Somewhere beyond “Over the Rainbow” and Stonewall and every gay stereotype of the last 70 years, Judy Garland soldiers on in the hearts of music lovers everywhere, belting about “The Man That Got Away.” The incomparable performer might be celebrated this year, which marks the 50th anniversary of her death, but there’s no need for a special occasion to pay tribute to Garland’s artistry.
Anytime might be right for Signature Theater’s new Cabaret Series production Judy Garland: A Star Is Born, featuring two fabulous vocalists familiar to D.C. theatergoers — Awa Sal Secka (Ford’s The Wiz) and Katie Mariko Murray (Signature’s Passion), accompanied by pianist and music director Chris Urquiaga. And, in director Matthew Gardiner, the show boasts a guiding force who knows all about Judy.
“I have been obsessed with Judy Garland ever since I was very little,” says Gardiner. “The joke in my family is that when I came out to my mother in my 20s, she laughed at me and said, ‘Matthew you’ve owned every Judy Garland album since the age of seven.’ I was like, ‘That’s a horrible stereotype! And a true one.'”
Even though he knew all her songs “at a very young age,” Gardiner still discovered new, inspiring details about Garland’s career as he developed the cabaret set.
“[T]here are songs that I didn’t know the history of,” he says. “For example, we’re going to do a couple of Johnny Mercer songs because Johnny Mercer was so in love with Judy Garland that the subject of many of his songs is Judy. Several of them she recorded.” These include the standards, “Old Black Magic” and “Blues In The Night.”
Gardiner says the aim of the cabaret is to relay Garland’s emotion and storytelling, and a message that connects her to today’s audience.
“Somebody sent me a video the other day of Judy at the end of one of her Judy Garland Shows, just saying to the audience Happy New Year and hopefully we can all be a little kinder and a little gentler, and maybe next year we’ll like each other a little bit more,” Gardiner recalls.
“I think that Judy carried that sort of heart in her music and in her life. She brought all of us, I mean me certainly, so much joy. I think that’s not to be taken for granted. That bringing a little bit of joy and laughter and heart to what we do is what we need right now, reminding us why we’re human, and that’s what Judy did so well, was remind her audience of that.”
Judy Garland: A Star is Born runs through January 26, 2019 at Signature Theatre, 4200 Campbell Avenue, Arlington. Tickets are $38. Call 703-820-9771, or visit sigtheatre.org.
The D.C. theater season doesn't tiptoe in -- it arrives with gale force. The Shakespeare Theatre Company leads the charge with The Merry Wives of Windsor, The Wild Duck, and a freshly mounted Guys and Dolls, a trio that underscores why STC still sets the bar for classical and modern reinvention. Woolly Mammoth continues to push boundaries with time-bending dramas and audience-driven experiments, while Theater J stakes its ground with provocative premieres that blur the line between history, satire, and survival.
If you want spectacle with edge, Broadway at the National delivers high-gloss imports from Stereophonic to Some Like It Hot. Keegan continues its fearless streak with punk-rock carnage in Lizzie the Musical and raw new work like John Doe. GALA Hispanic Theatre reasserts itself as one of D.C.'s most vital cultural players with El Beso de la Mujer Araña and La Casa de Bernarda Alba, reminding us that Spanish-language theater isn't niche, it's essential.
Tell us if you’ve heard this one before: a single guy and a single lady both walk into a bar, and sit down for a first date that does not go well. That’s the extent of the setup for the droll, very modern romance Strategic Love Play by English writer Miriam Battye (HBO’s Succession).
A lighthearted yet occasionally caustic look at “the perils and ridiculousness of dating in the age of swiping,” as director Matthew Gardiner put it on press night, the play takes place entirely inside the bar where the Man (Danny Gavigan) and the Woman (Bligh Voth) meet for their date.
The marvelous cast of Signature's musical Play On! kick up their heels and sing up a storm in a vivacious new production staged by Lili-Anne Brown. Originally conceived by Sheldon Epps, with a book by Cheryl L. West, the three-time Tony-nominated musical employs a bevy of jazz and blues standards by D.C.'s own Duke Ellington, laced through a romantic comedy plot inspired by Shakespeare's Twelfth Night.
Turns out, the Bard and the Duke complement each other well. Twelfth Night's tale of a cross-dressing waif embroiled in a convoluted matchmaking scheme cuts a fine figure upon which to hang Play On!'s 1940s backstage romance set amongst the all-Black cast and crew at Harlem's storied Cotton Club.
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