Emancipatory Politics: A Romantic Tragedy is a postmodern, wandering look at group of young people examining their lives and their purpose in the 21st Century. A mixture of scenes, monologues, songs, dance, puppets, it flows like an abstract poem. It is not always clear what is going on or what the audience is supposed to make it of it, and that might be exactly the point.

Whatever is going on, Mobtown Players and this cast tackle it with gusto. There is an interesting, representational set that takes the audience back and forth between Baltimore and Arizona. There is also some really interesting choreography.

Best of all, the ensemble cast balances each other well and work as a well-oiled machine to each play their part. There is a great blend with little focus pulled at the wrong time. Some of the most memorable moments come from the sweet and adorable Megan (Carly Donnelly), the neurotic Hollis (Rachel Verhaaren), the down-to-Earth Jesse (Robert Vary), the crazy driven Charlie (William R. McHattie), the solid and steady Starr (Vince Constantino), the visionary Heather (Xandra Ellin), and the brash outspoken Victory (Laura Holland). The absolute standout, however, is Josh Thomas as Beowulf. He has a cool, relaxed style, and he steals the show with his hilarious and vocally brilliant “I Changed My Name.”

Emancipatory Politics: A Romantic Tragedy is definitely not for younger audience. There is a lot of adult language and adult situations.

Cast

• Charlie: William R. McHattie
• Iracel: Kristine Sloan
• Heather: Xandra Ellin
• Megan: Carly Donnelly
• Becky: Katharine Vary
• Starr: Vince Constantino
• Jesse: Robert Vary
• Hollis: Rachel Verhaaren
• Tyler: Griffin Stanbro
• Victory: Laura Holland
• Anne: Serena Miller
• Joey/Eric: Patrick Gorirossi
• Alexis: Barbara Zektick
• Beowulf: Josh Thomas
• Morgan: Megan Farber

Production Staff and Crew

• Director: Brian S. Kraszewski
• Stage Manager/Board Op: Jesse Doggett
• Choreographer/Costume Design: Deb Carson
• Scenic Artist: Kristie Winther
• Lighting Design: Bill Quick
• Fight Choreography: Sarah Flash Gorman
• Fight Captain: William R. McHattie
• Property Master: Kim Stanbro
• Set Construction: Vince Constantino, Carly Donnelly, Christina Holmes, Kristine Sloan, Darcy Smith
• Dialect Consultant: Kerry S. Brady
• Lobby Artist: Janna Morton
• Poster Design: Greg Jericho
• Production Photography: Elizabeth Hanson
• Composed and Performs “Pizza for Puppets Uno” (track 3): Serena Miller
• Composed and Performs “Pizza for Puppets Duo” (track 7), “I Changed My Name,” (track 15), “And You Beside Me” (track 18): Josh Thomas
• Composed and Performs “Arizona” (track 8), “Underscore” (track 21): William R. McHattie
• Composed and Recorded “One by One” (track 11): Erica Patoka
• Vocals “One by One” (track 11): Carly Donnelly, Xandra Ellin, Megan Farber, Serena Miller, Katharine Vary, Rachel Verhaaren, Barbara Zektick
• Composed and Recorded “One Day” (track 19): Snuttock
• Producer: Brent Englar

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

Some things are timelessly funny. Mary Chase’s tale of a man and his 6 foot, 8 1/2 inch tall rabbit named Harvey is as funny and relevant today as it was in the 1940s. The current production at The Vagabond Players is no exception. While a few of the performers occasionally go a little over the top rather than trusting the inherent humor of the script, many others stay subtle and let the script speak for itself. Despite any unevenness, the script wins out, and the end result is a light-hearted and enjoyable evening that flies by in a flurry of laughter.

The evening begins in the old Dowd family mansion, as we meet Veta Louise Simmons (Joan Crooks) and her daughter Myrtle Mae (Karina Ferry). Possibly due to opening night jitters or slight overplaying of the scene, the opening seems a little frantic and takes a little while to find its pace. Once Crooks finds her rhythm and pace, she is delightfully overwhelmed, manipulative, and yet sympathetic throughout the rest of the production. Ferry, on the other hand, teeters on the line between over-the-top and landing just right.

The show starts to really come alive as Elwood P. Dowd (Roy Hammond) enters, along with Harvey, the Pooka that only he can see. Hammond creates a charming and engaging Dowd, who walks the finely crafted line between sane and insane.

As the scene shifts to Chumley’s Rest, we meet another major star of the show: the beautifully designed set. The audience actually applauded as the beautiful library opened up to reveal the second set. Both locations were filled with little details that made the scenery come alive and feel realistic.

At Chumley’s Rest, we first meet Ruth Kelly (Amy McQuin). McQuin delivers one of the best performances in the production with flawless timing and intricate facial expressions and reactions. It is easy to root for Kelly and to see her charm, even when it is not always clear what she sees in the seemingly self-absorbed Dr. Lyman Sanderson (Chris Cotterman). Cotterman’s performance is mostly solid and, even when slightly inauthentic, works with the character.

Also, working at Chumley’s Rest is Duane Wilson (Colin Holmes) and Dr. William R. Chumley (Phil Gallagher), who provide two distinctly contrasting performances. Holmes fails to find a believable character, and, while his “class clown” behavior draws laughter, it feels like scene-stealing. His ham-like behavior feels like it as at the expense of the rest of the cast and the story rather than part of the production. Gallagher does the exact opposite, by grounding himself in making the character believable, the humor that comes forth from his character’s over-the-top mania is genuine and creates many of the best moments in the show.

The combined performances of Crooks, Hammond, McQuin, Gallagher, and, at times, Cotterman make this show well worth watching. While more consistency and grounding on the part of some of the other performers may have taken the production to another level, this is still a quality production. With a great script, a truly impressive set, and a few stellar performances, an enjoyable evening is a certain result.

Elwood P. Dowd (Roy Hammond). Photo by Ken Stanek

Cast

• Myrtle Mae Simmons: Karina Ferry*/Stephanie Ranno
• Veta Louise Simmons: Joan Crooks
• Elwood P. Dowd: Roy Hammond
• Miss Johnson: Regina D’Alessandro
• Mrs. Ethel Chauvenet: Amy Bell
• Ruth Kelly, R. N.: Amy McQuin
• Duane Wilson: Colin Holmes
• Lyman Sanderson, M.D.: Chris Cotterman
• William R. Chumley, M.D.: Phil Gallagher
• Betty Chumley: Amy Bell
• Judge Omar Gaffney: Marc Rehr
• E. J. Lofgren: Mark Wible

Production Team

• Director: Sherrionne Brown
• Stage Manager/Booth Tech: Stephy Miller
• Backstage Crew: Regina D’Alessandro, Becky Miller, Dennis Crooks, Ed Makowski
• Lighting Design: Charles W. Danforth, III
• Sound Design: Sherrionne Brown
• Set Design: Sherrionne Brown, Roy Hammond
• Set Dressing/Painting: Sherrionne Brown
• Set Construction: Moe Conn, Jay Demarco
• Portrait: Maureen Feeey
• Props: Central Avenue Props, Sherrionne Brown
• Photography: Ken Stanek
• Production Photos: Fred Mainolfi
• Poster: Sherrionne Brown
• Program: Barb Gehring
• Box Office: Apryl Bancroft, Pat David
• For the Vags: Tim Evans, Marylee Barnes

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

Dolly Parton’s voiceover sets the tone for the surrealistic trip into 1979 that is 9 to 5. Dundalk Community Theatre’s production is certain to delight and entertain fans of the original movie and the music of Dolly Parton on which the show is based. With a sold ensemble cast and phenomenal leads, this production is definitely top-notch.

The show is centered on a dynamic trio of ladies. Violet (Nancy Parrish Asendorf) is a single mother and widow who dreams of being a female CEO, while in reality she is continually passed over for jobs in management that are given to men. Asendorf is incredibly dynamic and finds a way to make Violet strong without compromising her femininity. She has a rock solid vocal and never misses a beat.

At the beginning of the show, Violet takes a new secretary under her wing, Judy (Brenda L. Tackett). Judy’s husband left her for his secretary, and she has had to take a job for the first time her life. Tackett starts out with this wonderful wide-eyed look and rambling speech that slowly matures and strengthen through the musical. The combination of her voice and acting brings goose bumps when Judy finally as her major breakthrough in “Get Out and Stay Out.”

Rounding out this unlikely trio is Doralee (Carli Smith). A blonde bombshell with a southern accent, Doralee has a hard time being accepted by other females. Smith is simply delightful, and she has an incredible powerhouse voice.

What truly bonds these women is their incredible dislike of their “sexist, egotistical, lying, hypocritical bigot” boss, Franklin Hart (John O’Brien). O’Brien’s performance is flawless. He creates a character that is beyond unlikable and yet still believable.

Shining in supporting roles are Allie Dreskin as Roz and Russell Gartner as Joe. Dreskin is aptly over-the-top with an awesome belt, and Gartner is sweet and loveable with melodic tenor voice. Other stars of this production are the technical elements — set, costumes, lighting, and sound — which all run seamlessly and set the appropriate mood and tone for the production.

There is a clear vision for 9 to 5 that seems true to the author’s intention, and it is carried out as well as it possibly could be in this strong production.

Cast

• Violet: Nancy Parrish Asendorf
• Doralee: Carli Smith
• Judy: Brenda L. Tackett
• Josh: Gino Cardoni
• Dwayne: Henry Reisinger, Jr.
• Roz: Allie Dreskin
• Missy Hart: Deborah Desmone
• Maria: Erica L. Garfield
• Kathy: Amy Sacks
• Margaret: Alice Scanlon
• Franklin Hart: John O’Brien
• Joe: Russell Gartner
• Dick: John Machovech
• Bob Enright: Michael Maistros
• Security Guard: Tyrell Stanley
• Detective: Albert J. Boeren
• Cop: Timoth David Copney
• Doctor: Jim Morgan
• Candy Striper: Zoe Feldman
• Tinsworthy: Dave Guy
• New Employee: Seth Saunders
• Ensemble: Albert J. Boeren, Libby Burgess, Timoth Copney, Amanda Dickson, Zoe Feldman, Erica Garfield, Kelsey Luchey, Michael Maistros, Laura May, Jim Morgan, Amy Sacks, Seth Saunders, Alice Scanlon, Lacy Schmidt, Tyrell Stanley
• Featured Dance Ensemble: Libby Burgess, Amanda Dickson, Zoe Feldman, Kelsey Luchey, Laura May, Lacy Schmidt

Production

• Director: John Desmone
• Scenic/Lighting Designer/Technical Director: Marc W. Smith
• Musical Director: R. Christopher Rose
• Choreographer: Bambi Johnson
• Costume Designer: James J Fasching
• Orchestra Conductor: Tim Viets
• Stage Manager: Emily Jewett
• Properties Manager: Lisa Boeren

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

Stephen Sondheim and George Furth’s groundbreaking musical comedy, Company, is a meditation on marriage, commitment, isolation, and compromise. Even now, over forty years after the musical debuted on Broadway, the show is still searing and relevant, and the legendary music and lyrics still impress. Truly, it would be difficult to present a production of Company that was not entertaining, given the quick-edit scenes and wide range of emotions, characters, and musical styles, and The Vagabond Players do not disappoint. Their Company features a cohesive ensemble of excellent singers who clearly relish the opportunity to sing these magnificent songs.

The audience learns about the characters through the eyes of Robert, who is celebrating his 35th birthday by excavating the relationships of his married friends and examining his past and current love interests in hopes of finding real meaning. Along with the rest of the cast, Tom Burns, as Robert, began the show on shaky ground, with sometimes tentative and sometimes forced vocals and awkward pacing in the first couple of scenes. Some of the performances felt stilted and tense, and the lighting, costumes, and set combined to give a very heavy, dark feel to the beginning of the show. However, the production recovered admirably, and by the end of the first act, not only had the ensemble created a believable chemistry of friends and lovers, but Burns had constructed an appealingly ambivalent Robert in whom the audience could invest.

The second act, by contrast, was a knock-out from start to finish. It began with a charming, joyful “Side by Side” featuring grin-inducing choreography by Ernie Ritchey (whose adorable staging of “You Could Drive a Person Crazy” was a first act highlight) and spot on vocals under Douglas Lawler’s musical direction. The show then moved to a brilliant marriage of staging, singing, and acting during “Poor Baby” and “Barcelona.” These songs, set during a date between Robert and flight attendant April (Amy Greco), showed the contrast between Robert’s private life as imagined by his friends and as it really existed. Burns and Greco had a sexy allure with one another while also managing to be very funny. Director Eric J. Potter staged this scene wonderfully well, seamlessly integrating the many different elements and creating humor and heartbreak in the same moments.

The act continued with Shannon Wollman’s blistering rendition of “Ladies Who Lunch.” Her voice was perfectly suited to the song, and she masterfully built it to its apex. In addition, Wollman, Joey Hellman (playing her husband), and Burns created fully formed relationships and palpable tension in the brief scene that surrounds the song. Finally, Burns had his finest moments in “Being Alive,” as Robert’s dawning understanding and insight take center stage. Without overacting, Burns took the audience on Robert’s powerful journey, while leaving traces of his ambivalence to prevent a pat conclusion.

Company is famous for being one of the very first “concept” plays with a non-linear plot. In keeping with the scattershot structure of the show, a few closing scattershot thoughts: Jennifer Viets’ solo in “Getting Married Today” was gorgeous, as was Jim Baxter’s hurt and disappointment in the same song. The neon sign and large New York skyline in Moe Conn’s set design was visually arresting. Shawn Doyle’s “Sorry-Grateful,” although started in a jarring manner, was touching and tender. Great songs, an interesting book, a charming and supportive ensemble, rich and beautiful voices, and very talented musicians made for lovely Company for the evening.

Photo Gallery

‘Bobby and girlfriends’: Lauren Everd, Tom Burns, Sarah Ford Gorman	‘The guys’:Jim Baxter, Tom Burns, David Minges, Troy Hopper
Bobby, a very popular bachelor, with the wives of his friends

Photos by Ken Stanek

Cast

• Robert: Tom Burns
• Sarah: Rikki Howie
• Harry: Shawn Doyle
• Susan: Dianna Waller
• Peter: David Minges
• Jenny: Jennifer Viets
• David: Troy Hopper
• Amy: Molly Doyle
• Paul: Jim Baxter
• Joanne: Shannon Wollman
• Larry: Roger Schulman (Joey Hellman on Oct. 18)
• Marta: Sarah Ford Gorman
• Kathy: Lauren Everd
• April: Amy Greco
• Conductor/Keyboard: Douglas Lawler; Michael DeVito
• Percussion: Lisa Wood, Bill Watson

Production Team

• Director: Eric. J. Potter
• Musical Director: Douglas Lawler
• Choreographer: Ernie Ritchey
• Stage Manager: Margie Lake
• Backstage Crew: Peggy Witowski
• Lighting Design: Ed Lake
• Set Design: G. Maurice “Moe” Conn
• Set Construction: Moe Conn, Jay Demarco
• Costume Design: Wil E. Crowther
• Follow Spot Operator: Dennis Witowski
• Photography: Tom Lauer
• Production Photos: Ferd Mainolfi
• Poster: Sherrionne Brown
• Program: Barb Gehring
• Box Office: Apryl Bancroft, Pat David
• For the Vags: Carol Evans, Ann Mainolfi

Disclaimer: Vagabond Players 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.

Nunsense is exactly what it sounds like: the juxtaposition of nonsense and nuns. When Sister Julia (Child of God) accidentally poisoned and killed 52 nuns from The Order of the Little Sisters of Dundalk, they raised money to bury them. However, since Sister Mary Regina, the Reverend Mother, first bought a blu-ray player, four nuns remain unburied and waiting in the freezer. To raise the remaining funds, Mary Regina is now leading a troupe of five nuns in putting on a fundraiser of singing, dancing, and even some habit humor. This is a silly, fun script that continually breaks the fourth wall, and Toby’s does not disappoint in providing a mindless and enjoyable evening. The production is not perfect, but it is quite enjoyable.

The set, which is actually supposed to be the set for Grease, is perfect with several movable and versatile parts that lend themselves well to this show. The costumes are excellent as well. Beyond the habits, there are several add-on costume pieces that enhance the show throughout. The lighting is good for the most part, although there are a few times that one of the actresses inadvertently ended up in the darkness. Of course, in this show it could be just the work of Sister Myopia, still not quite getting running the lighting correct. The real technical misstep was with the sound in this production. All five women have powerful voices, and, with all of them singing and the microphones as loud as they were, there were times when the sound was uncomfortably overpowering. There were also a few issues with feedback throughout.

The cast was led by Sister Mary Regina (Jane C. Boyle). Boyle has a strong stage presence and a solid voice. She was consistent throughout the production, but she really sparkled and invoked laughing out loud at the very end of Act One. It was a perfectly executed comedic bit. As Sister Mary Hubert, Jesaira Glover is also strong and consistent. The two women have nice chemistry and banter. Glover really brings it home with her vocals at the end of the show and her toe-tapping rendition of “Holier Than Thou.”

As Sister Mary Amnesia, Elizabeth Rayca stays completely and consistently in character. At every glance, she has the same blank look on her face. She is joyful and sweet throughout. She does ditzy without trying to hard. Her voice is beautiful, and she invokes real emotion during “I Could’ve Gone to Nashville.”

However, there is one performance that blows the other women away. In the role of Sister Robert Anne, Heather Marie Beck is at her finest. She becomes the tomboy nun from the Bronx in every facial expression, movement, and mannerism. She is hysterically funny throughout the show. It is her “Growing Up Catholic,” though, that is the most incredible moment in the show. She reaches into the depth of emotion and wears it on her sleeve and projects it through beautiful vocals. It was a perfect moment.

On the other end of the spectrum, Sister Mary Leo (Celia Blitzer) is the weakest of the nuns. While it was a decent choice to play the comedy of her being plus-sized and trying her hand at dancing, that was not the only number in which Blitzer became obviously winded while trying to sing and dance. While she occasionally had a good physical comedic moment throughout the show, her Mary Leo was mostly just forgettable.

This is still a definite production to see. Boyle, Glover, and Rayca are stronger. The script is funny. The direction and added bits are delightful. Above all else, Heather Marie Beck as Sister Robert Anne is not to be missed. That alone is reason enough for going.

Photo Gallery

Jane Boyle, Celia Blitzer, Jesaira Glover, Heather Beck, Elizabeth Rayca	Heather Beck
Elizabeth Rayca	Elizabeth Rayca, Jesaira Glover, Jane Boyle, Heather Beck, Celia Blitzer
Beth, Celia Blitzer, Jane Boyle, Heather Beck, Jesaira Glover	Jane Boyle

Photos by Kirstine Christiansen

Cast

• Sister Mary Regina (Reverend Mother): Jane C. Boyle
• Sister Mary Hubert: Jesaira Glover
• Sister Robert Anne: Heather Marie Beck
• Sister Mary Amnesia: Elizabeth Rayca
• Sister Mary Leo: Celia Blitzer
• Understudy (Sister Robert Anne, Sister Amnesia, Sister Leo): Maura Hogan
• Understudy (Reverend Mother, Sister Hubert): Celia Blitzer

Production Staff

• Director/Choreographer: Mark Minnick
• Musical Director: Pamela Wilt
• Orchestrations/Vocal Coach: Ross Scott Rawlings
• Scenic & Lighting Designer: David A. Hopkins
• Costume Designer: Celia Blitzer
• Sound Designer/Operator: Steve Knapp
• Production Manager: Vickie S. Johnson
• Production Stage Manager: Heather Williams
• Master Carpenter: David A. Hopkins
• Set Construction: David A. Hopkins, Russell Sunday, Ian Wallace
• Properties: Amy Kaplan
• Stage Manager: Heather Williams
• Assistant Stage Manager: Ian Wallace
• Light Board Operators: Heather Williams, Jeremy Garnes
• Crew: Ian Wallace, Jeremy Games, Jason Sowers

Orchestra

• Piano/Conductor: Pamela Wilt or Reenie Codelka
• Reeds: Steve Haaser, Brian Butler, or Charlene McDaniel
• Keyboards 2: Ed Myers, Barry Hamilton, or Nate Scavila
• Drums: Aaron Holmes, Jack Loersher, or N. Scott Robinson

Disclaimer: Toby’s Dinner Theatre provided two complimentary media tickets to ShowBizRadio for this review.

The story of the land of Oz has not only endured, it has thrived in a variety of formats and incarnations. The Wiz is one of those many successful incarnations, and it continues to endure in Toby’s current production. With top-notch technical elements and a powerhouse cast, this is a production that delights and enthralls.

The set is beautiful and brings to life the vibrant colors of this urban-themed Oz. The costumes are stunning and work to create a variety of unique characters. The lighting design is excellent and adds to every scene. The choreography is stellar and brings life to every musical number. The lighting and choreography work in tandem to create many fabulous scenes, most notably “Emerald City Ballet (Pssst).”

The cast starts blowing away audience expectations from the first number of “The Feeling We Once Had” with rich and soulful vocals from Aunt Em (Jesaira Glover). It almost seems that every cast member who appears tops the one before, right through to the end when Glinda (Crystal Freeman) soars in “A Rested Body is a Rested Mind” and the reprise of “Believe in Yourself.” It is truly possible that no one in the world sings as well as Freeman.

Carrying the performance throughout is an awesome quartet of leading performers. As Dorothy, Ashley Johnson just keeps getting better with every number. She has great innocence and likeability throughout and then brings it “Home” with a mature, nuanced vocal performance. As Scarecrow, Bryan Daniels is just the right mix of loveable and silly. He manages to keep a lot of over-the-top antics right beneath the line of too much. As Lion, Tobias Young is a fierce feline even as he humorously cowers in fear at everything.

The real “heart” of the production is Tinman. Marquise White is on fire with his jazzy, playful “Slide Some Oil To Me” and still manages to top that performance with the depth of emotion and vocal tone that he brings to “To Be Able To Feel.” His entire performance takes the material to new depth of spirit.

Jonathan Randle’s The Wiz is another excellent performance that just grows as it progresses, and he shatters the stage with his rousing and robust “Ya’ll Got It!.” Kelli Blackwell brings sultry diva to the role Evilene, despite getting a little winded during her number.

The principals are surrounded by a strong ensemble who take on a variety of roles throughout with zest and polished precision. So, there are no excuses to not “Ease On Down the Road” to Toby’s Baltimore location and check out this rocking production.

Cast

• Aunt Em: Jesaira Glover
• Dorothy: Ashley Johnson
• Uncle Henry: Jonathan Randle
• Tornado: Antonio Beverly, Bryan Daniels, Scean A. Flowers, Marcus Isaiah, Ana King, Ashleigh King, Parris Lacey, Nurney, Patricia Targete, Melissa Victor
• Munchkins: Scean A. Flowers, Jesaira Glover, Marcus Isaiah, Nurney, Tierra Strickland, Patricia Target, Melissa Victor
• Addaperle: Shayla Lowe
• Yellow Brick Road: Antonio Beverly, Ana King, Parris Lacey
• Scarecrow: Bryan Daniels
• Crows: Marcus Isaiah, Ashleigh King, Nurney
• Tinman: Maquise White
• Lion: Tobias Young
• Kalidahs: Kelli Blackwell, Scean A. Flowers, Marcus Isaiah, Tierra Strickland, Patricia Target, Melissa Victor
• Poppies: Crystal Freeman, Jesaira Glover, Ana King, Ashleigh King, Shayla Lowe, Patricia Target
• Field Mice: Antonio Beverly, Tierra Strickland, Melissa Victor
• Gatekeeper: Ashleigh King
• Emerald City Citizens: Antonio Beverly, Kelli Blackwell, Scean A. Flowers, Crystal Freeman, Jesaira Glover, Marcus Isaiah, Ana King, Ashleigh King, Parris Lacey, Shayla Lowe, Nurney, Tierra Strickland, Patricia Targete, Melissa Victor
• The Wiz: Jonathan Randle
• Evilene: Kelli Blackwell
• Lord High Underling: Scean A. Flowers
• Soldier Messenger: Antonio Beverly
• Winged Monkey: Marcus Isaiah, Parris Lacey
• Glinda: Crystal Freeman
• Understudies: Dorothy (Melissa Victor), Scarecrow (Antonio Beverly), Tinman (Scean A. Flowers), Evilene (Ashleigh King), The Wiz (Nurney), Aunt Em, Addapearle (Tierra Strickland)
• Swings: Ada Satterfield & Jason Philips

Production Staff

• Director: Kevin McAllister
• Music Director: Cedric D. Lyles
• Choreographer: Shalyce Hemby
• Assistant Choreographers: Marcus Isaiah, Parris Lacey
• Scenic & Lighting Designer: David A. Hopkins
• Costume Designer: Lawrence B. Munsey
• Sound Designer: Terry L. Edwards
• Production Manager: Vickie S. Johnson
• Production Stage Manager: Heather Williams
• Master Carpenter: David A. Hopkins
• Set Construction: David A. Hopkins, Daniel Sexton, Russell Sunday, Ian Wallace
• Properties: Amy Kaplan
• Stage Manager: Heather Williams
• Assistant Stage Manager: Ian Wallace
• Light Board Operator: Heather Williams, Jeremy Garnes
• Sound Operator: Terry L. Edwards, Jimmy Engelkemier
• Crew: Ian Wallace, Jason Sowers, Jeremy Garnes

Orchestra

• Conductors: Cedric D. Lyles, Brant Challacombe, or Darius Smith
• Keys 2: Brant Challacombe, James Ashe, Jr., or Ann Prizzi
• Bass: Michael Kellam or Morgan Turner
• Trombone: Jeff Harrigan or Jay Ellis
• Trumpet: Craig Taylor or Frank Gorecki
• Drums: Matt Lampart, Tom Harold, or Tarek Mohammed

Disclaimer: Toby’s Dinner Theater provided two complimentary media tickets to ShowBizRadio for this review.

There are three sides to a story of a relationship: his version, her version, and the truth. In The Last Five Years, we see a failed relationship. It is shown through the eyes of Cathy (Lauren Schein) moving backwards through the five years, and it is shown through the eyes of Jamie (Zachary Carter) moving forward through the five years. Both of them have a distinctly different perspective on the relationship through its stages.

Musically, Spotlighers’ production is a success. The orchestra is wonderful in bringing the score to life and adds little extra touches like snapping fingers when appropriate. Both of the performers have powerful voices and are on pitch for the vast majority of the very difficult score. On the sheer level of vocal concert, it is very dynamic and is a beautiful example of this awesome music.

The lighting design is really excellent as well and uses both light and shadow well to set scene and mood. The set is simple with a lovely floor design and supports the minimalist piece.

It is the minimalism that is lacking in several other aspect of the production. It seems that Director Fuzz Roark was sometimes overly resistant of just letting the piece be. Sometimes, the motivation may have been to make sure that the audience in the round saw everything equally, but it broke the moment when Cathy was walking around during a scene that took place in a car. There were also other times when the movement seemed forced to keep the scene from being static, where it could have been much powerful leaving Jamie and Cathy still but able to feel and convey the emotion in simpler ways. Sometimes, the reality of a scene, of a moment, is to stay still.

This was especially true for Carter. When he was left to sit or stand and feel a moment, there was a genuine connection to the material. However, whenever he had staged movement or choreography, you could feel his discomfort as the movement became forced. However, Carter was in general obviously nervous on this opening night, and he may have more success with the movement as he relaxes into the run of the show.

Schein, on the other hand, was much more relaxed and had a good energy throughout. Where she missed the mark a little was in lack of transformation. There was little distinct difference in the character throughout the years. She did not slowly transition to someone younger and full of hope as the show progressed. Even when her reactions to situations changed slightly, it was circumstance that was changing. The character remained static.

To her credit, this ability to really transform and follow the story through was really hindered by the fact that the two characters were often jumping time to appear in the other actor’s story. This was a big misstep on many levels. For one thing, it kept pulling the characters in and out of time, and it was not always clear what time line was meant to be represented in the current reactions. It also made it hard for each individual to stay focused on his/her core timeline.

Furthermore, a lot of the beauty of The Last Five Years is that we see his side and her side. The truth is left to audience imagination. We do not see the reactions or facial expressions of the other person. Each time line and each song in it shows that character’s perception of the events, which is never exactly the reality of the events. By making it a full scene with props, the other actor, and sometimes even extra actors, takes it away from the audience. With this script, less would have been more.

Whenever directors take a risk with a vision or concept for a show that is new and different, they take a big risk. Risk taking is an awesome quality in a theatre and, through trial and error, is likely to ultimately translate into a big win. This production is not that big win, but it is an opportunity to see a different type of experimentation in the context of what is, in this production as much as any other, a beautiful, complex, and heartfelt score.

(Editor’s note: The show is double cast, with each Jamie performing with each Catherine throughout the performance run.)

Cast

• Cathy: Norma Gomez/Lauren Schein
• Jamie: Zachary Carter/Bart Debicki

The Creative Team

• Director: Fuzz Roark
• Musical Director: Kevin Roland
• Stage Manager: Jesse Doggett
• Assistant Musical Director: Bobby McCoy
• Lighting Design: Pete Vargo
• Set Design: Alan Zemia, Fuzz Roark
• Costume Design: Laura Nicholson, Fuzz Roark
• Booth Technician: Jesse Doggett

Orchestra

• Violinist: Kristin Bakkegard
• Guitarist: Ryan Lucas
• Cellist: Jacques-Pierre Malan
• Fretless Bass Guitar: Russell Snyder
• Cellist: Lauren Weaver

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

Sixty miles northwest of Tulsa, Oklahoma, a family is pulled back together following the disappearance of its patriarch. The problems in this family range from depression to drug addiction to physical, emotional, and sexual abuse to incest to affairs to divorce, and, somehow, the production is still equal parts comedy and drama. The scenarios and situations are over-the-top and almost soap-opera-like, but somehow the cast makes everything feel like it is very real. It all causes the audience to wonder if this family is truly the epitome of dysfunction or more like every family than we care to admit. This is Tracy Letts’ August: Osage County at the skillful hands of Baltimore’s Everyman Theatre.

The first thing that demonstrates the intricate attention to detail that will hallmark the production is the set. It is not only a functional three-level house set, the walls of the house are actually embedded with pictures of the family growing up so that they appear as shadows on the walls. The set is filled with other little details, like authentic wear and tear on the banisters, that really transport the audience members into the home, while also reflecting the themes of the work in the set. Daniel Ettinger’s design is truly brilliant.

The same careful attention to detail is evident in the hand of Director Vincent M. Lancisi. In the creation of blocking that allows, at times, for characters to be silently interacting in one room while action takes place in another to other times when even multiple conversations are happening at once, Lancisi has actually created such verisimilitude that it is hard to believe that anything was rehearsed. The cast solidifies this illusion by embodying their characters and really living the events of the play.

In the wake of her husband’s disappearance, we find Violet Weston (Linda Thorson), a massive force to be reckoned, who spends the show moving between varying stages of high on prescription opiates. Her family members, who mostly seem to try to keep their distance, are now all gathering back around to deal with the situation. This includes her sister and her husband. Nancy Robinette brings to life the strong and sassy Mattie Fae, and Will Love is all heart in a beautiful performance as Charlie.

This also brings together Violet’s three daughters. In the hands of three extremely capable actresses, these daughters are the real center of the piece. Although Ivy (Beth Hylton) has never yet moved away, she is now finally considering breaking free of Oklahoma and her mother. Hylton is understated when necessary, and consistent and real in a difficult and complex role. Karen (Maia Desanti) has returned from Florida with her fiancé. Desanti brings instant energy to the stage, and she makes even her character’s difficult choices seem natural. The most striking performance and role, however, rests with Barbara (Deborah Hazlett). As Barbara teeters between sanity and madness, the past and the future, her family and her freedom, Hazlett brings the struggle underneath to the forefront in controlled degrees of authenticity.

Orbiting the edge of the insanity of the Westons are several other strong performances. Barbara’s husband Bill is played with sincerity by Rob Leo Roy, and her daughter, Jean, is well-handled by Heather Lynn Peacock. Veronica Del Cerro’s Johnna is mellow and solid through the chaos she witnesses. Clinton Brandhagen’s Little Charles manages to live in a world all his own, while Bruce Randolph Nelson, as Steve, reminds what can lurk behind surface charm.

The only significant critique of the production is the fact that Carl Schurr missed the mark in his opening monologue as Beverly. Although the character only appears in the opening 10-15 minutes of the show, his monologue should set the tone and the pace of the show. Instead, it was an amateur delivery that failed to create a character that hangs over the entire rest of the events. As a result, the entire first act struggled to pick back up the pace and energy. Luckily, it was up to Hazlett and Desanti to kick off the second act in style.

If you have had not yet had an opportunity to see this 2008 Tony Award winner for Best Play, you are unlikely to have an opportunity to see a better local production than this current production at Everyman Theatre.

Photo Gallery

Wil Love as Charlie Aiken and Nancy Robinette as Mattie Fae Aiken	The cast of August: Osage County. Set design by Daniel Ettinger
Deborah Hazlett as Barbara Fordham and Linda Thorson as Violet Weston	The cast of August: Osage County
Linda Thorson as Violet Weston	Deborah Hazlett as Barbara Fordham, Beth Hylton as Ivy Weston, and Maia DeSanti as Karen Weston
Beth Hylton as Ivy Weston and Clinton Brandhagen as Little Charles Aiken	Deborah Hazlett as Barbara Fordham and Linda Thorson as Violet Weston

Photos by Stan Barouh

Cast

• Beverly Weston: Carl Schurr
• Violet Weston: Linda Thorson
• Barbara Fordham: Deborah Hazlett
• Bill Fordham: Rob Leo Roy
• Jean Fordham: Heather Lynn Peacock
• Ivy Weston: Beth Hylton
• Karen Weston: Maia Desanti
• Mattie Fae Aiken: Nancy Robinette
• Charlie Aiken: Will Love
• Little Charles Aiken: Clinton Brandhagen
• Johnna Monevata: Veronica Del Cerro
• Steve Heidebrecht: Bruce Randolph Nelson
• Sheriff Deon Gilbeau: Ron Heneghan

Production

• Director: Vincent M. Lancisi
• Scenic Design: Daniel Ettinger
• Lighting Design: Jay Herzog
• Costume Design: David Burdick
• Sound Design: Chas Marsh
• Dialect Coach: Gary Logan
• Props Master: Jillian Mathews
• Fight Choreography: Lewis Shaw
• Dramaturg: Naomi Greenberg-Slovin
• Stage Manager: Amanda M. Hall
• Assistant Stage Manager: Ellen Houseknecht

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

]]> /2012/12/reviews-tdt-sound-of-music/ Mon, 17 Dec 2012 14:36:50 +0000 http://maryland.showbizradio.com/?p=451 The Sound of Music, thanks to a magical production currently being performed at Toby's Dinner Theatre of Baltimore.]]> The Sound of Music
Toby’s Dinner Theatre
Toby’s Dinner Theatre, Baltimore, MD
Through January 27th
2:25 with one intermission
$52-$57/$38 Children
Reviewed December 16th, 2012

The Baltimore Travel Plaza is truly alive with The Sound of Music, thanks to a magical production currently being performed at Toby’s Dinner Theatre of Baltimore. Their production is filled with all the “favorite things” anyone could expect from this enchanting Rodgers & Hammerstein classic. Although the show has nothing actually to do with the holiday season, it has become a holiday classic due to the warm message about family, love, standing up for what you believe in, and loving God through loving others. Toby’s heartfelt production spectacularly and honestly brings those themes to life on the stage.

The show opens in the Nonnberg Abbey, where we first meet Maria, a young postulate. From the opening strains of the title song, it is easy to be instantly enthralled with Elizabeth Rayca’s Maria. Her performance only builds from that moment on. She is playful and full of love and joy. Even through her realistic doubts, questions, and confusions, her heart shines through in every moment. Rayca’s performance is beautiful and spot-on in every aspect.

While the sisters of Nonnberg Abbey are equally enchanted by Maria’s spirit, they are not sure how she fits into life as a nun. The Mother Abbess (Lynn Sharp Spears), Sister Berthe (Melynda Burdette), Sister Margaretta (Jane C. Boyle), and Sister Sophia (Maura Hogan) wonder “How Do You Solve a Problem Like Maria?” in a very entertaining number. All four women bring their unique personalities and humor into making the song a vocal and acting success. It is The Mother Abbess, played with motherly sophistication and a wee bit of whimsy, who decides to send Maria away from the Abbey to serve as a governess for the von Trapp family.

We meet first Captain von Trapp (Lawrence B. Munsey), a widower who has forgotten his love of music and instead summons even his children with a whistle as he would his crew on a ship. Munsey is actually quite charming through his stern demeanor. He has a few really excellent moments throughout the production, particularly when he breaks down during “Edelweiss,” and his family finishes singing for him. His family includes seven children: Liesl (Christine Nelson), Friedrich (Kyle Guindon), Louisa (Lily Discepolo), Brigitta (Madelyn Schloss), Kurt (Remy Brettell), Marta (Sadie Herman), and Gretl (Lucy Herman). All of the children are really wonderful, especially Discepolo’s Louisa, who is brimming with mischief, Schloss’ Brigitta, who is wise beyond her years, and Herman’s Gretl, who is just about as cute as can be. Nelson’s Liesl really stands out as an energetic ingénue in her duet of “Sixteen Going On Seventeen” with Rolf (Chris Rudy).

Another delightful performance comes in the form of Alan Hoffman as Max Detweiler. He has just the right mix of slippery and heart to make the character entertaining and endearing. The one small casting misstep was in the form of Coby Kay Callahan’s Elsa. She was too over-the-top to be believable. Her Elsa came across more unlikeable and shrewish than was necessary for the character, and “No Way to Stop It” was not in a good range for her voice. On the other hand, William Emory (Herr Zeller) really stood out and made something incredible out of a smaller role.

The cast worked well as an ensemble. They made group scenes alive with varied characters and created a rich vocal blend. However, it would have been nice to see the vocals less theatrical in “Confitemini Domino.” The nuns singing should have sounded more filled with piety and less ready with jazz hands. It did not have to be belted to be powerful, and, in fact, restraint would have had a greater impact.

The set was well-designed, and the use of the turntable made set changes almost instantaneous. There was an especially nice effect at the end with the set and lighting, where the family was seen through a screen climbing the mountain in the background. It was the perfect ending to a well-designed production.

Photo Gallery

Photos provided by Toby’s Dinner Theatre

Cast

• Maria Rainer: Elizabeth Rayca
• The Mother Abbess: Lynn Sharp Spears
• Sister Berthe, Mistress of Novices: Melynda Burdette
• Sister Margaretta, Mistress of Postulants: Jane C. Boyle
• Sister Sophia: Maura Hogan
• Nun: Bernadette Gietka
• Captain Georg von Trapp: Lawrence B. Munsey
• Franz, the butler: Jerry Gietka
• Frau Schmidt, the housekeeper: Victoria Winter
• Liesl: Christine Nelson
• Friedrich: Sam Bishop or Kyle Guindon*
• Louisa: Lily Discepolo* or Maddie Ulman
• Brigitta: Hunter Lubawski or Madelyn Schloss*
• Kurt: Remy Brettell* or Jace Franco
• Marta: Sadie Herman* or Susanna Hoffman
• Gretl: Lucy Herman* or Lily Ulman
• Rolf Gruber: Chris Rudy
• Elsa Schraeder: Coby Kay Callahan
• Max Detweiler: Alan Hoffman
• Herr Zeller: William Emory
• Baron Elberfeld: Chad Fornwalt
• A New Postulant: Arielle Gordon
• Admiral von Schreiber: Jimmy Biernatowski
• Understudies: Maura Hogan (Maria Rainer & Elsa Schraeder), Chad Fornwalt (Captain von Trapp & Admiral von Schreiber), Jane C. Boyle (Mother Abbess), Will Emory (Max Detweiler), Cassidy Hamilton (Leisl von Trapp), Arielle Gordon (Sr’s Berthe, Margaretta, & Sophia), Jimmy Biernatowski (Franz & Herr Zeller), Bernadette Gietka (Frau Schmidt)
• Swings: Cassidy Hamilton and Samn Huffer
• * Appeared in this performance

Production Staff

• Director/Choreographer: Samn Huffer
• Music Director: Reenie Codelka
• Scenic Designer: David A. Hopkins
• Lighting Designer: Lynn Joslin
• Costume Designer: Janine Sunday
• Sound Designer: Jimmy Englekemier
• Production Manager: Vickie S. Johnson
• Production Stage Manager: Heather Williams
• Master Carpenter: David A. Hopkins
• Set Construction: David A. Hopkins, Corey Brown, Daniel Sexton, Russell Sunday, Sarah Splaine, Ian Wallace
• Properties: Amy Kaplan
• Stage Manager: Heather Williams
• Assistant Stage Manager: Ian Wallace
• Light Board Operator: Heather Williams
• Sound Operator: Daniel Sexton
• Crew: Ian Wallace, Jason Sowers, Matt Wetzel

Orchestra

• Piano/Conductor: Reenie Codelka or Barry Hamilton
• Keyboards 2: Ed Myers or Ann Prizzi
• Reeds: Steve Haaser, Charlene McDaniel, or Stacey Antoine
• Drums: N. Scott Robinson, Dane Krich, or Nate Hillburger

Disclaimer: Toby’s Dinner Theatre provided two complimentary media tickets to ShowBizRadio for this review.

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