the washington post friday, december 17, 2010 l
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absolutely draw the line at man-to-man contact. Yet as events transpire, there is also something authentically sad about this tawdry gathering. The impression emerges of people desperate to flaunt their (mostly lumpy) bodies because the other arenas of their lives are so humdrum and stifling. Cherry Red Productions has been on something of a hiatus the past few years, but as a result of “Wife Swappers,” it quickly reclaims its place as one of the wildest showcases in town. Your only wish is that the play might have found a way to put a tad more emphasis on the heart than on the flesh.
Friday at 7:30 and Saturday at 7:30 and 10. D.C. Arts Center, 2438 18th St. NW. 202-462-7833.
www.cherryred
productions.com. $25-$35.
CONTINUING
A BROADWAY CHRISTMAS CAROL At MetroStage through Sunday
Can a musical have its plum pudding and eat it, too? To judge by this unsatisfying Yuletide romp, the answer is no. Kathy Feininger’s holiday goof labors to simultaneously lampoon and celebrate Charles Dickens’s classic ghost story, as well as a slew of interpolated show tunes. Tugged in two directions by contradictory impulses, the piece comes across as an annoying mishmash. Even the beguiling performances of three top-notch actors can’t turn this fruitcake recipe into satisfying fare. To be fair, director Larry Kaye’s good- humored extravaganza-on-a-shoestring has its infectiously giddy moments. An amusing dose of irreverence arrives with the “Avenue Q”-style puppets (manned by the actors) who burlesqueWant and Ignorance (the Ghost of Christmas Present’s spooky sidekicks, in Dickens’s original). Even music director Aaron Broderick, at the onstage piano, gets into the mood, wearing a black robe and “Phantom of the Opera” mask for the Ghost of Christmas Yet to Come’s scenes. But these splashes of ebullience can’t make Feininger’s mash-up of caricature and sincerity feel organic.
Friday at 8, Saturday at 3 and 8, and Sunday at 3 and 7. 1201 N. Royal St., Alexandria. 703-548-9044. 800-494-8497.
www.metrostage.org. $25-$50.
gA CHRISTMAS CAROL At Ford’s Theatre through Jan. 2
The versatile Edward Gero brings the requisite sourness, gruffness and contrition to Ebenezer Scrooge. Surrounded by an ensemble ofWashington stalwarts, Gero is the formidable anchor of Ford Theatre’s perennial seasonal serving of Dickens. Under Michael Baron’s capable direction, the cast unfolds a robustly spooky incarnation of the story. Though the production runs almost two hours, the carols and the effects represent a dependable stimulus package for the imaginations of your little ones. Things do get a little creepy with the arrival of the ghost from the future, but a sweetness asserts itself as well, particularly in the performances of the children. The evening cries out for an adorable Tiny Tim, and that job requirement is grandly met. Listless moments do intrude in a few sluggish dialogue scenes, but this adaptation of “Christmas Carol” makes quick recoveries. When the incidental roles are portrayed by such accomplished actors, even the most predictable features of an oft-told tale can be virtues.
Friday at 7:30, Saturday-Sunday at 2:30 and 7:30, Monday at 7:30 and Tuesday- Thursday at 2:30 and 7:30. 511 10th St. NW. 202-347-4833.
www.fordstheatre.org. $30-$67.
AWRINKLE IN TIME At Round House Theatre through Jan. 2
Under the direction of Casey Sams, playwright John Glore’s streamlined but faithful adaptation of Madeleine L’Engle’s children’s classic rockets through quirky, Elysian and sinister landscapes, tracing a subtle affirmation of the value of individuality and the power of awe and love. L’Engle’s book chronicles a smart but maladjusted girl’s universe-spanning crusade to find her father, a physicist who has vanished on a secret government mission. Assisting the spunky Meg Murry on her quest are her odd and precocious young brother, CharlesWallace, their schoolmate Calvin, and Mrs.Whatsit, Mrs.Who and Mrs. Which—three quasi-angelic beings with the personalities of flaky spinsters. By necessity the texture of L’Engle’s book, and a few of its spiritual overtones, have been pruned for
JIM COATES
Keegan Theatre’s boxing drama “Golden Boy,” starring John RobertKeena and Chuck Young, closes Sunday.
COMINGSANDGOINGS
Last chance l “A Broadway Christmas Carol” closes Sunday at MetroStage. 703-548-9044. 800-494-8497.
www.metrostage.org. l Keegan Theatre’s “Golden Boy” closes Sunday at the Church Street Theater. 703-892-0202.
www.keegantheatre.com. l “ReEntry” closes Sunday at Centerstage. 410-332-0033.
www.centerstage.org. l “SnowWhite, Rose Red (and Fred)” closes Sunday at Kennedy Center. 202-467-4600. 800-444-1324.
www.kennedy-
center.org.
—C.W.
the dramatization, which feels very much aimed at children. Still, it’s the adults in the audience who will most appreciate the tale’s paean to diversity and its suggestion that the heart pulls as much weight as the brain. —C.W.
Friday at 7, Saturday at 3 and 7, Sunday at 3 and Monday-Thursday at 7. 4545 East West Hwy., Bethesda. 240-644-1100.
www.roundhousetheatre.org. $25-$55, $10- $15 children.
gANNIE At Olney Theatre Center through Jan. 16
—P.M.
TheChristmas party has already begun at Olney TheatreCenter,where a plucky redheaded orphan and her bald billionaire protector are hosting an expansive, confident production of this evergreenmusical. Spiffed- up visuals nicely showcase directorMark Waldrop’s talented cast, nearly all ofwhomare nimble of foot and hearty of
voice.Caitlin Deerin is redheaded sunshine as Annie, the most upbeat castoff in the evilMiss Hannigan’s tenement orphanage. Playing the oppressiveMissHannigan,ChannezMcQuay goes fullmonster. The other bad guys give the showits glorious dose of pizzazz during “Easy Street,” the sultry number about getting rich quick. (Their scheme is to conDaddy Warbucks,who has offered a reward if Annie’s real parents can be found, that they fit the bill.) The list of performances to admire could go on. TheCharles Strouse-MartinCharnin score, with itsBroadway anthems (“Tomorrow”) and streaks ofDepression-era jazz, is ably played byChristopher Youstra’s six-piece orchestra, and the deep, appealing cast beams as they bring the irrepressibly cheerful numbers home.
Friday at 8, Saturday at 2 and 8, Sunday at 2, Tuesday at 7:30 and Wednesday- Thursday at 2 and 8. 2001 Olney-Sandy Spring Rd., Olney. 301-924-3400.
www.olneytheatre.org. $26-$54.
CANDIDE At Sidney Harman Hall through Jan. 9
The Shakespeare Theatre Company has on its hands a 1,000-pound canary. It warbles like a dream, but boy, does it take up a lot of space. The show is so enamored of its own cleverness that the marvelous musicality is crushed at times under the weight of its ungainly literary conceits. “Candide” is the satirical story of a young man who, schooled by the sunny Pangloss in the cockamamie idea that this is the best of all possible
—Nelson Pressley
worlds, finds out how off-base this philosophy is. Pursuing his beloved Cunegonde through all manner of natural and manmade horrors, Candide proves to be like a resilient crash dummy. The voraciously creative director Mary Zimmerman is filling Sidney Harman Hall with the first Broadway musical this classical company has ever mounted, in a co-production with Chicago’s Goodman Theatre. You’ll find episodes to enjoy, just as others will have you glancing at your watch. —P.M.
Friday at 8, Saturday at 2 and 8, Sunday at 2, Monday and Tuesday at 7:30, Wednesday at noon and 7:30, and Thursday at 2 and 8. 610 F St. NW. 202-547-1122.
www.shakespeare
theatre.org. $20-$82.
EVERY TONGUE CONFESS At Arena Stage through Jan. 2
Conceived as a hall for the birthing of new plays, Arena Stage’s newest space, theKogod Cradle, embraces that functionwith its inaugural presentation: theworld premiere of MarcusGardley’s folkloric exploration of hate crimes in the
South.Gardley’s play, bolstered by a top-notch cast, tries through lyrical speeches,magical spirituality and densely interlocked subplots to locate the redemptive potential in a horrific set of circumstances: the serial burning of black churches in the Alabama of themid-1990s. The sense created here is of amoral universe aching for correction, one inwhich the sin of racism knows no particular color. In its final stages, the play picks up emotional steam, and the clear portrait begins to emerge of a community that needs to look inward for an understanding ofwhat has unleashed a terrible evil. That the steps to this revelation could be laid outmore effectively does not by a long shot nullify the dramatist’s imaginative exertion. It justmeans there’s room for a bit more of it.
Friday at 8, Saturday at 2 and 8, Sunday at 2 and 7:30, Tuesday and Wednesday at 7:30 and Thursday at noon and 8. 1101 Sixth St. SW. 202-488-3300.
www.arena
stage.org. $70-$110; limited tickets available.
JUNIE B. IN JINGLE BELLS, BATMAN SMELLS!
At Imagination Stage through Jan. 9
“Junie B. in Jingle Bells,” directed by Kathryn Chase Bryer (and recommended for age 4
—P.M.
and older), imagines an elementary school play about Christopher Columbus and his ships. Funneling her energies into the key role of the Pinta is Junie B. Jones, the rambunctious first-grader based on the well- known character from the Barbara Park children’s book series. Dressed in aptly oddball pink outfits, with pink-laced yellow sneakers, this Junie B. (Casie Platt) bewails stubby crayons, schemes to give her Secret Santa a lump of coal and, with enviable self- assurance, announces that “if you glare at people long enough, you can melt their heads.” Pity her long-suffering teacher. Fear not, parents: “Junie B. in Jingle Bells” also contains a low-key message about generosity.
—Peter Marks
toward caricature. “ReEntry” knows its subject too well to flinch, and it delivers a troubling picture of the people and systems on both sides. But Ackerman and Sanchez also love these guys; the evening seems to have several endings, and each one’s a beaut.
Friday at 8, Saturday at 2 and 8, and Sunday at 2. 700 N. Calvert St., Baltimore. 410-332-0033.
www.centerstage.org. $10- $45.
gSNOWWHITE, ROSE RED (AND FRED)
At the Kennedy Center Family Theater through Sunday
Friday at 10:30, Saturday at 11, 1:30 and 4, Sunday at 1:30 and 4 and Wednesday- Thursday 10:30. 4908 Auburn Ave., Bethesda. 301-280-1660.
www.imagination
stage.org. $10-$22.
gMOJO At Studio Theatre through Dec. 26
AmongWashington’s first-rank theaters, the one that has proved the most dependable in providing boosts to emerging actors is Studio Theatre. This distinction continues with its latest offering, a funny, tightly wound thriller of English thuggery. We’re in a seedy London club in 1958, when some coarse, would-be promoters are wrestling over control of the career of a fourth-rate singer named Silver Johnny. The joke is that to the backstage losers of “Mojo” Silver Johnny is akin to prize livestock. Other underworld types apparently have their eye on Johnny as well. Up to now, the motley crew run by the poker-faced Mickey had been in the dead- end business of wiring jukeboxes. So after Silver Johnny turns up missing — and Mickey’s boss turns up in a pair of trash receptacles — Mickey and his manic underlings barricade themselves in the club. Christopher Gallu directs “Mojo” with a keen understanding of its peculiarly nervous energy, of the way terror can heighten a moment and hilarity can make itself felt, even on the precipice of violence. It’s mayhem of a high order.
Friday-Saturday and Tuesday-Thursday at 8:30 and Sunday at 7:30. 1501 14th St. NW. 202-332-3300.
www.studio
theatre.org. $30-$35.
gOKLAHOMA! At Arena Stage through Dec. 30
Arena Stage’s “Oklahoma!” is quite simply an enchantment. Director Molly Smith infuses a musical that sometimes can come across as a nostalgia piece with the energy of a new age, with the gifts of a cast whose faces reflect the America of this moment. “Oklahoma!” takes place just after the turn of the 20th century in a territory soon to become a state. It’s about plain folks on a small patch of earth being absorbed into a universe of bigger ideas and ambitions. “Country’s changing, and we got to change with it!,” Curly (Nicholas Rodriguez) confides to his prairie love, Laurey (Eleasha Gamble). It might seem that in casting a Latino and an African American as the lead couple, Smith has placed Curly’s line in italics too deliberately. But not only is there some historical support for these choices, it’s also a fact that each of them sings like a dream. In the benevolent land of opportunity that is conjured here, they’ve earned these jobs, on merit. And their performances are cushioned by the most astutely assembled cast Arena has rounded up for a musical in years.
—C.W.
“SnowWhite, Rose Red” (recommended for age 9 and older) aces its spoof of extracurricular dramatics. Composer Zina Goldrich and book writer/lyricist Marcy Heisler have dreamed up a story that’s part “High School Musical,” part “Glee” and part sheer arts-geek wish fulfillment.When a D.C. drama club adapts the fairy tale “Snow White, Rose Red” for a regional theater championship, the teens must cope with a last-minute crisis. The play’s five talented performers have a blast with their cartoonish characters. As popular cheerleaders and BFFs Melissa and Melinda, LaurenWilliams and Emily Levey flounce around, preening and flipping their hair and bending lustrous voices to perky pop-flavored numbers. Evan Casey amps up the affectations of the drama club impresario/playwright Juan Carlos, who pens dream ballets during trigonometry class. Sam Ludwig fills in ably as Fred, who has to wear a bear suit. And then there’s the moral that also crops up: The show must go on.
Saturday at 11, 1:30 and 5 and Sunday at 1:30 and 4. 2700 F St. NW. 202-467-4600. 800-444-1324.
www.kennedy-center.org. $18.
SUPERIOR DONUTS At Studio Theatre through Jan. 2
—P.M.
Actor Richard Cotovsky is Arthur Przybyszewski, proprietor of the titular establishment and authoritative relic of a bygone era in Tracey Letts’s hit-and-miss Chicago comedy. He arrives one morning at the coffee shop to discover the aftermath of an act of vandalism. In walks young Franco Wicks (Johnny Ramey), a dynamo from the ’hood who, desperate for a job, refuses to take no for an answer. It turns out that Franco is both on the run from his thuggish bookie and in search of a decent agent: In his down time, he has written a novel. Ramey’s exuberant performance proves an entertaining counterpoint to Cotovsky’s stoicism. By degree, Cotovsky allows you to see what still throbs in Arthur’s soul, that he yearns for a second chance. If only the playwright hadn’t felt it necessary to spell everything out, in intrusive disgorgings of Arthur’s memories. Somehow, though, Cotovsky manages to solidly embody Arthur’s distracted essence, ensuring that “Superior Donuts” does not play out with a hole in its center.
Friday and Tuesday-Thursday at 8, Saturday at 2 and 8, and Sunday at 2 and 7. 1501 14th St. NW. 202-332-3300.
www.studiotheatre.org. $44-$65.
WALTER CRONKITE IS DEAD. At Signature Theatre through Dec. 26
Friday at 8, Saturday at 2 and 8, Sunday at 2 and 7:30, Tuesday at noon and 7:30, Wednesday at 7:30 and Thursday at 8. 1101 Sixth St. SW. 202-488-3300.
www.arena
stage.org. $45-$105.
gREENTRY At Centerstage through Sunday
This interview-based play about the lives of Marine families keeps an iron grip on your attention. Rattling as it can be, “ReEntry” is its own refreshment. The piece has been put together by co-authors Emily Ackerman and KJ Sanchez, veterans of the interview-driven troupe the Civilians, so they know how to convert raw documentary speech into vivid theater. Ackerman and Sanchez hang a lot of their information around a single family: a mother, two Marine brothers and their sister at home. An hour into the show you sense a jarring, maybe unbridgeable disconnect between the people who live the military life and those who don’t. The voices give you plenty of painful war-is-hell stories, but they go well beyond, bustingmyths and touching the raw nerve of what can be so alienating on both sides of the service experience. The actors are flat-out fabulous, never striking the false notes that could nudge things
—P.M.
The premise of Joe Calarco’s slender new piece has some of the earmarks of an assignment in playwriting class: Two strangers meet in a public place and . . . that place is Reagan National Airport, on a stormy day when operations have come to a halt. Margaret, a guarded Easterner, is seated at a table with a carafe of white wine and, apparently, the last vacant chair at the airport. Enter Patty, a hyperdramatic Southerner, dragging with her the accouterments of a bull-in-a-china- shop tourist. This oil-meets-water comedy has its consolations, especially as they concern Nancy Robinette’s ability to help us with the belief that Margaret would have the patience for Patty’s attention- drawing hoots and sobs and guffaws. Where their sensibilities converge in the sterile cafe is in the trials of motherhood. That doesn’t come as much of a surprise, in a piece that too often lapses into predictability. But maybe in a time as politically fractious as this, the mere idea of two women sitting and absorbing viewpoints they normally wouldn’t abide counts as revolutionary.
Friday at 8, Saturday at 2 and 8, Sunday at 2 and 7, Tuesday-Wednesday at 7:30 and Thursday at 8. 4200 Campbell Ave., Arlington. 703-820-9771. 703-573-7328.
www.signature-theatre.org. $50-$76.
—N.P.
—C.W.
—P.M.
—P.M.
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