By André Hereford on November 17, 2024 @here4andre
A funny thing happened on my way to A Funny Thing Happened on the Way to the Forum: Donald Trump won re-election, which, actually, was not that funny. So, the day after Election Day, heading to Signature Theatre to see Matthew Gardiner’s new production of Forum, I didn’t know what I would do with the zany hijinks of ancient Roman slaves and courtesans.
Likely, I wouldn’t be the only person in the building having feelings about the election results. Somebody somewhere must have been brimming with glee that their guy(s) won, but many more in the audience probably really needed “Comedy Tonight,” whether or not they thought they were in the mood.
The company, many of whom might also have been in their feelings, had an unusually heavy lift that evening, and I report with pleasure that everyone rose to the occasion.
Judging by pointed gestures peppered throughout — like the extra punch that Erin Weaver, playing Pseudolus, gives to a joke about voting twice — the players are on the same page with their audience. And Gardiner has them all on the same page with each other, as the cast uniformly throws themselves into Stephen Sondheim’s music and lyrics, and Burt Shevelove and Larry Gelbart’s Tony-winning book, with a verve that verges on heroic.
It takes a lotta verve to put across these bawdy, fast-paced musical shenanigans, spearheaded by Pseudolus, a cunning slave in the house of Roman senator Senex (Christopher Bloch) and wife Domina (Tracy Lynn Olivera). When the senator’s unseasoned son Hero (Zachary Keller) falls for Philia (Kuhoo Verma), the virgin next door, quick-witted Pseudolus steps in, seizing the opportunity to play matchmaker in exchange for his freedom.
“Can you see me being equal with my countrymen,” Pseudolus sings in “Free,” a shrewdly funny plea that, in Weaver’s hands, resonates with urgency. But freedom won’t come easy, because, of course, Philia is not just a virgin but a courtesan in the crowded house of Lycus (Lawrence Redmond), and already promised and sold to Roman captain Miles Gloriosus (Cameron Loyal).
Pseudolus, with the reluctant assistance of head house slave Hysterium (Mike Millan), will have to hustle through a host of plot twists, and fake and mistaken identities, to get Hero his girl. So ensues the high-kicking, pratfalling, door-slamming slapstick musical comedy that this production presents boldly and brightly from the first rousing number, “Comedy Tonight.”
Undergirding the signature song, and the whole shebang, is music director John Kalbfleisch’s 14-piece orchestra, sounding refined tucked behind Jimmy Stubbs’ farce-facilitating set.
The stage starts out cast as a temple of theater, before a deft quick-change into the Roman street where the houses of Lycus, Senex, and elderly neighbor Erronius (Sherri L. Edelen) sit in a row of columned porticos. Gardiner, who choreographs as well as directs, likes a splashy set reveal.
He also makes welcome choices queering a few characters, like the tempting Geminae twins. Originally written as working girls in the house of Lycus, they’re two well-built men here — a fun and historically accurate gender switch — played by Ryan Sellers and Hank von Kolnitz, who entertain in multiple roles. Nolan Montgomery, a memorable Margaret Mead in Gardiner’s recent Hair at Signature, pulls off another scene-stealing drag turn as leggy Lycus courtesan Gymnasia.
The show, which debuted on Broadway in 1962, needs those modern touches to help counter the places where its voice sounds dated. “Everybody Ought to Have a Maid,” Senex’s ode to sexually harassing the female household help, despite Bloch’s best efforts working the song, doesn’t register as knowingly naughty but as just retrograde dirty old man daydreaming.
At least his wife doesn’t mind it, with Olivera’s Domina offering a delightful “That Dirty Old Man,” acknowledging her husband’s lecherous ways and asserting she wants him anyway. Hero and Philia still make a more agreeable couple, with Keller and Verma forming a lovely pair of randy virgins worth rooting for, along with Weaver’s winning matchmaker Pseudolus.
The merry master of ceremonies for this frolicsome Forum, Pseudolus makes a persuasive pitch for the audience to put down their troubles for a spell, to laugh at these human foibles, and exhale and recharge. “Nothing portentous or polite/Tragedy tomorrow/Comedy tonight!” Then, the next day, come out ready to hustle like Pseudolus for your freedom.
A Funny Thing Happened on the Way to the Forum (★★★★☆) runs through Jan. 12 at Signature Theatre, 4200 Campbell Ave., in Arlington. There is a Pride Night performance on Dec. 6, and Discussion Night performances on Nov. 19 and Dec. 12. Tickets are $40 to $126. Call 703-820-9771, or visit www.sigtheatre.org.
By Ryan Leeds on March 30, 2025
Classic tales with Hollywood heavy hitters dominate Broadway marquees this spring, along with two musicals about corpses, two other tuners with Latin flair, a beloved animated book character come to life, a singing cave dweller, a show based on a show, a family drama on politics, and a new twist on a Gilbert and Sullivan classic. In all, eighteen shows will open on Broadway before the end of April, and with such an eclectic season, there's a seat waiting for you, whatever your interest.
Purpose -- Cozy up to the dinner table, pass the grub, and watch the sparks fly with the Jaspers, a well-heeled Black family with political clout and lots of secrets. Phylicia Rashad directs the New York transfer of Chicago's Steppenwolf theater production, written by one of the hottest playwrights of the moment, Brandon Jacobs-Jenkins, who brought us last year's Tony-winning Appropriate. Runs through July 6.
By André Hereford on April 17, 2025 @here4andre
It was Monday in the dark with Mandy Patinkin as Signature Theatre feted this year’s Stephen Sondheim Award honoree with a glowing musical tribute to his career on stage and screen. Joined by Kathryn Grody, his wife of 45 years, Patinkin sat center table at the annual gala, held for the second consecutive year at The Anthem.
The concert venue was ever apt for singing the praises of the Tony and Emmy winning performer, whose artistry in creating roles on Broadway in Evita, The Secret Garden, The Wild Party, and, of course, Sondheim’s Sunday in the Park with George, helped earn him the Sondheim Award, established by Signature in 2009 “to honor an individual for his or her contributions to American Musical Theater.”
By André Hereford on March 29, 2025 @here4andre
Blessed with a sweet yet sturdy redemption story, Sister Act, based on the hit 1992 film starring Whoopi Goldberg, is a natural fit as a screen-to-stage musical.
The tale of lounge singer Deloris Van Cartier hiding out from her murderous crime boss boyfriend in the last place he'd think to look for her -- a convent full of singing nuns -- eagerly lends itself to set-pieces full of singing and dancing.
Composer Alan Menken and lyricist Glenn Slater's score of catchy original tunes are paired with a solid book by Cheri Steinkellner and Bill Steinkellner, and additional material by Douglas Carter Beane.
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