Arts & Entertainment

‘Alive and Well’

Zippy ‘Jacques Brel’ revue a smartly paced sonic treat

Published

14 years ago

September 27, 2012

‘Jacques Brel is Alive and Well and Living In Paris’
Through Oct. 21
MetroStage
1201 North Royal Street, Alexandria
$45-$50 (student and military discounts)
1-800-494-8497

The cast of ‘Jacques Brel,’ a well-staged French revue. (Photo courtesy MetroStage)

Belgian-born singer songwriter Jacques Brel might have joined the family cardboard manufacturing business and lived a life of quiet desperation. Happily, he didn’t. Brel instead escaped to postwar Paris and became the musical voice of his generation, turning out popular French songs about war, death, love, bulls and carousels.

In “Jacques Brel is Alive and Well and Living in Paris,” the best of Brel’s vast songbook is featured in two cabaret-like acts; and lucky for us locals, a topnotch production of the musical is now up and running at MetroStage (Carolyn Griffin’s intimate and estimable playhouse on the edge of Old Town Alexandria) through mid-October.

Translated from the original French by American poet Eric Blau and songwriter Mort Shuman, “Jacques Brel” premiered off-Broadway in 1968. Subsequent successful revivals have run in New York over the years including a 2006 revised production (which MetroStage is presenting).

The show opens with “Le Diable/Ca Va,” a zippy tune noting that the devil rules supreme on earth. And while Brel might believe modern existence is essentially crap, other songs prove he does find some things to savor in life like wit, wistful memories and the exquisite pain of lost love and missed opportunity.

A lot of the music is nostalgic and sounds French (accordion and all), but overall there’s variation ranging from the catchy, bourgeois-denigrating drinking song titled “The Middle Class” to “Next” (a young vet’s sardonic recollection of his experience with camp followers) to Brel’s familiar “Amsterdam,” an earthy ode to the lowly seaman, powerfully sung by Bobby Smith who brilliantly embodies the world-weary boulevardier.

Each of the show’s almost 30 songs is a self-contained story with its own beginning, middle and end all drawn from past romances, reckless youth, disappointment and hard living. Lighting designer Jessica Winfield evocatively sets the mood for each melodic tale and all four cast members are superb storytellers with terrific diction and phrasing to boot. In addition to the aforementioned Smith, the terrific cast includes Natascia Diaz, Bayla Whitten and a shaggy-haired Sam Ludwig.

Diaz performed in the off-Broadway 2006 production and it shows. She gives life to the spirit of Brel’s Paris, capturing the sadness, wit and irony in equal measure. Her heartrending interpretation of “My Death” is not soon forgotten. She’s just as effective singing Brel’s gorgeous Piaf-esque ballad “Ne Me Quitte Pas” (“Don’t Leave Me”) as the quietly potent “Old Folks,” a sort of lullaby about the inevitability of old age and death. Hers is a stunning performance.

The younger cast members Ludwig and Whitten (a lovely soprano) are excellent too. He beautifully inhabits the angry-but-girl crazy young man while she is at turns both naïve and jaded.

This “Jacques Brel” brings together Studio Theatre’s producing artistic director Serge Seiden with Signature Theatre’s associate artistic producer Matthew Gardiner (both gay). Seiden’s staging is beyond solid. The production moves briskly and seamlessly without ever feeling rushed or forced. Gardiner’s cheery choreography is reserved mostly for the more lighthearted numbers. It’s fun, but more importantly, his dance sequences allow the players to interact in ways that might otherwise appear awkward.

Except for a pole with lights evocative of a street lamp and two simple café chairs that disappear when not needed, the shadowy stage is completely bare. Off to the side, the band (ably led by musical director Jenny Cartney on piano) is visible throughout the show. It could be the late night Parisian club scene where Brel got his start. For the first act, Janine Sunday smartly costumes the cast in vaguely late-‘60s gear, nicely conveying an era of protest and change. Puzzlingly, the second act — sartorially speaking — is more a hodgepodge of castoffs.

Contrary to the title, Brel is neither well nor alive. He died of lung cancer in 1978, but the music endures. Today his songs resonate as strongly as ever. For the uninitiated (which included myself prior to a recent matinee), MetroStage’s stylish effort serves as a marvelous introduction to Brel’s work. It’s also first rate entertainment.

Related Topics:Jacques Brel is Alive and Well MetroStage Out & About

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FUND LGBTQ JOURNALISM

Photos

PHOTOS: ‘Studio 69’

Glitterati Productions hold party at Bunker

Published

4 hours ago

May 11, 2026

Michael Key

'Studio 69' was held at Bunker on Friday. (Washington Blade photo by Michael Key)

Glitterati Productions held the “Studio 69” party at Bunker on Friday, May 8.

(Washington Blade photos by Michael Key)

Arts & Entertainment

Washington Blade’s Pride on the Pier returns June 13 to kick off D.C. Pride week

Pride on the Pier officially launches Pride Week in D.C.

Published

10 hours ago

May 11, 2026

Staff reports

The Washington Blade’s annual Pride on the Pier celebration returns to The Wharf on Saturday, June 13, 2026 from 4-9 p.m., bringing thousands of LGBTQ community members and allies together for an unforgettable waterfront celebration to kick off Pride week in Washington, D.C.

Now in its eighth year, Washington Blade Pride on the Pier extends the city’s annual celebration of LGBTQ visibility to the bustling Wharf waterfront with an exciting array of activities and entertainment for all ages. The District Pier will offer DJs, dancing, drag, and other entertainment. Alcoholic beverages will be available for purchase for those 21 and older.

“Pride on the Pier has become one of the signature moments of Pride in D.C.,” said Lynne Brown, publisher of the Washington Blade. “There’s nothing like watching our community come together on the waterfront with live music and incredible energy as we kick off Pride week.”

Pride on the Pier is free and open to the public, with VIP tickets available for exclusive pier access to the Dockmaster Building. To purchase VIP tickets visit www.prideonthepierdc.com/vip.

Additional entertainment announcements, sponsor activations, and event details will be released in the coming weeks.

Event Details:

📍 Location: District Pier at The Wharf (101 District Sq SW, Washington, DC)
📅 Dates: Friday, 13, 2026

⏱️ 4-9PM
🎟️ VIP Tickets: www.PrideOnThePierDC.com/VIP

Theater

National tour of ‘Gatsby’ comes to National Theatre

Out actor Edward Staudenmayer talks playing the show’s gangster

Published

1 day ago

May 10, 2026

Patrick Folliard

Edward Staudenmayer plays Meyer Wolfsheim in ‘The Great Gatsby.’ (Photo courtesy National Theatre)

‘The Great Gatsby’
May 12-24
The National Theatre
1321 Pennsylvania Ave., N.W.
$59-$196
Thenationaldc.com

Often dubbed “The Great American Novel” for its depiction of ambition and self-invention alongside the reversals of success, F. Scott Fitzgerald’s “The Great Gatsby” says it all in a fast read.

Set against the excesses and energy of the Roaring Twenties, “The Great Gatsby,” novel and now the same-titled hit Broadway musical with a jazz/pop original score by Jason Howland and Nathan Tysen, tells the story of Nick Carraway and his friendship with Jay Gatsby, an enigmatic millionaire intent on reuniting with ex-lover, Daisy Buchanan.

It was during a four-month 2025 run in Seoul, South Korea, that out actor Edward Staudenmayer first played the show’s heavy, Meyer Wolfsheim, a gangster who helped Gatsby make his murkily acquired fortune. As Meyer, Staudenmayer opens the second act with, appropriately enough, “Shady.”

Now three months into a year-long North American tour, the show is poised to enjoy a brief run at Washington’s National Theatre (5/12-5/24).

While putting on his eyeliner prior to a recent Wednesday matinee at Chicago’s Cadillac Palace Theatre, the upstate New York-based actor shared about Gatsby and a life in theater.

WASHINGTON BLADE: Despite your good looks and terrific voice, you’re rarely the leading the man. How is that?

EDWARD STAUDENMAYER: I’m definitely a character man. I’ve been painting lines on my face to play old men since I was in high school. I was the youngest freshman in college playing old Uncle Sorin [in Chekhov’s “The Seagull”].

There have been many villains. Some darker than others. Meyer Wolfsheim is a very bad guy, but he doesn’t haunt me once I’m offstage. I play a lot of pickleball.

BLADE: Is it true that like so many of Fitzgerald’s characters, Wolfsheim is famously based on someone the writer encountered in life.

STAUDENMEYER: That’s true, Wolfsheim is pretty much a direct portrayal of real-life mobster and 1919 World Series fixer [Arnold Rothstein].

BLADE: When did the 1925 novel first surface on your radar?

STAUDENMAYER: Like many of us, I was assigned “The Great Gatsby” in high school. It was short, and filled with sex and illicit activities. I thought it was great. Definitely wasn’t a Judy Blume novel.

Interestingly, the book wasn’t originally a huge a success for Fitzgerald, but because it was about war and having the girl at home, they gave it to GIs leaving for WWII. After returning, a lot of those guys went on the GI Bill and became English teachers. They assigned the book to their students.

BLADE The idea that the book’s first-person narrator, Nick Carraway, is gay and enamored with Jay Gatsby is long discussed among readers and scholars. Does the musical touch on that?

STAUDENMAYER: Yes, there’s conjecture about Jay and Nick, and it’s implied in our show. It’s also implied about Jordan Baker, Jay’s fleeting romantic interest. Ultimately, she’s a confirmed bachelor, and a professional golfer who only wears pants.

Our performers are really good. Josh Grasso who plays Nick is fantastic. I’ve had to stop watching him in his last scene; it’s not good for Meyer Wolfsheim to take his curtain call crying. Our Gatsby, Jake David Smith, is good too. He’s gorgeous like Superman and sings like an angel.

BLADE: Do you ever imagine backstory for your characters whose sexuality is undefined?

STAUDENMAYER: I do, but not with Wolfsheim. I don’t see it. I’m trying to be as butch as possible with this ruthless killer.

BLADE: Have you had to do that in your career?

STAUDENMAYER: For a long time, I wore a mask to hide my gayness. I worked hard on being believable, that I was into the girl or that I was a tough guy.

It’s a different world now, and it’s so refreshing to be around the younger actors today; they’re remarkably open and comfortable.

BLADE: What was your coming of age like?

STAUDENMAYER: I played high school football in Palm Springs [he chuckles, alluding to the arid gay mecca], and I was pretty good too. But much to the chagrin of my parents and coaches, I quit the team to act in our senior year play. My super butch dad played semi-pro football and he was an ex-cop. I’m named after him. While I didn’t become my dad, I’ve played him often on stage. He was a true Gaston [the bumptious rival in “Beauty and the Beast”]. And like Gaston, he used antlers in all his interior decorating.

BLADE: Did he live to see your success in theater?

STAUDENMAYER: He did. Life was challenging growing up but the last 10 years of his life we couldn’t get off the phone with each other [his voice catches with emotion]. He accepted me entirely, and we became very close.

BLADE: Looking ahead, is there a part you’d especially like to play?

STAUDENMAYER: Like all baritones I’d love to play Sondheim’s “Sweeney Todd.” I’ve come close but it hasn’t happened yet. There’s still time.