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‘Twist Your Dickens’ is irreverent spin on Dickens classic at Kennedy Center

Second City has manic fun in clever, fast-paced production

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Dickens, gay news, Washington Blade

Eric M. Messner and John Lescault in ’Twist Your Dickens.’ (Photo by Teresa Castracane)

‘Twist Your Dickens’
 
Through Dec. 31
 
The Kennedy Center
 
$49-79
 
202-467-4600

As Ford’s Theatre marks the 500th performance of its current production of “A Christmas Carol,” nearer to the river, the Kennedy Center is presenting “Twist Your Dickens,” a less reverential take on Charles Dickens’ classic Christmas ghost story about the miser who finds redemption.

Produced by the Second City (the legendary comedy enterprise that originated in Chicago) and penned by former “The Colbert Report” writers Peter Gwinn and Bobby Mort, this yuletide satire is rife with outrageous gags, sketch comedy and improvisation.

Directed by Frank Caeti, it’s frantically fast paced and the five-person cast (who with the exception of local actor John Lescault as Scrooge play multiple roles) possess comedic talent and energy to spare. Still, like any sketch/improv show, some of the skits fall flat, but since it’s moving so quickly from one joke to the next, you’re soon laughing again.

“Twist” loosely follows the Dickens’ narrative but it’s in no way moored to the 1843 work’s Victorian setting. It veers toward more contemporary times and riffs on other Christmas classics. The Peanuts kids make an appearance. They’re chiding Linus (Eric M. Messner nailing Linus’ lisp as heard on the beloved TV specials) about whether it’s OK to include Christ in Christmastime.

And a harried George Bailey from “It’s a Wonderful Life” (again Messner — he’s a talented mimic) makes a cameo. He’s having an existential moment. Scrooge isn’t helpful. Next, it’s some familiar faces from the island of misfit toys possibly finding homes with a pair of blasé D.C. hipsters.

The anachronisms don’t go unnoticed. Shouting from the audience, a loudmouth Dickens purist (Paul Jurewicz) points out a Starbucks cup onstage along with myriad other inaccuracies. Unfazed by the mistakes, he climbs on stage, sheds his hoodie to reveal a Victorian vest and coat and joins the fun.

As Scrooge, Lescault is at turns apoplectically incensed, crotchety and slyly devilish. He hates the poor and goes so far as stealing the money kettle from a Salvation Army bell ringer. But he’s not entirely wicked. When the Ghost of Christmas Past, (a hilarious spiky-haired Jurewicz as an ‘80s hair/metal rocker) guides Scrooge back in time to a Christmas party thrown by his first employer, kindly Mr. Fezziwig, Scrooge says, “The happiness he gave us was as great as a fortune.” He’s thawing.

The show’s best parts are drawn from Dickens’ book. But of course, all is upside down. Scrooge’s goodhearted nephew Fred is manically mad. His put-upon clerk Bob Cratchit (Aaron Bliden), Mrs. Cratchit (Anne Bowles) and their preternaturally perky dying son Tiny Tim (Tia Shearer) plot doing away with the boss. They think staging a suicide would work best.

Scrooge’s late business partner, Morley (again Messner), appears in chains. His red and green paper chains is made up of confessions from audience members (written in the lobby before the show). Sins include outing a teenage girl at a slumber party and extracting a wrong tooth (presumably a dentist’s misdeed). Always fast on their feet, the actors make quick and funny references to the confessions (different for every performance) throughout the show.

Tom Buderwitz’s set (an imposing portrait of Dickens’ hanging over a façade of old rowhouses and storefronts in gray and mossy green) fits nicely in the cozy Theatre Lab, the Kennedy Center’s top floor space. And certainly this 19th century London isn’t romanticized. A syrupy Tiny Tim close to death but wide-eyed smiley celebrates Christmas with a slumber party. Guests include boys with Ricketts, dropsy, and a pal who’s so malnourished he can’t stand, but rather wriggles across the floor.

Carisa Barreca is a hoot as the Ghost of Christmas Present, a dim blonde obsessed with social media. She also plays cheery Aunt Jeanie who shows up Christmas mornings after her husband throws her out for having yet another affair with another woman. Barreca also plays boozy lounge singer Ruby Santini. She improvises “Jingle Bells” (at the audience’s suggestion). Lyrics include lots of “boobs” and “balls.”

Yes, there’s some language and bawdy humor (recommended for ages 16 and over), but it’s also often clever and a lot of fun, even ending with a singalong.

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Theater

D.C.’s spring theater scene offers ‘Macbeth,’ ‘Peter Pan,’ Sedaris and more

Queer themes well represented in season’s productions

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Out actor Adam Chanler-Berat to play Andrew the archivist in ‘Unknown Soldier’ at Arena Stage (March 29-May 5). (Photo courtesy Arena)

There’s a lot on for theater this spring. And here’s a queer heavy sampling. 

If it’s “Company” you’re after, try the Kennedy Center. The national tour of the Tony-winning, gender-swapped revival of out legend Stephen Sondheim’s hit musical withBritney Colemanas forever single Bobbie is moored to the Opera House through March 31. Kennedy-center.org 

Signature Theatre in Arlington presents “Penelope” (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 Turner’s “At the Wedding” is currently making its regional debut in a production helmed by out director Tom Story. It’s a queer comedy about a woman crashing her ex’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 “A Fine Madness” (March 17-24)). The solo piece is inspired by the talented out actor’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 “Amm(i)gone” (April 20–May 12). Created and performed by queer theater maker Adil Mansoor, the personal story is about inviting his Pakistani mother to translate “Antigone” 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 Yazzie’s “Nancy” (March 30- April 21), a tale of ambition and ancestry soaked in ‘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 park’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 Trap’s cavernous Filene Center with legendary star power.Wolftrap.org  

Arena Stage presents “Unknown Solder” (March 29-May 5), Daniel Goldstein and Michael Friedman’s sweeping musical about a woman in search of her family’s past. The topnotch cast includes Lori Lee Gayer, out actor Adam Chanler-Berat, and Broadway’s Judy Kuhn. Arenastage.org

At 1st Stage in Tysons, Va., wonderful out actor Michael Rusotto plays the titular sissy in Douglas Carter Beane’s “The Nance” (April 4-21). Set in 1930s New York, the action follows a queer burlesque actor as he navigates his way through a world where it’s safer to be gay onstage than off. Nick Olcott directs. 1ststage.org

Broadway at the National moves musically into spring with “Peter Pan” (April 9-21). Playwright Larissa FastHorse’s fresh adaptation of the eternal boy’s classic tale feels fresh without losing the familiar including terrific tunes like “I’m Flying,” “I Gotta Crow,” and “I Won’t Grow Up.” Broadwayatthenational.com

Shakespeare Theatre Company (STC) presents “Macbeth” (April 9-May 5) starring movie star Ralph Fiennes as the Thane of Glamis, and Indira Varma as sleepwalking Lady M. Staged by STC’s artistic director Simon Godwin, the production won’t be performed in the company’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 — the oldest modern dance ensemble in the country— for just one night (April 13) with a program that showcases the company’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.org 

Kennedy Center’s Terrace Theater presents Opera Lafayette’s modern premiere of “Mouret’s Les Fêtes de Thalie” (May 3 and 4), an opéra-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, it’s Gustavo Ott and Mariano Vale’s “The Return of Eva Perón: Momia en el closet” (May 9–June 9), a dark musical comedy filled with “historical intrigue and spine-chilling entertainment.” (Performed in Spanish with English surtitles.) Galatheatre.org

This spring, Creative Cauldron in Falls Church presents Kirsten Childs’ new musical “The Bubbly Black Girl Sheds Her Chameleon Skin” (May 16-June 9), the humorous and pointed story of a seemingly confident woman’s journey through racism, sexism, showbiz, and finally self-acceptance. Angelisa Gilyard directs. Creativecauldron.org 

For one night only, the Alden Theatre in Mclean, Va., presents “Mama, I’m a Big Girl Now — The Three Leading Ladies of ‘Hairspray’” (Saturday, June 8) with Marissa Jaret Winokur, Kerry Butler, and Laura Bell Bundy. Broadway’s original Tracy, Penny, and Amber are staging a rare reunion to celebrate the hit musical’s 20th anniversary. Mcleancenter.org

And on time for Pride, the Gay Men’s Chorus of Washington presents what promises to be a beautifully rendered multidisciplinary event. Titled “Portraits” (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

‘Avaaz’ traces journey from Iran to California

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

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Michael Shayan in ‘Avaaz.’ (Photo by Jenny Graham)

‘Avaaz’
Through April 7
Olney Theatre Center
2001 Olney-Sandy Spring Road
Olney, MD 20832
$55-$90
Olneytheatre.org

How better to understand your own mother’s psyche than by playing her on stage? 

In his solo show “Avaaz,” queer actor/writer Michael Shayan pretty much does just that. As “Roya” (not his mother’s actual name), he explores how a woman’s fun, larger-than-life presence might belie a deeper sadness. It’s a party but not without truth and moving drama. 

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

“Avaaz,” a Farsi word for “a song as it is being sung,” follows Roya’s journey from Tehran to what Shayan cheekily tags “Tehran-geles, CA, formerly known as Westwood.” It’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 she’s marking Nowruz (Persian New Year) with a lavish party; but despite the festive atmosphere there’s some detectable tension in the air.

Over 80 minutes, Roya’s story unfolds, alternating between dark revelations and her return to fabulous hostess mode. After all, Roya is entertaining guests – in this case it’s the 200 theatergoers seated in Olney Theater’s intimate Mulitz-Gudelsky space. 

He adds, “There’s a lot going on. This show brings everything together: writing, acting, comedy, a little singing, lots of improv, and even some magic.”  

For Shayan, an early and ardent interest in magic set the stage for theater: “As an illusionist, I was big on the bar mitzvah circuit. With magic, you’re a one man show. There was acting, directing, learning about audience and theatricality. I learned a lot.” 

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 “The Book of Queer” for Max and worked on “We’re Here,” the Emmy-winning Max show featuring former “Drag Race” contestants.

But the actual genesis of Roya, and in turn “Avaaz,” was sparked at a Lambda Literary Retreat. “We were doing an exercise where you put your hand on your heart and feel the heartbeat of a character. I felt my mom’s heartbeat, and listened to what she had to say.

“I’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.”

When asked exactly how he approaches the part, Shayan, who exudes warmth and humor, replies, “It’s about the channeling of energy and personality.”

Visually, he’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.  

“When I put that on, I become Roya, baby,” Shayan says. “It’s very powerful. It’s a ritual. There are several pieces. My posture changes.”

Roya’s over the top décor comes compliments of Tony Award-winning set designer Beowulf Borritt.

And because Roya leans on humor to pivot away from what’s uncomfortable, Shayan indulges in a bit of standup: “Tony-nominated director Moritz von Stuelpnagel and I share a language – 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. He’s a comic genius.”

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, “I’d like to be acting more, but my writing career is busier than ever.”

These days, Shayan very happily splits time between New York and L.A., depending on when and where he’s needed for each of his many projects. 

There isn’t a lot of down time, and he couldn’t be happier. 

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Theater

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)

‘Tempestuous Elements’
Through March 17
Arena Stage 
1101 Sixth St., S.W.
$56-$95
Arenastage.org

Tony Thomas isn’t shy about his talent. The accomplished choreographer says, “With every show I work on, the artists continue to grow. They leave wanting to keep moving and to expand that part of their artistry.”

Over the years, he’s successfully carved out a niche as a choreographer of plays with music and/or movement. For many of these “playsicals” as he whimsically dubs them, his creative credit reads “choreography consultant.”

Once an actor who danced a lot, he’s now passionate about helping other actors do the same. Currently, he’s serving as choreographer and associate director for the world premiere production of “Tempestuous Elements,” at Arena Stage’s in the round Fichandler space. Penned by Kia Corthron and staged by Psalmayene 24, it’s the true-life story of Ann Julia Cooper (played by Gina Daniels), a Black principal at D.C.’s historic M Street School who, against all odds, fights for her students’ rights to an advanced curriculum. 

WASHINGTON BLADE: Is this a D.C. story?

TONY THOMAS: In part. It’s more a story of its time. Anna understood she was poised to be somebody, but still feel the pushback. Superintendent white doesn’t approve of the classic curriculum she’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. It’s an opportunity to really be someone, but the fight isn’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. It’s not like with dancers when we speak the same vocabulary. 

I realize energy is one of my selling points. I’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: There’s a difference. With “Tempestuous Elements,” I taught them a little ballet, warmed them up and imbued them with the dignity needed for the story they’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 — ballet, modern, jazz — and have studied with Debbie Allen, Shawn Cosby and Mike Malone. I don’t expect that level of training from actors. I like the freedom to move and put their characters into it. They’re not like ten concert dancers who need to look like one person. They are moving as characters — 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 “West Side Story.” Well, I did and I booked a national tour. That got me back in the business. Not long after, I played Richie in “A Chorus Line” at Olney Theatre. And around 2015, I did “The Shipment” with Psalm, and ever since I’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. I’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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