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‘Come From Away,’ ‘Urinetown’ enjoy great D.C. productions

Two splashy musicals on local stages through mid-Oct.

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Urinetown, gay news, Washington Blade

The strong cast of ā€˜Come From Away,ā€™ a new Broadway-bound musical. (Photo courtesy Fordā€™s Theatre)

ā€˜Come From Awayā€™
 
Through Oct. 16
 
Fordā€™s TheatreĀ 
 
511 Tenth St., N.W.
 
$20-90
 
888-616-0270

 

ā€˜Urinetownā€™
 
Through Oct. 9
 
Constellation Theatre Company
 
$25-55
 
1835 14th St., N.W.
 
202-204-7741

 
Small towns have long served as reliable settings for American musicals. Keeping in that tradition, Irene Sankoff and David Heinā€™s ā€œCome From Awayā€ takes place in Gander, a remote burg in northeastern Newfoundland.

Based on a true story, the Broadway-bound show currently enjoying an uplifting run at Fordā€™s Theatre, tells how little Gander with its nearby big airport cared for nearly 7,000 passengers for five days following 9-11 when scores of planes were rerouted to the Canadian province. Totally unprepared for hosting thousands, the townā€™s small but plucky population willingly opened its homes, schools and businesses to feed, clothe and shelter the stranded travelers.

Of course, a situation in which wary globetrotters mix intimately with trusting folks is ripe for humorous misunderstandings, heartfelt moments, the forging of unlikely friendships and even romance. ā€œCome From Awayā€ delivers on all that as well as giving layered, believable characters.Ā  Propelled by a driving rock musical score, events unfold swiftly and unpredictably; there are solemn moments but the musicalā€™s lighthearted moments prove its most poignant.

The solid cast is led by charismatic out actor Jenn Colella who plays Beverley Bass, American Airlinesā€™ trailblazing first woman pilot who melodically relays her story with ā€œMe and the Sky.ā€ Colella also hilariously plays a Gander librarian who continuously misconstrues meetings with various men as near erotic encounters.

The Kevins (Chad Kimball and Caesar Samayoa) are a gay couple who share the same name. They adapt to Gander culture with varying degrees of enthusiasm. Samayoa also plays Ali, an Egyptian Muslin passenger who quickly becomes the object of suspicion once the background of the perpetrators of the 9-11 attacks is revealed. Sharon Wheatley and Lee MacDougall are the unlikely couple whose future is sealed at a raucous Gander V.F.W. hoedown. Astrid Van Wieren and Joel Hatch revel in their roles as salt-of-the earth townies, and D.C. triple threat Alyssa Wilmoth Keegan memorably plays the townā€™s animal rights activist who singlehandedly saves various pets and a pair of zoo-bound chimps stuck in cargo.

Scenic designer Beowulf Borittā€™s ā€” dark tree trunks backed by a wall of mismatched planks ā€” conveys both the solidity and remoteness of the rural community. Broadway veteran director Christopher Ashleyā€™s staging is pretty much seamless. Itā€™s a smooth production. Ashley came out during the mid-ā€˜80s in New York when he was directing out playwright Paul Rudnickā€™s ā€œJeffrey,ā€ the first comedy about HIV/AIDS.

Before Fordā€™s, ā€œCome From Awayā€ played in San Diego and Seattle, and now is slated to open on Broadway in March.

At Constellation Theatre Company, another town is facing another challenge. Mark Hollmann and Greg Kotisā€™ ā€œUrinetownā€ is set in a dystopian time and place where a decades-long drought has caused private bathrooms to be outlawed. The townā€™s populace must pay to pee in public amenities, or else be banished to Urinetown. The lucrative toilet monopoly is owned by evil Cladwell B.Cladwell (played by Nicklas Aliff with a voice eerily reminiscent of MGM actor Frank Morgan, best known as the Wizard in ā€œThe Wizard of Ozā€).

When folks can no longer meet increasingly exorbitant bathroom fees, heroic Bobby Strong (Vaugh Ryan Midder), an employee at the nastiest loo in town, courageously stages a rebellion. Heā€™s joined by the big bossā€™ dutiful daughter turned hardcore revolutionary Hope Cladwell (Katie Keyser). Mr. Cladwell fights to maintain power but the will of the people and their urgent need to pee is unstoppable.

Narrators Officer Lockstock and precocious waif Little Sally (cast standouts Matt Dewberry and Jenna Berk) explain the action and what makes a successful musical. Ably staged by Constellationā€™s artistic director Allison Arkell Stockman with energetic and inventive choreography by Ilona Kessell, this darkly funny meta musical successfully pokes fun of its own genre, parodying shows like ā€œLes Mis,ā€ ā€œWest Side Story,ā€ ā€œChicagoā€ and others.

A.J. Gubanā€™s set is an appropriately depressing mix of corrugated metal and piping, and Robert Croghanā€™s costumes are mostly modern Okie though the bigwigs wear brightly colored suits and Hope is unmissable in her bright red skirt and bunny-eared bow.

As water becomes an increasingly valuable commodity in the world and class divisions widen, the 2001 musical gives cause for pause. At one point (in the Constellation production), a white actor states, ā€œPolice protect the peace,ā€ and an African-American actor asks, ā€œDo they?ā€ But mostly, ā€œUrinetownā€ remains a wickedly funny romp.

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Theater

Celebrate Valentineā€™s Day with one of these three plays

ā€˜Waitress,ā€™ ā€˜Love Birds,ā€™ ā€˜Fuenteovejunaā€™ offer differing takes on love

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MALINDA plays Jenna in ā€˜Waitressā€™ at Olney Theatre Center.

For theatergoers seeking to mark Valentineā€™s Day with live music, love, and friendship, the DMV offers some new spins on traditional themes. 

Poised to make its regional debut at Olney Theatre Center, Sara Bareillesā€™s hit musical ā€œWaitressā€ (Feb.13-March 30) may not seem like a usual love story, but itā€™s a love story nonetheless. 

ā€œItā€™s about learning to love and value yourself,ā€ says MALINDA who plays Jenna, the showā€™s titular server/baker with aspirations to bake prize-winning pies and change her life. ā€œItā€™s also about sisterhood. From the start, the women involved in the show decided to be there for each other onstage and off, and it shows. For anyone with girl group love in their lives, this is an especially good show to see.

ā€œJenna doesnā€™t get a lot of satisfaction out of her primary partnership. Along with self-love she explores the antithesis of that ā€” partner violence. Our director [Marcia Milgrom Dodge] took the lesson of community support and community love to heart.ā€

Prior to coming out as bisexual in 2022, MALINDA considered herself more of a “quiet queer.ā€ However, the inspiration derived from Irish music (“music of the oppressedā€), which sheā€™s famed for singing on TikTok, compelled her to go public. 

She didnā€™t always believe her queerness to be special: ā€œFor me,ā€ MALINDA says, ā€œit was like saying my eyes are hazel. There wasnā€™t much to celebrate. But then I realized there were missing voices in my community. Felt like the right thing to do, and itā€™s been one of the great blessings of my life.ā€

Six years ago, after her Helen Hayes Award-winning turn in ā€œOnce,ā€ MALINDA took a break from musical theater. She needed time to age into dream parts, and one of those roles was Jenna. She recalls, ā€œGoing back to theater was prominently featured on my vision board, so when Marcia asked me to commit to ā€˜Waitress,ā€™ I happily agreed.ā€ 

For her, Valentineā€™s Day is an opportunity to reach out and tell friends, family, and, of course, romantic partners, just how much you love them. 

And she adds ā€œthatā€™s exactly how I plan to celebrate.ā€ 

D.C.ā€™s delightful Holly Twyford is spending Valentineā€™s Day working at the Folger on Capitol Hill. Sheā€™ll be on stage, her wife will be in the audience, and depending on the length of the program, theyā€™ll go out to dinner afterward.

For four performances, the multi-Helen Hayes award-winning actor is serving as narrator for ā€œThe Love Birdsā€ (Feb. 14-16), a new Folger Consort work that blends medieval music with a world-premiere composition by acclaimed composer Juri Seo and readings from Geoffrey Chaucerā€™s ā€œA Parlement of Foulesā€ by Twyford. 

Standing behind a podium, sheā€™ll read Chaucerā€™s words (translated from Middle English and backed by projected slides in the original language), alternating with music played on old and new instruments.  

ā€œThe new music is kind of dissonant with the sounds of birdcalls and nature sounds, painting a picture of whatā€™s going on in Chaucerā€™s poem thatā€™s beautiful and funny. Chaucer describes the male eagles pleading for the hand of the female eagle. Chaucer seems almost unwittingly feminist when he has the female eagle ask her eagle suitors to give her a year to think about it.ā€

GALA Hispanic Theatre in Columbia Heights presents ā€œFuenteovejunaā€ (through March 2), a timely production staged by out director JosĆ© Luis Arelleno. Penned in 1613, this work from the Spanish Golden Age ranks among playwright Lope de Vega’s most performed plays.

Itā€™s about tyranny and love, Arellano explains. Within Lope de Vegaā€™s timely tale of brutish power lies an intense love story. In fact, at the top of the show, four characters, two males and two females play a game. What is love? One of the players asserts that love doesnā€™t exist, while the others disagree. Itā€™s a charming way to kick off the play.

The celebrated director isnā€™t one to telegraph messages, preferring audiences think for themselves. That said, he does, of course, make strong directorial choices: ā€œIf I have to choose between love or war, itā€™s more important to talk about love. For me, itā€™s a revolution.ā€ 

And apropos of a Valentineā€™s Day date, GALAā€™s production of ā€œFuenteovejunaā€ (performed in Spanish with English surtitles) is imbued with live music and verse, an important part of any romantic experience, adds David Peralto, the productionā€™s poetry and verse consultant as well as Arellanoā€™s longtime partner. 

The busy Spain-based couple will celebrate Valentineā€™s Day in Seville and couldnā€™t be happier. Arellano describes Seville as the most romantic city in the world.

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Theater

Broadway vet Ashley Blanchet tackles ā€˜Bedwetterā€™ at Arena

Sarah Silverman memoir a funny, poignant story of struggling with depression

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Ashley Blanchet as Miss New Hampshire in ā€˜The Bedwetter.ā€™ (Photo courtesy Blanchet)

ā€˜The Bedwetterā€™
Feb. 4-March 16
Arena Stage
1101 6th St., S.W.
$69-$119
Arenastage.org

Skilled and experienced at comedy and drama, Broadway vet Ashley Blanchet says thereā€™s a big difference between the two. She explains, ā€œComedy is right or wrong, you nail it or you donā€™t; whereas with drama thereā€™s room for subjectivity. Because I started out as a dancer, being able to hit the mark makes a lot of sense to me. Thereā€™s a lot of rhythm to comedy.ā€

Currently Blanchet is eliciting laughs as Miss New Hampshire in ā€œThe Bedwetterā€ at Arena Stage. A musical based on comedian Sarah Silvermanā€™s bestselling memoir, itā€™s the funny yet poignant story of a hairy 10-year-old girlā€™s struggle with clinical depression and bedwetting.

Blanchetā€™s Miss New Hampshire is a kind of fairy godmother character.  

ā€œMost of the time Iā€™m in Sarahā€™s head. She first sees me on TV in Miss America, and soon I start talking to her.ā€ 

By the end of the piece, Sarah learns that Miss New Hampshire is also a bedwetter. Subsequently, the future comedian turns her weaknesses into strengths, taking her depression and bedwetting and using it to fuel her creativity and eventual career.

This isnā€™t Blanchetā€™s first time as Miss New Hampshire. She initially auditioned in 2019 and eventually created the role off-Broadway at Atlantic Theater Company in 2022. 

She recalls going into the audition mostly cold. Only knowing that Miss New Hampshire is a pageant girl who unwittingly says some funny things, she partly fashioned her on Kristin Chenowethā€™s ditzy Glinda in ā€œWicked.ā€ 

ā€œSarah [Silverman] and the showā€™s director Anne Kauffman, were laughing. I thought they were just being polite. Turns out, they really liked what I did.ā€ 

Although Blanchet, 37, doesnā€™t claim a personal connection to bedwetting, she can relate to the depression described in the show. Like Sarah, she had a difficult time transitioning into her teenage years. In fact, she credits theater with saving her life.

At 14, Blanchet left home to attend Walnut Hill School, a private performing arts high school in Massachusetts. From there, she moved on to University of Michigan, a great preparatory place for theater, she says. After graduating with a BFA, she went straight to New York where she made her Broadway debut as part of the ensemble in ā€œMemphis.ā€ Soon she began progressing to parts with words and songs.

Because so many musicals thematically touch on being different, Blanchet says bisexuality helps in her work. 

ā€œIā€™ve always felt a little bit of an outsider, so the concept of acceptance and learning to love yourself found in ā€˜The Bedwetterā€™ is something I can relate to from both a queer perspective and from being Black. As I get older, Iā€™m increasingly grateful to be who I am.ā€ 

Going into college, Blanchet assumed she was straight, but after becoming exceptionally fond of a female friend, growing excited whenever they made plans to hang out, it became clear to her that her feelings were romantic. They were together for three years. 

ā€œBeing bisexual, there wasnā€™t like a community waiting for me despite there being many bi people. I didnā€™t have what my gay guy friends seemed to find. For me, sexual attraction is more about energy than body parts. Coming to own that and be proud of it was a journey and is relatable to different situations including acting.ā€ 

Blanchet has played Elsa in ā€œFrozenā€ on Broadway. She was the also the first Black actor to play the title role in ā€œRodgers + Hammersteinā€™s Cinderellaā€ at Paper Mill Playhouse, a well-known regional theater in New Jersey. And Blanchet very happily led the cast as Maria in ā€œThe Sound of Music,ā€ also at Paper Mill. 

ā€œThese are parts that I never knew Iā€™d do it. Thatā€™s kind of what itā€™s like to be Black in this business,ā€ she says. 

Scheduled to be in D.C. at Arena this winter, ā€œThe Bedwetterā€ cast assumed theyā€™d be in for a wild time no matter how the election played out. They werenā€™t wrong. Fortunately for Blanchet, sheā€™s immersed in her work and comfortably sharing digs with her big, beloved mixed-breed dog Cosmo.  

Returning to the show, a Broadway-bound production, is proving an exciting challenge. ā€œIā€™m like, ā€˜what did a I do last time? What made this joke work?ā€™ I canā€™t remember,ā€ she says laughing. ā€œBut itā€™s always good to return to the show, making tweaks and changes. Iā€™m always trying to do anything I can to improve my performance.ā€ 

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Theater

ā€˜Downstateā€™ follows plight of four registered sex offenders

What happens after prison when you canā€™t escape taint of wrongdoing

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Left to right:Ā Stephen Conrad Moore, Richard Ruiz Henry, Kelli Blackwell, Jaysen Wright, and Dan Daily (Photo by DJ Corey)Ā 

ā€˜Downstateā€™
Through Feb. 16
Studio Theatre
1501 14th St., N.W.
$50-$102
Studiotheatre.org

Crime and punishment are up for discussion at Studio Theatre. In Bruce Norrisā€™s challenging work ā€œDownstate,ā€ the provocative playwright explores the circumstances of those whoā€™ve done their time but canā€™t seem to escape the taint of the wrongdoing. 

Set in a tidy, no-frills group house somewhere south of the Chicago metropolitan area, ā€œDownstateā€ gives us four disparate housemates with one thing in common: theyā€™re all registered sex offenders. 

Here, the men live. They wear ankle monitors and follow proscribed and increasingly stringent rules about where they can buy groceries and catch buses. Whatā€™s more, thereā€™s the serious harassment from belligerent neighbors who are privy to their pasts. 

Weā€™re first introduced to Fred (Dan Daily), a former piano instructor. The snowy haired, avuncular resident who uses a mobility scooter and peppers sentences with ā€œgolly geeā€ and ā€œgosh,ā€ couldnā€™t seem more harmless. But Fred has a past. 

And today, Fred also has guests. Andy (Tim Getman), a polite, fortyish financial planner, and his wife Em (Emily Kester), a not particularly Zen yoga instructor, who have traveled from Chicago. 

Itā€™s not a social call. Andy has come with a well-thought strategy on how to calmly confront the man who sexually assaulted him on a piano bench when he was 12. Since that day, Andyā€™s life has been plagued with anxiety and depression; he hopes to put some closure on the past. 

Interruptions ensue. There are calls from the coupleā€™s son at a nearby hotel whoā€™s eagerly awaiting a promised trip to a water park. At the house, other residents mill about, sometimes queuing up to use the modest homeā€™s one bathroom. Soon, Fredā€™s visitors leave, wholly dissatisfied. 

Each of the ex-convictsā€™ stories are imbued with denial. Gio (Jaysen Wright) is an angry guy who quotes scripture, works out, and relies on cringy Eddie Haskell manners. Because Gio did time for statutory rape with an underage female he feels less deviant than his housemates Fred; withdrawn Felix (Richard Ruiz Henry), who sexually assaulted his very young daughter; and Diana Ross-adoring, comfortably queer Dee (Stephen Conrad Moore) who sexually assaulted a 14-year-old boy when he was 37 and after serving 15 years in prison continues to describe their connection as a loving relationship. 

Eventually, Andy returns without his wife and engages with Fred. Emotions run hot. (Here, fight choreographer Robb Hunterā€™s knowhow goes on full display.)

Playwright Norris, whose other works include ā€œClybourne Park,ā€ which won the Pulitzer Prize for Drama (2011), cunningly delves into revenge, guilt, and mercy through both the residents themselves and other characters including visiting probation officer Ivy (Kelli Blackwell) who shows an unyielding toughness with the occasional flash of sympathy, and Effie (Irene Hamiliton), Gioā€™s lively young co-worker at Staples. 

 ā€œDownstateā€ moves swiftly and is never dull. The dialogue rings true, and Norris is master of the shifting tone. 

Perceptively helmed by director David Muse, the design team creates the perfect place for this difficult story to unfold. Set designer Alexander Woodward serves up a house with several mostly unseen bedrooms, a dated paneled common area, and smallish galley kitchen, all with furnishings culled mostly from thrift stores and yard sales. There are necessary details like a busy group bulletin board, Gioā€™s weight bench, and Fredā€™s keyboard, a scarily broken front window, and an ominous baseball bat leaning near the front door. 

The space is persuasively lit by lighting designer Stacey Derosier, creating different moods, atmospheres, and, most memorably, an early morning light flooding in from the surrounding outside world. 

In his directorā€™s note, Muse writes ā€œI hope this is the kind of play that stays with you after you leave.ā€ In this, he certainly succeeds. 

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