Whether you’ve done Fringe before, or you’ve never seen a Fringe show, you’ll find some rock solid performances and some shows that try really hard to please but somehow fall short of their goals.

You can use the Fringe Guide (online at capitalfringe.org ) to choose your own adventure, kick back and relax, or delve deep into the human psyche. Over the course of the 18-day festival, there will be dance, drama, performance art – original works, new twists on staid classics, forgotten or rarely performed works, Shakespeare, burlesque, humor, music, storytelling and more.

During the Friday night’s preview, only 21 of the 130 events received an opportunity to give four-minute highlights of their shows. At center stage, founding artistic director Julianne Brienza beat a metaphoric and also very real drum, offering strips of paper gold to each group or performer, and spreading gold glitter over the course of the evening.

Brienza’s message to Fringe fans and patrons is here, a testament to the open-arms policy of Capital Fringe Festivals past, present and future:

Our city, Washington, DC is full of committees, institutions, special event promoters and politically appointed individuals who curate and filter the performing arts. They determine ‘artistic value’ for Audiences, and often communicate to many Artists that their story/work does not have a place. We are leaving these decisions up to the people. We believe in you, the Audience and in you, the Artist. We believe in the power of artistic natural selection and we invite you to create, explore, fall short, and succeed with us. To risk. We approach our work and our mission as an organic process: things ebb and flow and we respond to energy taking its natural course. We advise you to approach the Festival in very much the same way – be adventurous! Follow your instincts and go see something you never thought you’d like – instead of being frozen in indecision for two hours. If indecision is your thing however, then come nurse a cold beverage at the Baldacchino Gypsy Tent Bar. There are many Artist and Audience folk at the Baldacchino that can give you an earful on what shows to not miss.

In my opinion, of the 21 preview performances, these 14 shows are the highlights. They represent both new and returning artists, artists with lots of Fringe experience or none at all. That’s not to say these performers are inexperienced. On the contrary, these are some of the best performers this area has to offer and it’s a treat and privilege to watch them work.

Look for these shows to sell out faster than the others, based on production values and casting, not to mention the buzz. With 130 separate events, there’s plenty to choose from during the festival, so if these don’t do it for you or they’re sold out by the time you’re ready to go, you’ll have plenty of other options.

Everything you need to know, from performance dates to ticket passes is available on the Fringe website, which includes shows sorted by genre, performance space, day or a combination of all three.

Multi-ticket passes are a great idea, but Fringe buttons are mandatory! You can’t get in the venue without one. At $7 each, they’re expensive, so don’t lose yours once you have it. The income from button sales money is divided between all the artists and discounts are offered for button holders throughout the year, at Ft. Fringe, for Clown Cabaret (a regular event at the Fort) and at retailers and food establishments in and around DC.

To truly enjoy the Fringe experience, you need to know the following:

1. Have an umbrella handy if the weather’s looking chancy. Also weather-resistant shoes. Parking is tricky, especially during the week. Read the street signs very carefully, or take advantage of Metro when possible.
2. Be EARLY. There is NO late admission to Fringe shows. No mercy, no exchanges. Just don’t be late. You’ve been warned.
3. All tickets start at $17 (Multi-passes save you money on per-ticket costs, and come with a button). Tickets go to at-door sales within two hours of performance time, but you can use your pass to purchase tickets in advance. I recommend advance purchasing, especially for shows that are likely to sell out.
4. If you’re like me and you want to maximize your Fringe time on a couple of days, you can pick a venue or an area and check out what’s playing that day.
5. Pick up a print copy of the Capital Fringe Festival Guide. This 70+ page book is your bible. It contains the shows by genre, with cross-referencing by venue, date and time, and title.

NOTE: If the title starts with “A” you will find it in the As. If the title starts with “The” you will find it in the Ts. All words in the title are important.

My Picks of the Previews (in Alphabetical Order)

A Guide to Dancing Naked

Turn the world into your dance floor! Join Brynn Tucker for an irreverent pop-movement confessional, set to this summer’s spunkiest mixtape. On the road to self-acceptance, all you need is a mirror, music, and your naked self! Audiences are encouraged to stick around for a post-show dance party.

My Take: Brynn is having a blast and she’s gonna take you with her one way or the other. She’s a talented performer and the show looks like a terrific way to spend an hour.

A Guide to Dancing Naked Details

Bayou Blues

Taunted because of the color of her skin and faced with a family that hits her heart like a hurricane, this young girl must reach inside herself to overcome life’s storms. An experience inspiring us to never stop dreaming! The poetic journey of a young girl faced with discrimination because of her dark skin must learn to conquer the many storms that enter her life. Will she sink or swim? A story of inspiration for us all.

My Take: Focused, riveting Beat poetry with a Cajun flair and an ability to bring the audience with her, Shaina will keep you connected to the energy within.

Bayou Blues Details

Body Armor Presented by Unstrung Harpist Productions

Three soldiers, wounded and trapped in the belly of a downed plane in Afghanistan, are cut off from any hope of rescue, their only tie to the outside world a mysterious woman on the radio. As they examine the decisions that led them to face death on foreign soil, the line between insurgent and peacekeeper blurs. Body Armor explores the themes of misguided patriotism, military overreach and corruption, and the fallen ideals of a country that has decided it is the world’s army.

My Take: Dark psychodrama that brings military service under sharp scrutiny. Tough to watch but looks ultimately rewarding.

Body Armor Details

Dark House Presented by Tarpley Long

Absalom, Absalom! lives. Faulkner’s ruthless Colonel Sutpen is re-imagined as a DC land developer in the 1960s. Classism, racism, sexism, miscegenation, incest, murder, suicide and the twists and turns of love imperil a family living in a Logan Circle mansion. Tarpley Long, a psychoanalyst and actor, received permission from the Literary Estate of William Faulkner to use Faulkner’s language from Absalom, Absalom! in her adaptation of the novel to the stage. The dialogue is Shakespearean; the plot, a Greek tragedy. Her mission is to bring Faulkner’s timeless and compelling stories to a new generation of readers.

My Take: Dark and tragic. Looks very well done from the short taste in previews. If you love classic American literature, this is probably for you.

Dark House Details

Detective Pimbley and the Case of the Rich Dead Lady Presented by The Impressionable Players

In a world of dark and stormy nights, Detective Pimbley prefers dark and stormy cocktails, but when a rich lady is found very dead, Pimbley is caught between a ruthless adulterer, a conniving femme fatale and, most dangerously, his ex-girlfriend. Detective Pimbley and the Case of the Rich Dead Lady is a world première.

My Take: Slick send-up of Noir-style detective flicks and Washington elite all at the same time, with sharp writing and tight caricatures that will make (or break) this parody. This group has an impeccable track record. Get your tickets early for this one.

Detective Pimbley and the Case of the Rich Dead Lady Details

Double Freakquency – an interactive headphone production. Presented by AVAdventure Productions

Two channels, one room. Audio is delivered through wireless two-channel headphones. Dialogue, sound effects, music – you choose what you want to hear. And get ready to debrief with your friends: No two individual show experiences are the same.

My Take: Fascinating use of technology. One channel has one set of dialogue, the other channel has the other. You get to choose which conversation to follow, moment by moment. Wish there were enough headsets to go around during previews.

Double Freakquency Details

Fish Outta Water

Fish Outta Water is the “prequel” to DC Trash the musical, satirical one-man show that was the hit of the 2012 Capital Fringe Festival. Before Ron finds his way home to DC and his niche driving that trash truck, he lived lives in DC, New York City, LA and . . . LaCrosse, Wisconsin. Just how did a trash-talking, judgmental, opinionated, know-it-all city slicker make his way in The Heartland? Not without some singin’ and dancin’ and a whole lotta laughs.

My Take: A Rap-fueled ode to guns, with fur-lined hat, grenades and waders, hilarious? You better believe it. Riotous laughter and thunderous applause – this was one of the best-received previews in the whole show. Don’t miss it!

Fish Outta Water Details

Four Women Presented by Wild Women Theatre

When singer Nina Simone created Four Women she probably didn’t imagine it portrayed through movement, storytelling and laughter, but we did! Four Women goes beyond the lyrics, exploring black womanhood and its many dimensions. Not a performance, a journey.

My Take: Soul sisters, biting wit and fabulous singing: These four women tell the gospel like it is, about life, love and living. See it if you can.

Four Women Details

Godiva Dates & One Night Stands

Regie Cabico’s latest spoken word play, Godiva Dates & One Night Stands chronicles his encounters with poet stalkers, Canadian Thanksgiving, sextings and astrological whimsy. Trying not to have his life turn into a Barbara Streisand movie, Regie is on an eternal mission to get his groove back. Godiva Dates & One Night Stands is a tour de force of poetic virtuosity & comic gold performed by the fairy godmother of DC spoken word.

My Take: No question. If you have a ticket to this show, you’re going to laugh. I guarantee it. Regie’s comic timing and delivery will guarantee an hour well-spent.

Godiva Dates & One Night Stands Details

Mirabilia Presented by Eclectic Mayhem Productions

Two friends, separated in a storm, journey in search of each other and write letters describing their odd, magical and often comic encounters. Through props, movement and variety performance, the cast brings to life these tales of a fantastic world.

My Take: Light, fluffy storytelling midst a good deal of fare for older kids or adults.

Mirabilia Details

One Night in New York! Presented by Belle Époque Productions and the New Musical Foundation

Michael is 23, gay and looking for his first hookup. Aided by a fabulous fairy godmother, he searches New York for a hottie and finds much more. Singing, dancing and maybe even a Grindr production number! This story was inspired by classic Broadway musicals such as On The Town, as well as recent LGBT genre films like Trick. One Night in New York! may be set in present day, but will look and feel like an old-fashioned Broadway musical. The production features twelve singing and dancing men and a show stopping Grindr-themed number – fairies, bear cubs and twinks…oh my!

My Take: A fabulous trip through the wild streets of New York City and a whole bunch of talent is going to make this a must-see show.

One Night in New York! Details

The Shirt of Happiness Presented by InterAct Story Theatre

Prince Parsley has lost his spice — he’s just flat and sour all the time. Then a mysterious jester sends him on a quest: If you want to be happy, find a truly happy person, and ask for his shirt! But how will he find a truly happy person? Where do you look for happiness? Based on Armenian and Italian folktales, The Shirt of Happiness follows a young prince’s search for true happiness The play is performed by two zany actors onstage with the help of everyone in the audience, who become part of the show right from their seats! Suitable for children and adults ages 3 and up.

My Take: Looks like high-energy, quality family fun with storytelling and audience participation.

The Shirt of Happiness Details

The Snuff Musical Presented by Muse Theatre Co. and Jay Lavely

An unhinged theatre composer and his out-of-work director friend set out to turn a notorious snuff film into a Broadway musical, but then the shadowy man who made the film shows up to take over – and ruin their lives.

My Take: Over the top metatheatre with a murderous twist and some seriously decent music. I don’t know whether it will be good or not, but the singing will be worth it and they’ll have a great time performing, from the looks of things.

The Snuff Musical Details

To Know a Veil Presented by Emma Crane Jaster

From the desert of Morocco to the centerfold of Vogue. Why do women veil and reveal themselves? This intercultural show melds interviews, dance, installation, stunning imagery, and party games. Inspired by her travels and personal encounters with women in all walks of life, Jaster creates a powerful yet touchingly immersive event, exploring the question: Why do women veil and reveal themselves? To Know a Veil has evolved over several workshop performances, two of them for the Soapbox performing arts series at Hillyer Art Space in Washington, DC in early 2013. Try on a burka, take off your shoes. A-veil yourself of an intimate evening.

My Take: Multimedia dance, performance art, exploration of assumptions and expectations. Leave your preconceived notions of sex and attraction at the door.

To Know a Veil Details

Ken Ludwig’s rollicking adaptation of Ben Hecht and Charles MacArthur’s comedy, Twentieth Century, directed by Roland Branford Gomez and produced by Jim Howard and Robert Kraus, has the audience laughing, out loud and often, at Little Theatre of Alexandria. Originally inspired by Charles B. Millholland experience working with the eccentric Broadway impresario David Belasco, the plot, set in 1938, revolves around properly bombastic theatrical impresario Oscar Jaffe (David James), who’s experiencing a bad patch…just short of the skids, really. His assistants, Ida Webb (Kathy Fannon) and Owen O’Malley (James McDaniel), discover his protegé, hilariously over the top and newly minted Oscar award-winning actress Lily Garland (Margaret Bush) is on the train, also bound for New York, and they collude to get Lily to sign a contract for a sure-fire hit to make up for the last big flop, snatching her out of the clutches of hopeful competitor Max Jacobs (Bob Cohen) and her boy-toy/manager George (Timothy Rowe). Add in Gary Cramer as a wacky religion-happy mental hospital escapee with a checkbook who’s loose on board (and steals every scene he’s in with characterization from opening curtain to close) and you have the makings for classic comedy.

LTA doesn’t disappoint. The show isn’t precisely laugh-a-minute, but there’s plenty of satisfyingly hilarious moments to make the hefty 80-minute first act fly by. Just when you think the story can’t get any crazier, it does, as it should.

Huge kudos to the design team as a whole for an absolutely fabulous, cohesive look with dead-on classic Art Deco styling, including John Downing and Bill Glikbarg for scenery, Ken and Patti Crowley for exceptional lighting design, from show curtain to closing scene, Jean Schlichting and Kit Sibley for exquisite costuming, Heather Norcross and Robin Havens-Parker for impeccable hair and Emma Baskir’s classically styled make-up.

In all an excellent production and a very pleasant way to spend a summer evening. See it while you still have a chance!

Director’s Notes

When the play selection committee scheduled Twentieth Century, I applied to direct it, and I am so thankful that I was selected. This show means a lot to me–it has brought back wonderful memories.

First, when I was a child, age 6 through 11, I was an actor on WJZ (now WABC) on a show called “Coast to Coast on a Bus” with Milton Cross. (Nancy Walker and her sister, Betty Lou Barto, were in the chorus.)

At the same time, my agent got me a job on the well-known Saturday children’s program “Let’s Pretend.” I performed on this show four times, and the producers issued tickets for me to travel from New York’s Grand Central Station to Chicago on the Twentieth Century with my mother and my aunt in a lovely drawing room. (And how well I remember that fabulous train.)

Secondly, during that time I also studied tap dancing in a studio in the Carnegie Hall building. One of my dear little friends was called Mary, and we were very close. I would even be invited to parties at her home in Nyack, N.Y. Her mother always brought her, but occasionally her father would pick her up and take us to lunch. His name was Charles MacArthur, one of the playwrights of this wonderful crazy comedy. Her mother would often take us to matinees when there was a show that appealed to children our age, and to a lovely lunch at the Plaza before the matinee. Her mother was Helen Hayes. Mary, sadly, died at 11 years old. She was one of my first close friends, and I will never forget her.

Thank you to my wonderful cast and crew for helping my dreams come true with this show. And thank you, my wonderful audiences, for coming to our charming Little Theatre of Alexandria and offering us your support! I have loved this theatre since 1968.

Photo Gallery

Heather Norcross (Anita Highland), Michael Gerwin (Dr. Grover Lockwood), and Ben Norcross (Porter)	Cal Whitehurst (Conductor) and James McDaniel (Owen O’Malley)
Gary Cramer (Matthew Clark), Heather Norcross (Anita Highland), James McDaniel (Owen O’Malley), and Kathy Fannon (Ida Webb)	Cal Whitehurst (Conductor) and Kathy Fannon (Ida Webb)
David James (Oscar Jaffe) and Cal Whitehurst (Conductor)	Kathy Fannon (Ida Webb), David James (Oscar Jaffe), Margaret Bush (Lily Garland), and James McDaniel (Owen O’Malley)

Photos by Doug Olmsted

Cast

• Oscar Jaffe: David James
• Lily Garland: Margaret Bush
• Ida Webb: Kathy Fannon
• Owen O’Malley: James McDaniel
• Conductor: Cal Whitehurst
• Matthew Clark: Gary Cramer
• Dr. Grover Lockwood: Michael Gerwin
• Anita Highland: Heather Norcross
• George Smith: Timothy Rowe
• Max Jacobs/ Detective: Bob Cohen
• Beard and Reporter: Paul Tamney
• Porter: Ben Norcross

The Crew

• Producers: Jim Howard, Robert Kraus
• Director: Roland Branford Gomez
• Assistant to the Producers: Susan Barrett
• Production Assistant: Ben Norcross
• Assistant to the Director: Eddy Roger Parker
• Stage Managers: Charles Dragonette, Rebecca Patton
• Assistant Stage Managers: Casey Brusnahan, Richard Isaacs, Eddy Roger Parker, Jon Poole
• Set Design and Construction: John Downing, Bill Glikbarg
• Assisted by: William Ansel, David Doll, Jeff Gathers, Sandra Gehring, Jim Hutzler, Roger Pratt, Jack Rollins, Alyssa Settles
• Lighting Designers: Ken and Patti Crowley
• Costume Designers: Jean Schlichting, Kit Sibley
• Assisted by: Kathleen Kolacz, Martha Raymond
• Sound Design: David Correia
• Assisted by: Anna Hawkins, Keith Bell, Bill Rinehuls, Alan Wray
• Set Painting: Leslie Reed
• Assisted by: Bobbie Herbst, Joanna Henry, Mary Hutzler, Patty Lord
• Set Decoration: Susie Poole
• Assisted by: Donna Reynolds
• Master Electrician: Nancy Owens
• Assisted by: Kimberly Crago, Eileen Doherty, Pam Leonowich, Doug Olmsted
• Property Designers: Sherry Clarke, Bobbie Herbst
• Assisted by: Rachel Alberts, Leslie Reed, Donna Reynolds, Jayn Rife, Liz Tipton
• Wardrobe: Margaret Snow
• Assisted by: Alisa Beyninson, Jamie Blake, Patti Greksouk, Barbara Helsing, Nicole Zuchetto
• Hair and Wig Designers: Heather Norcross, Robin Havens-Parker
• Makeup Design: Emma Baskir
• Rigging: Russell Wyland
• Photographer: Doug Olmsted
• Audition Table: Maria Ciarrocchi
• Assisted by: Sherry Clarke, Jay Cohen, Barbara Helsing, Bobbie Herbst, Leslie Reed, Sherry Singer
• Double Tech Dinner: Larry Grey
• Opening Night Party: Susan Barrett
• Assisted by: Lloyd Bitlinger, Shirley Lord Cooper, Ronnie Hardcastle, Robert Kraus, Eddy Roger Parker, William Pope, Benny Robles, Sherry Singer

Disclaimer: Little Theatre of Alexandria provided two complimentary media tickets to ShowBizRadio for this review.

Twelfth Night, or What You Will, one of several Shakespeare comedies revolving around deceptive gender and mistaken identity, was originally produced in the early 1600s as part of the post-Christmas revel called, unsurprisingly, Twelfth Night.

In the hands of the Rude Mechanicals, known since 1999 for their contemporary interpretations of the Bard, the play is transported to the 1980s, where gender identity becomes an open question and the excesses of the Rich and Famous are legion.

(photo by Kevin Hollenbeck) The audience, welcomed to “tonight’s concert,” Illyria-aid, is thrust headlong into the post-psychedelic rock music world of neon and metal as Duke Orsino (Donald Cook), now a rock star, launches into his melancholy anthem “If music be the food of love, play on,” as he pines for the mourning Olivia (Lauren Beward).

This intentional diversion, courtesy of director Maureen Shanahan, takes us into the ambiguous, sometimes asexual world of rock music, where gender and sexuality are already questionable, a context not unlike Shakespeare’s theatre, where men always played women because the law kept women off the stage.

Rarely do casts who have taken on the immortal Bard have so much fun with his material. Even if the performances are sometimes uneven, the Rudes have a talent for cutting away the excess, making even the thickest text accessible to modern ears.

As a rule, directors expect their audiences to suspend disbelief, and this production is no exception. In Katie Wanschura’s hands, Feste (traditionally Olivia’s jester) becomes a Cyndi Lauperesque songwriter who just wants to have fun. She leads Olivia’s merry band of fools: Sir Toby (Joe Dziekiewicz) and Sir Andrew (Joel Lorenzetti), rowdy members of Olivia’s entourage; Maria (Erica Smith), Olivia’s mohawk-crested friend; and Fabian (Josh Engel), as they take on Malvolio (Liz Armour), Olivia’s uptight and potentially malevolent band manager for a night of not-quite-harmless alcohol-driven sport.

Into this world, Viola (Tory Talbot Virchow) enters as a survivor of a road bus accident in which she believes she has lost her twin brother and fellow rock star, Sebastian. Determined to survive, Viola assumes Sebastian’s form, though not his name, and takes on a new role (in disguise) as Cesario, Orsino’s servant. Meanwhile, Olivia (Lauren Beward as a vapid and shallow stage diva), becomes struck on Cesario as s(he) works to woo Olivia on behalf of Orsino, even as the disguised Viola dotes in private on her Duke. The decidedly not-dead Sebastian (Amy Rauch) meets Antonio (Joe Kubinski), who takes the boy under his dubious wing, not far from the festival site. It doesn’t take long for the pair to drift into the vicinity, with confusing and hilarious results.

Talbot Virchow and Rauch make an excellent match in the twins who can hardly be told apart, especially when wearing the same costume.

With an imaginative use of props (the trees become stacks of roadcases, Sir Andrew’s sword a pair of drumsticks, and his duel with the hapless Cesario a battle of voices – complete with microphones), wildly topical costumes and make-up, there’s no lack of enthusiasm in this production.

The rock festival conceit mostly works, though a little unevenly. Then again, having witnessed the difference between music video perfection and actual stage performance, there is something to be said for the less-than-perfect. Some of the most entertaining asides and biggest laughs were derived from the “concert festival” setting.

Though the events of Twelfth Night occur during a midsummer’s eve, the play contains all the conceits of an Elizabethan Twelfth Night‘s revels, including role reversals and upside down events, together with the Rudes’ definitely offbeat stamp.

In all, an amusing evening, and generally decent entertainment for kids ages 8 and up.

Director’s Notes

At the core of Twelfth Night is the idea that music is the pathway to our souls. The play itself is peppered with songs (not to mention the ones we threw in for fun), and when thinking about how to make Twelfth Night relateable [sic] to a modern audience, a music festival seemed like the natural choice to make.

Most of the characters of Twelfth Night are motivated through their societal status and, in present-day United States, societal status is not usually something that will prevent marriage. However, when taken in context of the play when it was written, the lifting of Orsino’s obsession with Olivia when Viola reveals her identity makes more sense; he’s still marrying an equal. So, combined with Twelfth Night‘s musical heart-beat, it made sense to make them all stars in the music industry. Rock stars dating other rock stars is common, but dating assistants is fuel for scorn.

After that, the rest of the characters fell into place. Good Samaritans became Obsessive Fans, Ship Captains who carry news from port to port became Groupies, members of the court became Members of the Band, the Fool/Wordsmith became the Songwriter and the Steward becomes the Band Manager. I believe this setting helps to translate to a modern audience where the power lies and why the relationships grow they way they do in the original text.

The last thing to address is the choice to cast the traditionally male role of Malvolio as a woman. The 1980s were a tumultuous time for the homosexual community, where homosexual orientation was still viewed by many as a mental illness and, with the discovery and rise of AIDS, became a topic that was focused on publicly for the first time. I saw a connection between the class-based disdain for Malvolio in the play, and the discomfort people showed for alternative sexualities even 30 years ago, and wanted to see where the context of the play would lead us with casting in that direction.

Synopsis

At the Illyrian Music Festival, Orsino is heartsick for Olivia, who is in mourning and refuses to see anybody. Orsino sings broken-hearted love songs, assisted by his backup singer/dancer Curio.

The tour bus carrying Viola and Sebastian, a twin brother-sister act, crashes. Viola survives, and in her grief at the loss of her brother disguises herself as a boy named Cesario. She joins Orsino as a servant, but finds herself attracted to him.

Orsino sends her to woo Olivia in his stead, who finds herself more attracted to the boy than to the man. She turns Viola away, but then sends her uptight band manager Malvolio after “him” with a ring. The love triangle is complete: Orsino loves Olivia, who loves Viola/Cesario, who loves Orsino.

Olivia’s group is a rowdy bunch: her uncle and hanger-on Toby Belch, her drummer Andrew Aguecheek, her friend Maria, and the songwriter Feste, who party all night and sleep all day. The uptight Malvolio chews them out.

They devise a plot against Malvolio: they forge a love letter from Olivia to Malvolio and leave it where it can be found. The forgery claims Olivia wants to see Malvolio dress up silly, and when she does so, Oliva rebuffs her. She thinks Malvolio’s odd behavior is a sign of impending insanity. Malvolio is locked up, and further tormented by Feste and Toby.

Meanwhile Viola’s brother Sebastian has survived the crash, unknown to Viola. He wanders toward the festival. He is followed by his friend Antonio, who must take care as he has previously fought with Orsino.

Andrew is also in love with Olivia, and Toby pranks both him and Viola. He tells each the other wants to fight. Reluctantly, they do. It’s interrupted by Antonio, who mistakes Viola for Sebastian, and Antonio is hauled away.

They then meet the real Sebastian. They are perplexed, but figuring him to be a pushover, they challenge him (again, they think). They are promptly bested, and run away.

Sebastian encounters Olivia, who mistakes him for Cesario. Sebastian is surprised by the sudden attention and affection, but is swiftly wooed, and run off to a priest to be married.

Olivia and Orsino finally meet, and the plots unravel. Olivia, believing Viola is Sebastian, calls her “husband”. Andrew and Toby, also believing Viola to be Sebastian, accuse her of beating them up. Feste brings a letter from Malvolio to Olivia, which is angry but clearly sane. Malvolio shows the letter that she received, and Olivia recognizes that the hand is not her own. The plots are confessed, confusions are cleared up, and everybody lives happily ever after.

Cast

• Antonio: Joe Kubinski
• Curio/Valentine: Marcia Litt
• Fabian/Roadie #1: Josh Engel
• Feste: Katie Wanschura
• Maria: Erica Smith
• Malvolio: Liz Armour
• Olivia: Lauren Beward
• Orsino: Don Cook
• Priest/Groupie: Moira Parham
• Roadie #2/Security: Elise Berg/Maureen Shanahan
• Sea Captain/Groupie: Kevin Hollenbeck
• Sebastian: Amy Rauch
• Sir Andrew: Joel Lorenzetti
• Sir Toby: Joe Dzikiewicz
• Viola (aka Cesario): Tory Talbot Virchow

Production Staff

• ASM: Liana Olear
• Asst. Director: Sean Eustis
• Asst. Producer: Rebecca Hranj
• Box Office: Caitlin Williams
• Director: Maureen Shanahan
• Lights: Irene Sitoski
• Make-Up Design: Irene Sitoski
• Music Director: Katie Wanschura
• Set Design: Mel Bratz
• Stage Manager: Nell Codner-Jarashow
• Paint Charge: Adrienne Gammons
• Photography: Rebecca Hranj/Kevin Hollenbeck
• Producer: Josh Engel
• Props: Moira Parham
• Publicity: Rebecca Hranj
• Sets and Paint: Alan and Steven Duda, Moira Parham, Adrienne Gammons, Don
• Cook, Sean Eustis, Josh Engel, Elise Berg, Nell Codner-Jarashow, Maureen
• Shanahan, Katie Wanschura, Joel Lorenzetti, Amy Davis
• Costumes: The Cast and production staff
• Lights: Irene Sitoski, Josh Engel, Sean Eustis
• Sound: Katie Wanschura, Rob Perkins, Sean Eustis, Don Cook
• Props: Moira Parham, the cast, and production staff

Disclaimer: Rude Mechanicals provided two complimentary media tickets to ShowBizRadio for this review.

Cabaret is a musical based on John Van Druten’s 1951 play I Am a Camera, which in turn was adapted from the 1939 short novel Goodbye to Berlin by Christopher Isherwood. The book is by Joe Masteroff, music by John Kander and lyrics by Fred Ebb.

History, art and theatre are all about context. Unsurprisingly, over the course of the 47 years since Joel Grey first stepped out to a drum roll and cymbal crash, welcoming the audience to the Kit Kat Klub, a seedy nightclub in early Nazi-era Berlin, Cabaret has seen its share of changes. Several songs have made the transition from the 1972 film directed by Bob Fosse and Sam Mendes’ subsequent London stage revival. Some changes are more substantial than others. All these adjustments to the music and book are positive steps toward better understanding of the harsh reality of life in Germany between the wars, and the effect of a struggling economy on people – issues relevant in today’s world as they were in late 1966 when Cabaret first opened, with the US squarely in the middle of the Vietnam War. Rick Hayes’ production, playing through May 19th at St. Mark’s Church, is no exception. Some of his adjustments to the play are absolutely inspired in their ultimate impact. Thanks to Meghan Winch’s dramaturgical efforts (reproduced below), St. Mark’s Players provide plenty of historical background for an exceptionally difficult subject.

From David McMullin’s entrance, as the unctuous and morally ambiguous Emcee, to the very end, his presence and voice serve as powerful, ever-present reminders of the constant threat, even as he implores us to forget our troubles and enjoy what he and his Kit Kat girls have to offer.

Jarring real-world reality clashes with devil-may-care decadence and bohemia as American would-be author Cliff Bradshaw (David Wilder, in a performance reminiscent of Jimmy Stewart’s wild-eyed optimism), steps off the train in Berlin just at the turn of the year. He is enthusiastic and idealistic, clearly a fish out of water as he eventually comes to understand his environment.

Fräulein Schneider (Mary Ayala-Bush, with a voice warmly reminiscent of Lotte Lenya’s) provides us with a quick introduction to desperation and dashed hopes as a woman who survived World War I and has learned to make do. Ayala-Bush imbues her character with the virtues of a disillusioned youth and pragmatism in “So What?” while welcoming Cliff as a source of hope and income, however small.

The chemistry between Cliff and Sally Bowles works well, as they hook up in “Perfectly Marvelous” (with kudos to Ashley Zielinski for her flawless British accent); however, it is the relationship between Fräulein Schneider and Herr Schultz, an amiable and sincerely mystified elderly Jewish fruit vendor and boarding house resident (played by Stephen Yednock), especially in their several charming numbers together, that shed the most light on the plights of the older population who lived for so long in the shadow of endless wars. Schultz’s plaintive “I’m German” speaks volumes about those who met their ends with Hitler’s Final Solution.

The despicable pair, Fräulein Kost (Jill Vohr) and Ernst Ludwig (Mark Allen), ultimately draw these two couples into the horror of World War II’s nationalism and insanity.

Elijah Henry Lawrence’s rendition of “Tomorrow Belongs to Me,” a spectacularly beautiful anthem to German self-determination that devolves to a Nazi march, is just as chilling as it was when I worked on the show in college, some 30 years ago. The song contains all the fearsome power the Third Reich brought to bear on the German people. Lawrence’s pristine voice continues to raise goose bumps days after the show’s end.

By the time we reach Sally’s bittersweet swan song, “Cabaret,” into which Zielinski pours all her anger and fear, it’s clear this is a last desperate grasp at decadence before Germany finally succumbs to the power of Hitler and WWII.

If overt themes of sexuality and racism are the pivot point on which the second act revolves, especially in the way each character reacts to the trap of life in pre-Nazi Berlin, the conclusion is shockingly powerful in its simplicity, it is a natural, horrific conclusion to a story that continues to draw audiences for its music and story, almost fifty years after its première.

Rikki Howie’s ambitious choreography shines best in the lively “Money Song/Sitting Pretty,” a winning combination of the original Broadway version and the movie song that replaced it in some later productions.

Ceci Albert and Lisa Brownsword have made some interesting costume choices, in particular in the dress of the party-goers at the end of the first act, but in general the costumes work to enhance the story, and their interpretation of “Sitting Pretty” is just plain fun. Jerry M. Dale, Jr.’s lighting design marks the differences between nightclub and real world, and is most effective during the large production numbers.

Most disappointing are serious sound issues relating to poorly connected body microphones (not the first time I’ve noted problems with SMP’s sound system). Depending on flawed wiring has the unfortunate effect of tearing the audience out of the moment because we are unable to understand all the words to the songs or dialogue.

Cabaret was the production that launched my theatre career and this is the third version I’ve seen, in addition to the movie. While I know the show, my companion did not, and she was lost several times during the performance we saw. It’s a shame to see such hard work damaged by failed technology. Music Director J.N. Wickert, III is to be commended for keeping his “Beautiful” orchestra from taking over the space, especially in light of the sound system.

Bravo to the cast and crew in general for a performance well done, in spite of the sound’s considerable flaws.

Director’s Note

Approaching such a well know show as Cabaret can be problematic because the Fosse movie is so well-known, as is Liza Minnelli’s performance. But the movie, as is often the case, is not the original stage musical. Many changes were made for the film and plot lines dropped, so if you are seeing the stage musical for the first time, be prepared to be surprised.

I approached Cabaret as more of a serious piece of theater set in a decadent, troubling time for Germany and the world. You will walk out humming the songs but hopefully you will also walk out with a sense of sadness at the loss of innocent lives and a cultural heritage that left us with people who disappeared from physical existence but not from our hearts and minds.

-Rick Hayes

Dramaturg’s Notes

Historical Context

“And there was a city called Berlin in a country called Germany, and it was the end of the world.”

A scant 10 years before the start of Cabaret, Germany was in shambles; WWI was lost, and reparations in the billions were breaking the country’s economic back. In April of 1919, 1 US dollar was worth 12 marks. By December of 1923, 1 US dollar was worth approximately 4 trillion marks. A huge portion of the male population of working age were dead or injured from the fighting, and many of the women left behind were turning to prostitution in the city streets to keep themselves and their families from starving.

In an effort to appease the victors and ease the harsh terms of the Treaty of Versailles, the German political system was heavily altered and liberalized. The new Weim[a]r Republic, so named for a German town that had managed to retain relative peace throughout the Great War, was a strongly democratic system, with suffrage at 20 and a political system designed to keep any one faction from controlling the government. This was a major shift in German society, and the resulting confusion and extremism birthed more than 20 separate coalitions from all across the political spectrum.

By 1923, however, Germany’s prospects were brightening. Gustav Stresemann was chancellor for 100 days, and remained foreign minister until his death. He was instrumental in Germany’s recovery, managing to work with Britain and France to bring down the crushing reparations bill, halting the steep inflation with the introduction of a new currency, and raising $800 million in loans, mostly from America. For the next several years, relative prosperity reigned.

This new, more permissive social structure coupled with the sudden infusion of cash made Berlin a cultural epicenter. Art, music, theater and science all experienced major booms, and Germans and tourists alike flocked to the city to experience the cultural renaissance. The explosion of creativity coupled with the more relaxed views of sex brought on in part by the widespread prostitution also made Berlin a major site for erotic entertainment. There were an estimated 500 establishments devoted to sexual expression, including several clubs catering to the homosexual population.

When the stock market crashed in 1929, just three months before the opening scene of Cabaret, it was disastrous for the tenuous hold Germany had on prosperity. All of the American loans that were keeping Germany’s economy afloat were called in at once, and the country was plunged once again into poverty. The freewheeling parties and sexual freedom, which had been a kind of celebration of good fortune, now became a desperate clinging to a life that reality could no longer support.

The world of Cabaret is filled with severe disappointment, and it is in that terrible disillusionment with a system that held so much promise that the Nazis were able to seize power.

Come to us, they said. The republic couldn’t take care of you. We will.

-Meghan Winch

Cast (In Order of Appearance)

• Emcee: David McMullin
• Anika: Rosemary Lane
• Api Von Schnitzel: Nila Kay
• Cece: Heather Nadolny
• Greta: Nikki Gerber
• Helga: Meg Glassco
• Hazel: Cassandra Prickett
• Kizzy: KJ Jacks
• Lana: Toby Nelson
• Yummy/Fraulein Kost: Jill Vohr
• Waiter/Conductor/Bobby/Guard: Elijah Lawrence
• Maitre D/RudylVictor/Taxi Man/Coco: Rudy Schreiber Jr.
• Sally Bowles: Ashley Zielinski
• Cliff Bradshaw: David Wilder
• Ernst Ludwig: Mark Allen
• Fraulein Schneider: Mary Ayala-Bush
• Herr Schultz: Stephen Yednock
• Max: Rick Warfield

Orchestra

• Piano: Valerie A. Higgs
• Keyboard: Jeff Kempskie
• Reeds: Katrina Ambrose, Renae Smith, Gwyn Jones, Mitch Bassman, Chris Epinger, Jeff Kahan, Bryan Cook, Miles Smith
• Violin: Kirby Lee, Devon Oviedo
• Cello: Tom Zebovitz
• Trumpet: Paul Weiss, Jose Oviedo
• Trombone: Rick Schultz
• Percussion: Manny Arciniega
• Audition Pianists: Matt Jeffrey, Amy Conley
• Rehearsal Pianists: Matt Jeffrey, Amy Conley, Jeff Kempskie

Production Team

• Director: Rick Hayes
• Music Director: J.N. Wickert III
• Choreographer: Rikki Howie
• Stage Manager: Madison Hartke-Weber
• Technical Director: RC Bates
• Producer: Meghan Winch
• Accompanist: Valerie A. Higgs
• Dance Captain: Rosslyn R. Fernandez
• Sound Board Operator: Josh Canary
• Lighting Design: Jerry M Dale, Jr
• Master Electrician: Jerry M Dale, Jr
• Light Board Operator: Roger Munter
• Properties Design: Heather Cipu, Cameron Lane
• Set Design: Rick Hayes
• Set Construction: RC Bates
• Costume Design: Ceci Albert, Lisa Brownsword
• Make-Up Consultant: Rick Hayes
• Box Office Manager: Colin Redick
• House Managers: Sarah Reed, Rachel McConnell
• Photography: Chuck Divine, Colin Redick
• Poster/Cover Art: Jennifer Reitz

Disclaimer: St. Mark’s Players provided two complimentary media tickets to ShowBizRadio for this review.