Theater
Signature’s ‘Jesus Christ Superstar,’ Mosaic’s ‘Ulysses’ use story to strong effect
Signature breathes new life into classic rock musical
āJesus Christ Superstarā
Through July 2
4200 Campbell Avenue, Arlington
$40-114
703-820-9771
āUlysses on Bottlesā
Through June 11
Atlas Performing Arts Center
1333 H Street NE
$15-60
202-399-7993 ext. 2
Since seeing Signature Theatreās āJesus Christ Superstarā last week, Iāve been humming āI Donāt Know How to Love Him,ā Mary Magdaleneās moving ballad about her complicated relationship with Jesus. Yes, itās one of the best and most covered songs from the iconic rock operaās familiar score by Andrew Lloyd Webber (music) and Tim Rice (lyrics), but itās Natascia Diazās breathtaking rendition at Signature thatās responsible for the current earworm.
Accompanied mostly by two acoustic guitars, she makes the song her own. Diaz is that actor who can both sing and act a song exquisitely. And here sheās absolutely terrific as the prostitute turned apostle whose intense love for her spiritual guru manifests as both a joy and a quiet torture.
When āJesus Christ Superstarā opened on Broadway in 1971 it was noted for its contemporary take on the Gospels. An account of the last week of Jesusā life focusing on his tetchy relationship with disciple Judas Iscariot, the sung-through musical ends with the crucifixion. Staged by Joe Calarco, Signatureās production doesnāt have a particularly revolutionary feel, but what the out director conveys so well is the enduringly divisive effect of religion, money and power. He interestingly emphasizes the concept of the Word with all of Jesusā followers carrying black books, their conduit to a new way of living.
The rock score, played by an off-stage, hard-driving, seven-person band led by musical director William Yanesh, gives the talented ensemble an opportunity to shine with āWhatās the Buzz,ā āHosannaā and more. Standout moments include Nicholas Edwardsā very human Jesus grappling with his fate in āGethsemaneā and Awa Sal Secka adding shades of powerful gospel with āSimon Zealotes/Poor Jerusalem.ā
Luciana Stecconiās elegant white cruciform set is beautiful in its simplicity. Images reminiscent of Jerusalemās Old City architecture, segments of Renaissance art depicting the Last Supper and later contemporary images of all that ails the world today are projected on its bare walls. Further heightening the experience is Jason Lyonsā emotive lighting thatās at once striking yet not showy.
But the usually faultless Frank Labovitz serves up some confusing costume design ā garments appear to have been pulled from a grab bag of not-great street clothes, and the result adds little. There are a couple exceptions. Out actor Bobby Smith is handsomely suited up as a smooth Pontius Pilate and Diazās Mary makes sense in flattering basic black.
Thereās another Holy Land-set work in town. Mosaic Theater Company is kicking off its Voices From a Changing Middle East Festival marking 50 years of the Occupation with Israeli playwright Gilad Evronās āUlysses on Bottles.ā Itās the account of an Israeli-Arab ex-teacher, nicknamed Ulysses (Michael Kevin Darnall), who attempts to sail into Gaza on a raft made of plastic bottles, bearing with him a cargo of Dostoyevskyās āCrime and Punishment.ā He never makes it.
Arrested en route, Ulysses returns to Israel where he must face charges. An Israeli-Jewish lawyer Izakov (Matthew Boston) agrees to take on his case pro bono and from there the menās two very different worlds intersect. Itās a universal tale told with sympathy and humor. The cast includes out actor Sarah Marshall as an Israeli army secret service agent, Liz Perotti, and Chris Genebach.
Winner of Israel Theater Prizeās Best Original Play in 2012, āUllyses on Bottlesā was inspired by real-life events.
Theater
D.C.ās spring theater scene offers āMacbeth,ā āPeter Pan,ā Sedaris and more
Queer themes well represented in seasonās productions
Thereās a lot on for theater this spring. And hereās a queer heavy sampling.
If itās āCompanyā youāre after, try the Kennedy Center. The national tour of the Tony-winning, gender-swapped revival of out legend Stephen Sondheimās hit musical withBritney Colemanas forever single Bobbie is moored to the Opera House through March 31. Kennedy-center.orgĀ
Signature Theatre in Arlington presents āPenelopeā (through April 21), a one-woman musical featuring out Broadway star Jessica Phillips. With glass of bourbon in hand, Penelope, the wife of Odysseus, gets a few things off her chest. Think Trojan War. Sigtheatre.org
At Studio Theatre, nonbinary playwright Bryna Turnerās āAt the Weddingā is currently making its regional debut in a production helmed by out director Tom Story. Itās a queer comedy about a woman crashing her exās wedding with the intention of not making a scene. Good luck with that. Out actor Holly Twyford plays Maria, mother of the bride. Studiotheatre.org
At Woolly Mammoth Theatre, Helen Hayes Award-winning actor Justin Weaks is workshopping his new play āA Fine Madnessā (March 17-24)). The solo piece is inspired by the talented out actorās 2016 HIV diagnosis and the ensuing years he spent alone and processing. (Tickets are pay what you will – starting at $5.)
Also slated for Woolly is āAmm(i)goneā (April 20āMay 12). Created and performed by queer theater maker Adil Mansoor, the personal story is about inviting his Pakistani mother to translate āAntigoneā into Urdu as means of exploring the tensions between family and faith. Woollymammoth.net
At Atlas Performing Arts Center on H Street, N.E., Mosaic Theater presents Rhiana Yazzieās āNancyā (March 30- April 21), a tale of ambition and ancestry soaked in ā80s nostalgia. Staged by out director Ken-Matt Martin, the seven-person cast includes Lynn Hawley as Nancy, out actor Michael Kevin Darnall as Ronnie, and Anaseini Katoa is Esmeralda, a Navajo woman advocating for her community. Mosaictheater.org
Wolf Trap in Vienna, Va., delivers divas. Meow Meow, the post-post-modern phenom from down under, brings her globally celebrated act to the parkās Barns venue on March 21. And on June 8, a single show featuring both Patti LaBelle and Gladys Knight promises to light up Wolf Trapās cavernous Filene Center with legendary star power.Wolftrap.org Ā
Arena Stage presents āUnknown Solderā (March 29-May 5), Daniel Goldstein and Michael Friedmanās sweeping musical about a woman in search of her familyās past. The topnotch cast includes Lori Lee Gayer, out actor Adam Chanler-Berat, and Broadwayās Judy Kuhn. Arenastage.org
At 1st Stage in Tysons, Va., wonderful out actor Michael Rusotto plays the titular sissy in Douglas Carter Beaneās āThe Nanceā (April 4-21). Set in 1930s New York, the action follows a queer burlesque actor as he navigates his way through a world where itās safer to be gay onstage than off. Nick Olcott directs. 1ststage.org
Broadway at the National moves musically into spring with āPeter Panā (April 9-21). Playwright Larissa FastHorseās fresh adaptation of the eternal boyās classic tale feels fresh without losing the familiar including terrific tunes like āIām Flying,ā āI Gotta Crow,ā and āI Wonāt Grow Up.ā Broadwayatthenational.com
Shakespeare Theatre Company (STC) presents āMacbethā (April 9-May 5) starring movie star Ralph Fiennes as the Thane of Glamis, and Indira Varma as sleepwalking Lady M. Staged by STCās artistic director Simon Godwin, the production wonāt be performed in the companyās usual digs but rather a borrowed former BET soundstage (1301 W St., N.E.) where the world of the Scottish play will be created. Exciting stuff. Shakespearetheatre.org
Attention dance lovers! In Fairfax, GMU Center of the Arts presents Martha Graham Dance Company ā the oldest modern dance ensemble in the countryā for just one night (April 13) with a program that showcases the companyās legacy through iconic classics and new work. Cfa.gmu.edu
Also on April 13, bestselling gay author David Sedaris brings his inimitably hilarious take on life to the Strathmore in North Bethesda. Strathmore.orgĀ
Kennedy Centerās Terrace Theater presents Opera Lafayetteās modern premiere of āMouret’s Les FĆŖtes de Thalieā (May 3 and 4), an opĆ©ra-ballet that broke with serious French operas by putting contemporary characters on stage. Renowned French conductor/musician Christophe Rousset conducts. Operalayette.org
At GALA Hispanic Theatre, itās Gustavo Ott and Mariano Valeās āThe Return of Eva PerĆ³n: Momia en el closetā (May 9āJune 9), a dark musical comedy filled with āhistorical intrigue and spine-chilling entertainment.ā (Performed in Spanish with English surtitles.) Galatheatre.org
This spring, Creative Cauldron in Falls Church presents Kirsten Childsā new musical āThe Bubbly Black Girl Sheds Her Chameleon Skinā (May 16-June 9), the humorous and pointed story of a seemingly confident womanās journey through racism, sexism, showbiz, and finally self-acceptance. Angelisa Gilyard directs. Creativecauldron.orgĀ
For one night only, the Alden Theatre in Mclean, Va., presents āMama, Iām a Big Girl Now ā The Three Leading Ladies of āHairsprayāā (Saturday, June 8) with Marissa Jaret Winokur, Kerry Butler, and Laura Bell Bundy. Broadwayās original Tracy, Penny, and Amber are staging a rare reunion to celebrate the hit musicalās 20th anniversary. Mcleancenter.org
And on time for Pride, the Gay Menās Chorus of Washington presents what promises to be a beautifully rendered multidisciplinary event. Titled āPortraitsā (Sunday, June 16 at Lincoln Theatre), the concert features visual art, music, and dance, representing a vibrant spectrum of sexual, gender, racial, ethnic, and cultural identities in a nine-movement commission combining the work of nine visual artists, nine composers, nine choreographers, and sung by the Chorus and featuring 17th Street Dance. Gmcw.org
Theater
āAvaazā traces journey from Iran to California
Olney production brings comedy, singing, improv, and even magic
āAvaazā
Through April 7
Olney Theatre Center
2001 Olney-Sandy Spring Road
Olney, MD 20832
$55-$90
Olneytheatre.org
How better to understand your own motherās psyche than by playing her on stage?
In his solo show āAvaaz,ā queer actor/writer Michael Shayan pretty much does just that. As āRoyaā (not his motherās actual name), he explores how a womanās fun, larger-than-life presence might belie a deeper sadness. Itās a party but not without truth and moving drama.
And now, after a successful world premiere run in Californiaās South Coast Repertory last spring, his play is at Olney Theatre Center (through April 7) before kicking off on a national tour.
āAvaaz,ā a Farsi word for āa song as it is being sung,ā follows Royaās journey from Tehran to what Shayan cheekily tags āTehran-geles, CA, formerly known as Westwood.ā Itās here where the courageous single mother carves out a life for herself and her closeted queer son.
Recently, via phone, Shayan offered a glimpse into his show, describing how we first meet Roya in her heavily chandeliered L.A. living room where sheās marking Nowruz (Persian New Year) with a lavish party; but despite the festive atmosphere thereās some detectable tension in the air.
Over 80 minutes, Royaās story unfolds, alternating between dark revelations and her return to fabulous hostess mode. After all, Roya is entertaining guests ā in this case itās the 200 theatergoers seated in Olney Theaterās intimate Mulitz-Gudelsky space.
He adds, āThereās a lot going on. This show brings everything together: writing, acting, comedy, a little singing, lots of improv, and even some magic.ā
For Shayan, an early and ardent interest in magic set the stage for theater: āAs an illusionist, I was big on the bar mitzvah circuit. With magic, youāre a one man show. There was acting, directing, learning about audience and theatricality. I learned a lot.ā
He also did characters — Elaine Stitch, Bernadette Peters, all the divas, but other than a few snippets of her Persian accent, never his mom.
Higher education lured Shayan eastward. A Harvard grad with an MFA in playwriting from Brooklyn College, his bio includes gigs such as Emmy-nominated writer and consulting producer on āThe Book of Queerā for Max and worked on āWeāre Here,ā the Emmy-winning Max show featuring former āDrag Raceā contestants.
But the actual genesis of Roya, and in turn āAvaaz,ā was sparked at a Lambda Literary Retreat. āWe were doing an exercise where you put your hand on your heart and feel the heartbeat of a character. I felt my momās heartbeat, and listened to what she had to say.
āIād always wanted to better understand my mother and had even interviewed her in the past, but it was at the Lambda retreat that a first draft really poured out. And still, more continues to be revealed about her past and our dynamic.ā
When asked exactly how he approaches the part, Shayan, who exudes warmth and humor, replies, āItās about the channeling of energy and personality.ā
Visually, heās not exactly going for total realness. Shayan paints his nails but keeps his full beard. Emmy-winning costume designer Joshua “Domino” Schwartz dresses him in a golden Persian-inspired robe over pants emblazoned by a single outsized Gucci logo. Ā
āWhen I put that on, I become Roya, baby,ā Shayan says. āItās very powerful. Itās a ritual. There are several pieces. My posture changes.ā
Royaās over the top dĆ©cor comes compliments of Tony Award-winning set designer Beowulf Borritt.
And because Roya leans on humor to pivot away from whatās uncomfortable, Shayan indulges in a bit of standup: āTony-nominated director Moritz von Stuelpnagel and I share a language ā not Farsi, but humor. Recently he surprised me by singing a Persian pop song pitch perfect and almost word perfect. I call him Persian adjacent. Heās a comic genius.ā
As both performer and writer, his solo show is serving up new opportunities for the Iranian American theater maker.
Playwright Stephen Adly Guirgis, whom Shayan describes as both an inspiration and a friend, has given him parts in several readings of some funny and moving new works. He says, āIād like to be acting more, but my writing career is busier than ever.ā
These days, Shayan very happily splits time between New York and L.A., depending on when and where heās needed for each of his many projects.
There isnāt a lot of down time, and he couldnāt be happier.
Theater
Tony Thomas brings ‘Tempestuous Elements’ to DC
Ann Julia Cooper play will be at Arena Stage through March 17
āTempestuous Elementsā
Through March 17
Arena StageĀ
1101 Sixth St., S.W.
$56-$95
Arenastage.org
Tony Thomas isnāt shy about his talent. The accomplished choreographer says, āWith every show I work on, the artists continue to grow. They leave wanting to keep moving and to expand that part of their artistry.ā
Over the years, heās successfully carved out a niche as a choreographer of plays with music and/or movement. For many of these āplaysicalsā as he whimsically dubs them, his creative credit reads āchoreography consultant.ā
Once an actor who danced a lot, heās now passionate about helping other actors do the same. Currently, heās serving as choreographer and associate director for the world premiere production of āTempestuous Elements,ā at Arena Stageās in the round Fichandler space. Penned by Kia Corthron and staged by Psalmayene 24, itās the true-life story of Ann Julia Cooper (played by Gina Daniels), a Black principal at D.C.ās historic M Street School who, against all odds, fights for her studentsā rights to an advanced curriculum.
WASHINGTON BLADE: Is this a D.C. story?
TONY THOMAS: In part. Itās more a story of its time. Anna understood she was poised to be somebody, but still feel the pushback. Superintendent white doesnāt approve of the classic curriculum sheās created for Black students. Hers is a turn of 20th century Black middle-class life with high tea and much finery. More importantly, Black people are being seen as human beings. Itās an opportunity to really be someone, but the fight isnāt over. People are boxed in another systemic way.
BLADE: And how does choreography work within a play?
THOMAS: With plays, I need to demonstrate the choreography. The actors want to see it. Itās not like with dancers when we speak the same vocabulary.
I realize energy is one of my selling points. Iāll be 45 in April and apparently my turns and jumps are still on point.
BLADE Is there a difference between beautiful movement and not just actor movement?
THOMAS: Thereās a difference. With āTempestuous Elements,ā I taught them a little ballet, warmed them up and imbued them with the dignity needed for the story theyāre about to tell. Some of the cast already move like dancers while others understand tempo. When choreographing plays with movement, you have to trust the actors.
BLADE: Is that tough for a trained dancer?
THOMAS: No, not really. I have a concert dance background ā ballet, modern, jazz ā and have studied with Debbie Allen, Shawn Cosby and Mike Malone. I donāt expect that level of training from actors. I like the freedom to move and put their characters into it. Theyāre not like ten concert dancers who need to look like one person. They are moving as characters ā students, different adults.
BLADE: For a decade, you stepped away from showbiz?
THOMAS: I stopped in my mid-20s. I turned Ailey down twice. Then I went to art school and pursued a degree in interior architecture at Academy of Art University in San Francisco.
BLADE: And you returned theater?
THOMAS: Now I do both theater and interior architecture, but in 2012 friends dared me to come along on an audition for the Broadway āWest Side Story.ā Well, I did and I booked a national tour. That got me back in the business. Not long after, I played Richie in āA Chorus Lineā at Olney Theatre. And around 2015, I did āThe Shipmentā with Psalm, and ever since Iāve done all of the choreography and movement for his plays.
BLADE: Tell me how you connect with “Tempestuous Elements”?
THOMAS: Who was your first teacher? We asked the actors to come to this production with that in mind, and to let that warm their hearts as we developed this original piece.
I grew up as a child actor doing TV, film and theater shuttling back and forth from D.C. to New York, and I took that from my mom who was an actor, singer, and dancer. I watched her teach, dress as a clown and put on parties for kids, and there were all sorts of performance-related things that I learned from her.
BLADE: And does that continue?
THOMAS: Oh yeah. Increasingly, I enjoy being the process. Iāve grown past the point of just coming in and doing my job. I feel more invested. More and more, I want to be part of the creation process.