‘A Gentleman’s Guide…’ at Olney is a Killer

There are different ways to climb the social ladder.  There are different ways to rise above others to get rich.  But killing your competition?  Eight of them, in fact? That’s a whole different matter.

A Gentleman’s Guide to Love and Murder, currently playing at the Olney Theatre Center, is a dazzlingly wicked and raucously funny musical comedy that stands as one of the most delightful gems of modern theatre. Winning the Tony Award for Best Musical in 2014, this fast-paced show mixes dark humor with old-school charm. It turns a story about a serial killer into a lighthearted, hilarious theatrical experience.

Director Eleanor Holdridge and Choreographer Ashleigh King guide the ultra-talented cast through this joyful romp. Olney’s superb maestro Christopher Youstra and the eight-piece orchestra bring the terrific score to life and enhance the stellar vocal talents of the cast and ensemble.

The musical features a book and lyrics by Robert L. Freedman and music and lyrics by Steven Lutvak and is based on a 1907 novel called Israel Rank: The Autobiography of a Criminal by Roy Horniman. The music sounds like a beautiful blend of traditional British music hall and Gilbert and Sullivan operetta. The songs are packed with fast, witty rhymes that will stay stuck in your head long after you exit the theater.

With tongue firmly in the cheek, the audience learns from the outset that the show could be uncomfortable if they have a “weaker constitution,” and if so, they should go.  Indeed, there is a serial killer on the loose, but with the exception of a couple of killings, there isn’t much gore, so don’t take the bait.  Stick through it and enjoy this witty laugh-a-thon.

Set in Edwardian England in 1909, we follow Monty Navarro (played impeccably by Jacob Tischler), a poor young man who just found out from a woman named Miss Shingle (played zestfully by Donna Migliaccio) that his recently deceased washerwoman mother was actually a member of the aristocratic D’Ysquith family.  She had been banished, however, when she defied the family wishes and eloped with a Castilian and worse, a musician (also deceased). 

Mom never told her son about his true ancestry, but Miss Shingle informs him that he is ninth in line to inherit the earldom of Highhurst and encourages him to take his rightful place in the family.  Unfortunately, eight obnoxious relatives stand in his way.

Realizing that his dream for wealth and a high society woman is only eight bodies away, Monty proceeds to off all those ahead of him in the line of succession in various and sundry ways.  The methods he uses are bizarre and creative and seem to fit the personality or livelihood of the victims to a tee.  For example, a bodybuilder Major Lord Bartholomew D’Ysquith perished when Monty allowed an over-weighted barbell to fall hard on the unsuspecting soul’s neck. 

A flamboyant Henry D’Ysquith who was married but is clearly enamored by men is also a beekeeper.  Monty sprays a lavender perfume on Henry’s beekeeping clothes knowing that it attracts bees—so many, in fact, that the victim dies from the overwhelming number of stings.

There are more, of course, including the most gruesome of all—the fall from a church tower by Reverend Lord Ezekial D’Ysquith—but it’s best to just leave you with these teasers.

Because the relatives are so snobby and awful, their sudden demises are treated as amusing comic vignettes rather than scary crimes. Monty writes all this in his journal while in jail two years later after he is arrested for the murder of one of the victims, which ironically was the one death for which Monty was not responsible. 

During the ensuing carnage, Monty had fallen in love with Sibella Hallward (Sumié Yotsukura), a social climbing, self-centered, beautiful woman.  He also encounters a more down-to-earth but equally pretty Phoebe D’Ysquith (Sadie Koopman), Henry D’Ysquith’s sister, who happens not to be above him in the line of succession. He is faced with a difficult choice.

This leads to the show-stopping song “I've Decided to Marry You,” a masterpiece of physical comedy. Monty tries to hide both women in separate rooms at the same time, resulting in slamming doors, complex harmonies, and breathless laughter.

A twist at the end is better left unmentioned here.

"...a dazzlingly wicked and raucously funny musical comedy..."

The musical is unique in that all of the D’Ysquith victims are played by a single actor, Tom Story, who delivers a masterful tour de force performance. The actor must sprint backstage for rapid costume changes (over a dozen are needed), shifting characters and accents in mere seconds. Not only does he cleverly take on the essence of each ill-fated character—male and female—but he deftly uses a variety of dialects and personalities to portray them.   

His muscular baritone voice shines in several fun songs like “I Don’t Understand the Poor,” “Poison in My Pocket,” “Better With a Man” (a sidesplitting duet with Mr. Tischler), and “Looking Down the Barrel of a Gun.”

As the anti-hero Monty, Jacob Tischler demonstrates his sensitivity and vulnerabilities quite proficiently.  On stage for just about the entire production, Mr. Tischler remains strong throughout with his acting skills and glorious tenor voice.  That talent is evident in such numbers as “You’re a D’Ysquith,” “Foolish to Think” and “Stop! Wait! What?!” 

And the aforementioned show-stopping number “I’ve Decided to Marry You”—a zany, high-energy song with Mr. Tischler, Sadie Koopman as Phoebe and Sumié Yotsukura as Sibella—is a dandy.

Ms. Koopman’s beautiful soprano highlights the duet with Mr. Tischler in “Inside Out.” For her part, Ms. Yotsukura’s stellar soprano soars in “I Don’t Know What I’d Do” and “Poor Monty.”

The talented Ensemble support the leads in back-up comedy lines, singing and dancing. (The names of entire cast are shown at the conclusion of the review.)

Scenic Designer John Coyne presents a totally gorgeous set reflecting the era. A beautiful proscenium arch engulfs the stage. A video screen is used for special effects especially when the murders take place. Numerous old portraits of the D’Ysquith clan are displayed all over the walls, and a D’Ysquith family tree is seen whereby the branches representing each heir falls to the floor as each one meets his or her demise.

There is a substage where much of the dialogue and songs between Monty and his two loves take place. In addition, the actors utilize the stage’s apron bringing them closer to the audience. This all lends depth and texture to the production.

Minjoo Kim’s lighting design is also exceptional with rich hues bathing the stage. Red lighting is used quite a bit for dramatic emphasis. Matthew Rowe’s sound design is flawless, which leads to clear dialogue and enabling the music fill the auditorium.

Then there are the costumes by Sarah Cubbage. Magnificent period attire is represented throughout. The splendidly colorful floor length gowns worn by the ladies are brilliant.

A Gentleman's Guide to Love and Murder succeeds because it makes the audience root for the bad guy and laugh at things that should be terrible. The well-directed production at the Olney Theatre Center is top-notch in every element. If you appreciate dry British wit, farce, and stellar acting and singing with a stunning set and costumes, this musical is a killer.

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

A Gentleman’s Guide to Love and Murder plays through August 23 at the Roberts Mainstage Olney Theatre Center, 2001 Olney-Sandy Spring Road, Olney, MD 20832

Tickets: $45 - $108 available here and 301-924-3400

 Performance Schedule: Wednesdays through Saturday evenings at 7:30 p.m. Wednesday, Saturday, and Sunday matinees at 1:30 p.m. Sunday evenings at 7:00 p.m. on August 16

Accessible Performances:

Audio-Described Performance – Wednesday, July 15 at 7:30 p.m.

ASL Interpreted Performance – Thursday, July 16, at 7:30 p.m.

 

Photos: Teresa Castracane Photography

'Waitress' is Pie-umphant at Olney

Ashley D. Nguyen (Dawn), Malinda (Jenna), and
Allison Blackwell (Jenna)

It is hard to imagine that themes, such as an unwanted pregnancy, an abusive husband, adultery, and sexual encounters in the workplace would keep you laughing until your eyes tear, but here we are with Waitress. To be sure, the instances when these themes are addressed are also handled tenderly and with great emotion. The mixture is effective.

Olney Theatre Center’s production of the musical Waitress in the Roberts Mainstage reunites star Malinda in the lead role of Jenna, and director/choreographer Marcia Milgrom Dodge. Waitress is a high-energy, often hilarious, and at times poignant presentation with all elements clicking. Excellent staging, an ultra-talented cast, a wonderful score, great sets, costumes and lighting make up all slices of the tasty pie.

Malinda (formerly known as Malinda Kathleen Reese; she now goes by the mononym used in her singing career) won the 2020 Helen Hayes Award for Outstanding Performance in a Musical for her last turn at Olney Theatre as the Girl in Once.

Waitress may not be the most well-known musical to ever hit the stage but it is a first-rate one. It garnered four Tony Award nominations in 2016 including Best Musical. The all-female creative team includes music and lyrics by Sara Bareilles and a book by Jessie Nelson. It is based on the 2007 film of the same name, written by Adrienne Shelly.

Accordingly, there is a palpable amount of feminism laced throughout as the story deals with the veracity of the lives of working women in America and how women bond to help bring out the best in each.

The multi-layered plot centers on Jenna, a baker and waitress at Joe’s Pie Diner in a small Southern town. She has a penchant for creating magnificent pies and coming up with clever names for them based on the situation. Many of her recipes originated with her late mother but Jenna concocts some pies on the fly. There are pies galore in this show, and thankfully, they are not the kind seen in Sweeney Todd.

Her problem is that she is in loveless relationship with her temper-prone husband Earl (played by Greg
Twomey) who is abusive and demanding. As an example, he regularly pops in the diner and collects the tips she earned while he habitually shows up late for work and is constantly on the precipice of being fired.

You would think Jenna would have left him given this toxic relationship. Easy as pie? Not so fast. Complicating matters is that Jenna discovered she was unexpectedly pregnant as a result of a drunken night with Earl—a development in which she kept from him until she blurted it out right before he attempted to strike her.

Jenna attempts to escape from this misery by finding solace in baking pies and also from the companionship of her two close friends in the diner, waitresses Becky (Allison Blackwell) and Dawn (Ashley D. Nguyen.)  The trio serves as confidants to one another and provides the moral support needed to escape from their ho-hum existence and to make choices to seek the joy that had been missing from their lives. Each reveals their own bit of eccentricities as they embark on this journey.

Sam C. Jones (Ogie), Malinda (Jenna)
and Ashley D. Nguyen (Dawn)

Jenna’s baking prowess leads her to consider entering a pie baking contest that would award $20,000 to the winner and enable her to leave Earl.

Adding another element to the plot is that Jenna has fallen for her handsome gynecologist, Dr. Jim Pomatter (David Socolar), who as it turns out, is also married, and the two have sex in his office. That makes for a zesty and hilarious scene. Mr. Socolar’s athleticism, physical comedy and his fumbling of a piece of paper in that office is one of the show’s highlights.

Meanwhile, Becky, also married, begins an affair with Cal (Ethan Watermeier), a manager at the diner, and Dawn finds love from an uproariously gawky goofball, Ogie, (Sam C. Jones), she met online.

So, there you go. The ingredients for this pie of a plot are in place. It’s just a matter of how they are mixed and with the right proportions to make it yummy. Spoiler alert: it is scrumptious!

Ms. Bareilles’ ballad-heavy score is solid with many numbers heart-wrenching and tender, such as the exraordinary “She Used to Be Mine” and “Take it From an Old Man.”  Some are simply playful and much fun like “Never Ever Getting Rid of Me.” The show starts off on the right foot with the snappy number “What’s Inside.”

As the central character Jenna, Malinda excels on all fronts. Her acting is strong in portraying the victim trapped in her marriage and the anguish she experiences in confronting the reality of her pregnancy as well as her dealing with infidelity. Malinda’s soprano voice is crystal clear and powerful, holding notes exceptionally. Her solos “What Baking Can Do” and the show-stopping “She Used to Be Mine” showcase her vocal prowess.

"Excellent staging, an ultra-talented cast, a wonderful score, great sets, costumes and lighting make up all slices of the tasty pie."

Allison Blackwell as Becky, one of the waitresses, fills the comedy role with relish. Sassy and loud, Ms. Blackwell demonstrates impeccable comedic timing with her wisecracking antics directed mainly towards her boss Cal (played effectively by Ethan Watermeier). Always on the edge of being fired by Cal, Becky intimidates him enough to stay on and has an affair with Cal though she, too, is in an unfulfilling marriage. Ms. Blackwell joins other cast members in song but her one solo number “I Didn’t Plan It” soars.

The third waitress in the musical is Dawn played wonderfully by Ashley D. Nguyen.  A shy, quirky type, Dawn is another who plays a largely comedic role. Through online dating, she meets a guy named Ogie (played terrifically by Sam C. Jones). Initially, it was hate at first sight from Dawn’s perspective, but once they found out both loved American Revolution re-enactments, it was just a matter of time that they would marry.

Mr. Jones’ Ogie is a scene stealer with his nerdy looks and his physical comedy offerings. He sang in "I Love You Like a Table,” but his performance with Ms. Nguyen in the production number “Never Ever Getting Rid of Me” where he briefly shows off his odd dance moves and his own brand of athleticism is a genuine showstopper.

David Socolar as the gynecologist Dr. Pomatter is one of the show’s standouts. Nimble physically with astounding comedic timing, Mr. Socolar turns in a superb performance as his character navigates the tricky terrain of adultery while he falls deeply for his patient Jenna. There were many funny lines, and he executed them to perfection. Mr. Socolar performs splendidly with Malinda in “It Only Takes a Taste,” “Bad Idea” and the tender ballad You Matter to Me” –also a duet with Malinda—displaying a smooth tenor voice.

Then there is the villain of the show, Earl, Jenna’s arrogant and manipulative husband, played convincingly by Greg Twomey. His sweet duet with Malinda in “You Will Still Be Mine” follows his request that Jenna will not love the baby more than him. He has accomplished vocal skills.

Bobby Smith as Joe, the aging, cranky, picky and generous owner of Joe’s Pie Diner, is excellent in his role that calls on him to be comedic and gruff and eventually gentle and kindhearted. He is a fan of Jenna and encourages her to participate in the pie contest. Mr. Smith’s performance in the lovely ballad, “Take it From an Old Man,” is touching. The surprise ending involving Joe is a game changer on several levels.

Rounding out the excellent cast is Jessica Bennett who deliciously plays Nurse Norma. She is wise to Dr. Pomatter’s antics and is hilarious with her reactions.

The talented Ensemble support the leads with solid vocal back-up and occasional dancing. Also, providing a musical lift is the 7 –piece on-stage orchestra conducted splendidly by Christopher Youstra.

Scenic Designer Chen-Wei Liao created a wonderfully functional set. Much of the action takes place in the diner with its kitchen, tables, counter and other props that depict the small town eatery. Other scenes switch seamlessly to the doctor’s office, Jenna and Earl’s home among other venues by utilizing two covered rectangular openings on the stage where set pieces rise up an elevator.

Minjoo Kim’s lighting design is bright and cheery that adds quality to the production. And Sarah Cubbage added more flavor to the pie with terrific and imaginative costumes.

Waitress is a well-staged and well-directed musical with a wonderful score that takes on serious issues with a good heart and levity. The performers excel in all facets, and the show makes for a most entertaining experience, no matter how you slice it.

Advisory: The show contains mature themes and sexual situations and is not recommended for young children.

Running time. Two hours and 45 minutes with an intermission.

Waitress runs through April 6 in the Roberts Mainstage at Olney Theatre Center, 2001 Olney-Sandy Spring Road, Olney, MD. Tickets ($41-$116) are available online or through the box office at 301-924-3400, open from 12 p.m. – 6 p.m. Wednesdays through Saturdays. 

Performance Schedule

Wednesday through Saturday evenings at 7:30 p.m.

Wednesday, Saturday, and Sunday matinees at 1:30 p.m.

Select Sunday evenings at 7:00 p.m.

See the full schedule at: https://tickets.olneytheatre.org/overview/waitress

Accessible Performances Audio-Described Performance – Wednesday, March 5 at 7:30p.m.

ASL Interpreted Performance – Thursday, March 6 at 7:30 p.m.

Due to popular demand, Waitress has been extended from March 30 to April 6.

The additional performance schedule is as follows:

Thursday, April 3 at 7:30 p.m.

Friday, April 4 at 1:30 p.m.

Friday, April 4 at 7:30 p.m.

Saturday, April 5 at 1:30 p.m.

Saturday, April 5 at 7:30 p.m.

Sunday, April 6 at 1:30 p.m.

Photos: Patricia Castracarne Photography

Disney’s ‘Frozen’ Offers a Blizzard of Talent at Olney Theatre Center

Gabriela Hernandez as Elsa and Alex De Bard as Anna

Less than two months away, winter and its likely snow will be upon us. What better way to get in the mood for the season than to see the magical spectacle Disney’s Frozen at the Olney Theatre Center.  How about some warmth from a tender story to create a thaw? 

Directed by two-time Emmy Award winner and Sesame Street veteran Alan Muraoka, Frozen is a snow-filled delight with an extraordinary cast and a stellar creative and technical team. Olney theatergoers may remember the work of Mr. Muraoka as he had helmed the splendid shows Once On This Island and South Pacific. In Frozen, Mr. Muraoka directs this well-paced musical with precision and skill as well.

Disney had authorized the Olney Center to be one of a handful of regional theatres to create the musical on its own and is the first professional theatre in the DMV to do so.

Based on the Oscar-winning 2013 animated Disney film, the musical is also magical on the stage.  With the score and lyrics by Kristen Anderson-Lopez and Robert Lopez, and book by Jennifer Lee, the story and songs, with some added from the original film, are mostly wonderful. The original Broadway production received three Tony Award nominations in 2018.

Frozen is an endearing fairy tale that the young and the not so young will enjoy. The story focuses on two orphaned sisters, Elsa and Anna, who are princesses in a Scandinavian kingdom. Their relationship is torn apart when Elsa cannot control her powers in which she can turn anything and anyone into ice. When Elsa, accidentally hurt her younger sister Anna while building a magical snowman Olaf, that’s when the problems become real.

Years later, Elsa is depressed because she cannot reign in her powers, which left the town of Arendelle in a state of eternal winter.   She remains guilt-ridden for hurting Anna and fears she has become a monster. Elsa heads to the icy mountains and builds an ice palace in order to cope with the situation. She ultimately learns that her powers can be controlled only by love.

Noah Israel as Hans and Alex De Bard as Anna

Anna, with the help of three friends, the kind-hearted Kristoff; Olaf, the adorable, crowd-pleasing
snowman (puppet) whom the sisters built when they were young children; and Sven, the equally lovable reindeer (also a puppet), go on an adventure-filled trek to find her sister to help restore summer to Arendelle.

Prior to that journey, Anna had fallen for Hans, a handsome prince, who becomes an important figure at the show’s end. But it is the love and bond between the two sisters that warms the heart enough to melt the prevalent ice.

Gabriela Hernandez excels as the adult Elsa. She demonstrates her powerful soprano vocals in conveying her burdened character. Ms. Hernandez belts out the first act finale the Oscar winning showstopper “Let It Go,” the popular girl-power anthem, to perfection. She hits it out of the park with another quality number in the dramatic song “Monster.”

Alex De Bard is wonderful as the adult Anna who is determined to find her sister and renew their love for each other. She falls in love with Hans (Noah Israel) only to be betrayed later on. Not all princes are princes apparently. Their duet in the comical “Love Is an Open Door” with its terrific choreography is one of the show’s best. Ms. De Bard and Ms. Hernandez hook up well in the emotional “I Can’t Lose You.” The chemistry between the two sisters is amazing.

As Kristoff, the ice harvester who joins Anna on her quest to find Elsa, Ricky Devon Hall is excellent. With his reindeer Sven (Alex Mills) in tow, Mr. Hall’s character finds himself increasing attracted to Anna.  He performs well in “Reindeer(s) Are Better Than People,” “Kristoff Lullaby,” and a duet with Ms. Debard in “What Do You Know About Love?”

Kennedy Kanagawa is superb as the puppeteer for the adorable snowman Olaf. Both Olaf and Sven are clear audience favorites, especially the kids in attendance, and provide much of the comical moments throughout. He performs well in the reprise of “Do You Want To Build a Snowman?”

"...Frozen is a snow-filled delight with an extraordinary cast and a stellar creative and technical team."

Noah Israel portrays the role of Hans adroitly. With his good looks featuring long flowing locks, Mr. Israel is convincing as the prince for whom Anna falls. But his dark side emerges later, leading to a dramatic conclusion. Mr. Israel possesses a strong tenor voice, and what I mean by strong, I mean Phantom of the Opera strong. It is evident in “Hans of the Southern Isles” and the aforementioned duet with Ms. De Bard in “Love Is an Open Door.” He also performs well with Ms. Hernandez and the company in “Monster.”

Additionally, superb performances are turned in by Aliza Cohen (alternates with Elise Chrappah) as Young Anna, Ruth Eloise Benson (alternates with Taylor Esguerra) as Young Elsa, Sarah Anne Sillers as Queen Iduna, Jay Frisby as King Agnarr, Tyler Dobies as Pabbie, Crystal J. Freeman as Bulda, Jared Michael Delaney as the comedic Weselton, and Jamie Smithson as another comical character Oaken.

The members of the Ensemble are also talented with their vocals and dancing abilities and provide added energy to the production. They include: Jessica Bennett, Quadry Brown, Mia Goodman, Angelo Harrington II, Stephen C. Kallas, Ariel Kraje, Robert Mintz and Haley Nachlas. Stellamaris Orellana and Walker Vlahos are the Swings.

Gabriela Hernandez as Elsa

The production features the meticulous choreography by Kelly Crandall d’Amboise, musical direction by Christopher Youstra and his nine-piece orchestra, vibrant lighting design by Christina Watanabe, clear sound design by Matthew Rowe, and brilliantly colorful costuming by Kendra Rai.

The skilled choreography of Ms. d’Amboise is on display in the various lively production numbers including in “Love Is an Open Door” and “Fixer Upper,” a high-energy romp. And there are others, which are stirringly entertaining as well.

Paige Hathaway’s scenic design is gorgeously imaginative. A glacier-like frame adorns the sides of the stage and above. Drop-down scenery and screens containing projected images of indoor and outdoor locales as designed by Patrick Lord add quality texture to the production. Along with dazzling special effects, representations of snow falling or blowing throughout much of the show form the perfect backdrop to the uniquely creative optics.   

There is no question that Frozen is geared towards children. However, there is sufficient humor, warmth, songs, dancing and dazzling scenery and costumes to entertain adults as well. And entertain it does.

I have seen over the course of many years a number of bravura productions at the Olney Theatre Center. This iteration of Disney’s Frozen takes it to a new level.

Running time. Two hours and 20 minutes with an intermission.

Disney’s Frozen runs through January 25, 2025, on the Roberts Mainstage at Olney Theatre Center, 2001 Olney-Sandy Spring Road, Olney, MD. Tickets ($45–$60) are available online here or through the box office at 301-924-3400, open from 12 p.m. – 6 p.m. Wednesdays through Saturdays. 

Discounts for teachers, active military, and first responders are available here

Performance Schedule

Wednesday through Saturday evenings at 7:00 pm.

Wednesday, Saturday, and Sunday matinees at 1:00 pm.

Select Sunday evenings at 7:00 pm.

Additional performances around Thanksgiving and Winter Break.

See the full schedule here.

Accessible Performances

Audio-Described Performance – Wednesday, November 6 at 7:00 p.m.

ASL Interpreted Performance – Thursday, November 7 at 7:30 p.m.

Sensory Friendly Performance – Saturday, December 7 at 1:00 p.m.

****

Photos: Teresa Castracane Photography

At Olney Theatre, Ike Wins Again

John Rubinstein as Dwight Eisenhower Photo: Maria Baranova

There’s always a tightrope act when a theatre company brings in a production that centers on a former president during election season.  This is especially true in a country that is so massively divided politically. 

In offering The New Los Angeles Repertory Company production of Eisenhower: This Piece of Ground, the Olney Theatre Center can feel confident that partisanship can take a break and re-ignite, if necessary, following this two-hour, solo performer play. Through this biographical account, audiences can evaluate the successes or failures of the two-term president Dwight D. Eisenhower, also known as Ike, and can hope that his values of true patriotism, compromise, moderation and service can lead us to a future with less toxic politics and eschewing the extremes on both sides. As Eisenhower pronounced during the play, “The middle was the usable part of the road — if you go too far right or left, you wind up in a ditch.”

In a master class acting performance, John Rubinstein plays the role of the folksy but complex Dwight D. Eisenhower. Mr. Rubinstein is an acclaimed veteran of theatre and television. He was a Tony Award winner in Children of a Lesser God and famously originated the title role in Pippin over a half century ago. He also appeared in Kiss of the Spider Woman among many other plays and musicals. For his role in the off-Broadway production of Eisenhower: This Piece of Ground, Mr. Rubinstein was nominated for the Outer Critics’ Circle and the Off-Broadway award for Best Solo Performance.

The play, whose run has been extended for a second time at Olney, by Richard Hellesen is adapted from a vast array of Eisenhower's memoirs, speeches, and letters. Director Peter Ellenstein allows Mr. Rubinstein to freely move around the stage as he speaks to an old tape recorder in preparation for an upcoming book. Sometimes he paces. Sometimes he stands. Sometimes he sits. And sometimes he talks on the phone to unseen parties. Since there are no other actors to interact with, this movement is necessary so that the soliloquy doesn’t come off as static as some one-person shows do.

Photo: Maria Baranova

Eisenhower: This Piece of Ground is set in 1962 in the sun porch of the house at the Eisenhower farm in Gettysburg, Pennsylvania, with a picture window looking out at an open field with changeable skies.  That window serves as a screen for projections, designed by Joe Huppert, of the people and events in Eisenhower’s life—photos of a slew of family members, to an old photo of the West Point Academy, which he attended, to a concentration camp in Europe at the end of World War II. All are displayed while Mr. Rubinstein is speaking, providing a rich texture to the production. 

Michael Deegan’s set within the black box confines is pleasant and homey and for realism, precise in its details. The set pieces include period (mid-1950’s) furniture, such as desks, a telephone, a bookcase, lamps, easy chairs, assorted knick-knacks, family pictures, a painting Eisenhower was working on, and an area rug as part of the decoration scheme. Even Eisenhower’s old golf bag is seen in the vestibule (he was an avid golfer). 

The play opens with Eisenhower, 18 months removed from his presidency, attired in a plain sport jacket, tie and trousers, grousing angrily how he was ranked 22^nd out of 31 presidents assessed by 75 historians in an article appearing in the New York Times Magazine. This is the root of the play and a source of much of the humor. He would frequently question how in the world specific presidents were ranked above him, generating laughter from the audience.

During this oration, Mr. Rubinstein as the affable Eisenhower, proficiently and earnestly offers his perspective of the formation of his character. He tells of his Kansas upbringing and the role his parents played in his development. He recounts his decades-long decorated Army career including his heroic victories especially as the allied commander at D-Day during World War II.

Photo: Maria Baranova

He speaks of his two terms as president – and contemplates the qualities and adversities that make an American president great. What struck me was his admission that he was reluctant to be a president in the first place but wound up with two lopsided victories over Adlai Stevenson. He admitted he enjoyed being in the Army most and had to be persuaded to run for the highest office in the land.

Presenting his own accomplishments from his perspective, President Eisenhower certainly had victories to point to. He signed landmark civil rights bills. He condemned mob rule and sent in Federal troops to Little Rock to enforce the 1954 Supreme Court’s Brown v. Board of Education decision. Though fiscally conservative, Eisenhower spent large amounts of funds to create our Interstate Highway system, founding NASA and expanding Social Security. All the while he reiterates his questioning of his place in the presidential rankings in the article.

With all these triumphs, Mr. Rubinstein also adroitly conveys the sadness Eisenhower and wife Mamie had to endure in the death of his first-born child, the shock and anger while visiting a Nazi concentration camp and the challenges he experienced in dealing with Senator Joe McCarthy and McCarthyism.

"In a master class acting performance, John Rubinstein plays the role of the folksy but complex Dwight D. Eisenhower."

What was not mentioned in Hellesen’s play but a shadow over his presidency was his signing Executive Order 10450 in April 1953 that banned lesbians and gays from working in the federal government or any of its contractors. The order contributed to the ongoing “Lavender Scare” of the mid-1950s where thousands lost Federal jobs.  Moreover, Eisenhower was known to have been zealous in his pursuit of rooting out gay people in the armed forces.

Nonetheless, Eisenhower points out it is better “to choose the harder right instead of the easier wrong.” He extols the virtue of moderation and presciently warns of the dangers of the Military-Industrial Complex, a term he created. In this play, Hellesen’s Eisenhower lays down a blueprint for future generations to take that usable middle of the road and avoid those ditches.

Mr. Rubinstein is brilliant in the role showcasing a full range of emotions and not missing a line. He speaks in a realistic cadence that befits Eisenhower’s long military career. His movement around the stage skillfully augments his spoken words.

In Eisenhower: This Piece of Ground you will receive a lesson in history, a taste of politics, a little philosophy,  and perhaps more importantly, humanity. You will experience some laughter and some melancholy, but you will undoubtedly be riveted to the performance by an extraordinary actor in John Rubinstein who works his craft with aplomb.  

Though the show has been extended due to its popularity, tickets are going fast, so you need to hurry.

Running time. Approximately two hours with an intermission.

EXTENDED FOR SECOND TIME: Eisenhower: This Piece of Ground runs through November 3, 2024, at Olney Theatre Center, Mulitz-Gudelsky Theatre Lab, 2001 Olney-Sandy Spring Road, Olney, MD. Tickets ($45–$60) are available online here or through the box office at 301-924-3400, open from 12 p.m. – 6 p.m. Wednesdays through Saturdays. 

This reviewer with John Rubinstein, the original Pippin in 2015
returning as Charlamagne in the touring production of PIPPIN 
at the Hippodrome Theatre Photo: Bob Ford

Kander and Ebb Musical Revue Dazzles at Olney

Harris Milgrim, Nova Y. Patton, Kevin S. McAllister
Natascia Diaz & Karen Vincent

The songwriting duo of Kander and Ebb may not have the same name recognition in musical theatre and film as legends Rodgers and Hammerstein, Rodgers and Hart, Lerner and Loewe even Tim Rice and Elton John. But it should.

John Kander and the late Fred Ebb have collaborated on a mountain of songs—many quite familiar—that earned them numerous accolades, Tony’s and Oscars for their efforts. Spanning six decades, the team penned the music for such classic musicals as Cabaret, Chicago, Kiss of the Spiderwoman and The Scottsboro Boys to name a few. And did you know that they wrote the colossally famous song “New York, New York” for the film with the same name? Neither did I.

Fortunately, the works of Kander and Ebb are being celebrated in a scintillating revue taking place at the Olney Theatre Center in a partnership with ArtsCentic and Everyman Theatre. With a striking set, a superb orchestra and an incredibly talented company of five, 31 songs are showcased in a two-act revue that brings to life some of the Kander and Ebb fine catalogue.

The revue is titled “The World Goes ‘Round,” an updated version of the 1991 off-Broadway production “And the World Goes Round” that was originally created by Scott Ellis, Susan Stroman and David Thompson.  (On a personal level, the title is ironic given I was battling the effects of vertigo during the few days leading up to opening night. Those who have experienced this condition could relate. But enough of me. Back to the review of the revue.)

Kander and Ebb were known to be ahead of their time. While certain topics were considered off-limits, Kander and Ebb confronted dark issues like Nazism in Cabaret, for instance, and social injustice. They dealt with the marginalized in society like the incarcerated. They dealt with racism, female sexuality, queerness and gender fluidity.  But their songs do not necessarily reflect darkness. Kander and Ebb have also created snappy buoyant melodies and joyful, even humorous lyrics. The eclectic mix performed during the revue range from tuneful, emotion-packed torch songs to comical numbers.

The quintet performing these selections consists of a multi-talented and experienced troupe: Natascia Diaz (Broadway’s Man of La Mancha and the Olney Theatre/Round House production of In The Heights); Kevin S. McAllister, who also directs this revue (Broadway's Caroline...Or Change and Come From Away); Harris Milgrim (Broadway’s Cats); Nova Y. Payton (Signature Theatre’s Into the Woods and The Color Purple); and Karen Vincent (Ford’s Theatre’s Ragtime and Into the Woods).

Natascia Diaz and Harris Milgrim

The members of this group can sing up a storm; they can dance gracefully; they do comedy well; and they can “roller skate.” Well, maybe not so much the latter as they hilariously demonstrate those skills in “The Rink” from the show with the same title.

Under the direction of Mr. McAllister, who is no stranger to directing revues at Olney as he helmed the sparkling “The Most Wonderful Time of the Year” this past winter, the show is well-paced and expertly staged.  Music director and maestro Christopher Youstra with his fabulous seven-piece orchestra playing upstage throughout the show, provide the performers with superb backing and do the Kander score proud.

Each member of the company has a turn in singing solos with about half of the selections sung in combination with others or the entire company. As individuals, their vocals shine; in combination with others, they soar.

Nova Y. Payton, with her astoundingly big voice, gets the show off on a high note with her rendition of “And the World Goes ‘Round” from the film New York, New York. Another solo “Maybe This Time” from Cabaret is a showstopper. It should be noted that this ballad was not written by Kander and Ebb specifically for Cabaret but was included in the 1972 film version. It had been written in 1964 for Liza Minnelli’s debut album Liza! Liza!

As mentioned previously, director Kevin S. McAllister also performs in the troupe. Possessing a burly tenor voice, Mr. McAllister demonstrates his strong vocals in the title song from the lesser known 60’s musical The Happy Time as well as “I Don’t Remember.” His rendition of “She’s a Woman” from Kiss of the Spiderwoman is outstanding.

Karen Vincent has a lush voice and performs well throughout. Her two solos, “Colored Lights” from The Rink and “Isn’t This Better?” from Funny Lady are spot on. In a comical number “Sara Lee” that was popularized by Liza Minnelli, Ms. Vincent joins Ms. Payton and Harris Milgrim. It is a pure delight as costume designer Moyenda Kulemeka fitted the ladies in garb resembling pastries. Ms. Kulemeka did a fabulous job in outfitting the troupe in a wide variety of costumes that coincide with the applicable period.

Ms. Vincent also performs in “How Lucky Can You Get” from Funny Lady with Mr. Harris and Mr. McAllister and “There Goes The Ballgame” from New York, New York with Natascia Diaz and Ms. Payton.

Mr. Milgrim takes on many of the revue’s comedic moments and hits them out of the park. The lithe, athletic performer reminds me of a modern-day Tommy Tune. He literally shows off his fit physique in the amusing “Arthur in the Afternoon” from The Act, which is splendidly sung by Natascia Diaz.  An accomplished dancer to be sure, Mr. Milgrim has a solid tenor singing voice and can hold a note longer than an airport line.  He shines in “Sometimes a Day Goes By” from Woman of the Year, an exceptional rendition of “Mister Cellophane” from Chicago and “Marry Me” from The Rink.

Besides “Arthur in the Afternoon,” Natascia Diaz with her rich vocals performs adroitly in “A Quiet Thing” from Flora, The Red Menace. This show happened to be Kander and Ebb’s first collaboration and launched the career of Liza Minnelli who won a Tony for Best Actress in a Musical for the 1965 production. Ms. Diaz takes the lead in the outstanding dance number “And All That Jazz,” one of the highlights from Chicago and performs a beautifully performed extended dance number “When It All Comes True” with Mr. Milgrim.

There are a number of well-executed dance numbers that rev up the tempo of the revue. Choreographer Shalyce Hemby guides the company with precise and fluid movements in such songs as “Coffee In A Cardboard Cup” from 70, Girls, 70, “Me and My Baby” from Chicago, and “Money, Money” from Cabaret. “The Rink” concludes the first act with a roller skating “exhibition” from four of the five members of the company that is pure fun. Ms. Payton was wise to stay off the wheels for this one as she took on a different and safer role during the number.

Scenic Designer Daniel Ettinger allows the performers to do their thing in a gorgeous, colorful setting. The orchestra is upstage but in certain numbers, the platform moves towards the front. There are several rectangular panels on the wall that serve as screens for projections designed by Patrick W. Lord. These projections contain a wide assortment of images that coincide with a particular song. Several personalities are seen offering tributes to Kander and Ebb. They include Chita Rivera and Dame Judi Dench among others.

Lighting Designer Aja M. Jackson adds rich hues to the optics. As a great touch, strings of footlights frame the stage, the wall panels and even the platform where the orchestra is mounted to give off a cool theatre vibe. Well done!

One does not need to be familiar with all the Kander and Ebb songs to enjoy this wonderful musical experience. More likely than not, you will recognize the real popular ones and enjoy the interpretation that is applied. For example, the production number “Cabaret” has been “jazzed up” with an enjoyable result. And there’s the surprise finale “New York, New York” with a new twist.

This production is an extraordinary tribute to the team of Kander and Ebb. Outstanding performers and orchestra with stellar work from the technical crew all under the guiding hand of Kevin S. McAllister make this a don’t miss show. Life is indeed a cabaret.

Running time. Two hours and 15 minutes with an intermission

The World Goes ‘Round plays through May 21, 2023, 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 by Teresa Castracane Photography

Groundbreaking ‘Beauty and the Beast’ Graces Olney Theatre

Evan Ruggiero as the Beast and Jade Jones as Belle

Over the past few years, the Olney Theatre Center has been mounting productions that have transcended conventional theatrical boundaries in its goal to “drive social change, better humanity, inspire joy, and bring communities together.” Some of these efforts involve a particular theme of the production, some involve casting decisions, and others simply try out something new.

In staging Disney’s Beauty and the Beast in 2021, the artistic team decided to go outside the box and cast as the lead a self-described queer, plus-sized Black woman, Jade Jones, who plays the role of Belle, “the most beautiful girl in town.”

Olney Theatre made a conscious effort to expand the stereotypical notions of beauty onstage in this casting choice, and it worked marvelously. In addition, Olney cast Evan Ruggiero, an acclaimed tap dancer and actor who lost a leg to cancer as a teenager, to play the role of the Beast. Demonstrating that his condition was not an impediment to his performance, Mr. Ruggiero also succeeded.

Unfortunately, the production had to be cut short in 2021 because of a surge in a Covid variant. Determined to build on the success of the original production, Olney Theatre has brought back Disney’s Beauty and the Beast to the Main Stage to run through the holidays with most of the cast including these superb leads returning.

Under the meticulous direction of Marcia Milgrom Dodge, the snappy choreography of Josh Walden and the musical direction of Walter “Bobby” McCoy, the show excels on many fronts. Besides the talented leads and ensemble, the glorious set designed by Narelle Sissons, the extraordinary period costumes by Ivania Stack, the wigs designed by Ali Pohanka, the exceptional lighting by Colin L. Bills and the crisp sound by Matt Rowe, Beauty and the Beast is far more beauty than beast.

"[Jade Jones as Belle] is, in fact, perfect for the role."

Let me emphasize that Jade Jones as Belle is indeed beautiful. There is no concern, nor should there be that because they doesn’t look like Belle in the animated film or in previous iterations of the stage production, that they is not perfect for the role. Blessed with extraordinary vocal talent and acting abilities, any stereotypes about beauty vanish by their performance. Jade Jones is, in fact, perfect for the role.

Likewise, Mr. Ruggiero as the Beast, who continued to pursue dancing as a career even after the amputation, effectively moves about the stage peg leg and all and is an inspiration. He also possesses a muscular baritone voice that is a joy to hear.   

The musical, which opened on Broadway in 1994 and was based on the 1991 animated feature film with the same name, became the 10^th  longest ever running musical on Broadway. It features the Oscar-winning score with music by Alan Menken and lyrics by Howard Ashman, with additional songs composed by Alan Menken and lyrics by Tim Rice. The book is written by Linda Woolverton.

Show-stopping well-choreographed production numbers, such as “Be Our Guest,” “Gaston,” and “Human Again” that

showcase the singing and dancing talents of the ensemble are audience pleasers to be sure.  Yet, it is the fairy tale itself that sweeps you away on an emotional and romantic journey.  

The story of a spoiled prince who had been transformed by an enchantress into a boorish, hot-tempered beast until he can find love and return to his human form before petals fall off from an eternal rose given by the enchantress and a beautiful woman Belle from a provincial town is tender and endearing. This relationship has the audience rooting hard for both.  Also pushing enthusiastically for the couple to fall in love are various servants in the prince’s castle who were converted into household objects when the spell was cast on the prince.  They, too, have a stake in the spell being removed.

Simultaneously, the town’s egomaniacal, narcissistic, preening bully, Gaston, rejected by Belle to be his wife, strives to make her change her mind. 

Simply put, Jade Jones as Belle, shines throughout.  Considered “weird” by the townsfolk because of her passion for books, Belle is strong-minded, and her eventual attraction to the beast that requires his becoming more gentlemanly for starters is tearful in its sweetness.   Ms. Jones’ Broadway-caliber vocal prowess is evidenced in the ballads “Belle,” “Home” and “A Change in Me.”

For his part, Evan Ruggiero as the Beast is superb.  He is called upon to be mean and demanding only to soften his demeanor as he becomes emotionally closer to Belle. His on-stage transformation back to being human displaying his handsome countenance at the show’s end with the ingenious use of lighting techniques is spectacular.  Mr. Ruggiero’s powerful voice is evident in “How Long Must This Go On?” and “If I Can’t Love Her.” As mentioned earlier, he overcomes his physical challenges flawlessly.

Michael Burrell romps through his role as the superior, perfect-looking God’s gift to the world, Gaston.  His character, though an antagonist, provides much of the comic relief throughout because of his over-the-top self-centeredness with the amusing and energetic help from John Sygar as Lefou, Gaston’s goofy, ever-fawning sidekick.  Mr. Burrell’s commanding baritone in the heavily misogynistic “Me,” “Gaston” and “The Mob Song” is on display.

As noted earlier, the Beast’s staff had been turned into such objects as a teapot (Mrs. Potts played by Kelli Blackwell).  Her rendition of the beautiful title song was performed sweetly. 

Other characters in this group include Cogsworth, the clock (Dylan Arredondo); Babette, the feather duster (Haley Rebecca Ibberson); Lumiere, the candelabra (Bobby Smith); operatic Madame de la Grande Bouche, the wardrobe (Tracy Lynn Olivera); and Chip, the cup (Arianna Caldwell).  All performed well in their mostly comic roles as foils to the Beast.

Also, turning in a solid performance is Sasha Olinick as Maurice, Belle’s inventor-father thought to be crazy by Gaston and the town folk.

The remaining members of the talented and energetic cast include Connor James Reilly, Selena Clyne-Galindo, Erica Leigh Hansen, Miya Hamashige, Megan Tatum, Jessica Bennett, Ariel Messeca, David Singleton, Tyler M. White, Michael Wood and Felicia Curry.

The set, which is comprised of a facsimile of a castle’s great hall with a staircase and balcony, is essentially the only scenery used. Movements of the stairs and dropdown lighting fixtures as well as lighting changes, moveable set pieces and props signal shifts in locale, such as the town and woods as well as the castle.  Additionally, there is a clever round depiction of a rose that tracks the falling of the pedals on the rear wall.

Hundreds of costume pieces are employed including colorful 18^th century gowns, dresses with hoopskirts, as well as attire for wolves and the beast himself.  Creative devices are used to outfit the enchanted objects—clock, tea pot, candelabra, etc.  There are great challenges in designing such costumes but Ivania Stack succeeds spectacularly, which fortifies the aesthetics of the show.

This production proves why the musical has received such worldwide popularity. No matter our age, we can all enjoy a good fairy tale with a happy ending to brighten our lives.  Bring the kids, too; they’ll love it.

The desire on the part of the Olney Theatre to make the theatre experience inclusive, shatter stereotypes, and open doors to all talented people regardless of how they look, who they love, where they’re from, and the nature of their physical abilities is laudable and appreciated.  They should be applauded along with the performers and creative and technical teams.

Running time. Two hours and 20 minutes with an intermission.

Disney’s Beauty and the Beast runs through January 1, 2023, 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 by Teresa Castracane Photography

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