Landless Approved!

Cherry Red Productions Returns to DC

2010-11-23T04:29:00.000-08:00

Cherry Red Productions is a legendary company that paved the way for Landless, Molotov and all of the other "fringe-style" companies around Washington. Far from the plush seated mainstream theaters, Cherry Red produced grungy theatre for the love of grungy theatre, imbuing it with their own special smutty style. Whether you loved it or it made your skin crawl, you had to admire their balls. After several years based in NYC, Cherry Red is back in DC with a new production at DCAC featuring LTC friends Lucrezia Blozia, Tony Greenberg, Kris Roth, Catherine Aselford and more. Artistic Director Ian Allen has long been a supporter of Landless, and now is a chance to support his work. So put on your daddy pants, leave the kids at home, and go see this eye-popping production while you can! - Andrew Baughman, Producing Artistic Director

UY TICKETS NOW AND GET 20% OFF
Click here and use
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Three weeks only!

Cherry Red Production's
Wife Swappers

December 2-18 at DCAC (2438 18th St, NW)

Limited availability! Get tickets now!

Use code WSFRIENDS to get 20% off:
http://www.cherryredproductions.com

"Cherry Red is always on the most vulgar of cutting edges." -Wash Post

Jake and Lorette are a couple of godfearing churchgoing Republicans who know how to get their rocks off. And this Christmas is gonna be a doozy as they invite a group of lick-minded peers to the hottest, horniest, swingin’-est fuck-fest ever to go down in Orange County. Please no booze, no noobs, no homos.

Cherry Red Productions' Wife Swappers. Written by Justin Tanner. Directed by Ian Allen and Kate Debelack. Starring Catherine Aselford, Judith Baicich, Lucrezia Blozia, Carlos Bustamante, Tony Greenberg, Michael Miyazaki, Richard Renfield, Kris Roth. Costumes by Rhonda Key. Set and Lights by Kim Deane. Props by MV Jantzen. Stage Management by Emily Jablonski, Amanda Williams.

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About the show...

Wife Swappers will mark Cherry Red Productions’ first full stage production in nearly three years. Our last DC outing, Freak House, which was produced in association with The Lobster Boy Revue in 2007, was a jam-packed affair that was gangbanged by audiences and media alike. (Did you catch Arch Campbell getting spanked by zombie strippers on the evening news?). Now we’re moving on to an actual gangbang.
Wife Swappers will be Cherry Red’s third collaboration with L.A.-based writer and cult phenom, Justin Tanner. Our acclaimed production of Zombie Attack! in 2000 was followed by Coyote Woman, a hit in 2003, starring DC dragstress Lucretia Blozia as the titular werewolf-ess. This year’s been good to Tanner: Laurie Metcalf and French Stewart starred in Voice Lessons in NYC, and Procreation – “about a 70-year-old woman pregnant with octuplets and her horrified family” – played to raves this spring in his hometown of L.A.
Cherry Red’s artistic director, Ian Allen, will co-direct Wife Swappers with Cherry Red company member Kate Debelack. The two are longtime friends, often working together, both on stage, as Gertrude and Claudius in Spamlet, as well as behind the scenes, most recently on the company’s two feature films,Trapped by the Mormons and Snuff.mov.
Founded in 1995 by Ian Allen and Chris Griffin, Cherry Red Productions has served up numerous silly, naughty hits in DC, including Cannibal Cheerleaders on Crack, Angel Shit, and Poona the Fuckdog and Other Plays for Children. Other productions like Killer Joe, “Kenneth, What Is the Frequency?” and Hellcabhave showcased the company’s darker, more thoughtful side. Wife Swappers falls squarely on the silly side of the Cherry Red spectrum, keeping happy company with past hooters like Worm Girl, Dingleberries, and Baked Baby.

Landless Fans Will Be Spellbound!

2010-09-26T18:51:00.000-07:00

by Andrew Lloyd Baughman
Producing Artistic Director

As a fan of all off-beat musicals, it's strange to confess that I just saw The 25th Annual Putnam County Spelling Bee for the very first time today at Maryland Ensemble Theatre in Frederick. In retrospect, I'm glad that I waited to see it produced by this uniquely talented theatre company that has always held a special place in my heart. There will be other productions of Spelling Bee in our region over the coming months, but I recommend that you see THIS production - for several reasons, not the least being that it features our own Matt and Amy Baughman, who have helped build Landless with their many entertaining performances over the years. They are matched by an ensemble of actors who are equally skilled at creating outrageously lovable characters under the direction of MET Associate Artistic Director Gene' Fouche, who understands the organic nature and nuance of comedy better than any director I have known.

The plot is pretty straightforward: YOU, the audience member, attend a children's spelling bee in Putnam County. [That's right, it's the most comprehensive title since Snakes On A Plane.] If you're lucky, you might even get a chance to participate in the Spelling Bee. I thought I had seen the depths of "audience participation" fully plumbed, but to give credit where it is due, Spelling Bee elevates the form to a new level. No cheap toss-off gimmick, here, these [victims] are on stage and integrated into the action for the entire first act of the show, including dance numbers! At intermission, one young participant informed me that he was selected just before the show and given 10 minutes to prepare with the cast. This is a brilliant feat of improv, executed seamlessly by the MET. If you have an unsuspecting loved one who is celebrating a birthday, I strongly suggest you show up early and bring some cash to bribe the MET folks.

In Spelling Bee, you get to spend a couple hours with a group of Peanut-esque adolescents who each represent some type of weird kid you probably knew in your tweens, or maybe the weird kid that you used to be; for instance, I identified with the boy who... um... never mind, it's kind of indelicate, you don't want to know.

Which brings me to my one and only gripe with this show, and It has nothing to do with the production or the script. It has everything to do, however, with Our Society.

You see, having never seen the play before, all I had ever heard about the show was "it's so funny, but it is definitely NOT APPROPRIATE for children." I was expecting to see something very scandalous, but was met instead by a quirky musical with one foot firmly planted in mainstream musical theatre. By my observation, the only remotely nefarious element of the show involved a scene about a boy getting an untimely erection. Considering this is a pretty common and natural part of growing up for all boys, it's kind of disturbing that we're all dubbing this play "inappropriate" for kids. Sure, this phenomenon is always a little embarrassing for the "erectee," but isn't this a topic we can laugh about as a family? Isn't this something family members should feel comfortable talking about with one another after the show? Way to make boys feel ashamed about their confusing hormonal changes, America.

Oh, no, wait. I just remembered. There is also a kid with two gay dads. I stand corrected: WILDLY INAPPROPRIATE.

But I digress.

The cast is uniformly outstanding. My favorite is MET Producing Artistic Director Tad Janes as Vice Principal Douglas Panch. Tad is a master comedic actor with a full arsenal of tricks. His chief weapon is his ability to build an absolutely ridiculous characterization anchored by smart humor. I have no doubt that his take on Panch is one-of-a-kind, and that's another strong reason to check out THIS production. Allison Lepelletier reveals more than just strong vocal chops as Marcy Park, she can also flip, fence, rock out on piano and twirl a baton with surprising proficiency. Sister-in-law Amy retains her championship title for superior deadpan and comic timing as Logainne Schwartzand[somethingIcantspellorremember], and Maura Lacy is perhaps the most successful cast member in riding that fine line between wacky caricature and realism. I suspect she deserves the lion's share of the credit for an unexpectedly touching friendship with the bizarre William Barfee, played by my notoriously hammy brother.

Perceived biases be damned, Matt's "Barfee" earns my Scene Stealer Award. He pulls out all the stops, including many of his trademarks: the patented slow motion walk, face-plant into a pillar, and killer dance moves. Not content to rest upon his comedic laurels, he also delivers an excellent vocal performance of a difficult role to sing. The audience was rooting for him all the way until [SPOILER - DELETED BY EDITOR].

Alison Shaffer provides solid music direction, and leads a two-piece combo that makes it possible to hear all of the voices clearly without amplification. This score just feels right in the intimate MET theatre, where at one powerful moment harmonies fill the house from actors staged around the audience - you get a chill and feel as though those harmonies are rising up from under your feet.

To sum it up - or spell it out [there, obligatory pun achieved!] - make the trip up to Frederick to see this show while you still can. You'll be glad you did! Buy your tickets now, they will sell out - www.marylandensemble.org

T-2-5-A-P-C-S-B is LANDLESS APPROVED!

THE "FUNKY" FOH-TY PASS AT CAPITAL FRINGE 2010!

2010-06-25T08:36:00.000-07:00

Landless fans, the 2010 Capital Fringe Festival is right around the corner. We know you’re already planning to attend CARRIE POTTER AT THE NEW MOON PROM, but finding the right combination of shows to see at Fringe can be overwhelming.

Well, look no further, because Landless has put together a “one-stop shopping” package for you: we call it THE FUNKY FOH-TY PASS! Simply visit capfringe.org and select the FOH-TY PASS (4 tickets for just $50).

When it comes time to select your four productions, we have compiled the following list of shows that we think REPRESENT THE BROAD SPECTRUM OF FUN THEATRICAL EXPERIENCES YOU LOVE. They also all play in CLOSE GEOGRAPHICAL PROXIMITY at Studio Theatre and Playbill Cafe (14th and P NW), and FEATURE MANY OF THE ARTISTS YOU HAVE LOVED IN PREVIOUS LANDLESS PRODUCTIONS!

PICK NUMBER 1: THE LUNATIC FRINGE

2010-06-25T07:06:00.000-07:00

The Von Pufferhutte Family Singers! (the musical)

presented by I Like Nuts! (the company)

Venue: Studio Theatre - Mead Theatre

Landless alumni: Josh Speerstra (High Fidelity, Cannibal and many others), Jen Speerstra (Diamond Dead, Spooky Dog and many others), Nick Greek (Spooky Dog), Chris Davenport (Director of Cannibal), Timothy R. King (Cannibal, Gilligan’s Island, Psycho Beach Party)

“From the producers of “I Like Nuts! (the musical)” and “Captain Squishy’s Yee Haw Jamboree! (the musical)” A wacky romp that will force you brain to bleed with joy! Follow the Von Pufferhuttes as they struggle to find fame and fortune in American. See the less than true story of the not talented or successful Von Trapps. 75 minutes”

With so many of the minds behind our production of CANNIBAL! THE MUSICAL involved, we can absolutely guarantee that you’ll laugh your ass off at this show!

PICK NUMBER 2: BETWEEN ROCK AND A DARK PLACE

2010-06-25T07:04:00.000-07:00

The Horrors of Online Dating

presented by Molotov Theatre Group

Venue: 1409 Playbill Cafe

Landless alumni: Alex Zavistovich (Cannibal, Renaissance), Kevin Finkelstein (Night of the Living Dead), Genevieve James (High Fidelity)

“A gory musical comedy with sex, drugs, and puppets about a killer who finds her victims through dating websites. Molotov Theatre Group (Pick of the Fringe 07' Best Comedy, 08' Best Overall) and playwright Shawn Northrip (07' Best Musical) collaborate. 90 minutes”

This is Molotov’s first musical production, and teamed with creator Shawn Northrip (Titus X, Cautionary Tales for Adults), it should be on everyone’s “must see” list. It promises to be a gory good time.

PICK NUMBER 3: GEEKFEST '10

2010-06-25T07:02:00.000-07:00

Super Claudio Bros. - The New Video Game Musical

presented by Charlie Fink

Landless alumni: Karissa Swanigan (Evil Dead, High Fidelity, many more!), Stephen Gregory Smith (High Fidelity), Gillian Shelly (Fictitious, Diamond Dead)

“This new musical comedy takes our heroes - and an ass kicking princess - on a quest to overcome man-eating plants, spiky killer mushrooms, and a neurotic, love-starved homicidal purple platypus. Features original animation, puppets, and eggplants! 90 minutes”

Landless supporter Charlie Fink has assembled a top-notch team of artists in what might be the coolest premise for a musical in ages. Don’t miss your chance to catch CLAUDIO BROS. on the ground floor, this could be the start of something big.

PICK NUMBER 4: POP CULTURE CAMP

2010-06-25T07:00:00.000-07:00

Carrie Potter at the New Moon Prom

presented by Landless Theatre Company

"Teen witch Carrie Potter battles bitchy classmates and the seductive power of Jesus Christ ("He Who Really Shouldn't Be Named") in this satirical send-up "everything geeky," featuring Lucrezia Blowzia! From the producers of DIAMOND DEAD!" 70 minutes

Our perennial recipe for drag and camp escapades: put Twilight, Potter, Carrie and every angsty teen flick ever made in a blender! This summer’s production welcomes Nora Palka and Jed Breckenridge (Perez Hilton Saves The Universe), as well as Clay Comer (“Ash” in Evil Dead).

STILL NEED HELP?

2010-06-25T06:57:00.000-07:00

Ok, we'll spell it all out for you.

FUNKY FOH-TY PASS ITINERARY

(Do it all in one day!!!)

Saturday July 24

(Studio Theatre - MEAD THEATRE)

11:30 AM Carrie Potter

12:30 Lunch Break on 14th Street!

1:30 PM Von Pufferhutte Family Singers

3:30 PM Claudio Brothers

Dinner at Playbill Cafe and

Horrors of Online Dating at 8:00 PM

Visit http://capfringe.org/2010_box_office.html for tickets today. See you at Fringe!

Radio Awards Show at DCTheatreScene.com

2009-09-29T11:02:00.000-07:00

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

2009-03-08T14:05:00.000-07:00

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.

Closet Land: I Laughed. I Cried. I Almost Vomited.

2008-11-20T09:50:00.000-08:00

By Jen Tonon, Associate Artist

When it comes to live performances, it can sometimes take a really strong (or utterly disgusting) story and cast to keep my attention. Blame it on the age of A.D.D., or general lack of sleep, but I don’t sit still to save my own behind sometimes. “Closet Land” was one of those shows that did not cause me to fidget in impatience, even in the slightest.

The Playbill Café in DC is not known for its huge accommodations and certainly does not lend itself to elaborate sets. But even with the limitations of such a venue, set designer Mike Roike pulled off a simple-yet-effective environment that emulates a dirty interrogation cell amidst a militaristic state. The actual geographic location of the play is never discussed, but it rings reminiscent of so many war-era bunkers where innocent people are detained to and falsely accused of treason for the “good of the country.” Without digging too deeply into the storyline, the ideology of the “Closet Land” that is spoken of so often in the play made me think of a bizarre parallel to “The Lion, the Witch and the Wardrobe.” Only, in “Closet Land,” Mr. Tumnus the fawn is replaced with a rooster and a cat with wings.

Jessica Hansen plays a children’s fiction writer, who finds herself bound and blindfolded at the start of the play. Usage of sound and lighting plays a great role in this show, and sound designer Ben Russo has done a great deal to help paint the picture of a desolate and extremely unkind prison cell. Hansen especially shines during her frequent “escapes” to “Closet Land.” The innocence and general sugary-sweetness of her portrayal of the character reminded me all too well of every elementary school teacher I’ve ever had. I half-expected to be fed juice and cookies during a rousing sing-a-long of “Mary Had A Little Lamb,” which would have only added to the uber-creepiness of this show. There’s something about the innocence of children that can be so terrifying when twisted around to be used in a horrific way. Just look at “the Omen.” Kids can be creepy. Now, there are no children in this show (it’s just a two-person cast), but the amount of mental regression that takes place is more than enough to cover that base.

One thing that I found to be extremely funny, was the sheer number of “personalities” that appeared during the course of the play. It felt like an Eddie Murphy movie gone horribly wrong. However, having to play a series of different voices and attitudes can be extremely tough on an actor, and Alex Zavistovich pulls it off beautifully. At the beginning of the show, you want to hate him so bad, and that feeling just keeps on building as the play moves along. His usage of physicality really gives the audience the sense that he is sickly enjoying what he is doing to this poor girl. He likes being powerful and in control; something that sadly occurs in many countries run by corrupt government and military.

One line that stuck out was, “it’s the suspense, not the pain that will drive you mad.” The pacing of the play invokes a similar feeling, as you’re waiting in suspense to see what is going to happen to Hansen’s character next. This is by far not a bright and cheery fluff piece. Fans of movies like Hard Candy and 70s exploitation will get the most out of “Closet Land.” It’s for the sick and twisted, those with a morbid curiosity for anything out of the norm, or someone who gets a kick out of other peoples’ misfortunes and causes them to say, “Well Hell, my life isn’t so bad after all!” “Closet Land” brings new meaning to the words “touchdown” and “barbeque” (you’ll likely want to buy a pair of iron underoos after wards).

“Closet Land” is Landless Approved!

Closet Land by Radha Bharadwaj

Directed by Lucas Maloney
Starring Jessica Hansen and Alex Zavistovich
Sound Design – Ben Russo
Fight Choreography – Tara Garwood
Special Effects – Alex Zavistovich
Lighting Design – Lucas Maloney
Stage Manager – Juely Siegel
Approx. run time – 90 mins without intermission

Tickets online at: www.molotovtheatre.com

Next: Brett reviews THE ROCKY HORROR SHOW at GAC!

Get The Hell Out and See Altar Boyz!

2008-11-09T18:04:00.000-08:00

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.

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!

Welcome Landless Fans, Friends and Freaks!

2008-11-09T17:58:00.000-08:00

by Andrew Lloyd Baughman, Producing Artistic Director

Welcome to the new "Landless Approved" blog, where we'll be shining a light on companies and artists that produce quirky and fun work in Washington, DC!

We thought about creating a blog about Landless and our creative process, but frankly, we don't want to bore you - sure, we'll plug our shows from time to time, but otherwise you can just come see what we do on stage. Instead, we thought we'd put our blogging power toward building an artistic community for kindred work, and provide a much needed place for patrons to find the Off-beat and Downright-Bizarre art in Washington, DC.

I will be joined here by Landless Associate Artists Jen Tonon (composer, punk musician, Troma-phile and film-maker) and Brett Abelman (2008 Washington City Paper Fringe And Purge Guest Blogger). It is not our place to post critical reviews (we leave that for the experts), but rather our positive impressions of work that we think will appeal to YOU, our Landless audience.

If you have (or know of) an event that should be "Landless Approved," send a press release to us at shakespeare@landlesstheatrecompany.org, and we might just check it out!

Rock on!