Edward Gero will play Ebenezer Scrooge in the Ford’s Theatre production of Dickens’ A Christmas Carol, directed by Michael Baron. Photo by Scott Suchman

Now that I’m fresh off a show, I got theatre on the mind- so I thought I’d take a moment to see what’s going on in the DC Theatre scene this Holiday Season.

A Christmas Carol
Ford’s Theatre
November 23, 2009 – January 3, 2010

What doesn’t sum up the Holiday season more than the tale of Tiny Tim and Scrooge? Sure we know that Jim Carrey is starring the in Disney reboot of it in theatres but if you prefer live action rather than fancy CGI, The Ford’s Theatre is putting on a run of the classic show and is partnering with Bread for the City to not only provide an entertaining holiday show, but help out those less fortunate as well. Need another reason to consider checking out the show? Try cute kid actors on YouTube.

Annie
Toby’s Dinner Theatre
November 12, 2009 – January 24, 2010

Working on Rocky Horror this past fall I heard a lot about this dinner theatre in Columbia, MD. It maybe a trek for those in the Metro area but from what I’ve heard it’s a great destination when you wanna get out of the city; also it’s not only a show but dinner as well! For those that want to enjoy fine dining and fine entertainment can catch another classic as the story of a spunky Red-haired orphan and her dog comes to life and I’m very excited to see they casted a live dog to play Sandy (played by Belle the dog.) Toby’s also has a Baltimore location that is putting on Irving Berlin’s White Christmas.

Disney’s Mulan
Imagination Stage
November 25, 2009 – January 10, 2010

This ain’t Disney on Ice. The 1998 film is now available in musical theatre format over at the Imagination Stage in Bethesda, MD. The show is only playing weekends during it’s run but that also includes an after Christmas show on December 26th.

George Balanchine’s The Nutcracker
Kennedy Center
November 24, 2009 -  November 29, 2009

The Pennsylvania Ballet performs George Balanchine’s The Nutcracker.

The Pennsylvania Ballet puts on a new production of the Tchaikovsky classic. It’ll only be in the area for the week of Thanksgiving. If you happen to miss it’s short stay at the Kennedy Center, the upcoming production of Young Frankenstein looks promising as well.

It’s a Wonderful Life
Elden Street Players
December 11, 2009 – December 20, 2009

If you get sick of seeing James Stewart in black & white on TV, then head on out to Elden Street and catch their rendition of the Frank Carpa classic. Performances will be held Friday-Sunday with two shows on Saturdays and a Thursday show on December 17th.

Jersey Boys
National Theatre
Ends December 12, 2009

The Washington Post says that it’s a, “a smashing serenade of the muscular harmonies.” The Washingtonian calls it a, “sleek, seamless production.” The National Theatre is currently hosting the National Tour of Jersey Boys, the musical that depicts the story of  Frankie Valli and The Four Seasons. The show will be in DC until December 12th where it moves on to Detroit.

Plaid Tidings
Little Theatre of Alexandria
December 3, 2009  – December 20, 2009

If the above show doesn’t satisfy your classic rock hunger perhaps this show will. According to LTA’s site, “the charming plaid-clad quartet from Forever Plaid – are transported back from the cosmos to stage a nostalgic holiday party for world-weary Earth mortals.” Sounds like crooners are in this holiday season.

Watch out, Rent is going to invade DC Theatres for 2010.

Rent
Keegan Theatre
December 17, 2009 – January 17, 2009

The Broadway classic may not be a holiday show, but since the performance rights has opened up to local productions you are quickly going to see a lot of theatres taking on the show in 2010. Keegan is lucky enough to be one of the first theatres to put on the Tony award winning rock musical.

The Solid Gold Cadillac
Studio Theatre
December 2, 2009 – January 10, 2010

Amongst Holiday tales and Musical Theatre, I wanted to make sure that a good ol’ Farce was included and Studio Theatre’s production of Solid Gold Cadillac fulfills that requirement. The tales revolves around Mrs. Laura Partridge, a minor stockholder in a major corporation who takes on the board in a fairy tale wrapped-up as a comedy. Come to the show on December 5th and tickets are “pay what you can.”

Striking 12
Arena Stage
December 2, 2009 – December 13, 2009

The Arena stage maybe counting down the days til their new SW Waterfront facility is online but at it’s temporary space in Crystal City the show still goes on.  Striking 12 is combination of musical theatre and live concert, with the group GrooveLily performing a “concert-with-a-story” where the band plays the actors. Watching the YouTube clips of the performance, the show is definitely something different that the regular theatre fare.

Photo courtesy Alex Buckley

A disclosure so the FTC doesn’t go after me: this post is going to be 60% shameless plug.

I’ve spent the last few months stage managing for Kensington Arts Theatre’s production of The Rocky Horror Show. We opened last weekend to some wonderful audiences and this weekend we are pulling all the stops out for Halloween. Tonight we’ll have a performance at 8:00 PM but tomorrow night we’ll be having a special midnight performance for Halloween! What better way to celebrate the holiday than watching the show that’s been a horror cult classic for years.

The Rocky Horror Show tells the tale of Brad and Janet, a newly engaged couple that are left stranded when their car breaks down in a rain storm, and seek the sheltered at the nearby castle of Frank-N-Furter, a mad scientist who has a devilish plan in store for his new visitors.

For those that are Frankie fans, audience participation will be allowed and encouraged. If you are Rocky Horror virgin, you can find out what all the fuss is about here. Audience members will be free to shout out their favorite callbacks during the show, however keep your rice and pieces of toast at home. Props brought from home won’t be allowed due to safety reasons, however you can purchase all the props you need to shower the theatre with cards for sorrow and cards for pain.

To get complete details on the show check out KAT’s website- and if can’t catch it this weekend it’ll be running til November 14th.

If my shameless plug didn’t convince you to check out Rocky Horror then here’s a couple of other things you can do:

• The International Spy Museum will be holding a Spy Fright today and tomorrow. Besides a haunted Spy at Night event with cocktails, wearing a costume to the museum gets you discounts including 50% admission.  On Saturday the museum is also launching the latest Clue game: CLUE Secrets & Spies.
• The folks at Lindy Promotions are putting on the 10th Annual Nightmare on M Street, and if M Street two years ago means anything, it’ll be quite the show.
• From 6 PM – Midnight on Halloween stop by any Taco Bell for a free Black Jack Taco. No base stealing required.
• Instead of listing every single Saturday night Halloween party in town, just check out what The Washington Post, The Washingtonian, and BarDC have to say.

Photo courtesy of Flickr user Spring Returning

I’m not really into musicals.

Even though I try and stay active in the DC theatre scene, I just prefer straight plays. My mind was soon changed when I saw Spring Awakening with PQ for my first show at the Kennedy Center.

I walked into the lavish performing center with minimal knowledge on the show’s background. What I found was a show that challenged everything I’d usually expect from a traditional musical. No large casts, no fancy backdrops, no grand orchestra to fill the pit. Instead what I saw was a small but dynamic ensemble; a stage bare except for an interpretive brick backdrop and bleachers on both sides (more on that later); and instead of a large orchestra, a house band of musicians.

The story revolves around a group of teenagers in 19th century Germany and explores their sexual coming of age as they make the change from youth to adulthood. Jake Epstein (fresh from DeGrassi and in his first musical tour) stars as Melchior, a student who’s more enlightened than his peers about the birds and the bees. Christy Altomare palys Wendla, a girl who starts the show asking her mother where do babies come from. The two meet and well, you can guess where it goes.

In other words it’s like American Pie but classier and with music and dance. I mean with song titles like “Touch Me”, “My Junk”, and “The Word of Your Body”; you know there’s going to be a lot of awkward teenage moments. What’s really amazing is that the story is based on Frank Wedekind’s 1891 play. Wedekind was really beyond his time.

The production has already won 8 Tony Awards, 3 Drama Desk Awards, a Grammy and other countless accolades. I can assure you that the show is worth every one too.

The story has been well adapted and contains plenty moments that will make you and the audience roar with laughter. The music by Duncan Sheik breaks the mold of traditional musical fare and makes the show resemble a rock opera more than a musical. The dance isn’t overly flowery but instead a form of restrained emotion and energy. Lots of stomping and jumping could play into a metaphor of the student’s newly found emotions and feelings, not to mention raging horomones.

With a strong entertaining story and bombastic musical performances, Spring Awakening is one of the most energizing pieces to come to DC this summer.

Spring Awakening will be performing at the Kennedy Center until August 2nd. Besides tickets in the house, you can also get tickets ON STAGE. A limited number of onstage seats are available at $35 from the Box Office or through Instant-Charge. They are not available online.  Onstage seating offers a side/rear-view of the performance, with the action of the show taking place all around you. When I saw the audience members on stage watching the show from feet away, I was thinking how cool it would be to get those tickets. For complete details on that, check out the Kennedy Center website.

Spring Awakening
Kennedy Center Eisenhower Theatre
July 7, 2009 – August 2, 2009
Tickets: 202-467-4600
http://www.kennedy-center.org

Jaclyn Young, Katie McManus, Kat Brais, and John P. Loughney

It’s only fitting I sit here with my wife-beater on as I write this.

Coincidentally it was the same outfit I had on when I trekked up to Kensington to check out Kensington Arts Theatre’s production of The Great American Trailer Park Musical. I thought it would be fun to dress up and enjoy a show that sounded like it was going to be… quite trashy. I mean with a title like that, you aren’t expecting suspenseful drama.

I was happy to see I wasn’t the only one in costume as I walked in.

KAT truly transformed their space to fit the atmosphere of the show, from the beer cans and beach chairs scattered about to the hour dourves (Pringles and spray can cheese) that was served by the Choreographer (Catherine Oh) who was in bathrobe and curlers.

It was trailer park class I could belive in.

I noticed other audience members were in costume as the show got underway, creating a fun environment to enjoy the show. A show which I was already enjoying well into their first number, “This Side of the Tracks.”

Director Evan Hoffmann brought out all the cliches, stereotypes, and redneck jokes that makes Trailer Park such an entertaining show. The whole performance is a well executed, fast paced romp that is sure to keep you laughing all night. Be sure to keep your ears open, the show is full of clever lines and entendres that makes Trailer Park such a well written piece.

Malinda Ellerman as Jeannie Garstecki

Malinda Ellerman as Jeannie Garstecki is absolutely adorable and performs with energy and passion as the agoraphobic wife of Norbert Garstecki (Patrick McMahan.) In usual white trash fashion, Norbert is caught between his panic stricken wife and his new neighbor, Pippi (Jennifer Lambert), a sultry stripper who is on the run from her crazy ex-boyfriend Duke (John P. Loughney.) The show goes through so many twists and turns you’ll feel like you are on an episode of Jerry Springer… which the show quickly points out in the number “The Great American TV Show.”

The entire tale is told through a trio of storytellers (Kat Brais, Katie McManus,  and Jaclyn Young) who also get their moment to shine through impressions, side jokes, and solos. The three almost steal the show with their antics and reminded me of a redneck version of The Supremes.

Rounding out the ensemble are Darnell Morris and Mark Hidalgo who play rather silent, but by no means unforgettable roles. Pay special attention to them towards the end of the show.

Besides serving the hour dourves,  Catherine Oh has also done a fine job with the Choreography- making creative usage of toilet brushes in the Flushed Down the Pipes number. (A choreography side note, I was personally delighted to see a brief homage to Beyonce during one of the numbers. You’ll have to go watch to see what I’m talking about.)

If you need something to do this weekend I highly endorse escaping the city life of DC and checking out The Great American Trailer Park Musical, it will be a performance you are going to walk out loving.

The Great American Trailer Park Musical
Kensington Arts Theatre
3710 Mitchell Street
Kensington, MD 20895
May 21, 22, 23 (8 PM show)
Adult $20/Students & Seniors $17/Children & Residents $13
http://www.katonline.org/

The Ladies of Weismann's Follies (photo courtesy of The Arlington Players)

My friends at The Arlington Players invited me to check out Follies, their Spring production which opened last weekend. I was able to make it out for their opening weekend matinee and talk back.

I’ve never seen the musical by Stephen Sondheim and 1971 Tony award winner for Best Music & Lyrics; so I didn’t know what to expect.  As the Orchestra (conducted by Leah Kocsis) started up with the overture, ghostly figures began to march in as if they were haunting memories of the half demolished theatre where the show takes place in. Was I about to watch a ghost story about a haunted theatre? That’d be a cool musical to do, something like Scooby Doo the Musical: Case of the Haunted Theatre- oh wait that’s already been done.

I quickly realized that the show is actually about a reunion of the, “Weismann’s Follies” a group of girls that performed musical revues back in the day (think Ziegfeld Follies.) The theatre they used to perform in is now abandoned and will soon become a parking lot. The girls and boys come back to say one last goodbye to the stage.

Much like your high school reunion, everybody is eager to come back and reminisce and relive the pleasant (and not so pleasant) memories of yonder. The show focuses on two couples: Sally (Jean Cantrell) and Buddy (Jack B. Stein); and Phyllis (Lynn Audrey Neal) and Ben (Jimmy Payne.)

Jack B. Stein as Buddy Plummer (photo courtesy of The Arlington Players)

The two couples are anything but happy, with Sally still harboring feelings towards Ben, who is still a player in his married life but is still seeking something more. Buddy, a traveling salesman, struggles to rekindle the love that was once there and Phyllis has grown to be a tough shell of a woman, seemingly devoid of any sense of human compassion.

It’s the kind of drama I’d love to see at my own high school reunion.

Follies explores how a group reunites and recollects, but it also take a glimpse at how human relationships mature, change, and evolve in such a setting.

The actors that really caught my eye was Jack B. Stein as Buddy Plummer and Jean Cantrell as Sally Durant Plummer. I particularly enjoyed seeing the Buddy’s vaudevillian number in the second act. Nothing says Vaudeville like wearing a cardboard car for a costume!

Often the supporting cast of actors don’t get enough credit, in Follies each of them had an opportunity to shine and shine they did. I particularly loved Solange La Fitte (Judy Lewis) in her “Ah, Paris!” number. I’m a sucker for accents.

The Number That Makes This Show (photo courtesy of The Arlington Players)

Director & Choreographer Christopher Dykton put together some really lovely dance numbers, “Who’s That Woman?” is worth the price of admission alone. The coordination of one set of dancers is hard enough- but to coordinate a mirror image of their younger counterparts dancing exactly in step is cause for recognition. That number alone is worth the price of admission.

Dykton also played around with the idea of younger counterparts or ghosts in the show- as the main characters would remember or perform, those clone companion were often there reliving their tales, or in some cases haunting their past.  It created lovely images that really added to production. While some would criticize the hit and miss pairings in casting, I applaud Dykton’s decision to create a diverse cadre of actors and concentrated more on the talent of the person.

The second act of the show is where the strongest elements of the production come together. The set magically transforms from a run-down stage to what it was in it’s heyday. The “Loveland” number is the classic folly number with dancers revealed behind a 400lb fan setpiece (kudos to Jared Davis & Bill Wisniewski for designing and building that contraption). What follows after that number is a series of folly numbers that explores each of the main characters’ inner emotions and struggles. Phyllis really shined in her folly, “The Story of Lucy And Jessie”, a number that had a very Chicago like feel to it.

The Arlington Players put together a solid show that features great dancing and singing- their elaborate sets, and large numbers are sure to entertain and take you back to a much simpler time, well at least what we remember was a simpler time.

The Loveland Folly in the 2nd Act Is Sure to Impress (photo courtesy of The Arlington Players)

Follies
Weekends April 17 — May 2, 2009
Thomas Jefferson Community Center
http://www.thearlingtonplayers.org/

Renovated Ford's Theatre

On Monday, February 16, the folks at Ford’s Theatre celebrated their Grand Reopening with a birthday bash for Abraham Lincoln’s bicentennial, and DC Metblogs was invited to get a behind-the-scenes tour of the sparkling new theatre.

Warren Brown prepares some CakeLove for Lincoln's Birthday Bash

The renovation took 18 months to complete.  The theatre itself was renovated and generally spruced-up with new painting, lighting, carpets, and seating; and a new lobby/museum/gift shop was added, with new restrooms and elevator access.

The experience starts with entry into the spacious new lobby, next door to the old box-office lobby which opened right from the seats to the street.  The new lobby has artifacts on display, including the coat that Lincoln wore to the theatre on the night he was assassinated (April 14, 1865).  It was made by Brooks Brothers, just for the President to wear, and has fancy shields-and-eagle stitching in the lining.  Neat!  Just beyond the display is the gift shop, which offers far more books than kitsch, I’m pleased to report.   (Kitsch can be found just across the street at the Old Town Trolley depot.  Trust me.)   And why not?  Lincoln is apparently the most popular subject of biography in the universe.  OK, maybe that’s a little strong, but he’s pretty popular.

For this special occasion, Warren Brown and the folks from CakeLove were on hand to offer Presidents’ Day patrons some of their delicious cupcakes as a complimentary grand-reopening  treat.  Since I was already getting pretty special treatment, I left my cupcake for another kid to enjoy.   (More on my visit after the jump.)

New displays in the lobby tell patrons what's happening

Lincoln's Coat!

Restrooms, elevators, and box offices complete the new space.  Anyone who has shivered in the cold on 10th Street waiting for a performance can attest to how welcome this new lobby addition will be to theatre patrons.

Inside the theatre itself, new carpet and paint welcome patrons to the house.  And yes, Virginia, the seats have been replaced.  That sound I heard inside the house was the sound of no one grumbling about uncomfortable chairs!  The new seats are definitely upright — no stadium-seating recliners or cupholders here — but they are thickly padded and definitely more comfortable than the old, creaky chairs which were unloved by theatre-goers for years!  When replacing the chairs and renovating the house, care was taken to minimize obstructed views due to supporting columns and seating placement.

The Presidential Box

As the Park Service ranger took the stage for his speech to the general tourist population, my wonderful guide took me up the stairs to the balcony level and we took a look at the door that Booth used when he made his way to the Presidential box.  From the other side of the balcony, we got a great view into the box, and I learned that the bunting and flags which are on the box were put there by the theatre’s owners on the day of the fateful performance!  Evidently, when the proprietors learned of the President’s intention to visit that night, they rushed to their homes and gathered all the flags they could find, as well as some of their most comfortable furnishings, and brought them back to decorate the box for the Lincolns.   I had always wondered about that!

Bird's Eye View

As a special behind-the-scenes treat, I was taken up to the closed-off third level and got a bird’s eye view of the whole theatre.  This level was once where the cheap seats were located, and they consist of simple wooden risers.  Nowadays, these risers are hidden behind theatre lighting, and are populated by technicians instead of audience members.   Also on this level is a brand-new boardroom space at the front of the house just above the balcony itself.  It’s a beautifully finished and spacious room with appropriate Lincolnia on display, overlooking Tenth Street and the Petersen house where Lincoln eventually died of his gunshot wound on April 15, 1865.

If you weren’t able to visit Ford’s this weekend, never fear!  The theatre is open for tours from 9 AM to 5PM every day (except Christmas).  Tours are free, but do require a timed-entry ticket.  Same-day, timed tickets are available at the box office starting at 8:30 AM on a first-come, first-serve basis.

To get ready for your visit, visit the Ford’s Theatre website.  It has a complete schedule of Ranger programs, 0pening and closing times, the theatre’s performance schedule, and a pretty great 360-degree video tour of the theatre.   And the bicentennial events aren’t over with President’s day:  at the website, you can also find out about the theatre’s new “Living Lincoln” program, a weekly series of lectures, readings, and performances, which will “explore the many aspects of President Lincoln’s personality and life” throughout the spring of 2009.

Have you been past Ford’s a million times but never gone inside?  Have you been there before and don’t know what all the fuss is about?  Have you only read about the place in school?  Now that the long renovation is complete, it’s your chance to see history, up close, for yourself.

Special thanks to the kind folks at Ford’s for arranging my visit with City Captain Patrick Pho; and to Rachel, my friendly and helpful guide.

David Vargas and Dan Yount

*Updated

This month, The Arlington Players are producing Tennessee Williams’ melodramatic classic Cat on a Hot Tin Roof.   The theatre doesn’t hide the production’s set and lighting design behind a curtain, and they expertly convey contrasts of glamour, wealth, and decay.  We expect Maggie the Cat to just stroll in from the gallery at any moment, and once she arrives, she delivers.  Cassandra Hodziewich takes control of the house upon her entrance, delivering her soliloquy of frustration with her family of Pollitt in-laws, layered with a desperate longing for her distant and alcoholic husband, Brick.  Maggie explains the situation in the house on this, the last of Big Daddy Pollitt’s birthdays in her soft delta drawl while casually deciding on a dress.  Of course, there’s nothing casual about it.

David Vargas as Brick is as sullen and removed as one could hope, and he draws Hodziewich across the stage to him without seeming to care at all.  He progresses from near-silence, to shouts of rancor, to soft singing, all the while taking long draughts from his bottles of whisky (yes, bottles – midway through the show I had lost count).  In his single-minded search for the elusive “click in [his] head that brings peace”, the injured Brick manages to expose his internal struggle to each member of the Pollitt clan, as they come in groups and by ones and twos to his room.

The production’s most powerful performance comes from Dan Yount as Big Daddy.  His loud, bawdy, and emotional portrayal of the Pollitt patriarch holds the whole of the play in its grip.  The long scene between Brick and Big Daddy is one of my favorite in literature, and I was very pleased with what I got from the two actors.  By turns they discuss Brick’s faded glory, his alcoholism, his dead best friend Skipper and the latent homosexuality of their friendship, Big Daddy’s marriage to a woman he never loved, both men’s contempt for the elder son, Gooper and his family (especially his passel of “no-neck monster” children and scheming, bitter wife Mae – played wonderfully by Karen Batra).  Vargas and Yount expose the anxiety and despair in both men’s lives, gradually and painfully working their way to the truth and a new bond between them.  Their agreement to no longer tolerate “lies and liars” all around who exude “the powerful and obnoxious odor of mendacity” is wonderfully undermined when Maggie spontaneously lies to Big Daddy, saying she is pregnant in order to secure her husband’s future and her own marriage, and Brick confidently backs her in the face of Mae and Gooper’s utterly scornful disbelief.

Director Blakeman Brophy’s choices play up the fifties melodrama at work in the show, to great effect.  With a wonderful leading cast and a beautiful set design, the show is a pleasure to watch.  Catch the final weekend performances through February 14 at the Thomas Jefferson Theatre.

*Update: Fellow Metblogger Patrick Pho is on the crew of this production and graciously provided tickets for this review. Thanks for reminding me, Patrick!

West Side Story album cover by flickr user exquisitur

As theater buffs already know, there’s a production of West Side Story in town.  It’s been at the National Theatre since last month on its way to Broadway, in a reprisal of its path 50 years ago.

Other reviews have made note of the decision by director Arthur Laurents to allow the Sharks and their girls to sing and talk amongst themselves in Spanish.   A love-it-or-hate-it decision, it endows the dialogue between characters with an authenticity and intimacy that hasn’t been seen before, and provides an instant update and relevance.  I know I hear conversations that I don’t understand (not just in Spanish) around DC every day!  Strategic sprinkling of key English phrases allow the non-Spanish-speaking audience members (like me!) to know where we are.

Now, the play is a half-century old, studied in schools, usually alongside that other great romantic tragedy of which it is a  mid-20th century update, Romeo and Juliet.  I remember the paperback with both plays from high school.  It’s probably produced almost as much as Oklahoma! Oh yeah, and it was a pretty popular film, if I recall.   With this in mind, it’s not unreasonable to me that Laurents assumes his audience knows the story well enough to follow along.  However, I have to agree with other reviews which note that “A Boy Like That/I Have A Love”, a critical interaction between Anita and Maria, suffers badly by being sung entirely in Spanish.  A lot of emotions are roiling around between these two women:  loss, grief, anger, jealousy, love…they’re working it out, but the audience can’t really follow along enough to understand why Anita finally agrees to go to the drugstore.  A strategic smattering of English here would have helped enormously.

Of course, Jerome Robbins’ choreography is iconic.  The dancers were fresh, young, energetic…especially the women.  My companion thought that the opening was disjointed, and I didn’t really disagree — but the music and movement really is a little bit disjointed there, and it’s by design.   The crackling “Mambo” and the ensuing Rumble were a joy to behold.

Karen Olivo as Anita was a pleasure to watch.  Confident, sexy, smart, funny; she filled up the theatre with her presence.   I think she’ll be one to watch!  And Maria, played by Josefina Scaglione, had a simply wonderful voice.  Her performance starts out uneven but she becomes more comfortable as the show progresses.  By the end we are crying with her over Tony’s dead body.

Matt Cavanaugh’s Tony, however, was a bit of a disappointment to me.  He was a fine actor — really the best in the show — and delivers a convincing, emotional performance.  Charismatic enough to fill the theatre, even to me way up in the balcony.  However, unlike pretty much everyone else (both fellow audience members, and critics alike) I was very disappointed in his singing.  He started off well in his first big number, “Something’s Coming”.  But, as the song moved along and the notes got longer and larger, the vibrato pretty much took over his voice.  He warbles so much that he sounds flat, and when he started to sing it took me right out of the story.   (Shall I forgive him just because he was great as psychotic stalker Adam on As the World Turns?  No, that’s a different blog post…)

Other quick impressions:

• Little Anybodys was a scene-stealer!
• Cody Green as Riff was a dancer adequate to the part but lacking in the charisma that’s necessary as the Jets’ main man.  I was a bit disappointed.
• Action, A-Rab, Bernardo, and Doc were all quite good!
• Lt. Schrank was a dark, exhausted, bigoted man – just as he should have been.

Finally — the music.  I had almost forgotten how wonderful the score is.  Almost.  Until that first number.  Then, I remembered.  Syncopated, restless, tense, tender, rough, dense, melodic.  It was conducted and played to perfection by the pit orchestra.  For viewers familar only with the film and its full orchestral score, it might have been jarring, or seemed thin.  But to me, no.  Days later, I’m still humming.

West Side Story, through January 17 at the National Theatre, is definitely a worthy revival.  See it if you can!

Well this Saturday, plan to venture to Penn Quarter for an extravaganza of art and crafts and performances.  Bombard your senses with 2008 Arts on Foot, a one-day visual and performing arts festival that kicks off the DC fall season.

In addition to the outdoor festival on F street between 6th and 9th Streets, the following venues will also feature activities, exhibits and performances:

Smithsonian American Art Museum and Portrait Gallery: The museums will host booths at the street festival that offer hands-on activities for children.

National Theatre: Come to the inaugural performance of Saturday Morning at the National. Carrie’s Dream is a true story of an African-American girl growing up in the rural south. This interactive show features sing-alongs and reflects the humor and struggles of a family coping with life in a segregated society. Performances are at 9:30 and 11:00 am. Though free, tickets are required and will be distributed 30 minutes before the show on a first come, first served basis. The Helen Hayes Gallery at the National Theatre is located at 1321 Pennsylvania Avenue, NW.

Warner Theatre and Woolley Mammoth Theatre: Take a back stage tour of the theaters. See the Arts on Foot events schedule.

Old Post Office Pavilion: Enjoy live performances by the Levi Stephens Band (alternative soul), Phaze II (smooth jazz), Uncharted Waters (smooth jazz funk), and Kirk Lamkin & Pulse Level (smooth jazz). Performances take place on the Pavilion Stage and are free to the public.

Canadian Embassy: Picture enthusiasts will enjoy a collection of 330 images entitled – 50 Years of American Photojournalism. The photos capture moments from the civil-rights movement, the various wars from 1939 – 1989, and famous people.

Landmark E Street: The DC Shorts Film Festival presents free family films with genres ranging from animation to sci-fi to comedy to experimental. Free tickets will be distributed at the DC Shorts booth at 10:00 am on a first come, first served basis.

National Gallery of Art: At 12:30 pm, catch “O Dia do Desespero (Day of Despair),” a documentary style film about the final hours of Camilio Castelo Branco’s life. The movie speculates on the creative process of the 19th-century Portuguese writer.  Then at 3:00 pm watch “The Last Conquistador ” which follows the  controversy over sculptor John Sherrill Houser’s most important commission, the world’s largest equestrian bronze of Spanish conquistador Juan de Oñate. Filmmaker John Valadez will be present to lead a discussion after his film.

National Museum of Women in the Arts: Visit the NMWA booth on 8th and F Streets to create your own unique artist’s accordion book.  All materials provided for you to create a masterpiece.

In addition to all the arts activities, don’t miss the wine tastings and culinary demonstrations. A fun-filled day for all ages!

Helmed by a wonderfully expressive Rene Auberjonois and a sparkling Nancy Robinette, this is one of the strongest ensembles I’ve seen at STC in a long time, with so many hysterical key moments for the cast it’s unfair to detail any in particular. But Auberjonois’ rendering of the hypochondriac Argan and Robinette’s saucy maid Toinette set the comic pace, playing off each other perfectly. A showpiece for the intimacy of the Lansburgh, it’s also exquisitely designed, with sets and costumes evoking the period without being slavish (Simon Higlett and Robert Perdziola respectively). Director Keith Baxter chose to reinstate the masques and commedia interludes that often get cut, with the result that audience members truly feel transported to Carnival 1673, right down to an appearance by Le Roi himself.

“The Imaginary Invalid” has the distinction of being the last play Moliere performed in, as he expired after the fourth showing. Written at the end of his struggle with tuberculosis, it contains a scathing indictment of the ignorance and arrogance of the medical profession of his time (with pertinent echoes to our own era’s uneasy dalliance between pharmaceutical companies, doctors, and their nervous boomer patients). And yet it is a supremely enjoyable piece – as all great comedy comes with a sting in its tail. Definitely worth it.