Richmond Triangle Players Archives

Times Square Angel Brings Drag Style To Classic Christmas Themes

Jonah Schuhart | November 25, 2019

Topics: Charles Busch, Christmas plays, Luke Newsome, Melissa Rayford, Richmond Triangle Players, Robert B. Moss Theatre, Times Square Angel, Wette Midler

Times Square Angel is a drag-themed period piece bringing a classic Christmas story to the mean streets of mid-20th century New York, and Richmond Triangle Players bring it to fabulous life this holiday season.

The Richmond Triangle Players’ latest production, Times Square Angel, puts a new spin on Christmas themes. Described as “A Christmas Carol in the 1940s” by lead actor Luke Newsome — who performs as their drag persona, Wette Midler — the play follows Irish O’Flanagan, a jaded singer at a seedy 1940s Manhattan nightclub who becomes involved with an affluent and dangerous mobster. Irish is on the fast-track to self-destruction, but is put back on the right path by Albert (played by Jeffery Cole), an angel in the guise of a “sexy magician.”

“The [production] process itself has kind of been fast and furious,” said Director Melissa Rayford. One-third of Times Square Angel’s cast was also part of RTP’s previous production of The Rocky Horror Show, leading to a much shorter production time than usual.

“This is the hardest I’ve worked for any show that I’ve ever done,” said Newsome.

RTP’s version of Times Square Angel also had help from its own guardian angel, in the form of the play’s author, Charles Busch. Busch had been in town weeks earlier to put on a cabaret at RTP. His presence gave some of the cast a chance to pick his brain and gain a better understanding of the story. On top of passing down some insight to the cast and crew, Busch also added a little extra something to this particular production.

“He was able to meet with some of the cast and actually fulfill one of the items on my wish list, which was to have him record the narration for the play,” said Rayford. “It felt like such a wonderful opportunity… having his voice woven through the whole play.”

The script for RTP’s rendition of this play is also unique. Times Square Angel has been performed in places like New York for years, and has had several revisions over time. With Busch’s permission, Rayford was able to create a unique two-act version of the play that incorporates elements of scripts both past and present.

Rayford called Busch a “gay icon,” and said she was “thrilled to work on a piece of his.” Busch originally wrote this play with the intention of having the lead role be played by a drag performer — specifically himself. Both Rayford and Newsome said they enjoy the way the play combines traditional Christmas themes with an LGBTQ spin.

“It really fits with [RTP’s] mission statement,” said Rayford. “And also gives the queer community in this town… a wonderful place to come and feel at home for the holidays.”

“It’s queer-central and super campy, but what makes it very special is… it’s got a really big heart,” said Newsome. “No matter who is watching it, they’re going to get something out of it.”

Times Square Angel is currently playing at Richmond Triangle Players’ Robert B. Moss Theatre in Scott’s Addition, with a closing date of Saturday, December 21. There are 15 shows left in the run, so there’s plenty of time for you to see it for yourself. For tickets, visit Richmond Triangle Players’ website, rtriangle.org.

Photos by John MacLellan, courtesy Richmond Triangle Players.

Critiques For The Culture: Falsettos

Critiques For The Culture | October 2, 2019

Topics: Casey Daniel Payne, Critiques For The Culture, Dan Cimo, Durron Marquis Tyre, Falsettos, Matt Shofner, Richmond Triangle Players, Robert B. Moss Theatre, Rowan Sharma

In Critiques For The Culture’s latest contribution to GayRVA, Taneasha White and Brooke Taylor review the Richmond Triangle Players’ Falsettos, a musical telling the comedic, dramatic story of a family turned upside down.

William Finn and James Lapine’s 1981 Falsettos is a musical set in the 1980s and early 90s. The story surrounds Marvin, played by Matt Shofner, and his family — ex-wife Trina, played by Casey Daniel Payne, and son Jason, played by Rowan Sharma, as well as Marvin’s boyfriend, Whizzer, played by Durron Marquis Tyre. The story tells of the difficulty Trina and Jason have adjusting to Marvin’s new life, and how Mendel, a psychiatrist and Trina’s new boyfriend played by Dan Cimo, fits into this new family.

We saw this show recently at Richmond Triangle Players, and from the opening song, we knew we were going to enjoy the show. “Four Jews in a Room Bitching” was just as festive as it sounds. By design, the opening number usually sets the tone for the rest of the show. The lyrics let us know that this show was going to have some self-awareness, some self-deprecating humor. themes about homosexuality, and jokes about Jewish people. Here’s what we thought!

*Photo by John MacLellan, via Richmond Triangle Players/Facebook*

Taneasha:

Because this was a musical written in the 1980s, there were some themes within some of the lyrics that made me cringe. For example, the lyric “I’d rather die than dry clean Marvin’s wedding gown,” from Trina’s song “I’m Breaking Down,” shows us two things. Firstly, that Trina still sees herself as the caretaker, even though she and Marvin are no longer together. Secondly, that she is somehow offended by the idea of her ex-husband showcasing anything that she could perceive as outside of masculinity.

This play dates from before bringing trauma-informed approaches and sensitivity to people’s identities was the norm — so it was acceptable to equate male gayness to femininity. We can chalk that up to this having been written in the 80s, but we also have to address that some of this ideology remains in society today.

There’s still a perception of queer men being softer (and by the way, I could write an entire dissertation on why that shouldn’t inherently be a bad thing), and queer women being rougher, and more “man-like.” Anytime I’m presented with that rigid adherence to the binary, I’m frustrated, but at the same time, I can give some room to the time period in which this was written. That doesn’t absolve the issue, but it definitely provides a good conversation point.

One of the more serious aspects of the show revolved around Whizzer contracting HIV, and it is hinted that he passed it to Marvin. This happens during the height of the AIDS crisis in the US, and I’m appreciative that this play showed a snapshot of what relationships had to endure during this time. Because that was not the main plotline, and you can only fit so much into two hours, they didn’t go as in-depth as you could. There were horrific circumstances for a lot of folks, especially folks within the LGBTQ community, during this time, making the title of epidemic anything but dramatic.

Falsettos drew you into this reality a bit, showing that the doctors were almost as scared and defeated as the patients, and that loved ones couldn’t do anything but make their partners and friends comfortable. Whizzer’s death was a sad section of this show, but definitely forced a reality check onto the audience.

Ratings:

Trina’s character was the strongest, and she was the lead woman. This show focused on gay folks and touched on the topic of the HIV/AIDS crisis that plagued our community in the late 80s/early 90s, which was monumentally important to address.

I appreciated the casting choices, especially Whizzer as a Black man — we know that it is easy to continue traditional casting, even if it doesn’t actually apply to the plot of the show, so I’m glad that Richmond Triangle Players stepped out a bit for this one. I appreciated it — and his voice was beautiful. I also loved the casting of an actual child for the role of Marvin’s son, Jason, played by Rowan Sharma. His performance was incredibly endearing, and I hope he continues to work in theatre as he gets older and develops his craft. 3 Black Fists.

I was entertained throughout the entire show. The casting choices were great — all of the characters were distinct and believable, and I appreciated the storytelling that was done. Ultimately I enjoyed the show. All of the characters were wonderfully portrayed and were believable. Trina seemed to be a crowd favorite. I would venture to say that folks involved in theatre have at least heard “I’m Breaking Down” at one point or another, and Payne definitely did a great performance of it. 4 Stars.

Brooke:

I am a little less enthusiastic about plays that are fully musicals. However, Falsettos was intriguing in nature and held my attention throughout. Knowing that this play gained notoriety in the late 80s/early 90s was helpful in understanding certain aspects of the play, yet some serious questions remain for me.

Question one: What type of job did the main character work so that he was able to financially support a housewife AND a househusband? He left for work everyday, was a self-proclaimed rich man, and accused Whizzer of only being interested in that part of him. Interestingly enough, when he returned from work, we heard nothing about his day. Where did you go, Marvin?

This is something that bugged me throughout the play, and the racial dynamics between Whizzer and Marvin added another layer of concern. Whizzer was the sexy man of color that was fetishized by Marvin, a familiar trope in queer circles. Marvin tried to cram Whizzer into a box that was never his to fit — and no amount of money can fix a situation like that.

Question two: Isn’t the knight in shining armor trope played out yet?

Even in a queer play, it seems that we cannot get away from writing roles for women that strip them of their agency. Trina was caught in a situation with Marvin and Whizzer that she did not consent to, and it seemed like Trina did not have much power to determine the dynamics of her home life. So, who will save the distressed princess in her tower of gloom? In rides Prince Charming! Except, Prince Charming is actually a therapist who manipulated his clients to ultimately get what he wanted — a marriage with Trina.

The play did show that Trina and Mendel’s relationship was not completely without challenges. However, the way that this couple ended up together was glossed over with plenty of humor and not enough reverence for the ways the Mendel betrayed his position of trust within their family. Trina was written as the helpless dame who is useless without a man taking care of her. I would love to see an adaption of Falsettos that makes Trina the main character and makes her viewpoint much more developed and complex.

Question three: What am I supposed to sympathize with Marvin about?

I often found myself wondering if other audience goers had the same view of the main character as I did. To me, he was a selfish person who “wanted it all” without fully realizing the amount of pain that he put the rest of the characters through. I can understand falling in love with someone new and feeling the whirlwind of emotions that accompanies that newness. I can also understand that Marvin still loved his wife (in some way) and did not want to disrupt the family stability for their son, Jason. However, I cannot sympathize with a character who never had an epiphany regarding the level of damage that he caused.

When Trina decides to divorce Marvin, he lashes out in anger. Once he has Whizzer to himself, they fight constantly and Marvin hurls insults his way. I do not believe that Marvin ever has a redemption from these manipulative moments, and it makes his character highly unlikable.

Ratings:

Critiques for the Culture: Trina and Whizzer were central to the plot but I would have liked to see more of a backstory for both. 2 Black Fists.

Overall: All of the actors performed very well. There were moments that stood out as amazing, like Casey Daniel Payne’s rendition of “I’m Breaking Down.” Overall, I enjoyed the entire experience and would recommend it to others. However, the content of the play should be adapted in future iterations to reflect women as being whole on their own — especially in a queer production. 3.5 Stars.

Tickets are still available for the final week of Falsettos, presented by Richmond Triangle Players. Performances will take place every night from Wednesday, October 2 through Saturday, October 5, starting at 8 PM, at the Robert B. Moss Theatre, located at 1300 Altamont Ave in Scott’s Addition. For tickets and additional info, visit rtriangle.org.

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RVA ON TAP: Festivals Galore!

Caley Sturgill | August 21, 2019

Topics: 18th Street, ‪3 Sons‬, ‪American Solera, ‪Anchorage‬, Angry Chair, ardent, Ardent craft ales, beer, beer column, Bellwoods, Benefit, Bissell Brothers, Black Heath Meadery, Blue Bee Cider, Buskey Cider, ‪Cantillon, Casey Brewing, Center of the Universe, Cloudwater‬, courthouse creek cider, Drie Fonteinen‬, Final Gravity, fine creek brewing, ‪Fonta Flora‬, ‪Half Acre‬, Hardywood, ‪Hill Farmstead‬, ‪Holy Mountain‬, ‪Hudson Valley‬, Isley Brewing Company, James River Association, ‪Jester King‬, lab rescue, Lickinghole Creek, ‪Monkish‬, nonprofit, ‪Notch‬, ‪Ocelot‬, ‪Omnipollo‬, ‪Other Half‬, outrva, ‪Oxbow‬, Reservoir Distillery, Richmond Triangle Players, RVA On Tap, ‪Sante Adarius‬, ‪SideProject‬, ‪Suarez Family, ‪The Answer, The Veil, ‪The Veil, The Veil Brewing Co., three notchd, ‪Threes, ‪Tired Hands, Trillium‬, TRVE‬, va pride, Vasen Brewing Company, weldwerks

What’s happening, craft beer lovers of RVA?! Welcome to this week’s RVA On Tap, RVA Magazine’s weekly column for all your craft beer-related events, releases, festivals, and all the booze news your hearts desire.

If you missed the last column, you can check that out here. Our kegs are overflowing this week with beer releases and festivals, events, and other cool happenings around town — so hold on to your mugs!

This week, Richmond’s brewers are at it again with *tons* of awesome events. You’ll find some great new beer releases, in addition to lots of benefits to help out the nonprofits and organizations we all know and love, so save your weekly restaurant budget for the weekend, because we’ve got a lot of great reasons to come and support.

Big news at Hardywood! The James River Jubilee is coming up this Sunday, so make sure you don’t go too hard on Saturday so you can make it out. Our buds at Hardywood partnered up with the James River Association to create this special first-ever James River celebration to honor the biggest and best part of our city: the river that runs through it.

All of our river-goers know how important the James is to Richmond and its history, and the James River Park System is one of the best in the state for hiking, fishing, picnics, and swimming all summer long. There’s nothing like getting out of the hustle and bustle of downtown to escape into the trails along the river, and take a vacation from the city without ever having to leave it. The James River Association maintains our beautiful environment and keeps it in tip-top shape for us to enjoy year-round, so take this Sunday to come together with us to appreciate the river and the people who protect it.

All day long at Hardywood, food trucks and beers galore will be around along with interactive vendors and jubilant music to commemorate Richmond’s greatest asset, and the wildlife that surrounds it.

Hardywood’s also got some great can releases this week, with None Of This Makes Sense coming out on Friday in cans along with Cloud Shapes, a dreamy fruit Double IPA dropping in cans that day as well.

Calling all dog lovers! National Dog Day is around the corner, and our friends at Isley Brewing Company have brewed up something special to commemorate it.

This Saturday, head over to Isley for the release of Rescue Red Ale, a red that reflects its name in its deep, cherry color. It’s brewed with Jarrylo and Mosaic hops that balance out its malty, sweet backbone with a bit of a hoppy kick. with a good amount of hops but a still-approachable 5.2% ABV and 34 IBU to keep the bitterness at bay.

Along with great beer, you’ll find everything from treats to doggie pools and homemade ice cream for your pups, and giveaways and raffles to treat their humans, too. The beer benefits the Lab Rescue of Greater Richmond and the Lab Rescue LRCP, so drink happy knowing you’re helping some sweet babies find homes.

Another bonus: if you’re a dog lover who has yet to find their dog to love, the event will be hosting adoptions of some great pups in need of forever homes. Come to Isley for the beer, and come home with your newest (and favorite) family member.

Tomorrow night, swing by Ardent Craft Ales for some sweet earthy flavors in their latest brew. Barrel Aged Honey Ginger is making its way back to the taps, and this new version of a fan favorite is only available once a year — so make sure you don’t miss out, and get your taste before it’s gone.

Layered with bourbon and vanilla notes, this honey-ginger beer was aged for more than a year in bourbon barrels to add to its sweet honey tastes and spices with ginger. If you loved last year’s version, you’re sure to enjoy this one with its bourbon barrel additions of flavor. Coming in at a high 11.5% ABV, you’ll also only need one, unless you’re in that small class of folks I know who can grab a six pack and enjoy bourbon brews all night long.

If you’re wanting a taste without a weeknight evening at the brewery, you can also head over to grab some in bottles to enjoy anytime. They’re also hosting the release alongside one of our most-favorite foods with The Return of the Mac food truck out in the beer garden, so you won’t want to miss it.

Are you holding on to summer with all your might? You’re not alone. The Veil Brewing Co. feels your pain, and they’re hosting a banger for all the summer-lovers in the River City.

Forever Summer Fest is going down this Saturday at The Veil to benefit ChildSavers. This is an awesome way to give back, so don’t let the high ticket price scare you off if you’re able to swing it — all proceeds are going back to the nonprofit, so you can rest easy knowing those dollars are well-spent.

The event is taking place over three sessions throughout the day from morning to night, which lets you pick whichever time works best. Grab your tickets here for any session you please, and get tastes from tons of awesome breweries you won’t find around here… plus your local favorites like The Answer Brewpub who will be there pouring.

Here’s a full list of the brewers, many we don’t normally get to try at home, who are coming out:

18th Street, Angry Chair, ‪American Solera, ‪Anchorage‬, Bellwoods, Bissell Brothers, ‪Cantillon, Casey Brewing, Cloudwater‬, Drie Fonteinen‬, ‪Fonta Flora‬, ‪Half Acre‬, ‪Hill Farmstead‬, ‪Holy Mountain‬, ‪Hudson Valley‬, ‪Jester King‬, ‪Monkish‬, ‪Notch‬, ‪Ocelot‬, ‪Omnipollo‬, ‪Other Half‬, ‪Oxbow‬, ‪Sante Adarius‬, ‪SideProject‬, ‪Suarez Family, ‪The Answer, ‪The Veil, ‪Threes, ‪3 Sons‬, ‪Tired Hands, Trillium‬, TRVE‬, and ‪Weldwerks‬.

Returning to Final Gravity Brewing Co. this week is Cassiopeia, a Double IPA brewed in honor of the beautiful Greek Cassiopeia in mythology. Head over to Final Gravity this Friday for a taste of melon, coconut, pine, peach, and “whispers of pineapple” in this easy drinker.

Cassiopeia was brewed with Cashmere and Mosaic hops to come together in this heavenly congregation, as the brewers say, of radiant flavors with a smooth bitterness that brings out its lemon and tangerine flavors.

*PHOTO: Lickinghole Creek Craft Brewery*

Out on the farm at Lickinghole Creek Craft Brewery, our brewers are at it again with a brand-new brew coming out this Friday. Juicy #14 is the latest in Lickinghole Creek’s Juicy Series, dry-hopped with a massive amount of Eureka hops — and only Eureka hops.

A pale, hazy beauty according to Lickinghole Creek, Juicy #14 is full of tropical citrus, stone fruit, and blackberry flavors which all come together with a fluffy, wheat-based mash bill. You’ll love the low bitterness that comes with its big hop flavors from being rounded out with their house English Ale yeast to make this perfectly-dank and resinous beer.

Grab your wagons if you’ve got ‘em (wheelbarrows and station wagons are acceptable for those of us who live in the actual city) because Center of the Universe has a festival for you.

The 3rd Annual Circle the Wagons BBQ Cook-off and Concert is coming up this Saturday to benefit Circles Ashland, a nonprofit that works to reduce poverty in Ashland. This benefit is going down in the brand-new Green Top Hunt Fish with tons of entertainment, from music for parents to a 40ft inflatable obstacle course for the kids.

If you’re a big BBQ fan like myself, this event is definitely for you. A panel of 10 judges is going to be tasting one meat and one side from each of the vendors in attendance, which includes Saucy’s BBQ, The Salty Pig Smokehouse Co., Jake’s Place, Virginia BBQ Ashland, The UFO Truck, and my *all-time favorite* Grandpa Eddie’s Alabama Ribs & BBQ. You can bet your sweet bippy that I will be coming out if only for a massive plate of Grandpa Eddie’s just to take home and eat by myself in bliss.

They’ve also got amateur competitions that you can enter if you please, so get cookin’ and bring out your best recipes to take home the name of best cornbread in the state from the festival. All-around, this is going to be a day of bigtime good food, so bring your appetite and fast for food that morning if you have to. Lord knows I probably will.

Out at Fine Creek Brewing, a new Lemon Wheat came out over the weekend that sounds delicious. Already a favorite among fans, this American Wheat Ale brew hits in at 5.2% ABV and brings out all the refreshment you need for these hot summer days. It was brewed with Callista, Saphir, and Nugget hops in addition to its fresh lemon peel additions, and you can grab it to-go as well in Growlers and Crowlers.

They’ve also got their beloved Turf & Twig Brown Ale back on tap, which has just the right amount of sweetness to complement this dark-style Brown Ale. You’ll catch dessert flavors like nutty coffee, baker’s cocoa, and pumpernickel bread to bring out its rich maltiness, and a clean finish with just that hint of sweetness to round it out.

That’s it for this week’s RVA On Tap! As your weekly columnist, I’m here to take all your beer releases, event info, ideas and questions. If you’re a brewer, send me your release info at [email protected], and if you’re a beer enthusiast, drop me a line anytime to talk booze. Catch y’all next week!

Driver Defaces Rainbow Intersection In Scott’s Addition With Skid Marks

Marilyn Drew Necci | August 20, 2019

Topics: drifting, public art, rainbow intersection, Richmond Triangle Players, Robert B. Moss Theatre, scotts addition, vandalism

The driver of a Lexus with drift-enabling modifications did donuts across the rainbow intersection outside Richmond Triangle Players’ Robert B. Moss Theatre.

Yesterday an obnoxious driver did donuts across the rainbow painting in the intersection of Marshall and Altamont streets in Scott’s Addition, seemingly with the intent to vandalize. The rainbow, an LGBTQ-affirming message of support from the city, is located in front of the Robert B. Moss Theatre, the home of LGBTQ theatrical troupe Richmond Triangle Players.

The act was witnessed by RTP Artistic Director Lucian Restivo, who caught a glimpse of the driver’s license plate, as did RTP Executive Director Phil Crosby. “Some jerk with the license plate “Is King” just purposely made three donuts on our Pride Plaza!” Crosby wrote on Facebook. “I wonder if defacing public art is a crime?”

“Doing donuts” is the act of throwing a car into a circular skid, generally with the intent to leave a rubber skid-mark on the road.

Restivo took a picture of the car as it fled the scene. The license plate Crosby identified is registered to a 2004 Lexus IS 300, which matches the vehicle in the photo. The car also has modifications of the sort used to facilitate drift racing, including a ground-effect body kit.

The incident was reported to Richmond Police.

Richmond City Council member Kim Gray, who represents the city’s 2nd District, released a statement strongly condemning the actions of the unknown driver.

“The Richmond Triangle Players have been an integral part of the Richmond community for more than a quarter century and have been leaders in promoting diversity,” Gray stated. “Their strong commitment to the City’s LGBTQ community is exemplified by the Rainbow Crosswalk painted last year in front of their theater in the Scott’s Addition neighborhood. One individual’s senseless act of vandalism will not deter our commitment to equality and diversity. I pledge to work with the Triangle Players and the City administration to take whatever immediate action is necessary to restore and repaint this crosswalk.”

If you have any information on this incident, please contact the Richmond Police Department.

Top Photo by John Reinhold

Critiques For The Culture: Girlfriend

Critiques For The Culture | July 19, 2019

Topics: Cooper Sved, Critiques For The Culture, Girlfriend, Matthew Sweet, Ray Wrightstone, Richmond Triangle Players, Todd Almond

In Critiques For The Culture’s latest contribution to GayRVA, Taneasha White and Brooke Taylor review the Richmond Triangle Players’ Girlfriend, a love story about two young men coming of age in the 90s.

Girlfriend, written by Todd Almond and based on the 1991 album of the same name by alternative rocker Matthew Sweet, recently completed its run at Richmond Triangle Players. This pop-rock musical is based in Nebraska during the 1990’s, and centers on two new high school graduates. The young guys spend some time exploring their new found affection for each other, despite rural surroundings and traditional parents.

Our Ratings

Our Critiques for The Culture rating is based on representation of marginalized folks, showcased with our Black fists. Our overall rating is the quality of the play overall, independent of the representation that may or may not be there, represented with stars.

Brooke

My main criticism is with one of the primary story arcs of the show: The glamorization of red flags in relationships is a real problem for the LGBTQIA+ community, and the main character was the subject of manipulative tactics that we so often normalize. The audience chuckled every time that Mike, the straight-passing guy, mentioned his “out-of-town girlfriend,” but the “girlfriend” was nothing more than just a way to cover up his sexuality. This resulted in much of the emotional angst for Will, who ended up being the “undercover boyfriend” for a good portion of the show.

As easy as it is to write off manipulation in an ordinary coming of age story, it is important to call out: a relationship is not healthy if your partner forces you to hide or lie about your identity. Additionally, this show wasn’t unique when it came to casting choice — cis white gay men have quite a monopoly on Queer representation. 1.5 Black Fists.

This show was fun and light-hearted, reminding me of crushes that I had at a young age. Does she like me? Should I make the first move? How will I know? (Cue Whitney Houston.)

Girlfriend was an amusing play to watch. It did not take itself too seriously, which can be difficult to avoid in theatre. The live band was an added bonus, and the absence of an orchestra pit made the musicians feel like an integral part of the play’s structure. Even the choreography felt whimsical in nature. Cooper Sved’s portrayal of Will reminded me of Jordan Fisher from the 2018 live version of Rent! – very smooth in movements and line delivery. Ray Wrightstone’s characterization of Mike was brilliant, showcasing his ability to draw the audience into that classic teenage dating angst. Overall: 3.5 Stars

Taneasha

Richmond Triangle Players is the spot in the city where you can anticipate the plot of a show to be at least a little gay. That being said, when it comes to representation, this show didn’t exceed my expectations, because cis white guys tend to be the face of queer media. Luckily, there has been a lot of work being done to showcase the fullness of the queer community: the rise in popularity of TV shows like RuPaul’s Drag Race and Pose, or some of the central characters in Netflix’s Sense8 – but we could always use more.

I know that this show has been cast with white dudes in the past, but there’s always opportunity to shake things up, and ensure the art you’re putting out is representative of the community you’re serving. I’m always here for Queer stories that represent life, and I’m looking forward to seeing more of myself and the people I love within them. 2 Black Fists.

Sved and Wrightstone were adorable, and did a great job of making the audience feel all of those butterflies we feel when we have a crush. I appreciated how accurate the awkwardness was, and it definitely was cause for some high school reminiscing — all of the giggles, the slow hand-holds, stumbling over your words. I admit it: I love a good story arc that ends in gay love. Call me a sap if you wish, I accept it.

I also appreciated the musical arrangement of this show — it served as a thread that held the show together. There was a bit of very simple choreography, and it added to the natural, youthful feel of the show. It was very light on its own, and the upbeat music aided in keeping it that way. 4 Stars.

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RTP’s ‘A Chorus Line’ Delivers Humor, Heart, and One Incredible Kickline

Jo Rozycki | June 14, 2018

Topics: A Chorus Line, Richmond Triangle Players

I’ll be the first to admit I started listening to A Chorus Line when I was way too young. That being said, I think I can properly appreciate it for all its splendor, hilarity, and heart because of that.

I will also admit I had absolutely zero idea how the stage at Richmond Triangle Players could fit all of those dancers. Needless to say, they succeeded.

A Chorus Line comes from the “second Golden Era” of Broadway, the 1970s, when it seemed as though dozens upon dozens of musicals were coming out. Some winners of that era included Godspell, Hair, Jesus Christ Superstar, Follies, Company, Pippin, Ain’t Misbehavin’, and many more. However, A Chorus Line seemed to set itself apart, putting its tracklist into the minds, hearts, and voices of many during that time, especially its unforgettable number, “What I Did For Love.”

Minutes before showtime, actors started to trickle in from backstage with their dance bags, warming up and prepping before their “audition.” It caused a slight confusion for some audience members, but an overhead announcement marked the “beginning” of the audition (show) by saying the dancers had 10 minutes before they would start. The dancers warmed up, rehearsed the moves, or chatted nervously with one another. Zach, the director of the unnamed show the dancers are auditioning for, played by the powerful Alexander Sapp, entered, beginning the audition/show. For the bulk of the show, Sapp sat at the back of the theatre speaking through a microphone to be heard by all, a common practice by many directors of massive auditions in New York.

Director Justin Amellio, who also choreographed the production, did a marvelous job fitting all of those dancers- and their dancing limbs- onto the somewhat small stage at RTP. His direction allowed for seamless transitions, utilized beats well, and was executed indescribably well.

The cast of 23 doesn’t leave much room in this article for applause for every single performer simply due to its sheer size. However, there were definitely standout performers in many of the realms. Dancing-wise, Derrick Jaques (Al), Coldin Grundmeyer (Mike), Mallory Keene (Val), and Rachel Marrs (Maggie) were eye-catching. Jaques and Marrs were also incredibly impressive vocally, alongside Alexa Cepeda (Diana) and Ty Boone (Richie). It wouldn’t be A Chorus Line without a strong delivery from the young Paul, played by Steven Rada. His tearful delivery of Paul’s painful monologue made sure there wasn’t a dry eye in the house. He embodied the youth, fear, pain, and hope of Paul.

The beautiful part about A Chorus Line is that there really isn’t one main star. The fact that the show is about the chorus, the ensemble, the “background,” means every single actor onstage had a substantial part. It is also worth mentioning that every single performer onstage needs to be a triple threat- actor, singer, and dancer. The cast was diverse in race, body type, and even skill, which added to the charm and realness of the story.

That being said, there is one character, Cassie, who has a lengthy solo and an individual storyline apart from the dancers. Played by the captivating Daria DeGaetano, Cassie made herself a career, breaking out of the chorus from a young age. Her former romantic relationship with director Zach ended bitterly. But after her failure at continuing her career out in California, Cassie heads back to New York to get any work she can, including in the chorus line. Zach stubbornly refuses, resulting in Cassie performing an almost seven-minute-long dance and singing solo, “The Music and the Mirror.” DeGaetano seemed a little reserved in her singing, either preserving her voice from belting or just the inability to reach the notes. However, what she lacked in powerful singing she made up in unforgettable dancing. She utilized the entire stage in her emotional dance performance, proving to Zach that she has the talent and heart to take any role. All she needs is “the music, the mirror, and the chance to dance” for Zach.

The show is rife with comedic moments. Cepeda gave a hilarious and youthful version of Diana, including in her heartfelt version of “Nothing.” Keene’s flirtatious yet comedic “Dance: Ten, Looks: Three,” left the audience in stitches. Zuri Petteway was a surprise, creating a younger yet still sassy Sheila. Some of her comedic moments fell flat, but overall, her effort was accomplished.

A Chorus Line is a beast of a show. The amount of talent, attention to detail, and mastery for execution is hard to balance. It’s safe to say that RTP’s production accomplished this.

Tickets are selling fast for A Chorus Line. It has been extended through July 14, and you can get tickets to see it at the Robert B. Moss Theatre here.