Matthew Gardiner: Last News

Private Jones poses a thrilling musical adventure in story and in form.The company’s first world-premiere musical since the pandemic, produced in association with Goodspeed Musicals, shrewdly deploys sign language, practical sound effects, and silence, along with Pailet’s compelling score, to shape the world of Private Gomer Jones, a deaf Welsh sniper in World War I.Inspired by a real-life WWI marksman who was deaf since infancy, Private Jones comes firing to life in Johnny Link’s feisty take on the role.Gomer, who loses his hearing as a child, is gutsy enough at 16 to fake his way past British Army recruitment officers so he can join up and fight alongside his fellow Borderers from Breconshire.Backed by the production’s robust ensemble, he sings, bursting with hope, in “The South Wales Borderers” of answering the nation’s call. Moments later, innocence still guides him, as Gomer and company march through “Part of the Sound,” his vow to not simply soldier in step, but truly prove his value in combat.Link ably captures Gomer’s boyish voice and outlook, and evolves the character in his dark, humbling descent into the trenches of war, though it’s not the performer’s singing that carries the characterization.Distinctly pleasing voices do surround him — notably, David Aron Damane, lending his deep baritone to Gomer’s father and other roles, and Leanne Antonio as Army nurse Gwenolyn, leading the transporting ballad “Every Soul’s a Soul.”Later reprised as “Every Soldier,” the intoxicating melody ripples like water, floating Gwenolyn’s simple wisdom, that every soul is a soul.

The Bridges of Madison County, currently at Signature Theatre, Ethan Heard had seen the musical during its original Broadway run. He knew and appreciated Jason Robert Brown’s score.

The royally enjoyable cast of Signature Theatre’s The Color Purple (★★★★★) forges a chain of love with no weak links in Timothy Douglas’ knockout staging of the musical based on Alice Walker’s novel and the acclaimed 1985 motion picture.The show marks a milestone for Signature, which, according to artistic director Matthew Gardiner, had developed plans a decade ago for a take on the musical, fresh off a two-year Broadway run of the original Tony-winning production.But those plans were scuttled due to John Doyle’s 2015 Broadway revival starring powerhouses Cynthia Erivo, Jennifer Hudson, and Danielle Brooks.Eventually that production made its way to D.C. in the modified form of a Broadway touring company which, frankly, left a lot of the meat of this turbulent, decades-spanning drama still on the bone.

She Loves Me (★★★★☆) is but one of many pleasures to behold in director Matthew Gardiner’s sprightly, delightful trip to that fabled shop around the corner.Miklós László’s 1937 play Parfumerie first established the venerable love story between contentious Hungarian shop clerks Georg and Amalia, spinning a romantic confection so sweet, it’s been revived, adapted, and reinvented in forms from film to this beloved musical-comedy, originally produced on Broadway in 1963.The snappy book by Joe Masteroff has held up well, and, while the waltzing score, with music by Jerry Bock and lyrics by Sheldon Harnick, can seem a tad old-fashioned, the songs shine like gems when placed in their most advantageous setting.Gardiner and company have done plenty to create that proper atmosphere, starting with Lee Savage’s set, which opens like a music box to reveal the pristine, pastel-pretty shop floor of Maraczek’s Parfumerie.Reconfiguring like some happy-go-lucky Transformer around a centerstage turntable, the set impresses while offering Gardiner and choreographer Kelly Crandall D’Amboise myriad opportunities to keep the actors and decor moving in amusing directions.Adam Honoré’s lighting design doesn’t always add as helpfully to the scenery, but contributes beautifully to standout numbers like “A Romantic Atmosphere” and “Dear Friend.” It’s the performances, though, that light up every scene.Ali Ewoldt’s demure yet daring Amalia Balash bubbles with charm and nervous energy, unaware she’s engaged in a pen-pal romance with the one man she leasts gets along with in real life, fellow parfumerie clerk Georg Nowack, played a hint too gruffly by Deven Kolluri.The pair sing wonderfully, solo and in tandem, but the show’s most successful duet

Casey at the Bat.” Thirty years later, Gardiner, who was recently appointed artistic director of Signature Theatre, has finally worked his way back to the National Park for the Performing Arts.“Wolf Trap came to us and asked, ‘Would you be interested in partnering?'” he says, explaining the origins of a new pandemic-born collaboration between Wolf Trap and Signature Theatre. “We looked at various possibilities, from full-blown productions to concerts and everything in between.”They settled on a one-off theatrical concert production, set in the Filene Center and dubbed Broadway In The Park.

The Signature Show includes stunning performances, captured from their homes, by vocalist Felicia Boswell accompanied by pianist Mark G. Meadows — a roof-shattering powerhouse riff on “Play The Music for Me” from Jelly’s Last Jam — and vocalist Nora Palka accompanied by percussionist Nathan Ellman-Bell in a timely, moving rendition of Bob Dylan’s “The Times They Are a-Changin.”And then there’s Barrett Wilbert Weed’s enthralling take of “Colored Lights” from The Rink, offered as a coda to an interview with the legendary Chita Rivera led by Matthew Gardiner, Signature’s Associate Artistic Director.With the two conversing over video from their respective homes, Gardiner asks Rivera to reminisce about everything from her upbringing in D.C.