'Dear Evan Hansen' at the Hippodrome is Letter Perfect

It’s hard to imagine a musical can bring laughter when themes include mental health issues, social anxiety, isolation, lies, drug addiction, suicide and grieving, but Dear Evan Hansen, currently making a six-day stop at Baltimore’s Hippodrome Theatre as part of a national tour, manages to pull it off. To be clear, the show is not entirely stocked with comedy; in fact, there are some heart-pounding dramatic moments within. But the balance makes for great entertainment as Steven Levenson’s book takes the audience on an emotional ride not often seen in musicals.

It is no surprise that Dear Evan Hansen captured six Tony Awards in 2017 and numerous other accolades, and the touring production does justice to the critically acclaimed Broadway production that starred Ben Platt.  The performances by the cast at the Hippodrome under the direction of Michael Greif are superb aided by a wonderful eight-piece orchestra directed by Garret Healey seated on the upper level of the stage and an awesome set.

Evan Hansen (Stephen Christopher Anthony) is a timid and bullied 17-year-old high school senior suffering from social anxiety and a lack of self-esteem. He has a cast over a broken arm from falling from a tree, but how that happened is murky.  His father had left the family when Evan was 7 leaving his mother Heidi (Jessica E. Sherman) to make ends meet. However, she works during the day and attends paralegal school at night leaving Evan to himself much of the time. Heidi procures a therapist for Evan who assigns him the task of writing a letter to himself each day saying why this will be a good day in an effort to be positive.

Another outcast at school is Connor Murphy (Nikhil Saboo), drug addicted and hostile, who bullies Evan and knocks him down in the hallway. Connor’s parents Larry and Cynthia Murphy (John Hemphill and Claire Rankin) are wealthy and have a daughter Zoe (Stephanie La Rochelle) who happens to be Evan’s crush.

Evan pens this letter:

Dear Evan Hansen:

It turns out, this wasn’t an amazing day after all. This isn’t going to be an amazing week or an amazing year. Because… why would it be? 

Oh, I know. Because there’s Zoe. And all my hope is pinned on Zoe. Who I don’t even know and doesn’t know me. But maybe if I did. Maybe if I could just talk to her, then maybe… maybe nothing would be different at all. 

I wish that everything was different. I wish I was part of… something. I wish that anything I said… mattered, to anyone. I mean, face it: Would anyone notice if I just disappeared tomorrow? 

Sincerely, your best and most dearest friend, 

Me

So central is this letter to the plot that fragments of it is projected on a screen on the stage virtually throughout the show.

After Connor signs Evan’s cast, he grabs the letter from the printer in the school’s computer lab despite Evan’s pleading and runs off with it in anger as he notices the reference to his sister. He puts it in his pocket.

A couple of days later, Connor commits suicide and this letter was found in the pocket. His distraught parents conclude that this letter was Connor’s suicide note and was surprised he had a friend, Evan Hansen, to whom he can share his deepest thoughts.

When Evan notices how the Murphys' grief was mitigated by the notion that Connor actually had a friend and seeing that this may be an entrée into establishing a relationship with Zoe, Evan somewhat reluctantly plays along.  The revelation that Evan and Connor were good friends (especially when neither had any friends at all) came as a stunning surprise to Zoe, Heidi and fellow students.

A classmate, Alanna Beck (Ciara Alyse Harris), seeks to enhance her extracurricular activities by trying to promote this newly revealed friendship on social media as a way to honor Connor following his death. Jared Kleinman (Alessandro Costantini), a “family friend” of Evan helps perpetuate the ruse by creating and backdating emails between Connor and Evan and showing the Murphy’s.

What eventually transpires is how both families are impacted by the charade. This is especially true with Evan who attempts to come to terms with the dishonesty and weighing it against the fact Connor’s parents see their son in a new light and that Evan becomes unexpectedly popular.

With music and lyrics by Tony Award winners Benj Pasek and Justin Paul, the score is solid.  They had teamed up for A Christmas Story among others as well as cinema hits The Greatest Showman and La La Land. Songs like “For Forever,” the show stopper “You Will Be Found” and “So Big/So Small” are exceptional. “Sincerely, Me” is the singular comical song, and it is hilarious.

In a tour de force, Stephen Christopher Anthony as Evan is simply magnificent. (The role will be played by Sam Primack on the Saturday matinee and Sunday evening performances.)

It’s a major challenge to replicate the work done by Ben Platt in the Broadway production but Mr. Anthony comes pretty close. His tenor voice is stunningly powerful, holds the notes proficiently and is able to reach the higher registers using falsetto. Mr. Anthony excels in all his numbers with “For Forever,” “If I Could Tell Her,” ‘You Will Be Found,” and “Words Fail” particularly outstanding.

"In a tour de force, Stephen Christopher Anthony as Evan is simply magnificent."

Yet, it is Mr. Anthony’s superb acting skills that form the core of the show’s success. In portraying the timid and self-doubting teenager, he convincingly plays the character with his fluttering speech, mannerisms, keeping his arms close to his body denoting his insecurity, and nervous giggles with nuance.

Onstage throughout most of the production, Mr. Anthony maintains these details with great success. His exchanges with Zoe, his mother and Connor’s parents are notable in how he is able to change the tone so fluidly depending on who he is interacting with. In short, he puts on an acting and vocal clinic.

As Heidi, Evan’s mother, Jessica E. Sherman, also turns in a stellar performance. She conveys the hardworking but oft absent mother to a tee. Also, surprised to learn of Evan’s friendship with Connor, her suspicions effectively come to the surface through her acting skills.

But it is her tender, tears-inducing solo “So Big/So Small” that is arguably one of the most heart-wrenching songs in musical theatre. In that song, which is performed near the end, Heidi reassures Evan that she will always be there for him despite his father’s abandonment. This is one of the show’s highlights.

As the ambitious, dramatic Alana, Ciara Alyse Harris does a splendid job in portraying Evan’s classmate and catalyst for Evan’s tribute to Connor. She does not have a solo number but she sings well in the group number “Disappear.”

The one comical role in the show belongs to Jared Kleinman played so well by Alessandro Costantini. Sex-obsessed and funny throughout, Jared is a co-conspirator in the ruse concerning Evan’s and Connor’s manufactured relationship. He sings well too, as he performs in the comical group number “Sincerely, Me.”

Stephanie La Rochelle does a fine as Zoe, Connor’s sister and Evan’s crush. Soft spoken, perhaps too much so, Zoe is the most suspicious of the Evan-Connor relationship. She hated her brother but became closer to Evan when she became convinced they were actually friends. Ms. La Rochelle sings well in the duet with Mr. Anthony in “If I Could Tell Her” and “Only Us.”

Claire Rankin is very effective portraying Cynthia Murphy, Connor’s and Zoe’s mother. Her family, while affluent, was never close, and Cynthia tries to keep them together. She was particularly moved by the emerging story that Connor and Evan were friends.

Both she and her husband Larry, played well by John Hemphill, begin to see Evan as a son following the revelations of the boys’ friendship even offering Evan college fund money that had been set aside for Connor. Mr. Hemphill performs a tender duet with Mr. Anthony “To Break in a Glove.”

Then there is Connor himself played by Nikhil Saboo. He makes brief appearances at the outset where he bullies Evan. Then in death, he appears in Evan’s conscience to guide and reassure him. Mr. Saboo appears in several numbers including a duet with Mr. Costantini in “Sincerely, Me.”

A creative and functional set designed by David Korins and projections designed by Peter Nigrini enhance the production. When a scene takes place in Evan’s room, the rear screen is filled with moving projected images of computer screens depicting the active world of cyberspace. Scenes transform seamlessly and smoothly from a simple kitchen table where Evan and Heidi have intimate talks to a school corridor to the Murphy house with windows projected on the screen. Japhy Weideman’s excellent lighting design adds to the strong visuals.

You can come to see Dear Evan Hansen for the music. You can come for the drama.  You can come for the magnificent performance by Stephen Christopher Anthony as well as the other cast members. You can come for the dynamic scenery. In any case, do come but hurry as tickets are limited. This is theatre at its best.

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

Advisory. The show contains profanity and adult situations and is not recommended for young children.

Dear Evan Hansen plays through March 20 at the Hippodrome Theatre at the France-Merrick Performing Arts Center, 12 N. Eutaw St, Baltimore, MD 21201.  For tickets, call Ticketmaster at 800-982-ARTS or visit here. 

Photos: Patrick Murphy

Welcoming Sign Stolen From Church in Howard County

If you drive east on Route 108 just beyond the River Hill Village Center in the Clarksville area of Howard County, Md. you can’t miss the 3 ft. by 6 ft. sign in front of the Linden Linthicum United Methodist Church. That sign boldly proclaimed, “EVERY ONE IS WELCOME HERE” with rainbow-colored decorations on it.

Well, you will miss it now, at least for the time being.

Apparently, not everyone buys into the message of inclusion. Under the cover of darkness on the night of February 24, a person or persons used a chainsaw to cut through the substantial wooden posts supporting the sign adjacent to the church located at 12101 Linden Linthicum Lane and removed it.

Gayle Annis-Forder, pastor of the roughly 500-member congregation church promptly took to the Clarksville Happenings group on Facebook—one that typically includes member posts requesting information on contractors, babysitters, lost pets and the like—to explain that it was not the church that took down the familiar sign but someone else had done the deed. She pointed out that the sign had been defaced last June and despite its unauthorized removal this time, “LLUMC still believes what the sign said, that everyone is welcome here.”

A whopping total of 300 reactions appeared along with 150 comments all supporting Pastor Gayle and the church and denouncing the act of vandalism, which was reported the next morning to Howard County Police. Many believe this act should be investigated as a hate crime.

Bob Ford, a member of the Howard County Human Rights Commission, stressed the importance of reporting hate bias incidents to the police. “Even if a crime is not committed, being the victim of racial, religious, ethnic or sexual orientation and gender identity slurs should be reported to the police as hate bias incidents,” Ford explains. “Data must be compiled by law enforcement concerning these incidents so that measures can be implemented to reduce them in the future.”

In this matter, however, a crime was committed as private property was vandalized and removed.

“I’ve always loved that sign, big, bright, and right up front for all to see,” Charlotte Gammel Wojcik posted as an example of the type of comments displayed in response to the incident. “I’m sorry some jackass ruined it. I hope you’ll replace it because I believe many who saw it felt supported, even if they never entered the church.”

Another comment was posted by Howard County Councilwoman Deb Jung whose district currently includes LLUMC.

“There is no doubt in my mind that you and your congregation live the values represented by your beautiful and welcoming sign. Reading these comments warms my heart knowing there are so many in our community who will not allow this to stand. We will replace the sign and it is my hope that we can make the sign replacement an event that will allow us all to come together and celebrate our love for one another. Later, Jung told me, “It was a despicable act of hate and vandalism.”

Janssen Evelyn, who is opposing Jung in the Democratic primary in that district, weighed in as well.

“The fact that someone went there with a chainsaw meant that they were intentional in their hate. We must be more intentional than that individual in our resolve and in our love. As a community, we must not accept hate. This is our watch, and we must show that everyone is welcome in our community.”

Pastor Gayle points out that although the sign contained rainbow colors, the welcoming message is not exclusively aimed at members of the LGBTQ+ community. She noted that members of that community would recognize the color scheme and understand that they are welcome. The message is broader, however. “LLUMC welcomes everybody.”  

Indeed, the church’s Statement of Values and Inclusion on the website reflects that point.

“As followers of Jesus, we the people of Linden Linthicum United Methodist Church are committed to welcoming and loving everyone as he did, without regard to ability, race, ethnicity, gender, gender identity, sexual orientation, family make-up or religion. We embrace the principles of love over hate, inclusion over bias, respect over prejudice, equality over bigotry, and caring for all. Therefore, we reject the targeted hate messages and exclusivist ideologies advocated by any group. Such messages are antithetical to the inclusive message of Jesus. We are committed to living out non-discriminating love in our lives, worship, study and service.”

Nonetheless, the LGBTQ+ community especially transgender kids have been under attack and would find this church a spiritual safe space for them and their family members to receive support. As an example of the assault on members of the community, Republican Senator from Florida, Rick Scott, laid out a widely panned agenda that says that there are only two genders, failing to acknowledge the reality of a gender identity spectrum. Moreover, Florida passed legislation dubbed the “Don’t Say Gay” bill whereby the subjects of sexual orientation and gender identity cannot be discussed in primary grade levels.

Recognizing these developments in Florida and Texas specifically, Becca Niburg, an immigration attorney and a candidate for the Maryland House of Delegates from Howard County, issued the following statement:

“The sign referenced states that all are welcome across a rainbow background, specifically signaling inclusion to those in the LGBTQ community. Especially under the backdrop of the governor of Texas persecuting Trans kids, the removal of the sign signifies hate and division in our community and those who perpetrated the destructive act should be punished to the full extent of the law both criminally and civilly. I stand with the LGBTQ community and the Church, ready to assist and support.”

Adds Byron Macfarlane, the County’s Register of Wills and the first openly gay elected official in Howard County, “This is a reminder that Howard County isn’t immune to criminal acts of hate and intolerance. We have to reject hate in all its forms, call it out when we see it, and stand together. Our amazing rainbow LGBTQ+ community and our tremendous allies, including so many faith partners, must remain vigilant and undeterred as we build enduring relationships based on love and solidarity. These criminals can take down a sign, but they’ll never stop the march to true and lasting equality.”

Pastor Gayle has been moved by the support she has received from the community and by other faith leaders in Howard County. She indicated a new sign will be ordered and a celebration outside the church whereby community members can join in and observe the new welcoming sign is under consideration.

Photo of sign prior to the incident courtesy of LLUMC

UPDATE FROM PASTOR GAYLE, 3/6/2022:

After Easter (which is the 17^th) We’re getting trees taken down on the 13^th to give a sight line, and don’t have the cameras up yet. The sign is ready and we just need to get the site prepared. This is all a lot more steps than it seemed it would be. It’s all good, though. People continue to be lovely.

 

Nostalgic ‘Summer’ at the Hippodrome

Looking for some Hot Stuff?  Heaven Knows you will Stomp Your Feet after they Dim All the Lights as Bad Girls will give you Unconditional Love singing songs you already heard On the Radio, and to be sure, it won’t be the Last Dance.

These favorites and lots more associated with the “Queen of Disco” Donna Summer come to life under the disco ball of Baltimore’s Hippodrome Theatre with the touring production of Summer: The Donna Summer Musical as part of its Broadway Series.

The Hippodrome had presented several exceptional jukebox musicals in the recent past including MammaMia!, Jersey Boys, Beautiful: The Carole King Musical, Rock of Ages, and The Bodyguard.  Summer is no exception with its incredible song catalogue, outstanding performers, and brilliant lighting design and effects that enhance the production.

The musical features a book by Colman Domingo, Robert Cary, and Des McAnuff and music and lyrics by Donna Summer, Giorgio Moroder, Pete Bellotte, Paul Jabara, and others. It is based on the life of Summer who was originally from Boston and began in a gospel choir before becoming arguably the most popular diva during the disco era of the seventies and early eighties. A whopping 42 of Donna Summer’s singles made it to the Billboard Hot 100 list with 14 finding its place in their Top 10. And in the period from 1975 to 1984, Summer had a Top 10 hit in each year.

Although Summer: The Donna Summer Musical received two Tony Award and three Drama League Award nominations in 2018, it had a brief stint on Broadway in which it closed after 289 performances. The show began its tour in 2019.  As evident by the warm reaction by Hippodrome audience, there continues to be a longing for disco music especially by those who were around then. The late Donna Summer along with the Bee Gees embodied that sound as much as any from the genre. 

"...incredible song catalogue, outstanding performers, and brilliant lighting design and effects..."

To be clear, Summer: The Donna Summer Musical is not a concert though 23 of her songs are included in a tight 100-minute production under the meticulous direction of Lauren L. Sobon and the excellent five-piece band conducted by Erika R. Gamez. 

Summer’s hits are presented through a musical biography representing three stages of her life: Duckling Donna in her pre-teens, Disco Donna in her late teens and early 20’s, and climaxing with Diva Donna in her 50’s when she was on top of the proverbial disco ball. But the songs performed are not in chronological order of their release but rather tied to a particular event in Summer’s life.

Born LaDonna Adrian Gaines, Summer’s life’s story was a rollercoaster of highs and lows even with her incredible professional success.  Through dramatic dialogue and clever quips, we meet the folks who were part of that rollercoaster.

From her parents to producers, to studio execs, musicians, agents, lawyers, lovers, children and her husband, we get to know Donna Summer as the person behind the mic and what she endured through her journey that ended in 2012 at the age of 64 from lung cancer. Brittny Smith, who plays Diva Donna to perfection, characterizes Summer’s life aptly by confessing, “Sometimes I feel like Judy Garland in The Wizard of Oz. Other times I just feel like Judy Garland.”

Ms. Smith, armed with a glorious voice, also provides some narration and commentary as the story moves from one phase of Summer’s life to another. She is particularly strong in the memorable “I Feel Love” and the production numbers “Stamp Your Feet” and “MacArthur Park” as well as in several other group songs.

Also superb in her vocals is Charis Gullage as Disco Donna.  As the “Donna” during the height of her career, Ms. Gullage performs in the majority of the songs. Her voice is so good that she can cut an album without any worry. “Love to Love You Baby,” “Heaven Knows,” “Dim All the Lights” and “Hot Stuff” are examples where Ms. Gullage shines.

Amahri Edwards-Jones as young Duckling Donna ably solos in “On My Honor” and participates in several group numbers.

The 3 Donnas: Charis Gullage, Brittny Smith and Amahri Edwards-Jones

All three combine effectively for the dramatic “No More Tears (Enough is Enough)” performed following a domestic violence incident experienced by Summer.

Other members of the cast include Robert Ayala, Emilee Theno, David Tanciar, Christopher Lewis, Aubrey Young (performs in “Dim All the Lights”), Francisco Risso, Porter Lee Anderson III, Meridien Terrell, Ciara Jones, Lamont Whitaker, Mia Davidson, Sy Chounchaisit, Layla Brent-Tomkins, and Lily Kren. As Summer’s husband Bruce Sudano, John Guaragna, performs well in “Heaven Knows” and “I Love You.” The talented Ensemble backs up the leads splendidly.

Adding vitality to the hue-rich production is the superb lighting designed by Russell A. Thompson, the fabulous costumes designed by Paul Tazewell and the wig and hair design by Brandon T. Miller. Also augmenting the production visuals is the neat projection screen designed by Chris McCleary containing myriad colorful images and graphics forming the backdrop to the set.

Folks who remember the disco era certainly will enjoy the music presented in Summer: The Donna Summer Musical. For my part, as I listened to the wonderful performers bringing back those memories of the disco era, I tried to recall where I was when I first heard the song played on the radio or where I danced to the beats. I’m sure I was not alone.

This is a top-notch production that should not be missed even if you are too young to have worn bell bottoms, a groovy jumpsuit, go-go boots or had danced to the vibes from Donna Summer’s music.

Running time. One hour and 40 minutes with no intermission.

Summer: The Donna Summer Musical plays through February 20 at the Hippodrome Theatre at the France-Merrick Performing Arts Center, 12 N. Eutaw St, Baltimore, MD 21201.  For tickets, call Ticketmaster at 800-982-ARTS or visit ticketmaster.com or visit here.

Photos: Denise Trupe

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

The Dems' Secret Weapon

It was the phrase heard around the world: “Legitimate Political Discourse.”  The violent and deadly January 6 insurrection was deemed unanimously by the Republican National Committee as “legitimate political discourse.” Wow!

Does this compare with Mitt Romney’s “47%” gaffe in which he said during a fundraiser as candidate in 2008 that 47% of the population is made up of people who believe they are “victims,” and are “dependent on government.”? That statement, which was untrue, was interpreted to mean that almost half the country were freeloaders. He lost.

Or is it as unifying for the opposition when Hillary Clinton said half of Trump supporters belong in “a basket of deplorables.”? That spawned t-shirts and other merchandise bought and worn by Trump supporters proudly proclaiming that they are deplorable. She lost.

Only time will tell if the RNC blunder will impact the political landscape. But it may have been the gift the Democrats sorely needed to help mitigate a potential disaster in the midterms.

With this characterization of January 6, the Republican Party should be branded as the party that condones political violence. Democrats must capitalize on the GOP flub. Plus, the censure of two Republican congressman—Liz Cheney and Adam Kinzinger—for sitting on the Select Committee investigating the January 6 insurrection and events leading up to it has caused a fissure within their own ranks.

Leaders like Mitch McConnell and Mike Pence acknowledged the legitimacy of the 2020 election and want their party to look forward and concentrate on the midterms rather than obsessing over an election that was lost.

Last year’s attack on the Capitol “was a violent insurrection for the purpose of trying to prevent the peaceful transfer of power after a legitimately certified election from one administration to the next,” McConnell said.

"With this characterization of January 6, the Republican Party should be branded as the party that condones political violence." 

Others who are tethered to Trump’s big lie want to keep litigating the election. Sooner or later there will be an explosion.

The divergence in strategy will power the primaries between Trump cultists and other Republicans. Money will be spent on ads fighting each other that will leave less to be directed against their Democratic foes. Moreover, negative ads used against one another can be gleaned by Democratic candidates for their own advantage. And if Trump-backed candidates win, they are likely to make them defeatable in a general election because they will be so scary.

To be sure, the midterms can be catastrophic for Democrats regardless of Republican in-fighting. The historic nature of midterms does not bode well for the party that is occupying the White House during the first term. President Biden’s approval numbers have been dismal. Then you add in the political effects of Covid, increased inflation, higher gas prices, supply line issues, the inability to pass the blockbuster legislation package called Build Back Better, and other factors that lay at the feet—unjustifiably in most cases—of the current administration.

The GOP is oozing with confidence that they can re-take the House for sure and stand a good chance of capturing the Senate as well. For the reasons above they should feel giddy about their prospects.

But the Democrats have a secret weapon that won’t be a secret much longer: the Republicans themselves.

Republicans would be wise to drop Trump like his torn-up presidential documents into the toilet.
Though his base remains steadfast in their support, that fealty is beginning to leak fumes.  The Republican crazies like Marjorie Taylor Greene, Ted Cruz, Matt Gaetz, Madison Cawthorn and other Trump worshippers are going to help as well.

Another dynamic is the Supreme Court selection and confirmation process to fill Justice Breyer’s seat. This could be most critical politically in terms of the midterms and beyond. Joe Biden pledged to fill any vacancy with an African American woman, which would be the first such selection to the high court. It would add to his already historic endeavor with his choosing Kamala Harris as his running mate who ultimately became the first African American and Asian American Vice President.

Shay Horse/NurPhoto via Getty Image

Having a Black woman nominated to the Supreme Court would, of course, stoke the base, which has soured on the President to a significant degree. In addition to the resurgence of enthusiasm that is expected from the nomination, it puts the Republican Party on a tightrope without a safety net.

No matter which person is nominated, she will undoubtedly be very qualified for the lifetime post. As they are prone to do, Republican senators will do their very best to stonewall the nominee, partake in rough questioning at the committee hearings and probably accuse her of being a socialist or radical—their go-to monikers.

However, in doing so, they could zealously appeal to the racist elements of the base and run the risk of appearing racists themselves. That will not only motivate the Democratic base but also turn off independents who the GOP is counting on in the fall.  The Dems could run on that alone.

In addition, the House Select Committee on January 6 will be holding hearings in a matter of weeks that will last for months revealing the causes of the events of January 6, who planned the insurrection, who paid for it and other details. It will also cover the attempted coup by Trump and his aides to retain power against the will of the people.

Some of the hearings are expected to take place in prime time and the nation can learn of the insidious plot to destroy our democracy. It promises to be compelling. None of these revelations will help the Republicans, especially those who are pro-Trump.

That brings us to another secret weapon the Democrats have at their disposal: Donald Trump himself. Though not on the ballot in 2022, the Democrats should still treat him as if he was. Trump will be challenged to navigate the myriad legal messes he’s in and that won’t be easy. A criminal indictment here and there could shake up the entire political landscape. Keep your eyes on Georgia.

Trump continues to be unhinged about the 2020 election in which he cannot bring himself to accept defeat. The big lie that the election was stolen from him is an utter disgrace and an embarrassment to the nation. But he is unrelenting. Sooner or later, you would think his people would be tired of his con game. But will they?

Unquestionably, the Democrats face enormous challenges in the midterms including Republican-led gerrymandering and voter suppression. You would be naïve to think there would be a positive outcome. Yet, between Republican overreach and obstructionism, divisions within the party, perceived racism if they attack the Supreme Court nominee and the continued gross behavior of Trump, you just don’t know for sure.

A lot can happen between now and November, but the GOP itself seems to be the Dems’ best weapon and hope.

There Are Lots and Lots to Enjoy with Toby's 'Spamalot'

"Spamalot."  That’s what I usually say when I open my email.

But Toby’s The Dinner Theatre of Columbia is presenting another Spamalot: Monty Python’s Spamalot billed as “a new musical lovingly ripped off from the motion picture.”

It takes you back to medieval times. But it probably wasn’t quite like the way it was portrayed at Toby’s.  In the musical theatre’s version of the 1975 film Monty Python’s Spamalot (with a number of differences from the film), Helen Hayes Award-winning director Mark Minnick, who also choreographed the production, and the cast and crew offer up a zany, classic slapstick production with laughs at every turn. Just be ready for “alms for the poor” later on in the show.

Tony and Grammy Award winner Eric Idle penned the book and lyrics and also composed the wonderful music with John Du Prez.  Mike Nichols directed the original Broadway production of Spamalot in 2005 garnering three Tony Awards including Best Musical among 14 nominations.   It ran for over 1,500 performances, and the show has been seen in over a dozen countries.

The superbly costumed performers at Toby’s seem to have as much fun as the patrons, and why not? With impeccable staging and direction, the madness of Monty Python is executed to near perfection. Spamalot’s goofy, irreverent, no-holds barred plot, centers on King Arthur’s quest for the Holy Grail.  But that merely serves as a vehicle to string together a series of oddball encounters and shtick augmented by a deliciously funny and clever score.

Ross Scott Rawlings led the proficient six-piece orchestra on the night this performance was reviewed. Nathan Scavilla takes the baton in other performances. They support the talented vocalists as they hit the bull’s eye with each number while being the brunt of a few jokes by the actors as part of a bit.    

The show is amazing especially since Jordan Stocksdale, who plays the central character King Arthur, signed on to the production merely two days earlier to replace an injured actor.  Mr. Stocksdale never missed a beat in what I consider a seamless and near flawless performance.

While he had played the role in the past, Mr. Stocksdale had to deal with the challenges of performing in the round, and he clearly was a quick learner.  Much credit should go to Director Minnick and the other cast members for helping to bring him up to speed in such a short timeframe.

The experienced Mr. Stocksdale successfully handled the role with commanding stage presence showcasing a strapping baritone voice and fine acting skills, which include well-timed and delivered comedic lines when called upon. How he managed to keep a straight face throughout the non-stop insanity of the plot and the antics of the other cast members is beyond me. It takes discipline, and Mr. Stocksdale obviously has that.

His vocal talents are showcased in “King Arthur’s Song,” “Come With Me” in a duet with Janine Sunday who plays The Lady of the Lake, “Always Look On the Bright Side Of Life,” a glorious dance number with his Knights, and “I’m Alone.”

The aforementioned Janine Sunday as the Lady of The Lake, a multiple Helen Hayes Award nominee, is the only female lead in the cast. She demonstrates her excellent vocal talents with clarity and strength.  Ms. Sunday hits the right notes in such group numbers as “Come With Me,” “Find Your Grail,” and “The Song That Goes Like This.”  But her magnificent solo, “The Diva’s Lament,” is the icing on the cake. 

Another standout is the two-time Helen Hayes Award recipient David James, who is reprising his extraordinary tour de force from eight years ago at Toby’s. The versatile Mr. James begins the show as Historian (Narrator).  But then he tackles five other roles throughout the production with my favorite being Prince Herbert.  Prince Herbert, much to the chagrin of his overbearing and music-hating father, played wonderfully by Justin Calhoun, does not want to marry the girl his father had arranged for, mainly because he is gay.

"...a zany, classic slapstick production with laughs at every turn."

Mr. James plays Prince Herbert with flair as he did at the beginning of the show when he played the role of Not Dead Fred.  His Prince Herbert’s back-to-back numbers “Where Are You?” and “Here Are You!” are fun.  The madcap disco production number that follows, “His Name is Lancelot,” with the ensemble attired in flamboyant garb, is a show highlight.

Justin Calhoun delivers one of the best comic moments of the show when in true Abbott and Costello mode attempts to instruct two guards to prevent his son from leaving the castle. I’m still laughing at that scene. Mr. Calhoun also turns in an excellent performance as Sir Dennis Galahad delivering one funny line after another.

Other cast members perform extremely well—most playing multiple roles—making this production as well-rounded as the knights’ table.  Adam Grabau plays Sir Lancelot splendidly as well as the hilarious French Taunter during a particularly hilarious scene.

Jeffrey Shankle plays Sir Robin with finesse especially during the side-splitting number “You Won’t Succeed on Broadway” in addition to the comical “I’m Not Dead Yet.”    

Quadry Brown, another eleventh hour replacement, does a commendable job. He portrays Patsy, who dutifully follows King Arthur around as his servant banging two coconuts shells together simulating horse’s hooves as King Arthur “rides” before him.  Mr. Brown excels in “I’m All Alone” as a counterpoint to Stocksdale’s King Arthur and appears in the memorable group number “Always Look On The Bright Side of Life.”  Again, kudos goes to Mr. Brown for stepping up when needed.

David James as Not Dead Fred

Notables in the production are Shawn Kettering, Ariel Messecca, Brandon Bedore, MaryKate Brouillet, Shane Lowry, and the show’s writer and lyricist Eric Idle playing the Voice of God, Who wouldn’t want that role appearing in their bio?          

The other members of a very energetic and talented ensemble include Amanda Kaplan, Alexis Krey, Patricia “Pep” Targete and Brook Urquhart.

Director and Choreographer Mark Minnick put the dancers through the paces, and they excel in several numbers especially in the zany “Knights of the Round Table” with much of the cast and ensemble participating.  “Find Your Grail” is another hopping production number.

David Hopkins’ simple yet functional set consisted of brick castle walls around the perimeter of the theater and side projection screens that were employed very effectively.  Stage entrances are used well to keep the action sustained and balconies are in place for various scenes. 

Props and large set pieces are a key element in this production that include such items as a pull wagon, a oversized wooden rabbit, fake human limbs, barnyard animals, candles and lots more.

The costume team coordinated by Marianne VanStee and Janine Sunday outfitted the cast in a dazzling array of medieval chain mail costumes originally designed by Tim Hatley and other attire that ranged from French maid costumes to “very gay” Broadway production number apparel to a sparkling gown. Yet, the period costumes worn by King Arthur and his Knights as well as the ensemble are simply jaw-dropping with their detail and authenticity.

Lighting designer Lynn Joslin makes effective use of color lights and sudden illumination to augment the action.  Sound designer Mark Smedley also does a nice job of creating echoes when authoritative pronouncements are made (such as when God is talking) or when there is a clap of thunder.  All the performers are effectively mic’d so that the lyrics and dialogue are clearly audible.

So, find your own grail. Visit Camelot and see among others Sir Lancelot. Eat a lot, drink a lot, tap your feet a lot, and be prepared to laugh a lot. Watch the actors sing a lot, dance a lot, prance a lot, and joke a lot. They lose their limbs a lot and come back from the dead a lot. They talk about Broadway a lot, Jews a lot, gays a lot, and even poke fun at France a lot.

Come see Monty Python's Spamalot. There’s a lot to enjoy and you will enjoy it a lot.

Running time: Two hours and 25 minutes with an intermission.

Spamalot runs through March 20 at Toby’s Dinner Theatre, 5900 Symphony Woods Road, Columbia, MD 21044.  Tickets may be purchased by calling the Box Office 410-730-8311 or visiting here.

Photos: Jeri Tidwell Photography

The Prom at the Hippodrome Will Give You a Night to Remember

Photo: Deen Van Meer

If the producers and creative team of The Prom wanted to find a setting for homophobia in small town America, they found the right place in Edgewater, Indiana—that’s Mike Pence’s Indiana in case you forgot. And if they wanted to poke fun at Broadway performers and divas, they hit the mark with The Prom currently on its first national tour and making a brief stop at Baltimore’s Hippodrome Theater.

Directed and choreographed by Tony Award winner Casey Nicholaw, The Prom is a dazzling, colorful, extremely well-staged production that adroitly combines romance and gay acceptance with comedy. It tugs at your heartstrings while offering up an abundance of laughs making this one of the funniest musicals I’ve ever seen.

The performances by the energetic and talented cast are fabulous. Their vocals are magnificent as almost everybody has a turn to showcase those skills. Nicholaw’s potent choreography is executed to perfection by all, particularly the Ensemble in several amazing production numbers. One of these is the spectacular, get-on-your-feet show stopping finale “It’s Time to Dance.”

With music by Matthew Sklar, lyrics by Chad Beguelin and a book by Bob Martin and Beguelin, the 2018 musical is based on an original concept by Jack Viertel. Sklar’s score is melodic and lively, if not spectacular, and Beguelin’s lyrics are witty and tender.

A film adaptation produced and directed by Ryan Murphy (Glee) and featuring Meryl Streep, James Corden and Nicole Kidman among others, was released on Netflix in December 2020. Despite the high-powered cast, I prefer the stage version over the film, and the production at the Hippodrome supports that belief.

As I mentioned earlier, part of The Prom’s charm is that it is unafraid to lampoon Broadway performers and the industry as a whole. “Straight people like Broadway, too” is one of the many clever lines crafted by Martin and Beguelin that land a punch. They also do a number on Edgewater, Indiana. If this town had a Chamber of Commerce, I doubt they would buy a block of tickets to see The Prom.

"The performances by the energetic and talented cast are fabulous."

Four eccentric narcissistic Broadway has-beens seek to resurrect their flagging careers by gaining attention if they can latch on to a cause. They found one on social media of all places where Emma, a lesbian high school student in Edgewater, Indiana, was having trouble with the local PTA who opposed her attending the event with her girlfriend. As a result of the controversy, the scheduled prom was cancelled incurring the wrath of the other students that led to the bullying of Emma.

The performers—Dee Dee Allen, Barry Glickman, Trent Oliver and Angie Dickinson—burst into a PTA meeting with signs in support for the bewildered Emma and the stunned head of the PTA, Mrs. Greene. Unbeknownst to her, Emma’s closeted girlfriend is Mrs. Greene’s daughter Alyssa, a situation which provides much of the drama.

With the help of the school’s principal Mr. Hawkins, the Broadway do-gooders attempt to change the hearts and minds of the conservative townsfolk leading to a happy conclusion. The zaniness that ensues does not obliterate the serious issues of acceptance and inclusion, not to mention bullying, that form the core of the storyline. The ability to blend these concepts effectively is why The Prom is so entertaining and heartwarming.

Kaden Kearney shines brightly as the shy Emma. The chemistry with their girlfriend Alyssa (Kalyn West) is evident onstage with both demonstrating fine acting skills and melodic vocals. Kaden's standout performance with her mezzo-soprano voice is in “Just Breathe” after they was bullied by other students.  They also excels in the duets with Ms. West in “Dance with You” and “You Happened” and in the emotional “Unruly Heart” with the Ensemble.

The two actors who were slammed by critics for being too narcissistic following their performance in the fictional show “Eleanor” that kicks off The Prom are Barry Glickman (Patrick Wetzel) and Dee Dee Allen (Courtney Balan).  This shellacking in the press and the closing of “Eleanor” after just one performance motivate them to find a cause célèbre as a means of professional rehabilitation. These two generate the most laughs though there are plenty of others to enjoy.

Mr. Wetzel’s self-absorbed but kind-hearted Barry is filled with flamboyance and camp. “I’m as gay as a bucket of wigs,” he states. And for good measure, he emphatically declares he’s Jewish. A funny role in which he brings it home, Mr. Wetzel demonstrates his versatile acting abilities as he displays his paternal instincts by tenderly getting Emma ready for the prom while he admits he never had the opportunity himself to attend one. It’s a touching scene.

He excels in the moving “Barry is Going to Prom” and does a great job in the first act finale “Tonight Belongs to You.” This is an outstanding high-octane production number that displays the exceptional dancing abilities by the cast and Mr. Nicholaw’s meticulous choreography. (A special nod goes to Ensemble member Braden Allen King for his well-executed two handsprings in which he gracefully flipped across the width of the stage.)

Kaden Kearney (l.) and Kalyn West
Photo: Deen Van Meer

Then there is Ms. Balan’s hilarious portrayal of Dee Dee. There was no shortage of lines that try to convince anyone who’s listening, especially herself, that whatever she does, it’s for others, not just for Dee Dee. This is exemplified in the solo “The Lady’s Improving.” She plays the diva role to the hilt and delights with her facial expressions and body language in addition to her words.

Another pretentious actor making the trip to Indiana is Trent Oliver played very well by Bud Weber. Trent is Julliard-trained and makes sure everyone, and I mean everyone, is aware of it. He is currently on a non-equity tour with the cast of Godspell. That must have helped his understanding of Christianity as Trent performs my favorite number in the show, “Love Thy Neighbor.” That song is intended to convince the Edgewater students that the Bible contains many principles in which they are violating, such as tattoos or pre-marital sex in response to their condemnation of homosexuality.

Emily Borromeo plays Angie as the fourth Broadway performer making the trip. Her role is not as dominant as the other three actors on the mission, but Ms. Borromeo’s rendition of “Zazz” with Ms. Kearney’s Emma is one of the show’s highlights. In that song, she explains jazz to Emma and her memories of Bob Fosse while she had performed in Chicago. Ms. Borromeo’s vocals and silky smooth dance moves are superb.

As the principal Mr. Hawkins, Sinclair Mitchell effectively provides the lone support for Emma’s quest to attend the prom until the Broadway actors plus an agent (Sheldon Saperstein played by Shavey Brown) swing into town. Mr. Mitchell’s acting props are evident as he displays his empathy for Emma.

The principal happens to be a fan of Dee Dee and they grow close from their dinner dates at Applebee’s only to realize that Dee Dee is in it for herself. She won him back with “The Lady’s Improving.” Mr. Mitchell also excels in his solo “We Look to You.”

Much of the drama in The Prom stems from Mrs. Greene, the PTA president and mother of Alyssa. Played proficiently by Ashanti J’Aria, Mrs. Greene is a tough, controlling mother who, like most conservative small town residents, is not a fan of homosexuality. For that reason, Alyssa had such difficulty coming out—until the end.

Aside from the splendid direction and choreography by Casey Nicholaw, the rest of the technical crew has done an outstanding job in making The Prom a sparkling spectacle. Conductor Chris Gurr and the orchestra deliver Mr. Skkar’s score beautifully and support the musical numbers effectively without overwhelming the vocals.

Scott Pask’s scenic design enhances the visual enjoyment. Scene changes are made swiftly mainly through the use of revolving backdrops that transform settings from the school corridor to the gym to a motel room to a bedroom to an Applebee’s and other venues.

Natasha Katz’s bright and colorful lighting design also adds to the visuals as do the costumes designed by Ann Roth and Matthew Pachtman.

The story of a young lesbian’s quest for love and acceptance is of paramount importance. The laugh lines and the comedic characters lighten the mood, but the main theme must not be overlooked.

It should be noted that the inspiration for the musical originated not from any circumstance in Indiana but from a real-life controversy that occurred in Itawamba Agricultural High School in Fulton, Mississippi in 2010.

The Prom was nominated for seven Tony Awards in 2019 but had the bad luck of going head-to-head against Hadestown. The Prom did, however, win the Drama Desk Award for Best Musical.

With excellent music, an important storyline and a brilliantly staged musical featuring a talented cast, you should get your dancing shoes on and be taken to The Prom. It will be a night to remember.

Running time. Two hours and 25 minutes.

UPDATE: 

BECAUSE OF COVID AFFECTING MEMBERS WITHIN THE COMPANY, ALL PERFORMANCES FROM JANUARY 21 THROUGH JANUARY 23 AT THE HIPPODROME HAVE BEEN CANCELLED. THE THEATRE PLANS TO RESCHEDULE. IF YOU HAVE TICKETS, PLEASE HOLD ON TO THEM.

‘Dance of the 41’ Recounts Historic Mexican Scandal

Steamy history streaming on Netflix
Alfonso Herrera (L.) and Emiliano Zurita

In early 20^th century Mexico, the husband of the President’s daughter skipped out almost every night to engage in a clandestine gay affair with a lawyer. One would think that in itself would have been a societal scandal.  Indeed, the focus of Dance of the 41, a splendidly photographed and acted drama currently streaming on Netflix, was the steady and certain deterioration of that nascent marriage.

But to Mexican society back then, which was marked by a deep schism between the elite upper crust of the citizenry and the impoverished, the true scandal that is part of Mexico’s history emerged: a discreet gay ball where nearly half of the all-male participants wore women’s garb.

Directed by David Pablos, written by Monika Revilla and produced by Pablo Cruz and El Estudio, the 2020 film, dubbed in English, was based on a true story. Ignacio de la Torre y Mier, a politician (played commandingly by Alfonso Herrera), was appointed to Congress by Mexico’s president Porfirio Diaz (Fernando Becerril). The only condition of this appointment was that Ignacio make his daughter Amada Diaz (Mabel Cadena) happy.

 It didn’t work.

Ignacio encountered Evaristo “Eva” Rivas (Emiliano Zurita) at the building where he works, and it was instant magnetism. Both sporting classic handlebar moustaches carry out their attraction secretly in steamy trysts.  As this relationship tightens, the marriage between Ignacio and Amada unravels. Sex between the husband and wife was rare, strictly physical and devoid of any emotion or romance.

Amada becomes increasingly suspicious of Ignacio’s “late dinners” with friends as he typically doesn’t return to their palatial estate until early the next morning. Later she discovered love letters to Ignacio from Eva and demanded he provide her with a child or she will reveal everything.

But it’s not just the dalliances with Evaristo that occupies Ignacio’s time. Apparently known to the underground gay community of Mexico City prior to his marrying the president’s daughter, Ignacio was invited to become a member of a secret gay private club complete with a brief initiation ritual in the spacious house of one its members. Ignacio soon brought Evaristo to the festivities thereby becoming its 42^nd member.

The members, displaying various levels of flamboyance and camp, engaged in orgies that took place in and around half dozen bathtubs, sing-alongs, drag cabaret performances and the like while booze flowed freely. On November 17, 1901, the annual ball took place from which the title of this film was derived.

SPOILER  

Rumors swirled around society concerning Ignacio’s behavior. Bodyguards were assigned to him, and he was being followed. During this ball, armed police raided the party. According to a contemporary press report:

On Sunday night, at a house on the fourth block of Calle la Paz, the police burst into a dance attended by 41 unaccompanied men wearing women’s clothes. Among those individuals were some of the dandies seen every day on Calle Plateros. They were wearing elegant ladies’ dresses, wigs, false breasts, earrings, embroidered slippers, and their faces were painted with highlighted eyes and rosy cheeks.

The film accurately portrayed the incident.

Though there was nothing illegal about men dressing up as women, the 42 men were arrested for violating the principles of morality and to appease an already distressed society. There were no trials; the punishment was meted out by Governor Ramon Corral—a fact that was not included in the film. 

Only 41 were officially counted.  As the security chief recognized Ignacio, he was allowed to escape to

spare embarrassment to the government. Others, including Evaristo, were beaten and forced to sweep the streets in their women’s attire. They were eventually sent to work for the military doing menial tasks.

Throughout the decades, the number 41 was considered taboo. 

“At one point the Army left the number out of battalions, hotel and hospital rooms didn’t use it and some even skipped their 41^st  birthday altogether," reports history. com. "While the number was etched into society as derogatory, 41 is now considered a badge of courage and a symbol of strength for queer Mexicans.”

One might consider the "Dance of the 41" Mexico’s Stonewall, although any liberation for LGBTQ+ Mexicans did not occur until over a century later.

Dance of the 41 is highly recommended. The accurate depiction of historical events makes it worthwhile, and the cinematography, direction and acting talents displayed enhance its excellence.

January 6 Denial

Immediately following the catastrophic attacks on September 11, 2001, the country rallied behind President George W. Bush. Perhaps for the final time, the U.S. was united behind a cause. Anyone who was not all-in was accused of not loving America and siding with the terrorists.

In 2004, Bush ran on and won re-election primarily on stoking fears of terrorism and relentlessly pointing back to 9/11. That fateful day continued to be invoked even during the 2008 presidential primaries when then candidate Joe Biden characterized a Republican hopeful, the former “America’s Mayor” Rudy Giuliani, as saying nothing more than a subject, a verb and 9/11.

Some 20 years later, another form of terrorism struck the U.S. but this time it was domestic terrorism.  On January 6, 2021, American democracy was attacked. The terrorists were not brown-skinned foreign Muslims who hijacked four planes and killed thousands of people including first responders. Instead, they were mostly white supremacists and violent extremists, key components of the former and defeated president Donald Trump’s base.

Thousands were frothing from the words of Trump and other incendiary speakers on the Ellipse before the U.S. Capitol was stormed, desecrated and under siege while lawmakers were attempting to carry out their constitutional duty of certifying the election that was held in November.

Perpetuating the big lie, which he continues to this day that somehow the election was stolen from him, he egged on the supposedly peaceful assembly who happened to carry police shields, bats, bear spray, flag poles and other weapons just for kicks, to march to the Capitol.

“We fight like hell. And if you don’t fight like hell, you’re not going to have a country anymore,” Trump said. His obvious incitement of the riot earned him a record-setting second impeachment with the most votes to convict ever. But it was not enough to meet the high bar in the Constitution.

At least five died during the riot and insurrection that ensued with hundreds injured or psychologically damaged. Our Capitol, the citadel of democracy, was defaced, shattered and turned into a public toilet. Hundreds sought out lawmakers to do God knows what. Had it not been for the bravery of the undermanned Capitol Police a whole different storyline would have been written. Democracy prevailed that day and night, but only by a hair.

But as the black eye on democracy marked its one-year anniversary, it is clear Republicans don’t seem or want to acknowledge the seriousness of the event. Over the course of the year, attempts were made to whitewash it, create conspiracy theories that the FBI or antifa were behind it, the rioters were patriots or even tourists.

Lindsey Graham who had decried Trump’s role in the riots the night of the horror show, now feels the Democrats are politicizing the event. (Remember 9/11, Lindsey, when Bush and later your buddy McCain made hay over that day.) Mitch McConnell did the same thing.

The cowardly Kevin McCarthy after assigning responsibility for the riots to Trump went down to Mar-a-Lago to beg for forgiveness in an attempt not to resurrect Trump’s career, but his own.

Equally spineless Marco Rubio claimed that the Democrats are trying to portray all Republicans as insurrectionists. Yet, he accuses Democrats of being looters.

Other than Liz Cheney (and her father), no other Republican representatives took part for a moment of silence in the Capitol to commemorate the somber day. Nor did they show up for a prayer vigil later.

Republicans are clearly in denial. They are fully aware that by being tethered to Trump and his biggest of all lies, this could have political fallout as the next cycle begins. Images of the insurrection will or should play in all political ads not to blame Republicans for January 6 but to blame their enabling of Trump, failing to convict him in the face of overwhelming evidence, supporting the big lie, denying the significance of 1/6, refusing to certify the election and attempting to suppress the vote in future elections.

January 6 was not a good look for the GOP. They know it and are doing the darndest to minimize it. Even Ted Cruz was forced to publicly and pathetically apologize to Tucker Carlson, of all people, for having a brief and rare truthful moment when he characterized January 6 as a “violent terrorist attack.”

And never mind their opposition to a bipartisan commission and their minimizing the role of the House Select committee. 

President Biden delivered a powerful speech calling out Trump for his role in the insurrection. Finally, he put the illusion of bipartisanship to rest and swung hard. It was most needed and overdue.

Republicans are still living in fear of Trump and his base. Our country was the victim of domestic terrorism, and the Trump loyalists can’t bring themselves to admit it. 

Imagine how they would have reacted if Democrats minimized or shrugged off 9/11 in the same manner.