Regional Reviews: Washington, D.C.

It's a busy time here in Washington with the touring company of Les Misérables visiting for the fifth time and an outstanding resident production of Angels In America, Part One: Millennium Approaches opened at the Signature Theatre in Arlington. Also, Broadway diva Linda Eder and Gershwin aficionado Michael Feinstein performed together at Wolf Trap.

WASHINGTON, D.C. --What more can be written about Les Misérables that has not already been said? Of all the British imports, it has had, arguably, the most impact of them all.

Prior to going to see Les Misérables, I said to my mother that I had never seen a "bad" performance of the classic musicalization of the Victor Hugo novel. Les Miz is one of those shows that, with a talented cast, you almost can't miss. The recently- arrived production at National Theatre is no exception. The cast is excellent throughout and they give an extraordinary performance.

The themes of faith, freedom and liberty have a special power here in Washington as this town is so involved in the crisis in Kosovo where this drama is being played out in real life. This kind of passion for liberty is not just an abstract concept and the fact that the story is set to music does not diminish the importance of the underlying message.

Despite the fact that Les Misérables has been playing on Broadway for 12 years and touring for 11, this production at the National Theatre seems brand new. Producer Cameron Mackintosh cast the show perfectly and directors Trevor Nunn and John Caird have restaged it to great effect. In fact, the only negative comment about the staging I have is the alteration of the sewer scene and the loss of the stage-front trap door.

While Ivan Rutherford is exceptional as the main character, Jean Valjean, the show has an ensemble feel about it. Rutherford's voice is remarkable and can move from a roar in the lowest register or can rise to heaven with an inspired falsetto, especially in his featured song, "Bring Him Home." The rest of the cast are not slouches in the vocal department and, of course, all the Les Miz "hits" are there.

Joan Almedilla does a wonderful job in the role of Fantine and her rendition of "I Dreamed a Dream" was heart-wrenching. It is usually at this point when the audience begins sobbing which continues off and on throughout the remainder of the show. Other standouts include J.P. Dougherty and Sharron Matthews as the innkeeper Thénardier and his wife who stop the show with "Master of the House," Sutton Foster as the love struck Eponine, Tim Hower as Marius and Reagan Thiel as Cosette.

As the grim, by-the-book Inspector Javert, Todd Alan Johnson makes good use of his powerful voice and imposing physique. Still, it is Rutherford who holds the entire production together with a compelling stage presence. He moves from a young prisoner to a dying old man using a combination of makeup and body language.

The technical aspects of the show are all good although I noticed a couple missed lighting cues which will, no doubt, be ironed out as the production continues. The costumes are extraordinary and in fine shape and the enormous barricade set operated to perfection.

This is a wonderful production of a fine musical and I say so with the full knowledge that many do not like the British mega-musicals. But shows like Les Misérables, Phantom of the Opera, Miss Saigon and Sunset Boulevard are a mainstay of theatre throughout the world. Critics may try to diminish the impact and importance of such shows but audiences love them. After thousands of performances, Les Misérables retains the magic which attracted theatre-goers to the show in the first place. People are moved to both tears and laughter throughout the show and you get a sense of the importance of the struggle the characters are undertaking and the effort the actors are giving to the show.

Les Misérables by Alain Boublil and Claude-Michel Schönberg, based on the novel by Victor Hugo. Music by Claude-Michel Schönberg, lyrics by Herbert Kretzmer. Original French text by Alain Boublil and Jean-Marc Natel, additional material by James Fenton. Directed by John Caird and Trevor Nunn. Set, John Napier; lighting, David Hersey; costumes, Andreane Neofitou. Les Misérables continues at the National Theatre through July 25. Tickets: 800-432-7250.

Personal Les Misérables note: The most moving production of Les Miz for me remains the incarnation presented at Philadelphia's Forrest Theatre starring Robert Evan as Jean Valjean and Philly native Laurie Beechman as Fantine. At the time, Beechman was being treated for ovarian cancer and it was one of her final stage performances before she lost her 10 year struggle with the disease. Since she was from the Philadelphia area, much of the audience knew her and was aware of her condition and watching her die as Fantine was so heartbreaking. Rob Evan, now starring in Jekyll & Hyde on Broadway says that scene still moves him as he had to carry her limp and dying body to her death bed night after night. "It was hard to do and it always brought tears from both cast and audience members," Evan said recently. "She was a wonderful Fantine and really left her mark on the role." Beechman, unlike Fantine, never let life "kill the dream she dreamed." The theatre world was diminished by her loss.

ARLINGTON, VA --For those going to Arlington's Signature Theatre expecting to see a recreation of the Broadway production of Angels in America, they should put that thought right out of their heads. As usual, the talented production staff at Signature has taken the classic and reworked it to fit the intimate setting and the style of production they have come to be known for.

The result, Lee Mikeska Gardner's production of Angels in America, Part I: Millennium Approaches is less overwhelming visually than its Broadway predecessor but the message and characters are enhanced showing to full effect the positive and negative truth's about human nature.

It's 1985 and Nancy Reagan rules the White House. Dynasty rules the television screens and society seems more interested with keeping up with Alexis Carrington Colby Dexter than the social issues which troubled the nation in years past. Wealth is king and AIDS has begun to show indications of the horror it was becoming. Still, the White House, Congress and straight America seem oblivious to the danger. But on the individual level, AIDS is making its presence known and the revelation of the indiscriminate nature of the monster is becoming apparent.

In New York, Louis Ironson (John Lescault) learns that his longtime companion, Prior Walter (Rick Hammerly), has AIDS and Louis skips town. Harper Pitt (Melissa Flaim) is stoned on Valium and escapes into hallucinations to hide from her troubled and failing marriage to fellow Mormon Joe (Paul Takacs). For his part, Joe is experiencing mixed emotions about a job offer from the infamous Roy Cohn (Paul Morella) which would take him to Washington DC.

Cohn, the history-making aide to Communist-hunting Senator Joe McCarthy, is facing his own demons. He too learns that he has AIDS but rejects the diagnosis and threatens the doctor who delivers it because he is not a limp-wristed, politically impotent queer but a man with clout ... who happens to sleep with other men.

Against the backdrop of the "greed is good" 1980s, the lives of these players unravel. Louis and Joe meet and begin an affair, Cohn gets sicker and more hateful, Prior starts having visions which sometimes collide with Harper Pitt's drug-induced hallucinations. AIDS becomes the impetus which forces them all to deal with the moral implications of their own lifestyles and selfish natures. Individuals from their past visit the characters from time to time including Ethel Rosenberg (Marcia Gardner) who, along with her husband, was sentenced to death at the prosecutory hands of Cohn. Joe's conservative Mormon mother (also Gardner) makes an appearance as does Prior's dead ancestors (Takacs and Morella), a travel agent for drug trips (Craig Wallace) a rabbi (again Gardner) and several others.

As was the case with Les Miz, Angels in America is an embarrassment of acting riches. Hammerly shines as Prior, being alternately sharp-witted and amusing and vulnerable and frightened. Lescault's Louis is sad and self-hating and yet desirous of doing what is right without having the knowledge or tools to do so.

As Roy Cohn, Morella gives an outstanding performance accurately portraying the famous lawyer as the predator he was and yet showing that his vicious nature stems from a basic lack of maturity and security. Morella delivers a powerful character that is not overpowering, allowing the other performers to shine in their own difficult roles. Wallace adds a much-needed touch of humanity to the proceedings with his portrayal of the compassionate and sardonic hospital worker who cares for Prior and tells Louis the truth, even if he does not want to hear it.

Takacs as the angry Mormon lawyer who is fleeing from his true sexuality is an essentially moral individual who wants to do good but his confusion over his gay tendencies extends to other parts of his life so he fails, until late in the play, to recognize the evil Cohn represents. Flaim, as his wife, Harper, is strangely appealing in the role. Even numbed by drugs, she still sees what her husband can not admit and forces the issue of his homosexuality to the fore.

I was afraid the years between when Tony Kushner penned this play and now would make the story somewhat obsolete but the human passion sustains this play and Kushner's writing remains artful. If there was any doubt that the power of the message remains, it was dispelled when Prior, during a physical exam removed his clothes and stood with his naked body covered with Kaposi's Sarcoma sores. For me, it brought back a flood of memories of people long gone whose bodies bore similar markings and the pain of it all was as fresh as the day I saw my first KS legion on a young man. From the looks on the faces of many in the audience, it had the same impact on them.

Signature Theatre and director Lee Mikeska Gardner were wise to remember the fact that the play was first produced at a tiny San Francisco theater. Gardner, by reducing the production in size, brings the message home in a very clear and real way. Her direction is impeccable and well-suited to the space in which she has to present the work. Gardner proves that the intimacy of the play is more important than a grand production. That's not to say that there isn't room for spectacle —the legendary Broadway version would not be legendary if there weren't. Still, Angels in America is a fitting continuation of the excellence for which the Signature Theatre has become renown.

When entering the theatre and spotting Lou Stancari's set, you first wonder how it will work. Resembling a sort of marble Stonehenge, it's different levels and angels serve as the perfect backdrop for this complicated and emotional play. Costume diva Anne Kennedy does her usual extraordinary job of choosing the perfect costume to enhance the character without overwhelming it.

Angels in America, Part 1: Millennium Approaches, by Tony Kushner. Directed by Lee Mikeska Gardner. Set design, Lou Stancari, lighting by Michale Phillipi, costumes by Anne Kennedy, sound by Ron Ursano, props by Eleanor Gomberg. Continues through July 3. The continuation of the story, Angels in America, Part 2: Perestroika is scheduled to run at The Signature Theatre from July 14 through August 22. Tickets, call (703) 218-6500.

VIENNA, VA --Linda Eder is a very pregnant lady but while it might slow some down, Eder has continued her rigorous touring schedule arriving recently at Wolf Trap where she opened for Michael Feinstein.

The diva-and-a-half (counting the baby) walked on the Virginia stage clad in black pants and a simple black top. Still, she looked stunning as she announced to the audience that this would be her last concert until the little composer or diva is born.

"This tour has been all about food," said Eder as she eyed the picnickers lounging on the Wolf Trap lawn. "Whatever you got back there, send it on up."

Dubbed "The Baby Tour," Eder's show was high energy from start to finish. Opening with "Welcome to Paradise" from her next star turn, Havana which was composed "by the man responsible for this," said Eder pointing to her stomach and referring to Composer Frank Wildhorn.

From there, Eder wowed the audience, many of whom were not familiar with her Broadway work and were hearing her for the first time and cheered every note. Others in the crowd were clearly Eder/Wildhorn fans and also cheered every note. There is no getting around the fact that Eder is a tremendous talent blessed with a powerful and expressive voice. I was personally amazed that she was able to sing so well considering how far along in her pregnancy she was. With all the extra weight you would think she would struggle for breath and strain to hit the upper range of her voice but she did not.

For those fans of Frank Wildhorn's music, there was plenty to love as Eder performed many selections from her three solo albums with most of the music being penned by her composer/husband.

Eder's selections included "Is This Any Way To Fall In Love?" and the title song for her most recent album It's Time.

In tribute to the late Judy Garland, Eder, who credits Garland with "being responsible for me being up here in the first place," performed a beautiful rendition of "Over The Rainbow." Unlike recent incarnations by people like Patti LaBelle and Sam Harris, Eder stayed true to the roots of the song. "When we were making the album we recorded this song at about 2 a.m. and did it in one take," Eder told the audience. Part of the beauty of this song is that it highlights many of the best qualities in her voice including a soft yet strong note at the end and phases that soared through the roof.

With an eight-piece ensemble headed by Musical Director Jeremy Roberts on piano, Eder's music was not as lush as produced in the studio but the band created a great sound and her incredible voice more than made up for any missing instruments.

The show continued with "Til You Come Back To Me," "I Want More," "Big Time," "Why Do People Fall In Love?" "Vienna," and "Man of La Mancha." Also included was a second song from Havana as well as a song called "Romancing the Blues" which Eder said she is considering for inclusion of her next CD. From the audience response, expect to see it. Her encore was the Jekyll & Hyde hit, "Someone Like You."

Michael Feinstein was a contrast in styles as he followed Eder after a brief intermission. While Eder's patter with the audience was good, Feinstein had the crowd in the palm of his hand before he sang his first Gershwin tune.

Slick and polished, Feinstein delivered a show titled Gershwin, Broadway and Beyond and included classic songs from the greatest composers in American history, Cole Porter, Irving Berlin, Johnny Mercer, Rodgers & Hamerstein and, of course, the brothers Gershwin.

Feinstein opened with "Let Me Entertain You" and, well, he did. He was alternately serious and comical with a flair for both. And while Feinstein likes to have fun on stage, he treats the songs with great respect and knows the history behind each one.

Among the selections were "Nice Work If You Can Get It,"The Tender Trap," "The Best Is Yet To Come" and "I Won't Send Roses" from Jerry Herman's Mack and Mabel. After telling a story where Irving Berlin reportedly said "You better never write a bad song for Ethel Merman or you'll hear it," Feinstein performed a beautiful medley of "They Say It's Wonderful" and "I Got Lost In Her Arms" from Annie Get Your Gun.

Feinstein poked fun at Andrew Lloyd Webber noting "He writes songs you hum going into the theatre," and after noting that the revival of Oklahoma currently playing in London runs three hours and 20 minutes, he performed his "Reader's Digest" version of the entire score providing "the full emotional roller coaster in 90 seconds" much to the delight of the audience.

So comfortable is he with his material, Feinstein asked the audience several times to choose the next song and then performed it solo with just the piano as his band watched. He also performed a version of the Gershwin classic "Embraceable You" which contained the melodies of 15 other Gershwin songs in the accompaniment.

Of course, Gershwin played a major part in Feinstein's repertoire since he started his career in 1976 as Ira Gershwin's personal assistant. Now, at 42, it is Feinstein who seems to be the keeper of the keys for this great music and, frankly, I can't think of anyone better for the role.

AT AREA THEATRES: To see a partial listing of shows in and around Washington D.C. in the coming weeks, please visit The Capital Calendar .

Also see this year's winners and nominees for the 15th Annual Helen Hayes Awards.

-- Tony Swanick