“Creative Cauldron is kind of like an everything bagel,” says Matt Conner. “There literally is something there for everybody — all ages, all incomes. They really, really have a great diverse program.”
A locally beloved, non-traditional theater specializing in musicals and cabarets with a strong educational outreach arm, Creative Cauldron has been a foundational perch for Conner for nearly 25 years. The Helen Hayes Award winner currently serves as associate artistic director and, in addition to writing seven musicals with his partner Stephen Gregory Smith for the company, has directed roughly 30 productions.
His latest foray is Snapshots: A Musical Scrapbook, which weaves the music of iconic Broadway composer Stephen Schwartz into a new tapestry. This is no ordinary revue, however — the songs are stitched together with an original narrative by playwright David I. Stern.
“It is a revue,” says Conner, “but what’s shocking about it is the really detailed book that comes with it. We wanted to do something that highlighted Schwartz’s work because of the last two years of pink and green — Wicked — everywhere. But here you’re not just coming to hear Schwartz’s music, you’re seeing something fresh and new in this hybrid of a revue and a book musical.”
The story, explains Conner, “starts out with a woman reflecting on whether or not she should leave her husband. And then, in the attic, they find photographs of their life. It goes through graduation, it goes through having a child, it goes through sort of dating around with different people. It’s a reflection of one’s life that appeals, I think, to everybody.”
Schwartz has written several popular works, including the Broadway mega-hit Wicked, Pippin, and Godspell. Snapshots draws from each of those while dipping into lesser-known titles, including The Magic Show, The Baker’s Wife, and Children of Eden.
“I think he writes for an actor on stage to really sing about their journey,” Conner says of Schwartz’s songwriting skills. “It’s very personal. He writes for an actor to really express how they’re feeling. ‘Corner of the Sky’ [from Pippin] is a statement in Pippin’s life — the spark of creation is about what this person is going through. ‘With You’ [also from Pippin] is a beautiful love song. Even ‘Lion Tamer’ [from The Magic Show] is an introspective song about figuring out life. It’s almost like a soliloquy at times.”
Conner says “the audience should see themselves” in Snapshots, given the deeply personal nature of the material. The cast is led by Joshua Redford and Jennifer Redford, married in real life, and also features Sally Imbriano, Carl L. Williams, Gretchen Midgley Kaylor, and Ben Ribler as younger versions of the couple.
The director has never personally met Schwartz. “The closest I ever came was I had drinks with his son in Old Town one night after a MetroStage show,” he says. “But I am very, very honored that I got a chance to really work on this piece because I was in Pippin with my husband [Stephen] at the Shenandoah Conservatory back in the 1990s. And it’s nice to revisit that music. Snapshots is a great throwback for anybody who loves musical theater.”
Snapshots: A Musical Scrapbook runs through March 8 at Creative Cauldron, 127 E. Broad St. in Falls Church, Va. Tickets are $40 and $50, with discounts for students and groups. Visit creativecauldron.org.
If the Shakespeare Theatre Company's On Beckett is a love letter, then Round House's own one-man show, Nothing Up My Sleeve...Simple Deceptions for Curious Humans is more of a love affair, this time with the magic of sleight of hand.
Recounted and performed by Dendy, previously seen to great effect as the mysterious Ariel in The Tempest, this is a coming-of-age story magician-style, which, not surprisingly, includes a parade of tricks marking the milestones of his journey.
Dendy's chosen moments as he goes from shy kid in rural Missouri to talented professional are engaging and filled with an appealingly self-deprecating humor. But what lifts Nothing Up My Sleeve into some interesting territory is the performer's perspective on the watched and the watcher. Magic, he contemplates, is an intimate exchange -- a very human kind of conversation: it can be fun, mischievous, and joyous, but occasionally it can be sobering. Put simply, its currency is a very singular kind of trust.
“In one day, you go through all the stages of a production,” says Keegan Theatre’s Joe Baker of the Bethesda Urban Partnership's Play in a Day. “The first couple of hours are table reads, blocking, figuring stuff out. Then you sort of get into rehearsals until it gets closer to performance time. And now you've gotta jump into tech and those details. And then the performance itself is both opening night and closing night and the catharsis afterwards. The motto at Play in a Day is ‘the clock is ticking.”
It’s a full 24 hours, to say the least. Now in its 19th year, Play in a Day challenges six theater companies to write and produce original 10- to 15-minute plays based on prompts assigned at a kickoff meeting the night before. The results are funny, wild, and wacky -- and frequently not suitable for children.
Supposedly inhabiting the same world as the film franchise, Levi Holloway’s play Paranormal Activities gives “crowd-pleaser” a bad name. Where the films brought top-notch terror to HGTV homes and the people who love them, this spin-off may have some clever stagecraft, but it can’t hide the fact that it’s an inch deep and an inch wide. In between a few quality jump-scares (at least by theatrical standards), this is a paper-thin story about a couple who are about as interesting as a pair of Hydro Flasks bouncing around in a backpack.
There’s certainly potential here. A young American couple lands in a London house where they feel alone and isolated. Lou (Cher Alvarez) is quickly revealed to be psychically (and possibly psychologically) unsettled, while James (Travis A. Knight) is the kind of guy who thinks minimizing things will keep the lid on life. But unlike the films, where the pool-noodle realism created an entirely novel home for horror, everything here is so short-handed, there’s simply no sense of a real place where God-awful things are happening.
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