Walking in to this theatre, it was instantly awe-inspiring. The set was gorgeous and intricate with a real life-sized windmill. The windmill even actually turned. You really felt like you were in Oklahoma at that time. Real branches and rocks formed the set. The cyc was beautifully designed with hills and a sky that was lit in beautiful different colors. The expectations were high; unfortunately, this production fell a little short. While the cast had a lot of heart, the performances and staging lacked a lot of polish.

There were a few bright spot in the cast. Molly Janiga (Ado Annie) is a true triple threat. She sang beautifully, danced, and was perfectly comedic. Even with one tiny misstep, her recovery was seamless. You were watching a professional on the stage. Kevin D’Alesandro (Curly) was another strong actor with a good voice. The only weak spot was that he breathed very noticeably. His comedic work on “Poor Jud” was also quite enjoyable. The ensemble was also very good and full of energy, although they occasionally pulled focus. One real standout in the ensemble was Donald Ertel (Ike).

Some of the other leads were hit or miss. Kathy Blake (Aunt Eller) was inconsistent. Sometimes, she had good moments when showing her emotional connection to Laurie, but a lot of the time she played the role way too over-the-top as it was Mammy Yokum. Quentin Patrick (Will) played the role very unconventionally, very comic and goofy. It was a very consistent choice but maybe not the best choice. However, he was likeable and had a lot of energy.

A few of the leads really struggled. Eric Besbris (Jud) had a great look for the part and a very good baritone, but the acting fell very short. He did not really develop an appropriate character and was not appropriately menacing and distasteful. He did, however, do well when working with Curly on “Poor Jud.” Hugh Carson (Ali Hakim) was lucky to have a good role that was very well written for, so he was still able to get laughs despite a mediocre performance. His accent was inconsistent and the Indian accent was an odd choice. He also didn’t have the charm and power that would have really made the role shine. Ali Borkowicz (Laurey) was an odd choice for the role. She might have a nice instrument in her voice, but she has obviously not been trained and was all over the place. She seemed to try really hard to make a character, but she struggled in showing real emotion and heart.

The complete lack of choreography was another real downfall. Some songs like “Oklahoma!” were just spent standing on the stage. In general, the show lacked any impressive, large dance numbers, something that should really be part of this particular musical. Even “Kansas City” lacked the “wow” factor that the number usually holds.

The technical pieces were excellent. The aforementioned set, beautiful lighting, and relatively well-balanced sound. Even when the sound had minor issues, the cast or crew adjusted quickly. The costumes were beautiful and high quality. They were appropriate to the time, although the character choice was sometimes questionable. Having Laurey in the shirt and overalls didn’t exactly work, and there was not enough of a distinction between the farmers and the cowmen. The makeup, however, was not as strong. Curly’s five-o’clock shadow looked awkward and drawn. The rest of the makeup didn’t really stand out as being good or bad. The orchestra was very good for the most part, only the trumpet was occasionally off.

This was a very typical, small community theater production. The performers, for the most part, were not and will never be professionals. However, they did bring a ton of heart and energy to the production. The major plus that set this production on a slightly higher plane was their high-quality technical elements and Molly Janiga.

Photo Gallery

Photos by Glyndon Area Players

Cast

• Aunt Eller: Kathy Blake
• Curly: Kevin D’Alesandro
• Laurey: Ali Borkowicz
• Ike: Donald Ertel
• Slim: Tommy Beam
• Will: Quentin Patrick
• Fred: Emilio Bayarena
• Jud: Eric Besbris
• Ado Annie: Molly Janiga
• Ali Hakim: Hugh Carson
• Gertie: Megan O’Donnell
• Carnes: Stan Behnken
• Vivian: Rose Hahn
• Ellen: Elena Vassallo
• Kate: Ann Devine
• Virginia: Mae Alexander
• Farmer: Luke Roeder
• Mike: Paul Davis Griffin
• Cord Elam: Jake Mathis
• Tom: Casey Consuegra
• Rebecca: Mary Morency
• Dottie: Kristan Miller
• Lizzie: Elizabeth Devine
• Olivia: Ellie Hamilton
• Petunia: Abby Wolff
• Sarah: Lauren Fish
• Sophia: Sydney Hunt
• Violet: Morgan Caplan
• Betty Lou: Corinne Ertel
• Charlotte Sue: Ava Ertel
• Clementine Rose: Sophia Rampolla
• Cora Lee: Chloe Hunt
• Georgia May: Cameron Consuegra
• Maggie May: Emily Noel
• Sadie Anne: Emma Roeder
• Savannah Rose: Jenny Yarmis
• Sue Ellen: Lily Ertel
• Tara Leigh: Elena Rittie
• Dream Sequence Dancers: Mae Alexander, Ann Devine, Lauren Fish, Rose Hahn, Ellie Hamilton, & Sydney Hunt

Production Team

• Director: Homero Bayarena
• Assistant Director: Teresa Ertel
• Choreographer: Deb Carson
• Music Director: Sally Tarr
• Stage Manager: Karen Janiga
• Business Manager: Jo-Anne Miller
• Technical Director: Michael Parks
• Assistant Technical Director: Ann Kenney-Clasing
• Production Manager: Kari O’Donnell

Disclaimer: Glyndon Area Players provided two complimentary media tickets to ShowBizRadio for this review.

Walking in to this production, it does not set high expectations. There is untraditional seating at tables, and the set was unremarkable and, in places, sloppy, such as the wording of “Closer than Ever.” However, it does not take long for the cast to demonstrate that initial first impressions are not always right. This very talented cast brings the music alive, and the coffee-house feel is perfect for the production. Closer than Ever is basically a musical review that deals with the different types of human relationships that we encounter in our lifetimes. Some are more humorous, and others are extremely deep and touching. Mornington Players does an amazing job of really getting to the emotional heart of these songs and allowing the audience to connect to those moments in their own lives.

The strongest performers in the ensemble were Ryan Gieger, Jim Gerhardt, and Lisa Pastella. Geiger is the baritone, and he has a beautifully supported tone. He reaches the zenith of his performance in the song “If I Sing,” where he connects to such a deep emotional place with such intense realism that the audience experiences deep catharsis. Gerhardt is the tenor, and he has an incredible stage presence to accompany his strong voice. He has several great moments as a result of his full immersion in the various characters and situations, whether comedic or dramatic. Pastella firsts shows off what an amazingly talented young woman she is in the number “Miss Byrd.” This calls for her to show the complex levels of a character, and she does so with skill. She also just had a really nice voice with a wide range.

Monica Areford gave an initial negative impression because her make-up was heavy. One issue with her performance was that she had such a powerful voice that it sometimes was too much combined with the enhancement of the microphones. She was, however, fairly good most of the time. She stayed in character, had a general likeability, and was at ease on the stage. She did a really nice job in “Patterns,” both vocally and with the character, although it was noticeable the one time that she made a compulsive gesture in a count of four while the rest were in counts of three.

The weakest member of the ensemble was Ashley Sanford. She suffered from being very one-dimensional in a specific caricatured performance that was not appropriate in many of the songs. Her voice was also not dynamic. It was one-dimensional as well and showed no real levels or depth. Sanford would be very good in a role that was appropriate for the character that she had created but does possess the same versatility of the rest of the cast that was required for this show. For instance, her character worked well in the first song “She Loves Me Not” but was never again quite right.

While Musical Director Michael Clark (no relation to ShowBizRadio Editor Michael Clark) obviously did a wonderful job with musically directing the show and was a beautiful pianist, his additions to the vocals were much weaker than the other voices. He also did not bring a lot of emotion to his performance.

The overall sound set-up was great. For the most part, there was an excellent balance between the piano, drums, and the voices that was accomplished with just a few microphones. The lighting was nice and was very impressive for a small space. It was well done for the most part, although occasionally the spot took a few seconds to catch up. The choreography was simple, appropriate, and very cute. It set the stage into many pretty little pictures.

Director Ken Ewing did a beautiful job of bringing all of these elements together. There were so many little moments that showed the touch of a very skilled hand in creating realistic moments. In fact, the direction was so flawless that it was almost never seen and just melded into very believable and organic staging.

Minor issues aside, audiences should not let the unconventional show and unconventional venue keep them away. The one thing that this show most needs is people going to see it. If you have not yet had a chance to pay a visit to The Mornington Players, the time is Closer than Ever.

Cast

• Monica Areford, Michael Clark, Ryan Geiger, Jim Gerhardt, Lisa Pastella, & Ashley Sanford

Production Staff

• Director: Ken Ewing
• Musical Director: Michael Clark
• Choreographer: Katherine Sheldon
• Stage Manager: Chelsea Fluck
• Percussion: Robert Gersten
• Kitchen Manager: Christina Ewing
• House Manager: Leigh Squires

Disclaimer: The Mornington Players provided two complimentary media tickets to ShowBizRadio for this review.

Chesapeake Shakespeare Company has a true Shakespeare-in-the-Park feel. It was outdoors, full of families and food. People were having picnics, barbecuing, and generally enjoying the atmosphere. The Complete Works of William Shakespeare (abridged) is a great introduction to Shakespeare for novice viewers and an excellent homage to his body of work for aficionados. It is also just plain funny, and this production was no exception.

Overall, the three actors were appropriately cast, each was talented in his own right, and they worked together flawlessly as an ensemble. John Thomas Miller was the strongest of the three men. He had perfect comedic timing and was as flexible as a balloon animal. His ad-libs were perfectly timed without ever overshadowing or pulling focus. His Hamlet was the highlight of the show, because it was funny, real, educational, and absurd all at the same time.

Scott Graham is a very technical actor and excellent improvisationalist. There was an extended improvisational sequence at the end of Act One and beginning of Act Two when he really showed off his strengths. Occasionally, he seemed to lack full understanding of the character and the material. Sometimes he broke character and forgot he was part of an ensemble and came across more authoritative than Frank’s character.

Frank B. Moorman was obviously a great dramatic actor. However, sometimes in the comedic moments, he seemed a little stilted. Then, when the fun stops and he delivers his “What a piece of work is man…” monologue, he reveals his brilliance as a true Shakespearean actor.

Being at this facility of the first time, it was clear that the company really stayed true to their mission. It felt like a true Shakespearean theater, but the multi-level stage was not fully utilized in this production. Some of the blocking, like the balcony scene, was obscured from view from certain parts of the audience. Still, the director had a very clear vision that was executed well.

The costumes worked very well. The women’s dresses and wigs were exceptionally and really added. The props were well-constructed, but overused in this production. The lighting was uninventive but practical.

Despite the minor inconsistencies to the critical eye, this was an enjoyable production of an enjoyable show in a relaxed and comfortable atmosphere.

Cast

• Scott Graham
• John Thomas Miller
• Frank B. Moorman

Staff

• Assistant Director: Katie Keddell
• Stage Manager: Lyn Tonnessen
• Assistant Stage Manager: TJ Myers
• Sound Designer: Scott Farquhar
• Run Crew: Jamie Jager
• Asst. Costume Designer: Marilyn Johnson

Disclaimer: Chesapeake Shakespeare Company provided two complimentary media tickets to ShowBizRadio for this review.

Entering the room, unsuspecting and unaware of both the company and the production, I was immediately introduced to the feel of the show by the untraditional and extremely intimate theater space. Linus & Alora is a multimedia journey into the imagination and broken psyche of both a woman dying from cancer and her husband. The show is extremely surreal with different elements, from projection to music to dance, all taking place throughout the room often at the same time. The elements are held together through interweaving of both the characters and the theme. Audience members are likely to either love or hate this unique and avant-garde stream-of-consciousness experience.

At times, the incorporation of the various mediums served as a distraction that pulled me away from the real emotional heart of the characters. It also made me acutely aware of the fact that this was a performance and that I was part of an audience. This could be either enriching or unsettling to audiences who are used to a more traditional production. At one point in the show, Susannah Edwards (Alora) entered knee-deep into the ball pit of stuffed animals and joined the musicians on the violin. While the music was quite enjoyable and her diversity of talent was commendable, the idea that she was an actress and not a character took away from my ability to immerse myself into the soup. I knew I was watching a performance, which detracts from the ability to empathize fully with the character’s tragic story. To add to this impression, the chaotic lack of focus would at times leave me confused as to where to direct my attention.

Beneath the layers, the show was filled with a lot of things I would and did like, but not as part of this giant, uncomfortable gumbo. The music was performed by only three onstage players; however, the music never seemed dimensionless. They juggled between guitar, drums, jaw harp, clarinet, several other instruments, and prerecorded clips with ease.

Susannah Edwards’ performance as Alora was effectively contained in this production that was larger than cake. The rest of the cast was appropriately over-the-top. Although this sometimes came across as overacting, it was probably a purposeful choice to make a statement about the nature of imagination. Nathan A. Cooper (Linus) was a good example of this and, for him, it served as interesting contrast to his monologue in which he found a moment to show the “real” side of the character and the excellent use of technique by the actor. Three actors that represented the world of imagination were Kaveh Haerian (Neal), Nathan Fulton (Owen), and Mike Zemarel (Arthur). They served as great comedic relief with their well-rehearsed physical comedy bits. In such demanding roles, these actors were able to convey thematic messages through comedy. The other, supporting actors were a constant presence in the room, and all of them seemed to do a solid job of representing the vision of the production.

An issue, though, was the blocking and the space. At times, the performers were blocked so close to the audience that it was uncomfortable. At other times, it was hard to see performers.

The use of the lighting really added to the surreal nature of the production and was appropriate for bringing the small space to light. The lighting did not, however, help me decide where to focus, though this may have been intentional. While the costumes were often intricate and detailed, I was unsure of the actual thematic reasoning behind the choices besides shock value. The minimalist set added to the overall feeling of existing somewhere between reality and imagination.

Director’s Note

This production has stretched Single Carrot in what we love to do: uniting artists to see what we come up with. Linus & Alora is the most broadly collaborative production in Single Carrot’s history. We have worked with over 25 artists to make this play happen. From filmmakers to musicians, we have brought theatre and non-theatre artists together to bring you a production that is sure to be stimulating to your sense and is as distinctive as the artists involved.

Just as a song in the play says, “it takes a village to package and prepare worm food,” this is the way we must live our life. Surrounded by many people who will guide, push, comfort, and laugh with you – this trek will not be made alone. It is only during our last breath when we face the true meaning of solitude… But until then, let’s join together with those who we have – our family, both real and imaginary – and take part in the stuff that binds us together: The preparation for what will inevitably follow – The deep need to ensure that something will live beyond us, that we will not disappear, but live on through the minds of others. This is why we make art, those things that make the end less finite – let’s make those together and keep making them until the pillow we lay our head on is so soft, we won’t even feel it against our ear.

Cast

• Alora: Susannah Edwards
• Linus: Nathan A. Cooper
• Neal: Kaveh Haerian
• Owen: Nathan Fulton
• Arthur: Mike Zemarel
• Sam/Sunshine: Paul Wissman
• Samantha/Noodle: Jessica Garrett
• Cuban Woman: Melissa Wimbish

Production Team

• Director: Genevieve de Mahy
• Stage Manager: Steven Krigel
• Assistant Stage Manager: James Miller
• Dramaturg: Whitney Eggers
• Set Design: Eric Lott
• Lighting Design: Lesley Boeckman, Patience Haskell, & Jennifer Reiser
• Costume Design: Chelsey Shuler
• Props Design: Ally Cribbs
• Choreography: Genevieve de Mahy & David Kellam
• Board Operator: Steven Krigel
• Video Technician: Chris Ashworth
• Vocal Coach: Melissa Wimbish
• Production Manager: Nathan Fulton
• Program Design: Sid Flax
• Scenic Painter: Sarah Hickey

Film Design

• Chris Hartlove (Sandwiches)
• Diana Peralta (Ballons, Floating Woman)
• Justin Salvia (Stars, City, Etc.)
• Sandylee Triolo (Medical & Western imagery, etc.)
• Jane Westwick (Stop Motion and Painted Animation, Little Alora)

Musicians

Music created collaboratively by musicians and singers

• Clarinet, Percussion: Madeline de Mahy
• Banjo, Guitar: Paul Diem
• Percussion, Mandolin: Jeremy Durkin

Disclaimer: Single Carrot Theatre provided two complimentary media tickets to ShowBizRadio for this review.