performance as William Dobbin, ever-suffering best friend to George Osborne and mostly unrequited lover of Amelia. As Dobbin, Lopez brilliantly telegraphs the weight of responsibility that encumbers his shoulders and his growing dissatisfaction in his friendship with Amelia. Alyssa Wilmoth Keegan (who also serves as dance captain for this production) brings a blazing energy to her many roles throughout the evening. As the philandering and drunken George, the audience want to hate her, but she is infinitely sympathetic in her (not entirely financial) regret over falling out with her father. Whether playing the shy Jos Sedley, the bombastic Pitt Crawley, or one of his other memorable roles, Vincent Randazzo (who also serves as fight captain for this production) is in his element.

As Becky and Amelia, Brockman and Martinez are exempt from playing multiple roles, anchoring the two friends at the heart of the story. With such a dynamic ensemble surrounding them, however, their performances appear flat. Brockman is at her best when she is breaking the fourth wall to engage the audience or in hysterical moments of, ahem, enthusiasm for her intended prey. Never meant to be a likeable character, the audience nonetheless cheers, if begrudgingly, for Becky’s “resurrection” at the play’s conclusion. Martinez, as the privileged daughter sunk to low circumstance only to rise again, plays the more believable emotional journey. The audience’s sympathy for Amelia is tempered by her devotion to a deceased rake of a husband and her callous disregard for the sentimental Dobbin. While Becky is portrayed as an uninterested at best mother, Amelia struggles over how best to raise her young son, setting up an interesting plot line that does not get its full due here.

While some of the more satirical points may not linger after you leave the theatre, Hamill’s adaptation and Stone’s direction have combined to create an admirable romp that audiences will thoroughly enjoy. It is a welcome addition to the canon of women-centered and women-driven theatre.

Vanity Fair runs through March 31, 2019 at STC’s Lansburgh Theatre (450 7th Street NW). Run time is approximately 2.5 hours, with one 15-minute intermission. For more information and to purchase tickets, please visit http://www.shakespearetheatre.org/events/vanity-fair-18-19/

** This article originally appeared on BroadwayWorld.com.**