[title of show] at The Signature Theatre, Arlington

[title of show], the darling little musical that worked its way from the New York Musical Theatre Festival to Broadway and into the hearts of musical theatre lovers, is now playing at the pretigious Signature Theatre in Arlington, VA.    I saw this show many times off and on Broadway and it's a favorite cast recording on my iPod.  

I was curious about how the very personal and very "insider joke"  little show would translate for two of Signature's most staunch subscribers - they've been attending productions since the company began playing in a high school auditorium.   They are a couple of the coolest ladies around, but nevertheless retired and of the senior set.   

Here's Cordellia's response to my inquiry:  "I absolutely loved it. The cast was wonderful and on the small stage, it really came thru. I would like to see it again and maybe I will."

Wanda said, "It was a great show, Ms. Sarah, and we all enjoyed it.  Our tickets are on "discussion Tuesday," and I have gone to the discussions after plays several times alone - but Helen, Mary, Helen's neighbor and Cordellia and I stayed for the discussion with the actors.  I would say that at least half of the audience or very near it stayed also.  The audience was great.  I do not know whether the actors had some friends there or not, but they were a wonderful rowdy bunch that really added to the show.  There were those in the audience who had seen the original play and then on Broadway - and other places, which really added to the discussion and my understanding of it also."

That, my friends, is endorsement.   And I am thrilled that this show is finding an audience beyond New York City and especially beyond the young, musical theatre obsessed crowd.

Signature Theatre's [title of show] is directed by Matthew Gardiner and features Erin Driscoll, James Gardiner, Sam Ludwig and Jenna Sokolowski.  Music Direction is by Gabriel Mangiante.  The production runs through June 27th - tickets are available by calling the box office at 703-820-9771.

Sweeney Todd at Signature Theatre

I saw Sweeney Todd at the Signature Theatre in Arlington, VA on April 4th.  I still haven't recovered from the experience.  It's no secret that I have a distinct fondness for Sweeney Todd.  My expectations were high, even for this regional production.

I had anticipated going since Signature announced their season over a year ago.  When they finally announced casting, I found myself feeling disappointed that some big New York names were included.  But I needn't have felt anything but sheer excitement.

Eric Schaeffer, the artistic director of Signature, directed this production.  I felt like he really understands this masterpiece and crafted this production lovingly.  He made it a period piece, capturing all of the best elements from the original production while throwing in a little of the John Doyle revival just for an added thrill.  

From moment one, as we walked in the theatre, chills were running down my spine.  My seatmates seemed to be feeling the same way the entire time - Wanda,  was wringing her hankie in her lap, while Chelsea was gasping and clasping her hand to her mouth.   The entire audience seemed rapt in awe and horror.  

The houselights were dimly lit even before overture began.  Eeire sounds were coming from the speakers - sort of dripping, perhaps screaming.  It really set the tone.  Chris Lee's lighting was beautiful and foreboding.  James Kronzer's set was industrial, cold metal with much of the chorus was often up above on sort of a cat walk, as if taking it all in, not able to look away.  The orchestra was fantastic, even though only comprised of piano, woodwinds, cello and percussion.  Orchestrated by Zak Sandler, it sounded much like Sarah Travis' in the recent John Doyle production - simple but still true to Sondheim's score.

Mrs. Lovett's home and the barbour shop above was very similar to the original Broadway production.  She had her dough, rolling pin and harmonium.  The meat grinder was a cement mixer, giving the act an even more stomach turning affect.  An elevator, which delivered Sweeney to the scene of the crime, doubled as Mrs. Lovett's oven, and smoke and red light oozed from its seams.    A real barbour chair was used, as was an ample amount of stage blood.  Every time Sweeney would slit another throat, blood would very realistically pour and the victim would slide down into Lovett's house.  Kathleen Geldard managed the costuming fine, making everybody look zombie like, except for Anthony and Johanna who were costumed traditionally.

Edward Gero was Sweeney and Sherri L. Edelen was Mrs. Lovett.   Gero was menacing, brooding, terrifying.  Edelen was always on the edge of madness and death.  They were costumed and made up to look like zombies, grinding their way through their miserable lot in life.  Every moment they were on stage was at once terrifying and thrilling.    Their chemistry was terrific and always on the fine edge of manipulation and love.   They sang it with grit and desperation and could not have been more perfect. 

The rest of the cast was fine, particularly Chris Van Cleave as Judge Turpin.  He played the Judge more lecherous than I had ever seen, and took his prayer scene to the extreme limit, including self flagellation in using his belt to whip his own shirtless back.

The first scene began with a bucket raining a shower of blood being pulled up to the ceiling from a grate in the floor.    The final scene ended with roped, sheeted dead bodies falling from the rafters - six or so fell around the theatre while one dropped to the stage.  I never saw an audience collectively jump in their seats like that.   I was in theatrical heaven the entire evening - it gave me every thrill I was expecting and some that were surprising.  At intermission, I told Wanda that it was a good thing that I didn't see before the final performance, otherwise I would have been completely obssessed with making my way to Arlington at every chance. 

SWEENEY! SWEENEY! SWEENEY! SWEENEY! SWEENEY!

SWEENEY TODD!  Finally, I'm seeing Sweeney Todd at the Signature Theatre tonight.   I've been waiting for over a year!  SWEENEY TODD!!!!!

Pack your razors: Roadtrip for Sweeney at the Signature 2010

My favorite regional theatre, Signature Theatre in Arlington, VA, is celebrating its 20th anniversary season by presenting Sweeney Todd in February 2010!!!!

The Visit

The Visit is based on Friedrich Dürrenmatt's 1956 play of the same title. It premiered on Broadway in 1958 and starred Lynn Fontanne as Claire Zachanassian and Alfred Lunt as Anton Schill. It was produced as film in 1964 and starred Ingrid Bergman as Claire and Anthony Quinn as Anton. It has been revived twice on Broadway, in 1973 and again in 1992. I have seen the film and found it creepy yet heartbreaking and fascinating. Sometime before 2000, producer Barry Brown pitched the idea for a musical of the play to lyricist Fred Ebb, composer John Kander and bookwriter Terrence McNally to be written for Angela Lansbury. This was a sure recipe for success. The project progressed and Angela even recorded a demo. It was headed straight for Broadway when, sadly, Angela withdrew to care fulltime for her dying husband. Enter Chita Rivera. In 2001, director Frank Galati and choreographer Ann Reinking joined the team and Barry Brown produced the effort for the Goodman in Chicago. John McMartin starred as Anton. The show only garnered mixed reviews and despite talk for a move to the Public in New York, still with Chita but replacing John with Frank Langella, it wasn't able to get the backing it needed.

Now seven years later, magic has happened. A few new songs were added (before Fred Ebb's death in 2004), some staging and choreography was reworked. Terrence McNally revised his book. This time it's at the not-for profit Signature Theatre in Arlington, Virginia. Chita is still with the show as Claire, but the rest of the cast is different, notably replacing Anton with two-time Tony winner George Hearn. The effort is a result of a truly brilliant story told through song. It captures the dark humor of the original play. I knew what would happen because of the film, but I was still on the edge of my seat via this heartwrenching telling. Reinking's choreography is subtle, at times gorgeous, at times hysterically funny. The music is haunting and tells the story with clever lyrics. Chita wore the part of Claire, the world's richest woman, like a queen, gracefully sweeping along the stage at a pace that made everybody stare in awe. She's a celebrated dancer and it shows in her presence, but she only gets one number to show off her moves. It's in her subtle looks that at times convey hurt and anger or disdain that makes this her best venture as a singing dramatic actress. George Hearn's Anton was humble and hopeful, yet fearful, rarely remorseful of the crime that he was accused of in his youth. Finally, he accepts his punishment for justice and love. His voice is astounding and it was as if he was born to sing these Kander and Ebb tunes. The most hauntingly beautiful song of the evening, You, You, You was sung as almost as twin soliloquies with a pas de deux featuring dancers a younger Claire and Anton. It was both visually and audibly breathtaking with the very distinct voices of Chita and George. The bonus of the evening was Mark Jacoby as the town's self-important mayor and Jeremy Webb as the guilt-ridden and reluctant schoolmaster. At times, the supporting cast seems campy, in both song, dance and costume, but it merely lends to the ridiculous and sad revenge that Claire seeks against Anton.

Overall, this love story is cerebral, intimate, sad, shocking, funny, heartbreaking and above all, beautiful. It's the perfect adult musical and nobody does dark comedy better than Kander and Ebb. The stage at the Signature was in the round so my first thought for a Broadway transfer would be the Circle in the Square, but somehow I can't imagine that Chita's presence wouldn't overwhelm that space. I know it will work in any theatre, but my choice would be the Lyceum. The Visit officially opened last night and runs through June 22, 2008. Although most reviews have yet to be inked, if Variety's rave is any indication, this is a regional hit with a Broadway transfer just around the corner.

More True Love: The Visit at the Signature Theatre

One of the greatest blessings of moving to New York and pursuing my passion for entertainment was meeting dear Wanda and Cordellia. They are my personal Vera and Mame and teach me to live, live, live every minute. How lucky I am to know them and lucky that they host me in my pursuit. The added blessing in pursuing entertainment and writing about it has been to meet some really incredible like-minded friends, who seek fun and adventure as I do. Two of those people are Steve and Doug. Steve writes the eloquent, informative and ever entertaining Steve on Broadway (sob). Thank God that wherever Steve goes, Doug goes, together. This time we were all together in the pursuit of entertainment - the first time in the theatre together at The Signature, which completely coincidental, serendipitous and wonderful. I knew Wanda, Cordelia, Steve and Doug would hit it off - I'm never wrong about these things - and the result was just about the most fun ever had in a theatre, before, during and definitely after. We visited with George, Chita, Mark, Jeremy, Eric Schaeffer and Matthew Gardiner. We took a million pictures and laughed through the night. At one point, I told George, "George, I can't believe I'm standing here next to you." I actually should amend that to, "George, Wanda, Cordelia, Steve and Doug, I can't believe I'm standing here next to you."