Fells Point Corner Theatre Rises with She Stoops to Conquer

By Jason Crawford Samios-Uy

Approx. Running Time: 2 hours with one intermission

In today’s climate, the empowerment of women is of the utmost importance (along with the empowerment of many other under-represented communities), but we mustn’t forget that folks have been talking and writing about this sort of thing for centuries. In Fells Point Corner Theatre’s latest offering, She Stoops to Conquer by Oliver Goldsmith, Directed by Lance Bankerd and Barbara Madison Hauck, we are reminded of the struggles and ingenuity of woman through the ages.

Briefly, in She Stoops to Conquer, Mr. Hardcastle wishes for his daughter, Kate, to marry Sir Charles Marlow, a shy but attractive young man. Marlow and his friend Hastings travel from London, but are tricked by Tony Lumpkin, Hardcastle’s step-son, that Hardcastle’s home is an inn. Hastings is involved with Constance, who is being pushed by her aunt, Mrs. Hardcastle to marry Tony, whom she is not keen on. While thinking Hardcastle’s home is an inn, Marlow and Hastings behave badly, but when Marlow meets Kate, he is shy and awkward. Kate disguises herself as a barmaid to see how Marlow really acts and he’s the complete opposite. When he learns her true identity, he is embarrassed. Eventually, after some slapstick and farce, the confusion is cleared up with a happy ending. Make sense?

I didn’t know much about this piece aside from recognizing the title, but have come to the conclusion it’s not my cup of tea, so to speak. The attempts to update this piece seem only to do with costuming which didn’t make much sense, at best. I wasn’t sure where Costume Designer Rache Austin was trying to go. It was a mix between 80s punk, 70s glam, and a dash of the Roaring 20s that was all over the place. The bold colors are nice to look at, and, in general, it’s a creative, bold, and consistent design, but since the dialogue stays pretty much in tack, this particular design doesn’t seem beneficial to the piece as a whole. It’s not a bad design (and I can tell Austin knows the craft well) just a bit ill-fitting for this production.

Set Design by David Shoemaker is spot on and he is to be commended for his use of the space. Being a farce, multiple entrances and exits are required and Shoemaker has managed to give us as many as we needed, no more, no less, and his base design helps move the piece along nicely adding and subtracting appropriate set pieces, when needed. Kudos to Shoemaker for a well thought out design.

Ari Juno and Corey Hennessey. Photo: Shaelyn Jae Photography

Taking the helm of this production are veteran Director Lance Bankerd and novice Director Barbara Madison Hauck. Now, Directing a period piece can be a challenge and updating a piece can be even more of a challenge and must be handled delicately. Overall, this production is a good production and everyone involved is giving 100% effort, but, with that said, it doesn’t seem to live up to its full potential. The staging is suitable and the pacing is on point, but the characters aren’t always fleshed out and believable, on the whole, save a few. Technically, Bankerd and Hauck do give a phenomenal showing with tight staging, but the character work is lacking. It seems these actors are simply reciting the dialogue without knowing exactly what it means. This could be an actor problem, but in the end, the Director(s) should be watching closely and guiding these actors. Regardless of these criticisms, the production value is terrific and Bankerd and Hauck should be proud of their efforts and they should be commended for tackling such a challenging piece and Hauck is to be applauded for her Directorial debut. I’m looking forward to seeing more from both of these fine Directors.

Moving on to the performance aspect, as stated, the entire ensemble gives a valiant and concerted effort and all are to be commended for their commitment to their roles. Gareth Kelly, Ari Juno, Christian O’Neill, and Thomas Peter work well in their supporting roles and help move the action along nicely with impeccable comedic timing and understanding of the quick entrances and exits of farce. They all work well with and off of each other and it’s easy to see they are enjoying every minute. All are to be commended for their work on this production.

Corey Hennnessey takes on the role of the impish, childish Tony Lumpkin who starts all the trouble with his mischief and though Hennessey has a tight grasp on his character, he plays him a little too nonchalantly with grand gestures and flamboyancy that, at times, can be a bit much for the intimate space. That being said, he does have a great presence on the stage and is absolutely dedicated to this role giving a strong, confident showing.

Elizabeth Norman tackles the role of the strong-willed, intelligent Kate Hardcastle and though she seems to understand the character, in her delivery of the dialogue, I must admit I’m not convinced she has a tight grasp of the text. Much of her performance seems to be simply reciting the text rather than a full understanding of what she’s saying and the connection and authenticity is lost. However, she does have a solid presence and is confident on stage making for a delightful performance.

Taking on the role of Constance, a ward of the Hardcastle’s who doesn’t seem to have say in what happens in her life, is Hannah Folger and she portrays this character beautifully. Her delivery is natural, and her comprehension of this character is clear. Folger knows her way around the stage and is comfortable in this role making for a robust and charming performance.

Elizabeth Norman and Ian Charles. Photo: Shaelyn Jae Photography

A couple of highlights in this production are Richard Peck and Lindsey Schott as Mr. and Mrs. Hardcastle and these two actors shine in these roles. Peck plays Mr. Hardcastle as the straight man in this piece and he plays him seriously enough that it enhances the comedy and his chemistry with his cast mates is impeccable. He knows this character and plays him splendidly with subtle but spot on reactions and mannerisms. In the same vein, Schott is hilarious as Mrs. Hardcastle, a woman who is trying to stay on top of things and in control. She takes the role and makes it her own and balances Mrs. Hardcastle’s deviousness and tenderness nicely. Schott knows this character well and gives a durable and entertaining performance, overall.

The standouts in this production are, hands down, Albert Lolu Collins as George Hastings and Ian Charles as Young Marlow. From the moment these two step onto the stage, it’s clear they are believable and committed to their roles. Collins is a bit hard to understand at times in his British accent, but he plays this character in a way that makes him likable from the start, and his understanding of his character, his presence and assurance makes for a strong performance.

Ian Charles is exquisite in his portrayal of Young Marlow and he is to be applauded for his efforts. His comprehension of the role, comedy, and farce are spot on and he seems to embody this character. He does quite well with the staging and every movement has purpose and that, in tandem with a natural, easy delivery of the dialogue make for an outstanding performance.

Final thought… She Stoops to Conquer is a piece of theatre that should be experienced by all theater makers and lovers at one time or another. I’m glad I’ve finally been able to experience it myself and the story is well put together. For being over 200 years old, it still makes a point and holds its own. This particular production has its flaws, but, overall, is a tight production with a dedicated cast and production team. The language (or use of language) may be unfamiliar at first, but still easy to follow if you pay attention. This is an important show that seemed to be ahead of its time concerning women empowerment, but it’s still relevant and makes sense for today’s audience. Through comedy and farce, this piece shows that, after 200 years, some things never change. If you want a fun, delightful evening of theatre, you’ll want to check out She Stoops to Conquer at Fells Point Corner Theatre.

This is what I thought of this production of She Stoops to Conquer at Fells Point Corner Theatre.… what do you think?

She Stoops to Conquer will play through December 15 at Fells Point Corner Theatre, 251 S Ann Street, Baltimore, MD 21231. For tickets, call 410-276-7837 or purchase them online.

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Destiny Calls and Third Wall Productions Goes with Man of La Mancha

By Jason Crawford Samios-Uy

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

We all need an escape sometimes. Life isn’t fair and can be quite hard to deal with, so, we all have our own little defense mechanisms to help us get through. Sometimes, folks actually get lost in their escape and it’s hard to come back to reality. However, who has it worse? The person lost in his or her escape or the people out here in the real, hard world? In Third Wall Production’s latest offering, Man of La Mancha by Dale Wasserman, with Music by Mitch Leigh and Lyrics by Joe Darion, we are able to take a peek into one man’s madness and/or bliss, whichever you want to all it, as he imagines a world much better than the one he’s actually living in. His dreams aren’t his escape… they’re his reality. This production is Directed by Mike Zellhofer, with Music Direction by William Zellofer, and Choreography by Timoth David Copney-Welton.

In a nutshell, in case you’ve never heard of Man of La Mancha (which might be impossible), it is inspired by Miguel de Cervantes’ 17th century novel, Don Quixote, but only inspired by. Man of La Mancha is a play within a play where Cervantes himself, as well as other prisoners who are awaiting the Spanish Inquisition, perform the story of the “mad” knight, Don Quixote, who is actually an old, dying man refusing to let go of his ideals and passions.

Lance Bankerd as Don Quixote. Photo: Stasia Steuart Photography

The Scenic Design by Jordan Hollett and Pat & Amy Rudai is impeccable. The creativity and attention to detail is wonderful and, though it’s a unit set, allows itself to fit into every scene with the addition of small set pieces. It’s practical yet pleasing on the eye, making for a great combination. The motorized door/ramp is quite impressive and adds value to the production as a whole. Kudos to this team for their innovative and charming design.

Lighting and Sound Design go hand in hand and Jim Shomo (Lighing Design) and Charles Hirsch (Sound Design) hit the nail on the head with this production. Both Shomo and Hirsch are masters of their crafts and both Lighting and Sound Design helped move this production along subtly, without hindering or taking attention away from the action. Shomo has a distinct knack for mood lighting and setting the mood for each scene beautifully, while Hirsch adds just the correct amount of effects without overloading and keeps the balance just right. Both Shomo and Hirsch are to be commended for their efforts.

Maggie Flanigan takes on Costume Design and it is on point. Flanigan has a great comprehension of this piece and wardrobes the ensemble to the nines. Each character whether ensemble or featured is appropriately and splendidly dressed, adding to the authenticity and fanciful nature of the show. She’s done her research and has created a wonderful design that is to be applauded.

Timoth David Copney-Welton, a Baltimore theatre fixture, takes on Chorographer duties in this production and he knows his ensemble and helps them shine. Though not heavy choreography, it is entertaining and helps tell this classic story. Innovative and creative, the choreography is a joy to watch and every single ensemble member seems to be having a blast performing it. Along the same lines, Music Direction by William Zellhofer is top notch. With such familiar music and songs, Zellhofer has this cast in tight harmonies and the featured performers are well-rehearsed and spot on. Copney-Welton and Zellhofer both give great showings in their admirable work on this production.

Mike Zellhofer takes the helm of this production and it’s clear he has a tight grasp on the material. His staging of this piece is engaging and keeps the audience interested. The transitions are smooth and simple keeping the pace balanced. The characters come to life and his vision is apparent in every move and scene. It’s always challenging to take on Direction of such a popular, classic piece, but Zellhofer faces it head on and creates an enjoyable, clean, and polished piece that makes for a delightful evening of theatre.

Jessica Preactor as Aldonza. Photo: Stasia Steuart Photography

Moving on to the performance aspect of this production, it’s worth noting that every ensemble member, whether featured or not, is giving the utmost effort in their roles. They all work quite well together and each has a hand in helping move the story along nicely.

To name a few, Timoth David Copney-Welton as Padre and Annmarie Pallanck as Sancho both have a great understanding of their characters and their objectives. They are charming as a quirky priest and a fiercely loyal servant. Copney-Welton plays Padre with just enough sincerity to make the role funny and he seems to embody this character. His rendition of “To Each His Dulcinea” rings throughout the theatre and is a joy to experience. Pallanck is, at times, a little stiff and scripted, but still oozes the charm and giddiness of the character that makes her likeable from the get. Her performance of “I Really Like Him” is both funny and sincere at the same time making for a beautiful moment. Both give strong, admirable performances in this production.

A highlight of this production is Jessica Preactor, who takes on the role of Aldonza/Dulcinea, the young woman to whom Don Quixote takes a shine, and she hits the ground running. Vocally, she’s a powerhouse with a strong, clear voice that resonates and her performances of her featured numbers such as “It’s All the Same,” “What Does He Want of Me,” and “Aldonza” are picture perfect, just as her character work is, really getting to the nitty-gritty of the character and presenting her beautifully.

The standout in this piece is definitely Lance Bankerd, who tackles the role of Miguel de Cervantes/Don Quixote. Bankerd’s character work is second to none. He becomes this character in both manner and look with ease. Watching him, he seems to actually transform from Lance Bankerd into Don Quixote and it’s awesome to watch. One thing I really admire about Bankerd is his ability to act out a song. His vocals are marvelous, indeed, but he’s not worried about a perfect vocal performance and that’s what makes a good actor great. His renditions of the standard “The Impossible Dream” is outstanding, strong, and heartfelt. This performance is almost worth the price of admission! He knows what he’s singing about and exudes it with every word and note, same with his other featured numbers, including the lovelorn “Dulcinea.” Major kudos to Bankerd for his fine work in this production.

This is what I thought of Third Wall Productions’ production of Man of La Mancha… What did you think? Please feel free to leave a comment!

Man of La Mancha will play through November 17 at Third Wall ProductionsSt. Thomas’ Episcopal Church, 1108 Providence Road in Towson, MD. For tickets, you can purchase them at the door or online.

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The Baltimore Theatre Collective is Spooking it up with the Creepy-Kooky Cabaret!

TWO NIGHTS ONLY!

Tonight, November 14 and tomorrow, November 15, The Baltimore Theatre Collective (previously known as The Purple Light Theatre Company) opens its season with The Creepy-Kooky Cabaret, featuring local talent performing frightfully fun songs that just give us a little reminder that the spooky season is still upon us!

Creepy-Kooky Cabaret performers. Photo: Rachel Sandler

The Creepy-Kooky Cabaret will feature Caitlin Grant, Lindsey Litka, Heather Moe, Jim Baxter, Zach Husak, & Tommy Malek with music direction by Rachel Sandler and accompanied by a live band. Selections will include numbers from Beetlejuice the Musical, Young Frankenstein, The Toxic Avenger, The Legend of Sleepy Hollow, Little Shop of Horrors, and The Rocky Horror Show… plus many more.

Tickets are available online at https://www.brownpapertickets.com/event/4429978.

There are two ticketing options: $18.00 General and $28.00 General + Libations (includes TWO complimentary adult beverages – house red or white wine and beer)

The Creepy-Kooky Cabaret will play at Genesis Arts, LLC, 9194 Red Branch Road, Columbia MD. The show begins at 8:00 PM.

For more information, drop by The Baltimore Theatre Collective’s Facebook page here!

Scottfield Theatre Company Gets in the Spirit (or Three) of Christmas with Scrooge! The Musical

By Jason Crawford Samios-Uy

Approx. Running Time: 2 hours with one intermission

Well, it’s about that time of year again, and holiday shows are abound. Some new, some old, some fresh looks at old stories, and so on and so forth. I’m sure at one time or another, we’ve all heard the story of Ebenezer Scrooge and the three ghosts of Christmas (past, present, and future), and the story finds its way into our lives, even if we don’t know it by heart. This season, Scottfield Theatre Company has decided to join the fray and present Scrooge! The Musical, by Leslie Bricusse, based on and taken directly from the 1970 film Scrooge. This production is Directed by William Price, with Music Direction by Dominic LaFrancesca, and Choreography by Becky Titleman. It’s a delightful telling of the classic A Christmas Carol by Charles Dickens that should hit the spot during the holiday season.

Scrooge! The Musical. Photo: @machpe

I’ve got to admit, Bricusse’s adaptation isn’t really my cup of tea. For being such a classic story, the book just drones along and the music is, in a word, uninspiring with sing-songy nursery rhyme melodies and lyrics that are a bit too on the nose, limiting the songs. Little jokes peppered in fall flat and the attempts of humor and updating the dialogue a bit end up just being annoying. However, this is by no means a reflection on the ensemble. This ensemble gives an admirable performance and they are dedicated to the material, however droll it is. Kudos to the entire ensemble for pushing through and giving a wonderful performance.

Set Design by Director William Price is simple, but exquisite. The backdrops and unit set pieces are well designed and executed and puts the audience smack dab in the middle of Victorian London and Price is to be commended for his design as well as kudos to Jimmy O’Burrill for his Set Painting and Construction. It’s authentic design with attention to detail that is quite impressive.

Another challenge for period pieces is wardrobe but Gay Lynn Price has tackled and overcome that challenge with her impeccable Costume Design. Price has managed to wardrobe every character, featured or ensemble, with period fitting clothes that adds great value to the production, overall.

Music Direction by Dominic LaFrancesca is impressive and he’s worked quite well with this ensemble. The music, as stated, is nothing spectacular, but LaFrancesa has this ensemble on point with near perfect harmonies soaring throughout the theater. Each featured number is well-rehearsed and even with recorded music, the performances are on spot on. Kudos to LaFrancesca for his efforts in this production.

The Cratchets. Photo: @machpe

Becky Titleman tackles Choreography for this piece and there are a lot of upbeat, fun numbers that require choreography, but unfortunately the dancing, overall, seems a bit lackluster. The ensemble seems to be having a blast with the dancing and they are superb in their performance, but from the audience, it just fell a little flat. There is a lot of unison moving without a lot of variety but, again, the ensemble’s performance keeps it entertaining and Titleman seems to know her cast and creates choreography that helps them shine.

William Price, who takes the helm of this production, seems to have a clear vision and a tight grasp on the material, and though the production as a whole is entertaining, it is stagnant at times with bouts of what I call “stand and bark” with not a lot going on, especially during the music numbers where there are opportunities for choreography. There are points when there the stage is a little too full, but at least the actors have something to do, however, sometimes, less is more. Transitions are smooth and simple, keeping the pacing up nicely. Price’s understanding of the material is clear and his staging, if at times a bit tedious, is charming and makes for a good showing.

The Ghosts of Christmas Past, Present, and Future. Photo: @machpe

The entire ensemble is into this production and it definitely shows that that are enjoying themselves, which is really what it’s all about. To mention a few Ariel Edler as The Ghost of Christmas Past makes a fantastic showing with good character work and a beautiful voice that resonates through the theater, especially on her featured number, “Love While You Can.” In the same vein, Elizabeth Marion shines as The Ghost of Christmas Present with a great command of the stage and good comprehension of her role. She has a natural delivery of the dialogue and embodies this role and her featured vocal parts in “Finale Act I” keep the audience interested and engaged. Finally, Josh Hannas, portraying The Ghost of Christmas Future, didn’t have much to do but appear and point, he still gives off a sinister air and the costume is on point (high-five, Gay Lynn Price)! A few honorable mentions include Phil Hansel who plays a ghostly Jacob Marley with a strong vocal performance of his featured number, “Make the Most of This World.” Also, Charlie Johnson as Nephew and Young Scrooge gives a good showing, but can be a little scripted at times, but overall gives a strong performance. We mustn’t forget the Cratchets, played beautifully by Hayden Floros and Lisa Rigsby, who have great chemistry and work quite well together.

A highlight in this production is a young Erin Acerno, who takes on the role of Kathy, Bob Cratchet’s daughter and seemingly closest sibling to Tiny Tim. This young lady hits the ground running with this role and knows her way around the stage. She takes this character and makes it her own and, vocally, she’s a powerhouse. Her clear, strong vocals rings throughout the theater and her featured vocal parts makes one stand up and take notice. I’m looking forward to seeing what this young lady is going to accomplish, theatrically.

The standout in this production of Scrooge! The Musical is James Fitzpatrick, who takes on the titular role of Ebenezer Scrooge. Fitzpatrick was born for this role. He completely embodies this character and it’s a good fit for him. It’s clear to see he’s giving 100% and then some for his performance and it pays off. He’s a joy to watch as the crotchety old miser and his transition to the kindly, enlightened man at the end of the story is clean and believable. His comedic timing is spot on and his grasp of this character makes for a brilliant performance. Vocally, Fitzpatrick shines, especially in his featured numbers such as the humorous, “I Hate People,” and poignant “I’ll Begin Again.” Fitzpatrick is certainly the one to watch in this production.

Final thought… Though this particular adaptation was not my cup of tea, it’s still a good presentation of the timeless Dicken’s story. It stays in the time period and the story itself is a classic but the book, music, and lyrics just fall flat in this telling, and the recorded music takes away from the energy of live theatre that may have helped give this adaptation a boost. That’s not to say that the performances aren’t spectacular, because they certainly are. Every ensemble member gives 100% effort and the production, overall, is polished and very entertaining, but there’s only so much you can do with lackluster material. However, ‘tis the season for this lasting tale and Scottfield gave their all making for a delightful evening of theatre.

This is what I thought of Scottfield Theatre Company’s Scrooge the Musical… What did you think? Please feel free to leave a comment!

Scrooge the Musical played through November 10 at Scottfield Theatre Company at The Cultural Center at The Opera House, 121 N. Union Avenue, Havre de Grace, MD.

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