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McNally pays tribute to Albee, his ex, at Helen Hayes Awards

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It’s not every day that two ex-boyfriends take center stage to sing one another’s praises before a rapt audience. But that’s exactly what happened at the 26th annual Helen Hayes Awards at the Warner Theatre on Monday night.

In what was arguably the high point of an exceedingly lively evening, famed gay playwright Terrence McNally, 70, warmly presented the Helen Hayes Tribute to his “friend, colleague, and ex,” the even more famous gay playwright Edward Albee (the pair were lovers in the 1960s). McNally lauded Albee’s genius as evidenced by a long list of extraordinary works, including “Who’s Afraid of Virginia Woolf?,” “The Zoo Story,” and “A Delicate Balance;” as well as the 82-year-old playwright’s serious dedication to bolstering the careers of younger artists.

In return, Albee, whose career will be celebrated in a festival next season at Arena Stage’s revamped Southwest complex, spoke eloquently of McNally’s courage to tackle the difficult issues, citing his controversial “Corpus Christi,” a passion play with gay male characters, as an example. Impishly, Albee slipped in an account of when he first met McNally at a Manhattan cocktail party — “A knockout blonde — he had hair then.” Clearly these great writers share a history, a sense of humor and a mutual respect.

While the theater elders were indeed honored, so too were the up-and-comers. Particularly the wildly enthusiastic young cast of The Keegan Theatre’s hot production of the musical “Rent” who were named outstanding ensemble for a resident musical. Cast member Parker Drown was singled out as outstanding lead actor in a resident musical for his high-energy take on Angel, a feisty drag queen percussionist battling gentrification and HIV/AIDS.

Each year the Helen Hayes Awards are doled out to reward standouts in Washington-area professional theater. The nominees and recipients are painstakingly selected by 63 judges.

Rather than rely on a single emcee, Monday’s show was hosted by an ever-changing pair of presenters comprised of local talent. Livening up the proceedings was a group of talented singers and dancers including John Lescault, Amy McWilliams, Aaron Reeder, Lauren Williams, and Bobby Smith who graced the “In Memoriam” portion of the show with a poignant rendition of “Any Time (I Am There)” from “Elegies”).

Holly Twyford was named outstanding actress in a resident play for her performance as Diane, the Hollywood super agent in Signature Theatre’s production of gay playwright Douglas Carter Beane’s comedy “The Little Dog Laughed.” Impressively, Twyford was also nominated in the same category for work in Folger Theatre’s “Arcadia,” and Theatre J’s “Lost in Yonkers.” Looking chic in a simple black dress and deep red heels, Twyford, who has been out her entire career, thanked her parents for taking her to the theater as a kid and her longtime partner (now fiancée) for her unflagging support.

Cate Blanchett won outstanding actress in a non-resident production for her luminous portrayal of Blanche Dubois in the Kennedy Center’s “A Streetcar Named Desire.” Karl Miller, who played Prior Walter, a gay man with AIDS, in Forum Theatre’s “Angels in America: Millennium Approaches,” shared outstanding actor in a resident play honors with Stacy Keach who played the title role in Shakespeare Theatre Company’s “King Lear.”

Jim Brochu was named outstanding lead actor in a non-resident production for his work in “Zero Hour” at Theatre J. The affable gay actor charmingly thanked everyone connected with the show (currently playing off-Broadway at the DR2 Theater), and gave a special shout out to his partner of 25 years: “He’s the wind beneath my wings, and it takes a lot of wind to lift me.”

The always-entertaining Maurice Hines took choreography honors for a resident musical for MetroStage’s “Cool Papa’s Party,” an original piece based on the life of Sammy Davis Jr. When the trophy fell apart in the gay dancer’s hands, Hines let loose a quick expletive and moved on like the professional he is, thanking colleagues, past teachers, his brother (the late Gregory Hines), and then plugged his next project- Arena Stage’s soon-to-open production of “Sophisticated Ladies” at the Lincoln Theater.

The D.C. love-in continued: Broadway’s Christiane Noll couldn’t say enough about the local theater scene as she picked up her best actress prize for her role in the Kennedy Center’s “Ragtime” (book by Terrence McNally) And presenter John Glover (who is wowing audiences as Mendy the opera queen in Terrence McNally’s “The Lisbon Traviata” at the Kennedy Center through April 11) stressed that D.C. is “Fab-u-lous!”

The John Aniello Award for outstanding emerging company was presented to 1st Stage of Tysons Corner. A well-loved patron of the D.C. arts scene, the late Aniello was the longtime partner of Helen Hayes Chairman Victor Shargai.

Prior to naming Shakespeare Theatre Company’s “King Lear” outstanding resident play, Shargai expressed a heartfelt thanks to the members of the Washington theater community for the joy they bring to his life. By measure of the explosive applause, those in attendance on Monday night couldn’t have agreed more.

For a complete list of Helen Hayes Awards winners and nominees visit helenhayes.org.

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D.C. theaters offer something for every holiday taste

From ‘Hip Hop Nutcracker’ to plenty of Scrooge productions

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The Gay Men’s Chorus of Washington presents ‘The Holiday Show.’ (Washington Blade file photo by Michael Key)

For many Washington area theatergoers, it wouldn’t be the holidays without seeing an old chestnut or two. At the same time, newer productions are rapidly becoming yuletide traditions in their own right, and with every unfolding holiday season, the DMV scene is additionally gifted with fresh and exciting works. 

It’s a lot. Here’s a sampling. 

National Theatre presents “A Magical Cirque Christmas” (Dec. 16-18), an evening of varied performers and spectacular double-jointed cirque artists accompanied by your favorite holiday music performed live. Mistress of Magic Lucy Darling hosts this exciting and enchanting holiday entertainment for the entire family (well, almost, children under four are strictly verboten). Broadwayatthenational.com

At Synetic Theater in Crystal City, it’s “Snow Maiden” (Dec. 1 – 23) based on a 19th century folk tale about a lonely man who creates a woman out of snow and created by Helen Hayes Award-winning choreographer and Synetic co-founder Irina Tsikurishvili. Synetictheater.org 

In Falls Church, Creative Cauldron is conjuring magic with “The Christmas Angel” (Dec. 2-18). Married collaborators Matt Conner and Stephen Gregory Smith’s musical is based on a little-known 1910 novel by Abbey Farwell Brown about a lonely woman who finds happiness through a box of old toys. Creativecauldron.org

The season now upon us offers myriad opportunities to experience Charles Dickens’ “A Christmas Carol,” the redemptive tale of Ebenezer Scrooge, perhaps the most celebrated Christmas character after Santa, Rudolph, and the baby Jesus.

Historic Ford’s Theatre version of “A Christmas Carol” (through Dec. 31) has been a popular Washington tradition for more than 30 years. The beautifully produced and consistently well-acted take on the Dickens’ classic (originally conceived by Michael Baron), features Craig Wallace reprising Scrooge, who after a night of ghostly visits, rediscovers Christmas joy. fords.org 

At Olney Theatre, Paul Morello lovingly revisits his celebrated take on the “A Christmas Carol” (through Jan. 1). In his solo adaptation of Dickens’ ghost story (created and performed by Morello), he brings to life more than 40 different characters including Scrooge, the entire Cratchit family, the specters, and numerous celebrants.

Olney is also reviving its holiday musical success “Disney’s Beauty and the Beast” through Jan. 1, and reprising roles in the tale as old time terrific are out actor Jade Jones as Belle and Evan Ruggiero as the Beast. Out actor Bobby Smith plays Lumiere. Marcia Milgrom Dodge directs. Olneytheatre.org

In various books and interviews, movie star Bette Davis recounts how as a young girl, she most looked forward to finding theater tickets under the tree (a Davis family Christmas tradition). Perhaps you know a youth or adult, who’d like receive tickets this holiday season? The Kennedy Center Opera House is tempting audiences with a traveling production of the Broadway blockbuster “Wicked” (Dec. 8-Jan. 22), the much-loved prequel of the “Wizard of Oz.” Kennedy-center.org 

Signature Theatre adds to the holiday fun with “Into the Woods” (through Jan. 29), Stephen Sondheim and James Lapine’s unique musical spin on treasured fairytales and “happily-ever-after.” The large, uber-talented cast features — among other big names — Nova Y. Payton, out actor David Merino, and Maria Rizzo. Matthew Gardiner directs. Sig-theatre.org

Then there’s always “The Nutcracker.” Here are four from scores of local productions. 

The Washington Ballet presents its charming version at the gilded Warner Theatre through Dec. 30. With Tchaikovsky’s timeless music and splendid choreography by Septime Weber, this 1882 Georgetown-set production features historical figures including George Washington and King George III, along with the usual suspects like children, rats, fairies and a mysterious godfather. Washingtonballet.org

Bethesda’s Music Center at Strathmore presents “The Hip Hop Nutcracker” (Dec. 19-22), Tchaikovsky’s classic re-imagined with MC Kurtis Blow (“White Lines”). Strathmore.org  

And Kansas City Ballet’s celebrated seasonal tradition, “The Nutcracker,” is at the Kennedy Center through Nov. 27, so you’ll need to move fast. 

The beloved Puppet Co. located within Glen Echo Park presents its 34th annual “The Nutcracker” through Jan. 1. The delightful puppet show includes Tchaikovsky’s familiar music and the story of Clara and her prince, with some Puppet Co. nursery rhyme spin. (Recommended for ages 4+. Run time approximately 50 minutes.)

Running nearly concurrently at the Puppet Co. is “Hershel and the Hanukkah Goblins” (Dec. 1-30). “Hershel just wants to celebrate Hanukkah with the community, but the Queen and King of the Goblins have forbidden the lighting of the candles. Can Hershel save the day and lift the curse for this shtetl (village)?” (Recommended ages 5+. Run time approximately 60 minutes.) Thepuppetco.org 

And for those who might find themselves all Nutcracker-ed out, Ballet Hispánico returns to the Kennedy Center with internationally renowned choreographer Annabelle Lopez Ochoa’s “Doña Perón” (Nov. 30-Dec. 3), a truly exciting portrait of Eva “Evita” Perón. Kennedy-center.org 

And for something festive, edifying, and relaxed, try the National Symphony Orchestra’s “Ugly Sweater Holiday Concert” at The Anthem on Dec. 6. Go ahead, why not don something hideous and enjoy your favorite holiday songs? 

Gay Men’s Chorus of Washington is back with “The Holiday Show” (Dec. 3-11), an annual extravaganza that promises sparkly snow, tap dancers, and over-the-top costumes at their usual venue, the historic Lincoln Theatre in the U Street Corridor. Slated for the program are songs like “Sleigh Ride,” “Underneath the Tree,” “The 12 Rockin’ Days of Christmas,” “God Rest Ye Merry, Gentlemen,” and “Hard Candy Christmas” performed by the full Chorus, soloists, all GMCW ensembles, and the GenOUT Youth Chorus. Gmcw.org 

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Poignant ‘Sanctuary City’ depicts two immigrants struggling to get ahead in America

Undocumented friends navigate post-9/11 New Jersey

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Hernán Angulo and María Victoria Martínez in Sanctuary City at Arena Stage.  (Photo by Margot Schulman)

‘Sanctuary City’
Through Nov. 27
Arena Stage
1101 Sixth St., S.W. 
$41-$95
Arenastage.org

As a kid growing up in San Juan, Puerto Rico, María Victoria Martínez was obsessed with musicals, Broadway shows like “West Side Story” and Disney movies were on nonstop rotation. She knew the scores by heart and longed to play not the ingenues or princesses, but rather character roles like “The Little Mermaid’s” villainous Ursula and Miss Hannigan, the comically bitter lush in “Annie.”

“Imitating the singers is how I learned English,” says Martínez, 30. It also ignited a passion for theater that ultimately lured her into show biz (though she doesn’t do musicals).

 After earning a bachelor’s degree from the University of Puerto Rico followed by a master’s degree from A.R.T. (American Repertory Theater Institute for Advanced Theater Training at Harvard University), she kicked off a career as a multifaceted actor. Martínez follows the work, but splits most her time between San Juan and New York City: “It’s my idea of a bicoastal existence,” she says. 

Currently Martínez, who identifies as queer, is at Arena Stage starring in Pulitzer Prize-winning playwright Martyna Majok’s “Sanctuary City,” an Arena/Berkeley Repertory Theatre co-production directed by David Mendizábal with associate direction and transfer direction by Cara Hinh.

Set in Newark, N.J., not long after 9/11, a time when anti-immigrant sentiment was on the rise, the new work is a timely and poignant piece. Martínez and out actor Hernán Angulo play longtime undocumented friends (simply called G and B, respectively), struggling to get ahead in America, the only home they’ve ever known. 

Without giving too much away, adds Martínez, G’s position in the U.S. is more stable than B’s. Still, she’s willing to fight to help secure his fate. He is arguably her only friend. 

WASHINGTON BLADE: Would you describe your character, G, as the fierier of the two? 

MARĺA VICTORIA MARTĺNEZ: Yes. As I read the play, I definitely saw this ardent fire in G. When she feels safe the fire burns but she feels in danger, her fire is combustible and liable to burn everything down. G is the engine that tries to keep B going, to uplift him, to find ways for him to stay in the country. 

They share moments when they seem like brother and sister, sometimes friends, and even lovers. It’s left open for audience to interpret as they watch the play. It’s messy. And that’s what makes it good.

BLADE: Was it tough moving the production across country?

MARTĺNEZ: Transferring theaters was tricky – they’re very different spaces. In Berkeley we were in a black box almost in full round. Arena’s Kreeger Theater is proscenium, so we’ve had to flatten out our blocking. But in doing so we found new moments in the show. 

Audiences are different in every city. In California, there were certain moments in the show where audiences were really cracking up and here, we don’t hear a peep. But after all, theater is a living organism and moving gives new and different life.

BLADE: In “Sanctuary City,” you and Hernán Angulo play such incredibly close friends. How is that relationship offstage? 

MARTĺNEZ: We were so fortunate to have been cast together. We got along right off the bat and now we’re very close. I identify as queer and he identifies as a gay man. But it’s really our Latinidad (Latinness) that brought us together. And we both love to laugh a lot. When apart we Facetime and share Tik Toks and serious articles too. 

I’m Puerto Rican and he’s Mexican American from the Bay Area. I’m interested in Mexican culture. Spanish is my first language; and Hernán speaks Spanish, so there’s that too. 

BLADE: Have you witnessed the courage and pain of undocumented people firsthand?

MARTĺNEZ: In Puerto Rico most of the immigrants are Dominicans. We’re generally welcoming to them. But I have seen some bad things, and when I witness that aggression, it doesn’t make sense to me. I can’t understand blocking someone from seeking refuge. 

BLADE: Anything directed at you personally?

MARTĺNEZ: Yes, I experienced some unsettling xenophobia when Trump was first elected. I was still at A.R.T. and traveling home to San Juan. At the airport, I was speaking Spanish and a lady purposely bumped into me and told me to go back to my country. I hold a U.S. passport, so you can only imagine what happens to people who are more vulnerable. 

These things are really important to talk about. And I’m happy and proud to be doing the show in D.C. I think it gives it even more meaning. 

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‘Ballad of Emmett Till’ recounts last two weeks of a life cut short

A deftly staged and well-acted look at seminal American tragedy

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Stars of ‘The Ballad of Emmett Till’ (l-r): Jaysen Wright, Antonio Michael Woodard as Till, and Vaughn Ryan Midder. (Photo by Teresa Castracane)

‘The Till Trilogy: The Ballad of Emmett Till’
Through Nov. 20
Mosaic Theater Company
Atlas Performing Arts Center
1333 H St., N.E.
$50-$64
Mosaictheater.org

“The Ballad of Emmett Till,” the first part of playwright Ifa Bayeza’s “The Till Trilogy” (now playing at Mosaic Theater Company), recounts the last two weeks of the title character’s short life.

There are bursts of joy and laughter during those days, but always lurking is the knowledge that the Black 14-year-old’s infectious vitality will soon be horrifically snuffed out for allegedly whistling at a white woman.

The piece, deftly staged by Talvin Wilks, opens with the cast gathering on a dimly lit stage, hauntingly chanting the boy’s name, a sound that’s both foreboding and alluring, an invitation to hear his story, a seminal tragedy that drew the attention of a nation.

It’s the summer of 1955 and young Emmett, affectionately nicknamed Bobo, convinces his protective mother to grant him a little independence. Wearing a summer suit, new bucks, and that jaunty straw hat (made so familiar from the real life Till’s iconic photograph), he boards a train headed from Chicago to Money, Miss., where he’ll spend time with family in the Jim Crow South.

The road from the rural station to the humble home of Emmett’s Great Uncle Mose, a tenant farmer and lay preacher, narrows from two lanes to one to a dirt lane. It’s a happy place where everyone is expected to work. And despite being warned to defer to racist whites without question, Emmett and his cousin experience a freedom they don’t know on Chicago’s Southside. In the South, the city boys are free to drive and party at the boozy juke joint on Saturday nights. And while Emmett doesn’t take to picking the cotton or wringing a chicken’s neck, he adapts to other aspects of country life like fishing and going barefoot.

Antonio Michael Woodard nails Emmett as an energetic, smart-alecky, endearing youth, a child on the threshold of young manhood.

The stellar cast’s remaining five members play multiple roles: Billie Krishawn plays Emmett’s mother Mary Till-Bradley whose brave decision to display her son’s grossly disfigured corpse in an open casket for the world to see is credited with helping to spark the civil rights movement, as well as young boy cousin and Caroline Bryant, the white woman who set off the chain of events that led to Emmett’s death; out actors Jaysen Wright and Vaughn Ryan Midder convincingly double as both Emmett’s pals and the vicious white men who killed him; and the stalwartly versatile Jason Bowen plays Mose and other various Mississippians important to the story.

As the piece’s two older women, Rolanda Watts (of TV talk show fame) is excellent, instantly delineating between the two with a slight intonation or change of posture. She exudes warmth as Emmett’s great aunt, a kind woman who knew nothing about cotton but followed her heart and ended up the wife of a poor planter.

Bayeza sets the story in the past and present. At times, Emmett tells his own story, insisting he isn’t going to die, that he’s the chatty Chicago kid who will never stop talking, he’ll always be heard. The piece is also laced with sympathetic songs, ranging from hummable doowop to plaintive ballad, sung unaccompanied by some of the cast.

With roughly hewn planks and beams, set designer Andrew Cohen creates a barnlike atmosphere, evoking the scene of the crime. Sound designer Kwamina “Binnie” Biney adds atmosphere with the sounds of wild water fowls, and chickens clucking in the coop.

The playwright did her homework. In addition to describing his love for nice clothes and budding interest in girls, Bayeza details Emmett’s stammer and the bout with polio that left him with a withered leg. She touches on Mary’s jobs, relationships, intelligence, and ambition.
After a long, drawn-out death scene, the story’s painful ending is delivered as implicitly assured, but not without some promise of hope.

Running concurrently through Nov. 20 are the other parts of the trilogy: “That Summer in Sumner” and “Benevolence.”

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