The Ladies Decide to Be or Not to Be in Women Playing Hamlet at In Your Face Productions

By Jennifer L. Gusso

Running Time: 1 hour and  50 minutes with one intermission

To be or not to be….Hamlet? This is the question that Jessica, played by Cassandra Garcia, struggles with during In Your Face Productions‘ production of Women Playing Hamlet, by William Missouri Downs, Directed by Jack Taylor. The script shows her delving into whether or not she should or could play that iconic role. Along her quest, she raises greater questions about the meaning of the source material of Hamlet, as well as what it means to be an actor, to be a woman, and to be a person. There are many deep issues raised about whether those things are the same or different for a man or a woman and how they have or have not changed from Shakespearean times to the 21st Century. Ultimately, it all comes together to a satisfying conclusion. Even better, there is tons of laughter and absurdity along the journey.

With only four actresses doing all the talking and three of them taking on multiple roles, this production was a very ambitious selection for a young company with a young director and a young cast. Just as the script itself attacks head-on concerns that Jessica is too young to play Hamlet, so does In Your Face Productions in showing the ability with which they can tackle difficult work. Although there is some room for growth, this is an overall solid and admirable handling of an incredibly heady and witty script that requires the performers to command the stage.

With simple lighting, well-designed PowerPoint slides creating a multimedia performance, and minimal-style set pieces, Director Jack Taylor sets a stage that is apropos for the script, which, in one of its many breaks of the fourth wall, explains that the actors will be using “verbal scene painting” to really set the locations of the various scenes. Taylor also does good work in staging the show. Characters move about the stage with intrinsic purpose without every making the monologues and small scenes seem stagnant. He takes a small stage and makes it seem like a much larger world. He also assembled a cast of four strong young women to bring the words to life.

At the helm is Garcia. Large portions of the show, starting with the first several minutes, are just monologues by Garcia. She keeps them interesting and varied. Garcia has excellent comedic timing and facial expressions. She has a real presence and energy on stage. It would be nice to see her relax into the role a little more. At times, nervous energy seems to keep her from connecting more realistically with some of the serious notes in the script. This works really well as Jessica struggles to find her authentic self, but it would have been nice to see a greater contrast towards the end. However, for such a young actress, she shows impressive potential.

The rest of the cast of characters are all played by a troupe of three actresses, who, in a Shakespearean reversal, play the male roles with mustaches. A few mustache mishaps aside, very simple and effective costume pieces transform the actress into a variety of different characters.  Actress 1 is Holly Blondheim. She is both a professor and Jessica’s acting coach. Blondheim has a commanding presence on stage and a good knack for making the over-dramatic seems natural. While it would have been nice to see a greater distinction between the two roles, she really shines as Gwen, the has-been acting coach. Throughout the show, she allows the characters to have layers stripped away to see the real person underneath the bravado.

Taking on considerably more roles is Actress 2: Morgan Tacka. She is a rival actress, a priest, a delivery person, a soap star, and an adolescent tech whiz. Morgan possess a very warm, likable quality on stage. The distinction between her characters is subtle yet effective. She makes grounded characters out of absurdist moments that serve as balance to the other, more dramatic performances. Even with these other strong performances, it is Actress 3 (Olivia Bowley) that consistently steals the scene. Bowley is an absolute master of accents, characterizations, and comedic delivery. She is a Shakespearean expert, Jessica’s mother, a psychologist, a bartender, a brain dead soap star, and a grave digger. Each character has his/her own unique voice and mannerisms. She shows exceptional craft in taking on the different personas and breathing them life.

In Your Face Productions definitely proves that young directors and young actors have the ability to push themselves while tackling difficult materials. This production is a strong demonstration of the collective group taking on this challenge with bravado. As the audience watches Jessica grow as an actress and a young woman as she faces the challenge of playing Hamlet, so too they see these young performers bloom through the process.

This is what I thought of In Your Face Productions’ production of Women Playing Hamlet… What did you think? Please feel free to leave a comment!

Women Playing Hamlet will play through August 17 at In Your Face Productions, at Presbury United Methodist Church 806 Edgewood Rd Edgewood, MD 21040. For tickets, you can purchase them at the door or online.

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War is Hell in Crusade at Rapid Lemon Productions

By Jason Crawford Samios-Uy

Running Time: Approx. 90 minutes with no intermission

Flynn Harne (Mitch), Emma Hawthorn (Galen), Noah Silas (Hector). Credit: Rapid Lemon Productions

What would happen if policy and thought tipped one way or another in a country divided? We’re seeing more and more of this each day in real life America, but what would happen if it went to extremes? This question is explored in Rapid Lemon Productions’ latest offering, Crusade by Bruce Bonafede, Directed by Timoth David Copney. It’s a story of division and how humans, soldier or civilian, act in times of war and unrest.

Briefly, Crusade concerns itself with a country at war, civil war, really where the Christians have taken over government and have outlawed every other religion and anything they consider to be hedonistic. A small band of soldiers find themselves in a tucked away cabin lived in by a former professor of genetics who just wants to be left alone. The rag-tag group is then joined by a Christian prisoner and all of their morals and beliefs are tested in one way or another as each tries to find their way out of a desperate situation.

Emma Hawthorn (Galen), Flynn Harne (Mitch), Stephen Kime (Kershaw), Noah Silas (Hector), Lola Reign (Britt). Credit: Rapid Lemon Productions

Lights and sound have major roles in this production and Lighting Design by Brad J. Ranno and Sound Design by Max Garner are spot on. Each subtle change of light sets the mood for each scene and adds value to the production, as a whole, while Garner’s impeccable Sound Design adds to the story and does not hinder it in any way. The designs blend perfectly into the staging and keeps the production engaging making for fantastic work from both Ranno and Garner.

Flynn Harne (Mitch). Credit: Rapid Lemon Productions

In tandem with the Light and Sound Design, Set Design by Sebastian Sears fits this production perfectly. It’s simple with no bells and whistles. Sears transports the audience into this little run down cabin in the woods and his set piece choices integrate flawlessly with the story with old furniture, dark colors, and simple pieces. I love the space at Baltimore Theatre Project but I can see how it might be tricky to create sets upon, but it didn’t hinder Sears and he should be applauded for his efforts.

Direction by Timoth David Copney is absolutel superb. It’s tough material, but Copney has a definite understanding of it and presents it beautifully. His staging is near flawless and he keeps the action moving and engaging for the audience. It’s clear he has a tight grasp on these characters as his guidance helps each actor make their characters personable and believable. Pacing is on point and Copney’s knowledge of the stage is clear. Kudos to Copney for a job quite well done.

Emma Hawthorn (Galen). Credit: Rapid Lemon Productions.

Moving on to the performance aspect of this piece, it’s worth mentioning that all six ensemble members bring their A-game to this production and all give strong, confident performances of this heavy material. Eric Boelsche as Josh, the communications man in this small group, is believable and natural in this role and the delivery of his monologue is touching and true. Flynn Harne as Mitch, the leader of this troop, has a great command of the stage and his presence is bold.

Flynn Harne (Mitch) Noah Silas (Hector). Credit: Rapid Lemon Productions

Emma Hawthorn takes on the role of Galen, the civilian and former professor of genetics who is working on a scientific history of the world, and Stephen Kime tackles the role of Kershaw, the Christian soldier captured by one of the soldiers. Hawthorn is stupendous in this role. She takes it and makes it her own with all the emotion and mannerisms that are required. She works well with her cast mates and makes the character someone with whom one can empathize. Kime, who actually replaced the original actor late in production, knocks it out of the ball park. I would have thought he was with the production from the beginning, so, he was certainly a lucky find! Kime is consistent with his stoicism and is unshaken in his character. He is a highlight in this production with his strong presence and focused performance.

Lola Reign (Britt). Credit: Rapid Lemon Productions

Rounding out the cast are standouts Lola Reign as Britt and Noah Silas as Hector, both weary soldiers in this small troop. Silas couldn’t have been better cast in his role, maybe it’s because of his great stage presence, but his was the most believable as a soldier and he certainly has the rugged look. But beyond that, his character and his character’s conflict is heart wrenching and he portrays it beautifully. He’s certainly one to watch in his characters climactic scene and his emotion is absolutely authentic. In the same vein, Reign is spot on as a young woman full of rage. Her delivery of the heavy dialogue oozes anger and wrought. Kudos to both Reign and Silas for outstanding performances and I hope to experience more performances in the future.

Eric Boelsche (Josh) and Noah Silas (Hector). Credit: Rapid Lemon Productions

Final thought…  Crusade from Rapid Lemon Production was a Baltimore Playwrights Festival submission and is a heavy production that makes you think about faith, loyalty, and what you would do if you were caught in between. I, personally, was not offended by any of the content, but I can see where certain folks might be. I’m speaking on the portrayal and interpretations of the Christians and though only one is actually seen in the flesh, they are spoken of throughout the piece. Christians are made out to be Nazi-like figures who are blinded by their faith and, though, some are, many, in my experiences, are not. Then, again the portrayals of the soldiers aren’t any more flattering, making them out to be killers who have a grudge against anyone with faith, because of their own, personal reasons (some good, actually, in my opinion). Don’t get me wrong, the writing is stellar, if not (seemingly) a tad one-sided, but makes up for itself in the climax. The production value is superb in its simplicity and the performances are top notch. If you’re familiar with the old hymn “Onward Christian Soldier,” this piece gives it an entirely new meaning. Get your tickets because you’ll want to see this production.

Note: There is a content advisory stating “Crusade is a fictional story, but on whose themes are increasingly real to us today. It’s a violent story. Its characters deal with mental and physical torture, rape, mass murder, and other horrible things that happen in war. Our production addresses all of these; and specifically, employs very realistic-looking but nonfunctional prop weapons and a variety of lighting and sound effects which may be disturbing to some in our audience.”

This is what I thought of Rapid Lemon Productions’ production of Crusade… What did you think? Please feel free to leave a comment!

Crusade will play through August 18 at Rapid Lemon Productions, Baltimore Theatre Project, 45 W. Preston Street, Baltimore, MD. For tickets, you can purchase them at the door or online.

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Nice Work If You Can Get It, and You Can Get it at Cockpit in Court!

By Jason Crawford Samios-Uy

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

Chances are, somewhere in your life you’ve at least hear a George and Ira Gershwin tune, whether in a movie, a wedding, a gathering of some kind, or you may have even had a chance to experience an actual Gershwin show. Cockpit in Court’s latest offering, Nice Work if You Can Get It, with Music and Lyrics by George and Ira Gerswhin, a Book by Joe DiPietro, and Inspired by Material by Guy Bolton and P. G. Wodehouse, is a jukebox musical, of sorts, of songs by the Gershwin brothers and sets it in a cute, funny story of a bygone era. Under the charge of Director Eric J. Potter, Music Director Gerald Smith, and Choreographer Ilona Kessell, this is a production that takes you away for awhile and adds a little pizzazz to the everyday grind.

According to Broadway.com “Set in the 1920s, Nice Work If You Can Get It is the story of charming and wealthy playboy Jimmy Winter, who meets rough female bootlegger Billie Bendix the weekend of his wedding. Jimmy, who has been married three (or is it four?) times before, is preparing to marry Eileen Evergreen, a self-obsessed modern dancer. Thinking Jimmy and Eileen will be out of town, Billie and her gang hid cases of alcohol [in] the basement of Jimmy’s Long Island mansion. But when Jimmy, his wife-to-be, and her prohibitionist family show up at the mansion for the wedding, Billie and her cohorts pose as servants, causing hijinks galore.”

Lizzy Pease and J. Bradley Bowers. Credit: Cockpit in Court

Costume Design by Tracy Bird of Stage Garb, Inc. is on point with this production. Set in the decadence of the 1920s, Bird has hit the nail on the head with all of the fashions and her attention to detail. Her efforts transport the audience to this fashionable era with every gown and pinstriped suit that graces the stage and she is to be applauded and revered for her precise and well thought-out design.

Michael Raskinski’s Set Design, too, is beyond praise-worthy. With clever set pieces that fly in and out easily and quickly, the pacing is kept on point and the Art Deco style that Rasinski has chosen adds immense value to the production as a whole. The entire design from set pieces to the simple, but detailed proscenium façade, this design is top notch and Rasinski is to be commended for his well planned efforts.

A particular highlight of this production is, indeed, Choreography by Ilona Kessell. It is high-energy and engaging and this ensemble has the ability to pull it off. I am quite impressed with the precision in which Kessell’s fun and well-rehearsed choreography is executed. Kessell knows her cast and their abilities, which is probably the most important aspect of a Choreographer’s job, and her routines are filled with variety and traditional styles that keep the audience interested. Kudos to Kessell for this superb choreography.

Many, if not all of these Gershwin tunes are familiar to most, and Music Direction by Gerald Smith is splendid as this cast manages to breathe fresh life into each number. Harmonies are spot on and featured numbers emit the dynamics and emotions that the Gershwins intended. This production has also managed to round up a very impressive pit orchestra consisting of Tim Viets (Conductor), Michael DeVito (Keyboard 1), Michael Clark (Keyboard 2), Dieter Schodde (Percussion), Steve Haaser and Helen Schlaich (Reeds), Jay Ellis (Trombone), Tony Neenan and Ginger Turner (Trumpet), Matthew DeBeal (Violin), and Bob DeLisle (Bass).

The book for this piece is light and fluffy, and is, in a word, trite, but that’s to be expected with jukebox musicals, right? Maybe not, but this one is. Crazy For You, the other Gershwin musical, has a meatier book, and probably got dibs on most of the best George and Ira Gershwin songs, but this piece is not without it’s merits. The thing that helps this production Direction by Eric J. Potter and he really has a good grasp on this material. It’s an old-fashioned song-and-dance type show, happy ending and all that, but Potter has taken these songs and this book and weaved them into a well put-together, polished production with near perfect pacing and character work that is superb. Under his charge, the classic music is given a fresh coat of paint and it shines bright making for an entertaining, energetic evening of good theatre. Snaps to Potter for a job quite well done.

I’d be amiss if I didn’t mention that this production of Nice Work If You Can Get It has an absolutely phenomenal Ensemble consisting of Mary Margaret McClurg, Olivia Aubele, Angela Boeren (Dance Captain), Sarah Jones, Emily Machovec, Rachel Verhaaren, J. Purnell Hargrove (Dance Captain), Ryan Christopher Holmes, Conner Kiss, Shane Lowry, and Josh Schoff. These folks dance and sing their way across this stage effortlessly, will grab you from the moment the curtain goes up, and bring you into the performance with them. Hands down, one of the best and able ensembles I’ve seen in community theatre in a good while. Kudos to all for their hard work and excellent abilities.

J. Bradley Bowers and Lynn Tallman. Credit: Cockpit in Court

Taking on the role of the seemingly bumbling, sensitive Chief Berry is Thomas “Toby” Hessenauer and he does quite well with the role, even if his accent or lack of accent is noticeable. Actually, I’m not sure if he was going for an accent or not, but one seems to be trying to peek out once in awhile, but I might be hearing things. Regardless, Hessenauer is a wonderful actor and understands this comical character and pulls him off nicely. Vocally, Hessenauer is not a powerhouse in this particular production, but he does hold his own and brings comedy into familiar numbers such as “Let’s Call the Whole Thing Off.” In the same boat is Lynn Tallman as Eileen Evergreen, the snooty, oblivious fiancé who needs to be put in her place. Evergreen has a good grasp on what her character is about and portrays her beautifully. Again, the attempted accent, if that’s what it can be called, may hinder her witty dialogue, at times, but overall, she gives an admirable performance. She certainly makes you take notice with her charming featured number “Delichious,” on which she gives a strong delivery.

Patrick Martyn and Jane E. Brown. Credit: Cockpit in Court

Taking on the more non-savory characters in this story are Patrick Martyn as Cookie McGee, Gary Dieter as Duke Mahoney, and Casey Lane as Jeannie Muldoon. First off, these folks couldn’t have been cast better. Martyn and Dieter completely embody their characters and I believed them from the moment they stepped onto the stage. Both play the somewhat bumbling criminals well, with impeccable comedic timing, and had me laughing out loud throughout their performances. Lane, too, as the gold-digging, deceived young woman, is natural in this role and makes this supporting character something to take notice of. Dieter is definitely the stronger vocalist, shining in his humorous featured number, “Blah, Blah, Blah,” and Lane does very well, also, in the reprise of the same song and in the adorable “Do It Again.” Martyn, though not as strong, vocally, does give heartfelt and confident in his featured “Fascinating Rhythm,” and “Looking for a Boy.”

Highlights in this production are, hands down, John Amato as Senator Max Evergreen, the staunch, uptight father of the fiancé, Jane E. Brown as Duchess Estonia Dulworth, the self-righteous anti-liquor crusader, and Joan Crooks as Millicent Winter, the strong, confident mother of the leading man. As with the rest of this cast, these folks were cast perfectly in their roles. Amato exudes the rigidness this straight-man character needs, but his comedic timing is superb, getting befuddled when needed and trying to take charge of the situation. His booming, smooth voice just adds to this character and his natural delivery is like butter. In tandem with Amato’s performance, Brown’s portrayal of Duchess Estonia Dulworth is absolutely and completely on point. She has embodied this character and has made it her own. Her strong stage presence and thoughtful, though seemingly effortless portrayal of this character is make her one to watch in this production. Not only does she have the staunchness down, her comedic timing is just as wonderful. Vocally, Brown is a powerhouse and one can help but notice her powerful technique and know-how in her featured number, “Demon Rum” (with impeccable and superb back up from the ensemble), and the side-splitting “Looking for a Boy.” In the like, Crooks, who only shows up toward the end of the piece, makes her short time on stage well worth it. She, too, embodies this character of Millicent and takes charge of the stage from the moment she steps onto it. This trio of which I call the “previous generation” of this story, is well-cast, and well performed and I can’t give enough kudos to Amato, Brown, and Crooks.

J. Bradley Bowers and Lizzy Pease. Credit: Cockpit in Court

Rounding out this praise-worthy ensemble are standouts Lizzy Pease as Billie Bendix and J. Bradley Bowers as Jimmy Winter. It’s easy to see both of these actors are disciplined and hard working as it shows in their portrayal of these young lovers that carry the show. Pease knows her character well and portrays her with just the right balance of roughness and tenderness. Again, the story is fluffy, but Pease makes the most of her character and glides through her performance naturally, with a distinct delivery and ease. She comfortable on stage and gives a strong showing. Vocally, she’s top notch with a voice that soars throughout the theatre, especially in her featured numbers, the poignant “Someone to Watch Over Me,” and the cutesy duet, “S’wonderful.” Overall, her performance is grade-A and should not be missed.

In the same vein, Bowers knocks it completely out of the ball park into the next town in his performance. Completely at ease in this character and a definite knowledge of the stage, his performance leaves me wanting more. He’s not simply going through the motions of the script, but becomes this person, Jimmy Winter, and his performance alone is worth the price of admission. His natural talent, strong stage presence, and confidence drives his performance and he’s a fun to watch. He’s what folks might call a triple-threat… he can act, he can sing, and boy he dance. Who could ask for anything more? (See what I did there?) Vocally, Bowers is phenomenal with a smooth, silky baritone, with a great range that makes listening to all his numbers a joy, especially his renditions of “Nice Work if You Can Get It,” “I’ve Got to Be There,” “I Do, Do, Do” (with absolutely perfect backup and harmony from the gentlemen in the ensemble), and the aforementioned duet, “Let’s Call the Whole Thing Off.” I’m looking forward to seeing more stage work from Mr. Bowers in the future.

Final thought… Nice Work if You Can Get It is a high-energy, old-fashioned song-and-dance kind of show that will have you tapping your toes, feeling nostalgic, and take you a allow you to escape for just a couple of hours, at least. Casting is spot on, Set Design is brilliant, Choreography is engaging, and the talent and abilities of the entire ensemble are top notch. The production is polished and fun for the entire family. Though, the story and script can be a bit trite and fluffy, it’s still a fun piece with good message. Whether your familiar with the work of the Gershwins or not, you’ll be thoroughly entertained and humming as you leave the theatre.

This is what I thought of Cockpit in Court Summer Theatre’s production of Nice Work if You Can Get It… What did you think? Please feel free to leave a comment!

Nice Work if You Can Get It will run through August 4 at Cockpit in Court Summer Theatre, CCBC Essex, Robert and Eleanor Romadka College Center, F. Scott Black Theatre. For tickets call the box office at 443-840-ARTS (2787) or purchase them online.

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Emma, A Pop Musical pops into Artistic Synergy of Baltimore

By Jason Crawford Samios-Uy

Running Time: Approx. 2 hours with one intermission

Classics are called classics for many reasons: great stories, great characters, and timeless conflicts, to name a few. However, as each year passes, the original stories slip farther away from us, but there are those who can take those classic stories and give them a modern twist that’s fun for today’s audiences. Jane Austen’s Emma was and has been a very successful novel through the ages and has been adapted for film and television, most notably, for me, is my favorite, the 1995 film, Clueless, starring Alicia Silverstone, but there have been many stage adaptations, as well, and one of those adaptations, Emma, A Pop Musical with Book and Concept by Eric Price, is being offered by Artistic Synergy of Baltimore. This production is Directed by Jake Schwartz, with Music Direction by Darwin Ray and Choreography by Jillian Paige and Joan Firestein.

The Cast of Emma, A Pop Musical. Credit: Melissa Broy Forston

Briefly, Emma, A Pop Musical is based on Jane Austen’s very successful novel, Emma, in which a young girl fancies herself a match-maker, and actually does okay, but is blind to her own feelings and relationships. Being a jukebox musical, the story is told through a slew of hits from bygone eras with a few current hits thrown in, for fun.

Noticeably, Costume Design by Margret Ward (NDP) is precise and consistent, adding a certain flair to this production and bringing it together, as a whole. Every character was costumed appropriately and, though this piece is set in a prestigious, private high school where there is a strict uniform code, each character is able to play with their wardrobe to make it more their own.

Choreography by Jillian Paige and Co-Choreographer Joan Firestein is energetic and engaging and the ensemble performs it well. Paige and Firestein seem to have brought out the best in their cast and that’s not a small feat by any stretch of the imagination. More importantly, the cast seems to have fun with this choreography, transferring that enthusiasm to the audience. Though much of the choreography is the entire cast (or whomever is on the stage) performing the same choreography through each song in lines, variety might be a bit lacking, but the energy and skill from both the able Choreographers and apt ensemble are absolutely apparent. Kudos to Paige and Firestein for their efforts.

Olivia Winter and the cast of Emma, A Pop Musical. Credit: Melissa Broy Forston

A jukebox musical can be tricky to work with, especially with familiar songs and famous versions of those songs. However, Music Direction by Darwin Ray is impeccable. He has managed to introduce these bygone era songs to those in the audience (and cast) who may be to young to have experienced these tunes the first time around in a new and fresh way. He has a good grasp on the various styles (mostly pop… it’s in the title) and his knowledge shines through in the performances of this young ensemble. It’s worth noting the brilliant pit orchestra, as well, as they were superb in their performance as well. The pit orchestra included Lisa Learman (Keyboards), Wes Freeman (Trumpet), Tina James (Alto Sax), Darwin Ray (Conductor/Tenor/Clarinet), Harry Swartz (Trombone), Peter Weitzman (Guitar), Ethan Hart (Bass), and Chip Traub (Drums/Percussion). Kudos to Ray and all pit orchestra members for their excellent work.

Jake Schwartz, a first-time director, has taken the helm of this production and, overall, has done an admirable job. He seems to have a good understanding of the piece and presents it in an easy to follow, entertaining way. Scenic design isn’t much but when you have a minimal stage, you have to keep the audience interested in blocking and characters. Again, taking into account this is a first for Schwartz, his staging is a little bland with a lot of standing center stage and delivering dialogue, but it doesn’t hinder the production at all. He made some interesting casting choices, but all-in-all, everything works out for him. He may have a few things to learn here and there, but he’s set a strong foundation for greater things as long as he’s open to learning them.

Moving on to the performance aspect of this production, let it be known that this entire ensemble gives 100% effort and all seem to be having a blast on the stage, which, sometimes, can make or break a performance, but all of these performers are here to give the audience a legit theatre experience.

(back, l-r) Terrell Chambers, Lexie Merrifield, Katie Sacco. (front, l-r) Olivia Winter, Louisa Davis. Credit: Melissa Broy Forston

Lexie Merrifield as Harriet, they younger lovelorn friend that Emma takes under her wing, and Kyle LaPosta as Phillip, the egotistical, self-centered possible match for Harriet. Merrifield is a good fit for this character and she seems to understand what her character is going through, but her delivery is stiff, at points. However, her vocal stylings are one point. She has a strong, clear chest voice that soars throughout the theatre, but doesn’t seem as confident when she gets into her higher register. That being said, she shines in her featured numbers such as “Be My Baby” and the familiar Whitney Houston tunes, “How Will I know?” and “I Wanna Dance With Somebody.” LaPosta does a fine job portraying the narcissistic Phillip and gives a natural delivery of his dialogue making for a strong, confident performance.

Terrell Chambers and the cast of Emma, A Pop Musical. Credit: Melissa Broy Forston

The former student turned pop star, Frankie, is tackled by Terrell Chambers and he gives a phenomenal vocal performance as in Pat Benatar’s high-energy “Heartbreaker” and Lisa Loeb’s poignant “Stay.” His character work is solid and he is at ease on stage, giving a praiseworthy performance, overall. In tandem, Katie Sa­cco takes on the role of Jane, the new girl who is rough around the edges. Sacco is wonderful in this role and portrays the differences her character has from the other students nicely. Vocally, she holds her own and gives assured performances in her featured numbers such as “Bad, Bad Crush,” the only original song in the production.

Louisa Davis as Emma. Credit: Melissa Broy Forston

Taking on the title role of Emma is Louisa Davis and Olivia Winter tackles the gender-bending role of Jeff, the seemingly smartest kid in school who, somehow, manages to get a substitute teaching position while still a student. Taking on the title role is a lot of responsibility for a young actor, but Davis has taken it in stride and gives a lovely performance. Her delivery of the text is natural and she seems to be comfortable in the role. Vocally, she could be a little stronger, especially in her higher register when she goes into head voice, but she understands the songs and that is clear in numbers such as Katy Perry’s “Roar” and Sarah Bareilles’ “Brave.”

Winter can always be counted on to give a great performance and this is not different. Though she may have been slightly miscast, vocally, she knows the character of Jeff and makes it her own. She definitely knows her way around stage and is confident in her performance. In this particular production, Winter’s vocal abilities were not highlighted, unfortunately. Many of her featured vocal parts were a bit too low for her and, I say it’s unfortunate, because I have the advantage of having heard her in previous productions where she has knocked it out of the park, vocally. She’s usually a powerhouse, but in this production, the music just doesn’t seem to fit her phenomenal abilities. Having said that, Winter’s performance is splendid, overall. She does her homework and brings her A-game to all of her performances and I, for one, can’t wait to experience more of her performances as she grows as a performer.

(r-l) Katie Sacco, Maddies Saldana, Olivia Winter, Louisa Davis, and Lexie Merrifield with the cast of Emma, A Pop Musical. Credit: Melissa Broy Forston

Rounding out the featured characters, the standout in this production is Maddies Saldaña as Miss Bates. This actress takes a supporting role, chews it up, and spits it out, making for a superb performance. From the moment she stepped onto the stage, I believed her. I believed her character and saw the effort and work she put into this role. She completely embodies this woman and is a joy to watch. Not only is her character on point, she is a vocal powerhouse. Her featured part is in songs such as Salt-n-Pepa and Des’ree mash-up “Whatta Man/You Gotta Be” and Vicki Sue Robinson’s “Turn the Beat Around” will leave you wanting more.  Her strong, pristine vocals fill up the theatre and her outstanding stylings seem effortless. She’s certainly one to watch in this production and I’m looking forward to seeing more performances from this actress in the future.

Final thought…Emma, A Pop Musical at Artistic Synergy of Baltimore is a fun, modern take on a classic to which most will be able to relate. The past song hits will having you feeling nostalgic but also discovering new meanings within the story. If you’re familiar with the story of Jane Austen’s Emma or not, you’ll be thoroughly entertained by this watered-down yet thoughtful take on the material. The song choices are spot on and the performances from this young cast are quite admirable. If you’re looking for a break from all the hustle that summer can bring (even though we should be relaxing), take a trip down to Artistic Synergy of Baltimore for a pleasant, entertaining night of theatre that will have you toe-tapping and dancing in your seat.

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

Emma, A Pop Musical will play through August 11 at Artistic Synergy of Baltimore, Prince of Peace Lutheran Church, 8212 Philadelphia Road. For tickets, purchase them at the door or online.

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