SECONDARY LEADS EXCEPTIONAL IN LTVB'S AIDA

Theater Babe Says:  Go ... and See a New Take on an Old Opera.

Pride and passion are the essence of Aida – both the musical by Elton John and Tim Rice currently directed by James Bryan at the Little Theatre of Virginia Beach, and the 19^th century opera by Giuseppe Verdi upon which it is loosely based.  Because the performances by the leads in the LTVB production largely lack those critical elements the show is not completely successful, but the vibrant ensemble and the outstanding, layered performances of certain actors in secondary roles create thoroughly enjoyable theatre.

Elton John and Tim Rice's Aida opens in a modern day museum containing an exhibit of Ancient Egypt.  One of the statues begins to sing, transporting us back to antiquity.  Egypt and Nubia are at war and as the story begins, Radames, a captain in the Egyptian army, returns bringing with him a group of Nubian women whom his soldiers have enslaved.  Radames is instantly captivated by one of them, Aida, who feels but initially fights the same attraction.  Radames gifts Aida to his fiancée, Amneris, the Pharaoh's daughter, and Aida becomes one of Amneris' handmaidens.  Radames meets with his ambitious father, Zoser, who reveals that the Pharaoh is dying and impresses upon Radames that the younger man must prepare to lead Egypt, despite Radames' preference for travel and adventure.  Meanwhile, Radames' Nubian slave, Mereb, who has lived in Egypt for many years but has never lost his hope for freedom, recognizes Aida as the Nubian princess.  Aida is torn between her love for Radames, her friendship with Amneris and her duty to her native land and its people.  Radames and Aida ultimately give in to their passion, but their relationship is doomed by circumstance, including the Egyptians' capture of Aida's father.  The show ends back in the museum, where we find that even if it is ill-fated in one lifetime, love is eternal.

In the title role, DeEtta Jennings is very attractive and possesses a melodic belt, though her diction is often muddy which robs her character of the depth it might have if we could understand more of Aida's lyrics.  Additionally, Ms. Jennings does not command the stage.  Rather than owning her space and moving with deliberate intent, she often shifts her weight from foot to foot when she speaks, and that imbalance gives her a tentative and weak bearing that is inconsistent with her prideful character.  As Radames, Jonathan McCormick has a nice singing voice, but his interpretation of a character who is an explorer/warrior by profession and is so independent personally that he chooses a slave over the power and riches that would come with his intended bride is implausibly tepid.  Neither Ms. Jennings nor Mr. McCormick generate any believable chemistry – even during the scene in which Aida bathes Radames, when one would think that shirtlessness and sensuality would go hand in hand.  Because their illicit passion is the key plot point that drives everything else, this production in general lacks credibility; we don't believe that Aida and Radames hunger for each other, so we don't feel their conflict and their respective sacrifices do not carry any emotional weight.

This production is saved from an emotional void by the remarkable performances of Genevieve McBride (Amneris) and AJ Friday (Mereb).  Ms. McBride has a fabulous singing voice, noteworthy for its tone, power and range.  In her performance as Radames' fiancée, we see her character develop, grow and change throughout the course of the show and Ms. McBride's nuanced interpretation makes us believe that the insecure, silly girl who sings "I am what I wear and how I dress" in "My Strongest Suit" could ultimately rule a nation.  We believe in Amneris' love for Radames, and "I Know the Truth," the song she sings when she realizes that love is unrequited is heartbreakingly beautiful.  The Theater Babe only wishes that director James Bryan would have waited until the song was finished to have Amneris draped in her traditional wedding veil; as it is, because of the opaqueness of the fabric, after she is cloaked from head to toe we lose the emotion that had been so skillfully portrayed in Ms. McBride's facial expression.

As Mereb, the Nubian who has learned how to succeed in Egypt while he yearns for freedom, Mr. Friday delivers an expressive, thoroughly credible performance.  His singing voice is rich and of a gorgeous timbre, and his solo, "How I Know You," is riveting.  The faith that Mr. Friday's Mereb has in Aida – believing that she will deliver him and their countrymen from slavery – is palpable, and when he realizes it is misplaced, we ache for him.  "Not Me," the quartet sung by Mr. McCormick, Mr. Friday, Ms. Jennings and Ms. McBride is a truly memorable moment.

This production would be stronger if the villain was more menacing.  Tall and broad-shouldered, Jason Martens is physically well-suited to the role of Radames' father, but his portrayal of the Machiavellian Zoser is unconvincing.  Mr. Martens' diction is frequently garbled, and his singing voice is insufficiently powerful to meet the demands of "Another Pyramid" and "Like Father, Like Son."  In large part because we cannot understand his lyrics, there is no real political tension in this version, and the production suffers from that omission.

Overall, however, Music Director Shelley Cady does a wonderful job of capitalizing on the considerable vocal talent of the cast, and has assembled a strong group of instrumentalists (Summer Cozzens, George Gaydos, Eddie Lawhorn, Shawna Lawhorn, Doug Mills, Susan Roller, and Tom Ullom) who successfully embrace the challenges inherent in this piece.  The balance between the offstage orchestra and the onstage vocalists is usually a very successful blend, faltering only during "Another Pyramid," when the guitar overpowers Mr. Martens' vocals.  In particular, Mr. Ullom on percussion delivers a notable performance, providing rhythm and effect without overshadowing the whole.

The strikingly compatible collaboration of vocals and instrumentals is especially evident in the Nubian chorus numbers, "Dance of the Robe," and "The Gods Love Nubia," The ensemble has a full sound and clear diction, and their harmonies are exquisite.  Charity Robinson, as Nehebka, demonstrates phenomenal vocal quality and the Theater Babe hopes to have the pleasure of hearing her sing in larger roles in future productions.

The choreography by Dana Margulies Cauthen is effective and well-executed, and the scarf dance performed by Elizabeth Elliot, Alyssa Halter, KT Hart and April Hitchcock is just lovely.

The set, designed by Jason Martens, is simple and permits ample room for this large cast to move about without constriction on the small stage.  Its sparseness presents some obstacles, particularly in staging the duets between Aida and Radames – it is very difficult to stage romantic duets between two actors who are close in height without the aid of something to place one of them on a different level – and the addition of a couple of multi-functional pieces of furniture would have opened up opportunities for more creative blocking. 

Lighting designer Jeff Brangan does an good job of enhancing mood and tone, and utilizes shadow, as well as light, to excellent effect.

Bottom line?  The heart of the Aida tale is not well-presented here, but the talented ensemble and orchestra and the amazing performances by Ms. McBride and Mr. Friday make this show well-worth the time and the ticket price.

Performances run thru December 2^nd, Friday – Saturday at 8 p.m. and Sundays at 2:30 p.m.

at the Little Theatre of Virginia Beach,

550 Barberton Drive, Virginia Beach, Virginia 23451.

Tickets are $17 ($14 for matinees) with discounts for seniors, students and active military. 

Reservations can be obtained by calling the box office at (757) 428-9233

or online at ltvb.com.

SMITHFIELD LITTLE THEATRE'S FORUM IS IMPERFECT FUN

Theater Babe Says:  Go . . . and Enjoy a Little Comedy Tonight!

A Funny Thing Happened on the Way to the Forum is the first Broadway show that boasted Stephen Sondheim's music as well as his lyrics.  Those songs, replete with dissonance and tongue-tangling patter, are as challenging as the farce in which they are enveloped.  Smithfield Little Theatre's production, directed by Kathy Eaton, of this far from simple piece is uneven, but it's undeniably entertaining.

Forum is set in ancient Rome, and centers around the quest of Pseudolus, a slave, to acquire his freedom from his owner, Hero, by helping that young man woo and win the virginal courtesan, Philia, who lives in the house next door.  Matters are complicated because Philia has already been sold, sight-unseen, by her master, Marcus Lycus, to a celebrated warrior, Miles Gloriousus.  The beautiful but less-than-brilliant Philia mistakes Hero's father, Senex, for Gloriousus and offers herself to Senex – who is more than happy to enjoy her charms, much to Hero's (and Pseudolus') dismay.  Pseudolus therefore enlists the assistance of perpetually nervous head slave, Hysterium, to keep the young lovers together -- and apart from Gloriousus, Lycus and Senex.  At the same time, Senex's wife, Domina, attempts to spy on Senex to ascertain whether he is unfaithful while their neighbor, Erronius, continues his decades-long search for his children who were abducted by pirates long before the story begins.  Much hilarity ensues as the characters wind their way through the confusion and ultimately produce the happy ending promised in the opening song, "Comedy Tonight."

Brian K. Teal's interpretation of Pseudolus is satisfactory, and is at its best when he presents his own characterization of the wily slave who engineers various complicated schemes rather than borrowing facial expressions created by the inimitable Zero Mostel.  William Van Dyke (Hysterium) at first utilizes a nasal, affected speaking tone that detracts from his fine performance and adversely affects his diction.  As the plot evolves, however, Mr. Van Dyke sheds the affected tone with hugely beneficial results; when he speaks in his own voice, we can understand his lines and enjoy his exceptional comedic timing.  During "I'm Calm," he displays a strong, pleasant singing voice and it is one of the best moments of the show.  Mr. Van Dyke has a compelling stage presence which serves this production well, particularly in the purposefully frenzied second act where he is a strong albeit humorous point of reference in the midst of the chaos.

Andrew Smith is perfectly cast as Hero.  He is handsome and appealing, and we believe that he is besotted with the pretty but unsuitable Philia.  Mr. Smith arguably has the best voice in the show, demonstrated to advantage in "Love, I Hear."  His Hero is sweet and earnest in the best sense of those words and Mr. Smith is to be applauded for playing the role with realism, rather than attempting to compete with the broader comedy that is inherent in many of the other characters.  In an interpretation less skillfully directed or portrayed, Forum's farce could easily become tiresome silliness.  In this production, because Hero's love story is credible, we are free to relish the ridiculousness that spirals from that pivotal plot point.

As Senex, Mike Peters is plausible as the middle-aged man who is flattered by a good-looking young girl's attentions.  He sings confidently with clear diction, but is not always on pitch, and he consistently struggles with maintaining the correct tempo.  Music Director William Neill, III does an exceptional job of keeping the eight piece orchestra together with the singers, and accommodates the occasional vocal vagaries while sustaining a steady pace.  Nowhere was that control more noticeable than during "Impossible," Mr. Peters' duet with Mr. Smith.  Throughout the number, Mr. Peters rushed through the vocal rests, racing far ahead of the accompaniment.  Mr. Neill managed the orchestra so that it caught up with Mr. Peters without accelerating the overall pace of the song, and provided a sufficiently strong tempo for Mr. Smith to find so that the vocals and instrumentals were realigned during Hero's parts of the number.  As a result, we were able to enjoy the amusing lyrics and the actors' performances when under less expert direction, it could have disintegrated into incoherence. 

Lauren Peters' Philia is delightfully dimwitted.  Ms. Peters has a pretty voice, better displayed in "That'll Show Him" than in her first song, "Lovely," primarily because she appears to be more comfortable with the ironic comedy of the former than the matter-of-fact characterization of the latter.  As Miles Gloriosus, Skylar Norman is wonderfully vain and pompous.  His singing voice, however, lacks the power and tonal quality that is so prominent during his spoken lines and the "Funeral Sequence" would be much improved if the chorus' wails were softer so that we could understand his humorous lyrics that were drowned out the night the Theater Babe attended the show.

Bill West delivers a pleasing performance as Marcus Lycus, and he brings commendable energy and excitement to the role without overplaying it.  Bill Hanlon's portrayal of Erronius is respectable, but his singing voice is ill-suited to the complexity of a Sondheim score and the numbers in which he appears would be immeasurably improved if he would speak-sing his lyrics.

As Domina, Senex's suspicious and overbearing wife, Carrie Grace Morgan is appropriately officious and obnoxious, but she is too pretty and too well-dressed to be perfectly credible; more garish makeup and/or a costume that disguises her delicate figure would eliminate the disconnect that currently exists between her attractive appearance and the horrified reactions she elicits from the other characters.  Ms. Morgan's sparkling delivery and her outstanding diction of her solo number, "That Dirty Old Man," overcome her occasional pitch problems and it is a highlight of the show. 

The choreography by Paula Cole and Jennifer Steiger is clever and admirably reflective of the various characters, although it is not always commensurate with the dancers' abilities.  The follow-the-leader scene is quirky and fun, but would be improved if the proteans would not anticipate the leader's moves; they need to wait to let the leader move first rather than simply perform the choreography because they know what comes next.  As a whole, however, the dances and other choreographed moments are lively and entertaining.

The costumes, coordinated by Stephanie Sabin, are inconsistent and reflect conflicting styles and time periods.  Some of them – such as the Philia outfit – are perfect from head to toe, while others – such as the red medieval gown worn by one of the courtesans -- appear to be used simply because they are of some not-modern time period and are the correct size for the actor. 

Robert Cox's set design is simple and well-executed, and perfectly showcases the action.  By making use of a few plain, multi-functional, movable pieces Mr. Cox provides options well-utilized by Ms. Eaton's blocking while still maximizing the space available on the small stage.  The backdrop is beautiful and enhances the scene without being distracting.

Bottom line?  A Funny Thing Happened on the Way to the Forum is a difficult show to produce, and the Smithfield Little Theatre's production is not perfect.  However, because the actors themselves appear to be having such a great time, their enthusiasm is contagious and makes it easy to overlook the flaws, resulting in a thoroughly enjoyable performance that is well worth the time and the ticket price.

Performances run thru November 18^th, Thursday – Saturday at 8 p.m. and Sunday at 2:0 p.m.

at the Smithfield Little Theatre

210 N. Church Street, Smithfield, Virginia 23430.

Tickets are $15 and can be obtained by calling the box office

at (757) 357-7338 or by emailing a ticket request to contact@smithfieldlittletheatre.org. 

See their website http://www.smithfieldlittletheatre.org for details.

NERVES DETRACT FROM LTN'S HAUNTING JULIA

Theater Babe Says:  Go . . . But Be Prepared for a Relationship Drama Rather than a Thriller

Haunting Julia is advertised as a ghost story, but there is little eeriness in The Little Theatre of Norfolk's production of Sir Alan Ayckbourn's play.  Rather, the primary focus is on the relationships the characters had with Julia (deceased at the time the action begins) rather than on supernatural spookiness.  While the actors' nerves sabotaged the performance the Theater Babe attended, there were glimpses that suggest a meaningful human drama exists beneath the anxiety which compromised that production.

The title character, Julia, refers to a nineteen year old prodigy who died a dozen years before the play opens, allegedly from an accidental overdose.  Her father, Joe Lukin, has never accepted that explanation and purchased the apartment building in which she resided at the time of her death and where her body was found, as well as the adjoining premises to convert them into a combination museum, rehearsal space and shrine.  Joe invites Andy Rollinson, Julia's former boyfriend, to the center and during the visit reveals that Joe believes Julia has been haunting him.  Joe also invites Ken Chase, a psychic, to visit the center in an attempt to resolve his lingering doubts about the circumstances surrounding her death.  As the play progresses, we learn about Julia's relationships and about her perspective about her own genius.

The LTN production gets off to a slow start.  Andy, played by Ryan McIntire, spends long minutes doing nothing but wandering around one-half of the set (the other half is roped off until later) and listening to the museum recording that describes the exhibit.  Nothing in his reaction pulls us into the situation and our attention wanders.  On opening night, Joel King, as Joe, struggled with his dialogue in the early scenes and because Mr. McIntire also froze, it was exceedingly uncomfortable – both for the audience as well for the actors stranded onstage.  Perhaps because of the difficulties inherent in managing flubbed lines, Mr. McIntire and Mr. King failed to generate the tension needed to drive the plot forward and we never fully engaged.  Later in the show, however, each actor delivers monologues that show depth and real emotion ... and suggest they can deliver a better overall performance than was displayed on opening night.  Philip Odango does an admirable job of overcoming the obstacles the playwright created within the character – we are asked to believe that he is both a psychic and that he chose to wait more than a decade to reveal certain important information – and is likeable as Ken Chase, though as a whole his performance would be immeasurably improved by infusing it with additional energy. 

It is in the climactic scene that the paranormal elements erupt.  The effects are clever, but they're disproportionately short compared to the long monologues that lead up to that point. As a result, the emphasis in this production is placed upon the human, rather than the supernatural.  That's not necessarily a bad thing, but it does create a disconnect from the creative marketing that LTN has used to promote this production.

Directors Kathy Hinson and Tucker Nelson choose to follow the original format and permit the show to run in its entirety (1 hour, 50 minutes) without an intermission, with mixed results.  Ideally, the show would generate such tension and such suspense that an intermission would interrupt the flow and disrupt the emotion building throughout the piece.  The danger is that if the tension doesn't exist, the audience becomes restless and even less vested in the piece; almost two hours is a long time to sit in one place when we are not enthralled by the drama.

The set, designed by Matthew Gorris and dressed by Jennifer Murphy, is well-conceived and executed.  The lighting, designed by B Butterbaugh, with the exception of the climactic moment is largely stagnant and wastes the opportunity to create a mysterious, spooky atmosphere.  For example, when Joe plays the recording again and again to demonstrate the changes that he believes were made by Julia, different lighting would help us to focus on the elements Joe wants us to hear and would add to the strangeness that the production attempts to create.

Bottom line?  Because the "haunting" in Haunting Julia is more emotional than metaphysical, LTN's marketing of this show as a ghostly thriller perhaps raises different expectations than the script supplies.  While the performance the Theater Babe saw missed the mark, it appears that these actors are capable of generating the suspense and passion required to create a truly successful production.

Performances run thru November 18^th, Friday – Saturday at 8 p.m.

and Sunday at 2:30 p.m.

at The David L. Burton Playhouse,

the Little Theatre of Norfolk

801 Claremont Avenue, Norfolk, Virginia 23507

Tickets are $17 with discounts for full-time students, seniors and military. 

There is an additional $2 fee per ticket order – purchased online or in person

Reservations can be obtained by calling the box office at (757) 627-8551 or

ordering online at ltnonline.org.

© 2012 Hampton Roads Theater Babe.  All Rights Reserved.

ELIZABETH HUGHES SHINES

IN LTN'S RUTHLESS! THE MUSICAL

Theater Babe Says:  Go . . . and Enjoy a Budding Talent

The Little Theatre of Norfolk's production of Ruthless! The Musical may have some problems, but it also has talent – a whole lot of which is packed into ten year old Elizabeth Hughes who steals the show.

Ruthless! is a parody of a variety of movies, most obviously The Bad Seed; the plot of Ruthless! is largely a musicalized, comedic version of that camp classic.  With its additional multiple references to Gypsy, Mame, All About Eve and even Gone With the Wind, there's little originality in the plot.  The show begins in the home of Judy and Tina Denmark, where mousy housewife Judy laments that her sole identity is that of being "Tina's Mother." Tina is a talented eight year old who is adept at convincing the adults around her that she is so sweet that she couldn't possibly be ruthless – even after it is revealed that Tina knocked off her classmate so that she could be play the lead in their third grade musical, Pippi in Tahiti.  Sylvia St. Croix appears at the Denmarks' home uninvited and becomes Tina's manager, but manages Judy instead after Tina is sent to reform school for killing off the other child.  Judy transforms into a Tony-award winning diva, and hires a personal assistant, Eve, who like her namesake in the famous film, attempts to steal her mentor's success.  The plot devolves into utter ridiculousness that defies description.

It is extremely difficult to produce excellent parody and while it is a courageous attempt, this production is too self-conscious to be completely successful.  Rather than varying the performances with any degree of subtlety, director Jeremiah Albers permits all of the actors to "ham it up" at all times, with the result that the show repeatedly rings the same note.  The actors portray mere caricatures and because each milks every potentially humorous moment, the pace drags instead of being light, quick and witty in the style of the best parody. 

As Judy, Dorothy Hughes presents a pretty voice and the bond between she and her real-life daughter, Elizabeth, is palpably loving.  The role of Sylvia St. Croix is traditionally cast in drag, and here Matt Cole's performance is commendably consistent; he maintains the female persona throughout when a less talented actor might drift into more masculine mannerisms.  He struggles, however, with keeping his affected "female" voice on pitch when he sings and the result is often unpleasant; because there is no attempt to convince the audience that Sylvia is anything other than a man in drag, it might have been a better choice to permit Mr. Cole to sing in his own range.  Kat Fresh as Myrna Thorne and Jackie Brunberg as Lita Encore both give notable performances, particularly in their respective solos, "Teaching Third Grade," and "I Hate Musicals," where their excellent diction make the most of the amusing lyrics.

Their lyrics, like those in many of the musical numbers, are unfortunately often drowned out by the instrumental accompaniment.  Musical director Shelley Cady wisely chose dual keyboards; she and Jonathan McCormick give very fine performances that are simultaneously supportive of the vocalists and enjoyable in their own right.  The electric bass played by Ed Lawhorn, however, is out of balance and is far too loud; when the bass plays, we can hear little else.  In a show where much of the comedy lies in its lyrics, overpowering the vocals is a real problem.

The set, with its dual use as the Denmark home and Judy's penthouse apartment in New York is serviceable.  But because the orchestra sits upstage, on the same level as the actors, without so much as a scrim to shield them, they inevitably become part of the scene.  Only Ms. Cady appears to recognize this fact, and Mr. McCormick, Mr. Lawhorn and Mr. Fields (percussion) often seem to be extremely bored between songs.  Understandable, given that at this point in the run they've heard the dialogue innumerable times, but it is unquestionably distracting to the audience.

The standout performance in this production belongs to its youngest cast member, Elizabeth Hughes, and the best scenes are those in which she is the focus.  As Tina, Miss Hughes is charmingly bratty.  She is equally convincing as the cloying sycophant, the spoiled child and the sparkling show-off.  This young actor has a remarkable singing voice, reminiscent of Andrea McArdle's debut in Annie, that is shown to advantage in "Born To Entertain," and "To Play This Part," although her best moment may be during the Montage that opens the second act.  The Theater Babe looks forward to seeing Miss Hughes' talent continue to develop in future productions.

Bottom line?  Ruthless! The Musical is a show best enjoyed by those who are extremely familiar with a variety of old movies who can catch all of the many references dropped throughout the show.  LTN's production is not entirely successful, but Miss Hughes' performance alone is worth the price of a ticket.

Performances run thru September 30^th, Friday – Saturday at 8 p.m.

and Sunday at 2:30 p.m.

at The David L. Burton Playhouse,

the Little Theatre of Norfolk

801 Claremont Avenue, Norfolk, Virginia 23507

Tickets are $17 with discounts for students, seniors and military 

Plus an additional $2 fee per order

Reservations can be obtained by calling the box office at (757) 627-8551 or

ordering online at ltnonline.org.

© 2012 Hampton Roads Theater Babe.  All Rights Reserved.

WILLIAMSBURG PLAYERS PRESENT UNFOCUSED

 JESUS CHRIST SUPERSTAR

Theater Babe Says:  Go . . . Because Theatre Should Explore New Approaches Now and Again

There's a lot going on in the Williamsburg Players' production of Jesus Christ Superstar.  In addition to the immense challenge of presenting the show itself – a rock opera that tells the story of the last days of Jesus Christ -- director Jeff Corriveau makes some unusual directorial choices including beginning the show with a pastoral scene in a present day park, utilizing a minimalistic set primarily composed of wheeled picnic tables, and suggesting that Judas Iscariot yearns for Mary Magdalene.  Those choices are creative, but too frequently detract from rather than enhance the essence of the powerful story, with the result that the production as a whole is not entirely successful.

Not unlike a traditional Passion play, the show begins shortly before Christ's triumphant entrance into Jerusalem.  His ministry is at its height, and he is viewed as a threat by the Jewish high priests who fear that his throng of followers will stage a rebellion, dislodging the high priests as the local authority -- and eliciting a crushing response from the Romans.  Superstar at its core presents a highly politicized view of the tale (not surprising, given that it premiered in 1973 as the U.S. began withdrawing troops from the inexpressibly unpopular Vietnam conflict).  Jesus is assailed on all sides – by the people, who demand his attention and healing ... by extremists, represented by Simon, who urge him to use his power over the crowd to overthrow the Roman occupation ... and by more moderate voices, represented by Judas, who fear both that the crowd will turn on Jesus when he fails to meet their ever-increasing expectations and that the Romans will destroy them if they "go too far."  Mary Magdalene, a former prostitute who has joined the ranks of Jesus' disciples, tries to soothe the beleaguered Jesus as she struggles to define her own feelings for him.  Judas betrays Jesus to the high priests, ostensibly because he believes Jesus can no longer control the crowds and fears Roman reprisals and, following a trial conducted by the Roman governor, Pontius Pilate, Jesus is beaten and crucified.

The heart of any opera, rock or otherwise, is the music.  In this production, however, it is not the focal point and the show as a whole suffers as a result.  Mr. Corriveau and the co-music directors, Betsy Forrest and Stephen Mason, perhaps understandably choose to utilize prerecorded instrumentals, but they lack the energy and urgency of a live performance.  The tempos of the music throughout are noticeably slower than one would expect from this score, and while that tempo may permit the actors to enunciate more clearly than would a faster pace, the almost uniform medium speed dilutes the passion that would otherwise be conveyed through the beat.  It also appears that the chorus may not hear the instrumentals well; throughout much of the performance, the ensemble has significant trouble finding and staying on pitch, and when they sing together, they generate an anemic sound rather than the strong, full vocals that would presumably be produced by a crowd so frenzied that individuals and governments alike fear their fervor. 

Part of the problem may be that because the ensemble seems to be in perpetual motion, the vocals become secondary.  Rarely does anyone in this production just stand and sing, letting the music, lyrics and the talent of the actors carry the moment.  For example, in "Hosanna," the crowd circles Jesus as he stands on one of the mobile picnic tables as it is pushed by ensemble members to represent his parade into Jerusalem.  Periodically, the individuals stop where they are to insert a brief dance combination, although the clear intent of choreographer, Dana Margulies Cauthen, is for the few repetitive dance steps to flow in and out of the ensemble's ordinary strides.  The transition, however, is not smooth.  Many of the actors visibly concentrate on the choreography, and their vocal strength and diction diminish each time they redirect their attention from their voices to their feet. 

In Superstar, the crowd is a collective, but integral, character in its own right:  hungry, unpredictable and potentially dangerous; Judas, the high priests, Pilate and even Jesus all react to it, albeit in different ways.  In this production, the ensemble never achieves that level of characterization, with the result that the pervasive fear of inciting a riot that underlies much of the drama lacks credibility, and the concerns vocalized by the main characters have no context.

Perhaps nowhere is this more striking than in the opening song.  During the overture, the cast takes the stage in an idyllic scene that could be in any present day city park.  Couples picnic, a jogger does laps, a maintenance worker collects litter, etc.  Judas, portrayed by PJ Freebourn, bursts into this serenity, voicing his concerns such as "You have set them all on fire! They think they've found the new Messiah. And they'll hurt you when they find they're wrong," and "I am frightened by the crowd, for we are getting much too loud. And they'll crush us if we go too far."  We hear his words, but they are undermined by what we see on the rest of the stage.  That disconnect reverberates throughout the production, causes confusion and prevents us from fully vesting in the characters or their concerns.

Mr. Freebourn's performance is strong and consistent with the director's vision of the role.  As Judas, he is both narrator and protagonist and Mr. Freebourn's diction throughout is clear and precise but is sometimes difficult to hear because of the faint volume; it may be that could be addressed by readjustment of the position of his microphone.  Mr. Freebourn's performance is noticeably more passionate than that of the other main characters and while it teeters slightly into overacting in "Judas' Death," in general if the other leads elevated their energy to the same level as Mr. Freebourn's, the production would be significantly improved. 

The interpretation of Judas in this production, however, is not as layered or interesting as it could be.  This production flirts with the idea that Judas is jealous of Jesus' relationship with Mary Magdalene.  It's an interesting idea perhaps, but one that is not really supported by the musical dialogue.  Most disappointingly, it relegates Judas' character to a small, mean-spirited, little man who betrays Christ only because Mary spurns his advances rather than taking advantage of this show's characterization of Judas readily available in the lyrics, particularly in "Heaven on Their Minds" ("Jesus, you've started to believe the things they say of you. You really do believe this talk of God is true! And all the good you've done will soon be swept away. You've begun to matter more than the things you say ... Listen, Jesus, to the warning I give. Please remember that I want us to live....").  The lyrics depict a man who was fully supportive of Christ's mission to help the poor and to preach forgiveness, but who believed Christ had wrongly bought into the celebrity cult he'd generated to the detriment of the mission -- despite the very real threat of annihilation that could result from continuing on that path.  Here, the love triangle generated by the staging overcomes the view inherent in the work that, despite the uncharitable treatment of Judas throughout history, he was actually a courageous naysayer who stood up to Jesus to raise valid concerns.  But while the Judas character presented here lacks the complexity that could have been exploited, Mr. Freebourn's performance fully embraces this interpretation and is well-portrayed.  Of the three main characters, Mr. Freebourn is the only one who, through the force of his charisma, consistently demands our attention and pushes through the almost constant distractions presented by the staging.  Mr. Freebourn's vocal range meets the considerable challenges of the role and he commendably performs the freestyle notes without screaming them as is sometimes portrayed in this role by a less accomplished singer.

Andrew Smith, who plays Jesus, possesses a beautiful baritone voice best displayed during the lyrical moments of "Gethsemane," but he is miscast.  He is too young to credibly portray the bone-weary Jesus and while his diction is laudably clear we never feel the fury behind the character's despair, we never believe he is overwhelmed by the constant demands placed upon him, we never sense the iron determination that causes him to doggedly pursue his destiny, and when he repeats that he has "tried for three years," we cannot help but think that Christ must have begun his ministry as a very young teen.  Mr. Smith's portrayal is enervated and detached from the events that swirl around him; what is perhaps intended to be a divine otherworldliness too often presents as a vacant, distant stare and we cannot comprehend how this passionless character could have sparked such violent controversy.  Vocally, Mr. Smith is very talented, but he has not yet attained the maturity required to master the extraordinary demands of this challenging role; notes in the center of his range are full and glorious, but the notes on the outskirts are weak, which add to the ineffectualness of this interpretation of Jesus.

As Mary Magdalene, Becky Krantz demonstrates a lovely, pure tone.  Unfortunately, we are cheated out of fully enjoying it during what may be the show's best known song, "I Don't Know How to Love Him," because of the way the number is staged.  At the beginning of her ballad, Jesus and Judas inexplicably enter into an argument complete with flailing arms and other vigorous gesticulation, thereby upstaging Mary and consigning her star moment to a background vocal.  We are distracted, and Ms. Krantz through no fault of her own loses her best chance to present the deeper dimensions of Mary's personality or to generate any real concern for her character.  Similarly, in "Strange Thing Mystifying," the staging implicitly simplifies what could be a more developed character.  By having Jesus sit between Mary's legs as she caresses his bare chest, Mary is depicted merely as Jesus' girlfriend, rather than as an individual who is inspired by Christ's message to step away from her sordid past and to seek something more.  The staging places a sexual connotation on Jesus' claim that "she's with me now," which is belied by the lyrics of Mary's "Everything's Alright" where she tries to soothe and distract Jesus from his many cares so he can simply rest ("Try not to get worried, try not to turn on to problems that upset you, oh don't you know? Everything's alright now everything's fine ... if we try, we'll get by so forget all about us tonight...").  "Could We Start Again, Please?," Ms. Krantz's duet with David Stallings (Peter), is exquisite.  Their voices blend in perfect harmony and it is one of the best moments of the show.

There are several notable portrayals by actors in supporting roles.  Peter Natale's depiction of the chief priest, Caiaphas, is stately and believable and his voice is well-suited to the character.  As King Herod, the regional ruler who is willing to pardon Jesus if only he will perform a little miracle for the court's entertainment, Adam Stillwell is energetic and his diction is admirable, though the decision to dress him in a laughable costume complete with what appear to be purple feathers detracts from his fine performance.  Mr. Corriveau made the uncommon decision to cast a female in the role of Simon, and that choice pays off handsomely in "Simon Zealotes."  Nerissa Thompson utilizes her rich, gospel-esque voice to full advantage and it is a memorable moment. 

As Pilate, Neil Hollands successfully presents what is perhaps the most layered character in this production.  During "Pilate's Dream," Mr. Hollands ruminates upon the strange vision that plagued him in the night, and we feel his perplexity and unease.  His warm tone gives Pilate a depth that could easily be overlooked and it causes us to understand Pilate's quandry better than almost any other character in this performance.  As with other scenes, however, the drama that should be inherent in the "Trial By Pilate" are negated by the chaos of the staging.  While Pilate causes Jesus to be flogged, the choreography focuses our attention on the ensemble and away from either the man ordering the whipping or the man being beaten – the characters who should be the focus of that scene. 

There is an all-too-brief moment depicting the crucifixion where Mr. Corriveau recreates the picture commemorated in millennia of Christian art with Christ on the cross, flanked on each side by the crosses of the two criminals with whom Jesus was killed.  It is powerful, but too brief to evoke from us the full impact of the emotional moment.  In an interesting interpretation, Christ remains on the cross as the rest of the cast reassembles into the pastoral scene in which they started, silently reminding us that the Passion play is as relevant now as it was when it occurred and that it underlies our every day actions. 

The set is clever, but restricting.  The picnic tables are wheeled around in different formations and open up to represent different rooms, but the actors spend a lot of time awkwardly climbing up and seating themselves within the confines of the tables and it again pulls us out of the emotion of the drama.  The costumes, by Lisa Yuhase, are predominantly present-day augmented by various pieces to suggest Christ's historical era.  The vibrantly colored stoles worn by the high priests are very effective.  The burlap thrown about the lepers are out of place in the modern setting and distracting, and the headpiece worn by Pilate is so outrageously large that it undercuts the stern, dominant presence of Mr. Holland's portrayal of the Roman authoritarian.  Constantly through the show there is a lot of movement, and the production would have been immeasurably improved by a stronger lighting design to help us focus on the key players and moments of the drama. 

Bottom line?  Williamsburg Players' production of Jesus Christ Superstar tries many new things, and that is commendable; it is of course much safer to stick to the expected.  While the production would benefit both from some judicious editing of the myriad creative ideas presented and the establishment of a stronger link between those ideas and the material itself, it is a attempt worth the time and the ticket price.

Performances run thru September 22^nd, Thursday – Saturday at 8 p.m. and Saturday at 2 p.m.

at the James-York Playhouse, 200 Hubbard Lane, Williamsburg, Virginia 23185.

Tickets are $18 for adults, $10 for students with id and can be obtained by

calling the box office at (757) 229-0431 or online at williamsburgplayers.org.

© 2012 Hampton Roads Theater Babe.  All Rights Reserved.

ACTORS REPERTORY THEATER'S INAUGURAL PRODUCTION OF 'NIGHT, MOTHER IS PROFOUND AND POWERFUL

Theater Babe Says:  Don't Miss It!

Every now and then, a performance takes the audience on a captivating journey through a broad spectrum of human emotion and leaves us breathless.  A.R.T.'s production of the Pulitzer Prize-winning play, 'night, Mother, succeeds in doing  just that.

Written by Marsha Norman, 'night, Mother tells the harrowing story of a woman's decision to kill herself, and her mother's attempts to avert the tragedy.  In the process, the women uncover previously unexplored truths about each other and their relationships and come to understand each other better than ever before. 

In this production, director Philip Odango wisely selected two equally talented actors who match each other in depth and intensity.  As Jesse, the daughter who makes the fateful decision, Anna Sosa is exquisitely complicated and contradictory:  oddly detached, but fiercely determined ... selfish, but almost obsessively attentive to her mother's needs ... ruthlessly organized and capable, but so mired in self-doubt and despair that she is convinced of her own worthlessness.  The Theater Babe only wishes that Ms. Sosa would cheat her face ever-so-slightly more to the audience; she skillfully conveys much of Jesse's emotion through her eyes and we want to see it better than we can when she stands in complete profile.

Eileen P. Quintin likewise delivers a layered, thoughtful performance as Thelma, a simple, isolated country woman who habitually uses superficial chatter and other distractions to deflect any real intimacy, only to come face-to-face with the consequences of holding everyone at a distance.  She is perhaps younger and more agile than the script envisions, but those traits become negligible as we are drawn ever more fully into her extraordinary  performance.  Ms. Quintin's monologues, in which she takes full advantage of the unique husky timbre of her speaking voice, are astounding and we ache for Thelma even as we recognize the role she played in creating the crisis. 

The play begins with simple dialogue.  The tone is purposefully flat and ordinary.  Even after Jesse announces that she intends to commit suicide that very night, we, like Thelma, don't take the threat seriously.  Ms. Quintin's Thelma is brusque, impatient with what she views as Jesse's nonsense and her attitude is so compelling and pervasive – and Jesse's proclamation is so dispassionate – that we agree with Thelma, and completely miss the steely determination that is the core of Ms. Sosa's depiction of Jesse.

The tone becomes diametrically dark in a single instant.  After Jesse informs Thelma of her fatal intention, Thelma trivializes the remark, and tells Jesse that she's obviously not going to kill herself right before her birthday because then she won't know what gifts everyone got her.  Ms. Sosa's delivery of Jesse's response is spot on and devastating but, even more, Ms. Quintin's wordless reaction is mesmerizing.  From that moment, everything changes.  The tension escalates, there is an urgency that was purposefully lacking during the initial scene, and the stunning performances of Ms. Sosa and Ms. Quintin grip us by the throat and drag us into their frustratingly dysfunctional but not entirely unfamiliar world of missed opportunities and thwarted hopes.  Because while few of us have been driven to the depths so poignantly dramatized here, common themes intertwined throughout the production make us uncomfortably aware that we too can be guilty of demonstrating the unintentional thoughtlessness toward others that is the foundation of their story.

The collaboration between the actors and Mr. Odango is seamless.  Mr. Odango's direction makes effective use of the unconventional set and his instruction coupled with the actors' own instincts shrewdly permit the drama to repeatedly crest and fall – a smart choice, since the difficult subject matter and the intensity with which it is presented would cause the audience to tune out if it were not periodically alleviated by moderation and humor.  Incongruous as it seems, there are some truly funny lines scattered through the play that are well-delivered here by each actor.  The audience's reaction is muted, however, and the Theater Babe suspects that the actors will seldom receive anything more blatant because they so successfully envelop us in their acute crisis that it takes a moment for the quip to register.  We care about the characters crafted by Ms. Quintin and Ms. Sosa – and they so adroitly maintain the tension that we never forget the serious question at the heart of the drama – so it seems almost disrespectful to laugh. 

'night, Mother was first performed professionally in 1983, but it was written two years earlier.  Mr. Odango chooses to set this production in the present day, which occasionally causes a mild disconnect.  There are a few dated references in the script itself, but moreover the credibility of Jesse's plight is compromised somewhat by the technological advances that have occurred in the intervening thirty years.  Today, the advent of the internet, online courses and teleworking give someone in Jesse's position varied opportunities to lead a productive, meaningful life despite the restrictions imposed by her condition.  Setting this play in the twenty-first century lends a dimension of self-pity to Jesse that is perhaps unintended by the playwright; in 2012, Jesse chooses to eschew those opportunities, whereas in 1983 those opportunities simply did not exist.  The disconnect is only marginally distracting, however, and does not diminish the power of the overall performance.  This show is apparently the first production ever presented by the Actors Repertory Theater, and the Theater Babe can only hope it is representative of the quality of work the company intends to produce in the future.

Bottom line?  'night, Mother is a heavy drama and this production does not shy away from its portent.  It is not a fun evening of theatre, but it is magical.  Make the time and buy a ticket for this remarkable production.

Performances run thru September 23^rd

Friday – Saturday at 8 p.m. and Sundays at 2:30 p.m.

at The Venue on 35th

631 35^th Street, Norfolk, Virginia 23508.

Tickets are $15. Reservations can be obtained

by calling The Venue at (757) 469-0337.

© 2012 Hampton Roads Theater Babe.  All Rights Reserved.

PACING PROBLEMATIC IN LTVB'S

I HATE HAMLET

Theater Babe Says:  Go . . . Because How Often Can You See a "Real" Duel??

There are some notable moments in the Little Theatre of Virginia Beach's production of I Hate Hamlet – and the duel is BIG fun.  In general, however, the show suffers from its ponderous pace and desultory direction and never quite lives up to its considerable potential.

I Hate Hamlet begins with the relocation of television star Andrew Rally from Los Angeles to New York City after his series was canceled.  At the urging of his realtor, Felicia Dantine, he moves into the apartment of the late, great Shakespearean actor, John Barrymore.  Despite his personal misgivings, Andrew accepts the title role in Shakespeare in the Park's production of Hamlet, to the delight of his girlfriend, Deirdre, and his agent, Lillian – and the utter mystification of his friend, Gary, who periodically flies in from L.A. in an attempt to convince Andrew to return and sign on to Gary's lucrative but tasteless new television series.  Andrew is conflicted and uncertain he is capable of carrying the monumental role of Hamlet, and is on the brink of calling it off when the ghost of John Barrymore appears, explaining that he is there to mentor Andrew and that he cannot return to the other side until Andrew has performed the part.

The set, designed by Jason Martens, is beautiful and gives the director ample room for creative blocking with its twin staircases that each possess a mid-level landing, and a second floor that runs the length of the stage (although it is peculiar that -- based on the dialogue -- the only door on the top level appears to lead both to the bedroom and directly to the roof).  In the first act, most of the furniture is shrouded in dust covers, but when they are removed to reveal the underlying antiques, the effect is an elegant room worthy of inclusion in the Biltmore Estate.

Director Joan Patterson chooses not to take advantage of the opportunities presented by the set, and the vast majority of the show is played on the mainstage.  Occasionally, an actor wanders up one staircase, across the second level and down the other but the movement is aimless and appears to be motivated by nothing other than some vague recognition that the two-level set should be utilized.  Because the blocking does not put the substantial set to better use, the actors are frequently stranded downstage center in a limited amount of space, which often makes their collective performance seem stilted. 

As Andrew, Greg Dragas does a good job of conveying the angst that the character feels in assuming the daunting task of playing Hamlet.  His diction is laudably clear, and he is handsome and appealing so we believe his Andrew could have been a successful television actor reminiscent of George Clooney in the early days of E.R.  There is, however, a sameness about his performance, both in the measured delivery of his lines and the emotions he evinces – there is no discernable distinction, for example, between Andrew's trepidation about playing Hamlet and his dismay that his girlfriend remains perennially chaste – that is insufficient to drive the story forward.  Because Andrew's dialogue is the pivot around which the plot turns, the pace drags.

Brian Cebrian presents a poised performance as John Barrymore; it takes a supremely confident man to spend two hours dressed in little more than black tights and the Theater Babe applauds his self-assured approach in which he wears his unusual garb as naturally as Fred Astaire wore his tux.  Mr. Cebrian's Barrymore is smooth and sensual, but overall lacks the energy and the mercurialness for which the historical figure was renowned.  There is an all-too-brief moment in the second act when Mr. Cebrian electrifies us with a forceful and magnetic soliloquy, but all-too-soon that power subsides into the mild wit that characterizes the rest of his performance.  Because in this production Barrymore is relaxed and almost laconic, Andrew has no flamboyant foil against which he can banter.  The result is a central storyline that lacks any real tension, and the pace reflects that deficiency.  Different direction of these actors would arguably have created a more interesting result.

The absolute best scene in the show is when Barrymore engages Andrew in a duel.  Mr. Cebrian and Mr. Dragas make the most of the lively choreography by Chris Bernhardt, and for a shining moment their verbal repartee is as animated and dynamic as their swordplay.

Jeremiah Joyce gives a noteworthy performance as Gary, the director who tries to lure Andrew back to L.A.  His patter is quick and persuasive, and there is an appreciable spike in energy whenever he steps onstage.  As Andrew's girlfriend, Deirdre, Abbey Ortiz is almost desperately perky in the opening scene, perhaps in an attempt to combat the lackluster performances of the other supporting actors onstage at that time; Ms. Ortiz's performance improves as the show progresses.  As the realtor, Felicia, Mary Lou Mahlman is miscast.  Even in this age of Cougartown, the disparity between her age and that of Mr. Joyce strains credulity that the characters they play would engage in an impetuous, steamy fling, and her conduction of the séance is too measured to capitalize on the comedy of the moment.  Gillian Spencer's portrayal of Andrew's agent, Lillian, is adequate but her accent is noticeably inconsistent; she becomes distinctly less German as the show drags on.

Light designer Jeff Brangan engineers some entertaining special effects, and his lighting of the "regular" parts of the show is subtle and effective.  The costumes, by Joyce Gaus, Betty Jean Walker and Bob Weaver, are not equally successful.  The Shakespearean tunics – which should run about mid-thigh – are appallingly short.  It appears that the costumers and director watched dress rehearsal from the elevated back row of the theater, and are unaware of the combined effect a short hemline and a raised stage has on patrons seated in other rows.  When Andrew's supporters prepare to watch his debut, they are inexplicably dressed in formal evening wear, although Shakespeare in the Park takes place outdoors on the lawn of Central Park and it is unlikely that either an experienced agent or a native New Yorker would so misjudge appropriate attire for the event.  Felicia is saddled with a floral headpiece that completely covers one side of her head, and because she chooses to spend much of the scene with her face turned away from the audience, all we can see are the blossoms bobbing up and down.  Such easily remedied issues only serve to distract us from the credibility of the performance.

Bottom line?  The set is wonderful, well-lit and worth seeing.  There are some thoroughly entertaining moments in I Hate Hamlet, and if as a whole it never quite attains its considerable potential, it is always worthwhile to support local theatre.

Performances run thru September 30^th, Friday – Saturday at 8 p.m. and Sundays at 2:30 p.m.

at the Little Theatre of Virginia Beach,

550 Barberton Drive, Virginia Beach, Virginia 23451.

Tickets are $17 ($14 for matinees) with discounts for seniors, students and active military. 

Reservations can be obtained by calling the box office at (757) 428-9233

or online at ltvb.com.

© 2012 Hampton Roads Theater Babe.  All Rights Reserved.