Virginia Stage Company presents β€˜Wiesenthal,’ inside the world of a Nazi hunter

NORFOLK β€” Against the backdrop of rising antisemitic violence and rhetoric, the Virginia Stage Company and the Holocaust Commission of the United Jewish Federation of Tidewater will present the play β€œWiesenthal” Tuesday.

β€œWiesenthal” is a one-man show about Simon Wiesenthal, a Holocaust survivor who became a Nazi hunter after World War II and brought more than 1,000 escaped criminals to justice. β€œWiesenthal” was written by and stars Tom Dugan, who said he wants people to know the man often called the β€œJewish James Bond.”

Because educating young people is a focus of the Holocaust Commission, student groups will see it free on Wednesday.

Elena Barr Baum, director of the UJFT Holocaust Commission, said that it is as important a time as ever to remember the lessons found in β€œWiesenthal.”

β€œThe Holocaust Commission is not political,” Baum said. β€œBut we have to understand why the Holocaust happened and be aware of the conditions that were right in Germany in the 1920s and β€˜30s that made these things, these horrible things, happen.”

Last week, the FBI warned of a β€œbroad threat” to New Jersey synagogues and located a man who the agency stated exhibited β€œan extreme amount of hate against the Jewish community.” Around the same time, NBA star Kyrie Irving made national headlines for not making an immediate apology for posting a link on his social media to a documentary that contained anti-Jewish sentiments.

β€œThis should not be happening in a democracy,” Baum said.

β€œWiesenthal” is one of six one-person, historical plays Dugan has written including β€œShades of Gray” which spotlighted Robert E. Lee, β€œFrederick Douglass In The Shadow of Slavery,” and his most recent, β€œTell Him It’s Jackie,” focusing on Jackie Kennedy.

Dugan has historians vet his scripts for historical accuracy.

β€œBut each of my plays has been written and produced to be entertainment,” he said, β€œand my way of saying it is: If you’re not careful, you might learn something.”

Dugan isn’t Jewish, but his wife and two children are. Dugan was raised in an Irish Catholic family and his inspiration for β€œWiesenthal” stemmed from his father’s experiences as being in an American military unit that liberated a concentration camp.

But β€œwhen I first started even thinking about writing about the Holocaust,” Dugan said, β€œI said to myself who wants to sit and listen to sad stories for 90 minutes.”

Then, he discovered that Wiesenthal was a pre-war amateur stand-up comedian.

It gave Dugan material to present more than Wiesenthal’s horrors.

β€œWhat is most surprising about the play to most audiences is how much they laugh,” Dugan said.

According to the Simon Wiesenthal Center, Wiesenthal was born in what is now Ukraine on Dec. 31, 1908. He graduated in 1932 from the Technical University of Prague after being rejected from a school closer to home because he was Jewish.

During the war, he and his wife were shipped to a series of forced labor and death camps before being liberated. While Wiesenthal and his wife survived, 89 of their relatives did not, including Wiesenthal’s mother.

β€œWhen history looks back,” Wiesenthal once said, β€œI want people to know the Nazis weren’t able to kill millions of people and get away with it.”

Wiesenthal later hosted students in an office he kept in Vienna. Dugan’s play is set in an office. Dugan, as Wiesenthal, speaks to the audience as if they were the last group he ever spoke to in the twilight of his life. Wiesenthal died in 2005.

β€œI’m not jumping into different characters, but he’s a good storyteller,” Dugan said. β€œSo along the way, you’ll get to know his wife, and you’ll get to know certain war criminals based on the way that Simon tells the story.”

Colin Warren-Hicks, 919-818-8138, colin.warrenhicks@virginiamedia.com

Spotlight News: On a Stage in Downtown Norfolk Lives a Hobbit...

(left to right): Alana Dodds Sharp, Ryan Clemens, Thomas Hall, Jeffrey A. Haddock, and Anna Sosa

Words by BA Ciccolella. Images by Sam Flint.

Full Disclosure: I’ve been wanting to see this show since I found out that my college did it years before I attended. Their dragon puppet lived under the stage in costume storage, and I wanted to play with it SO BAD. So in a way, this review was something like 20 years in the making, and in another way, the cast had 20 years of fan-girl build-up in my mind to overcome.

That being said: Go see The Hobbit. Seriously, just, stop what you are doing, pause reading this, buy a ticket, and come back. It’s running through November 6th, you still have time. This one-act play (no intermission) by the Virginia Stage Company, presented in collaboration with the Governor’s School for the Arts, is just the thing to take your mind off of all the crap happening in the world today, and let you relax and enjoy a group of story-tellers, an epic world, and the tale of one relatively small person who just wants to be back home in his own bed.

Speaking of Mr. Bilbo Baggings, Jeffrey Haddock does a brilliant job bringing him to life at the Wells Theatre in a manner that both respects the complexity of Bilbo’s character while still being appropriate to the Hobbit as a children’s story. Alana Dodds Sharp plays an impressive Gandalf, and seamlessly transitions into other characters, even when the transition is played for a laugh.

(left to right) Jeffrey A. Haddock and Alana Dodds Sharp

Ryan Clemens is entertaining as always with his variety of characters, and brings a steadying but humorous voice of reason to Thomas Hall’s more emotional character, Thorin. Mr. Hall’s Thorin really made me appreciate more of the nuances of that particular character- this was probably the first time in being told/ reading the story that I truly appreciated the trauma that Thorin and his crew went through when Smaug attacked the Lonely Mountain, and how that affected him for the rest of his life.

A special shout out also must go to Anna Sosa, who, amongst her other characters, makes the character of Gollum both easily familiar to the audience, and also genuinely her own in this performance.

The ensemble does brilliant work of making a full world of Tolkien’s characters, and if you’ve read Tolkien (or listened to myself or Stephen Colbert talk for more than 5 minutes), you are well aware of just how big a world that can be. Every single one of the Governor’s School students on that stage more than holds their own with the adult union actors.

Jeni Schaefer’s costume design brilliantly transitions actors between different characters and monsters so seamlessly, it’s actually easy as an audience member to forget that the cast is relatively small compared to the list of characters. Between her work, and TumΓ΄hq Abney’s props, though there are not even 15 people in the cast, the audience has no problem believing that 13 dwarves and a wizard have invaded Bilbo’s home at the beginning of the show, and that they are running into individual trolls, spiders, elves, goblins, wolves, and even a dragon.

Technically, the show is very well done, with Josafath Reynoso’s abstract set consisting of a few staircases, drops, and platforms transforming into every location in Tolkein’s Middle Earth (or at least most of the ones Bilbo sees on his first ever adventure- for those β€œsuper-nerds”, there are some scenes in the book which are cut for time). A large glowing circle at the back wall helps to indicate when Bilbo is wearing his famous ring. The production is set up as a group (or potentially two groups coming together), who are telling a story with the thing that they have found in this space, so many found-item props, (pool noodles, trash bags, head-lamps, crates, etc.) turn into the various monsters and other challenges that Bilbo and the dwarves tackle along the way.

(left to right): Jayden Adams-Ruiz, Anna Sosa, Katherine Cottrell, Thomas Hall, and Gunar Pencis

Christina Watanabe’s lighting design works to seamlessly to bring the different environments of Middle Earth to the stage, while also expanding and shrinking the space as needed to provide just the right amount of danger when monsters appear, and the exact relief needed to relax everyone back into a sense of security when Bilbo and the dwarves escape unharmed.

The β€œunsung” hero of this performance, however, was Steven Allegretto’s sound design, with brilliant but subtle environmental backgrounds that brought us directly into each of the locations, as well as vocal modulation assistance for the actors to play with to really bring home certain monsters. Jamison Foreman’s original music helped place us squarely in a Middle Earth where even super-fans of Tolkien and perhaps more β€œfamous” adaptations of his work will be comfortable.

It’s very obvious that everyone onstage at The Hobbit is having a great time telling this story. Director Billy Bustamante has done a great job of putting together a version of our favorite bed-time story that both entertains, allows us to laugh and cry with the characters, and teaches us the lessons meant to be learned from this epic hero’s journey. In the words of Thorin Oakenshield, β€œIf more of us valued food and cheer and song above hoarded gold, it would be a merrier world. But, sad or merry, The Hobbit will only be playing at the Well’s Theater until Sunday, November 6. So go see it, before it must leave us. Farewell.” …Or something like that- I may not have written down the whole quote correctly. πŸ˜‰

The Hobbit is running through November 6 at the Wells Theatre in Downtown Norfolk. Tickets can be purchased here.

Mistletoe Market!

Virginia Stage Company is proud to partner with local artists, artisans, and crafters for its second Seasonal Mistletoe Market to be held during Norfolk’s Grand Illumination Parade! If you’re looking for a warm and wonderful place, full of holiday cheer and historical theatre history to enjoy while observing the Grand Norfolk Parade then look no further! 

The bar will be open with warm drinks such as coffee and hot chocolate as well as our regular beverages and snacks for parade attendees while they wait for the Parade to pass by on Granby Street. Enjoy the opportunity to get your photo with Santa as his β€˜Ho Ho Ho’s grace our historical theater lobby. Coloring sheets and take-home ornament crafts for the little ones, and one of the most beautiful marketplaces you’ll ever see! Nothing says Holidays from the Heart like homemade and well-crafted art pieces from Hampton Roads locals…and these artists will have their wares on sale for all guests!

Holiday favorite The Doorway Singers will be caroling down Tazewell and Granby, making their way to and from the Wells.

Doors will open to the public at 4pm, photos with Santa will be available until 6pm just before the parade starts and our doors will remain open throughout the parade and downtown holiday festivities. No tickets required for entry, just swing by and take photos in our historic Wells Theatre, enjoy our arts and crafts, partake in the Mistletoe Market and who knows; maybe if you’re lucky you’ll catch a glimpse of one of our most Infamous Holiday Spirits…The Ghost of Christmas Yet To Come!

Vendors Include…

  • The VSC Costumers’ Collection

  • VSC’s Ryan Clemens (instagram), Puns and Miniature Art

  • VSC’s Crystal Tuxhorn (instagram), photography prints & miscellany

  • Critical Hit Creations (website) (fb) (instagram), custom dice and 3D printing

  • Setzer Collections (etsy) (fb) (instagram), handmade bows and accessories

  • Nickolai Walko (website) (instagram), Hand-Cut Mixed Media Artwork

  • pgdCeramics (etsy) (instagram), Ceramic Pottery

  • LA NEIGE (website), One-of-a-kind coastal themed dΓ©cor

  • Maison Soleil (website) (fb) (instagram), stylish artisan-made products

  • Noonday Collection (website) (instagram), jewelry & accessories made around the globe

  • Spring Scott, crochet creations



Virginia Pilot Review | Theatrical β€˜Hobbit’ brings Middle-earth to Virginia Stage Company with imaginative stagecraft

By Page Laws

Forget the β€œone ring to rule them all.” At the Wells, at least until this show ends on Nov. 6, theatricality rules.


And what, pray tell, do we mean by β€œtheatricality”?

No inkling of an answer?

(Please imagine β€œpray tell” and β€œinkling” in the voice of the South African-born Oxford don John Ronald Reuel Tolkien, 1892-1973, who published β€œThe Hobbit” in 1937 and the β€œRing” trilogy in 1954-55, and with C.S. Lewis belonged to a men’s literary group called the Inklings.)

We mean some low-tech, highly imaginative stagecraft and agile acting. β€œTheatricality” is the elusive answer to every fantasy fiction fan’s question: β€œHow do they plan to pull that off on a stage?”

For an audience accustomed to Peter Jackson’s cinematic, computer-generated miracles, how will the Virginia Stage Company manage to conjure Gollum (played by half-masked Anna Sosa nicely hissing, β€œMy Preciousss!”)? How will VSC create visible/invisible hobbits, dwarves, elves, goblins, wolflike wargs, giant spiders and a dragon, without simply projecting a CG film on the theater’s back wall?

Director Billy Bustamante recognized the problem early on and went for an unexpected answer. He punted the fantasy football by saying, as noted in the playbill, β€œMy duty was not to fulfill expectations but to challenge them.” He’d been handed, pre-pandemic, a serviceable stage adaptation by Greg Banks β€” one of a dozen dramatic and/or musical efforts to capture Tolkien for the stage (not to mention the scores of adaptations for radio, ballet, opera, TV, gameboards, computer games, Lego sets, etc.). Banks uses tried-and-true story theater techniques: One main narrator, in Bilbo Baggins (youthful but assured Jeffrey A. Haddock), occasionally addresses the audience but steps right back into the current temporal flow, sometimes all within one line.

Bilbo shares plot-precipitating duties with the forward-and-backward-seeing wizard Gandalf (the perspicacious Alana Dodds Sharp), plus nine other double- or triple-cast dwarves, trolls, elves, goblins and even humans β€” some played by Equity pros (Ryan Clemens as Balin, for example) but others by stalwart young actors from the Governor’s School for the Arts, which is β€œright next door” to the Wells, as Producing Artistic Director Tom Quaintance mentions in his curtain speech. (Note: GSA is on a talent tear. A different, equally gifted batch of GSA students just starred in β€œGrease” for Virginia Musical Theatre at the Sandler, in Virginia Beach.)

The plot Gandalf semi-engineers is a simple series of perils: One reluctant hobbit and 13 dwarves overcome trolls, goblins, spiders, wood elves, underground imprisonment, and one big fat dragon, with the goal of winning a lost kingdom and vast treasure of silver and gold. But there’s nothing simple about the Tolkienian ethics being hammered out on this forge. More on that to come.

And so, director Bustamante went for a stripped-down, unmasked theater-walls set (bare except for a giant circle, remarkably reminiscent of the one just used, albeit differently, at Virginia Opera’s β€œThe Valkyrie.” Coincidentally, Tolkien despised Wagner.) Onstage, Josafath Reynoso left us a stripped-down remnant of his very own staircase from the VSC’s most recent production, β€œCat on a Hot Tin Roof,” with lots of nice hiding shadows beneath it and space for wooden boxes and benches for later use in Bilbo’s house party, to serve as ponies and such.

For cool lighting, especially those shadows and a swell invisibility effect, credit Christina Watanabe, and for cool sound effects (especially Gollum’s voice) thank Steven Allegretto.


And while we’re still at it, how does one do low-tech, theatricality-inducing costuming? Jeni Schaefer went for a well-worn L.L. Bean timeless/timely outdoor look, accented with a hooded cape, if you’re a hobbit, and touches of bare arms and leather for a dwarf king such as Thorin (the talented and tall-for-a-dwarf Thomas Hall).

Thorin becomes a key role when it comes to Tolkienian ethics β€” the aspect of this production of most interest to adults who may have outgrown an interest in monsters. Both Bilbo and Thorin are on a quest to learn trust in themselves and in others. As Gandalf advises her struggling students, β€œYou don’t need magic. You have each other. That’s more important than magic.”

Bilbo, of course, is ever the reluctant hero, who longs throughout for his armchair and hot cocoa. He perks up, however, once out in the world and given his β€œbad boy” sobriquet of β€œbandit.” (We suspect he always had a touch of larceny in him.) Thorin begins his learning quest with intentions of sharing his treasure with all his allies but finds himself consumed by mistrust and greed that lead, as they often do, to death and destruction: here, the Battle of the Five Armies. And for what? Gold, pride, paranoia?

Critic Jes Battis suggests that Tolkien knowingly mixes his genres β€” epic, romance, pastoral and fantasy β€” while also using his different species metaphorically. The hobbits represent β€œcolonial subjects” invariably misjudged by others despite being our β€œprimary lens” for seeing Middle-earth. The elves represent β€œwritten culture”; the dwarves are β€œindustrialists”; and here in β€œThe Hobbit” the rarely appearing humans of Lake-town are β€œfailed interlocutors.” Thorin admittedly doesn’t give them much of a chance to succeed in that role.

Thorin’s fate and the β€œsocialist” solution to wealth distribution are something expert Tolkienians already know about, and theatergoers should have the chance to see for themselves. That doesn’t relieve us of the nagging sense that some species (say, goblins, trolls, wargs) are definitely less worthy of life than others. Save the wargs?

Until then, let the questions flow ...

β€œDoes the VSC’s hobbit have oversized bare feet (like his Harfoot cousins on TV’s β€˜Rings of Power’)?”

Since you mentioned TV, you’ll have to buy a ticket to answer that one.

β€œBut how do they create a giant spider and a lethal flying dragon for theater?”

Would you believe it’s all done with bendable foam rods and trash bags? Plastic sheets are used a good deal as well. (A move to cloth might better suit the aesthetes and environmentalists among us.) Watch for the eagle rescue by air. That and the giant spider are my particular favorites.

One principle β€” theatricality β€” to rule them all.

THE HOBBIT | Featured on Coast Live

By: Coast Live

Posted at 3:02 PM, Oct 21, 2022
and last updated 3:02 PM, Oct 21, 2022

NORFOLK, Va. β€” Actors Jeffrey A. Haddock and Anna Sosa from Virginia Stage Company's production of "The Hobbit" join Coast Live to discuss their experiences behind-the-scenes and onstage in this adaptation of J.R.R. Tolkein's landmark novel.

The Hobbit
Oct 19 - Nov 6
The Wells Theatre, Norfolk
Box Office: 757-627-1234
vastage.org

Presented by Virginia Stage Company
vastage.org

THE HOBBIT | Featured on The Hampton Roads Show

Did you miss the chance to see our Director (Billy Bustamante) and Bilbo (Jeffrey A Haddock) engage in a wonderful discussion about the excitement getting made on-stage for The Hobbit? Well check out the full segment below!

PORTSMOUTH, Va. (WAVY) – The magical tale β€œThe Hobbit” will soon be taking center stage in Hampton Roads thanks to the Virginia Stage Company. Director Billy Bustamante and actor Jeffrey Haddock share more about the upcoming production.

Virginia Stage Company
108 East Tazewell St., Norfolk
β€œThe Hobbit” October 19 – November 6
Tickets: 757-627-1234 or visit: VAStage.org

This segment of The Hampton Roads Show is sponsored by the Virginia Stage Company.

Haunted Hampton Roads | The Wells Theatre in Downtown Norfolk

NORFOLK, Va. β€” With more than a century of history in Downtown Norfolk, workers at the Wells Theatre believe some people loved this place so much, they never left.

β€œThe tales of the hauntings have been going on for as long as we’ve had folks in The Wells,” said Ryan Clemens, the lead resident teaching artist with the Virginia Stage Company.

Brothers Jake and Otto Wells founded the theater back in the early 1900s. Since its inception, the Wells has gone through many changes. It's been a silent movie theater, an opera, an x-rated movie house, and now for more than 40 years, home of the Virginia Stage Company. 

Clemens has worked at The Wells for more than a decade. While he hasn’t encountered any ghosts himself, he said he’s come in close contact with people who have.

β€œI’ve been next to folks who have made a corner and then come back with their eyes the size of silver dollars,” Clemens said.

Clemens said four ghosts are rumored to haunt the Wells: a man in a top hat, a lady in white, a sailor named Ned, and a young boy called Boots.

Disclaimer: None of these stories are based in fact. All are legends passed by word of mouth.

The Man in the Tophat:

The Man in the Tophat often resides in one of the box seats close to the stage. 

According to Clemens, there's only one way to get up to the box seats. 

House managers, who are the last to leave after the play, have reported seeing a man in one of the box seats; however, after making the trek up to the boxes, no one is there.

The Lady in White:

"She's often heard before she's seen," Clemens said. 

Clemens said the Lady in White is often heard singing on the first balcony. People have also reported seeing a figure in white walking along that area. 

According to Clemens, house managers have reported seeing the Woman in White, only for her to disappear at second glance.

Ned the Sailor:

Ned is said to be a "mischievous" spirit that haunts the Wells. 

As the story goes, Ned was a sailor at the turn of the century who worked the theater's rigging system. Ned was said to be a gruff character who "liked the ladies," according to Clemens. 

According to the legend, Ned would use his vantage point way above the stage to look down at the actresses; however, one day, he leaned over a little too far.

Now, every so often, staff and guests report seeing a swinging rope or hearing a funny sound coming from above the stage.

"...Maybe you're walking along the stage and you hear a funny sort of noise -- a step or a stomp, even a whistle," Clemens said.

Moreover, theater technicians have reported missing tools and after asking Ned to return the tool, it will reappear the next day.

"Now, I don't know if these are real stories. They certainly sound like fun hijinks. Whether they're carried out by somebody that is no longer on this mortal plane or whether they're carried out by technicians having a little fun, who knows?" Clemens laughed.

Boots:

Boots is known among workers as a playful spirit.

Legend has it, in the early days of the Wells, Boots was watching a showing on the second balcony, when some sort of alarm went off, causing a mass panic among guests.

According to the tale, Boots was trampled to death in the chaos.

β€œFrom time to time, what we’ll hear are the squeaky-squeak-squeak sounds of Boots up there, but always accompanied with a feeling of childlike playfulness,” Clemens said.

Workers have tales of items missing from the costume department only to reappear in plain sight hours later.

While they are just stories, Clemens said several staff members have reported similar phenomena.

β€œWho knows what’s real but certainly, you can’t deny that there are things that are felt here and experienced here,” Clemens said.

Author's note: This is the first story in 13News Now's weekly Haunted Hampton Roads series. 

Be on the lookout for similar stories about legends of Colonial Williamsburg, Fort Monroe in Hampton and the Cavalier Hotel in Virginia Beach.

Visit the original story at 13News: Haunted Hampton Roads | The Wells Theatre in Downtown Norfolk