Arts & Entertainment
Tone balancing
Screen-to-stage adaptation is multi-media delight
The cast of Kneehigh’s U.S. tour of ‘Brief Encounters’ by Jim Cox. (Photo courtesy STC)
‘Brief Encounter’
Through April 13
Shakespeare Theatre Company
The Lansburgh Theatre
450 7th Street, NW
$30-75
202-547-1122
Conventional wisdom says don’t mess with a classic. Typically the result is a letdown. But there are exceptions. Case in point is the UK-based Kneehigh Theatre’s delightful production of “Brief Encounter,” an adaptation of the same-named 1945 British film.
In bringing the iconic screen romance to the stage, director/playwright Emma Rice blends theater and film incorporating projections, musical numbers and myriad clever touches, all now on display at the Shakespeare Theatre Company’s Lansburgh Theatre.
The David Lean film is based on Noël Coward’s “Still Life,” one of many plays the gay sophisticate wrote and performed with longtime pal Gertrude Lawrence. It follows the short-lived romance of two married people who meet cute at a train station when Alec, a handsome doctor, removes a cinder from housewife Laura’s eye. The pair begin meeting weekly, mostly in the station tearoom or restaurants, and though their feelings are intense, their relationship remains chaste, never going beyond a kiss. And while the inevitable return to their respective respectable lives and practical mates happens as expected, it’s still a painful outcome. Rice’s adaptation draws from the film and the play.
The action kicks off in the Lansburgh lobby with a zippy string quartet of cast members dressed as ‘40s movie theater ushers performing a selection of vintage tunes. Inside, the stage’s usual curtain has been swapped out for one that’s brighter and redder, reminiscent of those found in old movie palaces. There’s a big movie screen that plays black-and-white footage, a nod to the source film and an exploration of the protagonists’ experience. When not on stage, Alec (Jim Sturgeon) and Laura (Hannah Yelland in her Tony-nominated role from when the show ran on Broadway in 2010) can sometimes be found seated amongst the audience; after all, their first date was a trip to the cinema. They also may slip through a slit in the movie screen only to reappear as bigger-than-life projections.
While meeting in public, the pair is reserved. Their muted passion is represented by film of fast moving clouds and raging tides. As the romantic tension mounts, Laura begins to grapple with doing the right thing. It’s she who suggests they part ways.
Director Emma Rice’s precise and inventive staging is wondrous, the cast is superb and her team’s spectacular technical, multi-media design is top notch. Neil Murray’s set is ingeniously serviceable and his period costumes are impeccably drawn. As the besotted but staid lovers, Yelland and Sturgeon play it straight, never mocking the necessarily formal dialogue. But the supporting ensemble has no such restraints. They’re free to camp it up and play for laughs, and they do, expertly. It’s an effective balance.
The tearoom’s other regulars are its manager Myrtle (Annette McLauglin), an amusingly genteel type whose breaks are spent trysting with the amorous station manager Fred (Joe Alessi); and Beryl (Dorothy Atkinson), a cheeky waitress who is dating the cute young station snack seller, Stanley (Damon Daunno). The cast play multiple parts and along with Dave Brown and James Gow, they also sing and play instruments. Songs include Coward’s “Mad About the Boy,” “A Room with a View,” and melodic original music.
The music is put to especially good effect with another Coward song, “Go Slow, Johnny” sung poignantly by Daunno during a key scene in which the Alec and Laura are alone drying off after having fallen out of a rowboat.
Most of the play takes place in the train station. Not surprisingly, there’s a moment when it seems that Laura might throw herself on the tracks and end it all. But no, she’s too sensible for that. Instead, she returns home (two leather club chairs and a big radio) where her patient husband (Alessi, again) and young son and daughter (a pair of life-sized puppets) are waiting.
“Brief Encounter” is part of the really terrific STC Presentation whose mission is to present world class international productions to D.C. audiences. This memorable production is a testament to both the vibrancy of theater and Coward’s enduring genius.
Team DC, the umbrella organization for LGBTQ-friendly sports teams and leagues in the D.C. area, held its annual Night of Champions Awards Gala on Saturday, April 20 at the Hilton National Mall. The organization gave out scholarships to area LGBTQ student athletes as well as awards to the Different Drummers, Kelly Laczko of Duplex Diner, Stacy Smith of the Edmund Burke School, Bryan Frank of Triout, JC Adams of DCG Basketball and the DC Gay Flag Football League.
(Washington Blade photos by Michael Key)
The 2024 National Cannabis Festival was held at the Fields at RFK Stadium on April 19-20.
(Washington Blade photos by Michael Key)
Covering the @NatlCannaFest at RFK Stadium for @WashBlade . Stop by the LGBTQ+ booth and pick up a paper if you are here. pic.twitter.com/is7hnsaPns
— Michael Patrick Key (@MichaelKeyWB) April 20, 2024
Theater
‘Amm(i)gone’ explores family, queerness, and faith
A ‘fully autobiographical’ work from out artist Adil Mansoor
‘Amm(i)gone’
Thorough May 12
Woolly Mammoth Theatre
641 D St., N.W.
$60-$70
Woollymammoth.net
“Fully and utterly autobiographical.” That’s how Adil Mansoor describes “Amm(i)gone,” his one-man work currently playing at Woolly Mammoth Theatre.
Both created and performed by out artist Mansoor, it’s his story about inviting his Pakistani mother to translate Sophocles’s Greek tragedy “Antigone” into Urdu. Throughout the journey, there’s an exploration of family, queerness, and faith,as well as references to teachings from the Quran, and audio conversations with his Muslim mother.
Mansoor, 38, grew up in the suburbs of Chicago and is now based in Pittsburgh where he’s a busy theater maker. He’s also the founding member of Pittsburgh’s Hatch Arts Collective and the former artistic director of Dreams of Hope, an LGBTQ youth arts organization.
WASHINGTON BLADE: What spurred you to create “Amm(i)gone”?
ADIL MANSOOR: I was reading a translation of “Antigone” a few years back and found myself emotionally overwhelmed. A Theban princess buries her brother knowing it will cost her, her own life. It’s about a person for whom all aspirations are in the afterlife. And what does that do to the living when all of your hopes and dreams have to be reserved for the afterlife?
I found grant funding to pay my mom to do the translation. I wanted to engage in learning. I wanted to share theater but especially this ancient tragedy. My mother appreciated the characters were struggling between loving one another and their beliefs.
BLADE: Are you more director than actor?
MANSOOR: I’m primarily a director with an MFA in directing from Carnegie Mellon. I wrote, directed, and performed in this show, and had been working on it for four years. I’ve done different versions including Zoom. Woolly’s is a new production with the same team who’ve been involved since the beginning.
I love solo performance. I’ve produced and now teach solo performance and believe in its power. And I definitely lean toward “performance” and I haven’t “acted” since I was in college. I feel good on stage. I was a tour guide and do a lot of public speaking. I enjoy the attention.
BLADE: Describe your mom.
MANSOOR: My mom is a wonderfully devout Muslim, single mother, social worker who discovered my queerness on Google. And she prays for me.
She and I are similar, the way we look at things, the way we laugh. But different too. And those are among the questions I ask in this show. Our relationship is both beautiful and complicated.
BLADE: So, you weren’t exactly hiding your sexuality?
MANSOOR: In my mid-20s, I took time to talk with friends about our being queer with relation to our careers. My sexuality is essential to the work. As the artistic director at Dreams of Hope, part of the work was to model what it means to be public. If I’m in a room with queer and trans teenagers, part of what I’m doing is modeling queer adulthood. The way they see me in the world is part of what I’m putting out there. And I want that to be expansive and full.
So much of my work involves fundraising and being a face in schools. Being out is about making safe space for queer young folks.
BLADE: Have you encountered much Islamophobia?
MANSOOR: When 9/11 happened, I was a sophomore in high school, so yes. I faced a lot then and now. I’ve been egged on the street in the last four months. I see it in the classroom. It shows up in all sorts of ways.
BLADE: What prompted you to lead your creative life in Pittsburgh?
MANSOOR: I’ve been here for 14 years. I breathe with ease in Pittsburgh. The hills and the valleys and the rust of the city do something to me. It’s beautiful, it’ affordable, and there is support for local artists. There’s a lot of opportunity.
Still, the plan was to move to New York in September of 2020 but that was cancelled. Then the pandemic showed me that I could live in Pittsburgh and still have a nationally viable career.
BLADE: What are you trying to achieve with “Amm(i)gone”?
MANSOOR: What I’m sharing in the show is so very specific but I hear people from other backgrounds say I totally see my mom in that. My partner is Catholic and we share so much in relation to this.
I hope the work is embracing the fullness of queerness and how means so many things. And I hope the show makes audiences want to call their parents or squeeze their partners.
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‘Amm(i)gone’ explores family, queerness, and faith
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