Posts Tagged ‘Washington D.C.’
Posted by Geoff Nelowet / Friday, March 23rd, 2012
1957 - MGM
Anyone else remember watching 12 Angry Men on TV when they were younger? Well, Sidney Lumet’s 1957 classic film has been translated to the live stage, and will be in DC this weekend.
The production, by Reginald Rose and directed by Christopher Gallu describes the play as “the gripping examination of twelve jurors as they deliberate after hearing the arguments in a seemingly open-and-shut case. As prejudices are tested and evidence weighed, the entire jury is forced to look past the show of the courtroom to unearth the shocking truth. Faced with playing the hangmen, these dozen men must first face themselves.”
The show runs March 23-31 at the Keegan Theatre in Dupont Circle. Tickets range from $30-$35.
Posted by clara / Thursday, June 30th, 2011
Thursday, June 30, 2011
Don’t have lunch plans for tomorrow? Great! D.C. United is giving away FREE hoagies this Friday at Taylor Gourmet on H Street! Head down from noon to 1 p.m. to get your free sandwich.
Photo Courtesy www.dcunited.com
More Event Details:
–Clara Ritger
Scena Theatre knows that the opposite of war isn’t peace
Posted by clara / Thursday, June 30th, 2011
Thursday, June 30, 2011
All bets are off in war. Nothing said that better than World War II. But how do we justify our actions during peace? Sofi Oksanen’s “Purge” relates Estonia’s 1950s and 1990s, and though one era is consumed with the country’s ethnic purging, the other is not without its own abhorrent practices.
Because we live in America, our daily routines are free of the same worries of the Estonians. Oksanen’s character Aliide says, “Power changes hands and it’s out with the old and in with the new. That’s just how it goes.” For Estonia, when power changes it means that everyone goes with it; the opposition either dies or remains silent. As director Robert McNamara writes, “There is a sense of the true hellishness of human existence.” But “Purge” refers not only to the country’s obstinate regimes, but to the sense of cleansing we hope Oksanen’s characters can feel.
Colleen Delany as "Zara" and Kerry Waters as "Old Aliide" in "Purge." Photo by Don Summers, Jr.
It is a story of redemption, but as with any journey, the characters have to fall down before they can be lifted up. McNamara’s direction guided the show into a story where the audience could see the side of the betrayer, and rather than hate them for their actions, feel pity for their empty hearts. I loved the way he staged the young and old Aliide with their determined faces reflecting different motives. And the powerful opening – which I will not spoil for you – was almost more than I could bear in the small intimate space of the Scena Theatre. But it hooked me.
The fact that only two actors are equity is no indication of the level of talent from the cast. Stas Wronka and Armand Sindoni have a commanding presence on stage and work very well together. Colleen Delany’s make-up gave her a wild-eyed look that did her well. And when she flew off the handle at Kerry Waters I had to grab the edge of my seat in fear. Waters and Irina Koval, the Aliides, were both superb. Waters had the hardened look of a woman that had rarely seen joy, yet the frailty of an old woman who had to stay strong to keep from being walked over. Koval was the absolute star of the show. She is young but she delivers with the emotional understanding of someone who has seen the world in all its rawness. Though the protagonist, she led the life of the antagonist, but she always seemed true and somehow we forgave her human, inhumane, choices.
The traps and tricks of Michael C. Stepowany’s morphing set design established concrete and imaginary locations, a tough dichotomy to entertain on stage. The loud, jarring music between the scenes destroyed the mood established by the actors, whose immense talent should be commended for the extra work they did to get it back.
Two warnings about the show: there’s full-body nudity. They mention it in small print in the program and as a result I missed it and was taken by surprise. So don’t be shocked, and don’t bring your kids. I also must forewarn you not to read the director’s note until intermission. While it greatly aided to my understanding of the show, it does give a little too much of the first act away.
Overall, a fantastic show. This production will make you uncomfortable, but that’s what makes it stick. Since this is an international show, you might not have the chance to see it again. Change your weekend plans and get over there – Oksanen’s award winning play is at the Scena Theatre through July 3. For more information, visit www.scenatheater.org.
–Clara Ritger
Posted by clara / Wednesday, June 29th, 2011
Wednesday, June 29, 2011
Photo Courtesy June Schreiner
June Schreiner, a Reston, VA native, plays Ado Annie Carnes in “Oklahoma!” with Arena Stage at the Mead Center for American Theater. Schreiner will be a senior at the Madeira School in McLean, VA, and has performed with Synetic Family Theater, the Studio Theatre, the McLean Community Players and the Reston Community Players. She spoke with Northern Virginia Magazine’s Clara Ritger about how she got her start on the stage and some of her favorite parts of the show. “Oklahoma!” opens July 8 and will run through October 2 in the Fichandler Stage at the Mead Center.
NoVA: What got you started in theatre?
Schreiner: Both of my parents were involved in the industry so it’s kind of in my blood. My first show, “Honk!,” was in fifth grade and I immediately fell in love. From there I did about five shows with the Reston Community Players. I grew up with them… they’re like a second family to me.
NoVA: What was the moment you knew you wanted to make this your career?
Schreiner: I went through the process of “Oklahoma!” for the first time last year and I saw what an actor’s lifestyle was like. It really got me hooked. I definitely want to be a career actor.
NoVA: How did your parents feel when you broke the news?
Schreiner: They’ve been 100% supportive from the very beginning. My mom was a film, television, and commercial actress. Some of her roles were in “Karate Kid,” “Outbreak,” and “NYPD Blue.” My dad acted on “General Hospital” for a while, but he most identifies with his directing experience at The Groundlings Theatre in L.A. So they’ve been in the industry, and though they’ve never pushed me to follow their paths, they’ve been supportive all the way.
NoVA: What is it like to work with a professional theatre like Arena Stage?
Schreiner: There are so many rules! Everything is more serious. We have scheduled breaks, and rehearsals are very routine because it’s professional and the actors I work with are doing this for a living.
NoVA: You performed in “Oklahoma!” with Arena Stage last year. Are you the only returning member of the cast, or can audiences expect the same?
June Schreiner as Ado Annie Carnes and Cody Williams as Will Parker in Arena Stage at the Mead Center for American Theater's production of Rodgers and Hammerstein’s "Oklahoma!" Photo by Carol Rosegg.
Schreiner: Last year some of our cast members were involved with “Follies” at the Kennedy Center, which is now headed to Broadway. We’re so happy for them, but unfortunately they couldn’t join us for this second run. The majority of the cast is returning though, but while audiences can expect the same excitement and adrenaline from the first run, I can say that everything is going to be a bit better. Molly Smith is kicking everything up a notch.
NoVA: What’s the best part about being in the show?
Schreiner: Working with the actors. They mentored me. I also like working in the round. You can feel the audience’s laughter all around you, and it’s a great support.
NoVA: Do you have a favorite moment?
Schreiner: I love the opening number of the second act – “The Farmer and the Cowman.” The whole cast is on stage, being silly, and it’s just a great song. But really, there’s never a dull moment!
NoVA: Is there anything new for this show that you can spoil for our readers?
Schreiner: Well… I’ve got new rope tricks! And in general, the cast is a lot better. We’ve been able to build on our talent from last year.
NoVA: Who is your favorite character or actor in the show?
Schreiner: That’s like choosing my favorite child! I’m certainly close to my scene partners, but I just love the whole cast. I’m forever indebted to all the help they’ve given me along the way.
NoVA: After you graduate from Madeira, do you have plans for college?
Schreiner: I’m going to go to a regular four year school. I’m interested in studying psychology, sociology, English, history… I just want to understand the human condition. I think that is really important for an actor.
NoVA: Any particular colleges you’ve got your sights set on?
Schreiner: Well, I’ve been told not to get my hopes up about one particular place, but I’ve got a list. My top two are Wesleyan and Northwestern.
NoVA: Best of luck! Or shall we say… break a leg?
–Clara Ritger
Local playwright connects cross-cultural struggles in “Every Night I Die”
Posted by clara / Tuesday, June 28th, 2011
Tuesday, June 28, 2011
After spending time in the Philippines, local playwright Amanda Andrei found inspiration for a tale about religion and love. Her show “Every Night I Die” will premiere at the Capital Fringe Festival on July 9 and the preview was promising.
Angelo and his wife Rafaela married against cultural divides for love. After pregnancy complications, Rafaela finds it hard to get close to her husband, and Angelo starts to look elsewhere. He finds a companion in their maid and Rafaela finds solace in her brothers’ determination to protect her. But when their religions clash – and it is ultimately a mixture of Islam, Christianity, and pagan rituals – the pressure from all sides boils over.
Photo by Francis Tanglao-Aguas (Director)
The play itself is written with bits of comedy to help lighten the mood, though some of those elements could be better emphasized by the cast. It is a tragic tale that has a lot to say in the relationships of the Filipino society in which it takes place. Ultimately it transcends that society to all world societies, religions, and relationships.
The show featured strong actors, namely Paolo Santayana as Angelo. His commanding stage presence carried the show, and his portrayal of Angelo was mature beyond his years. Regie Cabico and Don Michael Mendoza played well off of one another as the brothers and became characters that deserved the tragic sympathy of the audience even with their single-minded views. Though the show was very depressing at the preview, the play itself is strong for the Fringe.
The Capital Fringe Festival runs July 7-24. For more information on shows and time, visit www.capfringe.org. “Every Night I Die” has five showings during the festival: July 9 @ 9 PM, July 14 @ 6 PM, July 15 @ 10:30 PM, July 23 @ 10:15 PM, and July 24 @ 3 PM.
–Clara Ritger
The Source Festival showcases local talent
Posted by clara / Monday, June 27th, 2011
Monday, June 27, 2011
At the top of the show, the song “99 Red Balloons” played while an actor, dressed in red with a red balloon attached to his belt loop, floated across the stage, blowing at his balloon with each swift motion.
Love, Death and Latex. Photo by C Stanley Photography.
I attended the Source Festival’s “Lovers & Friends,” a series of six, ten-minute plays that dealt with the complexities of relationships between (you guessed it) lovers and friends. The first play, “Love, Death and Latex” left the audience with its little piece of wisdom: “Latex is for dicks, Mylar is for chicks.” Guess you’ll be buying Mylar balloons for your next anniversary.
Other notable plays in the group are “Fugue for Amorous Tornadoes” and “A Disturbing Encounter at the Calhoun Residence Involving Sex, Marriage, and the America Musical Theatre.” Kari Ginsburg, Piper, was excellent in “Fugue,” always changing her mood like an unpredictable tornado. The cast of “A Disturbing Encounter” was all-around hilarious. The title is rather indicative of the style of show; every character speaks with full-detail. The comedy derives from the corny, but still funny, situations. For instance, when Roger would tell a lie, he would say what he did but put a “No I did not” in front of it.
The remaining plays involved political commentary on government officials’ infidelity, relationships via non-face-to-face communication, and the vicious cycle of being a criminal on the run. Though I can’t comment on the rest of the ten-minute plays, the full-length shows, or what the festival has titled “Artistic Blind Dates,” the performances seemed to be a fun way to showcase local talent in their off season.
The Source Festival is happening now in the Logan Circle area of D.C., and will continue through July 3. Performance times vary depending on the show. For more information, visit www.sourcedc.org.
–Clara Ritger
The Studio Theatre’s got a woman on top in a power play
Posted by clara / Friday, June 24th, 2011
Friday, June 24, 2011
David Ives does not keep secrets. At least, “Venus in Fur,” his adaptation of Leopold von Sacher-Masoch’s risqué, 1870 novella, doesn’t keep secrets. Right at the beginning the audience is given a clear look at Thomas’s view of modern women while on a phone call. To Thomas, the actresses that auditioned for his play are either young, good-looking, and dim; old, commanding, and homely; or some combination in between that does not involve being both smart and sexy. Thomas diminishes women by classifying them, and somehow we find it humorous. Yet later, Thomas chastises Vanda wanting to reduce his play into a dialogue of race, class and gender. Though we see the hypocrite, we laugh at Vanda’s response: “You should write that up and put it in the New York Times.”
Christian Conn and Erica Sullivan in Venus in Fur. Directed by David Muse. Photo by Scott Suchman.
Thomas, like any normal human being, has his character flaws. When Vanda enters after auditions are over, his first impression prevents him from even giving her a chance; to him, she is just another young, sexy, stupid woman. But after her lingering presence demands his attention, we see just how talented she is inside. So why, after she has proven him wrong, does he continue to fall victim to his prejudices?
Ives play takes a comedic look at the power dynamic between a director and an actor and a man and a woman. Though I’m reducing the play to two essential struggles, the tug of war between the characters unravels more than meets the eye. Ives openly states his intentions with his characters, and it’s fascinating how the audience is still shocked by the results, regardless of the warning. Perhaps it is because Thomas resembles so many people we’ve encountered, or because we may have a bit of Thomas in ourselves. There are moments when his behavior is indubitably despicable. But there are moments when you, as the audience, feel despicable for feeling joy at Vanda’s harsh manipulation. Again the answer is in the text. Thomas asks Vanda to prove that she loves him. After she wonders how, the biting truth comes out. “By doing what all of us do,” he says. “Hurt me.”
Vanda, played by Erica Sullivan, steals the show. Her quickness of tongue and movement hammers home the hilarity of her character. Just when you think the show is about to get serious, she exuberantly delivers comic relief. And the various accents she dealt out were not only perfect, but perfectly transitioned; her talent is undeniable. Christian Conn (Thomas) does well opposite Sullivan and the palpable bond between the two raises the stakes on stage. Both do an excellent job of challenging one another, and there were moments when their strong performances caused the audience to erupt in applause. Regarding play writing, Ives said, “I think what we’re supposed to do is write wonderful things for actors.” He’s written a demanding script and the performances from Sullivan and Conn go above and beyond.
Also notable was Michael Lincoln’s lighting design. He switches between fluorescents and stage lights, and when Vanda plays with mood lighting the shadows that develop add a surreal element to her character. I appreciated the storm motif which director David Muse carried out with the help of sound designer Matthew M. Nielson. It became another factor in knowing what was to become of the characters while denying it nonetheless. I also salute Jennifer Moeller’s costume design. Vanda is the picture of prostitute and poise, a hard combination to achieve without backstage changes.
The Studio Theatre has extended the run of “Venus in Fur” through July 10. For more information, visit www.studiotheatre.org.
–Clara Ritger
Fire at D.C.’s Tune Inn Damages Kitchen, Spares Bar
Posted by The Editorial Desk / Wednesday, June 22nd, 2011
Fate of Neon Sign: Unkwown (Image: Tune Inn)
The 298 people who follow Washington D.C.’s popular Capitol Hill dive bar Tune Inn on Twitter were in for quite a shock this morning when the restaurant followed up their last tweet of “Pancake and bacon time!” with “Everyone is safe and we already have cleanup crews here! Thank you for the well wishes! More info soon!”
A fire damaged the bar and restaurant on Wednesday morning, staying mostly contained to the kitchen. According to TBD, a grease fire broke out at around 6:30 a.m. eventually spreading out into the restaurant’s duct work before getting contained by the D.C. fire department. A Huffington Post report claims that nearly 75 fire fighters were sent to the scene, and had the blaze under control within ten to fifteen minutes of their arrival.
Initial outlook for Tune Inn was grim, as Hill workers collective hyperventilated all over Twitter, calling what was left of the bar a “charred mess.” As the day marched on, though, things have lightened up significantly. Most of the damage was limited to the kitchen, no one was hurt, and, according to the fire department, the damage should amount to about $75,000.
Tune Inn was once featured on Diners, Dives and Drive-Ins, hosted by human nacho platter Guy Fieri. No official word yet on when the bar will re-open. In the mean time, Tune Inn’s fans have taken to leaving get well trinkets in front of the bar.
- Kris King
“Old Times” engages the mind…and then questions it
Posted by clara / Wednesday, June 22nd, 2011
Wednesday, June 22, 2011
From the moment I set foot in the theatre I knew I was uneasy. The set is a modern living room with an eerie similarity to a mental hospital. The walls are white, and the room is decorated with stark simplicity. The furniture is basic: a lonely arm chair, an L-shaped couch, the standard end table.
The actors entered, and the lights went up – but not completely. Two overhead spotlights on Deeley and Kate kept the rest of the room dim. The absence of light on the mysterious, dark woman who stood in the background while Deeley and Kate carried on their conversation about the woman’s forthcoming visit was brilliantly creepy. I feared her presence yet wanted to know everything about her.
Steven Culp as Deeley in the Shakespeare Theatre Company’s production of "Old Times" by Harold Pinter, directed by Michael Kahn. Photo by Scott Suchman.
Intrigue, uncertainty and fear are the best words I can choose to describe both my mental state and the events that unfolded on the Shakespeare Theatre Company’s Lansburgh stage. “Old Times” is a typical Harold Pinter play, designed to make the audience feel uncomfortable. But I questioned myself as I chatted amicably with the woman who accompanied me to the performance. I insisted that I remembered my first kiss quite clearly, but perhaps my memory was no different than Deeley’s and Anna’s; contradictory, unstable, and never the same.
Any production that incites discussion before and after the performance is worth seeing. Pinter has a point to make about the feeble memories we helplessly rely on to create our identity of self, and this cast and production team has gone above and beyond in uncovering the questions we’d rather not ask.
Pinter’s script demands a cast that can do as much with verbal dialogue as they can with facial expression and gesture in the moments of silence. Steven Culp, of “West Wing” and “Desperate Housewives” fame, is astonishing as Deeley. His quick succumb to jealousy is evident by the way he anxiously hovers over and around Kate while Anna enchants her. Tracy Lynn Middendorf, Kate, has the perfect Mona Lisa smile; you’re never sure what is going on behind it but you also know that the dark abyss of her mind to which Anna and Deeley constantly refer is full of unspoken truths. Holly Twyford, Anna, entered with the perfect amount of exuberance to indicate to the audience that she would ripple the zen of Kate and Deeley’s home. Though these are only snapshots of the cast’s collective performance, all three were beyond perfect, if there is such an honor.
It was fascinating to watch the actors bring this script to life. The rehearsal work of all three shone on stage. Their movements fed off of each others, and a natural rapport led to perfectly timed sips of drinks and comedic, simultaneous audience cheats. There were moments when the mirror image of Kate and Anna became essential to my understanding of the play, and the posture and poise which each actor established for their character set an interesting visual contrast for a play that can fall short to the script’s reliance on language.
Director Michael Kahn has created a masterpiece. There were moments – like when Deeley and Kate poured drinks at opposite ends of the stage while Anna mused in silence – that the staging gave the audience comic relief from the tension. But there were moments – like when Deeley’s and Anna’s competing interests cast out the one they were competing for – that Kate’s spacey wandering about provided another bit of visual comprehension for the audience. The play relies on the subtle motions of the actors, and their body language is often all the audience has to interpret the characters’ verbal interactions.
Not to mention that Scott Zielinski’s lighting design was superb from start to finish. I was always taught that the best lighting design should go unnoticed. Scratch that; this play is not the same without the specificity of light illuminating, and more importantly keeping in the dark, characters in the room. And Walter Spangler’s set design not only maintains an impressively basic functionality, but creates a world of poignant edges and lines, a clear picture for a play of fuzzy memories.
You might go for the big name cast, but you’ll leave obsessing over the unanswered questions and the excellent performances by all. The Shakespeare Theatre Company’s “Old Times” runs through July 3 in the Lansburgh Theatre. For more information, visit www.shakespearetheatre.org.
–Clara Ritger
“The History of Kisses” is “a welcome break from the ordinary”
Posted by clara / Monday, June 20th, 2011
Monday, June 20, 2011
David Cale in "The History of Kisses." Photo by Carol Pratt.
To identify the human condition in a textbook is one matter, but for one man to stand on a stage and deliver a compassionate and perceptive discourse on the constant search for love, acceptance and understanding is a bold undertaking. David Cale has brilliantly done it.
“The History of Kisses,” a world premiere production at the Studio Theatre, takes place on a beach in California where the narrator meets new and old acquaintances as he searches for the answers to love. The sea is, perhaps, the key to the show. Dramaturg Adrien-Alice Hansel writes, “Subject to its own rhythms and logic, the sea has long served as a symbol for the unpredictability of the human heart and the flashes of desire with the potential to shift a life forever.” Cale’s play weaves the romantic encounters of ordinary people into a tale that comes full circle. The comedic, natural way in which the characters’ stories intertwine reads as though Cale has brought a good novel – or a scandalous diary – to life. As Cale’s characters explore the beach and recall their lost loves, we as audience members are watching from the sea, recognizing our own flashes of desire and vulnerabilities in the characters’ successes and struggles.
From the moment David Cale walks across the sandy stage to face the audience, you can’t take your eyes off of him. He is an excellent storyteller who has mastered the art of building a plot; not only do his stories crescendo in their language but his masterful delivery captures your attention. From the scene where he presents an erotic Australian cooking show to the memory of a woman who found out that her lost love, and father to her child, died, it is evident that Cale’s creative talent is both humorous and somber. The concerns of his characters felt real. I was watching real men and women, not just the writings of one man.
Cale had a strong and versatile cast of characters to perform. He excelled at the accents, though I would have liked to see more diversity with the women he played. While that may not have been vocally possible, many of the women fell into a pattern of jerky, gossipy gesture and sound that I felt could have been remedied with a foreign accent or graceful posture and movement. I applaud the choice to have an easel with scene titles and characteristics. It didn’t seem out of place on the set and was a helpful tool for moving the dialogue forward. Beverly Emmon’s lighting design also enhanced the storytelling, splashing different washes of light over the characters as their stories moved from night to day and even underwater.
The simple set became a canvas for Cale. It was never distracting for his performance. The lifeguard chair, the backdrop of an old brick wall, and the vast stretch of sand allowed his characters to take their preference for how and where they would tell their story. I begged for him to leave his shoes behind, though. It would have added a nice touch to the motif of the beach, the barefooted feeling that lovers get when they’ve got everything to lose, and the vulnerable openness which he and his characters take in their interactions with the audience.
Perhaps the most poignant part of Cale’s script is the beautiful seeds of advice he plants along the way. For those itching for a new adventure, “Slap your daily routine in the face and say, I’m out of here.” For those who can’t find the courage to put themselves out there, “You’re on this bloody earth but once. Go and sing your heart out.” But for those who are in the mood for 90 minutes of heartwarming and heartbreaking stories, “The History of Kisses” is on stage at the Studio Theatre (www.studiotheatre.org) through July 3, and it’s “a welcome break from the ordinary.”
–Clara Ritger