Theater
Director Alan Paul enjoying frothy romp ‘The Comedy of Errors’
Theater bug bit Michael Kahn protege at young age
Alan Paul says a ‘60s Greek aesthetic has informed much of his work. (Photo courtesy STC)
‘The Comedy of Errors’
Through Oct. 28
Shakespeare Theatre Company
at Lansburgh Theatre
450 7th St., N.W.
$44-118
Director Alan Paul came out at just 15. He was the last of his group at performing arts camp to come clean on his sexuality. The rest had all come out at about 12, he says. Paul felt quite left behind. Certainly he’s never been behind professionally.
At 25, Paul was named Shakespeare Theatre Company associate artistic director under the auspices of legendary STC Artistic Director Michael Kahn. Now 34, Paul boasts an impressive CV crammed with work on classics, opera and musicals. He’s been nominated for several Helen Hayes Awards for directing and won for STC’s “A Funny Thing Happened on the Way to the Forum.” His more recent production of “Camelot” has broken STC box office records.
Growing up in nearby Potomac, Md., Paul made frequent trips to New York to see Broadway musicals. He loved “Sunset Boulevard” with Glenn Close as Norma Desmond but was verily obsessed with the London cast recording featuring Patti LuPone as the reclusive silent film star. From an early age, Paul longed to be a part of the theater world and struck up correspondences with many Broadway professionals. After graduating from Northwestern University where he was in the musical theater program, Paul returned to his hometown to pursue a career in earnest. He splits his time between Washington and New York where he’s often called to meet with designers and audition actors.
Currently, Paul is staging STC’s production of Shakespeare’s early work “The Comedy of Errors,” a farce jam-packed with slapstick and mistaken identity revolving around two sets of identical twins. A twin himself, Paul felt instantly at home with the work’s situations and possibilities.
Recently he took a break from tech week to talk about his latest directorial effort and other things.
WASHINGTON BLADE: I read that you wanted to plumb the work for its romantic and elegant elements. True?
ALAN PAUL: Those were early words. When you see the fart jokes you won’t think elegance. It’s a difficult play because it has to be funny but it also has to be about real people. The characters are searching for lost loved ones. The premise is deep. The comedy of it is what happens in the course of this crazy 24 hours. But there is elegance in the physical production. I wanted a mostly black-and-white set and costumes. I’m inspired by films from the early ‘60s like the Greek romantic comedy “Never on a Sunday” starring Melina Mercouri.
BLADE: Is it wrong to associate you primarily with musicals?
PAUL: I’ve directed many plays but musicals have been the most visible thing I’ve done. I love both. It’s fun to jump back and forth. In addition to Michael (Kahn), my heroes include Jack O’Brien. He directed “Hairspray” and “Henry IV” on Broadway in the same year. And Michael Blakemore who on the same night won Tony Awards for directing a play and a musical, “Copenhagen” and a revival of “Kiss Me, Kate,” respectively. People mistakenly think a director of musicals can’t be serious or real. Or a play director can’t be fun. I try really hard to play both sides of that. For “The Comedy of Errors,” we’re including some original music. It’s about creating that ‘60s Greek feeling. Also, the cast includes Eleasha Gamble who plays the courtesan and owner of the Porcupine Club. How could I not give her a song?
BLADE: You’re a twin. Has that been your way into “The Comedy of Errors”?
PAUL: Yes, I have a twin sister. For me, I understand the bond with my sister. The bond is different from what I have with anyone else. We share a sense of humor. If you looked at our text messages you’d have no idea what it means but we think it’s hilarious. Twins figure into so many of Shakespeare’s plays. I think Shakespeare had twins and one of them died. This play, and “Twelfth Night” especially, is about needing to find your other half. Shakespeare had a fantasy of family coming back together that never happened. I believe it comes from an extraordinary sense of loss.
BLADE: How did you go about casting twins?
PAUL: I’ve cast two sets of twins who look nothing alike. Put the same hat on them and who cares? We get it.
BLADE: Tell me about how Michael Kahn hired you.
PAUL: It was over drinks at Playbill Café. I miss that place so much. Not a big deal for him, but life changing for me.
BLADE: This is Michael Kahn’s last season at STC. What has he taught you?
PAUL: He pushed me very hard when I was very young to run the department. He gave me a lot of responsibility and expected me to know what I was doing. I figured out how to do it and I think that he gave me a lot of confidence early on. Also, I will take away his incredibly high standards. He won’t let anything go that does meet a certain standard. And I have that myself. An internal GPS that says “not good enough.”
BLADE: Will you work under Kahn’s appointed successor, Simon Godwin?
PAUL: That’s an ongoing conversation. I like him and am excited to see what he’ll do.
BLADE: Was directing The Comedy of Errors your choice?
PAUL: STC wasn’t doing a musical this season so I knew I’d do a play. I really wanted to do Shakespeare so Michael and I talked about a lot of different titles. Comedies to dramas. We hadn’t done this one in a long time. I thought it was a great way to open the season and I wanted to assemble a group of funny people that the audience would know. It’s always fun to have artists on stage together who have contributed to the success of STC. People like Tom Story, Nancy Robinette, Ted van Griethuysen, Sarah Marshall.
BLADE: And don’t forget Veanne Cox as Adriana.
PAUL: Yes, wait until you see her arguing with a parrot. She has a pet bird that talks to her.
BLADE: Last season you broke Shakespeare Theatre Company sales record with your production of “Camelot.” How do you explain that?
PAUL: The election. I’d been uncertain about doing “Camelot.” People love the music but not so much the book. But when Hillary Clinton lost the election, I couldn’t help but wonder what Obama was thinking about his legacy. That’s what King Arthur goes through at the end of the play. When the Round table is cracked he says that barbarism is the natural state of man. Then at the end of the scene he meets the kid and his spirit is revived. I thought that’s the story Washington needed to hear. And I was right.
BLADE: There are so many shows opening right about now. Why see “The Comedy of Errors”?
PAUL: Well, it’s short — 95 action-packed minutes. Nobody wants to see a really long play. With this production, you’re out in time to get drinks or supper. Also, it’s funny. In these times of the stressful news cycle, I want to give people some entertainment and joy.
BLADE: Tell me about your childhood letter writing.
PAUL: Yes, I have a whole book of correspondence, about one hundred letters. I started writing letter c/o the stage door when I was a kid. I wrote stage managers, a dance captain and actors like George Hearn. I have letters from Audra McDonald before she was famous. Bob Mackie wrote me. I wanted to know how things worked.
BLADE: How does being gay figure into your work?
PAUL: Freedom to have fun with sexuality. Someone in the show accused me of trying to make this into a John Waters’ movie. I said that’s a good thing. There’s lots of drag. Sarah Marshall plays a man, Dr. Pinch. Three men double as female characters.
BLADE Any directorial projects you’re itching to tackle?
PAUL Yes, two musical and a play. In keeping with my Greek ‘60s film thing, I’d like to do the musical “Zorba.” And another is “Golden Boy,” the musical based the Clifford Odets play about a young man from Harlem who pursues prizefighting despite his family’s objections. It needs a little doctoring, but I think that would make a wonderful Broadway revival. And the play is “Teenage Dick.” It’s got a provocative title but it’s actually a version of Shakespeare’s “Richard III” set in an American high school. It played at the Public Theater in New York this summer. Please someone in Washington let me do this. It will be a huge hit in this town, I’m certain.
The cast of ‘The Comedy of Errors,’ a brisk farce now on the boards at Shakespeare Theatre Co. (Photo by Scott Suchman; courtesy STC)
Theater
Magic is happening for Round House’s out stage manager
Carrie Edick talks long hours, intricacies of ‘Nothing Up My Sleeve’
‘Nothing Up My Sleeve’
Through March 15
Round House Theatre
4545 East-West Highway
Bethesda, Md. 20814
Tickets start at $50
Roundhousetheatre.org
Magic is happening for out stage manager Carrie Edick.
Working on Round House Theatre’s production of “Nothing Up My Sleeve,” Edick quickly learned the ways of magicians, their tricks, and all about the code of honor among those who are privy to their secrets.
The trick-filled, one-man show starring master illusionist Dendy and staged by celebrated director Aaron Posner, is part exciting magic act and part deeply personal journey. The new work promises “captivating storytelling, audience interaction, jaw-dropping tricks, and mind-bending surprises.”
Early in rehearsals, there was talk of signing a non-disclosure agreement (NDA) for production assistants. It didn’t happen, and it wasn’t necessary, explains Edick, 26. “By not having an NDA, Dendy shows a lot of trust in us, and that makes me want to keep the secrets even more.
“Magic is Dendy’s livelihood. He’s sharing a lot and trusting a lot; in return we do the best we can to support him and a large part of that includes keeping his secrets.”
As a production assistant (think assistant stage manager), Edick strives to make things move as smoothly as possible. While she acknowledges perfection is impossible and theater is about storytelling, her pursuit of exactness involves countless checklists and triple checks, again and again. Six day weeks and long hours are common. Stage managers are the first to arrive and last to leave.
This season has been a lot about learning, adds Edick. With “The Inheritance” at Round House (a 22-week long contract), she learned how to do a show in rep which meant changing from Part One to Part Two very quickly; “In Clay” at Signature Theatre introduced her to pottery; and now with “Nothing Up My Sleeve,” she’s undergoing a crash course in magic.
She compares her career to a never-ending education: “Stage managers possess a broad skillset and that makes us that much more malleable and ready to attack the next project. With some productions it hurts my heart a little bit to let it go, but usually I’m ready for something new.”
For Edick, theater is community. (Growing up in Maryland, she was a shy kid whose parents signed her up for theater classes.) Now that community is the DMV theater scene and she considers Round House her artistic home. It’s where she works in different capacities, and it’s the venue in which she and actor/playwright Olivia Luzquinos chose to be married in 2024.
Edick came out in middle school around the time of her bat mitzvah. It’s also around the same time she began stage managing. Throughout high school she was the resident stage manager for student productions, and also successfully participated in county and statewide stage management competitions which led to a scholarship at the University of Maryland, Baltimore County (UMBC) where she focused on technical theater studies.
Edick has always been clear about what she wants. At an early age she mapped out a theater trajectory. Her first professional gig was “Tuesdays with Morrie” at Theatre J in 2021. She’s worked consistently ever since.
Stage managing pays the bills but her resume also includes directing and intimacy choreography (a creative and technical process for creating physical and emotional intimacy on stage). She names Pulitzer Prize winning lesbian playwright Paula Vogel among her favorite artists, and places intimacy choreographing Vogel’s “How I learned to Drive” high on the artistic bucket list.
“To me that play is heightened art that has to do with a lot of triggering content that can be made very beautiful while being built to make you feel uncomfortable; it’s what I love about theater.”
For now, “Nothing Up My Sleeve” keeps Edick more than busy: “For one magic trick, we have to set up 100 needles.”
Ultimately, she says “For stage managers, the show should stay the same each night. What changes are audiences and the energy they bring.”
Theater
‘Octet’ explores the depths of digital addiction
Habits not easily shaken in Studio Theatre chamber musical
‘Octet’
Through Feb. 26
Studio Theatre
1501 14th Street, N.W.
Tickets start at $55
Studiotheatre.org
David Malloy’s “Octet” delves deep into the depths of digital addiction.
Featuring a person ensemble, this extraordinary a capella chamber musical explores the lives of recovering internet addicts whose lives have been devastated by digital dependency; sharing what’s happened and how things have changed.
Dressed in casual street clothes, the “Friends of Saul” trickle into a church all-purpose room, check their cell phones in a basket, put away the bingo tables, and arrange folding chairs into a circle. Some may stop by a side table offering cookies, tea, and coffee before taking a seat.
The show opens with “The Forest,” a haunting hymn harking back to the good old days of an analog existence before glowing screens, incessant pings and texts.
“The forest was beautiful/ My head was clean and clear/Alone without fear/ The forest was safe/ I danced like a beautiful fool / One time some time.”
Mimicking an actual step meeting, there’s a preamble. And then the honest sharing begins, complete with accounts of sober time and slips.
Eager to share, Jessica (Chelsea Williams) painfully recalls being cancelled after the video of her public meltdown went viral. Henry (Angelo Harrington II) is a gay gamer with a Candy Crush problem. Toby (Adrian Joyce) a nihilist who needs to stay off the internet sings “So anyway/ I’m doing good/ Mostly/ Limiting my time/ Mostly.”
The group’s unseen founder Saul is absent, per usual.
In his stead Paula, a welcoming woman played with quiet compassion by Tracy Lynn Olivera, leads. She and her husband no longer connect. They bring screens to bed. In a love-lost ballad, she explains: “We don’t sleep well/ My husband I/ Our circadian rhythms corrupted/ By the sallow blue glow of a screen/ Sucking souls and melatonin/ All of my dreams have been stolen.”
After too much time spent arguing with strangers on the internet, Marvin, a brainy young father played by David Toshiro Crane, encounters the voice of a God.
Ed (Jimmy Kieffer) deals with a porn addiction. Karly (Ana Marcu) avoids dating apps, a compulsion compared to her mother’s addiction to slot machines.
Malloy, who not only wrote the music but also the smart lyrics, book, and inventive vocal arrangements, brilliantly joins isolation with live harmony. It’s really something.
And helmed by David Muse, “Octet” is a precisely, quietly, yet powerfully staged production, featuring a topnotch cast who (when not taking their moment in the spotlight) use their voices to make sounds and act as a sort of Greek chorus. Mostly on stage throughout all of the 100-minute one act, they demonstrate impressive stamina and concentration.
An immersive production, “Octet” invites audience members to feel a part of the meeting. Studio’s Shargai Theatre is configured, for the first, in the round. And like the characters, patrons must also unplug. Everyone is required to have their phones locked in a small pouch (that only ushers are able to open and close), so be prepared for a wee bit of separation anxiety.
At the end of the meeting, the group surrenders somnambulantly. They know they are powerless against internet addiction. But group newbie Velma (Amelia Aguilar) isn’t entirely convinced. She remembers the good tech times.
In a bittersweet moment, she shares of an online friendship with “a girl in Sainte Marie / Just like me.”
Habits aren’t easily shaken.
Theater
Out dancer on Alvin Ailey’s stint at Warner Theatre
10-day production marks kickoff of national tour
Alvin Ailey American Dance Theater
Through Feb. 8
Warner Theatre
513 12th St., N.W.
Tickets start at $75
ailey.org
The legendary Alvin Ailey American Dance Theater is coming to Washington’s Warner Theatre, and one of its principal veterans couldn’t be more pleased. Out dancer Renaldo Maurice is eager to be a part of the company’s 10-day stint, the kickoff of a national tour that extends through early May.
“I love the respectful D.C. crowd and they love us,” says Maurice, a member of esteemed modern dance company for 15 years. The traveling tour is made of two programs and different casting with Ailey’s masterwork “Revelations” in both programs.
Recently, we caught up with Maurice via phone. He called from one of the quiet rooms in his New York City gym where he’s getting his body ready for the long Ailey tour.
Based in North Newark, N.J., where he recently bought a house, Maurice looks forward to being on the road: “I enjoy the rigorous performance schedule, classes, shows, gym, and travel. It’s all part of carving out a lane for myself and my future and what that looks like.”
Raised by a single mother of three in Gary, Ind., Maurice, 33, first saw Alvin Ailey as a young kid in the Auditorium Theatre in downtown Chicago, the same venue where he’s performed with the company as a professional dancer.
He credits his mother with his success: “She’s a real dance mom. I would not be the man or artist I am today if it weren’t for the grooming and discipline of my mom. Support and encouragement. It’s impacted my artistry and my adulthood.”
Maurice is also part of the New York Ballroom scene, an African-American and Latin underground LGBTQ+ subculture where ball attendees “walk” in a variety of categories (like “realness,” “fashion,” and “sex siren”) for big prizes. He’s known as the Legendary Overall Father of the Haus of Alpha Omega.
WASHINGTON BLADE: Like many gay men of his era, Ailey lived a largely closeted public life before his death from AIDS-related complications in 1989.
RENALDO MAURICE Not unusual for a Black gay man born during the Depression in Rogers, Texas, who’s striving to break out in the industry to be a creative. You want to be respected and heard. Black man, and Black man who dances, and you may be same-sex gender loving too. It was a lot, especially at that time.
BLADE: Ailey has been described as intellectual, humble, and graceful. He possessed strength. He knew who he was and what stories he wanted to tell.
MAURICE: Definitely, he wanted to concentrate on sharing and telling stories. What kept him going was his art. Ailey wanted dancers to live their lives and express that experience on stage. That way people in the audience could connect with them. It’s incredibly powerful that you can touch people by moving your body.
That’s partly what’s so special about “Revelations,” his longest running ballet and a fan favorite that’s part of the upcoming tour. Choreographed by Alvin Ailey in 1960, it’s a modern dance work that honors African-American cultural heritage through themes of grief, joy, and faith.
BLADE: Is “Revelation” a meaningful piece for you?
MAURICE: It’s my favorite piece. I saw it as a kid and now perform it as a professional dance artist. I’ve grown into the role since I was 20 years old.
BLADE: How can a dancer in a prestigious company also be a ballroom house father?
MAURICE: I’ve made it work. I learned how to navigate and separate. I’m a principal dancer with Ailey. And I take that seriously. But I’m also a house father and I take that seriously as well.
I’m about positivity, unity, and hard work. In ballroom you compete and if you’re not good, you can get chopped. You got to work on your craft and come back harder. It’s the same with dance.
BLADE: Any message for queer audiences?
MAURICE: I know my queer brothers and sisters love to leave with something good. If you come to any Ailey performance you’ll be touched, your spirit will be uplifted. There’s laughter, thoughtful and tender moments. And it’s all delivered by artists who are passionate about what they do.
BLADE: Alvin Ailey has been a huge part of your life. Thoughts on that?
MAURICE: I’m a believer in it takes a village. Hard work and discipline. I take it seriously and I love what I do. Ailey has provided me with a lot: world travel, a livelihood, and working with talented people here and internationally. Alvin Ailey has been a huge part of my life from boyhood to now. It’s been great.
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