Theater
Semi-obscure Shakespeare play ’Timon’ re-gendered in winning STC production
Actress Kathryn Hunter tackles meaty Bard role with lucid, emotive performance
‘Timon of Athens’
Through March 22
Michael R. Klein Theatre
450 Seventh St., N.W.
$35-120
202-547-1122
Before it was commonplace, Kathryn Hunter was into gender swapping. In 1997, she played Shakespeare’s King Lear — the first British woman to do so professionally. She’s also played Richard III, as well as innumerable female roles including Cleopatra, and even assayed the part of a monkey. Diminutive with long sinewy limbs and an extraordinarily expressive countenance and raspy voice, she’s been described admiringly as a “shape shifter.”
For her current gig at the Shakespeare Theatre Company, Hunter gives a riveting star turn as the title character in “Timon of Athens,” excitingly staged by new artistic director Simon Godwin. Ordinarily a male character, this time Timon, the seemingly beloved Athenian lord, is re-gendered as a lady. Unlike Lear, there doesn’t seem to be a specific gender demand with Timon, so by changing a few pronouns it works. It also provides a different perspective.
Not simply a distinctive physical presence, Hunter is equally adept at clowning and tragedy. She gives a riveting performance that is lucid and emotive, splendidly imbuing each line with clarity and meaning.
Attributed to Shakespeare and Thomas Middleton, the rarely seen “Timon of Athens” doesn’t rank high in the Bard’s canon. The plot is simple — a generous-to-a-fault rich person loses their money and in turn loses all their friends. It’s mostly predictable, but what’s most interesting about the work is its cynical assessment of our relationship to gold, a thread that runs throughout the play and production.
Decked out in golden robes, her lacquered locks up and secured with hair sticks, Timon entertains grandly in her gilded dining room, surrounded by fawning sycophants on hand for the free eats and swag. During a typical dinner, Timon gifts friends with jewels, refuses debts owed her, lavishes money on mediocre artists and merchants pushing dubious goods and gladly gives a substantial sum to the father of her servant’s betrothed. It’s crazy.
And when Timon volubly claims that she’s rich in friends — these friends — you know, she’s in trouble.
Trouble comes, indeed. Her loyal steward Flavius (John Rothman) reluctantly reports to Timon that she is deeply in debt and her creditors are demanding payment pronto. And not incidentally, she is without funds. When Timon seeks assistance from her pals, she’s in for a rude awakening. On the verge of losing everything, Timon hosts one last grand soiree with startling results.
Godwin’s reboot of this semi-obscure work, first produced at the Royal Shakespeare Company, makes for a daring directorial debut at STC. Happily, his take is exhilarating and relevant and gorgeously designed by Soutra Gilmore (set and costumes) and Donald Holder (lighting). And it’s immersive — Timon’s servants pass tasty Greek hors d’oeuvres to the audience.
After intermission, Timon, now stony broke, has set up camp in a wood outside of Athens, where she sports a torn sackcloth and survives on various root vegetables. No longer interested in society and the allure of city life, the once-glamorous hostess prefers to be far from people. There, the newly avowed misanthrope is forced to engage with a series of unexpected visitors including party friends like strapping Alcibiades (Elia Monte-Brown) who’s leading an uprising of Athens’ dispossessed, and Patti Smith T-shirt-wearing philosopher Apemantus (Arnie Burton) who sidles in with his usual cynicism and worn messenger bag slung over his shoulder. Also, after hearing rumors that Timon has gold again, the Painter (Zachary Fine) and Poet (Yonatan Gebeyehu) pay a visit to their patroness turned unwashed hermit, to see if there’s anything there for them. Timon toys with them.
It’s during this estrangement from her former life, as Timon changes from Lady Bountiful to something entirely different, that Hunter is at her best — delightfully witty, sly, playful, sad and heartbreakingly poignant.
Ultimately, “Timon of Athens” is about self-discovery. Having been both a have and have not, Timon learns what gold can and cannot buy. What she wants and doesn’t want out of life. It’s as timely now as when Shakespeare and Middleton put it to paper.
“Something for everyone.” It’s a tired tagline, but in the case of this fall’s DMV theater season, it happens to be pretty much true. And a lot of the work is queer, directly or tangentially. Here’s a sliver of what’s already opened and what’s in store.
Theater J jumps into the new season with “How to Be a Korean Woman” (through Sept. 22), Sun Mee Chomet’s comic and heartfelt telling of searching for her birth family in Seoul, South Korea. edcjcc.org
Woolly Mammoth Theatre opens with “The Comeuppance” (through Oct. 6), the latest work from Tony-winning out playwright Branden Jacobs-Jenkins.
“On the night of their 20th high school reunion, the self-proclaimed “Multi-Ethnic Reject Group” reconnects while they pregame in Prince George’s County, Md. But amid the flow of reminiscing, an otherworldly presence forces these former classmates to face the past head-on and reckon with an unknowable future.” Woollymammoth.net
Signature Theatre kicks off with the D.C. premiere of Eboni Booth’s Pulitzer-winning play “Primary Trust” (through Oct. 20). Booth’s contemporary humor-filled tender tale of self-discovery and connection is followed by Signature’s big musical “A Funny Thing Happened on the Way to the Forum” (Oct. 29-Jan. 12), Stephen Sondheim’s classic Roman-set musical comedy staged by Signature’s out artistic director Matthew Gardiner. Sigtheatre.org
GALA Hispanic Theatre’s season opener, Gustavo Ott’s “The 22+ Weddings of Hugo” (through Sept. 29), is based on a true story. Performed in Spanish with easy-to-follow English surtitles, Ott’s raucous tale seeks to cover the various scenarios immigrants experience through many weddings. The cast features out actors Carlos Castillo as Hugo, a quiet postal clerk, and Victor Salinas who plays Elmar, a gay writer seeking refuge. José Zayas directs. Galatheatre.org.
Mosaic Theater Company at Atlas Performing Arts Center presents “Lady Day at Emerson’s Bar and Grill” (through Oct. 6), a play with music about jazz legend/queer icon Billie Holiday starring Roz White. Mosaic’s out artistic director Reginald L. Douglas directs. Mosaictheater.org
Ford’s Theatre presents “Mister Lincoln” (Sept. 20-Oct. 13), a “witty and revelatory” one-man show starring Scott Bakula (stage and screen actor famous for TV’s “Quantum Leap”). Fords.org
ExPats Theatre (also housed at Atlas) opens with “Marlene” (Sept. 28 through Oct. 20) featuring Karin Rosnizeck as the legendary Dietrich, a great star who famously defied social and gender conventions while dazzling the world with her glamorous career. Expatstheate.com
There’s a lot on offer at George Mason University’s Center for Arts this autumn, not least of all “An Evening with Lea Salonga” (Saturday, Sept. 28).
Tony-winning singer and actress Lea Salonga headlines the 2024 ARTS by George! benefit concert, performing songs from a four-decade career on Broadway and in animated movie hits. Born in the Philippines, Salonga originated the lead role of Kim in Miss Saigon, and she was the first Asian cast member to perform the role of Eponine in Les Misérables on Broadway.
Other promising one-day-only GMU entertainments include Ballet Hispánico (Oct. 5) and Mark Morris Dance Group and Music Ensemble (Oct. 19). cfa.gmu.edu
Creative Cauldron in Falls Church presents “Sondheim Tribute Revue” (Oct. 3-27) a celebratory salute to musical giant Stephen Sondheim with eight performers singing 20 titles from the gay composer’s brilliant songbook including “Company,” “Follies,” “Into the Woods,” “A Little Night Music,” “Sweeney Todd,” and the recent Tony Award Winner, “Merrily We Roll Along,” and more. Creativecauldron.org
Olney Theatre explores what makes a president great with “Eisenhower: This Piece of Ground,” Sept. 27-Oct. 20. And for Disney fans, don’t miss “Frozen,” Oct. 24-Jan. 5. Olneytheatre.org
The Kennedy Center offers laughs and nostalgia with “Clue” (Sept.17 through Oct. 6), a whodunit based on the fan-favorite 1985 Paramount movie and inspired by the classic Hasbro board game. Next up is “The 25th Annual Putnam County Spelling Bee” (Oct. 11 – 20).
Other Kennedy Center treats include “An Evening with David Sedaris” (Oct. 15). The gay humorist is slated to share his inimitable brand of satire and hilarious observations, and then it’s out sound healing artist Davin Youngs with “The Reset” (Oct. 28), his take on a “sound bath” including improvisational singing, looping devices, and healing instruments. Kennedy-center.org
Fall is the best time at the beach, so plan a weekend in Rehoboth and visit the phenomenal Clear Space Theatre. “Venus in Fur” runs Sept. 19-29 followed by “Sweeney Todd” Oct. 11-27; and “Shrek” runs Nov. 8-10. Clearspacetheatre.org
Fall cabaret will be in full swing at the Gay Men’s Chorus of Washington, D.C., as soloists share heart-warming stories and songs about their travel adventures (Oct. 19 at 2, 5, and 8 p.m.). And, of course, no holiday season is complete without the Chorus’s annual holiday celebration set for Dec. 7, 14, and 15. Gmcw.org
Folger Theatre presents Shakespeare’s “Romeo and Juliet” (Oct. 1-Nov. 10) staged by inspiring out director Raymond O. Caldwell. A large, versatile cast features Cole Taylor and Caro Rayes Rivera as the star-crossed lovers, and a host of familiar local faces including Luz Nicolas, Deirdra LaWan Starnes, and out actor Fran Tapia as Lady Capulet. folger.edu
Studio Theatre serves up “Summer, 1976,” (opening Nov. 13), a memory play by Pulitzer Prize-winning playwright David Auburn (“Proof”). Directed by Vivienne Benesch, the two-hander features longtime D.C. favorites Kate Eastwood Norris and out actor Holly Twyford playing disparate women whose unlikely friendship and ensuing connection changes the course of their lives. Studiotheatre.org
And on Wednesday, Dec. 4, Strathmore in North Bethesda presents “A Swingin’ Little Christmas,” a fun takeoff on kitschy, classic ‘50s and ‘60s holiday specials, featuring out TV star Jane Lynch (“Glee,” “The Marvelous Mrs. Maisel”) alongside Kate Flannery (“The Office”), Tim Davis (“Glee’s” vocal arranger), and The Tony Guerrero Quintet. Strathmore.org
Theater
Explore new venues, productions during D.C. Theatre Week
30 shows, including musicals, comedies, dramas, premieres, and more
2024 Theatre Week
Sept. 26-Oct. 13
Theatreweek.org
For Michael Ramirez, theater remains an ongoing source of inspiration and pleasure. As a little boy in El Paso, Texas, his mom took him to see lots of kids’ shows. And later in high school, he played one of the Sharks in “West Side Story.” All fond memories.
At the University of Texas in Austin for social work (undergraduate) and social work/public administration (graduate school) and then as a successful human resources professional and policy wonk in Washington, Ramirez continued to enjoy theater from the audience or behind the scenes. Now retired, he serves as a Helen Hayes Awards judge and board member at Woolly Mammoth Theatre.
Theatre Washington is the umbrella organization that not only produces the Helen Hayes Awards but also Theatre Week, an annual celebratory launch of the season with shows at low prices, a free kickoff fest, and other fun events.
The 2024 Theatre Week, explains Ramirez, features about 30 varied productions in the DMV, including musicals, comedies, dramas, new works, premieres, and works geared to young audiences. And tickets are affordably discounted at $60, $40, and $20.
“It’s a great opportunity to take a chance on a theater that you might not be familiar with,” he says. “When it comes to seeing shows, a lot of people think Kennedy Center or Ford’s. This can be an introduction to something entirely new. D.C. is a busy theater town with lots of companies and venues.”
At the heart of Theatre Week are its plays and musicals. Ramirez has already made his list.
His picks include GALA Hispanic Theatre’s “The 22+ Weddings of Hugo” featuring out actor Carlos Castillo as Hugo and staged by out director José Zayas; busy out playwright Branden Jacobs-Jenkins’ “The Comeuppance” at Woolly Mammoth; and “Rosencrantz & Guildenstern Are Dead” at Nu Sass Productions.
He also plans to see Mosaic Theatre’s “Lady Day at Emerson’s Bar and Grill,” a play with music about jazz legend/queer icon Billie Holiday starring Roz White; ExPats Theatre’s “Marlene,” featuring Karin Rosnizeck as legendary diva Marlene Dietrich; and Rorschach Theatre’s “Sleeping Giant” written by gay playwright Steve Yockey well known as the developer of the HBO Max comedy-drama television series “The Flight Attendant.”
Ramirez adds, “And as a good gay, I can’t miss ‘Sondheim Tribute Revue’ at Creative Cauldron.”
There are also parties and outdoor events. He advises a few of his favorites.
On Monday, Sept. 9, Woolly Mammoth hosts a Theatre Week Launch Party replete with drinks and season sneak peaks (invitation only).
The Historic Theatre Walking Tour (Sept. 21) asks the public to check out downtown D.C. theaters with guides Farar Elliot and Chris Geidner (free). And with City on the River Concert (Sept. 22), Theatre Washington returns to the D.C. Wharf Transit Pier to present “musical theater showstoppers” from a dozen of the season’s upcoming shows (free).
Next up it’s “DC Theatre at the Nats” (Sept. 24), a night out at the ballgame that baseball lover Ramirez is sure to attend. And typically, he says, performers from a local show or company are booked to sing the anthem ($20).
And big event Kickoff Fest 2024, an all-afternoon event for all ages, takes place on Sept. 28 at Arena Stage (also free).
Not surprisingly Ramirez fell for another theater aficionado. He and husband John Ralls got together in 1990 and married in 2014. Ralls is a board member at Rorschach.
As board members, they “function as ambassadors and marketers for the theater. We reach into our pockets and write the checks. We buy the season tickets, and encourage our friends to do the same.”
Ramirez enthusiastically reiterates: “Theatre Week is especially fun. Again, tickets are reasonable. There’s everything from puppet plays at Glen Echo Park to something more serious. It’s the perfect chance to try something new.”
Theater
Mosaic kicks off 10th anniversary with ‘Lady Day at Emerson’s Bar and Grill’
Play set in nightclub where Billie Holiday gave one of her last performances
‘Lady Day at Emerson’s Bar and Grill’
Sept. 5-Oct. 6
Mosaic Theater Company
1333 H St., N.E.
$50–$80
mosaictheater.org
Throughout a big career, jazz icon Billie Holiday experienced tremendous highs and lows. Unapologetically herself and openly bisexual, she made her mark with songs like the very popular “Lover Man (Oh, Where Can You Be?)” and successfully stepped into social activism with her performances and recording of “Strange Fruit,” a searing protest anthem inspired by the photograph of a lynching.
On the downside, she was dogged by addiction and fell prey to users of various stripes (more often than not male), but fans and music experts agree that it’s these less-than-sanguine life experiences that helped to shape the emotional content of her inimitable take on the blues.
Currently Mosaic Theater Company is kicking off its 10th anniversary season with Lanie Robertson’s “Lady Day at Emerson’s Bar and Grill,” a play with music set in a seedy Philadelphia night spot where Holiday gave one of her last performances just months before dying from heart disease at just 44 in 1959.
Mosaic’s immersive production is directed by the company’s out artistic director Reginald L. Douglas and stars D.C. favorite Roz White. At 90 minutes, the one-woman show features about a dozen of Holiday’s songs, and tucked in between are book scenes touching on personal and political themes including racism, sexism, domestic abuse, and drug use. In many ways, says Douglas, it’s the history of what Black female singing stars have had to endure to achieve success.
For Mosaic’s season opener, a black box space at Atlas Performing Arts Center on H Street, NE, is being reconfigured as a nightclub with café seating and drinks. White as Holiday (affectionately nicknamed Lady Day by famed saxophonist Lester Young) sings with a standard jazz tiro: pianist (William Knowles), bassist (Mark Saltman), and drummer (Greg Holloway).
An avowed Holiday admirer, director Douglas says staging the production has only increased his devotion: He describes her as an all-gender loving woman, who possessed a love of life, and an openness about her struggle.
“Without a doubt, she was a force of nature that queer audiences respond to and admire. Particularly for queer Black people, legends like Billie Holiday are vital for our ability to see ourselves.”
And as a theater maker who goes in as a Billie fan, Douglas already knew the show’s classics like ‘Strange Fruit’ and ‘God Bless the Child,’ and now he’s excited to be learning more from her canon like ‘What a Little Moonlight Can Do,’ ‘Crazy He Calls Me,’ and ‘Easy Living’ which has become a special moment in the show.
And working with the powerful White as Holiday is proving “a dreamy collaboration.”
“The core is respect,” says Douglas who began his tenure with Mosaic in November of 2021. “I trust the experts and Roz is an expert. She knows how to command a stage and she is Billie Holiday’s biggest fan. She has a depth of knowledge about the artist and her music, jazz, the blues. I just want to listen and soak that up and elevate it and amplify it on stage.”
The experience is filled with trust and admiration and give and take, he adds. And along with wonderful choreography and movement consultant Sandra L. Holloway who is a queer Black woman, the three of them are having a great time.
White recently returned to D.C. after completing a two-year national tour of “TINA: The Tina Turner Musical.” And now with “Lady Day at the Emerson Bar and Grill,” she marks her return to Mosaic where, among other performances, she is remembered for her compelling portrayal of Sister Rosetta Tharpe, the queer Black woman who invented rock ‘n’ roll, in “Marie and Rosetta.”
Holiday’s voice is unmistakable. With its wonderfully unique phrasing and a gravel and hoarseness resulting from years of late nights and strain, it’s often copied, but that’s not what they’re going for here.
Douglas says, “We’re not striving for an impersonation here. We’re letting Roz be Roz; but while honoring the spirit of Billie, you’ll notice some pronunciation and dialect work. Still, Roz brings her own kind of special sauce to the work.”
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