Arts & Entertainment

Artistic adjustments

Signature’s ‘Russia’ premiere plays loosey goosey with the Rasputin legend

Published

14 years ago

March 22, 2012

Patrick Folliard

‘Brother Russia’
Through April 15
Signature Theatre
4200 Campbell Avenue, Arlington
703-573-SEAT

Doug Kreeger, center, as Grigori in Signature’s ‘Brother Russia.’ Also seen from left are Stephen Gregory Smith, Erin Driscoll, Russell Sunday and Rachel Zampelli. (Photo by Scott Suchman; courtesy Signature)

Advanced word on Signature Theatre’s world premiere production of “Brother Russia” promised the story of Rasputin set to music. If you’re expecting a faithful retelling of the mad monk’s rise from backwater Serbian peasant to Russian Imperial Court favorite, don’t. The show’s creators — musical team Dana Rowe (music) and John Dempsey (book and lyrics) — have toyed widely with the facts and invented something entirely new.

Propelled by a hard-driving rock score, “Brother Russia” is a play within a play. The action begins with a ragtag troupe of sometime post-Glasnost Russian actors gathering to perform their next show. The itinerant company’s leader, Brother Russia (John Lescault), suggests they tell his story, the story of Rasputin. Of course, he couldn’t possibly be the real Rasputin — though old, he’s not nearly old enough, and besides Rasputin’s murdered corpse was dragged from the Neva River in 1916. Still, the actors press on. Parts are assigned, costumes donned and places taken.

Visibly seated throughout the musical in a big wooden wheelchair, wisecracking Brother Russia watches things unfold from the sidelines. Family tragedy prompts young Rasputin (a bearded Doug Kreeger) to embark on his quixotic journey (lucidly staged by Signature’s gay artistic director Eric Schaeffer). Along the way a horny witch (Rachel Zampelli) claims his soul. Whether it’s her magic, or Rasputin’s later apprenticeship with a pair of faith-healing hucksters (Kevin McAllister and Christopher Mueller) that primes him for the big time is unclear. Once in St. Petersburg, Rasputin vaults to in-house healer to the young, hemophilic Tsarevich and wins inordinate influence with the boy’s parents, Tsar Nicholas and Tsarina Alexandra. Not surprisingly, court insiders grow jealous, particularly Prince Felix Yusupov (gay in real life, and here played by Stephen Gregory Smith as a totally louche, glam rock queen strutting in impossibly high red heels), and trouble ensues.

But what would a musical be without a love story? “Brother Russia” defies history by portraying Rasputin and the Tsar’s youngest daughter, the fabled Anastasia (played by the talented and always excellent Natascia Diaz), as a love match. Of course this never happened. Anastasia was a small child when womanizing Rasputin arrived at court. Ordinarily, reshuffling history isn’t a big deal, but with this shows it proves a recurring distraction.

Still, there are things to like. Kreeger, who is gay, is fully committed to the role. He’s terrific and his vocals are gorgeous whether sung sweetly (“The Tsarevich’s Lullaby”) or powerfully (“I Serve No Man”). Other highlights include Amy McWilliams’ turn as the opium smoking (more artistic license), fabulous headdress-wearing Tsarina; and Tracy Lynn Olivera’s number, a bawdily delivered drinking song titled “Vodka.”

Misha Kachman’s impressive set is an expansive stage of rough planks beneath strings of colored lights. In the background are tattered curtains, a depilated caravan and a battered steamer trunk. Costume designer Kathleen Geldard imagines the troupe as sexy and punk expect for Brother Russia who’s dressed as an aging hippie activist in an army surplus coat dotted with political buttons, Birkenstocks and a Che Guevara T-shirt.

In the end, Brother Russia is called out on his historical inaccuracies by the company’s irate manager (Russell Sunday). Ah ha, so this is where everything will make sense, right? Unfortunately, what feels like a tacked-on explanation is unsatisfying. Evidently, this is Brother Russia’s reality, and his proof of the eternal power of theater and the Russian spirit … or something.

Related Topics:Brother Russia Doug Kreeger John Dempsey Out & About Signature Theatre

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Theater

‘Feeling Afraid’ explores life of a neurotic stand-up comic

Navigating sex, work, and possibly love in London

Published

1 day ago

June 20, 2026

Patrick Folliard

Steven Webb in ‘Feeling Afraid As If Something Terrible Is Going To Happen’ (Photo by DJ Corey)

‘Feeling Afraid As If Something Terrible Is Going to Happen’
Through July 12
Studio Theatre
1501 14th St., N.W.
$55-$102
Studiotheatre.org

Wordily yet rightly titled, solo show “Feeling Afraid As If Something Terrible Is Going To Happen” dives deeply into the world of a neurotic stand-up comic as he navigates sex, work, and possibly love in London.

Busy arranging hookups and dates on “The App,” the 36-year-old gay funnyman juggles a full dance card; still he’s never been in a romantic relationship. While he’s willing to give love a shot, he’s not pressed about it. As he says, he harbors no fear of dying alone.

Currently making its American premiere at Studio Theatre, this darkly humorous Edinburgh Fringe import features terrific out English actor Steven Webb as The Comedian who’s about to explore what it means to spend all his time with one man.

At Studio’s intimate Mead Theatre, Kat Heath’s minimal set says standard comedy club (fluorescent tube lighting, the mic with a long cord, a single stool backed by a rose-colored curtain), but gay playwright Marcelo Dos Santos has conjured something much more than a live comedy set.

Yes, The Comedian bounces onstage in his red Converse high tops, jeans, and pink shirt with a huge mouth emblazoned on the back, but he delivers more than jokes. At times hilariously self-deprecating, then dark, and occasionally a lesson on what makes standup work, this is a layered, well-acted piece.

With Webb (a keen caricaturist of types and voices) playing all the parts while conducting The Comedian’s hilariously frenetic interior monologue, “Feeling Afraid” takes us through a summer of love. It seems after six chaste dates with The American, our nervous hero has found Mr. Right. The American is earnest, smart, hesitant to initiate sex. He’s also well built with a beautiful smile. And strangely, he’s been medically advised not to laugh aloud.

The Comedian delights in the joys of new love: dates, first kisses, sex, and then suddenly spending all of his time with the adored. Visits to art galleries become fun. Eating home cooked meals followed by grim documentaries is a thing. The Comedian is beguiled as his own boyish figure fills out, but something isn’t right. He can’t entirely relax.

Along the way we meet the Aussie doctor, our protagonist’s longtime hookup; a young runner with some exceptional body parts; the random third in a failed threesome; grumpy working comics, male and female; and an ineffectual counselor.

Webb gives a lightning-fast performance that boggles the mind (in terms velocity and virtuosity). He can be impish, very impish. He’s nervous energy incarnate, flashing jazz hands, grimacing but handsome when still. He’s likeable, a necessity when delivering a hilariously rude joke just feet away from two stone-faced audience members. (Perhaps they were laughing on the inside? At any rate, they stayed through the end the show.)

Produced by the team behind Fringe hits “Fleabag” and “Baby Reindeer,” small stage works that were developed into major TV screen successes, “Feeling Afraid” is funny for sure, and it’s also highly confessional, sexually explicit, and raw.

Written by Dos Santos during COVID lockdown, the piece was a smash hit in the 2022 Edinburgh Fringe before finding further success in London. Its depiction of a youngish queer guy navigating the big city rings entirely true. Like so much Fringe stuff, the one-man show is delightfully lewd and standup inspired.

One little moan: the show closes cleverly but too abruptly with its star dashing offstage without sufficiently basking in the admiration and applause of his thoroughly chuffed audience.

They say third time’s a charm, and regarding “Feeling Afraid,” I’d agree. After two performance cancellations (first for laryngitis and the second involving faulty air conditioning on an especially muggy June evening), I made my third trek to Studio where I found both the actor and AC in very fine fettle. And truly, Webb’s work was more than worth the wait.