Theater
D.C.-area theater outfits embrace streaming performances
The show must go on for Kennedy Center, Strathmore, et. al.
With theaters shuttered, companies are moving full steam ahead with innovative digital programming, offering captive audiences a wide variety of online performing arts options during these stressful and often lonely times of COVID-19 quarantine.
The Kennedy Center is offering āCouch Concerts,ā a free, live digital performance initiative. In the tradition of its popular Millenium Stage, the Kennedy Center now streams concerts directly from artistsā homes on its website at 4 p.m. ET every Monday, Wednesday and Friday.
In addition, the Center offers āNational Spotlight Mondays,ā a digital concert series featuring two artists selected from organizations across the country to tell the story of their cities. āCommunity Spotlight Wednesdaysā are concerts highlighting artists across disciplines including hip hop, comedy and theater. And āArtistic Partners Spotlight Fridaysā is a program featuring Kennedy Center artistic partners and affiliated artists. For more information, go to āCouch Concertsā at kennedy-center.org.
Shakespeare Theatre Company has introduced āShakespeare Everywhere,ā a new platform for engaging with audiences through digital offerings and innovative new content. āShakespeare Everywhereā includes STCās terrific #ShakespeareChallenge. Initiated by STCās Artistic Director Simon Godwin, the daring challenge features posted videos from myriad fans and performers including out Broadway actor Michael Urie.
STC also offfers the āThe Shakespeare Hour,ā an online conversation series hosted by Godwin and dramaturg Drew Lichtenberg, live on Wednesday nights through May 13 at shakespearetheatre.org.
Last Thursday (the Bardās 455th birthday), Godwin held an online streaming party where he introduced and discussed his National Theatre production of Shakespeareās āTwelfth Nightā (which can be seen on the National Theatreās You Tube Channel through April 30).
Godwinās well-received production puts an interesting spin on things: Typically, Viola must dress as “Cesario” creating a queer love triangle with Duke Orsino and the lady Olivia, but in Godwin’s production, Tamsin Greig plays a re-gendered Malvolia who also falls in love with Olivia. By most accounts, Tamsin is a fantastic physical comedian, but she also brings a real delicacy to her performance as the strict and self-denying Malvolia who begins to realize sheās in love with a woman.
The Strathmore is now streaming āLive From the Living Room,ā a series featuring current and former artists in residence. The Wednesday evening 20-minute concert is streamed via Strathmoreās Facebook page live from the artistās home. Also, itās popular Saturday morning āFamily Jam Sessionā now livestreams weekly via Strathmoreās Facebook page.
Arena Stage is expanding its virtual programming with Mollyās Salon, a weekly conversation hosted by Artistic Director Molly Smith. Upcoming Salons are slated to feature out luminaries including brilliant playwright Craig Lucas and talented actor Nicholas Rodriguez. Mollyās Salon take place on Thursdays from 7-7:30 p.m. For more information go to arenastage.org.
Round House Theatre has rather ingeniously corralled D.C.-area playwrights, actors and designers for āHomebound,ā āa 10-episode webseries that explores life under stay-at-home orders in the nationās capital.ā
The series stars resident artists Craig Wallace and Maboud Ebrahimzadeh along with local artists who lost work due the cancellation of the companyās spring shows. The cast is poised to be paired with 10 of D.C.ās leading playwrights including Karen ZacarĆas (āThe Book Club Playā), Audrey Cefaly (āThe Gulfā), Lady Dane Figueroa Edidi (āFor Black Trans Girls Who Gotta Cuss A Motherfucker Out When Snatching An Edge Aināt Enoughā) ā each of whom will pick up on the prompts offered in the previous writerās episode, writing a story that the actors can film themselves at home.
āHomeboundā premieres on April 27 on the Round House YouTube page.
And on Sunday at 8 p.m., broadway.com is live streaming āTake Me to the World: A Sondheim 90th Birthday Celebration.ā Hosted by Broadwayās RaĆŗl Esparza and featuring a spectacular list of headliners including Meryl Streep, Patti LuPone, Bernadette Peters, Donna Murphy and Mandy Patinkin, this virtual salute is also a fundraiser for ASTEP (Artists Striving To End Poverty).
Theater
Celebrating the 2024 Helen Hayes Awards nominees
38th annual event returns next week ābuilding on last yearās successā
2024 Helen Hayes Award
May 20, 2024
For tickets go to theatrewashington.org
Itās that time of year again when the DMVās theater pros and those who love them getdolled up and show up to celebrate the best of last yearās work.
On Monday (May 20), Theatre Washingtonās Helen Hayes Awards marks its 38th year with a splashy ceremony at The Anthem on the District Wharf. With two parts, a non-rushed intermission, and a lively after party, the program is long but the format allows time to celebrate award recipients, enjoy the entertainment, and talk about some serious issues without racing to the end.
Co-directed by Will Gartshore and Raymond O. Caldwell, the show features four terrific hosts ā out actor Tom Story, Felicia Curry, Maria Rizzo, and Rayanne Gonzales along with an ensemble of five singer/dancers (dubbed the Fab Five) peppering the show with some fun numbers.Ā
āWeāre building on last yearās success,ā says Amy Austin, Theatre Washingtonās out president and CEO. āAgain, dinner will be served during the show Ć la Golden Globes on the first floor for mostly nominees and their guests, and the second floor offers lots more affordable stadium seating.ā
Austinās approach harks back to the sumptuous Helen Hayes Awards of yesteryear, which she cleverly remembers as the āice sculpture age.ā Ultimately, the goal is to create something fun, memorable, and meaningful: āItās such a collaborative community and thatās why the Helen Hayes Awards are special; itās a reunion of people whoāve worked together.ā
Still, the doling out of awards remains the focus of the long evening. And that leaves a lot of nominees waiting on tenterhooks to see just who will go home with prizes named for the legendary first lady of American theater, Miss Helen Hayes.
The awards selection process is no simple task, she adds. Recognizing work from 151 eligible productions presented in the 2023 calendar year, nominations were made in 41 categories and grouped in āHelenā or āHayesā cohorts, depending on the number of Equity members involved in the production with Hayes counting more.
The nods are the result of 49 carefully vetted judges considering 2005 individual pieces of work, such as design, direction, choreography, performances, and more. Productions under consideration in 2023 included 44 musicals, 107 plays, and 36 world premieres.
As one of this yearās nominees, out actor Justin Weaks says he isnāt about beating the competition. He concedes it may sound clichĆ©, but itās a privilege simply to be nominated, especially with all the work done in the DMV. And certainly, with three wins and multiple nominations under his belt, heās in a position to know.
And now, heās nominated for Outstanding Supporting Performer in a Play, for his notable turn as Belize/Mr. Lies in Arena Stageās production of Tony Kushnerās seminal masterwork āAngels in America, Part One: Millennium Approaches.ā
For Weaks, a longtime D.C. actor who relocated to New York in 2021, the āAngelsā experience was singular: āItās one of those great, very American plays that remains relevant, and that itās centered on the gay experience and HIV/ AIDS makes it especially impactful for the queer community.ā
Often noted for creating roles in new plays, Weaks enjoyed being part of a piece that so many hands have touched since its premiere more than 30 years ago. He was thrilled to work with the productionās Hungarian director JĆ”nos SzĆ”sz who, Weak says, approached the piece as a new work, treating it like fresh text.
And does Weaks have a speech prepared?
āThe morning of the awards, Iāll journal about my experience with āAngels,ā and if my name is called, Iāll get up and give an abbreviated version of what I wrote. But mostly for me, itās a reunion, a chance to be cute, get dressed up and celebrate the work.ā
In the Outstanding Lighting Design category, Brooklyn-based Venus Gulbranson is nominated for Woolly Mammoth Theatre Company & The Wilma Theaterās āMy Mama and the Full-scale Invasionā. Itās the proud and out Filipino designerās second nomination (last year she received a nod for Monumental Theatreās ātick, tick… BOOM!ā).
āLighting design is underrated in the eye of theatergoers,ā explains Gulbranson who earned her lighting stripes as an Arena Stage fellow. āScenic and costume design are somehow more tangible to them; they donāt often realize that itās lighting designers who navigate the mood of the story.
āItās a very empathetic skill, and a good designer can take you there emotionally. When youāre tearing up watching a scene, the lighting has a lot to do with it. We also spend a lot of time making scenes transition smoothly,ā she adds.
āWe half-jokingly say āa compliment to set design is a compliment to us.ā We are the reason there are beautiful colors on stage. Scenery is our canvas.ā
Other queer nominees include Bobby Smith (Studio Theatreās āFun Houseā), Billie Krishawn (Arenaās āAngels in Americaā), Miss Kitty (Spooky Action Theatreās āAgresteā), Michael Urie (The Kennedy Centerās āMonty Pythonās Spamalotā), costume designer Frank Labovitz (Constellation Theatre Companyās āThe School for Liesā), director Jason Loewith and set designer Tony Cisek (Round House Theatre & Olney Theatre Centerās āInkā), and most likely more.
Both the Helen Hayes Awardsā choreographer and a nominee, David Singleton is up for Outstanding Choreography in a Musical for NextStop Theatre Companyās āRide the Cyclone,ā a wildly entertaining dark comedy.
āThe showās score is eclectic, so I could do a little bit of everything. I had to find anchor points for each number where I draw most inspiration, and go with it. I have a strong jazz background, both street and musical theater jazz, but Iām also really into tap and some ballet.ā
Singleton began performing professionally in āDreamgirlsā at Tobyās Dinner Theatre in 2017, but he hit his stride with āreally fierceā choreography post pandemic.
A dancer first, Singleton says his energies are divided into thirds: performer, choreographer, and drag queen (Tiara Missou, an āincredibly vain but kind queenā whoās regularly featured at D.C. bars Pitchers and Shakers). When Singleton was 18, he volunteered to work the Helen Hayes Awards. He recalls thinking āIāll be part of this one day, for what exactly Iām not sureā and now he says, āIām here and I feel honored.ā
And what about a prepared speech? āOh, definitely. Iām a rambler.ā
Break legs nominees!
A full list of award recipients will be available at theatrewashington.org on Tuesday, May 23.
Theater
Miss Kitty tackles classical mythology in āMetamorphosesā
Folger production seen through the lens of the African diaspora
āMetamorphosesā
May 7-June 16
Folger Theatre
201 East Capitol St., S.E.
$20-$84
Folger.edu
Miss Kittyās words are thoughtful and measured, occasionally punctuated by flamboyant flourishes and uplifting proclamations. Her tried and tested tagline is ālive in fierce not fear.āĀ
She describes herself as āAMAB (assigned male at birth), nonbinary, genderqueer, transfemmeā as well as āchanteuse, noble blacktress, and dancer.ā
Currently, Miss Kitty is testing her talents in Mary Zimmermanās āMetamorphosesā at Folger Theatre on Capitol Hill.
At 90 minutes, āMetamorphoses,ā is made up of interwoven vignettes from classical mythology including the tales of Midas and his daughter, Alcyone and Ceyx, and Eros and Psyche.
āItās all stories that relate to the human condition: the follies, the happiness, the love, the loss,ā Miss Kitty explains. āAnd a thorough knowledge of mythology isnāt a requirement for enjoyment.ā
The language is contemporary and with its 11-person ensemble cast ā comprised exclusively of Black or indigenous people of color ā theyāre adding their own spin to its present-day feel, she adds.
In Zimmermanās famously staged premiere production, the actors performed in and around a pool of water. At Folger, director Psalmayene 24 has ditched actual aquatics; instead, he suggests the element by introducing Water Nymph, a new character constructed around Miss Kitty.
Water Nymph doesnāt speak, but sheās very visible from the opening number and throughout the play on stage and popping up in unexpected places around the venue.
āItās a lot of dancing; I havenāt danced the way Tony Thomas is choreographing me in a very long time. At 40, can she still make theater with just my body as her instrument?
The name āMiss Kittyā was born over a decade ago.
Miss Kitty recalls, āShe was still presenting as male and going by her dead name. Someone commented that with the wig she was wearing for a part, she looked like Eartha Kitt whom she deeply admires.ā
Her penchant for illeism (referring to oneself in third person) isnāt without good reason. She explains, āItās to reiterate that however she might look, sheās always there; and if you misgender, she will let you know.ā
Initially, the moniker was a drag persona at Capital Pride or the occasional fabulous cabaret performance at a nightclub.
But as time passed, she realized that Miss Kitty was something she couldnāt take off. She had always been a part of her.
āSheās helped me to grow and flourish; sheās given me the strength that I never would have had before. Iām so proud of myself for realizing that before it was too late.ā
Bringing Miss Kitty into her theatrical career presented some concerns. Would theater folks be open to the new her, especially those sheād worked with before?
Not always, but sheās found new companies whoāve welcomed Miss Kitty with open arms including Avant Bard, Spooky Action Theater, and now Folger.
Last fall, Miss Kitty appeared in Spooky Actionās Agreste (Drylands), a stunning queer story penned by gay Brazilian playwright Newton Moreno.
After being invited to audition and reading the script, Miss Kitty was determined to be a part of the production.
A work dealing with love and being trans, and transphobia, and how people can turn on a dime once they learn the truth about someone, resonated deeply with the actor.
āThe play speaks to the idea that if people just let people be who they are and love who they want to love weād all be a lot happier,ā she says.
For her sublime efforts, Miss Kitty nabbed a Helen Hayes Award nomination in the Outstanding Lead Performer category (winner to be determined on Monday, May 20 during a ceremony at The Anthem).
Itās her first time nominated and first time attending. Sheās thrilled.
Miss Kitty grew up in Oxen Hill, Md., and now lives near Washington Harbor. Her entry into performance was through music followed by high school plays. She graduated from Catholic University with a degree in music/concentration in musical theater, and from there dove directly into showbiz.
Looking back, Miss Kitty says, ābeing a person of color AND queer can be a double whammy of difficulty. You have to live in light and do the things youāre afraid to do. Thatās the game changer.ā
Presenting āMetamorphosesā through the lens of the African diaspora (the cast also includes Jon Hudson Odom and Billie Krishawn, among others) helps us to realize that every story can be universal, especially for marginalized people ā South Asian, Native American, or fully queer perspectives, she says.
āHaving an all-Black ensemble opens all new worlds for everyone.ā
Theater
Round House explores serious issues related to privilege
āA Jumping-Off Pointā is absorbing, timely, and funny
āA Jumping-Off Pointā
Through May 5
Round House Theatre
4545 East-West Highway, Bethesda, Md.
$46-$83
Roundhousetheatre.org
In Inda Craig-GalvĆ”nās new play āA Jumping-Off Point,ā protagonist Leslie Wallace, a rising Black dramatist, believes strongly in writing about what you know. Clearly, Craig-GalvĆ”n, a real-life successful Black playwright and television writer, adheres to the same maxim. Whether further details from the play are drawn from her life, is up for speculation.
Absorbing, timely, and often funny, the current Round House Theatre offering explores some serious issues surrounding privilege and who gets to write about what. Nimbly staged and acted by a pitch perfect cast, the play moves swiftly across what feels like familiar territory without being the least bit predictable.
After a tense wait, Leslie (Nikkole Salter) learns sheās been hired to be showrunner and head writer for a new HBO MAX prestige series. What ought to be a heady time for the ambitious young woman quickly goes sour when a white man bearing accusations shows up at her door.
The uninvited visitor is Andrew (Danny Gavigan), a fellow student from Leslieās graduate playwriting program. The pair were never friends. In fact, he pressed all of her buttons without even trying. She views him as a lazy, advantaged guy destined to fail up, and finds his choosing to dramatize the African American Mississippi Delta experience especially annoying.
Since grad school, Leslie has had a play successfully produced in New York and now sheās on the cusp of making it big in Los Angeles while Andrew is bagging groceries at Ralphās. (In fact, weāll discover that heās a held a series of wide-ranging temporary jobs, picking up a lot of information from each, a habit that will serve him later on, but I digress.)
Their conversation is awkward as Andrewās demeanor shifts back and forth from stiltedly polite to borderline threatening. Eventually, he makes his point: Andrew claims that Leslieās current success is entirely built on her having plagiarized his script.
This increasingly uncomfortable set-to is interrupted by Leslieās wisecracking best friend and roommate Miriam who has a knack for making things worse before making them better. Deliciously played by Cristina Pitter (whose program bio describes them as āa queer multi-spirit Afro-indigenous artist, abolitionist, and alchemistā), Miriam is the perfect third character in Craig-GalvĆ”nās deftly balanced three-hander.
Cast membersā performances are layered. Salterās Leslie is all charm, practicality, and controlled ambition, and Gaviganās Andrew is an organic amalgam of vulnerable, goofy, and menacing. Heās terrific.
The 90-minute dramedy isnāt without some improbable narrative turns, but fortunately they lead to some interesting places where provoking questions are representation, entitlement, what constitutes plagiarism, etc. Itās all discussion-worthy topics, here pleasingly tempered with humor.
New York-based director Jade King Carroll skillfully helms the production. Scenes transition smoothly in large part due to a top-notch design team. Scenic designer Meghan Rahamās revolving set seamlessly goes from Leslieās attractive apartment to smart cafes to an HBO writersā room with the requisite long table and essential white board. Adding to the graceful storytelling are sound and lighting design by Michael Keck and Amith Chandrashaker, respectively.
The passage of time and circumstances are perceptively reflected in costume designer Moyenda Kulemekaās sartorial choices: heels rise higher, baseball caps are doffed and jackets donned.
āA Jumping-Off Pointā is the centerpiece of the third National Capital New Play Festival, an annual event celebrating new work by some of the countryās leading playwrights and newer voices.
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