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The odd couple

‘August’ playwright explores unlikely friendship in Studio’s ‘Donuts’

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Superior Donuts

The Studio Theatre

1501 14th Street, N.W.

$45-$65

202-332-7267

Johnny Ramey, left, and Richard Cotovsky in 'Superior Donuts,' the current production at the Studio Theatre. (Photo by Carol Pratt; courtesy of Studio)

Donuts are Arthur Przybyszewskiā€™s life, or so he says. Lately, the owner of the title establishment in Tracy Lettsā€™ Chicago-set comedy ā€œSuperior Donutsā€ (currently playing at the Studio Theatre) has become progressively disinterested in his work.

Most days, the grizzled old stoner comes in late (if at all) and sometimes he neglects to place orders for new supplies. When the donut shop is vandalized, Arthur barely reacts. Two beat cops on the scene and Max, an angry Russian who owns the DVD shop next door, are more visibly concerned. And just when the business that Arthur inherited from his father seems doomed to fail, Franco Wicks, an energetic young black man from the neighborhood, asks Arthur for a job and things begin to change.

Lettsā€™ uplifting work explores the blossoming ā€“ and unlikely ā€” friendship between 60-year-old, burnt-out Arthur (an excellent Richard Cotovsky) and 21-year-old Franco wonderfully played by charismatic young actor Johnny Ramey. Throughout the work day, chatty Franco barrages his boss with suggestions including introducing heart-healthy alternatives to the menu and maybe a poetry night. He even suggests Arthur cut off his mangy pony tail and update his old hippie wardrobe.

As Franco proves himself a hard worker and a smart kid, Arthur slowly opens up to him, however two subjects ā€” his late ex-wife and estranged 19-year-old daughter ā€” remain wholly taboo. Boss and employee surprise one another: Franco is impressed that Arthur knows the names of 10 African-American poets, and conversely, Arthur is astonished to discover that his young assistant has written a truly good coming-of-age novel.

Between scenes, lights dim and Arthur speaks directly to the audience, revealing the past that he finds so hard to share with those around him. He talks about his rocky relationship with his late Polish immigrant father who came to Chicago from war torn Europe and opened the donut shop in Chicagoā€™s then-already declining Uptown neighborhood. He recalls an activist youth and his fleeing to Canada to evade the draft. He remembers a comfortable but short-lived marriage, and his daughter. Beneath Arthurā€™s current somnambulant faƧade, there’s sadness and some regret.

Judging from his donut play, Letts, though no Pollyanna, is ultimately an optimist. He believes in the future and new beginnings. And while ā€œSuperior Donutsā€™ā€ humor isnā€™t nearly as scathing as that of his Pulitzer Prize-winning Broadway hit ā€œAugust: Osage County,ā€ itā€™s funny, entertaining and similarly tackles the grittier aspects of life. For instance, unable to repay a huge loan to neighborhood toughs, Franco suffers serious consequences. While this subplot doesnā€™t ring entirely true, it does force Arthur to experience feelings and reconnect to his more alive former self. It also opens the way for a first rate knock-down drag-out fistfight (props to fight choreographer Robb Hunter).

Russell Methenyā€™s realistic set is superb. Itā€™s a grungy little shop under Chicagoā€™s elevated train that looks like it hasnā€™t been touched since Arthurā€™s father opened it 60 years ago.

Gay director Serge Seiden draws terrific performances from Cotovsky and Ramey as well as the remainder of the talented cast who bring sensitivity to what could be stock portrayals. Standouts include Gregor Paslawsky as Max, the ruthless-but-somehow-likable Russian; Julie-Ann Elliott as Randy, a tough but shyly lovelorn lady cop; Chris Genebach as the local bad guy bookie; and Barbara Broughtonā€™s Lady, an eccentric old woman who shows up each morning for free donuts and coffee before heading off to an AA meeting or a day of drinking at a local dive (depending on whatever the way the wind blows her).

As Kiril, Maxā€™s brawny blonde nephew, Aaron Tone makes the most of a small role. In a beautifully played scene, Tone demonstrates a poignant glimmer of human tenderness in the wake of his vulgar uncleā€™s crude shenanigans ā€” further evidence of Lettsā€™ creeping optimism.

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Signatureā€™s fresh take on classic ā€˜Forumā€™

Actor Mike Millan says ā€˜itā€™s like a new work in many waysā€™

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ā€˜A Funny Thing Happened on the Way to the Forumā€™
Through Jan. 12
Signature Theatre
4200 Campbell Ave.
Arlington, Va.
$40-$126
sigtheatre.org

For out actor Mike Millan, Signature Theatreā€™s production of ā€œA Funny Thing Happened on the Way to the Forum,ā€ couldnā€™t feel fresher. 

Set in ancient Rome, the 62-year-old Tony-winning hit (music with lyrics by Stephen Sondheim and book by Burt Shevelove and Larry Gelbart) borrows from Roman comedy, farce, and a dash of bawdy vaudeville to the tales of slaves, soldiers, courtesans, and a lovesick young man. 

Millan plays Hysterium, a nervous slave in the House of Senex, whose tagline reads ā€œI live to grovel.ā€

ā€œIā€™ve never done ā€˜Forum,ā€™ so to me itā€™s like a new work in many ways,ā€ he says. ā€œAnd because itā€™s older and has a classic musical point of view and weā€™re doing it now, itā€™s as if weā€™ve been given a lovely opportunity to make it our own.ā€ 

And indeed, they are doing just that. Directed and choreographed by Matthew Gardiner, the Signature production is introducing new bits and playing with gender: the central character Pseudolus, a sly slave role created by Zero Mostel, is played by Erin Weaver; Erronius is played by Sherri Edelen in drag; and two male actors and one nonbinary actor play courtesans.

Though Millan, 35, is based with his partner in Los Angeles, he regularly travels to New York and is pleased to make Signature in Shirlington an additional destination on his bicoastal work journey. Recently, the affable actor took time to talk about Signature and ā€œForum.ā€ 

WASHINGTON BLADE: A little about the brilliantly named Hysterium, please. 

MIKE MILLAN: As a gay actor, I can say that Hysterium is one of the gayer characters Iā€™ve ever played. Heā€™s a sort of fop and heā€™s in drag most of the second act. How can you not see him as a queer character?ā€ 

When the part was written it was sort of gay coded and now itā€™s just abundantly clear, you donā€™t think twice about it. 

BLADE: ā€œForumā€ is unapologetically fun. Is now the right time for a romp? 

MILLAN: The show comes with a level of escapism that is really infectious. During these tense times, it feels great to be doing a silly musical. Weā€™re doing fart jokes in tunics, and the material and jokes really hold up. Youā€™ll feel better leaving than when you came in.

BLADE: All that and a Sondheim score too? 

MILLAN: Heā€™s the reason Iā€™m here. In high school, I discovered his ā€œInto the Woodsā€ and remember locking myself in my room until I knew every word to ā€œGiants in the Sky.ā€ 

ā€œPassion,ā€ ā€œFollies,ā€ I love it all. Heā€™s so singular because he writes from a perspective of acting and storytelling; Sondheim touches me in a way that feels quasi-religious. 

When I think about the number of times I sang ā€œLast Midnightā€ alone in my car, it fills me with a joy that Iā€™ve never gotten from any other composer or jukebox musical.

BLADE:  In 2022, you played Idina Menzel super fan Jeff in ā€œWhich Way to the Stageā€ at Signature. Are you glad to be back? 

MILLAN: Yes, Iā€™m happy to be employed. Itā€™s a tough business. Not only are we asked to be great singers, dancers, actors, and performers but weā€™re asked to have a social media presence and to be the most popular kid in school. 

Signature provides a safe environment to try something new and different, to experiment with a community that respects doing that. Also at Signature, it never feels like any audience members are being dragged by their partners to see a show. Itā€™s a supportive community. 

BLADE: Speaking of partners, do you miss being away from home?

MILLAN: Sometime itā€™s nice to have that time away from each other; it builds a little mystery.

BLADE: Will your performance change between now and January?

MILLAN: In recent years, Iā€™ve changed my acting approach from cracking the code on how to play a character to inviting the audience on a journey and making them part of the process. 

I was raised in musical theater, but by doing comedy, standup, and improv, Iā€™ve come to find the joy of failure freeing. And I like being part of a changing show. I like the idea of somebody being able to say ā€œI was there the night Patti LuPone yelled at the guy who took a picture.ā€

BLADE: An unexpected moment. 

MILLAN: Of course, I go in with certain things I have planned out, but I like the element of excitement that anything might happen. And I think the audience should feel that way too.

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Theater

Sexy, spooky werewolf tale comes to Congressional Cemetery

ā€˜LĆ½kos Ɓnthrōposā€™ explores story of men who live double lives

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Patrick Kilpatrick (left) and Nicholas Gerwitz inĀ LĆ½kos ƁnthrōposĀ at CongressionalĀ Cemetery

LĆ½kos Ɓnthrōpos
Oct. 31-Nov. 24
Thursday through Sunday at 8 p.m., 75 minutes without intermission
Congressional Cemetery
1801 E St., S.E.
Tickets: bob-bartlett.com

Just in time for Halloween, Bob Bartlett is reprising ā€œLĆ½kos Ɓnthrōpos.ā€ With his sexy, spooky werewolf tale, the gay playwright brings his passion for horror and site-specific productions to historic Congressional Cemetery on Capitol Hill.  

ā€œVampires are great and I love ghosts and kind of believe in the spirit world, but werewolves are my favorite,ā€ he says. 

Bartlett is interested in the duality of men who turn into wolves and consequently live double lives. The character heā€™s written is on the queer spectrum but not particularly discriminating. However, one night a month when the moon is full, he reliably leaves his wife and kids and hooks up with a guy. The playā€™s conceit starts off with two men cruising in the dark outdoors. 

Before penning ā€œLĆ½kos Ɓnthrōpos,ā€ Bartlett believed ā€œthere isnā€™t a lot of horror theater, and what there is, isnā€™t particularly sophisticated. Itā€™s kind of grand guignol, or tongue in cheek,ā€ and he was ā€” and remains ā€” eager to expand on that. 

So, he spent a month in the summer of 2022 in Rhodes, Greece, immersed in lycanthropy. Based in an Airbnb far from any touristy hubbub, he explored the countryside and wrote his werewolf-themed play. 

ā€œIt was sunny, dry summertime, and I wrote a good deal of the play in ruins and ancient amphitheaters; I looked at classical texts, including Ovidā€™s ā€˜Metamorphoses,ā€™ and included much of what I learned in my play.ā€ 

His characters talk about rocky landscape, the heavens, and the effect of the moon on the Earth ranging from tides to our moods and, of course, its impact on werewolves. Itā€™s all a bit more nuanced than the classic Hollywood take, i.e. Lon Chaney Jrā€™s 1941 horror hit ā€œThe Wolf Man.ā€  

In keeping with the playwrightā€™s love for site specific locales, ā€œLĆ½kos Ɓnthrōposā€ premiered around Halloween in 2022 in a clearing in the woods on a farm near Bartlettā€™s home in Davidsonville, Md.  

The team that opened the two-hander in the woods, director Alex Levy and cast members Patrick Kilpatrick and Nicholas Gerwitz, remain on board for the Congressional Cemetery version. 

Moving the story from the farm to an urban cemetery in the Nationā€™s Capital presented some amusing challenges: ā€œI definitely did some tweaking; rewrites include references to the city and all the dog walkers found in the cemetery. Itā€™s been fun.ā€  

A horror fanatic since childhood, Bartlett cut his teeth on George A. Romeroā€™s ā€œNight of the Living Dead,ā€ when his aunt let him stay up past his bedtime and watch the scary classic on TV, and though he only made it through the first five minutes, and didnā€™t didnā€™t sleep for a week, he was hooked.  

Growing up in Accokeek, Md., Bartlett was introduced to theater through his high school pit band. Later he acted, and did some directing at the community theater level. After returning to school for a second masterā€™s in playwrighting, he took up writing. 

With his current production, he says ā€œThe gods had my back. We open on Halloween and its first weekend will be performed under a full moon,ā€ says Bartlett. ā€œPeople (about 30 per performance) are asked to bring a fold up chair, blanket and lantern or flashlight. They will meet as a group and walk together, with a guide, to the performance site at the cemetery where the actors will be in place surrounded by a circle of eerie light. Death metal will be pounding from the woods.  

ā€œSometimes itā€™s more terrifying if the violence is offstage. I believe in the mantra donā€™t show the monster, so there are moments when the characters turn off the lights.ā€

Also, a longtime professor of theater at Bowie State University, Bartlett is a semester from retiring after which he intends on becoming ā€œa full-time creepy writer.ā€

Upcoming projects include a play about the controversial and closeted FBI Director J. Edgar Hoover and his longtime romantic partner Clyde Tolson, who not incidentally are buried just a few yards apart in Congressional Cemetery. Largely fictional, the play wonā€™t be site specific, but, says Bartlett, will have its own monster in Hoover.

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A contemporary take on ā€˜Romeo and Julietā€™ at Folger

Creating a world that appeals to young audiences

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Fran Tapia as Lady Capulet, Caro Reyes Rivera as Juliet, and Luz Nicolas as Nurse in William Shakespeareā€™sĀ ā€˜Romeo and Juliet,ā€™ directed by Raymond O. Caldwell at the Folger Theatre through Nov. 10.Ā (Photo by Erika Nizborski)

ā€˜Romeo and Julietā€™
Through November 10
Folger Theatre
201 East Capitol St. S.E., Washington, D.C.
$20-$84
Folger.edu

In out director Raymond O. Caldwellā€™s production of ā€œRomeo and Julietā€ currently playing at Folger Theatre, the Capulet family are Puerto Rican except for Lord Capulet (Todd Scoffield) who is white with a Southern accent. 

Fran Tapia (Lady Capulet), Luz Nicolas (Nurse), and Caro Reyes Rivera (Juliet) all speak Spanish when they are together. Rosa Garay LĆ³pez (Translator and Interpreter) translated certain scenes into Spanish. The Montagues are played by a cast of multiracial and multiethnic actors.

Tapia, a Helen Hayes Award-winning actor, identifies as part of the LGBTQ community. She says, “I am Chilean, Latina, queer and a proud immigrant.”  

After receiving her acting degree in Santiago de Chile, Catholic University, Tapia started working professionally as an actor and a dancer with contemporary dance companies.

The newly single actor has been living in D.C. since 2019 and plans to remain based here. Recently, she shared her experiences playing Julietā€™s mother in Shakespeareā€™s story of the star-crossed lovers, a play she first read as a girl in Santiago. 

WASHINGTON BLADE:  Typically, Lady Capulet is portrayed as detached, a woman who canā€™t even remember her daughterā€™s age. Whatā€™s your spin on the Capulet matriarch?

FRAN TAPIA:  From what Iā€™ve read and seen, including productions and films, sheā€™s a woman who has distanced herself from her daughter.

I see the part differently. I want to make it special, to get away from the hard mother. She does care about her husband and daughter. Her expectations are shaped by society more than anything, she has conservative goals, but that doesnā€™t mean that she doesnā€™t love her daughter.

BLADE: What else about your Lady Capulet is unique?

TAPIA: First of all, sheā€™s Puerto Rican. She speaks in Spanish and English. She loves to sing. Sheā€™s a party girl. Sheā€™s a devoted wife and partner in crime with Lord Capulet, sharing both his ambition and devotion to family. 

Lady Capulet wants to look pretty and she loves money. And she wants to be blonde, of course. I wear 26-inch blonde extensions for the part. Iā€™m giving so much drama to it. Itā€™s fun and dramatic and over the top.

She can share secrets with the Nurse played by Luz [Nicolas]. There are nuances with how she speaks to her. Lady Capulet speaks English when she wants to be formal. Luz brings the comedy. Sheā€™s also, a very good dramatic actress.

BLADE: Itā€™s a contemporary take on the Bardā€™s masterpiece. 

TAPIA: Itā€™s super contemporary. Raymond [Caldwell] is looking to create a world that appeals to young audiences. Heā€™s working with so many designers doing projection, lighting, and sound. There are so many surprises for you. 

BLADE: Am I right in guessing itā€™s not set in Verona.

TAPIA: Itā€™s set in a fictionalized Washington, D.C., inspired by the election year. The Capulets are a conservative political family based on nobody in particular. Theyā€™re struggling for power through the marriage of their daughter. Unlike the source material, theyā€™re not trying to marry off a teenager. Itā€™s more about preserving a legacy. Thatā€™s scary to lose when youā€™re used to having it.

BLADE: How is working with Raymond? Iā€™ve heard so many good things about him. 

TAPIA: Prior to joining the cast, Iā€™d heard from friends that he was good, but I had no idea how good. When I got this part, I gave myself the opportunity to offer my resources like singing. And heā€™s been super receptive. 

Raymond is very clear and bold. Lady Capulet has problems with addiction more intense than I imagined. I wonā€™t specify but weā€™re diving into all of that. There are so many kinds of addiction including social media for instance. In real life, Iā€™m addicted to Diet Coke as anyone in the cast can tell you. 

BLADE: Is Lady Capulet a part youā€™ve longed to play? 

TAPIA: Not really, but under the direction of Raymond Iā€™m loving every second of it. His view of things has given me a lot of freedom that I didnā€™t expect.

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