Satirical, Soulful ‘A.D. 16’ Premieres at Olney

The Bible leaves a gap between the time Jesus was born until he reached age 30. Composer and lyricist Cinco Paul (Despicable Me) in collaboration with Bekah Brunstetter took it upon themselves to fill that void and imagine what life in Nazareth would be like at the time Jesus was 16 years old.

It’s a safe bet that over two thousand years ago Jesus wasn’t fine tuning his TikTok performance or hoping for a new Bluetooth speaker or PlayStation 5. He was, according to Paul and Brunstetter, just Jesus—pensive, caring and inspiring. And his teenage neighbor Mary Magdalene who just made her way to Nazareth with her widowed father Jacob was smitten by this son of a carpenter and tried everything in her power to make it a two-way street. She takes “love thy neighbor” to a new level.

The dynamic between the two shape the core storyline of a spanking new musical making its world premiere at the Olney Theatre Mainstage called A.D. 16. Mind you that the actors portraying Jesus and Mary (Ben Fankhauser and Phoenix Best, respectively) can only see 16 in their rear-view mirrors so you will need to rely on your imagination.

Familiar themes from the Bible are presented mainly in a light-hearted satirical manner in both song and dialogue. However, others depict cruelty and punishment and form the tensest moments in the show.  Strict laws, such as a girl must accept a marriage to a boy if the boy’s parent offers him, or girls cannot be outside the house after dark surface in the story. And most critical to the plot, lepers who are quarantined in a squalid colony cannot be allowed back into the town.

But the values that Jesus preaches regarding generosity, humanity and love try to break through the darkest moments. Using satire, Jesus "turns the other cheek" and works on his healing powers, to name a few.

Director Stephen Brackett guides a spirited talented cast and creative technical crew, and in conjunction with a terrific score and lyrics, the production contains all the ingredients of being a crowd pleaser. At times irreverent, rambunctious, soulful and campy, A.D. 16 is entertaining regardless of one’s faith.

Paul’s score dominated by R&B and 90’s hip-hop genres is up to the task allowing the cast to showcase their considerable vocal talents. His lyrics are witty and emotional and work well with Brunstetter’s book.  Music Director Christopher Youstra and his 8-piece orchestra perfectly support the vocals. Katie’s Spelman’s choreography is effective and precise.

..."irreverent, rambunctious, soulful and campy, A.D. 16 is entertaining regardless of one’s faith."

In what might be the most phenomenal set I’ve seen on Olney’s Mainstage, Scenic Designer Walt Spangler and his team erected a stage-wide multi-level, multi-dimensional set on a turntable displaying stone structures of huts and similar dwellings and switching to other venues, such as a leper's colony and a jail. The multiple sets on the turntable are put to good use in a scintillating travel scene as they revolve in a clockwise manner. The set plus the extraordinary period costumes designed by Emilio Sosa and fantastic lighting designed by Colin K. Bills craft the perfect backdrop to the story and its presentation.

Mary, played by Phoenix Best in a sensational performance, noticed her neighbor Jesus and instantly fell for him. Jesus, projecting a calm, soothing understated manner by Ben Fankhauser, was considered an outcast, and a trio of sassy expecting girls from the village—the Nazarene Girls to be precise (Jade Jones, Chani Werely and Adelina Mitchell) -- tried to dissuade Mary from pursuing him. Their big number “That Boy” conveys that message.  For her part, Mary showing a feminist side criticizes the girls for accepting the fact they are merely considered property in a man’s world. The opening rousing group number “It’s Not Easy Being a Girl (in Nazareth)” sets the tone.

As she interacts with Jesus, Mary picks up on Jesus’ way of thinking and tries to emulate that philosophy and his values to impress him with mixed results.

The harsh laws are gleefully enforced by a trio of Sanhedrin Officers played by Calvin McCullough, Jared Loftin and Christian Montgomery. They are the villains of the show who prosecute violators and carry out the punishment.

Ironically, in enforcing the strict provisions contained in Leviticus and other books from the Old Testament, these officers are represented as swishy, effeminate men most likely to garner chuckles from the audience. It should be pointed out that this stereotype is similar to the way gay men were depicted in early 20^th century films and theatre.

Though the characters are not explicitly gay, their portrayal was not all that subtle. For instance, one of the men, Nicholas, mentioned that he has a wife but was quick to clarify that she is a woman. In another scene, Mary asks him, “What makes you a man, that you have a sword?”  Their caricatures may elicit some laughs, but I don’t think the creative team should expect a GLAAD Award.

A.D. 16 is marked by stellar performances. As Mary, Phoenix Best exhibits her Broadway (Dear Evan Hansen) and national touring chops. Ms. Best is a star in the making with an outstanding soprano voice. She performs in several group numbers including “Jesus Loves Me” and her moving solo “Better than This.” Ms. Best appears most comfortable in musical moments, but her overall performance shines brightly.

Ben Fankhauser as Jesus and Phoenix Best as Mary

As Jesus, Ben Fankhauser does a fine job of conveying the earnestness and seriousness of the boy. Also possessing strong vocal skills, Mr. Fankauser excels in “You Did it for Yourself” whereby he points out to Mary that her risky effort to take the lepers back to town was more about her than for the benefit of the lepers themselves.

Broadway veteran Alan H. Green is excellent as Mary’s father Jacob. He is a controlling dad in which Mary has difficulty accepting. Sadly, the widower had preferred a son to a daughter and expresses that belief in the soulful song “If She Was a He.” At the end, he admitted his love for her and literally had the scars to prove it. Mr. Green’s acting was stellar throughout the production.

Other notable members of the cast include Kelli Blackwell, Jade Jones, Jared Loftin, Calvin McCoullough, Adelina Mitchell, Christian Montgomery, Da’Von Moody, Chani Wereley and an Ensemble consisting of Ales De Bard, Sylvern Groomes, Jr., RJ Pavel, John Sygar and Kanysha Williams.

Any opening night will produce a hiccup or two. On this night a top of a torch (facsimile) flew into the audience. From my perch it appeared that no one, thankfully, was injured and I can predict with great confidence that it won’t happen again.

A.D. 16 is an entertaining production that is performed by a talented cast.  Credit Artistic Director Jason Loewith and the team at Olney Theatre Center for taking a risk of putting on a brand-new musical amidst a pandemic and other challenges. In my opinion the risks were worthwhile, and I urge folks to enjoy this fine theatrical experience. 

Running time. Two hours and 15 minutes with an intermission.

A.D. 16 runs through March 20 (Extended) at the Olney Theatre Center, 2001 Olney-Sandy Spring Road, Olney, MD 20832. Tickets may be purchased by calling 301-924-3400 or by visiting here.

Photos: Teresa Castracane Photography

'On The Town' is a Helluva Show at Olney

Sam Ludwig (Ozzie), Rhett Guter (Gabey), and Evan Casey (Chip) 
Photo: Stan Barouh

When one is serving in the Navy, especially during wartime, the opportunity for liberty at a port is always something sailors eagerly look forward to. Shore leave for them is akin to children anticipating Christmas morning.  #hocoarts

In 1944, three such sailors—Chip, Ozzie and Gabey—disembark from their ship at the Brooklyn Navy Yard, and for 24 hours they make way for the bustle and nightlife of New York City seeking the personal and romantic companionship (aka a fling) that had eluded them while on duty.  One of them, however, is Chip, who is intent on seeing New York’s attractions delineated in an obsolete guide his father gave him 10 years before. 

On the subway they noticed a poster of “Miss Turnstiles for June,” Ivy Smith. Gabey falls for the image of the woman as it reminds him of his childhood crush.  The other two agree to help find her and a zany search ensues while Chip and Ozzie instantly encounter rather odd women of their own.

Their whacky story is conveyed in the classic 1944 musical On The Town that has dropped anchor at Olney Theatre Center.

The production is the early-career collaboration between Leonard Bernstein (music) and Jerome Robbins (based on the ballet Fancy Free) with book and lyrics by Betty Comden and Adolph Green.  It’s the final musical on Olney’s Mainstage of the 2017-18 Season, marking the theatre’s 80^th birthday.

Ably directed by Olney Artistic Director Jason Loewith, this iteration of On The Town is a lively, fast-paced production consistent of the old-time musicals with its solid catalogue of songs including many ballads, vibrant dance numbers and plenty of schtick.  The iconic song “New York, New York,” performed near the beginning of the production and then again as the Finale, is arguably one of the best known songs in Broadway lore.  

Robert Mintz (Ensemble), Lance E. Hayes (Ensemble), and
Rhett Guter (Gabey) Photo: Stan Barouh

Superb work by the entire ensemble showcasing their singing, dancing and comedic talents and terrific orchestration directed by Helen Hayes Award winner Christopher Youstra and his Olney record-breaking 14-piece orchestra are among keys to the show’s success.

Since there is much dancing in On The Town—a cornucopia of rhythmic high-tempo dances with an infusion of ballet—there needs to be a stellar choreographer who interprets and executes Jerome Robbins’ original choreography.  This Olney production has one in the accomplished Tara Jeanne Vallee, and the dancing that unfolds is impeccable and precise.

Rosemary Pardee’s Costume Design accurately fits the ensemble in a wide range of period attire. Alexandra Pohanka’s Wig Design (essential since many in the cast play multiple roles), Colin K. Bills’ Lighting Design, and Roc Lee’s Sound Design are all on point and added quality to an already quality show. Perhaps the sailor hats could be fastened a little tighter to the principals’ heads as their occasional falling is a distraction.

Court Watson’s creative set design is more functional than aesthetic. Dropdown and sliding scenery and a variety of set pieces and props are frequently used to accommodate the plethora of scene changes that includes the Brooklyn Navy Yard, a subway, a taxicab, streets, a couple of apartments, and several different nightclubs among other locales.  The rapidly moving scenery works well in keeping the pace of the show on target.

An elevator bringing performers out of a cavity in the center of the stage and the use of stairways on the sides are good touches enhancing the texture of the visuals.  Another nice touch is a sign that flashes the name of a different nightclub the group travels to.  And I would be remiss if I didn’t give a shout-out to the classic Nedick’s set—nostalgia for me wins out.

Evan Casey as Chip, Helen Hayes Award winner Sam Ludwig as Ozzie, and Rhett Guter as Gabey exuberantly play the three sailors.

Sam Ludwig (Ozzie), Rachel Zampelli (Claire De Loone),
Claire Rathbun (Ivy), Rhett Guter (Gabey), Tracy Lynn Olivera
(Hildy Esterhazy), and Evan Casey (Chip)  Photo: Stan Barouh

Tracy Lynn Olivera plays Hildy Esterhazy, an about-to-be fired cab driver who is hot for Chip.  Rachel Zampelli plays Claire DeLoone, an anthropologist specializing in men and who cannot control her desires.  She bags Ozzie.  And Claire Rathbun plays the elusive Ivy who has not accomplished what the subway poster suggests but instead is a “cooch dancer.”

All the principals demonstrate strong vocals and dance expertly.  As couples, they play off each other quite effectively displaying impeccable comic timing in both dialogue and movements.  It’s no wonder Mr. Casey (Chip) and Ms. Olivera (Hildy) enjoy such strong chemistry as they are a real life married couple.

The Navy trio as a group sings powerfully in such numbers as “New York, New York” and the comical “Gabey’s Coming.” They excel individually and as part of duets and production numbers where they also display elegant dancing moves.

Mr. Ludwig and Ms. Zampelli score high marks in performing in the hilarious “Carried Away” and join with Mr. Casey and Ms. Olivera in “Ya Got Me” and “Some Other Time.”

For his part, Mr. Guter as Gabey, who as disclosed by his fellow sailors, performed a heroic act during the war and saved their lives, engages in less comedy than the others but still has his moments forlornly trying to hook up with Ivy. His solo “Lonely Town” is stellar.

Ms. Olivera shines in the funny “I Can Cook, Too.” In a tour-de-force performance, she possesses amazing comical instincts and is perfectly cast for the role.

Ms. Rathbun and Mr. Ludwig’s dance duet “Pas De Deux” is sensual and majestic.

There are several other actors who do a magnificent job supporting the principals.  Bobby Smith plays among his half dozen other roles the part of Pitkin W. Bridgework, a judge who happens to be engaged to Ms. Zampelli’s Claire.  Understanding at first of Claire’s penchant for other men (“I Understand”), he becomes less so, leading to a madcap conclusion. 

Also playing multiple roles is Donna Migliaccio as Madame Maud P. Dilly, who is a standout as the heavy drinking, often inebriated vocal coach for Ivy and foil for Gabey.

Rounding out the talented cast are Ashleigh King, Amanda Kaplan, Alan Naylor, Connor James Reilly, Shawna Walker, Suzanne Lane, Jennifer Flohr, Ian Anthony Coleman, Lance E. hayes, Robert Mintz, Ron Tal and Taylor J. Washington.

On The Town is a fun musical with plenty of talented performers, musicians, and an expert technical crew. Leave your worries at home for a few hours and enjoy a talented cast giving their all in this wild adventure in New York, New York, a helluva town.  And this is one helluva show.

Running time. Two hours and 30 minutes with an intermission.

On The Town runs through July 22 at the Olney Theatre Center, 2001 Olney-Sandy Spring Road, Olney, MD 20832. Tickets may be purchased by calling 301-924-3400 or by visiting online.