Review: Aubergine at Everyman Theatre

By Jason Crawford Samios-Uy

Running Time: Approx. 2 hours with one intermission

(l-r) Glenn Kubota as Father and Tony Nam as Ray. Credit: Stan Barouh

The memories people keep are vast and varied but most people have at least some memories that involve food. Even most of the greatest chefs of our time will remember, are inspired by, and mention his or her “momma’s cooking” and the memories it induces. Breaking bread with someone is one of the most civil acts we, as a species, can participate in to express our humanity toward one another and breaking bread with family is one of the most special and loving acts we commit in our lives. With that being said, we all have different tastes; some like simple cuisine while others enjoy more complex dishes, and even within our own family, our tastes clash and mirror our lives away from the dinner table. In Everyman Theatre’s latest offering, Aubergine by Julia Cho (in association with Olney Theatre Center), Directed by Vincent M. Lancisi, gives us a glimpse into the lives of an Asian-American family in the last days of the father and how even in the most strained and estranged relationships, there’s hope for a reconciliation or redemption when we take the time to learn about one another and see each other from a different angle.

(l-r) Negan Anderson, Tony Nam, and Eunice Bae. Credit: Stan Barouh

Briefly, Aubergine follows the story of Ray, a young Asian-American chef, as he processes the passing and last few days of his father, with whom he’s had a strained and volatile relationship with for most of his life. The father, is a stern, simple man who doesn’t seem to appreciate the more stylish, complex life Ray has chosen to live. When Ray is called to care of his dying father, he reconnects with a jilted lover, Cornelia, who still has strong feelings for Ray, and his estranged Uncle from Korea. Together, through a language and cultural barrier and food, they learn to process the passing of this man they knew at different times and realize the lessons he’s taught them through his actions.

(l-r) Glenn Kubota as Father and Tony Nam as Ray. Credit: Stan Barouh

Technically, Everyman Theatre has not disappointed thus far and Aubergine is no different. Set Design by Misha Kachman is intelligent and appropriate using a unit set that can be used to portray different locations using set pieces that are easily set up and taken away, not interrupting the flow of the piece. The modern setting is authentic and adds value to the piece as a whole. Along with Kachman’s Set Design, Light Design by Harold F. Burgess II and Sound Design by Roc Lee work in tandem to help tell and move this story along. With isolated lighting on various sections of the stage at certain times, Burgess manages to set the mood for each scene beautifully while Roc matches the mood with traditional and modern music, as well as impeccable sound effects to represent certain locations. Overall, Kachman, Burgess, and Lee should be applauded and commended for their efforts in this production.

(l-r) Eunice Bae as Cornelia and Tony Nam as Ray. Credit: Stan Barouh

Vincent M. Lancisi, Founding Artistic Manager of Everyman Theatre, takes the helm of this piece and presents it simply with a clear vision. His staging is superb as the pacing is consistent which moves the story along nicely. This is a tricky subject matter that should be handled with kid gloves, and Lancisi has managed to present it respectfully and with due diligence, but truthfully, as well. His decision to use subtitles is wise as a lot of this dialogue is in Korean and this helps the audience keep up without sacrificing the tempo of the piece. His casting is splendid and his cast comes together as naturally as any real family going through this type of situation. It’s clear that Lancisi has a firm comprehension of this delicate material.

Moving on the performance aspect of this piece, Everyman Theatre Resident Company member Megan Anderson takes on the supporting role of Diane and Hospital Worker and though her stage time is light, she makes the most of it, starting off the show with the first of a few monologues, setting the tone nicely and setting the stage for the piece as a whole.

(l-r) Jefferson A. Russell as Lucien and Tony Nam as Ray. Credit: Stan Barouh

Jerfferson A. Russell takes on the role of Lucien, the hospice nurse assigned to Ray’s father. Russell shines in this role and he seems to completely embody this special type of character who must have a perilous balance of compassion and logic dealing with death and the family members left behind. Russell has a great presence and understands his character and his part in the hospice process, making for a confident and authentic performance.

(l-r) Tony Nam as Ray and Song Kim as Uncle. Credit: Stan Barouh

The son, Ray, has an unlikely support system in this story and Eunice Bae tackles the role of Cornelia, the younger, but just as mature girlfriend and Song Kim takes on the role of Uncle, the brother of Ray’s father who is almost a stranger to Ray, but understands the value of family and travels far to be with him. Both of these actors are standouts in this production. Bae is outstanding in this bi-lingual role and she really grasps the meaning of her character. She plays the character with a natural flare that fits it nicely. Bae understands that this character is kind of the caregiver for the caregiver and, though she is not obligated to take on such responsibility, steps up and does so. Her comprehension of the character is clear and she is comfortable in the role, playing her confidently.

Kim, too, is impressive in his role which requires speaking Korean more than English (having only a few lines or words in English), he manages to play this character in a way we can understand exactly what he is saying (even though there are clear subtitles). This really displays his aptitude as an actor knowing how to communicate non-verbally, but clearly. His chemistry with his cast mates is spot on and his comprehension of the material and his character make for an outstanding performance.

(l-r) Tony Nam as Ray and Glenn Kubota as Father. Credit: Stan Barouh

Lastly, we have Glenn Kubota as Ray’s Father and Tony Nam as Ray, the two characters around whom this entire story revolves. Kubota is absolutely authentic as an immigrated Asian father (I grew up with one, I know all too well) and he hits the nail on the head in his performance. It’s like watching my own father up on the stage and it was both eerie and poignant, for just a moment, seeing my father here with me again. Though Kubota doesn’t have many lines, his performance is stellar. I admit, I may be biased, considering my life experiences, but Kubota wears this character like a perfectly fitting glove. He has a complete grasp on this character and plays it to the hilt making for an incomparable performance.

The character of Ray holds a special place in my heart as well, being a character to whom I can completely and utterly relate. Growing up American with deep Asian roots can be tricky and it’s a delicate balance one must keep and Nam portrays this flawlessly. He embodies his character and emotes the conflict of resentment and love he has for his father, which many folks have, I suppose, and makes it easy for the audience to connect with and relate to him. He has a good command of the stage, a great chemistry with his cast mates, and has a deep understanding of his character making for a splendid performance.

Tony Nam as Ray. Credit: Stan Barouh

Final thought… Aubergine is a heart-wrenching look at strained family relationships and regrets in the last days of a loved one’s life, but it’s also a redemption, of sorts, with new connections and positive self-realizations. It’s an emotional roller-coaster that brings out the best and worst in family relationships, especially between fathers and sons, when they are separated not only by generation but by culture and taste. This one hit home hard for me, experiencing the passing of my own father just last June, but this piece presents the hospice process exceedingly well with poignancy as well as with a pinch of humor, giving a well-blended mix of ups and downs that make for a good drama. The performances are authentic and natural, and the characters are extremely relatable. The staging and pacing is on point making for an impeccable evening of theatre. The passing of a loved one is never easy, no matter how your relationship played out, but this piece is a great account of how things could be handled and what happens in those final days. Do yourself a favor – grab your tissues and get out to experience this show! It’s not one you want to miss this season.

This is what I thought of Everyman Theatre’s production of Aubergine… What did you think? Please feel free to leave a comment!

Aubergine will play through April 15 at Everyman Theatre, 315 W. Fayette Street, Baltimore, MD. For tickets, call the box office at 410-752-2208 or you can purchase them online. As an added bonus, use the online code FOODIE18 for a 20% discount on tickets!

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Review: A Funny Thing Happened on the Way to the Forum at Silhouette Stages

By Jason Crawford Samios-Uy

Running Time: Approx. 2 hours and 15 minutes with one 15-minute intermission

Most folks love a good comedy, especially when there’s something familiar and something peculiar and with Silhouette Stages‘ latest offering, A Funny Thing Happened on the Way to the Forum with a Book by Burt Shevelove and Larry Gelbart and Music & Lyrics by Stephen Sondheim, there’s something for everyone! This latest venture is Directed by Conni Ross, with Music Direction by William George and Choreography by Tina deSimone.

Rich Greenslit (Miles Gloriosus) and Bob Gudauskas (Pseudolus). Credit: Russell Woodridge

In a nutshell, A Funny Thing Happened on the Way to the Forum is formatted much in the same way as the ancient Roman farce and, tells the humorous tale of Pseudolus, a slave, and his cunning plans to win his freedom by helping his young and in love master, Hero, get the girl next door, who happens to be a virgin prostitute (or the ancient Roman version of one). Throughout the story we are presented with classic elements of farce with puns, doors slamming, and mistaken identity, of course, as well as a social commentary on social class. Throw a complex but bouncy score by Sondheim and you have a nice satirical evening of theatre.

Alex Porter’s stellar Scenic Design and Set Decoration by Jessie Krupkin and Bill Pond is large and in charge, taking up the entire stage and adding great value to this production. He is wise to choose a unit set, making it easier to move the action along smoothly. Though farce calls for a lot of slamming doors, you won’t find any doors on this set, but it’s okay because, sans doors, the quick entrances and exits are easily made, keeping the momentum up. The Set Decoration and Dressing by Krupkin and Pond is spot on bringing a whimsical feel to the piece, as required. Porter has managed to give us two story structures, as well, which can be tricky when it comes to smaller, community theatres, but the structures seem strong and sturdy and make for a great setting, overall. Krupkin and Pond have a great eye for detail and have created a near perfect comedic rendition of an ancient Roman street including two life-sized Roman sculptures that add great value to the overall design. Porter, Krupkin, and Pond should definitely be applauded for their scenic efforts and execution for this production.

(l-r) Jeff Dunne (Lycus), Matt Scheer (Hysterium), Robert Gudauskas (Pseudolus), and Don Patterson (Senex). Credit: Russell Woodridge

Costume Design by Linda Swann is impeccable and fitting for this production presenting the ancient roman setting but also blending in the modern and humor of each character. Swann uses her modern day resources (t-shirts and sunglasses) and mixes them with the more traditional garb of Roman soldiers and citizens to make for a delightful design. When need be, each character is an individual, as well, and all seem comfortable in his or her wardrobe which adds great value to the production.

Tina deSimone takes on the responsibility of Choreographer for this piece and though the choreography is a bit elementary and basic, it’s still entertaining and the cast seems to have a great time performing it. It’s fitting for the piece and deSimone is obviously familiar with her casts varied movement experience and manages to create numbers that are easily performed by all.

As Music Director, William Georg already had a lot to work with going in because, vocally, this ensemble is quite strong. The use of canned music is a bit offsetting as it seems to bring down the energy, but the cast knows their stuff and Georg has done his job superbly. His cast is in harmony and in tempo in each number and any Sondheim score is a challenge but Georg has definitely risen to this challenge for our listening and toe tapping pleasure.

Conni Trump Ross takes the helm of this production and does a commendable job bringing this story to the stage. There are built in challenges with this piece, one being it’s not only a comedy, but also has many farcical aspects and this is a challenge for any cast and director. The story is presented nicely in a traditional setting and the pacing is fantastic but when it comes to the farce, it falls a little flat. One has to have a strong comprehension of farce to direct it and it needs to be flawless to be effective. The speed in which a farce is supposed to happen, like rapid fire, just isn’t as strong in this production as it could be, but that’s not to say the production isn’t quick and funny, because it certainly was. The casting is spot on and the piece is well rehearsed and Ross seems to have a good grasp of the material and how to present it, making for a very good showing.

(l-r) Bob Gudauskas (Pesudolus) and Todd Hochkeppel (Erronius). Credit: Russell Woodridge

Moving on the to performance aspect of this production, it’s worth mentioning that this ensemble is top notch as a whole, they are well rehearsed and really get the humor in this material. For instance, Todd Hochkeppel takes on the role of Erronius, the poor elderly neighbor who is searching for his kidnapped children through most of the show and makes what really can only be called cameos throughout, but… he makes the most of his short time on stage and is absolutely hilarious as the goofy, seeking old man with brilliant comedic timing and a great presence for this character.

Bob Gudauskas (Pesudolus) and Rich Greenslit (Miles Gloriosus). Credit: Russell Woodridge

Tommy Malek tackles the role of Hero, the lovelorn boy next door to Rachel Sandler’s Philia, the virginal, naïve prostitute next door. Both of these actors have a good understanding of his or her character and though Malek comes off a little lackluster in his scene work in which he is a little too stiff and scripted, he has a booming, smooth vocal performance that is enthralling, especially in his featured numbers such as “Love, I Hear,” “Lovely,” and “Impossible.” Sandler, an accomplished music director in her own right, is a delight as the ditzy, beautiful blond and she plays the role to the hilt with good comedic timing and a lovely voice that rings out throughout the theatre.

Don Patterson portrays Senex, the henpecked, hormone raged patriarch of the House of Senex, and Ande Kolp plays his wife, Domina, the take charge mistress with a strong libido. Patterson does well with this role and portrays Senex appropriately giving him a good blend of obedience to his wife and a wild streak when he sees a young lady he fancies. He has a good sense of comedy but his farce is a little too slow for my liking. However, he starts off one of the funniest numbers in the entire show, “Everybody Ought to have a Maid” and he completely gets and presents the humor of this number beautifully. Vocally, he can hold his own and, through his scene work and chemistry with the rest of the ensemble, makes the character quite lovable.

Kolp, as Domina, has this character down pat and her presence is impressive. She too, gets the humor, taking her character serious enough to present the humor of her. She works well and off of her fellow cast mates and gives admirable and racy (but funny) rendition of “That Dirty Old Man.”

Bob Gudauskas (Pseudolus) with Courtesans Allie Press and Kelly Nguyen. Credit: Russell Woodridge

Bob Gudauskas tackles the quick and fast paced role of Pseudolus and Mat Scheer Matt Scheer takes on the role of Hysterium, the two slaves who, somehow, have to keep everything together throughout the production. Though Scheer gives a good technical performance, there doesn’t seem to be much urgency behind his character, physically. The character’s name alone, Hysterium, puts pictures of a hysterical, on edge, jumpy character in the minds of the audience but I simply don’t get this from Scheer. He plays him a little too subdued making his featured number, “I’m Calm,” a little forced and out of place. However, he does have a great presence onstage, understands the material quite well, and he works well with and off of his fellow actors making for a worthy performance.

As Pseudolus, Gudauskas is supposed to guide the audience through the story and he does his superbly. He has a fantastic presence and does well vocally, but he too is a bit subdued for the role with no urgency. Also, he seems to understand the shtick and farce, but, as mentioned, it is a bit hokey and Gudauskas seems a bit forced and scripted at times. With that being said, vocally, he’s got a strong voice and is confident in his vocal performances, as in the opening number, “Comedy Tonight,” that gets the ball rolling. Overall, he gives a solid, charming performance making him a very likable character.

The definite highlights of this production are Richard Greenslit as Miles Gloriosus and Jeff Dunne as Lycus (is it just me of could these two almost be twins?). They are both hilarious in their respective roles and their comedic timing is on point. Dunne gives an impeccable performance as the sly, greasy, friendly flesh peddler next door and his facial expressions are second to none. His expressive eyes and gestures add great value to this character and to the production as a whole. He seems fearless of making a fool of himself and that’s one of the best characteristics a good comedian can have. He has a good grasp of his character and plays him in a way that is sleazy, but yet, still likable which is tricky, but of no challenge to Dunne. He’s a stronger actor than he is a singer, but he certainly holds his own and shines in his featured numbers like “The House of Lycus,” and “Everybody Ought to Have a Maid.” Overall, he gives an outstanding performance and will have you in stitches.

Greenslit, as the manly, egotistical captain in the Roman army plays his part to the hilt and has a large presence with great facial expressions and gestures. Vocally, he’s a powerhouse with a booming baritone that resonates throughout the theatre, especially in his featured numbers such as “”Bring Me My Bride” and “Funeral Sequence.” Funny, confident, and giving a solid comedic performance, Greenslit is certainly one to watch.

(l-r) Bob Gudauskas (Pseudolus) and Rich Greenslit (Miles Gloriosus). Credit: Russell Woodridge

Final thought… A Funny Thing Happened on the Way to the Forum is a fun romp through ancient Rome with catchy Sondheim tunes performed by an able cast of crazy characters. Though the pacing is a bit off at times, especially when it comes to the farce, and some of the humor may be hoky and vaudevillian, but the zany story holds up nicely and is well thought-out. It’s clear that the ensemble gives 100% effort and each actor takes his or her role serious enough to emote the humor and absurdity of each character. It’s fluffy, it’s light, but it takes a certain discipline to pull off a comedy effectively (especially when a Sondheim score is involved) and, for the most part, this production is quite successful and makes for an enjoyable evening of theatre.

This is what I thought of Silhouette Stages’ production of A Funny Thing Happened on the Way to the Forum… What did you think? Please feel free to leave a comment!

A Funny Thing Happened on the Way to the Forum will play through March 25 at Silhouette Stages, 10400 Cross Fox Lane, Columbia, MD. For tickets, call the box office at 410-637-5289 or purchase them online.

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Review: Animal Farm at Baltimore Center Stage

By Jason Crawford Samios-Uy

Running Time: Approx. 90 minutes with no intermission

Originally written as a novel in 1945, the world was in a post war era and still scared of its own shadow with fresh memories of the atrocities of WWII. Countries didn’t trust each other and disagreed on how to run things. Orwell wrote this allegoric tale in criticism of our once recent allies, the Soviet Union and Stalin, in particular. In this day and age, I can’t help but thinking of the quote from author Alan Moore (V for Vendetta) stating “People should not be afraid of their governments. Governments should be afraid of their people.” It’s a quote that would have done well for the characters of Baltimore Center Stage’s latest offering, George Orwell’s Animal Farm, adapted by Ian Wooldridge and Directed by May Adrales. This adaptation is spot on and brings on all the frustration and turmoil that exists in this story. It is a story every generation should see, hear, read, and understand as to protect not only themselves, but the future generations, yet to come.

In a nutshell, George Orwell’s Animal Farm uses animals and the setting of a farm to explore how communism and absolute power effect different classes of people and how something starts off as good for the whole ends up diluted and people (or pigs) get power hungry and human (or animal) nature takes over to turn it into something bad. For instance, those in charge create the “rules” but change them to suit their needs and actions, as needed. As the old adage goes, “absolute power corrupts absolutely.” And when a people blindly follow, they end up too deep in a situation to change it… or to feel as though they can change it.

The Scenic Design by Andrew Boyce is creative and appropriate for this piece. Being a unit set with various props keeps the attention on the text and action but adds to the oppressive and industrial feel of the entire production. The audience feels as though they are sitting in an old, dirty warehouse or slaughter house and it fits perfectly working in tandem with the Lighting Design by Noele Stollmack and Sound Design by Nathan A. Robers and Charles Coes. Stollmack works with the Scenic Design flawlessly, creating the mood of uncertainty and giving us backlighting and dramatic foot lighting to emphasize certain points of the text and characters. All the while the original compositions and Sound design create a mood of desperation, especially with the hymn “Beasts of England” with its blend of despair and hope all in one.

Costume Design by Izumi Inabi is a particular highlight of this production. Inabi has taken on the challenge of a production filled with humans playing animals and has risen to that challenge. Instead of dressing the actors head to toe as animals, Inabi has cleverly and creatively built costumes to insinuate animals, effectively, without bogging down the actors in heavy material, giving them room to work. More like puppetry, the costumes wisely consist of a base white overall while adding animal head puppets to portray each animal character and this also allows the members of this small ensemble to switch between animal characters easily and seamlessly. Overall, Costume Design is top notch and Inabi is to be applauded and commended for her impeccable design.

It’s worth mentioning that Ian Wooldridge’s adaptation is spot on. Being one of Orwell’s shorter novels, Wooldridge manages to cover all the main points without omitting or adding too much. In a cool 90 minutes, he manages to tell the story in its entirety. He also captures the oppression and blind loyalty in his text, as well as the change made of those in power and he writes in such a way that is easy to follow making this (I don’t mind saying) one of the best adaptations of a novel I’ve seen in quite awhile.

May Adrales takes the reigns of this production and her Direction and vision for this piece is clear making for some powerful and intense theatre. Adrales clearly has a thorough comprehension of the material and has guided this ensemble to tell this story effectively and unabashed. Her casting is superb and the staging keeps the story moving along nicely at a great pace while making sure to hit each important plot item. Staging a new, adapted production of a well-known novel can be tricky, but Adrales seems to have had no problem whatsoever and has given us a meaty, brilliant piece of theatre.

As for the performance aspect, the small ensemble works well together to bring this story to life and each individual actor delves into their animal character (all playing at least two characters during the production) making the audience forget these are actual animals but helping them see the humanity (whether or good or bad) in each character.

Napoleon, played by Melvin Abslon and Squealer, portrayed by Tiffany Rachelle Stewart, are the main pigs in charge of Animal Farm (the name given to the farm after the exile of Mr. Jones) and both of these actors play their characters to the hilt. They must be doing a bang up job because I find myself absolutely despising these two at the conclusion. Abslon (who adeptly takes on various roles, including that of a preaching crow named Moses) completely embodies the role of Napoleon and plays him with a certain dignity and grace one might not expect of a pig, but also has such a great, booming stage presence, this character, the leader, fits him perfectly.

While Abslon is large and in charge, Tiffany Rachelle Stewart takes on the role of what seems to be the #2 pig in charge, keeping tabs on everyone and making sure everything runs smoothly… in accordance to what the pigs want. While Stewart does a fantastic job as the voice box for the leader, I found her portrayal a bit annoying and though the character is written as an annoyance, Stewart played this up more so than it should be. Her jerky movements and idiosyncratic noises throughout the production just grated on the nerves, but, in her defense, it works to make her character more intolerable. Overall, her performance is effective, if not aggravating.

Brendan Tilley as Snowball, makes a great showing and gives a strong performance, as a betrayed pig who is exiled, just as the farmer was, and is turned into public enemy #1. Tilley’s stature helps him create a character with a big presence and one of authority and he has a good grasp on the necessity of this character and his place in the story and this makes for a commendable performance. Along those same lines, Jonathan Gillard Daly, who tackles the role of Benjamin, the old, curmudgeon donkey who questions the actions of the powers that be, knows exactly what his character is about and how he fits into the story. Daly takes on various roles (namely that of the humans in this piece), and does a splendid job transforming from his animal characters to his human characters. He is confident and comfortable on the stage and gives Benjamin a certain sense of balance between the clever pigs in charge and the workers (of whom he is one of the few who can read well). Both Tilley and Daly add value to this production with their character work and understanding of the material.

Deborah Staples as Clover, the young mare (though in the novel, she’s a bit older) and companion to Boxer, and Stephanie Weeks as Major, the former leader of the pigs, and Boxer, a work horse, are definite highlights of this production of Animal Farm. Staples plays Clover as an unsure character who knows something is awry, but also unsure of what to do about it. Much like many people throughout time who stood by out of fear or ignorance when things were going bad. Staples completely embodies this character and it is easy to connect with her as I would venture to say we’ve all been in her shoes at one time or another. She’s comfortable on stage and has a strong presence making for a stellar performance.

The other standout, Stephanie Meeks, starts off with a bang as Old Major, the boar who is the leader of not only the pigs, but all the animals on the farm and her monologue rallying the animals into rebellion is inspiring. You can see in her eyes the emotion and the heartache in her performance, especially when she begins the hymn “Beasts of England,” with a very impressive low, guttural alto that fits this character and the mood perfectly. Meeks’ turn as Boxer is just as impressive as she has a full grasp on this character and exudes the blind loyalty that leads to pretty much nowhere. It’s frustrating for the audience to see but she also emits a certain hope in her performance that gives the audience a light at the end of a tunnel that makes for an outstanding performance.

Final thought…  George Orwell’s Animal Farm at Baltimore Center Stage is everything an adaptation of this novel should be. Especially with the uncertain times we live in today, it captures the frustration of those who are blindly loyal and presents an uncomfortable truth about the rise of power and the changes those who apart of that upswing go through. It sends the message that, pardon the cliché, that the grass is not always greener on the other side and, absolutely represents the time in which Orwell wrote Animal Farm with the fear of communism and the worker’s plight. The performances are spot on and the production is well through-out and presented impeccably. You don’t want to miss this production this season so, get your tickets directly.

This is what I thought of Baltimore Center Stage’s Productions’ production of Animal Farm… What did you think? Please feel free to leave a comment!

Animal Farm will play through April 1 at Baltimore Center Stage, 700 North Calvery Street, Baltimore, MD. For tickets, call the box office at 410-332-0033 or you can purchase them online.

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Review: Oklahoma! at Artistic Synergy of Baltimore

By Jason Crawford Samios-Uy

Running Time: Approx. 2 hours and 30 minutes with one 15-minute intermission

If you dream of a place where the wind comes sweepin’ down the plain and the wavin’ wheat can sure smell sweet when the wind comes right behind the rain, well… you can traverse to the great state of Oklahoma, or you needn’t go any further than Artistic Synergy of Baltimore to experience their latest offering, Oklahoma! by Richard Rodgers and Oscar Hammerstein II, Directed by H. Ray Lawson, with Music Direction by Jeff Baker and Choreography by Suzanne Zacker. This well-known classic is reincarnated to give us a glimpse into a simpler time and happier endings.

The Cast of Oklahoma! Credit: Jason Crawford Samios-Uy

Briefly, Oklahoma! takes place in a territory (not yet a state) not long after the turn of the century when there was a spirited rivalry between cowboys and farmers. Curly, a cowboy, and Laurey, a farm girl are quite in love and the story mainly revolves around these two characters. Laurey is pursued by the sullen, dark farm hand, Jud Fry and threatens her budding romance with Curly. Throw in a spunky Aunt Eller, a whippersnapper of a cowboy, Will Parker, and a curious and spirited young woman, Ado Annie, who likes when men talk “purdy” to her, and you have the makings of a good, old-fashioned, feet stamping musical.

Music Direction by Jeff Baker is superb as this strong ensemble sings through this soaring Rodgers and Hammerstein score with ease. The use of canned music takes away from the energy of the piece, but that’s not to say it’s not energized and upbeat as the cast gives a good showing of this familiar music.

Austin Barnes and Suzy Zacker. Credit: Jason Crawford Samios-Uy

Choreographer Suzanne Zacker seems to know her cast well and has created interesting and engaging choreography that is performed well by the ensemble. It’s worth mentioning that Zacker is a highlight in this piece, taking on the role of Dream Laurey, during the “Dream Ballet” number. Her grace and elegant movement during this number is impeccable and is certainly a praiseworthy performance that keeps you enthralled and entertained.

Ray Lawson takes the reigns of this production and he should be applauded for his Direction, presenting this piece with a balance of the familiar and freshness. It’s always challenging to produce a tried and true story but Lawson wisely sticks with the traditional staging and seems to have a good comprehension of this material. The pacing is on point and the two and a half hour run time is no more or no less than what is needed to present this piece and still be entertaining for the audience. The ending of the show is a little lackluster, ending on a whimper rather than a bang, but I’m chalking that up to using recorded music, and I’m sure the cast will improve this ending with each performance. Overall, his vision is clear and it is a well thought-out, well-rehearsed production.

Austin Barnes as Curly and Josh Schoff as Jud Fry. Credit: Jason Crawford Samios-Uy

Moving on to the performance aspect of this production, Josh Schoff  takes on the complex and meaty role Jud Fry but, unfortunately, is a little weak in presentation. He certainly does not bomb in this role and he seems to have a good grasp of the character but also seems to be just going through the motions. His eyes dart all over the place and he rarely makes eye contact with his cast mates which loses that connection he must have to make his character work. This may seem like a knit-picky flaw but eye contact and that connection is essential for this role. Vocally, he’s a little shaky but emotes adequate emotion needed in songs such as “Poor Jud is Daid” and “Lonely Room” which redeems his performance a bit. With that being said, he looks near perfect for the role and is comfortable onstage and with a little more effort, could take this character to the hilt.

Donna Zubrowski as Aunt Eller. Credit: Jason Crawford Samios-Uy

Tackling the role of the feisty and spunky Aunt Eller is Donna Zubrowski and she is perfectly cast in this role. Zubrowski brings a certain authenticity to the part and her choices are befitting of such an endearing character. She has a great chemistry with the ensemble and is comfortable in the role making for a delightful performance. To go along with the more comedic characters, Lou Otero gives a humorous take on the role of Ali Hackim, the traveling salesman who finds himself in the wrong place at the wrong time and in the site hairs of a couple of young women of the territory. Otero has a good comprehension of his character, even if his accent is a little wonky, and he has good comedic timing.

Joe Weinhoffer as Will Parker and Kristin Miller as Ado Annie. Credit: Jason Crawford Samios-Uy

The young, optimistic couple Ado Annie and Will Paker are portrayed by Kristin Miller and Joe Weinhoffer, respectively, and both play these roles splendidly with an absolute believable performance and great chemistry. Miller embodies the giddy, immature, but yearning Ado Annie and, gives a terrific vocal performances as in her featured (and well-known) number “I Cain’t Say No.” Weinhoffer is brilliant as the lovelorn Will Parker and effectively and poignantly portrays the love his character has for Ado Annie. Vocally, he gives a commendable performance, especially in his featured number “Kansas City” where he also gets to show off his movement skills along with the rest of the male ensemble.

Mea Holloway as Laurey and Austin Barnes as Curly. Credit: Jason Crawford Samios-Uy

Leading this ensemble are Austin Barnes, as the loveable and upstanding Curly, and Mea Holloway, as Laurey, the simple, independent farm girl. These two actors definitely know their characters and have a firm grasp on the material making for a strong leading duo. Barnes has a booming, smooth voice and is a powerhouse, making the audience take notice from the get with his rendition of “Oh, What a Beautiful Mornin’.” He fully embodies this character and gives a  jovial flair to Curly, as it should be. He has as great presence on stage, giving a strong performance. Holloway is suited nicely for her role but seems a bit subdued and stiff at times It seems she lights up when she has lines and interaction but falls flat in between those instances and the character is not consistent in that aspect, drawing away from her obvious skill and talent. Her voice is absolutely appropriate and beautiful for this score and she gives a stellar vocal performance, shining in her featured numbers such as “Many a New Day,” “People Will Say We’re in Love,” and “Out of My Dreams.” Overall, the two work well with each other and, though a little forced at times, the chemistry is there and makes for a good showing.

Final thought…Oklahoma! at Artistic Synergy of Baltimore is a well put-together production that does this classic, familiar piece justice. The pacing is good (for a show that could easily seem to go on forever), and the ensemble is strong, overall, and seem to enjoy working with each and off of each other. The traditional staging still holds its own in our modern age and the tunes are still delightful and will have you tapping your toes or drawn in to their poignancy. They just don’t write ‘em like this anymore! It’s definitely a fluffy, feel-good piece of theatre that works well for community theatres like Artistic Synergy of Baltimore and it’s a wise choice to produce the classics to remember where our modern shows came from and to introduce them to a new, younger audience. This production of Oklahoma! is definitely one you want to check out.

This is what I thought of Artistic Synergy of Baltimore’s production of Oklahoma!… What did you think? Please feel free to leave a comment!

Oklahoma! will play through March 18 at Artistic Synergy of Baltimore, Prince of Peace Lutheran Church, 8212 Philadelphia Road, Baltimore, MD. For tickets, purchase them at the door or online.

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PRESS RELEASE: Baltimore Center Stage Announces 2018/19 Mainstage Season

FOR RELEASE ON MARCH 8, 2018

Baltimore Center Stage Announces 2018/19 Mainstage Season

Baltimore—March 7, 2018. Baltimore Center Stage is pleased to announce its 2018/19 Mainstage Season, which includes a world premiere and a classic family drama, along with provocative political and social justice stories providing a lens into American life across cultures.

“Our 2018/19 Season is going to be a theater-goers’ theater season, full of the kind of diverse, smart, entertaining and thought-provoking work you have come to expect from Baltimore Center Stage,” said Michael Ross, Baltimore Center Stage Executive Director. “It’s a season of acclaimed hits, voices new and returning, and stunning theatricality. “

Our 56th season kicks off with the sultry American classic, Cat on a Hot Tin Roof. Award-winning playwright Lauren Yee brings a fresh comedy to the stage with King of the Yees, and Marcus Gardley’s A Wonder in My Soul, updated with a Baltimore setting, will be our holiday production. The season will also feature Paula Vogel’s highly acclaimed play Indecent, and the 2015 Tony Award-winning musical Fun Home. The world premiere of Christina Anderson’s How to Catch Creation will close out the 2018/19 Season.

2018/19 Season

A SULTRY AMERICAN CLASSIC
Cat on a Hot Tin Roof
by Tennessee Williams
Sep 13–Oct 14

In this enduring American classic, family ties and layers of lies collide over the course of one simmering Southern summer night. Themes of morality, greed, and desire play across the stage in this explosive drama about what can happen when illusions begin to unravel. Brick, racked with guilt over his best friend’s death, numbs his pain with drink. Maggie, his wife, is determined to win even fleeting attention from her neglectful husband. But when three generations come together to celebrate a birthday—and discuss a will—all of the players start to the crack under the pressure and the heat. How long can tensions build in a house boiling over with uncertainty, secrets, and maybe even love?

HEARTFELT HILARITY BRIDGING GENERATIONS
King of the Yees
By Lauren Yee
Oct 25–Nov 18

Playwright Lauren Yee has always felt like an outsider, especially compared to her father, Larry, the unofficial center of their Chinese American community. When Larry suddenly goes missing, Lauren has to chase through time, space, and the fourth wall itself to find her father, save his story, and chronicle a vanishing piece of American culture. Explore the vivid legacy of one changing Chinatown through the vibrant imagination of a new generation in award-winning playwright Lauren Yee’s smart and cheeky family comedy.

A STORY OF FRIENDSHIP, FAMILY, AND THE HEART OF A NEIGHBORHOOD
A Wonder in My Soul
By Marcus Gardley
Nov 29–Dec 23

In a Baltimore beauty shop, two longtime co-owners and best friends grapple with a major decision. Remain as the anchor of their beloved neighborhood, or relocate under the pressures of gentrification and crime? In dialogue that resonates with everyday poetry, and filled with music both profound and stirring, A Wonder in My Soul looks at the evolution of one family and a whole community through the eyes of two best friends and their lifetime of friendship.

A COMING-OUT MUSICAL, BASED ON A TRUE FAMILY
Fun Home
Jan 17–Feb 24
Music by Jeanine Tesori
Book and lyrics by Lisa Kron
Based on the graphic novel by Alison Bechdel

Welcome to the Bechdel family. But just what family is it? Through the searching eyes of daughter Alison—aged 9, 17, and then 42—we meet her ever-shifting and sometimes unreliable memories of brothers, mother, and above all her repressed father, along with recollections from the family funeral home to Alison’s coming out. Based on Bechdel’s own best-selling illustrated memoir, this poignant tale harnesses every facet of music and theater to explore and unravel the mysteries of childhood and the surprising secrets that shape a life. Winner of the 2015 Tony Award for Best Musical, from the composer of Caroline, or Change and the writer of 2.5 Minute Ride.

WOULD YOU GO TO JAIL FOR WHAT YOU LOVE?
Indecent
By Paula Vogel
Produced in Association with Arena Stage and Kansas City Rep
Feb 28–Mar 31

What is the cost when we sacrifice truth for success? Can radical love be pious, or merely provocative? Does every religion sell God for a price? Follow the true story of a play, a playwright, and a plucky troupe of Yiddish theater artists from 1906 Warsaw to 1923 Broadway, from risky experiment to global sensation—and ultimately shattering scandal. The latest hit from the Pulitzer Prize-winning playwright of A Civil War Christmas, The Baltimore Waltz, and How I Learned to Drive, this highly acclaimed and award-winning drama pays homage to artists ahead of their time and doomed to pay the price.

FROM LOVE TO ART AND BACK AGAIN
How to Catch Creation
By Christina Anderson
May 2–26

In the mid-1960s, a young writer’s life turns upside down when her girlfriend drops some unexpected news. Even 50 years later, the reverberations of that moment, and its unexpected consequences, still echo in the intersecting lives of four individuals caught up in a rapidly changing world. This is a bittersweet story of finding and following our passions from Christina Anderson, winner of the Lorraine Hansberry Award. This world-premiere play that explores the universal act of creation—of life, of family, of art—spans space and time to inspire a new generation of makers and lovers.

About Baltimore Center Stage

Baltimore Center Stage is a theater committed to artistic excellence. We engage, enrich, and broaden the perspectives of diverse audiences through entertaining and thought-provoking work and educational programs. Named the State Theater of Maryland in 1978, Baltimore Center Stage has steadily grown as a leader in the national regional theater scene. Under Executive Director Michael Ross, Baltimore Center Stage is committed to creating and presenting a diverse array of world premieres and exhilarating interpretations of established works. Baltimore Center Stage believes in access for all—creating a welcoming environment for everyone who enters its doors and, at the same time, striving to meet audiences where they are. In addition to Mainstage and Third Space productions in the historic Mount Vernon neighborhood, Baltimore Center Stage ignites conversations across Baltimore and beyond through the Mobile Unit, which brings high-quality theater to economically, culturally and geographically diverse communities. The theater also nurtures the next generation of artists and theatergoers through the Young Playwrights Festival, Student Matinee Series, and many other educational programs for students, families, and educators

Review: Without a Clue at Tidewater Players

By Jason Crawford Samios-Uy
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Running Time: Approx. 2 hours and 30 minutes with a 15-minute intermission
It was Mrs. Peacock, in the Conservatory, with the Candlestick!… Or was it? If you understood that reference instantly, you, like many, many others, are familiar with a certain board game aptly named Clue in which one must use his or her powers of deduction to solve a murder. This board game has also spawned a highly successful and oft quoted 1985 film of the same name, and stage musical adaptation, and many parodies through the years. Included in these adaptations is Tidewater Players latest offering, the new and original Without a Clue by Mark Briner, who also puts on the hat of Director.

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The cast of Without a Clue. Credit: Tidewater Players


In a nutshell, Without a Clue is a parody based on the board game Clue! and cleverly incorporates pop culture both past and recent. Five guests, Mrs. Peacock, Colonel Mustard, Professor Plum, Mr. Green, and Miss Scarlet are invited to the palatial home of Mr. Boddy for dinner and, what they are led to believe, a beneficial financial opportunity. Once settled in with the help of Mr. Boddy’s staff, Ashe, the able Butler, Mrs. White, the begrudged maid, and Violet, the not-so-bright French maid, Mr. Boddy wastes no time in revealing the actual reason of the invitation… blackmail. Mr. Boddy is planning on blackmailing each guest for certain indiscretions and makes no bones about it. The guest, fed up with Mr. Boddy, and his crazy plan decide to leave but, as they do, the power goes out and Mr. Boddy is quickly taken care of by the way of a gun and the search for the killer begins and every person in the house is considered a suspect. By the end, it’s up to the audience to point out the murderer… if they’ve been paying attention!
Set Design by Dickie Mahoney and Mark Briner is smart and simple rolling walls and individual set pieces. With only one level to work with in the new and improved space at The Cultural Center at the Opera House, and many different locals written in the script, Mahoney and Briner’s design is easy to transition and effectively represents each location within the story nicely, adding great value to the production as a whole.
Along with Set Design, Mahoney and Briner also take on the responsibility of Costume Design and this design, like their Set Design, is spot on. Each character is appropriately represented whether in full color (as is Miss Scarlet and Mrs. Peacock, which we find out is actually just blue), or a splash of color, as for Mr. Green with his green tie or Colonel Mustard with his yellow or mustard colored ascot. The staff is traditionally dressed in maid uniforms and a tuxedo for Ashe, the Butler. Mahoney and Briner clearly takes time with their design with attention to detail that makes it all the more aesthetically pleasing and authentic.
Austin Barnes 3

(l-r) Phil Hansel, Chris Volker, Allyson Sands, and Denise Rogers Mylin. Credit: Austin Barnes


To round out the production team responsibilities, Mark Briner, who authored the piece, takes on the helm and places the Director hat on, as well. In some cases, it can be risky to have the author direct his or her own work, but in this case, it seems to have worked out beautifully. He keeps the pacing consistent with his staging and has guided these actors to delightful performances of the characters he has crafted. As the author, he has a complete comprehension of the story and the humor of one-liners and wise-cracks. His understanding of farce is well apparent in this upbeat and frenetic piece.
There is a bit at the end of the production when the audience is supposed to vote on who the murderer is and the actors are assigned a section of the theatre to collect votes but the way this is done is quite chaotic and haphazard. The actors simply yell out to the audience to vote by raising their hand when the character they believe to be the killer is called out. With six or seven actors yelling out names and trying to adlib, it can become a bit overwhelming a loud. I get the whole audience participation bit, but perhaps this can be tweaked for future performances.
However, screaming actors aside, Briner has done a superb job with this production and is to be commended and applauded for his hard and diligent work creating and bringing this slice of witty and clever theatre to life.
Moving into the performance aspect of Without a Clue, Eric Brooks takes on the role of Mr. Boddy, the host of the evening and not the most popular kid at the party. Brooks is a bit scripted and sounds more like he’s screaming rather than having a conversation, but he pulls the role off adequately. Where Brooks shines is in his performance as the fed-up, over-dramatic, and comedic Chef Bleu with this grand gestures and impressive French accent. Along the same lines of an actor performing an unnamed role a bit better than the named role (according to the program) is Allyson Sands who portrays Violet, the ditzy French maid who can’t seem to find her way to the kitchen, and the new, psychic neighbor, Madame Rose. Sands has a good grasp of comedic timing and her portrayal of Violet is on par, but it’s her turn as Madame Rose that adds value to her performance. Her timing is on point, as well as her accent for this character. Sands has a good command of the stage and seems comfortable in these roles making for a strong performance.
Tom Hartzell tackles the role of the seemingly perverted Professor Plum and, though he seems to have a good comprehension of his character, his performance falls a bit flat. He certainly has issues in his delivery of the material as he trips over most of his lines, losing the momentum of the fast-paced piece. He seems scripted and uncomfortable most of the time, but he is believable as this sorted character and has a good chemistry with his cast mates.
Austin Barnes

(l-r) Chris Volker, Greg Guyton, Denise Rogers Myli, Michele Guyton, and Phil Hansel. Credit: Austin Barnes


Taking on the role of the suave Mr. Green, Chris Volker gives a respectable performance but also has some trouble with his delivery of the text. Scripted and a little stiff, Volker seems to be going through the motions of this funny, sleazy character. That being said, he does give a dedicated performance and keeps the energy up throughout. He works well with and off of his cast mates and makes the role of Mr. Green his own.
Rounding out this motley crew of guests is Phil Hansel as Colonel Mustard and Michele Guyton as Mrs. Peacock and Denise Rogers Mylin as Miss Scarlet and all give admirable portrayals of their characters. Hansel’s portrayal is a bit befuddled but that could very well be the way the character is written and he does have good comedic timing that makes his character almost charming, in a way.
Mylin’s Miss Scarlet is on point and, though a bit monotone in her delivery, it is natural and consistent and she has a smooth, velvety voice that matches perfectly with her character. She does well with the fast pace and gives an overall strong performance
Michele Guyton’s portrayal of Mrs. Peacock (my favorite character in most of the adaptations) is not without its flaws but is a commendable performance. Her southern accent comes and goes, which ends up being a distraction, but her comedic skills are spot on and she delivers some great zingers throughout the evening. It just seems as though Guyton is trying too hard to caricaturize Mrs. Peacock and portray her as the “funny, sassy drunk” and it all seems forced. The trick in a character like this is to play it seriously and trust the dialogue and situations will invoke all the comedy that is required. However, aside from these minor issues, Guyton gives a splendid showing and praiseworthy performance.
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Justine Quirk as Mrs. White. Credit: Austin Barnes.


Definite highlights of this production are Greg Guyton and Justine Quirk who tackle the roles of Ashe and Mrs. White, the poor senior staff of the manor and the ones who try to keep thing manageable. Greg Guyton is perfectly cast for the role of Ashe and he completely embodies this character, keeping him consistent throughout. His delivery is near perfect and his character choices are absolutely appropriate. He has a strong presence and a knack for improvisation, as demonstrated when he breaks the fourth wall to stall for time as the audience votes are being counted. His pacing is near flawless, notably, his recap of events at the beginning of Act II. Guyton’s instincts and dedication to the character make for an outstanding performance.
Justine Quirk, as Mrs. White, is absolutely believable and she is probably the keenest with comedic timing and crystal clear delivery. Because of her style, she reminds me of Jackie Hoffman (of Broadway and Feud: Bette and Joan fame), one of my favorite current actresses of stage and screen. Quirk has a complete grasp of the humor of this piece and her portrayal of the begrudged servant is impeccable as she is able to take the role seriously enough to up the comedy of the character. Her delivery and instincts even make the touch of unmitigated, over-the-top melodrama digestible and funny. Her skillful portrayal make for a standout performance and certainly a joy to watch.
Final thought… Without a Clue is a witty, cute, and nostalgic slice of theatre incorporating familiar games and pop culture into a delightful, zany evening of intrigue, comedy and fun for all! It’s very reference heavy, as all parodies should be, so you’ve got to pay close attention to catch them all, and though some references may be more obscure than others, it’s still a delightful evening of theatre. A majority of the performances are top-notch and the pacing and staging is on point and swift making the two and a half hour run time feel less than it actually is. With a little tweaking of the script, this piece is going to be near flawless and Mark Briner is to be applauded for his efforts in both script and direction of this world premiere production. Get your tickets for the weekend as you don’t want to miss this one.
This is what I thought of Tidewater Players’ production of Without a Clue… What did you think? Please feel free to leave a comment!
Without a Clue will run through March 4 at Tidewater Players, The Cultural Center at the Opera House, 121 N. Union Avenue, Havre de Grace, MD. For tickets call the box office at 667-225-8433 or purchase them online.
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