‘Angel Number Nine’ to premiere July 7 in unlikely locale

By PATRICK FOLLIARD

D.C.’s pioneering Rorschach Theatre doesn’t shy away from seemingly impossible projects. In fact, that’s what the nearly 25-year-old company finds most appealing.

Continuing in that tradition, Rorschach’s latest offering, “Angel Number Nine,” is poised to make its world premiere on July 7 in the former home of Rochester Big & Tall, a sprawling two-level downtown retail space close to Farragut North.

Adapted from the samenamed novel by James L. Rogers III, “Angel Number Nine” follows the boozy, late-night journey of Angel, a young bisexual singer as she tours with her fledgling rock group through the clubs of the ’90s East Coast music scene. Along the way, Angel meets Cupid (literally), prompting her to unpack a lot of emotional, un-dealt with stuff. Angel’s processing and pursuing of relationships is a through line. Each scene of the play is from Angel’s POV. There are some filmed flashbacks and dream sequences, and live rock music (volume decreasing ear plugs are provided on request).

Jenny McConnell Frederick, Rorschach’s intrepid co-artistic director who’s directing the production, explains, “When I first read the novel, I knew that I wanted to live in this world and wanted to share that world with audiences. I’ve been kicking around the idea for a while.”

Creating that world as a two-act immersive play/rock experience (the ground floor is a 360-degree exhibit on highlights and hidden histories of D.C. music history and downstairs is a ‘90s-era bar and rock club for where “Angel Number Nine” is performed) has been a challenge admits McConnell Frederick, but not one she hasn’t relished. “With found spaces, things happen that wouldn’t happen with blank slate black box,” she says. “I love working with remnants from the store. Things just manifest. For instance, what was once a huge display for neck ties now makes the perfect back wall for the bar.”

Is there anything that she’d like to wave away with a magic wand? “There is one column I’d tear down if it didn’t mean the building would come down with it. Yes, I’d like to get rid of that. That column is my nemesis.”

While Shawn Northrop’s original music is intrinsic to the piece, “Angel Number Nine” isn’t a musical per se. The songs aren’t about plot points, but more a gateway into Angel’s psychology and relationships.

The cast is comprised of 11 actors, a few of whom are nonbinary. There are also queer characters, but that’s not the focus, says McConnell Frederick. “We’ve created an environment where some characters are gay or bisexual and no one blinks an eye.”

Nonbinary actor Kate Kenworthy stars as the titular Angel.

New to Washington, Kenworthy graduated from Sarah Lawrence College in New York last year and moved to D.C. in October. Playing Angel is a bit of a departure from past roles, which include Romeo in “Romeo and Juliet” as well as a departure musically. “My background is folk and blues. I play acoustic guitar. It’s been fun getting familiar with the ‘90s grunge rock scene…definitely a new space aesthetically.”

And as far as familiarity with bar scenes? “Not so much. I’m a homebody if truth be told.”

Still, Kenworthy, 24, relates to Angel as a person from what seems their distant past. “She’s similar to how I was in and first year of college when I figuring out my sexuality and entrenched in depression and less healthy relationships. I’m different now.”

Rorschach’s mailing address is Atlas Center for the Performing Arts, but its venues are varied. They include a 100-year-old church, the Parks at Walter Reed (an outdoor response to the pandemic), and numerous other nontraditional spaces explored extensively in Rorschach “Chemical Exile,” an immersive story set in eight disparate locations throughout the District.

For “Angel Number Nine,” the Golden Triangle, a group dedicated to enhancing D.C.’s central business district, connected Rorschach with Lerner Enterprises who donated the vacant space for June and July.

Still, the arrangement isn’t entirely without costs, McConnell Frederick notes. Beyond usual production expenses, there’s the pricey punk signage, lighting equipment, and the utilities for an over 6,000-square-foot space. It adds up quickly. But again, it’s all about making the seemingly impossible possible.

Rorschach wouldn’t do it any other way.