tag:blogger.com,1999:blog-4835203545234418432024-03-13T20:01:33.994-07:00INKQUEERYOne *Bi girl's opinion on all things literary, theatrical, cultural, and what this inkqueerying mind happens to comment on (*representation matters). Ms. Turner is a voting member of the Richmond Theatre Critics Circle (RTCC).Julie Turnerhttp://www.blogger.com/profile/06312788430952439358noreply@blogger.comBlogger32125tag:blogger.com,1999:blog-483520354523441843.post-8986998993442099422022-03-26T08:17:00.005-07:002022-03-26T10:51:33.892-07:00Let's Stand Up!<p>The dynamic duo has struck again. Deejay Gray's daring vision, and Chelsea Burke's visionary direction bring to life the 1998 Pulitzer Prize winning <i>How I learned to Drive</i> by Paula Vogel. The innocuous title belies the gut punch of a story. </p><p>I have long admired Gray's willingness to go where others fear to go. Over and over again she brings works that provoke, inspire, challenge, and move. And I've long been a fan of Burke's inspired direction. <i>How I Learned to Drive</i> is this team at its best. </p><p><i>Vogel's </i>exceptional play tells the story of a young girl and the uncle who teaches her much more than just how to drive. It will resonate with all women who have been abused by an older authority figure and lived to tell the tale. For those who have had the good fortune to not experience such abuse, it illuminates just how insidiously and seamlessly a predator can assert his will and power over the people who trust him the most. For all of us, it is a call to action. Inaction never benefits the victim.</p><p>Lil Bit (Juliana Caycedo) and her uncle Peck (Jeffrey Cole) have a special relationship. She relies on him for guidance, and he looks to her for the companionship and intimacy he lacks from his wife. And as often happens with young girls who are victims of predators, her family blames this inappropriate relationship on her feminine wiles, and fiery ways. </p><p>Told through a series of driving lessons that take us from the present lesson - how to accelerate, for example- into reverse- a look at the history of the relationship from where it began, <i>How I Learned to Drive</i> is a surprisingly charming and funny look at a tragic family drama.</p><p>Caycedo and Cole shone in their respective roles, and the support characters portrayed by Bianca Bryan (female Greek chorus), Mahlon Raoufi (male Greek chorus) and the always hilarious Maggie Bavolack (teenage Greek chorus) brought very fine performances.</p><p>This was a tough show to watch. The slow-build of Uncle Peck's praying on Lil Bit made me cringe. Whether you have a "me too" story or not, this experience should leave you very uncomfortable. And that's good. We should squirm. We should be uncomfortable. We should never remain silent.</p><p>Richmond will not be the same when Deejay Gray leaves town. I have counted on Gray and <i>TheatreLab</i> for the kind of theatre that I am most drawn to - theatre that takes a stand, that pushes the envelope, that educates, and that touches our humanity.</p><p>I should note that <i>How I Learned to Drive</i>, like many shows in Richmond, received a standing ovation. However, this ovation was spontaneous and deserved rather than perfunctory. I believe we should be more stingy with our ovations, and do more standing up against injustice. I believe that's what <i>TheatreLab</i> has always been about.</p><p>There are two more opportunities for exceptional theatre before <i>TheatreLab</i> closes its doors and Gray takes flight for New York City. Augusta Wilson's <i>Ma Rainey's Black Bottom</i> directed by Katrinah Carol Lewis opens in April, and Lynn Nottage's <i>Sweat</i> directed by Gray themselves, opens in June. Don't miss out. </p><p>Richmond will be losing a landmark theatre, and an artistic director whose vision will leave an indelible mark on local theatre. </p>Julie Turnerhttp://www.blogger.com/profile/06312788430952439358noreply@blogger.com0tag:blogger.com,1999:blog-483520354523441843.post-73999688153259259832021-10-24T09:01:00.005-07:002021-10-24T12:57:54.657-07:00Peccavi<p>Peccavi. Latin for <i>I have sinned</i>.</p><p>Peccavi. In my thoughts and in my words. In what I have done, and what I have failed to do. </p><p>I am a racist. I want to qualify that with "but not intentionally," and "I'm not as bad as..." But it's important for me to acknowledge. I have said and done things that are racist without thinking. And I have failed to act. </p><p>I have said of a person of color "they are so articulate." While I'd like to think I've also said that about a white person, I can't be certain. I have listened to people, even close friends, question a black person's intelligence or intentions and been silent. </p><p>Silence favors the oppressor. Never the oppressed.</p><p>The spring and summer of 2020 in Richmond, Virginia changed things. The Black Lives Matters protests turned the tables and toppled long-standing statues. They also exposed long-standing prejudice and hatred. I marched in some of those protests. I raised my fists and yelled "Black Lives Matters" until a black woman lovingly pointed out to me that perhaps it wasn't my fist to raise. Perhaps I should march alongside my black brothers and sisters and let them raise their fists, and shout their pain and anger. Perhaps I should march in silence and listen to their voices. </p><p>Last week I saw <i>The Niceties </i>at <i>Conciliation Lab</i> and last night I saw <i>Pipeline</i> at <i>November Theatre.</i> I'm a critic, and it is my job to review-to turn a critical eye- on performances. I'm choosing not to do so now. I am choosing to lower my fist, to march in silence, and to learn. </p><p>I am learning that while we all may share similar situations, our experiences are vastly different. </p><p>When my youngest was twenty, I woke up to a call from my son. The police officer who pulled him over for excessive speed and sat him on the hood of his car and put him in handcuffs let him call my number over and over again until he reached me. I was shaken when I received that call. But I didn't live in fear of it on a daily basis. It never crossed my mind to fear that the officer might kill him. And in our privilege, my son who had been going 99 in a 65 zone, got to keep calling his mom until she picked up. And then he let my son come home to me. Scared and frightened of his mom's response, but not harmed. </p><p>A few years ago I was at Starbucks when a man saw a sticker on my laptop- <i>Let Bi Girls be Bi Girls- </i>and exposed his bigotry and homophobia. "Evil," he whispered in my ear close enough so that his spittle wet my ears. "Your wicked thoughts and impure acts will land you in hell." He towered over me. I was seated in such a way I couldn't get up. Yes, I was frightened and angry. But I could see the baristas watching what was happening. And knew they would step in before I was in any danger. </p><p>I am a white person of privilege. I can display my activism with a sticker on my computer. And I can wear my orientation on my sleeve. But it is not my skin. I can tuck my computer away in a bag, and I can walk hand in hand with my husband and pass for straight. </p><p>As a white person, I have seen myself reflected in almost every place I've walked into. My stories have been told for centuries. My skin color is reflected in history, and my triumphs have been celebrated. It's time for me to step back, to get out of my comfort zone, and to listen to the voices that speak truths that have never been, and will never be, mine. To take my white critical eye and turn it inward, while I take in and embrace and learn from the stories that are not mine to critique. </p><p>It is not the job of people of color to entertain us or make us feel comfortable. Yes, theatre can entertain and comfort, but it ought to also provoke thought, and ask us to question long held beliefs. There have been difficult conversations in the Richmond theatre community over the past few weeks. It is my fervent hope that those of us in a position to do so can use these conversations to build bridges, and mend fences, and transform lives. In the end, aren't we all better off, isn't our community all the richer for the diverse viewpoints and experiences? Shouldn't we all feel that the arts reflect the full spectrum of humanity? </p><p>I say yes. </p><p>Please go see <i>The Niceties</i> and <i>Pipeline</i>. Support local theaters like <i>The Conciliation Lab</i> and <i>Virginia Rep. </i>Read the stories of Dominique Morriseu and Eleanor Burgess. Celebrate the strong and powerful work being done by directors of color like Dr. Tawnya Pettiford-Wates and Katrinah Carol Lewis. Uplift the performances of newcomers to the scene like Mikayla LaShae Bartholomew and Trevor Lawson and seasoned performers like Debra Clinton and Todd Patterson. </p><p>Peccavi. Please forgive me.</p>Julie Turnerhttp://www.blogger.com/profile/06312788430952439358noreply@blogger.com0tag:blogger.com,1999:blog-483520354523441843.post-11834993438194390802021-08-02T18:28:00.002-07:002021-08-02T18:28:10.222-07:00Even If We Suck At It<p>Pivotal moments call us to dig deeper, to draw on inner strength we may not even know we possess. We throw ourselves into the fire knowing we may get burned. And we would do it over and over again. Because some moments call us to love fiercely. Even if we suck at it.</p><p>For Trisha Lee (Marie Lucas) that moment comes when the young, widowed mother is challenged by her daughter, Jolene, in ways that cause Trisha to question everything she knows to be true. Jolene, who sports all black clothing with pink hair, informs her mom that she isn't a girl. At least not all girl. She's also part boy. "Jo" is gender queer - a revelation that will upend everything in Trisha's life. </p><p><i>Richmond Triangle Players</i> returns to theatre with a sucker punch to the gut with <i>The Pink Unicorn</i>, brilliantly directed by Raja Benz who takes Eliser Forier Edie's play, a masterfully written piece of LGBTQIA activism, and creates a moving, thought-provoking, hopeful and gorgeous work of art. </p><p>Marie Lucas is breathtaking in her role as the grieving mom who takes on an entire town in order to advocate for her child whose coming out has lasting implications for the small Texas town.</p><p>Lucas is funny and poignant with a perfect range of emotion. Every step of the way I was rooting for the courageous mama bear learning how to best love her cub. Anything, including accepting that the child she knew as a little girl with a pink unicorn, is their own person, with their own truth. </p><p>Confronting the alphabet soup that is the LGBTQIA umbrella is daunting. Trisha vacillates from terrified and angry to bewildered and ultimately curious and accepting. We learn with Trisha as she educates herself in personal pronouns, gender identities, marginalization, advocacy, and humanity. </p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-Nw3G20IMSNw/YQh6wPAdf7I/AAAAAAAACVY/ooDQ2LdcgMERqRqQARTjWADkEcwyt7w3gCLcBGAsYHQ/s1600/Pink%2BUnicorn.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1068" data-original-width="1600" height="167" src="https://1.bp.blogspot.com/-Nw3G20IMSNw/YQh6wPAdf7I/AAAAAAAACVY/ooDQ2LdcgMERqRqQARTjWADkEcwyt7w3gCLcBGAsYHQ/w249-h167/Pink%2BUnicorn.jpeg" width="249" /></a></div> <span style="font-size: x-small;">Photo Credit: John MacLellan</span><br /><p>Ms. Lucas wears overalls, her hair in braids and tied with a bandana. Around her waist is a tool belt with colored chalk she uses to fill in the chalkboard that provides the three walls of the set. As she narrates Trisha's story, she creates a mural depicting a small town woman learning the world is just a bit bigger and more colorful than the neat and tidy box she's always known. </p><p>In the end, all that matters is love. It's the bottom line. In protecting and loving Jo as fiercely as she can, Trisha takes on her bigoted church, her narrow-minded mother and becomes a reluctant champion of equal rights. Her love is messy. She gets things wrong. She sometimes "sucks" at it. Sometimes it's a snot-nosed, drunken weep fest at the local bar. Other times it is questioning a god who would take her husband, leaving her to navigate uncharted territory alone.</p><p>The lights, the sound, the costuming all enhance what is at its core a beautiful story of a woman learning to expand her worldview to see her child as they are.</p><p><i>The Pink Unicorn</i> is a script I wish I'd written. In Benz's extraordinarily talented hands, with Lucas' gripping performance, <i>The Pink Unicorn</i> is one of the best shows I've seen in a very long time, from a theatre that is often known for light-hearted and fun musicals and cabaret fare. This is a serious piece that leaves no doubt that <i>RTP</i> isn't just about getting laughs, that they take seriously their mission to produce "transformational" theatre "rooted in LGBTQ+ experiences, and supporting and celebrating the development of queer artistry."</p><p>We are not called to be perfect. We are called to show up, to grow, to rise above our limited worldview. And we are called to love - imperfectly. </p><p>Even if we suck at it.</p>Julie Turnerhttp://www.blogger.com/profile/06312788430952439358noreply@blogger.com0tag:blogger.com,1999:blog-483520354523441843.post-87336299750511291692021-07-11T08:22:00.048-07:002021-07-11T08:37:16.379-07:00They Came Back!Yep. They came back indeed. <div><br /></div><div>Socially-distanced, and masked, a respectable crowd of theatre lovers attended <i>VA Rep</i>'s first live production since the pandemic dimmed the lights more than a year ago. </div><div><br /></div><div><i>Ella and Her Fella Frank</i> was a fitting choice for <i>VA Rep</i>'s return. Light fare, familiar music, and two of the most beloved local actors - Scott Wichmann (Frank Sinatra) and Desiree Roots (Ella Fitzgerald). A dip your toes in the water kind of re-entry. Refreshing, not too deep, and fun. </div><div><br /></div><div>This juke box musical was first conceptualized in 1999 by the late Randy Strawderman. With his family in the audience and a dimming of the lights after the show, this memorial performance was a fitting tribute to a man who was an influential part of the Richmond theatre community. </div><div><br /></div><div>Written by Bo Wilson, and directed by Katrinah Carol Lewis, <i>Ella and Her Fella Frank</i> imagines the heavenly reunion of real-life friends Ella Fitzgerald and Frank Sinatra. </div><div><br /></div><div>Roots was resplendent as the legendary Fitzgerald, with truly knockout costuming. And Wichmann, long known for his portrayal of Sinatra, was handsome and charming. Every so often he would glance up to the balcony where his wife was sitting. My heart melted. </div><div><br /></div><div>Roots and Wichmann sang their hearts out with performances of favorites such as 'Lady and the Tramp,' 'Can't We Be Friends,' 'Cheek to Cheek,' and a scat-tastic "It Don't Mean a Thing.'
<div class="separator" style="clear: both;"><a href="https://1.bp.blogspot.com/-TsjuidtBqz0/YOsInLTYwVI/AAAAAAAACUE/cdkISwF0h1MfP6WOV-WyXjsgbarUsOAPACLcBGAsYHQ/s1475/Ella%2Band%2BHer%2BFella.jpeg" style="display: block; padding: 1em 0px; text-align: center;"><img alt="" border="0" data-original-height="866" data-original-width="1475" src="https://1.bp.blogspot.com/-TsjuidtBqz0/YOsInLTYwVI/AAAAAAAACUE/cdkISwF0h1MfP6WOV-WyXjsgbarUsOAPACLcBGAsYHQ/s200/Ella%2Band%2BHer%2BFella.jpeg" width="200" /></a></div>
Unfortunately, the live band often, and in key moments, drowned out their sound. At times it seemed to be the battle of the saxophones rather than the duets of Ella and Frank. </div><div><br /></div><div>It was opening night, so hopefully the sound balance has been worked out. The show really does have the potential to be heavenly. </div><div><br /></div><div>The set was impressive. I loved the globe-shaped lights. The musicians were appropriately and safely spaced. Along with the nuanced lighting, we really did get the feel of being in an intimate night club. </div><div><br /></div><div>And there were several nods to the pandemic. Roots and Wichmann moved around the stage at an arm's length from each other - socially distanced dancing - and each time they tried to touch, there was an invisible shield that drove them apart. </div><div><br /></div><div>Near the end, they were finally able to embrace . . . life beginning to return to normal. </div><div><br /></div><div>As she enters the stage, a look of wonder on her face, Roots comments to band leader/pianist Larri Branch "they came back!" </div><div><br /></div><div>"Yep," was his signature reply. </div><div><br /></div><div> And we did come back. And it felt momentous. There were more than a few tears. I cried a few of them. </div><div>When Phil Whiteway addressed the audience and welcomed them back after the long hiatus, I got choked up. </div><div><br /></div><div><i>VA Rep</i>'s <i>Ella and Her Fella Frank</i> was just the right way to bring back the audience. Congratulations to the entire cast and crew for getting our feet wet after so long out of the water. </div><div><br /></div><div>Performances continue through September 12, 2021. For tickets click <a href="http://tickets.va-rep.org/events">here</a>.</div>Julie Turnerhttp://www.blogger.com/profile/06312788430952439358noreply@blogger.com0tag:blogger.com,1999:blog-483520354523441843.post-16225769947197331322020-10-12T12:08:00.001-07:002020-10-12T12:08:35.380-07:00Telling the Truth - Unusual Politics<div><span style="-webkit-text-stroke-width: 0px; color: #202020; font-size: 15px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="font-family: helvetica;"><b>"We're not going to have the America that we want until we elect leaders who are going to tell the truth - not most days, but every day." </b>- <i>Ann Richards</i></span></span></div><div><span style="-webkit-text-stroke-width: 0px; color: #202020; font-size: 15px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="font-family: helvetica;"></span><i></i><br /></span></div><div><span style="-webkit-text-stroke-width: 0px; color: #202020; font-size: 15px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="font-family: helvetica;">There's nothing "usual" about politics these days nor live theatre in the time of COVID. But there is some hope - for both - and it can be found at <i>Firehouse Theatr</i>e in Holland Taylor's gem of a play, <i>Ann</i>.</span></span></div><div><span style="-webkit-text-stroke-width: 0px; color: #202020; font-size: 15px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="font-family: helvetica;"><br /></span></span></div><div><span style="-webkit-text-stroke-width: 0px; color: #202020; font-size: 15px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="font-family: helvetica;">The larger-than-life former Governor of Texas is channeled by Jaqueline Jones who transforms into Governor Richards before our eyes. Jones' trademark sense of humor and exceptional acting talent are on full display as she gives the audience a glimpse into the life of the boisterous, opinionated, and feminist advocate for the people.</span></span></div><div><br /></div><div><span style="color: #002000;"><span style="font-family: helvetica;"></span><br /></span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-EsTyJnWdbPo/X4ShjcsshNI/AAAAAAAACGw/xG1DQWocYZIZ1iKDxB3iKkxpyM9OR8zzgCLcBGAsYHQ/s2048/2_Jaqueline%2BJones%252C%2Bphoto%2Bby%2BBill%2BSigafoos%2B%25281%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: helvetica;"><img border="0" data-original-height="1463" data-original-width="2048" src="https://1.bp.blogspot.com/-EsTyJnWdbPo/X4ShjcsshNI/AAAAAAAACGw/xG1DQWocYZIZ1iKDxB3iKkxpyM9OR8zzgCLcBGAsYHQ/s320/2_Jaqueline%2BJones%252C%2Bphoto%2Bby%2BBill%2BSigafoos%2B%25281%2529.jpg" width="320" /></span></a></div><span style="font-family: helvetica;"> <span style="font-size: x-small;"> Photo by Bill Sigafoos</span></span></div><div><span style="font-family: helvetica;"></span><br /></div><div><span style="font-family: helvetica;">Ann Richards first came to national attention at the 1988 Democratic Convention and soon was well-known and beloved for her no-nonsense, truth-telling advocacy of the marginalized. <i>Ann</i> takes the audience through Richards' unusual path from the local PTA, a failed marriage, and an alcohol problem, to her one-term governorship. A role which demonstrated to women from all walks of life and political viewpoints that there IS a place for women and it IS in higher office.</span></div><div><br /></div><div><span style="font-family: helvetica;">In addition to Jones' truly rich performance, kudos go out to the top notch production team. Billy Christopher Maupin's direction was seamless, and Todd Labelle's lighting was spot on (pun intended). Granted, she had a load of talent to work with, but Erica Hughes' did a phenomenal job as dialect coach. I watched the 1988 Democratic Convention, and I could sit back, close my eyes and believe I was hearing Governor Richards' voice. </span></div><div><span style="font-family: helvetica;"></span><br /></div><div><span style="font-family: helvetica;">I enjoyed every minute of <i>Ann</i>. </span></div><div><span style="font-family: helvetica;"><br /></span></div><div><span style="font-family: helvetica;">No, there isn't anything usual about politics or theatre these days, but art prevails and feeds our souls even during the worst of times. And <i>Firehouse Theatre (and the entire production team and actors committed to a safe and meaningful experience)</i> makes this possible with contactless performances limited to 2, 4, 6 or 8 (who do we appreciate? <i>Firehouse</i>!) audience members. And select performances are live-streamed (see below for the remaining performance schedule and ticketing information).</span></div><div><span style="-webkit-text-stroke-width: 0px; color: #202020; font-size: 15px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="font-family: helvetica;"></span><br /></span></div><div><span style="color: #002000; font-family: helvetica;"><i>Firehouse Theatre's</i> synopsis of <i>Ann</i> notes "one of Richards' most passionate beliefs was that democracy depended on everyone voting and actively participating in manifesting the ideals of equality and justice for all." </span></div><div><span style="color: #002000;"><span style="font-family: helvetica;"></span><br /></span></div><div><span style="color: #002000; font-family: helvetica;">Go Vote. Our lives and livelihoods hang in the balance.</span></div><div><span style="color: #002000;"></span><span style="color: #002000;"></span><span style="font-family: helvetica;"></span><br /></div><div><span style="-webkit-text-stroke-width: 0px; color: #202020; font-size: 15px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="font-family: helvetica;"></span><br /></span></div><div><span style="font-family: helvetica;"><span style="-webkit-text-stroke-width: 0px; color: #202020; font-size: 15px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><strong>Performance Schedule:</strong><br /></span></span></div><span style="font-family: helvetica;"><span style="-webkit-text-stroke-width: 0px; color: #202020; font-size: 15px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><br />
Fri, Oct 16 @ 7:30pm (capacity of 8)<br />*Sat, Oct 17 @ 7:30pm (capacity of 8)<br />
Sun, Oct 18 @ 4pm (capacity of 8)<br />
Fri, Oct 23 @ 7:30pm (capacity of 8)<br />
Sat, Oct 24 @ 7:30pm (capacity of 8)<br />*Sun, Oct 25 @ 4pm (capacity of 8)</span><br style="-webkit-text-stroke-width: 0px; color: #202020; font-size: 16px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;" /><span style="-webkit-text-stroke-width: 0px; background-color: white; color: #202020; display: inline !important; float: none; font-size: 16px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; line-height: 150%; orphans: 2; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">
</span><em style="-webkit-text-stroke-width: 0px; color: #202020; font-size: 16px; font-style: italic; font-variant: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="font-size: 13px;">*live-streamed performances (capacities are for the performances at Firehouse, not the stream)</span></em><br style="-webkit-text-stroke-width: 0px; color: #202020; font-size: 16px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;" /></span><span style="-webkit-text-stroke-width: 0px; background-color: white; color: #202020; display: inline !important; float: none; font-size: 16px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; line-height: 150%; orphans: 2; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">
</span><br style="-webkit-text-stroke-width: 0px; color: #202020; font-size: 16px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;" /><div><span style="-webkit-text-stroke-width: 0px; color: #202020; font-size: 15px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="font-family: helvetica;"><b>Tickets are available for the live performances at </b> <a data-saferedirecturl="https://www.google.com/url?q=https://firehousetheatre.us12.list-manage.com/track/click?u%3D93fc7da8a939864e61c75a30a%26id%3D176cfe460e%26e%3D7583c8939e&source=gmail&ust=1602612968143000&usg=AFQjCNFitDP_r_ufj4OZtylX9npRx3n6ew" href="https://firehousetheatre.us12.list-manage.com/track/click?u=93fc7da8a939864e61c75a30a&id=176cfe460e&e=7583c8939e" style="color: #007c89; font-weight: normal; text-decoration: underline;" target="_blank">https://www.signupgenius.com/<wbr style="display: inline-block;"></wbr>go/9040c44a5a828a7ff2-ann</a> for a suggested donation of $30 or pay what you will.</span></span></div><div><span style="-webkit-text-stroke-width: 0px; color: #202020; font-size: 15px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="font-family: helvetica;"></span><br /></span></div><span style="-webkit-text-stroke-width: 0px; color: #202020; font-size: 15px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="font-family: helvetica;">And to sign up for one of the two live streamed performance go to<br />
<a data-saferedirecturl="https://www.google.com/url?q=https://firehousetheatre.us12.list-manage.com/track/click?u%3D93fc7da8a939864e61c75a30a%26id%3Df85848a23c%26e%3D7583c8939e&source=gmail&ust=1602612968143000&usg=AFQjCNHmlp7FIL_zBJ5SJgjTJ_UI8iMhyg" href="https://firehousetheatre.us12.list-manage.com/track/click?u=93fc7da8a939864e61c75a30a&id=f85848a23c&e=7583c8939e" style="color: #007c89; font-weight: normal; text-decoration: underline;" target="_blank">https://forms.gle/<wbr style="display: inline-block;"></wbr>dnmhhqXGcjXvs1BLA</a></span></span>Julie Turnerhttp://www.blogger.com/profile/06312788430952439358noreply@blogger.com0tag:blogger.com,1999:blog-483520354523441843.post-86126279363006876522020-07-19T13:10:00.001-07:002020-07-19T13:10:57.847-07:00I'd Sell My Soul<span style="font-family: Arial, Helvetica, sans-serif;">I first read </span><i style="font-family: Arial, Helvetica, sans-serif;">The Picture of Dorian Gray</i><span style="font-family: Arial, Helvetica, sans-serif;"> in high school. It was the late eighties and I remember remarking how "relevant to the times" Oscar Wilde was and "don't we all have something we'd sell our soul for?" in an overly pretentious response to my favorite teacher Mrs. Cappellucci's "What do you like about this book?"</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">Reading <i>Dorian</i> made me feel smart, and grown up. Sophisticated. On each reading I'd pick up something new. An insight into my own character, perhaps, or a quote I'd write in my journal to ponder.</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">So I wasn't sure I wanted to see a stage version of one of my favorites. <i>Firehouse Theatre</i> often brings bold theatre, but would I get anything out of seeing my beloved novel come to life? Would it meet my teenage-romantic expectations? Would it have the same impact?</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">In a word, YES! The first, and by far the best reason to see it? Billy Christopher Maupin is simply superb. So deftly did he embody each character that the transitions from one to the next were seamless. I felt as though Maupin had read my diaries. His Henry, was the Henry I picture. And so with Basil, and Dorian. Maupin is such a skilled actor that each of the dozen or so characters was a creation unto its own, sometimes with just a subtle change in the timbre of his voice, or the placement of his hands. </span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">The second reason? For that I have to go back to the first week in March, and the last live play I saw. I never could have guessed, leaving the theatre that night, that it would be the last opportunity to do something "normal" for some time. And I never would have guessed that four months later, the definition of theatre would have to change. </span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">How the audience experience was executed due to the Covid-19 pandemic is almost as profound as the acting. The three masked audience members - yes, just three- were greeted at the door at 6-foot length with a thermometer check, and an assigned number. I had number 3, so I had to immediately go and wash my hands in the upstairs bathroom. The other guests, 1 and 2, avoided the climb and got the nice new downstairs bathrooms. Our seats were rows apart. The only non-masked person was Maupin, and what a metaphor that was for the interpretation of <i>Dorian Gray</i>.</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;"> Usually, there is at least some crinkling wrapping paper, an untimely laugh or cough. Some audience noise that reminds me that this is live theatre. Instead, this experience felt so intimate. And the lack of audience feedback noise meant that I heard every word, and every sound. Would I have noticed Scott Burton's use of crickets for sound backdrop? I'm not so sure I would have. But really hearing all the sounds added a dimension that took my viewing experience to a new level. And not just Burton, but the entire production team deserves a shout out. </span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;"><i></i>The 19th-century gothic novel was adapted for the stage by Shirley Kagan and Billy Christopher Maupin. Ms. Kagan also directed the adaptation for the world premier at <i>Firehouse Theatre</i>. <i>Dorian</i> continues through August 7, 2020 at <i>Firehouse Theatre</i>.<br /><span class="color_20" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: 0px 0px; background-repeat: initial; background-size: initial; border: 0px; color: black; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"></span><span class="color_20" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: 0px 0px; background-repeat: initial; background-size: initial; border: 0px; color: black; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"> </span><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: 0px 0px; background-repeat: initial; background-size: initial; border: 0px; color: black; font-size: 15px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><br /></span><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: 0px 0px; background-repeat: initial; background-size: initial; border: 0px; color: black; font-size: 15px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">While I know that most of us would sell our souls to have these uneasy and frightening times behind us, I think I'd sell my soul to see Maupin bring <i>Dorian Gray</i> to life for the first time again.</span><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: 0px 0px; background-repeat: initial; background-size: initial; border: 0px; color: black; font-size: 15px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"></span><br /></span></div>
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Julie Turnerhttp://www.blogger.com/profile/06312788430952439358noreply@blogger.com0tag:blogger.com,1999:blog-483520354523441843.post-20575410244495366272020-03-08T15:05:00.000-07:002020-03-08T15:05:59.582-07:00Mounting the Rostrum<span style="font-family: "open sans" , sans-serif; font-size: 16px;">"Women have the right to mount the scaffold; they should likewise have the right to mount the rostrum." - Olympe de Gouges</span><br />
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<span style="font-family: "open sans" , sans-serif; font-size: 16px;">And mount the rostrum they do. </span><br />
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<span style="font-family: "open sans" , sans-serif; font-size: 16px;">Four of the most badass women in Richmond - all at the top of their craft - come together under the direction of a fifth badass woman - and have our full attention. </span><br />
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<span style="font-family: "open sans" , sans-serif; font-size: 16px;">Laura Grunderson's play </span><i><span style="font-family: "open sans" , sans-serif; font-size: 16px;">T</span><span style="font-family: "open sans", sans-serif; font-size: 16px;">he Revol</span><span style="font-family: "open sans", sans-serif; font-size: 16px;">utionists</span></i><span style="font-family: "open sans", sans-serif; font-size: 16px;"> is a comi-tragedy about four women revolutionaries set during the French Revolution's Reign of Terror, a time of mass hysteria and public executions. </span><br />
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<span style="font-family: "open sans" , sans-serif; font-size: 16px;"><i>The Revolutionists</i> is based on four actual historical figures: playwright Olympe de Gouges, political assassin Charlotte Corday, Marie Antoinette, and the face of the French Revolution herself - Marianne (known as Marianne Angell in the play) - whose image lives on today in statues, coins and stamps. </span><br />
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<span style="font-family: "open sans" , sans-serif; font-size: 16px;">As the play opens, Olympe de Gouges (Maggie Roop) faces her own beheading and imagines writing a play with a different outcome. De Gouges is an intellectual force in her own right and threatens the monarchy. </span><br />
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<span style="font-family: "open sans" , sans-serif; font-size: 16px;">As she sets about rewriting her own story, she is called upon by political assassin Charlotte Corday ( Lydia Hynes)- who has fatally stabbed Marat in his bathtub - to write Charlotte's final words before facing her executioner. </span><br />
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<span style="font-family: "open sans" , sans-serif; font-size: 16px;">Marianne Angell (Katrinah Carol Lewis) comes to De Gouges for pamphlets in support of her cause of abolishing slavery in the Caribbean colonies. </span><br />
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<span style="font-family: "open sans" , sans-serif; font-size: 16px;">And Marie Antoinette (Maggie Bavolack) just wants a more favorable telling. </span><br />
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<span style="font-family: "open sans", sans-serif; font-size: 16px;"><i>The Revolutionists</i> is a play-within-a-play. A *meta* play about art and theatre and power. Grunderson's script sometimes feels more concerned with the meta than the immediate. It tends towards the intellectual. However, this dynamic ensemble of extraordinary women under Chelsea Burke's adroit direction give it all the heart and soul to elevate the play to something fierce and powerful.</span><br />
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<a href="https://1.bp.blogspot.com/-t5c6C0O7wKc/XmVodxVIbgI/AAAAAAAAB5Q/Hnfk8yXDcIoXriRnCJ4U2-0p8c181vx4gCLcBGAsYHQ/s1600/The%2BRevolutionists%2B-%2BPhoto%2Bby%2BTom%2BTopinka5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1067" data-original-width="1600" height="213" src="https://1.bp.blogspot.com/-t5c6C0O7wKc/XmVodxVIbgI/AAAAAAAAB5Q/Hnfk8yXDcIoXriRnCJ4U2-0p8c181vx4gCLcBGAsYHQ/s320/The%2BRevolutionists%2B-%2BPhoto%2Bby%2BTom%2BTopinka5.jpg" width="320" /></a></div>
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<span style="font-family: "open sans" , sans-serif; font-size: x-small;">Photo Credit: Tom Topinka</span><span style="font-family: "open sans", sans-serif;"> </span></div>
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<span style="font-family: open sans, sans-serif;">Though the French Revolution and the Reign of Terror are more than two hundred years past, the play is more than relevant to the 21st century. </span><br />
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<span style="font-family: open sans, sans-serif;">In just the last week, women are mourning the dissolution of Elizabeth Warren's campaign for president. She may have mounted the rostrum, but a woman still has yet to lead the helm. </span><br />
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<span style="font-family: open sans, sans-serif;"><i>TheatreLAB's</i> <i>The Revolutionists</i> is a call for the women revolutionaries of our time to stay the course. Our stories are powerful, after all, and we will no longer let them be rewritten by the patriarchy. </span><br />
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<span style="font-family: "open sans", sans-serif; font-size: 16px;"><i>The Revolutionists </i>continues at TheatreLAB's The Basement through March 21. For tickets </span><span style="font-family: "open sans", sans-serif; font-size: 16px;">click </span><a href="https://tlab-internet.choicecrm.net/templates/TLAB/#/events" style="font-family: "open sans", sans-serif; font-size: 16px;">here</a><span style="font-family: "open sans", sans-serif; font-size: 16px;">. </span></div>
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Julie Turnerhttp://www.blogger.com/profile/06312788430952439358noreply@blogger.com1tag:blogger.com,1999:blog-483520354523441843.post-77243096836543458322020-02-13T01:25:00.000-08:002020-02-13T01:25:11.066-08:00Theatre As TherapyIt is 3 a.m. and insomnia has reared its ugly head. Wouldn't it be more romantic to say the muse has struck and she calls me to write? Yes, but it wouldn't be the whole truth. Mental Illness Awareness Month isn't until May. But I'm aware of my own mental illness every month. And most days.<br />
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As an extroverted introvert who suffers from social anxiety and depression, my mental illness can be a little perplexing. I really *do* want to get together for coffee. And I also cancel a lot because I'm so tired - mentally, physically, and spiritually, that sometimes getting out of bed requires more energy than I can muster. I walk a fine line between soul-replenishing long naps all about self-care, and avoidance naps . . . sleeping to escape the anxiety of being social when my brain chemistry is out of whack.<br />
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I take Prozac and Busbar. I go to therapy. All necessary to ensure I can remain a responsible, functioning adult. That I can get up and go to work, feed the dog, love my husband, and be present for my adult children on those occasions they still need me.<br />
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My therapist practices Cognitive Behavioral Therapy techniques. My favorite is the grounding chair. And my favorite seat is the one that puts me in the middle of an audience excited to see the latest production.<br />
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And so I go to the theatre. As a member of the <i>Richmond Theatre Critics Circle</i>, that's my *job.* But it is also my therapy.<br />
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I am not a doctor and so this is not medical advice, but I prescribe the following:<br />
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Quill Theatre's <i>Rosencrantz and Guildenstern Are Dead </i>closes soon, but there's still time to see Tom Stoppard's award-winning play. Influenced by Beckett's <i>Waiting for Godot </i>and using text directly from Shakespeare's <i>Hamlet,</i> this play is a love affair to the tragicomedy, and wordplay. It is the story of two minor Hamlet characters - Rosencrantz and Guildenstern - who are dead- and turns them into the bumbling lead actors in their own melodrama wondering why in the world they are not part of the play that is being staged all around them.<br />
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Quill's production is brilliantly directed by James Ricks. I was utterly mesmerized by the interplay between Tyler Stevens (Rosencrantz) and Adam Turck (Guildenstern). Joe Pabst is resplendent as the Player King with his stellar cast of Tragedians (Cedar Curran, Joel Kimling and Josh Mullins). The *minor* characters in Stoppard's play are Hamlet (Joel White), Ophelia (Mia Richards), Claudius (Travis Williams), Gertrude (Donna Marie Miller) and Polonius (Bill Blair). All give exceptional performances.<br />
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Theatre is better than Prozac.<br />
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And it is not too late to pick up your prescription.<br />
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<i>Rosencrantz and Guildenstern Are Dead</i> runs through February 16 at Dominion Energy Center. For tickets click <a href="https://www.dominionenergycenter.com/tickets-events/ticket-info">here.</a><br />
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<br />Julie Turnerhttp://www.blogger.com/profile/06312788430952439358noreply@blogger.com35tag:blogger.com,1999:blog-483520354523441843.post-15406520888713533682019-11-28T07:37:00.002-08:002019-11-28T09:21:55.216-08:00Pee Power to the People!<div class="font_8" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: 0px 0px; background-repeat: initial; background-size: initial; border: 0px; font-family: "Open Sans", sans-serif; font-size: 13px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; outline: 0px; padding: 0px; pointer-events: auto; vertical-align: baseline;">
<span style="background-color: white; color: #303030; font-family: "tahoma" , "verdana" , sans-serif; font-size: 12px;">Peeing is a very personal matter. And unless you're in a third world country with limited resources or are transgender in a hostile political climate in which where you pee is a matter of debate, urinating is something we generally take for granted. For most of us, when we've GOT to go, we GET to go. </span></div>
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</span> <span style="background-color: white; color: #303030; font-family: "tahoma" , "verdana" , sans-serif; font-size: 12px;">In <i>Urinetown</i>, the power struggle between the poor and the wealthy centers around a 20-year drought which has caused a water shortage. Private bathrooms are a thing of the past. And the evil corporation Urine Good Company, run by CEO Caldwell B. Cladwell , controls the city's bathrooms.</span><br />
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</span> <span style="background-color: white; color: #303030; font-family: "tahoma" , "verdana" , sans-serif; font-size: 12px;">If you ain't got the dough, you don't get to go. But mother nature is a bitch, and sometimes that means you go wherever you can. In Urinetown, public urination is a jailable offense. And Officers Lockstock and Barrel are deadly serious in their pee patrol. </span><br />
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<span style="font-size: xx-small;">Photo Credit: Tom Topinka</span></div>
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</span> <span style="background-color: white; color: #303030; font-family: "tahoma" , "verdana" , sans-serif; font-size: 12px;">When Cladwell's daughter, Hope, falls in love with Bobby Strong, the leader of the people's resistance, all hell breaks loose and hilarity ensues. <i>Urinetown</i> is a uproarious comedy about class warfare.</span><br />
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</span> <span style="background-color: white; color: #303030; font-family: "tahoma" , "verdana" , sans-serif; font-size: 12px;">I love new discoveries. I came to <i>Urinetown </i>with no idea what it was about. I left a fan.</span><br />
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</span> <span style="background-color: white; color: #303030; font-family: "tahoma" , "verdana" , sans-serif; font-size: 12px;">Under Matt Polson's skillful direction, and with a stellar cast, this was a theatrical experience I won't soon forget. Kudos to Matt Shofner (Bobby Strong), Madison Hatfield (Hope Cladwell), Michaela Nicole (Penelope Pennywise), Caldwell B. Cladwell (Luke Schares), Kelsey Cordrey (Little Sally), Bianca Bryan (Officer Lockstock), Travis West (Officer Barrel/Piano), Levi Meerovich (Hot Blades Harry/Piano), Allisan Paige Gilman (Little Becky Two Shoes), Lennon Hu (Senator Fipp/Bass), Maggie Bavolack (Josephine Strong/Clarinet), Anne Michelle Forbes (Soupy Sue) and Joe Lubman (drums). Each and every one had stand-out performances with top notch voices and acting. </span><br />
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</span> <span style="background-color: white; color: #303030; font-family: "tahoma" , "verdana" , sans-serif; font-size: 12px;">And c</span><span style="background-color: white; color: #303030; font-family: "tahoma" , "verdana" , sans-serif; font-size: 12px;">ongratulations go to Travis West for his clever musical direction. And Nicole Morris-Anastasi knocked it out of the park with her choreography. Set design, costuming, lighting, and sound were all exceptional. </span><br />
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</span> <span style="background-color: white; color: #303030; font-family: "tahoma" , "verdana" , sans-serif; font-size: 12px;"><i>Urinetown</i> is a true ensemble performance without a weak link. </span><br />
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<span style="background-color: white; color: #303030; font-family: "tahoma" , "verdana" , sans-serif; font-size: 12px;"><i>Urinetown</i> (music and lyrics by Mark Hollmann and Books and Lyrics by Greg Kotis) first debuted in 2001, and is set in the early 1900's, however it's timeless in its depiction of power versus poverty. There's another musical in town right now. Thousands are paying top price to see a show with similar themes. Wouldn't it be wonderful if even just one percent of the people paying top dollar for *that* show could support local theatre. With <i>Urinetown,</i> they'd get their money's worth tenfold. </span></div>
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</span> <span style="background-color: white; color: #303030; font-family: "tahoma" , "verdana" , sans-serif; font-size: 12px;"><i>Urinetown </i>runs through December 28 at <i>TheatreLAB's The Basement.</i> For tickets, <a href="https://tlab-internet.choicecrm.net/templates/TLAB/#/events" target="_blank">click here</a>. </span><br />
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</span> <span style="background-color: white; color: #303030; font-family: "tahoma" , "verdana" , sans-serif; font-size: 12px;">Not only do you experience great theatre, but you can pee for free without being arrested. Although Bryan's Officer Lockstock is so sexy you might just want to be handcuffed.</span>Julie Turnerhttp://www.blogger.com/profile/06312788430952439358noreply@blogger.com1tag:blogger.com,1999:blog-483520354523441843.post-77621597051792329982019-11-21T08:26:00.003-08:002019-11-21T08:28:36.890-08:00Officially Holiday SeasonThere are plenty of indications the holiday season is in full force. Whether we like it or not. Christmas trees at Walmart, holiday music on loop at Mix 98.1 F.M, peppermint mochas at Starbucks,! ornaments and bells galore - even Santa - in my office.<br />
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But it is NOT officially the holiday season until <i>Richmond Triangle Player</i>s does their annual show.<br />
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This year's selection, <i>Times Square Angels</i> is a hit! With drag queens, lovestruck Romeos, sinister villains and naughty angels giggling and acting up when they think God (voiced by Susan Sanford) isn't paying attention, <i>RTP</i>'s production of Charles Busch's renowned play is the perfect way to officially welcome the holiday season.<br />
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Irish O'Flanagan (Wette Midler a/k/a Luke Newsome) is a second-rate night club performer fighting to keep her place as the center of attention. She falls in with the wrong crowd - Chick La Fountain (Eddie Webster) and his cronies - and heads down a dangerous path. Albert hopes to show her the error of her ways and give her one last chance to turn her life around. And while Irish has a tendency to alienate those who could most help her - seasoned performer Helen Sternhan (Michael Hawke) for example - underneath the corsets she has a heart of gold and earns the loyalty of old friend and lovestruck Eddie (endearingly played by Carlen Kernish) and her maid, Peona (Nora Ogunleye).<br />
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Luke Newsome (Richmond drag queen Wette Midler) is stunning in red evening gown (Alex Valentin's costumes are lovely) and gorgeous Joel-Furtick wig. And her performance as Irish O'Flanagan is sweet and charming.<br />
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I'd like to come out (pun intended) and confess my crush on Jeffrey Cole who is devilishly handsome and charming in the role of the less-than-angelic Albert trying to earn his place in Heaven.</div>
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<i>Times Square Angels</i> is not a sophisticated story. And it doesn't need to be. It's sweetly reminiscent of holiday classics such as <i>It's a Wonderful Life </i>and <i>A Christmas Carol. </i>Melissa Rayford deftly directs this nostalgic, heartfelt, and joyful audience-pleasing holiday gem.<br />
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There's an encore at the end - a fun sing-a-long with cast members lip syncing their hearts out to our favorite Yuletide tunes. Helen's <i>Auld Lange Syne</i> as the swan song is nostalgic and tender. A perfect way to end a show about second chances, and the true meaning of the holiday spirit.<br />
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You can catch Times Square Angel through December 21, 2019. To purchase tickets <a href="https://rtriangle.secure.force.com/ticket#/" target="_blank">click here</a>.<br />
<br />Julie Turnerhttp://www.blogger.com/profile/06312788430952439358noreply@blogger.com0tag:blogger.com,1999:blog-483520354523441843.post-29599653716107106662019-10-26T10:15:00.000-07:002019-10-26T10:15:20.287-07:00I WANNA BE DIRTYGimme an "M," gimme an "O," gimme an "R," gimme a "G," gimme an "A," gimme an "N." What does that spell? Jim Morgan as one damn fine Frank 'N' Furter. Can I get some tips on makeup and walking in heels?<br />
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I've seen <i>The Rocky Horror Picture Show</i> at least half a dozen times, the movie and stage productions. So I'm no virgin, but I'm not quite a slut, either. Michael Hawke's fabulous direction of this cult classic was so sexy I came twice. To the show.<br />
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Stephen King warns of using too many superlatives as a sign of a lazy writer, but I can't help but gush. It's astounding. From the wildly creative direction, fantastic music, gorgeous costuming, phenomenal choreography - some of the most fun use of the ensemble dancers I've seen - and incredible hair and makeup (Joel Furtick, my new favorite color is Magenta!), <i>Richmond Triangle Player</i>'s production of <i>Rocky Horror Picture Show</i> was a smash success, the entire run sold out before the show even began.<br />
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<i>RHPS</i> holds special memories for me. I can associate particular memories with specific songs and moments in time. But this production was hands down my favorite. I already mentioned the incredibly sexy (and mega talented) Jim Morgan, but the entire cast was terrific.<br />
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Levi Meerovich's Riff Raff was stunning. Deliciously creepy, and man does he have pipes. Even the narrator (Jeffrey Cole) had sex appeal. I love a man in a smoking jacket pipe in hand. Brad (Luke Newsome) and Janet (Madeleine Witmer) were absolutely charming as the naive newly engaged couple whose car breaks down on a stormy night outside a strange castle. And their transformation from nice to naughty was tantalizing.<br />
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Although Adam Turck doesn't have the strongest voice, his physique and boyish charm were well-suited to the role of Rocky, Frank ' N' Furter's "creation." I was delighted to see the return of Carlen Kernish as both Eddie and Dr. Scott.<br />
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While <i>RHPS</i> may not be everyone's cup of tea, this production at <i>Richmond Triangle Players</i> was thrilling, chilling . . . and fulfilling.<br />
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Please bring this show back so that we can all do the Time Warp again!<br />
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<br />Julie Turnerhttp://www.blogger.com/profile/06312788430952439358noreply@blogger.com1tag:blogger.com,1999:blog-483520354523441843.post-78742180825192353502019-09-28T08:45:00.003-07:002019-09-28T08:45:42.664-07:00I'm a Little Bit RacistThe October 7, 2019 issue of <i>People</i> magazine arrived in my mailbox yesterday. I've somehow accidentally subscribed to a magazine I never read. Most issues have gone straight to a pile on my bookcase. <i>Who knows, maybe I'll need magazines for a collage or something?</i> But this latest issue caught my eye: A photograph of Felicity Huffman with the caption "Facing Her Fate." Huffman is facing prison time for her role in a college admissions scandal - cheating to get her own children into elite schools. <div>
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<i>TheatreLAB</i> opens its 2019-2020 Season - <i>Power and Privilege </i>- with <i>Admissions, </i>which may as well be the Huffman scandal but set at Hillcrest, an elite co-ed college prep school. </div>
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Joshua Harmon's award-winning play is a scathing critique of power, privilege, and hypocrisy where passionately held views collide with personal experience. In the hands of Director DeeJay Gray and a stellar cast of some of Richmond's most talented actors, the show comes alive and the audience is left questioning their values, beliefs, and behaviors. I left the show feeling uncomfortable. <i>Am I a racist?</i></div>
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Sherri Rosen-Mason (Donna Marie Miller) is the admissions director who has made it her life's mission to make Hillcrest's milky white student population more diverse. When their diversity numbers hit eighteen percent, she celebrates with her husband, Bill (David Clarke), the progressive headmaster and English teacher at the Academy. They drink champagne, and stroke their egos for all the good and heartfelt work they've done.</div>
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But when their son, Charlie (Tyler Stevens) is wait-listed at Yale, and his good friend Perry - who happens to be biracial - gets in, their hypocrisy is exposed. Charlie goes on a verbal rant that is spoiled, white privilege personified. Stevens' self-pitying, spoiled-rich-boy monologue is one of the standout moments of the show. </div>
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Charlie and Perry are friends. But Charlie <i>knows </i>he's the superior student. So there must be <i>another </i>reason that Perry got in and he didn't. Another standout moment happens when Ginny (Sara Collazo), Perry's mom, confronts her good friend, Sherri, and calls her out on her white privilege. Ginny demands Sherri acknowledge that whether she likes it or not, she <i>does </i>believe that Perry got the spot at Yale . . . because he's black. </div>
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Providing comic relief is comedienne extraordinaire, Jackie Jones as Roberta, an older administrator at Hillcrest who is charged with compiling pictures for the school catalogue. When Sherri informs Roberta the catalogue doesn't reflect their student population, and that she needs to get more representative photographs, Roberta awkwardly navigates the new lingo of political correctness. We squirm as Roberta tries to get clarity on what her boss wants. Roberta states that she doesn't see color - a phrase about as cringe-worthy as 'I'm not racist, I have black friends.' Trying to understand her boss's concerns, she further puts her foot in her mouth, asking clarifying questions such as "do you mean darker ?" </div>
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I am not color blind. I do see color. And sometimes that makes me an unintentional racist. I truly believe my heart and convictions are in the right place. But as a woman who grew up in an upper middle class mostly white neighborhood I've internalized some racist tendencies. I'm not proud of it, and I work hard to overcome those tendencies. I'm reminded of the song from <i>Avenue Q: Everyone's a Little Bit Racist.</i></div>
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From costumes and set to extraordinary performances by Donna Marie Miller, David Clark, Tyler Stevens, Sara Collazo, and Jaqueline Jones, <i>Admissions</i> knocks it out of the park. If this production is any indication, we're in for one hell of a season at <i>TheatreLAB</i>. Be prepared to squirm and have to face your own power and privilege in the mirror.</div>
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Julie Turnerhttp://www.blogger.com/profile/06312788430952439358noreply@blogger.com2tag:blogger.com,1999:blog-483520354523441843.post-88274185940240446342019-09-14T06:22:00.000-07:002019-09-14T06:24:39.107-07:00The Games We PlayForrest Gump was wrong. Life is like a game of chess. We play by the rules, and the roles - king, queen, rook and pawn - are set by a society that likes order and conformity. But what happens when there are too many queens, or the pawn makes an unexpected move? The board is upended and we are left crawling on our hands and knees to reassemble the pieces into love....messy, complicated, chaotic. But real.<br />
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It is 1979 and Act One of <i>Falsettos</i> opens with the quartet of Marvin (Matt Shofner), Whizzer (Durron Marquis Tyre), Jason (Rowan Sharma) and Mendel (Dan Cimo) romping around the stage bitching about their quirky, unconventional lives. The opening musical number, "Four Jews in a Room Bitching," is hilarious, and upbeat, and sets the bar high - fantastic singing and lightening-paced choreography.<br />
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Marvin is a self-absorbed, rich business man who has left his wife, Trina (Casey Payne) and their son Jason for his gay lover Whizzer. Add in Mendel (Dan Cimo) who is Marvin's therapist and you've got a complicated game-board. Which gets even more complicated when Mendel falls in love with Trina, and neurotic Marvin loses a his shrink.<br />
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Bring the tissues for Act Two. By now we are invested in the characters - warts and all - It is 1981 and so much has changed in three years. Marvin has matured. He lives in an apartment where Jason spends his weekends, befriends the neighboring lesbian couple (Kelsey Cordroy as Dr. Charlotte and Rachel Marrs as Cordelia) and co-parents Jason with Trina and Mendel. This cobbled-together chosen family has completely captured our hearts as we build towards Jason's Bar Mitzvah. But by 1981 the landscape has changed in the gay community and something bad is happening. Dr. Charlotte is increasingly distressed by the patterns she is seeing as a hospital internist. When Whizzer collapses during a game of racketball the frightening, mysterious disease hits close to home.<br />
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<i>Falsettos</i> is marvelous. Bravo to Debra Clinton for directing and choreographing one of the most moving pieces of musical theatre I've seen. I was 11 in 1981. But 10 years later I would lose my dear friend Chris to A.I.D.S. For those of us in the audience who have experienced that devastating loss, <i>Falsettos </i>takes on a deeper level of meaning.<br />
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The performances never let up. As an ensemble the cast of <i>Falsettos</i> is the Gary Kasparov of musical theatre. And each individual performance was stellar. I sat next to Rowan Sharma's mom. She commented on the pressure of being the only kid in a show full of superbly talented actors. Ms. Sharma, Rowan held his own every step and note of the way.<br />
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There was no one standout performance; each actor had their own standout moment: Shofner's angelic voice soared with "I Never Wanted to Love You," Ms. Payne gutted me with "I'm Breaking Down," and I'm still not over Tyre's "You Gotta Die Sometime."<br />
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My only issue with the show was with the set. It felt cobbled together, too. I'm sure the crooked, empty frames on the walls the characters rearranged from time to time had a purpose. But I didn't get it.<br />
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<i>Falsettos </i>earned every second of the standing ovation. This morning my heart is still aching, but is more full, too. Here's to upending the game board of life and crawling on our knees through the muck and stink and chaos of life. Here's to upending our prescribed roles, and turning the game of life into a song of love.<br />
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Falsettos continues through October 5 at Richmond Triangle Players' Robert B. Moss Theatre. To purchase tickets, <a href="https://rtriangle.secure.force.com/ticket#/" target="_blank">click here</a>.<br />
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<br />Julie Turnerhttp://www.blogger.com/profile/06312788430952439358noreply@blogger.com241tag:blogger.com,1999:blog-483520354523441843.post-40770604437407958572019-08-20T19:08:00.002-07:002019-08-21T15:10:08.444-07:00Level UpI have never made it past level 1 on a video game. The last time I played, I got vertigo. Three months later a large ocean wave tumbled me around in the surf and knocked the crystals back in place. I've never understood the fascination with video games and would grumble when my kids spent hours in front of the screen.<br />
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But Dante Piro's debut play, <i>Level 4,</i> gave me an entirely new perspective; and a better understanding of the allure of the game.<br />
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Piro, a video game enthusiast himself, wrote the script after finishing one of his all-time favorite games. After basking in the accolades and closing credits, waiting for the game to reset, he realized "it wasn't going to end . . . the only way to stop this was to turn it off. And I didn't want to do it. I wanted to stay in that moment forever."<br />
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He wrote<em> Level 4</em> to explore the sense of loss he experienced when his beloved game was over. But rather than write about the game from his experience, he wrote <i>Level 4 </i>from inside the game. What did it feel like when the world went dark. From the inside.<br />
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<i>Level 4</i> is about more than just video games. It is about perseverance, teamwork, and about empathy - putting ourselves in someone else's shoes. Even if that someone else is not real. I may not be a gamer; but I've mourned the ending of a novel, and felt as if I'd lost someone I loved. I can empathize.<br />
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The show was ably directed by Chelsea Burke. And the acting was quite strong. Adam Turck was charming as The Hero playing his way through <i>Karma Quest.</i> Chris Klinger's Light Lord, the main character in the video game, gave a nuanced and compelling performance. Adam Valentine was delightful as Light Lord's sidekick Strobe. Levi Meerovtich as Mertens, guardian of the game's arsenal, was hilarious at times. And Breezy Potter rounded out of the cast as The Heroine and Tammy. I wanted to see more of her on stage. Her supporting characters were well-developed and distinct.<br />
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Despite being too long - in both acts - the play was quirky and funny. A bit of tightening of the dialogue might have helped with some slow pacing and brought out even more of the very witty one-liners.<br />
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Kudoes to <i>TheatreLAB</i> for spotlighting a local playwright. It's exciting to be in the audience of a world premier event.<br />
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<em>Level 4</em> continues through August 31, 2019 at TheatreLAB. For tickets <a href="https://www.theatrelabrva.org/?fbclid=IwAR2MM6b1BZOQO15YyJ87zTZ9h5a4js5OWdwOeUsoi8rBdfL-5s8nwYiQB1Y" target="_blank">click here</a>.<br />
<br />Julie Turnerhttp://www.blogger.com/profile/06312788430952439358noreply@blogger.com0tag:blogger.com,1999:blog-483520354523441843.post-19788456842883963602019-07-24T22:02:00.001-07:002019-07-24T22:02:36.604-07:00The "P" Word"I found her diary underneath the tree, and started reading about me." Words from a <i>Bread</i> song I probably first heard around the same time I first heard the word "pussy." I still know all the words to the song, and still cringe at the "P" word.<br />
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At that time, the "P" word was used almost exclusively as a pejorative or sexual term. Something said to hurt someone deeply or used sexually - often pornographically. It is no longer the dirty little secret seldom whispered in public. It is a battle cry for women reclaiming their power (think of the "pussy hat" phenomenon for the <i>Women's March</i>). For the girls of <i>Dance Nation</i> and Teacher Pat's (Chris Klinger) dance team preparing for regionals and beyond, it is a mantra of primal power and discovery.<br />
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Clare Barron's pulitzer prize-nominated play <i>Dance Nation</i> is a brilliant exploration of the pressures of teenage adolescence with some supernatural twists and turns and a sarcastic and caustic sense of humor. It is also a tough, provocative, combative, and in your face drama not for the feint of heart.<br />
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Watching<i> Dance Nation</i> was like being exposed to my 13-year-old self in all its tumultuous glory (that feeling you get when someone reads your diary, maybe?). I was even part of a competitive team - marching band for me - complete with the coach's inspired pep talks pre-competition and a choreographed team cheer. And while I was contending with my menstrual cycle and struggling with my sexual orientation, my friend Brook - much like Connie (Sanam Laila Hashemi) - was still playing with Barbie dolls.<br />
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Amina (Lydia Hynes) and Zuzu (Trinitee Pearson) competing for the right for the coveted solo might as well have been the infamous battle over first and second chair waged between me and my friend Renee. It was technical skill versus passion, and depending on coach's mood, I was most often second chair. My father once scolded our band director for preferring precision over passion.<br />
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I haven't been so uncomfortable since seeing the masturbation scene in <i>I Love You, Man</i> in the movie theater with my two teenage sons. And it is okay to be uncomfortable. Important even. Life is not a smooth cake walk along a perfectly shady tree-lined boulevard with whimsical melodies to lighten the way. It is fucking messy. And I can't think of a messier time than adolescence.<br />
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Bravo to gutsy director Maggie Roop and the fantastic cast and crew of <i>TheatreLAB's </i>production of Barron's pulitzer-prize nominated play. The production and performances are unforgettable and shocking. I am embarrassingly squeamish at the "P" word, and that meant that at least 200 times throughout the evening, I was squirming in my seat hoping no one would notice my discomfort.<br />
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Great theatre doesn't just entertain. It informs, illuminates, provokes, pushes envelopes, and has a lasting impact. <i>TheatreLAB's Dance Nation </i>is great theatre.<br />
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I left <i>Dance Nation</i> wanting to reclaim my own power.<br />
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"Perfect pussy," I whispered.<br />
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Baby steps.<br />
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<i>Dance Nation</i> continues through August 3rd. For tickets <a href="https://tlab-internet.choicecrm.net/templates/TLAB/#/events" target="_blank">click here</a>.<br />
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Julie Turnerhttp://www.blogger.com/profile/06312788430952439358noreply@blogger.com1tag:blogger.com,1999:blog-483520354523441843.post-6862926015336314372019-07-18T09:25:00.003-07:002019-07-18T09:25:59.226-07:00Tornadoes on Broad StreetLast Saturday night I fell for a man with no heart, and swooned over another with no brains. Sounds like my past love life. Throw in my mad crush on Glinda and it almost sounds like <em>Confessions of a Bi-girl: Her Diary.</em><br />
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While <em>Virginia Rep's November Theatre</em> put on a very fun overall production of <em>The Wiz</em>, it was a tin man (D. Jerome Wells), a scarecrow (Dylan T. Jackson), a good witch (Jessi Johnson) and some stellar choreography that stole the show. <br />
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The tornado scene was exceptionally well choreographed. Very cool. And I may be just a little more prone to self-confidence this week after Glinda's rendition of <em>Believe in Yourself</em>. Okay, Ms. Johnson, if you insist.<br />
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The story, of course, was familiar. <em>The Wiz</em> was updated in the 1970s from the 1930s <em>Wizard of Oz</em> as a soul version portraying contemporary African American culture both based on the beloved book by L. Frank Baum.<br />
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Mariah Lyttle's Dorothy was charming and playful, particularly in her interactions with her companions on the yellow brick road. And Brandon LaReau's Cowardly Lion was terrifyingly sweet.<br />
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The Wiz had all the elements - good acting, singing, choreography, set, and a fantastic orchestra led by Anthony Smith. Everything was well-executed. But with the exception of a handful of songs - <em>Ease on Down the Road</em>, and <em>Believe in Yourself</em> notably - I didn't find the music particularly memorable. I didn't leave singing any of the tunes in my head. So it wasn't my favorite musical, but I admired most aspects of Virginia Rep's production of it.<br />
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<em>The Wiz</em> continues through August 4. For tickets <a href="https://tickets.va-rep.org/6215/6396" target="_blank">click here</a>.<br />
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<br />Julie Turnerhttp://www.blogger.com/profile/06312788430952439358noreply@blogger.com0tag:blogger.com,1999:blog-483520354523441843.post-68773455906908901432019-06-27T08:36:00.003-07:002019-06-27T13:59:30.777-07:00Madness or Eccentricity?There's a fine line between madness and eccentricity. But for the name and connection to the Kennedy dynasty, Edith Ewing Bouvier Beale and her daughter, Edith Bouvier Beale ["Little Edie"] - would be considered mad. But thanks to their social standing - Jaqueline Bouvier [Kennedy] is Little Edie's cousin - the mother/daughter duo have been elevated to the status of reclusive eccentrics. <br />
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But is there really a difference? In this case, eccentricity was simply madness with lots of money attached.<br />
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The Bouvier story is well known, and Grey Gardens among the most iconic homes in America. First splashed across the tabloids, and later captured in the documentary film <em>Grey Gardens</em> this story is so renowned you'd be hard pressed to find anyone who hadn't at least heard about it.<br />
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But I came to RTP's production of <em>Grey Gardens: The Musical</em> knowing very little. I was a child in Germany in the early 1970s and the scandal somehow escaped my attention. From what little I did know, I wondered how in the world this story could be a musical.<br />
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In fact, <em>Grey Gardens</em> works exceptionally well as a musical. Edith Bouvier Beale considered herself a singing virtuoso, and she and Edie's shared language was songs they'd sing around the piano as they imagined fame and fortune. But as if often the case in dysfunctional families, a shared language brings a complex tension between joy and despair. Music is their common language: and it both binds and strangles them. <br />
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As the musical opens, Little Edie (Gray Garrett) is anticipating her engagement party. She is set to marry *the* Joseph Patrick Kennedy, Jr. (Elijah Williams) and is on cloud nine. But her mother Edith (Susan Sanford) and Edith's paid companion George Gould Strong (Eddie Webster) have hijacked the party and are planning a concert to showcase Edith's talent. Edie is dismayed to learn of the concert - she wants her engagement party to be her moment in the spotlight. But Edith is incapable of letting anyone else shine, and even purposefully sabotages the engagement. Joe learns from Edith that his fiancé has a somewhat scandalous past - an unfortunate and very public wardrobe malfunction - which has earned her the nickname "Body Beautiful Beale" - and runs. Just like earlier suitors who caught glimpses of the madness and fled.<br />
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In Act Two, Susan Sanford returns playing Edie in her later years, as she's resigned to living in the prison of Grey Gardens, unable to leave her elderly mother (Boomie Pedersen). Their home has become a hoarder's nightmare with dozens of cats and trash everywhere. We see their true descent into madness. Edie puts on shows in outrageous costumes - singing "The Revolutionary Costume for Today" and imagining the life she always wanted but could never grasp. <br />
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And Edith, confined mainly to her bed, takes odd joy in boiling corn for the local young handyman, Jerry (Elijah Williams) as she croons "Jerry Likes My Corn."<br />
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The cast of RTP's <em>Grey Gardens</em> is extraordinary, particularly Susan Sanford in Act Two as the older Edie. Her talent is jaw-dropping, and the rest of the cast is well up to the task of creating exceptional theatre.<br />
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With expert musical direction by Kim Fox and inspired direction and choreography by Debra Clinton, <em>Grey Gardens</em> is not to be missed.<br />
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This is not the kind of musical that will have you humming as you leave the theatre, but it is unforgettable nonetheless.<br />
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Due to popular demand, the show has been extended through July 27, 2019. For tickets <a href="https://rtriangle.secure.force.com/ticket" target="_blank">click here</a>.<br />
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<br />Julie Turnerhttp://www.blogger.com/profile/06312788430952439358noreply@blogger.com0tag:blogger.com,1999:blog-483520354523441843.post-65966192537071276132019-05-01T16:15:00.000-07:002019-05-01T16:15:20.390-07:00But Can He Write? It's Local and It's PersonalIt was a thrill to be part of the world premier of Chandler Hubbard's play, <i>Animal Control.</i> <i>Firehouse Theatre's</i> artistic director Joel Bassin took pains to convey to the opening night audience just what a momentous occasion it was. But those of us who "knew Hubbard when" didn't need the reminder. There was a clear electricity in the air.<br />
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We knew Hubbard could act. I became a fan watching him in <i>The Altruists</i> in 2015. But could he write? We were about to find out.<br />
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The answer is a resounding yes. Hubbard's script is tight, gut-wrenching, funny, and well-paced. But a strong script isn't worth much without strong direction and performances. Did <i>Firehouse Theatre's </i>production of Animal Control make the great?<br />
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Another resounding yes.<br />
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Congratulations to director Joel Bassin and the superb ensemble cast. Hubbard was beaming after the show. Rightly so.<br />
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Kim Hawkins (Donna Marie Miller) is an overworked and under appreciated animal control officer who has to make life and death decisions in the overcrowded Carson County Pound. The weight of her decisions was conveyed with Miller's exceptional dramatic timing, as well as the unspoken body language which clearly demonstrated Deputy Hawkins' distress. It is easy to feel sympathy for Ms. Hawkins while at the same time loathing the authority she has to determine the fate of the "guests" at the kill shelter.<br />
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And we have sympathy and antipathy towards the rest of the characters as well. Marc Hanson (Adam Turck) sets this tragedy in motion by reporting a minor incident in which Dan Stanley's (Arik Cullen) pit bull bites Hanson's dog causing lacerations to the dog, and moral outrage to its owner.<br />
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Seeking justice and renumeration, Hanson's report leads to an inevitable encounter between the two dog owners as well as Stanley's neighbor, Patty Smith (Lucretia Marie Anderson), a single mom who has had run-ins with the pit bull as well. We understand Smith's desire to protect her kids, but react to her meddlesome tactics to punish Stanley for his dog's behavior.<br />
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Stanley's barely contained rage is palpable. We'd like to dislike him for not controlling his menace of a dog, but come to appreciate his love and devotion to the dog who started life as a bait dog.<br />
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Wouldn't we all make a report if our own dog had been attacked ? It's easy to start out sympathizing with Hanson, but his moral outrage grows tiresome, as we realize the issue isn't entirely black and white or good vs. evil.<br />
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Corrine Lowell (Journey Entzminger), Deputy Hawkins' assistant provides comic relief. And seems to be assigned the role of remembering the real victim - a misunderstood, and defenseless dog.<br />
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<i>Animal Control</i> is a tragedy. We know it won't end well for anyone involved. But Hubbard draws out the tension throughout, and the inevitable ending is not necessarily the one we were expecting.<br />
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Not only is <i>Animal Control</i> local, it is personal as well. The play drew on Hubbard's experience when his own dog was attacked by another dog. The play was personal for me as well. Last November I was walking my dog Max when an unleashed pit attacked us. I have the physical scars to remind me. But the emotional scars linger even longer.<br />
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This excellent play, and strong production will linger with me as well.<br />
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<i>Animal Control</i> runs through Sunday May 12, 2019. Click <a href="https://www.brownpapertickets.com/profile/994118" target="_blank">here</a> to purchase tickets.<br />
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<br />Julie Turnerhttp://www.blogger.com/profile/06312788430952439358noreply@blogger.com0tag:blogger.com,1999:blog-483520354523441843.post-36299138197287557942019-04-28T14:59:00.000-07:002019-04-28T15:23:30.993-07:00Fist to the HeartAs I flip through the pages of Hope Whitby's Traveling the River: poems, the sunlight is streaming through my window reflecting a perfect rainbow across the pages of the book. And just like that, with "a fist to the heart," Whitby has snaked her way into the river of my heart. With exquisite words and an even more exquisite spirit, Traveling the River is a slow amble through the terrain of the heart of a strong and brave woman. A poet.<br />
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I also discovered that Ms. Whitby is my soul sister. In her poems, she fantasizes about meeting Hemingway, one of my favorite authors. She pays homage to my favorite poet in "Reading Neruda On Top of Afton Mountain," and the effect of listening to Nina Simone, my go-to blues singer, is captured to perfection in "Nina Simone, Sing Me My Blues."<br />
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I'm in love with Whitby's haiku poems that capture the beauty of the natural world:<br />
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no two are alike<br />
swirling sea of March snowflakes<br />
daffodils protest.<br />
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Did I mentioned that daffodils are my totem flower? Another sign that Whitby is a soul sister.<br />
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And enthralled with her ability to capture the ordinary, as in "Apartment 1C Haiku":<br />
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Insomnia<br />
up for no reason<br />
my chihuahua snores softly<br />
sleepless in RVA<br />
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And envious of the way in which she has transformed her pain - physical and spiritual - into an ode to second chances.<br />
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"Blessed is the voice that sculpts words," she writes.<br />
"with poetry, I plant perennials of love."<br />
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Whitby is a reader and a lover of words. She is nourished and inspired by them. And those who will travel the Nottoway river with this beautiful poet will be equally nourished and inspired by her perennials of love.<br />
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Support local artists. Purchase a copy of Traveling the River <a href="https://www.lifein10minutes.com/traveling-the-river-hope-whitby" target="_blank">here</a><br />
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<br />Julie Turnerhttp://www.blogger.com/profile/06312788430952439358noreply@blogger.com0tag:blogger.com,1999:blog-483520354523441843.post-91130457766823843772019-03-06T10:07:00.000-08:002019-03-06T10:07:42.254-08:00It's Piping Hot!Pies aren't the only thing in town that are piping hot. <em>TheatreLab's The Basement</em> - the "shape shifting" space of Broad Street - is on fire through March 16 with its sensational production of <em>Sweeney Todd</em>. <br />
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<i>Sweeney Todd</i> is my husband's second favorite musical. He approached <i>Theatre Lab's</i> production of his beloved musical with guarded enthusiasm. I'm less familiar with the classic Stephen Sondheim musical. We both left the show feeling we'd been transported to Fleet Street. The atmosphere in <em>The</em> <i>Basement </i>was electrifying. And I couldn't help but feel a shiver down my spine as we left the building. Was someone lurking in the shadows?<br />
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What's even better than a full live orchestra playing from a pit underneath the stage? A piano (John-Stuart Fauquet) and a violin (Marissa Resmini) - staged as part of the set - playing exquisite, eerie music. <br />
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And the voices. Every single one. Superb. <br />
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Alexander Sapp was so convincing as the titular character that I'm afraid to run into him in a dark alley. No way I'd let him shave my hair. <br />
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And Bianca Bryan as Mrs. Lovett was fierce and fiery, and sexy as hell. I'll take the piccolo player and the priest.<br />
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The rest of the cast was exceptional as well. Matt Polson (as Anthony Pope), Mallory Keene (as Johanna), William Anderson (as Judge Turpin), Kelsey Cordrey (as Beadle Bamford, Audra Honaker (as Beggar Woman/Pirelli) and Matt Shofner (as Tobias Ragg) lent powerful acting and voices to the leads for an ensemble performance that earned every minute of the spontaneous and enthusiastic standing ovation.<br />
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<em>Sweeney Todd</em> is now my favorite musical I've seen in Richmond. And my husband went twice. <br />
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Bravo to Deejay Gray and the production team (JS Fauquet, Michael Jarett, Ruth Hedberg, Joey Luck, Connor Scudder, Maggie Bavolack, Addie Barnhart, Tom Topinka, Destiny Martinez and Breezy Potter) for a fresh, sizzling take on a classic tale. <br />
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It's no surprise that the show is sold out. You might just have to kill to get a ticket. I hear theatre patrons are quite tasty. Julie Turnerhttp://www.blogger.com/profile/06312788430952439358noreply@blogger.com1tag:blogger.com,1999:blog-483520354523441843.post-76173156989808068732019-02-13T14:13:00.000-08:002019-02-13T14:13:05.696-08:00Once Upon a TimeOnce upon a time there was a guy and a girl, a broken Hoover vacuum and a broken heart.<br />
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Circumstances converge and the despairing Irish musician (Ken Allen Neely) and full-of-life Czech immigrant (Katherine Fried) form a special kind of alchemy. With nothing but their love of music in common, they share a five-day friendship cum impossible romance. The result of their whirlwind collaboration is a demo CD and memories of their rare, serendipitous encounter. Thank God for broken Hoovers.<br />
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This collaboration was brought to life by <i>Virginia Rep</i> with direction and choreography by Artistic Director Nathaniel Shaw. And it is nothing short of magical.<br />
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<i>Once</i> is a Tony Award winning musical based on the movie written and directed by John Carney. The score is based on music and lyrics by Glen Hansard and Marketa Irglova.<br />
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Neely and Fried are exceptional in their roles. And so are the ensemble musicians. The choreography is terrific throughout and even the choreographed set changes are beautiful and moving.<br />
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This "jukebox" musical is seamlessly told. The interplay between the ensemble and the score as they bring to life Hansard and Irglova's emotional, gut-wrenching melodies and lyrics is a joy to watch. With gorgeous costumes, and a creative set, <i>VA Rep's Once </i>is a home run on all counts, from beginning to end.<br />
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We are accustomed to, even long for our heroes and heroines to live happily ever after. But life is so much more complicated and nuanced. And though the guy and girl's fated meeting is a brief blip in time, the results of this one-in-a-million chance encounter remain in our hearts.<br />
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<i>Once</i> is a not-to-be missed crowd-pleasing show that will leave you breathless and reminiscing on our own once-in-a-lifetime moments.<br />
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<i>Once </i>continues at <i>November Theatre's Arenstein Stage</i> through March 3, 2019. Click on this <a href="http://tinyurl.com/yyzaprvh" target="_blank">link</a> for tickets.<br />
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Julie Turnerhttp://www.blogger.com/profile/06312788430952439358noreply@blogger.com0tag:blogger.com,1999:blog-483520354523441843.post-63431453241932689012019-02-08T08:27:00.001-08:002019-02-08T11:28:39.650-08:00Keeping it Relevant<span style="color: #292c2e; font-family: "arial" , "helvetica" , sans-serif;">Plague stricken Thebes is in chaos. Citizens demand that king Oedipus (dl Hopkins) do something about it. Oedipus's brother-in-law Kreon (R.O. Crews) delivers a message from the oracle of Delphi- - - the plague will cease when the murder of Laius - former king of Thebes - is avenged. Oedipus vows to find the murderer. </span><br />
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<span style="color: #292c2e; font-family: "ralewayregular" , sans-serif;">And we know the rest. Was it his fate to kill his father King Laius and wed his mother Jacosta (Patricia Alli)? Or was it self-fulfilling prophecy? Oedipus heard the prophecy, believed it, and fulfilled it. Could he have changed course?</span></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="color: #292c2e; font-family: "ralewayregular" , sans-serif;">Textbooks have been written about the answer to that question. And <i>Oedipus Rex</i>, considered by many to be Sophocles' masterpiece, has been dissected, analyzed, debated by high school and college students ad nauseum. </span></span><br />
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<span style="color: #292c2e; font-family: "arial" , "helvetica" , sans-serif;">So how do you keep Sophocles' masterpiece relevant? Director Vinnie Gonzales sets the drama in 1920s South with wisdom (the moral) imparted by a fire and brimstone preacher (Jeremy V. Morris) and a chorus of gospel singers (Shantell Dunnaville, Shalimar Hickman Fields, and Shalandis Wheeler Smith) providing inspiration. </span><br />
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<span style="color: #292c2e; font-family: "arial" , "helvetica" , sans-serif;">Gonzalez shows that it doesn't really matter that Oedipus was written more than two thousand years years. Its themes - incest, betrayal, state power, fate v. self-determination, hubris are timeless and universal. </span><br />
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<span style="color: #292c2e;"><span style="font-family: "arial" , "helvetica" , sans-serif;">In fact, the heart of the Oedipus narrative seems to be playing out in our own government. Think of the White House as the castle and Mr. Trump the tyrannical king. Not such a stretch.</span></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="color: #292c2e;"><br /></span><i>Firehouse Theatre's</i> <i>Oedipus</i> under Gonzalez's strong direction, offers across-the-board top-notch performances - particularly by Morris who is the embodiment of the Southern preacher; from intonation and cadence in his oratory, to the foot stomping, hand-waving nuances of the physicality of a charismatic preacher. Yes, Morris, I <i>do</i> believe!</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i>Oedipus, a gospel myth</i> offers one of the finest endings I've seen in quite some time. I still get chills thinking about it.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Niomi Kaiser's costumes are spot-on; a perfect blend of ancient and early 20th century Southern garb. </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">The play is fodder for conversation. Why do we as human beings have this capacity for evil? Is it a deficit of human nature or a consequence of our social systems and power structures? These questions are just as relevant in 2019 as they were in Ancient Greece. </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i>Oedipus, a gospel myth</i> continues at <i>Firehouse Theatre</i> through February 23, 2019 (my 49th birthday). For tickets visit: <a href="https://oedipusgospelmyth.brownpapertickets.com/">https://oedipusgospelmyth.brownpapertickets.com/.</a></span><br />
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<span style="color: #292c2e; font-family: "ralewayregular" , sans-serif; font-size: 16px;"><br /></span>Julie Turnerhttp://www.blogger.com/profile/06312788430952439358noreply@blogger.com1tag:blogger.com,1999:blog-483520354523441843.post-54641136721774076372019-02-02T04:19:00.000-08:002019-02-08T11:31:59.898-08:00Care Out LoudFor how many of us is the act of stepping outside to the mailbox an act of courage?<br />
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I sometimes walk down to our front gate in my pajamas and hope the neighbors don't see me. But that is an act of privilege not bravery.<br />
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Not many.<br />
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I had the honor and privilege to attend <i>Richmond Triangle Players'</i> production of <i>Trans Scripts, Part 1: The Women</i> and even serve as a guest moderator for the talkback following the performance. I was nervous, sure, but brave . . . not really.</div>
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Courage is stepping out the door as your authentic self knowing much of the world fears, misunderstands, even hates you. For many trans women stepping out the door can literally be a matter of life and death. </div>
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Playwright Paul Lucas spent five years conducting interviews with trans women and men. His interviews have been edited into this beautiful play which won several awards at the 2015 Edinburgh Fringe Festival. Lucas is currently working on transforming his interviews with the men into <i>Trans Scripts, Part II: The Men.</i></div>
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Co-directors Melissa Rayford and Keri Wormald crafted the stories of Josephine (Mario Bernier), Luna (Vita Cleveland), Eden (Alex Davila), Tatiana (Eden Lane), Zakia (Zakia McKensey), Violet (Boomie Pedersen) and Sandra (Michael Stailey) with care and sensitivity. </div>
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Bravo to the actors who held space for these women's stories with integrity and love. Bravo to the actors who step out in courage in their own daily lives as trans women. And Bravo to the creative team for making sure the show was performed by trans women. </div>
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Representation matters.</div>
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Kudos to <i>Richmond Triangle Players</i> for producing this important piece of theatrical activism. Those of us in the audience are better for it. Provocative and moving, the play was also a call to action to put our "Ally" buttons where our mouth is. </div>
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I was struck by the diversity of the audience. There were more people of color and colors of our rainbow represented than any show I can remember. </div>
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Representation matters.<br />
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It is human nature to categorize and homogenize. One of the play's most important messages is that there is no single trans narrative. Trans women have rich, essential, personal stories uniquely their own. During the talkback Vita Cleveland, in response to a question asking what the commonalities were among trans women, answered "Death and oppression." Bam. </div>
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Another audience member took the opportunity to commend the women, their bravery and remind them that they were beautiful. And to say essentially (and I'm paraphrasing) that she just wants people to get along. Something along the lines of "if you are nice to me and care about me and my family, I'm happy to care about you and the people you love." One of my favorite moments of the entire evening came in Cleveland's response . . . "THEN CARE OUT LOUD!"</div>
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It really isn't enough to forward a meme or two on Facebook showing your support. We need to care when it isn't convenient; when it might even cost us something. Care in the ballot box. Care when you see a trans sister being bullied or worse. Inaction in the moment, but condemning it later over social media is not caring.</div>
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<i>Trans Scripts</i> was presented with the support of <a href="http://www.diversityrichmond.org/" target="_blank">Diversity Richmond</a> with proceeds benefitting <a href="http://www.nationzfoundationrva.org/" target="_blank">Nationz Foundation</a>, a non-profit providing "education and information related to HIV prevention and overall health and wellness. Nationz Foundatin "inspires the community to take responsibility for their health; and works towards a more inclusive Central Virginia for LGBTQIA+ identified individuals."</div>
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Julie Turnerhttp://www.blogger.com/profile/06312788430952439358noreply@blogger.com7tag:blogger.com,1999:blog-483520354523441843.post-72228163476367531652019-01-30T10:53:00.000-08:002019-01-30T18:11:30.110-08:00Who Knew?Who knew that one of the most popular Shakespearean actors of the mid-late 1800s was an African-American man who performed throughout the world? I hadn't heard of New York born Ira Frederick Aldridge until I attended <i>Red Velvet</i>. And that's a shame. Evidence of how education can be white-washed leaving gaping holes in even a solid liberal arts education.<br />
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Fortunately, <i>Quill Theatre</i>'s official entry into the 2019 "Acts of Faith Festival" helps fill that knowledge deficit; just one of the reasons theatre is so important to a well-rounded education.<br />
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<i>Red Velvet</i> by playwright Lolita Chakrabarti is the story of Ira Aldridge and the price of being a black actor in the mid-1800s. Facing discrimination in the United States, Aldridge emigrated to England and built his impressive career throughout Europe. In Europe too, however, Aldridge faced suspicion and prejudice. He paid a heavy emotional price for his celebrity.<br />
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While <i>Red Velvet</i> is not specifically a play about religious faith, Artistic Director James Ricks writes "You don't have to be a history professor to recognize that for an African-American man to pursue this course at this particular point in history is in itself an act of faith . . . "<br />
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<i>Red Velvet</i> is an essay on theatre and history and the courage of one man to pursue his dream against all odds.<br />
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Against the backdrop of public riots in the streets of London over the abolition of slavery, Ira Aldridge (Jamar Jones) steps in to the lead role in <i>Othello</i> after the great Shakespearean actor Edmund Kean has collapsed on stage. The replacement is met with fury by Kean's son, Charles (Cole Metz), who believes the role should be his by birthright. The rest of the cast is bewildered at best. They question director Pierre LaPorte's (Eddie Webster) judgment in making such a controversial choice.<br />
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Even the servant Connie (Desiree Dabney), also black, keeps her distance and is skeptical of Mr. Aldridge.<br />
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The entire ensemble's performance was strong. I particularly enjoyed Jamar Jones' transition to King Lear toward the end of his career. Webster's performance as LaPorte was also strong - subtle and nuanced. And as a native German speaker, I give a special shout out to Stevie Rice (Casimir/Henry) and Rachel Dilliplane (Halina/Betty/Margaret). I'm not always able to understand when actors attempt to speak German, but I understood every word.<br />
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The heart of the play is the interaction of the cast and Mr. Aldridge as they wrestle with their prejudices. The genuine on-stage connection between Aldridge and actress Ellen Tree (Frances Saxton) proves particularly vexing to the sensibilities of the more proper cast members.<br />
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Ricks' choice for the "Acts of Faith Festival" is unexpected. And it works. Theatre ought to educate, and I admire his choice to broaden the definition of faith.<br />
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<i>Quill'</i>s production of <i>Red Velvet</i> is a thoughtful and relevant reflection of the importance of theatre in continuing to break new ground - then and now.<br />
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Performances continue through February 9, 2019 at Dominion Energy Center's Libby S. Gottwald Playhouse. For tickets call 804.340.0115.<strong style="color: rgba(255, 255, 255, 0.7); font-family: proxima-nova; font-size: 22px; letter-spacing: 2px; overflow-wrap: break-word; text-align: right; text-transform: uppercase; white-space: pre-wrap;">804.340.0115</strong>Julie Turnerhttp://www.blogger.com/profile/06312788430952439358noreply@blogger.com1tag:blogger.com,1999:blog-483520354523441843.post-62367615479641996902019-01-17T09:26:00.000-08:002019-01-18T09:32:07.347-08:00Talk is Cheap<div class="separator" style="clear: both; text-align: justify;">
<i style="text-align: left;">Talk Radio</i><span style="text-align: left;">, the brain child of playwright Eric Bogosian and Tad Savinar was originally staged off-Broadway in 1987 at </span><i style="text-align: left;">The Public Theatre</i><span style="text-align: left;"> and starred Bogosian himself as Barry Champlain, the caustic, sarcastic and downright cruel late night shock jock. The play has since appeared on Broadway and been made into a film by Oliver Stone. </span></div>
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With the advent of social media and forums like Facebook and Twitter where anonymous cruelty has been elevated to an art form, it is hard to imagine that 32 years later <i>Talk Radio</i> would still be as relevant.</div>
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But talk is cheaper than therapy. And people are still drawn to train wrecks.</div>
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<i>5th Wall Theatre</i>'s production of <i>Talk Radio</i>, directed by Morrie Piersol, stars Scott Wichmann as Barry Champlain. And Wichmann steals the show. He IS the show. Which is not to diminish the performances of the supporting cast. But Wichmann commands the stage and the airways. His interaction with the unseen callers (Darrelle Brown, George Dippold, Chandler Hubbard, Gina McKenzie, John Mincks, and Paige Reisenfeld) provides the heart of the show. Just like actual late night talk radio, there is no show without the faceless callers addicted to abuse at the hands of the shock jocks.</div>
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TJ Spencieri's strong set design highlight's Champlain's dominance while diminishing the roles of the team around him. Some of the most effective scenes show the team frantically reacting to something that Champlain has said - you can see but not hear them behind the glass partition.</div>
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The sound design by Roger Price is also strong. It's easy to sit back in the audience and imagine you are on a long road trip in the middle of the night listening to desperate callers pouring out their hearts just to be verbally assaulted by the shock jocks they seem to idolize.</div>
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I've been on those road trips, and tuned in to the late night shows. It's mesmerizing in the same way that motorists slow down to gawk at a terrible wreck.</div>
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The action takes place just as Champlain's show is about to go into national syndication. Producer Dan Woodruff (Chandler Hubbard) has asked Champlain to tone it down a bit prompting Champlain to be even more outrageous. The action is phrenetic; Champlain smokes, drinks, swears, and carries on multiple conversations both with his unseen callers and the production team supporting him.</div>
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And it isn't just the callers who suffer Champlain's wrath. Stu Noonan (PJ Freebourn), the loyal tech who screens Champlain's calls is equally abused by the man he idolizes. And so is Champlain's assistant and sometimes lover, Linda Macarthur (Haliya Roberts). We get insight into the off-air, private Champlain through moving monologues delivered by Stu and Linda. </div>
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The action is at its most intense when Kent (John Mincks) calls in reporting his girlfriend has possibly overdosed and may be dying. Champlain treats Kent with the same in-your-face, insulting disregard as he does the other "pathetic souls" who call in their fears, anxieties, prejudices, and loneliness.</div>
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And while the listeners generally relish the verbal battles, they call in to the station to express their concern for the safety of the girlfriend. Champlain takes the shock level up a notch by inviting Kent to come to the station and get on the air with him. The on-air interaction with Champlain and Kent is fascinating. Mincks charges the stage and offers one of the shows most memorable moments.</div>
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The show (and the station's programming) is bookended with Sidney Greenberg (Darrelle Brown) a loquacious tax advisor promoting a mortgage scheme and Dr. Susan Fleming (Gina Maria McKenzie) a soft-spoken psychologist who gives the play a serene conclusion.</div>
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<i>Talk Radio</i> is a lively and thought-provoking and Wichmann is mesmerizing. I could listen to him for another 32 years. But <i>Talk Radio</i> will be off-air after January 26, 2019. Tickets are available through 5th Wall Theatre at: <a href="https://www.brownpapertickets.com/event/3921247">https://www.brownpapertickets.com/event/3921247</a>. The show is being performed at The Basement (300 East Broad Street, Richmond, VA 23219).</div>
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<br />Julie Turnerhttp://www.blogger.com/profile/06312788430952439358noreply@blogger.com1