| Author | Message: Another Annie Review | Posted by: Eric
On: 1/17/1999 at 3:10:00 PM GMT
Message #: 581
See headers | ANNIE GET YOUR GUN -- (At the Kennedy Center Opera House through Jan.
24)
In this Broadway-bound production, Bernadette Peters banishes all
thoughts of Ethel Merman about two bars into her first number, "Doin'
What Comes Natur'lly." Partly this is because Merman's Annie was a
hearty, boisterous gal, while Peters plays an adorable, slightly goofy
gamine: not a competitive version of the part, just an alternative
one. But mostly it's because of her singing. Irving Berlin's score
isn't Sondheim, so Peters doesn't do things here that make you shiver.
She just awes you with her lyrical grace and genius for phrasing. For
anyone who cares about the American musical theater, the chance to see
Peters in this role is reason enough to see the show. There really
weren't any others, though Tom Wopat, as Annie's love interest, Frank
Butler, sings very nicely. He doesn't spark off her, though -- in
their love scenes, she has to do all the work. Graciela Daniele's
direction is merely flat and uninspired; the choreography she did with
Jeff Calhoun is downright bad, tricked up and awkward, sometimes even
ugly. The show is almost three hours long. Yes, Irving Berlin is a
genius, but the evening could easily lose several numbers. Except . .
. Peters delivers them so beautifully. Perhaps the best way to
approach this production is to take it as a concert of Irving Berlin
songs sung by a brilliant musical comedy star, and just let your mind
wander during the rest. -- Lloyd Rose
FAME -- (At the Warner Theatre through Sunday)
"I'm alive/ And I will survive/ I'll show the world/ That I can take
it!" The struggling young artistes of "Fame -- The Musical" keep
belting these lyrics defiantly across the footlights. But after
suffering through this godawful retread of both "Fame -- The Motion
Picture" and "Fame -- The Television Series," those hackneyed words
could well have been crooned by yours truly. How could anyone with a
scintilla of theatrical instinct have concluded that this thoroughly
predictable, noisy, cliche-strewed look at those ambitious little
minxes over at New York's High School of the Performing Arts would
genuinely move an audience? And you don't even get to hear those
cheap-but-catchy pop tunes from the movie ("Hot Lunch," "I Sing the
Body Electric"). The only familiar ditty is the title number, which is
sung briefly toward the start of the show and again during the curtain
call. The live band sounds canned, and the majority of the singing is
of that artificial, I'm-singing-my- guts-out variety. The dancing,
most of it jazz, has a similar quality. Dozens of pirouettes, scores
of hitch kicks, countless pelvic thrusts, all delivered with
considerable technical flair but in that punched-up style that makes
one feel worn out rather than energized.
-- Pamela Sommers
THE LAST NIGHT OF BALLYHOO -- (At the Studio Theatre through Feb. 14)
Like A.R. Gurney's theatrical portraits of WASPs, Alfred Uhry's
depiction of upper-class Jewish life in the South is anthropologically
impressive. The Southern details are perfect: the thoughtless racism
toward the maid, the way social life centers on the country club, the
use of the words "tacky" and "asinine," the mother's mantra "I have
never been so embarrassed in my life!" Dramatically, "Ballyhoo" is a
different matter, a mild and overlong comedy that has the political
tone of a socially aware sitcom such as "All in the Family." Between
the jokes, we learn stern lessons about how to behave. The message
here is: Prejudice is bad. The well-off Freitags are of German descent
and have a casual, dismissive contempt for "the other kind," i.e., the
Jewish immigrants from Poland and Russia who came to this country
somewhat later. Into the Freitags' insular life comes Joe Farkas
(Jason Nuzzo), one of the "other kind" who has come to work for Adolph
Freitag (Arthur Laupus) in the family bedding business. The goofy Lala
(Makela Spielman) sets her cap for him, but he falls for her more
genteel cousin Sunny (Carolyn Pasquantonio). Uhry's chief talent as a
writer is charm, and in a first-rate production "The Last Night of
Ballyhoo" might get by on jokes and sweetness. But the Studio show is
crudely directed by Serge Seiden, who appears to have urged the actors
to play types rather than people. -- L.R.
LUCIA MAD -- (At the Washington Stage Guild through Jan. 31)
Samuel Beckett, the morose genius who wrote "Waiting for Godot," was
for a while in the late '20s and early '30s the secretary to another
Irish literary genius, James Joyce (played here by William Hamlin),
then working on "Finnegans Wake." Joyce had a schizophrenic daughter,
Lucia (Jenifer Deal), who developed an infatuation with the skittish,
uninterested Beckett (Morgan Duncan) before she became completely
psychotic and was confined to an institution. Out of this grim story
playwright Don Nigro has fashioned a darkly funny comedy, and director
John MacDonald and his actors are all in on the dreadful joke.
Famously dour, despairing and withdrawn, Beckett was the least hopeful
target in the world for poor Lucia to aim her love at, and a lot of
the play's humor comes from this mismatch. Deal gives an exceptionally
tough-minded performance as Lucia, the ostensible victim of the
situation who wields what limited power she has like an ax. Needy,
fragile and easily hurt, Lucia is a male nightmare come to suffocating
life: the emotionally unstable woman who will not take no for an
answer, who interprets every attempt not to hurt her as a sign of love
and every attempt to get away from her as a betrayal. Physically,
Duncan's Beckett is a cartoon of misery, hunched and suffering, but
with real pain in his eyes. This nightmarish exaggeration of the
battle of the sexes gives the play the acid force of satire or
caricature. Duncan's Beckett is doing his best to help Lucia. That's
never enough in a Beckett play, and it's just as useless, and funny,
here. -- L.R.
RENARD THE FOX -- (By Le Neon Theatre at the Rosslyn Spectrum through
Feb. 14)
Le Neon's visually stunning and altogether charming adaptation of
medieval French tales about an immoral fox and the creatures he wounds
and woos, is also one of its most accessible productions. Let us start
with the language. For those non-French-speaking souls who have
struggled their way through the company's productions in its mother
tongue, here is a show done almost entirely in English. The 11 actors
are playing animals, you know -- rooster, hen, donkey, bear, wolves,
stag, lion, wildcat, dog and fox -- and they've certainly done their
homework. The communication among them, an ingenious mix of spoken
word and eloquent growling/sniffing/crowing, points up the half-human,
half-animal quality essential to these characters, who both embody and
mock the feudal society in which they live and human nature in
general. The actors' movement is even more intriguing. There are
extended passages of slow-motion brutality and a scene of ritualized
mourning by the group that establish a clear sense of their society.
This choreography is both instructive and beautiful. But the most
arresting aspect of "Renard" is its costumes and masks, brilliantly
designed by Justine Scherer. -- P.S.
UNCLE PHILIP'S COAT -- (By Theatre J at the D.C. Jewish Community
Center through Sunday)
In this one-man show, Larry Block plays three characters: an actor
named Larry Zhivatovsky; Larry's immigrant father, who became a
jeweler; and his father's brother Philip, who never became much of
anything. The script by Matty Selman has a plot forced upon it --
we're meant to understand that unlike his earnest father and like
Philip, Larry is a dreamer and drifter. Both Larry's father and uncle
survived a horrific pogrom as children. The father put it behind him
as much as he was able by diving headfirst into America: work, get
ahead, push your children to do better than you. Philip sold things
out of the pockets of his enormous peddler's cloak and ends up dying
of hypothermia on the street. "My father loved him in his own way,"
Larry tells us, "but in his heart he loathed him, hated his guts." The
rift is deeper than the ordinary conflict between a hard-working Good
Brother and an irresponsible Bad Brother. Neither Block nor Selman
underlines this point, but Philip is a walking affront to all sorts of
precious ideas: assimilation, new beginnings, the possibility of
escaping the past. The play isn't quite up to this astonishing
character at its center. Block plays Philip as gentle and vulnerable,
sentimentalizing him. He handles the role of the father much better,
with ambivalence, showing us the man's endurance and courage but also
demonstrating his petty narrow- mindedness. The scenes in which Block
plays Larry are the least interesting. Partly this is because Block is
a little cute in the role, playing up to the audience. Partly it's
because Larry is simply not as interesting as his father and uncle. He
doesn't have their history. He doesn't have their pain. -- L.R.
Continuing
THE ABDUCTION FROM THE SERAGLIO -- (By the Washington Opera at the
Kennedy Center through Jan. 24)
The Washington Opera's presentation of Mozart's youthful opera must be
counted as a mixed bag. On the one hand, the production offers some
wonderful music, a spare, handsome visual conception and an intimate
theatrical environment. (The Eisenhower Theater is considerably
smaller than the Opera House.) Yet "Abduction" itself, for all of its
splendor, begs for judicious trimming. A good deal of the singing was
disappointing and the stage direction was out-and-out hopeless.
Throughout the evening, there was a curious lack of dramatic vector
and the singers often seemed to have fallen into some sort of
melodious Twilight Zone where they were never quite sure what to do
with their bodies. Thus, the agreeably ridiculous buffoon Osmin,
played by Gunter Missenhardt, could do nothing but bring down his whip
upon the stage, again and again, to give us a sense of his
elephantine, dimwitted ferocity. This wasn't very funny the first
time, and, 30 lashes on, it grew really quite tiresome. Another
example -- the great baritone and singing actor Thomas Stewart, who
now devotes most of his time to master classes and rarely appears
onstage anymore, was persuaded to accept the speaking role of Pasha
Selim. However, he was then apparently instructed to collapse into a
weird, cloaked chrysalis as Constanze sang her big Act 2 aria,
"Martern aller Arten." Numerous other theatrical strangenesses
occurred throughout the evening. "Abduction" can be a lot of fun, but
Michael Hampe, who directed and designed this production, would seem
to be humor-challenged -- or perhaps simply didn't put enough time
into breathing life into these characters.
-- Tim Page
THE CRUCIBLE -- (By the Washington Opera at the Kennedy Center through
Jan. 30)
This revival of Robert Ward's "The Crucible" is far and away the
smartest and most valuable production the company has given us this
season. A great deal of care has gone into this endeavor. Instead of
paying one or two perceived superstars pots of money to wander
cluelessly for a few hours among local Lilliputians, the Washington
Opera has opted for a strong, steady cast across the board. Moreover,
a film director of genuine distinction -- the Australian Bruce
Beresford, perhaps best known for his civilized and deeply humane 1989
film "Driving Miss Daisy" -- has been given charge of the stage
action. And so, thanks to Ward and Beresford, there is some engrossing
music drama on the Eisenhower Theater stage. Ward's opera is based on
the play by Arthur Miller and was adapted for operatic purposes by
Bernard Stambler. Although there are many sumptuous moments throughout
the score, "The Crucible" contains no big "tunes" for one to take
home. Moreover, the mood throughout is grim, as befits any study of
Puritan New England and its all-but-inevitable spawn, the Salem witch
hunts. It seems almost churlish to single out the more distinguished
cast members, for one of the most extraordinary things about the
evening was the way everybody worked together, as if the characters
were all caught up in the same rush of psycho-glandular madness.
Daniel Beckwith conducted the Kennedy Center Opera House Orchestra and
Washington Opera Chorus skillfully and idiomatically, and he was
rewarded with performances of unusual spirit and acuity. Judged as a
study in religious fanaticism, "The Crucible" continues to chill.
After all, we are hardly lacking for Cotton Mathers in our own day. --
T.P.
THE FARAWAY NEARBY -- (At Arena Stage through Jan. 24)
Playing Georgia O'Keeffe, Megan Cole has the right look of iconic
handsomeness. She's 30 to 40 years too young for the role of the
octogenarian painter, but she gets her willfulness and spirit exactly
right. Still, the evening at Arena Stage is a long spell in the
desert. Canadian dramatist John Murrell has conceived a story about a
late-life friendship between O'Keeffe and a hired man at her ranch in
northern New Mexico named John Hamilton (Carlos Sanz). Hamilton, who
calls himself Juan, is an itinerant artist who supports himself with
odd jobs and has ended up at O'Keeffe's out of admiration for her
work. Cole and Sanz are attractive, sexy performers, and in an attempt
to focus the tenuous play, director Roberta Levitow subtly brings out
all underlying sensuality in the relationship. She and the actors are
stranded, however, by the script. Frankly, Murrell's O'Keeffe, with
her insistent mysticism and penchant for arty aphorisms is a bore.
Artists talking about art, as opposed to doing it, are generally not
very interesting, and when the talk has been made up by a playwright,
the result can be soporific. The only reason to watch a play about
O'Keeffe is to gain insight into her art, and all we learn here is
that she never quite got red right. -- L.R.
PSYCHIC GHOST THEATRE -- (At Psychic Ghost Theatre, indefinitely)
In the converted space of a building in Wheaton where a Gypsy fortune
teller once plied her cons, the Psychic Ghost Theatre has
materialized. There, on weekends only, Barry Taylor and partner Susan
Kang levitate, float glasses and dice, pull a scarf through a pole,
make a pigeon turn into confetti -- all within 15 feet of the audience
(the theater only holds 18). (Note that no one under 18 is admitted.)
The opportunity to see magic done this close is a luxury. The show,
entitled "Visitations," is in three parts. The first is a more or less
straightforward exhibition of conjuring. The second is the re-creation
of a 19th-century "spirit cabinet." The third is a seance. Close as
you're sitting, you can't catch any of the tricks. It all looks like .
. . well, like magic.
-- L.R.
SHEAR MADNESS -- (At the Kennedy Center Theater Lab, indefinitely)
This long-running theatrical ball of fluff is a weird marriage of
sitcom, whodunit and audience participation project set in a garish
beauty salon. The action revolves around six broadly written
characters who find themselves involved in a murder mystery. Though
the humor is often painfully cheap and the acting a tad overdone,
spectators can't help but perk up when asked to grill the suspects and
choose the ending. -- P.S.
THE WINTER'S TALE -- (At Washington Shakespeare Company through
Saturday)
You've got to admire Tom Mallan's ultimately unsuccessful production.
It's risky, it's bold, it does nothing halfway -- with a text that is,
to say the least, hair-pullingly difficult. Mallan's decisiveness
sharply defines the play's individual parts. But it also prevents them
from coming together. One of Shakespeare's "problem" plays, "The
Winter's Tale" is almost at odds with itself. King Leontes (John
Emmert) can't persuade his old friend King Polixenes (Ian LeValley),
who's visiting, to stay a little longer. When Leontes' pregnant wife,
Hermione (Kerri Rambow), succeeds in doing so, Leontes believes --
wrongly -- that it's because the two are having an affair and the
child she is carrying is Polixenes'. He puts out a contract on
Polixenes, who escapes, thanks to the unwillingness of Camillo (Caren
Anton) to carry out the order. Hermione isn't so lucky, ending up in
jail, then on trial, and then later, we're told, dying -- but not
before her son dies from grief over her imprisonment, and the girl she
gives birth to is taken, again per Leontes' order, and left to die in
the wilds of Bohemia, Polixenes' kingdom. Funny as heck, eh? Cut to
Bohemia 16 years later. The girl, Perdita (Strawberry Catubo), turns
out to have been found and raised by a shepherdess (Rosemary Regan).
Perdita is much in love with Florizel (Christopher Stezin), Polixenes'
son, and vice versa. Things are light and lively indeed until
Polixenes forbids his son to marry a girl so lowly born. The lovers
flee -- to Sicilia, Leontes' kingdom, and a happy, magical ending is
very much in the offing. The major challenge of staging the play is
how to make the thing seem whole. Mallan has evidently decided that
you can't. Updating the show to the '50s, he has conceived the first
half as a somber, shades-of-gray tragedy; Bohemia, on the other hand,
is a nonstop, day-glo beach party with surfing and frugging. The
contrast in tone, look and pace is so stark that you feel as if you're
watching two vaguely related one-acts. -- William Triplett
Theater
Downtown
ARENA STAGE/FICHANDLER -- "The Women," through Feb. 21. Saturday at 8,
Sunday at 2 and 7:30, Tuesday at 7:30, Wednesday-Thursday at 8. Friday
at 8, Sixth and Maine SW. 703/218-6500 or 202/488-3300 (TDD:
202/484-0247).
ARENA STAGE/KREEGER -- "The Faraway Nearby," through Jan. 24. Friday
at 8, Saturday at 2:30 and 8, Sunday at 7:30, Tuesday at noon and
7:30, Wednesday at 7:30, Thursday at 8. Sixth and Maine SW.
703/218-6500 or 202/488-3300 (TDD: 202/484-0247).
FORD'S -- Mark Russell's "Full Disclosure," through Sunday. Friday-
Saturday at 8, Sunday at 3. 511 10th St. NW. 703/218-6500 or
202/347-4833.
OPERA HOUSE -- "Annie Get Your Gun," through Jan. 24. Friday at 8,
Saturday at 2 and 8, Sunday at 1:30 and 7, Tuesday at 8, Wednesday at
2 and 8, Thursday at 8. At the Kennedy Center. 202/467-4600 or
800/444-1324 (TDD: 202/416-8524).
SHAKESPEARE THEATRE -- "King John," through March 6. Tuesday-
Wednesday at 7:30, Thursday at 8. The Lansburgh, 450 Seventh St. NW.
202/547-1122 (TDD: 202/638-3863).
THEATER LAB -- "Shear Madness," indefinitely. Friday at 9, Saturday at
6 and 9, Sunday at 3:30 and 7, Tuesday- Thursday at 8. At the Kennedy
Center. 202/467-4600 or 800/444-1324 (TDD: 202/416-8524).
WARNER -- "Fame: The Musical," through Sunday. Friday at 8, Saturday
at 2 and 8, Sunday at 2 and 7. 13th and E NW. 202/783-4000 or
202/432-7328.
Around Town
AMERICAN CENTURY -- "And Things That Go Bump in the Night," through
Feb. 6. Friday at 8, Saturday at 2:30 and 8, Sunday at 2:30,
Wednesday-Thursday at 8. Theatre II, Gunston Arts Center, 2700 S. Lang
St., Arlington. 703/553-8782.
CLASSIKA -- "Bolero for Drums," through Feb. 28. Saturday-Sunday and
Wednesday-Thursday at 7:30. 4041 S. 28th St., Arlington. 703/824-6200.
D.C. ARTS CENTER -- Quique Aviles in "Chaos Standing," through Feb.
13. Friday-Saturday and Thursday at 7:30. 2438 18th St. NW.
202/462-7833.
ENLIGHTENMENT PRODUCTIONS -- "For the Time Being," through Jan. 24.
Friday-Saturday at 8, Sunday at 7:30, Thursday at 8. Gonzaga High
School, 19 I St. NW. 703/218-6500.
LE NEON -- "Renard the Fox," through Feb. 14. Friday-Saturday at 8,
Sunday at 2, Thursday at 8. Rosslyn Spectrum, 1611 N. Kent St.,
Arlington. 703/243-6366.
PSYCHIC GHOST THEATRE -- "Visitations," indefinitely. Friday-Saturday
at 8, Sunday at 5:30. 11234 Georgia Ave., Wheaton. 301/946-2882.
ROUND HOUSE -- "The Turn of the Screw," through Feb. 14. Wednesday-
Thursday at 8. 12210 Bushey Dr., Silver Spring. 301/933-1644.
SIGNATURE -- "Over & Over," through Feb. 14. Friday-Saturday at 8,
Sunday at 2 and 7, Tuesday-Thursday at 8. 3806 S. Four Mile Run Dr.,
Arlington. 703/218-6500.
STUDIO -- "The Last Night of Ballyhoo," through Feb. 8 in the Mead
Theatre. Friday at 8, Saturday at 2 and 8, Sunday at 2 and 7,
Wednesday-Thursday at 8. 1333 P St. NW. 202/332-3300.
THEATER J -- "Uncle Philip's Coat," through Sunday. Saturday at 8,
Sunday at 3 and 7:30. D.C. Jewish Community Center, 1529 16th St. NW.
800/494-8497 or 202/518-9400.
WASHINGTON SHAKESPEARE CO. -- "The Winter's Tale," through Saturday.
Friday-Saturday at 8. Clark Street Playhouse, 601 S. Clark St.,
Arlington. 703/418-4808.
WASHINGTON STAGE GUILD -- "Lucia Mad," through Jan. 31. Friday at 8,
Saturday at 2:30 and 8, Sunday at 2:30, Wednesday-Thursday at 7:30.
Carroll Hall, 924 G St. NW. 202/529-2084.
WASHINGTON STORYTELLERS' Theater -- Storytelling by Linda Fang:
"Sticky Rice" and "Fingerprint of Blood Part I," Friday at 8;
"Inscrutably Obvious" and "Fingerprint of Blood Part II," Saturday at
8. The Writer's Center, 4508 Walsh St., Bethesda. 301/891-1129.
WOOLLY MAMMOTH -- "The Last Orbit of Billy Mars," through Feb. 14.
Friday-Saturday at 8, Sunday at 2, Wednesday-Thursday at 8. 1401
Church St. NW. 703/218-6500.
Literary Readings
ELLIPSE ARTS CENTER -- Geraldine Connolly, Laura Fargas and Elizabeth
Murawski read their poetry, Friday at 8. 4350 N. Fairfax Dr.,
Arlington. 703/228-7710.
FOLGER SHAKESPEARE LIBRARY -- Cynthia Ozick reads from her fiction,
Thursday at 8. 201 East Capitol St. SE. 202/544-7077.
TEATRO DE LA LUNA -- Open poetry marathon, Saturday 10 a.m. to 10 p.m.
National Rural Electric Cooperative Association auditorium, 4301
Wilson Blvd., Arlington. 202/882-6227.
SCENA THEATRE -- "The Poetry of Jaroslav Seifert," readings by Kathryn
Kelley, Kryztof Lindquist and Carter Jahncke, Tuesday at 7. Free.
Sponsored by the Czech Embassy at Politics & Prose Books, 5015
Connecticut Ave. NW. 202/274-9100, Ext. 34, this show only.
Baltimore/Out of Town
AVALON THEATRE -- "Radio From Downtown," musical variety show taped
for broadcast, Saturday at 7:30. 40 E. Dover St., Easton. 410/822-0345.
AXIS -- "Twilight of the Golds," through Feb. 14. Friday-Saturday and
Thursday at 8. 3600 Clipper Mill Rd., Baltimore. 410/243-5237.
CENTER STAGE -- "Jitney," through Feb. 14. Friday at 8, Saturday at 2
and 8, Sunday at 2 and 7:30, Wednesday- Thursday at 8. 700 N. Calvert
St., Baltimore. 410/481-6500 or 410/332-0033.
EVERYMAN -- "Voir Dire," through Jan. 31. Friday-Saturday at 8, Sunday
at 2:30, Wednesday-Thursday at 8. 1727 N. Charles St., Baltimore.
410/752-2208.
MORRIS A. MECHANIC -- "Evita," through Jan. 24. Friday at 8, Saturday
at 2 and 8, Sunday at 2 and 7:30, Tuesday- Thursday at 8. Charles and
Baltimore streets, Baltimore. 410/752-1200 or 410/625-4230.
SPOTLIGHTERS -- "An American Daughter," through Feb. 7. Friday-
Saturday at 8, Sunday at 2. 817 St. Paul St., Baltimore. 410/752-1225.
Community Theater
LITTLE THEATRE OF ALEXANDRIA -- "The Murder Room," through Jan. 30.
Friday-Saturday at 8, Sunday at 3, Wednesday-Thursday at 8. 600 Wolfe
St., Alexandria. 703/683-0496.
MONTGOMERY PLAYHOUSE -- "Don't Mention My Name," through Jan. 23.
Friday-Saturday at 8:30, Sunday at 2:30. 1201 Quince Orchard Blvd.,
Gaithersburg. 301/977-5751.
SILVER SPRING STAGE -- "Light Sensitive," through Feb. 6. Friday-
Saturday at 8, Sunday at 2. 10145 Colesville Rd., Silver Spring.
301/593-6036.
College
GEORGETOWN U. -- "A Day in the Death of Joe Egg," through Jan. 30.
Thursday at 8. Poulton Hall, Georgetown University, 37th and P NW.
202/687-6783.
Dinner Theater
BURN BRAE -- "Little Shop of Horrors," through May 23.
Friday-Saturday, dinner at 6, show at 8; Sunday, dinner at 3, show at
5. 3811 Blackburn Lane, Burtonsville. 301/384-5800 or 410/792-0290.
CHESAPEAKE MUSIC HALL -- "42nd Street," through Jan. 30. Friday,
dinner at 7, show at 8:30; Saturday, dinner at 6:30, show at 8;
Sunday, buffet at 1, show at 2:30. 339 Busch's Frontage Rd.,
Annapolis. 410/626-7515 or 800/406-0306.
F. SCOTT BLACK'S -- "Dancing: the Fabulous Feet of Broadway," through
Feb. 28. Friday-Saturday and Thursday, dinner at 6:30, show at 8;
Sunday, dinner at 4:30, show at 6. 100 E. Chesapeake Ave., Towson.
410/321-6595.
LAZY SUSAN -- "The Unexpected Guest," through March 21. Friday-
Saturday and Tuesday-Thursday, dinner at 7, show at 8:30; Sunday,
dinner at 6, show at 7:30. U.S. 1 at Furnace Road, Woodbridge.
703/550-7384.
RIVERSIDE CENTER -- "Mame," through Jan. 31. Friday-Saturday and
Wednesday-Thursday, dinner at 6:30, show at 8; Sunday matinee, dinner
at 1:30, show at 3. 95 Riverside Pkwy., Fredericksburg, Va.
540/370-4500.
TIMONIUM -- "Love, Sex and IRS," through March 28. Friday-Saturday,
dinner at 6:30, show at 8; Sunday, dinner at 4:30, show at 6;
Thursday, dinner at 6:30, show at 8. 9603 Deereco Rd., Timonium.
410/560-1113.
TOBY'S -- "Children of Eden," through Feb. 14. Friday-Saturday and
Tuesday- Thursday, dinner at 6:15, show at 8:15; matinee Sunday and
Wednesday, buffet at 10:45, show at 12:30; Sunday evening, dinner at
5:15, show at 7:15. 5900 Symphony Woods Dr., Columbia. 301/596-6161.
WAY OFF BROADWAY -- "Mame," through April 10. Friday-Saturday, dinner
at 6, show at 8; Sunday, dinner at noon, show at 2. 5 Willowdale Dr.,
Frederick. 301/662-6600.
WEST END -- "Murder on the Nile," through March 7. Friday-Sunday and
Tuesday-Thursday, dinner at 6, show at 8; matinees Sunday and
Wednesday, dinner at noon, show at 2. 4615 Duke St., Alexandria.
703/370-2500.
Dance
ARKA BALLET -- Friday at 8. Montgomery College Performing Arts Center,
51 Mannakee St., Rockville. 301/279-5301.
TAP DANCE FESTIVAL -- Friday at 8, Saturday at 8 and Sunday at 4, with
Step Aside, TAPestry, Tappers With Attitude and Taps & Company. Dance
Place, 3225 Eighth St. NE. 202/269-1600.
DUQUESNE UNIVERSITY Tamburitzans -- Saturday at 7. Atholton High
School, 6520 Freetown Rd., Columbia. 410/461-3375 or 410/730-0039.
MAYUR DANCE ACADEMY -- "Konark," Saturday at 7:30 and Sunday at 3.
Montgomery College Performing Arts Center, 51 Mannakee St., Rockville.
301/949-9044.
MOISEYEV DANCE COMPANY -- Monday at 7:30. Joseph Meyerhoff Symphony
Hall, 1212 Cathedral St., Baltimore. 410/783-8000.
© Copyright 1999 The Washington Post Company
==
"Let the crisis become a bridge...and cross that bridge tomorrow..."
-Stevie Nicks
"Instinct and common sense...they come in different quantaties" -Cyndi Lauper
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