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Stretching plausibility

Bards ‘All’s Well’ creakingly conceived but ably delivered in new production



‘All’s Well That Ends Well’

Through Oct. 24

Shakespeare Theatre Company

Lansburgh Theatre, 450 7th Street, N.W.

$37 and up


“All’s Well That Ends Well” – that quasi-comedy about unrequited love – isn’t the best-loved work in Shakespeare’s canon, but of course merits retelling nonetheless. Currently serving as the Shakespeare Theatre Company’s season opener, the improbable tale – as staged by gay director Michael Kahn — shines with moments of humor and relevancy.

Though Count Bertram (handsome Tony Roach) and Helena (Miriam Silverman) are just a few years older than Romeo and Juliet, their romance couldn’t be more different. After growing up like siblings in his family’s grand home in the provinces, Bertram is called away to Paris to be near the King of France (a commanding Ted van Griethuysen), she determinedly follows.

It’s at court where Helena strikes a curious deal: Using her late father’s magic remedies, she offers to cure the ailing king. If she fails, Helena is prepared to forfeit her life, but if she succeeds, she asks that she be given the husband of her liking. She succeeds and the newly peppy, aging monarch is obliged to grant her wish. Before a roomful of fawning courtiers, Helena asks for Bertram’s hand. Initially  the golden scion refuses commoner Helena’s offer, but when pressed by the king, he grudgingly accepts.

Clearly, Bertram is just not that into her, In fact, he opts to make a hasty exit with his solider friend Parolles (Michael Bakkensen) to fight in the Italian wars rather than make love to his virgin bride. But Helena is undeterred – never have you met a more annoyingly, single-minded young woman.

Kahn sets the play on the cusp of World War I, another time of unrest on the continent. Like early 20th century Frenchmen and their American counterparts, the doughboys, who enthusiastically joined-up unaware of the putrid trenches and poison gas that awaited them on the battlefield, young Bertram and his noble peers are equally eager.

Here the focus isn’t on horrors, but rather barracks hijinks and incipient romance. The handsome young soldiers execute a seemingly endless gag that involves humiliating the vainglorious and cowardly Parolles while Bertram pursues Diana (Natalie Mitchell) the pretty daughter of the local lady innkeeper.

Meanwhile, Helena shows up at said Italian inn, disguised as a religious pilgrim. With the assistance of Diana, Helena — in one of the Bard’s more far-fetched plot devices – salvages her nonexistent marriage by bedding her estranged, wide-awake husband without him knowing it. (Go ahead and try that sometime.)

Performed under a canopy of Victorian iron arches backed by an expansive sky (compliments of scenic designer Court Watson), the production features some of the better ensemble acting you’re likely to see in D.C. British actor Paxton Whitehead steals the show as Lafew, a witty lord who suffers neither fools nor the badly dressed gladly. Adam Green and Barbara Pinolini are funny as a bumpkin-turned-dandy and a lusty woman of a certain age, respectively. And 1970s movie star and four-time Oscar nominee Marsha Mason is rather good as Betram’s concerned mother, the Countess of Rossillion.

Robert Perdziola’s period military uniforms and Edwardian gowns are splendidly designed and evocative of the era.

In the end, whether it’s true love or expediency that prompts Bertram to kneel adoringly before his crafty, pregnant-bellied wife Helena, is hard to say. If we’re to believe that the Bard titled this work without irony, then the young couple should enjoy untold years of happiness together. I for one have my doubts.



Deaf, gay actor on gripping, funny ‘Private Jones’

Musical makes premiere at Signature with Obie winner Dickie Drew Hearts



Dickie Drew Hearts (Photo by Matthew Murphy)

‘Private Jones’
Through March 10
Signature Theatre 
4200 Campbell Ave.
Arlington, Virginia 22206

Set against the harsh vicissitudes of the Great War, “Private Jones” a new musical written and directed by Marshall Pailet, is currently making its world premiere at Signature Theatre in Arlington. 

Touted as gripping, unexpectedly funny, and purportedly true, it’s the story of Gomer Jones, a young Deaf Welshman who after wriggling his way into military service becomes a celebrated sniper only to learn there might be more to life. 

The production features a cast of hearing, Deaf, and hard-of-hearing actors including Dickie Drew Hearts, the Deaf, gay, and affable actor who recently won an Obie Award for “Dark Disabled Stories” at the Public in New York, and is probably best known for his performance of Mateo in Netflix’s “Tales of the City” (2019 miniseries).

Gathered around the end of a long conference table in the Sondheim Multipurpose Room at Signature Theatre, Hearts and I along with two top notch interpreters (one to sign my questions and another to voice the actor’s replies) dive into conversation. 

Hearts plays Henry, a Deaf munitions factory worker whose sister Gwenolyn (Leanne Antonio) becomes the love interest of Gomer (played by hard-of-hearing actor Johnny Link). It’s Henry who teaches Gomer sign language and essentially introduces him to Deaf culture, which isn’t unusual, says Hearts. It’s often through other Deaf people that the Deaf themselves get introduced to the Deaf community and signing world.

When the actors met in 2018, says Hearts, “Johnny [Link] was just learning sign language. I assured him that those who are hard-of-hearing are automatically very welcome members of the deaf community. Point blank. There are no qualifications.”

And now, six years later, Hearts is thrilled to be working with Link. “It’s amazing to see Johnny again, and to be having full conversations with him in sign language both on and off stage.” 

Not only is “Private Jones” a physically demanding show, but because it’s performed in spoken English as well as some American Sign Language (ASL) and British Sign Language (BSL) it presents some extra difficulties.

To play Henry, Hearts – a native ASL user since childhood – has had to learn BSL, tantamount to doing the show in an entirely new and different language. Hearts says, “I hope people recognize that. And signing along musically in BSL adds a layer of challenge beyond signing BSL dialogue.” 

Of course, he remains undaunted. It’s about the job and getting the character right. And for the thirtysomething actor that means going deep.  

“I would like to think Henry is a closeted gay man. Henry has ‘a roommate,’ is how I thought of his backstory.”

Hearts adds, “I know that queer people have always been here and I like to infuse that into the characters I play whether or not it’s stated. I look for those moments of where it might be hinting at sexuality, and ask what was it like at the time, was it safe to be out?”

Born Deaf in Queens, New York, into a hearing family who’d recently immigrated from formerly British Guyana in South America, Hearts grew up in Newport News, Va. 

A childhood spent watching captioned TV shows taught him both English and how to impersonate characters, an obsession that he took out into the neighborhood. “Eventually, somebody said there’s a thing for what I do. It’s called theater,” he signs with a grin. 

While attending Gallaudet University here in D.C., Hearts focused on film until his senior year when he randomly auditioned for the musical comedy “Urinetown” and landed the lead role of dashing Bobby Strong. A love for acting resurfaced and took hold. 

After graduating, Hearts came out and promptly moved to L.A. where he spent the next six years skirmishing over a dearth of Deaf parts. When a gig led him to New York in 2018, his luck changed. 

“Being a Deaf, gay, BIPOC actor was amazing for finding stage and film work in New York. But just when a lot of doors were opening for me, the pandemic hit and everything stopped.” 

Slowly things picked up. And in 2021 he became part of a new project. He was soon reporting to a nondescript high rise in midtown Manhattan workshopping what would become “Private Jones.” 

Now at Signature, Hearts is busy bringing Henry to life. “It’s been an amazing journey and I’m really fortunate to have witnessed its evolution from the beginning. It’s become grander, more elevated, and the characters more complex. It’s a wonderful thing” 

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‘Next to Normal’ a heartrending rock musical about mental illness

Impact on patient, family, and beyond expressed through song



Lucas Hinds Babcock (Gabe) and Tracy Lynn Olivera (Diana) in ‘Next to Normal’ at Round House Theatre. (Photo by Margot Schulman Photography)

‘Next to Normal’
Through March 3
Round House Theatre 
4545 East-West Highway
Bethesda, MD  20814

They’ve made a deal. Dan goes to work and does the shopping, while Diana stays home and keeps house. It’s safer that way. But when Diana starts making sandwiches on the floor, something’s not right. So, it’s back to the doctor. 

And that’s the kickoff to “Next to Normal,” Brian Yorkey and Tom Kitt’s masterful alt-rock musical, now enjoying a revival at Round House Theatre in Bethesda. Strikingly helmed by out director Alan Paul, the production features an exciting mix of both new and familiar faces. 

It’s the suburban mother’s sixteenth year into a bipolar disorder diagnosis and Diana Goodman, played brilliantly by Tracy Lynn Olivera, is understandably a bit battle weary. Yet despite years of periodic episodes, med adjustments, and interminable flat days filled with robotically performed household chores including sex with her husband, she still maintains a wry sense of humor peppered with sarcastic asides, all skillfully landed by Olivera. 

And while Diana is the eye of the domestic storm, the rest of the family play their parts too. There’s Dan (Kevin S. McAllister), the exhausted architect, doing his best to keep home life as normal as possible, supporting a wife while missing the young vibrant woman she once was; teenage daughter Natalie (Sophia Early) a peevish grade-grubber who’s prime for emotional escape; and an elusive son, Gabe (Lucas Hinds Babcock), being his mother’s ally. 

Also on hand is Henry (Ben Clark), the kind, stoner new boyfriend who Natalie reluctantly introduces to her parents.  

With “Who’s Crazy?”/ “My Psychopharmacologist and I,” we musically follow Diana through her current med adjustment. After almost two months of uncomfortable tweaking, Diana says she feels nothing and treatment is deemed a success. 

Feeling nothing is painful. Through her plaintive solo “I Miss the Mountains,” she explains the exhilarating highs she longs to relive. Unsurprisingly, the patient soon goes off her meds and what follows is a manic episode of nonstop cleaning, cooking, rearranging, and lots of decoupage.

Next up is more treatment including ECT therapy. Versatile local actor Calvin McCullough plays both Fine and Madden, Diana’s sincere but not wholly successful doctors. 

“Next to Normal” premiered to acclaim in 2008, scooping up awards with names like Tony and Pulitzer. A rock musical with a hard charging score and a libretto about mental illness that’s at once heartrending and funny felt new and was hugely well received. 

Similarly, the mostly sung through musical is a hit at Round House (with an extended run through March 3) thanks largely to the revival’s inventive staging, fresh musical direction by Chris Youstra, and an uber talented cast of six.  

Here, the powerful effects of mental illness on the patient, family, and beyond are expressed not through dialogue but songs feelingly sung – sometimes softly, sometimes loudly. 

Each of the cast have their moments, including Lucas Hinds Babcock as Gabe who zooms lithely around the set singing “I’m Alive.” It’s – to me – a fantastic introduction to Babcock’s talent.

Smartly, Eamon Foley provides some fun but mostly fittingly understated choreography, and Helen Q. Huang’s thoughtful costuming adds to the atmosphere, accentuating burgeoning Natalie’s changing means of sartorial expression and Diana’s patient versus civilian attire. 

Director Paul, along with celebrated designers Wilson Chin (scenic) and Nicholas Hussong (projections), have created an immense industrial expanse that serves as home, hospital, and recital hall, and cleverly supplies a surface for outsized projections of the actors’ faces and, most unforgettably, a tight shot of Olivera’s blinking blue eyes. 

These projections – both recorded and in real-time – get up close and personal with the cast’s performances, creating an intimacy and intensity that works especially well, making a satisfying experience even better.  

“Next to Normal” is a co-production with Massachusetts’s Barrington Stage Company where Alan Paul is artistic director. Before landing in the Berkshires in 2023, he was associate artistic director at Shakespeare Theatre Company.

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A busy Billie Krishawn focuses on ‘Sea Mink-ettes’ at Woolly Mammoth

Queer actor juggles theater with philanthropic work



Billie Krishawn (Photo by DJ Corey Photography)

‘The Sensational Sea Mink-ettes’
Through March 3
Woolly Mammoth Theatre Company
641 D St., N.W.

Striving to be perfect isn’t alien to actor Billie Krishawn. And that’s not unhelpful in playing Shanteé, an intense competitor on the HBUC dance scene in Vivian J.O. Barnes “The Sensational Sea Mink-ettes,” now making its world premiere at Woolly Mammoth Theatre.

Directed by Taylor Reynolds, the dramedy puts the spotlight on an HBCU six-woman dance team as they prepare for their high-stakes homecoming performance. The strain to get it right is tremendous as they deal with team dynamics, choreography, their outside lives and some unusual circumstances. 

Never having attended an HBCU college, Krishawn wasn’t familiar with dance teams. But that’s all changed now. “What they do appears effortless; everything is sharp and crisp, perfectly done. I love that energy,” she says.

“I also love playing my character’s many relatable aspects,” adds Krishawn who identifies queer/pansexual. “Shanteé is team captain, and one of two alfa girls in the group, the one who takes herself seriously. 

“She’s very put together on the outside and works very hard to get it right. There’s something beautiful about that effort, but there are also the dangerous bits. It can be hard to be that guarded; to only show up as the perfect version of yourself is unsustainable.” 

“Sea Mink-ettes” marks Krishawn’s debut with Woolly Mammoth. It’s also her introduction to the play’s Virginia born author. She recalls a moment in the audition process when the room was filled with about 60 Black women. “It was a wonderful, empowering moment. It continues to be like that. I’m grateful.” 

The graceful actor has always been drawn to the arts: “Visual arts were my first love, followed by music — violin and choir — and then poetry in middle school.” 

For high school, Krishawn’s mother pushed her to apply to the Duke Ellington School of the Arts something she’d wanted for herself, but it hadn’t worked out. The rising freshman agreed provided she study singing, but her mother demurred, “you’re very dramatic, you need to do theater.” Fortunately for local audiences, mother prevailed. 

At Duke Ellington, Krishawn found her theatrical bearings, and continued to pursue theater at Drew University, a small liberal arts college in Madison, N.J. A busy professional career ensued. 

The two-time Helen Hayes Award winner (“The Till Trilogy” at Mosaic Theatre Company, “Blood at the Root” at Theatre Alliance) is also a passionate activist. 

As a kid, she obsessively rented two favorite films from Blockbuster: “Ruby Bridges” and “Selma, Lord, Selma,” both about the civil rights movement. Later she extensively documented BLM protests with her camera, and more recently, has become focused on community care activism.

As founder of the DC Theatre Community Care page, Krishawn had created a mutual aid page run with the understanding that, “we will all give when we can and take when we need.” The group centers specifically around Washington’s theater community. 

“Life shouldn’t have to be so hard. Especially during times when we’re all trying to keep our heads above water.”

In 2020, she launched The SoSu Series, a safe space to highlight the work of Black, Indigenous women (cis and trans) and non-binary people of color working in the D.C. theater scene through a sequence of video interviews. The artists interviewed talk about their personal artistic ventures while also engaging in conversations around the untold struggles of being a woman or non-binary in an often-unwelcoming atmosphere. 

She’s partnered with Woolly Mammoth to do a clothing swap and is now working with Studio Theatre to offer free workshops surrounding dance, navigating intimacy in life and art, and even a tax preparation. 

Krishawn gets a lot done, but for the moment, she’s focusing on the show. 

“There’s so much about ‘Sea Mink-ettes’ that appeals to everyone regardless of race, gender, sexuality. Perfection can be beautiful, but holding ourselves to those unrealistic levels keeps us from having human moments. We are just as fierce in all the moments.

“You gotta be that boss bitch, but you need rest at times too,” she adds. 

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