Regional theater regularly oscillates between the tried and true and the brand new. Companies tend to alternate between familiar titles that appeal to the masses and newer shows that promise exciting contemporary stories.
Local companies seem to be leaning on the “new” for this new year: Most upcoming productions will either be new to Richmond or represent a new direction for the producing company.
Below our veteran critics review what’s slated for local stages in the cold months ahead, offering their opinions on what’s likely to tickle the fancy of theater fans.
David Timberline: In terms of companies taking things in new directions, I’ve been entranced by Richmond Shakespeare’s willingness to explore non-Shakespearean material. Last season’s productions “Uncle Vanya” and “The School for Lies” rank among the company’s best.
So it’s promising that it opens 2024 with the intriguing “Born With Teeth,” a new play where the Bard is a character, rather than the playwright. Opening Jan. 26, “Teeth” imagines a collaborative writing session between a young Shakespeare and the more experienced and volatile Christopher “Kit” Marlowe. The show premiered in 2022 and has earned raves for its mix of history, humor, and high-intensity conflict.
Rich Shakes will follow that up with its first true musical in as long as I can remember, “Into the Woods” (March 8). If they can stage Sondheim as deftly as they do Shakespeare, this production should be a winner.
Rich, is there a show that you’re excited about on the upcoming schedule?
Rich Griset: There are many! First, “Dr. Ride’s American Beach House” (March 7) looks fascinating. Taking place on the eve of the launch that would make Sally Ride the first American woman in space, the play centers on three queer anti-heroines as they discuss their lives, sex and power. Staged by Yes, And! Theatrical Co., it looks to be a highlight of the season.
“Memories of Overdevelopment” (Feb. 7) at the Firehouse Theatre also looks intriguing. This “staged documentary” features seven characters recounting growing up under dictatorships and how they survived them. Directed by Nathaniel Shaw and starring Juliana Caycedo and Katrinah Carol Lewis, the show sounds very timely for our current political moment.
Dave, what else are you looking forward to?
DT: I’ve been a fan of the actor Jerold Solomon since his entrancing turn in “King Island Christmas” back in 2000 and was lucky enough to see him on Broadway during his stint in “South Pacific” from 2008-2010. Virginia Rep is giving Solomon another ripe opportunity to shine in “Satchmo at the Waldorf” (March 1) where he’ll play three characters, including the [jazz] legends Louis Armstrong and Miles Davis.
Meanwhile, Jerold’s cousin, Foster Solomon, is adapting his independently produced film, “Hawk’s Ridge,” for the stage. In its portrayal of an emotional battle between a preacher named Elijah and the drug dealer who may be responsible for Elijah’s wife’s death, the movie trades on the beauty of the Appalachians for some of its gravitas. I’m curious to see how it translates to the Lynn Theatre at Brightpoint Community College when it opens Jan. 26.
Anything else you’re interested in?
RG: Richmond Triangle Players has two upcoming shows I’m excited about. The first is Harvey Fierstein’s “Torch Song” (Feb. 16), a play about a Jewish drag queen in New York City in the 1970s and ’80s. There’s also Charlotte Jones’ “Airswimming” (April 12), which is based on the true story of women who were incarcerated in a hospital for the “criminally insane” because they gave birth out of wedlock in the 1920s.
Did we miss anything?
DT: I feel we can’t sign off without acknowledging “BKLYN: The Musical” that opens at Swift Creek Mill on Jan. 27. The show helped launch the career of future Tony Award-winner Karen Olivo when it opened on Broadway 20 years ago, but has never been produced in RVA. While the passionate optimism of this urban fairy tale earned it some cynical reviews in New York City, maybe some unbridled whimsy is just what some theatergoers need to get through the chilly days of winter.
Until next time, see you in the theater!
