Colonial Players of Annapolis’ production of Shiloh Rules is a funny, yet thought-provoking play, a wonderful way to begin their 69th season. Written by Doris Baizley and directed by Beth Terranova, it feels incredibly timely given the current political and racial climate, where it seems like the legacy of the Civil War and its lessons are still being fought.
Carrie Brady and Ashley Spooner. Photos by Colburn Images.
The play takes place at Shiloh Battlefield Park, where two sets of Civil War re-enactors are preparing for the re-creation of the battle. Laura Ivey plays Meg Barton, a new participant playing the part of a Union nurse. She radiates eagerness and preparation for the role, having memorized her fictional history, and seems ready to assist the wounded soldiers. She shows some skepticism, though, wondering if her nursing skills will be truly needed. During the rawness of the battle, her enthusiasm visibly slackens, but it returns when she finds her skills unexpectedly useful.
Jamie Erin Miller plays Meg’s mentor, Clara May Abbott. She plays her role with joyful enthusiasm, grateful to have a cause that she fully believes in. That eagerness gets replaced by fear during the battle, overwhelmed by the smoke, sights, and sounds of war. She breaks down in tears, tripping over her medical supplies, and finds herself reacting in unexpected and surprising ways, exclaiming in one scene “I don’t like this world anymore.” She gives a powerfully emotional performance that is compelling to watch.
Carrie Brady plays LucyGale Scruggs, on the Confederate side, with youthful energy and rebelliousness. She begins the play reading a letter, and when challenged about her literacy given her fictional history, offers a few convincing possibilities. Her enthusiasm is clear; when the battle starts, she yearns to be out on the front lines, fighting with the men. Given a mission, she throws herself into the cause, violently struggling with Clara. Later, in a vulnerable moment, she reveals her “real” history, and her reasons for becoming a re-enactor.
Meg Venton gives LucyGale’s mentor, Cecilia Delaunay Pettison, an air of both mystery and authority. At first, she seems like just an overly dedicated, zealous re-enactor, not breaking character even when asked for her driver’s license. But there is more to her that cannot be explained. She speaks to the unknown soldiers buried in the park, calling them by name. She decries the Union’s assault on Confederate towns with the passion of someone who lived through it. Accusing LucyGale of being a spy, she pulls a gun on the young woman. It is hard not to feel sympathy for her, especially when she remarks “every time I come here, I lose.” She gives a remarkable performance.
Laura Ivey, Shannon Benil, and Carrie Brady. Photos by Colburn Images.
Shannon Benil plays the Widow Beckwith with humor and a drop of cynicism. A profiteer, she comes onstage with a rolling bag full of seemingly authentic equipment to sell to both sides, as well as beer. She eagerly and wittily breaks park rules to ply her trade. In some ways, she straddles both the re-enactors’ world and the real one, giving details of the battle while acknowledging the irrelevance of re-fighting it.
Ashley Spooner plays Ranger Wilson with complexity and nuance. She has no tolerance for either side of the re-enactors, determined to enforce park rules and write up every violation. When the battle happens unexpectedly, she finds herself in the middle, resorting to unusual methods to restore order. Seeing the Confederate flag, she shudders, explaining “I didn’t know how that would make me feel.” Caught up in the battle, she feels both the intensity of the history, and the artifice of re-enacting it.
Beth Terranova and Jeannie Christie have done wonderful work as costume designers. The outfits certainly have the feel of authenticity, even while they are supposed to be re-creations. Clara and Meg look like Civil War nurses, in white shirts and smocks. LucyGale wears a vest, a checkered skirt, and a large, floppy hat. Cecilia has a beige dress with a long skirt, and a cap, the very image of an antebellum Southern woman. Ranger Wilson wears a full Ranger’s uniform, complete with a cap and a badge. At one point, two characters dress in Confederate and Union soldiers’ uniforms, making for a striking scene.
Lois Banscher and Constance Robinson, as properties designers, have done great work. The props, from the lanterns to the tools in Clara and Meg’s medical kit, all look like they come straight from a Civil War battlefield. Even the handguns look authentic. It helps make everything feel incredibly real.
Carrie Brady and Meg Venton. Photos by Colburn Images.
Alex Brady as lighting designer and Ben Cornwell as sound designer work well together, helping to create a spooky, mysterious atmosphere. There are flashes of lightning and the sound of thunder, as well as cannon blasts and men charging. With the lights turned low to reflect nighttime, it truly feels as though a battle were going on just around the corner.
Set Painting Designer Jane Wingard has created a powerful set. Tree stumps of various sizes are scattered throughout the stage, surrounded by patches of grass. Offstage, on the far left, is a beautiful painting of a lake and woods, meant to evoke more of the park. It is seemingly simple, yet works perfectly.
Beth Terranova has done a terrific job as director. The actors work well together, and walk around the stage and each other effortlessly. They are an incredibly talented group, with four of them playing not only their modern-day characters, but also their Civil War figures they have created for themselves. Watching them navigate and sometimes struggle between their different roles is amazing theater. Everything comes together to make Shiloh Rules a powerful production, that will have audiences laughing and thinking at the same time.
You’ve got to hurry if you want to see Shiloh Rules, though; the final weekend of this impactful show starts TODAY, Thursday, September 28.
Running Time: Approximately one hour and 50 minutes, with a 10-minute intermission.
Shiloh Rules plays through October 1, 2017 at Colonial Players of Annapolis – 108 East Street, in Annapolis. For tickets, call the box office at 410-268-7373 or purchase them online.
Colonial Players of Annapolis’ production of Nine is a musical extravaganza, with lots of marvelous singing and dancing, as well as beautiful costumes. With a book by Arthur Kopit, music and lyrics by Maury Yeston, directed by Ron Giddings, and music direction by Andrew Gordon, it blends the past with the present, and mixes fantasy with reality.
Jason Vellon and Jackson Parlante. Photo courtesy of Colonial Players.
Jason Vellon plays film director Guido Contini as a charming rogue. Even though he’s involved with several women at once, in addition to his wife, and under pressure to come up with an idea for his next film, he still endears himself to the audience. In “Guido’s Song” his incredible ambition leaps out. “I would like to be able to sing a duet with myself” he sings, and wants the universe to say “whatever you want is okay.” It’s hubris to the extreme, but Vellon makes it work. He shines in “Only with You” convincing every woman who joins him on stage that each one of them is responsible for his success. It’s a funny and charming performance.
Alicia Sweeney gives a quiet strength to Luisa, Guido’s wife. In the beginning, she comes across as a bit meek, quietly explaining to reporters in “My Husband Makes Movies” that his eccentricities come from spinning “fantasies and giving them to you”, the way some men read the paper before going to bed. Her true feelings arise in the middle of the number, however, calling Guido “The Weasel Contini.” She plays the role of dutiful wife perfectly, until her anger and sadness finally boils over in “Be On Your Own,” giving full vent to her frustration and showing Guido the consequences of his actions. She gives a powerfully emotional performance.
Jamie Erin Miller gives a powerful, physical earthiness to Carla, Guido’s girlfriend. She is extremely athletic, swinging upside down in the shower during “A Call from the Vatican,” leaping across the stage and straddling Guido. It’s remarkable to watch. She also lets her vulnerability come out, falling to her knees in tears after a heartbreaking encounter with Guido. In “Simple”, her response to Guido’s urging to keep their relationship uncomplicated is full of pain and heartbreak, her dreams for the two of them dashed. Miller gives Carla plenty of depth and emotion.
Erica Miller plays Claudia, an actress in Guido’s films with great strength and grace. She fights for life as a real person, not just one of Guido’s fantasies. She fills her duet with Vellon, “A Man Like You/Unusual Way,” with longing and sadness, acknowledging that their relationship is complex. She challenges him somewhat, asking him for a different role to play. During filming, Vellon does something to her so tender and intimate that reveals the depth of his feelings for her. It’s an incredibly powerful scene.
Debbie Barber-Eaton plays the gypsy Sarraghina with raw sensuality. She dances across the stage in “Ti Voglio Bene” and “Be Italian,” encouraging the young Guido (Jackson Parlante) to embrace his natural gifts and become a lover. She leads the company in an incredibly physical tambourine dance, slapping the instrument across their bodies. Although she only appears a short time on stage, it’s quite memorable, and it will play out over Guido’s life.
Susan S. Porter gives tenderness and love to Mama Contini. Her song “Nine” is full of sweetness and light, a beautiful celebration of her son. Her concern over Guido’s behavior is touching. Later, when Guido needs help the most, she gives him strength, telling him to “shape up!”, while still managing to be affectionate. Her love comes through powerfully throughout the story.
Rebecca Kyler Downs plays Liliane La Fleur, Guido’s producer, with control and guardedness. She tries to corral Guido into giving her the film she wants. Describing her vision, she softens, dominating the stage in “Folies Bergeres,” She becomes a glamorous performer, engaging with several audience members and playing with a long black boa.
Katie Gardner is a hoot as critic Stephanie Necrophorous. She brings a severity to the role, disparaging Guido at every opportunity. She’s great fun to watch.
Jackson Parlante is utterly delightful as young Guido. His innocence and love shines in even the darkest moments, a reminder of the good person Guido truly is. In “Getting Tall” he explains what we should learn as we grow up, full of sweetness and love even as it serves as good advice. He has a wonderful career ahead of him.
Alicia Sweeney, Jason Vellon, Jackson Parlante, and Susan S. Porter. Photo courtesy of Colonial Players.
Beth Terranova’s costume design captures the spirit of early 60’s Italian fashion. Luisa wears a black dress with pearls and glasses. Carla has a short white poka-dotted dress with rose prints. Claudia appears in a backless green gown. Mama wears a matronly pink dress. Sarraghina has a black off the shoulder robe. For several scenes, the company wears ‘reversible’ nuns’ habits.
Frank Florentine’s lighting design allows the lights to reflect the mood and time. During the emotional scenes, the lights are low and soft, while they brighten for the fun, glamorous ones.
Ron Giddings has done a wonderful job directing this show. With such a large cast, and so many onstage at once in a small space, they all move easily and quickly, working well together. Everything flows naturally, and the movement is great fun to watch. Andrew Gordon’s musical direction is superb and he has fine musicians.
All the elements come together for a fun, clever musical with plenty of heart. Colonial Players delivers a Broadway quality production in an intimate setting. This Nine’s a perfect 10!
Running Time: Two hours and 30 minutes, with a 20-minute intermission.
Nine plays through through April 30, 2017, at Colonial Players of Annapolis – 108 East Street in Annapolis, MD. For tickets, call the box office at (410) 268-7373, or purchase them online.
Liz Weber as The Drowsy Chaperone in The Drowsy Chaperone at Damascus Theatre Company.
Liz Weber as Fraulein Schneider and Chuck Dluhy as Herr Schultz in Cabaret at Kensington Arts Theatre.
Liz Weber as Sarah McKendree Bonham in Quiltersat Rockville Musical Theatre and Arts on The Green.
Jeffery Westlake as Benjamin Franklin in 1776 at McLean Community Players.
Matt Wetzel as the Balladeer in Assassins at Laurel Mill Playhouse.
Taylor Whidden-Knapp as Reno Sweeney in Anything Goes at Other Voices Theatre.
Stephen P. Yednock as The Cat in the Hat in Seussical at Greenbelt Arts Center.
Joel Yetzbacher as Winthrop in The Music Man at Fairfax Theatre Company.
Kristen Zwobot as The Witch in Into the Woodsat Reisterstown Theatre Project.
BEST ENSEMBLES:
A Grand Night for Singing at Montgomery Playhouse: Danny Santiago, Lauren-Nicole Gabel, Brian Lyons-Burke, Jennifer Georgia, and Rachel Weisenthal.
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Assassins at Laurel Mill Playhouse: Stephen Yednock, Joe Mariano, Meg Nemeth, Stephen Deininger, Morrigan Condo, John Scheeler, Jordan Essex, Brianna Scheeler, AnnaBelle Lowe, Maureen Rogers, Ron Able, Cassandra Ferrell, Stuart Deininger, Daniel Santiago, Penni Barnett, and Patrick Pase.
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Avenue Q at Vagabond Players: Calla Fuqua, Taylor Washington, Ryan Gunning, Emily Boling, Michael McGoogan MacKay. Second row: John Sheldon, Michael Paradiso, Jim Baxter, Aimee Lambing, Linae’ C. Bullock, and Andrew Worthington.
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Children of Edenat Damascus Theatre Company: Kevin Sockwell, Cheryl J. Campo, Kevin James Logan, Matty Montes, Kendall Nicole Sigman, Nick Cox, Katherine Worley, Rob Milanic, Katelyn Avon, Matthew Rubin, Noah Haren, Brianna DeLauder,
Stephanie Bonte-Lebair, Jessie Dulaney, Paul May, Jonah Schwartz, Michele D. Vicino-Coleman, Sophia Anthony, Elissa Borzilleri, Brittany Broadus, Katherine Judge, Melissa Law, Nicki Mazza, Amy Nisonger, Emma Shankman, Elizabeth Weiss, Zoë Zindash, Beth Hays, Tatiana Sollod, Samantha Vidas, Lindsey Ehrenfried, Cadence Frey, Kendall Rill, Maria Sales, Christina Williams, Elizabeth Weiss, and Michelle Williams.
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DAS BARBECÜ at Spotlighters Theatre: Andrea Bush, Allison Comotto, Jim Gross, Clare Kneebone, and Rob Wall.
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I Love You, You’re Perfect, Now Changeat Other Voices Theatre: Will Heyser Paone, Karen Heyser-Paone, Steve Custer, Adam Blackstock, Taylor Whidden-Knapp, Katherine Worley, Lee Hebb, and Jeanine Evans.
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Quilters at Rockville Musical Theatre and Arts in the Green: Liz Weber, Hillary Templeton, Megan Evans, Maisie Irene Rocke, Valerie Hubert, Amy Winter, and Zoe Alexandratos.
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Ragtimeat The Memorial Players: Skye A. Barber, Marcos Santiago Calderon, Eden Deininger, Samantha McEwen Deininger,
Stephen Deininger, Stuart Deininger, Corey Dunning, Arden Fisher, Brinley Fisher, Jill Fisher, Karis Fisher, Jamie Griffith, Fred Gorman, Sue Arthur Gorman, Steven Gross, Renata Hammond, J. Purnell Hargrove, Darlene Harris, Carley Heck, Amber Hooper, Ginny Samford Hornbeck, Walter Montgomery Howard, Kendra Sweren Keiser, Valerie Konou, Sonia Korn, Beth Lesser, Miles Light, Thomas Light, John Lisch, J.R. Lyston, Randi Bradley Martin, Tracy McCracken, Janet McMannis, Jesse Milan Jr., Kenna Mitchell, Nicole Mitchell, Myles Jaden Muse, John O’Brien, Debby Phinney, Cecelia Rafferty, Sally Ratrie, Charlie Roberts, Elena Russinoff, John Seeley, Clarence Simmons Jr., Jeff Tegeler, Marian Tibrey, Mike Ware, Nathaniel Wells, Tyler McKay White.
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Seussical at Greenbelt Arts Center: Bob Gudauskas, Jim Pasquale, Marie Nearing, Joanna Andrus, Win Britt, Tiffany Chadwick, Beatrice McNabb, Anna Shenk-Evans, Mayumi Griffie, Bridget Adams, Heather Babin, Laura Adams, Silas Fishburne, Elizabeth Gardner, Shawday Graves, Jamie Miller, Jeffery Lesniak, Jason Britt, Stephen P. Yednock, Harper Chadwick, Amanda Dees, Rachel Pino-Elliott, Julie Dixon, John Carter, Kathleen Marilyn Moors, Joey Rolandelli, Isabela Martins, Carlin Wells, Findley Holland, and Sophie Cooper.
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1776 at McLean Community Players: Bob Ashby, Michael Bagwell, Matt Bogen, Jonathan Cagle-Mulberg, Marissa Chapman, Bob Cohen, Shawn Cox, Richard Dahl, Michael Doan, Michael Gerwin, Scott Scott Gustaveson, Jerry Hoffman, Mike Holland, Derek Marsh, Mytheos Holt, Leslie Lewis, Derek Marsh, James Kevin McCormack, Bob McGrath, Todd Meikle, James Myers, Sam Schwarz, Jon Simmons, Brent Stone, David Weaver, and Jeff Westlake.
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HOW WE SELECTED OUR HONOREES
DCMetroTheaterArts writers were permitted to honor productions and concerts, dance, and operas that they saw and reviewed and productions and concerts and dance performances that they saw but did not review. Every honoree was seen. These are not nominations. There is no voting.
The staff is honoring productions, performances, direction, and design in professional, community, university, high school, and children’s theatres, and are also honoring the same in musical venues. We are honoring work in Washington, DC, Maryland, Virginia, Philadelphia, PA, New Jersey, and Delaware.
2nd Star Productions’ highly entertainingGuys and Dolls is a lively, colorful production about charming guys and their frustrated dolls. Based on characters and a story by Damon Runyon, this classic musical is filled with the gangsters and gamblers of New York’s underground. The music and lyrics are by Frank Loesser with a book by Jo Swerling and Abe Burrows.
Director Debbie Barber-Eaton teams up with Musical Director Sandy Melson Griese and Choreographer Andrew Gordon to present a masterful production filled with talented performers. As the show opens, New York City is depicted with a series of store-front flats cleverly designed by Set Designer Jane B. Wingard. Wingard, with the assistance of Set Decoration and Dressing by Rosalie Daelmans, takes the audience to several New York locations (e.g., the Hot Box Club and the Mission Office) and even Havana.
The cast of ‘Guys and Dolls.’ Photo by Nathan Jackson.
Nicely-Nicely Johnson (James Hulcha), Benny (Nathan Bowen) and Rusty Charlie a.k.a Babyface (Daniel Starnes) kick off the show with “Fugue for Tinhorns” singing about their horses to bet on. Later, add in Nathan Detroit (Brian Mellen) and the fabulous chorus of gamblers and “The Oldest Establishment” has the men looking for a location for their next crap game.
Mellen’s Nathan Detroit, has a hint of Peter Deluise (original 21 Jump Street) in him as he tries to balance between his character’s gambling life and his love life with Miss Adelaide (Jamie Erin Miller). Mellen is convincing as the tough guy with a substantial New York accent and savvy moves, who always seems to get himself into some trouble.
Detroit’s two counterparts, Benny (Nathan Bowen) and Rusty Charlie (Daniel Starnes), display their comedic skills as they fumble to elude Lieutenant Brannigan (Gene Valendo), a crusty, aged officer, who is determined to bust them (Valendo also doubles in the role of Joey Biltmore).
Jamie Erin Miller is perfection as the ditsy and silly Miss Adelaide, Nathan’s girlfriend of 14 years, a fiery redhead with cutesy mannerisms. Miller delivers winning performances with the Hot Box girls in “Take Back Your Mink,” in “Sue Me,” with Mellen, and a magnificent match with Sarah Brown (Erika Miller) in “Marry the Man Today.” In “Adelaide’s Lament,” in a Betty Boop-like voice, Miller bemoans about waiting 14 years to be married. Although Miller provides ample comic-relief, and while her character may be funny, the sassy red-head is wiser than she lets on.
Sergeant Sarah Brown (Erika Miller) is the prim and proper sister of The Save a Soul Mission, and is the opposite of high-roller Sky Masterson (E. Lee Nicol), her love interest. With a captivating and powerful voice, Miller hits all the high notes, as in “If I Were a Bell,” as her character struggles to bring about goodness, yet she is drawn to Masterson’s charm, as they sing “I’ll Know,” who she sees as her moral opposite, an unrepentant sinner.
E. Lee Nicol and the Guys sing ‘Luck Be a Lady.” Photo by Nathan Jackson.
E. Lee Nicol’s Sky Masterson is very charming, whether it’s a kiss to the hand or a tender touch to the cheek just before a kiss. Nicol sings in an enchanting mid-tone range that grabs at the heartstrings. Masterson may make his income in an odd and perhaps dishonest way, (As he sings in “Luck Be a Lady”) but he too struggles to let go of his wicked ways and have a different life. Together Miller and Nicol show their amazing vocal talents on a sizzling rendition of “I’ve Never Been in Love Before.”
The sweet surprise of the show, for me, is is the performance of David Robinson as Sarah’s grandfather, Arvide Abernathy. He serenades Miller with the song “More I Cannot Wish You” in a voice sweet and full of compassion that just hugs you. Robinson plays Abernathy as a kind man, even to the likes of Sky Masterson, knowing that his granddaughter loves him.
Carole Long plays General Matilda B. Cartwright, Matron of the Regional Mission office and a member of the Marching Band. She is authoritarian but fair-minded and charity-mission oriented. Other band members include: Agatha (Hillary Glass), Calvinette (Alice Goldberg), Martha (Kimberly Hopkins) and Grandpa (David Robinson).
The ensemble singers and dancers add zest throughout the production, especially in support of the lead vocals on such memorable numbers as “Guys and Dolls,” (Finale/Reprise), “Luck Be a Lady,” and James Hulcha’s showstopping number, “Sit Down You’re Rocking the Boat.”
The cast dives into spicy salsa moves steps on “Havana,” a dance treat set in a tropical cantina where Sky takes Sarah. They kick as high as the Rockettes and perform the jazz moves as succinct as the Jets from West Side Story. On another number,“The Crapshooters Dance,” the choreography is reminiscent of Michael Jackson’s “Smooth Criminal.” Overall, the ensemble dancers are bursting with enthusiasm and rarely miss a beat.
The Dolls. Photo by Nathan Jackson.
The Hot Box Master of Ceremonies (Steve Mangum) is composed as he boldly announces Miss Adelaide and her accompanying dancers, the Hot Box girls: Mimi (Lucy Bobbin), Betty Lee (Debra Kidwell), Penny (Allison Baudoin), Lily (Victoria Brown), Josephine (Emily Morgan), and Ruby (Christa Kronser).
The Gamblers are Big Jule (Steve Streetman), Harry the Horse (Julian Ball), Brandy Bottle Bates (Eric Meadows), Liver Lips Louie (Stevie Magnum), Angie the Ox (Joshua Hampton), Society Max (Tyler White), Scranton Slim (Andrew Gordon), and Li’l Pete (Michael Mates).
The men’s 1950’s suits are a combination of bright colors (e.g. royal blue, purple and maroon) with clashing shirts and ties (e.g., lime green or orange), which works along side the gals dresses in red, lime green, and shimmering turquoise. Costumer Designer, Linda Swann and her Assistant, Hillary Glass, add a layer of brilliance to this production with their stunning costuming and accessories. Lighting and Sound Designer Garrett R. Hyde brings it together with sultry tones of purple and green in Havana, bright yellow tones at the Mission, and mid-tone lighting enhances the mood in the underground scene.
Don’t miss 2nd Star Productions’ delightful production of Guys and Dolls. It’s a summer family treat!
Running Time: Approximately two hours, with a 15-minute intermission.
Guys and Dollsplays through June 25, 2016 at 2nd Star Productions performing at The Bowie Playhouse – 16500 White Marsh Park Drive, in White Marsh Park, Route 3 South, in Bowie, MD. For tickets, call the box office at (410) 757-5700 or (301) 832-4819, or purchase them online.
Now wai-a-ait a minute! You know Annapolis Summer Garden Theatre is going to make you want to shout! Kick your heels up and shout! Throw your hands back and shout! With their groovy new musical midway through the summer of 2014, Shout! The Mod Musical takes the stage by storm with five fabulous females—4 Brits and a Yankee—who highlight the smashing sounds of the 60’s that kept England swinging like a pendulum all through the era of women’s liberation and free love. Bursting with vocal color, this catchy little musical—created by Phillip George and David Lowenstein—will have you clapping and singing along in the audience to all your favorite tunes as these groovy girls grow-up and redefine their personal colors. Directed by Jerry Vess with Musical Direction by Anita O’Connor, this show has everything a good Brit needs to sail through the 60’s with a swing in her step!
Red (Mariel White) Orange (Jamie Erin Miller) Green (Brittany Zalovick) Green (Brittany Zalovick), and Blue (Kara Leonard). Photo by Photography by Alyssa Bouma.
With a vivacious set decked out in eye-popping colors, Director Jerry Vess, who serves as the show’s Set Designer, really creates a titillating aesthetic backdrop for the colorful show. The letters of the show’s title are outlined in each of the primary show colors with splashing accent patterns thrust in shadow behind them while the left and right walls are an electric lavender with bright, multi-colored dots spread out all over them. Vess’ hints of groovy fashion include beaded curtains with rainbow rings all in the beads, each shading a side entrance to the stage.
The colors say it all from the set to the costumes, and Costume Designer Julie Bays keeps it simple. Dresses that are suited for the era; nothing too short, nothing too risqué, while still looking smart and sassy. Each girl has one main dress that represents their color, and an outfit change in the second act which progresses the timeline of the show. The kaleidoscope dresses reserved for the penultimate number are quite flashy and the perfect approach to the transition of the decades, welcoming in the 70’s with flare. Bays even includes a series of true British pride for the curtain call and big finale; making the Union Jack a proud fashion statement.
Lighting Designer Alex Brady certainly kept the colors popping throughout the production, but at times the repetitive multi-colored light show that just kept blinking the same colors on and off became boring. With the plethora of options available because of the intense color focus in the show, a wider variety of lighting effects and colored light use would have better served the show. Brady did however create moments of brilliant mystery at the top of Act II with the lead-in to “Coldfinger” playing with shadow and spotlights to create these effects.
Choreographer Jason M. Kimmell pumped the show with an electric vibrancy of perpetual motion. Even if at times the dance routines were little more than shuffling back and forth in place with coordinated arm movements, Kimmell kept the girls constantly groovin’. Larger ensemble numbers feature ‘gesture dancing’ like during “Wishin’ and Hopin’” where the girls go through a series of motions that either physically articulate the song’s lyrics or are an iconic representation of dance moves from the 60’s like the snorkel or the v-eyes. “These Boots are Made for Walkin’” becomes a number filled with ‘strike-a-pose’ type moves and involves a large dance break that showcases a variety of moves that cover mostly every major dance from the 60’s.
Creating a quirky cameo role, Ginny White takes on the aloof columnist Gwendolyn Holmes. With a properly prim and polished British accent, White brings her voice up into an airy octave, like Glinda coming home to England with dotty advice on fashion and popular trends. While she only appears briefly throughout the show her little bubbles of advice to the girls are ridiculously funny, as is the fluffy manner in which she presents them. Her chimerical charm and saccharine disposition is cloyingly sweet and adds a frosted flavoring of ineptitude to the show in a comic light.
Red (Mariel White) is the youngest and most inexperienced of the colors, having no idea how to define herself as a woman. White plays the mousy character, uncertain in all aspects of life but especially in love. It takes a while before she discovers her vocal prowess, but this falls in line with the character’s progression throughout the show. Her big solo in the first act, “To Sir With Love” starts out as a demure and rather soft number but as she discovers the meaning behind the words, White embraces the song really comes into her own by the finale of the number. Having fully transformed by the time she reaches “Those Were the Days” it is no surprise to hear her deliver this number with zesty spirit.
Orange (Jamie Erin Miller) is the more mature, maternal figure of the color group. Miller does have a solid voice but at times feels disconnected from what she’s singing, particularly during “You Don’t have to Say You Love Me.” Her most intense moment on the stage is during the final letter addressed to Miss Gwendolyn Holmes; boldly making her opinion of the twit-witted critic known. There is truth an heartache behind her song “You’re My World/All I See is You” a duet shared with Blue (Kara Leonard.)
Leonard, as the blue girl, delivers a stunning rendition of her half of the aforementioned duet. Clear consistent pitch with raw emotion supporting her sustained notes, Leonard accepts the heartache and change that her character encounters at this point of the show. A funnier moment, balancing out the heavy emotions of her character’s trajectory, comes early in the production when she is the poster child for a new anti-wrinkle skin cream. The faces she pulls, while pulling on her face, create quite the uproarious stir among the audience.
It all comes down to Green (Brittany Zalovick) and Yellow (Katie Gardner.) It’s impossible to say who deserves the title of ‘best in show’ as both women do an exceptionally phenomenal job of singing, dancing, acting, and all around giving the show their all. Two drastically contrasting characters, Zalovick and Gardner have no direct duets the way Orange and Blue do, but do appear together in the full group numbers, bringing strong melodies and harmonic blends when necessary to make these numbers sound complete.
Zalovick is a sassy, saucy, fiery incarnation of singing and dancing talent upon the stage. With looks that range from ‘stun’ to ‘kill’ her presence on the stage is highly effective, particularly during “These Boots are Made for Walkin’.” Leading the pack during “Goldfinger” her sensual body language and slick voice is practically channeling every Bond Girl in existence through that moment. Zalovick brings comic acting into play during her little segment about how to break up with men; her accent of the four British ones being the most authentic and consistent. Regardless if Zalovick is featured in the number, if she’s on stage eyes are on her between her sultry and demanding presence, and her ferociously intense gazes. Zalovick even undergoes a transformation of sorts, finding a moment of vulnerable honesty in “I Couldn’t Live Without Your Love” where her smokin’ sassy exterior melts away into true love.
Mariel White (Center). Photo by Photography by Alyssa Bouma.
Gardner, as the American in England, is a chipper and bubbly burst of sunshine that comes blazing through the mix. Her acting bit with Paul McCartney is a scream. Employing the comic tactic of taking herself far too serious for “I Just Don’t Know What to Do with Myself,” this number becomes hysterical for those watching her pine over McCartney’s wedding announcement. With an intense stage presence she brings both of her big solos— which respectively end the first act and then the show— to sensational heights. “Son of a Preacher Man” becomes an epic number with Gardner working her exceptionally talented voice to really sell the song to the audience. It becomes a push of sinful sunshine as energy is flowing through her spiritually, physically and vocally. Her sensational belt carries both here and again in “Shout!” at the end of the production; a brilliant addition to the cast rounding out the rainbow with flying colors.
Running Time: Approximately 2 hours with one intermission.
Shout! The Mod Musialplays through July 19, 2014 at the Annapolis Summer Garden Theatre— 143 Compromise Street in historic Annapolis, MD. For tickets call the box office at (410) 268-9212, or purchase them online.
Hold me, Bat Boy! Touch me, Bat Boy! Bring me to the light of Colonial Players’ edgy production of the cult classic Bat Boy: The Musical. In a behind the scenes look, I’ve captured area actor Ron Giddings and asked him to give us the insider’s track to playing the title role of this rocker “out-there” show.
Ron Giddings. Photo courtesy of Amanda Gunther.
The last thing you did in the area, something that our readers might recognize you in, in case the ears and the makeup disguise your appearance a little too well?
Ron: The last thing I did at Colonial Players was 1776 where I played Rutledge, the villainous one with the pompadour wig. I only really get to do one or two shows a year because I work full time at an Arts Magnet school in Anne Arundel County as the creative writing teacher. I teach sixth, seventh, and eighth grade creative writing. I work at St. Paul’s after school in the fall as well; I’m the Musical Director for their musicals. I just The Wiz with them, we’ve also done The Music Man, Urinetown, and we’re doing The Mystery of Edwin Drood in the fall, which I’m thrilled about! And the last thing I directed was Shipwrecked at Colonial Players a while back. Shipwrecked actually won Best Play at the Ruby Griffith Awards and was also nominated for six WATCH awards that year, including Best Director and Best Play. We did win two WATCH awards – one for Outstanding Featured Actor (Robert Tucker), and the other for Outstanding Featured Actress (Christina Enoch Kemmerer).
What is it about Bat Boy: The Musical that made you want to audition to be a part of it?
There is a whole long story behind that, actually. I’m not sure how much of it you want to publish. I only wanted to spend my bio thanking the people that helped to make it happen because it has taken a ton of people to get Bat Boy the character up on his feet. When I was in middle school I can remember seeing the Weekly World News article behind my English teacher’s desk, and he was a big mentor of mine in becoming a creative writing teacher. I needed to thank him because of the experience I had with him which put this thing in my mind, and that was 20 years ago. Now that was just the phenomenon itself, I had no idea it was a musical until much later when I went on a scuba-diving trip up to Pennsylvania with a friend. He played the musical on the drive up there and I was “This is great! I’ve never heard of this!” So I thanked him in my bio too.
Before Colonial Players launches their season they do this preview sort of event where people who have sort of adopted the show— not necessarily the person that will be directing that particular show for the season— will do a little seven to ten minute reading or presentation of the show for all the creative design people and actors who turn up at this event to experience; it’s a great way for performers and designers alike to see what projects are available to become involved with for the upcoming season. So when that happened for this season, David Thompson who is on the artistic team for this show, asked me to be a part of the ‘reading team’ for the previewed segment of Bat Boy. And when I came into sing for it, I think that was the moment when I became truly hooked.
I love the piece. The music is very much fit to what I like to sing and I think it sits on my voice well. So that is a big draw for me. Then of course, the arch of this character, it doesn’t get any bigger than this. I can’t really compare this to what I’m about to compare it to, but when I was a senior in college I played Alan Strang in Equus and the enormous character arch that he has reminds me of Edgar’s character arch. It has that similar notion of “from catatonic to explosive” the way that Bat Boy does. It also reminds me of playing in John and Jen. That was in 2008 or 2009, it’s an Andrew Lippa piece, and in the first act I go from ages 4 to 17 and the same age spurt in the second act but as a different character. So that extreme and sudden growth reminds me of Edgar as well.
How is the Bat Boy/Edgar role similar or different to other roles you’ve played, and do you find yourself relating to him more or less easily than other roles?
I play the villain a lot. I don’t know why but they’re fun. I love them so much. I’ve played Jeffrey in The Lion in Winter and he’s arguably the one with the best one-liners and zingers that just bite at people, and of course Rutledge from 1776 is the same way. I just love playing those secondary villainous type roles. So it’s a nice and interesting change of pace getting to play an anti-hero. Ever since I left high school I’m not the romantic lead, which is totally fine since I find them somewhat boring. I think I’m drawn to roles that are out of my comfort zone. I really enjoy the challenge of “can I do this role?” I’m constantly looking to push myself. And this is definitely a role, and pardon the pun, but it’s a role that I can really sink my teeth into because there is so much there.
I love Edgar so much as a character. His looks are deceiving, well maybe not deceiving -because that sounds so cliché -but his looks betray his character. He looks so freakish but he’s so nice. He doesn’t cope well once he learns all the things he learns, certainly not the best response in handling his anger and those other strong emotions that he has. He’s so good-hearted, and that makes for a really great juxtaposition against his freakish looks. I play up his kindness and it creates this disparity that’s just great.
What sort of preparation and commitment and sacrifices are you talking about for this role?
So the physical part of it was a big part of it. Immediately I went to the gym. I got a trainer. And I thought, “If I’m going to sacrifice all of the stuff that needs to be sacrificed for this role, I want it to be 110%.” At that point I didn’t know if I was going to be a part of the production or not but I was preparing for it like I was, I couldn’t come in unprepared. It started with a trainer at the gym last February. I spent two months in Europe over the summer, and while it was great to get away it was not great to be away from the gym for two solid months. I got back in September and from the moment I got back I was hitting the gym six days a week; six months of six days a week to get Bat Boy into shape.
I was talking to somebody about the physicality during the show and I ended up saying, “You know it’s not that hard,” and they countered with, “Well of course not you’ve spent six months preparing at the gym!” It was hellacious in the gym, doing all the body weight exercises, the squats, jumping up on things and hanging on things. But once I got into the space, save for a couple of cuts and bruises, I was pretty much ready to go. With all the conditioning I put myself through I think it really helped. Do I like bouncing around the whole time on 33-year-old knees? No. But have I been practicing it so that it now feels like second nature? Absolutely. I took a big chance because who knows who’s going to be cast in the show. I didn’t find out until the middle of this January that I was going to actually do the role, but I guess I thought all along ,“Worst case, I’ll be in good shape.”
Another big part of it was thanks to David Merrill. He is a phenomenal Musical Director so he really helped me get a lot of the sound that Edgar has and he helped me put that all together. It’s been a long process with a lot of people to really get me to where I am now with the character.
Ron Giddings (Bat Boy) and Wendy Baird (Mamma Meredith).
Where do you draw your inspiration for these two very different characters that you play in this production?
There are two parts to it, I think. The physical theatre stuff is something that I’ve loved for a while. That comes just from training and thinking about how to be as small as I possibly can. I’m tall and at the audition when they asked me how tall I was and I told them six feet, I thought that meant that I didn’t get it. You know what I mean? You’re almost expecting this impish sort of Bat Boy. I tried to make him as small as I could. I didn’t want to give him ‘wings’ but I did want to indicate something that represented the timid and coldness of her persona and I really wrapped that up in making myself as tight and small as possible for his “uncivilized phase” as you’re calling it— which I’m totally fine with— so that I could juxtapose that against the elongated stature of Edgar.
I watched a lot of Downtown Abbey for Edgar. The scene with “Show Them a Thing or Two” is really a show-stopper. It’s this great transformation where he goes from Bat Boy to Edgar. He goes from squatting and down to cartwheels and splits. But the scene after that is more telling, I think. You don’t have to be as on-point with that song because the audience is so mesmerized by the tricks. The part that I think seals the deal, and it gets a laugh every time, but when I come out polished in my suit and Shelly says, “Oh you look so great,” and then I say “You’re looking splendid yourself, Shelly” which I do in the accent. And to have the totally proper British posture and accent I think it really keys people into that moment of “Oh, this is how it’s going to go from here on.” They may even miss the fact at first that he has an accent because it comes out during the song, there’s even a line about the BBC language tapes.
A big part of both characters for me were the feet and the hands. Even when he becomes “proper” when he gets into nervous situations he starts wringing his hands, pulling on his fingers and his hands physically revert to that internalized gesturing that Bat Boy had when he was what he was before he became Edgar. It’s a lot of fun, but it can’t be too much, so I focused on body parts. People pay attention to the extremities and posture. So I focused on those. He sort of reverts back once that big shocker is revealed to him near the end of the show; his first response is to immediately crouch back on the ground. He has a Jekyll and Hyde moment and a lot of that stems from the physicality. So working the balance of those two characters physically and going back and forth with them, it really was just so much fun.
What were some of the challenges you had with preparing for the role?
I am a dancer, so the choreography was fine. Jamie Erin Miller, our choreographer, is fantastic and incredible to work with. She’s a great choreographer for proscenium or the round, really just anything she does. She and I are friends so working with her for the big “trick number” was really easy. She said send me a list of tricks you can do. I had jumped over a cane before during Pippin, I can do a split without using my hands to get back up, and so both of those got used. We took all these things I came up with and started working them into that number and she really helped get them in a good working order so that the song would flow correctly. It was very collaborative.
I will tell you what I have struggled with since before we opened and I am going to continue to struggle with it until we close. Not the quick changes on stage, because those are fun and not a big deal. But this show is written so tightly that I have quick changes backstage that are an absolutely nightmare. I go from “Dance With Me Darling” where I get thrown up against the cage with blood all over me, and then have to rush back stage, get all the blood off of me, reapply makeup to where all the blood was, and change into the double layer of clothes, which is the tuxedo underneath and the 70’s shirt and outfit on top. I do that number, where they strip all that off, and then quickly change into the proper polished outfit. There is no time. I am literally running. I have three dressers in the back. The same thing happens at the end. There is a 20 second change where I run off-stage after the big shocker reveal, and have to run back stage, get covered in blood effectively and run back on-stage with the cow, and then sing a three minute aria. Wait, not an aria, that sounds pretentious. But a crazy three-minute singing solo that has all this emotion packed into it after all that rushing around.
It’s great that it’s written so tightly because the second act really just flies, but it makes it so tough for me. Even though I’m not on stage the entire time, I’m running like a madman backstage. People are actually concerned for me because I’m sweating so profusely at times from the rushing. It is just non-stop. I almost go on-stage just to take a break. It’s easier to go on stage just to breathe. I’ll be frantically dashing through my changes backstage and if a sock gets turned inside out I have a panic moment of “I’m not going to make it back on-stage for my cue!”
The other thing that I’ve struggled with for this show— and I had mentioned this early on in the rehearsal process, I had this thought of how it would be really interesting to play this role and have Bat Boy look completely normal, no special effects or makeup, and just use my acting to play out his freak-like nature. Of course that isn’t how we handled this and mad props to our make-up designer, Eddie Hall, for the way he handled this. He made the make-up work in such a way that I really love the effect, but it is a huge time consuming effort. That’s a big challenge for me because I have to get to the theatre three hours before we start. For an 8 pm show I get there at 5:00 pm and it takes me two hours to get all the make-up on, and then another hour for the ear prosthetics and the teeth and getting my costumes on. I can’t eat in the teeth. I don’t want to break one. I’m worn out by the time the show starts. Then we do two hours and 20 minutes of show, and then it takes me another hour to get everything off.
Tell us a little more about the concept behind the physical look of Bat Boy and how that evolved to the final product we see on stage.
It is a big deal. We went back and forth with all these notions of “do we just do the face or do we do the whole body.” It is so effective to do the whole body. I sat back and said “I’m shaving my head, I’ve been working out forever, I’m vocally practicing, so at this point I want to do the full body make-up.”The ears were a great collaboration between Beverly and I, we shopped around for quite a few pairs. We really had to ask ourselves, what size do we want? If you look at bats their ears are sticking out of their heads by like two times the length of their actual head. But we knew we had to be practical, at the same time we didn’t want to go Vulcan. We wanted really cute and kind of sad. Think Gizmo if he were bald and gray. I think that they really work.
With this show, more than any other show that I’ve done in the Annapolis area, I have really felt the involvement of the community. I went to Doctor Ehmann (of Kathryn Ehmann & Associates dental practice) about the teeth and she said, “We’ll do them for free in exchange for an ad in the program and some comp tickets.” We’ve been advertizing for her, she’s been advertizing for us, thank you for mentioning her in the review; we really appreciate her involvement in this. It wasn’t just like I showed up to her office once, I had about five visits with her where she was resizing things, fixing things. They gave us two sets just in case one broke like it did the first Thursday of the run. I was upside down and I was not concentrating and when I did “Home for You” I went running, and then pulled myself up and flip upside down, I think I must have clenched my teeth and the right side cracked and went somewhere into the audience. We did not find it.
Premier Fitness, where I train, my trainer put stuff on their Facebook page and at their location so they’ve been doing this reciprocal thing with them because we got such a response after me talking about working out there for so long. They’ve really been great. All of those things that made me look the way I look as Bat Boy— the teeth, the physique, all came from community support. And I think that is so great because that is just a missing piece of community theatre. When you think “community theatre” your mind immediately creates this idea of “amateur actors who live in the area.” And I think there is so much more that can be there. It really is about getting the community involved. Sure, Dr. Ehmann is a dentist and maybe she doesn’t act, but she loves the theatre. She was thrilled to be asked to help us. I think a lot of people get immediately discouraged because they think,“Oh gosh, we can’t do real fangs because that would cost us a thousand dollars.” And then you get these plastic Halloween vampire fangs and it looks awful, but right here in our own community we had someone who was thrilled to donate her services! How exciting is that to have the support of the community, which makes us able to put on a better quality show for the community?
We’ve had such a great response from the community and it has just been so great to have that support and involvement. We can ask for help and people are totally willing.
How’s the blood. I noticed a lot of it. Is it tasty? Let’s talk about the blood, ’cause you know everyone’s going to want to read about the blood.
Haha! Oh my God! It’s a lot of blood! It is a pain in the butt! It is a total mess. It is slippery as crap. And as soon as it’s not slippery it’s sticky as crap. Beverly wanted a lot of blood. That wasn’t a surprise, that was made clear in the beginning it wasn’t like they just showed up for tech week with gallons of blood. It’s really challenging with the make-up because the blood is super staining. If it doesn’t come right off it’s on forever. I dip my head in the head in the bowl in that one scene; the blood goes up my nose and it doesn’t taste great, it tastes a little bit like metallic mint. I’m spitting the blood out constantly, I’m so glad I don’t have to swallow it because it’s disgusting. That’s thicker and gross. But the other blood has to be thinner, more runny; the stuff in the rabbit and the stuff in the bowl and the stuff on everybody is homemade. That is easily washable, to some extent, with Oxy-clean.
It’s a little unpredictable. Opening night I flung my head back after the rabbit and all the blood ran down my face and into my eyes. That was awful because I had to try and ignore it because I had to hurry up and sing. At least it was just one note, but you know, singing one note with eyes full of blood, can’t say I’d ever done that before. The blood that’s in the cow is absolutely disgusting and it gets on everything. It’s all over the floor. It’s all over everyone. It’s in Shelly’s hair, it’s everywhere. That stuff does not come off. So when I go out and greet people at the end of the show, as you saw, it is stained. I go home and take a shower and wash my face and it’s still stained. The blood has been a challenge; it’s just so unpredictable you don’t know where it’s going to go. I try really hard not to get it on the furniture or on my clothes but it can’t be helped.
Do you have a moment or song in the show that really stirs up your passion?
Amanda Gunther and Ron Giddings. Photo courtesy of Amanda Gunther.
Yes, I do. I’ll tell you the number that sold me on the show is “Joyful Noise Reprise,” the revival where I get to scream and yell on top of the bench. But I also love “Apology to a Cow.” It’s really fun to sing. It’s quiet, it’s bombastic, it’s all over the place. I’m running across the stage, it gets a great reaction. I feel like it is so clever and yet it’s serious. It has jokes written into it, I mean the first line is basically “I shouldn’t work my problems out with food” while I’m holding this huge cow head. It’s kind of the epitome of the show for me because even though there are those two funny lines about “don’t kill Mrs. Taylor’s kids” and “you can’t raise cows on the side of a mountain,” that’s all wrapped up by this song of regret and teaching a lesson. Laurence O’Keefe is just so intelligent in the way it’s written.
“Joyful Noise Reprise” is just so much fun to do as well, the whole cast is on stage at that point. I was talking to Debbie, who plays the mayor, and I’ve worked with her tons of times before, and I mentioned to her that I don’t really get to interact with the ensemble at all except for in this number. It’s the first time I really get to address them. I’ve never done a show that’s really that segregated before; my character is either with the family or alone, and never really with the others. It’s interesting to me because I do know and have worked with so many of the people that are in the show.
What would you say to people who are skeptical about enjoying this show to entice them to come and see it?
I think that the music is incredibly catchy. I think the characters are all very relatable. Even if you don’t know the show a lot of the archetypes are there. A lot of the musical theatre themes are there. I think that there are enough lively musical theatre sounding numbers— like “Dead Cow” and “Show Them a Thing or Two” that people can really latch onto. I do lots of theatre and I know a lot of people who want to come and support because they’re good friends but don’t think they’ll like it because they’re not “theatre people.” But this is a show that you do not need to be a theatre person to really appreciate because it is so diverse and so funny.
It’s not one of the standard Rodgers and Hammerstein or Sondheim musicals that only theatre people really enjoy; you know, “theatre people love theatre people.” This isn’t that. I think that it’s sort of the musical for everyone. It’s “R” rated and that’s a fun, adult night out. But it’s not that cutesy, tap-dancing “Anything Goes” sort of feel that people always assume go hand in hand with musical theatre. I don’t personally feel that it’s “edgy” since it’s been around for a while.
It’s worth taking a chance on because there are enough relatable things for people to connect with in this show. It’s not one of those “out there” musicals that’s sole purpose in existing is to offend people. I actually don’t think there’s anything in there that’s really designed specifically to offend anyone. Maybe “Children, Children.” At least that scene happens during an intense fog. There was actually zero fog the first two nights we opened, and I think the tech crew just decided “we’re going to hold the button until the place is smoked out” on the third performance, so there was a lot of fog by then.
Paige, who plays Shelly, and I had actually both been saying “come on, guys, we’re both totally fine with this scene.” It’s supposed to be in shadow, or under a sheet, or in a tent or something. I mean, I can live with it being in the middle of the floor, but then we had no fog those first two nights. So after we mentioned it I think they went overboard, and we had so much fog, I couldn’t even see her face. That was definitely a compensation thing.
I like all kinds of musical theatre. I will do Sweeney Todd, I will do Urinetown, and I will do Oklahoma!. I think that this is just one for everybody. I honestly think that even if you don’t go to see theatre, you will honestly love this show. Some musicals are honestly just torture if you don’t love musical theatre, but this is definitely an amazing piece to enjoy. There is a lot of humor in this show. It’s not just dark humor. There’s slapstick, and there’s physical comedy, there’s ad-libbed and improv-style comedy. There are great one-liners, and that Neil Simon style of ‘set up and deliver.’ There are a lot of styles of comedy in the show.
This show is out of the ordinary for Colonial Players and has been described as a ‘risky show’ to put into the season, what are your thoughts on this?
I think it’s great that Colonial Players is taking a risk on a show like this. They did do Annie, and I mean, you can pretty much do anything after you do Annie. But I think that this is a message, to Colonial Players first and then to other theatres in the area that this is musical is packing the house. We were sold out opening night and opening Saturday. It was pouring down raining on opening Sunday and we were still pretty full. We are sold out for a good portion of the run. And up until it opened it was talked about as the “huge risk” and there were concerns that it wasn’t going to draw the crowds. Now that it’s open and we’ve had huge audiences, I think that speaks pretty clearly about the show.
It says that there is just as much of an audience for Bat Boy as there is for Annie at Colonial Players. I am against Annie? No. Absolutely not. But I want to see a season that has both Annie and Bat Boy in it; I’m seeing it right now. That gets everyone to the theatre. You can’t get much more diversity than that. I don’t want to see a season that is middle of the road all the way through and there is no way to get passion behind that sort of season. I think this season at Colonial Players is so driven, so passionate, and having Bat Boy as their second musical was such a smart choice.
Bat Boy is often seen as a sacrifice type of show. If we do Bat Boy we have to do this, this, and this really ‘safe’ show to make up for it. And it’s really interesting because this show is really moving; it’s selling out despite being swept under a little bit. There are eight out of ten board members involved with this show somehow, and how successful this show has been, again, that really just speaks for itself that it was a good decision for this season and for this theatre.
Bat Boy: The Musicalplays through April 19, 2014 at Colonial Players—The Colonial Players of Annapolis—108 East Street in Annapolis, MD. For tickets, call the box office at (410) 268-7373, or purchase them online.
Sweet wounded Jesus! A fanged creature has been spotted roaming East street in Annapolis and shocking the patrons of the Colonial Players! Terrorized by the prospect that a freak runs among them, the board, the players themselves, and this reviewer, are asking you to gather up as many people as you can and rush down to Colonial Players and witness the true story of how it all happened: Bat Boy: The Musical. With Music and Lyrics by Laurence O’Keefe and Book by Keythe Farley and Brian Flemming, this is one rock and roll musical you won’t want to miss. Directed by Beverly Hill van Joolen with Musical Direction by David Merrill, this edgy musical is a change of pace from the normal musicals that play the boards at CP, but embrace it, because Sweet Wounded Jesus— the Bat Boy has much to teach us all!
Mamma Meredith (Wendy Baird) and Edgar/Bat Boy (Ron Giddings). Photo courtesy of Colonial Players.
Working with a brand new technology to CP, Lighting Designer Frank Florentine is making full use of the new moving colored lights for this upbeat pumping show. Keith Norris, works with fog effects and all the new colors to create the purple and blue creepy mists of the Bat Boy’s cave, while alternatively highlighting the tent revival scene with insanely bright flashes of light as if the sweet lord Jesus were shocking his way through the circuitry. Florentine might even get a little carried away with the fabulous new lights, going so far as to blink some of the crazy colors all through the scene changes.
Set and Floor Designer Terry Averill has a creative time with fun new things in the space; but all for the cause of making this musical quite epic. Gauzy streams of glittery material are draped from the ceiling in jagged formations to create the stalactite look inside the bat cave; a thrilling effect is achieved when the lights from Florentine’s design mingles with the fogs and bounces off these shimmering sheets of fabric. The floor, at first glance, looks like the rocky side of the mountain where the show takes place, but upon closer inspection could be viewed as all the blood spilled in this production, now dried into its place as the story is a retelling of events that have already occurred. Between the cage and the layout of the cave itself, Averill does a spectacular job staging this musical in the round.
Makeup Designer Eddie Hall inspires a truly grotesque and yet tenderly misunderstood creature with his work for the Bat Boy. Aided in authenticity by Kathryn Ehmann & Associates (who created and fitted unique cosmetic dental fangs for Bat Boy), Hall tints the skin of the creature into a pallid gray complexion making him look truly inhuman. The way his ears blend seamlessly into his head and the gray skin effect can be seen all over every bit of exposed skin is a mark of professionalism and enhances the experience of this production tenfold. Presumably responsible for the copious use of blood in the production, Hall ensures that it too carries with it a look of genuine sanguine, looking frightening but just the slightest bit campy so as not to truly terrify anyone.
While rock-style musicals aren’t known for their classical musical theatre dance routines, Choreographer Jamie Erin Miller brings a touch of the traditional moves in homage to the big razzle-dazzle numbers of Broadway to this production. “Show You a Thing or Two” results in an enormous kick-line and a world of signature dance moves for Bat Boy, while “A Joyful Noise” features more circular choreography, showcasing Miller’s versatility. There’s even some boot-scootin’ country moves for “Another Dead Cow,” covering a myriad of moves for the production on the whole.
There are minor imperfections in the production that will improve with time; mainly the longer scene changes in the first act of the show where furnishings are being swapped out from the Parker residence to the slaughter house and back. The ensemble also wavers in their consistency with tonal correctness and vocal strength, but these occurrences are only sprinkled throughout. Mainly during “Another Dead Cow,” where the ensemble struggles to articulate and emphasize their solo lines, and during “More Blood/Kill the Bat Boy,” where the harmonies do not blend as smoothly as they could.
Performances on the whole from the supporting characters are impressive. While not always the strongest of singers, what they lack in vocal ability they more than enthusiastically make up for with their vibrant acting skills. Mayor Maggie (Debbie Barber-Eaton) masters her high-strung attitude and aligns her thick southern accent with her outrageous outfit. Eaton is a comical character that adds a touch of class and sass to the average town-folk in the play. And while she doesn’t have the sassy edge that Mayor Maggie does, Reverend Hightower (Lynn Garretson) manages to get the townspeople just as excited with her arrival. Blasting out the low notes in “A Joyful Noise” her lower range is a force to be reckoned with.
Another noteworthy performance for her extreme characterization is Alicia Sweeney as Mrs. Taylor. With a pronounced twang in her speech, and a spitfire attitude toward the Sheriff (Scott Nichols), Sweeney’s performance is a hoot. And her purposefully ear-splitting solo “Mrs. Taylor’s Lullaby” is an absolute scream. Her easily riled son, Rick (Nathan Bowen) is just as heightened a caricature as she is. Bowen digs into the gritty depth of his hillbilly character, bringing a fierce and vengeful anger with him when bad things happen to members of his family. Bowen also delivers an exceptional rendition of the West Virginian Mountainside accent, though his rapping skills could use a little work for “Whatcha Wanna Do?”
Vocally pristine, John Halmi appears twice in the ensemble, first as Bud with the blast of powerful sound to start off the opening number, “Hold Me, Bat Boy,” and later as the enchanting and lyrical Pan during “Children, Children.” Halmi’s soothing voice is clear and strong; carrying the delicate melody, disturbingly juxtaposed with intense sexual encounters, for his solo as the mythical master of the cave.
The Parker Family is hardly the epitome of quaint, though from the outside looking in they are picture perfect. Shelly (Paige Miller) is naïve but sensitive; sweetness balanced with a hint of bratty. Her stunning duet with Bat Boy, “Inside Your Heart” is an excellent example of her vocal prowess, though other songs tend to leave her washed away by the music. Mamma Meredith (Wendy Baird) has an equally delicate sound, and her dulcet tones echo with lovely sentiment in “A Home For You” and “Dance with Me, Darling.” Her ability to patter fluently through the opening segments of “Show You a Thing or Two,” is impressive. But it’s “Three Bedroom House” that brings the perfect blend of her singing ability and comic delivery to the forefront of her performance.
Shelly (Paige Miller) and Edgar (Ron Giddings). Photo courtesy of Colonial Players.
Doc Parker (Chris Patton) is not a pleasant character in the least. Patton explores the obsessive and maddening characteristics of the doctor with vigor. His singing voice often gets lost due to its quiet nature, but he’s a fright to behold during numbers like “Parker’s Epiphany.” His solo segment in “More Blood/Kill the Bat Boy” is disturbing and perfectly fitting for this warped and twisted character.
Ron Giddings (Edgar/Bat Boy), in the title role, gives a stellar performance throughout the production. Between the mastery of his physical expression during his uncivilized period— hopping about in a hunched state, fingers perpetually curled like claws, head always tilting to the side in curiosity— to the evolution his character undergoes to become a well-articulated and sophisticated member of society, Giddings is sensational. The dedication and commitment to the character choices alone are astonishing, not to mention the tremendous vocal talent Giddings possess; not only being able to belt out songs with exceptional clarity, but being able to do so while hanging upside down! “Let Me Walk Among You” is a solo performed with a raw vulnerability; each note and word graced with a deep expressive section of his soul. Somewhere between “Apology to a Cow” and “I Imagine You’re Upset” comes an explosive dynamic shift in his characterization; a stunning portrayal of a character’s growth turned dark with hate and remorse. Giddings is a performing phenomenon as Bat Boy; a true wonder.
Colonial Players’ Bat Boy: The Musical is one edgy musical that you won’t want to miss!
Running Time: 2 hours and 15 minutes, with one intermission.
Bat Boy: The Musical plays through April 19, 2014 at The Colonial Players of Annapolis—108 East Street, in Annapolis, MD. For tickets, call the box office at (410) 268-7373, or purchase them online.
