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Behind the ‘Curtain’

Gay-themed Signature production explores 19th century musical creation

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Alma Cuervo as Mme. Gimaud speaks on behalf of her French ballet troupe in 'And the Curtain Rises,' the current production at Signature Theatre in Arlington. It runs through April 10. (Photo by Scott Suchman; courtesy of Signature)

Signature Theatreā€™s ā€œAnd the Curtain Risesā€ is definitely a backstage story ā€” and nothing reinforces this more than set designer Beowulf Borittā€™s clever rendition of a 19th century Manhattan theater.

For much of the new musical comedy, we observe the action from a traditional perspective; but at other times, when the setā€™s back wall opens to reveal a sea of red plush seating and the actors look upstage toward an imagined audience, suddenly weā€™re sharing their point of view. Itā€™s a marvelous bit of stage magic that ups the immediacy of the experience.

A tribute to the American musical, ā€œCurtainā€ revisits one of the first times music, words and dance came together on a New York City stage ā€” the making of ā€œThe Black Crook,ā€ an actual 1866 extravaganza that enjoyed a long run at Nibloā€™s Garden Theatre and toured the country for decades afterward. This groundbreaking musical prototype resulted after a French ballet troupe (stranded after the theater where they were booked burnt to the ground) joined forces with a cast of dramatic American actors and came up with something entirely new.

But as ā€œCurtainā€™sā€ creators ā€” composer Joseph Thalken, librettist Michael Slade and lyricist Mark Campbell (all of whom are gay, by the way) ā€” relay in the program notes, while the trio has researched this post Civil War theater moment, they have totally re-imagined it in their own way, allowing them not only to focus on collaboration and community, but also to contrive a backstage tale riddled with duplicity, sex, love and rivalry.

Staged by New York-based director Kristen Hangii, the action kicks off auspiciously with Nibloā€™s cigar-chomping stage manager Timoney (William Diggle) casually lighting the stageā€™s gas footlights as he takes us back to a time before ā€œwristwatches and electric lightsā€ when todayā€™s idea of a musical didnā€™t exist. Soon after however, things devolve, at least temporarily. The first act with its plodding storyline ā€” novice director/producer William Wheatley (Nick Dalton) struggles to please both a disdainful playwright Charles Barras (Sean Thompson) and some unhappy actors while trying to turn a bad melodrama into a certain hit ā€” is essentially a drawn-out set up for the musical innovation that takes place later in the show. It can be tiresome.

After intermission, things improve significantly: Thereā€™s a rousing can-can number (quite the scandal in the 1860s) and a budding same-sex romance between the companyā€™s veteran actor played by the excellent Erick Devine, who is gay, and the ballet troupeā€™s talented Hungarian accompanist (Brian Sutherland); as well asĀ  memorable music including ā€œStay,ā€ Williamā€™s balladic plea to his productionā€™s leading lady, Millicent Cavendish (Rebecca Watson), an aging ingĆ©nue with whom heā€™s falling in love. Overall, the pacing quickens considerably and the jokes are less stale.

ā€œCurtainā€ was especially commissioned by Signature as part of its American Musical Voices Project. As such the work benefits from the Tony Award-winning companyā€™s full treatment: Borittā€™s clever set is beautifully lit by Colin Bills. Kathleen Geldardā€™s post- Civil War period costumes are impeccable ā€” from the menā€™s fine jackets and ladiesā€™ hoop skirt dresses to the ballerinasā€™ pretty, Degas-inspired dance gear.

Mostly young but peppered with a few more seasoned performers (like the excellent Alma Cuervo as a resourceful ballet mistress), the energetic ensemble cast is terrific and in very good voice, particularly Dalton and Watson as William and Millicent. Thalkenā€™s melodic score (superbly executed by a small orchestra conducted by Boko Suzuki) is contemporary for sure, but makes wonderful, sporadic reference to the waltz and the lively march, popular musical forms of the era.

Uneven but fun and well-produced, ā€œCurtainā€ offers glimpses into the first days of American musical theater, onstage and off.

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Theater

Second City brings ā€˜Dance Like Thereā€™s Black People Watchingā€™ to D.C.

ā€˜The full spectrum of Blackness and queerness representedā€™

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Breon Arzell (Photo by Ian McClaren)

ā€˜Dance Like Thereā€™s Black People Watchingā€™
Through Dec. 22
Woolly Mammoth Theatre Company
641 D St., N.W.
$40 ā€“ $83
woollymammoth.net

The Second City, Chicagoā€™s famed improv proving ground, makes a timely return to Woolly Mammoth with ā€œDance Like Thereā€™s Black People Watching,ā€ a humor-loaded and sharp show especially tailored to D.C. 

Breon Arzell whoā€™s Black and gay, has been a part of Second City and ā€œDance Like Thereā€™s Black People Watchingā€ since 2022, first as choreographer and now as both cast member and choreographer. He says although the show is highlighting Black culture, itā€™s geared for everyone. In short, ā€œif you donā€™t know about [Black culture], learn about it; and if youā€™re a part of it, come celebrate with us.ā€ 

He adds, ā€œThere are some things Black audiences will instantly get and appreciate more. But thereā€™s something for everyone to enjoy. Itā€™s rooted in joy and comedy.ā€ 

Performed by six talented and versatile Black actors, the show consists of sketches derived from improvisation, audience participation improv, monologues, songs, and rap solos. 

As the title suggests, Arzellā€™s choreography is a vital part of whatā€™s happening on stage, too. The dance (inspired by TVā€™s ā€œIn Living Colorā€ and its unforgettable Fly Girls) peppers the showā€™s 90 minutes with bursts of backup and transitional moves. 

ā€œDance Like Thereā€™s Black People Watchingā€ was created and premiered in Chicago, and it was ā€œvery Chicago,ā€ says Arzell, adding ā€œthere were some references that wouldnā€™t have worked here, so we slotted in some D.C. specific things including political references and thereā€™s a cast member [Julius Shanks II] whoā€™s currently in his senior year at Howard University. He shouts out the school.ā€ 

Itā€™s opening in D.C. at an undeniably hot time, and thereā€™s no guarantee that election results will be settled anytime soon. Arzell says, ā€œWe know nothing will be wrapped up neatly with a bow. We have contingency plans depending on how things go and how that might play into the material.ā€ 

Any queer aspects to the show? ā€œOh, itā€™s so gay in a lot of ways,ā€ he says without hesitation. ā€œI donā€™t shy away from queerness at all and I make sure itā€™s infused in my character work.ā€

For instance, during songs he changes lyrics, mostly pronouns, and intention. Also, his costuming is gender fluid and close to his preferred real life masc-femme style. 

And his funniest bit? He says itā€™s his praise dance, ā€œa good old Black church moment. Itā€™s very fun, comes out of nowhere, and audiences love it.ā€

While based in the Windy City, Arzell, 41, is no stranger to Woolly Mammoth. In both 2022 and 2023, he memorably acted in ā€œAinā€™t No Moā€™ā€ and ā€œIncendiary,ā€ respectively. 

ā€œIā€™m an actor first and foremost,ā€ he says. ā€œI was a theater major in college [Miami University in Oxford, Ohio] but choreography sort of just happened to me. Iā€™ve always had an affinity for movement. As a kid growing up in Detroit, it was me dancing in front of the TV doing a little show for company. I was that little chubby Black kid. 

Watching videos when MTV actually was music television, he learned to dance and developed a vision. Now with regard to professional employment, choreography is on par with acting. His ā€œabsolute jamā€ is acting in a show that heā€™s also choreographed. 

Beyond the comedy and the fun, says Arzell, are the perspective and inclusiveness that come with the work and its troupe of players. 

ā€œAs Black people weā€™re not a monolith; thereā€™s not a specific way to operate as a Black person in this world. And the same goes for queer people. 

ā€œAt Woolly, youā€™ll see the full spectrum of Blackness and queerness represented.ā€

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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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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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