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Signature’s ‘Jesus Christ Superstar,’ Mosaic’s ‘Ulysses’ use story to strong effect

Signature breathes new life into classic rock musical

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Jesus Christ Superstar, gay news, Washington Blade

Nicholas Edwards as Jesus and Ari McKay Wilford as Judas with the cast of ā€˜Jesus Christ Superstarā€™ at Signature Theatre. It runs through July 2. (Photo by C. Stanley Photography)

ā€˜Jesus Christ Superstarā€™

Through July 2

Signature Theatre

4200 Campbell Avenue, Arlington

$40-114

703-820-9771

Chris Genebach, Matthew Boston and Elizabeth Pierotti in ā€˜Ulysses on Bottles.ā€™ (Photo by Stan Barouh)

ā€˜Ulysses on Bottlesā€™

Through June 11

Mosaic Theater Company

Atlas Performing Arts Center

1333 H Street NE

$15-60

202-399-7993 ext. 2

Since seeing Signature Theatreā€™s ā€œJesus Christ Superstarā€ last week, Iā€™ve been humming ā€œI Donā€™t Know How to Love Him,ā€ Mary Magdaleneā€™s moving ballad about her complicated relationship with Jesus. Yes, itā€™s one of the best and most covered songs from the iconic rock operaā€™s familiar score by Andrew Lloyd Webber (music) and Tim Rice (lyrics), but itā€™s Natascia Diazā€™s breathtaking rendition at Signature thatā€™s 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 sheā€™s absolutely terrific as the prostitute turned apostle whose intense love for her spiritual guru manifests as both a joy and a quiet torture.

When ā€œJesus 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, Signatureā€™s production doesnā€™t 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 ā€œWhatā€™s the Buzz,ā€ ā€œHosannaā€ and more. Standout moments include Nicholas Edwardsā€™ very human Jesus grappling with his fate in ā€œGethsemaneā€ and Awa Sal Secka adding shades of powerful gospel with ā€œSimon Zealotes/Poor Jerusalem.ā€

Luciana Stecconiā€™s elegant white cruciform set is beautiful in its simplicity. Images reminiscent of Jerusalemā€™s 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 thatā€™s 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 Diazā€™s Mary makes sense in flattering basic black.

Thereā€™s 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 Evronā€™s ā€œUlysses on Bottles.ā€ Itā€™s 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 Dostoyevskyā€™s ā€œCrime 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 menā€™s two very different worlds intersect. Itā€™s 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 Prizeā€™s Best Original Play in 2012, ā€œUllyses on Bottlesā€ was inspired by real-life events.

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Theater

D.C.ā€™s spring theater scene offers ā€˜Macbeth,ā€™ ā€˜Peter Pan,ā€™ Sedaris and more

Queer themes well represented in seasonā€™s productions

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Out actor Adam Chanler-Berat to play Andrew the archivist in ā€˜Unknown Soldierā€™ at Arena Stage (March 29-May 5). (Photo courtesy Arena)

Thereā€™s a lot on for theater this spring. And hereā€™s a queer heavy sampling. 

If itā€™s ā€œCompanyā€ youā€™re after, try the Kennedy Center. The national tour of the Tony-winning, gender-swapped revival of out legend Stephen Sondheimā€™s hit musical withBritney Colemanas forever single Bobbie is moored to the Opera House through March 31. Kennedy-center.orgĀ 

Signature Theatre in Arlington presents ā€œPenelopeā€ (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 Turnerā€™s ā€œAt the Weddingā€ is currently making its regional debut in a production helmed by out director Tom Story. Itā€™s a queer comedy about a woman crashing her exā€™s 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 ā€œA Fine Madnessā€ (March 17-24)). The solo piece is inspired by the talented out actorā€™s 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 ā€œAmm(i)goneā€ (April 20ā€“May 12). Created and performed by queer theater maker Adil Mansoor, the personal story is about inviting his Pakistani mother to translate ā€œAntigoneā€ 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 Yazzieā€™s ā€œNancyā€ (March 30- April 21), a tale of ambition and ancestry soaked in ā€˜80s 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 parkā€™s Barns venue on March 21. And on June 8, a single show featuring both Patti LaBelle and Gladys Knight promises to light up Wolf Trapā€™s cavernous Filene Center with legendary star power.Wolftrap.org Ā 

Arena Stage presents ā€œUnknown Solderā€ (March 29-May 5), Daniel Goldstein and Michael Friedmanā€™s sweeping musical about a woman in search of her familyā€™s past. The topnotch cast includes Lori Lee Gayer, out actor Adam Chanler-Berat, and Broadwayā€™s Judy Kuhn. Arenastage.org

At 1st Stage in Tysons, Va., wonderful out actor Michael Rusotto plays the titular sissy in Douglas Carter Beaneā€™s ā€œThe 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 itā€™s safer to be gay onstage than off. Nick Olcott directs. 1ststage.org

Broadway at the National moves musically into spring with ā€œPeter Panā€ (April 9-21). Playwright Larissa FastHorseā€™s fresh adaptation of the eternal boyā€™s classic tale feels fresh without losing the familiar including terrific tunes like ā€œIā€™m Flying,ā€ ā€œI Gotta Crow,ā€ and ā€œI Wonā€™t Grow Up.ā€ Broadwayatthenational.com

Shakespeare Theatre Company (STC) presents ā€œMacbethā€ (April 9-May 5) starring movie star Ralph Fiennes as the Thane of Glamis, and Indira Varma as sleepwalking Lady M. Staged by STCā€™s artistic director Simon Godwin, the production wonā€™t be performed in the companyā€™s 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 companyā€™s 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 Centerā€™s Terrace Theater presents Opera Lafayetteā€™s modern premiere of ā€œMouret’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, itā€™s Gustavo Ott and Mariano Valeā€™s ā€œThe Return of Eva PerĆ³n: Momia en el closetā€ (May 9ā€“June 9), a dark musical comedy filled with ā€œhistorical 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 ā€œThe Bubbly Black Girl Sheds Her Chameleon Skinā€ (May 16-June 9), the humorous and pointed story of a seemingly confident womanā€™s 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 ā€œMama, Iā€™m a Big Girl Now ā€” The Three Leading Ladies of ā€˜Hairsprayā€™ā€ (Saturday, June 8) with Marissa Jaret Winokur, Kerry Butler, and Laura Bell Bundy. Broadwayā€™s original Tracy, Penny, and Amber are staging a rare reunion to celebrate the hit musicalā€™s 20th anniversary. Mcleancenter.org

And on time for Pride, the Gay Menā€™s Chorus of Washington presents what promises to be a beautifully rendered multidisciplinary event. Titled ā€œPortraitsā€ (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

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Theater

ā€˜Avaazā€™ traces journey from Iran to California

Olney production brings comedy, singing, improv, and even magic

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Michael Shayan in ā€˜Avaaz.ā€™ (Photo by Jenny Graham)

ā€˜Avaazā€™
Through April 7
Olney Theatre Center
2001 Olney-Sandy Spring Road
Olney, MD 20832
$55-$90
Olneytheatre.org

How better to understand your own motherā€™s psyche than by playing her on stage? 

In his solo show ā€œAvaaz,ā€ queer actor/writer Michael Shayan pretty much does just that. As ā€œRoyaā€ (not his motherā€™s actual name), he explores how a womanā€™s fun, larger-than-life presence might belie a deeper sadness. Itā€™s a party but not without truth and moving drama. 

And now, after a successful world premiere run in Californiaā€™s South Coast Repertory last spring, his play is at Olney Theatre Center (through April 7) before kicking off on a national tour. 

ā€œAvaaz,ā€ a Farsi word for ā€œa song as it is being sung,ā€ follows Royaā€™s journey from Tehran to what Shayan cheekily tags ā€œTehran-geles, CA, formerly known as Westwood.ā€ Itā€™s 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 sheā€™s marking Nowruz (Persian New Year) with a lavish party; but despite the festive atmosphere thereā€™s some detectable tension in the air.

Over 80 minutes, Royaā€™s story unfolds, alternating between dark revelations and her return to fabulous hostess mode. After all, Roya is entertaining guests ā€“ in this case itā€™s the 200 theatergoers seated in Olney Theaterā€™s intimate Mulitz-Gudelsky space. 

He adds, ā€œThereā€™s 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: ā€œAs an illusionist, I was big on the bar mitzvah circuit. With magic, youā€™re 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 ā€œThe Book of Queerā€ for Max and worked on ā€œWeā€™re Here,ā€ the Emmy-winning Max show featuring former ā€œDrag Raceā€ contestants.

But the actual genesis of Roya, and in turn ā€œAvaaz,ā€ was sparked at a Lambda Literary Retreat. ā€œWe were doing an exercise where you put your hand on your heart and feel the heartbeat of a character. I felt my momā€™s heartbeat, and listened to what she had to say.

ā€œIā€™d 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, ā€œItā€™s about the channeling of energy and personality.ā€

Visually, heā€™s 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 

ā€œWhen I put that on, I become Roya, baby,ā€ Shayan says. ā€œItā€™s very powerful. Itā€™s a ritual. There are several pieces. My posture changes.ā€

Royaā€™s 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 whatā€™s uncomfortable, Shayan indulges in a bit of standup: ā€œTony-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. Heā€™s 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, ā€œIā€™d 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 heā€™s needed for each of his many projects. 

There isnā€™t a lot of down time, and he couldnā€™t be happier. 

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Tony Thomas brings ‘Tempestuous Elements’ to DC

Ann Julia Cooper play will be at Arena Stage through March 17

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Tony Thomas (Photo courtesy of Tony Thomas)

ā€˜Tempestuous Elementsā€™
Through March 17
Arena StageĀ 
1101 Sixth St., S.W.
$56-$95
Arenastage.org

Tony Thomas isnā€™t shy about his talent. The accomplished choreographer says, ā€œWith 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, heā€™s successfully carved out a niche as a choreographer of plays with music and/or movement. For many of these ā€œplaysicalsā€ as he whimsically dubs them, his creative credit reads ā€œchoreography consultant.ā€

Once an actor who danced a lot, heā€™s now passionate about helping other actors do the same. Currently, heā€™s serving as choreographer and associate director for the world premiere production of ā€œTempestuous Elements,ā€ at Arena Stageā€™s in the round Fichandler space. Penned by Kia Corthron and staged by Psalmayene 24, itā€™s the true-life story of Ann Julia Cooper (played by Gina Daniels), a Black principal at D.C.ā€™s 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. Itā€™s more a story of its time. Anna understood she was poised to be somebody, but still feel the pushback. Superintendent white doesnā€™t approve of the classic curriculum sheā€™s 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. Itā€™s an opportunity to really be someone, but the fight isnā€™t 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. Itā€™s not like with dancers when we speak the same vocabulary. 

I realize energy is one of my selling points. Iā€™ll 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: Thereā€™s a difference. With ā€œTempestuous Elements,ā€ I taught them a little ballet, warmed them up and imbued them with the dignity needed for the story theyā€™re 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 donā€™t expect that level of training from actors. I like the freedom to move and put their characters into it. Theyā€™re 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 ā€œWest 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 ā€œA Chorus Lineā€ at Olney Theatre. And around 2015, I did ā€œThe Shipmentā€ with Psalm, and ever since Iā€™ve 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. Iā€™ve 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.

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