Milburn Stone delivers another incredible success with their current production of Seussical the Musical. Better yet, this is a family-friendly show that is appropriate for audiences of all ages. With larger-than-life set, costumes, light, and characters, it is no wonder that audiences are already pouring in to not miss this production.

The show is nothing short of visually stunning. The set is intricately designed in a style that is pure Seuss. The costumes are colorful and exciting. The choreography is non-stop excitement. There are also some incredible special effects used throughout the production. Watch out for the fish in the black lights or the amazing use of white gloves. There is also an incredible dance sequence using shadows. There is so much to watch and see from beginning to end.

These visual spectacular are further enhanced by an incredible cast. Jamie Verderamo leads the way as the mischievous and lovable Cat in the Hat. Verderamo never runs out of energy as he dances, juggles, and dazzles his way through every scene. Keeping with Verdamo beat for beat is the incredibly talented Grant Bailey as JoJo. For such a young performer, he has the comedic nuance of a seasoned veteran.

At the delightful heart of the show, we find the unlikely romance between Horton the Elephant (Dane Hutchinson) and Gertrude McFuzz (Rebekah Latshaw). Hutchinson is sweet and simple as Horton. With gentle, melodic vocals and a naïve innocence, Hutchinson beautifully underplays Horton, making him shine. Latshaw is a hilarious contrast. She is awkwardly loud and expressive, and it works perfectly. Every moment squeezes out the most comedy possible.

There are several other standouts in the cast. Barbara Walker is brassy and bold as Mayzie La Bird. Steve Flickinger and Sarah Sickles are adorable as Mr. and Mrs. Mayor. Cody Palmer shines in his small scene as Yertle the Turtle. Heather Bounds, Emily Elborn, and Caitlyn Ponte (Bird Girls) hold the show together with their beautiful harmonies. Frankie Gillette, Alicia Downs, and Steven Prichard are hilarious and musically impressive as the Wickersham Brothers.

The only disappointment in the cast was Tigga Smaller as Sour Kangaroo. Despite a powerful sounding voice, she was often just under pitch and was almost always hard to understand due to lack of enunciation. She also seemed to really concentrating, nervous, or bored throughout rather than creating what could and should have been a great character role. There was also no clear voice or character for the Baby Kangaroo puppet.

That one misstep aside, this is still a production well worth seeing. If you want your chance, you should probably hurry and advance order those seats for next weekend!

Cast

• Cat in the Hat: Jamie Verderamo
• JoJo: Grant Bailey
• Horton the Elephant: Dane Hutchinson
• Gertrude McFuzz: Rebekah Latshaw
• Mayzie La Bird: Barbara Walker
• Sour Kangaroo: Tigga Smaller
• General Schmitz: Ed Elder
• Mr. Mayor: Steve Flickinger
• Mrs. Mayor: Sarah Sickles
• Yertle the Turtle: Cody Palmer
• Vlad Vladikoff: Gannon Webb
• The Grinch: Codey Odachowski
• Cindy Lou Who: Gracie Milanoski
• Bird Girls: Heather Bounds, Emily Elborn, Caitlyn Ponte
• Wickersham Brothers: Frankie Gillette, Alicia Downs, Steven Prichard
• Whos: Tessa Beblo, Bridgette Boyle, Lindsey Cohen, Audrey Conrad, Delany Flickinger, Charlie Johnson, Kevin Johnson, Johanna Jones, Trevor Korn, Sydney Serio, Jessica Simonson, Ned Way, Annalia Webb
• Jungle Creatures: Josie Brown, Allison Graham, Meredith Groff, Marissa Julian, Katrina Obarski
• Sea Creatures: Tessa Beblo, Heather Bounds, Bridgette Boyle, Josie Brown, Alicia Downs, Allison Graham, Frankie Gillette, Meredith Groff, Trevor Korn, Charlie Johnson, Johanna Jones, Marissa Julian, Katrina Obarski, Cody Palmer, Steven Prichard, Codey Odachowski, Jessica Simonson, Gannon Webb
• Cadets: Tessa Beblo, Lindsey Cohen, Trevor Korn, Jessica Simonson, Sydney Serio, Ned Way
• Circus Members: Tessa Beblo, Heather Bounds, Josie Brown, Allison Graham, Meredith Groff, Trevor Korn, Marissa Julian, Katrina Obarski, Cody Palmer, Codey Odachowski, Jessica Simonson, Gannon Webb
• Hunches: Heather Bounds, Josie Brown, Alicia Downs, Frankie Gillette, Allison Graham, Cody Palmer, Meredith Groff, Marissa Julian, Katrina Obarski, Steven Prichard
• Hunters: Codey Odachowski, Tessa Beblo, Trevor Korn, Jessica Simonson

Production

• Direction: Tess Pohlhaus
• Musical Direction: Niki Tart
• Choreography: Bambi Johnson
• Properties Design: Eyvo Johnson
• Sound Design: Terry Edwards
• Lighting Design: William A. Price III
• Scenic Design: Bob Denton
• Costume Design: Cynthia Wham
• Stage Manager: Bevin Hensley
• Assistant Stage Manager: Tyler Peterson
• Backstage Crew: Dann Combs
• Light Board Operator: Bevin Hensley
• Sound Engineer: Terry Edwards
• Sound Operator: Niki Tart
• Fly Rail Operator: Matthew Wolffe
• Spot Light Operators: Sondra McKeever, Kelly Wolffe
• Scenic Painter: Jessica Brockmeyer

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

As time goes on and years pass some wonderful hidden treasures of the stage seem to fade and disappear. Wonderful works become more ancient. As in the case in Milburn Stone’s durable production of Ira Levin’s Deathtrap. Back in the late 80’s and early 90’s Deathtrap was a staple for community and dinner theatres everywhere. But lately these little gems of twisted plots, witty, skillful and enchanting dialogue have been replaced by meaningless productions filled with profanity, sex and worthless controversial fabrications. My Hats off to Milburn Stone for trusting the script and the genre of a good old-fashioned murder mystery.

Deathtrap is essentially a play with in a play. Sydney Bruhl, (Mike Ware) an aging has-been playwright of murder mysteries is struggling to come up with his next “Smash Hit.” The money is running out just as is the patience and the romance of his wife Myra (Melanie Bishop). A fresh, sure hit masterpiece script arrives in the mail by a young aspiring playwright Clifford Anderson (Ryan Milliner) who attended and met Bruhl at one of his summer seminars. And thus Bruhl realizes since no one besides him and the young protégé has laid their eyes on the script this is a once in a lifetime opportunity to bring Bruhl back into the spotlight. The plan is simple, kill Anderson and pass the script as his own. Sound ingenious, Right? Well not really… Bruhl’s plan started a long time prior to the evening that we witness. Secrets, plots, surprises, mayhem and betrayal unfold every minute. Buhl’s plan crumbles by the second with interruptions and complications of a world-famous, eccentric, with great fashion sense self-absorbed know it all psychic Helga ten Dorp (Justine Tucker) and a surprisingly illuminating visit by his longtime friend and lawyer Porter Milgrim (Dan Tucker). As the play progresses we dive deeper and deeper with anticipation into the unexpected, astonishing, shocking, startling and alarming climax of Deathtrap.

The production stays true to its self, Levin’s words and the original vision of the script. And for that I do commend director Andrew John Mitchell. Not everything has to be re-invented, updated or manipulated to the point of obscurity. Mitchell’s staging is creative, well-balanced and imaginative yet still classic. The pace of the show has great timing rhythm and an unfolding flow as needed. Lewis’s set design is brilliant, no detail is missed, every T is crossed and every I is dotted. It is absolutely breathtaking. And his lighting design is as strong as it gets. The costumes, designed by Edwards, are simple and appropriate to the era however some flair to bring the characters’ personalities to life were absent, so much could have been added to complete the picture.

Though this production has leads and supporting roles, the show should most definitely be a collective ensemble undertaking, and here is where this Deathtrap does not quite kill. Ware is a seasoned veteran actor and that is crystal clear to see however I felt like I was watching a one-man show (and not a very good one), Ware constantly upstaged his fellow actors, pulling away their moments and important significance of their roles. Ware’s over the top flamboyant eccentricity also got old and annoying after the first 15 minutes. There was no reason to care in any way for his interpretation of Bruhl. Milliner on the other hand is a bit wet behind the ears as a leading man, but is most definitely full with potential and promise. There was no lack of focus and concentration on his part, his Clifford was genuine and real, however he never fully made a full circle and growth into Clifford’s evolution and strength. Instead of seeing a mastermind wannabe he at times came across as a youngster following his teacher. Bishop’s choices as Myra are also questionable, she come across as a prisoner of her life with Sydney rather than a woman who is unexpectedly drawn into the madness of a man who she thought was her knight in shining armor. Quirk does well with the challenging role of Helga, however she also chose to go way over the top more than necessary. As old and corny as this sounds, sometimes LESS IS MORE. The finesse, elegance and mystery of the character were lost in the grimacing facial expressions, and humor and plot got drowned with constant egregious arm and body swaying. The saving grace of the acting in this production is hands down the nuanced, down to earth, sincere, authentic performance of Dan Tucker. Talk about less is more! Tucker takes a tiny role and turns into a beautiful skilled performance.

At the end of the day, Milburn Stone has delivered an enjoyable evening of the traditional murder mystery comedy that is missing from today’s theatre’s repertoire. So head out Milburn Stone Theatre and get entombed in Deathtrap!

Cast Of Characters

• Sydney Bruhl: Mike Ware
• Myra Bruhl: Melanie Bishop
• Clifford Anderson: Ryan Milliner
• Helga ten Dorp: Justine Quirk
• Porter Milgrim: Dan Tucker

Production Staff

• Director: Andrew John Mitchell
• Stage Manager: Serenity Rowland
• Scenic and Lighting Design: S. Lee Lewis
• Costume Design: Dane Hutchinson
• Sound Design: Terry Edwards
• Properties Design: Eyvo Johnson
• Exotic Weapons and Firearms Display provided by: SFC Ralph Denton, SR USA (Ret)

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

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.

It would be definitely safe to say that family musicals are not what they used to be. From the roots of Annie, Oliver, Barnum and Cats have sprung and grown a whole new generation of family entertainment for the stage. In the last two decades shows such as Beauty and the Beast, Lion King and Mary Poppins have dominated the Broadway family musical arena. With massive sets, high-tech special effects, humor and some subject matter that is quite different to what “Family Musicals” were back then. Shrek the Musical is the latest installment in this phenomenon.

Based on the Dream Works Animation motion picture and the book by William Steig Shrek tells the story of a colossal, green, sharp-tongued, big-hearted, belching, flatulent ogre named Shrek (Dickie Mahoney) who is suddenly disturbed from his hermit-like life on his swamp by every possible fairy tale character you can think of led by a frantically obsessive Pinocchio (Gannon Webb) who were exiled from their homes in the city of Duloc by the small-minded, conceited, short-tempered Lord Farquaad (Jamie Mikijanic). Determined to get his home back, Shrek reluctantly makes a deal with the half-pint Farquaad to go rescue a princess named Fiona (Shereen Ahmed) in a tower whom Farquaad only wants to marry to become king. So to get the deed to his heavenly swamp, the adventure begins. With the assistance of Shrek’s wise-cracking, witty, mile-a-minute, get on your last nerve, loving, good-hearted sidekick Donkey (Eyvo) the journey is full of twists, turns, surprises, and most definitely a great moral!

The Milburn Stone Theatre, under the direction of Artistic Director S. Lee Lewis, choreographer extraordinaire Bambi Johnson, and practically pitch-perfect musical direction from Niki Tart, bring this massive production to life beautifully, transforming the entire theater into the fantasy world of fairy tales, and sparing no expense with sets, costumes, props, and a cast of almost 60 very talented local actors of ALL ages.

The house was sold out with majority of its seats filled with families and children of all ages. And it was clear that the show was enjoyed by all, especially the children. And though some humor, dialogue, and choreography was a bit inappropriate for the younger members of the crowd, the performances and the heart of the story and its message for the most part made up for the crude jokes and over the top use of bodily functions.

To say that Mahoney was born to play the part of Shrek would be a massive understatement. Mahoney’s performance was remarkable. From the second he majestically entered the stage he had you in the palm of his hand. Mahoney skillfully grew emotionally from scene to scene. A role such as this can easily be ruined by going over the top or not knowing were to stop. Mahoney not once crossed that line. Underplaying some of the bigger moments allowing the rest of the actors to shine. And passionately with strength attacking the gentler moment of his journey to really allow us to see the ogre’s gentle and loving heart. And also the fact that his vocals could hold up to a number of actors working on Broadway today didn’t hurt either. Eyvo also delivers a tour de force performance as the iconic sidekick. Perfect comic timing, a beautiful range of emotional struggle and contemplation, pitch perfect vocals, and quite impressive dance moves all occurred in a head to toe donkey costume. Ahmed also nails the impatient, clever, humorous, and struggling with her own secrets princess Fiona. With passion, exuberant confidence, and a beautiful vocal range, Ahmed’s talent, experience and professionalism show every step of the way. Mikijanic tackles the truly difficult and physically demanding role of Farquaad quite well, definitely being the fan favorite of the audience (at least on the night that I attended) vocally achieving every note and nuance. However Farquaad is a role that also can easily be taken over the top unnecessarily. And at times Mikijanic crossed that line becoming a caricature rather than the character that for the most part he had to perfection.

In local musical theatre production a huge ensemble is usually a staple, but it’s not always a good thing. However the entire ensemble of Shrek the Musical is very notable, with singing, dancing, puppetering, and added personal touches along the way. Rebekah Latshaw is full of energy and joy as the sugar-plum fairy, and I practically crumbled laughing with her performance as Gingy. Also a standout was Barbara Walker (Mama Ogre/Bear) and Karalynn Joseph (Teen Fiona) both equipped with a great range of talent they brought something very special to their respective moments on stage. And even under the Blond/Black Wigs and dark sunglasses the energy and striking vocals of Christy Wyatt were never missed.

As I mentioned before “Family Musicals” are definitely not what they used to be. Times have changed. However Milburn Stone’s production of Shrek the Musical is well done, skillfully produced, and beautifully executed by the cast. But keep in mind that our children are not as naïve as we might think they are.

Cast Of Characters

• Shrek: Dickie Mahoney
• Fiona: Shereen Ahmed
• Donkey: Eyvo
• Lord Farquaad: Jamie Mikijanic
• Pinocchio: Gannon Webb
• Sugar Plum Fairy/Gingy: Rebekah Latshaw
• Dragon: Jayne Lewis
• Mama Ogre/Bear: Barbara Walker
• Papa Ogre/Bear: Frankie Gillette
• Baby Shrek/Bear: Ethan Taylor
• Teen Fiona: Karalynn Joseph
• Young Fiona: Sammi Flickinger
• Baby Fiona: Katie Hetzer
• Baby Donkey: Nikolas Weatherington
• King Harold: John “Doc” Mulvey
• Queen Lillian: Cindy Mulvey
• Thelonius: Matthew Cannon
• Captain Of The Guard/Bishop: Steve Flickinger
• Three Pigs: Zack Langrehr, Codey Odachowski, Nick Epps.
• Dragonettes/Blind Mice: Stephanie Mahoney, Megan Valle, Christy Wyatt
• Big Bad Wolf: Matt Peterson
• Ugly Duckling: Mary Spacht
• Wicked Witch: Nancy Denton
• Shoemakre’s Elf: Tigga Smaller
• Garden Gnome: Adam Nelson
• Fairy Godmother: Carrie Dill
• The Mad Hatter: Kelly Wolffe
• White Rabbit: Tyler Fritz
• Pied Piper: Jamie Verderamo
• Grumpy: Grant Bailey
• Maleficent: Shelby Smith
• Peter Pan: Cody Palmer
• Captain Hook: Matt Lucatamo
• Tweedle Dee: Matt Wolffe
• Tweedle Dum: Michael Maistros
• Queen Of Hearts: Alicia Downs
• Little Red Ridding Hood: Kelleigh Pangratz
• Dance Corps: Heather Bounds, Holly Ann Ciampaglio, Miranda Daviduk, Amanda Deflippis, Taylor Gallihue, Alli Graham, Steven Pritchard, Duncan Smith, Tiara Smith.
• Ensemble: Erin Bourn, Erick Copper, Delany Flickinger, Gracelynn Fritts, Lannon Frits, Kerre O’neill

Production Staff

• Director: S. Lee Lewis
• Musical Director: Niki Tart
• Choreographer: Bambi Johnson
• Lighting Design: William A. Price Iii
• Properties Design: Eyvo Johnson
• Stage Manager: Bevin Hensley
• Assistant Director: Maren Lavelle
• Assistant Stage Managers: Brandie Biddy And Bailey Woodruff
• Master Electrian: Tyler “Danger” Bristow
• Costumiere: Gay Lynn Price
• Charge Artist: Leila Briggs
• Scenic Artist: Lynne Twining
• Sound Engineer: Terry Edwards
• Loght Board Operator: Tyler “Danger” Bristow
• Follow Spot Operators: Charlie Johnson And Sondra Mckeever
• Fly Rail Operators: Ryan Sofa, Kayla Whisman
• Backstage Crew: Brandie Biddy, Bob Denton, Brandon Gorin, Hailey Joseph, Serenity Rowland, Bailey Woodruff.
• Costume Crew: Betty Angelucci, Charis Bartenslager, Kristen Hessenauer, Bambi Johnson, Alexa O’neil, Cynthia Wham, Missy Wyatt.
• Wardrobe Crew: Deb Bailey, Missy Wyatt.
• Scenic/Lighting Crew: Sheeren Ahmed, Shawn Allbright, Brandie Biddy, Tom Collins, Matt Cannon, Carrie Dill, Tyler Fritz, Marty Gorin, Tom Gorin, Bevin Hensley, Alli Graham, Great Holtackers, Matt Lucatamo, Jayne Lewis, Micheal Maistros, John Mulvey, Adam Nelson, Kerrey O’neill, Cody Palmer, Serenity Rowland, Tigga Smaller, Tiara Smith, Jamie Verderamo.

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

The signing of the Declaration of Independence is a moment in history that feels larger than life in all of our hearts and memories. The men involved are true superheroes, giants in our minds. So, the musical adaptation of that moment in national memory has to also be larger than life and unforgettable. With a breathtaking set and colorful, delightful costumes, Milburn Stone Theatre’s 1776 captures that spectacle. It is a solid production with the trim of professionalism that sets it slightly above the average community theatre.

The production is not perfect. It does suffer from some problems either with the lighting design or execution that left some faces in shadows throughout the evening. The large, live orchestra is sometimes impressive, and sometimes thrown by a sour note, and sometimes so loud that the singer(s) cannot be heard over the volume level. However, the set and costumes are flawless, which creates a real visual awe.

The performances are, for the most part, excellent. At the center is John Adams (Ken Kemp), who fights with everything he has for his dream of American Independence. Kemp is obnoxious and disliked, yet underneath there is passion and heart. Coming beside him on his quest is Benjamin Franklin (David Wills). Wills is silly and fun as the never-serious doctor. He is an excellent foil to Adams, and the two men have great chemistry together. With Thomas Jefferson (Matt Pearson), they form an unlikely trio. Pearson appears to be often uncomfortable, and it is not always clear is this is Pearson or the muddled execution of a character choice.

The two strongest performances, however, come from the “villains.” As South Carolina’s Rutledge, David Allen is part gentile gentleman and part spoiled young man. It works perfectly. He has interesting and ultimately effective take on “Molasses to Rum.” Alive with passion for squashing the Declaration is Dickinson (Scott Mason). Mason gives a powerful performance that commands the stage in every scene.

The leading ladies are a bit more of a mixed bag. As Abigail Adams, Kati Donovan has beautiful vocals but she is a little too playful and lacks some of the composure and maturity expected in Abigail. As Martha Jefferson, Amy Luchey is really just forgettable. Her vocals lack strength and her acting is stifled. It is hard to believe that these were the best choices available for a show with only two female roles.

On the other hand, taking a role and making it shine was Chandler Smith as the courier. His hauntingly beautiful vocals in “Mama Look Sharp” was the best moment of the entire production. Also standing out in smaller roles were Phil Hansel as McNair, Brian Drake as Livingston, Ryan Milliner as Wilson, and Ralph Denton as Hopkins.

1776 is an awesome show. This is a solid and enjoyable production filled with all the spectacle that is to be expected and is perfect for this time of the year as we think about American Independence.

Photo Gallery

Ken Kemp as John Adams and Matt Peterson as Thomas Jefferson	Chandler Smith as the Courier
Scott Mason as John Dickinson

Photos by Jacob Watkins

Cast

• Dr. Josiah Bartlet: Raymond Von Whald
• John Adams: Ken Kemp
• Steven Hopkins: Ralph Denton, Sr.
• Roger Sherman: Joseph Bradley
• Lewis Morris: Richard Colon
• Robert Livingston: Brian Drake
• Rev. Jonathan Witherspoon: Matt Watkins
• Benjamin Franklin: David Wills
• John Dickinson: Scott Mason
• James Wilson: Ryan Milliner
• Caesar Rodney: Ryan Taylor
• Col. Thomas McKean: Mike Ware
• George Read: John Lasher
• Samuel Chase: Mathew Wolffe
• Richard Henry Lee: Jamie Mikijanic
• Thomas Jefferson: Matt Peterson
• Joseph Hewes: Jeff Gorcyca
• Edward Rutledge: David Allen
• Dr. Lyman Hall: Matt Tart
• John Hancock: Richard Waterhouse
• Charles Thompson: John Mulvey
• Andrew McNair: Phil Hansel
• Abigail Adams: Kati Donovan
• Martha Jefferson: Amy Luchey
• Leather Apron: Silas Taylor
• Leather Apron/Painter:Trevor Korn
• A Courier: Chandler Smith

Production Staff

• Director: S. Lee Lewis
• Musical Director: Marji Eldreth
• Additional Staging: Marshall B. Garrett, Eyvo Johnson, Maren Lavelle.
• Costumes Provided By: A.T. Jones and Sons
• Lighting Design: William A. Price III
• Properties Design: Eyvo Johnson.
• Stage Manager: Serenity Rowland
• Assistant Director: Maren Lavelle
• Assistant Stage Manager: Alli Graham & Kelly Wolffe
• Master Electrician: Tyler Bristow
• Costumiere: Gay Lynn Price
• Sound Engineer: Alex Paul
• Light Board Operator: Serenity Rowland
• Fly Rail Operator: Tom Collins
• Scenic/Lighting Crew: Shawn Allbright, Richard Colin, Matt Peterson, Matt Wolffe, Kelly Wolffe, Rob Snyder, Tom Collins, Alli Graham

Orchestra

• Conductor/Key Boards: Marji Eldreth
• Violin 1: Lingchin Liao
• Violin 2: Julia Hacker Smith
• Cello: Csilla Lakatos
• Percussion 1: Stephen Tipping
• Percussion 2: Colin Bunnell
• Trumpet: S’aeed Abuwi
• French Horn: Tyler Bjerke
• Trombone 1: Tony Ohannessian
• Trombone 2: Tim Plimpton
• Reed 1: Anna Thompson
• Reed 2: Tim Dolzine
• Reed 3: Kati Lockwood

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

Many stories have been told about our society and its effect on our youth, the effect of our youth on society, the rebellion of children against parents, authority and the society. And the tragic and devastating consequences and outcomes that they bring. The 2007 Tony award for best musical written by Steven Sater and Duncan Sheik continues this tradition in the dark and haunting rock musical adaptation of Frank Wedekind play Spring Awakening.

Spring Awakening examines the lives, trials and tribulation of a group of adolescent German teenagers in a hard-hitting, parochial private school. The piece glorifies teenage anarchy and exalts the idea of allowing our children to carry on and express themselves with free will. Innocence is lost, lives are taken, and the reality is unbreakable.

Whether this is your cup of tea or not, Millburn Stone Theatre’s production of the pop cult phenomenon is absolutely top-notch. Director S. Lee Lewis has assembled one of the most talented and versatile casts in the area ranging from Maryland to Delaware, most of whom are under the age 21. Lee’s beautiful and imaginative blocking, staging, and direction, and Bambi Johnson’s innovative and radical choreography complement each other in very way, and also leave enough leeway for the audience to make their own assessment, judgment and conclusion. The simplicity of the costumes and the complexity of the lighting design, enhance this production even further.

Ben Walker (Melchior Gabor) is superb as the young tragic hero, equipped with an outstanding tenor voice. Walker shows his range beautifully. Seemingly progressing from emotion to emotion connecting with each character and every moment. Caroline Colino (Wendla Bergman) also shines as the sheltered youth discovering, curiosity, love, lust and tragedy. Colino’s vocals are beautiful and touching; “Whispering” was one of the highlights of the evening, though at times her connection with the rest of the cast seemed distant and isolated. Kelleigh Pangratz (Ilse Bessel) brings hope and honesty in her performance. Shane Lawry (Moritz Stiefel) tackles the most difficult and challenging role in every way, and does it flawlessly! The rest of the cast is also extremely strong and versatile, filling the story with wonderful characters, vocals, and amazing movement.

Millburn Stone is a theatre that is never afraid to take risks, whether you like them to or not!

Photo Gallery

Ben Walker as Melchior, Caroline Colino as Wendla	George Fletcher as Ernst, Shane Lowry as Moritz, Jeff Gorcyca as Hanshen

Photos by Scott Serio of the Cecil Scene

Cast Of Characters

• The Girls
  • Wendla Bergman: Caroline Colino
  • Martha Bessel: Bevin Hensley
  • Thea Neumann: Magan Valle
  • Marianna Wheelan: Sydney Hastain
  • Ilse Bessel: Kelleigh Pangratz
  • Ina Bergman: Miranda Daviduk
  • Company Girls: Alliyah Corley, Katie Obarski, Kashana Roberts, Shelby Smith
• The Boys
  • Melchior Gabor: Ben Walker
  • Moritz Stiefel: Shane Lowry
  • Hanshen Rilow: Jeff Gorcyca
  • Ernst Robel: George Fletcher Iii
  • Georg Zirschnitz: Chandler Smith
  • Otto Lammermeier: Matthew Peterson
  • Bobby Maler: Charlie Johnson
• The Adults
  • Women: Karen Decker
  • Men: Dane A. Hutchinson

The Band

• Keyboard: Marji Eldreth
• Lead Guitar: Meghan Doyle
• Guitar: Jeff Gorcyca, Chandler Smith
• Cello: Caty Butler
• Violin: Edward Rosen-Wallberg
• Viola: Matthew Peterson
• Drums/Percussion: Tyler “Danger” Bristow
• Djembe: Jeff Gorcyca

Production Staff

• Director: S. Lee Lewis
• Choreagraphy: Bambi Johnson
• Musical Director: Marji Eldreth
• Lighting Design: William A. Price Iii
• Stage Manager: Serenity Rowland
• Assistant Director: Brandon Gorin
• Back Stage Manager: Ali Graham
• Props: Eyvo Johnson
• Master Electrician: Marshal B. Garrett
• Back Stage Crew: Kelly Wolfe, Matt Wolfe
• Scenic/Lighting Crew: Tyler Bristow, Brandon Gorin, Joanne Foxx, Bevin Hensley, Charlie Johnson, Shane Lowry, Eril Williams

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

Milburn Stone Theatre’s 9 to 5 has a lot of good elements that, unfortunately, never quite come together. There is a lot of inconsistency in the cast and in the technical elements of the production. For the noncritical eye, however, the average audience member may not notice the lack of polish that holds this production back from the level of professionalism and attention to detail that Milburn Stone usually delivers.

9 to 5 centers around three women who work in an office in 1979. To transport the audience to the time period, there is an excellent scenic design by Kristin Ellert who creates a set that is not only impressive in the moving panel in the center, but that captures the time period in the color scheme and pattern. Unfortunately, the costumes are a little more uneven. Some are ideal for the period and the characters, and others seem like they were used in place of not finding anything better. The same inconsistency is seen in the savvy lighting design versus the spotty sound design. While everyone can always be seen, they cannot always be heard.

At the center is Violet Newstead, who is played with great aplomb by Marji Eldreth. Violet is a secretary who dreams of becoming an executive. While her character is at first a little abrasive, she creates an undercurrent of humor and heart that make you love her. She is vocally a little inconsistent, but she makes up for it with a strong acting performance.

Also working in the office is Doralee Rhodes (Rebekah Latshaw), who wants to be seen as someone with a heart and brains and not just a pretty face. Latshaw falls into a bit of a trap of playing Doralee as a bit more of a caricature than a character. This works in terms of creating humor in some scenes, but falls short in letting the audience find the character’s inner core. On the plus side, she has lovely, strong, and consistent vocals.

New to the office is recent divorcee Judy Bernley (Jayne Lewis), whose husband left her for his young secretary leaving her to become a secretary herself despite her complete lack of experience. Throughout, Lewis’ vocals are decent but not impressive and her performance is a little stifled and too underplayed. This all changes in her character’s climatic moment during “Get Out and Stay Out.” She becomes stronger vocally, nailing all but the last note. Even that last note, she plays off beautifully in the intensity that she feels in the number. The idea was most likely to show a large contrast between Judy until that point and Judy at that moment, but the earlier Judy was too small for being such an integral part of the show.

The problem that these characters face comes in the form of CEO Franklin Hart Jr. (Ryan Wagner). He promotes men instead of Violet. He spreads rumors about sleeping with Doralee and continues to harass her with unwanted advances. He demeans Judy and just about everyone else for that matter. Wagner has solid vocals. He also has a certain charisma onstage, but Hart should not seem likeable. What Wagner lacks is the strength and inner nastiness to make Hart’s misogynistic slime believable.

The strongest performance in the cast actually comes from Andrew John Mitchell as Joe, a junior accountant with a crush on Violet. Mitchell is heartfelt, likeable, and real. He brings genuine emotion to the number “Let Love Grow.”

9 to 5 has some great moments and is overall an entertaining evening, but it does have a few substantial flaws that keep it from ascending to the level of a usual Milburn Stone production.

Photo Gallery

Rebekah Latshaw (Doralee), Jayne Lewis (Judy) and Marji Eldreth (Violet)	The cast
Rebekah Latshaw as Doralee Rhoades

Photos by Scott Serio, Cecil Scene

Cast

• Violet Newstead: Marji Eldreth
• Doralee Rhodes: Rebekah Latshaw
• Judy Bernley: Jayne Lewis
• Franklin Hart, Jr.: Ryan Wagner
• Roz Keith: Suzette Burgess
• Joe: Andrew John Mitchell
• Dwayne Rhodes: Drew Scott
• Josh Newstead: Gannon Webb
• Missy Hart: Melanie Bishop
• Kathy: Amy Luchey
• Margaret: Cindy Mulvey
• Maria: Shelby Smith
• Bob Enright: Tim Koob
• Dick Bernley: Ryan Milliner
• Tinsworthy: John ‘Doc’ Mulvey
• Dog Walker: Alicia Fencer
• Ensemble: Miranda Daviduk, Jenny Davies, Chris Davis, Danielle Finlay, Charlie Johnson, Kevin Johnson, Johanna Jones, Katrina Obarski, Matt Peterson, Andrew Reed Jr., Jenni Shammel, Paula Smith, Ashley Weeks, Erik Williams, Kelly Ann Wolfe, and Christy Wyatt

Production Staff

• Direction: S. Lee Lewis
• Musical Direction: Anthony Vitalo
• Choreography: Bambi Johnson
• Scenic Design: Kristin Ellert
• Costume Design: Emma School
• Lighting Design: William A. Price III
• Properties Design: Eyvo Johnson
• Stage Manager: Lauren Gates
• Assistant Director: Brandon Gorin
• Back Stage Manager: Tyler Bristow
• Master Electrician: Marshall B. Garrett
• Scenic Artist: Dane Hutchinson, Kelly Rice
• Sound Engineer: Alex
• MT Pit Operator: Anthony Vitalo
• Light Board Operator: Lauren Gates
• Follow Spot Operator: Nicole Travers, Matt Wolffe, Missy Wyatt
• Video Operator: Serenity Rowland
• Fly Chief: Brandon Gorin
• Back Stage Crew: Diane Berquist, Bob Denton, Serenity Rowland
• Scenic Crew: Bambi Johnson, Johanna Jones, Ben Morrison

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

The Store Front Theatre Company is exactly that: a store front transformed into an unconventional theatre space. That theatre space is further transformed into a small beauty salon in a small Southern town through the use of actual salon equipment and supplies. The set and props are so detail perfect and the space is so intimate that it does feel like you have walked into Truvy’s little salon to spend a few hours for a few old friends. Those old friends, the cast of Steel Magnolias, present a warm and realistic bond that help crystalize the illusion. This was overall a very solid, and at times outstanding, initial offering from this new company, and it will be even more exciting to see what they are able to do as they grow.

The play opens as Truvy (Rebekah Latshaw) is auditioning Annelle (Christy Wyatt) for a position that has opened in her salon. From moment one, Latshaw is welcoming, Southern hospitality with a little bit of Southern spitfire at its best. Truvy does not get quite as much of the emotional or comic meat as some of the other characters in the piece, but Truvy is the glue that holds it all together. Latshaw likewise is careful not to pull focus but instead does a nuanced job of being the supporting glue for this cast. Annelle, on the other hand, may be one of the best and most difficult roles in the piece. She has to be both a different and the same character in every scene. Her character transforms continuously throughout the piece while always staying true to the warm and slightly naïve static characteristics of her personality. To play Annelle right requires amazing restraint and careful delivery. She needs to be warm, loveable, and real, even through her changes and extremes. Wyatt exceeds every possible expectation in her portrayal. She is absolutely flawless. Every look, every mannerism, and every syllable is both deliberate and natural.

The comedic heart of the group of ladies that gather at this beauty shop on Saturday mornings are Clairee (Dawn Stevens) and Ouiser (Debra McGuire). Clairee is always cracking jokes, with a serious undercurrent of trying to find a new identity in widowhood. Stevens does a beautiful job of allowing that real pain and growth to exist beneath the surface, while cracking up the audience consistently on the surface. Ouiser likes to come across a lot grumpier than she really is, and McGuire brings a refreshing new spin to this element of Ouiser, as she is often seen suppressing laughter. Whether conscious or simply because McGuire was super amused by herself, it adds a loveableness to Ouiser that is often deeper hidden in other portrayals of the role, and it works. There is no doubt why these ladies choose to keep company with McGuire’s Ouiser, no matter what crazy things come out of her mouth. McGuire also demonstrates an excellent skill in using timing, volume, and emphasis to really get the most comedic power out of a one-liner.

The emotional heart of the group should be M’Lynn (Melanie Bishop) and her daughter Shelby (Caroline Colino). We meet Shelby on her wedding day and find out that she is a diabetic and has been told that it will be unsafe for her to ever have children. As time continues, she disregards the advice, has a son away, and her kidneys begin to fail. While Bishop and Colino don’t necessarily give bad performances, their performances do pale in comparison to the other four actresses. With Bishop, it is especially disappointing when she doesn’t manage to pull out the emotional honesty needed for the last scene to really have its full impact. The other four women onstage make you believe that they have experienced death and are bringing either that reality or a great replication of it to the stage with real tears and honest intensity. Bishop, on the other hand, substitutes a lot of pacing and too much misplaced intensity for simplistic honestly. Whether an acting or directing decision, her last scene just slightly misses the mark.

There are a few other minor missteps in the technical aspects of the production. The gunshots did not sound realistic, and, at times, sound effects obviously came from an opposite direction than the window that the characters looked out. Also, the scene changes were so lengthy that the audience actually started conversing loudly between scenes. However, overall, the show was well-staged; the set was top-notch, and the new theatre made good use of minimal lighting. This is definitely a theatre company worth keeping your eye on.

Cast

• Annelle: Christy Wyatt
• Truvy: Rebekah Latshaw
• Clairee: Dawn Stevens
• Shelby: Caroline Colino
• M’lynn: Melanie Bishop
• Ouiser: Debra McGuire

Designer

• Director: Dane Hutchinson

Disclaimer: The Store Front Theatre Company provided two complimentary media tickets to ShowBizRadio for this review.

Wouldn’t it be nice if they made Sesame Street for grown-ups and used lovable puppets to teach us about careers, relationships, sex, sexuality, paying our bills, and finding our purpose after college graduation? They have, and, even better than that, it is filled with catchy, educational songs like “Everyone’s a Little Bit Racist” and “The Internet is Porn.” If you need guidance…it would probably be taking it too far to seriously consult this show. However, if you need an evening of great laughter and just a little bit of thinking about what it means to be a grown-up, then Milburn Stone Theatre’s production of Avenue Q is exactly the perfect fit.

Milburn Stone does a really nice job of bringing this show to the local stage, keeping it high energy and fun, and even packing in a few fantastic performances. Despite a few issues with the blend of the sound, it was overall a top-notch production from the set to the lighting to most of the performances to the orchestra to the choreography and staging. Director S. Lee Lewis did a great job of staying true to the show and also adding in a few new gags of his own to keep the audience laughing.

The neatest thing about seeing this show on Broadway was that the actors behind the puppets completely disappeared. You never looked at them or noticed them. They allowed the puppets to come alive and take over. Matt Dickinson (Princeton) and Jamie Mikijanic (Nicky) both mastered that art as well as any professional. They were able to make some strong characters with voice and emphasis alone, while not acting with their faces and bodies. Great vocals, great delivery, and amazing puppeteering were a hallmark of both performances. This allowed Princeton and Nicky to come fully to life as puppets. Unfortunately, Brandon Gorin, who helped serve as a puppeteer for Nicky was sometimes distracting with his facial and body reactions. It is rare that an expressive face and body is a negative on stage, but, in this case, keeping it all in the voice gives the puppet life.

Tim Koob (Rod) and Serenity Rowland (Kate Monster) did occasionally upstage their puppets, but they were both so very, very good that you just didn’t care. They were warm and fun and funny with beautiful voices. Rowland’s heart and vocals were so huge that there was enough for both her and Kate Monster, and Koob’s comedic precision had you watching both him and the puppet with equal glee. While it might have been a little better if the puppets alone had portrayed the characters, they still both did very nice jobs.

There were a ton of other great performances as well. Kristin Sheehan (Christmas Eve) killed with her vocals on “The More You Ruv Someone” and was just loveable and funny throughout. Ryan Wagner (Brian) was low-key and likeable and had a few moments of just impeccable timing. Kashana Roberts (Gary Coleman) was adorable and energy-filled with great vocals. Dane Hutchinson (Trekkie Monster) had a great voice for his character. Terrie Goins (Bad Idea Bear) had a few really priceless moments.

The only major misstep in casting and performance was the decision to have Lucy T. Slut played by a separate actress, when Rowland was just so very good. Emily Jewett (Lucy T. Slut/Mrs. Thistletwat), on the other hand, carried her puppet as a prop. She didn’t just upstage the puppet; she didn’t use the puppet. Sometimes, the mouth did not even move. It often moved wrong, and Jewett focused on acting with her body. Not just acting, mostly overacting. Her vocals were also way over-the-top and often off-pitch. It was a shame to see such a good bit wasted.

Lucy aside, the show is by far worth seeing. The other performances are so wonderful, and the show is such a fun and funny good time. Just don’t let the puppets fool you; Avenue Q is definitely not appropriate for younger audiences. There is language, sexual conversations, and even puppet sex.

Cast:

• Princeton: Matt Dickinson
• Kate Monster: Serenity Rowland
• Brian: Ryan Wagner
• Christmas Eve: Kristin Sheehan
• Rod: Tim Koob
• Nicky: Jamie Mikijanic
• Gary Coleman: Kashana Roberts
• Trekkie Monster: Dane Hutchinson
• Lucy T. Slut/Mrs. Thistletwat: Emily Jewett
• Bad Idea Bears: Terrie Goins, Brandon Gorin
• Ensemble: Kenyatta Carter, Emily Cuifetelli, Amy Vitalo

Production Team

• Director/Designer: S. Lee Lewis
• Music Director: Anthony Vitalo
• Choreographer: Dominic Santos
• Stage Manager: Lauren Hope Gates

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

Love and marriage go together like a horse and carriage! Do they? Is love enough? What are the true bonds of friendship? These questions are raised, some are answered and some are not in Donald Margulies’ Pulitzer Prize winning play Dinner with Friends. Margulies examines and evaluates marriage from two sets of couples and four different view points in this passionate, intriguing, humorous and touching play.

Gabe (Mike Ware) and Karen (Melanie Bishop) find themselves in the middle of a break up that leads to a divorce between their best friends Beth (Karen Decker) and Tom (John Mulvey) who they introduced to each other some 12 years ago. Tom has left Beth and their two adolescent children for a younger woman. As the truth unravels we begin to see the trials and tribulations of relationship and human nature. Gabe has a very hard time accepting that his best friend is a bad guy, and at first tries to come to his aid as full forced as possible. Karen immediately sides with Beth and refuses to consider that there might be two sides to every story, and that Tom might possibly be a victim in this marriage as he insists he is. The play examines the present and the past and gives us a glimpse into the future. Not only does this body of work demonstrate the sad side of a loveless deteriorating marriage, but also focuses on Gabe and Karen’s union and demonstrates the ups and downs, struggles and achievements of a marriage that’s in it for the long haul. It also brings to reality the meaning understanding and the complexity of friendship.

Director Marshal B Garret makes an overall impressive statement with this multi-layered piece of work by keeping the show simple and honest, letting the words and the actors do most of the work. Creating a simple yet stylish abstract set, (Designed by S. Lee Lewis) that starts off with the house of the hosts and slowly breaks away into smaller pieces and settings indicating and imitating the demise of love relationship and time. Tess Pohlhaus’s lighting design shines with unique and subtle moments from scene to scene. Beautiful and spot on operatic arias sung by Pavarotti and Placido Domingo are heard during the scene changes.

The cast of four work well together, understanding the material and Garret’s vision. Ware shines as the patient and loving friend and husband, delivering the role with undertoned nuances and honest emotions. Bishop slowly but surely grows in to her character letting us see the passion and the struggle of a woman who longs for happiness but at times questions it. Decker puts in many layers into her Beth and achieves most of them though sometimes her choices of growth and appropriate emotions are questionable. Mulvey who plunks himself into the role with great effort and intensity never quite reaches the meat of the character, and leaves us very unclear and uninterested whether you should hate the guy or just feel sorry for the jerk that he is.

Milburn Stone Theatre has chosen a difficult and innovative piece of theatre that other companies might shy away from. And for that I say BRAVO!

Cast

• Gabe: Mike Ware
• Karen: Melanie Bishop
• Beth: Karen Decker
• Tom: John Mulvey

Production Team

• Director: Marshal B Garrett
• Scenic Design: S. Lee Lewis
• Lighting Design: Tess Pohlhaus
• Costume Design: Jojo Siu
• Sound Design: Marshal B Garrett
• Prop Master: Eyvo Johnson
• Assistant Director: Tess Polhaus
• Master Chef: Ted Cregger
• Stage Manager: Tyler Bristow
• Crew: Cory Bristow, Brandon Gorin, Tyler Peterson, Jenn Wilson

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