Radio Awards Show at DCTheatreScene.com

Sadly, this here blog has lain dormant for a while. We have had a busy summer with three productions at two fringe festivals... but I'm giddy to report that L'approved blog is about to make a comeback!

As the zombie Warren G. Harding would say, it's time for a "Return to Abnormalcy!"

In the coming weeks, we will report upon a plethora of cool Creepy Season events around DC, including an account of the adventures of The Diamond Dead in New York City! Insider tip: look for the Dead to rise on Halloween at a special event for the Capital Fringe Festival...

Let me begin the festivities by directing your attention to a good old-fashioned radio show online at DCTheatreScene.com:

http://dctheatrescene.com/2009/09/20/the-audience-choice-awards/

This is an amusing DC Theatre Awards show produced by The Audible Group, which includes my friend from a past life Matthew Nielson. Our own guest artist Brittany Williams was nominated by the critics for an award for her role in Walmartopia last season.

If you aren't familiar with DC Theatre Scene, you should be! It's the most comprehensive source around for all things theatre in Washington, DC. The site was founded by a swell guy named Ronnie Ruff, and is helmed by the equally swell Lorraine and Tim Treanor, accompanied by a slew of local reviewers who love theatre.

I'm a particular fan of Joel Markowitz, who interviews some of the biggest stars in theatre, but still always makes time to subject himself to the most ridiculous podcasts imaginable with me and other Landless cronies. Seriously! He has been assaulted by "Bud" and "Doug" of GUTENBERG, and I once even serenaded him with an unexpected keytar ballad. Joel is always the champion of talented student and rising artists, he hooks us up with playwright-composers like Tom Hyndman (FICTITIOUS THE MUSICAL), and he is a self-proclaimed hater of FROZTY THE ABOMINABLE SNOWMAN... which does, in fact, prove that he has taste.

Joel would make an amazing publicist for someone, and if Landless wins the lottery (or ever gets some freakin' grant money), we will be the first in line!

I'm not always sure that DC needs any more theatre critics (after all, Landless itself has proven on occasion that one woman's trash is another woman's treasure), but these guys do a really good job of pairing up the right critic with the right show - in other words, the critic usually represents the intended audience. If you're the type of audience member who feels like you can't find a voice that represents you in The Washington Post or City Paper, you'll probably find one here. I also admire their commitment to all theatre in Washington, including the murky void that lies somewhere between Capital Fringe Festival and Studio Theatre. These folks are not afraid to hitch up their skirts and venture down into Adams Morgan!

Did I just write a review of a review website??

Weird.

It's like standing in front of a mirror and looking into a mirror, looking into a mirror, looking into a mirror, looking into...

Well, you know. :)

-Andrew

DCTheatreScene.com is LANDLESS APPROVED!

VINCENT: And Now For Something Completely Different

by Andrew Lloyd Baughman

Producing Artistic Director

I'm not gonna lie to you: Theatre Du Jour's Vincent at the DCAC is way off the beaten path for many Landless fans. I can, however, cite at least three great reasons for you to check it out.

First of all, it was written by Spock (a.k.a. Leonard Nimoy). Who knew that dude wrote legitimate drama? Even better news: you can't tell it was written by Mr. Spock. Nimoy earns his rightful place alongside Jim Varney (a.k.a. "Ernest P. Worrell"), Jim Neighbors (a.k.a. "Gomer Pyle"), Hugh Jackman (a.k.a. "Wolverine") and all other Closet Thespians.

Second, proceeds of the show benefit DCAC. Every ticket sale supports the theatre you love in our very tough economic time.

And third, you get a front row seat (because isn't every seat at DCAC like the front row?) to see the work of a master artist: B. Stanley.

Vincent reflects upon the life of painter Vincent Van Gogh. For the benefit of anyone who almost flunked Art History class - like, well, moi - Van Gogh was that crazy mofo who cut off his own ear. His story is told by brother Theo (played by Stanley), who delivers a sort of eulogy for his recently deceased brother.

I first saw Mr. Stanley perform in a solo cabaret fundraiser event at DCAC several years ago. A room of spellbound adults watched him banter for two hours with a crude puppet rock (no pretense of formal ventriloquism whatsoever, I might add).

'Nuff said.

You don't have to read the program bio to know that B. is an artist who has traveled the world honing his craft, taught by bonafide masters and forged in the fiery trenches of guerrilla theatre. I'm not ashamed to say that Mr. Stanley has not only been a great mentor to me as director of a theatre company, but also a genuine inspiration as a performing artist. You see, B. Stanley is that rare actor with balls.

In Theo, Stanley creates a complex persona full of passion, guilt, frustration, awe, admiration and unconditional love for his misunderstood genius brother. His performance reminded me of Mickey Rourke's acclaimed "comeback" in The Wrestler, and not just because it was awesome and might even be a comeback performance in its own right for a revered local actor. Just beneath the period-style surface of the piece, you feel the honest personal connection of a man who has been a brother to many artists. When Theo rails against society for dismissing art based on the socio-economic status of the artist, and rails against the artist for undervaluing himself and his art, it all rings true, as does the underlying pain of someone who has felt the loss of someone dear.

Translation: you will cry like a little girl. (That is, to say, "like a little girl who happens to be crying." I'm not one to make ageist-sexist generalizations.)

Vincent is a play for anyone who has ever loved an artist, and for artists who have ever wondered if anyone sees value in our compulsive labors. I'm sorry to report there are no zombies, no rock songs, no cheerleaders, and no cheesy special effects... but then again, that might be the best reason to see it. We all need a little culture now and then.

VINCENT IS LANDLESS APPROVED!

March 4 - March 28

Vincent By Leonard Nimoy

Directed by B. Stanley and Theatre Du Jour

Performed by B. Stanley

Thursdays, Fridays, Saturdays and Sundays at 7:30pm**except on Sunday, March 8 when there will be a special 3pm performance$20/ $15 DCAC Members

For Reservations: Call DCAC at 202-462-7833

PS - This is a great place to mention that you can become a DCAC member for $30. Contact Blair Murphy (202-463-7833) or visit www.dcartscenter.org for information. Membership benefits include discounts for Landless and other DCAC shows, and your donation will help DCAC in its mission to support and foster emerging artists and companies.