A play about the 2017 Charlottesville rally, and a rock musical with the devil
'Professor Woland' adapts 'The Master and Margarita,' Mikhail Bulgakov's Stalin-era novel about the Devil and his retinue wreaking havoc in Soviet Moscow. The musical's creators, including book writers Jesse Rasmussen and Elizabeth Dinkova (the latter directs), shrewdly reimagine the tale's demonic characters as louche but charismatic rock musicians performing in a dive bar.
Strutting around a cabaret stage, the Satan-esque Woland (Fran Tapia, radiating shady bravado) introduces us to a mortal Moscow writer, the Master (Camilo Linares), whom authorities have forcibly disappeared after they perceived his Pontius Pilate-themed novel to be subversive. His lover, Margarita (Jordyn Taylor), is in agony until Woland's team recruits her to host a consequential diabolical ball.
Dinkova and her colleagues made some savvy choices in condensing Bulgakov's epic masterpiece, preserving its wicked humor and elegiac sadness, while necessarily sacrificing much anti-Stalinist satire. The musical's plot twists and numerous characters may dizzy audiences new to the tale, and the Master-Margarita love affair, which is not the most interesting part of Bulgakov's novel, gets too much focus. But the prog rock score, an intoxicating weave of haunting hooks and propulsive verses, composed by Michael Pemberton, who wrote the lyrics with Andrea Pemberton, is an excellent match for Woland's anarchic energy.
It helps that most actors double as musicians. Bassist Danny Santiago nails the rascally fallen angel Azazello, while ace guitarist Oliver Dyer, cellist Jeremy Allen Crawford and music director Marika Countouris vividly channel additional demons, and flutist Stephen Russell Murray sings beautifully as a crazed poet. Luis Garcia's projections are vital to capturing a phantasmagoric world.
The musical's final song, 'Time to Go (Moscow Goodbye),' does reach too overtly for political relevance. By contrast, such relevance is essential to Priyanka Shetty's '#Charlottesville,' a methodical, sometimes stirring solo play recalling the deadly 2017 Unite the Right rally in the college town.
Now in a world premiere run at the Keegan Theatre in partnership with Voices Festival Productions, the play draws on interviews with more than a hundred Charlottesville-area residents, plus court transcripts and news reports. Directed by Yury Urnov, Shetty does a reasonable job calibrating diction and mannerisms as she channels people who witnessed, or were affected by, the 2017 events: A sweetly callow student. A seething local musician. And, most movingly, the desolate mother of Heather D. Heyer, who died when an avowed neo-Nazi rammed his car through a crowd.
Other moments chillingly summon alt-right voices, sometimes through Shetty's mimicry and sometimes with video of white supremacists and their memes. (Dylan Uremovitch designed the projections and lighting.) Interwoven with Shetty's own experiences as a University of Virginia graduate student, and unfurling on Matthew J. Keenan's cracked-marble-like set, which evokes national ideals, '#Charlottesville' asks whether Unite the Right was an aberration or a strand in long-term American bigotry.
A more abstract confrontation between civilization and savagery drives German author Rebekka Kricheldorf's blunt-force satire 'Testosterone,' running in Neil Blackadder's English translation in an ExPats Theatre production. The 2012 fable tells of smug doctors Solveig and Ingo (Amberrain Andrews and Elgin Martin), who live in a walled, moated community, initially safe from a violent dystopia.
But when their well-intentioned plan to help a sex worker change profession irks a crime boss (Bruce Alan Rauscher, all jovial menace), only Ingo's amoral and hyper-macho brother Raul (a swaggering Gary DuBreuil) can help. As Raul boasts about his kills, weight-lifts with furniture and flaunts his victims' mutilated body parts, the play explores how primal urges like aggression and sexual desire might make a mockery of society's rules of behavior.
Director Karin Rosnizeck's production boasts effective touches, like baroquely grim news footage (Jonathan Dahm Robertson is scenic/projections designer), but scenes can be stiff, and the play's Grand Guignol swerves will not appeal to everyone.
Still, the concepts here, as in the other two shows, are a reminder that theater can offer bracing ideas that help us navigate reality.
Professor Woland's Black Magic Rock Show, through April 13 at the Universalist National Memorial Church in Washington. About 2 hours including intermission. spookyaction.org
#Charlottesville, through April 13 at the Keegan Theatre in Washington. About 70 minutes, no intermission. keegantheatre.com
Testosterone, through April 6 at Atlas Performing Arts Center in Washington. About 90 minutes, no intermission. expatstheatre.com
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