#dc theatre | Explore Tumblr Posts and Blogs

schmergo · 4 months

Text

Time for one of my long, rambling informal reviews! This one is for RAGTIME at Signature Theatre and unlike some of the other reviews I've written, this show is still running for 3 more weeks, but tickets are selling EXTREMELY fast, so I'd recommend you snap some up if you haven't already! I will add that Signature's discounted 'partial view' seats are extremely good value and actually not a bad view at all, so don't sleep on those.

TLDR: This show is absolutely amazing and totally does the material of one of my favorite musicals justice in an intimate, innovative staging.

Ragtime is one of those musicals with a name that belies the complexity and darkness of the subject matter (along with Parade and Carousel), and yet there's no other simple name that could tie together such a dense and varied piece of musical theatre. If you're not familiar with it, this musical set in the early 20th century follows three different groups in New York: a white suburban upper class family, a family of new Jewish immigrants, and a star-crossed young family in the emerging Black middle class of Harlem-- plus a half dozen real historical figures of the period. Their paths intersect and intertwine in many unexpected ways, changing all of their lives forever. Expect some very intense themes like racism, sexism, gun violence, and exploitation of the working class, but also moments of surprising levity and loveliness.

It's one of my favorite musicals of all time, but it's also so complex and such an example of the '80's-'90's megamusical' that it's expensive and tricky to stage. So you might not think of the intimate blackbox venue of Shirlington's Signature Theatre as a prime candidate for this piece. But I can report that director Matthew Gardiner and the whole cast and crew knocked this piece out of the park (teehee, yes, this musical has a song about a baseball game). It was a spellbinding night of theatre and there wasn't a dry eye in the house at the end of the show.

I've seen some other shows at Signature-- including Sweeney Todd earlier this season-- where the goal of 'get creative with the intimate space' actually distracted from the material, but the biggest sign that this staging worked was that I barely noticed it at all or thought 'ooh, what a creative idea'. It just... worked. Fitting 33 performers and a 16-piece orchestra onto a small stage, plus massive set pieces like a WORKING REPLICA MODEL T FORD (absolutely show-stopping when it drove out) without feeling cramped or sacrificing audience sightlines shouldn't have been possible, but it all flowed seamlessly. Actors hung around on the sidelines when not part of the action, observing and serving as a backing chorus. This was the first Signature show I've seen with a turntable stage and it helped the show glide from scene to scene without being overused or feeling gimmicky. The use of the aisle space, staircases, and sharing the upper balcony with the fully visible orchestra also served the piece well.

The arched industrial-chic design of the set feels gritty and elegant at the same time, easily standing in for a factory, seaside pier, tenement, ocean liner, or train station, with gorgeous lighting design by Tyler Micoleau adding to the seamless transitions between scenes. Sumptuous costumes by Erik Teague set the tone from the moment the show started. (Mother's dreamy outfits give her an extra shimmer while also giving the impression of extreme restraint; there are outfits for a person whose job is to be decorative rather than effective.) My only true complaint was the sound balance: at times, the orchestra and the backing vocals drowned out soloists. I'm sure it can be difficult to fine-tune this when you have a fairly large band in a small space where natural acoustics battle with amplification.

The theatre is so intimate that you can see the subtlest expressions in the characters' eyes and that makes Signature stand out among other local theatres as a place where musical theatre truly feels led by actors and not just spectacle. In a mega musical like Ragtime, that human element is desperately needed, and it's why this production and the one Ford's Theatre presented several years ago stand out to me as the best I've seen rather than the Kennedy Center production that transferred to Broadway.

Almost every single member of this cast was a standout, even the hardworking ensemble members. This is where I simply have to ramble on about everyone and how beautifully they acted and sounded. My personal favorite performer of the night, in a show more crowded with stars than a planetarium, was Awa Sal Secka as the desperate young mother Sarah. The challenging score sounded like it was written for her, which is saying something because her role was originated by Audra McDonald. Her powerful but sweet voice pours effortlessly from her mouth as though raw feelings have been distilled into pure music. Sal Secka’s simple, earnest characterization of the young woman is utterly heartbreaking. I won't spoil her character's trajectory, but expect to feel every possible emotion in the spectrum. She's incredible.

As her love interest and the show’s anti-hero, Coalhouse Walker Jr., Nkrumah Gatling is perfectly cast. I’ve rarely seen someone in a stage musical act so effectively with just his eyes, flitting from mischievously charming to stone cold in mere seconds. There’s an edge to his rich baritone that might remind you of Brian Stokes Mitchell, who originated the part, but he puts his own spin on the music and gives it a new texture. I’d have loved to have seen Gatling’s take on Sweeney Todd earlier this season. Still, I didn’t get the ‘main character energy’ from this character that I typically have in past productions. Rather than feeling like the show’s central figure, he blended into the rest of the cast—which may say more about how wonderful his co-stars were than any fault of his.

Teal Wicks did exude star quality as Mother, a disaffected housewife who awakes to the world’s injustices and starts to see her life through new eyes. She conveyed every turning point in her character’s life with clarity. Her mellifluous, creamy voice soars on big ballad numbers and her relationships with the show’s many characters feel fully realized. One of the only things I knew about her before seeing this show was that she had played Elphaba on Broadway in Wicked. But here she uses more of a classical-sounding mix voice that fits right into this antique setting.

Matthew Scott plays her stuffy husband, Father, as more sympathetic than I’ve seen before. He seems younger than most actors who’ve played this role (he and Wicks are both in their early 40’s, while I’ve often seen Father cast as significantly older than Mother), and as we see him try to fulfill his role as ‘patriarch,’ we can tell he’s insecure and uncomfortable there.

We had an understudy for the other major role, Tateh, a Jewish immigrant with big dreams and artistic gifts who wants above all else to give his daughter a better life. I was disappointed to see this because Bobby Smith, who usually plays the role, is one of my favorite local actors, but his understudy Edward L. Simon did an absolutely charming job. He imbues Tateh with an impish lightness at times that only make the dark moments more heartbreaking and nimbly navigates musical numbers with a lovely voice. Like many understudies, you could tell he was giving 110% at all times and his energy sparkled. Still, there were a few dramatic moments that I’d have loved to have seen given more power and the orchestra drowned him out more than any other character. I’m guessing that sound levels may have been calibrated to a performer with a bigger voice.

Simon is also by far the youngest-seeming Tateh I’ve seen. This works, adding to the earnest naivety his character shows when he first arrives in America, but I’d be so curious to see how the dynamic works with the usual actor, Bobby Smith, who seems to be about 30 years older than Simon. I’m so tempted to go see the show again with Smith and compare the two performances, but rest assured that if Simon is the understudy at your performance, the role is in deftly capable hands.

I loved Jake Loewenthal as Mother’s Younger Brother, an awkward young man in search for meaning in life. I previously enjoyed him as the Baker in Signature’s Into the Woods but thought, “This guy was born to play the Baker, but I can’t picture him in any other roles. He’s just TOO specific and TOO good as the Baker to play anyone else well.” I was wrong. He’s perfect here, filled with a tightly coiled intensity that is, in his character’s own words, ‘like a firework, unexploded.’ There’s a quirky piercing nasality to his voice, but it shines out in Younger Brother’s effusive self-discovery. Among other family members, Declan Fennell is adorable and NOT annoying as the family’s weird (and slightly psychic) little son Edgar and Lawrence Redmond is a hoot as the drily snarky Grandfather.

Among the smaller roles, standouts include Dani Stoller’s impassioned firebrand Emma Goldman, Jordyn Taylor as show-stopping soloist “Sarah’s Friend,” and Tobias Young’s Booker T. Washington, more memorable than I’ve ever seen this character portrayed. But more than any of these, Maria Rizzo stole her scenes as vaudeville sensation Evelyn Nesbit. She seemed to be having an absolute blast up there and gave the character both more depth (hints of trauma!) and risqué sultriness than I’ve seen before. If sometimes she verged into showboating, I couldn’t possibly complain. She was just too much fun to watch.

This is a score full of HARD-HITTING ballads and intense big production numbers, with almost every number including dramatic swells of the orchestra and singing to the rafters. Every time you think you've seen the showstopping number of the night, another one comes along to blow you away. Some of the standout songs in this piece include Sal Secka's haunting lament "Your Daddy's Son," Wicks' journey of self-discovery in "Back to Before," Gatling's anthem "Make Them Hear You" and the adrenaline-pumping duet "Wheels of a Dream," but you will find that some of the smaller numbers between them will also send chills down your spine and bring tears to your eyes. One of my personal favorites was the sweet duet "Our Children," which sees the spark of a potential relationship forming as two parents watch their children play together.

What does this show say about America? Basically everything up to and including the kitchen sink. Is it a land where people can triumph against adversity and succeed? Yes! Is it is a place where dreams are broken and crushed by reality? That, too! Is it a place where understanding can win out over hate and people find they’re more alike than different? Yes! But is it a place where hatred and bigotry can tear lives and families apart in the blink of an eye? Yes! Is there a hope of a brighter future for the country? Yes! But do we see the struggles of present day reflected in these characters from over a century ago? A resounding yes. Every audience member will come away with different moments resonating in their minds, but the rich tapestry of humanity in all its strengths and flaws showcased in this production is a marvel to behold.

I’m attaching a few clips from the show in the comments so you can see some of what it was like for yourself! Please consider seeing this show if you can. It’s the most powerfully affecting piece of musical theatre I’ve seen in the DC area since before the pandemic and will no doubt stick with you long after the cast takes its last bow.

#Musicals #musical theatre #theatre #ragtime #signature theatre #dc theatre #informal review

12 notes · View notes

thestarlightforge · 9 months

Text

Some thoughts on hope, honesty and storytelling from a director’s POV.

I’ve tried to articulate what frustrated me about Multiverse of Madness many times, and they’ve all delved into some combination of A) breaking down the misogynistic, reductive, antisemitic tropes it employed; B) delving into comic book and MCU lore that illustrates why it’s mostly nonsense; and C) character analysis.

But I was thinking about it again today, this time in the context of my aesthetic as a director and writer.

This week, I’ve been at the Kennedy Center’s Director’s Intensive, an amazing annual event that unites early-career directors in community with professionals in theatre. Guests range from pros in dramaturgy, intimacy choreography, stage design, directing, performance, and more.

In several exercises, I’ve refined my thinking on the roles hope and hard truth play in my storytelling. I love hope. It’s my bread and butter. But I hate it when I feel it’s been delivered cheaply—without digging into the realities of how horrible the world can be. Just doesn’t feel earned.

This is why I struggle with the original Little Mermaid cartoon. To me, in addition to its notes on misogyny, consent, class struggle and female power, it’s so clearly a disability story. In Ariel’s most famous ballad, she croons her belief that to be a part of the world she loves—to dance, discover and be free—she has to be able to walk and run. Then, she enters “man’s world” with fully-functioning legs—you can’t CONVINCE me Ursula would’ve given her those. To add ANOTHER layer, when she discovers she’s mute, it’s taken as fact that means she can’t communicate. As if sign language completely doesn’t exist—and again, you can’t CONVINCE me that Ariel, intrepid scholar of all things human, “didn’t know” about sign language. But the story gets resolved with little change to her views: She gets the man (she barely knows), her voice (she doesn’t need), sexy legs (for fitting in) and the world (which looks much like her greatest idealization).

The world doesn’t change. It doesn’t let her down. She’s magically “cured.” She has to change. So to me, her “happy ending” felt hollow and mostly devoid of truth.

Thus bringing me back to Multiverse of Madness and WandaVision.

A lot of fans argued Wanda doesn’t face enough accountability in WandaVision. I feel that ignores the show’s symbolism as a grief epic, abstractions of Wanda’s compounded trauma, and her mental state/ability to even be held accountable in that situation. But in a literal reading, to some extent, I agree. In MoM, people had similar (even less ambiguous) concerns... Most of which I have no desire to delve into again here.

The important aspect, though, is hope. In WandaVision, the subject matter was a series of hard truths and revelations—death after death, unconscionable loss. But it doesn’t read like a funeral. It reads like a celebration of life. And the central dramatic argument of Wanda’s story, to me, is that no matter how utterly broken or lost you are, you can still be a good person—even a hero—if you keep trying and lead with your heart.

So many people hung their hope on Wanda. Queer people, young people, women, outcasts, people who struggle with their own experiences of mental illness and loss. I believe that as artists, we are responsible to the work, our collaborators, our communities, ourselves and the audience—but when we offer hope, we take on an extra responsibility to the audience/the world.

People are going to feel however they feel; it isn’t up to us to fully mitigate that, nor can we. But we ask audiences to be vulnerable—to get invested in our stories and, for however long, trust us with their hearts—and as long as we stay truthful while doing it, it’s the right thing to do not to crush them.

To quote Silver Linings Playbook:

“The world's hard enough as it is, guys. It’s fucking hard enough as it is.”

Wanda’s story in Multiverse of Madness ended with her partial redemption and sacrifice—that’s how Stephen and 838-Christine frame it, for the brief time they talk about it. With the knowledge that she destroyed the Darkhold, an ancient evil, and broke its hold on her with the power of her compassion.

But you know what it also was? A suicide attempt. (One that, if that red flash was her magic saving her, she was lucky to survive.) She is a character known for mental illness, both in the MCU and in her decades-long history in comics. And—whoever you decide is responsible, be it Raimi, Waldron, Feige, other heads at Disney, or some combination—MoM decided that the answer to her story should be suicide. Worse, they’re presently unwilling to classify/discuss it as such.

So any hope we get from her “sacrifice,” her partial redemption, the red flash after—it rings hollow. Because it fails to acknowledge the hard truth.

11 notes · View notes

ruenii · 1 year

Text

Tim, [pointing his staff at the human traffickers]: YOU ARE OUTGUNNED

Jason, [hyping him up]: WHAT?

Tim: OUTMANNED!

Jason: WHAT?!

Tim: OUTNUMBERED OUTPLANNED

Jason: PAY YOUR FUCKING TAXES!

Tim: PUT YOUR GUNS DOWN ON MY COMMAND

Jason: HAND EM OVER!!

Tim: THIS IS HAMILTON MY RIGHT HAND MAN!

Jason, [getting his guns out]: PWO PWO PWO PWO PWO-

Goons: *shaking* what the FUCK are Batman feeding his partners--

#tim drake #jason todd #dc #batbros #suki drabbles #jason and tim have monthly musical reenactment nights #duke and steph come by as well sometimes #duke slays as angelica #damian sees tim jason and duke act out candy store and bully bruce #needless to say dami hides from them whenever its 'that' time #dick wanted to join them too #jason & tim: sorry but its MIDDLE CHILD only privileges <3 #dick: :(#cass may not be able to say she means sometimes but she supports them nonetheless ^_^#and by that it means she has fun wrestling w her siblings whenever theres a fight scene #alfred is quietly cheering them on bcos you cannot tell me alfred wasn't a theatre kid #bruce wants join but is too emotionally incompetent to ask #batfam

15K notes · View notes

mikakuna · 1 month

Text

"how could you?!" and then he runs off like a maiden

#''do not try to follow me!''#jason was a theatre kid sorry #bruce tells him he can't patrol today because he's injured and jason pulls out the dramatics #jason todd #second robin #robin iii #red hood #batman #bruce wayne #bruce and jason #dc comics

2K notes · View notes

dc-and-damirae · 1 year

Text

tim: the chances of you getting killed by your dead sibling is low

*Jason walks in to frame wearing a robin costume*

tim: but never zero

8K notes · View notes

welcometogrouchland · 4 months

Text

I understand that literature nerd Jason Todd is kind of overblown in fanon compared to it's actual presence in canon (a few issues during his pre (and post?)crisis Robin tenure that highlight it) BUT consider that I think it's hilarious if the unhinged gun toting criminal has strong opinions on poetry

#ramblings of a lunatic #dc comics #Jason Todd #batfamily #it's just a fun quirk! it's a fun lil detail and I simply cannot slight ppl for enjoying and incorporating it into works #like obviously jason isn't the only one. I'm a big believer in the batfam having over lapping interests they refuse to bond over #i know dick canonically used the robin hood stories (which are pretty flowery in their language far as i can tell) as inspo for Robin #and i know babs was a librarian and even tho her area of nerddom is characterized as more computery she probably knows quite a lot-#-about literature as well #duke is a hobbyist writer i believe? i saw a fan mention that- which if so is great and I hope he's also a nerd #(i mean he is canonically. i remember him being a puzzle nerd in his introduction. but i mean specifically a lit nerd)#damian called Shakespeare boring but also took acting classes so i think he's more of a theatre kid.#Tim's a dropout and i don't think he's ever shown distinct interest in english lit and i can't remember for Steph?#I'm ngl my brain hyperfocused on musician Steph i forget some of her other interests I'm sorry (minus softball and gymnastics!)#and then Cass had her whole (non linear but it's whatevs) arc about literacy and learning to read #went from struggling to read in batgirl 00 to memorizing Shakespeare in 'tec and is now an avid read in batgirls!#she's shown reading edgar allen poe but we don't know if it's his short stories or his poems #point to all of the above being: i know Jason's not the only lit nerd in the batfam #but also i do need him to be writing poetry in his spare time and reading and reviewing it #jason at the next dead robins society meeting: evening folks today I'll be assigning all of us poems based on laika the space dog #damian and steph who have been kidnapped and brought to jasons warehouse to hangout: LET US GO BITCH #speaking of^ random poem i think jason would like: space dog by alan shapiro #wake up one morning in an unfamiliar more mature body with a profound sense of abandonment. the last four lines. mmm tasty

471 notes · View notes

atomic-chronoscaph · 1 month

Text

Batman Puppet Theatre - Ideal Toy Company (1966)

#batman puppet theatre #batman 66 #vintage toys #60s toys #the joker #robin #dc comics #ideal toy company #puppets #sixties #1966

250 notes · View notes

iguessthisisanewobsession · 1 year

Text

When Jason had invited the family to join him at local theater to celebrate their successful production they didn’t know what to expect.

They didn’t expect-

Jason shook his head and leaned in his chair before taking the other man’s hand.

“I am madly in love with you!”

“Change!”

“I despise you with every part of my bei-“

“Change!”

“You’re like a six!”

It looked like they had came in the middle of a game of some sort. Steph had her phone out as Jason’s partner snatched his had away and stood up,

“That is the rudest thing anyone has-“

“Change!”

“That’s the nicest thing anyone has ever-“

“Change!”

“I want to have vigorous gay sex with you!”

The others watched as Jason stood up as well, trying not to laugh. This was too good.

“Hot dam! Wait until we marry first!”

“We’re not married?!”

Tim tried to hold it together as he yelled out,

“Ch-change!”

“Fuck-can we get married?!”

Jason got to one knee,

“We can Danny! It’s legal in-“

“Change!”

“I-I know a guy!”

“Well that sounds perfect to me! Take me away Hoss!”

“Aaand scene! Nice one boys!”

Jason felt himself begin to color as he noticed his family whooping and hollering in the back.

“Fuck… of course my family had to walk in on this game..”

Danny for his part patted his back as he tried to ignore the similar issue that was his support system.

“That makes two of us Jay, that makes two of us.”

#dp x dc #writing prompt #danny fenton #danny phantom #dc x dp #jason todd #batman #shipping #dick grayson #tim drake #Stephanie #Jason’s a theatre kid #mixed up Manhattan

2K notes · View notes

mochinek0 · 4 months

Text

Daminette December 2023 MASTERLIST

ONE SHOTS:

1.) Mystery Theatre

2.) Framed

3.) Manga

4.) Orange (SUB)

5.) More of a Dog Person

6.) Death Match

7.) In a League of their Own (SUB)

8.) Not Soulmates

9.) Gremlin

11.) School Play

13.) Wednesday

14.) Poisoned Dagger

15.) Lost a Bet (SUB)

16.) Pet Store

17.) Bodyguard

19.) Window to the Soul

20.) Cheese Vikings

24.) Archaic

25.) Plain Clothes

26.) Sparkles

28.) I'm Not Crying

29.) Disappointment

30.) Save Some for Me

31.) Charades

TWO SHOTS

18.) Hiding in the Shadows + 22.) You're Drooling

21.) Something Good Coming + 23.) Astrology

MINI FIC

10.) Defeated

12.) Betrayal (SUB)

27.) Be Positive

176 notes · View notes

schmergo · 1 year

Text

My informal review of Beauty and the Beast at Olney Theatre in Maryland!

I had to write a casual, rambling review of Beauty and the Beast at Olney Theatre Center for you because that was a fun and memorable theatre experience if there ever was one, and certainly the most maximalist show I've seen since the world shut down in 2020! The production runs through January 1, so there are still plenty of chances to catch it! This production is best known for its inclusive casting of the title characters, and it's so enjoyable in every other possible way, too.

Full disclosure: I love Beauty and the Beast. I've also seen at least 8 different live productions of it, half of them professional. I can be equally overly critical and overly effusive when it comes to this show. It's one of those movies that feels like it's made for theatre (that score!), but translating living household objects, an enchanted castle, and a monstrous but strangely appealing Beast from cartoon format to live action is much easier said than done. Because of that, I've never NOT enjoyed a production of Beauty and the Beast before, but I've also never seen one that felt like they got it perfectly right. (And there's always at least one super distractingly janky costume!) This production was not totally perfect, but it was certainly my favorite mounting of Beauty and the Beast I've seen so far!

I think a lot of girls in my demographic grew up seeing themselves in Belle, but I actually always related more to the Beast. I guess I felt like Belle was always a little too perfect to be especially interesting-- beautiful, kind, elegant, graceful, brave, AND smart?-- and the Beast was the character with the real arc. Despite Belle's big solo in the second act, "A Change in Me," I never felt like Belle changes very much as a character at all, nor does she have anywhere to grow. Jade Jones and director Marcia Milgrom Dodge gave Belle more of a complete journey than I've previously seen. I also appreciated that this production proved there’s no one way a beautiful Princess has to look. Jade Jones is a plus-size, Black, LGBTQ+ performer and she killed it as Belle.

Why do the villagers see Belle as 'odd?' The script implies that it's simply because she... READS. (Gasp!) But in this production, I felt like Belle had a charming, refreshing awkwardness to her in the first half. When she rambles about how much she loves her books, she starts obliviously gushing. When she tries to turn down the ridiculous Gaston, she looks uncomfortable and frozen, unable to clearly communicate with him. And when she's with her eccentric father, Maurice, we see her goofy inner child come out. Oh yes-- and unlike the other women in the village, she wears PANTS!

This slight unconventionality turns out to serve her well in the unfamiliar milieu of the Beast's castle. The Beast, too, does not navigate social norms well. But where Belle's slight awkwardness is adorable, the Beast's lack of social skills is dangerous. But Belle's not afraid of him, and she doesn't even mind when he's rude-- putting his leg up on the table and slurping his soup (heck, she slurps her soup alongside him!)-- as long as he's being respectful to her. When he's not, she calls him out. And when he gushes over the story they're reading together just as much as she does, her eyes light up. That felt very familiar to me. I think some versions of this story feel like, “Belle teaches the Beast how to act normal,” dwelling on finer points of etiquette, but this one felt like, “Two people find someone they can be a little weird with.”

Jade Jones approaches Belle with a commendable playfulness and a groundedness and has the most raw, powerful voice I’ve heard in this role. The song "A Change in Me" has never hit me so hard before. I did feel like some of the impressive vocal gymnastics she displayed detracted a tiny bit from the character's sincerity, but really enjoyed them nonetheless. I'd previously enjoyed Jones as Little Red in Into the Woods at Ford's Theatre, but was even more impressed by her nuanced work here.

Evan Ruggiero made a wonderfully versatile Beast and a fantastic match for Jade Jones' Belle. Their dynamic was a joy to behold-- 'joy' really is the word, because watching the depressed and self-destructive Beast discover a new sense of joy in life was beautiful. I knew he is an acclaimed dancer, but Ruggiero's vocal work shocked me. I don't know how he sustained the Beast's incredibly deep, growly, harsh voice (I wonder if he was speaking through a voice modulator?) when his own natural voice, heard in interviews, has a much lighter timbre.

His singing voice is beautiful, both rich and delicate. I saw a mixed review disparage that he sounds scary when he speaks but sings "like someone from Les Miserables," but that cracked me up-- the role of the Beast on Broadway was originally played by Terrence Mann, indeed "someone from Les Miserables" (the original Broadway Javert). I personally think a Beast with a lovely singing voice isn't incongruous; the songs express his inner feelings with an elegance he cannot convey out loud.

If there's one slight downside to his performance, it's that his animalistic portrayal of the Beast meant he was always hiding his face with his hunched posture in the first act. While his body language ably communicated his character's growth, it meant that those of us in the mezzanine could hardly see his face before his big act one finale song. Then again, this was probably intentional-- we don't really get to know the Beast until Belle does.

I've discovered from the MANY performances of Beauty and the Beast I've seen that I like the Beast's costumes best when they're not attempting to replicate the character's look in the movie or going for extremely elaborate muscle suits and facial prostheses but are more impressionistic. Ruggiero's Beast simply wears a super shabby outfit, a long greasy wig, impressive curling ram's horns on his head, a bit of dark eye makeup, and furry gloves and matching boot. The rest is all his body language and voice.

Ruggiero lost a leg to cancer 10 years ago and now performs with a prosthesis-- in this production, a cool-looking, time-period-appropriate peg leg. (A post on his instagram applauds the skill of the makers of the peg leg: the fit and suction is so good that at one point, Gaston drags him across the stage by it, a gasp-inducing moment and certainly one that shows the extent of his villainy). He uses his prosthesis to creative effect in several scenes, especially when fighting off wolves. He also climbs up and down a super long curvy staircase while belting out high notes with ease, which surprised and impressed me while also making me confront my own ignorant assumption about his ability.

The actor's disability also helps put a different spin on the character's backstory. When we see the young prince at the beginning of the show, he's portrayed as a child and pushed around in a wheelchair by Cogsworth. His servants physically push him anywhere he wants them to, and when they offer him food, drinks, or the enchantress' rose, he brattily throws them to the ground. There's a Colin Craven vibe to the young prince. By portraying the prince as an actual child, we get the sense that he's both spoiled and neglected. The script bears hints of this, telling us the curse has been in effect for 'ten years' (but isn't he almost 21?) and the Beast mentions that he only learned to read "a little" and long ago. Did an illness or accident mean the young prince's formal education or etiquette training was interrupted? Is he babied because of this? Was he shut away from the world because of his disability before he was shut away due to the curse? Where are his royal parents anyway?

This sense of arrested development comes through very well in Ruggiero's portrayal. There is an innocent boyishness to the Beast that comes out in the second act, and his rages seem more like tantrums than genuinely scary. He even wears the tattered remains of his childhood velvet suit. No wonder this poor guy's messed up-- he went through puberty in a Beast's body. When he transforms into a handsome prince at the end, it's a version of himself he's never gotten to see before. While the physical transformation itself isn't anything major visually, he sells it with his character's utter delight. (And yes, he still has a peg leg as the Prince. He spins around on it. It’s neat!) I was so charmed by this version of the Beast/ Prince.

Beauty and the Beast has a third lead role that is not a title character... or, perhaps, is a little of both. That's Gaston, who has a MUCH larger role than almost any other villain I can think of, sharing fairly equal stage time with the Beast and with more to sing. Michael Burrell was an absolute delight to watch as Gaston and was both my husband’s and my favorite part of the show-- which is saying something, because all of the leads were great. He's portrayed less, er, 'rapey?' than many other Gastons I've seen, instead an utterly self-absorbed jock who does hilarious nonstop calisthenics to try to impress Belle in his solo number, "Me." His physical comedy skills are top-notch, his powerful voice rumbles through the score with agility, and he has impeccable timing and chemistry with John Sygar's funny and energetic LeFou.

He doesn't have the looming physical presence you might expect of Gaston, but I liked that for this particular production. Gaston solely defines himself by his peak physical ability. No wonder he is so appallingly ableist toward the Beast (and, in a different sense, Maurice). LeFou plays a sort of coach for him, and the big production number "Gaston" turns into a series of athletic drills that Gaston and LeFou lead. This takes on a more menacing vibe in "The Mob Song" when it seems he was unknowingly training his own personal militia all along.

Despite being extremely funny in the first half of the show, we see the clear moment when Gaston goes fully to the dark side-- it's when Belle slaps him in the face in front of all of the villagers after he offers to release her father if she marries him. We saw him earlier ranting about how being "dismissed, rejected, and publicly humiliated" is more than he can bear, meltdown averted only by LeFou and company cheering him up with a song about how great he is. Now there's no cheerful song to stop him and we see him go past a point of no return into sheer ice-cold villainy. When he's dragged off the stage by wolves after a dirty fight with the Beast-- a new death for the character-- it feels fitting.

It's worth noting that Burrell not only plays Gaston, he also understudies the Beast. He's played both roles before. Now that's duality! Before watching this show, I mentioned that I've seen some disappointing Gastons in past productions. They almost never strike the right balance of humor and villainy. He did it better than any I've ever seen!

The other lead actors in this show were quite enjoyable, too. Bobby Smith (a longtime favorite actor of mine) and Dylan Arredondo were side-splittingly funny and played off each other super well as Lumiere and Cogsworth. Despite their bickering, the two seemed like the best of chums and seemed to be having the time of their lives together. (I wished we could hear both of them sing more-- both have very pleasant voices and Bobby Smith is a talented dancer!)

Their scenes were always highlights, while they drag in some other productions. Like this production's Gaston, Smith didn't come across as inappropriately sexual or gross like Lumiere sometimes does, mostly just goofy. Not all of the silly comic bits blocked into these scenes worked, but enough did to make the audience laugh uproariously. And they gave a lightness to the potentially existential scenes in which the household objects contemplate their fates-- this version of the show felt more warm and light than those I've seen in the past.

Kelli Blackwell had a warm maternal presence as Mrs. Potts (and also played the ghostly figure of Belle's mother in the beginning of the show, too?) and sounded wonderful on the title song. Some of the other numbers seemed a little outside her alto range, though, and I wondered if she may have been losing her voice and had an off-night or if she usually struggled with those parts. I had an understudy for the role of Madame de la Grande Bouche, a bit disappointing at first because she's normally played by another one of my favorite local actors (Tracy Lynn Olivera), but understudy Erica Leigh Hansen sounded absolutely gorgeous on those operatic high notes!

The whole ensemble seemed to be having a blast, interacting with each other in fun and creative ways. One highlight of the show was when the baker was chased offstage during the castle fight by cutlery wielding a giant baguette (a set piece previously used in "Be Our Guest") and screamed, "MARIE! THE BAGUETTE!" The cast had a LOT to do. It's a much smaller ensemble than I'm used to for this show, and many not only doubled as townspeople and household objects, they actually played multiple different household objects in one song.

Ensemble member Connor James Reilly stood out as the Enchantress, dancing gracefully on pointe. I do not know what pronouns Reilly uses, but I have never seen such a tall dancer on pointe before and the effect was cool. As a villager, Reilly appears to be selling puppets of the Beast. That raises an intriguing question: is the Beast a local urban legend? Is he the village's own version of the Bunnyman?

Unfortunately, the choreography in the show seemed a little simplistic and uneven, which is a shame because many of the cast members can DANCE! I would have liked a little more 'oomph!' from the long dance breaks built into this score. Another uneven theatrical element was the costumes. Some of them, like Belle's ballgown (which looks much better in person than in pictures) and the main household objects' baroque costumes, look fantastic. Some work in a simple but effective way, like Gaston and the villager's warm-toned color coding and the Beast's minimalist get-up. But the more minor household objects, which require very quick changes as they switch from costume to costume, have an amateurish and unfinished look to them.

I wrote another long, obsessive review of Creative Cauldron's Beauty and the Beast back in 2019, an even lower-budget production, and noted that despite awesome creative elements, they just had too many people and costumes for the very small performance space. I almost felt the opposite with this one: they sometimes didn't seem to have enough people to fill the stage. In some scenes, the emptiness seems to reinforce the loneliness that the Beast and sometimes Belle feel. In others, it just feels... unfinished. In both productions, the low budget sometimes showed, but so did the heart.

I did very much enjoy the simple set here, though. We're surrounded by the cavernous walls that represent the Beast's castle. In the castle scenes, a big staircase pops out of the wall and cobweb-covered chandeliers fall from the ceiling. (I guess Babette's not a very good feather duster.) In the village scenes, they retreat back into the set. The real crowning glory of the show was their imaginative take on the rose: a stained glass rose WINDOW. This worked beautifully-- because after all, how the heck is an audience going to be able to see a single rose petal fall from the mezzanine? The rose window lost panes as the show went on, like an ominously ticking countdown.

Although it didn't feel as big as a Broadway production, this show is imbued with the pure magic of theatre. Audiences young and old were clearly enjoying every minute while I was there. You will leave it feeling enchanted, invigorated, and maybe even empowered.

I mentioned before that I've always related more to the Beast than Belle. Heck, I even dressed up as a woman version of the Beast for AwesomeCon several years ago and posed for photos with every Belle I found. This was the first time I found myself putting myself in Belle's shoes, too. In this production, I felt like anyone can walk away feeling like they can be Belle, they can be the Beast, they can be anyone. Just don't be Gaston. That guy's a doofus. This tale as old as time has taken on new life and feels more universal and more magical than ever!

#beauty and the beast #theatre #musicals #musical theatre #batb #disney #dc #dc theatre

30 notes · View notes