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June 21 - July 13, 2008
Source Festival
Reviewed July 9 & 10 by Brad Hathaway

Running time: First Set 2:15, Second Set 2:55 - each with two intermissions
Take Your Pick: Two Sets of One Act Plays

Schedule: On Friday night at 8 and Saturday afternoon at 2: J. T. Rogers' Murmuring in a Dead Tongue directed by Jennifer Nelson, Julian Sheppard's Sunday Night directed by Dorothy Neumann and Julia Cho's The Mnemonist staged by David Muse. Saturday night at 8 and Sunday afternoon at 2: Chris Stezin's This Perfect World directed by John Vreeke, Graeme Gillis' Catch directed by Steven Mazzola and Sheila Callaghan's Tumor staged by Kasi Campbell.

The highlight of the first set is clearly The Mnemonist, the first work by Californian Julio Cho to be produced here. In David Muse's sharply defined staging a woman who is cursed with an inability to forget even the tiniest detail of existence seeks the relief of a chemically induced amnesia. A perfect memory may not sound like a curse until you hear her explanation of the phenomenon that afflicts her. Cho has created the dramatic equivalent of a fascinating short story and Connan Morrisey makes the woman's plight painfully real while Adam Segaller gives a fine touch to the doctor who may (or may not) have found a drug that could help her.

Accompanying this fascinating piece is a somewhat rambling monologue by J. T. Rogers which opens the evening. Alexander Strain delivers it with intensity. Then there is a nifty two-person play of a couple on their wedding night, which plumbs the pros and cons of pre-marital cohabitation. Where's the magic of the nuptial night when it is just one more night for a couple that has been living together? Patrick Bussink and Halsey Varady carry the conversation in the honeymoon suite to its logical conclusion with humor and style.

The second set also begins with a monologue piece, a lengthy but consistently challenging piece by the only local playwright included in the festival, Chris Stezin. It is This Perfect World which is definitely not about a perfect world. Told in the first person by a cog in a medium sized insurance firm in Erie Pennsylvania, it is a tale of a life unglued by the pressures of contemporary uncertainty and weaknesses in the character's own character. Stezin steadfastly refuses to tie up loose ends in a neat bundle, leaving the audience to ponder which of the realities the narrator presents is really real. Jason Lott does a great job mixing voices as he tells the tale and holds your interest.

He's followed by a brief look at two young men, friends since their teens, on the verge of a breakup as they play a game of Catch. Jason McCool and Joe Isenberg give the piece intensity. Finally, Kasi Campbell marshals a six member cast through a collection of nineteen comic vignettes on the theme of pregnancy that views a fetus as a Tumor. Among the pleasures of this rather rambling piece are Grady Weatherford as a pregnant man and Maggie Glauber as, among other things, the salesman who lays a guilt trip on a father who wants to spend something less than the family fortune on a crib.

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July 20 - 28, 2007
Queen of the Bohemian Dream
Reviewed by Brad Hathaway

Running time 0:45 - no intermission
A sampling of songs by Fran Landesman and Simon Wallace
 

Storyline: The collection of nineteen songs may not follow a specific story but this sampling of the output of Fran Landesman and Simon Wallace may stimulate a desire to know the story of how they came to collaborate and what else they may have produced.

For the record, Fran Landesman operated a cabaret in St. Louis which was popular with the beat generation. She wrote poetry and lyrics and supplied the lyrics for what is probably the only Broadway beat musical, The Nervous Set. Her nephew is Rocco Landesman, Broadway producer and President of one of Broadway's three major theater owner/operator firms, Jujamcyn Theaters. She has been collaborating with British composer Simon Wallace for a quarter of a century, churning out over 250 songs. This collection offers ample evidence of her ability to turn a phrase  and suggest time and/or place. She writes of a time "when our movies and morals were in black and white - the not so good old days" and she does so with a sense of fondness and nostalgia. Wallace matches her conversational lyrics with jazz patterns that reflect and emphasize the vocal pattern which makes the songs fine material for skilled cabaret-style vocalists.

The vocalists here have those skills in great measure. Bobby Smith and Margo Seibert establish a light sense of camaraderie with the funny "How Was It For You?" Later, it is Tracy McMullan with whom Smith joshes on "Too Stoned to Care" but Seibert joins in to expand the gag. Later, Seibert has a torch song of sorts, "Forecast," and McMullan sells the gag of the spell-out song "Mother." Smith even does a bit of tap dancing. While things do bog down a bit with "Cabaret Whores," the lapse doesn't last.

Darius Smith's support on the piano is spirited, setting more than just tempo and key, but providing colors and accents as well. However, the piano tends to overwhelm the singers from time to time. The show includes a brief recorded selection of Landesman herself but it is a distraction from the charm of the live performance.

Lyrics by Fran Landesman. Music by Simon Wallace. Conceived and produced by Lorrraine Treanor. Directed by Michael J. Bobbitt. Musical direction by Darius Smith. Cast: Tracy McMullan, Margo Seibert, Bobby Smith.

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Reviewed March 1
Running time 55 minutes
Mature subject matter and nudity

Storyline: In the first and shortest playlet, two soldiers on a battlefield try to keep their minds off the dangers they face by engaging in a mind game, with each picking an historical figure while the other tries to guess who it is. They take a break from the game just long enough to kill an enemy, then resume the light-hearted banter of the game. In the second, a psychotic young man has taken a young woman prisoner, gagged her and tied her to a chair in a deserted location. He strips her naked, feeds her and becomes her controller.

Terrence McNally has been turning out notable works for forty years. He has won the Tony Award four times, twice for straight plays, Master Class and Love! Valour! Compassion! and twice for musicals, Kiss of the Spider Woman, and the last great musical of the 20th Century, Ragtime. These two short pieces date from 1967 and 1969. The first one clearly comes from the American experience of the Vietnam War, although D'Andrea has used uniforms and properties to make it seem more a case of contemporary desert warfare. It is an easy transition to make, for the dialogue consists of the mental game of the two soldiers, played by Justin Benoit and Hugh T. Owen. As they play their game of "who am I?" they aren't selecting simple choices. Instead, their category is Italian artists of the fifteenth century (hence the title Botticelli) but the flippancy of the banter as they flit between the contest and the demands of the battlefield give this a very contemporary feel.

The short Botticelli is just a brief diversion, a transition from the real world outside the theater to the intense world about to be created on the spare stage in the center of Source's theater-in-the-round configuration. Soon the lights go down and, out of the darkness, a single overhead light illuminates a disturbing vision of a lone woman gagged and tied to a tall stool. She's clearly terrified, struggling against her restraints and trying to speak through the gag. She is in the control of a man who has taken her because he needs a girl to own, to control, to use and to love him.

It comes as a surprise that Sweet Eros was written five years before the notorious Patty Hearst case which brought the concept of a prisoner's growing dependence on his or her captor to public prominence. This prescient script seems an exercise in explaining the events of that famous case where an heiress became so dependent on the terrorists who kidnapped her that she joined in their activities up to and including armed robbery. Benoit gives the role of the young man a fierce intensity that is as impressive as it is exhausting. Fritsky, on the other hand, goes from panic and terror through denial and submission to acceptance and finally to a stage with a hint of control, and does so without any dialogue to speak of in a performances that is fascinating to watch. It is also disturbing to watch as Benoit undresses her completely early in the play and she remains as naked  physically as her character is exposed emotionally.

Written by Terrence McNally. Directed by Dominic A. D'Andrea. Design: Heather Pagella and Allison Schenker (lights) Allison Schenker (stage manager). Cast: Justin Benoit, Marybeth Fritsky, Dylan Jackson, Hugh T. Owen.

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January 7 - February 15, 2004
Interrogation Room

Reviewed January 12
Running time 1 hour 40 minutes

Storyline: Detectives who have been partners a long time, a white and a black, interrogate a black teenager in their investigation of the rape/murder of the boy’s sister.  The boy’s statement, however, is just the beginning of a mystery inside of a mystery as the background of the detectives and the statement of a neighbor call into question the results of the initial interrogation.

This is the world premiere of Elston’s play. He is only five years out of college, but the script doesn’t play like a term paper. It has harsh, realistic dialogue with each of the characters using very different vocabularies and sentence structures reflective of their backgrounds. The way each speaks tells a great deal about where he came from and where he thinks he is going in this world. The real story of the evening emerges slowly which keeps the interest level high.

Director Steven Scott Mazzola manages to avoid the trap of static staging just the way some television dramas do with the cops stepping out of the room to discuss developments, argue about strategy and, in the process, reveal to the audience some tidbits the interrogation subject is not supposed to hear. Mazzola blocks the performance well but fails to highlight a few details that should set up the final resolution. As a result, the impact of what should come as a topper is tempered by taking a while to become clear.

Jason E. Barrett and John Sloan make a fine pair of detectives relying on each other after years of partnership, but holding on to separate backgrounds. Sloan is particularly good with the patois of the genre and he is quite good at the trick of showing the audience that some of his bluster is for the suspect’s benefit without it being so obvious that you’d expect the suspect to catch on. Tel Monks is nicely complex as the neighbor giving additional details. The strongest performance of the evening is from Edward Daniels as the teenager. He makes the most of Elston’s dialogue writing, getting extra mileage from the halting, less articulate speech pattern his character falls into under stress.

Written by Jon Elston. Directed by Steven Scott Mazzola. Lighting design by Marianne Meadows. Stage management by Allison Schenker. Cast: Jason E. Barrett, Edward Daniels, Tel Monks, John Slone.

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January 8 - February 10, 2004
Silent Heroes

Reviewed January 31
Running time 1 hour 35 minutes
A joint production with Phoenix Theatre DC

The second half of Source’s four play series of new works has proven to be the stronger half. Playing in repertory with the already reviewed Interrogation Room, this is an emotional exploration of the strains on six women whose husbands’ military careers dominate their lives. The play may start off with six fairly stereotyped “types” thrown together by a common circumstance, but it makes the most of the pressure cooker into which it places them, starting strong and building to a satisfying conclusion. What is more, Playwright Linda Escalera-Baggs has the good sense to end the play at just the right moment.

Storyline: Six wives of Marine pilots gather in a bare room at the Marine Corps Air Station at Beaufort, South Carolina in the middle of the night, having been summoned because a training accident has occurred. It appears that one of their husbands has died - but which one? They support each other as much as they can while each desperately hopes that her husband isn’t the one not coming home. As one challenges the other who says she hopes it isn’t her husband: “Who do you hope it is?”

Escalera-Baggs’ decision to structure this as a one act play pays off as the tension builds in an unrelieved, almost geometric progression. Had the story been broken for an intermission she would have had to devise a logical break point somewhere close to the middle of her story and then, when the audience returned from its break, would have had to start the emotional escalation all over again, almost from scratch. Instead, there is no interruption and no relief as the tension builds.

The success of every play is very much in the hands of the cast performing it but this one is all the more so because the characters are presented at the moment of their most extreme emotional exposure. Over-acting will make them appear corny or artificial. Under-acting will rob the evening of emotion which is the sole stock in trade of this story. Director Allison Arkell Stockman has helped all six actresses find the proper balance and drawn some fine work from them, especially from those with the most important roles.

Lisa Lias and Sheila Hennessey have the task of getting the emotional escalator going. They have to establish the concept and provide the basic information the audience needs while, at the same time, showing the fear their characters try to hold inside. Misty Demory, as a very pregnant wife, is the first to ratchet up the intensity. In addition to her acting skills, either Demory really is pregnant or she knows very well how a pregnant woman moves. She has the walk and she has mastered the movements required to sit down and to stand back up. Saskia de Vries also has command of the way her character would move. In this case, she is a former “hippie” whose opposition to the then-recently-concluded war in Viet Nam doesn’t sit too well with her sister military wives.

Written by Linda Escalera-Baggs. Directed by Allison Arkell Stockman. Lighting designed by Marianne Meadows. Cast: Dionne Audain, Kimberly Cooper, Misty Demory, Sheila Hennessey, Lisa Lias, Saskia de Vries. 

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Reviewed December 12
Running time 1 hour 50 minutes

Storyline: The Sheriff visits a rural Virginia home where the husband has reported his wife as missing. She soon returns, however. Where has she been? Was she abducted by aliens from outer space? Will there be more abductions? Is their son safe from being the next to be taken?

The chief pleasure of this evening is the work of the cast, especially Evan Omerso, Jenifer Deal and Bruce Rouscher as the members of the troubled family. Each takes some of the hints as to the history and character of each that Aguirre-Sacasa inserts into the dialogue. Kevin Adams doesn’t have the benefit of such hints as the script simply has him be a Sheriff, with no further details except that his son is a classmate of Omerso’s. There are hints aplenty, however, about the relationship between Rouscher and Deal including questions of her history with the aliens, a secret from his past and the real reason the family left the big city for this rural location.

Banno’s tight blocking and sharp pacing avoids letting the evening drag and keeps the focus on what is about to happen rather than dwelling on what has already happened. It is an effective technique for this type of show. Banno also manages one nifty piece of sleight of hand when he draws the entire audience’s attention to the north west corner of the theater-in-the-round, allowing Deal to make an unnoticed entrance on the south east that is almost the stage equivalent of a Star Trek Transporter effect.

There are no aliens on stage and no spaceship hovering overhead. Instead, the stage is set with a kitchen table a couch, a desk and a few chairs in a picture of domestic tranquility. But, just in case you might miss the implications of the dialogue, Banno inserts selections from Gustav Holst’s suite “The Planets” between each scene.

Written by Roberto Aguirre-Sacasa. Directed by Joe Banno. Design: Marianne Meadows (lights) Christopher O. Banks (photography) Sara Heller (stage manager). Cast: Kevin Adams, Jenifer Deal, Evan Omerso, Bruce Rauscher. 

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Reviewed December 9
Running time 1 hour 45 minutes

Storyline: A woman has a distinct dislike for cats and cats seem to have a distinct dislike for her. She is married to a cat fancier and they have a child who seems to have an ability to communicate with cats. When she is widowed and has to raise their daughter alone, a new feline enters their world just when she needs to make a new connection.

The title, with its reference to danger, is fair warning that these felines aren’t going to be Andrew Lloyd Webber’s jellicle cats, those sublimely intriguing and attractive beings. But, as performed by Jesse Terrill and Diane Cooper-Gould in a succession of inventively simple costumes by Ted Stumpf, they do capture some of the feline ability to embody the combination of dignity, aloofness, curiosity and pride which seems to be the essence of felinity. Each is endowed with a strong character trait and each has a specific, instantly recognizable relationship with the humans in the story.

Toni Rae Brotons plays the cat-hating woman with a sense of confusion over just what the rest of humanity seems to see in cats. Jason Lott gives a solid performance as the husband and then returns in an even more intriguing aspect of the play. It is the casting of the performer for the part of the daughter who ages from infancy to young teenage that sets the tone of the production, however. Michael Miyazaki, a pudgy adult male with a perpetual stubble, goes from tantrums in a pink baby outfit to teenage snits with a ribbon in non-existent curls. This amplifies the “what’s-going-on-here?” conundrum for the audience. As a result, there may be a temptation to give up and leave at intermission. But stick it out, the seeds sown do bear fruit in the short second act.   

Currin throws a good deal of humor into the cat-human relationship. When a human says she wants to throw up, a cat replies “eat some grass.” She also endows the cats with the ability to see and recognize the attitudes and hidden feelings of Brotons’ character. Through them, her character is examined from different angles. But Currin hasn’t given Brotons much to go on with the character and therein lies the difference between this and last season’s two marvelous Currin plays. They shed light on the lives of some fascinating people. This play has a potentially extraordinary method of shedding light on the life of a character that seems ordinary.

Written by Allyson Currin. Directed by David Charles Goyette. Choreographed by Eduardo Placer. Fight choreography by Diane Cooper-Gould. Design: Ted Stumpf (costumes) Marianne Meadows (lights) Christopher O. Banks (photography). Cast: Tony Rae Brotons, Diane Cooper-Gould, Jason Lott, Michael Miyazaki, Jesse Terrill.

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September 9 - October 4, 2003
Titus, The Musical

Reviewed September 10
Running time 2 hours

Storyline: Roman general Titus returns from battle with the Goths with the bodies of twenty two of his sons and the Queen of the Goths in chains. He kills her baby to show just who is boss. She is chosen by the new emperor as his bride and she sets about terrible revenge resulting in the death of almost everyone in the cast. As the bodies pile up, Titus looses what family he has left (and, as it happens, his left hand) but finds ways to exact some revenge of his own, cooking up the bodies of the queen’s kids and serving her a dinner fit for Sweeney Todd.

There’s more Goth here than just the character of Tamora, Queen of the Goths. Goth is also the musical genre that merges punk and heavy metal brands of rock and seems to attract fans who indulge in gothic fashions. This makes writer/composer Shawn Northrip’s selection of material and approach just that much more intriguing. His book for the musical is a nice blend of Cliff Notes and Mad Magazine movie spoofs. It is true to the plot of the original but exudes a hip nonchalance and revels in puns and cheap shots, as do his lyrics. Northrip is a graduate of NYU’s Musical Theatre Writing program so he clearly knows the rules of the genre which he bends to good effect. Almost all of the songs are plot driven recitative, not character revealing art songs -- there’s no time in this two hour romp for character portraits.

The fifteen characters are played and sung by a cast of six backed by a solid on-stage rock band consisting of a lead guitarist who calls himself Boinkee, a drummer by the name of Derrick Decker who plays wearing just boxer shorts and bassist Jake Jackovitch who gets involved in the plot toward the end. The title role belongs to Jason Stiles who seems to be popping up all over town at theaters specializing in unconventional or avant-garde works. Here he seems to be putting so much energy in the singing of the hard rock material that he doesn't put enough emphasis the acting part of his role, at least in the early going.

No such reservation can be had about the performance of the other five singing actors. They throw themselves into every aspect of the show with a consistent exuberance that is infectious. Tyee Tilghman establishes a strong presence in the looming role of the Queen’s lover. Joe Pindelski is a fine Roman Emperor but really hits stride in partnership with Evan Omerso as two sets of brothers. Marybeth Fritzky looks the part of a Queen of the Goths but it is Patricia Hurley who makes the most of the many opportunities presented by the unique role of Titus’ one female offspring, the victim of rape and dismemberment. Her tormentors cut out her tongue so she couldn’t tell who raped her and cut off her hands so she couldn’t write down their names. Only in the weird world in Shawn Northrip’s brain could that part end up with a classic piece of physical comedy as she uses her stumps to help bandage her father’s wounds and the funniest vocal solo of the night as, tongueless, she croons a song composed entirely of vowel sounds.

Written and composed by Shawn Northrip. Directed by Shirley Serotsky. Musical direction by Amandia M. Daigneault. Cast: Marybeth Fritsky, Patricia Hurley, Evan Omerso, Joe Pindelski, Jason Stiles, Tyee Tilghman. Band: Boinkee, Derrick Decker, Jake Jackovitch.

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Reviewed August 20
Running time 2 hours 25 minutes

Storylines:

• The Burning Monks finds six young tourists on the mall who think self-immolating monks are part of the show
• Variations on a Theme: Irish Authors Held Hostage looks at how authors from Oscar Wilde to Samuel Becket would fare in the hands of terrorists - and how the terrorists might fare as well
• Elvis of Nazareth is the scene at Sam Phillips’ Sun Studio the day Elvis came to record a song for his Momma and shared the waiting room with Moses, Solomon and Jesus.
• A Hillside In Hell is a day in the life of Sisyphus, Prometheus and, oh yes, Sisyphus’ Rock.

The category of the one act play is, like the short story, a chance for an author to dig into a concept that intrigues, develop it just as far as it deserves and then stop. Each of these four playlets fit that mold and they all do stop at the right time although a few could benefit from just a bit of pruning to move them along. It is clearly tempting to try to fit in all the ideas a writer comes up with into something that only is going to last twenty or thirty minutes, but sometimes eighteen to twenty-eight minutes would be better.

Simple staging is the approach to getting all four before an audience in one evening. The concentration is on the material and on the performances. And there are some really fun performances here. Christopher Henley takes a break from his current run as the burnt-out former priest in Night of the Iguana to create a sardonic, wisecracking Sisyphus matched by Archie Harris’ dignified but all too human Rock. Q. Terah Jackson III is a marvelous King Solomon who wants to write a pop song and the entire troupe of tourists are wonderfully clueless (they think the Washington Monument must be the Jefferson Memorial because it is phallic and Jefferson was the only founding father with sex appeal)! The most impressive work comes from John Morogiello who wrote the piece about the Irish authors and then, as an actor, provides very funny and very different portraits of James Joyce, George Bernard Shaw, J. M. Synge, Oscar Wilde, and William Butler Yates. He’s a kick!

Some familiarity with the concepts these authors tackle can help but it isn’t necessary to know a great deal about such things as the Greek myths of Sisyphus and Prometheus, or the career of Elvis Presley or the anti-Vietnam War protests of monks to get most of the fun of these pieces. John Morogiello’s script about Irish Authors is a very funny set of vignettes even if you don’t know a great deal about the style of each Irish author but each is a parody of the style of the individual author so it is even funnier if you know the work of Shaw and Synge.

Written by Jay Huling, Maurice Martin, John Morogiello, David Stein. Directed by Martin Blanco, Dominic A. D’Andrea, John Horn, Gary Telles. Design credits: Lori Boyd (costumes) Clare Murphy-McGreevey and Rachel Sierminski (stage managers). Musicians: Matt Shortridge, Tina Eck, Rob Greenway. Casts: Archie Harris, Lori Boyd, Misty Demory, Charles Drexler, Ben Fernebok,Terrence Heffernan, Christopher Henley ,Q. Terah Jackson III, Michael Kelley, Martin Kivlighan, Erik Morrison, John Morogiello, Karen Novack, Angel Oquiendo, Casie Platt, Justin Purvis, Jen Ring, David Rothman, Allison Schenker, Josh SegoviaArmand Sindoni, Chuck Young.

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Reviewed July 25
Running time 2 hours 15 minutes
Price $15

Artistic direction by Jane Pesci-Townsend. Music direction by Frank Pesci with George Fulginitii-Shakar on keyboards. Cast: Anastasia Albinson, Kabir Altaf, Stephanie Bachula, Charlotte Benesch, Hollis Boyd, Jordan Kai Burnett, Paul Chamberlain, Gregory Corbino, Caitlin Doyle, Kristen Golden, Elisabeth Gorey, Rhonda Harrison, Haley Koch, Michaela Lieberman, Jasen Parker, Halley Parsonnet, Joshua Robinson, Aaron Stavely, Randa Tawil, Danielle Rachel Zeitz-Winston.

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Reviewed June June 1
Running time 50 minutes
t Potomac Stages Pick

Written by Amiri Baraka. Directed by Ralph Remington. Fight direction by John Gurski. Design: Greg Mitchell (set) Kathleen Geldard (costumes) Mike Daniels (lights) Brian Keating (sound) Claire Newman-Williams (photography). Cast: W. Ellington Felton, Jenifer Deal with Tom Cutler, Catherine Deadman, Christina DeRosa, Angelique Doctor, Colleen Estep, James Holland, Marcus Jerkins, Adrienne Nelson, Felix Stevenson, Marsha Sutherland, Steve Szibler, Catherine Tremeau, David Van Ormer, Johnna Magdalena Young.

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Reviewed March 25
Running time 2 hours 10 minutes
t Potomac Stages Pick

Written by Terrence McNally. Directed by PJ Paparelli. Design: Gregg Mitchell (set) Dan Covey (lights) T. Tyler Stumpf (costumes) Daniel Schrader (sound) Lydia Spooner (properties) Claire Newman-Williams (photo). Cast: Sean McNall, Andrew Smith, Frank Anthony Polito, Jeremy Weaver, James Denvil, Daniel Frith, Jesse Terril, Tim Getman, Dan Via, Josh Barrett, Jason Franklin, Tim Tourbin, Edwardo Placer.

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Reviewed January 29
Running time 2 hours 10 minutes

Written by Lucy Newman-Williams. Directed by Delia Taylor. Design: Claire Newman-Williams (photography) Greg Mitchell (set) Ayun Fedorcha (lights) Kathleen Geldard (costumes) Brian Keating (sound.) Cast: Kimberly Gilbert, Lucy Newman-Williams.

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Reviewed December 7
Running Time 2 hours 20 minutes

Written by Alan Ayckbourn. Directed by Joe Banno and Lofty Durham. Design: Greg Mitchell (set) Dan Covey (lights) Biran Keating (sound) Rhonda Key (costume.) Cast: Kate Eastwood Norris, Brian McMonagle.