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Arena’s ‘The Little Foxes’ part of larger Lillian Hellman tribute

Brimming with drive, wit and wile, Regina is a woman born at the wrong time

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Little Foxes, gay news, Washington Blade

Isabel Keating, left, as Birdie Hubbard and Marg Helgenberger as Regina in ‘The Little Foxes’ at Arena Stage. (Photo by C. Stanley Photography; courtesy Arena)


 

‘The Little Foxes’
 
Through Oct. 30
 
Arena Stage
 
1101 Sixth St., S.W.
 
$40-90
 
202-488-3300

 
Lillian Hellman’s “The Little Foxes” is a timeless tale of avarice and dysfunctional family. The well-made 1939 drama that shows just how far people are willing to go to get what they want is currently in production at Arena Stage.

Set in turn-of-the-century small town Alabama, the play’s action quickly unfolds. The rich Hubbard brothers Benjamin (Edward Gero) and Oscar (Gregory Linington) want to gain control of the local cotton mill. To seal the deal and become even richer, they need a loan from their ambitious sister Regina Giddens (Marg Helgenberger best known from TV’s “China Beach” and “CSI: Crime Scene Investigation”) who’s dependent on her ailing husband Horace (Jack Willis). The three siblings are unstoppable in their quest for money and what goes with it.

There is some goodness in the story, too. It comes in the persons of the Giddens’ African-American housekeeper Addie (Kim James Bey), the warm heart of an otherwise chilly home, and Regina’s husband Horace who has brought up his daughter Alexandra (Megan Graves) to value honesty and kindness, traits that Regina neither possesses nor particularly understands.

In addition to her brothers, regular guests at Regina’s dining table include sister-in-law Birdie (Isabel Keating), an alcoholic whom abusive Oscar married only for her property and aristocratic pedigree. They have a son, Leo (Stanton Nash), who unfortunately takes after his father.

Brimming with drive, wit and wile, Regina is a woman born at the wrong time. As a daughter, she was left out of her father’s will, and as a wife, she is financially dependent on a man whose desires don’t match her own (i.e. living large and launching her daughter into Chicago society).

The riveting plotline — which won’t be revealed here — follows the Hubbards’ sordid machinations as they scheme and posture in pursuit of gold. And ultimately, it’s Regina who through an unspeakable deed ends up holding the trump card, out-maneuvering her brothers but alienating her only child.

Regina Giddens is one of the great villains of American theater. And the part has certainly served as a marvelous vehicle for middle-aged women. The part was created by Tallulah Bankhead on Broadway in ’39. Bette Davis played Regina in the acclaimed ’41 William Wyler film.  Over the years, Elizabeth Taylor played her in the 1981 pre-Broadway run at the Kennedy Center. Later in Elizabeth Ashley assayed the role at DC’s Shakespeare Theatre Company in 2002.

While Helgenberger captures Regina’s steely reserve, she fails to convey the volcanic yearnings churning behind an unreadable façade. You don’t get that she’s furious at being long beholden to ineffectual men and is waiting for her chance to seize the reins and finally take charge.  Keating’s Birdie is tightly wired and not as vague and the sympathetic as other actors’ interpretation of the fantastic role, but it works. Gero is strong as the unmarried, older brother.

The director is Kyle Donnelly, an Arena vet. She says the production design is inspired by Henry James’ gothic ghost story “The Turn of the Screw” — two well-appointed rooms ominously surrounded by dark trees (compliments of Mikiku Suzuki MacAdams). Jess Goldstein’s costumes the cast in what you’d expect to see worn by prosperous folks circa 1900. Regina’s gowns are particularly luxuriant.

At the press performance two weeks ago the play hadn’t entirely jelled — some lines were dropped, and Southern accents went in and out. The relationships between siblings didn’t seem entirely defined. Perhaps those things have changed.

“The Little Foxes” is part of the company’s Lillian Hellman festival which includes a production of “The Watch on the Rhine” and readings of “Toys in the Attic” by Taffety Punk Theatre Company, Howard University’s Department of Theatre Arts’ “The Children’s Hour,” a lesbian-themed drama, and “Another Part of the Forest” by Arena.

Donnelly’s isn’t a searingly memorable take on the 20th century classic. Still, it’s a perfectly fine introduction to the playwright’s lasting work.

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Theater

‘Hadestown’ comes to the Kennedy Center

Levi Kreis discusses return to live theater

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Levi Kreis is an out actor who plays Hermes in the national tour of ‘Hadestown’ soon opening at the Kennedy Center. (Photo courtesy of Levi Kreis)

Hadestown
Through Oct. 31
The Kennedy Center
$45.00 – $175.00
Kennedy-center.org
For Covid-19 safety regulations go to Kennedy-center.org/visit/covid-safety/

Early in September at New York’s Walter Kerr Theatre, out singer/actor Levi Kreis was in the audience for the long-awaited Broadway reopening of “Hadestown,” Anaïs Mitchell’s rousing musical reimagining of the Orpheus myth in which the legendary Greek hero descends into the underworld to rescue his lover Eurydice. 

After almost 18 months of pandemic-induced closure, the Tony Award-winning folk opera was back and the house was full. In a recent phone interview, Kreis describes the evening as “love-filled, and electrifying and emotional after such a difficult time.” Now, Kreis is onstage in the national tour of “Hadestown,” currently launching at the Kennedy Center. As Hermes, the shape-shifting god of oratory, Kreis is both narrator and chaperone to the story’s young lovers. 

A Tennessee native, Kreis, 39, has triumphantly survived turbulent times including a harrowingly prolonged coming out experience that included six years of conversion therapy, education disruptions, and music contract losses. He officially came out through his acclaimed album “One of the Ones” (2006), which features a collection of piano vocals about past boyfriends. And four years later, he splendidly won a Tony Award for originating the role of rock and roll wild man Jerry Lee Lewis in the rockabilly musical “Million Dollar Quartet.” 

Throughout much of the pandemic, Kreis leaned into his own music and found ways to reconnect with his largely gay fan base. But he’s happy to now be touring, noting that all the “Hadestown” cast have been hungering to perform before a real live audience.

When not on the road, he’s based in New York City with his husband, classical-crossover recording artist Jason Antone. 

WASHINGTON BLADE: Hermes is the same role for which André De Shields—the brilliant African American actor, also gay, and some decades your elder won a Tony and has resumed playing on Broadway, right?

LEVI KREIS: That’s right. It’s really a testament to the creative team. Rather than laying us over what Broadway created. They’re creating a tour that’s uniquely different; still true to the beauty of the story but with a different flavor. 

BLADE: What attracted you to the part?

KREIS: First, I fell in love with the show. My own musical sensibilities understand the origins of where this music comes from. It’s very bluesy and gospel. Southern and rootsy. And that’s everything I’ve created in my career as a singer/songwriter.

BLADE: With your life experience, do you feel called to mentor?

KREIS: The biggest effort I’ve given to this narrative is being a pioneer of the out-music movement starting in 2005 which was a moment when gay artists were not signed to major labels. I want through eight major labels—when they found out I was gay things always went south. 

It’s been amazing to be a voice in LGBTQ media when no one was speaking about these things. It’s popular now, but back when it mattered it was a lot harder to start my career as an openly gay artist and speak about these issues rather than keep quiet, cash in, and only then come out. 

BLADE: Where did that nerve come from?

KREIS: Less about nerve and more about being beaten down. How many things have to happen before you give up and decide to be honest?  

BLADE: For many theatergoers, “Hadestown” will be their return to live theater. Other than it being visionary and remarkably entertaining, why would you recommend it? 

KREIS: We need encouragement right now. But we also need art that facilitates a lot of important conversation about what’s happening in the world. This has both elements.  

“Hadestown” is not a piece of art that you easily forget. You’re going to walk out of the theater with a story that sticks with you. You’ll realized that your own voice matters. There’s a part in the show, Orpheus’ song, when the gods encourage him to get the balance of the world back again by telling him that his voice matters. 

BLADE: Is it timely?

KREIS: Art is here to change the world. And this piece of art hits the nail right on the head. I’m a purist when it comes to art and song. There’s a reason why we do it. people are listening now in a way they haven’t listened before. To miss that is to miss the role of society, I think. 

BLADE: And going forward? 

KREIS: It’s going to be interesting. We could double down on super commercialized theater or we may decide to really go the other direction and reclaim innovation. That remains to be seen. 

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Theater

‘Broken Fantasies’ showcases LGBTQ actors of color

SMYAL-backed production at Atlas Performing Arts Center on Oct. 16

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'Broken Fantasies' cast (Photo courtesy of Breaking Ground)

Broken Fantasies
Oct. 16
Atlas Performing Arts Center
1333 H Street, NE
$5-$10
Atlasarts.com

In “Broken Fantasies” (a new offering from Breaking Ground), young LGBTQAI+ actors of color perform scenes taken from their actual lives. Issues addressed include racism, homelessness, sexual abuse, substance abuse and coming out.

Due to the pandemic, last year Breaking Ground’s annual offering was streamed online, but now a new SMYAL-backed production will be performed live for one night only on Oct. 16 at Atlas Performing Arts Center.

Breaking Ground’s out artistic director AJ King, says “Broken Fantasies” uses familiar fairytales (“Three Little Pigs,” “Cinderella,” etc.) to tell powerful, not always easy, stories. In seven to eight vignettes, the tales unfold on a minimal stage, and in addition to dialogue, the seventeen-person cast employs music, poetry and dance to express their experiences.

Founded by King in 2014 in response to the need for expression in the arts as a vehicle for social change, Breaking Ground utilizes theater and performing arts to detail the lives, challenges and journeys of LGBTQAI+ of color in the DMV.

In 2016, SMYAL became the program’s fiscal partner, and the same year, Breaking Ground received an award from the Obama White House for Champions of Change, solidifying their game in the arts community.

King, 32, was drawn to theater during middle and high school in Herndon, Va., and later became involved in programs combining social justice and the arts. He wasn’t a trained director when he founded Breaking Ground but after seven years, King says, he’s found his footing “Still, it remains challenging. Each year there’s a different cast with varied energy, stories and personalities.”

King explains, the cast writes scripts from interviews with other cast members. Sometimes the stories end happily, sometimes not. But without saccharine resolutions, the scenes offer options for audience members who might identify with the problems presented onstage.

“It’s a lot. Cast members have to trust co-actors with their stories and then allow their stories to go onstage,” he adds.

Cast member Eli Barton, 24, says, “The process of sharing your story is surreal at first. It takes courage. But you learn to look at yourself and be gentle about your situation. And when the audience relates to the experience, you understand that your story can really help others.”

Last year, Barton, who is bisexual, played a trans man. But in “Broken Fantasies,” she plays a straight supportive sister who strives to help her gay brother find his voice after the death of their mother. The vignette also involves women empowerment, a history of sexual abuse, and finding a way to navigate growing up a Christian household.

“Acting with other openly LGBTQIA+ is a blessing,” adds Barton. “It’s given me more exposure to the umbrella of the rainbow and allowed me to meet amazing artists. I feel safe and unguarded with them.”

King encourages all stripes of people to attend: “As an audience member, during the performance you put a mirror up to yourself. There may be something relatable, tangible or abstract, or an opportunity for learning and healing. Following a show, it’s not unusual for audience members to say, ‘That’s exactly what I went through and it was the first time I ever saw it portrayed on stage.’”

“And you don’t have to be LGBTQIA+ to relate,” he adds. “The issues covered transcend race, sexuality, gender expression—we deal with things that can be found in every family.”

Theater patrons are required to wear masks and present proof of vaccination.

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Theater

‘Doña Rosita’ marks reunion of three Spaniards at GALA

An excellent cast and dynamic staging elevate stellar production

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Ariel Texidó and Mabel del Pozo in Doña Rosita la soltera. (Photo by Daniel Martínez)

Doña Rosita la soltera
Through Oct. 3
GALA Hispanic Theatre
3333 14th Street, NW
$35-$48
galatheatre.org

In the 1930s, Federico García Lorca, 20th century Spain’s greatest poet and dramatist, was writing plays about a woman’s place in the world. In fact, Lorca, who was gay, was exploring women’s souls in an unprecedented way for Spain, or anywhere really. His insight is frequently credited, in part, to his sexuality.  

Now at GALA Hispanic Theatre, Lorca’s “Doña Rosita la soltera (Doña Rosita the Spinster)” tells the story of Rosita, an unmarried woman who subsists on definite hopes of marrying a long-distance fiancé. Whether it’s to keep the populace at bay or to feed a romantic fantasy, isn’t completely clear, but years — decades, in fact — pass, and very little changes. 

Set in the conservative world of middle-class Granada (Lorca’s native province), the 100-minute play, performed in Spanish with English surtitles, spans the 1880s through the early 1900s, constrictive years for women in Spain. When Lorca wrote “Doña Rosita” in 1935, on the eve of the Spanish Civil War, he appreciated the recent gains made surrounding women’s rights and foresaw further, imminent progress. Then, just a year later at age 38 and at the top of his game, Lorca was unlawfully arrested and murdered by Franco’s rightwing thugs. All was lost. 

Adapted by out writer Nando López, GALA’s offering strays from Lorca’s original in various ways: there are fewer characters, and the older Rosita serves more as a narrator, interacting with her younger self. Lorca’s glorious poetry remains mostly intact. 

Still, the title character’s tale is clear: Orphaned as a child, Rosita (Mabel del Pozo) goes to live with her devoted aunt (Luz Nicolás) and uncle (Ariel Texidó), an avid gardener. As a young woman, she falls in love with her first cousin (also played by Texidó), and they’re engaged. Despite the fiancé leaving Spain to join his aging parents on their sizeable farm in Tucumán, Argentina, the young lovers remain betrothed. 

Domestic life goes on. With the support of relations, and the family’s devoted but skeptical housekeeper (Laura Alemán), Rosita assembles a first-rate trousseau, and the affianced pair continue to exchange heartfelt letters. At one point, there’s talk of marriage by proxy – an idea scoffed at by some of the household and neighbors. 

The sameness of the unchanging household is offset by out director José Luis Arellano’s dynamic staging, an excellent cast, actors nimbly changing characters onstage with the help of a hat or cravat fished out of a chest of drawers, Jesús Díaz Cortés’ vibrant lighting, and incidental music from David Peralto and Alberto Granados. Alemán, so good as the shrewd housekeeper from the country (a place Lorca respected) also assays a spinster who comes to tea. And Catherine Nunez characterizes feminine youth, scornful of Rosita’s unattached status. Delbis Cardona is versatile as the worker and Don Martin, a teacher charged with educating the ungrateful offspring of Granada’s rich. 

After a rare outdoor excursion to the circus, Rosita wrongly claims to have seen her would-be groom working with the troupe, but the housekeeper is quick to point out that the well-built puppeteer is by no means her stoop-shouldered barefoot fiancé, adding that more and more Rosita is seeing her faraway love in the face of the men about Granada. Swiftly, the aunt reminds the housekeeper to know her place – she’s allowed to speak, but not bark.

Visually, the passage of time is indicated by the hemline and cut of Rosita’s dresses (designed by Silvia de Marta), and the mid-play dismantling of the set (also de Marta), opening the family’s rooms and garden to what lies beyond. 

After intermission, six more years have passed and the narrative is more straightforward and patently compelling. Rosita’s aunt, now a pissed-off, generally miserable widow in reduced circumstances, is packing up to move. It’s been hard running a house, she says. And it’s harder scrubbing the floors, replies the faithful housekeeper. 

And it’s here that del Pozo shines with Rosita’s revelatory monologue, a searingly true, passionately delivered speech worth the price of a ticket. 

“Doña Rosita” marks a collaborative reunion of three Spaniards – writer López, director Arellano, and actor del Pozo – who all worked on GALA’s 2015, multi-Helen Hayes Award-winning production of Lorca’s politically controversial “Yerma,” the story of another complicated Spanish woman. 

GALA Hispanic Theatre safety policy

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