Things are certainly “looking up” at Toby’s. They are winning over audiences with a professional, high-energy production of the family friendly Shrek. With stunning costumes, creative use of the space, detailed lighting design, and a host of stellar performances, there are many good reasons to catch this exciting production before it is too late.

As Shrek, Russell Sunday is the true emotional glue that holds the production together. He sails through his vocal numbers with a rich, strong and perfectly pitched instrument. He brings Shrek to life with laughter and tears, creating a believable and loveable hero.

Calvin McCullough makes an interesting choice with Donkey. He does not often act or sing the role in the predictable homage to Eddie Murphy (film) and Daniel Breaker (Broadway). He creates his own donkey, landing some punch lines differently and creating new vocal intonations. It was a risky decision that paid off beautifully. McCullough’s Donkey is a fresh and stunning take on the character that makes every moment fresh.

Another performance that just nails it is Jeffrey Shankle as Lord Farquaad. Shankle’s comedic timing and expression are flawless. Every moment on stage is a delightful dance of tongue-in-cheek humor with the audience. He also moves incredibly gracefully on his knees for the entire production.

The only lead who misses the mark is Coby Kay Callahan as Fiona. Callahan tries too hard to nail an impression of Sutton Foster that she comes across clownish in her performance. Rather than showing a genuine side of Fiona or achieving comedy through character, she is stifled and too much all at the same time. Additionally, the vocals are just too big for her voice, and she ends up over-singing and almost screaming to try to achieve the necessary high belt. This is in direct contrast to the brief performance of Amanda Kaplan as Teen Fiona, who shows exactly how to create comedy without trying too hard and make a difficult song look simple by nailing it effortlessly. Luckily, there is so much wonderful about the performances of Sunday, McCullough, and Shankle, that the Callahan debacle can be forgotten and overlooked in the larger context.

The entire ensemble is strong in vocals, dance, and creating interesting bit characters. One truly notable standout is Ashley Johnson who kills with her insane vocals as the Voice of the Dragon. She has a truly remarkable voice and tells infinite stories with just her voice.

This is definitely a production to be sure to see. It is family friendly and fun, and you won’t be disappointed.

Cast

• Shrek: Russell Sunday
• Princess Fiona: Coby Kay Callahan
• Donkey: Calvin McCullough
• Lord Farquaad: Jeffrey Shankle
• Mama Bear/Voice of the Dragon/Voice of the Bird/Ensemble: Ashley Johnson
• Pinocchio/Ensemble: Shane McCauley
• Queen Lillian/Sugar Plum/Gingy/Blind Mouse/Ensemble: Heather Marie Beck
• Mama Ogre/Humpty Dumpty/Ensemble: Tierra Strickland
• Papa Ogre/Papa Bear/Bishop/Ensemble: Dean Davis
• King Harold/Big Bad Wolf/Pied Piper/Ensemble: David Jennings
• Fairy Godmother/Blind Mouse/Ensemble: Tina DeSimone
• Ugly Duckling/Blind Mouse/Ensemble: MaryKate Brouillet
• Pig #1/Ensemble: Antonio Beverly
• Pig #2/Ensemble: Nurney
• Pig #3/Thelonius/Ensemble: Matt Greenfield
• Peter Pan/Ensemble: AJ Whittenberger
• Elf/Teen Fiona/Ensemble: Amanda Kaplan
• Wicked Witch/Ensemble: Jamie Ogden
• Captain/Mad Hatter/Ensemble: Ariel Messeca
• White Rabbit/Duloc Announcer/Ensemble: Ellie Borzilleri
• Young Shrek/Dwarf: Anderson Franco or Gavin Willard
• Young Fiona/Baby Bear: Caroline Otchet or Samantha Yakaitis
• Dragon Puppeteers: Ellie Borzilleri, AJ Whittenberger, & Ariel Messeca

Orchestra

• Conductor/Keyboard 1: Douglas Lawler or Pamela Witt
• Keyboard 2: Ann Prizzi or Barry Hamilton
• Drums: Tom Harold or Jack Loercher
• Trumpet: Frank Gorecki or Tony Neenan
• Bass: Jason Wilson or Linda Cote
• Woodwinds: Steve Haaser or Charlene McDaniel

Production Staff

• Co-Directors: Kevin McAllister & Lawrence B. Munsey
• Co-Musical Directors: Douglas Lawler & Pamela Witt
• Choreographer: Shalyce Hemby
• Scenic Designer: David A. Hopkins
• Costume Designers: Lawrence B. Munsey & Janine Sunday
• Dragon Puppet: Penny Lemire
• Costume Assistants: Janine Sunday, Mary Quinn, Della Lotman, Penny Lemire
• Lighting Designer: Lynn Joslin
• Sound Designer: Drew Dedrick
• Production Manager: Vickie S. Johnson
• Production Stage Manager: Kate Wackerle
• Stage Managers: Drew Dedrick, Kate Wackerle
• Technical Director: Jimmy Engelkemier
• Master Carpenter: David A. Hopkins
• Set Construction: David A. Hopkins, Russell Sunday
• Properties & Set Dressing: Amy Kaplan
• Light Board Operators: Coleen M. Foley, Heather Williams
• Sound Board Operators: Drew Dedrick, Jimmy Engelkemier
• Stage Crew: Laura Blasi, Jason Britt, Erin MacDonald, Amber Masters

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

Singin’ in the Rain is the quintessential throwback to the early age of American movie-musicals. As a film before it was ever a stage show, it is a classic story with well-known songs and extended dance sequences. It travels back to the dawning of a new era in filmmaking — the talking picture. The story surrounds stars of the silent screen making the transition to these new movies, through a myriad of trials and a smattering of romance. Unfortunately, not all of this translates to the current production at Way Off Broadway Dinner Theatre in the way that one would hope.

There are some very nice things to say about this production. The choreography is smart. It is not overly intricate, and the ease of the movement allows the cast to execute it with exact precision. Rather than trying to go too big and ending up sloppy, it stays right where it can be very effective. The show has some great technical elements, including the awesome choice to have it actually rain on the stage. There are some strong performances in supporting and ensemble roles. Most notable is Matthew A. Mastromatteo in his turn as the Diction Coach. The ensemble is also vocally strong, and there are very nice harmonies showcased in “You Stepped Out of a Dream.”

Unfortunately, this production falters in the hands of its leading actors, and there is little that anything else can do to get past that fact. An otherwise strong triple-threat, Jordan B. Stocksdale seems uncomfortable in the skin of Don Lockwood. While he comes to life in the dance sequences and performance numbers, the rest of Don — what should be the real Don — seems confused and forced. Even his beautiful tenor voice is mismatched and rarely well showcased in this particular score. Don Lockwood is just not the right role, and Stocksdale’s stilted performance seems to indicate that he is well aware of the disconnect.

Playing opposite Stocksdale is the equally miscast Jamie Lea Kiska. While Kiska has previously shown her adroit skill in playing comedy, Kathy feels a forced joke without a punchline. As Kathy, Kiska comes across as too over-the-top and too forced. She never achieves the simple whimsy of the ingénue. Additionally, Kiska doesn’t fare well vocally in this show. It is hard to believe that the other characters are awed by her voice, as she falters on the pitch and lacks power. Making it worse is that, as Stocksdale and Kiska flounder in their roles, they are not able to develop any believable chemistry.

Jospeh Waeyaert almost hits the mark as Cosmo. He has a likeability, a decent voice, and some great physical comedy moments. Unfortunately, he doesn’t quite get big enough or distinct enough in the creation of his character.

The one principal who does shine, and, in this production, seriously outshines all the rest is Melissa Ann Martin. Her Lina Lamont is spot-on. She is absolutely hilarious and nails each comedic line and look. She is also unable to disguise her strong, beautiful vocals, even as she tries to downplay them in the hilarious treasure of a moment that is “What’s Wrong With Me?” Her performance alone almost makes all of the other missteps worth it.

Not all great performers are great in all roles. Way Off Broadway has proven time and time again to have incredibly talented performers and put on high-quality productions. This time, simple miscasting has caused them to miss the mark. Hopefully, they will be able to write this off as a lesson learned.

The Cast

• Dora Bailey: Tina M. Bruley/Megan West
• R. F. Simpson: Samn Huffer
• Roscoe Dexter: Zane L. Oberholzer, Jr.
• Cosmo Brown: Joseph Waeyaert
• Lina Lamont: Melissa Ann Martin
• Don Lockwood: Jordan B. Stocksdale
• Rod: Matthew Crawford
• Kathy Selden: Jaimie Lea Kiska
• Production Tenor: Charlie Cizek
• Sid Phillips: Phil Vannoorbeeck
• Miss Dinsmore: Tina M. Bruley/Megan West
• Diction Coach: Matthew A. Mastromatteo
• Zelda Zanders: Chelsea Bondarenko
• Ensemble: Chelsea Bondarenko, Tina M. Bruley, Mary Ellen Cameron, Charlie Cizek, Matthew Crawford, Rebecca Eastman, Kaitlyn Huffman, Matthew A. Mastromatteo, Phil Vannoorbeeck, Joseph Waeyaert
• Standbys and Swings: Jessica Billones, Megan West

Behind the Scenes

• Director: Bill Kiska
• Choreographer: Dee Buchanan
• Music Director: Jordan B. Stocksdale
• Stage Manager: Matthew A. Mastromatteo
• Orchestration and Arrangements: Bill Kiska and Jordan B. Stocksdale
• Lighting Design: Justin M. Kiska
• Light Board Operator: Trey T. Kiska
• Sound: Bill Kiska
• Set Design: Bill Kiska and Jordan B. Stocksdale
• Set Construction: Bill Kiska, Trey T. Kiska, Jordan Stocksdale
• Costumes: Samn Huffer and Bill Kiska
• Wigs: April Horn of Hair Worx Salon

Disclaimer: Way Off Broadway Dinner Theatre provided two complimentary media tickets to ShowBizRadio for this review.

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.

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.

HCC Actor’s Guild has once again delivered a performance that seems well above the expectations for student theatre. In Dog Sees God, there is an ensemble of well-crafted performances delivered on a creative and clean set through interesting and appropriate blocking choices. If you have not yet paid a visit to their intimate black box, now is the time.

Dog Sees God takes the characters from “Peanuts” and reimagines them as teenagers, teenagers who deal with bullying, homosexuality, drugs, alcohol, sex, death, suicide, and a host of other real-world problems. It is a dark and tormented world that they navigate, and these young performers convey that pain and confusion with touching realism.

The male members of this cast are especially talented and really make a huge impression. As CB, Tim Torre comes out blazing and gives a very raw and intense performance. As Beethoven, Devin Michael gives a complex and nuanced performance that is intensely believable and extremely controlled. Also demonstrating amazing restraint is Connor Shea as Matt. Even though Shea’s character has a huge personality and wild fits of rage, Shea shows incredibly mature restraint in never pushing too far. Josh Marshall as Van is far less restrained and it works with his loud, goofy, comic-relief character.

While the females are a little overshadowed by their male counterparts, they are able to hold their own. Tricia Ragan has some especially strong moments as CB’s sister, and Lizzie Detar creates a very consistent character for Marcie. Andie Cappelletti’s Tricia is a little forced, but it works with her character who is a mask-wearing mean girl. As Van’s Sister, Laura Andon-Campos struggles to find the right balance between intensity and realism. As a result, she flounders in creating a clear character, but demonstrates potential for the future.

Overall, this is a definite showcase of strong acting performances in a very intense script. It is important to note that this script is filled with adult language and adult situations, so audience discretion on the topics of the script is advised. However, for fans of this kind of intense theatre, this is an excellent production.

Cast

• CB: Tim Torre
• Beethoven: Devin Michael
• Van: Josh Marshall
• Matt: Connor Shea
• Marcie: Lizzie Detar
• Tricia: Andie Cappelletti
• CB’s Sister: Tricia Ragan
• Van’s Sister: Laura Andon-Campos

Production Staff

• Director: Miranda Litchford
• Producer: Ben Fisler
• Stage Manager: Sarah Tweed
• Technical Director/Scenic and Props Designer: Robbie Elliot
• Lighting Designer: Ryan Johnson
• Costume Designer: Linda Bratcher
• Booth Operator: Leanna Wheatley

Disclaimer: HCC Actor’s Guild provided a complimentary media ticket to ShowBizRadio for this review.

Once a theatre has established a strong reputation, it can be difficult to live up to that expectation with every production. However, once in a while, a practically perfect production comes along that not only meets that expectation, it raises the bar yet again for all future productions. Milburn Stone Theatre has created just that kind of powerhouse in their current production of Young Frankenstein. Every single principal performer is strong, professionally polished, and holds his/her own. The direction is seamless, the choreography is stellar, and the sets and lighting are beautifully designed. If you do not already have tickets for next weekend, I would highly suggest making that happen as soon as possible.

Upon the death of Victor von Frankenstein, his grandson Frederick (Adam J. Wahlberg) is summoned to his home in Transylvania as his sole heir. Frederick knows that the expectation is to a build a monster in the grand family tradition, but he tries to struggle against it. Since it is Mel Brook’s comedy, many hilarious hijinks and silly satire surround Frederick as he joins the family business. This production is true to the goofiness and camp without ever over-reaching,

Much of that rests of the shoulders of Wahlberg, and that is a good place to rest a show. Wahlberg has a natural, boyish charm that keeps his character grounded and real even as he as has the audience rolling with his zany facial expressions and reactions. He has tight comedic timing and soaring tenor vocals. Things only get better once he teams up with Igor (Charles Johnson). Johnson’s timing and delivery is flawless. His Igor is hilarious, loveable, and impossible to take your eyes away from.

Also aiding Frederick is his lab assistant, Inga (Shereen Ahmed). Ahmed has a powerful and melodic belt that nails every pitch. She is able to be goofy and funny while still being sexy and somehow sincere. She is also a dynamic triple threat and shines in dance numbers. Yet another polished performance comes from Nance Webber as Frau Blucher. Her “He Vas My Boyfriend” had everyone rolling in the aisles and was a powerhouse vocal. Her performance was nuanced, skilled and delightful to watch.

As Elizabeth Benning, Kati Donovan held her own with this powerful cast. She occasionally went just a little too big, but, overall, she nailed the comedy just right. Her awesome vocals and expressive facial expressions really sold her several musical numbers. As The Monster, Ryan Wagner showcased his tap-dancing prowess and a strong ability to evince emotion and life with very few words. Standing out in a smaller role and really making the most of his moment was John Mulvey as the Hermit. It was an incredibly delightful display of comedic ability and made for one of the most entertaining scenes of the play.

Even with these fantastic acting performances, at the end of the day, the show was truly stolen by the choreography. It was creative, impressive, and executed with precision by a strong dancing cast. “Puttin’ on the Ritz” was the highlight of the show with an incredible tap sequence that was strengthened by the accompanying light and special effects design.

There were a few minor bugs to work out with the sound balance. Especially in the beginning of the show, the vocals were occasionally lost under the music. Occasionally, a costume was slightly out of period or unflattering to the performer. A few ensemble members were not quite up to the caliber of the majority of the ensemble.

However, these few nit-picky details aside, it was a delight to watch. This many professional-level performances together is not something that you get to see every day. Combining that with such amazing dance and lighting resulted in a spectacularly enjoyable production. It is, however, important to note that the show is practically one big sexual innuendo. While Director Rory Donovan was obviously careful not to allow that to be too gratuitous or go past what was necessary for the script, there is still a lot of sexually-driven humor and this would not be appropriate for children and may not be appropriate for teenagers.

Cast

• Dr. Frederick Frankenstein: Adam J. Wahlberg
• The Monster: Ryan Wagner
• Igor: Charles Johnson
• Inga: Shereen Ahmed
• Elizabeth Benning: Kati Donovan
• Frau Blucher: Nance Webber
• Inspector Kemp/Hermit: John Mulvey
• Victor von Frankenstein: Gannon Webb
• Ziggy: Christopher Woerner
• Herald: Frank Gilette
• Ensemble: Theresa Bounds, Suzette Burgess, Daniel Combs, Joanna DiPaola, Phil Hansel, Vincent Kalwa, Amy Luchey, Zachery Mease, Michael Maistros, Cindy Mulvey, Adam Nelson, Katie Obarski, Eileen Law Stewart, Megan Valle, Jamie Verderamo, Erik Williams

Production Team

• Direction: Rory Donovan
• Musical Direction: Shane Jensen
• Choreography: Jackie Kappus
• Stage Management: Katie Donovan
• Properties Design: Eyvo Johnson
• Sound Design: Terry Edwards
• Lighting Design: William A. Price III
• Scenic Design: Bob Denton
• Costume Design: Joyce Williams & Brenda Kinzinger
• Scenic Crew: Shereen Ahmed, Mike Berquist, Brandie Biddy, Tyler Bristow, Bob Denton, Rory Donovan, Frank Gillette, Brandon Gorin, Phil Hansel, Charles Johnson, Jackie Kappus, Serenity Rowland, Dan Tucker, Rebecca Volk, Raymond Von Wahide, Adam Wahlberg, Chris Woerner, Ryan Wagner, Erik Williams, Stanton Zacker
• Assistant Stage Manager: Raymond Von Wahide
• Backstage Crew: Diane Berquist, Bob Denton, Codey Odachowski
• Light Board Operator: Tyler Bristow
• Sound Engineer: Terry Edwards
• Sound Operator: Rory Donovan
• Fly Chief: Brandon Gorin
• Spot Operators: Christy Wyatt, Missy Wyatt

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

For a very long time, Pumpkin Theatre has been producing shows for children. Seussical the Musical Jr. makes their first foray into “for children, by children.” A cast of twenty-eight young people obviously put in a lot of hard work to make the first performance a decent maiden voyage into child performers.

Seussical tells the story of Horton the Elephant (Connor Moore), who hears Whos and hatches eggs. Moore has a nice voice and a likeable sweetness to his portrayal. The tale is narrated by The Cat in the Hat (Allison Mudd) with assistance from Jo Jo (Steven Gross), a young Who who thinks many strange thinks. It is high-action with song after song. The choreography is a real hero in this production. It was kept simple but interesting in a way that all the young performers were able to dance in perfect sync.

Throughout the show, there were several standout performances. Sheridan Merrick was dynamic with a solidly developing belt as Mayzie. Ruby Kinstle was sweet with adorable comedic timing as Gertrude. Jake Miller was especially excellent as he charmed and sang beautifully in the role of the Mayor.

The downfall in using child performers, because they are simply not adult professionals, is that this was the most antsy audience I had ever seen at Pumpkin. Usually, their shows keep the 3 & 4 year-olds engaged, but, with child actors instead of adults, 5 or older would probably be recommended for the audience. So, if you have taken really little ones to Pumpkin in the past, you might want to reconsider. However, five and older are certain to enjoy watching other children their age have fun in this high-energy show.

Cast

• Bird Girls: Emily Wheeler, Madelyn Schloss, Sophie Brodinsky
• Mayzie La Bird: Sheridan Merrick
• Gertrude McFuzz: Ruby Kinstle
• Wickersham Brothers: David Polsky, Carly Dagilis, Alex Cashman, Myles Muse, & Maddie Reecer
• The Cat in the Hat: Allison Mudd
• Yertle the Turtle: Emma Moore
• Horton the Elephant: Connor Moore
• Sour Kangaroo: Eva Hellerback
• Young Kangaroo: Sadie Lange
• Vlad Vladikoff: Anthony Hobbs
• Mayor’s Wife: Maya Walsh-Little
• Whos: Sam Willen, Ruby Webb, Claire Mitchell, Nick Dimitriades, Luke Miller, Victoria Miller, Holly Miller, & Jacob Rose
• Mayor: Jake Miller
• Jo Jo: Steven Gross

Design Team & Crew

• Director: Jimi Kinstle
• Assistant Director: Erin Confair
• Musical Director: Mandee Ferrier Roberts
• Stage Manager: Allyson Haley
• Properties Designer: Ally Cribbs
• Costume Designer: Karen Saar
• Lighting Designer: Adrienne Gieszl
• Sound Designer: Nick Hood
• Set Designer: Heather M. Mork
• Technical Director: Seth Glasser

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

The Sound of Music is a timeless classic that has once again found renewed interest following the recent movie adaptation. Unlike that recent movie adaptation, Way Off Broadway’s current production does not disappoint or fall short of expectations for the show. While the production also does not bring anything especially exciting or new to the off-produced production, it does solidly deliver a predictable and enjoyable evening for fans of the classic musical.

At the center of this production is the charming Melissa Ann Martin as Maria. She has endless energy, and it is easy to see why the von Trapp children flock around her. She stands at contrast to the stern Captain von Trapp (Steve Steele). Steele has a beautiful voice, and the audience watches his character soften throughout the show.

Absolutely delightful are the von Trapp children. They have all have great stage presence and sweet voices. Especially wonderful is Josephine Patane as Liesl. Patane has an incredibly strong voice and charisma. Her performance stands out with her delightful and realistic reactions throughout the show. “Sixteen Going on Seventeen” is an especially fun number, when she pairs with the talented Charlie Cizek (Rolf).

Another standout portion of the production are the intricate multi-part harmonies of the nuns of Nonnberg Abbey. Song after song, the sisters deliver with beautifully trained vocals. Tori Weaver also stands out in her small acting scenes as Sister Berthe. As the Mother Abbess, Maria-Giulia Bruni is stunning. She has a majestic, motherly presence and a voice like an angel.

Ideally cast in their roles are Jordan B. Stocksdale as Max and Mary Ellen Cameron as Elsa Schraeder. Stocksdale walks the fine line between the self-interested persona that is Max and the real friend underneath. Cameron is class and composure, and she creates an Elsa who is all wrong for the Captain but is not unlikeable.

One of the strongest elements of the production is using the curtain and blocking in such a way that scene changes always happen while action is ongoing, so there are never any pauses in the flow of the show. This way the audience can stay invested and in the moment throughout the enjoyable production. Fans of The Sound of Music will not be disappointed and should definitely go and enjoy this production during the rest of its run.

Photo Gallery

Melissa Ann Martin as Maria and Steve Steele as Captain von Trapp	Melissa Ann Martin as Maria

Photos provided by Way Off Broadway Dinner Theatre

Cast

• Sister Margaretta: Johnna Leary
• Sister Berthe: Tori Weaver
• Mother Abbess: Maria-Giulia Bruni
• Sister Sophia: Tiara N. Whaley
• Postulant: Chelsea Bondarenko
• Maria Rainer: Melissa Ann Martin
• Captain Georg von Trapp: Steve Steele
• Franz: Matthew Crawford
• Frau Schidt: Hannah Pecoraro
• Liesl: Josephine Patane
• Friedrich: Cavin Davis/Luke Szukalski
• Louisa: Macy Armagost/Megan Jacobs
• Kurt: Abel Hart/Daniel Puckett
• Brigitta: Annie Krop/Sarah Szukalski
• Marta: Katharine Ford/Audrey Kilgore
• Gretl: Charlotte Kilgore/Serena Parrish
• Rolf: Charlie Cizek
• Elsa Schraeder: Mary Ellen Cameron
• Max Detweiler: Jordan B. Stocksdale
• Herr Zeller: Matthew Mastermatteo
• Admiral von Schrieber: Joseph Waeyaert
• Ensemble: Johnna Leary, Tori Weaver, Tiara N. Whaley, Chelsea Bondarenko, Matthew Mastermatteo, Joseph Waeyaert

Behind the Scenes

• Director: Samn Huffer
• Music Director: Jordan B. Stocksdale
• Stage Manager: Joseph Waeyaert
• Orchestrations and Arrangements: Bill Kiska and Jordan B. Stocksdale
• Lighting Design: Justin M. Kiska
• Light Board Operator: Trey T. Kiska
• Sound: Bill Kiska
• Set Design: Samn Huffer
• Set Construction: Samn Huffer, Bill Kiska, Trey T. Kiska, Jordan Stocksdale, Joseph Waeyaert
• Costumes: Samn Huffer and Bill Kiska
• Props: Justin M. Kiska and Joseph Waeyaert
• Wigs: April Horn of Hair Worx Salon

Disclaimer: Way Off Broadway Dinner 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.

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.