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Theater potpourri

Last weekend to catch several worthy productions in the D.C. area

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‘A Shadow of Honor’
by Peter Coy
8 p.m. tonight and Saturday
closes 3 p.m. Sunday
The Keegan Theater
at Church Street
1742 Church Street
Dupont Circle
703-892-0202 or keegantheatre.com

‘Genesis’
by Evan Crump
8 p.m. tonight and Saturday
closes 3 p.m. Sunday
The Warehouse Theater
1021 7th St. N.W.
(back room at the Passenger)
202-213-2474 or cityartisticpartnerships.org

‘Twilight of the Golds’
by Jonathan Tolins
8 p.m. tonight and Saturday
2:30 p.m. Sunday
through Feb. 5
Reston Community Players
Center Stage Theater
Reston Community Center
2310 Colts Neck road
Reston, Va.
703-476-4500 or rcp-tix.com
or box office

‘Return to Haifa’
adapted by Boaz Gaon
from the novella by Ghassan Kanafani
11 a.m. today; 8 p.m. Saturday
3 and 7:30 p.m. Sunday
closes Sunday
Theater J
Goldman Theater
D.C. Jewish Community Center
1529 16th St., N.W.
800-494-TIXS or theaterj.org

From left, Mark A Rhea, Jon Townson and Michael Innocenti in 'A Shadow of Honor. It closes Sunday at the Keegan Theatre. (Photo by Jim Coates; courtesy of Keegan)

Good and evil, theology and science, past and present — these polarities loom large in four plays now on stage in Washington.

Closing on Sunday, a Keegan Theatre production at the Church Street Theater is the world premiere of Peter Coy’s multi-layered melodrama about history, “A Shadow of Honor,” the story of two families, each haunted by the ghosts of two wars — the Civil War and the Vietnam War — and the dead who gave the last full measure of devotion with their bloodshed.

“It is those I killed who are truly damned by God” thunders the alcoholic William Ruffin (ably played by Mark A. Rhea, Keegan’s founder and producing artistic director), author of the cold-blooded murder that happened in Nelson County, in Virginia’s Shenandoah Valley in 1907, an incident discovered by Hamner Theater co-artistic director and playwright Coe in what he calls “a murder motivated by honor.”

The scene is set in the same house, with two troubled families in two places in time, 1907 and 2007. When past and present collide, something must give. And in each case, the smoking gun is murder, one committed by an 11-year-old boy when begged to pull the trigger by his father, damaged goods from Vietnam where he had earned, at great cost, a Silver Star. Another shadow falls with the gunfire in 1907, when Ruffin decides he must kill the man who deflowered his daughter and swears that “I’m a hero in the eyes of all true Southerners.” He tells his daughter, “I’ve taken my stand,” and later, “I love the South even though it exists no more!”

Michael Innocenti stars in a stand-out role as high school history teacher Tyler McNeill, the boy now grown to manhood yet shadowed still by his complicity in his father’s death. Watch him in his motor-mouth rush of words about the stress he feels, his voice a strangled cry of pain held inside, and attention must be paid when he pesters his wife Kathy, asking, “Didn’t you know that the South is the most violent part of the country?” As always, Anton Chekhov was right to say that when a gun is seen on stage it will surely be fired before the last act ends. The fear shown by his pregnant wife, in a riveting portrayal by Shannon Listol, is palpable as her voice shakes and her body quakes in abject terror.

Also closing this weekend, unless there’s a last minute rescue in the Warehouse Theater schedule that permits an extended run for two more weeks, is another play by a playwright from this region, D.C. resident Evan Crump, whose two-act drama “Genesis” about a mental patient who believes himself to be a fallen angel won the 2010 Capital Fringe Festival award for Best Drama. Retooled since last summer by Crump and especially by director John C. Bailey, a gay actor who is literary curator for D.C.’s Ganymede GLBT Arts Company, this play, which is a meditation on “the human condition,” astounds with its passion and crackles with electricity from mystery-shrouded start to ambiguous finish.

Actor Derek Jones, with glistening bald pate and his sinewy sleek ebony physique much on display, for he is shirtless much of the time, inhabits the role of the eponymous “Genesis” like he was alive in the role, not acting it. As his performance unspools, inside an asylum for the criminally insane, where he has been diagnosed as a paranoid schizophrenic (his doctor calls it “some form of delusional psychosis”), his beautifully dangerous mind always seem rational and his story becomes increasingly credible of being literally a fallen angel. But the question of whether he is sane or insane, convict or saint, human or angel, is never fully answered.

Worth a trip out to Reston’s Community Center Stage Theater in Fairfax County is a play about the “gay gene” (assuming one is ever located in the human genome) and the ethical dilemma of whether parents might abort such a child as eugenic prophylaxis. Written by gay playwright Jonathan Tolins and helmed by gay director Andrew J.M. Regiec, “The Twilight of the Golds” tests the limits of love and acceptance in a drama that ran briefly on Broadway in 1993. Then, the actress Jennifer Grey (best known for playing Frances “Baby” Houseman in the 1987 hit film “Dirty Dancing”) played Suzanne (in Reston the role is played by Jennifer Cambert) who is pregnant and whose husband, a genetic researcher, discovers irregularities in the unborn child’s genetic makeup. Though completely healthy, the baby will likely be born gay, like Suzanne’s younger brother David, an opera set designer.

David (played in the Reston production by Andy Izquierdo) appears to have it all: a loving partner, a supportive family, but now he is drawn into the family debate over the fate of the child. Harvard graduate Tolins, a former writer and co-producer of “Queer as Folk” during its first season on Showtime in 2001 and also an actor who played the gay quarterback in the 2003 film “Totally Sexy Loser,” adapted “Twilight of the Golds” for a Showtime movie in 1997, featuring actors Brendan Fraser as David and Jennifer Beals (of “Flashdance” fame) as Suzanne. It was nominated for a GLAAD media award for outstanding made-for-TV movie that year.

Tolins, who has written for Bette Midler’s road-show tours and her current Las Vegas extravaganza, “The Showgirl Must Go On,” also spent time for two years writing for the Academy Awards show and the 2003 Tony Awards program. He now lives in Connecticut with his husband Robert Cary and their two children. His newest play “Glad Tidings,” is nominated for a GLAAD media award for outstanding New York City play, to be announced March 19.

Finally, there’s “Return to Haifa,” from Israel’s premier flagship theater company, Cameri Theater, now resident through this Sunday only at Theater J, at the D.C. Jewish Community Center’s Goldman Theater. The play, adapted by an Israeli Jew, Boaz Gaon, from the short novella by Palestinian Arab writer Ghassan Kanafani, brings to life the heart-rending saga of two couples — one Palestinian and the other Jewish-Israeli — who must face complex questions of loss and identity when the Palestinian couple returns to the home they fled in 1948 to learn the fate of the baby son they left behind. Now a soldier in the Israeli army, Dov meets his birth parents who had named him Khaldun, as he clings to his mother, a Holocaust survivor who raised him from infancy.

The play — performed in Hebrew and Arabic, with English surtitles — is a meditation on trauma and how to move beyond such wounds. Kanafani himself, assassinated in a 1972 car-bomb, probably by the israeli Mossad, was a spokesman for the militant Popular Front for the Liberation of Palestine, viewed by Israel and Western governments at the time as a terrorist group. Yet in his novella, he acknowledged that Jews in Israel had also suffered, not just Arabs, and his empathy for such suffering marked his work as an unusual document to help build bridges. But even so, in Israel, most theater companies turned down the chance to produce “Return to Haifa” until the Cameri Theater stepped forward, and the production itself was dogged by protestors from Israel’s anti-Arab far-right.

The play is gripping for its look into the heart of anger and the soul of reconciliation. You will not soon forget the feelings it can stir. But Theater J has sought ways to go beyond these feelings, however, with a companion series of other plays and discussions it calls “Voices from a Changing Middle East: Portraits of Home,” including on Sunday night the play by Ben Brown, “The Promise,” set in London in 1917 when the future president of Israel, Chaim Weitzman maneuvered with British notables to support the right of Jews to return to a Zionist Israel. For more information on this series, see theaterj.org.

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Theater

‘Amm(i)gone’ explores family, queerness, and faith

A ‘fully autobiographical’ work from out artist Adil Mansoor

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Adil Mansoor in ‘Amm(i)gone’ at Woolly Mammoth Theatre. (Photo by Kitoko Chargois)

‘Amm(i)gone’
Thorough May 12
Woolly Mammoth Theatre
641 D St., N.W. 
$60-$70
Woollymammoth.net

“Fully and utterly autobiographical.” That’s how Adil Mansoor describes “Amm(i)gone,” his one-man work currently playing at Woolly Mammoth Theatre. 

Both created and performed by out artist Mansoor, it’s his story about inviting his Pakistani mother to translate Sophocles’s Greek tragedy “Antigone” into Urdu. Throughout the journey, there’s an exploration of family, queerness, and faith,as well as references to teachings from the Quran, and audio conversations with his Muslim mother. 

Mansoor, 38, grew up in the suburbs of Chicago and is now based in Pittsburgh where he’s a busy theater maker. He’s also the founding member of Pittsburgh’s Hatch Arts Collective and the former artistic director of Dreams of Hope, an LGBTQ youth arts organization.

WASHINGTON BLADE: What spurred you to create “Amm(i)gone”? 

ADIL MANSOOR: I was reading a translation of “Antigone” a few years back and found myself emotionally overwhelmed. A Theban princess buries her brother knowing it will cost her, her own life. It’s about a person for whom all aspirations are in the afterlife. And what does that do to the living when all of your hopes and dreams have to be reserved for the afterlife?

I found grant funding to pay my mom to do the translation. I wanted to engage in learning. I wanted to share theater but especially this ancient tragedy. My mother appreciated the characters were struggling between loving one another and their beliefs. 

BLADE: Are you more director than actor?

MANSOOR: I’m primarily a director with an MFA in directing from Carnegie Mellon. I wrote, directed, and performed in this show, and had been working on it for four years. I’ve done different versions including Zoom. Woolly’s is a new production with the same team who’ve been involved since the beginning. 

I love solo performance. I’ve produced and now teach solo performance and believe in its power. And I definitely lean toward “performance” and I haven’t “acted” since I was in college. I feel good on stage. I was a tour guide and do a lot of public speaking. I enjoy the attention. 

BLADE: Describe your mom. 

MANSOOR: My mom is a wonderfully devout Muslim, single mother, social worker who discovered my queerness on Google. And she prays for me. 

She and I are similar, the way we look at things, the way we laugh. But different too. And those are among the questions I ask in this show. Our relationship is both beautiful and complicated.

BLADE: So, you weren’t exactly hiding your sexuality? 

MANSOOR: In my mid-20s, I took time to talk with friends about our being queer with relation to our careers. My sexuality is essential to the work. As the artistic director at Dreams of Hope, part of the work was to model what it means to be public. If I’m in a room with queer and trans teenagers, part of what I’m doing is modeling queer adulthood. The way they see me in the world is part of what I’m putting out there. And I want that to be expansive and full. 

So much of my work involves fundraising and being a face in schools. Being out is about making safe space for queer young folks.

BLADE: Have you encountered much Islamophobia? 

MANSOOR: When 9/11 happened, I was a sophomore in high school, so yes. I faced a lot then and now. I’ve been egged on the street in the last four months. I see it in the classroom. It shows up in all sorts of ways. 

BLADE: What prompted you to lead your creative life in Pittsburgh? 

MANSOOR: I’ve been here for 14 years. I breathe with ease in Pittsburgh. The hills and the valleys and the rust of the city do something to me. It’s beautiful, it’ affordable, and there is support for local artists. There’s a lot of opportunity. 

Still, the plan was to move to New York in September of 2020 but that was cancelled. Then the pandemic showed me that I could live in Pittsburgh and still have a nationally viable career. 

BLADE: What are you trying to achieve with “Amm(i)gone”? 

MANSOOR: What I’m sharing in the show is so very specific but I hear people from other backgrounds say I totally see my mom in that. My partner is Catholic and we share so much in relation to this. 

 I hope the work is embracing the fullness of queerness and how means so many things. And I hope the show makes audiences want to call their parents or squeeze their partners.

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Jessica Phillips shines in ‘Penelope,’ a ‘pandemic parable’

Alex Bechtel was inspired to write about loneliness, waiting, separation

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Jessica Phillips in ‘Penelope’ at Signature Theatre. (Photo by Daniel Rader)

‘Penelope’
Thorough April 28
Signature Theatre, the Ark
4200 Campbell Ave, Arlington 
$40-$99
Sigtheatre.org

In the new musical “Penelope,” Broadway’s Jessica Phillips gives an unforgettable take on the title role torn from the pages of Homer’s “Odyssey” — more or less. Fortified by bourbon and backed by a Greek chorus of musicians, the character uncharacteristically steps out from the background to share her story surrounding two decades waiting on the island kingdom of Ithica for the return of her absent husband Odysseus. 

Sometimes described as a “pandemic parable,” the 70-minute work is based on composer/playwright Alex Bechtel’s personal experience. While separated from his partner during COVID, he was inspired to write about loneliness, waiting, and separation, a subject Phillips was eager to tackle. 

An accomplished Broadway actor and mother of two, Phillips, 52, is best known for memorable turns in “Dear Evan Hansen,” “The Scarlet Pimpernel,” “Next to Normal,” and “Priscilla Queen of the Desert.” 

Two years ago, she made news for coming out as queer after having long been identified as straight. Parts of the theater scene were caught a bit off guard, but only momentarily. Now, she lives in New York with her partner Chelsea Nachman, a theatrical publicist.“We share the same professional community but in very different roles. I think that makes life easier for us.” 

Currently enjoying an extended run at Signature in Arlington where the trees are in bloom, she spares time for a phone interview, starting off with“Perfect timing. I’ve just finished the last song on Beyonce’s ‘Cowboy Carter.’ Let’s talk.”

WASHINGTON BLADE: Increasingly, I hear artists report having been deeply changed by the pandemic. Did that have anything to do with your coming out in 2022?

PHILLIPS: Definitely. During the pandemic, those of us in the arts were in deep crisis, because our industry had collapsed in almost every way. At the same time, that space allowed us to be contemplative about where we were. For me, that period of time gave me the space to both come to terms with and confront those fears about saying who I was, out loud and publicly. 

BLADE: Did you have professional concerns?

PHILLIPS: Oh yeah, I was specifically worried about perception. Not so much about being queer but more what it meant to have come out relatively late in life. I had some fear around whether people would take me less seriously. 

At the same time, I was nervous about being fully transparent and worried about my privacy and being vulnerable. Like other women I knew, I was more comfortable dealing with traditional societal expectations in America. I grew up with those cultural expectations and thought of myself in those terms for a long time. 

BLADE: What changed? 

PHILLIPS: What’s been so freeing for me, I can confront how I took on those expectations and say I’m not going to let those determine how I live my life. I get to decide.

BLADE: There’s a lot of wonderful storytelling in “Penelope.” What’s been your way into that? 

PHILLIPS: My way of moving through the show is allowing this character to experience all five stages of grief. Humor, slapstick comedy, bargaining, denial. And ultimately acceptance and deep grief. 

When an audience is alive and invested, it’s palpable and elevates the storytelling. When an audience is having a thinking rather feeling experience that changes the tone of my storytelling and not in a bad way. 

It’s interesting how much they’re a part of everything. It’s really intimate. The audience is just six feet away. It’s a unique experience and we’re on this ride together. And I find this to be a really beautiful and satisfying experience that I’ve not had before.

BLADE: After Signature, what’s next for “Penelope”? 

PHILLIPS: That’s the million-dollar question. Hopefully we’ll take it forward to New York or tour it, but that requires willingness and money. I do think there’s a broad audience for this. It’s beautiful, unique, artistic, really emotional, and at the same time possesses an intellectual quality that’s missing from a lot of commercial theater these days.

BLADE: And what’s next for theater?

Phillips: I think one good thing that came out of the pandemic is that people like Alex Bechtel had an opportunity to create. In the next decade we’re going to see the results of that. I think we have some extraordinary things to look forward to. If a work like “Penelope” is any indication, we’re all in for something really good. 

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Theater

‘Nancy,’ soaked in ‘80s nostalgia, is ‘queer AF’

Mosaic production led by out director Ken-Matt Martin

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Ken-Matt Martin (Photo courtesy Martin)

‘Nancy’ 
Through April 21
Mosaic Theater Company at Atlas Performing Arts Center
1333 H St., N.E.
$53-$70
Mosaictheater.org

Set in 1985, smack dab in the middle of the Reagan years, Rhiana Yazzie’s “Nancy” is totally soaked in nostalgia: shoulder pads, high hair, Van Halen, etc. For some theatergoers, it jogs the memory and for others serves as an introduction to an alien era.

Out director Ken-Matt Martin describes the production (now at Mosaic Theater) as “queer AF.” He continues, “But that’s true with everything I touch. My aesthetics and interests are unapologetically queer. When you first walk into theater, you see a big ass picture of Nancy’s face. The whole play is kind of set on her face.”

Martin, who puts his age as “somewhere over 30,” gives a brief rundown via telephone: “‘Nancy’ places two women on parallel tracks and we get to watch them on a collision course. Esmeralda [Anaseini Katoa], a Navajo mother and advocate determined to improve the condition of her family and reservation. Her story is juxtaposed to that of Nancy Reagan [Lynn Hawley] who’s busy at the White House consulting with society astrologer Joan Quigley to help guide Reagan [Michael Kevin Darnall] and his administration. The women’s worlds come together over Nancy’s direct ancestral connection to Pocahontas.” 

The busy storyline also includes a moment surrounding Rock Hudson’s final days, a moment when well-coiffed, clothes-crazy Nancy was presented with the opportunity to make a difference but chose not to. 

“And the work doesn’t let Nancy off the hook,” adds Martin. “It’s a full meal of a play.”

Produced in partnership with New Native Theatre based in the Twin Cities, Mosaic’s epic offering, a very D.C. play about ancestry and ambition, almost looks at Ron and Nancy as cartoon characters but isn’t without empathy.  

Martin and Yazzie both love satire and absurdity; they enjoy comedy and things that are funny until they’re not. So, the evening shifts in tone as it moves into more serious areas, particularly an exploration of how the ‘80s and Reagan’s failed trickle-down agenda set the stage for many of today’s problems.  

The director’s way into theater was as a child actor. After successfully begging his mother to drive him from their native Little Rock, Ark., to a regional Atlanta audition, he booked an appearance on Nickelodeon’s landmark series “All That” and snagged an agent in the process. He continued to act for a time before becoming interested in other facets of showbiz. 

After graduating with an MFA in directing from Brown University/Trinity Repertory Company, Martin embarked on a terrifically busy schedule. In addition to freelance directing, he has helmed and helms various prestigious companies as artistic director and managing producer (Pyramid Theatre Company in Des Moines, IA, Victory Gardens Theater in Chicago, and was recently appointed Interim Artistic Director of Baltimore Center Stage and Arkansas Repertory Theatre.)

Currently an itinerant professional (Martin gave up his place in Chicago and hops from job to job where they house him), he says, “It can get a little old, but overall, not bad at all.” 

Next up, Martin is directing Olney Theatre’s production “Long Way Down,” the adaptation of a Young Adult novel by DMV native Jason Reynolds. “It’s a big regional tryout that after a limited engagement in Olney leaves for the Apollo Theatre in New York. I’m excited.” 

Martin is at home with plays that are tricky to stage, making him a good fit for “Nancy” with its multiple locations, scope, and scale. He’s enjoyed the challenge of the work’s collapsing time lines and the playwright’s tough, complicated, smart, and fast-moving language. 

“Perhaps most importantly,” he adds. “Rhiana has entrusted me with the opportunity to tell this very unique story, a story that can resonate with Native people and Native audiences. This part is very new to me as a director.”

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