Nutcracker Versus The Rats

Back from the first preview performance last night of Round House Theatre's production of The Nutcracker, subtitled "A New Holiday Musical" in the banner ads, but unofficially subtitled, "No, Not That Nutcracker."

Not that that Nutcracker doesn't already have a mad kaleidoscope of variations available for public display, at least in the dance world. Those of us who grew up with the Baryshnikov version (with his then-girlfriend Gelsey Kirkland as Clara dancing all the juiciest roles) are sometimes surprised by the many different ways that the story and the steps can be rearranged. The one that made the most sense to me (and yes, even fantasy needs to make sense) was the Washington Ballet's version at GWU's Lisner Auditorium a couple of decades ago.

The RHT's production of the Hoffmann fairy tale focuses on a family tragedy that interrupts Christmas, and its impacts on the impressionable Clara (is it a nightmare or a nervous breakdown?). At least one major plot point is retained here, in Clara's defeat of the Rat King. (At last year's Joffrey overproduction, if Clara threw her slipper at the fiend, I missed it in the busyness of the stagecraft.)

Oh, sorry, should that have had a spoiler alert? No, the real spoiler here is in the design and staging of the Rat King himself. Honestly, that was my favorite part of this production.

Less successful to me were the fits and starts in the scenes, some empty aural and visual gaps, and a few technical glitches and unevenness in the actors' body mics. Those could just be early-in-the-run issues, but there was just an overall unevenness in the tone throughout.

Even the costume design seemed uneven, with all the imagination going into the dolls and rats, and the "contemporary" family dressed in generic Mid-Twentieth-Century Nostalgia.

I would also like to have seen the musicians and conductor, since this production actually bothered to have live music!

Costume sketch for "Phoebe" doll by Helen Huang (Costume and Puppet Designer), image via Facebook

But the dolls and rats were all delightful, though of course it's disappointing to see a couple of my favorite actors (Erin Weaver, Will Gartshore) buried in makeup design. Oh, well. Their talent couldn't be buried. The Phoebe doll (Weaver) used her pull-chord-triggered recorded phrases with assertive, plot-turning emphasis: "I'm afraid of the dark!" (Cue: hey, let's turn on the lights.)

The updated story no doubt touches a chord in most families--dealing with the loss of a loved one at holiday time. I'm just not sure it's a great way to start celebrating the holidays. Sometimes we just need to make cookies.

Love, hosaa
making cookies

The Nutcracker
Round House Theatre, Bethesda, Maryand, through December 28, 2014
Director: Joe Clarco
Created by Tommy Rapley, Jake Minton (book and lyrics), Phillip Klapperich (book), and Kevin O’Donnell (music), based on the story by E.T.A. Hoffmann

Cast:
Clara: Lauren Williams
David (Clara's father), Rat, Teddy: Mitchell Hébert
Martha (Clara's mother), Rat, dance captain: Sherri L. Edelen
Drosselmeyer, Rat: Lawrence Redmond
Fritz, Nutcracker: Vincent Kempski
Monkey (sock toy): Will Gartshore
Hugo (robot toy): Evan Casey
Phoebe (doll): Erin Weaver

Music director: William Yanesh
Scenic designer: James Kronzer
Costume and pupped designer: Helen Huang
Lighting designer: Daniel MacLean Wagner
Sound designer: Matthew M. Nielsen
Props master: Jennifer Crier Johnston
Dramaturg: Sarah Scafidi

Stripped Productions and Big Blonde Vocals

Back from Ordinary Days last night at the Round House and will use this to catch up with one other previously unreported artistic experience, the concert version of A Midsummer Night's Dream by the Baltimore Symphony, performed at the Strathmore.

I'm not a fan of overproduced shows, and it's a problem in musicals, especially, when I can't hear the lyrics to the songs. In a show like Ordinary Days, which is sung through, I wouldn't have much of a chance of following the plot if it weren't for the stripped down production--in this case, a pianist (musical director William Yanesh) and the powerhouse vocals of the actors.

I was excited to see a couple of familiar names on the program: adorable Erin Weaver as quirky, neurotic graduate student Deb and the handsome Will Gartshore as man-in-love Jason. Will has been around the Round for quite a while, but I really took note of him in this season's This. And Erin was the fabulous Juliet at the Folger's R&J production earlier this season. That's a little bitty blonde with a great big voice, and she took over Ordinary, too.

Erin Weaver. Courtesy of RHT via Facebook

Will Gartshore. Courtesy of RHT via Facebook

Likewise, the stripped down production of Midsummer was a full concert with seven actors running in and out of the orchestra, changing costumes on stage, and speaking their Shakespearean lines whenever the orchestra put Mendelssohn on pause.

Again, one of the attractions for me is always a familiar name/face, in this case Katie deBuys, who played Shakespeare's Hermia and was last seen at RHT in Seminar. But in this case, the "blonde with the big vocal" and very comical presence was Kate Eastwood Norris as Helena.

Maybe they teach you this in Shakespeare Clown School, but Kate had a way of running hilariously, like Tom Story did in Winter's Tale back at Shakespeare Theatre Company. It involves the arms flapping and flailing over one's head or outstretched in front while exiting (whether chased by bear or not). Anyway, she cracked me up.

Kate Eastwood Norris, via KateEastwoodNorris.com

Levity, lightness, a deft touch and a powerful voice. That's all it takes, and it's what I go to the theater for.

That, and the confetti. ;)

ephemera collected from Ordinary Days at Round House Theatre

ephemera collected from Ordinary Days at Round House Theatre

Love, hosaa
prop stealer