Review: ‘The Mistress Cycle’
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| The “Mistress Cycle” cast, from the left: Julia Capizzi (Anais Nin), Iyona Blake (LuLu White), Erica Clare (Tess Walker), Abby Middleton (Diane de Poitiers), and Justine Icy Moral (Ching). [Keith Water, Kx Photography] |
By David Siegel
Illuminating what has been in the shadows, or usually
whispered about, a new musical offers a delicately rendered look at the harsh
realities women have faced over the centuries when viewed as the “other woman.”
whispered about, a new musical offers a delicately rendered look at the harsh
realities women have faced over the centuries when viewed as the “other woman.”
The musical is “The Mistress Cycle,” and it’s having its
D.C. area premiere at the Creative Cauldron in Falls Church.
D.C. area premiere at the Creative Cauldron in Falls Church.
From Biblical times to the present day, the “other” woman
has been tagged with many a nasty term: paramour, concubine, adulteress, and
even whore. Some are called out by their names at the top of the production,
including Delilah, Jezebel, and Camilla Parker Bowles.
What is unique about “The Mistress Cycle” is that it
presents a much different image of the “other” woman. This story is told from her
point of view. It tells a story with a beginning, middle,
and end, as the opening song, “This is How It Starts,” makes clear.
presents a much different image of the “other” woman. This story is told from her
point of view. It tells a story with a beginning, middle,
and end, as the opening song, “This is How It Starts,” makes clear.
Full of sharp renderings under the incisive, reverent, and
precise direction of Creative Cauldron resident director Matt Conner, five
actors quietly and insightfully light up the venue’s intimate Cay Wiant Black Box
Theater.
precise direction of Creative Cauldron resident director Matt Conner, five
actors quietly and insightfully light up the venue’s intimate Cay Wiant Black Box
Theater.
“The Mistress Cycle” was first produced about a decade
ago in the Chicago area. The book and lyrics are by Beth Blatt, and the music is by
Jenny Giering, both winners of Jonathan Larson grants. They are likely unknown
to D.C. area audiences; this smoothly flowing production of a non-traditional
musical should change that.
ago in the Chicago area. The book and lyrics are by Beth Blatt, and the music is by
Jenny Giering, both winners of Jonathan Larson grants. They are likely unknown
to D.C. area audiences; this smoothly flowing production of a non-traditional
musical should change that.
The five characters in “The Mistress Cycle” include
historical and fictional women and are played by a mix of veterans and
newcomers. Separately, and as an ensemble, their voices are terrific. They
bring a quiet storm of emotion befitting each of the characters depicted. There
are no weeping victims.
historical and fictional women and are played by a mix of veterans and
newcomers. Separately, and as an ensemble, their voices are terrific. They
bring a quiet storm of emotion befitting each of the characters depicted. There
are no weeping victims.
Signature Theater and Creative Cauldron veteran Iyona Blake plays
Lulu White, a turn-of-the-century “madame” who wants to have a better life. She
loses her heart and her savings to a man who said he loved her and promised her
the world, but didn’t deliver either.
Lulu White, a turn-of-the-century “madame” who wants to have a better life. She
loses her heart and her savings to a man who said he loved her and promised her
the world, but didn’t deliver either.
Blake is a solid life force – whether singing or delivering
dialogue full of intense verve. When she sings about her life and that of other
women (“Divine”), she is a vivacious presence. Then as the man she loves
damages her, she becomes a woman of melancholy, hoping for survival from her
humiliation (“Mercy, Mercy”).
dialogue full of intense verve. When she sings about her life and that of other
women (“Divine”), she is a vivacious presence. Then as the man she loves
damages her, she becomes a woman of melancholy, hoping for survival from her
humiliation (“Mercy, Mercy”).
Local veteran Justine Icy Moral plays Ching, an innocent
14-year-old who is sold by her own family to become a concubine in 12th century
China. Moral is so very expressive and affecting as she delivers her wretched
story in dialogue and song. When she sings about her place in life, “One In a
Line,” it is one of the high points of the evening. Moral gives a rendition
that is moving, desperate, and fierce.
14-year-old who is sold by her own family to become a concubine in 12th century
China. Moral is so very expressive and affecting as she delivers her wretched
story in dialogue and song. When she sings about her place in life, “One In a
Line,” it is one of the high points of the evening. Moral gives a rendition
that is moving, desperate, and fierce.
New to the Creative Cauldron, Abby Middleton portrays the
historical figure Diane de Poitiers, the mistress of a real-life
20-years-younger Henri II of France in the 16th century. In love with the king, de Poitiers finds herself having to care for the ailing queen. As a consort to the king, that is all she can do.
Middleton delivers “I Had You” as her love letter to her situation with sweet
dignity.
historical figure Diane de Poitiers, the mistress of a real-life
20-years-younger Henri II of France in the 16th century. In love with the king, de Poitiers finds herself having to care for the ailing queen. As a consort to the king, that is all she can do.
Middleton delivers “I Had You” as her love letter to her situation with sweet
dignity.
Erica Clare plays Tess, a character of the “now.” She is a
struggling 30-something Manhattan “hoping-to-make-it” photographer.
struggling 30-something Manhattan “hoping-to-make-it” photographer.
The character of Tess has the most bite in her musical
numbers. Singing the wry lyrics in “Death by a Thousand Cuts” (“To David, who
said I was a dyke when I wouldn’t sleep with him on the first date/ To Damon,
who said, ‘Why not? Life’s short,’ then gave me a disease when I slept with him
on the first date”), her eyes radiate confusion, hurt, pain, and anger. (And
for me, the recent revelations of even more male abusive behavior toward women
came quickly to mind — though as “The Mistress Cycle” depicts, this has been a
truth for many, many centuries.)
numbers. Singing the wry lyrics in “Death by a Thousand Cuts” (“To David, who
said I was a dyke when I wouldn’t sleep with him on the first date/ To Damon,
who said, ‘Why not? Life’s short,’ then gave me a disease when I slept with him
on the first date”), her eyes radiate confusion, hurt, pain, and anger. (And
for me, the recent revelations of even more male abusive behavior toward women
came quickly to mind — though as “The Mistress Cycle” depicts, this has been a
truth for many, many centuries.)
Julia Capizzi portrays the famed, historic 20th century
figure, Anais Nin. Reading from Nin’s famed diaries about her exploits using
sensuality as a weapon, Capizzi gives off soft sparks. But when she offers up
a musical tribute to her dying father called “Papa,” well, it is truly an
unexpected lesson in how a father can mold a child, for better or worse.
figure, Anais Nin. Reading from Nin’s famed diaries about her exploits using
sensuality as a weapon, Capizzi gives off soft sparks. But when she offers up
a musical tribute to her dying father called “Papa,” well, it is truly an
unexpected lesson in how a father can mold a child, for better or worse.
The creative team for “The Mistress Cycle” includes Piero
Bonamico as musical director. His piano style drives each musical vignette,
lifting each lyric into an intimate space without overwhelming the singer or
the audience.
Bonamico as musical director. His piano style drives each musical vignette,
lifting each lyric into an intimate space without overwhelming the singer or
the audience.
Margie Jervis’ set designs uses the intimate Creative
Cauldron space to advantage, including as the central set piece a riser that
becomes a bed. Jervis is also the costume designer, and her costumes for each character
work seamlessly, befitting well time, place, and temperament. The black
leathers of the character Tess and the loose-fitting cotton and flowing silk
garments for the character Ching were striking. Lynn Joslin’s lighting design
showcases each actor in a soft palette of pinks and deep reds.
Cauldron space to advantage, including as the central set piece a riser that
becomes a bed. Jervis is also the costume designer, and her costumes for each character
work seamlessly, befitting well time, place, and temperament. The black
leathers of the character Tess and the loose-fitting cotton and flowing silk
garments for the character Ching were striking. Lynn Joslin’s lighting design
showcases each actor in a soft palette of pinks and deep reds.
“The Mistress Cycle” is a fine, well-recommended musical. It
is storytelling about heartbreak, desperation, and the will to survive on an
intimate scale. It also fits well with Creative Cauldron’s Bold New Works
series of musicals – including “The Turn of the Screw” (2015), “Monsters of the
Villa Diodati” (2016), and “Kaleidoscope” (2017) – that center on women’s
stories and journeys through musical theater.
is storytelling about heartbreak, desperation, and the will to survive on an
intimate scale. It also fits well with Creative Cauldron’s Bold New Works
series of musicals – including “The Turn of the Screw” (2015), “Monsters of the
Villa Diodati” (2016), and “Kaleidoscope” (2017) – that center on women’s
stories and journeys through musical theater.
When and where: “The Mistress Cycle” plays through Oct. 29 at
Creative Cauldron, 410 S. Maple Ave., Falls
Church. Performances are 8 p.m. on Thursdays, Fridays, and Saturdays and 2 and 7
p.m. on Sundays. Tickets are $30 ($26 for seniors and military, $20 for
students). Purchase tickets online or call the box office, 571-239-5288.
This piece is from a review by David Siegel posted Oct. 10
in DC Metro Theater Arts.
Creative Cauldron, 410 S. Maple Ave., Falls
Church. Performances are 8 p.m. on Thursdays, Fridays, and Saturdays and 2 and 7
p.m. on Sundays. Tickets are $30 ($26 for seniors and military, $20 for
students). Purchase tickets online or call the box office, 571-239-5288.
This piece is from a review by David Siegel posted Oct. 10
in DC Metro Theater Arts.
