Arts & Entertainment
Escapism on skates
Signature’s ‘Xanadu’ is well-executed camp fun
‘Xanadu’
Signature Theatre
4200 Campbell Ave.
Arlington, VA
Through July 1
703-820-9771

Charlie Brady, center, as Sonny in Signature’s ‘Xanadu.’ (Photo by Scott Suchman; courtesy Signature)
The “Xanadu” chracter Muse Calliope is onto something when she says the roller derby in the show is like “children’s theater for 40-year-old gay people.”
On stage now at Arlington’s Signature Theatre, this trashy movie-turned-Tony-winning Broadway adaptation is near-perfect theatrical escapism.
It’s based on the 1980 turkey that derailed the budding movie career of singer Olivia Newton-John and that featured the last movie appearance of the legendary dancer Gene Kelly as the tycoon who has chosen commerce over art. The basic plot remains the same.
Clio (Erin Weaver) is the leader of the Muses, the Greek demigoddesses who bring artistic inspiration to mortals. Disguised an Australian woman named Kira (a comic nod to Newton-John’s indelible cinematic performance), she descends to earth to bolster the confidence of Sonny (Charlie Brady), a sidewalk artist who dreams of opening a roller disco. She also encounters Danny, a real estate mogul who rejected Kira’s inspiration. Danny still owns the theater he built under her influence, and he and Sonny become business partners. Needless to say, despite a few curses, several broken rules, and some heartbreak and confusion, Sonny and Kira/Clio fall in love and skate off to their happy ending.
Writer Douglas Carter Beane (“The Little Dog Laughed” and “To Wong Foo, Thanks for Everything, Julie Newmar”) nimbly fleshes out the movie plot with campy pop culture references and a delicious new subplot featuring the nasty machinations of Clio’s jealous sisters, the muses Melpomene and Calliope. He also expands the movie soundtrack with other period pop tunes by Jeff Lynne (ELO) and John Farrar. As you might expect, the openly gay Beane brings a light touch to the clichéd plot, but he also brings some unexpected emotional depth to the story. Although the evening moves along briskly (90 minutes without an intermission), there are some slow spots (most notably the flashbacks between the ageless Clio and the young Danny) and Beane’s adaptation never fully embraces the movie’s sappy-yet-moving theme that the elusive Xanadu is the pursuit of love and art.
Under the assured hand of director and choreographer Matthew Gardiner, Signature Theatre’s openly gay associate artistic director, the creative team stitches together a frothy and effective show that is truly “an Acme of all the arts” (to use Sonny’s description of his roller disco dreams). Gardiner’s witty and energetic choreography cannily combines a send-up of disco moves for the mortals with a spoof of Martha Graham routines for the Muses and Greek gods.
He gets solid support from his designers, especially the lighting by Chris Lee (with the mandatory mirror balls) and the costumes by Kathleen Geldard (with lovely flowing Grecian robes, the requisite sequins and de rigueur leg warmers that play a surprisingly important role in the plot). They mine the comedy for all it’s worth, hit all of the right notes of the 1980s pop score (kudos to Music Director Gabriel Mangiante and his four-piece band) and put together lovely stage pictures.
Gardiner also gets strong performances from his likeable leads and a versatile ensemble that appear in a variety of roles from Centaurs to Muses to an endless array of back-up singers. Brady and Weaver play the comedy just right, with the proper balance of naiveté and campy self-awareness. Both are strong and attractive singers and dancers who bring unquenchable enthusiasm to the bubbly material.
The show shines most brightly, however, when Nora V. Payton takes center stage as Melpomene, the evil Muse of tragedy. She gets the best material in the script and she delivers with zest and finesse. Payton (who inspired audiences as Motormouth Maybelle in “Hairspray” and will no doubt thrill audiences as Effie in next season’s “Dreamgirls”) lights up the stage with her wicked sense of style, an incredible vocal presence and her gleeful delivery of verbal and physical zingers. She is given great comic and vocal support from her evil henchwoman Calliope (played by Sherri L. Edelen who also shines in a giddy cameo as a Francophile Aphrodite, goddess of love). Their duet of the rock classic “Evil Woman” is a highlight of the evening.
The skating, under the guidance of Gregory Vander Ploeg, is impressively staged and includes the tender duets between Kira and Sonny, Kira’s hilarious descent down on a staircase wearing only one skate, and the rollicking finale which brings the entire cast to the new roller disco.
Theater
‘Inherit the Wind’ isn’t about science vs. religion, but the right to think
Holly Twyford on new role and importance of listening to different opinions
‘Inherit the Wind’
Through April 5
Arena Stage
1101 Sixth St., S.W.
Tickets start at $73
Arenastage.org
When “Inherit the Wind” premiered on Broadway in 1955 with a cast of 50, its fictional setting of Hillsboro, an obscure country town described as the buckle on the Bible Belt, was filled with townspeople. And now at Arena Stage, director Ryan Guzzo Purcell has somehow crowded Arena’s large Fichandler space with just 10 actors, five principals and a delightful ensemble of five playing multiple roles.
Inspired by the real-life Scopes Monkey Trial of 1925, Jerome Lawrence and Robert E. Lee’s fictionalized work pits intellectual freedom against McCarthyism via the imagined trial of Bertram Cates (Noah Plomgren), a Tennessee educator charged with teaching evolution. Drawn into the fracas are big shot lawyers, defense attorney Henry Drummond (Billy Eugene Jones), and conservative prosecutor, Matthew Harrison Brady (Dakin Matthew). On hand to cover the closely watched story is wisecracking city slicker and Baltimore reporter E.K. Horneck (played by nonbinary actor Alyssa Keegan).
Out actor Holly Twyford, a four-time Helen Hayes Award winner who has appeared in more than 80 Washington area plays, is part of the ensemble. In jeans and boots, she memorably plays Meeker, the bailiff at the Hillsboro courthouse and the jailer responsible for holding Cates in the days leading to his trial.
Twyford also plays Sillers, a slack jawed earnest employee at the local feed store who’s called to serve on the jury. And more importantly she plays Brady’s quietly strong wife Sarah whom he affectionately calls “Mother.”
When Twyford makes her memorable first entrance as Meeker, she’s wiping shaving cream from her face with a hand towel. With shades of Mayberry R.F.D., the jail is run casually. Meeker says Cates isn’t the criminal type, and he’s not.
“There’s a joke among actors,” says Twyford. “When an actor gets his shoes, they know who their character is. And it’s sort of true. When you put on boots, heels, or flip flops, there’s a different feeling, and you walk differently.”
Similarly, shares Twyford, it goes for clothes too: “When Mother slips a pink coat dress over her cowboy boots, dons a little hat and ties her scarf, or Meeker puts on his work shirt, I know where I am. And all of that is thanks to a remarkable wardrobe crew.
“Additionally, some of the ensemble characters are played broadly which is helpful to the actors and super identifying for the audience too.”
During intermission, an audience member loudly described the production as “a proper play” filled with beautifully written passages. And it’s true. Twyford agrees, adding “That’s all true, and it’s also been was fun for us to be a part of the Arena legacy as well. Arena took ‘Inherit the Wind’ to the Soviet Union in the early ‘70s when the respective governments did a cultural exchange. At the time, the iron curtain was very much in place, and they traveled with a play about a man with his own thoughts.”
When the ensemble was cast, actors didn’t know which tracts exactly they were going to play. “What came together was a cast, diverse in different ways. Some directors, including myself when I direct, are interested in assembling a cast that’s a good group. No time for egos. It’s more about who will make the best group to help me tell this story.”
At one point during rehearsal, ensemble members began to help one another with minor onstage costume changes, like jackets and hats: “We just started doing it and Ryan [Guzzo Purcell] picked up on it, saying things really began to come alive when we helped each other, so we went with that.”
“For me, it was reminiscent of ‘The Laramie Project’ [Ford’s Theatre in 2013] when we played five different parts and we’d help each other with a vest or jacket in a similar way. It worked so well then too,” says Twyford.
“Inherit the Wind” isn’t about science versus religion. It’s about the right to think, playwright Jerome Lawrrence has been quoted as saying. And it’s a quote that makes the play that much more relevant today.
Twford remembers a chat in a hair salon: “I was getting my hair cut and the woman next to me shared that she was tired of message plays. Understandably there are theater makers who believe that message plays are the point, while others think it’s all about entertainment. I feel like ‘Inherit the Wind’ sits in a nice place in the middle.”
She adds “the work is a creative way of showing different opinions and that, I think, is what we should be paying attention to right now. Clearly, it’s not right or wrong to express what you think.”
Out & About
‘How We Survived’ panel set for March 25
‘Living History’ discussion to be held at Spark Social
Friends of Dorothy Cafe will host “Part One, Living History: How We Survived,” will take place on Wednesday, March 25 at 7:30 p.m. at Spark Social House.
This event will be moderated by Abby Stuckrath, host of the “Queering the District” podcast. Panelists include: Earline Budd, activist, trans rights advocate; TJ Flavell of Go Gay DC; DC LGBTQ+ Center Board Member David Bissette; and Alexa Rodriguez, founder and executive director, Trans-Latinx DMV.
This event is part of a four-part storytelling series called “Living History,” which centers LGBTQ elders, activists, artists, and icons sharing their lived experiences and reflections with younger generations. The conversations explore themes like resilience, community organizing, chosen family, and the lessons earlier generations hope today’s LGBTQ+ and ally communities will carry forward.
Saturday, March 21
Go Gay DC will host “LGBTQ+ Community Brunch” at 11 a.m. at Freddie’s Beach Bar & Restaurant. This fun weekly event brings the DMV area LGBTQ+ community, including allies, together for delicious food and conversation. Attendance is free and more details are available on Eventbrite.
The DC Center for the LGBT Community will host “Sunday Supper on Saturday” at 2 p.m. It’s more than just an event; it’s an opportunity to step away from the busyness of life and invest in something meaningful, and enjoy delicious food, genuine laughter, and conversations that spark connection and inspiration. For more details, visit the Center’s website.
Sunday, March 22
LGBTQ+ Community Coffee and Conversation will be at 12 p.m. at As You Are. This event is for people looking to make more friends and meaningful connections in the LGBTQ community. Attendance is free and more details are available on Eventbrite.
Monday, March 23
Center Aging: Monday Coffee Klatch” will be at 10 a.m. on Zoom. This is a social hour for older LGBTQ+ adults. Guests are encouraged to bring a beverage of choice. For more information, contact Adam ([email protected]).
Queer Book Club will be at 7 p.m. on Zoom. The Queer Book Club meets on the fourth Monday of the month to discuss queer books by queer authors. For more details, visit the DC Center’s website.
Tuesday, March 24
Coming Out Discussion Group will be at 7 p.m. on Zoom. This is a safe space to share experiences about coming out and discuss topics as it relates to doing so — by sharing struggles and victories the group allows those newly coming out and who have been out for a while to learn from others. For more details, visit the group’s Facebook.
Genderqueer DC will be at 7 p.m. on Zoom. This is a support group for people who identify outside of the gender binary, whether you’re bigender, agender, genderfluid, or just know that you’re not 100% cis. For more details, visit www.genderqueerdc.org or Facebook.
Wednesday, March 25
Job Club will be at 6 p.m. on Zoom upon request. This is a weekly job support program to help job entrants and seekers, including the long-term unemployed, improve self-confidence, motivation, resilience and productivity for effective job searches and networking — allowing participants to move away from being merely “applicants” toward being “candidates.” For more information, email [email protected] or visit www.thedccenter.org/careers.
Thursday, March 26
The DC Center’s Fresh Produce Program will be held all day at the DC Center for the LGBT Community. People will be informed on Wednesday at 5 p.m. if they are picked to receive a produce box. No proof of residency or income is required. For more information, email [email protected] or call 202-682-2245.
Virtual Yoga Class will be at 7 p.m. on Zoom. This free weekly class is a combination of yoga, breath work and meditation that allows LGBTQ+ community members to continue their healing journey with somatic and mindfulness practices. For more details, visit the DC Center’s website.
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