Comments for DC Theatre Scene

Comment on Their Reviews by cyprus holiday villa

cyprus holiday villa — Sat, 26 May 2012 19:47:54 +0000

Wow! Finally I got a website from where I know how to truly obtain helpful facts regarding my study and knowledge.

Comment on The Music Man by Tina

Tina — Sat, 26 May 2012 05:10:55 +0000

I honestly wonder if you ever sat through the production at all or just watched the video snippets. I attended this performance on opening night and was enthralled with Moses’s performance. He was every bit the believable slick rick man Harry Hill is meant to be. He was not straining- maybe your eyes were straining. I suppose you missed the fact that this wasn’t “Oklahoma” and as a professional critic- which obviously you are not- you should never compare one show to the other knowing that there a vast series of differences going into each production. You didn’t go to see ‘Oklahoma’ and as a reader- I don’t care about what you had to say about it- and I certainly don’t care how you thought this measure up to it. And it seems like you just want to compare everyone and everything about this performance to the movie. Maybe you would be better suited being a movie critic rather than going to live theatre to cast your skewed opinions like the garbage they are.

Comment on The impact of funding cuts on DC theaters by Lee Liebeskind

Lee Liebeskind — Fri, 25 May 2012 18:28:37 +0000

“Compose Yourself”,

How would you argue that? Most of those institutions make less then 30% of their annual budget through ticket sales alone. So you don’t feel that institutions that provide some of the biggest art to the biggest, broadest range of patrons as well as provide more jobs for artists then other institutions deserve to be funded and don’t need the funds? Where do you come up with that logic?

I am not trying to be rude, but I just don’t see…maybe I need more of an explanation.

Comment on Xanadu by Mark Albosta

Mark Albosta — Fri, 25 May 2012 17:07:12 +0000

I thoroughly enjoyed this show. It is full of wit,humor,wonderful costumes , great music, fantastic acting and music that makes you want to hear more. And the dancing and skating is top notch. Matt Gardiner has done a great job directing and choreographing this spectacular musica. Don’t miss this show.

Comment on The impact of funding cuts on DC theaters by Compose Yourself

Compose Yourself — Thu, 24 May 2012 13:49:54 +0000

I would argue that most of those institutions don’t really need the funds, Chad.

Comment on The impact of funding cuts on DC theaters by hmmm

hmmm — Thu, 24 May 2012 01:02:03 +0000

While I agree that the above arts orginization are routinly excellent in their various presentations, I am more interested in why we should collectively worry about local arts funding, when the list you put down includes some of the richest performing arts ventures in the area and even nationally. I have a hard time finding the worry/sympathy for some of these groups that have millions compared to other derserving arts programs in the area that operate on next to nothing. Wouldnt there be a more attentive and active interest if smaller groups got the grants.? Again, I am not going to worry if Arena or the Kennedy Center lose $50,000 to $100,000 is local arts council funding when that is the budget of some other groups.

Comment on The Ice Child by E. Langenbacher

E. Langenbacher — Wed, 23 May 2012 21:38:10 +0000

This is one of the most incongruous, and, frankly, unfair reviews that I have come across in a while. It is as if Mr. Lapin and I watched two entirely different plays.

First, there is an issue with the horizon of expectations. Surely, Mr. Lapin understood before he set foot in the Mead Theatre Lab that he was not going to see “The Phantom of the Opera” or “Shear Madness.” The entire raison d’être of Factory 449 is produce avant garde theater that provokes, unsettles and challenges the audience. This is exactly what “The Ice Child” delivered: an unsettling horror story, full of psychological complexity, bravura acting and visually stunning multi-media images. Neither the plot narrative, characters nor dialogue was perfect–but that was the whole point–a form of Brecht’s alienation effect. Audiences are forced to engage, to imaginatively fill in the blanks and draw their own connections and conclusions. This goal–that the play and the company set themselves–was successfully fulfilled.

I think it is unfair for Mr. Lapin to impose his own expectations and goals onto the production and then–unsurprisingly–find them lacking. Moreover, some of his specific criticisms seem misplaced. He laments that there was not more development of the Catherine character, implying that the narrative centered on her–which is well off the mark. The backstory and motivation of the youthful Wilson is similarly ambiguous–but we are given enough to creatively construct plausible circumstances and motivations.

I also do not understand the editorializing about the award-winning (deservedly so) company having a lot riding on this particular production and having to maintain momentum. What theater company in the history of the world does not have a lot riding on each and every production? Who can afford not to have momentum? Mr. Lapin should save such questions for an interview with one of the principals and not for a review of a production. Of course, strategically he inserts these opinions as part of his effort to delegitimize the play.

Finally, the review is actually full of many positive things and contains, in my opinion, several mere quibbles about plot, dialogue and character development. For the life of me, I cannot understand why the summary judgment is “not recommended.”

I find Mr. Lapin’s review especially disappointing from DC Theater Scene. The transgressive and challenging material that Factory 449 produces is still rare in Washington. The fact that highly creative “theater-as-art” is finally finding a foothold here is something that should be appreciated and encouraged and not so flippantly and summarily dismissed.

Comment on The impact of funding cuts on DC theaters by Chad Bauman

Chad Bauman — Wed, 23 May 2012 21:25:36 +0000

Tessa,
By saying “public support for the arts should be reserved for deserving groups doing good work,” are you trying to make the argument that those that receive funds from the National Capital Arts and Cultural Affairs (NCACA) program are neither “deserving” or “doing good work?”
To refresh our memories, those that received funding from NCACA in FY11 include: Arena Stage, National Children’s Museum, Washington Ballet, Cathedral Choral Society, Choral Arts Society, Corcoran Museum, Folger Shakespeare Library, Ford’s Theatre, Gala Hispanic Theatre, Kennedy Center for the Performing Arts, National Museum of Women in the Arts, National Symphony Orchestra, Phillips Collection, Shakespeare Theatre, Studio Theatre, Textile Museum, Thelonious Monk Institute of Jazz, Washington National Opera, Washington Performing Arts Society, Woolly Mammoth Theatre Co, Hillwood Estate, Museum & Gardens, Dance Place, The Washington Chorus

Comment on The Servant of Two Masters by Leila

Leila — Wed, 23 May 2012 18:08:48 +0000

I guess I should have stayed past the intermission to see the encounter of Truffaldino and Smeraldina. I found the slapstick so forced and tedious and noisy and annoying I left. The actors are not the problem. They do very well. It’s more what one likes or doesn’t like I guess. For me it was non-stop Three Stooges and the constant contemporary pop culture, DC, and other side references were wearing in the extreme. There was virtually nothing left of the era the play was from, except maybe the costumes, the names, and the basic plot. I will say there was lots of laughter from the audience, so it may be that I (and the others I saw leaving) were in the minority. It may be a good time for (almost) all.

Comment on The Bacchae by Jase Parker

Jase Parker — Tue, 22 May 2012 18:26:09 +0000

Thank you so much for the constant support, Tim!

Comment on Xanadu by Tom

Tom — Mon, 21 May 2012 17:12:39 +0000

FYI – Since Xanadu is at Signature, your audience might be interested in knowing that the 2012 Drama League Award for Best Musical Revival went to Eric Schaeffer’s Ken Cen production of Follies! Congratulations, Eric.

Comment on Artomatic 2012 opens this Friday, May 18, in Crystal City by Valoren

Valoren — Sun, 20 May 2012 07:35:38 +0000

Artomatic Zombie Prom is June 9th from 8pm-10pm. This event (like all of Artomatic) is free. This Zombie theme night includes a human shaped pinata, zombie haiku wall, zombie burlesque and more!

Comment on Flora’s first opening night by Richard Seff

Richard Seff — Fri, 18 May 2012 18:33:22 +0000

I was delighted that Hal Prince took the time to write to me when he read my article, correcting my original recollection of Judy Garland’s behavior on the first night of FLORA, THE RED MENACE. Mr. Prince was the show’s producer, we were both in attendance that night, but as he maneuvered Ms. Garland through the evening himself, he smoothed out some of the particulars that I’d gotten wrong. He loved the opportunity however to return to a night 47 years ago, for even though FLORA was a flop, so much good came from it, we all have nothing but happy memories of its brief run.

Comment on Chesapeake Shakespeare expands to Baltimore’s Inner Harbor by Steve

Steve — Fri, 18 May 2012 17:08:10 +0000

What an exciting development – and your interview gets it across really well.
It’ll be interesting to see how Chesapeake Shakes programs that building and keeps it bustling. I also think it’s likely that this new venue will strengthen the already growing audience at PFI in Howard County; the venues will feed each other in interesting ways.

Comment on The Bacchae by John

John — Thu, 17 May 2012 17:32:36 +0000

I really have to take issue with your snarky jab at Jeremy Pace. His performance as Dionysus was one of the most original and compelling aspects of this production–second only to the amazing music. Pace channels Prince and David Bowie and creates a completely credible contemporary interpretation of the character–someone who really could rouse his groupie-like followers into frenzy. Plus, his command of the language was superb. He’s one of those performers I’d go see again in anything.

Comment on The impact of funding cuts on DC theaters by Tessa Malloy

Tessa Malloy — Thu, 17 May 2012 17:13:37 +0000

It’s a good thing that the National Capital Arts and Cultural Affairs program was cut: it’s a back door to funding for the well-connected few. When The DC Commission on the Arts and Humanities was created, it was supposed to replace the National Capital Arts and Cultural Affairs’ system of patronage and influence with a merit-basted, competitive grant system.

Public support for the arts should be reserved for deserving groups doing good work.

Comment on A Streetcar Named Desire by Milton Batalion

Milton Batalion — Tue, 15 May 2012 20:20:30 +0000

As you say in your review, “As the play was originally performed and set in 1947, Ms. Mann moved it forward 5 years I would assume in order to make possible the background in which we are to believe that the DuBois sisters could have been raised in a mansion called Belle Rive during the 1940s, bought with the moneys earned by their grandfather. Was this possible for a black family in the deep south? She asks us to believe it could.” I thought we were expected to be color blind. If you are right about Ms. Mann’s intentions then doesn’t that defeat the purpose of what she’s done which is to not make it a black play?

Comment on Leap of Faith by Margie

Margie — Mon, 14 May 2012 02:33:34 +0000

While I agree with the Leap of Faith review, just wondering why it was necessary to single out Jeremy Jordan, who, based on what I’ve seen, is a star..hopefully you will continue to watch his career and discover what the rest of us already know

Comment on Leap of Faith by Jennifer Lyn

Jennifer Lyn — Mon, 14 May 2012 01:54:59 +0000

I agree with you about Leap of Faith, I loved this show and it did not deserve to close and Raul Esparza is phenomenal. However, what the heck is your problem with singling out Jeremy Jordan? Why him out of everyone else? Jeremy has proven himself as the real deal on Broadway. He’s not getting by on his looks or his name like other actors do; he actually has the talent to back it up. Star quality is exactly what Jeremy Jordan has, I’d watch his career closely and one day you’ll realize what the rest of us already know…Jeremy Jordan is here to stay.

Comment on The many faces of Baltimore actor Bruce R. Nelson by Anonymous

Anonymous — Sat, 12 May 2012 14:45:50 +0000

I believe it’s “Ednor Gardens,” not “Edward Gardens.”

Comment on 2012 DC Queer Festival kicks off tonight, Wed May 9th by Rebecca Gingrich-Jones

Rebecca Gingrich-Jones — Wed, 09 May 2012 17:53:29 +0000

Just wanted to clarify start times on Saturday the 19th. for colored queer boys… indeed starts at 5 p.m.; then we’ll have a break and start the evening program at 8 p.m. Folks are welcome to come to both the afternoon and evening sessions, of course, or pick and choose.

Thanks,
Rebecca

Comment on Bonnie & Clyde – Original Broadway Cast Recording by Compose Yourself

Compose Yourself — Wed, 09 May 2012 16:06:08 +0000

I have a feeling Wildhorn’s awful compositions helped expedite the demise. His compositions lend nothing to a time period, or even a feel of the world we’re supposed to be living in, to say nothing of giving us insight into character. Music cannot simply be enjoyable to listen to in a musical (which I would contest in Wildhorn’s case) but it also has to tell a story.

Comment on The Taming of the Shrew by Rob MacDougall

Rob MacDougall — Wed, 09 May 2012 00:49:12 +0000

Great review! Makes me want to run out and see it, which my own beloved, somewhat tamed shrew and I plan to do at our earliest opportunity.

Comment on Wives & Wits by David Musselman

David Musselman — Tue, 08 May 2012 17:37:19 +0000

I absolutely loved this show– Overruled is like Oscar Wilde, filled with witty zingers, and Village Wooing is funny and ultimately very moving. I can’t believe I hadn’t known these lovely little plays before.

Comment on Bonnie & Clyde – Original Broadway Cast Recording by VonLmo

VonLmo — Tue, 08 May 2012 17:20:36 +0000

I wonder if Disney helped hasten B&C demise earlier than expected in order to give Jeremy Jordan time to prepare for Newsies.
The two productions do share the same director, no?

Comment on Nice Work If You Can Get It by mojo

mojo — Mon, 07 May 2012 23:04:03 +0000

sorry, the previous post should have read, if anyone but Broderick played this character, he would not be likable…

Comment on Nice Work If You Can Get It by mojo

mojo — Mon, 07 May 2012 23:02:21 +0000

At first read, I thought you were panning this show. I totally agree with the casting choices and it’s too bad that opening night reviews of Broderick did not have your intelligence and whimsy in evaluating his performance. They were going for clumsy and charming, not for polished and suave. If anyone but Broderick played this character, he would like be likable and for this show, that is a must….Kelli is sweetly charming, never once convincing us she’s a tough bootlegger but who cares? She and Broderick and sweet and s’wonderful together and the smiles that exit that theater on the nights I have seen it are undeniable…Thank you for an intelligent review.

Comment on Confessions of a one time Helen Hayes judge by LL

LL — Mon, 07 May 2012 19:15:01 +0000

I was a nominator under the old HH system. Where I get stuck when this conversation starts is that I saw plenty of productions as a nominator (and since then) where the budget had nothing to do with the quality of the show. To generalize: The big theatres hit and miss at about the same rate the small ones do in every category. It doesn’t do you any good to have a lot of money to put into an uninspired set, and it does happen. Conversely, a design that’s “right” for a particular show in a particular space is “right,” even if it is made out of scavenged bits and pieces. (And of course, there is such a thing as a perfect big budget set and a poorly designed small one.)
The same holds true for other categories. The trick is to see what’s actually there in a production, and not what you think will/should be there based on what company is doing the show. Easier said than done, but it CAN be done.
Do we need a two tiered system to compensate for the “budget effect,” in which everything looks better in a name theatre? Maybe. I’m not arguing against that. I’m just arguing that it IS true that money isn’t what makes a show. I saw Wallace Acton absolutely own a show that somebody did in the basement of a Catholic School in Columbia Heights 20 years ago. He was really good, even when no one had heard of him yet. And we’ve all sat through some deadly theater that had everything but a soul. Money can’t buy that. I could list a lot of examples in acting, design and directing.

Comment on Confessions of a one time Helen Hayes judge by Ed Kelty

Ed Kelty — Sun, 06 May 2012 16:46:07 +0000

My wife and I are sort of semi-professional volunteer ushers. For over 20 years we have been seeing Washington area plays, and currently are regular ushers at five theaters in Washington, two in Maryland, and one in Virginia — in addition to subbing at others.

It may be a good time to formalize this discussion with washingtonTheater. Any organization needs periodic examination and fine tuning. From this discussion, it is apparent that various aspects of the evaluations need reexamination. The obvious approach would be a meeting of interested and involved parties. However, the mechanics could be formidable in view of the multiple opinions which would be expressed. My suggestion is that washingtonTheater hold an open internet forum in which everyone (patrons, professionals, theater staffs, reporters, etc.) would be invited to comment on a set of questions such as those presented above. These could be combined into a topic-organized document presented to our publics. After that, an open, public meeting could be held with representatives of each constituency working to develop a consensus document as guidance for the HH awards.

My own new award suggestion is to recognize the show that you realize had the greatest impact a year later. Many plays are enjoyable at the time, just like many familiar symphonies, but a year later you cannot recall what they were about. It would be fun to recognize those that go into your personal memory chest. This could be a contest for public participation which might help increase audience identification with theater.

Comment on Confessions of a one time Helen Hayes judge by Sara

Sara — Sat, 05 May 2012 23:13:18 +0000

PS I do want to say that DC has such gracious, enthusiastic, and generous cheerleaders in theatreWashington. Linda L-G and Victor S and their posse, are wonderful! I continue to be interested and enthused to see how tW’s new publicity efforts and enhanced staffing, will lead to more recognition of the quality of DC theater and more theater attendance.

Comment on Confessions of a one time Helen Hayes judge by Sara

Sara — Sat, 05 May 2012 21:42:49 +0000

Steve, what is the beneficial purpose of the awards in your eyes? Of course nothing in the world is perfectible, but in what way do we make the world better by tinkering with the HH’s? I’m genuinely curious, because as you can tell I have my views on the relevance of the awards, and in my eyes they don’t become either more or less relevant by dividing into big and small categories. Sorry it wasn’t clear that that was the thrust of my comments.

Comment on Confessions of a one time Helen Hayes judge by Steve Beal

Steve Beal — Sat, 05 May 2012 14:48:58 +0000

Sure, it’s a perennial topic; and sure it’s probably tedious sometimes, and sure, perfection is unattainable.
But there’s a difference between the awards being perfectly objective (the unattainable perfection) and the awards being arbitrary or in some ways in appropriate for the current reality of DC theatre.
If the perennial, tedious and – maybe – futile conversations about how to do better are abandoned just because perfection is unattainable, then the awards will simply degenerate into irrelevance.
That, in my opinion, would be a loss to the theatre community.
So I’ll keep bringing it up and responding to others who do. Perennially. Tediously.
Thanks, Chad, for what I think is a constructive re-introduction of the topic that offers good insights.

Comment on Confessions of a one time Helen Hayes judge by Sara

Sara — Sat, 05 May 2012 13:38:04 +0000

Just one woman’s opinion, but I am tired of seeing this argument raised every few years without, to my eye, any attempt to actually contribute to whatever it is the awards are supposed to be doing. They will never, ever scientifically prove the merit of the “best” performance, lighting design, etc. — there is no way to prove this. So I really question the value of debating how to somehow better calculate the best each year.

While Chad’s points are well-reasoned, I think people should question to what end we’re trying to perfect a system of competitive theater arts awards. Here’s what I like about the HH Awards: It provides an amazing sense of community around the night of “Drama Prom”, which many of my friends at both large and small theater companies genuinely enjoy and look forward to. Yay theatreWashington for providing that wonderful affirmation of our community! I think that argues in favor of keeping the awards together and not splitting them up, everybody there is in it together.
Here’s what I don’t like about the HH Awards (and all similar creative-arts awards): It engenders a deeply false sense of competition in a fundamentally collaborative field. How does dividing the awards into two size categories fix that problem? It’s impossible.
Here’s an area where all of us could do better: increasing the public knowledge both locally and nationally about the exceptional quality of the performing arts in DC, particularly the theatre arts (in this biased observer’s opinion). I do not feel that the HH awards does a good enough of job that, in terms of either increasing the size of the audience year over year or increasing the stature of our artists either locally or nationally (an HH award has no cachet anywhere outside the greater DC area). I feel sure that greater recognition of our theater community is a goal of the HH awards, and I believe it’s the single most important mission improvement they could pursue. Therefore if splitting up the categories would somehow contribute materially to HH’s ability to get more people to go to theater in DC and raise the cachet of the award, then I’m all for it. But I don’t see why that would be the outcome, and so I think it’s just tinkering at the margins of a fundamentally flawed awards concept.
i miss the old Mary Goldwater Awards for Excellence. Each year they held a small and under-attended affair where the organization’s membership recognized a handful of artists for their achievement in the last year. A lovely speech was read that highlighted the artist’s accomplishments and limned the promise that each artist had for future great work. No competition, just accolades. And a modest cash prize accompanied each award! I mourn the loss of that sort of award in DC, as I think it better reflects the great spirit of the artists, and the community that supports them, here in DC. I don’t think the HH Awards should become that ceremony, but I do think the interested parties should explore more meaningful options than trying to perfect an inherently un-perfect-able system.

Comment on Evita is back on Broadway by George Lee

George Lee — Fri, 04 May 2012 15:44:22 +0000

Thank you for the great notice, Richard. And thanks for following up our meeting on the bus. All’s well – dancing every night at the Marquis.

Comment on Confessions of a one time Helen Hayes judge by Kevin Finkelstein

Kevin Finkelstein — Fri, 04 May 2012 15:29:54 +0000

@Gwydion

I had the same concerns at first (about creating classism). But, quite frankly, that classism already exists. When non-theatre theatre audiences (that is, those audiences that aren’t involved with theatre, but are just patrons of the arts) see that nomination list every year, it’s just validation that their STC/Synetic/Studio season passes are worth the money.

Talking with folks in Chicago, who already use a tiered system, doesn’t reveal any sort of widespread bias by their theatre audiences. It’s not ideal, but a two-tiered system would allow for more exposure of theatreWashington, which can ONLY be a good thing. Isn’t that why they continue to award non-resident productions? It’s not to celebrate those productions coming to DC; it’s about exposing the Helen Hayes (and now theatreWashington) brand outside of DC. The problem is those outside productions almost never seem to care about the HH awards: I can’t remember the last time more than one winner for non-resident even showed up at the Awards.

So my suggestion to tW would be to either:

a) ditch the non-resident productions and replace them with a second tier of awards
or
b) create a second tier of awards and give them their own awards show

Comment on Confessions of a one time Helen Hayes judge by Kevin Finkelstein

Kevin Finkelstein — Fri, 04 May 2012 15:22:29 +0000

@Karey

tW emailed a survey out, gosh, maybe a year and a half ago? Someone else on this thread might know more specifically when. They did ask, and I know that survey was sent to all tW members (and plenty in the community, as well).

re: goals of the HHA awards, I’d simply say that theatreWashington is a voluntary membership group. No one forces any company in DC to join or be affiliated with them. If you aren’t satisfied, then you need to do what’s best for your company, no doubt. For us, it makes more sense to work with the existing tW infrastructure and try to change that, then to say “well, we can’t get our way with the nationalized group, so we’re going to make our own.”

Comment on Confessions of a one time Helen Hayes judge by hmmmm

hmmmm — Fri, 04 May 2012 14:55:43 +0000

Karey,

Both costume design and best actress in a play winners came from small theatres this year.

Comment on Mary Poppins by Raimee

Raimee — Fri, 04 May 2012 13:35:03 +0000

I have to wholeheartedly agree with Ms. Blanchard’s comments. My only experience with Mary Poppins is a fanciful Julie Andrews in the cloying Disney film of yore. I was dying to see how the magical park scenes would be brought to life and I have to say that I was staring at the stage pretty much like the little 4 year old described above-I was completely enraptured with the sets and the changes from dreary London to psychedelic colors and costumes in about 5 seconds!
I do have to really give a special mention to actress Q. Smith in her role as Miss Andrew, the “evil” nanny. My hair was standing on end both from her creation of this monstrous, almost witch-like character and her ridiculously awesome voice. She just explodes on the stage and blew me away. I’ll be looking for more from her in the future.
Please go this weekend if you still can!

Comment on Confessions of a one time Helen Hayes judge by Steve Beall

Steve Beall — Thu, 03 May 2012 18:38:42 +0000

OK. We’ll have to agree to disagree. I just don’t see the HHA or theatreWashington you’re describing.

Comment on Confessions of a one time Helen Hayes judge by Karey Faulkner

Karey Faulkner — Thu, 03 May 2012 18:22:00 +0000

The HHA’s goal appears to be absolute power over which D.C. area theatres are going to be recognized. It’s always the same old same old, year after year. The small non-Equity companies are only ever thrown an occasional bone in order to shut them up … temporarily. When and how often has a small professional non-Equity company won a MAJOR HH award (not Best Emerging Theatre or Best Ensemble … a MAJOR award for Best Actor, Best Actress, Best Director, and Best Designer)? And who elected The HHA / tW to be the sole “voice” of D.C. area theatres? In fact, I don’t even recall an election ever being held.