42nd Street

A  lovely summer evening awaits you

Reviewed by Verna Kerans

The first time I saw 42nd Street was at the National Theatre in Washington, D.C. And even though I have strong memories of that show they do not compare to the production I  saw at Wolf Trap on July 17th.

The cast was outstanding . I have very little memory of the lead role of Dorothy Brock. I remembered that Peggy made an enemy of  Dorothy but the story was a little vague. This production however will live forever in my mind due to the very strong, well constructed role performed by Loretta Swit as Dorothy. Who knew she could sing!  She was wonderful.

We somehow feel it's Peggy Sawyer's (Shannon M. O'Bryan) show, and in many ways it is as she "goes out a star" but Swit really shone in the Brock role. Your heart goes out to her when Peggy steps into her shoes after Brock has broken her ankle. We empathize as Brock beautifully passes on her wisdom to the young starlet as Peggy goes out to save the show...

The part of Julian Marsh (Steve Blanchard) is a puzzlement. The role calls for a really strong voice and personality but Julian's voice just doesn't shine until his final notes. He needs another song for that great voice. Steve Blanchard wowed the Wolf Trap audience with his seemingly endless notes of the title song. It was a show-stopper and the audience ate it up.

Last but not least, the role of  Billy (Austin Miller) was sparkling. His toe-tapping was infectious as was the entire chorus line. If you like tap dancing, this is very much the show for you. The costumes by Roger Kirk were brilliant, especially those for the "Dames" number. The dance choreography was the original Gower Champion version and the cast was flawless in their recreation of his famous number. The "Busby Berkeley" number was delightful even though the mirrors didn't quite mesh together. The sets by James Fouchard were beautiful.

All-in-all, it was a fabulous show and I welcomed the chance to experience the Wolf Trap evening. Wolf Trap is a well-known DC venue. It differs from The Muny in St. Louis in several ways. The audience, unless they sit on the lawn, will not get wet if it rains... the Show will always go on. Also, you can carry your food and refreshment into the theatre for early snacking. You can then set your cooler by one of the many support columns. How delightful!!! What a great idea. It was such fun to revisit Wolf Trap. Call (703) 225-1900 for more information.



www.Intermission mag.com

Washington DC Reviews
AUGUST 2011

Oklahoma!

on Arena Stage at the

Mead Center for American Theater



Runs July 2011 – October 2, 2011

Reviewed by Verna Kerans


My summer vacation included a much-anticipated visit to the newly-renovated Arena Stage in Washington, D.C., where, after a $135-million renovation, Arena completed its first year in the new space.


Under the direction and foresight of Molly Smith, Artistic Director, Arena has established itself as the premier Regional Arts Performing Space.


The brilliant design of Bing Thom, a Vancouver architect, turned Arena into the Mead Center for American Theater, linking the two already-built theatres and adding a third.


While the renovation was taking place, Arena performed in Crystal City and Washington, D.C. I remember Allen Lee Hughes, resident lighting designer at Arena, showing me how the new concept would work. We examined a small mock-up of the future look which joined all the theaters, offices and rehearsal spaces. Another small theater, called the Kogard Cradle, was then built under the same roof. You really have to see this to believe how awe inspiring it truly is with huge supporting columns and beautiful glass windows that overlook the waterfront on Maine Street South West Washington.


Molly Smith, Artistic Director at Arena directed Oklahoma! last season. It proved to be so popular that she decided to bring it back for a run that extends until October 2. During August, tickets are 50% off which is a wonderful opportunity for taking the kids and introducing them to live theatre.


The show is a dynamic reflection of multi-cultural America. Called "Indian Territory" when the state of Oklahoma was originally being settled, this show takes place just after the turn of the century when many different races and nationalities were moving there. White, African-American, Indian, and Asian, just to mention a few, were attracted to this newly-opened land.


With winning songs by Richard Rodgers and Roger Hammerstein, i.e., People Will Say We’re in Love, Surrey With the Fringe on Top and the rousing Oklahoma! being sung by a fabulous cast, what more can be asked of a show? This Oklahoma! is as fresh, but with this casting more relevant, than it was when first written in 1943. The original production was the first show in musical theatre history to further the plot through songs and dance. Never before had a musical integrated music, dance and plot in order to tell a story. 1943 was a definitive time in musical theatre when Oklahoma! opened at the St. James Theatre in New York.


Starring in Oklahoma! at Arena are:  E. Faye Butler as Aunt Eller, Curly by Nicholas Rodriguez, Laurey by Eleasha Gamble, Will Parker by Cody Williams, Ado Annie by June Schreiner, and Ali Hakim by Nehal Joshi. What a cast! The voices are uniformly wonderful. I was really hoping Curly would ride in on a horse while singing Oh, What a Beautiful Mornin’. In that I was disappointed, but his knock-dead looks could win over any girl, so it is impossible for Laurey to resist him. June Schriener as Ado Annie is perky, just a little bit devilish and can easily wrap all the boys around her finger... especially sweet Will Parker. Ado Annie’s other suitor is Ali Hakim, who reminds us of the migration to the West of all the enterprising carpetbaggers that popped up after the Civil War. Jud Fry (Aaron Ramey) has a gorgeous voice and for the first time (for me) in this musical he wasn’t as creepy as he is usually depicted. The trapdoor in the floor was used to full advantage and rises up as Jud’s claustrophobic bunkhouse. It’s obvious that all the cast members have great backstories which contribute to making this a winning show.


Everyone in the cast, leads, singers and spirited dancers were in colorful costumes by Martin Paklidinaz. The original choreography was done by Agnes DeMille and, in this revival, choreography by Parker Esse is energetic, romantic and a little bit risqué in the dream sequence. The mood-enhancing lighting was by Michael Gilliam and the functional, clever set included a specially-built house over the seats which accommodates a twelve-piece orchestra under the direction of George Fulginiti-Shakar.


Of all the opportunities in D.C., we highly recommend Oklahoma! which plays at Arena until October 2. Call the box office at 202-488-3300. And remember: you can buy tickets at 50% off until the end of August. The Arena is located at 1101 6th Street SW.


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THE YEAR OF MAGICAL THINKING
STUDIO THEATRE - Washington, D.C.

Reviewed by Verna Kerans

For several years  my eldest daughter nagged me - "Have you read "The Year of Magical Thinking" by Joan Didion?

And to myself I thought, " I won't - it's about death and I am not interested in that - I am too emotional for letting myself in for that".

Then I returned to Washington, D.C and found my friend from college and well-known local actress,  Helen Hedman, was appearing in The Year of Magical Thinking)  --  and I knew the time had come.

Helen Hedman has just opened her one-woman show: a searing, heartbreaking stage presentation of  TYOMT at Studio Theatre under the direction of Serge Seiden and Joy Zinoman.

This is the stage presentation of the book that Joan Didion wrote after both her husband, John Gregory Dunne AND her daughter Quintana died. John, in December of 2003, and Quintana in 2004. John, suddenly of a heart attack, and Quintana, after several long protracted visits to the hospital with several seemingly mysterious ailments that cleared up and then returned.

Hedman does a remarkable job of channeling Didion's memoir. She uses as her script all the thoughts from Didion's book in this 90-minute show. Hedman has really captured Didion's spirit: from the short hairdo that looks so much like Didion to the emotion that permeated her life in this Year of Magical Thinking.

Didion realizes she has developed "magical thinking".  She imagines different conditions that would possibly enable her husband to come back to life. This "magical thinking" works as a survival mechanism for the author who up until now has been a precise and rational woman and writer. What she goes through is a sort of "madness". Hedman, as Joan Didion, opens her one-woman show by telling us that something like this will happen to us - that "something" being an unexpected death. You know it's coming but no matter how you try to prepare, you are never prepared. And she warns: "And it will happen to you. The details will be different, but it will happen to you. That's what I am here to tell you."

I understand this l only too well. My mother is elderly. Being with her has changed my life these last eight years. I know she will die but I know I will not be ready. It will happen to me.

In her book, Didion reflects on these facts of her husband John's and daughter Quintana's lives and how she dealt with it in her year of "Magical Thinking". There are a lot of  "if only I had done this or that", how then it would have all been different. But how fruitless all this thinking becomes as she moves through her year of mourning.

Yes, someday it will happen to you. Possibly by seeing this show you can be a little more prepared.The Year of Magical Thinking will run at the Studio Theatre in Washington, D.C. through July 5. I hope you get to see it. Helen Hedman is wonderful. I dare you to watch it without a Kleenex up your sleeve. Studio Theatre, Washington, D.C.Tickets : 202 - 332 - 3300
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