Lewiston, March 2023
Julinda Lewis, RVArt Review
(RTCC Nominated Best Set Design for a Play: Vinnie Gonzalez)
Sometimes it’s the little things that matter. Lewiston is set in a small town, placed on a small stage, in a small theatre, with a small cast, and it has a major impact. Lewiston feels familiar; it touches the heart. It tells a story that resonates with many, if not most, American families and may hit closer to home than you’d like to admit.
First, kudos to a phenomenal cast who authentically inhabited difficult characters. Boomie Pedersen, who treads the boards far less often than some of us would like, wears the heavy mantel of Alice, a grandmother estranged from her only granddaughter and landowner fighting a losing battle against well-funded corporate developers. It takes real skills to find a realistic balance between the angry, disengaged old woman and the loving matriarch. New to me are Ashley Elizabeth Thompson as the estranged granddaughter, Marnie, and Paul James as Alice’s roommate Connor, who has been fighting his own battles since childhood.
One striking thing that Connor reveals is how he never felt at home in the small town where he grew up and spent his entire life. The son of a minister, I’ll leave it to you to find out the details of his story and his disenfranchisement when you go see this beautiful play. Marnie, it turns out, is full of surprises. A backpacking loner who arrives out of nowhere, on foot, she is much more complex than she at first appears. And the more Alice and Marnie reveal, the more we see how much alike the two women really are. Connor, too, has secrets, and the three lives are more entwined than it first appears.
Samuel D. Hunter’s play is a masterpiece of storytelling. Touches of humor juxtapose heart-rending reality and revelations, interspersed with audio-taped narration provided by Marnie’s deceased mother – Alice’s daughter. Julie Fulcher-Davis, who directed with a masterful, unintrusive hand, also created one of the most organic sound scores I’ve ever heard. Ambient sounds enhance the roadside fireworks stand lovingly and authentically crafted by Vinnie Gonzalez as well as the recorded narration. Birds, footsteps crunching on leaves, the sound of the ocean waves, and more are subtly and organically orchestrated to provide clues to the location, the season, the mood.
Lewiston could be any roadside in any small town, but it is set in a real place. Lewiston, Idaho was named in honor of Meriwether Lewis, of the Lewis and Clark Expedition most of us learned about in American history. The historical background and evolving economic base from agricultural to industrial are very much a part of Hunter’s story – and the stories of his characters. That makes Alice, Marnie, and Connor seem all the more real.
By the end, we are thoroughly invested in the lives of these three people. At the end, Hunter never reveals the final outcome. Does Alice sell the family land to the big developers – or does she sell it to Marnie? The financial transactions, while important, are not the focus of the story; relationships are the heart of the story. The heart is the heart of the story – and that is why it is so worth going to see Lewiston. Note: It’s a short run, so don’t procrastinat
Julinda Lewis, RVArt Review
(RTCC Nominated Best Set Design for a Play: Vinnie Gonzalez)
Sometimes it’s the little things that matter. Lewiston is set in a small town, placed on a small stage, in a small theatre, with a small cast, and it has a major impact. Lewiston feels familiar; it touches the heart. It tells a story that resonates with many, if not most, American families and may hit closer to home than you’d like to admit.
First, kudos to a phenomenal cast who authentically inhabited difficult characters. Boomie Pedersen, who treads the boards far less often than some of us would like, wears the heavy mantel of Alice, a grandmother estranged from her only granddaughter and landowner fighting a losing battle against well-funded corporate developers. It takes real skills to find a realistic balance between the angry, disengaged old woman and the loving matriarch. New to me are Ashley Elizabeth Thompson as the estranged granddaughter, Marnie, and Paul James as Alice’s roommate Connor, who has been fighting his own battles since childhood.
One striking thing that Connor reveals is how he never felt at home in the small town where he grew up and spent his entire life. The son of a minister, I’ll leave it to you to find out the details of his story and his disenfranchisement when you go see this beautiful play. Marnie, it turns out, is full of surprises. A backpacking loner who arrives out of nowhere, on foot, she is much more complex than she at first appears. And the more Alice and Marnie reveal, the more we see how much alike the two women really are. Connor, too, has secrets, and the three lives are more entwined than it first appears.
Samuel D. Hunter’s play is a masterpiece of storytelling. Touches of humor juxtapose heart-rending reality and revelations, interspersed with audio-taped narration provided by Marnie’s deceased mother – Alice’s daughter. Julie Fulcher-Davis, who directed with a masterful, unintrusive hand, also created one of the most organic sound scores I’ve ever heard. Ambient sounds enhance the roadside fireworks stand lovingly and authentically crafted by Vinnie Gonzalez as well as the recorded narration. Birds, footsteps crunching on leaves, the sound of the ocean waves, and more are subtly and organically orchestrated to provide clues to the location, the season, the mood.
Lewiston could be any roadside in any small town, but it is set in a real place. Lewiston, Idaho was named in honor of Meriwether Lewis, of the Lewis and Clark Expedition most of us learned about in American history. The historical background and evolving economic base from agricultural to industrial are very much a part of Hunter’s story – and the stories of his characters. That makes Alice, Marnie, and Connor seem all the more real.
By the end, we are thoroughly invested in the lives of these three people. At the end, Hunter never reveals the final outcome. Does Alice sell the family land to the big developers – or does she sell it to Marnie? The financial transactions, while important, are not the focus of the story; relationships are the heart of the story. The heart is the heart of the story – and that is why it is so worth going to see Lewiston. Note: It’s a short run, so don’t procrastinat
Review: In Love We Trust
December 2019
Susan Haubenstock: Broadway World
"It's not a play. It's not a traditional musical. It's a party!"
Thus HATTheatre introduces Anthony Williams's new musical revue, "In Love We Trust." Williams is the musical director for the hour-long piece, which he hints is a somewhat autobiographical selection of the songs of his life. He's the pianist in the trio that backs up a quartet of singers, of which he is also a part. It's pleasant to be in Williams's world. Anyone who listens to classic rock will be comfortable there, and there are some newer tunes, too. The show opens with the beautiful "Fantasy" by Earth, Wind & Fire, which gave me chills in a lovely four-part rendition. Those weren't the last chills I experienced; Robyn O'Neill's solo on "Alfie" caused them, too. I loved my longtime favorite "I Saw The Light" by Todd Rundgren, with Williams taking the vocal lead, and Casey Dillon's interpretation of "Migratory V," by Audra McDonald, was stunning. The versatile Andrew Etheredge, with his big vocal range, completely owned Chrisette Michele's "Love Is You," a song new to me. Set up invitingly, cabaret-style, for this piece, there's not much patter; creative consultant Deb Clinton lets the music speak for itself. Steve Raybould's percussion and Forrest Link's guitar provide smooth and able support (Jeremiah Martin is slated as the guitarist for the show's final weekend). For a respite from holiday madness, settle in for a leisurely, tuneful stroll through Williams's heart.
December 2019
Susan Haubenstock: Broadway World
"It's not a play. It's not a traditional musical. It's a party!"
Thus HATTheatre introduces Anthony Williams's new musical revue, "In Love We Trust." Williams is the musical director for the hour-long piece, which he hints is a somewhat autobiographical selection of the songs of his life. He's the pianist in the trio that backs up a quartet of singers, of which he is also a part. It's pleasant to be in Williams's world. Anyone who listens to classic rock will be comfortable there, and there are some newer tunes, too. The show opens with the beautiful "Fantasy" by Earth, Wind & Fire, which gave me chills in a lovely four-part rendition. Those weren't the last chills I experienced; Robyn O'Neill's solo on "Alfie" caused them, too. I loved my longtime favorite "I Saw The Light" by Todd Rundgren, with Williams taking the vocal lead, and Casey Dillon's interpretation of "Migratory V," by Audra McDonald, was stunning. The versatile Andrew Etheredge, with his big vocal range, completely owned Chrisette Michele's "Love Is You," a song new to me. Set up invitingly, cabaret-style, for this piece, there's not much patter; creative consultant Deb Clinton lets the music speak for itself. Steve Raybould's percussion and Forrest Link's guitar provide smooth and able support (Jeremiah Martin is slated as the guitarist for the show's final weekend). For a respite from holiday madness, settle in for a leisurely, tuneful stroll through Williams's heart.
Reviews: Every Brilliant Thing, by Duncan McMillan with Jonny Donahoe
March 2019
John Porter: Firehouse Forum Blog
"This weekend, I caught a wonderful show at HATTheatre, EVERY BRILLIANT THING. It’s an almost one-person show – one actor, Chris Hester, and a few audience members are pulled up to play some secondary characters in scenes that are part scripted and part improvisation. It’s a short show, maybe a little over an hour, and at this Sunday matinee that I caught, the place was packed. Hester did something that few actors have ever done to me as an audience member – he made me believe. I’m not saying he acted well, he almost always does, but to seamlessly operate the character that was essentially himself and to be completely truthful to the process, is a rare and precious thing."
"I have rarely been so affected by any performance, and within the intimate confines of HATTheatre, it was a real pleasure to see."
Karen Newton: I could go on and on- Blog post
"The choice of the multi-watt talented Chris Hester drove the energy of the play, imbuing it with a believability and sensitivity that was truly touching. Whether unsure about why his Mom was so sad or ecstatic about finally meeting a woman to whom he could make reading recommendations, the audiences' hearts and heads were rooting for him."
Julinda Lewis: RVArt Review
"It’s hard to imagine a warm and engaging comedy about mental illness and suicide but that is exactly what the team of Vickie L. Scallion/Artistic Director, Chris Hester/Actor, and Frank Foster/Director and Scenic Designer have pulled off with Duncan MacMillan and Jonny Donahoe’s Every Brilliant Thing, now running in the far West End’s HATTheatre." "In an early poignant moment – and there are many – the boy stands outside the door of his father’s study waiting to see what type of music he will play. That will let him know whether to enter or head downstairs and fend for himself." "I recommend Every Brilliant Thing because it is an intriguing production. It will make you laugh, it may make you cry, as it did the young woman who played the role of Sam on Sunday afternoon. But more importantly, it provides a non-threatening opening to discuss these very real and very timely issues: depression; mental illness – or better yet, mental health; suicide. Every Brilliant Thing puts the audience to work and reminds us that there is always hope."
Full review by Betsy Estes: "Chris Hester and Crew are Brilliant in "Every Brilliant Thing"
https://richmondfamilymagazine.com/rfm-community/chris-hester-and-crew-are-brilliant-in-every-brilliant-thing/
Jerry Williams: Sifter
"Chris Hester is the most genuine he’s ever been on stage. He’s engaging and comfortable with the audience and when it’s time to bring it home, he creates a heartfelt mood. Director Frank Foster has placed the show in the round and kept Hester constantly navigating the room. He’s brought out Hester’s natural charm, but kept him authentic."
March 2019
John Porter: Firehouse Forum Blog
"This weekend, I caught a wonderful show at HATTheatre, EVERY BRILLIANT THING. It’s an almost one-person show – one actor, Chris Hester, and a few audience members are pulled up to play some secondary characters in scenes that are part scripted and part improvisation. It’s a short show, maybe a little over an hour, and at this Sunday matinee that I caught, the place was packed. Hester did something that few actors have ever done to me as an audience member – he made me believe. I’m not saying he acted well, he almost always does, but to seamlessly operate the character that was essentially himself and to be completely truthful to the process, is a rare and precious thing."
"I have rarely been so affected by any performance, and within the intimate confines of HATTheatre, it was a real pleasure to see."
Karen Newton: I could go on and on- Blog post
"The choice of the multi-watt talented Chris Hester drove the energy of the play, imbuing it with a believability and sensitivity that was truly touching. Whether unsure about why his Mom was so sad or ecstatic about finally meeting a woman to whom he could make reading recommendations, the audiences' hearts and heads were rooting for him."
Julinda Lewis: RVArt Review
"It’s hard to imagine a warm and engaging comedy about mental illness and suicide but that is exactly what the team of Vickie L. Scallion/Artistic Director, Chris Hester/Actor, and Frank Foster/Director and Scenic Designer have pulled off with Duncan MacMillan and Jonny Donahoe’s Every Brilliant Thing, now running in the far West End’s HATTheatre." "In an early poignant moment – and there are many – the boy stands outside the door of his father’s study waiting to see what type of music he will play. That will let him know whether to enter or head downstairs and fend for himself." "I recommend Every Brilliant Thing because it is an intriguing production. It will make you laugh, it may make you cry, as it did the young woman who played the role of Sam on Sunday afternoon. But more importantly, it provides a non-threatening opening to discuss these very real and very timely issues: depression; mental illness – or better yet, mental health; suicide. Every Brilliant Thing puts the audience to work and reminds us that there is always hope."
Full review by Betsy Estes: "Chris Hester and Crew are Brilliant in "Every Brilliant Thing"
https://richmondfamilymagazine.com/rfm-community/chris-hester-and-crew-are-brilliant-in-every-brilliant-thing/
Jerry Williams: Sifter
"Chris Hester is the most genuine he’s ever been on stage. He’s engaging and comfortable with the audience and when it’s time to bring it home, he creates a heartfelt mood. Director Frank Foster has placed the show in the round and kept Hester constantly navigating the room. He’s brought out Hester’s natural charm, but kept him authentic."
Reviews: John & Jen by Andrew Lippa and Tom Greenwald, March 2018
Broadway World- Brent Deekins
"The two-person spectacle that is JOHN & JEN - which here features Georgia Rogers Farmer (Jen) and Chris Hester (John) in resounding and sweet performances - revolves around the American sociological fluxes emanating from a linear timespan stretching from 1952 to 1990."
"Farmer and Hester's work here cannot go unappreciated, not to mention backing their characters up with robust vocals to Andrew Lippa's fun but demanding music - most of which is sung-through in form. Stand-out numbers include the hilarious "Little League," the dense tone of "Run And Hide," and the reverent, 11 o'clock ballad that is "The Road Ends Here."
"Individual aces in this production go to musical direction by Joshua Wortham (paired with vocal direction by the show's director himself, Doug Schneider), unique scenic contrivances by designer Frank Foster (this includes a trifecta of lucid video screens which feature, among other images, years-old real-life photographs of the two leads), and a live, four-piece orchestra that not only includes Nick Oyler on drums, but it also manages to squeeze in some acting interjections from Wortham (keyboard), Michael Knowles (cello), and Marissa Resmini (violin). An amusing touch!"
"Ms. Scallion and her team have put together an appealing exhibition of family dynamics that parents and kids alike should find to be a reflective (and emotional) jaunt."
Richmond Times Dispatch - Tony Farrell
"Farmer and Hester deliver unimpeachable performances"
"We fall under the spell of the musicians from the moment they begin to tune up just before the start of “John & Jen.”".
"Hester and Farmer are perfectly cast as John and Jen, and both have the top-flight vocal chops, expressive faces and natural irrepressibility to hold — but never overwhelm — the intimate theater space."
Richmond Magazine - Jerry Williams
"Farmer is spot on with her comic charms"
"Hester creates a sweet younger character"
RVA Art Review -Julinda Lewis
"Any excuse to spend an evening with Georgia Rogers Farmer (Jen) and Chris Hester (John) is an evening well spent. In this two-person chamber musical that fits perfectly in the intimate black box that is HATTheatre, Farmer and Hester do not disappoint."
"tightly woven intense, intimate musical"
"Throughout both acts there were touchingly sweet moments that allowed Farmer’s epic voice and presence to soar"
Broadway World- Brent Deekins
"The two-person spectacle that is JOHN & JEN - which here features Georgia Rogers Farmer (Jen) and Chris Hester (John) in resounding and sweet performances - revolves around the American sociological fluxes emanating from a linear timespan stretching from 1952 to 1990."
"Farmer and Hester's work here cannot go unappreciated, not to mention backing their characters up with robust vocals to Andrew Lippa's fun but demanding music - most of which is sung-through in form. Stand-out numbers include the hilarious "Little League," the dense tone of "Run And Hide," and the reverent, 11 o'clock ballad that is "The Road Ends Here."
"Individual aces in this production go to musical direction by Joshua Wortham (paired with vocal direction by the show's director himself, Doug Schneider), unique scenic contrivances by designer Frank Foster (this includes a trifecta of lucid video screens which feature, among other images, years-old real-life photographs of the two leads), and a live, four-piece orchestra that not only includes Nick Oyler on drums, but it also manages to squeeze in some acting interjections from Wortham (keyboard), Michael Knowles (cello), and Marissa Resmini (violin). An amusing touch!"
"Ms. Scallion and her team have put together an appealing exhibition of family dynamics that parents and kids alike should find to be a reflective (and emotional) jaunt."
Richmond Times Dispatch - Tony Farrell
"Farmer and Hester deliver unimpeachable performances"
"We fall under the spell of the musicians from the moment they begin to tune up just before the start of “John & Jen.”".
"Hester and Farmer are perfectly cast as John and Jen, and both have the top-flight vocal chops, expressive faces and natural irrepressibility to hold — but never overwhelm — the intimate theater space."
Richmond Magazine - Jerry Williams
"Farmer is spot on with her comic charms"
"Hester creates a sweet younger character"
RVA Art Review -Julinda Lewis
"Any excuse to spend an evening with Georgia Rogers Farmer (Jen) and Chris Hester (John) is an evening well spent. In this two-person chamber musical that fits perfectly in the intimate black box that is HATTheatre, Farmer and Hester do not disappoint."
"tightly woven intense, intimate musical"
"Throughout both acts there were touchingly sweet moments that allowed Farmer’s epic voice and presence to soar"
Reviews: Hillary and Clinton by Lucas Hnath, November 2017
"And so begins the brisk, fanciful and engaging “Hillary and Clinton,” playwright Lucas Hnath’s parallel-universe imagining of how a character who may or may not be that presidential candidate comes to a fork in the road — and ponders the probabilities, pros and cons and cost-benefit analyses of her make-or-break moment in a random, indifferent universe"
"Waleed Sami, who eventually appears as the never-named opponent to strike a deal with Hillary, captures the quiet, cool remove — and uncanny vocal tones — of the guy who really won the race back here on Earth." "Director Deejay Gray invests the production in languid, lingering moments when rat-a-tat wordplay cools long enough to give way to a painful sense of the bittersweet" -Tony Farrell, Richmond Times Dispatch
"And so begins the brisk, fanciful and engaging “Hillary and Clinton,” playwright Lucas Hnath’s parallel-universe imagining of how a character who may or may not be that presidential candidate comes to a fork in the road — and ponders the probabilities, pros and cons and cost-benefit analyses of her make-or-break moment in a random, indifferent universe"
"Waleed Sami, who eventually appears as the never-named opponent to strike a deal with Hillary, captures the quiet, cool remove — and uncanny vocal tones — of the guy who really won the race back here on Earth." "Director Deejay Gray invests the production in languid, lingering moments when rat-a-tat wordplay cools long enough to give way to a painful sense of the bittersweet" -Tony Farrell, Richmond Times Dispatch
"Jeff Clevenger and Billy Christopher Maupin are downright brilliant in their development of magnetic personalities and their mastery of the sharp repartee" - Jerry Williams, TV Sifter
"Hillary's chief strategist Mark (Billy-Christopher Maupin in an enjoyably frazzled performance) pits himself against sets of opposing views on how best Hillary can apply herself to the sensibilities of the voting public." "When "The Other Guy" arrives to further complicate the proceedings (played with cunning sense of serenity by Waleed Sami), Hillary and Bill are forced to simply gaze into the heavens to philosophize over their places in whatever world they or their infinite number of cosmic iterations might inhabit." "Vickie Lynn Scallion and her team at HATTheatre have assisted Mr. Gray and company in giving us a charmingly quaint and timely parable on politics as a personal and public entity. My only gripe is that I wish this had a longer run! Do see it this weekend while you still have the chance!"
-Broadway World - Brent Deekins
Reviews: Bill W. and Dr. Bob, by Samuel Shem and Janet Surrey, Feb. 2017
" tells one of the most important stories in recent history"
"Hester and Moretti give strong performances"
"The set is sparse but impactful – and Audra Honaker (playing several minor women characters) and David Janosik (playing several minor male characters) offer solid performances & comic relief" "The story is truly remarkable" -Julie Harthill Clayton, GayRVA
" tells one of the most important stories in recent history"
"Hester and Moretti give strong performances"
"The set is sparse but impactful – and Audra Honaker (playing several minor women characters) and David Janosik (playing several minor male characters) offer solid performances & comic relief" "The story is truly remarkable" -Julie Harthill Clayton, GayRVA
"Actor Chris Hester communicates Bill’s peculiar mix of ego and shame with tremulous lips that dominate a face begging for understanding. As the more muted and contrite Bob, Ken Moretti perfectly nails the physical manner of a broken alcoholic; his dark, faraway eyes are pools of sorrow and regret." "Heavyweight actors David Janosik and Audra Honaker also do excellent work in a variety of roles that include a parade of alcoholics and supporting — if sometimes abused — spouses." "At its heart, “Bill W. and Dr. Bob” testifies to how humble, human connection may be the only true cure for age-old, corrosive, human loneliness." -Tony Farrell, RTD
"With his innate charm and winning smile, Chris Hester played Bill as a guy who could "talk a dog off a meat wagon" while Ken Moretti's Bob was older, more cynical and completely resigned to a life of lies, hidden binges and drying out. Yin and yang."
"Both were heartbreaking in their own way, but also inspirational in their shared desire to show others what had worked for them: talking to someone else who'd been through it and establishing a support network of others who understood the struggle." -Karen Newton, I could go on and on (blog)
"Both were heartbreaking in their own way, but also inspirational in their shared desire to show others what had worked for them: talking to someone else who'd been through it and establishing a support network of others who understood the struggle." -Karen Newton, I could go on and on (blog)
Reviews: Creating Claire, by Joe DiPietro, March 2016
(Most Promising New Comer nomination for Emma Grace Bailey by the Richmond Theatre Critics Circle)
http://mondojohnny.blogspot.com/2016/03/creating-claire-explores-science-vs.html
" In recent years the theatre has presented some of Richmond’s best work, and CREATING CLAIRE belongs in that category." "Berlin’s portrayal of museum director Victoria – herself dealing with a family crisis is subtle, nuanced and occasionally over the top. Berlin is one of those actresses who somehow manages to stay under the radar for the most part and when she shows up, she usually brings a powerful performance. This is one of those times" -John Porter, WCVE Radio
(Most Promising New Comer nomination for Emma Grace Bailey by the Richmond Theatre Critics Circle)
http://mondojohnny.blogspot.com/2016/03/creating-claire-explores-science-vs.html
" In recent years the theatre has presented some of Richmond’s best work, and CREATING CLAIRE belongs in that category." "Berlin’s portrayal of museum director Victoria – herself dealing with a family crisis is subtle, nuanced and occasionally over the top. Berlin is one of those actresses who somehow manages to stay under the radar for the most part and when she shows up, she usually brings a powerful performance. This is one of those times" -John Porter, WCVE Radio
"So muse if you will upon atoms, gravity and Darwin’s theory of evolution, but do not dismiss the spiritual element that brings values, perspective and hope to our earthly place in the universe.
This eternal, grudging kinship between science and religion forms the nexus of “Creating Claire,” HATTheatre’s wry, beguiling production of Joe DiPietro’s study of how one family comes to terms with its willingness to grow and change." "More pointed, direct and thought-provoking about questions of faith and spirituality than any other Acts of Faith Theatre Festival production this season"
"Each actor in “Creating Claire” seizes upon the script’s easy, matter-of-fact rhythm and imbues the show with a winsome sense of mortal imperfection and struggle." - Tony Farrell, Richmond Times Dispatch
This eternal, grudging kinship between science and religion forms the nexus of “Creating Claire,” HATTheatre’s wry, beguiling production of Joe DiPietro’s study of how one family comes to terms with its willingness to grow and change." "More pointed, direct and thought-provoking about questions of faith and spirituality than any other Acts of Faith Theatre Festival production this season"
"Each actor in “Creating Claire” seizes upon the script’s easy, matter-of-fact rhythm and imbues the show with a winsome sense of mortal imperfection and struggle." - Tony Farrell, Richmond Times Dispatch
"Young Emma Grace Bailey gave as accomplished a performance
as her more experienced peers. Her Abigail was studied, nuanced and not overplayed."
-Fred Kauffman, GayRVA
as her more experienced peers. Her Abigail was studied, nuanced and not overplayed."
-Fred Kauffman, GayRVA
"Jill Bari Steinberg embraces her conflict with subdued naturalism, Amy Berlin does an admirable job of effectively handling her transparent polemic and Emma Grace Bailey captures her characters autistic qualities". - Jerry Williams, The Sifter
Reviews: The Whale, by Samuel D. Hunter, Feb 2015
(Best Supporting Actor nomination for Deejay Gray from the Richmond Theatre Critics Circle)
http://mondojohnny.blogspot.com/2015/03/the-whale-swims-at-hattheatre.html
"It’s the kind of play that all lovers of strong drama will gravitate towards and find themselves challenged by the journey." "Charlie’s daughter Ellie is played by Gwyneth Sholar, a very young actress who manages to hold her own and even steal a few scenes from the more seasoned performers. Sholar is an exciting presence to watch and has the potential to claim her own space in the Richmond theatre scene." "The intimate space of HATTheatre is transformed into Charlie’s littered apartment and with his broken furniture and enlarged body, the claustrophobia is palpable. " - John Porter, WCVE Radio
(Best Supporting Actor nomination for Deejay Gray from the Richmond Theatre Critics Circle)
http://mondojohnny.blogspot.com/2015/03/the-whale-swims-at-hattheatre.html
"It’s the kind of play that all lovers of strong drama will gravitate towards and find themselves challenged by the journey." "Charlie’s daughter Ellie is played by Gwyneth Sholar, a very young actress who manages to hold her own and even steal a few scenes from the more seasoned performers. Sholar is an exciting presence to watch and has the potential to claim her own space in the Richmond theatre scene." "The intimate space of HATTheatre is transformed into Charlie’s littered apartment and with his broken furniture and enlarged body, the claustrophobia is palpable. " - John Porter, WCVE Radio
"Director Julie Fulcher-Davis brings Samuel D. Hunter’s The Whale to mesmerizing life with a quintet of remarkable actors whose whole-hearted commitment to their characters and the script makes for theater magic." "You’d have to be a rock not to be profoundly moved, even changed, by this magnificent and redemptive tale." "Funny and caustic, and achingly human, The Whale is a cautionary tale of what can be done to and by people in the name of religion. It is a stunning entry into the Acts of Faith Festival."
"HATTheatre’s entry into the 2014 Acts of Faith Festival is a tour de force from beginning to end."
"There isn’t a false move throughout nor does the show falter in any way. Each individual performance is stellar, and as an ensemble these five are extraordinary. The sheer physicality of Hawke’s performance is breathtaking." - Julie Harthill Clayton, GayRVA
"HATTheatre’s entry into the 2014 Acts of Faith Festival is a tour de force from beginning to end."
"There isn’t a false move throughout nor does the show falter in any way. Each individual performance is stellar, and as an ensemble these five are extraordinary. The sheer physicality of Hawke’s performance is breathtaking." - Julie Harthill Clayton, GayRVA
"When a show centers around such a distinctive character it’s vital that the actor can carry the weight. Michael Hawke wheezes and labors convincingly, while delaying sympathy for the character until the final scenes. The rest of the cast is also strong, especially Deejay Gray, who brings a comic, electric energy when he’s on stage and newcomer Gwyneth Sholar, who makes an unpleasant character enjoyable. Director Julie Fulcher-Davis has guided the actors with sensitivity and effective staging." - Jerry Williams, The Sifter
"From inside the special suit that transforms him into the gargantuan Charlie, the always-excellent Michael Hawke brings poignancy to a man who wheezes and gasps as congestive heart failure runs out the clock on his chance to put things right with family and friends."
- Tony Farrell, Richmond Times Dispatch
- Tony Farrell, Richmond Times Dispatch
Reviews: The Quality of Life, by Jane Anderson, Feb. 2014
(Best Play and Best Ensemble nominations from the Richmond Theatre Critics Circle)
"Anderson’s script, already a jewel of linguistic brevity and plainspoken middle-aged truth-telling, is turned even more piercing and trenchant by Gray and his four highly skilled, veteran actors." - Tony Farrell, Richmond Times-Dispatch
"...one of the most powerful, thought provoking, affecting, and well-acted dramas that I’ve seen in this, or any other year." “Yes, it’s that good” " A definite must see" - John Porter, WCVE Radio
"features one of the most gut-wrenching climaxes I’ve seen on stage. Director Deejay Gray has kept the staging simple and allowed the actors to excel." A BEST BET, Jerry Williams, the Sifter
(Best Play and Best Ensemble nominations from the Richmond Theatre Critics Circle)
"Anderson’s script, already a jewel of linguistic brevity and plainspoken middle-aged truth-telling, is turned even more piercing and trenchant by Gray and his four highly skilled, veteran actors." - Tony Farrell, Richmond Times-Dispatch
"...one of the most powerful, thought provoking, affecting, and well-acted dramas that I’ve seen in this, or any other year." “Yes, it’s that good” " A definite must see" - John Porter, WCVE Radio
"features one of the most gut-wrenching climaxes I’ve seen on stage. Director Deejay Gray has kept the staging simple and allowed the actors to excel." A BEST BET, Jerry Williams, the Sifter
"The four veteran performers in Jane Anderson's compelling drama, THE QUALITY OF LIFE, unpack and deliver such raw emotion that audience members feel as if they are privileged visitors peeking into the lives of four individuals who are struggling with the acceptance of death and loss, rather than spectators of a play."
"Michael Hawke delicately commands the stage as the frail and terminal Neil. His gut wrenching performance in the final moments is both compelling and compassionate. Jacqueline Jones is masterful as Jeanette, displaying undying love for her terminal husband, before the revelation of her own disturbing plans."
"THE QUALITY OF LIFE puts real faces on controversial societal issues and religious philosophical systems and forces its characters to the brink." "Make plans to see this "quality" production, but be sure to bring a few tissues." -Jeremy Bustin, BroadwayWorld.com
"HATTheatre’s intimate stage is the perfect venue for this intimate tale, where these characters in the hands of the talented veteran cast bare their souls. Director Deejay Gray masterfully allows his actors to perform from their hearts and utilize even silence, stage business and physical gestures powerfully"." "This is a flawless dramatic comedy that will leave you talking about both the performers and life itself, well after you leave the theater." Bruce Levy, ShowBizRadio
"Michael Hawke delicately commands the stage as the frail and terminal Neil. His gut wrenching performance in the final moments is both compelling and compassionate. Jacqueline Jones is masterful as Jeanette, displaying undying love for her terminal husband, before the revelation of her own disturbing plans."
"THE QUALITY OF LIFE puts real faces on controversial societal issues and religious philosophical systems and forces its characters to the brink." "Make plans to see this "quality" production, but be sure to bring a few tissues." -Jeremy Bustin, BroadwayWorld.com
"HATTheatre’s intimate stage is the perfect venue for this intimate tale, where these characters in the hands of the talented veteran cast bare their souls. Director Deejay Gray masterfully allows his actors to perform from their hearts and utilize even silence, stage business and physical gestures powerfully"." "This is a flawless dramatic comedy that will leave you talking about both the performers and life itself, well after you leave the theater." Bruce Levy, ShowBizRadio
Reviews: Over the Tavern, March 2013
"Over the Tavern is kind of the 1950′s Catholics in Buffalo answer to Neil Simon’s Brighton Beach Memoirs (about a Jewish family in NYC in the 1930s). Eric Brenner as the main character of the play, the wise-cracking Rudy, is indeed reminiscent of a young Matthew Broderick (with a touch of Charlie Brown added). The 7th grader has charm, charisma, and impeccable comedic timing; successfully carrying the focus of the show and keeping the audience engaged and entertained."
" Sister Clarissa, masterfully portrayed by Jody Smith Strickler. Strickler is every Catholic kid’s worst nightmare (I’ve heard the stories) complete with clicker and ruler. She is commanding and harsh which makes her softer, inflective moments even more tender and heart-rending."
"The highest praise though goes to another young performer; Nick Dauley as Rudy’s “retarded” younger brother, Georgie. As a special education teacher, I can affirm just how authentic Dauley’s performance is. In his cast bio, Dauley says “He spent a lot of time researching those with special needs, determined to bring truth and respect to the stage.” Well, his professionalism paid off. He is both consistent and endearing in the little mannerisms, tics, body movements and facial patterns of a child with autistic like tendencies. Even in moments when his character is not involved in the plot, Dauley gently rocks, sucks his thumb, slaps his face and other stage business that are true to life for a person such as Georgie."
"Amidst the laughs are some serious messages about physical, verbal and emotional abuse. As Sister Clarissa says “rulers and broomsticks aren’t the only things that cause damage.” "
"Director Vickie L. Scallion effectively utilized the small stage and theater. The way things were set up, it almost felt like the audience was sitting with the family in their living room." "The audience is left to ponder Rudy’s questioning of his faith. Maybe we’re not here to suffer and avoid hell; maybe God put us here to have fun. Either way, I can guarantee you will have fun if you make time to see Over the Tavern. Even with a few swear words, this would be a great show to bring the older children to, as they witness future stars of their generation in the making." - Bruce Levy, ShowBizRadio
Reviews: Jewtopia, March 2012
"Bryan Fogel and Sam Wolfson’s “Jewtopia,” HATTheatre’s submission into the Acts of Faith Festival, isall about Jewish stereotypes, But Jewish, schmewish—director Vickie L. Scallion has infused Fogel and Wolfson’s pretty much bupkis script with laugh-out-loud humor, particularly in Act II during the Passover Seder scene."
"Yes, there are bothersome stereotypes, but I sense that Fogel and Wolfson have decided to leave the realm of serious Jewish drama to other playwrights."
"Chris Hester adds an anxious but adorable personality to his role as Adam, and Lucas Hall nicely amps up Chris’ enthusiasm for everything Jewish. Michael Dunn stands out humorouly as Rabbi Schlomo, but it’s Nicole Fratkin as Adam’s sassy sister (Jewish girl with an iPod!) and Natasha Liu as Rachel Khan who have the best one-liners of the show in Act II and they do it hilariously." "One of the lyrics stuck with me, “I’m a Jew and it’s OK.” Despite all the stereotypes, I very much agree." -Matthew Miller, GayRVA
Times Dispatch, Susan Haubenstock
"The lovely, hard-working group of actors Scallion assembles is clearly committed to making these people as real as possible. Chris Hester and Lucas Hall, as Adam and Chris, are both antic and sweet, and extra doses of chuckle-worthy yiddishkeit come from Michael Dunn, as a beleaguered rabbi, and Sarah Robins, who plays all the misbegotten dates. Nicole Fratkin is especially funny as Adam’s furious younger sister. The cast earns kudos for taking their characters seriously and infusing them with heart"
"Yes, there are bothersome stereotypes, but I sense that Fogel and Wolfson have decided to leave the realm of serious Jewish drama to other playwrights."
"Chris Hester adds an anxious but adorable personality to his role as Adam, and Lucas Hall nicely amps up Chris’ enthusiasm for everything Jewish. Michael Dunn stands out humorouly as Rabbi Schlomo, but it’s Nicole Fratkin as Adam’s sassy sister (Jewish girl with an iPod!) and Natasha Liu as Rachel Khan who have the best one-liners of the show in Act II and they do it hilariously." "One of the lyrics stuck with me, “I’m a Jew and it’s OK.” Despite all the stereotypes, I very much agree." -Matthew Miller, GayRVA
Times Dispatch, Susan Haubenstock
"The lovely, hard-working group of actors Scallion assembles is clearly committed to making these people as real as possible. Chris Hester and Lucas Hall, as Adam and Chris, are both antic and sweet, and extra doses of chuckle-worthy yiddishkeit come from Michael Dunn, as a beleaguered rabbi, and Sarah Robins, who plays all the misbegotten dates. Nicole Fratkin is especially funny as Adam’s furious younger sister. The cast earns kudos for taking their characters seriously and infusing them with heart"
Theatre Review, WCVE Radio, John Porter
Monday, March 1, 2010
Awaken the Spirit
"Over this past weekend I finally got the chance to catch one of the local theatres whose work was not really known to me.
and I am glad to say that it is a wonderful professional company that has showcased some of the finest talent the city has to offer."
"Their current production, Awaken the Spirit, is a re-imagining of songs composed by Stephen Schwartz, a guy who has scored a few minor hits. You might have heard of some of them – Pippin, Godspell, Wicked, Children of Eden,
not to mention The Baker’s Wife among others. Songs from each of these shows, plus a tune from Geppetto and a couple from the album Uncharted Territory make up this presentation – great songs that have been moved
from their original spot to create a brand new theatrical experience. These kinds of compilation shows are hit and miss with me. Sometimes I’m too attached to the songs in their original presentation and don’t want to see them turned into a best-of cabaret; but in the case of Awaken the Spirit, an actual story has been constructed out of the material, making it seem fresh and new. "
"Working in an intimate space can be a tricky affair, but they manage to pull it off nicely.
It may be a well guarded secret that I’m letting out, but I recommend that if you are unaware of HATTheatre,
or have just never seen much in the way of publicity regarding their work, make it a point to head out to the
West End and enjoy Awaken The Spirit. I did, and I am glad of it."
Monday, March 1, 2010
Awaken the Spirit
"Over this past weekend I finally got the chance to catch one of the local theatres whose work was not really known to me.
and I am glad to say that it is a wonderful professional company that has showcased some of the finest talent the city has to offer."
"Their current production, Awaken the Spirit, is a re-imagining of songs composed by Stephen Schwartz, a guy who has scored a few minor hits. You might have heard of some of them – Pippin, Godspell, Wicked, Children of Eden,
not to mention The Baker’s Wife among others. Songs from each of these shows, plus a tune from Geppetto and a couple from the album Uncharted Territory make up this presentation – great songs that have been moved
from their original spot to create a brand new theatrical experience. These kinds of compilation shows are hit and miss with me. Sometimes I’m too attached to the songs in their original presentation and don’t want to see them turned into a best-of cabaret; but in the case of Awaken the Spirit, an actual story has been constructed out of the material, making it seem fresh and new. "
"Working in an intimate space can be a tricky affair, but they manage to pull it off nicely.
It may be a well guarded secret that I’m letting out, but I recommend that if you are unaware of HATTheatre,
or have just never seen much in the way of publicity regarding their work, make it a point to head out to the
West End and enjoy Awaken The Spirit. I did, and I am glad of it."