by Andrew Lloyd Baughman,
Producing Artistic Director
That's right. I said it. Altar Boyz at Bethesda Theatre is the most fun I've had at a show since Spamalot!
Whether you endured the years of N'Sync and Backstreet Boys, or you endured church youth group trips to see Michael W. Smith, Altar Boyz provides a sinfully welcome purge of the boy band genre. If you confess a fondness for five well-toned boyz with lots of talent and "crunk" (that is, "charisma and spunk"), you can't go wrong, either.
The premise of Kevin Del Aguila, Gary Adler and Michael Patrick Walkers' shoutin' shoes romp with G.O.D. is a simple one: five boyz come to Bethesda to save your immortal soul! You'll feel the spirit in a tight beat laid down by a synthy four-piece combo (courtesy of musical director Josh Tuckman), and hotttt dance movez by choreographer Christopher Gattelli that run the gamut from Iglesias to Hammer-time. Director Stafford Arima endows the production with the feel of a genuine pop concert - and a highly polished one, at that. Watch out, Kenny Ortega!
To put it bluntly, all five boyz are freakin' awesome. Everyone in the audience will have their personal favorite. Mine was "Juan," played by Michael Busillo, who infuses his role with the rico suave star power of Ricky Martin and a bit of the wide-eyed innocence of Balky from Perfect Strangers. He even pulls off a genuinely touching moment through all the silliness in one of the show's few "downer" moments.
A close runner-up is Travis Morn, who uncannily channels young Donnie Wahlberg as the thuggish "Luke," a shell-shocked rehab- I mean- "recently exhausted" born-again type. Jared Zirelli makes a fine multi-dimensional leading man as "Matthew," and at the performance I attended, he serenaded a lucky audience member named Vickie with a ballad of everlasting premarital abstinence (hint: girls, try to score your unsuspecting friend a seat in the front row).
David R. Gordon is effectively understated (and does a mean beatbox) in his portrayal of "Abraham," the most clever role in the play. As the Jewish member of the group, Abraham creates an inclusive atmosphere for us sinners in the audience. He astutely observes that Jews are allowed in a church because "I just saw one hanging on a cross over the altar." Yep, that's the tone of this show, folks. Enjoy!
Patrick Elliot rounds out the cast as the plucky "Mark," and he harbors a deep secret (no spoilers here!). Elliot delivers the standout vocal performance of the show with his electric rendition of "Epiphany." He's a local boy, too, and we all love to see one of our own keeping step with New York's finest. He needs to get the H-E-Double-Hockey-Sticks out and go to NYC!
There are a few nifty cameos in the show, too, including Dan Rather as a "heavenly voice" (pre-recorded, though perhaps his most life-like performance ever), Lambchop and a squeaky rolling cart. Even our former Landless Godzilla set designer Diana Wright (here the Assistant Stage Manager) gets a cute moment in the spotlight.
Speaking of lights, let me pause to drool over the lighting design by Producer/Production Designer Ray Cullom, who serves up the best part of a Brittany Spears concert at a fraction of the price: namely, all the spectacle and none of the Brittany. The lighting becomes a character in the story, blinding us with the light of the Almighty, and even playing a trick on "Juan" at one point. Kudos also to Andrew Nelson for a sound design that maintains pop concert integrity without sacrificing the lyrics.
The ultimate highlight of the show for me came close to the end, with an unexpectedly dark song "Number 918." I nearly spit up pea soup and peed from laughter.
Producing Artistic Director
That's right. I said it. Altar Boyz at Bethesda Theatre is the most fun I've had at a show since Spamalot!
Whether you endured the years of N'Sync and Backstreet Boys, or you endured church youth group trips to see Michael W. Smith, Altar Boyz provides a sinfully welcome purge of the boy band genre. If you confess a fondness for five well-toned boyz with lots of talent and "crunk" (that is, "charisma and spunk"), you can't go wrong, either.
The premise of Kevin Del Aguila, Gary Adler and Michael Patrick Walkers' shoutin' shoes romp with G.O.D. is a simple one: five boyz come to Bethesda to save your immortal soul! You'll feel the spirit in a tight beat laid down by a synthy four-piece combo (courtesy of musical director Josh Tuckman), and hotttt dance movez by choreographer Christopher Gattelli that run the gamut from Iglesias to Hammer-time. Director Stafford Arima endows the production with the feel of a genuine pop concert - and a highly polished one, at that. Watch out, Kenny Ortega!
To put it bluntly, all five boyz are freakin' awesome. Everyone in the audience will have their personal favorite. Mine was "Juan," played by Michael Busillo, who infuses his role with the rico suave star power of Ricky Martin and a bit of the wide-eyed innocence of Balky from Perfect Strangers. He even pulls off a genuinely touching moment through all the silliness in one of the show's few "downer" moments.
A close runner-up is Travis Morn, who uncannily channels young Donnie Wahlberg as the thuggish "Luke," a shell-shocked rehab- I mean- "recently exhausted" born-again type. Jared Zirelli makes a fine multi-dimensional leading man as "Matthew," and at the performance I attended, he serenaded a lucky audience member named Vickie with a ballad of everlasting premarital abstinence (hint: girls, try to score your unsuspecting friend a seat in the front row).
David R. Gordon is effectively understated (and does a mean beatbox) in his portrayal of "Abraham," the most clever role in the play. As the Jewish member of the group, Abraham creates an inclusive atmosphere for us sinners in the audience. He astutely observes that Jews are allowed in a church because "I just saw one hanging on a cross over the altar." Yep, that's the tone of this show, folks. Enjoy!
Patrick Elliot rounds out the cast as the plucky "Mark," and he harbors a deep secret (no spoilers here!). Elliot delivers the standout vocal performance of the show with his electric rendition of "Epiphany." He's a local boy, too, and we all love to see one of our own keeping step with New York's finest. He needs to get the H-E-Double-Hockey-Sticks out and go to NYC!
There are a few nifty cameos in the show, too, including Dan Rather as a "heavenly voice" (pre-recorded, though perhaps his most life-like performance ever), Lambchop and a squeaky rolling cart. Even our former Landless Godzilla set designer Diana Wright (here the Assistant Stage Manager) gets a cute moment in the spotlight.
Speaking of lights, let me pause to drool over the lighting design by Producer/Production Designer Ray Cullom, who serves up the best part of a Brittany Spears concert at a fraction of the price: namely, all the spectacle and none of the Brittany. The lighting becomes a character in the story, blinding us with the light of the Almighty, and even playing a trick on "Juan" at one point. Kudos also to Andrew Nelson for a sound design that maintains pop concert integrity without sacrificing the lyrics.
The ultimate highlight of the show for me came close to the end, with an unexpectedly dark song "Number 918." I nearly spit up pea soup and peed from laughter.
Landless fans, ALTAR BOYZ is the type of show you love with a big shot of production value adrenaline. The impressive Bethesda Theatre is taking a leading role in bringing FUN and QUIRKY theatre to Washington - it's no longer confined to intimate DCAC, Playbill Cafe and Fringe Festival venues. Get the Hell Out and Feel The Spirit!
ALTAR BOYZ is LANDLESS APPROVED!
Altar Boyz at THE BETHESDA THEATRE
7719 Wisconsin Avenue, Bethesda, MD 20814
Phone 301-657-STAR (7827)
http://www.bethesdatheatre.com/
Next: Jen reports on CLOSET LAND by Molotov Theatre Group at Playbill Cafe!
