Disparaging, empty, hopeless: the world according to Stephen King. Made popular by the 1976 film adaptation of King’s book, Carrie has been a longstanding icon of horror, but not for the reasons one might suspect. Forget jump scenes and zombies, the horror of this small town tragedy holds large-scale relevance, shedding interrogative light on the terrifying truths of inevitable defects in human nature. Every school in every city in every country holds the same basic hierarchical structure within the student body. There are popular people who write the rules, and there are unpopular people who subscribe to said rules blindly. And then there are the Carrie Whites. I know off the top of my head who my Carrie White was in high school, and that’s what makes this story effective. It hits so incredibly close to home, which is important, because when things go a little supernatural later, nobody remembers that they think telekinesis is impossible. Telekinesis is Carrie’s leverage when crawling out of the pit of sin her zealot mother dug for her. The power to move things and break things with raw emotion and sheer will is enough to scare her mother submissive, if only until the clock strikes midnight in this perverse Cinderella distortion. Centered around the uncertainty and discomfort of puberty experienced universally, Carrie amplifies this familiar anxiety, and takes it to a darker place where everyone is lost and there doesn’t seem to be a way out.

Carrie: The Musical at Milburn Stone Theatre was pervasive, and that is a sincere compliment. From the moment I walked in the theatre, I felt trapped. Before the show even began, there were video images of blood dripping into water that were projected on the white silk scrim curtain, and Gregorian chants were echoing through the house. Director Lee Lewis mastered a tricky balance between claustrophobia and utter isolation. The set design, for which Bob Denton is responsible, reflected the distance between Carrie and her classmates and the smothering nature (lack of distance) between Carrie and her mother, Margaret White. The kitchen table where the Whites ate was set so far upstage that I felt like I was looking through their window from a tree branch across the street; an odd feeling for an audience member to still seem intrusive from so far away. It’s the little juxtapositions like this that made this stage production of something we’ve all seen before on screen a unique work of art. Creating an atmosphere is an abstraction that is hard to obtain, and the creative team at MST did.

The cast was dynamic. I pitied the characters, I abhorred the characters, I mourned the characters. Megan Valle, our Carrie White, showed a lot of dominance actually, in her innocence, which is something that I think a surface-level reader might have missed. She was naïve, and she was totally alien to the social cues of public high school, but she stood firm to authority figures and defended herself. The best moment in the show came at the close of the first act when Carrie uses her telekinetic powers in front of her mom for the first time and then calmly explains that she is no longer under her mother’s possessive sordid control. Then she just sits down and eats pie quietly under a spotlight while her mother cowers on the steps — half ready to burn Carrie at the stake for witchcraft. The subtlety of the scene and the anticlimax before the curtain fell was brilliant.

Valle also had a very believable interaction with Tommy Ross, played by AJ Melendez. Melendez was incredible. He rocked the good boy stuck in a bad boy persona quite well, and his voice was simply beautiful. He didn’t sing until well into the first act, so I honestly gasped when he started singing because I wasn’t expecting it.

Chris Hargensen, the evil instigator, played by Jackie Kappus, was a well-rounded bully. I saw weakness in her despite her cockiness. You could have heard a pin drop when Sue Snell, played by Christy Wyatt, yelled at Chris giving her a taste of the humiliation she had been administering liberally to everyone else. Wyatt did a great job of showing the transformation in her character from just being one of the many voices chiming into the hatred to being the one voice willing to speak out in kindness. I believed Wyatt. Her relationship with Tommy Ross though seemed a little forced. Miss Gardner, played by Lauren Spencer-Harris, was a critical role for Carrie to see the positive influence a woman could have on another woman, plus Miss Gardner was the only one who could crack Chris’ self-entitlement. Spencer-Harris also had a beautiful singing voice that blended well with Valle’s. Margaret White played by Kirsten Kunkle, was a foil to Carrie, but she could have brought more to the character I think in terms of self-loathing. I wanted to know more about why she thought the things that she thought. Her monologue/solo about “the sacrifice” didn’t quite lead to the ultimate buildup of her stabbing her daughter. There was just some sort of intensity missing.

I consider a great accomplishment of the production to be the believability of the high school setting. So often, in movies especially, high school parties are depicted as grandiose exaggerations of what a 17-year-old could ever get away with in their parents’ house. This was a modern look into the average high school, where kids take selfies during class with their cell phones, and make fun of each other with smiles plastered on their faces, and play the drinking game ‘Kings’ on a folding table in someone’s basement. Chris was believable because Kappus avoided turning her into a caricature. Norma, played by Colleen Scott, was a sassy accomplice who really stood out. Billy, played by Matt Peterson, fell a little too far into stereotype, but so did John Travolta in the original film adaptation. I’m not sure if Billy is even supposed to be a person or just a representation of Chris’ power over people.

I loved the decision to leave the crumpled paper from the first company number all over the stage to signify dilapidation and the unwillingness for the characters to clean up their messes.

The special effects were frankly underwhelming, with the exception of Carrie’s revenge after the blood spills on her. When she closed the windows in her house, and when she moved the chair in the library, the general audience reaction was kind of muddled. It was apparent that people were concerned that they had missed something — when in actuality the effect was just a little too small to warrant the loud music and thunder crashes.

The cast worked well together, the realness was definitely there, and I cared about what was happening on stage. Those aspects are more important, ultimately, than whether or not the bells and whistles impressed me. Acting is about recreating the elusive quality of human interaction. It all boils down to a study on how people choose to share the world with each other. I forgot that I was sitting in a seat in a theatre in Northeast, Maryland. The emotional story drew me in, and I cried. That is one of the best gauges of success in my opinion.

The Cast

• Carrie White: Megan Valle
• Margaret White: Kirsten Kunkle
• Sue Snell: Christy Wyatt
• Tommy Ross: AJ Melendez
• Chris Hargensen: Jackie Kappus
• Billy Nolan: Matt Peterson
• Miss Gardner: Lauren Spencer-Harris
• Mr. Stephens/Rev. Bliss: Phil Hansel
• Frieda: Bevin Hensley
• Norma: Colleen Scott
• Helen: Lyndie Moe
• George: Drew Scott
• Stokes: Alex VanderLek
• Freddy: Ron Jones
• Rhonda: Kashana Roberts
• Kenny: Matt Lucatamo
• Cora: Amanda Deflippis
• Ernest: Zack Langrehr

Creative Team

• Directed by S. Lee Lewis
• Music Direction by Shane Jensen
• Choreography by Jackie Kappus
• Set Design by Bob Denton
• Sound Design by Terry Edwards
• Lighting Design by S. Lee Lewis

Pit Orchestra

• Conductor/Keyboard 1: Shane Jensen
• Keyboard 2: Yuezhi Dou
• Guitar 1: Meghan Doyle
• Guitar 2: Christiaan Clark
• Cello: Caty Butler
• Bass: Brittany Bowen
• Percussion: Jamie Sweetman

Disclaimer: Milburn Stone Theatre provided two complimentary media tickets to ShowBizRadio for this review.

Spotlighters Theatre presents Fiddler on the Roof, rich with authenticity of culture and a strong collective voice. Set in the impermanence of 1905 Anatevka, Russia, audiences are invited into the kitchens and town squares of a tight-knit Jewish community where everyone knows everyone else’s business. The village patriarch, more so even than the Rabbi, is Tevye, a powerhouse who almost always melts away his tough grimace of upheld traditions to reveal nothing but love for his five daughters and spitfire wife, Golde. Framed by Yente, the well-intentioned albeit gossipy matchmaker, Lazar Wolfe, a snubbed butcher, and the romances of three very different young couples, Fiddler on the Roof serves as an allegory about the relationship man has with God, playful doses of sarcasm in one’s expression of love, and true appreciation for all the people who crowd under one roof and call themselves a family.

What is apparent about Spotlighters particular production of Fiddler is a genuine solidarity among the cast. The household anthem “Tradition” that opens the show makes excellent use of the space as each member of the Jewish family proclaims their role with pride in wonderfully blended and impactful vocals. Not only do they produce a strong sound, they’re believable. I believe the Rabbi’s son Mendel, I believe even the youngest of Tevye and Golde’s children. The biggest accomplishment of the whole show is the unscripted banter between lines that the characters share with each other, the carefully observed heritage nuances, and the camaraderie.

On an individual level, some featured roles shine more brightly than others. Mike Galizia’s Tevye is worn-in and cozy. The authoritative brassiness can’t conceal the more important softer side that develops nicely through soliloquies and chats with the Lord. Galizia’s singing voice is a true gift, though his movement seems a tad rusty. Bottom line, no finer man could shoulder this musical. Golde, crafted by Amy Bell, is played with a sense of duty built into her very muscle memory, as she is constantly seen walking with a purpose, dish rag in hand. She reacts earnestly and there is no doubt that she wears the pants, or that she loves her Tevye. I would like to mention Avram, played by Justin McMonagle, because his flustered mutterings and finely tuned character development did not go unnoticed. When it comes to the eldest daughters and their mates, the only relationship in which I could invest myself was the most controversial one between Chava (Julia Capizzi), and Fyedka (John Aquila). Aquila’s charm and stance on equality and Capizzi’s bright spirit worked very well. Some unfortunate stumbles befell Perchik (Lucas Blake), with a struggle to reach notes and a sense of discomfort in his face that broke the fourth wall, as it were, and revealed his true identity as a player in a scene, and not a traveling scholar in love. The ever-happy Motel (Vince Vuono) also confounded me, with a lack of spark for his beloved Tzeitel and verbatim line delivery.

There were some discrepancies between the pit and the actors as several cues were missed and choreographic beats were out of sync.

Spotlighters has created an experience for its patrons. For the most part, I did feel like I was in Anatevka, privy to all the whisperings and Sabbath prayers. Fiddler on the Roof made me learn and that is what theatre is supposed to do.

Cast

• Tevye: Mike Galizia
• Golde: Amy Bell
• Tzeitel: Emily Biondi
• Hodel: Alexa Canelos
• Chava: Julia Capizzi
• Shprintze: Lillian Blank
• Bielke: Isa Guitian
• Yente: Suzanna Young
• Motel: Vince Vuono
• Perchik: Lucas Blake
• Lazar Wolfe: Larry Levinson
• Rabbi: Bon Ahrens
• Mordcha/Innkeeper: Jose Reyes Teneza
• Mendel: Matthew Feldman
• Avram: Justin McMonagle
• Nachum/Beggar: Peggy Friedman
• Villager/Grandma Tzeitel: Barbara Pinker
• Villager/Fruma: Sarah: Evangeline Ridgaway
• Constable: Mike Throne
• Fyedka: John Aquila
• Villager/Shaindel: Lisa Sharpe
• Fiddler: Sebastian Stefanovic
• Villager/Sasha/Russian Dancer: Alex Shade
• Villager/Russian Dancer: Jamil Johnson
• Villager: Isa Guitian

Creative Team

• Director: Jillian Bauersfeld
• Musical Director: Michael Tan
• Choreographer: Jillian Bauersfeld
• Stage Manager: Molly Hopkins
• Set Design: Alan Zemla
• Lighting Design: Fuzz Roark
• Set Construction: Fuzz Roark and Alan Zemla
• Scenic Art/Props: Alan Zemla. Laura Nicholson, and Fuzz Roark
• Costume Design: Laura Nicholson
• Dramaturg: Sandra Hittman
• Dance Captains: Matthew Feldman and Lisa Sharpe
• Booth Technicians: Samia Cornelius and Scott Griffith

Pit Musicians

• Pit Director/Keyboard: Michael Tan
• Violin: Sebastian Stefanovic
• Bass: Greg Bell
• Clarinette, Flute: Melissa Chalmers
• Clarinette, Flute: Larry Brown

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

Cockpit in Court presents Me and My Girl, a comedy in the British tradition that follows the self-important Hereford family on their quest to reform their rightful heir, to be named the new Lord Hereford, after he arrives at the austere family homestead by way of Lambeth, London, (a less than reputable place where broads lurk about seeking company, but cops are, parish the thought, pleasant.) William, this unlikely heir, learns of his late father’s status and his own subsequent class leap in rollicking fashion as he playfully snubs his nose at things that are serious and proper. The Herefords are in for more than just a pickpocketing, cockney wielding man-boy, but also his girl, Sally. She is a strong character who has tough decisions to make throughout as she gauges how best to love her eccentric charmer whose status may have outgrown her. Flanked by a cast of colorful and conniving supporting and featured roles, propriety is stricken with a case of lower-middle class brashness that challenges the status quo and may or may not beat a few jokes senseless.

William, affectionately called Bill, is squirmy but independent as he stands firmly in his sense of self, played with near perfect comedic timing by Kevin Connell Muth. Muth brings a light and somehow downplayed ease to a character written to be over the top and caricature-like to fit the “wink, nudge” style of humor of which the musical has an abundance. Several bits jump out like his mimed introduction to a woman he imagines to be about two inches high, and a gag where he melts wicked witch-style in a grandiose ermine-trimmed cape. His feisty counterpart Sally is played by Julie Parrish, a gal who consistently shares with her audience a lovely voice, a very believable accent, and a top-notch radar for the inevitable shortcomings of live community theatre. The relationship between Bill and Sally is truly one to root for because of the life charged into what could have easily been flat stereotypes.

Exceptional performances belong to Judi Milgram’s Duchess Maria, a headstrong but not close-minded powerhouse whose quips can put anybody in what she deems to be his or her place; and Gerald, Patrick Martyn, an emasculated follower of the terribly desperate gold digger Jackie, who comes packed with awkward mannerisms and a rampant putting-on of unearned airs.

The set however, frankly takes away from the world of the production. Props and set pieces look hastily painted and assembled. Another factor taking away from this developing world is an odd time period discrepancy in the costume design. Several dresses scream “2002 High School Dance” which is distracting. Plot holes and unrealized growth potential for many stagnant players is an unfortunate hurdle, as those issues lie in the script and not necessary in the hands of the actors or director. Moments of spontaneous tap or waltz to seemingly buy time for quick changes and backdrop swaps leaves the story a little cheated, for the time comes when breaking the fourth wall no longer works in the cast’s favor.

The company and crew of Me and My Girl are rewarded with an appreciative and sharp-eared audience who allows bright and comical strangers to lead them to a place where Duchess Maria is wrong in stating that “Love is for the middle class.”

The Company

• Bill Snibson: Kevin Connell Muth
• Sally Smith: Julie Parrish
• Duchess Maria, Matriarch of the Hereford Family: Judi Milgram
• Sir John Tremayne: James Hunnicutt
• Lady Jacqueline Carstone: Amy Agnese
• Gerald Bolingbroke: Patrick Martyn
• Herbert Parchester, The Family Solicitor: Jeff Burch
• Lord Battersby: Chip Meister
• Lady Battersby: Kristen Cooley
• Sir Jasper Tring, the oldest living Hereford: Will Poxon
• Hethersett, he Butler: Lou Ghitman
• Mrs. Hughes, the Head Housekeeper: Paula Montrie
• The Major Domo: Jim Knost
• Lady Damming: Jennifer Viets
• Mrs. Celia Worthington-Worthington: Jackie Duff
• Lady Diss: Paula Montrie
• May Miles, Lady Diss’ daughter: Amanda Dickson
• Lady Brighton: Ashlyn Thompson
• The Pearly King and Queen: Quae Simpson and Lauren Everd
• Cockney Dancers: Laura Donnelly and Julie Foley
• Mrs. Brown, landlady in Lambeth: Jackie Duff
• Telegraph Boy: Ricky Blaha
• Bob Barking: Jake Stuart
• Lambeth Working Girl: Amy Greco
• Constable: Will Poxon
• Guests, Servants, Dancers, Ancestors, Ensemble: Ricky Blaha, Kristen Cooley, Amanda Dickson, Laura Donnelly, Jackie Duff, Lauren Everd, Julie Foley, Thomas Gardner, Jim Gerhardt, Lou Ghitman, Amy Greco, Jim Knost, Emily Morgan, Paula Montrie, Will Poxon, Katie Procell, James Ruth, Quae Simpson, Jake Stuart, Ashlyn Thompson, Jennifer Viets

Orchestra

• Conductor: Nathan Scavilla
• Piano: Patty DeLisle
• Bass: Robert DeLisle
• Percussion: Lisa Wood
• Violin: Rachel Lane
• Reeds: Helen Schlaich
• Trumpet: Stephen O’Connor
• Trombone: Megan Zontek
• French Horn: Jeff Baker

Production Team

• Director/Choreographer: Tom Wyatt
• Musical Director: Tom Wyatt
• Conductor: Nathan Scaville
• Stage Manager: Meghan Hughes
• Technical Director: G. Maurice “Moe” Conn
• Set Design: G. Maurice “Moe” Conn
• Set Construction Crew: Emily Andrews, Nichole Chaney, Devin McKay, Hayden Muller, Matt Norton, Sarah Senior, Marc Smith, Tony Steiner, Patrick Youells
• Scenic Artist: Sarah Senior
• Sound Designer/ Operator: Terry Edwards
• Sound Intern: Edwin Stagmeyer
• Costume Coordinator: Tom Wyatt
• Costume Construction: Della Lotman
• Men’s Formal Wear provided by: Tuxedo House
• Specialty Costumes provided by: Costume Holiday House of Fremont, Columbus, Toledo, Ohio
• Lighting Designer: Nathan Best
• Light Board Operator: Kanwal Rehman
• Spotlight Operators: Emily Andrews, Lisa Delss
• Shift Crew: Hayden Muller, Sara Piaskowski, Tony Steiner, Patrick Youells
• Deck Chief: Nicolle Walker

Disclaimer: Cockpit in Court Summer Theatre provided two complimentary media tickets to ShowBizRadio for this review.