Opposites Attract at The Mineola Twins at Fells Point Corner Theatre

By Jason Crawford Samios-Uy

 

Approx. Running Time: 90-minutes with no intermission

Women have been fighting a fight for true independence for generations and in Fells Point Corner Theatre’s latest offering, The Mineola Twins by Paula Vogel, Directed by Lindsey R. Barr, gives us a glimpse into how two mostly identical twins, handled this fight from Eisenhower Administration all the way through Regan and Bush Administrations. Of course, as many twins go, they may be mostly identical on the outside, but couldn’t be more different on the inside.

Ally Ibach. Photo: Shealyn Jae Photography

Cassandra (Casey) Dutt’s Scenic Design works well with this piece and the use of levels and set pieces on a unit set keep things simple. Though the scene changes were clunky at times because of so many loose parts, the overall design is intelligent with a certain flow that helps move the action along rather than impede it.

Along with a splendid Scenic Design, Lighting Design by Michael Logue and Sound Design by Heiko Spieker work in tandem with each other and with Dutt’s design to carry us through the decades and locations seamlessly. Both Logue and Spieker give us engaging, subtle designs that blend well into the action and transport the audience into each scene. Kudos to Dutt, Logue, and Spieker for their wonderful technical efforts for this production.

Costume Design by Taylor Keating is on point. Taking the characters through this long period between the 50s and the 80s, Keating nails the time period for each scene sometimes subtly and sometimes over the top (in a good way), and every bit of it works for this story and production. Keating should be commended for her thoughtful and detailed design.

Corey Hennessey and Ally Ibach. Photo: Shealyn Jae Photography

Lindsey E. Barr takes the reigns of this production and through her guidance and Direction, it’s clear she has a tight grasp on this material and presents it in humorous, but poignant way that is engaging and entertaining. You will be rooting for one of these characters, if not all, before the evening is through. The material can get a little pretentious and surreal, at points, but Barr presents it in an easy to follow fashion that stays true to the story but reflects her own vision. My hat’s off to Barr for a job quite well done.

Moving on to the performance aspect of this production, it’s safe to say this entire ensemble, though small in number, is big in heart and effort. All are giving their all to tell this twisted, funny story and all are to be applauded for their efforts.

Taking on more supporting roles is Rory Kennison and Kyla Tocopina as Psychiatric Aides/FBI Agents. These mostly silent characters create tension and conflict for the other characters and both Kennison and Tocopina are well versed in their roles, giving 100% effort. Both double as stage hands, helping move the set pieces on and off and in that, too, they do a bang up job.

Ally Ibach and Andy Belt. Photo: Shealyn Jae Photography

Andy Belt takes on the duel role of Jim/Sarah and Corey Hennessey doubles as Kenny/Ben. Belt is well cast and takes these roles and makes them his own. He sees the tongue and cheek in Sarah and doesn’t try to play it over the top, which I very much appreciate when it comes to roles like this. As Jim, the older wandering fiancé, he’s level-headed but nervous and he portrays both beautifully. As Sarah, the same-sex partner of Myra, he’s a gem in a purposely horrible wig. Overall, he plays the contrast of comedy and drama wonderfully with a good grasp on both. Hennessey plays the younger male characters of Kenny, Myrna’s son, and Ben, Myra’s son, and both seem to have been born to the wrong mother and though Hennessey seems to have a good comprehension of this, there doesn’t seem to be much difference between both characters. His portrayal is authentic, just not very diverse with these two. That’s not to say he doesn’t do a terrific job with a great stage presence and confidence that is required.

Ally Ibach as Myrna/Myra, The Mineola Twins themselves, is the definite standout in this production. Not only does she take on two very different characters who look alike and are actually very similar, once she hits the stage, she keeps going until the end. She has a very tight grasp on this material, her characters, and the dialogue, which she delivers naturally and with ease. The contrast between the two twins is clear and consistent and her confidence a gives her a strong stage presence making for a stellar performance, overall. She’s certainly one to watch in this production.

Final thought… The Mineola Twins is a quirky, entertaining look at how one particular set of twins, who happen to be opposites in personalities, have navigated through life and decades of female independence. From teens to middle-aged, we see how two people who share genes and a face can grow to think so differently but always have a certain connection. It’s a well put together production, the performances are top-notch, and it’s a fitting addition to Fells Point Corner Theatre’s current season. Get your tickets now, if you haven’t already.

This is what I thought of this production of The Mineola Twins at Fells Point Corner Theatre.… what do you think?

The Mineola Twins will play through March 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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Phoenix Festival Theatre Makes the Cut with A Chorus Line

By Jennifer L. Gusso

Running Time: 2 hours

A little before show time at Phoenix Festival Theatre, the cast of A Chorus Line (Music by Marvin Hamlisch, Lyrics by Edward Kelban, and Book by James Kirkwood, Jr.) slowly starts to enter the room. They set down their bags and waters. They stretch and practice combinations and otherwise get ready for the audition to resume. There is a subtle and gradual segue into the performance. The show just starts to happen around you. It is this acute level of verisimilitude that works so beautifully throughout the entire production. It definitely justifies running so long without intermission, which would have broken the mood.

Director and Choreographer Becky Titelman makes smart choices in the concept and the direction to focus on keeping things real and raw throughout. She finds ways to infuse an air of sophistication while focusing on keeping the choreography simple enough that it makes dancers of various levels all look good. The staging is simplistic, as is apropos to the show, and it allows the actors’ movements to look genuine and not forced. Similarly, the Lighting Design by Bill Price maintains the same careful design that ends up almost invisible, as the focus is on the characters and the moments that they are living.

The Cast of A Chorus Line. Photo: Matthew Peterson

Like any production, there are a few times that a note is missed or out-of-range or a performer is momentarily out-of-step, but it doesn’t even matter because these characters are so solid and strong that the audience is rooting for them in every moment – sometimes even more in the occasional moments of imperfection. This cast always gets what matters right – truly living out these moments in a way that draws the audience in. Never once do any of the performers appear to be “acting.” If you didn’t know any better, it would be easy to believe they were just spontaneously sharing their own experiences.

Additionally, the cast is incredibly well-balanced. They know when to take their own moments and when to support each other. It is almost impossible to pull out individual performances, as they truly meld and connect as an ensemble. Every actor has a moment that belongs to them, and none of them let that moment go to waste. Even the little details and moments are reflective of the focus on character, such as the way that arms are held and the selection of facial expressions.

The Cast of A Chorus Line. Photo: Matthew Peterson

Stephen Deininger (Zach) is the powerful presence presiding over everything and shows careful nuance in just how much he does and doesn’t reveal what he is feeling in dramatic moments. Leslie Perry (Lori) is a captivating dancer. Liz Marion (Cassie) oozes with raw emotion in “The Music and the Mirror” but then shows great control in becoming one with the line. Emily Machovec (Sheila) has stellar deadpan delivery and embodies the physicality of her character – right down to the way she walks. Angie Sokolov (Val) brims with crazy personality and excellent comedic timing. Ally Morris (Diana) tells every story with her eyes in a way that draws in the audience to hang on her every word. Samantha Jednorski (Judy) is truly delightful with her bursts of spunk and spontaneity. Stephanie (Kristine) and Matt Peterson (Al) are just adorable and their real-life chemistry sparkles in their duet. Sophia Williams (Maggie) has an angelic innocence and the voice to match. Eric Bray (Richie) sizzles with electric energy and stellar vocals. Aaron Knight (Mark) shows strong storytelling chops in his hysterical monologue. Not only does Tyler White (Paul) have the advantage of getting some of the best material in the show, he takes that advantage and runs with it. His monologue was heartbreaking and raw and relevant.

The Cast of A Chorus Line. Photo: LIVE at Harford Community College Facebook

A Chorus Line is a thoroughly enjoyable evening at the theater, and you should definitely go and check it out this coming weekend (if you can find any tickets left!).

This is what I thought of Phoenix Theatre Festival’s production of A Chorus Line… What did you think? Please feel free to leave a comment!

A Chorus Line will play through March 15 at Phoenix Theatre Festival at Harford Community College, 401 Thomas Run Road, Bel Air, MD. Purchase tickets by calling 443-412-2211 or purchase them online.

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