CALLBACKS #8

We’d like to see you again.

I have seen extraordinary talent showcased on Washington, DC stages over the years. Regardless of whether a production is a SEE IT or SKIP IT, there will almost always be a remarkable actor in it. I want to bring attention to some incredible actors that, in my UnProfessional Opinion, I think more DC theatres should cast in their productions.

Welcome back to Callbacks!

REBECCA BALLINGER

In my review of Solas Nua’s The Honey Trap:

As the interviewer, Rebecca Ballinger gives a calm, reserved performance that enjoyably cracks as Dave becomes more pushy.

When considering Rebecca Ballinger’s work in Solas Nua’s The Honey Trap and Faction of Fools’ The Moors, the first word that comes to mind is range (if not wow). From subtle realism to scintillating farce, Ballinger crafts performances with exceptional detail and confidence. I could watch her sustain the dramatic tension during The Honey Trap’s volley of interrogation scenes without end. Thankfully, she currently has more stage time in Faction of Fools’ The Moors and is truly a highlight of a splendid production. Her physical and vocal characterization for the maid(s) left me in fits of laughter — her grumpy and piercingly nasal “Yes, ma’am” and the sagging heaviness of her posture made for a mesmerizingly animated performance. I almost forgot that she was wearing a mask! The harmony between the mask’s expression and Ballinger’s choices in physicality was both delightful and impressive.

The way Rebecca Ballinger develops a character physically, emotionally, and intellectually is deeply satisfying to behold.

YAO DOGBE

A performance from Yao Dogbe is truly a gift that keeps on giving.

I first encountered Dogbe in Round House Theatre’s Nollywood Dreams, one of my *2022 Productions of the Year. His brightly expressive performance, filled with charm and swagger, made a great show even greater. Continuing his artistic collaboration with Round House in their acclaimed production of Topdog/Underdog, *Dogbe was sensational, particularly because of his complex and intricate characterization of Booth. As a student of acting, I simply ate up the specific, motivated choices he made — his short-fused intensity when challenged; his breathless excitement when discussing his date; his behavioral tic of twisting his hair when overwhelmed or concentrating. The creative stamina with which he invigorated this well-written role was beyond entertaining — it was inspiring.

Impassioned, nuanced, and versatile, I look forward to more of Yao Dogbe’s riveting artistry.

JORDYN TAYLOR

In my review of Monumental’s American Psycho:

As his vivacious, egocentric girlfriend Evelyn, I could not look away from Jordyn Taylor. Phenomenally bratty and occasionally sultry, her spirited performance made me cackle.

I speak for all of Signature Theatre’s patrons when I say that Jordyn Taylor’s performance of “Til We Reach That Day” at the end of Act 1 of Ragtime was jaw-dropping excellence. The way it built in emotional and vocal power blew the entire theatre away. The last time I felt that way was with Melody A. Betts’ performance in Olney and Round House’s FELA! — witnessing the extraordinary artistic and emotional intensity exuding from these performers will go down as two of the most special theatrical experiences of my life.

In contrast to her powerfully tragic performance in Ragtime, Monumental’s American Psycho showcased her finesse with comedy. Materialistic, seductive, and self-involved, her Evelyn was hilarious and smartly developed, particularly when at odds with Patrick Bateman.

With a compelling variety of artistic strengths, Jordyn Taylor’s career in DC is bound to soar.

JACOB YEH

As mentioned in my review of Signature Theatre’s King of the Yees:

Jacob Yeh, whose performances are always a guaranteed laugh, was quite charming impersonating Lauren’s father and ridiculously absurd as the gang leader Shrimp Boy.

“A guaranteed laugh” — a guaranteed anything — is a rare quality to attribute to an actor, but when it comes to Jacob Yeh, I am certain. His artistry is brimming with a unique, quirky charm, but what makes his work truly special is his authentic presence. Even in a role as deranged and flamboyant as his one in Constellation’s School for Lies, the enthusiasm and specificity of his artistry thoroughly enchanted me. As with his Shrimp Boy in Signature’s King of the Yees, Yeh’s fearless commitment to bold and eccentric choices is almost unmatched on DC stages. His storytelling embodies the larger-than-life scale that the stage is designed for.

I regret missing so many of his past productions, but I am certain there will be many more to come. I promise to be in attendance, and I hope to see you all there as well.

There are more CALLBACKS to come! With all the incredible talent on Washington, DC stages, I am certain I have missed some brilliant actors. Stay tuned for the next group.

Until then, DC theatres — it is my UnProfessional Opinion that you cast these actors!