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Woman Around Town’s Editor Charlene Giannetti and writers for the website talk with the women and men making news in New York, Washington, D.C., and other cities around the world. Thanks to Ian Herman for his wonderful piano introduction.

Emily Rebholz

Freaky Friday Is Freakin’ Fun

10/29/2016

Grab your daughter and run to see Freaky Friday, now playing at Signature Theatre in Arlington, Virginia. Don’t live nearby? Don’t worry. Freaky Friday was developed by Disney Theatrical to be licensed through its partner, Musical Theatre International, first to professional and then to amateur theaters. So the production may be coming to a venue near you. When it does, don’t miss it.

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Heidi Blickenstaff and Emma Hunton (Photo by Jim Saah)

Disney, constantly mining its film vault for material that can be recast for the stage, made a wise call with this one. Freaky Friday is the kind of feel good show with a message that never grows old. As a writer for NBC’s Parenthood, Bridget Carpenter knows something about family relationships. For the musical’s book, she took the basic story – a mom and daughter inadvertently switching bodies for a day – while updating the themes to resonate with a young, tech savvy audience. Besides an enjoyable two hours in the theater, the musical should spark followup conversations with young people about social pressure, cliques, body image, and privacy.

Disney decided to premiere the production at Signature and brought together a talented creative team to make it happen. They included, from Broadway: director, Christopher Ashley (Memphis);  musical score, Tom Kitt, and lyrics, Brian Yorke (the duo behind the Tony Award-winning Next to Normal); choreography, Sergio Trujillo (Jersey Boys, On Your Feet); set design, Beowulf Boritt (Tony Award, Act One); Emily Rebholz, costume design (Vanya and Sonia and Masha and Spike); and lighting design, Howell Brinkley (Hamilton, Tony Award).

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Heidi Blickenstaff with the Cast (Photo by Jim Saah)

Heidi Blickenstaff, who delighted Broadway audiences with her performance in Something Rotten, plays the mom, Katherine, a widow and type-A personality who is driven to control everything and everyone around her. Besides running a successful catering business, she’s taken on the job of planning her wedding to Mike (Alan H. Green). But she still has time to micromanage her children, ten year-old Fletcher (Jake Heston Miller), and teenage Ellie (Emma Hunton).

Katherine fails to see that her upcoming marriage is having an impact on her children, who still miss their father. While the younger Fletcher retreats into a fantasy world with his puppets – a hippo and a starfish – Ellie lashes out at her mother. A tussle over a vintage hourglass with magical powers zaps Katherine into her daughter’s body, while Ellie morphs into her mother’s. Ellie is quickly overwhelmed, struggling to cope with being a mother and soon to be wife, while her employees look to her for guidance. Katherine, meanwhile, finds herself in high school, struggling in gym class, dissecting a frog in biology, and dealing with mean girls.

Blickenstaff perfectly captures the mannerisms, facial expressions, and speech patterns of a teenager. She twists strands of hair, wrings her hands, and bats her eyes. Faced with Adam (Jason Gotay), the boy Ellie has a crush on, she positively melts. The poor young man, has no idea why his classmate’s mother is acting so strangely.

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Sherri L. Edelen, Emma Hutton, Jason SweetTooth Williams, Heidi Blickenstaff (Photo by Margot Schulman)

Conversely, Hunton becomes more restrained, an adult in a teenage body. When mother and daughter  wind up in the high school counselor’s office, what unfolds is clever and hilarious.  Two officials (played by Jason SweetTooth Williams and Sherri L. Edelen) critique Ellie’s school performance. Katherine (really Ellie), dismisses their concerns, her casual body language speaking volumes. Meanwhile, Ellie (really Katherine), takes their concerns seriously, perched on the edge of the sofa, ready to take action. Both actresses play the scene for all it’s worth.

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Jason Gotay with the Teen Ensemble (Photo by Jim Saah)

The teen ensemble is terrific. Kudos to Trujillo’s choreography, particularly the gym scene where the students use inflated bouncy balls to great effect. Storm Lever, as Ellie’s nemesis, Savannah, perfectly captures the manipulative attitude that defines so many mean girls.

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Heidi Blickenstaff and Jake Heston Miller (Photo by Margot Schulman)

Jake Heston Miller, who has to be one of the busiest child actors around, having last appeared as Oliver at Arena Stage, is just plain adorable as Fletcher. And the scenes between him and Katherine (who is really Ellie) are sweet moments, sibling bonding under unusual circumstances. Katherine first bursts his bubble in Act One with the hurtful, “Parents Lie,” then redeems herself in Act Two with the sweet “After All of This and Everything.”

There’s a brilliant and brave moment in the musical which will speak to so many young girls who obsess over their bodies. Ellie and her two besties – Katie Ladner as Gretchen and Shayna Blass as Hannah – strip down to own their appearance. Bravo!

With the day coming to a close, Katherine and Ellie manage to switch back, just in time for Katherine to be wed to the long-suffering, yet very perceptive, Mike. He knows better than Katherine that winning over his stepchildren will take some time. But thanks to the day’s events, mother and daughter have reached a greater understanding. There’s no better way to empathize with someone else than by taking time to actually walk in their shoes. That’s a message for the ages and for all ages.

For information on licensing Freaky Friday, contact MTI by phone, 212-541-4684, or email, licnesing@mtishows.com

Top photo credit: Margot Schulman

Freaky Friday
Signature Theatre
Through November 20, 2016
4200 Campbell Avenue
Arlington, VA
703-820-9771

The Robber Bridegroom – Rowdy and Inventive

03/20/2016

You need no special affection for country/rockabilly to be seduced by this rollicking shindig of a tall tale. It happens almost without one’s awareness. Director Alex Timbers’s inspired revival of the 1975 Mississippi whopper is so high spirited, so full of infectious numbers, inventive sight-gags, and artfully exaggerated performances, you’d have to have sold your sense of humor to the devil to remain untouched. “Once upon a time, there was a fairytale kingdom…” Yeehaw!

Upright citizen Jamie Lockhart, (heartthrob Steven Pasquale of Bloody Bloody Andrew Jackson and The Bridges of Madison County) comes across Little Harp (Andrew Durand, a pitch perfect scalawag) robbing rich plantation owner Clement Musgrove (a genial Lance Roberts) under the watchful direction of his brother, Big Harp (Evan Harrington), whose live severed head he carts around in a trunk. Got all that? Two heads are better than one… When Jamie sends Little Harp packing, the victim tries to give him gold, but is refused despite Musgrove’s assurance there’s a lot more where that came from.

Steven Pasquale

The gregarious Musgrove invites Jamie to meet his second wife Salome (Leslie Kritzer- imagine Carol Burnett on steroids playing a nymphomaniac, wicked stepmother) and beautiful, supposedly docile daughter Rosamund (Ahna O’Reilly with a pithier-than ingénue voice and spunky presence). Every boastful reference to wealth is greeted with more than usual interest. Jamie, it seems, his face masked in berry juice, moonlights as The Bandit of the Woods.

Salome hires the light-brained, bumbling Goat (a wonderfully sweet and funny Greg Hindreth) to kill her stepdaughter. “I will slap your butt into your shoulder blades if you come back without…” The Bandit encounters a restless, bored Rosamund in the forest and steals her clothes, sending her home naked, frustrated, untouched. She sneaks out that night to find her romantic outlaw. Comes a boy, he walks so steady/comes a girl, she seems so ready…When Jamie arrives for dinner, Rosamund makes herself awful in order to discourage him.

Steven Pasquale, Ahna O’Reilly

The Bandit plans to marry Musgrove’s ugly daughter and keep the woman who’s come to him-assuming she plays a bit hard to get and doesn’t do too much cleaning. Rosamund, rejecting her father’s upright choice, pines for a real relationship with the stranger, but who is he? Goat pursues his assignment in order to secure a promised suckling pig. Salome has the hots for Jamie, but the Bandit will do. Little Harp wants a woman and there seems to be one available for bartering. Musgrove will give anything and go anywhere to secure his daughter’s happiness.

Evan Harrington, Steven Pasquale, Leslie Kritzer, Lance Roberts, Nadia Quinn

Having watched Director Alex Timbers ply his imagination in Bloody Bloody Andrew Jackson and Peter and the Starcatcher, one expects the unconventional as well as the grounded. Salome likes to behead pigs and repeatedly falls on her face with a loud calump! When Rosamund and The Bandit go deep in the forest, “You comin’ with me? I don’t like to be followed,” they fluidly climb over, under, through, and between obstacles presented by the unobtrusive cast. Goat is not so successful, branches seem to come out to meet him. Pace is lively. Even filled with people, staging never appears sloppy.

Country western music is, for the most part, rowdy and fun; one ballad haunts. Musicians are very fine.

Steven Pasquale, Ahna O’Reilly

Pasquale is a born swashbuckler (by any name). His muscular form and resonant vocals embody the perfect hero. That the actor can also evoke humor – here from his character’s habits, chauvinism, and ego, makes him doubly entertaining.

Nadia Quinn who briefly plays Goat’s Mother deserves a call-out for her very cool personification of an ornery Raven.

The play is based on a 1942 Eudora Welty novella which transplanted a Brothers Grimm story to the Nachez Trace, (a forest trail from Natchez, Mississippi, to Nashville, Tennessee), embracing the bravado of American fables. Alfred Uhry’s book and lyrics manage to do this without fully eschewing romantic visions of good and evil. His knee-slapping directness would, however, appall fairies.

Choreographer Connor Gallagher presents dance that do-se-does with synchronized movement, utilizing the small stage with buoyancy and skill.

Above our heads, rough wood support beams, diagonal cabin walls, a taxidermy deer head and an enormous wild turkey hang beside mason jars holding candles. (Jake DeGroot Jeff Croiter, who later give us an unorthodox starry sky.) When the “curtain” parts, Donyale Werle’s inventive Set looks as if artist Joseph Cornell got drunk on moonshine and haphazardly decorated The Grand Ole Opry. Terrific.

Emily Rebholz’s Costumes mix western sagas with a bit of tease, and a smidgen of whimsy. Darron L. West/Charles Coes’ s Sound Design not only delivers the textured music of a five piece bluegrass band (and vocals), but engineers a terrific series of evocative sound effects.

Photos by Joan Marcus
Opening: Greg Hildreth, Steven Pasquale, Leslie Kritzer and the Company

Roundabout Theatre Company presents
The Robber Bridegroom
Book & Lyrics by Alfred Uhry
Music by Robert Waldman
Based on the novella by Eudora Welty
Directed by Alex Timbers
The Laura Pels Theatre
111 West 46th Street