“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.
Set in the not-quite-literal shadow of the Capitol, the Folger's young and zingy As You Like It delivers Shakespeare's rom-com amid the people of D.C., not the politicians. It's a pointed nod to the fact that Washington may be the nation's capital, but it's also a living, breathing city with its own microcosm of love, lives, and family hierarchies.
Artistic director Karen Ann Daniels' vision, directed by Timothy Douglas, delivers the kind of intimate, gently interactive theater that pairs so well with the Folger space, one that says, "Come right in, this is for you."
Even better is the team's decision to go full-bore classical and keep the adaptation cute but judicious. There is no question this is set in today's world with scenic designer Gisela Estrada's painted city murals and Celeste Jennings' costuming, but this is Shakespeare without compromise, and it deeply respects its audience.
It's rare for a play's themes to resonate with quite the impact and immediacy that Tracy Letts' incisive The Minutes did for me the other night. Keegan Theatre's boldly-staged production, directed by Susan Marie Rhea, landed a direct hit to my conscience, although the play got a hefty assist from coincidence.
Just hours before seeing this comedy about town leaders who reckon with their town's checkered past regarding Native Americans by rewriting history, I, by chance, visited the Smithsonian's National Museum of the American Indian.
Several exhibits there -- including one that reduces the U.S. Indian Removal Act to a bold business decision that, "in creating wealth" for the nation and for Southern millionaires, "was a spectacular success" -- left the alarming impression that history is being whitewashed before our eyes in real time, let alone in the fiction of Letts' 2018 Pulitzer-finalist play.
"As an actor, you're never playing a villain, you're never playing evil," says Stephen Mark Lukas. "You have to look at what motivates the character's behavior -- and that's been really fun to explore with this."
Lukas is part of the touring company of Disney's Beauty and the Beast: The Musical, starring as the hypermasculine, vainglorious Gaston -- a man who feels entitled to Belle, fails to win her affections, and turns menacing when she falls for the Beast.
"Gaston is a product of the time period," says Lukas. "He's an absurdly confident man who runs the show in the village. Belle is the first person who stands up to him and doesn't give him what he wants -- the first real obstacle he's faced. Watching how that triggers him, and how it pushes him to snap by the end, is something we see playing out in the world today. It's a trajectory people can identify with."
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