Review: Sweat at Everyman Theatre

By Jason Crawford Samios-Uy

Running Time: Approx. 2 hours with one intermission

Though times may seem crazy right now, the early 2000s were a doozy, as well! The economy was down the tubes and many areas in America were feeling it. Jobs seemed to be disappearing and everyone was replaceable, whether it be by a machine or someone willing to do the job for less pay. Everyman Theatre’s latest offering, Sweat, by Lynn Nottage (their fourth Nottage produced work), Directed by Vincent Lancisi, gives us a peek into one community as their security and way of life seem to be slipping from their fingers and there are no easy answers.

(l-r) Dawn Ursula, Kurt Rhoads, Megan Anderson, Deborah Hazlett. Credit: Clinton Brandhagen

Sweat is a Pulitzer winning play by Lynn Nottage and centers around the working-class of Reading, Pennsylvania. It bounces back and forth between 2000 and 2008 and concerns itself with three longtime friends, Cynthia, Tracey, and Jessie, who have worked at the same factory for years. The economy being what it is, there are fears that the factory is laying people off and even a possibility of it closing its doors for good. Suddenly job security is taken away and the characters have no idea what to do with this new feeling except express disbelief. Two of the friends, Cynthia a black woman and Tracey a white woman, apply for the same management job and Cynthia lands it, perplexing Tracey, who has a few years of experience on Cynthia. Soon, the company moves jobs to Mexico, the trade union goes on strike and the workers are locked out of the factory, putting Cynthia in a hard position. The new hierarchy of management vs. workers begins to put a strain on the friends, while racial issues widen the already growing gap, as well.

(l-r) Megan Anderson, Deborah Hazlett, Matthew Ward, Vaughn Ryan Midder, Dawn Ursula. Credit: Clinton Brandhagen

I’ve got to admit. I’ve seen a few Lynn Nottage plays and… I can’t say that I’m a fan. It’s not because the stories aren’t moving or the performances were poor, but… the script. Sweat seems to be trying too hard for some reason. The dialogue makes the very able actors seem scripted and unnatural, for some. I just can’t seem to get invested in any of the characters of a Nottage piece, as much as I want to be. Ensemble pieces are hard to write, I’m sure, but Nottage seems to have a bunch of smaller sub-plots going on and she seems to leave characters hanging with no real resolutions. If she stuck to one or two plots, she might be more successful in fleshing out the characters, who have so much potential, a little more. I will say, the tension of this piece does come through, such as the racial issues and union vs. non-union folks, so, there are some highlights.  That’s not to say her writing is bad, but, she could put more time into some of her characters. However, check it out and judge for yourself!

Daniel Ettinger has, once again, outdone himself with this Set Design. It’s a masterpiece unto itself. With a fluid set revolving from a dank, blank area that is used as an office and low-income apartments to the lavish but cozy neighborhood bar, this Set Design is superb. The attention to detail is not to be missed and Ettinger is to be heartily applauded for his work on this production.

(l-r) Vaughn Ryan Midder and Dawn Ursula. Credit: Clinton Brandhagen

Working in tandem with Ettinger’s Set Design, Lighting Design by Harold F. Burgess II and and Sound Design by C. Andrew Mayer are impeccable. Setting just the right moods for each scene and adding emotion and just the right amount of intensity to the piece rather than drawing attention from the action, make Burgess’ and Mayer’s work flawless and adds value to this production, in general. Kudos to them for jobs very well done.

Costume Design by David Burdick is spot on and his presentation of the first decade of the 21st century is stellar. Not only a general style, but a specific, blue-collar style shines through in Burdick’s design putting the audience right smack dab in the middle of the time setting and adding a sense of authenticity to the entire piece.

(l-r) Alejandro Ruiz and Deborah Hazlett. Credit: Clinton Brandhagen

Vincent M. Lancisi, Founding Artistic Director of Everyman Theatre, takes the helm of this production and he certainly seems to have a solid grasp of the story and each character. His staging is impeccable and the pacing is near perfect. His vision is apparent and his casting is superb, working with resident company members and non-members, pulling together a cast that has a natural chemistry and understanding of their characters. The subject matter is delicate but Lancisi takes it and presents it in a way that’s easy to follow and entertaining, all the while making the audience think about the trials and tribulations of folks who may be living these same scenarios right at this moment. Kudos to Lancisi for an exquisite job.

Moving on to the performance aspect of this production, Jason B. McIntosh portrays Evan, the parole officer and though he is believable he comes off as scripted and stiff at times. He only has two scenes at the beginning and end of the play, and most of the problem may be the dialogue, but he manages the short stage time he has nicely.

(l-r) Vaughn Ryan Midder, Matthew Ward, Kurt Rhoads. Credit: Clinton Brandhagen

Vaughn Ryan Midder portrays Chris, the young man who has dreams of getting off the factory floor by going to school, and Matthew Alan Ward takes on the role of Jason, his close, longtime friend who seems content on the factory floor, but still has big dreams with the money he could possibly make. Both of these actors are quite able and work well with and off of each other, giving 100% effort to their roles. However, Ward does seem a bit forced in his role and uncomfortable with the dialogue… at first. As the production moves along, he gets more comfortable but there’s still a certain stiffness in his delivery, but, again, this could very well be Nottage’s dialogue itself. Stronger of the young duo is Midder, who plays his role with an authenticity that shows he certainly has a good grasp on his character and is comfortable in his actions and delivery.

(l-r) JaBen Early, Dawn Ursula, Megan Anderson, Kurt Rhoads. Credit: Clinton Brandhagen

JaBen Early plays, Brucie, the out-of-work partner of Cynthia, who has resorted to dope to get by, but is seemingly trying to get back on track. Early seems to have a good understanding of this character and plays him confidently, but I just don’t buy that this character is a dope feign. Once again, I don’t think I can blame the actor for this… it’s Nottage’s writing or director’s decision. It’s mentioned repeatedly that this character, Brucie, is on dope, but it’s not really presented in the dialogue or in the action and portrayal. I can tell Early is a damn fine actor, but in this role, unfortunately, it doesn’t come across so clearly. Alejandro Ruiz, however, as Oscar, they Latino barback who just wants to get ahead in life and work, is more of a character one can invest in. He means no harm, but is accused of things for which he is not responsible. Ruiz plays the role smoothly and unassuming which is absolutely required for this character. His delivery is natural and his presence is strong, making for a wonderful performance.

(l-r) Dawn Ursula and Kurt Rhoads. Credit: Clinton Brandhagen

In this production, we are treated to resident company actors and highlights, the incomparable Dawn Ursula, Deborah Hazlett, and Megan Anderson. These ladies never cease to amaze and impress. Ursula, as the level-headed Cynthia excels in this role as she gives us just the right amount of emotion to portray the conflict of management vs. friendship all while dealing with an out-of-work partner and maturing son. Though, it takes a minute to ease into Ursula’s performance (she starts off a bit rigid and deliberate as opposed to natural), 15 minutes in, you get her groove and it’s smooth sailing from then on. She has a tight grasp on this character and portrays her beautifully. Hazlett, as the hot-headed, content Tracey gives a stellar performance as a woman who is not so much narrow-minded as she is set in her ways, but can definitely come off as narrow-minded. Her delivery and stage presence is authentic and her understanding of this character and her trials and tribulations is very apparent. Anderson’s take on Jessie is superb and her usual authenticity shines through in this role. Anderson is quite comfortable in this role and she has a certain appreciation for her character, playing her with a perfect blend of dignity and spitfire. All of these actors have an impeccable chemistry and work well with and off of each other. All three should be applauded for their work in this poignant, important piece.

(l-r) Vaughn Ryan Midder, Dawn Ursula, Matthew Ward, Alejandro Ruiz, Megan Anderson, Kurt Rhoads. Credit: Clinton Brandhagen

A definite standout in this production is Kurt Rhoads, who takes on the role of Stan, the laid-back, impartial (most of the time) bartender of the small neighborhood bar. Rhoads’ performance is flawless with his booming, but soothing voice, and easy delivery of his dialogue. He has a deep understanding of this character and plays him with a rough-around-the-edges exterior but an empathetic and compassionate interior. Somehow I connect with this character (one of the only ones I truly connect with, really) and see him as the wise, worldly old uncle at a family gathering, which is what a bartender of a neighborhood bar should be, anyway. Rhoads gets this character and his performance is spot on. He is one to watch and should be commended and praised for this marvelous performance.

Final thought… Sweat is a serious, in-depth look at middle-class America and its inhabitants. Concentrating on the trials between family, friends, and work, and the fine line that separates these parts of life, Sweat gives us a peek into a blue-collar town in Northeast America and looks beyond skin color and other surface differences to express the kinship and ideals of the characters within. With very real and hard situations, Sweat manages, to tell a story that is relatable to many. Speaking of the story… it’s good. It’s very good but, unfortunately, Lynn Nottage’s script doesn’t do it justice. It seems to be trying too hard to present this middle-class group of people and the dialogue ends up sounding forced and phony, taking away from the other not-so-unfortunate parts. Overall, the production value is top notch and the performances are on point. It’s another bona fide success for Everyman Theatre and, forgiving the script and dialogue, it’s definitely worth checking out!

This is what I thought of Everyman Theatre’s production of Sweat… What did you think? Please feel free to leave a comment!

Sweat will play through November 25 at Everyman Theatre, 315 W. Fayette Street, Baltimore, MD. For tickets, call the box office at 410-752-2208 or purchase them online.

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Review: The Revolutionists at Everyman Theatre

By Jason Crawford Samios-Uy
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Running Time: Approx. 2 hours with one intermission

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(l-r) Beth Hylton, Emily Kester, Megan Anderson, and Dawn Ursula. Photo: ClintonBPhotography


When strong women get together, change can happen, ideas can turn into action, and passions can be expressed. At a time when women voices are becoming stronger and more empowered, Everyman Theatre‘s latest offering, The Revolutionists by Lauren Gunderson, Directed by Casey Stangl, gives us an extremely humorous, but extremely poignant look at how women’s voices can make the aforementioned change whether it be in their current time or for posterity. It’s a story of how important a woman’s voice can be, even in the darkest of times.
Briefly, The Revolutionists is about a group of women, a playwright, a strong woman of color and activist, an assassin, and… a queen who discuss life and current events in Paris, France during the Reign of Terror (circa 1793) when the government is chopping off heads with the guillotine at the drop of a hat and a revolution is definitely brewing. These women, who have gathered in a study, a safe space, obviously come from different walks of life explain life and their thoughts to each other as they individually know them and they learn from and teach each other along the way, growing just a little strong and wiser just from knowing each other.
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(l-r) Emily Kester, Beth Hylton, Megan Anderson, and Dawn Ursula. Photo: ClintonBPhotography


Daniel Ettinger’s Set Design is well thought-out and brings this piece together nicely. With various locations, including a large study in a home, a prison cell, and the scaffold where the dreaded guillotine lives, Ettinger has managed to smoothly mesh these locations together with a clever design using set pieces and projections that work in tandem with each other to move the story along nicely.
Light Design by Elizabeth Harper and Sound Design by C Andrew Mayer blend beautifully within the production and help the audience, both visually and audibly, discern where any particular scene is taking place. The mood is created nicely with these aspects as well, engaging the audience wholly. With a nice balance of subtle and bold lighting changes and well-chosen and executed sound effects, Harper’s Light Design and Mayer’s Sound Design add great value to this production.
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(l-r) Dawn Ursula as Marianne Angelle and Beth Hylton as Marie Antoinette. Photo: ClintonBPhotography


David Burdick’s Costume Design is on point with these diverse characters. Each character has such a distinguishable personality and look, Burdick manages to bring out these differences in unique, yet appropriate costumes for each. His attention to detail is impeccable as with Marie Antoinette’s bright yellow and garnished ensemble that exudes the excess and decadence for which she is known (whether accurate or not). The authenticity of the costumes brought these characters to life and made them complete individuals which helped move the story along very nicely.
Casey Stangl takes the helm of this production and her Direction of this piece is, in a word, superb. She has a definite grasp and comprehension of this piece and it shines through in the staging and through the actors’ portrayal of these characters. Stangl’s staging is well-paced and engaging while be focused and clean. The transitions are smooth from one scene and setting to another making making for an even flow that’s easy to follow. Her casting is spot on and her overall vision of presenting strong, confident women is quite apparent.
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Emily Kester as Charlotte Corday. Photo: ClintonBPhotography


Performance-wise, this piece is acted beautifully and confidently with each member of the small four-person ensemble giving fully committed performances making the roles their own. The chemistry between these actors seems effortless and they all work well with and off of each other, especially Dawn Ursula as Marianne Angelle, the scrappy activist and Beth Hylton as the bubbly Queen Marie Antoinette, who play off of each other’s performance superbly.
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Megan Anderson as Olympe de Gouges. Photo: ClintonBPhotography


Emily Kester takes on the role of Charlotte Corday, a young assassin who comes to the only female playwright she knows of to write her last words before she is put to death for killing a very prominent male figure. Kester embodies this character and performs the role with high energy and gusto as required. Her comedic timing is good though it would benefit her and the production if she gave the audience a moment to laugh at the funny lines rather than speaking over the laugh, thus losing many of her lines. She plays this rough-around-the-edges character well and gives the comedy a good balance with poignancy and passion. Overall, she gives a commendable performance that’s a delight to watch.
Olympe de Gouges, the reluctant revolutionist female playwright, is played flawlessly by the incomparable Megan Anderson, an Everyman Resident Company member. She has a good grasp on this character and is authentic in her mannerisms and characterization of this high-strung and passionate character. Anderson’s delivery of the text is spot on and her comedic timing is down pat. She does well with this witty, intelligent dialogue and gives a confident, comfortable, and praiseworthy performance.
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(l-r) Emily Kester as Charlotte Corday and Dawn Ursula as Marianne Angelle. Photo: ClintonBPhotography


As mentioned, Everyman Resident Company member Dawn Ursula takes on the role of Marianne Angelle, the sassy activist who is trying to bring liberty and justice to her people of the Caribbean and she plays it to the hilt. With a keen and impressive sense of deadpan comedy and its delivery, Ursula is gives a strong, authentic presentation and embodies this character wholly. She has a good comprehension of what this character is about and exudes the passions and empathy that is required in her delivery of the text and is certainly one to watch in this production.
As stated previously, Beth Hylton, another Everyman Resident Company member tackles the complex role of Marie Antoinette, Queen of France who doesn’t really get the regular folks, and she is, hands down, the standout in this production. With an Elle Woods (of Legally Blond) type personality and persona, Hylton is both hilarious and touching in this role. This character seems to be the one that grows and learns the most in this piece and it makes sense. The others are fighting against everything Marie Antoinette stands for, or seems to stand for, but, after talking and spending time with the other characters, her empathy shines through and she really seems to comprehend their plights. Hylton portrays this exquisitely, all the while keeping the comedy in tact while showing the compassionate and empathetic side to Marie. With a balance of humor and poignancy, Hylton shines as this flourishing character, giving a strong, note-worthy performance.
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Beth Hylton as Marie Antoinette. Photo: ClintonBPhotography


Final thought… The Revolutionists is a fun, hysterical but thoughtful and important look at how women’s voices can change the course of events and be important in deciding upon policy. The performances are strong and confident, much like the characters these actors are portraying, and the message is clear. Though a comedy, the production is focused and well-thought out both technically and onstage. With it’s modern, comedic twist on a dark, confusing era, The Revolutionists tickles the brain with witty and intelligent humor that forces us to think while we laugh and it’s a production that is not to be missed this season. Get your tickets, now, for this brilliant, funny, and thought-provoking piece of clever theatre!
This is what I thought of Everyman Theatre’s production of The Revolutionists… What did you think? Please feel free to leave a comment!
The Revolutionists will play through January 7 at Everyman Theatre, 315 W. Fayette Street, Baltimore, MD. For tickets, call the box office at 410-752-2208 or purchase them online.
Email us at backstagebaltimore@gmail.com
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Review: Intimate Apparel at Everyman Theatre

By Jason Crawford Samios-Uy
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Running Time: Approx. 2 hours and 30 minutes with a 10-minute intermission
We easily take for granted so many items we use or see on a daily basis but, do we ever stop to think about the people behind those items? How do these items come into existence? Sure, today we can be 99.9% certain all of our everyday items come from a factory somewhere in the world, built by machines and synthetics, but, at the turn of the century, mostly everything was created by hand… by people. One of the most common, everyday items we deal with everyday (most people anyway) is underwear and, though not a taboo topic these days, back in 1905, it was truly unmentionable. Everyman Theatre‘s latest production, Intimate Apparel by Lynn Nottage, Directed by Tazewell Thompson, gives us a glimpse into the lives of one of those folks who created, by hand, ladies underwear, reminding us that even everyday items sometimes have a story all their own.

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(l-r) Dawn Ursula as Esther and Beth Hylton as Mrs. Van Buren. Photo: ClintonBPhotography


Though the title can be a little misleading, Intimate Apparel is not really about underwear, but, in a nutshell, about a woman, Esther, who makes her living sewing these articles of clothing for ladies throughout New York City.  She is an entrepreneur, making her own way in the world, which was quit uncharacteristic for women of color at that time, but she certainly has grand aspirations but is unmarried, illiterate, and in her mid-thirties. She begins a courtship with a man half-way across the world through letters and hopes this relationship will bring her a better future.
Everyman Theatre has never disappoints when it comes to sets and, though this set isn’t as impressive as previous productions, Set Design by Donald Eastman is simple, but absolutely appropriate for this piece. Earthy colors exude the feeling of the New York City tenements of the early 1900s and the authentic, well-chosen set pieces help set the time and move the story along nicely.
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(l-r) Jade Wheeler as Mayme and Beth Hylton as Mrs. Van Buren. Photo: ClintonBPhotography


Costume Design by David Burdick is sensational as well as authentic with an eye for detail. All of the ladies were dressed in the turn of the century style with contrasts in the class of these characters quite apparent. The gentlemen, who have less complex costumes, are still dressed in styles that fit the individual character such as a 1900s Jewish shop owner and an African-American laborer. All the tailored costumes of the very different characters are carefully though-out and add great value to the production.
Tazewell Thompson takes the reigns of this production and has a good comprehension of the story and text and gives us a well put-together production. Pacing is consistent and there’s no dragging in the action, even if the story itself drags along at times. The transitions between scenes are seamless and each character is nicely fleshed out. The script is so-so, but Thompson has managed to tell this story in as much an interesting way as possible. His casting is to be commended and his vision is clear making for a poignant, focused production of a script that kind of falls flat.
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Jade Wheeler as Mayme. Photo: ClintonBPhotography


Moving onto the performance aspect of this production, it’s worth mentioning that, even though I’m not 100% on board with the script (did I make that clear enough, yet?), I am on board with the ability and interpretation of this able and dedicated cast.
Bueka Uwemedimo takes on the role of George, the pen pal turned love interest of Esther, our main character, and a laborer who is digging for the Panama Canal. Uwemedimo has a good grasp on this character and gives a commendable performance but he does seem to yell through his entire performance while speaking… so… slowly. There’s projecting from the stage and there’s yelling and it seems Uwemedimo is doing the latter. Regardless, I can understand ever word he’s saying and he’s dedicated to his role confidently portraying his character as the “villain” with ease and authenticity.
Mayme, the kind, sweet girl who dreamed of being a concert pianist but had to resort to prostitution while renting a room on top of a saloon, is portrayed by Jade Wheeler. While wheeler seems to understand her character well, it feels as though she’s calling her performance in. The character is laid back but Wheeler’s interpretation seems a little too laid back, especially in her speaking. Mayme is a transplant from Memphis, Tennessee but has not a lick of a southern drawl that one would expect. Maybe she’s been up north too long? Aside from a good, albeit uninspiring performance, it’s definitely worth noting that Wheeler is a top-notch vocalist. She plays the piano and belts out a jazzy tune that just about brings down the house while exhibiting her proficient musicality.
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(l-r) Jenn Walker as Mrs. Dickson and Dawn Ursula as Esther. Photo: ClintonBPhotography


Mrs. Dickson, the boarding house landlady and friend to Esther, is played brilliantly by Jenn Walker and she completely embodies this character playing her with a great balance of being a realist and a compassionate friend. The character is relatable, as is, since most of us can claim we have someone like this in our family or circle of friends; one who wants what’s best for us and cares deeply for us but doesn’t mind giving his or her opinion on everything, whether we like what they say or not. Walker is to be applauded for a strong performance.
Beth Hylton, an Everyman Theatre Company member tackles the complex role of Mrs. Van Buren, the rich socialite who is not only a client of but a friend to Esther, helping her in her quest to find love by writing the letters she’s sending to George. Hylton gives an impressive, confident performance and provides the contrast to the other characters all the while showing many similarities to Esther. Both are around the same age and both are yearning for love and companionship. Hylton has a great comprehension of her character and provides both attitude and mannerisms to make for a delightful performance.
As the jovial, devoutly Jewish shop owner, Mr. Marks, Drew Kopas is a highlight of this production an absolutely believable, making this character likable from the start. From the Romanian accent to the costume, Kopas had this character down pat, without question. His dedication and focus are definitely clear in this performance and his chemistry with Dawn Ursula is spot on.
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Dawn Ursula as Esther. Photo: ClintonBPhotography


Speaking of Dawn Ursula, she rounds out the cast and is a joy to watch as Esther, our unfortunate heroine with an entrepreneur’s spirt, trying to make her way through early 1900s New York City. Ursula takes this role, chews it up, and makes it her own. You can actually see the uncertainty and, at times, anguish this character is feeling in Ursula’s performance. Her commitment and enthusiasm for this role is apparent and it’s easy to see she’s giving 100% to this character. She portrays the changes her character goes through effortlessly and gives an overall splendid performance that makes for a moving and entertaining evening of theatre.
Final thought…Intimate Apparel is a poignant piece and gives insight to the people we don’t think about regularly, namely, laymen and women who create the beautiful or simple everyday items to which we don’t give a second thought. The story itself is a slow burn and is not my favorite and is not extremely impressive. Act I does not have much going for it in the way of an interesting story line and the minor subplots are more interesting than the main story line, but most of the performances are spot on and praiseworthy. The pacing is on point and the story moves along with a good tempo. Overall, it’s a focused, well put-together production and the story is an important one of searching for love, finding love, and losing love.
This is what I thought of Everyman Theatre’s production of Intimate Apparel… What did you think? Please feel free to leave a comment!
Intimate Apparel will play through November 19 at Everyman Theatre, 315 W. Fayette Street, Baltimore, MD. For tickets, call 410-752-2208 or purchase them online.
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PRESS RELEASE: Everyman Theatre's Intimate Apparel Reveals Patterns of Synergy and Commitment to Playwright's Work

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Everyman Theatre’s Intimate Apparel Reveals Patterns of Synergy and Commitment to Playwright’s Work
Production Weaves Thematic Threads with Meaningful Community Connections
Intimate_Apparel
Baltimore, MD – As though tailor-made for the locally-commissioned play’s Baltimore audience,Intimate Apparel stirs with substance, style and sincerity at Everyman Theatre—October 18 through November 19, 2017—in a quietly commanding production that radiates with powerful performances on-stage and profound local partnerships off-stage, bringing the play’s delicate themes affectingly to life.
Wearing her heart on her sleeve while sewing intimates for her clientele, Esther is the talented African American seamstress in turn-of-the-century New York who has built a savings for herself making beautiful undergarments—while earnestly daydreaming of new beginnings, romantic possibilities, and the lingering affection she shares with a Jewish fabric merchant. But when an egregious deception cuts short heartfelt desires, can class, culture and circumstance outmatch the strength of human spirit? Inspired by a true story, Intimate Apparel is a heart-rending contemporary work in the style of an enduring classic—from Lynn Nottage, the first female playwright to win two Pulitzers.
Intimate Apparel marks the third Lynn Nottage play produced at Everyman Theatre, following 2015’sRuined and 2014’s By The Way, Meet Vera Stark. Intimate Apparel director Tazewell Thompson (who previously directed Great Expectations and Ruined at Everyman, as well as a production of Intimate Apparel at Dartmouth College) brings what Everyman Theatre Founding Artistic Director Vincent M. Lancisi describes as “a dramatist’s eye and a librettist’s ear” to the helm.
“Plays like Intimate Apparel are about bringing the real changing world into the theater,” said Thompson. “They are about making the theater contemporaneous with life; making the theater a leader of perception, not a follower. Intimate Apparel awakens us to the selves within ourselves; allows us to see, hear and understand the lives of, indeed, every man.”
In this spirit, Everyman’s production of Intimate Apparel is augmented by an extensive slate of ancillary programming that fastens topics from the play (including empowerment, entrepreneurship, and evolving trends) to close-knit community collaborations involving local artists, makers and independent entrepreneurs as well as institutions such as MICA, Baltimore School for the Arts, the Baltimore Design School and the Maryland Film Festival’s SNF Parkway Theatre.
“The story on stage can be just the beginning of the journey,” explained Everyman Theatre Managing Director Jonathan K. Waller. “We invite audiences to join us in deepening the experience by exploring how the play’s themes connect to our lives and history here in the Baltimore area. For Intimate Apparel, we have more opportunities to do this than ever before thanks to a growing circle of committed and connected partners.”
Partner projects for Intimate Apparel include an on-site costume exhibit, a tasting involving local restaurants, a film screening and discussion, a community conversation with local/regional fashion designers, a panel discussion about labor and sex work, and a walking tour of Baltimore’s historic garment district—among others. (See below for comprehensive listing.)
The cast of Intimate Apparel reunites several cast members from Ruined, including Resident Company Member Dawn Ursula* (Esther), Jade Wheeler* (Mayme) and Bueka Uwemedimo* (George). Rounding out the cast is Jenn Walker* (Mrs. Dickson), Resident Company Member Beth Hylton* (Mrs. Van Buren), and Drew Kopas* (Mr. Marks) and Steve Polites (Understudy-Mr. Marks).
The Intimate Apparel design team includes director Tazewell Thompson, Donald Eastman (Set Design), Stephen Quandt (Lighting Design), David Burdick (Costume Design), Fabian Obispo (Sound Design & Composition), Gary Logan (Dialects) and Denise O’Brien (Wig Design).
Intimate Apparel runs October 18 through November 19, 2017. Tickets ($10-65) are now on sale online (everymantheatre.org), by phone (410.752.2208), or at the Everyman Theatre Box Office (315 W. Fayette Street, Baltimore, MD).
*Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States
On View in the Lobby/Mezzanine
Fashion Exhibit: Boudoir Vignettes
Ongoing (October 20 – November 19, 2017)
Independent designers and matriculating students from MICA, Baltimore School for the Arts and Baltimore Design School have crafted this visual response to the story and setting of Intimate Apparel, which combines their local viewpoint with elements of clothing, including lingerie and boudoir attire. Curated by Caprece Jackson-Garrett.
Event Listings
TNT: Theatre Night for Teens
Tuesday, October 17, 2017 at 6:00 PM
Students in grades 9-12 enjoy a dynamic night out at the theatre featuring pre-show dinner sponsored by Noodles & Company, an Intimate Apparel artist meet-and-greet, and a 7:30 PM preview performance followed by post-show discussion and dessert. Tickets: $10 each (space is limited).
Pay-What-You-Can Preview Performance
Tuesday, October 17, 2017 at 7:30 PM
Pay-What-You-Can to see the first preview performance of Intimate Apparel. Tickets: By donation (cash only), available on a first-come, first-serve basis at the Box Office beginning at 5:30pm. Seating is general admission.
Everyman at the Parkway: Middle of Nowhere
Tuesday, October 24, 2017 at 7:00 PM (at the SNF Parkway Theatre)
One-night-only film screening presented in partnership with the Maryland Film Festival: Written and directed by Ava DuVernay, who won the 2012 Sundance Film Festival Best Director Award for her work,Middle of Nowhere chronicles a woman’s separation from her incarcerated husband and the journey to maintain her marriage and her identity amidst crisis and chaos. Resident Company member Dawn Ursula (Intimate Apparel) will introduce the screening and host an informal discussion following the film. Tickets: $8-10 each (available at mdfilmfest.com).
Taste of Everyman: Classified Cravings
Thursday, October 26, 2017 at 6:00 PM
Taste of Everyman is an artful pre-show experience that combines smarts and samples from some of the hottest talent in Baltimore’s dine and drink scene, including expert knowledge and sample-sized pairings designed (cheekily) to complement the show. Hush-hush hankerings? Top-secret tastes? For even the “foodiest” foodies among us, keeping our favorites quiet is par for the course. In the secret-keeping spirit of Intimate Apparel, join one of Baltimore’s most knowledgeable and passionate food and drink insiders, Amy Langrehr (aka Charm City Cook) for an “off the record” dish on some of Baltimore’s most-loved nosh — including some well known and others still a little bit under the radar. Featured restaurants include Dylan’s Oyster Cellar, Ekiben and Lobo, paired with local beers from Brewer’s Art, Monument City Brewing and Union Craft Brewing. Tickets: $60 each (includes event and 7:30pm performance) or $30 each (event only).
Confessions of a Designer
Friday, October 27, 2017 at 6:00 PM (Reception at 5:30 PM)
Join host, bespoke menswear designer Stephen Wise of SWB Atelier (City Paper 2016 Tailor of the Year), and esteemed local/regional designers, for a community conversation exploring the “inner lining” of the independent fashion design world and its artistic, professional and personal impacts. Participating designers include: Earle Bannister, Adira Bunch, John Cash, Brian Collins, Sally DiMarco, Crystal Joines, Dino Hartfield, Sehar Peerzada, Seleh Rahman, Stacey Stube, Richard Swartz, and Brandon Warren. Tickets: Free to attend, reserve in advance at Box Office.
World of the Play: Unraveling the Threads of Labor and Love, Then and Now
Saturday, November 4, 2017 at 4:30 PM
The characters of Intimate Apparel and their professions provide us with the thematic threads of labor and intimacy to spark discussion with an expert panel, including a local labor historian, a contemporary African-American tailor and menswear designer, and a member of SWOP (Sex Workers Outreach Project). Hosted by Marc Steiner (The Center for Emerging Media). Tickets: Free to attend, reserve in advance at Box Office.
Cast Conversations
Thursday, November 9, 2017, Post-show
Chat with participating cast members following the 7:30 PM performance of Intimate Apparel, or follow along (and submit questions) via Twitter courtesy of @BWW_Baltimore. Tickets: N/A (free to attend, with ticket to accompanying performance).
Threading History and Place: Bromo District Walking Tour
Sunday, November 12, 2017, 11:00 AM-12:30 PM
Explore invisible public spaces and storied buildings that reflect the history of Baltimore’s fashion industry, department stores and garment district and learn about past and present efforts that shape the neighborhoods contained within the Bromo Arts and Entertainment District. Tour begins and ends at Everyman Theatre (315 W. Fayette St. entrance), where attendees may stay for the 2pm performance at an exclusive discounted rate. Produced in partnership with New Public Sites, Bromo Arts and Entertainment District, and Market Center Merchants’ Association. Tickets: $15 each (tour only), advance purchase required (space is limited).
Boudoir Couture Showcase
Sunday, November 19, 2017, 5:00-6:30 PM
A live activation of the fashion exhibit (Boudoir Vignettes) on view during Intimate Apparel.
Tickets: Free to attend, reserve in advance at Box Office.
About Everyman Theatre
Everyman Theatre is a professional Equity theatre company celebrating the actor, with a Resident Company of artists from the Baltimore/DC area. Founded in 1990 by Vincent M. Lancisi, the theatre is dedicated to engaging the audience through a shared experience between actor and audience seeking connection and emotional truth in performance. Everyman is committed to presenting high quality plays that are affordable and accessible to everyone. The theatre strives to engage, inspire and transform artists, audiences and community through theatre of the highest artistic standards and is committed to embodying the promise of its name, Everyman Theatre.
Intimate Apparel is sponsored in part by Vic & Nancy Romita and the Downtown Partnership of Baltimore, with media support from The AFRO News, The Baltimore Sun Media Group and WYPR. Everyman Theatre’s Pay-What-You-Can nights are supported by Dr. E. Lee & Bea Robbins. The 2017/18 Season is generously sponsored by LifeBridge Health. Everyman Theatre is supported in part by grants from the Maryland State Arts Council and the Baltimore County Commission on Arts and Sciences.
Everyman Theatre is a proud member of the Bromo Tower Arts and Entertainment District, the Market Center Merchants Association and the Greater Baltimore Cultural Alliance.
Vincent M. Lancisi is the Founding Artistic Director of Everyman Theatre; Jonathan K. Waller is the Managing Director. For information about Everyman Theatre, visit everymantheatre.org, call 410.752.2208, or connect via Facebook (@everymantheatremd), Twitter (@everymantheatre), YouTube (@everymantheatre) and Instagram (@everymantheatre).
 
#bmoreeveryman

Press Release: Record-breaking advanced sales for Noises Off; Sardine spiked silliness starts May 17



Get your tickets to Everyman’s #1 pre-opening box office smash!
Everyman Theatre’s Resident Company of actors transforms into a British company of actors during the 1970s in this hotly anticipated revival of Tony Award-Winner Michael Frayn’s side-splitting farce to end all farces, Noises Off, directed by Vincent M. Lancisi. With their opening night on London’s West End just hours away, can the cast pull their act together before lost lines, love triangles and flying sardines upstage the production? A love-letter to the thrilling and unpredictable nature of the stage, Noises Off will leave you rolling in the aisles as everything that could go wrong, does go wrong.
Noises Off runs May 17-June 18. Tickets $10-64.

~~~~~~~~~~ DIG DEEPER ~~~~~~~~~~

The Show Must Go On!

Monday, May 22; Drinks & Music at 6:00 PM, Show at 7:30 PM

Co-presented with Stoop Storytelling, Baltimore theatre makers share hilarious-but-true stories of unexpected pitfalls and pratfalls of live performance.

Inside Look: Chaos in the Wings

Everyman’s own Resident Company Members Dawn Ursula, Beth Hylton, Wil Love, Bruce Randolph Nelson, and Carl Schurr share their best/worst backstage mishaps and personal theatre nightmares…

Last chance to save up to 15% on tickets to the “Mother” of all farces

Use code ROSE17 to save 10% off tickets to weekday performances, Sunday evenings, and Saturday matinees. Use code MUM17 to save 15% off tickets to Friday/Saturday evening performances and Sunday matinees.

Q&A with Noises Off Director Vincent M. Lancisi in DC Metro Theatre Arts

Learn more about the events and partnerships surrounding Noises Off in this DC Metro Theatre Arts interview with Noises Off director, and Everyman Founding Artistic Director, Vincent M. Lancisi.

~~~~~~~~~~ UP NEXT AT EVERYMAN ~~~~~~~~~~

Play a role: The Mousetrap

Saturday, June 3, 6:00 PM

An interactive play-reading event, hosted at the Baltimore County home of Everyman Board Member Corie Codine. Enjoy cocktails on the veranda along with a buffet dinner at this renovated old farmhouse, as you read a perfectly crafted whodunit by Agatha Christie.

Salon Series: Trouble in Mind

Monday, June 5, 6:00 PM

We close out our Salon Series’ season with the Alice Childress play, Trouble in Mind, directed by Dawn Ursula. Both a witty love letter to the theatre and a call for equality, Trouble in Mind reminds us that we all have a part to play in the fight for civil rights.

Codes ROSE17 and MUM17 expire Sunday, May 14 at 11:59 PM. Offers are valid on tickets to all performanes of Noises Off. Offer is valid on adult tickets only and cannot be combined with other offers and codes. Limit 4 tickets per order.

Review: DOT at Everyman Theatre

By Jason Crawford Samios-Uy
title
Running Time: 2 hours and 30 minutes with one 15-minute intermission
Family. You always love them but sometimes you don’t like them very much and that’s OK. The latest offering from Everyman Theatre, DOT by Coleman Domingo and Directed by Vincent M. Lancisi, with Set Design by James Fouchard, Lighting Design by Harold F. Burgess II, Sound Design by Elisheba Ittoop, and Costume Design by David Burdick gives us a glimpse into the lives of a middle-class West Philadelphia family who are dealing with illness, change, and individual demons that are trying to get them down. All of these issues thrown into the pot make for an entertaining, bittersweet tale that is relatable and very important, tackling Alzheimer’s disease and Dementia in a way that is accessible to all audiences.

Dawn Ursula and Sharon Hope. Photo by Stan Barouh

Dawn Ursula and Sharon Hope. Photo by Stan Barouh


Set in present day in an old neighborhood in West Philadelphia, Dotty is the widowed matriarch of a middle class family with three grown children including two daughters and one son. Recently, the tables have turned and the children are finding they are all of a sudden taking care of mom rather than the other way around. When it comes to family, you deal, you compromise, and you make sacrifices. Family is just plain hard to deal with sometimes but then, nature likes to throw a curve ball and it throws Alzheimer’s disease or Dementia on top of everything else and the ball game changes completely.
As I’ve stated before, Everyman Theatre has not disappointed when it comes to sets for their productions and James Fouchard’s exquisite Set Design is no different. He has managed to recreate an elegant upper-middle class home that is still “homey” with working kitchen appliances and crown molding that’s to die for! Fouchard’s ingenuity shines through as the entire set makes a complete shift to the left during intermission for Act II. What was once a large kitchen and dining room (left to right) becomes ¼ kitchen, dining room, and large living room (left to right) within 15 minutes. His attention to detail from the tchotchkes around the room to the beautifully decorated Christmas tree is superb and authentic and Fouchard is to be commended for his striking design.
Lighting and Sound Design by Harold F. Burgess II and Elisheba Ittoop, respectively, is well thought out and absolutely appropriate to this piece. Burgess’ Lighting Design is spot on giving the audience cues to what time of day it is both inside and outside and sets the mood beautifully throughout the piece. Working in tandem with Lighting Design, Ittoop’s Sound Design works nicely, especially when a good old fashioned vinyl record of a bygone era is played on the record player giving a nostalgic feel to the entire piece. Along with that, whether scripted or otherwise, the song choices for this production near perfect and move the piece along with ease.
Yaegal T. Wlech, Paige Hernandez, and Dawn Ursula. Photo by Stan Barouh

Yaegal T. Wlech, Paige Hernandez, and Dawn Ursula. Photo by Stan Barouh


Costume Design by David Burdick is superb capturing the contemporary look of this middle-class family in West Philly. Not being a period piece, costumes are pretty much every day styles but Burdick’s design still shines as each character’s style is unique, adding to each character’s presence. Urban elegance is what I would call this costume plot and it works impeccably with this piece, adding to the value of the production.
The script for DOT (by none other than Coleman Domingo, a star of AMC’s Fear the Walking Dead) is touching on a delicate topic and is funny and poignant at the same time so any director has to handle it adroitly but under the bright helm of Director Vincent M. Lancisi, this piece shines. Lancisi really understands this piece and uses the humor of the script wisely, catching the audience off guard, at times, and breaking up the drama of this emotional story. His characters are authentic and his casting makes for great chemistry onstage. He keeps the action moving smoothly and presents an on point and very well put together production.
Moving on to the performance aspect of DOT, this ensemble is impeccable. They work well together, have the right look, and each actor understands his or her character and the inner emotional factors and outside actions that move them.
Ryan Carlo Dalusung and Sharon Hope. Photo by Stan Barouh

Ryan Carlo Dalusung and Sharon Hope. Photo by Stan Barouh


Ryan Carlo Dalusung takes on the role of Fidel, a more supporting role of caregiver to our titular character, Dot, but just as significant as every other character in this piece. Dalusung gives strong performance as the Kazakhstani caregiver who answered a Craigslist ad and really seems to get his characters purpose of going through a similar situation as Dot, not really understanding everything that is going on at all times with the only difference being his handicap is a language barrier while Dot’s is more physical. I did have slight issue with his accent as I heard it as more South American or Spanish but it very could be Kazakhstani as Kazakhstan is placed smack dab in the middle between Russia, The Middle East, Eastern Europe, and Asia… any one of those accents may have worked. Regardless of the accent, Dalusung gives a believable performance making his character very likable and befitting with the family for whom he works.
Rob Jansen and Sharon Hope. Photo by Stan Barouh

Rob Jansen and Sharon Hope. Photo by Stan Barouh


The role of Adam, the fussy husband of the only male of the family who has some demons of his own to contend with, is masterfully played by Rob Jansen. Adam is a 40-year-old who is possibly in the beginnings of a mid-life crisis and Jansen’s portrayal is near perfect. He gets this character and he is comfortable on the stage. He manages to show two sides of this character with one being the nagging husband of Donnie as well as the empathetic, sweet son-in-law of Dotty. His delivery may be a bit too careful at times, sounding a bit scripted and unnatural, but overall, his character is congenial he gives a confident and enjoyable performance.
Dawn Ursula, Paige Hernandez, and Yaegel T. Welch.  Photo by Stan Barouh

Dawn Ursula, Paige Hernandez, and Yaegel T. Welch. Photo by Stan Barouh


Yaegel T. Welch tackles the role of Donnie, the prodigal (and only) son of Dotty, who is a 40-year-old freelance writer and middle child, who might not like the idea of his mother being sick. Welch’s portrayal of Donnie is absolutely outstanding as he navigates through the emotions of this character, dealing with the possibility of growing apart from his husband, not having a steady job in New York, caring for a sick parent, and wanting children. Throw in an ex-girlfriend and you have the makings of a pretty heavy character, but Welch takes this challenge and runs with it. His mannerisms and overall attitude make for a very authentic and affable character and, comparing to my brother, the middle child in my own family, Welch plays this role beautifully. His chemistry with his fellow cast mates is wonderful and he gives a strong, confident performance.
Dawn Ursula and Sharon Hope. Photo by Stan Barouh

Dawn Ursula and Sharon Hope. Photo by Stan Barouh


Shelly, the overbearing, eldest child who is also a stressed out, day-drinking single mom is played by Resident Artist Dawn Ursula, and she pulls off this role flawlessly. Her character, like many caretakers, feels as though she’s the only one of her siblings dealing with the situation of a sick parent while trying to stay afloat in her own life and the gesticulations and emotion that exudes from Ursula’s performance are outstanding. She captures the desperation and stress of this character but also gets the humor that is intertwined making for a very real and relatable. Her delivery might be a bit too forceful in the beginning, sounding too scripted and deliberate, but as the show progresses, her delivery falls into a very good rhythm, fitting in nicely with the show as a whole. I just wish it would have happened from the beginning. Ursula managed to get to the heart of this character and it makes for a very strong, entertaining, touching, and noteworthy performance.
Dawn Ursula and Paige Hernandez. Photo by Stan Barouh

Dawn Ursula and Paige Hernandez. Photo by Stan Barouh


Paige Hernandez takes on the role of Averie, the youngest, brash, lost-all-give-a-f**k, one-time YouTube sensation, and she is a standout in this production. Though the character, with her loud entrances and blunt replies, seems to be the comic relief of the piece, Hernandez pulls off the character with excellence and ease.  She is very natural and confident in this role and her comedic timing and delivery are spot on. Being the youngest in my family, I can assure you, her attitude toward and actions in the situations that arise in the show are just about perfect. I think the youngest of any brood has his or her own ideas on how things run and, usually, he or she thinks she absolutely right and Hernandez portrays this in a way that hits home for me. Her performance is definitely funny, but it is also moving making the character of Averie well-rounded and well-performed. Kudos to Hernandez on a great performance.
Dawn Ursula and Megan Anderson. Photo by Stan Barouh

Dawn Ursula and Megan Anderson. Photo by Stan Barouh


Another definitely highlight in this production of DOT is Resident Artist Megan Anderson, who takes on the role of Jackie, the high school sweetheart of Donnie and a current hot mess. Jackie has a plethora of problems of her own, but sometimes family doesn’t mean just blood related and she gets sucked into the situations of this family she’s known her entire life. Anderson is so natural in this role and brings a realness to it that it was easy for me to forget she was reading from a script. Her story of life in the big city, infidelity, being single, and coming home for a break from life is just as interesting as the main plot and Anderson carries it well. She plays her character to fit right in with this family and she shines in her performance. Her authenticity and comedic timing are impeccable, as are her emotional scenes, making her character amiable and relatable. Kudos to Anderson for a job very well done.
Sharon Hope with the Cast of DOT. Photo by Stan Barouh

Sharon Hope with the Cast of DOT. Photo by Stan Barouh


The pinnacle of this production certainly Sharon Hope, who takes on the titular role of Dotty (or Dot), the elderly, strong matriarch of this crazy family who, by fate alone, is slipping into an inevitable oblivion because of the recent diagnosis of Alzheimer’s disease. Hope takes this role and makes it her own and it’s hard to imagine anyone else in this role. Though an elderly character, she’s a contemporary character and Hope manages to embrace the old fashioned (and conservative) values of this woman but brings an air of au fait to the character. Her quick transitions from congenial mother to angry, confused woman is on point and poignant. She is able to portray the struggles of one whose mind is slowly slipping away, with no way of coming back while at the same time portraying a woman who loves and enjoys her family and wants to be present for as long as she can. Her performance is top notch and is worth the price of admission.
Yaegel T. Welch, Dawn Ursula, Sharon Hope, Ryan Carlo Dalusung, and Paige Hernandez. Photo by Stan Barouh

Yaegel T. Welch, Dawn Ursula, Sharon Hope, Ryan Carlo Dalusung, and Paige Hernandez. Photo by Stan Barouh


Final though… DOT at Everyman Theatre is a well-crafted story of an everyday family and is a relatable, poignant, and funny study into an issue that is far from funny, but absolutely present in our current lives. I laughed, I cried, I had all the feels, and whether you’ve experienced Alzheimer’s or Dementia first hand, indirectly, or not at all, you will walk away with a better understanding and perhaps a bit more compassion for our fellow humans, especially those affected by this disease. Get your tickets now because this is not a production that is to be missed this season.
That’s what I thought about DOT, playing at Everyman Theatre… what did you think? Please feel free to leave a comment!
To learn more about Alzheimer’s disease or dementia, please go to Alzheimer’s & Dementia: The Journal of the Alzheimer’s Association.
DOT will play through January 8 at Everyman Theatre, 315 West Fayette Street, Baltimore, MD. For tickets, call the box office at 410-752-2208 or purchase them online.