One of the things I like most about live theatre is its ability to teach and engender conversation as well as entertain. My favorite feeling in the world is being completely emotionally drained after an enthralling dramatic performance. Given my personal preference for heart-wrenching drama, I do tend to forget that sometimes theatre is meant to be nothing but fun. The British are masters of that glorious form of theatre known as farce — full of flapping doors, mistaken identities, and people caught in compromising positions all for the express purpose of delighting an audience. Playwright Alan Ayckbourn’s Taking Steps is one such piece — a fabulous farce that is entertaining from beginning to end, and Constellation Theatre’s production of this hilarious romp is thoroughly imaginative, brilliantly staged, and funny as all get-out!

Set in a large old house in the English countryside, Taking Steps tells the story of Elizabeth (Tia Shearer), a dancer unhappy in her marriage to Roland (Matthew R. Wilson), a wealthy bucket tycoon (that’s right — buckets) who is planning to buy the property from current owner Leslie (Doug Wilder). Thrown into the mix are Elizabeth’s brother Mark (Dylan Myers), who is trying to save his marriage to the flighty Kitty (Megan Graves), and real estate solicitor Tristram (Matthew McGee), whose social anxiety makes him afraid of his own shadow. Hilarity abounds as wives try to leave dreary husbands and landlords try to wrangle contract signatures out of drunken tenants — all while not knowing that the others are also in the house.

The actors all hold their own and the cast performs wonderfully together as an ensemble. Matthew McGee as the nervous Tristram is particularly enjoyable — he had the audience eating out of the palm of his hand from his very first entrance. Not to advocate alcoholism at all, but Matthew R. Wilson’s pompous Roland got funnier and funnier the more the character drank — it was clearly a well-studied and well-executed performance. Tia Shearer as the long-suffering Elizabeth was at times a little too over-the-top for my tastes, but she brought a unique vitality and humor to the character that made me a definite fan of hers by show’s end.

What is most striking about this show is its staging. Ayckbourn began his career writing plays to be presented in the round and director Allison Arkell Stockman has honored this quite reverently. I’m always fascinated by non-traditional playing spaces, so this production’s set had me giddy from the moment I entered the tiny theatre. Although the play’s scenes take place on three different floors of the house, the rooms are laid out on the same plane surrounded by the audience. On both of the long sides of the elliptical stage, there are runways representing staircases complete with banisters skewed to a steep angle. I must admit that when I first saw these, I thought it would be a ridiculous disaster. Happily, I was proved wrong. The ways in which each actor leaned into the odd angle of these “staircases” not only effectively communicated the character’s motivation — they also ingeniously sold the illusion of a three-story house. These non-traditional spaces often ask a lot of audience’s imaginations, but Ms. Stockman’s graceful and precise staging conveyed the sense of a real space clearly evident to even the least imaginative audience member. I cannot give enough praise to Ms. Stockman and scenic designer A.J. Guban for the sheer brilliance of this design.

With a running time of approximately two hours and forty minutes, Taking Steps is a delightful evening of light theatre guaranteed to satisfy. I would not recommend this show for little ones for two reasons. Although the material is never more vulgar than “questionable” (think light PG-13), much of the refreshing wit so often absent from farces will go over kids’ heads and, like I said, it’s long. That said — young teens and up will love this hysterically funny show as well as Constellation Theatre’s unique and fantastic staging.

Director’s Notes

Taking Steps is a joyful way to jump into our next season. Celebrated playwright Alan Ayckbourn gives us a ridiculous comedy about six quirky Brits and their madcap adventures in a three-story Victorian home. As you step into the theatre, you enter a haunted, former brothel; since no two seats have the same view of the stage, you gain your own unique perspective on the world of the play.

Although most farces historically revolve around people slamming doors and jumping out of windows, this particular farce has neither. Onstage you will see three floors of a house connected by two flights of stairs, yet everything is performed on the same plane. With this distinctive architecture, Ayckbourn invites you to see all the action taking place at once while leaving his own characters in the dark.

Ayckbourn’s witty way with words is on display from the start, as is his gift for creating comic misunderstandings. He takes joy in setting up ridiculous circumstances that lead to prime opportunities for physical comedy. As the characters cross paths, sometimes nearly colliding, a mix of precise and spontaneous events drives the hilarious plot.

Yet despite their extraordinary circumstances, Ayckbourn’s characters are real people who are invested in their dreams and defeated by their fears. They all struggle with communication; we see in them the human tendencies to hold back from speaking hard truths, and to not truly listen, even to our loved ones. The play urges us to be open and honest in our own lives, to have the courage to identify our true dreams and to pursue them.

Taking Steps is a comedy with great heart. The multiple levels, presented together in the round, remind us that at any given time, we are only aware of our small part in the larger world. There is always more going on that meets the eye.

Enjoy the show!

Allison Arkell Stockman, Founding Artistic Director

Photo Gallery

Tia Shearer	Matthew McGee
Matthew R. Wilson, Matthew McGee, Dylan Myers	Matthew R. Wilson and Tia Shearer
Tia Shearer

Photos by Andrew Propp

The Cast

• Elizabeth: Tia Shearer
• Mark: Dylan Myers
• Tristram: Matthew McGee
• Roland: Matthew R. Wilson
• Leslie: Doug Wilder
• Kitty: Megan Graves

The Creative Team

• Director: Allison Arkell Stockman
• Assistant Director: Ashley Ivey
• Scenic Designer: A.J. Guban
• Lighting Designer: Cory Ryan Frank
• Technical Director: Jason Krznarich
• Sound Designer: Brendon Vierra
• Properties Designer: Kevin Laughon
• Costume Designer: Kendra Rai
• Fight Choreographer: Matthew R. Wilson
• Production/Stage Manager: Cheryl Ann Gnerlich

Disclaimer: Constellation Theatre Company provided two complimentary media tickets to ShowBizRadio for this review.

Very few things symbolize the American dream better than packing up one’s entire life and setting off for New York City in search of fame, fortune, and glory. Combine that with the irresistible allure of the bright lights of Broadway, and you get the recipe for a unique brand of passion that drives legions of hopefuls to brave nigh insurmountable odds and pursue their dreams. As Americans we’re all used to the rags-to-riches rhetoric fed to us since childhood, but there is a harsh reality that lurks behind the glamour. Those who pursue the “big time” often suffer years of rejection only to discover that it may never happen. Nevertheless the starry-eyed dreamers hike up their tights, swallow their pride, and pour their all into their art. For that, they will always have my undying respect.

Dealing with troubled pasts and the challenges of pursuing the spotlight are the key themes of Michael Bennett’s classic musical A Chorus Line. With dialogue based on the experiences of real performers and an iconic score by Marvin Hamlisch and Edward Kleban, A Chorus Line tells the story of seventeen dancers all auditioning for an unnamed Broadway show directed by Zach – an obsessive perfectionist with something to prove. Being very particular about his cast, Zach forces each auditioner to open up about their childhoods, their puberty, and what drives them to dance. What ensues is a two-hour exploration of motivation, identity, and psychology – all framed with great music and glorious dancing. Rockville Musical Theatre’s production offers everything I’ve ever loved about this show with passion and energy.

Director Anya Randall Nebel has put together an entertaining and heartwarming production that pays homage to everything that makes this show wonderful. Vincent Musgrave’s choreography, while not astounding, is pleasant to watch and contains numerous refreshing reinterpretations of the choreography so often associated with this show. The highlights of the technical elements for me were the orchestra and vocal arrangements – both under the masterful musical direction of John Michael d’Haviland. His arrangement of the show’s most recognizable tune, “What I Did For Love,” was chilling and breathed fresh life into a song that has become somewhat hackneyed over the last generation.

The cast is full of vibrant, talented people all performing at the top of their game. The dulcet-voiced Mark Hamberger was adorable as the hapless Al and played extremely well off of Catherine Oh in a hilarious turn as Al’s tone-deaf wife Kristine. PJ Mitchell deftly tackled one of the toughest monologues in musical theatre as the tragic Paul. Cody Cooley was enjoyable as Mike, but I was very disappointed that he didn’t wear tap shoes during one of the most iconic tap numbers ever (even though it was plain to see that Mr. Cooley had the tap chops). Laurie Newton had the whole house laughing as Val, an acerbic firecracker with major body-image issues.

The cast had its ups and downs, but there were two who stood out to me as breakout stars. With polish, panache, and one hell of a voice, Taurean Barber’s Richie was incredible. Mr. Barber’s extensive training was evident in every move he made and he was clearly one of the strongest dancers of the group. Without a doubt, my favorite performance of the evening was Kimberly Murphy’s feisty Puerto Rican Diana. Ms. Murphy expertly ran the gamut between hilarious and heartbreaking and was electrifying throughout. This being her first community theatre appearance, I very much look forward to seeing more of her on DC area stages.

The show runs two hours with a 15 minute intermission. With a bit of strong language and some adult themes here and there, this is not a show for little ones. On the whole, I would’ve liked to have seen a crisper cohesion among the dancers, but their hard work was plain to be seen. My hat is emphatically tipped to anyone who can dance their heart out for two hours straight and retain the ability to breathe normally. Rockville Musical Theatre’s production of A Chorus Line is one not to be missed if you’re looking for fun summer entertainment.

The Cast:

• Cassie Ferguson: Alicia Sweeney
• Sheila Bryant: Christina Addabbo Prete
• Valerie Clark: Laurie Newton
• Diana Morales: Kimberly Murphy
• Judy Turner: Karen Toth
• Kristine Urich: Catherine Oh
• Maggie Winslow: Rikki Howie
• Bebe Benzenheimer: Erica Ferguson
• Connie Wong: Kylie Cooley
• Tricia: Sofia Cabrales
• Vicki: Leanne Frenkel
• Lois: Stephanie Finkenstaedt
• Mike Costa: Cody Cooley
• Richie Walters: Taurean Barber
• Don Kerr: Daniel Paredez
• Paul San Marco: PJ Mitchell
• Mark Anthony: Robbie Dinsmore
• Gregory Gardner: Duane Monahan
• Bobby Mills III: Jimmy Biertanowski
• Alan DeLuca: Mark Hamberger
• Larry: Ramon Munoz
• Zach: Jivon Jackson
• Roy: Julius Williams
• Headband Boy: Aaron Lempert
• Cut Dancer: Willie Garner

The Orchestra

• Conductor/Keyboard: J. Michael d’Haviland
• Keyboard: Marci Shegogue
• Reeds: Gwyn Jones, Katrina Ambrose, Blake Rose
• Trumpets: Paul Weiss, Mark Allred, Curt Nette
• Trombone: Olin Nettles
• Bass: Randy Dahlberg
• Percussion: Joel Frisch
• Drums: Jim Hoffman

The Production Staff

• Producer: Malca Giblin
• Director: Anya Randall Nebel
• Musical Director: J. Michael d’Haviland
• Assistant Director: J. Michael d’Haviland
• Choreographer: Vincent Musgrave
• Costume Designer: Anya Randall Nebel
• Stage Manager: Noam Lautman
• Assistant Stage Manager: Sharon Addabbo
• Technical Director: Daniel Tobiassen
• Set Designer: William T. Fleming
• Lighting Co-Designers: Dana Sato, Helen Garcia-Alton
• Light Board Operator: Helen Garcia-Alton
• Follow Spot Operator: Dylan Stieber
• Sound Designer: Daniel Tobiassen
• Audio Engineer: Sam Horwich
• Audio Prompter –Maija Mikkelsen
• Set Construction/Painting: Nancy Carlin, Tony Dwyer, William T. Fleming, Malca Giblin, Sam Horwich, Darrick Householder, William Kolodrubetz, Maija Mikkelsen, Dana Sato, Daniel Tobiassen
• Running Crew: Sharon Addabbo, Malca Giblin, Ellen Ryan
• Audition Assistants: Sharon Addabbo, Nancy Carlin, Christal Taylor
• Program Photographer: Mark McLaughlin
• House Manager: Jonathan Cagle-Mulberg
• Program: Den and Malca Giblin

Disclaimer: Rockville Musical Theatre provided two complimentary media tickets to ShowBizRadio for this review.

When I was in college, my most beloved professor was a gay man who’d lived in New York City in the early ’80′s. He told us that when he was asked if he ever saw any of his friends from New York, he always responded the same way: “I can’t, they’re all dead.” This response confused most people, but my LGBT studies classmates and I all (thankfully) understood immediately. Even though we couldn’t completely empathize because we were all born during the final years of the Reagan administration, my classmates and I all understood that our dear teacher was referring to the AIDS epidemic that claimed the lives of thousands of members of our community while the government stayed silent. During the first years, nobody knew what this strange virus was – only that the onslaught seemed to target gay men. When politicians turned blind eyes to the decimation of an already marginalized community, a few extraordinarily brave individuals began a movement to empower those who had no voice.

Playwright Larry Kramer was one such individual, and his theatrical magnum opus The Normal Heart helped to open the world’s eyes to the ever-growing menace (I say theatrical magnum opus so as not to impugn Mr. Kramer’s work as an LGBT activist). Since its off-Broadway premier in 1985, The Normal Heart has been considered the first major work to address the subject of HIV/AIDS (though the scourge’s name is fittingly never mentioned in the script) and its accolades have been many. Numerous professional and amateur productions have been mounted over the past generation, and the play was given its first Broadway run in the fall of 2011. This Tony® Award-winning production has been remounted with glorious valor at Arena Stage and I had the pleasure, nay – honor, of attending the opening night performance.

Director George C. Wolfe masterfully helmed this production; he presented it in a way that paid homage to those who survived those terrible times without seeming dated. The use of projections made changes of locale and time readily understandable and added a chilling bit of modernism that really resonated with me. At times I felt that the acting was a little over the top, but I also feel that Mr. Wolfe adroitly chose to give a light-hearted undercurrent to a very somber show. The sorrows were deftly balanced with humor to advance the message of hope evident in every word of Mr. Kramer’s script. The choices with which I personally disagreed took nothing away from my enjoyment of the overall production, and I applaud Mr. Wolfe for his unique ability to harness and unleash the power of this show at will.

The performances of the ensemble were first-rate across the board. Patrick Breen’s stubborn yet compassionate portrayal of indefatigable agitator and activist Ned Weeks was iconic. Mr. Breen gave depth and a beautifully flawed humanity to a character that could otherwise have seemed one-dimensional. As an actor, I feel that I learned quite a bit simply by watching his outstanding performance. As Stonewall veteran Mickey Marcus, Michael Berresse was awe-inspiring. His comic timing and overall likability made his moment of weakness all the more heartbreaking. Mr. Berresse always embodied Mickey with a quiet strength beneath all of his actions, and it was a delight to watch. As the lone female of the group, Patricia Wettig was nothing short of a lightning rod. Her desperate but nigh-unshakable Dr. Emma Brookner was a powerhouse from the first scene onward. While I felt like her fiery passion from the outset left little room for the character to grow, I was ready to bound to my feet after her revolutionary monologue. The chemistry shared by the ensemble was remarkable, and the standing ovation they received that night was well-earned and greatly deserved.

During the intermission, I happened to overhear a conversation that I couldn’t resist joining. I met two wonderful men who’d been fighting HIV/AIDS for many years, one of whom actually shared a jail cell with Mr. Kramer. They had been arrested for protesting by police officers wearing yellow gloves as though the protestors were lepers – prompting the chant “you’ll see it on the news, your gloves don’t match your shoes.” They indulged my curiosity and gave me their first-hand accounts of the injustices over which they triumphed. More importantly, they helped to pass on a piece of LGBT history I might never have known. I will always be grateful for that brief interaction, and for the indomitable strength of people like Philip, Michael, and Mr. Larry Kramer.

The Normal Heart runs two hours and thirty minutes with a fifteen minute intermission. Strong language and disturbing depictions of the horrors of HIV/AIDS render this show inappropriate for young children, but I would highly recommend it for high school students. It is a lesson in American history that you are not likely to learn in school, but one that still so desperately needs to be shared. This show centers around a political movement whose mantra was “Silence = Death,” and Arena Stage’s production will doubtlessly inspire conversations that can end the silence and save lives. That, to me, is the true power and beauty of The Normal Heart.

Photo Gallery

Patricia Wettig as Dr. Emma Brookner and Patrick Breen as Ned Weeks	Christopher J. Hanke as Tommy Boatwright and Patrick Breen as Ned Weeks
Patrick Breen as Ned Weeks and Luke MacFarlane as Felix Turner	Tom Berklund as Grady, Christopher J. Hanke as Tommy Boatwright, Michael Berresse as Mickey Marcus and Nick Mennell as Bruce Niles
Patrick Breen as Ned Weeks and Luke MacFarlane as Felix Turner, with Tom Berklund as Grady	The cast

Photos by Scott Suchman

Cast

(in order of appearance)

• Craig Donner/Grady: Tom Berklund
• Mickey Marcus: Michael Berresse
• Ned Weeks: Patrick Breen
• David: Chris Dinolfo
• Dr. Emma Brookner: Patricia Wettig
• Bruce Niles: Nick Mennell
• Felix Turner: Luke MacFarlane
• Ben Weeks: John Procaccino
• Tommy Boatwright: Christopher J. Hanke
• Hiram Keebler/Examining Doctor: Jon Levenson

Creative Team

• Playwright: Larry Kramer
• Director: George C. Wolfe
• Set Designer: David Rockwell
• Costume Designer: Martin Pakledinaz
• Lighting Designer: David Weiner
• Original Music/Sound Designer: David Van Tieghem
• Projection Design: Batwin + Robin Productions
• Restaging Director: Leah C. Gardiner
• Stage Manager: Amber Dickerson
• Asst. Stage Manager: Kurt Hall
• General/Production Manager: Ian Pool
• Technical Director: Scott Schreck
• Property Master: Chuck Fox
• Master Electrician: Christopher V. Lewton
• Master Sound Technician: Timothy H. Thompson
• Costume Director: Joseph P. Salasovich
• Artistic Associate and Casting Director: Daniel Pruksarnukul
• Casting: Telsey + Company, Will Cantler, CSA

Disclaimer: Arena Stage provided two complimentary media tickets to ShowBizRadio for this review.

Food has brought cultures together for centuries, and we Americans seem to be united in our adoration of chain restaurants. After having spent over a year in the restaurant business myself, I have experienced firsthand what an awkwardly intimate environment a restaurant can be — both public and personal at the same time. You try to innocuously sip your cocktail or chew your crudités while the couple to your left is all over each other and the frazzled parents to your right are desperately trying to control their rambunctious brood. It’s a cultural miasma into which we seem inexorably drawn, yet we keep going back for those little slices of Americana.

When I first heard the premise of The Big Meal, I expected a lighthearted linear comedy about a large family publicly airing their grievances while ordering too much food and inducing migraines in the wait staff. When I saw Studio Theatre 2nd Stage’s production of Dan LeFranc’s dark comedy, what I got was a rapturously engaging inquiry into the nature of the contemporary American family. Eight actors of varying ages portray five generations of a family as they struggle with children, relationships, disease, and life in general — all within the milieu of an increasingly sinister chain restaurant in Smalltown, USA.

The play begins with a series of dates blossoming into a relationship between a Young Woman (Ashley Faye Dillard) and a Young Man (Josh Adams). The rapid-fire pace and the idiosyncratic rhythm were a little jarring at first but after I got used to it, I realized that this was the perfect way to present these vignettes. It let the audience know that this play would be an album of snapshots detailing this family’s ups and downs. From there, the characters grow up into a Man (Chris Genebach) and a Woman (Hyla Matthews) and navigate through the social constructs of marriage and children, all under the watchful eyes of an Older Woman (Annie Houston) and an Older Man (Matt Dougherty). Rounding out the cast are a Boy (Sam O’Brien) and a Girl (Maya Brettell) and a silent waitress (Sarah Taurchini) running the show and providing beautiful dark symbolism (I’d say more, but then I’d spoil one of the elements that I liked most). As each of the characters ages, their mantle is taken up by the older actors as the younger actors instantly transform into various children, cousins, friends, boyfriends, and girlfriends of the family to continue the cycle.

It seemed to me that Director Johanna Gruenhut did not direct a play as much as she conducted a symphony. Every segue and transformation was executed seamlessly with Ms. Gruenhut carefully orchestrating the emotional highs and lows. The cacophony of the entire family yelling at each other across the table juxtaposed with extended periods of utter silence were pure poetry. Certain props and a few subtle theatrical gestures (a pair of glasses, a necklace, a pattern of drumming on the table, etc.) were passed on from generation to generation as though they were heirlooms. These tiny details told so many stories in a way that only works in live theatre — it was electrifying to watch.

Ms. Gruenhut has assembled a multi-generational cast whose bond is immediately palpable. It is one thing to play a family, it is quite another for these actors to love each other in so many different ways and create one cohesive synergy that remains constant even as the characters change. Every member of the cast was incredibly talented, and it was astonishing to me how well they communicated and played off of each others’ strengths — particularly in how they approached playing older versions of the characters already firmly established by the younger actors. Ms. Dillard was delightful as she set the quirky rhythm of the show, and her complete emotional breakdown in the middle of the show was one of the most heart-wrenching things I’ve seen in years — especially because the tone shifted so abruptly. Mr. Genebach’s comic timing was nothing short of brilliant and his honesty in the darker moments was haunting. Mr. Dougherty was also a standout. His transitions were the most profound of the group, and his depiction of disease-induced mental degeneration was stunningly graceful and poignant. Sam O’Brien and Maya Brettell impressively held their own amongst well-seasoned performers; I can see a bright future onstage for both. I’ve always said that my favorite thing in the world is to watch talented artists of any kind who truly love their art playing in their element — that is exactly what I got from the director and all nine cast members.

Timothy R. Mackabee’s elegantly simple set design created the ideal ethereal restaurant space. The movable tables and chairs, as well as the long upstage booth for inactive performers, served not only the story but the rhythm and tempo of this particular production. Adriana Diaz’ nicely balanced costumes are non-descript enough to serve the fluidity of the show, yet vibrant enough to clearly illustrate the character changes. Ms. Diaz is assisted by Rebecca DeLapp. John Burkland’s subtle and intimate lighting design alluringly set all the appropriate moods and helped clearly define the changes in time and physical space. Perhaps the most striking technical element is the amazing sound design by Elisheba Ittoop. Crowd noises, original music, white noise, and complete silence aurally illustrate the metaphysical world of this show and ground it in glorious reality.

Studio Theatre 2nd Stage, Ms. Gruenhut, and her cast and crew have put together a scintillatingly nuanced, expertly balanced, and thoroughly entertaining production that holds up a mirror to the best and worst of our families. This show runs a refreshing 80 minutes with no intermission and runs through May 20. While I highly recommend this show for adults, it’s probably best not to bring the little ones because of adult themes and language (never mind the two very talented kids in the show itself!). Once you attune yourself to the unusual rhythm of this show (it only takes a few moments), you will find yourself completely enamored with the unique blend of pathos and humor that make The Big Meal at Studio Theatre an immensely satisfying and wonderful evening of theatre.

Photo Gallery

Ashley Faye Dillard and Josh Adams	Chris Genebach and Hyla Matthews
Matt Dougherty, Sam O’Brien,	Matt Dougherty, Sam O’Brien,
Annie Houston and Matt Dougherty

Photos by Carol Pratt

Cast

• Girl: Maya Brettell
• Boy: Sam O’Brien
• Young Woman: Ashley Faye Dillard
• Young Man: Josh Adams
• Woman: Hyla Matthews
• Man: Chris Genebach*
• Older Woman: Annie Houston
• Older Man: Matt Dougherty
• The Server: Sarah Taurchini

Designers/Crew

• Director: Johanna Gruenhut
• Set Design: Timothy R. Mackabee
• Lighting Design: John Burkland
• Sound Design/Original Music: Elisheba Ittoop
• Costume Design: Adriana Diaz
• Production Technical Director: Charlie Olson
• Dramaturg: Lauren Halvorsen
• Assistant Director: Brian Crane
• Assistant Costume Design: Rebecca DeLapp
• Stage Manager/Sound Board Operator: Hope Villanueva
• Floor Manager: Ryan Breen
• Light Board Operator: Kara Sparling

Disclaimer: The Studio Theatre provided two complimentary media tickets to ShowBizRadio for this review.