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.

Miracle on 34th Street is certainly one of the great Christmas classics. In the 1960’s, Meredith Wilson created the stage musical version title Here’s Love, but it has now been retitled Miracle on 34th Street and comes beautifully to life at the hands of director Shawn Kettering. The production brings to life the holiday cheer and magic with great gusto.

The scene is beautifully set around the room with New York City skyline and shopping signs. Simple set pieces and lifelike props bring the various locations to life enhanced with a stunning light design. The costumes are full of color and beautifully transport the cast back in time.

The action begins when Kris Kringle (Robert Biederman 125) arrives on the scene at Macy’s Thanksgiving Day parade. It soon becomes clear that, as far as he is concerned, he is the actual Santa Claus. Biederman gives a jovial and believable performance as the magical man. He especially brings his magic to the life of Doris Walker (Heather Marie Beck). Beck shines in the musical number and the comedic moment, but she sometimes has a hard time bringing believable depth to the more serious side of Doris.

Providing solid performances in pivotal roles are Jeffrey Shankle, who is charming and gets to show off his powerhouse tenor voice as Fred Gaily, and Lawrence B. Munsey, who is larger than life as the powerful R.H. Macy. In the comedic role of Marvin Shellhammer, Darren McDonnell is simply delightful. Will Emory also delivers in a scene-stealing turn as Mr. Sawyer. Throughout the ensemble is powerful in vocals, sharp in choreography, and transform into a variety interesting supporting characters.

The real star of the show, in this performance, was Ella Boodin as Susan Walker. She was beyond precious, brought emotional depth and sparkle to the show, and had a lovely voice. The other children in the show are also very strong and just adorable in their featured moments throughout.

So, if you are looking for pleasant holiday fare that is truly appropriate for all ages, Toby’s has an excellent professional offering worth considering in this consistent production of Miracle on 34th Street.

Cast

• Doris Walker: Heather Marie Beck
• Susan Walker: Ella Boodin or Sadie Herman
• Fred Gaily: Jeffrey Shankle
• Kris Kringle: Robert Biederman 125
• Marvin Shellhammer: Darren McDonnell
• R. H. Macy: Lawrence B. Munsey
• Mr. Sawyer, Climber: Will Emory
• Miss Crookshank, Male Shoppers Wife: Santina Maiolatesi
• Judge Martin Group, Drunk Santa, NY Governor: David Bosley-Reynolds
• Tammany O’Halloran, Troubled Clerk, Mr. Gimbel: David James
• Thomas Mara, Sr., Balloon Vendor, Male Shopper, Mayor of NY: Shawn Kettering
• Alvin, Goldilocks, Clerk, Mailman: Nick Lehan
• Whitey, Bailiff, Policeman: David Little
• Ciara, Lady Shopper: MaryKate Brouillet
• Miss Sims, Henrika’s Mother: Lara Zinn
• Sherry Finfer: Lucy Herman or Lily Ulman
• Mrs. Finfer, Mrs. Beeler: Coby Kay Callahan
• Henrika: Caroline Otchet or Samantha Yakaitis
• Tommy Mara, Jr.: Gavin Willard or Theo Yu
• Girl Scout: Amanda Kaplan
• Swings: Tina DeSimone & A.J. Whittenberger

Production Staff

• Director: Shawn Kettering
• Musical Director: Douglas Lawler
• Choreographer: Mark Minnick
• Scenic Designer: David A. Hopkins
• Costume Designer: Lawrence B. Munsey
• Lighting Designer: Lynn Joslin
• Sound Designer: Jimmy Engelkemier
• 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, Ian Wallace
• 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

Orchestra

• Piano/Conductor: Douglas Lawler or Pamela Witt
• Keyboard 2: Ann Prizzi or Ed Myers
• Drums: Jack Loercher or R. Scott Robinson
• Trumpet: Tony Neenan or Frank Gorecki
• Trombone: Jay Ellis or Dan Pendley
• Woodwinds: Steve Haaser or Charlene McDaniel

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

In a recent interview a local writer asked Toby Orenstein about her casting process and the fact that she seems to cast a majority of the same actors for her productions. Toby replied by saying that her performers are some of the best around, but her doors are always open for new comers, however in order to make it in the door you have to be better than the best. And that is undoubtedly clear and evident in the Columbia’s staple and longest existing dinner theatre’s production of the 1987 Tony Award winning musical Les Miserables.

Based on the iconic novel by French novelist Victor Hugo, Les Miserables, which at one point was the longest running musical on Broadway, can be described in many ways. Les Miserables is set in the background of the French revolution and tells the story of one man’s journey over almost 30 years of his life, his trials and tribulations, his pain, suffering and joy. But ultimately Les Miserables is about REDEMPTION. The relationship between God and man. The ultimate Faith that one can put in the Lord God and serve, follow and obey through life and till death. Experiencing his love, mercy and grace through all stages of one’s existence.

Artistically, technically, and creatively the production is top-notch, once again utilizing the theatre in the round space to its ultimate and fullest ability. Producing larger than life set pieces, assembling a three-tier barricade that covers the entire facility, and manipulating the light design to transform us from the darkest corners of the underground sewers to bright and vibrant streets of Paris. Toby, who skillfully, masterfully, powerfully and yet gently co-directed with Steven Fleming, stays true to the heart of the story and the passion and the strength of the score. Creating new and innovative staging that is touching, thought-provoking and artistically inspired. And the six-piece pit band under the musical direction of Christopher Youstra awakens every emotional note to its fullest potential.

Daniel Felton delivers a powerful, tormented, tender performance as Valjean, with stunning vocals and dominant and controlling presence. Felton’s “Who am I” is one of the purest moments in the production and an ultimate praise and connection to God, a complete believability of physical, spiritual and emotional growth. Janine Sunday’s Fantine is most differently up to par, delivering the legendary “I Dreamed a Dream” with pitch perfect vocals and conveying heart breaking emotions in “Come to me.” However the vulnerability that was desperately needed to complete Fantine’s full journey was slightly missing. Lacking no vulnerability is David James (Thenardier) and Theresa Cunningham (Madame Thenardier) who throw themselves completely in their respective roles with such rawness and passion that every moment of their presence on stage is beautifully prevailing. Ben Lurye (Enjolras) is perfectly cast as the leader of the revolutionary young idealists. His crisp and resonating tenor voice further strengthens the declaration of this production. Jeffrey S. Shankle (Marius) is one of the show’s strongest performances. Shankle’s range comes to full fruition in every aspect. MaryKate Brouillet’s (Eponine) is tragic and compassionate. Brouillet’s “On My Own” is refreshing and extremely honest. Brouillet’s and Shankle’s chemistry is also quite mesmerizing and emotional. Katie Heidbreder’s (Cossete) brings a glorious glimpse of purity, innocence and decency into a world of sin and immorality. Jace Franco is absolutely precious and perfectly cast as Gavroche. Franco demonstrates extremely strong maturity and vocals for such a young performer. Lawrence B. Muncey (Javert) delivers the evening’s most refined, intense, skillful and vivid performance. The tragic figures struggle with loyalty to God, man, the law and himself is skillfully accomplished by Muncey’s truthful nuances and breathtaking vocals.

Les Miserables is a show that can be easily made into a musical spectacle, losing its true identity and purpose. Luckily at Toby’s Dinner Theatre it shines its true art form and glorifies the name of God!

Photo Gallery

Jean Valjean (Daniel Felton) has just been released from prison	Jean Valjean (Daniel Felton) pays the Thenardiers to take young Cosette (Ella Boodin) to raise her in a warm and loving home
The barricade built by the student revolutionaries	Javert (Lawrence B. Munsey) – center – is exposed as a police spy. Left to Right: David Bosley-Reynolds, Nick Lehan, Lawrence B. Munsey, Will Emory, John Dellaporta, Jeffrey S. Shankle
Marius (Jeffrey S. Shankle) pleads with Eponine (MaryKate Brouillet) to leave the barricade for safety and deliver a letter to Cosette	Combeferre, a rebel student, (Tobias Young) prepares to fight the army to the end
The Thenardiers crash Marius’ and Cosette’s wedding – Thenardier (David James) and Madame Thenardier (Theresa Cunningham)

Photos provided by Toby’s Dinner Theatre

Cast

• Jean Valjean: Daniel Fulton
• Javert: Lawrence B. Munsey
• The Bishop on Digne: Andrew Horn
• Fantine: Janine Sunday
• Factory Foreman: David Bosley-Reynolds
• Little Cosette: Ella Boodin or Caroline Otchet
• Thenardier: David James
• Madame Thenardier: Theresa Cunningham
• Gavroche: Jace Franco or TJ Langston
• Eponine: MaryKate Brouillet
• Cosette: Katie Heidbreder
• Students:
  • Enjolras: Ben Lurye
  • Marius: Jeffrey S. Shankle
  • Combeferre: Tobias Young
  • Feuily: Nick Lehan
  • Courfeyrac: Ben Gibson
  • Joly: John Dellaporta
  • Grantaire: Christopher Harris
  • Jean Prouvaire: Will Emory
• Female Ensemble: Heather Marie Beck, Jane C. Boyle, Coby Kay Callahan, Dayna Marie Quincy, Lara Zinn.
• The Chain Gang, Warders, Constables, Poor, Factory Workers, Sailors, Whores, Pimps, Thenardiers’s Gang, Drinkers and Wedding Guests are played by company members.
• Swings: Tina DeSimone and Darren McDonnell
• Understudies: Jean Valjean (Greg Knauf), Javert (Will Emory), Fantine (Heather Marie Beck), Thenardier and Bishop (David Bosley-Reynolds), Madame Thenardier (Jane C. Boyle), Eponine (Dayna Marie Quincy), Cosette (Lara Zinn), Marius, Enjolras (Nick Lehan)

Orchestra

• Conductor: Christopher Youstra, Douglas Lawler or Greg Knauf
• Keyboard 2: Ann Prizzi or Pamela Wilt
• Violin: Patricia Waek or Mark Ericksen
• Trumpet: Tony Neenan, Frank Gorecki or Aaron Holmes
• Reeds: Charlene McDaniel or Steve Haaser
• Trombone: Jay Ellis or Jeff Harrigan

Production Staff

• Directors: Toby Orenstein and Steven Fleming
• Musical Director: Christopher Youstra
• Scenic Designer: David A. Hopkins
• Costume Designers: David Gregory and Shannon M. Maddox
• Lighting Designer: Lynn Joslin
• Sound Designer: Drew Dedrick
• Movement Coach: Jenny Male
• Production Manager: Vickie S. Jhonson
• 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, Russel Sunday, Melissa Valdivia, Ian Wallace
• Properties and Set Dressing: Amy Kaplan
• Light Board Operator: Coleen M. Foley
• Sound Board Operators: Drew Dedrick, Jimmy Engelkemier

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

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

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

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

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

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

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

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

Photo Gallery

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

Photos by Kirstine Christiansen

Cast

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

Production Staff

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

Orchestra

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

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

In the Heights is a smart show. It has modern music that sizzles with an infusion of Broadway and hip-hop, while it keeps true to everything that is the core of traditional musical theatre: family, community, romance, and happy endings. Toby’s Dinner Theatre brings together a strong cast and excellent technical elements to breathe life into this tight-knit community on one corner in Washington Heights.

Usnavi (David Gregory) owns a Bodega on the corner that was started by his parents before they passed away. Usnavi is the likeable hero with a warm heart and a gift for rhyme and is brought to life with passion and natural charisma by Gregory. Usnavi pines after Vanessa (Nadia Harika), who longs to escape Washington Heights and the trials of dealing with her alcoholic mother. Harika brilliantly shows glimpses of the sad girl beneath Vanessa’s tough and defensive exterior.

Usnavi’s friend, Benny (Marquise White) is also pining over a girl of his own. White is beyond outstanding as the sweet guy with the soulful voice who is bursting with big dreams. His performance is layered with delightful nuances. The object of his affection is Nina (Alyssa V. Gomez), the first to get out and go to college. She is now returning to tell everyone that she dropped out. Gomez brings great heart and powerful vocals to Nina’s journey throughout the show. Her parents, and Benny’s bosses, Kevin (David Bosley-Reynolds) and Camila (Tina Marie DeSimone) are believable and likeable with a few standout moments between them. The only small change warranted for Bosley-Reynolds would be to simply not use an accent if he cannot master a believable Puerto Rican accent.

At the heart of the community is Abuela Claudia. There is no one better for this role than the incomparable Crystal Freeman, who is pure heart embodied in the best voice around. Her “Paciencia y Fe” once again redefines the standard for theatrical ballads everywhere. Another stellar performance comes from Ryan Alvardo as Sonny. His comedic timing and delivery is impeccable. Another awesome vocal comes from Tobias Young as the Piragua Guy. Also fantastic is Santina Maiolatesi as Daniela. She creates a complete character and has an amazing voice.

The entire show is filled with impressive and exciting choreography. The costumes are colorful and character appropriate. The set is simple and still detailed down to the gum on the lamp posts. The lighting is excellent with several truly effective moments of switching the mood in one cue. With all the careful attention to detail and dynamite performances, In the Heights is a must-see.

Photo Gallery

Benny (Marquise White), Sonny (Ryan Alvarado), Usnavi (David Gregory)	Abuela Claudia (Crystal Freeman), Usnavi (David Gregory)
Camila (Tina Marie De Simone), Kevin (David Bosley-Reynolds), Nina (Alyssa V. Gomez)	Nina (Alyssa V. Gomez), Usnavi (David Gregory)
Camila (Tina DeSimone), Nina (Alyssa V. Gomez)

Photos by Kirstine Christiansen

Cast

• Graffiti Pete: Calvin McCullough
• Usnavi: David Gregory
• Piragua Guy: Tobias Young
• Abuela Caludia: Crystal Freeman
• Carla: Olivia Ashley Reed
• Daniela: Santina Maiolatesi
• Kevin: David Bosley-Reynolds
• Camila: Tina Marie DeSimone
• Sonny: Ryan Alvarado
• Benny: Marquise White
• Vanessa: Nadia Harika
• Nina: Alyssa V. Gomez
• Ensemble: Mili Diaz, Scean Flowers, Javi Harnly, Rachel Kemp, Erin McNerny, Jason Phillips, Moses Rodrigues, Ada Satterfield, Danny Tippett, Melissa Victor
• Swings: Ian Brown-Gorrell & Amanda Kaplan
• Understudies: Usnavi (Calvin McCullough), Nina (Mili Diaz), Benny (Jason Phillips), Vanessa (Ada Satterfield), Sonny (Moses Rodrigues), Daniela, Claudia, Abuela Claudia (Janine Sunday), Kevin (Lawrence B. Munsey), Carla (Melissa Victor), Graffiti Pete (Scean Flowers)

Production Staff

• Co-Directors/Choreographers: Toby Orenstein and Lawrence B. Munsey
• Musical Director: Cedric D. Lyles
• Choreographer: Christen Svingos
• Scenic Designer: David A. Hopkins
• Graffiti Pete Artwork: Peter Fox, David Castro
• Costume Designer: Lawrence B. Munsey
• 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
• Dance Captain: Rachel Kemp
• Master Carpenter: David A. Hopkins
• Set Construction: David A. Hopkins, Russell Sunday, Ian Wallace
• Properties & Set Dressing: Amy Kaplan
• Light Board Operators: Coleen M. Foley, Erin MacDonald
• Sound Board Operators: Drew Dedrick, Jimmy Engelkemier
• Stage Crew: Laura Blasi, Jason Britt, Cody Cooley, Erin MacDonald

Orchestra

• Conductor: Cedric D. Lyles, Douglas Lawler, or Jonathan Tuzman
• Keyboard 2: Pamela Witt, Ann Prizzi, Ed Myers, Barry Hamilton, or Nate Scavilla
• Drums: Matt Lampart, Tarek Mohamed, Evander McLean, N. Scott Robinson, Tom Harold, or Jack Loercher
• Latin Percussionist: Orlando Cotto
• Electric Bass: Michael Kellam, Jason Wilson, Dave Frieman, Linda Cote, or Zach Branch
• Trumpet: Tony Neenan, Frank Gorecki, Chris Hutton, S. Craig Taylor, or Garrett Faccone

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

“Without our traditions, our lives would be as shaky as a Fiddler on the Roof,” Tevye explains about his Jewish community in Anatevka, a fictional town that is experiencing the effects of the very real anti-Jewish pogroms during the latter part of the reign of Tzar Nicholas II. The world is changing fast around the people in the town, and we see this struggle played out through the eyes of Tevye the Milkman, as his three oldest daughters all make decisions that go against the normal course of tradition.

Toby’s production messes a little bit too much with the tradition that is Fiddler on the Roof in some places and has a few serious flaws, but, really, this is a show that is so focused around the character of Tevye that he is the only performer who can really make or break the production. In this particular case, David Bosley-Reynolds is so exceptionally loveable that nothing else really matters. His Tevye is heartfelt and larger-than-life. This performance rests entirely on his shoulders, and it is impressive how he holds it up at all times.

The production value is also top-notch. The lighting, set, and sound are flawless. Every once in a while, there is a costume piece that seems slightly off with the time period and geographic location, but overall the costumes are well-done and appropriate. The orchestra sounds amazing. The ensemble is a vocal force to be reckoned with, and there is nary a bad step in the delivery of excellent choreography. The bottle dance at the wedding is especially well-conceived and well-delivered.

It is the supporting cast that is a little uneven, and there are a few questionable casting choices. As Golde, Jane C. Boyle’s performance is solid, but it is not quite to the level of Bosley-Reynold’s Tevye. Their “Do You Love Me?” is touching, but, in many scenes, she is forgettable beside his tour-de-force performance.

The most problematic performances are Tina Marie DeSimone’s Tzeitel and David James’ Motel. It is hard to get over that they are both substantially older than two young people just beginning their lives, especially since the roles are traditionally played by a pair that is much younger. What makes it even harder is that both performers seem to be wildly over-acting in order to give the illusion of being much younger, and it unfortunately is mostly unsuccessful. They are both evidently strong performers in other ways, but they are ill-suited to these particular roles.

Debra Buonaccorsi (Hodel) is significantly better at making herself come across younger and holds up well in her role. Opposite her as Perchik, Shawn Kettering is a little intense at times, but overall it works as a contrast between his character and the others.

The strongest supporting performance comes from Katie Heidbreder, not only as Chava, but especially in her scene-stealing moment as Grandma Tzeitel. Heather Marie Beck’s Fruma-Sarah is also strong, making “The Tailor, Motel Kamzoil (The Dream)” an overall very enjoyable sequence.

As Tevye experiences, it can be hard to deal when things break with tradition. This was hard to swallow with some of the untraditional casting in the show, but, overall the exceptional quality of the production and the strong, enjoyable performance of David Bosley-Reynolds make it an overall successful production.

Photo Gallery

Photos by Kirstine Christiansen

Cast

• Tevye: David Bosley-Reynolds
• Golde: Jane C. Boyle
• Tzeitel: Tina Marie DeSimone
• Hodel: Debra Buonaccorsi
• Chava: Katie Heidbreder
• Shprintze: Arielle Gordon
• Bielke: Amanda Kaplan
• Yente: Susan Porter
• Motel: David James
• Perchick: Shawn Kettering
• Lazar Wolf: Andrew Horn
• Mordcha: Robert John Biederman 125
• Rabbi: Alan Hoffman
• Mendel: Matthew Greenfield
• Avram: Chad Wheeler
• Nachum: Will Emory
• Grandma Tzeitel: Katie Heidbreder
• Fruma-Sarah: Heather Marie Beck
• Constable: Lawrence B. Munsey
• Fyedka: Jeffrey Shankle
• Shaindel: Victoria Winter
• Ruth: Heather Marie Beck
• Leah: Melynda Burdette
• Sasha: Ian Brown-Gorrell
• The Fiddler: Ray Hatch
• Understudies: Tevye (Alan Hoffman), Golde (Melynda Burdette), Tzeitel, Fruma Sarah (Coby Kay Callahan), Yente (Victoria Winter), Lazar Wolf (Robert John Biederman 125), Hodel (Katie Heidbreder), Grandma, Chava (Arielle Gordon), Motel, Sasha (Will Emory), Perchik (Matt Greenfield), Mordcha, Rabbi, The Fiddler (Chad Wheeler), Mendel, Fyedka (Ian Brown-Gorrell)
• Swings: Coby Kay Callahan, Adalia Jimenez

Production Staff

• Co-Directors/Choreographers: Tina DeSimone and David James
• Musical Director: Douglas Lawler
• Scenic Designer: David A. Hopkins
• Costume Designer: Celia Blitzer
• Lighting Designer: Coleen M. Foley
• 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, Ian Wallace
• Properties & Set Dressing: Amy Kaplan
• Light Board Operators: Coleen M. Foley, Erin MacDonald
• Sound Board Operators: Drew Dedrick, Jimmy Engelkemier
• Stage Crew: Laura Blasi, Jason Britt, Erin MacDonald

Orchestra

• Piano/Conductor: Douglas Lawler or Ross Scott Rawlings
• Keyboard 2: Anne Prizzi, Ed Meyers, or Pamela Wilt
• Trumpet: Tony Neenan or Frank Gorecki III
• Clarinet: Steve Haaser or Charlene McDaniel
• Percussion: Aaron Holmes, Jack Loercher, or N. Scott Robinson

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

High energy, strong vocals and lots of memories were stirred up during Toby Dinner Theatre’s Sunday afternoon production of Hot Nostalgia II in Columbia, Maryland. The ten high-stepping performers sang and danced to the hits from the 30’s and 40’s such as “Minnie the Moocher” and “Boogie Woogie Bugle Boy.” The 50’s brought in Rock and Roll and the cast donned poodle skirts and swooned to the songs of Elvis Presley, the Supremes, and more. The audience (of which we were on the younger side) appeared to enjoy act one, including a spontaneous round of applause when the video monitors showed the headline “Japan Surrenders.” Video clips were shown to introduce each decade.

Act Two opened with just as much enthusiasm. The older crowd was not as excited, but the younger audience members recognized most of the songs from the 60’s and 70’s. We enjoyed covers from the Beach Boys, The Beatles. The Drifters, and a memorable Sonny and Cher. Then with the advent of Vietnam, the tone of songs began to change. The late 60’s brought songs about love, not war, the woman’s movement, songs about the need for peace and joy to the World. The singers and dancers evolved from do woppin’ and gaiety to a realization that life isn’t always peaches and cream. There was sorrow, death, and unhappiness.

Throughout the afternoon all ten actors kept the energy up as they glided, shimmied, shook, and slid across the dance floor. Costume Designer Mary Quinn used costumes that were colorful when necessary for both the men and women and period appropriate throughout the performance. The ladies’ hairdos got higher and higher as the sixties got later and later!

A few sound problems were really the only deterrent to the fun afternoon. Somehow the sound mix did not always mix well and this occasionally caused the group numbers to sound muddy over the soloist. Yet at other times the singers all blended perfectly so it was uneven. Light Designer Coleen M. Foley’s use of color through strobe lights, a disco ball, valentines and other creations set the tone for many of the songs. The orchestra under the direction of Ross Scott Rawlings kept the beat going and the rhythm on track.

Hot Nostalgia II ran a little over two hours with one intermission. It was an energetic look back at the great music from the 30’s to the 70’s.

Photo Gallery

David James and Janine Sunday	Shawn Kettering
David James	David James
Shawn Kettering	Tina DeSimone

Photos provided by Toby’s Dinner Theatre

Cast

• Heather Marie Beck
• Debra Buonaccorsi
• Tina DeSimone
• Prince Havely
• David James
• Shawn Kettering
• David Little
• Ashley Parker
• Jeffrey Shankle
• Janine Sunday
• Swings: Mary Kate Brouillet & Lawrence B. Munsey

Orchestra

• Piano/Conductors: Ross Scott Rawlings
• Trumpet: Tony Neenan, Frank Gorecki or Craig Taylor
• Reeds: Steve Haaser or Charlene McDaniel
• Bass: Linda Cote or Frank Higgins
• Percussion: Aaron Holmes or Jack Loercher

Production Staff

• Director/Choreographer: Lawrence B. Munsey
• Musical Director: Ross Scott Rawlings
• Scenic Design: David Hopkins
• Costume Design: Mary Quinn
• Lighting Design: Coleen M. Foley
• Sound Design: Drew Dedrick
• Production Manager: Vickie S. Johnson
• Production Stage Manager: Kate Wackerie
• Stage Managers: Drew Dedrick, Kate Wackerie
• Technical Director: Jimmy Engelkemier
• Master Carpenter: David A. Hopkins
• Set Construction: David A. Hopkins, Dan Sexton, Russell Sunday, Ian Wallace
• Properties & Set Dressing: Amy Kaplan
• Light Board operators: Coleen M. Foley, Ethan Knister
• Sound operators: Drew Dedrick, Jimmy Engelkemier
• Stage Crew: Laura Blasi, Jason Britt, Erin McDonald

Disclaimer: Toby’s Dinner Theatre provided two complimentary media tickets to ShowBizRadio for this review. SBR provided advertising on the ShowBizRadio web site to Toby’s.

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

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

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

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

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

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

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

Photo Gallery

Photos provided by Toby’s Dinner Theatre

Cast

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

Production Staff

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

Orchestra

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

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

If you are looking for a delightful holiday treat for the whole family, look no further than Toby’s A Christmas Carol. This is a truly magical production for audiences of all ages. It is a visual spectacle with a positive message of, not only holiday cheer, how to live your life to the best each and every day in the past, present, and future.

With a catchy and beautiful score by Alan Menken and Lynn Ahrens, this is a fast-paced version of the classic Charles Dickens novel. It tells the story of Ebenezer Scrooge, who thinks Christmas is a humbug and has no charity for anyone. David Bosley-Reynolds is great in the role of Ebenezer Scrooge. He meets all expectations for the role, physically and in his portrayal. He is great as both a curmudgeon and in his transition to truly loveable. He successfully carries the show.

Scrooge’s life is changed when he is visited by the ghost of his deceased business partner, Jacob Marley (Andrew Horn). Horn is one of the best things in the show. He is absolutely phenomenal in the number “Link by Link.” He soars with the vocals and is right on with delivery and larger-than-life energy. The number is also an amazing meeting of choreography, lights, costumes, and awesome props. The number is creepy, visually stunning, and has touches of humor, like the chains used as jump ropes. This moment propels the show forward.

Following Marley are the ghosts of Christmas Past (Heather Beck), Present (Ray Hatch), and Future (Julia Lancione). All three are equally delightful in very different ways. Beck is the embodiment of sunshine; Hatch is full of vigor; and Lancione is elegant. Each is delightful and takes control of his/her portion of the show and brings it to life.

Helping them bring the life and world of Scrooge into reality is an incredibly strong supporting cast. Both younger versions of Scrooge (A.J. Whittenberger and Matthew Greenfield) successfully embody Scrooge’s gradual journey to the jaded man that he becomes. Whittenberger also has an especially beautiful voice that melts the room in “A Place Called Home.” As Cratchit, David James is very loveable. The rest of his family (Katie Heidbreder, Jennie Lutz, TJ or Thomas Langston) are also delightful. Celia Blitzer’s Mrs. Mops has a hysterical bit in the show, and she really steals a scene or two. Elena Crall is lovely as Emily and has a beautiful soprano. Jeffrey Shankle and Crystal Freeman bring great joy as the Fezziwigs. The rest of the ensemble brings all of London to life with professional precision and realistic Christmas heart.

All of these great performances are aided with exquisite choreography, an amazing lighting design, breathtaking costumes, beautiful set pieces, and well-used projections. This is definitely a top-notch production that will thrill and delight both young and old.

Cast

• Carolers: Celia Blitzer, Ian Brown-Gorrell, Elena Crall, David Little
• Beadle: Chad Wheeler
• Mr. Smythe: Matthew Greenfield
• Ebenezer Scrooge: David Bosley-Reynolds
• Cratchit: David James
• Old Joe: David Little
• Martha Cratchit: Katie Heidbreder
• Mrs. Cratchit: Jennie Lutz
• Tiny Tim: TJ or Thomas Langston
• Poultry Seller: Dayna Quincy
• Nicholas: Scean A. Flowers
• Fred Anderson: Ian Brown-Gorrell
• Jonathan: A.J. Whittenberger
• Blind Hag: Julia Lancione
• Mrs. Mops: Celia Blitzer
• Marley: Andrew Horn
• Ghost of Christmas Past: Heather Beck
• Judge: Jeffrey Shankle
• Scrooge at 12/15: A.J. Whittenberger
• Scrooge’s Father: Matthew Greenfield
• Scrooge’s Mother: Ali Hoxie
• Fan: Amanda Kaplan
• Mr. Hawkins: Chad Wheeler
• Mr. Fezziwig: Jeffrey Shankle
• Scrooge at 21: Matthew Greenfield
• Young Marley: Ian Brown-Gorrell
• Emily: Elena Crall
• Mrs. Fezziwig: Crystal Freeman
• Ghost of Christmas Present: Ray Hatch
• Sally Anderson: Ali Hoxie
• Ghost of Christmas Future: Julia Lancione
• Understudies: Chad Wheeler (Scrooge/Marley), Jeffrey Shankle (Cratchit), Katie Heidbreder (Christmas Past), Dayna Quincy (Christmas Present), Jen Kohlhafer (Christmas Future, Mrs. Mops, Martha Cratchit, Sally Anderson, Fan), Celia Blitzer (Mrs. Fezziwig, Mrs. Cratchit), Ali Hoxie (Emily, Blind Hag), Charlie Abel (Mr. Fezziwig, Judge, Beadle), A.J. Whittenberger (Young Marley, Nicholas), Ian Brown-Gorrell (Scrooge at 21)
• Swings: Charlie Abel, Jennifer Kohlhafer

Production Staff

• Director: David James
• Musical Director: Pamela Wilt
• Choreographer: Laurie Newton
• Costume Designer: Lawrence B. Munsey
• Lighting Designer: Coleen M. Foley
• Sound Designer: Drew Dedrick
• Projections/Special Effects: Dave Bittner
• Scenic Elements: Dave Esky
• Dance Captain: Julia Lancione
• 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: Corey Brown, David A. Hopkins, Sarah Splaine, Russell Sunday, Ian Wallace
• Properties & Set Dressing: Amy Kaplan
• Light Board Operators: Coleen M. Foley, Erin MacDonald
• Sound Operators: Drew Dedrick, Jimmy Engelkemier
• Stage Crew: Laura Blasi, Jason Britt, Erin MacDonald

Orchestra

• Keyboard/Conductors: Pamela Wilt or Brant Challacombe
• Keyboard 2: Anne Prizzi, Ed Meyers, or Barry Hamilton
• Trumpet: Tony Neenan or Frank Gorecki
• French Horn: Andrew Houde
• Percussion: Aaron Holmes, Jack Loercher, or N. Scott Robinson

Disclaimer: Toby’s Dinner Theater provided five complimentary media tickets to ShowBizRadio for this review. SBR also provided a banner ad for Toby’s Dinner Theatre’s next show, Hot Nostalgia.

In The Color Purple, Toby’s Dinner of Theatre of Columbia takes you back to rural Georgia not long after the beginning of the 20th Century. There we find an African-American community that is barely a generation outside of slavery and all the trials and tribulations that haunt the members that they seek to define themselves as independent individuals. Even beyond the off-stage racial conflict, there is a distinct conflict among themselves and especially as men and women work to define gender roles. Through it all, there is hope and a sense of what will eventually come to be. There is family; there is love. There are glimmers of and an ultimate promise of the deliverance of this community and the fruition of their hard work and dreams. We see the heart and the bonds, of choice not obligation, that ultimately makes the African-American community strong.

At the center of everything is Celie (Dayna Quincy). Celie journeys from a young girl to an old woman. She progresses from a damaged child abused by her stepfather to a beaten woman silenced by her husband to an independent, creative force who makes her own future. Quincy is absolute gem as Celie. Between her amazing performance and excellent costumes and make-up, she is believable at every age and stage in her life. Quincy has real heart that breaks down the audience and real fire that lifts them up.

Everything that Celie does, she does for her younger sister, Nettie, played with an innocent air of grace by Jessica Coleman. Coleman performs with perseverance even as her microphone was having issues during one of her biggest moments. Celie is separated from her sister by her controlling and abusive husband, Mister (Mark Anthony Hall). Hall is deliciously evil as a villain and then makes a remarkable transformation that makes you want to forgive him for all his sins.

Quite an opposite couple are the amiable Harpo (David Little) and the larger-than-life Sofia (Theresa Cunningham). Little sizzles in “Brown Betty” and gets to show off his sultry lower register and slick dance moves. Cunningham is dynamite. Her comedic timing and delivery is spot-on, and she breaks your heart during her rough times.

Then, there is the woman who walks in and changes everything: Shug (Shayla Simmons). Simmons may very well be the classiest woman to ever step foot on a stage. Everything about her is polished, charming, and high-class. She just exudes elegance, and it is no wonder that she has the rest of the characters awestruck.

The supporting cast and ensemble are equally strong. Ray Hatch stands out as Ol’ Mister in a serious scene that reveals a lot of Mister’s backstory. Darlene (Crystal Freeman), Doris (Tierra Strickland), and Jarene (Kelli Blackwell) provide humorous gossipy, church-lady commentary throughout in the form of an almost recitative fugue. Their little interjections are highly complex musically and yet they make it seem spontaneous at the same time as polished.

The Color Purple is a first-class production. Everything about it is done with professionalism and style. There is an intense precision and planning throughout that translates into something subtle and beautiful. Fans of the book and/or movie will not be disappointed with this new reimagining of an old classic.

Cast

• Young Celie/Celie: Dayna Quincy
• Young Nettie/Nettie: Jessica Coleman
• Church Soloist: Melissa Victor
• Darlene: Crystal Freeman
• Doris: Tierra Strickland
• Jarene: Kelli Blackwell
• Pa: Devron Young
• Preacher/Buster/Chief: Tobias Young
• Mister: Mark Anthony Hall
• Harpo: David Little
• Sofia: Theresa Cunningham
• Squeak: Ashley Johnson
• Shug: Shayla Simmons
• Ol’ Mister: Ray Hatch
• Young Adam: Antonio Beverly
• Young Olivia: Olivia Ashley Reed
• Bobby: Sayne-Khayri Lewis
• Guard: Anwar Thomas
• Grady: David Gregory
• Ensemble: Antonio Beverly, David Gregory, Sayne-Khayri Lewis, Nurney Mason, Samantha McEwen, Olivia Ashley Reed, Patricia Targete, Anwar Thomas
• Understudies: Melissa Victor (Celie/Squeak), Shayla Maddox (Shug/Darlene), David Gregory (Mister/Harpo/Pa), Tierra Strickland (Sofia), Ashley Olivia Reed (Nettie), Devron Young (Preacher/Ol’ Mister), Ashley Johnson (Church Soloist), Samantha McEwen (Jarene/Doris), Sola Fadiran (Swing)

Production Staff

• Directors: Toby Orenstein, Lawrence B. Munsey
• Musical Director: Christopher Youstra
• Choreographer: Anwar Thomas
• Scenic Designer: David A. Hopkins
• Costume Designer: Lawrence B. Munsey
• Lighting Designer: Lynn Joslin
• Sound Designer: Drew Dedrick
• Production Manager: Vickie S. Johnson
• Production Stage Manager: Kate Wackerle
• Stage Managers: Drew Dedrick, Kate Wacherle
• Technical Director: Jimmy Engelkemier
• Master Carpenter: David A. Hopkins
• Set Construction: Corey Brown, David A. Hopkins, Sarah Splaine, Russell Sunday
• Properties & Set Dressing: Amy Kaplan
• Light Board Operators: Coleen M. Foley, Erin MacDonald
• Sound Operators: Drew Dedrick, Jimmy Engelkemier
• Stage Crew: Laura Blasi, Jason Britt, Erin MacDonald

Orchestra

• Conductor/Piano: Christopher Youstra or Douglas Lawler
• Keyboard 2: Anne Prizzi or Pam Wilt
• Flute, Clarinet, Alto Sax: Charlene McDaniels or Steven Haaser
• Trumpet: Tony Neenan, S Craig Taylor, or Frank Gorecki
• Guitar: Kim Spath, Greg Land, or Will Brumbach
• Percussion: Aaron Holmes or Jack Loercher

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