DC Theater Arts

Tag: Linda Swann

  • Review: ‘An Inspector Calls’ at the Laurel Mill Playhouse

    Review: ‘An Inspector Calls’ at the Laurel Mill Playhouse

    An Inspector Calls, by J.B. Priestly, is currently playing at Laurel Mill Playhouse, produced by Maureen Rogers and directed by Ilene Chalmers. Priestly was from the working class, albeit white collar, in England. He became a respected writer and one of the leading proponents of socialism after World War II. Thus, it is not surprising that An Inspector Calls promotes Priestley’s values and also reflects his life experiences.

    An Inspector Calls at Laurel Mill Playhouse. Photo by Larry Simmons.

    The play appears at first to be a drawing room mystery, very typical of British stage in the 40’s and 50’s. An upper-class family, the Birlings, is gathered for the celebration of the engagement of the daughter, Sheila (JilliAnne McCarty), to Gerald Croft (Matt Leyendecker), a businessman who is slightly higher on the social ladder. The Birling son, Eric (Kyle Kelley) is already inebriated and still imbibing. Into this comes Inspector Goole (Tom Piccin) who tells them about the death of a young woman in town. Each member of the group has had some involvement in the girl’s life. Each one may be responsible for her death. However, this is not a murder mystery or whodunnit. Instead, it looks at what responsibility the upper or ruling class has to those less fortunate. It deals with fair wages, unionizing, the impartiality of charitable organizations, abuse of power, misogyny, and inherited wealth and social position. Many of these themes resonate today, and the focus on this upper-class family whose wealth comes from new money will certainly bring to mind rich and powerful families in today’s world.

    Jeff Dunne expertly plays the patriarch, Arthur Birling and Sam David plays his wife, Sybil. Dunne’s Birling is both intimidating and harsh to his children and, by his own words, to those he deals with in his business and community. David successfully creates the snooty and dispassionate wife and mother who clearly looks down on those less fortunate. Along with Leyendecker as Croft, the three cleverly evolve into the villains of the drama. Leyendecker has an especially difficult job of creating a character about whom we are initially impartial, then feel might be redeemable, and finally regard as one who is unkind and cunning. The actor does a remarkable job in creating this character without appearing too caring or too shallow, a perfect blend.

    An Inspector Calls at Laurel Mill Playhouse. Photo by Larry Simmons.

    McCarty and Kelley give standout performances as the two adult Birling children. McCarty’s character is symbolic of the younger generation, questioning the attitudes and behaviors or their parents. McCarty brings energy and strength to her character as she stands up to her father and mother in Act III. Kelley is at once a lowly alcoholic disappointment for his family, but also one who shows more backbone than his parents and Croft in taking responsibility for his actions.

    Piccin has created a dough-faced detective whose questioning is right out of Columbo, but whose facial expressions are more like Raymond Teller of Penn and Teller. We never are sure of his true feelings. Piccin keeps us guessing about Goole throughout the show.

    Tracy Dye more than ably plays Edna the maid, and the character keeps us mindful of the differences in the social class.

    Ilene Chalmers does a superb job as director. The play moves quickly, and our interest remains focused on the story of the life of the young dead woman, Eva Smith, who we never see on stage but who appears vividly in our minds.

    An Inspector Calls at Laurel Mill Playhouse. Photo by Larry Simmons.

    Chalmers also created the set which reflects accurately this upper class British family’s home and gives us plenty of interesting levels and allows the cast to freely walk about the stage. Chalmers and her husband David also create interesting visual effects through their light design.

    The costumer, Linda Swann, has dressed these actors in attractive period clothing. Even the make-up and hair design (Ms. Chalmers and cast), help add to the interesting visual appeal of this drama.

    Lori Bruun, as stage manager, guides the cast skillfully through this production.

    In the end, the play leaves you with some answers and more questions about the characters, the fate of Eva Smith, and about economic and social inequality.

    An Inspector Calls is an important play to see, despite being over 70-years-old. If you want a evening that will intrigue you and offer you insights into our social structure, then pay a call to Laurel Mill Playhouse before this play disappears again into the mist.

    Running Time: Two hours and 35 minutes, with two 10-minute intermissions.

    An Inspector Calls plays through Sunday, October 1, 2017 at Laurel Mill Playhouse— 508 Main Street, in Laurel, MD. For tickets, call the box office at (301) 617-9906, or purchase them online.

     

    Save

    Save

    Save

    Save

    Save

  • Review: ‘Lucky Stiff’ at Silhouette Stages at Slayton House

    Review: ‘Lucky Stiff’ at Silhouette Stages at Slayton House

    The musical Lucky Stiff with book and lyrics by Lynn Ahrens and music by Stephen Flaherty opened March 10, 2017, at Silhouette Stages and performed at Slayton House in Columbia, MD, under the direction of Conni Trump Ross. This fast-paced production lives up to the exceptional reputation of Silhouette Stages as it takes you on a hilarious romp from a shoe store in England to the casinos of Monte Carlo.

    Left to Right: Rob Wall, Mike Cornell, Becca Hanauer, and Lisa Sharpe. Photo courtesy of Silhouette Stages.

    The story, based on The Man Who Broke the Bank at Monte Carlo, by Michael Butterworth, is a typical British farce. The plot is full of complications and twists and  everything is set to bright and witty music.

    A nondescript shoe salesman in England, struggling just to get by, finds out his American uncle, Tony, who he never met, has left him six million dollars. The only catch is his uncle’s body, now dressed and in a wheelchair, must be taken to Monte Carlo or the money reverts to his favorite charity, The Universal Dog Home. So, off goes Harry Witherspoon (Rob Wall) to Monte Carlo where he discovers he is being stalked by a young woman, Annabel Glick (Maddie Bohrer), from the dog shelter to make sure he complies with the conditions of the will. Unbeknownst to them is the uncle’s ex-lover, Rita La Porta (Kristin Zwobot), and her brother Vinnie (Don Patterson), an optometrist who is unwittingly dragged into the mayhem by his sister. They are trying to recover Tony’s fortune.

    Wall is perfection as Witherspoon. His shoe salesman is everyman, and I immediately loved the character. His voice has wide range whether singing, “Mr. Witherspoon’s Friday Night” or “Good to Be Alive”.

    Bohrer also is very comfortable in her role as the do-gooder, but lonely, Annabel. Bohrer is able to keep her sweet and, yet, still uptight. She also can be very comical, and her rendition of “Dogs vs. You” is hilarious.

    Michael Cornell and Kristen Zwobot. Photo courtesy of Silhouette Stages.

    Zwobot’s Rita catches the tough New Jersey accent and demeanor and is a large source of the laughter of this show. And what a voice! I was most captured by her description of her crime with the musical piece, “Rita’s Confession.” However, one of the best numbers in Lucky Stiff is her duet with her brother Vinnie, convincingly played by Patterson, called “The Phone Call.” Their timing is impeccable. Patterson delivers my favorite line of the show: “You can only push an optometrist so far.”

    The supporting cast is Todd Hochkeppel (Luigi Gaudi), Alyssa Bell (Dominique Du Monaco), and Bill Pond as the Emcee. All of them give standout performances. Even Michael Cornell, as the dead Tony Hendon, manages to get several laughs.

    What makes Silhouette Stage unique is always the high level of performances they get from their Ensemble, and Lucky Stiff is no exception. Kudos go to Angie Townsend, Rebecca Hanauer, Lisa Sharpe, Neal Townsend, Alex Frazier, Doug Thomas, Bailey Wolf, Ande Kolp, and Stephanie Jo Clark. They act like a Greek Chorus at the opening and at the beginning of Act II, belting out “Something Funny’s Going On.” Some other notable ensemble tunes were “Mr. Witherspoon” and the nightmarish, “Welcome Back Mr. Witherspoon.” The comical mime bit is also one I will laughingly remember.

    With a fast-paced farce like this, direction is very pivotal. Ross does a magnificent job moving her actors around, and having perfect timing to keep the comedy flowing. William Georg’s Musical Direction is also a important part of this finely-tuned machine. The songs tell a story and he never misses a beat in getting it out to the audience. The choreography, by Tina DeSimone, is on a professional level.

    I cannot say enough about the set design by Douglas Thomas. His modular pieces take us from shoe store, to English flat, to optometrist’s office, to train/plane, to hotel room, to seaside, to airport, to cabaret, to casino, and finally hallway. This all happens under the Stage Management of Donna Hawkes who makes it all go quickly and effortlessly. Justin Thillman’s Lighting Design is equally important and also appeared flawless.

    Lucky Stiff has numerous costume changes, and Costume Designer Linda Swann does a marvelous job dressing nightclub entertainers and an ordinary shoe salesman. However, the piece-de-resistance is a dress that actually is a roulette wheel. The Sound Design by Alex Porter is also exemplary.

    You must make time to get to Slayton House to see Lucky Stiff. The odds are in your favor that you will have an uproarious time!

    Running Time: Two hours, with an intermission.

    Lucky Stiff plays through Sunday, March 26, 2017, at Silhouette Stages performing at Slayton House Theatre in Wilde Lake Village Center— 10400 Cross Fox Lane, in Columbia, MD. For tickets, call the box office at (410) 637-5289, or purchase them online.

  • Review: ‘A Visit From Scarface’ at Greenbelt Arts Center

    Review: ‘A Visit From Scarface’ at Greenbelt Arts Center

    e’ve all been between the proverbial “rock and a hard place.” That’s exactly where fictional famous Hollywood writer Ben Hecht found himself in, in the comedy A Visit from Scarface, now playing at Greenbelt Arts Center (GAC). As Directed by Keith Brown, A Visit from Scarface by V. Cate and Duke Ernsberger, was a jolly trip back to an America living under the 18th Amendment and the Hayes Code-influenced Hollywood of the 1930s. The show’s standout performances and energetic repartee made the show a starburst of comicality.

    The show which took place in 1932, followed the zany misadventures of Ben Hecht (the fantastic Timbo Longio), who had just finished a screenplay for a movie produced by eccentric billionaire movie producer Howard Hughes called SCARFACE, which was based somewhat on the real life story of Al Capone. Hecht’s series of life complications started when his agent, Myron Selznick (the delightful Steve Rosenthal), turned up at his Hollywood apartment to pick up his script, which was due that day, but it wasn’t ready; there was one line that floated in Hecht’s head that he could not fit into the script: “Say hello to my little friend!”, a line referencing Al Pacino’s 1983 film Scarface. (There was also another dynamite movie entitled Scarface, back in 1932, starring Paul Muni.)

    Complications developed more complications when a couple of Capone’s associates, Dutch (Patrick O’Connell) and Patsy (Daniel Potter) came to apply gangster-style censorship on Ben’s script—to make it fit Mr. Capone’s liking. Thrown into the action were a ditzy, blond starlet, Dovie Love (Melanie Pino-Elliot); Miss Spunk (Sarah Nechamen), an uppity lady from the movie censor board; Hannahan (the wonderful Patrick Ready), a long-winded house detective, and an inebriated neighbor, Sinclair (Nick Kisner).

    It was fun watching Hecht sweat bullets under Dutch’s intimidation tactics, who insisted of Hecht’s script: “You can have all the free speech you want as long as you say what I want you to say.” Hecht endured all of that for a script, based on a novel written by one Armitage Trail (the real-life author of the Scarface book and film), who Hecht thinks Capone had “bumped-off” recently.

    Hecht was also flummoxed by starlet Dovie Love, who was seeing both her co-star (the real-life) George Raft and Howard Hughes—and eventually Patsy. As with any farcical comedy, there were lots of characters hidden in closets and circumnavigating furniture.

    O’Connell (reportedly a first-time actor) was exceptional as tough-guy henchman Dutch. His Boston brogue and menacing mannerisms were spot on. Potter’s body language and ad-libbed “stage business”, which included lustily licking a butcher knife whilst flirting with Love, were awesome. Columbia University-trained Pino-Elliott was all 1930’s glitter, glamour and understated humor. Pino-Elliott’s glittery dress was thanks to Costume Coordinator Linda Swann. Longio expertly brought to life a nerdy writer with “little or no sex appeal.” Nechamen’s movie censor, Miss Spunk, played drunkenness well, and hilariously prattled on about “men with no shirts” in movies.

    I loved Co-Producer Malca Giblin’s set painting. The set, which included a sliding wall-panel-hidden-liquor cabinet, was impressive. I admired Hurley Cunningham’s Props Design, which included a wooden 30s style radio and a period typewriter. The chez-style couch added a touch of elegance.

    GAC has been impressive of late, with all three of its plays from 2016, Bad Jews, Enchanted April, and Dinner With Friends, as well as guest productions of God: The One-Man Show and kinK having been listed among the Best Plays in Community Theatres by this publication.

    You can watch a short Greenbelt TV news segment about A Visit from Scarface below and after you do, go and see one of the funnier comedies of this season.

    Running Time: 90 minutes, with a 15-minute intermission.

    A Visit from Scarface plays through February 11, 2017, at Greenbelt Arts Center – 123 Centerway, in Greenbelt, MD. For tickets, call the box office at (301) 441-8700, or purchase them online.

  • DCMetroTheaterArts’ Best of 2016 #14: Best Design in Professional and Community Theaters in DC/VA/MD

    DCMetroTheaterArts’ Best of 2016 #14: Best Design in Professional and Community Theaters in DC/VA/MD

    DCMetroTheaterArts’ Best of 2016 #14: Best Design in Professional and Community Theaters in DC/VA/MD Are:

    John Alexander for his lighting for Blackberry Winter at Forum Theatre.

    John Alexander for his lighting for Black Nativity at Theater Alliance.

    Brian Allard for his lighting for Sleeping Beauty at Synetic Theater.

    Clint Allen for his projections for Angels in America Part 1: Millennium Approaches: a joint Production of Round House Theatre and Olney Theatre Center.

    Clint Allen for his projections for Angels in America Part 2: Perestroika: a joint Production of Round House Theatre and Olney Theatre Center.

    Jeffery Scott Auerbach for his lighting for Nice Work if You Can Get It at The Arlington Players.

    Christopher Baine for his sound for Girl in the Red Corner at The Welders.

    Christopher Baine for his sound for Satchmo at the Waldorf at Mosaic Theater Company of DC.

    Mike Baldassari for his lighting for The Secret Garden at Shakespeare Theatre Company. 

    Kat Beem for her costumes for Much Ado About Nothing at Silver Spring Stage.

     Jesse Belsk for his lighting for Sense and Sensibility at Folger Theatre.

    Colin K. Bills for his lighting for Collective Rage: A Play in Five Boops at Woolly Mammoth Theatre Company.

    Colin Bills for his lighting for The Nether at Woolly Mammoth Theatre Company.

    Jeane Binney for her costumes for Lost in Yonkers at Prince George’s Little Theatre.

    Aaron Bliden for his score for Hugo Ball: a Dada puppet AdveNTuRe!!/?1!!?? at Pointless Theatre Company.

    Mary Bova and A.T. Jones Costumers for their costumes for The Lion in Winter at Vagabond Players.

    Chuck Bowden for his lighting for Mary Poppins at Phoenix Festival Theater at Harford Community College.

    Alex Brady for his lighting for Who’s Afraid of Virginia Woolf at The Colonial Players of Annapolis.

    Donna Breslin for her costumes for Goyescas at The In Series.

    Michael Carnahan for his set for Les Liaisons Dangereuses at Center Stage.

    Andrew R. Cissna for his lighting for Cat on a Hot Tin Roof at Round House Theatre.

    Andrew R. Cissna for his set for Promised Land at Mosaic Theater Company of DC.

    Madeline Clamp for her sound for What We’re Up Against at The Keegan Theatre.

    Jeff Clausen for his sound for Cabaret at Kensington Arts Theatre.

      Josh Clayton for his orchestrations for Titanic The Musical at Signature Theatre. 

    Alexandra Kelly Colburn for her projections for Kiss at Woolly Mammoth Theatre Company. 

    Franklin Coleman for his lighting design for West Side Story at The Little Theatre of Alexandria.

    Joshua Coyne for his music direction for Titanic The Musical at The Theatre Lab School of the Dramatic Arts.

    Robert Croghan for his costumes for Who’s The Boss? at The In Series.

    Ken and Patti Crowley for their lighting for Gypsy at Reston Community Players.

    Ken and Patti Crowley for their lighting for Master Class at Reston Community Players.

    Ken and Patti Crowley for their lighting for The History Boys at The Little Theatre of Alexandria.

    Ben Cunis and Vato Tsikurishvili for their fight and sword choreography for The Man in the Iron Mask at Synetic Theater.

    Patrick David for his set design for Amadeus at Providence Players of Fairfax.

    Jared Davis for his set for Man of La Mancha at The Arlington Players.

    Dan Deiter for his sound for Black Nativity at Theater Alliance.

    Paul Tate Depoo III for his set for Titanic The Musical at Signature Theatre.

    Brittany Diliberto for her lighting for The Man in the Iron Mask at Synetic Theater.

    Max Doolittle for his lighting for Kiss at Woolly Mammoth Theatre Company.

    Brian Douglas, Mary Wakefield, and Sascha Nelson for Man of La Mancha at  Laurel Mill Playhouse.

    Kathy Dunlap for her costumes for Gypsy at Reston Community Players.

    Cassandra Dutt for her set for Schoolgirl Figure at Cohesion Theatre Company.

    Laura J. Eckelman for her lighting for Girl in the Red Corner at The Welders.

    Parker Esse for his choreography for Carousel at Arena Stage.

    Daniel Ettinger for his set design for Mary Poppins at Olney Theatre Center.

    Richard Farella for his sound for Deathtrap at The Arlington Players.

    William T. Fleming for his set for Humble Boy at Silver Spring Stage.

    James Fouchard for his set for Dot at Everyman Theatre.

    Rick Fox for his musical direction for The Secret Garden at Shakespeare Theatre Company.

    Kristina Friedgen for her choreography for The Drowsy Chaperone at Damascus Theatre Company.

    James Bigbee Garver for his musical direction for A Midsummer Night’s Dream at WSC Avant Bard. 

    James Bigbee Garver for his sound for Kiss at Woolly Mammoth Theatre Company.

    Chip Gertzog for his lighting and projection design for Almost Maine at Providence Players of Fairfax.

    Brian Gillick for his set for Black Nativity at Theater Alliance.

    Hillary Glass for her costumes for Foxfire at Bowie Community Theatre.

     Andrew Gordon for his choreography for Guys and Dolls.

    A.J. Guban for his set for Equus at Constellation Theatre Company.

     A.J. Guban for his set and lighting for Urinetown at Constellation Theatre Company.

    Jason Hamrick for his sound for Amadeus at Providence Players of Fairfax.

    Palmer Hefferan for her sound for Equus at Constellation Theatre Company.

    Bart Healy for his set for Gypsy at Reston Community Players.

    Andrea Heininge for her choreography for Gypsy at Reston Community Players.

    Andrea Heininge for her choreography for Mary Poppins at Reston Community Players.

    Joshua Horvath for his sound for Angels in America Part 1: Millennium Approaches: a joint Production of Round House Theatre and Olney Theatre Center.

    Joshua Horvath for his sound for Angels in America Part 2: Perestroika: a joint Production of Round House Theatre and Olney Theatre Center.

    Ann Hould-Ward for her costumes for The Secret Garden at Shakespeare Theatre Company.

    Kelsey Hunt for her costumes for Collective Rage: A Play in Five Boops at Woolly Mammoth Theatre Company.

    Kelsey Hunt for her costumes for The Nether at Woolly Mammoth Theatre Company.

    Garrett Hyde for his sound for H.M.S. Pinafore at 2nd Star Productions.

    Allison Samantha Johnson for her costumes for What We’re Up Against at The Keegan Theatre.

    Lynn Joslin for her lighting for Monsters of the Villa Diodati at Creative Cauldron.

    Misha Kachman for his set and costumes for Kiss at Woolly Mammoth Theatre Company.

    Casey Kaleba for his fight choreography for The Lonesome West at The Keegan Theatre.

    Casey Kaleba for his fight choreography for The Maid’s Tragedy at Brave Spirits Theatre.

    Kathryn Kawecki for her set for Anne of the Thousand Days at Chesapeake Shakespeare Company.

    Kathryn Kawecki for her set for Lobby Hero at 1st Stage.

    Mary Keegan for her lighting for Lobby Hero at 1st Stage.

    Matthew Keenan for his set design for American Idiot at The Keegan Theatre.

    Matthew Keenan for his set for Next to Normal at The Keegan Theatre.

    Matthew Keenan for his set for What We’re Up Against at The Keegan Theatre.

    York Kennedy for his lighting for Angels in America Part 1: Millennium Approaches: a joint Production of Round House Theatre and Olney Theatre Center.

    York Kennedy for lighting for Angels in America Part 2: Perestroika: a joint Production of Round House Theatre and Olney Theatre Center.

    Illona Kessell for her choreography for Urinetown at Constellation Theatre Company.

    Hana Sooyeon Kim for her set and projections for The Emperor’s Nightingale at Adventure Theatre.

    Daniel Kluger for his score for Collective Rage: A Play in Five Boops at Woolly Mammoth Theatre Company.

    Adam Koch for his set for My Fair Lady at Riverside Center for the Performing Arts.

    James Kronzer for his set for Angels in America Part 1: Millennium Approaches: a joint Production of Round House Theatre and Olney Theatre Center.

    James Kronzer for his set for Angels in America Part 2: Perestroika: a joint Production of Round House Theatre and Olney Theatre Center.

    Frank Labovitz for his costumes for Titanic The Musical at Signature Theatre.

    Gaye Law for her costumes for Oklahoma! at Riverside Center for the Performing Arts.

    Dan Laffrey for his set for Collective Rage: A Play in Five Boops at Woolly Mammoth Theatre Company.

    Grant Kevin Lane for his costumes for Nice Work if You Can Get It at The Arlington Players.

    Gaye Law and Jim Halliday for their costumes for My Fair Lady at Riverside Center for the Performing Arts.

    Dan Patrick Leano for his lighting for Cabaret at Kensington Arts Theatre.

    Maria Littlefield for her props for The Drowsy Chaperone at Damascus Theatre Company.

    Patrick Lord for his projections for American Idiot at The Keegan Theatre.

    Anna Louizos for her set for The Secret Garden at Shakespeare Theatre Company.

    Konstantine Lortkipanidze for his score for Sleeping Beauty at Synetic Theater.

    Eric Lund and Alex Brady for their lighting for Venus in Fur at The Colonial Players of Annapolis.

    Timothy R. Mackabee for his set for The Roommate at Everyman Theatre.

    Andrew Malone for his costumes and wigs for Evita at Spotlighters Theatre.

    Andrew Malone for his costumes for The Game’s Afoot at Spotlighters Theatre.

    Charlotte Marson and Judy Whelihan for their costumes for Mary Poppins at Reston Community Players.

    Brandee Mathies for her costumes for Black Nativity at Theater Alliance.

    Walter “Bobby” McCoy for his musical direction for My Fair Lady at Riverside Center for the Performing Arts.

    John McDermott for his set for Sense and Sensibility at Folger Theatre.

    Elizabeth McFadden for her set for Fidelio at The In Series.

    Neil McFadden for his sound for Lobby Hero at 1st Stage.

    Paige Rammelkamp for her musical direction for Man of La Mancha at The Arlington Players.

    Jared Mezzocchi for his projections for The Nether at Woolly Mammoth Theatre Company.

    Kel Millionie for his set for Neverwhere at Cohesion Theatre Company.

     Kel Millionie for his set and lighting for The Elephant Man at Fells Point Corner Theatre and Collaborative Theatre Company.

    Matthew Mills for his sound for Shrek The Musical at Rockville Musical Theatre.

    Mark Minnick for his choreography for Sister Act at Toby’s The Dinner Theatre of Columbia.

    Mark Minnick for his choreography for Hairspray at Toby’s The Dinner Theatre of Columbia.

    Drew Moberley for his sound for Nice Work if You Can Get It at The Arlington Players.

    John K. Monnett for his choreography for Nice Work if You Can Get It at The Arlington Players.

    Andrea Moore for her set and props for Heroes & Monsters at Flying V Theatre.

    Andrea Moore for her puppets and properties for The Emperor’s Nightingale at Adventure Theatre.

    David M. Moretti for his set for The Boys in the Band at Dominion Stage.

    James Moore for his musical directing and conducting for Titanic The Musical at Signature Theatre.

    David Moretti for his set for ‘night, Mother at Dominion Stage.

     Conor Mulligan for his lighting for The Other Place at Rep Stage.

    Stephanie Mumford for her set for The Lady With the Little Dog at Quotidian Theatre Company.

    Lawrence Munsey and Mary Quinn for their costumes for Hairspray at Toby’s The Dinner Theatre of Columbia.

    Lawrence Munsey and Mary Quinn for their costumes for Sister Act at Toby’s The Dinner Theatre of Columbia.

    Sasha Nelson, Cynthia Anderson, Lisa Oberg, and Kat McKerrow for their costumes for Man of La Mancha at Laurel Mill Playhouse.

    Stowe Nelson for his sound for The Roommate at Everyman Theatre.

     Gordon Nimmo-Smith for his sound for Be Awesome: A Theatrical Mixtape of the 90s at Flying V.

    Brad Norris for his sound for Neverwhere at Cohesion Theatre Company.

    Jake Null for his musical direction for American Idiot at The Keegan Theatre.

    Jake Null for his musical direction for Next to Normal at The Keegan Theatre.

    Jake Null for Urinetown at Constellation Theatre Company.

    Jake Null for The Who’s Tommy at Open Circle Theatre.

    Daniel O’Brien for his set for Othello at Chesapeake Shakespeare Company.

    Matthew Pauli for his puppet design for Mary Poppins at Olney Theatre Center.

    Daniel Pinha for his set for The Man in the Iron Mask at Synetic Theater.

    Meghan Raham for her set for Cat on a Hot Tin Roof at Round House Theatre.

    Beth Ratrie and Rosalyn Kooser for their costumes for Ragtime at The Memorial Players.

    Joshua Redford for his sound for Gypsy at Reston Community Players.

    Andrew JM Regiec for his set for Deathtrap at The Arlington Players.

    Matthew Richards for his lighting for Les Liaisons Dangereuses at Center Stage.

    David Rohde for his musical direction for Oklahoma! at Riverside Center for the Performing Arts.

    Ryan Ronan for his set for Foxfire at Bowie Community Theatre.

    Jonathan Ezra Rubin for his fight choreography for Be Awesome: A Theatrical Mixtape of the 90s at Flying V.

    Jonathan Ezra Rubin for his fight choreography for Neverwhere at Cohesion Theatre Company.

    Diane Samuelson on the cello and Jon Jon Johnson on the violin for their playing in Be Awesome: A Theatrical Mixtape of the 90s at Flying V.

    Joel Selzer for his set and lighting for Avenue Q at Vagabond Players.

    Loren Shaw for her costumes for The Taming of The Shrew at Shakespeare Theatre Company.

    Brittany Shemuga for her lighting and projections for Rameau’s Nephew at Spooky Action Theatre.

    Jason Sherwood for his set for The Taming of The Shrew at Shakespeare Theatre Company.

    Eric Shimelonis for The Nether at Woolly Mammoth Theatre Company.

    Stefan Sittig for his choreography for West Side Story at The Little Theatre of Alexandria.

    Deb Sivigny for her costumes for The Emperor’s Nightingale at Adventure Theatre.

    Deb Sivigny for her set for Girl in the Red Corner at The Welders.

    Don Slater for his lighting for The Lady With the Little Dog at Quotidian Theatre Company.

    Terri Slivka for his props for The Boys in the Band at Dominion Stage.

    Mark Smedley for his sound for Sister Act at Toby’s The Dinner Theatre of Columbia.

    Robbie Snow for her costumes for Amadeus at Providence Players of Fairfax.

    Thomas Sowers for his sound for Blackberry Winter at Forum Theatre.

    Thomas Sowers for his sound for Collective Rage: A Play in Five Boops at Woolly Mammoth Theatre Company.

    Thomas Sowers for his sound for The Man in the Iron Mask at Synetic Theater.

     Paul Sportelli for his musical direction for Carousel at Arena Stage.

    Timothy Splain for his musical direction for Mary Poppins at Olney Theatre Center.

    Ivania Stack for her costumes for Angels in America Part 1: Millennium Approaches: a joint Production of Round House Theatre and Olney Theatre Center.

    Ivania Stack for her costumes for Angels in America Part 2: Perestroika: a joint Production of Round House Theatre and Olney Theatre Center.

    Ivania Stack for her costumes for King Ubu at Pointless Theatre Company.

    Alice Stanley for her sound for Hamlet at Cohesion Theatre Company.

    Scott Stark for his props for Nice Work if You Can Get It at The Arlington Players.

    Luciana Stecconi for her set for When the Rain Stops Falling at 1st Stage.

    Roy Steinman and Moe Conn for their set for The Lion in Winter at Vagabond Players.

    Linda Swann for her costumes for Guys and Dolls at 2nd Star Productions.

    Erik Teague for his costumes for Equus at Constellation Theatre Company.

    Erik Teague for his costumes for Girl in the Red Corner at The Welders.

    Eric Teague for his costumes for The Man in the Iron Mask at Synetic Theater.

    Kristen Thompson for her lighting for Heroes & Monsters at Flying V Theatre.

    Justin Thilman for his lighting for Les Liaisons Dangereuses at Audrey Herman’s Spotlighters Theatre.

    Giorgos Tsappas for his set for Rameau’s Nephew at Spooky Action Theatre.

    Irina Tsikurishvili for her choreography for Sleeping Beauty at Synetic Theater.

     Ryan Tumulty for his choreography for Be Awesome: A Theatrical Mixtape of the 90s at Flying V.

    Tara Jeanne Vallee for her choreography for Mary Poppins at Olney Theatre Center.

    Septime Webre and David Palmer for their choreography for Bizet’s Carmen in Havana at The In Series.

    Allan Sean Weeks for his lighting for American Idiot at The Keegan Theatre.

    Allan Sean Weeks for his lighting for Next to Normal at The Keegan Theatre.

    Allan Sean Weeks for his lighting for What We’re Up Against at The Keegan Theatre.

    Sibyl Wickersheimer for her set for The Nether at Woolly Mammoth Theatre Company.

    Tegan Williams and Brad Norris for their fight choreography for The Complete Deaths of William Shakespeare at Cohesion Theatre Company and Baltimore Shakespeare Factory.

    Joanne Wilson for his props for H.M.S. Pinafore at 2nd Star Productions.

    Michael Winch for his sound for Hugo Ball: a Dada puppet AdveNTuRe!!/?1!!?? at Pointless Theatre Company.

    Jane Wingard for her set for Guys and Dolls at 2nd Star Productions.

    Jane Wingard for her set for H.M.S. Pinafore at 2nd Star Productions.

    Alan Wray for his sound design for To Kill a Mockingbird at The Little Theatre of Alexandria.

    Alan Zemla for his set for The Game’s Afoot at Spotlighters Theatre.

    Amanda Zieve for her lighting for Titanic The Musical at Signature Theatre.

    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.

    LINKS:
    DCMetroTheaterArts’ Best of 2016 #1: Best Musicals in Professional Theaters in DC/MD/VA.

    DCMetroTheaterArts’ Best of 2016 #2: Best Musicals In Community Theaters in DC/MD/VA.

    DCMetroTheaterArts’ Best of 2016 #3: Best Musicals in Professional Theaters in Philadelphia, New York, Delaware, and New Jersey.

    DCMetroTheaterArts’ Best of 2016 #4: Best Plays in Professional Theaters in DC/MD/VA.

    DCMetroTheaterArts’ Best of 2016 #5: Best Plays In Community Theaters in DC/MD/VA.

    DCMetroTheaterArts’ Best of 2016 #6: Best Plays in Professional Theaters in Philadelphia, New York, Delaware, and New Jersey.

    DCMetroTheaterArts’ Best of 2016 #7: Best Performances and Ensembles in Musicals in Professional Theaters in DC/MD/VA.

    DCMetroTheaterArts’ Best of 2016 #8: Best Performances in Musicals in Community Theaters in DC/MD/VA.

    DCMetroTheaterArts’ Best of 2016 #9: Best Performances and Ensembles in Plays in Professional Theaters in DC/MD/VA.

    DCMetroTheaterArts’ Best of 2016 #10: Best Direction in Musicals in Professional Theatres in DC/MD/VA.

    DCMetroTheaterArts’ Best of 2016 #11: Best Performances and Ensembles in Plays and Musicals in Philadelphia, New York, Delaware, and New Jersey.

    DCMetroTheaterArts’ Best of 2016 #12: Best Direction of Plays in Professional Theater in DC/MD/VA.

    DCMetroTheaterArts’ Best of 2016 #13: Best Direction in Musicals and Plays in Community Theatres in DC/MD/VA.

    DCMetroTheaterArts’ Best of 2016 #14: Best Design in Professional and Community Theaters in DC/VA/MD.

    The Complete List of The ‘Best of 2015’ Honorees on DCMetroTheaterArts.

  • ‘Once Upon a Mattress’ at Prince George’s Little Theatre

    ‘Once Upon a Mattress’ at Prince George’s Little Theatre

    Prince George’s Little Theatre’s production of Once Upon a Mattress is a playful, musical comedy for all generations. With music by Mary Rodgers, lyrics by Marshall Barer, and book by Jay Thompson, Dean Fuller, and Marshall Barer, PGLT’s show is directed by Frank Pasqualino and produced by Jenna Jones Paradis. The premise is simple, the King Sextimus and Queen Aggravain’s son (Dauntless) has come of age to marry. Now he must find a tried and true princess before anyone in the kingdom can wed.

    The Queen (Linda Swann) and the King (John Shackelford) don’t approve of the princess that has caught the eye of their son Prince Dauntless (Mike Culhane). Photo by Andrew Culhane
    The Queen (Linda Swann) and the King (John Shackelford) don’t approve of the princess that has caught the eye of their son Prince Dauntless (Mike Culhane). Photo by Andrew Culhane.

    The show opens with the Minstrel (Ken Kemp) singing “Many Moons Ago” that is a song describing the delicateness of a princess and a true princess is rare. Kemp’s vocal tone is sweet and inviting as he makes his way from audience seating to the stage. The stage curtain rises and the ensemble cast, aka the King’s court, is present while the Queen interviews a potential princess.

    The castle set by designers Frank Pasqualino and Roy Peterson is animated-like in bright colors (greens, purples, and blues) that keenly match the cast’s costumes, designed by Linda Swann. Playing double duty as Queen Aggravain, Swann is a force to be reckoned with, for she is both bawdy and unbelievably hilarious. Her character dotes over her son, Dauntless, just a little too much and is quite mischievous when it comes to testing the princesses. Her Queen’s gown is fancy in maroon and gold comprised of layers and accented with pearls and gems.

    Prince Dauntless (Mike Culhane), though he is of age to take a wife, is still quite the ‘mama’s boy’ because he whines when his Queen mother will not bow to his whims. His lanky stature works when paired with Winnifred (Meg Nemeth) because they are supposed to be opposites. Culhane is sweet but naïve whereas Nemeth is assertive and knowledgeable (for the most part). They are not burning with chemistry but show a sense of fondness for one another. In their numbers, “Swamps of Home” and “Song of Love,” their voices accompany each other well.

    Prince Dauntless (Mike Culhane) holds the tiny pea that was buried under all the mattresses of Princess Winnifred’s (Meg Nemeth) bed. Photo by Andrew Culhane.
    Prince Dauntless (Mike Culhane) holds the tiny pea that was buried under all the mattresses of Princess Winnifred’s (Meg Nemeth) bed. Photo by Andrew Culhane.

    Nemeth is a powerhouse as she leads the court in the song, “Shy.” What a fun and entertaining number! It would have been nice to have seen more of Culhane and Nemeth together – especially with her beautiful soprano and then powerful and splendid cabaret-like voice as Nemeth demonstrated in “Happily Ever After.”

    Lady Larken (Erin Paluchowski) is in love with Sir Harry (John Culhane). Photo by Andrew Culhane
    Lady Larken (Erin Paluchowski) is in love with Sir Harry (John Culhane). Photo by Andrew Culhane.

    Larken (Erin Paluchowski) and Harry (John Culhane) are the other lead couple that dominate in their roles. Larken is madly into love with Harry which is why they have a good chemistry as the love and fight with equal intensity. Paluchowski voice is stellar. Her pink and white chiffon dress was beautiful along with her blue and gold headdress that flattered her blonde locks.

    King Sextimus (John Shackelford) is one naughty man who does not hide his affections for the ladies. He’ll pretty much chase anything in a skirt. The uniqueness of this character is that he is mute – from a spell – and what a challenge to have to literally act out one’s lines. His King’s costume was rich in greens and gold. Shackelford has perfect comedic timing as he mocks the queen behind her back yet cleverly mimes his words to his confidants, the Minstrel and the Wizard.

    Boldly dressed in a long silk coat of pink and turquoise and donning a silver turban head dress, Ken Kienas’ Wizard is a playful character and is the egotistical, ex-performer who directly serves the Queen. He is the mastermind behind all the princess tests and is proud to be in his position. He’ll do anything for Queen Aggravain.

    The Jester (Shane Conrad) is the King’s peppy right-hand man however, Conrad plays the Jester on the gentle side and is charming in his solo number, “Very Soft Shoes,” the pays homage to the character’s father.

    The cast of 'Once Upon a Mattress.' Photo by Andrew Culhane.
    The cast of ‘Once Upon a Mattress.’ Photo by Andrew Culhane.

    The Esemble is comprised of the King’s court and fulfills the following roles: Kitchen Wench, Emily Chambermaid (Kate Small), Princess #12, Lady Helena (Jessica Inzeo), Nightingale, Lady Endatramp (Kelly Farrall), Lady Lucille (Erin Skelly), Lady Merrill (Attey Harper), Lady Fingers (Hillary Glass), Lady Rowena (Maureen Roult), Lady Madonna (Jenna Jones-Paradis), Sir Mount (Keith Brown), Sir Render (Tom Bethards), Sir Luce (Patrick O’Connell), Sir Loins (Paul Pesnell) and Sir Studly (Otega Okurume). They are all extremely talented and they show off their expertise in the ballroom scene that layers a variety of modern dances – so that it will exhaust Winnifred. This is truly a talented and fun cast that will sing and dance their way into your heart.

    Triple-threat Director Frank Pasqualino also provides the lighting design that enhanced the bold colors of the set and costuming.

    Prince George’s Little Theatre’s amusing Once Upon A Mattress is a fairytale gone wild (in a good way) that is filled with enthusiasm and delight. Pure family entertainment, its simple and comical theme makes for an amusing out for friends and families. It is laugh-out-loud and tongue-and-cheek, with a few mischievous jests here and there, and it will leave you smiling.

    Running Time: 2 hours, with a 15-minute intermission.

    IMG_37222Once Upon a Mattress plays through September 26, 2015 at Prince George’s Little Theatre performing at Bowie Playhouse – 16500 White Marsh Park Drive, in Bowie, MD. For tickets, call the box office at (301) 937-7458 and press 1, at the door, or online.

    LINKS
    Meet the Director and Cast of Prince George’s Little Theatre’s ‘Once Upon a Mattress’: Part 1: Director Frank Pasqualino.

    Meet the Director and Cast of Prince George’s Little Theatre’s ‘Once Upon a Mattress’: Part 2: Meg Nemeth and Mike Culhane.

    Meet the Director and Cast of Prince George’s Little Theatre’s ‘Once Upon a Mattress’: Part 3: Linda Swann and John Shackleford.

    Meet the Director and Cast of Prince George’s Little Theatre’s ‘Once Upon a Mattress’: Part 4: Ken Kemp.

    RATING: FOUR-AND-A-HALF-STARS8.gif

  • ‘To Kill a Mockingbird’ at Rockville Little Theatre

    ‘To Kill a Mockingbird’ at Rockville Little Theatre

    Rockville Little Theatre’s To Kill a Mockingbird ends their 2014-15 season on a smooth note. The play, based on the award-winning book by Harper Lee and adapted by Christopher Sergel, is set in Depression-era Maycomb, Alabama in 1935. A young girl, Scout Finch, lives with her father, Atticus Finch, an attorney, and her older brother Jem. A black man in town, Tom Robinson, is accused of raping a white woman, Mayella Ewell, and Atticus is his court-appointed attorney. This pits the white, racist townspeople against Atticus, which trickles down to both Jem and Scout at school. Some townspeople try to attack Tom, and demonstrate a clear willingness to hurt their friend Atticus in the process. The facts in the case pale against the backdrop of racism and injustice, and we as the audience experience this as the patrons and jurors in the Act II trial.

    This story is narrated by a grown Scout, now going by her given name, Jean Louise. Portrayed with finesse, polish and folksy charm by Jill Goodrich, Jean Louise talks to the audience about her childhood, and then steps aside so we can watch her memories come to life. Goodrich knows exactly how to strike a balance between likeable and invisible, and though she didn’t interact with anyone on stage, she befriended every audience member with her likeable charm.

    Rick Stuart (Atticus Finch) and Sydney Q. Lauricella-Reed (Scout Finch). Photo courtesy of Rockville Little Theatre.
    Stuart Rick  (Atticus Finch) and Sydney Q. Lauricella-Reed (Scout Finch). Photo courtesy of Rockville Little Theatre.

    The set is terrific and deserves top-billing. It depicts a microcosm of this southern town, represented by three home fronts. These structures not only serve as playing space, but also represent the culture of this town. The three homes form a semi-circle on stage, with the audience sitting at the opening. This set uses the space judiciously, and took advantage of every corner possible. The courtroom set-up served its purpose; of particular note is the balcony for the “colored folk.”

    Set Designer Steve Leshin cleverly placed the stairs facing upstage, so they were seen but not at the expense of the scenes. The ensemble made up the spectators, and was a far more compelling way to use them than if they had been cast as jury members. The jury was comprised of every patron in the theater audience, which allowed everyone watching to become a part of the action. This was an important and clever directorial decision by Director Laura Andruski.

    Andruski knows how to make the most of an ensemble, and she does so again in this production. She carefully cast every actor with an eye on shape, size, vocal tone and vibe. All of the supporting characters brought something different to the landscape and the actors cast in these roles did them justice.

    Two of the standouts are Mark Steimer as the upstanding Sheriff Heck Tate and Natalie McManus as loyal friend to and champion of Atticus, Miss Maudie. They exuded folksy sincerity and endeared us to them in their own ways. Steimer’s final scene toward the end of the play included a short but earnest mini-speech to Atticus, which received applause at its conclusion. It’s easy to imagine the delighted surprise on Steimer’s face as he exited upstage.

    As Atticus Finch, Stuart Rick is reminiscent of Gregory Peck’s film version of Atticus, though the actor shared that he hasn’t seen the film in the last several decades. His tall stature, salt-and-pepper hair, deep, resonant voice, and unassuming manner convey everything that Atticus stands for without seeming preachy or unrelatable. He is exactly as his plucky daughter, Scout, describes him to be.

    Speaking of plucky Scout, how fortunate for the audience that Sydney Q. Lauricella-Reed was cast in this role. This little actress has impeccable timing, a fantastic southern accent, charm oozing out of her overalls, and a sincerity that carries the audience through this journey. She delivers like a firecracker on the Fourth of July, and her chemistry with Mr. Rick makes theirs the best scenes in the show.

    Unfortunately, Kiernan Duffy’s portrayal of Dill, the best friend of the Finch kids, was very disappointing. His body, facial expressions, and voice were more cartoonish than folksy, and his jerky and exaggerated walk was a major distraction during his scenes.

    10942329_818726494841966_1893792416198852773_nOn the other hand, Donta Hensley is a standout as Tom Robinson, as he delivers an emotional, humble and moving performance. His time in the witness chair is the most compelling in Act II’s trial, as Tom tells his side of the story with hesitation, earnestness, and kindness. Hensley equally exudes both Tom’s horror at being accused of something so terrible and his fervent assertion of his innocence. The actor’s tears are from a deep place of understanding, and one can only imagine the bevy of emotions Hensley experienced preparing to portray a black man unjustly accused of a crime he didn’t commit. Bravo, Mr. Hensley.

    Linda Swann’s costumes are the color of depression and charmingly oversized on almost everyone except Atticus, whose crisp yet modest suit appropriately separates him from the rest of the townsfolk. Kudos to Nancy Eynon Lark for coloring the landscape with set dressing and props, as well as to Sound Designer Daniel Bentz and Lighting Designer Rick Swink, who both create the right mood without bells and whistles.

    Saunter on over to the F. Scott Fitzgerald Theatre for an evening of charm and societal importance. Rockville Little Theatre’s powerful production of To Kill a Mockingbird is riveting theatre and well worth the price of admission. It tells a story that, thankfully, feels more like a slice of history rather than a depiction of life today.

    A note from the RLT production team: While Harper Lee’s novel is a part of the core curriculum for most Middle School and High School students, it does portray the racial injustices of the early 20th-century in stark and graphic terms, including liberal usage of racial epithets. The play also contains multiple references to sexual situations and domestic abuse, and may not be suitable for younger children. Parental discretion is advised.

    Running Time: Two and a half hours, plus one intermission.

    RLT mockingbird

    To Kill a Mockingbird plays throughMay 3, 2015 at Rockville Little Theatre performing at F. Scott Fitzgerald Theatre at The Rockville Civic Center- 603 Edmonston Drive, in Rockville MD. For tickets, call the box office at (240) 314-8690, or purchase them online.

    LINKS
    Meet the Cast of ‘To Kill a Mockingbird’ at Rockville Little Theatre: Part 1: Nancy Lark.

    Meet the Cast of ‘To Kill a Mockingbird’ at Rockville Little Theatre: Part 2: Kieran Duffy.

    Meet the Cast of ‘To Kill a Mockingbird’ at Rockville Little Theatre: Part 3: Stuart Rick.

    Meet the Cast of ‘To Kill a Mockingbird’ at Rockville Little Theatre: Part 4: Kevin Page.

    Meet the Cast of ‘To Kill a Mockingbird’ at Rockville Little Theatre: Part 5: Sydney Lauricella-Reed.

    Meet the Cast of ‘To Kill a Mockingbird’ at Rockville Little Theatre: Part 6: Liz Weber.

    Meet the Cast of ‘To Kill a Mockingbird’ at Rockville Little Theatre: Part 7: Jill Goodrich.

    Meet the Cast of ‘To Kill a Mockingbird’ at Rockville Little Theatre: Part 8: Grant Williams.

    Meet the Cast of ‘To Kill a Mockingbird’ at Rockville Little Theatre: Part 9: Todd Mazzie.

    RATING: FOUR-STARS18.gif

     

  • ‘How the Other Half Loves’ at the British Players

    ‘How the Other Half Loves’ at the British Players

    Alan Ayckbourn is a renowned British playwright and director well known for his flair for the bedroom farce. One of the more successful of his works is How the Other Half Loves which premiered in 1969. The first of Ayckbourn’s Broadway debuts How the Other Half Loves was a roaring success in the early 1970s with Ayckbourn’s innovative twist on the traditional sex farce, where two couples are intertwined in a love affair are simultaneously intertwined in homes and many scenes that overlap one another on the stage. However, more than forty years after its ground-breaking premier the intriguing premise has become overwhelmed by the somewhat predictable plot, but still and true to form the British Players and Director Pauline Griller-Mitchell put on an entertaining evening of theatre with exceptional designs and and a talented cast.

    Cast of How the 'Other Half Loves'. Photo by J. Andrew Simmons.
    Cast of How the ‘Other Half Loves’. Photo by J. Andrew Simmons.

    Upon first arrival into the venue we are treated with the beautiful set designed meticulously by J. Andrew Simmons. The apartments of the two couples are carefully and seamlessly entangles, with differing styles of wall coverings, size of windows and doorways. At first glance it seems as if it is one home with a somewhat bizarre design scheme, but as we first meet the players it becomes clear and very cool to see two different apartments materialize. This is in major part due to the keen staging of Director Griller-Mitchell. Griller-Mitchell uses her actors to not only define the two distinct but entangled homes, but also to give  the audience some wonderful imagery as the actors in separate scenes come oh so close to each other, as they enter and exit their perspective homes.

    One of the other standout designers in this able team is Costume Designer Linda Swann. One of my favorites of the evening was the 1970’s garb of the unsuspecting William Detweiller, played by John O’Leary. His brown suit with visible white stitching and plaid pants garnered one of the best laugh-outloud moments of the evening.

    O’Leary is endearing as the unsuspecting foil William Detweiller. He and Laurie Simonds, who plays his wife, the demure and anxious Mary Detweiller, make for some of the most pure comedic moments of the night. Simonds was especially delightful with her over-the-top facial expressions in the face of the absurdity that surrounded her. One of the most fun scenes is when the pair are set in a dinner party with both of the other couples, on what is set to be two separate evenings.. That is all I can give away, but it is hilarious to say the least.

    Karen Romero as Teresa Phillips and John O'Leary as William Detweiler. Photo by J. Andrew Simmons.
    Karen Romero (Teresa Phillips) and John O’Leary (William Detweiler). Photo by J. Andrew Simmons.

    The unsuspecting Detweillers are first brought into the fray of the evening by co-worker Bob Phillips (John Allnutt) and his wife Teresa Phillips (Karen Romero). This pair brings some of the more dramatic moments of the evening as the two fight over the possible betrayals of the other. The pair reveals some of the darkest realities that couples may go through ,thus resulting in the infidelity that is at the core of the story.

    Romero plays a put-upon Teresa Phillips with a grit and enviable reality in this farce. She is biting and sarcastic, which plays well against her belligerent husband, and you will find yourself routing for her as she stands up to his mistreatment. Allnut plays the not very redeemable drunk husband, but still wins the crowd over with his physicality and shenanigans.

    Finally, we have the distinguished pair of Fiona Foster (Susan Paisner) and Frank Foster (Peter Harrold). The pair do well as the most sophisticated of the couples. Paisner is perfectly refined as the ne’er-do-well and socialite Fiona. She easily manipulates her husband, the forgetful and charmingly unaware Frank. Harrold is particularly priceless in this role as he blissfully goes about his day without a clue as to the trouble his wife has gotten him in.

    How the Other Half Loves has an excellent cast, lots of laughs, and impeccable direction. I strongly recommend that you take your other half and pay a visit to the British Players to see this popular comedy by a renowned playwright. How the Other Half Loves will surely leave you entertained.

    Laurie Simonds as Mary Detweiler and Peter Harrold as Frank Foster. Photo by J. Andrew Simmons.
    Laurie Simonds (Mary Detweiler) and Peter Harrold (Frank Foster). Photo by J. Andrew Simmons.

     How the Other Loves plays through March 28, 2015 at The British Players performing at Kensington Town Hall – 3710 Mitchell Street, in Kensington, MD. For tickets call (240) 447-9863, or purchase them online.

    RATING: FOUR-AND-A-HALF-STARS11.gif

    LINKS

    Meet the Cast of ‘How the Other Half Loves’ at The British Players: Part 1: Susan R. Paisner.

    Meet the Cast of ‘How the Other Half Loves’ at The British Players: Part 2: Karen Romero.

    Meet the Cast of ‘How the Other Half Loves’ at The British Players: Part 3: Peter Harrold. 

  • The 15th Annual 2014 WATCH AWARDS Nominations Announced

    The 15th Annual 2014 WATCH AWARDS Nominations Announced

    THE WATCH AWARDS

    Nominations Announced

    January 18, 2015 – 7:30 pm

    at The Birchmere, Alexandria, VA

    Award Ceremony

    Sunday, March 8, 2015 – 7:00 pm

    at The Birchmere, Alexandria, VA

    Award Ceremony Tickets $17.50 at the Birchmere Box Office or through Ticketmaster (plus service charge)

    111 productions (34 musicals, 77 plays) were adjudicated in 2014. Thirty-one community theater companies participated in WATCH adjudication.

    watchlogoIn each of the thirty-eight categories, five nominees were selected based on the average scores of eight judges.  In some categories, due to score ties, more than five nominees are announced.  Nominations are provided in alphabetical order by nominee.  The nominations are provided by category and then by theater at the end of the document.

    Nominations for outstanding technical achievements.

    Outstanding Set Design in a Musical (5)

    Outstanding Set Design in a Play (6)

    • John Coscia – Of Mice and Men – Providence Players of Fairfax
    • John Coscia – Rumors – Providence Players of Fairfax
    • John Downing & Bill Glikbarg – Boeing Boeing – Little Theatre of Alexandria
    • Andrew S. Greenleaf – Other Desert Cities – Silver Spring Stage
    • Jeff Merritt & John Merritt – Death by Chocolate – Port Tobacco Players
    • Dan Remmers – Proof – Little Theatre of Alexandria

    Outstanding Set Construction in a Musical (7)

    • Bill Bagaria, Joanne D. Wilson, Marty Hayes – Hello, Dolly! – 2nd Star Productions
    • Lawrence Gresko – Xanadu – Reston Community Players
    • Jim Korte & Bill Rippey – My Fair Lady – Damascus Theatre Company
    • Ryan Mudd – Annie – Port Tobacco Players
    • Ryan Mudd – Godspell – Port Tobacco Players
    • Greg Steele – Les Miserables – Reston Community Players
    • Bill Wisniewski – The Most Happy Fella – Arlington Players

    Outstanding Set Construction in a Play (5)

    • John Coscia – Rumors – Providence Players of Fairfax
    • John Downing & Bill Glikbarg – Boeing Boeing – Little Theatre of Alexandria
    • Andrew S. Greenleaf – Other Desert Cities – Silver Spring Stage
    • Jeff Merritt & John Merritt – Death by Chocolate – Port Tobacco Players
    • Dan Remmers – Proof – Little Theatre of Alexandria

    Outstanding Set Painting in a Musical (5)

    Outstanding Set Painting in a Play (6)

    Outstanding Set Decoration and Set Dressing in a Musical (5)

    • Angie Anderson –  The Most Happy Fella – Arlington Players
    • Nancy Eynon Lark & Maria Littlefield – My Fair Lady – Damascus Theatre Company
    • Terri Fortney Beinert et al – Godspell – Port Tobacco Players
    • Malca Giblin, Craig Pettinati, John Nunemaker – The Addams Family – Kensington Arts Theatre
    • Jane B. Wingard & Gail Bagaria – Hello, Dolly! – 2nd Star Productions

    Outstanding Set Decoration and Set Dressing in a Play (5)

    Outstanding Properties in a Musical (5)

    Outstanding Properties in a Play (5)

    Outstanding Lighting Design in a Musical (6)

    Outstanding Lighting Design in a Play (5)

    Outstanding Sound Design in a Musical (6)

    Outstanding Sound Design in a Play (5)

    Outstanding Costume Design in a Musical (5)

    Outstanding Costume Design in a Play (5)

    Outstanding Makeup Design in a Musical (5)

    Outstanding Makeup Design in a Play (5)

    Outstanding Hair Design in a Musical (5)

    Outstanding Hair Design in a Play (6)

    Outstanding Special Effects (5)

    Nominations for outstanding performances by an actor or actress.

    Outstanding cameo in a musical (5)

    • Quinn McCord as “Cicco/Postman” – The Most Happy Fella – Arlington Players
    • Tim Sayles as “Rudolph” – Hello, Dolly! – 2nd Star Productions
    • Benjamin Simpson as “Mookie” – The Wedding Singer – Port Tobacco Players
    • Chad Wheeler as “Teen Angel” – Grease – Rockville Musical Theatre
    • Amy Winger as “Cha-Cha DeGregorio” – Grease – Rockville Musical Theatre

    Outstanding cameo in a play (5)

    Outstanding featured actress in a musical (5)

    • Theresa Danskey as “Cleo” – The Most Happy Fella – Arlington Players
    • Shaina Freeman as “Betty Rizzo” – Grease – Rockville Musical Theatre
    • Ashlie-Amber Harris as “The Lady of the Lake” – Monty Python’s Spamalot – Little Theatre of Alexandria
    • Camryn Shegogue as “Wednesday Addams” – The Addams Family – Kensington Arts Theatre
    • Pam Shilling as “Irene Molloy” – Hello, Dolly! – 2nd Star Productions

    Outstanding featured actor in a musical (6)

    Outstanding featured actress in a play (5)

    • Maya Brettell as “Christina” – Black Hole – Port City Playhouse
    • Terresita Edwards as “Madame Arcati” – Blithe Spirit – Prince William Little Theatre
    • Elizabeth Keith as “Claire” – Proof – Little Theatre of Alexandria
    • Rebecca Lenehan as “Bev” – Clybourne Park – Arlington Players
    • Marianne Meyers as “Jean” – Good People – Silver Spring Stage

    Outstanding featured actor in a play (6)

    • Derek Bradley as “Karl” – Clybourne Park – Arlington Players
    • Derek Bradley as “Steve” – Clybourne Park – Arlington Players
    • William Cassidy as “Max Tarasov” – Superior Donuts – Silver Spring Stage
    • Bill Hurlbut as “Big Daddy” – Cat on a Hot Tin Roof – Rockville Little Theatre
    • Bill Hurlbut as “Lyman Wyeth” – Other Desert Cities – Silver Spring Stage
    • Don Myers as “Lenny Ganz” – Rumors – Providence Players of Fairfax

    Outstanding lead actress in a musical (5)

    • Annabelle Lowe as “Marian Paroo” – The Music Man – Port Tobacco Players
    • Nori Morton as “Dolly Levi” – Hello, Dolly! – 2nd Star Productions
    • Caelyn Sommerville as “Eve/Mama Noah” – Children of Eden – 2nd Star Productions
    • Leslie Walbert as “Sandy Dumbrowski” – Grease – Rockville Musical Theatre
    • Heather Whitney as “Rosabella” – The Most Happy Fella – Arlington Players

    Outstanding lead actor in a musical (5)

    Outstanding lead actress in a play (5)

    • Anna Fagan as “Catherine” – Proof – Little Theatre of Alexandria
    • Roxanne Fournier Stone as “Margaret” – Good People – Silver Spring Stage
    • Lolita-Marie as “Angel Allen” – Blues for an Alabama Sky – Port City Playhouse
    • Nicky McConnell as “Jane” – Black Hole – Port City Playhouse
    • Alyssa Sanders as “Veronica” – God of Carnage – Silver Spring Stage

    Outstanding lead actor in a play (5)

    • Terry Averill as “Arthur Przybyszewki” – Superior Donuts – Colonial Players of Annapolis
    • Patrick M. Doneghy as “Robert” – Boeing Boeing – Little Theatre of Alexandria
    • Kyle Keene as “Lennie” – Of Mice and Men – Providence Players of Fairfax
    • Darius McCall as “Franco Wicks” – Superior Donuts – Colonial Players of Annapolis
    • Nick Torres as “Arthur Przybyszwki” – Superior Donuts – Silver Spring Stage

    Nominations for outstanding achievement in overall production.

    Outstanding Stage Combat Choreography (5)

    Outstanding Choreography (5)

    Outstanding Music Direction (5)

    Outstanding Direction of a Musical (5)

    Outstanding Direction of a Play (5)

    • John Coscia – Of Mice and Men – Providence Players of Fairfax
    • Susan Devine – Proof – Little Theatre of Alexandria
    • Edd Miller – Coyote on a Fence – Colonial Players of Annapolis
    • Bridget Muehlberger – Other Desert Cities – Silver Spring Stage
    • Liz Mykietyn – Rumors – Providence Players of Fairfax

    Outstanding Musical (5)

    • The Addams Family – Kensington Arts Theatre. Produced by Malca Giblin, Stage managed by John Nunemaker
    • Children of Eden – 2nd Star Productions. Produced by Jane B. Wingard, Stage managed by Joanne D. Wilson
    • Hello, Dolly! – 2nd Star Productions. Produced by Jane B. Wingard, Stage managed by Joanne D. Wilson
    • Monty Python’s Spamalot – Little Theatre of Alexandria. Produced by Rachel Alberts, Bobbie Herbst and Russell Wyland, Stage managed by Christine Farrell and Joan A.S. Lada
    • The Most Happy Fella – Arlington Players. Produced by Janet Bordeaux, Stage managed by Terri Carnahan

    Outstanding Play (5)

    • A Few Good Men – Colonial Players of Annapolis. Produced by Beth Terranova, Stage managed by Ernie Morton
    • Of Mice and Men – Providence Players of Fairfax. Produced by Jimmy Gertzog, Stage managed by Mike Mattheisen
    • Other Desert Cities – Silver Spring Stage. Produced by Seth Ghitelman, Stage managed by Alika Codispoti
    • Proof – Little Theatre of Alexandria. Produced by Lynn O’Connell and Kevin O’Dowd, Stage managed by Mary Beth Smith-Toomey and Kira Hogan.
    • Rumors – Providence Players of Fairfax. Produced by Chip Gertzog, Stage managed by April Bridgeman

    Congratulations to all of the nominees!

    Nominations sorted by theatre and show.

    2nd STAR PRODUCTIONS (21)

    Outstanding Stage Combat Choreography – Casey Kaleba  – A Soldier’s Play
    Outstanding Costume Design in a Musical – Linda Swann  – Children of Eden
    Outstanding Direction of a Musical – Vincent Musgrave  – Children of Eden
    Outstanding Lead Actress in a Musical – Caelyn Sommerville as “Eve/Mama Noah” – Children of Eden
    Outstanding Light Design in a Musical – Garrett R. Hyde  – Children of Eden
    Outstanding Musical  –  Children of Eden
    Outstanding Set Design in a Musical – Jane B. Wingard  – Children of Eden
    Outstanding Set Painting in a Musical – Jane B. Wingard  – Children of Eden
    Outstanding Cameo in a Musical – Tim Sayles as “Rudolph” – Hello, Dolly!
    Outstanding Direction of a Musical – Jane B. Wingard – Hello, Dolly!
    Outstanding Featured Actor in a Musical – Nathan Bowen as “Cornelius Hackl” – Hello, Dolly!
    Outstanding Featured Actress in a Musical – Pam Shilling as “Irene Molloy” – Hello, Dolly!
    Outstanding Hair Design in a Musical – No Listing – Hello, Dolly! – 2nd Star Productions – 2014
    Outstanding Lead Actress in a Musical – Nori Morton as “Dolly Levi” – Hello, Dolly!
    Outstanding Music Direction – Joe Biddle – Hello, Dolly!
    Outstanding Musical – Hello, Dolly!
    Outstanding Properties in a Musical – Joanne D. Wilson – Hello, Dolly!
    Outstanding Set Construction in a Musical – Bill Bagaria, Joanne D. Wilson, Marty Hayes – Hello, Dolly!
    Outstanding Set Decoration in a Musical – Jane B. Wingard & Gail Bagaria – Hello, Dolly!
    Outstanding Set Painting in a Musical – Jane B. Wingard – Hello, Dolly!
    Outstanding Sound Design in a Musical – Garrett R. Hyde – Hello, Dolly!

     ARLINGTON PLAYERS (17)

    Outstanding Featured Actor in a Play – Derek Bradley as “Karl” – Clybourne Park
    Outstanding Featured Actor in a Play – Derek Bradley as “Steve” – Clybourne Park
    Outstanding Featured Actress in a Play – Rebecca Lenehan as “Bev” – Clybourne Park
    Outstanding Cameo in a Musical – Quinn McCord as “Ciccio/Postman” – The Most Happy Fella
    Outstanding Featured Actress in a Musical – Teresa Danskey as “Cleo” – The Most Happy Fella
    Outstanding Lead Actor in a Musical – Jimmy Payne as “Tony” – The Most Happy Fella
    Outstanding Lead Actress in a Musical – Heather Whitney as “Rosabella” – The Most Happy Fella
    Outstanding Light Design in a Musical – B. Keith Ryder  – The Most Happy Fella
    Outstanding Music Direction  – David Rohde  – The Most Happy Fella
    Outstanding Musical  –  The Most Happy Fella
    Outstanding Properties in a Musical – Angie Anderson  – The Most Happy Fella
    Outstanding Set Construction in a Musical – Bill Wisniewski  – The Most Happy Fella
    Outstanding Set Decoration in a Musical – Angie Anderson  – The Most Happy Fella
    Outstanding Set Design in a Musical – Bill Wisniewski  – The Most Happy Fella
    Outstanding Set Painting in a Musical – Mary Speed  – The Most Happy Fella
    Outstanding Sound Design in a Musical – Stan Harris  – The Most Happy Fella
    Outstanding Choreography  – John K. Monnett  – The Wedding Singer

    COLONIAL PLAYERS (16)

    Outstanding Play  –  A Few Good Men
    Outstanding Direction of a Musical – Beverly Hill van Joolen  – Bat Boy: The Musical
    Outstanding Lead Actor in a Musical – Ron Giddings as “Bat Boy” – Bat Boy: The Musical
    Outstanding Light Design in a Musical – Frank Florentine  – Bat Boy: The Musical
    Outstanding Makeup Design in a Musical – Eddie Hall  – Bat Boy: The Musical
    Outstanding Sound Design in a Musical – Wes Bedsworth  – Bat Boy: The Musical
    Outstanding Special Effects  – Terry Averill et al  – Bat Boy: The Musical
    Outstanding Stage Combat Choreography – Andrew Pecoraro  – Bat Boy: The Musical
    Outstanding Direction of a Play – Edd Miller  – Coyote on a Fence
    Outstanding Light Design in a Play – Frank Florentine  – Coyote on a Fence
    Outstanding Sound Design in a Play – Carl Andreasen & Theresa Riffle  – Coyote on a Fence
    Outstanding Cameo in a Play – Mary MacLeod as “Lady Boyle” – Superior Donuts
    Outstanding Cameo in a Play – Ben Carr as “Kiril Ivakina” – Superior Donuts
    Outstanding Lead Actor in a Play – Terry Averill as “Arthur Przybyszewki” – Superior Donuts
    Outstanding Lead Actor in a Play – Darius McCall as “Franco Wicks” – Superior Donuts
    Outstanding Sound Design in a Play – Ben Cornwell  – Superior Donuts

    DAMASCUS THEATRE COMPANY (6)

    Outstanding Properties in a Musical – Nancy Eynon Lark & Maria Littlefield  – My Fair Lady
    Outstanding Set Construction in a Musical – Jim Korte & Bill Rippey  – My Fair Lady
    Outstanding Set Decoration in a Musical – Nancy Eynon Lark & Maria Littlefield  – My Fair Lady
    Outstanding Set Design in a Musical – Bill Brown  – My Fair Lady
    Outstanding Set Painting in a Musical – Maria Littlefield  – My Fair Lady
    Outstanding Sound Design in a Musical – Vitol Wiacek  – My Fair Lady

     DOMINION STAGE (1)

    Outstanding Makeup Design in a Play – Larissa Norris – Bug

     FAUQUIER COMMUNITY THEATRE (1)

    Outstanding Set Decoration in a Play – Vicki Wade – Black Coffee

    GREENBELT ARTS CENTER (1)

    Outstanding Set Decoration in a Play – Heather Brooks – Come Back to the 5 & Dime, Jimmy Dean, Jimmy Dean

    HARD BARGAIN PLAYERS (1)

    Outstanding Costume Design in a Play – Priscilla Grow – Rebel Yells

    KENSINGTON ARTS THEATRE (18)

    Outstanding Lead Actor in a Musical – David Merrill as “Jean Valjean” – Les Miserables
    Outstanding Makeup Design in a Musical – Eleanor B. Dicks  – Les Miserables
    Outstanding Music Direction  – Stuart Y. Weich  – Les Miserables
    Outstanding Choreography  – Nick Carter  – The Addams Family
    Outstanding Costume Design in a Musical – Eleanor B. Dicks  – The Addams Family
    Outstanding Direction of a Musical – Craig Pettinati  – The Addams Family
    Outstanding Featured Actor in a Musical – Chuck Dluhy as “Uncle Fester” – The Addams Family
    Outstanding Featured Actress in a Musical – Camryn Shegogue as “Wednesday Addams” – The Addams Family
    Outstanding Hair Design in a Musical – Stephen D. Welsh  – The Addams Family
    Outstanding Lead Actor in a Musical – Bobby Libby as “Gomez Addams” – The Addams Family
    Outstanding Light Design in a Musical – Xena Petkanas  – The Addams Family
    Outstanding Makeup Design in a Musical – Scott Beadle  – The Addams Family
    Outstanding Music Direction  – Stuart Y. Weich  – The Addams Family
    Outstanding Musical  –  The Addams Family
    Outstanding Set Decoration in a Musical – Malca Giblin, Craig Pettinati, John Nunemaker  – The Addams Family
    Outstanding Set Painting in a Musical – Matt Karner  – The Addams Family
    Outstanding Sound Design in a Musical – Dan Caughran  – The Addams Family
    Outstanding Special Effects  – John Nunemaker  – The Addams Family

    LAUREL MILL PLAYHOUSE (2)

    Outstanding Cameo in a Play – Zach Pajak as “Charles D. Schmendimann” – Picasso at the Lapine Agile
    Outstanding Cameo in a Play – Jed Duvall as “A Visitor” – Picasso at the Lapine Agile

     LITTLE THEATRE OF ALEXANDRIA (35)

    Outstanding Costume Design in a Play – Ashley Amidon  – A Streetcar Named Desire
    Outstanding Hair Design in a Play – Larissa Norris  – A Streetcar Named Desire
    Outstanding Light Design in a Play – Liz & Nancy Owens  – A Streetcar Named Desire
    Outstanding Costume Design in a Play – Jean Schlichting & Kit Sibley  – Boeing Boeing
    Outstanding Hair Design in a Play – Susan Boyd  – Boeing Boeing
    Outstanding Lead Actor in a Play – Patrick M. Doneghy as “Robert” – Boeing Boeing
    Outstanding Makeup Design in a Play – Emma Baskir  – Boeing Boeing
    Outstanding Properties in a Play – Carol Coyle & Susie Poole  – Boeing Boeing
    Outstanding Set Construction in a Play – John Downing & Bill Glikbarg  – Boeing Boeing
    Outstanding Set Decoration in a Play – Carol Coyle & Susie Poole  – Boeing Boeing
    Outstanding Set Design in a Play – John Downing & Bill Glikbarg  – Boeing Boeing
    Outstanding Choreography  – Grace Machanic  – Monty Python’s Spamalot
    Outstanding Costume Design in a Musical – Grant Kevin Lane  – Monty Python’s Spamalot
    Outstanding Direction of a Musical – Wade Corder  – Monty Python’s Spamalot
    Outstanding Featured Actor in a Musical – Matt Liptak as “Mayor/Patsy/Guard 2” – Monty Python’s Spamalot
    Outstanding Featured Actress in a Musical – Ashlie-Amber Harris as “The Lady of the Lake” – Monty Python’s Spamalot
    Outstanding Hair Design in a Musical – Robin Havens Parker & Dominique Thompson  – Monty Python’s Spamalot
    Outstanding Lead Actor in a Musical – James Hotsko, Jr. as “King Arthur” – Monty Python’s Spamalot
    Outstanding Light Design in a Musical – Franklin C. Coleman  – Monty Python’s Spamalot
    Outstanding Music Direction  – Paul Nasto  – Monty Python’s Spamalot
    Outstanding Musical  –  Monty Python’s Spamalot
    Outstanding Properties in a Musical – Helen Bard-Sobola & Rebecca Sheehy  – Monty Python’s Spamalot
    Outstanding Sound Design in a Musical – David Correia & Janice Rivera  – Monty Python’s Spamalot
    Outstanding Special Effects  – Arthur Snow  – Monty Python’s Spamalot
    Outstanding Direction of a Play – Susan Devine  – Proof
    Outstanding Featured Actress in a Play – Elizabeth Keith as “Claire” – Proof
    Outstanding Lead Actress in a Play – Anna Fagan as “Catherine” – Proof
    Outstanding Light Design in a Play – Franklin C. Coleman  – Proof
    Outstanding Play  –  Proof
    Outstanding Set Construction in a Play – Dan Remmers  – Proof
    Outstanding Set Design in a Play – Dan Remmers  – Proof
    Outstanding Set Painting in a Play – Kevin O’Dowd  – Proof
    Outstanding Sound Design in a Play – David Correia  – Proof
    Outstanding Choreography  – Ivan Davilla ACCENTS  – Ragtime
    Outstanding Makeup Design in a Musical – Susan Boyd  – The Rocky Horror Show

     PORT CITY PLAYHOUSE (4)

    Outstanding Featured Actress in a Play – Maya Brettell as “Christina” – Black Hole
    Outstanding Lead Actress in a Play – Nicky McConnell as “Jane” – Black Hole
    Outstanding Properties in a Play – Abby Giuseppe & Bobbie Herbst  – Black Hole
    Outstanding Lead Actress in a Play – Lolita-Marie as “Angel Allen” – Blues for an Alabama Sky

     PORT TOBACCO PLAYERS (18)

    Outstanding Set Construction in a Musical – Ryan Mudd  – Annie
    Outstanding Costume Design in a Play – Melody Sciarratta  – Cyrano
    Outstanding Hair Design in a Play – Kaitelyn Bauer  – Cyrano
    Outstanding Makeup Design in a Play – Kaitelyn Bauer  – Cyrano
    Outstanding Stage Combat Choreography – Casey Kaleba  – Cyrano
    Outstanding Hair Design in a Play – Sheila Hyman  – Death by Chocolate
    Outstanding Light Design in a Play – Ted DeMarco-Logue  – Death by Chocolate
    Outstanding Makeup Design in a Play – Sheila Hyman  – Death by Chocolate
    Outstanding Properties in a Play – Kim Moore Bessler  – Death by Chocolate
    Outstanding Set Construction in a Play – Jeff Merritt & John Merritt  – Death by Chocolate
    Outstanding Set Design in a Play – Jeff Merritt & John Merritt  – Death by Chocolate
    Outstanding Set Painting in a Play – John Merritt & Christine Schubert  – Death by Chocolate
    Outstanding Properties in a Musical – Terri Fortney Beinert  – Godspell
    Outstanding Set Construction in a Musical – Ryan Mudd  – Godspell
    Outstanding Set Decoration in a Musical – Terri Fortney Beinert et al  – Godspell
    Outstanding Costume Design in a Musical – Pat Brennan & Cathy Compton  – The Music Man
    Outstanding Lead Actress in a Musical – Annabelle Lowe as “Marian Paroo” – The Music Man
    Outstanding Cameo in a Musical – Benjamin Simpson as “Mookie” – The Wedding Singer

     PRINCE GEORGE’S LITTLE THEATRE (2)

    Outstanding Set Painting in a Play – Roy Peterson  – The Fox on the Fairway
    Outstanding Sound Design in a Play – Frank Pasqualino  – The Fox on the Fairway

     PRINCE WILLIAM LITTLE THEATRE (2)

    Outstanding Featured Actress in a Play – Terresita Edwards as “Madame Arcati” – Blithe Spirit
    Outstanding Featured Actor in a Musical – Larry Keeling as “Jitter et al” – Musical of Musicals (The Musical!)

     PROVIDENCE PLAYERS (19)

    Outstanding Direction of a Play – John Coscia  – Of Mice and Men
    Outstanding Lead Actor in a Play – Kyle Keene as “Lennie” – Of Mice and Men
    Outstanding Light Design in a Play – Chip Gertzog  – Of Mice and Men
    Outstanding Play  –  Of Mice and Men
    Outstanding Properties in a Play – Julie Janson & Andra Whitt  – Of Mice and Men
    Outstanding Set Decoration in a Play – Lisa Church & John Coscia  – Of Mice and Men
    Outstanding Set Design in a Play – John Coscia  – Of Mice and Men
    Outstanding Set Painting in a Play – Lisa Church  – Of Mice and Men
    Outstanding Sound Design in a Play – Chip Gertzog  – Of Mice and Men
    Outstanding Special Effects  – Julie Janson, Beth Harrison, Andra Whitt  – Of Mice and Men
    Outstanding Stage Combat Choreography – Mike Donahue  – Of Mice and Men
    Outstanding Cameo in a Play – Eric Jones as “Officer Welch” – Rumors
    Outstanding Direction of a Play – Liz Mykietyn  – Rumors
    Outstanding Featured Actor in a Play – Don Myers as “Lenny Ganz” – Rumors
    Outstanding Hair Design in a Play – Beth Harrison & Robbie Snow  – Rumors
    Outstanding Play  – Rumors
    Outstanding Set Construction in a Play – John Coscia  – Rumors
    Outstanding Set Design in a Play – John Coscia  – Rumors
    Outstanding Set Painting in a Play – Craig Geoffrion  – Rumors

    RESTON COMMUNITY PLAYERS (7)

    Outstanding Featured Actor in a Musical – Ethan Van Slyke as “Gavroche” – Les Miserables
    Outstanding Hair Design in a Musical – Mary Price  – Les Miserables
    Outstanding Light Design in a Musical – Ken & Patti Crowley  – Les Miserables
    Outstanding Set Construction in a Musical – Greg Steele  – Les Miserables
    Outstanding Set Design in a Musical – Greg Steele et al  – Les Miserables
    Outstanding Set Construction in a Musical – Lawrence Gresko  – Xanadu
    Outstanding Featured Actor in a Musical – Terry Barr as “Snoopy” – You’re A Good Man, Charlie Brown

     ROCKVILLE LITTLE THEATRE (2)

    Outstanding Featured Actor in a Play – Bill Hurlbut as “Big Daddy” – Cat on a Hot Tin Roof
    Outstanding Properties in a Play – David Levin & Andie Allison  – Cat on a Hot Tin Roof

     ROCKVILLE MUSICAL THEATRE (8)

    Outstanding Cameo in a Musical – Chad Wheeler as “Teen Angel” – Grease
    Outstanding Cameo in a Musical – Amy Winter as “Cha-Cha DiGregorio” – Grease
    Outstanding Featured Actress in a Musical – Shaina Freeman as “Betty Rizzo” – Grease
    Outstanding Lead Actress in a Musical – Leslie Walbert as “Sandy Dumbrowski” – Grease
    Outstanding Set Design in a Musical – Mark Hamberger  – Grease
    Outstanding Choreography  – Valerie Mikles  – The Music Man
    Outstanding Costume Design in a Musical – Eleanor B. Dicks  – The Music Man
    Outstanding Hair Design in a Musical – Renee Silverstone  – The Music Man

    SILVER SPRING STAGE (17)

    Outstanding Lead Actress in a Play – Alyssa Sanders as “Veronica” – God of Carnage
    Outstanding Special Effects  – Star Johnson  – God of Carnage
    Outstanding Featured Actress in a Play – Marianne Meyers as “Jean” – Good People
    Outstanding Lead Actress in a Play – Roxanne Fournier Stone as “Margaret” – Good People
    Outstanding Direction of a Play – Bridget Muehlberger  – Other Desert Cities
    Outstanding Featured Actor in a Play – Bill Hurlbut as “Lyman Wyeth” – Other Desert Cities
    Outstanding Play  – Other Desert Cities
    Outstanding Set Construction in a Play – Andrew S. Greenleaf  – Other Desert Cities
    Outstanding Set Decoration in a Play – Andrew S. Greenleaf, Sonya Okin, Amy M. Sullivan  – Other Desert Cities
    Outstanding Set Design in a Play – Andrew S. Greenleaf  – Other Desert Cities
    Outstanding Set Painting in a Play – Andrew S. Greenleaf  – Other Desert Cities
    Outstanding Featured Actor in a Play – William Cassidy as “Max Tarasov” – Superior Donuts
    Outstanding Lead Actor in a Play – Nick Torres as “Arthur Przybyszewki” – Superior Donuts
    Outstanding Stage Combat Choreography – William T. Fleming  – Superior Donuts
    Outstanding Costume Design in a Play – Laurel Victoria Gray  – The Arabian Nights
    Outstanding Hair Design in a Play – Maureen Roult  – The Arabian Nights
    Outstanding Makeup Design in a Play – Maureen Roult  – The Arabian Nights

    THE ALLIANCE THEATRE (1)

    Outstanding Makeup Design in a Musical – Shavon Harding & Tracy Mullen Cosker  – Shrek The Musical

    LINK

    DC METRO logo work3

    These are the Best of 2014 Honorees for Community Theatre selected by the staff of DCMetroTheaterArts.

     

     

  • ‘The Liar’ at The Colonial Players

    ‘The Liar’ at The Colonial Players

    The Liar is the (tall) tale of an outrageous liar who manages to charm his way into your heart. Originally written by Pierre Corneille in 1643 and adapted by David Ives in 2010. This adaptation is reminiscent of the era in which it was originally written while still being relevant today.

    Dorante (Fred Fletcher-Jackson) is the good-for-nothing son of a French nobleman who has abandoned his studies and headed for the excitement in Paris. He is quickly joined in his misadventures by Cliton (Jeff Sprague), a man who cannot tell a lie. Dorante informs Cliton with some fairly bawdy pantomime that he is looking for amour.

    Dorante (Fred Fletcher-Jackson) and Jeff Sprague (Cliton). Photo courtesy of The Colonial Players.
    Jeff Sprague (Cliton) and Dorante (Fred Fletcher-Jackson). Photo courtesy of The Colonial Players.

    No sooner are the words spoken, than a pair of lovely ladies wander by! In order to impress, Dorante weaves an enormous falsehood of recently returning from pitched battles on an imaginary front. Clarice (Natasha Joyce) is intrigued by his tale, but her cousin Lucrece (Rebecca Ellis) is not so easily swayed. While the scene unfolds, Cliton observes mouth agape and occasionally snacking, as if he were watching a show. At one point, Dorante shouts “Ships Ahoy” and Cliton hands him a chocolate chip cookie.

    Dorante decides that he is in love with the lady that with whom he spoke. However, he mixes up the two fair ladies’ names. This leads to him being challenged to duel by Alcippe (Seth Clute), the secret fiance of the lady Dorante fancies himself in love with. Seth Clute is fantastic in the role of Alcippe, his gullibility and righteous anger is incredibly authentic. Of course, Dorante defuses the situation with Alcippe with a series of even more outrageous lies and some help from Phileste, played admirably by Ethan Goldberg.

    Dorante’s lies seem set to unravel when his father, Geronte (Marc Rehr), arranges a marriage for him. Dorante’s efforts to squirm avoid a marriage with a bride not of his choosing (or so he thinks) lead to crazy hijinks and more ridiculous lies. You can’t help but root for slimy Dorante, Fred Fletcher-Jackson’s oily charm is captivating.

    In the second act, all of Dorante’s lies begin to unravel and he has to do the impossible to ensure a happy ending!

    Costumes as designed by Linda Swann, fall in that vague, romanticized Musketeer period. Lucrece’s dress is the most outstanding piece in the production. The embroidered cloak worn by Geronte was a testament to its creator’s skill.

    2014_12_the_liar_logoThe hair design evoked magnificently the style of the era, and I loved Clarice and Lucrece’s hair.

    It is unfortunate that Lucrece and Clarice largely play as foils for their male counterparts. Natasha Joyce wonderfully portrays Clarice a pampered lady of privilege, almost like a Kardashian sister. Rebecca Ellis’ turn as Lucrece is like watching a small bud gradually blossom into a magnificent rose. Hopefully, we all will be blessed with more of her handiwork in the future. Sarah Wade’s performance as twin maids, Sabine and Isabelle, was fun to watch. She imbued each twin with their own unique personality and could hold her own against Fred Fletcher-Jackson’s Dorante.

    The cast members that stole the show did so without uttering any lines at all. Stagehand Michelle (Nicole Musho) and Stagehand Michael (Mike Winnick) manoeuvred the ever moving scenery, disposed of unneeded swords and cleaned up after the leads messes. Both were prone to turn up in amusing places, but Michelle takes the cake. At one point, she erupts from inside of a set piece and then runs out with it. Both Michelle and Michael had great facial expressions and their exasperation with menial labor a constant source of amusement.

    Lighting Design by Alex Brady successfully transitions with the changing scenery from the bright daylight of a Parisian park, to the ladies coolly lit parlors and the streets of Place Royale. Lighting Technicians, Kevin Brennan and Lyana Morton, must have some of the quickest hands in the business. Whenever a cast member jumped on a piece of scenery or sprung out into the audience, the spotlight was right there with them.

    It took a small army to conceive and construct the Colonial Players set. The marvelous set was designed by Kristina Vanyi who also designed and painted the floor. The floor was painted into an impressive cobblestone pattern that even wandered into some of the aisles. Cseni Szabo assisted with painting the set and floor. That such a substantial undertaking was completed by only two people is astounding. In addition, it took five (5!) carpenters to build the play’s mobile scenery pieces which served as benches, beds, boats and barricades, among other things. Lead Carpenter Dick Whaley and his carpentry crew Norm Janes, Bob Mumper, Jim Robinson, and Ted Yablonski are to be applauded for the their splendid workmanship.

    Steve Tobin, Director, has not worked with Colonial Players for 25 years. His return is impressive and exciting. Anything directed by Steve Tobin at Colonial Players must be on your ‘must see’ list.

    The Liar has every element of daytime melodrama: twins, mistaken identity, dueling and outrageous lies! It seems to acknowledge its own ludicrousness by winking at it and throwing in even more.

    The Colonial Players’ The Liar is a delightful romp. Take the wife, leave the kids at home (unless, you want to explain some rather saucy jokes).

    I can not tell a lie, you must see this show!

    CP-Liar-728x90 The Liar plays through February 7, 2015 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.

    RATING: FIVE-STARS-82x1555.gif

     

  • ‘A Shot in the Dark’ at Prince George’s Little Theatre

    ‘A Shot in the Dark’ at Prince George’s Little Theatre

    Prince George’s Little Theatre’s A Shot in the Dark, adapted by Harry Kurnitz from the French play L’ldiote by Marcel Achard is a French farce that is dialogue-driven and reliant on comedic timing. Set in Paris, France in 1962, the action takes place in the chamber of an Examining Magistrate’s office. Director Keith Brown’s set design is comprised of two desks, several chairs with filing cabinets, and a leather-laden double doors center stage. Roy Peterson is the producer and Linda Swann offers her costume design talents. The men are sharply dressed in tailored suits with narrow ties, indicative of the early 1960’s era. The women each don a sophisticated ensemble that matches their personality.

    L to R: Josefa Lantenay (Erica Jureckson) , Paul Sevigne (Matt Leyendecker), Dominique Beaurevers (Mary Koster), Antoinette Sevigne (Lea Scherini. Photo by Roy Peterson.
    L to R: Josefa Lantenay (Erica Jureckson) , Paul Sevigne (Matt Leyendecker), Dominique Beaurevers (Mary Koster), and Antoinette Sevigne (Lea Scherini). Photo by Roy Peterson.

    The show opens with the Magistrate Paul Sevigne (Matt Leyendecker) getting interrogation instructions from Morestan (Martin Hayes). Hayes has very little dialogue in the first act, but is quite humorous with his facial expressions and gestures. Leyendecker is stylish and charming against Hayes’ wisdom and age.  These two take the stage for the entire show and Leyendecker maintains the investigative questioning (dialogue) throughout. He is strong and firm as the Magistrate with varying inflection in his voice but when it comes to his wife, Antoinette Sevigne (Lea Scherini), he becomes a bit of a playboy.

    Scherini is the innocent, pampered wife that wants to be seen as more than just that. Her slick baby blue suit and white gloves contradicts Scherini’s shared borderline chemistry with Leyendecker. Unfortunately, it is the Magistrate that squelches their tantalizing flirtations because he must interrogate the very alluring maid.

    Josefa Lantenay (Erica Jureckson) is the young, sexy maid that heard the shot in the dark and was discovered in her bedroom nude, along with the body of her Spanish lover and a gun by her side. Jureckson is remarkable in this role from her spunky hairstyle to her sultry mannerisms. Add to that is her high energy that is counter-acted by her fidgeting and she brings a nervous truth to this character. Despite her seductive behavior and stunning red wrap-dress, Josefa still has a moral compassion and a determination in protecting her employer.

    Benjamin Beaurevers (Brian Binney) is quite playful with Jureckson as they flirt their way through the Magestrate’s line of questioning. Quite handsome, Binney is confident and carries himself well in this role. As Benjamin, he has a comical side which opposes his very beautiful and sophisticated wife’s behavior, Dominique Beaurevers (Mary Koster). Koster plays the classy character in this production and holds her own against the quirkiness of the other characters. She is very poised in her navy suit and fur.

    Lablache, the Deputy Chief Prosecutor (Danny Brooks) looks like Walter Cronkite and is a  smart bureaucrat with an air of casual authority that advises the Magistrate to get a quick confession and send Josefa off to prison to avoid inconveniencing the Beaurevers.

    The Guard (Patrick O’Connell) is a supporting role that assists the Magistrate in escorting the suspects to and from the Magistrate’s chambers.

    L to R: Paul Sevigne (Matt Leyendecker), Dominique Beaurevers (Mary Koster), Josefa Lantenay (Erica Jureckson) , and Antoinette Sevigne (Lea Scherini). Photo by Roy Peterson.
    L to R: Paul Sevigne (Matt Leyendecker), Dominique Beaurevers (Mary Koster), Josefa Lantenay (Erica Jureckson) , and Antoinette Sevigne (Lea Scherini). Photo by Roy Peterson.

    An ingenious ‘whodunit,” A Shot in the Dark is also a cheeky comedy with a very dramatic outlook on love and passion. There are plenty of surprises throughout the show that steadily move the plotline along and keep the audience guessing to the end.

    Prince George’s Little Theatre’s A Shot in the Dark is a solid production with a talented cast, that’s perfect to take in on a cold winter’s day or night.

    Running Time: Approximately two hours, with a 15-minute intermission.

    A-Sot-in-the-Dark-banner1

    A Shot in the Dark plays at Prince George’s Little Theatre through January 24, 2015 performing at The Bowie Playhouse – 16500 White Marsh Park Drive, in Bowie, Maryland. For tickets, call (301) 937-7458, or purchase them at the door or online.

    RATING: FOUR-AND-A-HALF-STARS11.gif

  • ‘Children of Eden’ at 2nd Star Productions

    ‘Children of Eden’ at 2nd Star Productions

    FOUR-AND-A-HALF-STARS11.gif

    Am I on the Great White Way or am I really sitting in a theater in Bowie, MD? This is what I was thinking as I enjoyed 2nd Star Production’s opening night of Children of Eden now playing at 2nd Star Productions performing at The Bowie Playhouse. Directed by Vince Musgrave, this show has that Broadway sound and feel. And with music and lyrics by the great Stephen Schwartz, composer for Broadway hits such as Godspell, Pippin, and Wicked, how could it not?

    'Generations.' Photo by Nathan Jackson.
    ‘Generations.’ Photo by Nathan Jackson.

    Children of Eden is a two-act musical that recreates the story of creation in the first nine Books of Genesis based on a book by John Caird. Stephen Schwartz’ musical score of pop, rock, jazz, Caribbean, and gospel create a high-energy collage of musical variety in Children of Eden.  It first opened in the West End in London in 1991 to mixed reviews, but after Stephen Schwartz reworked the original production, they brought it to the U.S. where it has become very popular in schools, synagogues, and churches, and community theatres. And recently, it was performed as a one-night-only concert at The Kennedy Center on May 18, 2014.

    A visually beautiful darkened stage illumined by sparkly lights (by Designer Garrett Hyde) opens Act I to a groundswell chorus of “Let There Be Light,” the beginning of creation. It is the Garden of Eden and Father (Chris Overly), the God-character, tells Adam (E. Lee Nicol) and Eve (Caelyn D. Sommerville) to stay away from the Tree of Knowledge. Instead, Father distracts them by asking them to name and record all the fish and fowl of the air that he has created for them in the garden. Father, Eve and a host of Storytellers joyfully sing “The Naming,” which unfolds into “The Spark of Creation,” Caelyn’s first delightful solo. You knew you were in for an evening of great singing as Caelyn passionately performed it. The first act has fourteen splendid tunes with lyrics that recount Eve’s temptation in “In Pursuit of Excellence” and Adam and Eve’s expulsion from the garden in “The Expulsion,” “The Wasteland,” and “Lost in the Wilderness.”

    The story of Cain (Austin Dare) and Abel (Daniel Starnes), sons born to Adam and Eve, has a slight Biblical twist in that Cain kills Abel by accident when he really intended to kill Adam, and the Father, really wanted Adam to remain in the Garden of Eden but Adam chose to be with Eve singing, “A World without You.” Act I ends with a strong chorus of the Father and Storytellers bemoaning “The Mark of Cain” in song and the plight of the “Children of Eden.”

    The set designed by Jane B. Wingard was simply, but cleverly outfitted with primitive-looking rock formations embellished with hanging vines, flowers and The Tree of Knowledge to depict the idyllic Garden of Eden. The ensemble of this wonderful production is a talented mix of actors young and old with many darling children who all play a variety of roles. But the children steal the show every time particularly when they portray the cute animal figures in the story of creation.

    In the second act, colorful Biblical characters and animals in the story of Noah’s Ark come fully alive beginning with “Generations” sung by the Storytellers. It tells of the descendants of Cain and Able down to Noah and his wife and sons. Light choreography by Vince Musgrave marked the entire production but the ensemble danced more in the second act. Many of the dance moves involved literally balancing on one foot which made for somewhat shaky stances by all but the better dancers. It was still fun to watch although the  dancing was not the strongest aspect of this production.

    The cast of 'Children of Eden.' Photo by Nathan Jackson.
    ‘The Return of the Animals.” Photo by Nathan Jackson.

    True to the Biblical account, Noah is told to build and ark and to bring two of every kind of animal on board. The most delightful part of the entire show was the imaginative costume pageant of rabbits, turtles, cats, ostriches, peacocks, polar bears, giraffes, monkey, zebras, and elephants who marched from the back of the theater onto the stage to fill the ark. Animal Costume Designer Beth Starnes pulled out all the stops with original, creative animal costumes inhabited by those adorable children as well as adult actors. Carrie Dare and Linda Swann designed the other colorful traditional Biblical ensemble costumes. The animal pageant was a showstopper as the orchestra played “The Return of the Animals.”

    Noah (E. Lee Nicol) and Mama Noah (Caelyn D. Sommerville) have three sons, Shem (Dakarai Brown), Ham (Robbie Dinsmore) and Japheth (Daniel Starnes). Two of the sons are married but Japheth wants to marry Yonah (Alexandra Baca), who is from the tribe of Cain, and thus forbidden by Noah. Japheth sneaks Yonah onto the ark. Alexandra Baca and Daniel Starnes are a powerful singing duo as they rebelliously declare their love “In Whatever Time We Have.”

    Alexandra Baca and Daniel Starnes sing “In Whatever Time We Have.” Photo by Nathan Jackson.
    Alexandra Baca and Daniel Starnes sing “In Whatever Time We Have.” Photo by Nathan Jackson.

    Herein lies the final redemptive thematic of the Children of Eden as Noah learns acceptance and that love means letting go, as he welcomes Yonah into the fold and marries them. Noah has now become the Father figure and understands “The Hardest Part of Love” singing “Aint It Good” in a rousing gospel chorus ensemble finale. In the final tableau, the actors leave the stage and dramatically walk into the audience bringing us full circle in song with “In the Beginning.”

    Eleven tunes mark the second act. Under the excellent musical direction of Joe Biddle, the 2nd Star Orchestra with Mike Monda on Keyboard 1, Lynn Graham and Elisa Poole on Keyboard 2, Steve Hudgins on Keyboard 3, Mari Hill on Reed 1, Dan Longo and Matt Elky on Reed 2, Mary Haaser on Reed 3, Jeff Eckert and Larry Ansted on Bass, Emily Busch playing French Horn, and Rob Gersten and Zach Konich on drums all deserve individual special mention for the tremendous contribution their musical performance made to the success of Children of Eden. They were superb.

    2nd Star Production’s heavenly Children of Eden is an excellent production that appeals to audiences of all ages. The ticket price is right, the seats of the Bowie Playhouse are good from anywhere in the theater, and an all-star cast magically makes going to see it, right here in Bowie, a choice as wise as Solomon. Go see it!

    Running Time: Two Hours and thirty minutes, with a 15-minute intermission.

    CHILDREN OF EDEN 200X200

    Children of Eden plays through October 25, 2014 at 2nd Star Productions performing at The Bowie Playhouse – 16500 White Marsh Park Drive – in White Marsh Park, Rt. 3 South, in Bowie, MD. For tickets, call the box office at (301) 805-0219, or purchase them online.

  • ‘Monty Python’s Spamalot’ at Annapolis Summer Garden Theatre

    ‘Monty Python’s Spamalot’ at Annapolis Summer Garden Theatre

    FOUR-AND-A-HALF-STARS9.gif

    A Silly and Satisfying “Spamalot” in Annapolis

    It was perfect weather on opening night for the outdoor Annapolis Summer Garden Theatre‘s Monty Python’s Spamalot. Now in its 49th year, ASGT finishes their 2014 season with a silly and spirited production that features strong performances, a tight musical ensemble, grand and plentiful costumes, and a joyous showmanship that was funny and satisfying.

    The cast of 'Spamalot.'
    The cast of ‘Spamalot.’ Photo by Alyssa Bouma.

    Spamalot brings us the classic Arthurian Legend through the lens of the famed comedy troupe Monty Python. King Arthur gathers knights for his famed round table, and they head on a quest for the Holy Grail. He and Sir Robin, Sir Lancelot, Sir Galahad, and Sir Bedevere meet ferocious rabbits, knights who say “Ni” and dying peasants who insist they are “not dead yet.”

    Debuting on Broadway in 2005, Eric Idle and John Du Prez’s Spamalot, which was “lovingly ripped off from the motion picture Monty Python and the Holy Grail” earned 14 Tony nominations and three wins, including Best Musical.

    Director Jeffery Lesniak makes good use of the simple set and sets the right tone for the production; exuberant and silly. He is well-supported by strong work from the artistic staff. Rikki Howie Lacewell’s choreography is simple and clever for the choral numbers, and effectively highlights several superb solo dancers (Nick Carter and Austin Heemstra). Linda Swann’s costume design gets all the right touches. She manages the royalty with the King and his Knights, the glitzy with The Camelot Dancers/Laker Girls, the lowly with the peasants and guards, and the completely unnecessary with the entire company in a village of Finland, distinctively French (maids, mimes, and can-can girls), and slightly Yiddish.

    Steve Przybylski assembles a crack seven-piece orchestra whose strength never overwhelms the fine singers and Ken Kimble’s conducting was crisp and playful.

    Ruben Vellecoop gives King Arthur a naive dignity and a compelling politeness that keeps the through line moving forward. This King Arthur is never completely frazzled; his “I’m All Alone” is bittersweet and his duet with The Lady of the Lake “The Song That Goes Like This (Reprise)” is more cool than passionate.

    Joshua Mooney tackles several roles with aplomb. He is devilishly sinister as The French Taunter, and finds all the right levels of Sir Lancelot: ignorant, fearless, uncomfortable with his latent homosexuality, accepting and embracing of same. Mr. Mooney deftly manages the dialects of his characters, including the Scottish Tim the Enchanter.

    Alice Goldberg (The Lady of the Lake) gives a fine performance. Her singing is first rate in “Come With Me” and she plays delightfully with several musical stylings in “The Diva’s Lament.”

    David Merrill plays Sir Galahad with a light touch. His duet with Ms. Goldberg (“The Song That Goes Like This”) finds him in good voice and he plays the comedy with nuance. When he appears later in the show as Prince Herbert’s Father, he displays terrific comic timing with the two guards (Steven Baird and Fred Fletcher-Jackson).

    Mr. Baird provides solid support to the show with his distinct and steadfast servant to the King, Patsy. His characterization is wide-eyed and ignorant, while he deftly finds all the physical comedy in the role. Mr. Fletcher-Jackson makes Sir Robin earnest and sprightly (and easily soiled, in an ongoing gag). His “You Won’t Succeed on Broadway” is exuberant and fun. The potty humor runneth over with DJ Wojciehowski’s stinky turn as Sir Bevedere, the Strangely Flatulent.

    Cast member of 'Spamalot.' Photo by Alyssa Bouma.
    Cast members of ‘Spamalot.’ Photo by Alyssa Bouma.

    Austin Heemstra shows a superb range of characterization, going through four distinct roles in the show. His Not Dead Fred has a fearless physicality, as does his Minstrel, while his singing as the Minstrel and the effeminate Prince is clear and sweet.

    This is a show not for the politically correct. The cheeky humor lovingly mocks religion, sexual orientation, Jewish theatregoers and producers (“You won’t succeed on Broadway if you don’t have any Jews”), political systems, class struggles, and theater itself. Spamalot is not for the stoic.

    The Annapolis Summer Garden Theatre provides a unique and breezy setting for this fine show. This is a silly Spamalot that is sincere and locally flavored, and that is sure to improve over the course of their run.

    Running Time: Two hours and a 15-minute intermission.

    10491097_733926666642411_7241539350247077817_n

    Monty Python’s Spamalot plays through August 31, 2014 at Annapolis Summer Garden Theatre-143 Compromise Street, in Annapolis, MD. For tickets, call the box office at (410) 268-9212, or purchase them online.

  • ‘Look Homeward, Angel’ at Compass Rose Theater by Amanda Gunther

    FOUR AND A HALF STARS 
    Our lives are like a photograph; a picture that captures a moment, showing everything and nothing simultaneously. Even so, the deep complexities of relationships we share with others keep us frozen to our spot, keep us from going, because like Ben Gant says, how are you ever going to step out of a photograph? Compass Rose Theater starts off the 2014 new year with their production of Look Homeward, Angel, a play that explores those intricate relationships that keep us stuck in our own personal photographs. Directed by Patrick Walsh, this stirring drama is a reflection of a life truly struggled inside the emotional abuses of a controlling family.

    Shane O'Loughlin (Eugene) and Lucinda Merry-Browne (Eliza). Photo by Stan Barouh.
    Shane O’Loughlin (Eugene) and Lucinda Merry-Browne (Eliza). Photo by Stan Barouh.

    Costume Designer Linda Swann eases the audience’s journey back to 1915 with her simplistic but accurate approach to the costumes. Dresses that fit the style of the era without overwhelming the audience with effervescent colors are suited for the ladies and the gentleman’s outfits find a balance between dapper and shabby, particularly the clothing used for Eugene. Swann fits the garments to the performers in a way that allows them to traverse the intimate space with ease while still appearing to suit the southern charm and style of the 1910’s in South Carolina.

    It’s Lighting Designer Cecilia Durbin who creates a visually stunning opening and closing moment with the harsh white light capturing Eugene Gant like a flashbulb of a camera; forever memorializing him as he was in that inescapable photograph. Durbin’s subdued amber light for the family at the end of the production is another brilliant moment; shrouding the family in a background shadow as Eugene steps forward into the light, separating himself from the family that has held him back for so long.

    Director Patrick Walsh has a perceptive understanding of how to create a world inside a very intimate space, but there are moments when his blocking comes into question— mainly for entrances and exits. During scenes spent in the marble shop people enter from the top balcony and descend the stairs but they always exit from the front of the stage out through the house, or off to the side, creating a slight confusion as to what is considered the exterior of the shop, and what is considered perhaps a back entrance or upstairs to the shop, as the father character hides up behind a curtain on the balcony in the same place where people enter his shop. This happens periodically in the boarding house as well in trying to create a sense of what rooms are where and which exits lead outside verses leading to another portion of the house.

    Walsh does however succeed in developing the relationships between the characters in a fashion that truly allows the audience to see the turmoil boiling below the surface of their conversations. Working along with Line Coach Hannah Geib, the pair create an authentic southern sound in the voices of their actors, constructing a world of southern civility, which makes the emotional outbursts that much more shocking when they occur.

    There are far fewer women in the production than there are men, but the women who are present make their presence known in one way or another. Appearing only briefly in the second act is Madame Elizabeth (Maura Claire Harford). With her sultry air preceding her unctuous tongue it is clear she lives up to her title as Madame. Harford gives an exceptional cameo performance, igniting a scene of true passion between her and W.O. Gant; stirring up a major point of raw emotional contention in the story.

    ‘Fatty’ Pert (Janise Whelan) is a woman in the complete opposite fashion when it comes to her character’s behavior. Whelan, while certainly not the model image of chastity and purity, allows her corrupted character to be far more gentle and giddy. A married older woman attending the fancy of a younger man is certainly nothing to cheer for, however Whelan’s performance appeals to the audience’s sympathies with her teasing and cloyingly sweet flirtations with Ben (Bret Jaspers). While having one of the most climactic scenes in the production (which cannot be mentioned for fear of spoiling the plot twists) Jaspers grounds himself in a tragic reality, jabbing verbal and emotional daggers at his mother. Together Jaspers and Whelan offset the saccharine nature of the younger romantically inclined couple in the production, balancing youthful fantasy with wizened reality.

    Rounding out the main women in the production is the new tenant to the boarding house Miss Laura James (Lindsay Clemmons.) A delicate flower that wafts in on an afternoon breeze, Clemmons is the epitome of a glass of cool sweet southern-stirred lemonade; polite, charming, possessing a fragile innocence. Her involvement with Eugene (Shane O’Loughlin) is a driving point of the story.

    Together O’Loughlin and Clemmons have a budding chemistry that grows as the production carries on, both opening up to the other in a way that draws the audience into their story. O’Loughlin is a mild presence on the stage but when he speaks you truly hear him. There is something fascinating about the way he presents his story. His quiet approach makes his final eruption such a dynamic shock that you are left gaping in awe when he finally gives his mother, Eliza Gant (Lucinda Merry-Browne) a piece of his mind.

    Merry-Browne portrays the matriarch of the Gant household, a character that can only be described as a piece of work. A true mother that thinks she knows best for her family and her children, her overzealous attempt to do right by her children turns her into a raving monster that traps her family under her iron clutches. Merry-Browne finds the perfect balance between emotionally harried and blazing fury in her character, letting both erupt forth in a passionate rush of vocal crescendos. Her fights with W.O. Gant (Gary Goodson) are intense driven from a molten pit inside her character’s well-meaning heart.

    Goodson holds his own against the catastrophic outbursts that Merry-Browne brings to the stage, his initial appearance so thoroughly boisterous and disturbing that you find yourself cheering him on as the underdog in the situation. Goodson has instances of pure upheaval in his heart, blaring out through his booming voice in moments of intoxication and in moments of fear that disguise themselves as pride or anger. A commanding performance that easily rivals Merry-Browne’s intense stage presence, Goodson is the epitome of the tortured father character in the oppressed Gant household.

    Bret Jaspers (Ben) and Shane O'Loughlin (Eugene). Photo by Stan Barouh.
    Bret Jaspers (Ben) and Shane O’Loughlin (Eugene). Photo by Stan Barouh.

    There is much to be said for this emotionally gripping production of Look Homeward, Angel. It’s a fine example of the great American play at work, being reminiscent of Williams and O’Neill all blended into one. And yet it is still relatable to modern audiences – a family struggling with their own issues just trying to get by, doing what is best for everyone in the eyes of a mother.

    Running Time: Approximately two hours and 15 minutes, with one intermission.

    Look Homeward, Angel plays through February 9, 2014 at Compass Rose Theater—49 Spa Road in Annapolis, MD. For tickets, call the box office at (410) 980-6662, or purchase them online.

  • ‘Little Shop of Horrors’ at 2nd Star Productions by Amanda Gunther

    FOUR STARS
    Whatever you do…don’t feed the plants! The advice could not be more crystal clear and once you head down to the playhouse in the woods for 2nd Star Productions’ production Little Shop of Horrors you’ll know exactly why! Directed by Jane B. Wingard with Musical Direction by Joe Biddle, this sci-fi musical is exactly what the doctor ordered to head you into the fall theatre season. With their own unique version of the iconic plant, the show is really taking shape…and devouring audience members with its campy comic style.

    Seymour (Nathan Bowen) and Mushnik (Gary Seddon).Photo courtesy of 2nd Star Productions.
    Seymour (Nathan Bowen) and Mushnik (Gary Seddon).Photo courtesy of 2nd Star Productions.

    It has to be handed to Director Jane B. Wingard for so fluidly incorporating the ‘puppet’ into the overall show so well. It is often no easy task to work with a puppet (especially not one that changes multiple times throughout the duration of the show in size and complexity) as an additional character on the stage. Wingard’s puppeteering skills makes you feel to the “Audrey II” for nearly every scene. The one drawback to this enormous alien plant life is during its final form when Wingard chooses to utilize several chorus members. Because of the angle at which most of the actors remain hunched and bunched up it really ends up looking quite awkward, like humans without faces in brown cloth. But that small misstep aside, Wingard’s work with the puppets and main puppeteer Steve Hudgins, was a pretty remarkable success.

    Other design elements did not fall into place quite so readily. Costume Coordinators Linda Swann and Gail Bagaria had a mismatched approach to getting the 1960s era off the ground. While Seymour, Mushnik, Audrey, and Orin looked like the epitome of these iconic characters, the ensemble drifted along in more of a vague notion of 60’s fashion. The Doo-Wop girls in particular stood out because their outfits never matched, even just having all three of them in skirts or dresses instead of one in a dress, one in a skirt, and one in modern-looking clothes could have helped alleviate this awkwardness.

    The stage design, however, was impressive. Wingard, doubling as the show’s Set Designer, crafted her vision of “Skid Row” in lower East Manhattan  with the right drab color schemes and derelict looking surroundings. These details never detracted from “Audrey II” when it was meant to be the focus of the scene – but rather enhanced the enormity of the alien plant.

    Hannah Thornhill as Audrey. Photo courtesy of 2nd Star Productions.
    Hannah Thornhill as Audrey. Photo courtesy of 2nd Star Productions.

    Musical Director Joe Biddle overall created solid sounds from the ensemble. There were times, particularly during “Da-Doo” and “The Meek Shall Inherit” where the harmonies and intonation were wavering a bit, but otherwise the lyrics were crisp and understandable and the melodies carried quite well. Voices that really popped and caught my attention were Amy Mack and Malarie Novotny, playing two of the Da-Doo-Doo-Wop girls. Mack in particular is a vocal powerhouse that can be heard belting her heart out during “Skid Row” and is a particularly animated performer.

    Biddle really masters the special effects notion behind the projection on the microphone of “Audrey II” (voiced by Jeff Sprague). That haunting other-worldly voice of the alien plant comes bursting through the scene and it sends a little chill up your spine, especially when Sprague starts singing “Feed Me (Git It.)” Sprague has an exceptionally smooth and yet richly flavorful voice that is perfect for this blood-lusting plant.

    The real show-stealer is Orin Scrivello D.D.S.(Dean Davis). With an extremely powerful knockout voice, Dean blows the audience away during “Dentist!” His slimy brutal characterization of the masochistic character is too good to be believed as he really gets to the root of that character’s blackened soul in his feature number. The belt alone sustained near the end of that song is phenomenal. Davis is a brilliant character actor and although his role is short-lived he’s a knockout that is clearly out of this world.

    Rounding out the talent in the performance is Mushnik (Gary Seddon). Another greatly talented character actor, Seddon showcases his vocal prowess during “Musnik and Son” with an equally impressive (though not as long in duration) belt of power. His amusing dancing during this number also keeps the audience roaring with laughter. Seddon has a masterful hand on the broken New York accent, really giving his character that extra dimension needed for comic success.

    Putting her hands on the perfect accent is Audrey (Hannah Thornhill.) Vocalizing the character in her nasally uncertain New-York sound, Thornhill really grounds herself in the character’s flighty nature. And a talent to boot, Thornhill sings a rather amazing rendition of “Somewhere That’s Green” hitting the notes of the song while maintaining the vocal integrity of the character’s voice that she has created. Thornhill achieves the impossible by creating depth in this rather static stereotypical bimbo, showing two clearly distinctive sides of her personality; one for the terrifying dentist and the other for the syrupy sweet Seymour.

    The botanical genius behind it all is Seymour (Nathan Bowen). An adorably charming performer with a keen sense of awkward comic timing (which really lends itself to this character in particular) Bowen also crafts a voice for Seymour that makes him amusing and enjoyable. Though at times he is unfortunately washed away by the orchestra during numbers like “Grow For Me” he shines through with an incredible sound for “Suddenly, Seymour,” a riveting duet shared with Thornhill. Overall Bowen is the quintessential nerd and perfect for the role, giving his heart, sweat, and blood to Seymour’s overall growth and development.

    Make sure all your cuts are bandaged, we don’t want any temptations, and get down to 2nd Star Productions’ Little Shop of Horrors in the playhouse in the woods before the plants take over!

    Running Time: Approximately two hours, with one intermission.

    DCMetroArts-large-2

    Little Shop of Horrors plays through October 26, 2013 at 2nd Star Productions performing at The Bowie Playhouse—in White Marsh Park – 16500 White Marsh Park Drive, in Bowie, MD. For tickets, call the box office at (410) 575-5700, or purchase them online.

  • ‘Twentieth Century’ at Prince George’s Little Theatre by Amanda Gunther

    FOUR STARS
    All aboard! Boarding passes ready as you step aboard the Twentieth Century, ready to take you on an uproarious adventure at Prince George’s Little Theatre. A two hour “train trip” will have you rolling in the aisles. Directed by Keith Brown, this hilarious comedy is PGLT’s 180th production, a grand ride through trickery and tomfoolery, a well-rounded classic comedy that keeps the audience in stitches with over-the-top performances.

    Lilly Garland (Susan Harper) and Oscar Jaffe (Jeff Landou). Photo by Malia Murray.
    Lilly Garland (Susan Harper) and Oscar Jaffe (Jeff Landou). Photo by Malia Murray.

    Doubling up as the show’s Set Designer, Director Keith Brown crafts a wonderful train car upon which the audience can truly be swept away. Compartmentalized into the waiting car and two suite cars (aided brilliantly by the sharp cues of Lighting Designer Garrett Hyde), Brown’s train pays homage to the original Twentieth Century express with its bright pink and gold interior and lavish furnishings. The classic set really keeps the show moving, helping to even out the pacing of the comedy, especially when it comes to Jaffe’s rants in tight compressed spaces.

    Costume Designer Linda Swann hones in on the fancy styles fitting of 1932 Broadway and Hollywood. Jaffe’s elaborate traveling cloak and cane add radiance to his already blindingly bright character. The conductor’s suit as well as the Porter’s outfit are crisp and pressed, a mark of respect for the profession. But Swann’s real genius is in the picture-perfect look she creates for Lilly Garland’s character. From the moment Miss Garland sweeps into the train she looks like a stunning actress from Hollywood, a true tribute to the golden age of film, awash in sparkling white and gold.

    Director Keith Brown drives an energetic cast of characters on a one way trip to pure hilarity. The zany adventure is grounded with the very calm and collected Conductor (Aref Dajani) and his Porter (Jennifer Harvey). The pair try to maintain order and peace on the train as a madman runs loose, the stars explode in true diva fashion, and all sorts of calamitous chaos ensues. Dajani also does the pre-show curtain speech, treating the audience like the passengers of the train, really getting those watching into the atmosphere of the show.

    Everyone has their hand in the comic pudding in this production, even the minor characters like Dr. Lockwood (Greg Anderson). Starting as the very nervous man with a constant jumpy physicality, Anderson gives the audience shifty eyes and peculiar behavior as he attempts to sneak around on the train with his mistress Anita (Crista Campbell.) Halfway through the production, Anderson joins into the shenanigans and falls into the melodramatics when he thinks he spies a chance at fame and living out his dream, his full demeanor going from nervous and restless to enormous gestures and voice to match.

    Sparking the tension among them all is the innocent Matthew Clark (Paul Berry). A dweeby little fellow with odd physical ticks and a very nasally sounding voice, Berry adds laughs abound to the show as he tries to ‘save them all.’ His physical investment in the character, with wildly entertaining repetition, keeps everyone chuckling, he even ‘keeps you moving.’

    Taking on a triple identity, Steven Feder plays various and sundry characters throughout the production. His German accent as ‘the Beard’ is quite crisp, matching his equally overdone full body bends whenever he enters and exits a room. Feder doubles up as the Detective with a rich Jersey sound in his dialogue but his main character of Max Jacobs really takes the train by storm. Slinking in like the smarmy schmoozing big time producer that his character has been painted up to be, Feder twirls his cigar and struts about the train compartment as if he owns the place. His New York accent tops the bill and keeps the audience focused on him, especially when buttering up Lilly.

    Ever the picturesque print of Hollywood’s golden era, Susan Harper (Lilly Garland) cuts a very attractive figure in every scene. Harper gives the role her best, but she is unevenly matched against some of the wilder actors on stage and at times her performance seems very mild. Harper hits an invisible ceiling during her character’s moments of emotional outburst, especially when rebuking Jaffe, leaving the performance feeling one-dimensional. But what she lacks in expressivity she makes up for during her flip-flopping moment when reading the new script offered to her by Max Jacobs. That moment is completely grounded and focused, Harper sliding from a dreamy lost starlet to an edgy pompous star, making for a very funny series of lines.

    She does play well off George (Roger Paradis) her love affair of the moment. Paradis interacts well with everyone on stage, especially the ‘hired help’ of Jaffe, Owen (Brian Binney) and Ida (Kathryn Huston). Bumbling together like a pair of comic cads, Binney and Huston deliver sarcastic punches and weighted one-liners that keep the uproarious nature of this production on track. While Binney’s Irish accent wanders in and out of existence, his comic timing is so perfect that you almost don’t notice. Huston has a similar approach to her comic timing, her facial expressions highlighting these moments of exasperation and indignation. Together the pair pay homage to the Vaudevillian sidekicks, chummy with Lilly like old pals, constantly trying to set Jaffe straight, and overall a delight to watch.

    Jeff Landou has the audience rolling in the aisles the moment he storms onto the train. You hear him before you see him and when you do see him in all his magnificent diva-esque glory you know you’re in for an absolute treat. Landou’s performance is nothing short of a madcap explosion of bombastic comedy, laugh after laugh throttled into the faces of the audience as his melodramatics exceed record heights. Landou’s energy carries every scene, his spastic expressivity really drawing out the humor in his character’s over-the-top nature. He barbs and bites at Lilly with homage to Noel Coward’s Private Lives. When he takes to playing out his vision of The Passion Play, it becomes the instant pinnacle of Act I, sheer physical and vocal shenanigans that keeps the audience laughing nonstop through the whole scene. Landou is simply a scream; from his wild facial expressions that match his explosive physicality, constantly in motion. Physically engaging and well focused on the severity and seriousness of his own situation, the more he believes that each little molehill is a mountain of Everest’s proportions the more hysterical it gets for those of us watching.

    So come along for the ride, stay for the laughs, and enjoy Twentieth Century before it makes its final departure from the station of the 15th of September!

    from l to r Oscar Jaffe (Jeff Landou) Ida (Kathryn Huston) Max Jacobs (Steven Feder) Lilly Garland (Susan Harper) and Owen O'Malley (Brian Binney). Photo by Rachel Duda.
    From l to r: Oscar Jaffe (Jeff Landou), Ida (Kathryn Huston), Max Jacobs (Steven Feder), Lilly Garland (Susan Harper), and Owen O’Malley (Brian Binney). Photo by Rachel Duda.

    Running Time: Approximately Two hours, with one intermission.

    Twentieth Century plays through September 15, 2013 at Prince George’s Little Theatre performing at The Bowie Playhouse—White Marsh Park -16500 White Marsh Park Drive, in Bowie, MD. For tickets, call the box office at (301) 973-7458, or purchase them online.

  • ‘Into the Woods’ at Annapolis Summer Garden Theatre by Amanda Gunther

    FOUR AND A HALF STARS
    “I wish— I wish to go to the festival! I wish to lift the magic spell that’s cursed upon my house!” I wish — I wish— so many wishes, but they’ll only come true if you venture Into The Woods at the Annapolis Summer Garden Theatre for their final production of 2013. Directed by Darnell Morris with Musical Direction by Trent Goldsmith, this Sondheim Fairytale isn’t like any fairytale you’ve ever heard before. With Cinderella running away from the Prince, and a giant stalking the land wreaking havoc on all in her footfalls happily ever after might be but a pipe dream no matter how deep these storybook denizens venture into the woods. Set with modern framework and a very impressive set of costumes, this dark and foreboding musical is one of composer/lyricist Stephen Sondheim’s finest.

    Little Red Riding Hood (Lauren Winther-Hansen), Baker's Wife (Malinda Markland) Cinderella (Sarah Treanor) Baker (Scott Gaines) and Jack (Harrison Smith). Photo by Rachel Parker.
    Little Red Riding Hood (Lauren Winther-Hansen), Baker’s Wife (Malinda Markland) Cinderella (Sarah Treanor) Baker (Scott Gaines), and Jack (Harrison Smith). Photo by Rachel Parker.

    Director Darnell Morris, doubling as the show’s Set Designer, creates a dark and whimsical forest in shades of purple yellow and green; an enchanted backdrop with a dark twist that makes the woods a spooky place even if the woods are just trees and the trees are just wood. Morris keeps the fantasy element of the show alive with the help of Scenic Artist Sue Tilberry, who gets the storybook look well-grooved into these trees.

    Morris’ unique framing for the show brings a more modern element to the familiar musical. Choosing to make the narrator a little boy who has run away from home because his parents are fighting, the show kicks off with the frightened little boy now alone in the woods telling a story to keep himself entertained. Compressing Sondheim’s work into the dreamscape and nightmare of one small child really hones the focus of the fantasy element of this production. It does at times cause minor confusions as the young Narrator, played by Andrew Sharpe, is at times soft spoken and inarticulate. But Morris’ choice is becomes a flash of horror; a well-suited payoff that fits the Sondheim bill, when the characters turn on the narrator early in Act II.

    Costume Designer Linda Swann rounds out the imaginative look with her fusion of modern cos-play style costumes, infused with hints of Steampunk, gentle whimsy and bright colors. The step-sisters wear large garish dresses in pink and lime green plaid and purple and black stripes. Little Red Riding Hood and The Wolf have costumes that most strikingly resemble people from a comic convention, and the Steampunk influence is seen here as well as in the Princes’ outfits. Swann’s hodgepodge of assorted fabrics gives the show an eccentric feel to it; more than fitting for this fractured fairytale.

    Musical Director Trent Goldsmith works diligently to hone some of the voices in the ensemble to perfection, but there is a slight imbalance throughout the production with everyone’s singing. At times the lead characters present crystal clear sounds with perfect pitch and articulate so that the clever Sondheim lyrics can be heard, but at other times, particularly during the more difficult rhythm sections of the performance, and large group numbers like “Into The Woods” the voices fade, crack and slide out of key. As this occurred in minor spots throughout and to no one person more so than any other, Goldsmith’s work was uneven. He did, however, manage to coax a rousing enthusiastic sound from the ensemble as a whole when they sing in unison toward the end of songs like “Into the Woods” and “Ever After.”

    The cast is chock full of powerful serene voices. Rapunzel (Carol Ann Drescher) who sings but briefly from her tower; Cinderella’s Mother (Anastasia Sophia Herne) whose voice is featured in “Cinderella at the Grave,” and Stepmother (Erika Knepp) who has solo lines scattered throughout. These three women have simply divine voices that soar high into the rafters and sound heavenly, adding a beautiful blend to the many group harmonies performed throughout the show.

    A precocious spunky character, Little Red Riding Hood (Lauren Winther-Hansen) is anything but the sweet innocent little girl from the children’s story. Winther-Hansen brings her own unique brand of panache to the character, particularly when singing “I Know Things Now.” Her interactions with the Wolf (Kelston Thomas) during “Hello, Little Girl” are creepy bordering on flirtatiously devious. Thomas, as the Wolf, is made to look like a cross between Jack the Ripper from Victorian London and a Time Traveler, but his peculiar look doesn’t hamper his villainous ability. Thomas is on the prowl, physically and vocally for this number, becoming a truly unsavory character alternating between jaunty and charming when singing with Red, and treacherous while singing at her.

    Thomas doubles up as Rapunzel’s Prince, a flamboyant narcissistic character whose effeminate charm is matched only by that of his brother, Cinderella’s Prince (Alex Xourias). Thomas and Xourias are debonair, dashing, charming, and above all hilarious. When they swoop onto the stage, forever entering and exiting in a series of high-arching leaps, it’s impossible not to laugh. The pair couples up for “Agony,” turning this sweet ballad into an irreverent duet, pining over their women and showcasing what we in the modern world call “first world problems.” Thomas and Xourias pair up again for the song’s reprise in Act II, throwing themselves fully and even more comically into the number.

    The Baker’s Wife (Malinda Markland) is quite the character. Forever bickering with her husband the Baker (Scott Gaines) she insinuates herself into situations that often end up causing trouble. Markland has an exceptional voice, particularly when it blends with Gaines’ in duets like “It Takes Two,” a song that grants a brief reprieve from the couples’ arguing to show that deep down they truly are in love. Markland delivers an excellent rendition of “Moments in the Woods” splitting herself apart as she is torn between a dreamy doe-eyed fantasy existence and the pragmatic reality in which she’s been thrust.

    Little Red Riding Hood (Lauren Winther-Hansen), Baker's Wife (Malinda Markland) Cinderella (Sarah Treanor) Baker (Scott Gaines) and Jack (Harrison Smith). Phot by Rachel Parker.
    Little Red Riding Hood (Lauren Winther-Hansen), Baker’s Wife (Malinda Markland) Cinderella (Sarah Treanor) Baker (Scott Gaines) and Jack (Harrison Smith). Phot by Rachel Parker.

    Gaines, as the Baker, doesn’t get a chance to fully showcase his vocal prowess until near the end of the show. “No More,” a harrowing duet, carried mostly by Gaines, breaks the Baker wide open, revealing the raw emotions of his consternation and strife after all that has happened. Gaines’ voice is powerful and well suited for this role.

    Jack (Harrison Smith) is a boy described by his Mother (Cristina Shunk) as ‘touched.’ Smith’s acting proves this notion as he is a bit silly, fitting into the strange reality of Sondheim’s fairytale. His voice, however, is miraculous. Belting with pure enthusiasm and wide-eyed wonder during “Giants In The Sky” he astounds the audience with this concentrated sound, after playing the fool for the better part of the first act. Smith’s determination makes his character well grounded, despite his many flights up the beanstalk.

    Cinderella (Sarah Treanor) has an equally stunning voice. Carrying many of the main lines in the large ensemble numbers it is easy to hear her voice above the others. With a sweet disposition and a dulcet tone that could easily lull you to sleep for how comforting it is, Treanor pours heart and soul into each of her songs. As the maid turned princess, she delves into all of the emotional baggage her character carries, giving a wide range of feelings from melancholy to excitement and everything in-between. Her song “On The Steps of the Palace” showcases her belt and her range, while “No One Is Alone” shows a tender cajoling side as she tries to comfort Red.

    Woods3Without a witch you’d have no story, even if she is really just misunderstood. The Witch (Katrina Ellen Sillaman) is the epitome of vocal versatility in this production. Rapping her way through the garden segment of “Prologue: Into The Woods,” her pinched nasally voice is more than suitable for her gnarled and grisly figure. But after her transformation her voice becomes enigmatic and almost ethereal. There is raw broken emotion flowing from her heart in “Stay With Me,” showing her humanity and how deeply the world misunderstands that she is just lonely. “Witch’s Lament” is filled with anger that burbles under the surface, and her most epic number “Last Midnight” is a stunning finale that sends chills up your spine; a truly gifted performer placed in the perfect role.

    Dally about and be in the woods, but you must make it out to ASGT before this show goes dark!

    Running Time: Approximately Two hours and 45 minute, with one intermission.

    Into The Woods plays through September 1, 2013 at the Annapolis Summer Garden Theatre— 143 Compromise Street in Annapolis, MD. For tickets, call the box office at (410) 268-9212, or purchase them online.

  • ‘Camelot’ at 2nd Star Productions by Amanda Gunther

    FOUR STARS
    In short, there’s simply not a more congenial spot for ‘Happily Ever After’ than here in Camelot! And 2nd Star Productions delivers a resplendent happy musical with a rousing cast of characters as they close their season with Lerner and Loewe’s Camelot. Directed by Jane B. Wingard with Musical Direction by Joe Biddle, this historically themed musical takes the audience romping through the May-fields of England just as the mighty Arthur has settled into his Kingship. From Guenevere to Lancelot and the Round Table, the knights and chivalry of days gone by come to life right before your very eyes.

    King Arthur (Gary Seddon), Lady Guenevere (Emily Mudd), and Lancelot (Ben Harris). Photo courtesy of 2nd Star Productions.
    King Arthur (Gary Seddon), Lady Guenevere (Emily Mudd), and Lancelot (Ben Harris). Photo courtesy of 2nd Star Productions.

    The production itself comes close to perfection, faltering only with its pacing and its orchestra. At my performance, Pit Conductor and Musical Director Joe Biddle, while playing wonderfully on the keys, had trouble keeping the rest of the orchestra in tune and on tempo. The brass section in particular was shrilly squeaky and off-key during moments of proclamation announcements and heraldry calls, and there were many complex songs that took on syncopated and peculiar rhythms with which the players struggled to keep the proper rhythm and tempo. There were also moments, mostly when Guenevere was singing, where the orchestra was playing so loudly that she could hardly be heard. I’m confident that these problems will be rectified as the run continues.

    Director Jane B. Wingard does a marvelous job of blocking the production so that two dozen ensemble members never appear to overcrowd the stage. Wingard, however, struggles to keep the flow of the production going during the numerous non-musical scenes. The dialogue hangs idly in places, letting these talkative scenes drag down the overall momentum of the show.

    Costume Designer Linda Swann captures the essence of the Medieval Renaissance era for every single person on the stage. Be it the royal court in their fancy velvet finery or the various ladies in waiting with a range of dresses in many vibrant colors and all of the glorious headgear, snoods and beaded charms; Swann has a vision of this time period that is well reflected on the stage. Her most impressive work is in the whimsical fantasy of the fey court dancers. Minions of Morgan LeFey, the Faerie Queen of the enchanted wood, these ladies are bedecked in flowing layers of gauze and lace and have the most enchanting masks and wings.

    The large ensemble provides the boisterous powerful sound that you would expect from such numbers, the male ensemble particularly during “Fie On Goodness.” Featured here is a solo given by ensemble member Zac Fadler, a voice worth noting for how crystal clear, pure and strong he sounds when belting about Scotland as the rest of the men use their voices to comically imitate the lowing bagpipes and sheep of the plaid-lands. The female ensemble is equally delightful when joining the Queen for “The Lusty Month of May.” Both “The Jousts” and “Guenevere” are prime examples of how lovely all the ensemble voices sound when blended together, first in a rousing round of excitement and then in a more melancholic, if lyrically dissonant somber ballad.

    What really sets this production apart from others is the minor characters that populate the story. Every actor makes their role stand out, engaging the audience for even the briefest of moments. Merlin (Gene Valendo) and Nimue (Erin Paxton) are prime examples of this. Valendo only stays with us as the sorcerer briefly during the opening scenes, but he commands a majestic presence upon the stage and has a good comic line or two to deliver with well-placed timing. Paxton as the bewitching Nymph swoops onto the stage with her gossamer wings and siren’s voice, making her brief appearance a more than memorable one.

    The same can be said of Morgan LeFey (Rebecca Feibel). As the obstinate and haughty Queen of the Faeries, Feibel has a sassy attitude that becomes a force to be reckoned with, and despite her icy demeanor has a kind notion of right and wrong. Playing opposite her bratty nephew Mordred (Michael Mathes) she makes a cunning bargain during “The Persuasion” which showcases her ability to deliver metered rhyming prose. Mathes, while never really doing any singing during his songs, is a great character actor. He adapts a gritty and slimy feel to his spoiled rotten nasty little imp of a person and becomes vilely villainous during “The Seven Deadly Virtues” as he rattles them off at lightning speed.

    What such show could you have in Camelot without the knights? Three such are featured, Sir Dinadan (Nathan Bowen) Sir Sagramore (Keith Norris) and Sir Lionel (Josh Hampton). This trio of studly men come together in a most amusing fashion for “Take Me to the Fair” swapping humorous rhymes with the Queen as they plot to take down Lancelot in the joust. Bowen, Norris, and Hampton’s brazen devotion and comic banter please her majesty pink as punch.

    A wandering fool at first, Pellinore (Marty Hayes) arises greatly to his position at Arthur’s side as the production progresses. With aloof mannerisms that make him barmy and batty all in one go, Hayes is a charming wandering old madman that quickly evolves into a sagely, albeit annoying, companion for the king. His performance is splendid despite never hearing him sing.

    Where we have knights and a kingdom surely there must be a queen, and in this case it’s Guenevere (Emily Mudd). Her only problem is being extremely softly sung, making it difficult to hear her melodious voice in her various solos. Mudd has a charming British accent and displays a myriad of emotions from petulance to kindness and understand. Her singing voice is like a songbird and packed with heartfelt emotions for “Before I Gaze At You Again” and “I Loved You Once In Silence.” We see Mudd’s giddier side surface for her frolicking dances during “The Lusty Month of May.” The chemistry that she crafts with Arthur is a slow and kind relationship of tender love and affection. Her duet with the king, “What Do the Simple Folk Do?” is both incredibly amusing and a blissful marriage of their voices twining together for a good time.

    The most versatile character to show his face at the roundtable (which I should mention we never actually see) is Sir Lancelot (Ben Harris). Arriving on the scene as an arrogant narcissistic champion of France, Harris masters his thick accent with perfect elocution while managing to still sound very foreign to the English ear. “C’est Moi” becomes a crowd favorite as he belts and bellows about how perfect he truly is. But as the play progresses Harris reveals a much deeper side of the Lancelot character, a warm, passionate man who is madly in love with Guenevere, his bold emotive serenade “If Ever I Would Leave You,” proving with rich emotions just how caring he can be. Harris’ performance is second only to the King’s, giving us a stunning show.

    King Arthur (Gary Seddon). Photo courtesy of 2nd Star Productions.
    King Arthur (Gary Seddon). Photo courtesy of 2nd Star Productions.

    He is Arthur (Gary Seddon) King of the Britains! And his performance as such is incredible. Seddon starts the production as the rather spoiled king uncertain of his role in life, moody and broody, blaming Merlin for his problems. His comic delivery for songs like “I Wonder What the King is Doing Tonight” and the opening of “How to Handle a Woman” are uproarious; his rhythm delivery of the twisted syncopated beat astonishing. Seddon is a double-edged sword with his rich tenor-baritone voice that exudes a heavenly quality when singing in songs like “Camelot” and “How to Handle a Woman.” His final speeches, for both Act I and Act II are harrowing and heartfelt, the perfect juxtaposition of a strong man weakened by his humanity. And seeing him knight Lancelot is one of the most marvelously majestic moments of the production; a performance well worthy of a king.

    So get thee a horse and gallop into 2nd Star Productions’ Camelot before the kingdom comes crumbling down around itself this summer.

    Running Time:  Three hours and 10 minutes, with one intermission.

    Camelot plays through June 29, 2013 at 2nd Star Productions performing at The Bowie Playhouse— located in White Marsh Park – 16500 White Marsh Park Drive, in Bowie, MD. Tickets can be reserved by calling the box office at (410) 575-5700, and can be purchased online.