Theater
Theater potpourri
Last weekend to catch several worthy productions in the D.C. area
‘A Shadow of Honor’
by Peter Coy
8 p.m. tonight and Saturday
closes 3 p.m. Sunday
The Keegan Theater
at Church Street
1742 Church Street
Dupont Circle
703-892-0202 or keegantheatre.com‘Genesis’
by Evan Crump
8 p.m. tonight and Saturday
closes 3 p.m. Sunday
The Warehouse Theater
1021 7th St. N.W.
(back room at the Passenger)
202-213-2474 or cityartisticpartnerships.org‘Twilight of the Golds’
by Jonathan Tolins
8 p.m. tonight and Saturday
2:30 p.m. Sunday
through Feb. 5
Reston Community Players
Center Stage Theater
Reston Community Center
2310 Colts Neck road
Reston, Va.
703-476-4500 or rcp-tix.com
or box office‘Return to Haifa’
adapted by Boaz Gaon
from the novella by Ghassan Kanafani
11 a.m. today; 8 p.m. Saturday
3 and 7:30 p.m. Sunday
closes Sunday
Theater J
Goldman Theater
D.C. Jewish Community Center
1529 16th St., N.W.
800-494-TIXS or theaterj.org
Good and evil, theology and science, past and present ā these polarities loom large in four plays now on stage in Washington.
Closing on Sunday, a Keegan Theatre production at the Church Street Theater is the world premiere of Peter Coy’s multi-layered melodrama about history, “A Shadow of Honor,” the story of two families, each haunted by the ghosts of two wars ā the Civil War and the Vietnam War ā and the dead who gave the last full measure of devotion with their bloodshed.
“It is those I killed who are truly damned by God” thunders the alcoholic William Ruffin (ably played by Mark A. Rhea, Keegan’s founder and producing artistic director), author of the cold-blooded murder that happened in Nelson County, in Virginia’s Shenandoah Valley in 1907, an incident discovered by Hamner Theater co-artistic director and playwright Coe in what he calls “a murder motivated by honor.”
The scene is set in the same house, with two troubled families in two places in time, 1907 and 2007. When past and present collide, something must give. And in each case, the smoking gun is murder, one committed by an 11-year-old boy when begged to pull the trigger by his father, damaged goods from Vietnam where he had earned, at great cost, a Silver Star. Another shadow falls with the gunfire in 1907, when Ruffin decides he must kill the man who deflowered his daughter and swears that “I’m a hero in the eyes of all true Southerners.” He tells his daughter, “I’ve taken my stand,” and later, “I love the South even though it exists no more!”
Michael Innocenti stars in a stand-out role as high school history teacher Tyler McNeill, the boy now grown to manhood yet shadowed still by his complicity in his father’s death. Watch him in his motor-mouth rush of words about the stress he feels, his voice a strangled cry of pain held inside, and attention must be paid when he pesters his wife Kathy, asking, “Didn’t you know that the South is the most violent part of the country?” As always, Anton Chekhov was right to say that when a gun is seen on stage it will surely be fired before the last act ends. The fear shown by his pregnant wife, in a riveting portrayal by Shannon Listol, is palpable as her voice shakes and her body quakes in abject terror.
Also closing this weekend, unless there’s a last minute rescue in the Warehouse Theater schedule that permits an extended run for two more weeks, is another play by a playwright from this region, D.C. resident Evan Crump, whose two-act drama “Genesis” about a mental patient who believes himself to be a fallen angel won the 2010 Capital Fringe Festival award for Best Drama. Retooled since last summer by Crump and especially by director John C. Bailey, a gay actor who is literary curator for D.C.’s Ganymede GLBT Arts Company, this play, which is a meditation on “the human condition,” astounds with its passion and crackles with electricity from mystery-shrouded start to ambiguous finish.
Actor Derek Jones, with glistening bald pate and his sinewy sleek ebony physique much on display, for he is shirtless much of the time, inhabits the role of the eponymous “Genesis” like he was alive in the role, not acting it. As his performance unspools, inside an asylum for the criminally insane, where he has been diagnosed as a paranoid schizophrenic (his doctor calls it “some form of delusional psychosis”), his beautifully dangerous mind always seem rational and his story becomes increasingly credible of being literally a fallen angel. But the question of whether he is sane or insane, convict or saint, human or angel, is never fully answered.
Worth a trip out to Reston’s Community Center Stage Theater in Fairfax County is a play about the “gay gene” (assuming one is ever located in the human genome) and the ethical dilemma of whether parents might abort such a child as eugenic prophylaxis. Written by gay playwright Jonathan Tolins and helmed by gay director Andrew J.M. Regiec, “The Twilight of the Golds” tests the limits of love and acceptance in a drama that ran briefly on Broadway in 1993. Then, the actress Jennifer Grey (best known for playing Frances “Baby” Houseman in the 1987 hit film “Dirty Dancing”) played Suzanne (in Reston the role is played by Jennifer Cambert) who is pregnant and whose husband, a genetic researcher, discovers irregularities in the unborn child’s genetic makeup. Though completely healthy, the baby will likely be born gay, like Suzanne’s younger brother David, an opera set designer.
David (played in the Reston production by Andy Izquierdo) appears to have it all: a loving partner, a supportive family, but now he is drawn into the family debate over the fate of the child. Harvard graduate Tolins, a former writer and co-producer of “Queer as Folk” during its first season on Showtime in 2001 and also an actor who played the gay quarterback in the 2003 film “Totally Sexy Loser,” adapted “Twilight of the Golds” for a Showtime movie in 1997, featuring actors Brendan Fraser as David and Jennifer Beals (of “Flashdance” fame) as Suzanne. It was nominated for a GLAAD media award for outstanding made-for-TV movie that year.
Tolins, who has written for Bette Midler’s road-show tours and her current Las Vegas extravaganza, “The Showgirl Must Go On,” also spent time for two years writing for the Academy Awards show and the 2003 Tony Awards program. He now lives in Connecticut with his husband Robert Cary and their two children. His newest play “Glad Tidings,” is nominated for a GLAAD media award for outstanding New York City play, to be announced March 19.
Finally, there’s “Return to Haifa,” from Israel’s premier flagship theater company, Cameri Theater, now resident through this Sunday only at Theater J, at the D.C. Jewish Community Center’s Goldman Theater. The play, adapted by an Israeli Jew, Boaz Gaon, from the short novella by Palestinian Arab writer Ghassan Kanafani, brings to life the heart-rending saga of two couples ā one Palestinian and the other Jewish-Israeli ā who must face complex questions of loss and identity when the Palestinian couple returns to the home they fled in 1948 to learn the fate of the baby son they left behind. Now a soldier in the Israeli army, Dov meets his birth parents who had named him Khaldun, as he clings to his mother, a Holocaust survivor who raised him from infancy.
The play ā performed in Hebrew and Arabic, with English surtitles ā is a meditation on trauma and how to move beyond such wounds. Kanafani himself, assassinated in a 1972 car-bomb, probably by the israeli Mossad, was a spokesman for the militant Popular Front for the Liberation of Palestine, viewed by Israel and Western governments at the time as a terrorist group. Yet in his novella, he acknowledged that Jews in Israel had also suffered, not just Arabs, and his empathy for such suffering marked his work as an unusual document to help build bridges. But even so, in Israel, most theater companies turned down the chance to produce “Return to Haifa” until the Cameri Theater stepped forward, and the production itself was dogged by protestors from Israel’s anti-Arab far-right.
The play is gripping for its look into the heart of anger and the soul of reconciliation. You will not soon forget the feelings it can stir. But Theater J has sought ways to go beyond these feelings, however, with a companion series of other plays and discussions it calls “Voices from a Changing Middle East: Portraits of Home,” including on Sunday night the play by Ben Brown, “The Promise,” set in London in 1917 when the future president of Israel, Chaim Weitzman maneuvered with British notables to support the right of Jews to return to a Zionist Israel. For more information on this series, see theaterj.org.
Theater
Jessica Phillips shines in āPenelope,ā a āpandemic parableā
Alex Bechtel was inspired to write about loneliness, waiting, separation
āPenelopeā
Thorough April 28
Signature Theatre, the Ark
4200 Campbell Ave, ArlingtonĀ
$40-$99
Sigtheatre.org
In the new musical āPenelope,ā Broadwayās Jessica Phillips gives an unforgettable take on the title role torn from the pages of Homerās āOdysseyā ā more or less. Fortified by bourbon and backed by a Greek chorus of musicians, the character uncharacteristically steps out from the background to share her story surrounding two decades waiting on the island kingdom of Ithica for the return of her absent husband Odysseus.Ā
Sometimes described as a āpandemic parable,ā the 70-minute work is based on composer/playwright Alex Bechtelās personal experience. While separated from his partner during COVID, he was inspired to write about loneliness, waiting, and separation, a subject Phillips was eager to tackle.
An accomplished Broadway actor and mother of two, Phillips, 52, is best known for memorable turns in āDear Evan Hansen,ā āThe Scarlet Pimpernel,ā āNext to Normal,ā and āPriscilla Queen of the Desert.ā
Two years ago, she made news for coming out as queer after having long been identified as straight. Parts of the theater scene were caught a bit off guard, but only momentarily. Now, she lives in New York with her partner Chelsea Nachman, a theatrical publicist.āWe share the same professional community but in very different roles. I think that makes life easier for us.ā
Currently enjoying an extended run at Signature in Arlington where the trees are in bloom, she spares time for a phone interview, starting off withāPerfect timing. Iāve just finished the last song on Beyonceās āCowboy Carter.ā Letās talk.ā
WASHINGTON BLADE: Increasingly, I hear artists report having been deeply changed by the pandemic. Did that have anything to do with your coming out in 2022?
PHILLIPS: Definitely. During the pandemic, those of us in the arts were in deep crisis, because our industry had collapsed in almost every way. At the same time, that space allowed us to be contemplative about where we were. For me, that period of time gave me the space to both come to terms with and confront those fears about saying who I was, out loud and publicly.
BLADE: Did you have professional concerns?
PHILLIPS: Oh yeah, I was specifically worried about perception. Not so much about being queer but more what it meant to have come out relatively late in life. I had some fear around whether people would take me less seriously.
At the same time, I was nervous about being fully transparent and worried about my privacy and being vulnerable. Like other women I knew, I was more comfortable dealing with traditional societal expectations in America. I grew up with those cultural expectations and thought of myself in those terms for a long time.
BLADE: What changed?
PHILLIPS: Whatās been so freeing for me, I can confront how I took on those expectations and say Iām not going to let those determine how I live my life. I get to decide.
BLADE: Thereās a lot of wonderful storytelling in āPenelope.ā Whatās been your way into that?
PHILLIPS: My way of moving through the show is allowing this character to experience all five stages of grief. Humor, slapstick comedy, bargaining, denial. And ultimately acceptance and deep grief.
When an audience is alive and invested, itās palpable and elevates the storytelling. When an audience is having a thinking rather feeling experience that changes the tone of my storytelling and not in a bad way.
Itās interesting how much theyāre a part of everything. Itās really intimate. The audience is just six feet away. Itās a unique experience and weāre on this ride together. And I find this to be a really beautiful and satisfying experience that Iāve not had before.
BLADE: After Signature, whatās next for āPenelopeā?
PHILLIPS: Thatās the million-dollar question. Hopefully weāll take it forward to New York or tour it, but that requires willingness and money. I do think thereās a broad audience for this. Itās beautiful, unique, artistic, really emotional, and at the same time possesses an intellectual quality thatās missing from a lot of commercial theater these days.
BLADE: And whatās next for theater?
Phillips: I think one good thing that came out of the pandemic is that people like Alex Bechtel had an opportunity to create. In the next decade weāre going to see the results of that. I think we have some extraordinary things to look forward to. If a work like āPenelopeā is any indication, weāre all in for something really good.
Theater
āNancy,ā soaked in ā80s nostalgia, is āqueer AFā
Mosaic production led by out director Ken-Matt Martin
āNancyāĀ
Through April 21
Mosaic Theater Company at Atlas Performing Arts Center
1333 H St., N.E.
$53-$70
Mosaictheater.org
Set in 1985, smack dab in the middle of the Reagan years, Rhiana Yazzieās āNancyā is totally soaked in nostalgia: shoulder pads, high hair, Van Halen, etc. For some theatergoers, it jogs the memory and for others serves as an introduction to an alien era.
Out director Ken-Matt Martin describes the production (now at Mosaic Theater) as āqueer AF.ā He continues, āBut thatās true with everything I touch. My aesthetics and interests are unapologetically queer. When you first walk into theater, you see a big ass picture of Nancyās face. The whole play is kind of set on her face.ā
Martin, who puts his age as āsomewhere over 30,ā gives a brief rundown via telephone: āāNancyā places two women on parallel tracks and we get to watch them on a collision course. Esmeralda [Anaseini Katoa], a Navajo mother and advocate determined to improve the condition of her family and reservation. Her story is juxtaposed to that of Nancy Reagan [Lynn Hawley] whoās busy at the White House consulting with society astrologer Joan Quigley to help guide Reagan [Michael Kevin Darnall] and his administration. The womenās worlds come together over Nancyās direct ancestral connection to Pocahontas.ā
The busy storyline also includes a moment surrounding Rock Hudsonās final days, a moment when well-coiffed, clothes-crazy Nancy was presented with the opportunity to make a difference but chose not to.
āAnd the work doesnāt let Nancy off the hook,ā adds Martin. āItās a full meal of a play.ā
Produced in partnership with New Native Theatre based in the Twin Cities, Mosaicās epic offering, a very D.C. play about ancestry and ambition, almost looks at Ron and Nancy as cartoon characters but isnāt without empathy.
Martin and Yazzie both love satire and absurdity; they enjoy comedy and things that are funny until theyāre not. So, the evening shifts in tone as it moves into more serious areas, particularly an exploration of how the ā80s and Reaganās failed trickle-down agenda set the stage for many of todayās problems.
The directorās way into theater was as a child actor. After successfully begging his mother to drive him from their native Little Rock, Ark., to a regional Atlanta audition, he booked an appearance on Nickelodeon’s landmark series āAll Thatā and snagged an agent in the process. He continued to act for a time before becoming interested in other facets of showbiz.
After graduating with an MFA in directing from Brown University/Trinity Repertory Company, Martin embarked on a terrifically busy schedule. In addition to freelance directing, he has helmed and helms various prestigious companies as artistic director and managing producer (Pyramid Theatre Company in Des Moines, IA, Victory Gardens Theater in Chicago, and was recently appointed Interim Artistic Director of Baltimore Center Stage and Arkansas Repertory Theatre.)
Currently an itinerant professional (Martin gave up his place in Chicago and hops from job to job where they house him), he says, āIt can get a little old, but overall, not bad at all.ā
Next up, Martin is directing Olney Theatreās production āLong Way Down,ā the adaptation of a Young Adult novel by DMV native Jason Reynolds. āItās a big regional tryout that after a limited engagement in Olney leaves for the Apollo Theatre in New York. Iām excited.ā
Martin is at home with plays that are tricky to stage, making him a good fit for āNancyā with its multiple locations, scope, and scale. Heās enjoyed the challenge of the workās collapsing time lines and the playwrightās tough, complicated, smart, and fast-moving language.
āPerhaps most importantly,ā he adds. āRhiana has entrusted me with the opportunity to tell this very unique story, a story that can resonate with Native people and Native audiences. This part is very new to me as a director.ā
Theater
Talented pair of local queer actors tackles āLittle Shop of Horrorsā
Fordās production features terrific score
āLittle Shop of HorrorsāĀ
Through May 18
Fordās Theatre
511 10th St., N.W.
$33-$95
Fords.orgĀ
Ever since premiering off-Broadway in 1982, āLittle Shop of Horrorsā has drawn a devoted following of avid audiences as well as performers eager to act in the show. Now playing at Fordās Theatre, the doo-wop, dark comedy features a terrific cast including a wildly talented pair of local queer actors whoāve longed to appear in the show since they were kids.
Set in the urban 1960s, Alan Menken and Howard Ashmanās hit show with a terrific score follows the wacky rise of Seymour, a nebbishy florist in a Skid Row shop who changes his fortunes by unintentionally marketing an exotic, human eating plant.
Chani Wereley, 28, who plays Seymourās love interest Audrey, a hyper femme downtowner with an edge, has had her on eye the role for years. Wereley says, āAudreyās been around the block more than once, but I approach her as a person who moves through the world with love and hope.ā
The queer D.C. native adds, āOn long trips to visit family in Canada or Florida, the first thing weād do is pop a āLittle Shop of Horrorsā video [film version] into the carās VHS player. Iāve watched is so many times, I could quote the whole movie to you.ā
After auditioning to play Audrey in director Kevin S. McAllisterās production at Fordās, Wereley never thought sheād book the part, and when they said she got it, she cried.
Similarly, Tobias A. Young, 34, the pansexual actor who voices the part of the bloodthirsty plant affectionately dubbed Audrey II, explains his intense interest in the work: āI started watching the film in ā86. Growing up as a little gay boy in Calvert County, Md., I wanted to be blonde Audrey [played by Ellen Green in the movie]. I didnāt know much about musicals at the time, but I was absorbed.ā
When asked by Fordās to play the voracious plant Audrey II without auditioning, his reply was an unhesitant āyes.ā
Voicing a role requires Young to sing from backstage in a black box rigged with monitors and a mixing board. He says, āpeople ask if Iām singing from inside of the ever-growing, scary plant. No, Iām not, and thatās fine. But letās face it, actors love to be seen on stage, but I donāt feel entirely unseen as Audrey II.ā
Heās worked hard and successfully with formidable puppeteers Ryan Sellers and Jay Frisby to bring parts of himself to the carnivorous plant ā his sassiness, own movements, and even a tilt of his head; their efforts have drawn the actual Young into the show.
Both Wereley and Young possess gorgeous, emotive voices as evidenced by Wereleyās striking rendition of Audreyās āSuddenly Seymour,ā and Youngās soulful āFeed Me (Git It).ā Additionally, both actors are also big on queer representation in theater.
When her young pals were listening to Britney Spears, Wereley was dancing to retro tunes like āMashed Potato Time,ā and her favorite song to this day, the Shirelleās girl group anthem āWill You Still Love Me Tomorrow.ā As Audrey, Wereley eschews the characterās usual platinum hair for a bouncy brunette, cherry-streaked wig, tight pencil skirts, swing coats, and her very own half-sleeve tattoo.
āItās important for people to see themselves on stage,ā she says. āSeeing me or someone like me is inherently interesting. Being that person on Instagram or with the institution, cast, or audiences is meaningful. Itās important.ā
In 2011, a couple years after finishing high school, Young landed a part in āDream Girlsā at Tobyās Dinner Theatre, and heās been working professionally ever since. Growing up, he didnāt see a lot of himself ā Black and queer ā on social media. He now wants to be open and honest for those out there who might not feel seen, he says
An introvert who lets everything loose on the stage, Young says, ātheater is a safe space for queer people. Thatās the first place we feel safe, particularly in school. And this is why we need theaters in schools, now more than ever.ā
He adds, āWhatās great about Fordās is its surprises, especially when they switch up casting. Itās meaningful to see the shows you love, but why not see them with a twist? Using unexpected actors and incorporating queer people just makes it that much better.ā
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