Stage Banter: The Arena Stage Blog

Cappie Review of "Lady Day" by Katie Frank, Montgomery Blair High School, Silver Spring, MD

The lights go down and the room gets quiet. A voice comes on over the loudspeaker to announce tonight's performer, the beloved Lady Day, a.k.a. jazz darling Billie Holiday. An elegantly dressed woman saunters onstage to vigorous clapping and starts belting out a tune. No, this is not the 1940s; this is Arena Stage's recent production of Lady Day at Emerson's Bar & Grill.

Lady Day follows Billie through one of her last performances as she sings more than a dozen songs and talks about topics ranging from her mother's nickname to the racial injustice she has encountered. The setting is a small club on the South side of Philadelphia in 1959.

Featuring a cast of only two members, Lady Day (Lynn Sterling) and her pianist, Jimmy Powers (William Foster McDaniel), as well as two other musicians, Lady Day is certainly a unique show. It could quite nearly be called a monologue interspersed with songs. But Lynn Sterling kept the audience's attention throughout the two-hour long performance with her strong vocals and precise characterization. She did a careful job of infusing her vocals with Billie's classic style and inflections, and she navigated through the script with a great deal of energy. The play shows Billie in the time of her decline, and Sterling managed to convey this weathered, drug-addled, and outspoken woman with empathy and without exaggeration.

As Lady Day progresses, Billie's stories get more and more intense and the way she has unraveled due to her drug use becomes more and more apparent. Sterling demonstrated Billie's struggle to keep on singing, and the juxtaposition between her lighthearted songs and her increasingly stark racial commentary was striking. The songs would sometimes recall the more cheerful Billie of earlier years, while her vulgar, cynical anecdotes would indicate that this was a changed woman.

In addition to Sterling's remarkable performance, each of the three musicians, McDaniel on piano, Eric Kennedy on drums and Thomas E. Short on bass, helped to make each song lively and precise. Right in front of the stage, some of the audience was seated at little round tables and chairs so that the jazz club setting was even more convincing.

The lighting was particularly notable as it was constantly changing, following Lady Day as she moved through various moods as well as moved about the stage. The sound was flawless and the costumes were simple but appropriate.

Lady Day at Emerson's Bar & Grill transported the audience back to an era when the jazz of the 1940s was being threatened by rock and roll, and when jazz greats like Billie Holiday were on the decline. But even more so than that, Arena Stage's production was an intimate look at one woman's struggle very near to her death, as she looked back at all that she had seen and learned in her life.

Cappie Review of "Lady Day" by Cassie Folsom, Hylton High School, Woodbridge, VA

The year is 1959; the year of jazz.  On the south side of Philadelphia, Emerson's Bar & Grill harbors the famous Billie "Lady Day" Holiday for one of her last and most emotionally ridden performances.

Lady Day was born Eleanora Fagan to Sadie Fagan and jazz guitarist Clarence Holiday and grew up in Baltimore, Maryland.  Her parents married when she was three, but soon divorced when her father left and she was left to be raised by her mother.  She was an angry and hardened child, and dropped out of school to do some dirty jobs with her mother.  She began singing in bars and clubs and was discovered by John Hammond in 1932.  So began her life filled drugs, divorces, and scandals as this diva broke the color barrier and became one of the best known jazz singers ever.

This small, but incredibly lively cast, brought pizzazz and emotion to this performance.  Lynn Sterling as the famous Lady Day was the very essence of the jazz singer.  Her smooth and melodic voice struck a high note on such songs as "Strange Fruit" and "God Bless the Child."  Her passionate performance kept the audience on the edge of their seats as she gave us a glimpse of the pain and suffering that Billie Holiday had felt, and yet she was still showed some sass and comedy.  The communication and chemistry between her and her pianist Jimmy Powers, as played by William Foster McDaniel, was heartfelt and beautiful.

The band brought the whole entire performance together.  Sterling's communication with the band was incredible, and made the jazz songs just even more enjoyable.  The small, quaint bar tables added to the performance and made the whole arena seem like it was the stage.

All in all, this was a very enjoyable performance and showed us what this gardenia-wearing vocalist was all about.

Cappie Review of "The Rainmaker" by Helen Sitar, Winston Churchill High School, Potomac, MD

Lizzie only gets older, her family more anxious to marry her off, and land around them dustier and dustier. Caught in the middle of a horrible drought, the Curry family's patience is running dry as their tempers are running wild. In Arena Stage's production of The Rainmaker, the themes of dream versus reality and faith versus skepticism flow strongly around the actors who command N. Richard Nash's script with raw passion and brilliant honesty.

Lisa Peterson directs the drama, which runs through April 9. Originally produced on Broadway over fifty years ago, the story concerns the confusion the Curry family endures one hot summer night in the middle of the drought-stricken west of the 1930s. After an embarrassing attempt to get the deputy sheriff interested in Lizzie, a stranger arrives with his zealous promises to produce rain, the one thing they all want more than a husband for Lizzie. As this mysterious "rainmaker" does his magic, a transformation comes over all and inner churnings are unearthed. An exciting story of shifting dreams, doubts, and devotions, the poignant though sometimes cliche script is handled maturely and the weaknesses in lines are overcome by strong acting.

A strong cast perfect for their roles performs with deep conviction. Johanna Day fits Lizzie's skin seamlessly, her tornado of physical tension and emotional frailness very realistic and endearing. Through the course of the drama, her tough shell unfurls and the giggling, giddy, girlish inner side of Lizzie prevails. As H.C. Curry, her father, William Parry achieves the subtleties in disposition of an old man weathered by the hardships of time. As Noah, Graham Winton's strong stance and commanding voice define the responsible and headstrong nature of an eldest son. As Jim, Ben Fox employs goofy facial expressions and excited gestures to reveal his character's immaturity and emotional struggles. Together, the actors in the Curry family build genuine tension and compassion for each other, creating a bona fide connection.

Michael Laurence enchants all with his vigorous interpretation of Bill Starbuck. He trots around the arena stage, kneeling and shaking his rain stick, jumping on chairs, running to rouse up excitement. A complete foil, File, played by Frank Wood, holds his ground with serious expressions but lets the deputy's insecurities show with his quivering voice. And Delaney Williams brings laughs with Sheriff Thomas' discussion of a toe-licking puppy.

The technical aspects of the show are equally as impressive, with a ten-foot-long dinner table rising out of the floor on an elevator. Lifting up the center leaves of the table, the actors quickly transform the table into a sheriff's desk littered with papers. And as scenes shifted, actors sometimes descended on this elevator, leaving behind hovering images of continuing action. The costumes are convincingly 1930s-esque, and even appear to be lightly dusted from the dry land.

Cappie review of “The Rainmaker” by Rebecca Scarborough, Hayfield Secondary School, Alexandria, VA

“The name we choose for ourselves is much more important than the name we're given.” These words, spoken by Bill Starbuck in N. Richard Nash’s The Rainmaker, capture the play’s dramatic exploration of relying on dreams and accepting reality.

This play tells the story of a poor family in the West during a drought in the 1930s, and their encounter with a “rainmaker” who promises he can end the drought. As the play opens, we meet two brothers, Noah and Jim Curry, and their father, H.C. We later meet the older sister, Lizzie, who is a wild spirit who desperately wants the right man to settle down with, but cannot seem to find him. Throughout the play, Lizzie goes back and forth between believing in herself and her own personal beauty, and facing “reality” - which is that she’ll never find the “perfect” man, or possibly even never marry. The theme of the play is captured in a scene between Starbuck (the rainmaker) and Lizzie, in which Starbuck says life is dreams (not reality), while Lizzie suggests that reality lies between what we see and know and what we dream of and want.

The play, while full of beautiful lines and ideas, leaves the audience without a true sense of which characters were wise, or “good” - and while perhaps that was the playwright’s intention, it may be a little frustrating not to be able to decide which characters to side with.

The acting, however, is superb. As H.C. Curry, William Parry plays a very warm, openhearted father trying to keep his family in line. All members of the Curry family (played by William Parry, Graham Winton, Ben Fox, and Johanna Day) work together as a cohesive unit, making their family believable. Michael Laurence also captures the free-roaming and wild spirit of Bill Starbuck, the man who promises rain. From the very first scene he is in, Laurence has amazing energy and exuberance. While not flawless, the actors have good concentration and focus.

The technical aspect of this show is also incredible. The blocking allows all four sides of the audience to see and enjoy the play. An intricate network of machines moved platforms in the middle of the stage. A notable set piece was the dining room table that became the desk in the sheriff's office. Lighting (designed by James Ingalls) is breathtaking - the show opens with a man on a chair playing the guitar, as a spot shines down and casts a long shadow over the stage.

A very interesting and thought-provoking play, performed by enthusiastic and talented actors along with great technicians, The Rainmaker is a very well-done show.

Cappie review of “The Rainmaker” by Mende Jo Wentzel, Edison High School, Alexandria, VA

Whales swim in it, fish breath in it, and flowers shrivel into dust without it; have you guessed it? Water is the basis of all living things and its vital role is apparent in our lives. However, in Arena Stage's production of The Rainmaker water serves as a symbol for not only our physical needs but our emotional necessities as well.

Set in the midst of the Great Depression, this classic drama by N. Richard Nash follows the physical and emotional drought going on in the small Western town of Three-Points. The lack of rain has taken its toll on the Curry family ranch. Father H.C. Curry holds onto hope along with his youngest son, Jim. However, their optimism is in stark contrast to the despairing attitude of H.C.'s older son Noah and daughter Lizzie. Also to blame for Lizzie's pessimistic view on life is her inability to "catch a man" in a time when a woman was only as valuable as the man she married. Lizzie's self-described "plain" looks and her lack of self-confidence have left her unable to woo the man of her dreams, town deputy File. As the situation seems at its bleakest, redemption appears in the form a Bill Starbuck, a smooth-talking stranger who promises that for $100 he can bring the elusive rain. H.C. Curry accepts Starbuck's gamble much to the dismay of Noah and Lizzie, who refuse to see the magic in life. During his stay Starbuck seeks to bring the beauty of the human imagination and spirit into Lizzie's gray and desolate world.

Arena Stage's performance provided an accurate and honest rendering of this poignant story. The small cast of actors worked well as an ensemble and was able to capture the essence of small town America with only a few characters. As H.C. Curry, the loving patriarch of the family, William Parry gave a believable performance. His mannerisms and characterization helped the audience to identify with H.C. and his motives and to share in his plight. Johanna Day as Lizzie also gave a stunning performance; her facial expressions and energetic acting allowed her to capture the various levels of her multi-dimensional character. Day worked well with the mysterious stranger, Bill Starbuck, played by Michael Laurence. Laurence's sing-songy voice and powerful stage presence captivated the audience. The much needed comic relief to this brilliant drama was amply provided by Ben Fox as the deceitfully dumb Jim Curry. With his clever line delivery and excellent sense of comedic timing, Fox kept the audience in welcome fits of laughter.

All in all the show proved to be both entertaining and thought provoking. Arena Stage's production is truly a treat that everyone deserves. The Rainmaker will run through April 9 at the Arena's Fichandler stage. Catch this one before it washes away.

Cappie review of “Awake and Sing!” by Jason Dietz, South Lakes High School, Reston, VA

Arena Stage has done it again with their newest performance, Awake and Sing!. Awake and Sing! is a stirring masterpiece of confrontation and catharsis. Set in the midst of the Great Depression, the performance takes place inside a typical Jewish family household. Dysfunction and depression reign supreme in this dramatic portrayal of the harsh realities of life during the early 1930s.

The performance revolves around the lives of the Berger family. It is the story of youthful Ralph Berger, of tenacious Hennie Berger, of smooth Moe Axelrod, of slick Uncle Morty, of wise Jacob Berger, of worrisome Bessie Berger, of passive Myron Berger, of devoted Sam Feinschreiber, and of gruff Schlosser. Together, their depressing lives and broken spirits eventually collapse and coalesce into a moving explosion of emotional cleansing.

The portrayal of the characters by the actors was absolutely superb, and was only surpassed by the chemistry of the entire cast. The characters were so believable that the audience could not only observe them, but also interact with them in a way. Robert Prosky especially captured and held the audience’s attention effortlessly. Miriam Silverman did a fantastic job portraying and conveying her emotions with body language. Adam Dannheisser seamlessly transitioned between Moe’s nonchalant personality and his rising passion for Hennie. Adam Green’s youthful energy and spirit were wondrous to behold, and his level of hope and aspiration was inspiring. Jana Robbins had just the right amount of edge to be both maternal and paternal; after all she is “both the mother and father of the family.” There were also extremely good performances by Steve Routman, Brian Reddy, Richard Canzano, and Hugh Nees.

Like every great performance, the actors were complemented by a stellar technical job. The set was both accurate and elaborate, giving an authentic yet elegant air to the performance. The use of a curtain to effectively join and separate two rooms onstage was ingenious. The lighting was never too bright or to dim, and always on cue, as was the sound. The microphones were excellently handled, as the actors could be heard clearly all throughout the performance. Every aspect of the actors’ costumes correlated to the time period right down to their socks and shoes. The director, Zelda Fichandler, has done a tremendous job laying out the movements for the play, and her attention to detail is positively astounding.

However, compliments must also be given to the writer of the play, Clifford Odets. Odets’ Awake and Sing! is dramatic, entertaining, and above all, genuine. The characters are easy to relate to, and the portrayal of life in New York during the Depression is right on. Overall, Clifford Odets’ Awake and Sing! in the Kreeger Theater at Arena Stage is a stunning masterwork that is spectacularly written, directed, and performed.

Cappie review of “Awake and Sing!” by Lizzie Albert, Montgomery Blair High School, Silver Spring, MD

Watching Zelda Fichandler’s Awake and Sing! is like being a fly on the wall in a Bronx apartment in 1935. The detailed set (designed by Andromache Chalfant) portrays two rooms of the Berger family's apartment and encompasses the entire stage. The two rooms are life-sized; above the “ceiling” of the apartment the set is brick, wood, and concrete, representing the outer structural context of the apartment. To exit, the actors leave the room through a curtained doorway into a hallway that is also part of the apartment. The dim yellow lamps, the shabby furniture, the solemn portraits of ancestors that adorn the wall and the abundance of detail-real silverware and china, staticky jazz music on the radio, and appropriately shabby period costumes-transport the audience back in time and provide a meticulously believable backdrop for the days we witness in the life of the Berger family.

Awake and Sing!, by Clifford Odets, is in the style of American Realism, where - rather than following a protagonist from place to place and event to event - we are given the apartment as a setting and watch what unfolds in this limited time and place. Thus the set serves an important function as an anchor for the characters. But it serves another, equally important function too - by completely encompassing the stage, not permitting the actors any awareness of the theater or the outside world, it serves as a metaphor for the desperate situation of the Bergers, who are trapped in a world of living hand-to-mouth.

The Bergers are a Jewish family attempting to survive during the Great Depression. To do so, they take in a boarder, Moe Axelrod (Adam Dannheisser), and rely heavily on the weekly paycheck of 22-year-old son Ralph (Adam Green). Ralph is restless and ambitious, certain there is more to life than the hand-to-mouth existence he is faced with. His grandfather Jacob (Robert Prosky), in a powerful and understated performance, encourages Ralph’s dreams and hopes. Jacob shares his own desires for greater meaning; his passion for opera records, and the crackle and splutter of a phonograph playing Caruso, are a poignant symbol of the higher spirit that he and Ralph dream of.

Ralph’s mother Bessie (Jana Robbins) disagrees. Tough, pragmatic, domineering and ruthless, she forces her pregnant daughter Hennie (Miriam Silverman) into marriage with a man she does not love who is not the father of her child. Her unshakeable survival instinct and the precariousness of their financial situation (represented, once again, by the set, which includes tumbled furniture strewn along the edge of the stage to symbolize the ever-present threat of eviction) often lead her to harsh words and demands that her children make sacrifices for the good of the family. Robbins gives a nuanced and wryly humorous performance that evokes sympathy for the practical motives behind Bessie’s harsh surface.

Awake and Sing! examines the difficult choices a family is forced to make in a time of extreme poverty, while exploring the relationships and culture of a New York Jewish family. The dialogue is rich with 1930s slang and flows out of the actors’ mouths believably and naturally; the author, Clifford Odets, shows a gift for representing the powerful bonds that hold a family together and the relationships between parent and child, brother and sister, and man and woman. Romantic, humorous and deeply touching, Awake and Sing! is truly an experience that transports the audience to another time and place.

Cappie review of “Awake and Sing!” by Luc Restivo, South Lakes High School, Reston, VA

Arena Stage in the heart of Washington, D.C. had much to “Sing” about after a performance of their newest show Awake and Sing! by Clifford Odets. The show originally opened on Broadway in the Belasco Theater by the Group Theatre in 1939. Awake and Sing! sang to the people and ended up coming back to Broadway three more times in the years of 1938, 1939, and 1984.

The story follows a Jewish family in the time of the Great Depression just trying to get by on the little money they get from their youngest son. The family tackles such obstacles as a pregnant daughter, low input financially, marrying outside their own culture, and even an unfortunate death.

The virtually flawless technical aspects of the production added to the great experience of viewing of the production. The lighting design by Allen Lee Hughes and the sound design by Marc Gwinn seemed to be right on. When the players used light switches to switch on working lamps and switches to switch on and off a radio the cues seemed to be non-existent and seemed that the set worked on its own. Being a Jewish family set in the Bronx, the show called for dialect for each character. The actors and actresses each had unique accents that were realistic all thanks to the vocal, speech, and dialect coach Deborah Hecht.

The mother just trying to keep her family together and live a good life, Bessie Berger, played by Jana Robbins, wore the heavy pants in the family. Her dominant presence took over the stage with her comical lines but still topped her dramatic moments with ease. After being told about her pregnant daughter, she took the lead and forces her to marry a “good” Jewish man who has fallen madly in love with her, when Hennie’s heart is in another place.

Hennie, played by Miriam Silverman, is the daughter of the boisterous Bessie. The youthful woman brought life to character in act one, but transformed her character in act two into a tiresome mom. Dealing with a huge change, such as finding out you are two months pregnant and trying to break the news to your family, her character used vivid body language to extenuate the emotion her was trying to convey.

However, the standout performer of the night was Adam Green, who played Ralph. Having dealt with Jacob’s death, he had to rise up to be the wise one of the family. Going from the love-sick young man who has fallen for a girl who isn’t Jewish to losing his father figure to having to rise to be this father figure was a tremulous leap; he tackled it effortlessly.

After a flawless viewing of Awake and Sing!, the audience leaves in thought but still feeling uplifted; enough to leave you with a feeling of singing through the streets of Washington.

This highly recommended show can be viewed through the Arena Stage website at www.arenastage.org where you can purchase tickets and see what’s next for the group.

Cappie review of “Awake and Sing!” by Christina Manzo, Edison High School, Alexandria, VA

Act 1, Scene 1: The lights come up to reveal a quite normal looking family enjoying their evening meal when all of a sudden all hell breaks loose. The young, unmarried Hennie is pregnant, Grandpa Jacob is a Marxist, Ralph is trying to start a revolution and Bessie, the family matriarch, is struggling to hold the family together. So begins Arena Stage’s production of Awake and Sing!, the story of a lower middle class Jewish family living in the Bronx during the depression.

The play, written by Clifford Odets, originally made its debut on Broadway in 1935, and it has been revived many times. Arena Stage’s revival featured hypnotizing performances from Adam Green (Ralph), Miriam Silverman (Hennie), and the wonderful Robert Prosky (Jacob). Though the play had its comic moments, this show preached a powerful truth; maybe Clifford Odets said it best when he wrote “Life shouldn't be printed on dollar bills.” This play is about finding your voice and trying to make the world a better place instead of chasing the mighty dollar. This show deals with social issues such as pregnancy and inter-faith relationships in a time when adoption and abortion were not considered options and Jews only dated other Jews.

It was a delight to watch as the characters in the show grow and find their inner voices. Miriam Silverman gave a very convincing performance as Hennie, a daughter forced to marry someone she doesn’t love because of her pregnancy out of wedlock. Her body language defined her character and made her look older and more tired after her baby is born. When Hennie discovers true passion, you could see a spark, a new glow in her eyes that made her look ten years younger. Other noteworthy performances included Adam Green’s portrayal of Ralph, a passionate young man eager to change the world who ends up following in his grandfather’s footsteps literally and figuratively, and Robert Prosky’s portrayal of Jacob, the wise old traditional immigrant who encourages Ralph and Hennie to discover better lives for themselves. The accents were consistent and flawless, adding depth and believability to the characters.

While the actors kept busy onstage, Arena Stage’s technical crew never missed a beat as they cued music and sound effects that fit like a puzzle piece into the show. The sound effects never overpowered the actors, and they provided just enough ambiance to make each scene work. The sound cues were so accurate it made audience members wonder if the old vintage style 1930s radio on the stage was actually working. The set, designed by Andromache Chalfant, was truly a work of art. Her split stage approach to the set allowed you to distinguish separate rooms and drew focus from one to the other with ease. The set design was not limited just to the stage. Above the set, audiences were able to see the brick framework of the building defining an apartment building. Below the set, random pieces of furniture were scattered in disarray. This was quite a common sight during the Depression when many families were being thrown out of their homes and forced to live on the streets. This production was truly a well-rounded show with a brilliant technical crew to match the brilliant actors.

Arena Stage deserves a standing ovation for their production of Awake and Sing! that not only preached valuable life lessons, but gave audiences a few laughs along the way.

The Cappies: Students sharing insights on theatrical productions

As an organization committed to the future of the American theater, Arena Stage is thrilled to welcome students who participate in the Cappies – a critics and awards program for high school students across the country – to our theaters to review our mainstage productions. Through the Cappies, high school theater and journalism students are trained as theater critics. They attend shows at each others’ schools, after which they write reviews of those shows under the guidance of teacher-mentors. The mentors select the top reviews for publication in local media. At the end of the school year, in each program, critics serve as judges for “Cappie” nominations and awards that are presented in a Cappies Gala. During the summer, top Cappie winners from throughout the U.S. and Canada form the company of Cappies International Theater in Washington, D.C., where they present original plays and, this year, a new student-written musical.

Several student critics attended our production of Awake and Sing!, and we are proud to submit some of their reviews for your consideration. Watch this space for some of their insightful perspectives on this classic American drama, and (we are hopeful) future productions as well!