Local Artists Shine in 10x10x10 at Fells Point Corner Theatre

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By Jason Crawford Samios-Uy

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

10-minute play festivals are popping up all over the place these days. It’s become a little easier for authors to present their work to the public in both short form and feature length, but Baltimore just seems to have a knack for such things. Fells Point Corner Theatre has been presenting their 10x10x10 for a few years now, and have not disappointed. They choose relevant, entertaining pieces to produce and always acquire a superb cast of 10 actors to perform them. With no specific theme, they still manage to gather a group of plays together that fit nicely with each other and present the talents of the author, director, and performers.

Starting off the evening we have Harmony, Fix My Life, written and Directed by Christen Cromwell, with Grace O’Keefe as Kamryn, Shamire Casselle as Harmony, and Rob Vary as Simon. This was a fun way to start this 10-minute play presentation and Cromwell has written a light-hearted but serious piece about the responsibilities of men and women and newborns in today’s world. Rob Vary, though a bit subdued and scripted, pulls off the role of the young father nicely and seems to understand the message his character is trying to send. O’Keefe gives a natural performances as the young, tired mother, but the highlight of this piece is Shamire Casselle who shines as fairy godmother. Her high-energy and natural delivery of the dialogue keep the piece engaging and entertaining making for a great showing all around.

(l-r) Dana Woodson and Jenn Alexander. Credit: Trent Haines-Hopper/THsquared Photography

Next, There is No More Left of Me After This by Jen Diamond, Directed by Betse Lyons with Karen Shantz as tina and Jenn Skarzynski as Kat is a surreal piece about coming to terms with death and whatever fate has in store for you. It’s a downer, but well written and Lyons’ staging is simple with great character work. Shantz and Skarzynski tackle these two tough roles naturally and confidently tell the short story superbly. Diamond has crafted a relaxing, but thoughtful piece that leaves the audience thinking.

Shamire Casselle and Jared Michael Swain. Credit: Trent Haines-Hopper/THsquared Photography

Easily, one of my top choices of the evening, Reasons for Separation by Isaiah Harvey, Directed by Christen Cromwell, with Shamire Casselle as Shay and Jared Michael Swain as Marc, is a fast-paced, well-crafted piece that smacks you in the face with no apologies. It’s a current, relative story of divorce and what people go through during it, with real characters that Casselle and Swaine seem to embody and bring to life effortlessly. They have great chemistry and it helps the material immensely.

Things We Talk About at 4:00 in the Morning by Erica Smith, Directed by Betse Lyons with Jenn Alexander as Spencer and Dana Woodson as Terry is an interesting and entertaining piece about a young couple dealing with an illness in on of the young women. The twist is quite interesting and Smith almost had me fooled, until I remembered the time in which we live and what’s big in popular culture these days. Alexander and Woodson have great chemistry and portray these characters with feeling and high emotion. Lyons’ staging is simple, but effective and makes for an all around good showing.

(l-r) Christian O’Neill, Karen Shantz, and Tom Piccin. Credit: Trent Haines-Hopper/THsquared Photography

Ending out the first act, we are presented with UH: A Brief Musical by Utkarsh Rajawat, Directed by Donna Ibale with Tom Piccin as Demon, Christian O’Neill as Angel, and Karen Shantz as Person which, I have to say, is not on my list of favorites. However, Piccin, O’Neill, and Shantz give stellar performances and Ibale’s staging is on point, the script is lackluster. The concept isn’t exactly new and the script seems like a rush job. It’s unfortunate because I enjoyed previous work by Rajawat at the 10x10x10 (read that review here) but this piece just doesn’t seem up to par with the previous work. Great performances and staging save this piece and the performers and Director should be applauded for their efforts.

Starting off Act II we have I Saw This is Paducah by Rich Espey, Directed by Matthew Shea, with Jenn Skarzynski as Barb and Jenn Alexander as Alice, and Rob Vary as Announcer is in the list of my favorites of the evening. It’s an immersive piece about two friends who are regular theatre goers, especially of the short works festivals, such as 10x10x10. Shea’s staging is spot on including the audience but not getting in our faces, which is a perfect blend. Espy seems to be poking fun at more conservative, old fashioned views of the world, but he does so subtly and not facetiously. Skarzyski hits the nail on the head in her portrayal of Barb, the narrow-minded, dominant, outspoken patron who wants everyone to abide by the rules and Alexander performs her character, Alice, with just enough meekness to feel sorry for her, but also enough chutzpah that you know she can take care of herself. All around, it’s a great piece with a good production value. Kudos to all.

Dana Woodson. Credit: Trent Haines-Hopper/THsquared Photography

Mira by Tatiana Nya Ford, Directed by Donna Ibale with Dana Woodson as Woman and Jared Michael Swain as Man is a poignant and thoughtful piece about a woman in a coma who is to reconcile her reality with her fantasy. It’s a 10-minute, fast-paced monologue that seems to be stream-of-consciousness and Woodson chews it up and spits it out marvelously. She has a good handle on the material and presents it confidently, making for a great showing. Ibale’s staging is simple, but effective and puts the audience in the mind of this woman. In Swain’s short stage time, he emotes the emotions of his character, the son of the woman in the coma, and brings the entire piece home. Kudos to all inovled.

Beer Bottle Bug by David J. Hills, Directed by Matthew Shea, with Karen Shantz as Carrie and Christian O’Neill as Ty is a fanciful, humorous piece about a woman who thinks she has certain supernatural powers and it’s delightful. Not one of my favorites, but certainly entertaining. Hills creates a world where the impossible seems possible and leaves the audience wondering, which any good book should do. Shantz and O’Neill portray their modern characters effortlessly and have a great chemistry adding to the production value. Shea’s staging is appropriate and easy to follow making it a well-rounded piece to be included in this production.

Grace O’Keefe and Tom Piccin. Credit: Trent Haines-Hopper/THsquared Photography

The Home for Retired Canadian Girlfriends by John Bavaso, Directed by Steve Goldklang, with Tom Piccin as Rupert and Grace O’Keefe as Tiffany is probably one of my favorites of the evening. Bavaso creates an imaginary world where imaginary girlfriends go when they are no longer needed. It’s relatable, current, and relevant with a solid script and concept. His dialogue is easy to follow and natural. Goldklang stages it simply but keeps it engaging all at the same time, which is no small feat for a short piece. Piccin and O’Keefe shine in their roles and bring out the comedy and tragedy of these characters and this piece as a whole.  Their effective and praise-worthy performances drive this play along with their natural delivery of the dialogue and spot on comedic timing. A major kudos to all involved in this piece.

Knock Knock by Rich Pauli, Directed by Steve Goldklang, with Christian O’Neill as Dave and Jenn Alexander as Francesca was a curious choice to end this production, but I can understand the reasoning. It concerns itself with the last man on earth and his Amazon Echo. Reminiscent of Stanly Kubrick’s 2001: A Space Odyssey, the Amazon Echo takes the place of H.A.L., even stating “I’m sorry, Dave, I can’t do that,” at one point. It’s well performed, Goldklang’s staging is superb, and Pauli’s script is current and well-written, but the concept has been done over and over again. It’s hard to freshen up an old concept such as “the last man on earth” but Pauli does his best and the piece is entertaining. O’Neill brings a certain urgency and panic to the character that is required and makes for a terrific showing and overall good presentation of the piece.

Final thought… 10x10x10, is a quirky menagerie of very original and fun 10-minute plays that keep the audience engaged and even thinking, at times, some are better than others, but all of them have heart. The performers are grasp the concepts of these short pieces nicely and the directors seems to have good comprehension of the material making for an enjoyable, entertaining, and even thought provoking evening. Kudos to the authors for putting themselves and their work out there and I’m very interested to see more of their work in the future.

This is what I thought of this production of 10x10x10 at Fells Point Corner Theatre.… what do you think?

10x10x10 will play through June 16 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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Step Back in Time with Queens Girl in the World & Queens Girl in Africa at Everyman Theatre

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By Jason Crawford Samios-Uy

Running Time: Both productions approx. 2 hours with one intermission

I sometimes think I was born in the wrong era. The early 1960s fascinates me, from politics, to styles, to music… all of it! I grew up with a very nostalgic mother, so, I’m actually quite familiar with all of it and I love it! Shows like Everyman Theatre’s latest offering, Queens Girl in the World and Queens Girl in Africa, in repertory, by Caleen Sinnette Jennings, Directed by Paige Hernandez, always takes me back, even though I didn’t live it, but know enough about it to relate. Whether you experienced the era first hand or just learned about it from your elders, these shows will transport you right back to a time when things seemed simpler, but a mess of things was bubbling just under the surface.

Dawn Ursula. Credit: Teresa Castracane

Queens Girl in the World and Queens Girl in Africa is a multi-chapter memoir, of sorts, from Caleen Sinnette Jennings and both concern themselves with young Jacqueline Marie Butler, from Queens, New York, as she tells her story from her childhood to young adulthood. Through impressions of the people in her life, we watch her come of age both in America and Africa as she emotes the humor and poignancy of being a Queens girl in the world and in Africa.

Overall, both of these pieces are very, very well written and thought-out. It’s a refreshing, one woman piece that gives a glimpse into a the life of a young African-American girl who grew up in a practically all-white social circle, and her balancing between whites and blacks in the early 1960s. It’s original, engaging, and authentic with superb performances and staging.

Erika Rose. Credit: Teresa Castracane

Paige Hathway’s Set Design is minimal, but absolutely gorgeous. With a simple stoop and front door for Queens Girl in the World and practically blank stage with a simple chair, for the most part, for Queens Girl in Africa, it forces the audience to fill in the blanks, but that’s what makes this production so engaging. Hathaway has managed to transport us to early 60s Queens, New York and Nigeria with a simple design and she is to be applauded and commended for her efforts.

Lighting Design by Nancy Schertler and Sound Design by David Lamont Wilson is subtle but effective. Schertler’s design sets the mood for each “scene” seamlessly and follows the action as Jaqueline changes topics and explains her days and nights. Wilson’s Sound Design works in tandem with the production with well-chosen effects and music of the time. Though minimal, both of these designs do their jobs in moving the action forward and not hindering it and taking focus away, making for excellent Lighting and Sound Design.

Dawn Ursula. Credit: Teresa Castracane

Paige Hernandez, a resident company member, takes the reigns of this production and it’s clear she has a great comprehension of this material. Staging a one-person show can actually be challenging, but Hernandez has knocked it out of the park with this production. Her vision is clear and her character work is apparent working with these actresses to create this character from childhood into adulthood. She keeps the character engaging (with the help of the actresses, of course), and the seamless transition between actresses is impeccable and impressive. What I like is that she keeps it simple and lets the actresses do their thing without a bunch of bells and whistles. This brings the raw talent out of the actress and makes for a stellar production. Hats off and kudos to Hernandez for a job quite well done.

Dawn Ursula takes on the role of Jacqueline Marie Butler in Queens Girl in the World and she has this character down pat. She’s comfortable playing the childhood to teen Jaqueline and manages the impressions of all the other characters with ease. A large part of this piece is the impressions this character does when discussing the people in her life and Ursula does this seamlessly. She understands this character (and the ages she’s portraying), and makes this role her own. Overall, she gives a strong, confident, and commendable performance.

Tackling the role of Jacqueline in Queens Girl in Africa is the apt and able Ericka Rose and she is phenomenal in her portrayal. The first thing I noticed and loved about this actress is her smooth but resonating stage voice. I was engaged the moment she started speaking and stayed engaged through to the end. She, too, effortlessly performed the impressions of others in Jacqueline’s life with ease, embodying all of the characters discussed in this piece. She tackles Jacqueline’s later years and matches Ursula’s portrayal near perfectly, while adding her own twist and making the role hers, which is no small feat. She holds the entire piece on her shoulders and doesn’t falter once giving a strong and praiseworthy performance.

Erika Rose. Credit: Teresa Castracane

Both of these actresses, Dawn Ursula and Erika Rose, emote both the humor and poignancy this character and material calls for and it’s easy they can feel this character deeply, making for extraordinary performances from both.

Final thought…  Queens Girl in the World & Queens Girl in Africa at Everyman Theatre is a coming of age story that is original and immersive using nostalgia, pathos, humor, and everything in between to tell a simple story of a girl growing up. Real life may be boring, but when it’s put into a script and performed well, as both of these productions provide, it can be a wondrous experience and that’s what these shows are. Ursula and Rose perform this character well and it’s easy to see their understanding of this character and how they can relate to her, making it easy for an audience to relate. I’m looking forward to seeing the next installment next season, but until then, you don’t want to miss these productions running in repertory. Get your tickets now.

This is what I thought of Everyman Theatre’s Queens Girl in the World & Queens Girl in Africa… What did you think? Please feel free to leave a comment!

Queens Girl in the World & Queens Girl in Africa will play in repertory through June 23 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.

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Life is a Cabaret at Silhouette Stages with Kander & Ebb’s Cabaret!

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By Jason Crawford Samios-Uy

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

What good is sitting alone in your room? Come here the music play… at Silhouette Stages for their latest offering, Cabaret with a book by Joe Masteroff, Music by John Kander, and Lyrics by Fred Ebb, Directed by Stephen Foreman, with Music Direction by Michael Tan, and Choreography by Amie Bell. Whether your familiar with the original theatrical treatment or the film (which is way different), you’ll enjoy your time with these crazy but deep characters as they find their way through the beginnings of the Nazi regime in 1930s Berlin.

Tommy Malek as The Emcee with the Kit Kat Boys and Girls (Photo by Stasia Steuart Photography)

Cabaret, in short, concerns itself with Cliff Bradshaw, a young American man trying to find his footing in the world and has traveled to write. Questioning his sexuality and finding himself in a world of sketchy nightclubs and meetups, he finds himself sharing a room with Sally Bowles, a young, eccentric club performer originally from England. While he represents the ordinary, she represents the extraordinary and through song and dance, along with the mysterious Emcee of the Kit Kat club, they work their way through issues of antisemitism, sexuality, and living in the moment that is quite relevant in the world we live in today.

Stephen Foreman and Alex Porter have opted for a minimal Set Design, which works well with this production. The pit orchestra is incorporated into the set high above the action and two simple platforms and three doors make up the rest of the set and it’s a fantastic, practical design. The attention to detail is on point and the audience is transported to the different locations with various set pieces and props that are well chosen and bring the scenes together. My one (and only) complaint, if it can be called that, because it’s not a big deal, is the original German spelling of “Kabarett.” Thought I appreciate the authenticity and the idea, someone on the design team must think they’re very clever and it’s a bit high-brow for my tastes. There’s nothing wrong with keeping it simple. That aside, however, the overall Set Design is quite appropriate and well-fitting of this production and I give major kudos to Foreman and Porter for their efforts.

Tommy Malek as The Emcee (Photo by Stasia Steuart Photography)

Lighting Design by TJ Lukacsina and Sound Design by Ben Kinder blend in nicely and add to rather than hinder the action going on up on the stage. Lukacsina separates the dark, seething nightclub scenes from the bright, daytime scenes nicely, giving us a great contrast in location and mood. There are no major sound issues, so Kinder has done his job in amplifying the cast and adding in the appropriate sound effects when needed. Both Lukacsina and Kinder are to be commended for their work on this production.

Period pieces are always challenging for wardrobe but Costume Design by Clare Kneebone and Tommy Malek knock it out of the park. They are spot on with their design, transporting us back to the 1930s with the fashions and styles of the era matched to a tee. From the day-wear to the slinky bustiers and heels, this Costume Design is spot on.

Megan Mostow as Sally Bowles with the Kit Kat Boys and Girls (Photo by Stasia Steuart Photography)

Cabaret is one of those shows where not only the songs are well-known, but there’s a certain amount of importance put on the dancing, and this, too, can be challenging. Though Choreography by Amie Bell is pleasant to watch and works well with the production as a whole, it seems a little uninspiring, at times. That’s not to say it’s not good, because it is very good, but in certain points, just doesn’t have the “oomph” I’d like to see. Now, this very well could be on the ensemble and not Bell’s choreography, but it all has to go hand in hand. I reiterate, it is good choreography. It’s tight and well-rehearsed, so, not all is lost. Bell has a tight comprehension on what the numbers are about and the movement is appropriate

Linda Roby as Fraulein Kost (Photo by Stasia Steuart Photography)

making for a wonderful showing on her part.

Music Direction by Michael Tan is absolutely on point. All of the numbers are well sung and emote the feelings of each song. He has a good grasp of the material and has directed this ensemble to fun, poignant, and strong performances. The small orchestra consisting of Michael Tan (conductor/keyboard), Tina James (Reed 1), Mari Hill (Reed 2), Tony Neenan (Trumpet), Mike Allman (Trombone), Jeff Eckert (Bass), and Billy Georg (Drums) rocks the house and are well-rehearsed, sounding as clear and polished as a recording. I tip my hat to this stellar pit ensemble.

Direction by Stephen Foreman has put together a polished, meaningful production and certainly has a strong comprehension of the text. His casting is superb and his staging is smooth making the action and dialogue easy to follow. Pacing at the performance I saw was dragging a little, but it didn’t stop the exquisite performances. His characters are fleshed out and his vision is clear making for a brilliant production, overall.

Pamela Northrup as Fraulein Schneider (Photo by Stasia Steuart Photography)

It’s worth mentioning that it’s clear to this reviewer that the ensemble are a tight bunch. They work well with and off of each other making for authentic and precise performances. The Kit Kat Girls and Boys, consisting of Felicia Howard, Briana Arielle Downs, Katie Jones, Miranda Austin Tharp, Linda Michele, Lauren Romano, Angel Duque, Chris Weaver, Rew Garner and Nick Carter, all give strong and natural performances, taking this production to the next level. I’ve always believed if you have a strong ensemble, aside from the main characters, you have a strong show, and this production proves my point with this amazing, dedicated ensemble.

Megan Mostow as Sally Bowles and Seth Fallon as Clifford Bradshaw (Photo by Stasia Steuart Photography)

To mention a few main characters, Pamela Northrup as Fraulein Schneider and Christopher Kabara as Herr Schultz, Linda Michele as Fraulein Kost make up the owner and a couple residents of the boarding house in which some of the story takes place. Northup fits well into her character and her portrayal is heart-felt and she emotes the exhaustion and worry of this character, as well as her softer side. Vocally, Northup may not be the strongest performer, but she carries her songs well, such as “So What?” and “It Couldn’t Please Me More.” Kabara, too, portrays his character quite well, though, he struck me as someone more modern rather than a 1930s fruit seller, he still manages to play this character well and seems to understand the trials and tribulations this character is going through at the time. He shines in his featured vocal numbers like “It Couldn’t Please Me More” and “Married.” Michele, playing double duty as a Kit Kat Girl, also manages to portray a believable young German girl trying to get by in 1930s Germany, using what she’s got (her body) to make a living. Michele has great chemistry with her fellow cast mates and knows her character well giving a strong, confident performance.

Seth Fallon takes on the role of Clifford Bradshaw, the young American writer, and Brad Davis portrays Ernst Ludwig, a loyal German who shows initial kindness to Cliff. Davis plays his role beautifully even though it’s a darker character. Davis’ courage to play such a character in this uber-politically correct theatre landscape these days is commendable and he plays this supporting character well. Seth Fallon has an absolutely beautiful, soothing bari-tenor voice that saturates the theatre in the small singing parts his character has, and it makes me want to hear more. His portrayal of Cliff, however, falls a little flat. He seems to have a good grasp of this character and what he’s going through, but his performance is a bit scripted and unnatural at times. He just needs to loosen up a bit and he’ll hit the nail on the head! His chemistry with his cast mates is very good, but could be a bit more, especially with Megan Mostow, who plays the fun-loving and free Sally Bowels. Overall, he gives a good, confident performance and is, for the most part, confident in the character.

Megan Mostow as Sally Bowles (Photo by Stasia Steuart Photography)

Speaking of Megan Mostow as Sally Bowles, let’s get into the highlights of this production. She  and Tommy Malek as the Emcee are the hands-down standouts in this production. Starting with Malek, though I’m not 100% onboard with his take on the Emcee (which very well could have been a directorial choice, it’s hard to tell sometimes) I still enjoyed his performance. I envision the Emcee to be an asexual, slithering, lurking character, who’s always in the shadows in the background, but I didn’t get that with this character. Not to say that it was wrong, because there is no denying Malek gave 100% effort and plays this character to the hilt. Though I like my Emcee to be different, that’s not to say I was not entertained and invested in Malek’s take. He took this role and hit the ground running. He has a great comprehension of this sleazy night club entertainer, who might have a big heart underneath all the makeup and sleaze, and he embodies him fully. He’s comfortable in the role and it helps to bring him to life. Vocally, Malek gives an impressive performance, especially in his featured numbers such as “Wilkommen,” which opens the entire show and sets the mood nicely, the high-energy, pulsating “The Money Song,” and the cute, “If You Could See Her,” all come off nicely with a tight performance from Malek. Overall, he gives a strong, praise-worthy performance that isn’t to missed.

Finally, we get to the iridescent Mostow, who has a deep and clear understanding of her character and, oh brother, does it show. She completely embodies this character and makes it her own. Vocally, Mostow is a powerhouse. She’s not belting and screeching through her songs, but using her amazing lower register and seemingly effortlessly sings through each other featured numbers as I get lost in her tone. She plays the fun and flirty “Don’t Tell Mama” with just as much feeling and enthusiasm as “Maybe This Time” down to the stellar performance of the ever popular “Cabaret”. Mostow truly becomes this character showing she’s done her homework and knows who this character I giving a strong, confident performance. Hats off and a heartfelt kudos to Mostow for a job very well done. You don’t want to miss her in this role.

Final thought… Cabaret is not a production you want to miss this season. It’s well put-together and each and every ensemble member gives 100% dedication and effort. The musical numbers are tight and engaging, performed by a top-notch cast. Whether you’re familiar with the piece or not, you will be entertained and maybe even learn a little something about compassion and acceptance along the way. It’s relevant to today’s goings on and it’s a relatable story to get into. Get your tickets now and come to the Cabaret, old chum! Life is a cabaret!

This is what I thought of Silhouette Stages’ production of Cabaret… What did you think? Please feel free to leave a comment!

Cabaret will play through March 24 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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Vaudeville Comes Back in The Last Call with Rogue Swan Theatre Company

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By Jennifer L. Gusso

The Cast of The Last Call. Credit: Rogue Swan Theatre Company

Recently, I had the opportunity to visit a rehearsal and sit down with the cast & crew of The Last Call, an original vaudeville that the Rogue Swan Theatre Company will be presenting at the Havre de Grace Opera House on May 24th & 25th at 8pm. Directed by Katie Gordon and musically directed by Nate Gordon, the presentation is an eclectic mixture of songs and scenes which is woven together through an original script by Katie Gordon and Lilli Burril. This is the group’s second vaudeville and is shaping up to be a unique and exciting evening.

The Cast of The Last Call. Credit: Rogue Swan Theatre Company

The script is so full of top-secret twists and turns that even I didn’t get the full scoop on all of the surprises. However, everything that I did get to see and hear about left me anxious to see this production. The group creates their own unique harmonies to songs that were impressive, and the snippets of choreography that I was able to preview were original and polished already.

During my time, I was able to talk with Katie Gordon and rest of the cast and crew about their expectations for this production and their hopes for the audience’s experience. Many of the cast and crew, like Katie, are Gordons. Much of the company is some member of her extended family.

Katie Gordon: We are Gordons. We are Hutchinsons. We are Burrils. Everyone else is now in that family as well, whether they wanted to be or not.

BB: What one thing will audiences not want to miss?

“Long-Haired” James Watkins (Rouge Swan President): I am going to have to say the finale. 

KG: The finale is going to be pretty cool. It’s two parts, and it is going to rock in every way.

Ed Gordon (Cast Member): “One Day More”

KG: “One Day More” has a definite different twist to it. It’s not your normal “One Day More.”

Jesse Gordon (Cast Member): “Don’t Tell Mama” will be hilarious, but we can’t say why.

Marion Jackson (Cast Member): “Parting Glass”

KG: “Parting Glass” is a Celtic pub song. It is written in 8-part harmony, and we are doing it in 8-part harmony. Accapella.

The Cast of The Last Call. Credit: Rogue Swan Theatre Company

BB: What do you hope that the audience will walk away with?

KG: One thing that was one of the best things said last year: [An audience member said], “The thing that I loved about the show is that, after I had seen about three or four numbers and realized that you had changed every song I knew, I got excited when the next chord played. Thinking: ‘What are they going to do? What are they going to do?’” When we are trying to create that, we ask ourselves, “How are we going to make it roguified?”

Tara Vin (Cast Member): That other forms of theater are still relevant. Just because we are not mainstream, doesn’t mean that we are not good.

Breonna Lewis (Cast Member): Katie takes talents of all different kinds. She finds a way to feature everyone’s specific talents and individualize them but still make it look like a collective, unified unit.

The Cast of The Last Call. Credit: Rogue Swan Theatre Company

Based on the rehearsal I was able to see and my conversations with the cast, this is a production that I can’t wait to see in its final format.

The Last Call from Rogue Swan Theatre Company will play through May 24 at The Cultural Center at the Opera House, 121 N. Union Street, Havre de Grace, MD. Purchase tickets at the door one hour before show time or purchase them online.

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Heritage Players is Ready for Boarding with Boeing Boeing!

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By TJ Lukacsina

Approx. Running Time: 2 hours and 20 minutes with one intermission

Boeing Boeing by Marc Camoletti is helping fly The Heritage Players through to finish out their 43rd season. Directed by Ryan Geiger, this script of this French farce (translated into English) feels lost in translation in 2019. However, Geiger is determined to deliver a sixties authenticity in it’s treatment of women as objects and pawns to move around for the benefit of the American protagonist.

The Cast of Boeing Boeing at Heritage Players. Credit: Shealyn Jae

In short, the Heritage Players website surmises the show rather nicely. “American bachelor Bernard is living in Paris and couldn’t be happier. He has a flat in Paris and three gorgeous stewardesses, Gloria, Gabriella, and Gretchen, all engaged to him without knowing about each other. His live-in maid, Berthe, is the only person who knows about his deceptive life until his friend from Wisconsin, Robert, unexpectedly comes to stay. Suddenly, Boeing begins rolling out their new speedier jet planes to the airlines, throwing off all Bernard’s careful planning. So, all three stewardesses are in town simultaneously. However, the timid Robert begins to forget which lies to tell to whom, and catastrophe looms.”

Be begin with our in-flight instructions and the details of the production are showered with thematic puns from our Captain. The information covered is thorough (some information is duplicated from the program) and runs a bit long foreshadowing some pacing issues that arise during the show. Heritage Players has chosen two charities to donate part of their proceeds, which are the Spring Grove Hospital Patient Fund and The Air Charity Network. (www.aircharitynetwork.org)

The Cast of Boeing Boeing at Heritage Players. Credit: Heritage Players

Lights up on the living room of a simple bachelor pad with a color scheme that is flat enough to help the characters in costume really pop. Art on the wall from each of the stewardess’ respective countries is a very nice touch to show that Bernard (John Sheldon) has thought all of this through and doesn’t leave things to chance. Sheldon enters cool, calm, and collected assuring his maid Berthe (Claire Sherman) that everything will be fine and bending to the wind is easier than fighting it. Their conversation flows naturally and they feel as if they have had a good, albeit unnatural, working relationship. The place is clean, tidy and in good order though does not feel lived in. Some trim on the walls and a few practical lights could do wonders to finish the look of the apartment of the successful architect.

Geiger’s set design is built to be used and is sturdy enough to keep the walls from any movement while the doors continually open and close. Though the actors’ timing with the doors was solid and snappy, occasionally the joke in between was missed due to a slower comedic timing. The script calls for some out of date objectification of women, which is currently avoided or muted, but Geiger has boldly decided to stay true to the script allowing the audience the occasional laughter through awkward situation. The hard work that has been put into the show is evident and Geiger’s knowledge and love of the script is displayed well throughout the evening.

Claire Sherman as Berthe. Credit: Shealyn Jae

As Bernard, John Sheldon struts the stage and kicks back with an easy confidence that his plan is flawless. Watching him witch between calm and collected to panicked and lost is like flipping on the light switch. His routine is initially disturbed by a surprise visit from Robert (Richard Greenslit), a friend who has kept him to his word about visiting Paris. Greenslit’s interpretation of Robert is quite the opposite of Bernard: exact in his word choice, anxious and relentless in needing clarification. Greenslit’s execution is humorous and fun and also pays off well with Sherman, whose character is slowly getting fed up with changing meals and sheets for each of the three stewardesses.

Claire Sherman maintains Berthe’s professionalism while being able to toss in a line here and there at the other character’s expenses. Her delivery was strong and consistent and pleasant to watch on stage. Jessie Duggan as the American stewardess Gloria entered confidently and excitedly playing to the European stereotypes of Americans. Dressed all in red, she was certainly playing to her charms to seduce both men in order to get what she wants. Katie Sheldon played Gabriella, the Italian stewardess, is delightful to watch as she takes control of her scenes. Her chemistry with Bernard creates some shining moments throughout the show as she fights to have things go her way. Her exasperation with Bernard and Robert is clearly evident as they usher her to the guest bedroom and the audience can empathize her defeat when arriving from the restaurant. Making a grand entrance, Gretchen (Kate Crosby) is the German stewardess who makes her presence known on stage. Crosby grabs this character and shows her how to handle the two guys. We can see her wrestling with indecision throughout but is firm when she makes up her mind. All three women with accents stay in their general lane with some slight variations along the way but we’re able to get the region clear enough.

If the accents weren’t enough to tell the three stewardesses apart, Robin Trenner’s costume design certainly puts all three love interests in their primary corner. The intention is certainly clear, if not a bit overstated. Speaking of clear, sound design by Stuart Kazanow was never a problem and sitting halfway back I could hear every line very nicely. Be sure to fly over to Catonsville, home of The Heritage Players, for their show before it’s Boeing, Boeing, gone.

This is what I thought of Heritage Players’ production of Boeing Boeing… What did you think? Please feel free to leave a comment!

Boeing Boeing will play through May 19 at Heritage Players at The Thomas Rice Auditorium of the Spring Grove Hospital Campus, Catonsville, MD. Purchase tickets at the door one hour before show time or purchase them online.

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Tidewater Players Bares All in The Full Monty!

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By Jennifer L. Gusso

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

Every so often, a production comes around where every element works perfectly and transcends to a level of sheer theater magic. One of those productions is the Tidewater Players’ current production of The Full Monty with Book by Terrence McNally and Music & Lyrics by David Yazbek, Directed by Laurie Starkey, with Music Direction by R. Christopher Rose, and Choreography by Elise Starkey. If you don’t already have tickets to this hysterical and heartwarming delight, you should buy them immediately. This cast and production team consistently deliver in bringing to life one of the funniest scripts in Musical Theater.

The Cast of The Full Monty at Tidewater Players. Credit: Tidewater Players

Fair warning: This is the tale of a group of out-of-work steel workers who have decided to make some money by taking off all their clothes. There will be some skin, combined with language and other adult themes, that does make this production not appropriate for young audiences. However, mature teens and even the most conservative adults are unlikely to be offended, as this is not skin for the sake of skin – this is a story about loving yourself and about body acceptance. It has a strong moral foundation and excellent themes about what it means it be a “Man.”

Director Laurie Stentman Starkey’s curtain speech talked about her great love for this piece and her desire to really do justice to the message of this show. That love shows in every detail of this production. From assembling a dynamic cast to effective staging, quick scene changes, and seamless integration of technical aspects, a strong and skilled directorial hand is evident throughout. Her vision is furthered with strong musical leadership at the hands of R. Christopher Rose. Both soloists and ensembles shine consistently in their knowledge of the music and how to deliver the music for maximum impact. Another shining star is the choreography of Elise Starkey. Her choreography is not only eye-catching and delivered with stunning synchronicity, it also often tells the story and adds to the humor.

The technical aspects are also very well-designed and effective. Laurie Starkey & Todd Starkey create a set design that easily transforms into a variety of locales, ending in the amazing culmination of the “Full Monty” sign in the closing scenes. The lighting design by Thomas Gardner adds depth and character throughout and works perfectly in the most crucial of moments. Costume Design by Eva Grove is clever and detailed. Like the other aspects, it highlights the two key aspects of this production: character and humor.

With these things in place, the cast is set up for success, and they take that ball and run with it. There is truly not a weak link in the entire ensemble. The thing that works so brilliantly is that the production team and cast really got the characters and the theme of the piece. What makes this show both funny and touching is that these are real men stepping outside of their comfort zone. The characters are quirky and zany at times, but, above all else, they are real. It is only in playing these characters as real and complex and not over-the-top that this show can truly work. Starkey and her cast understand this and instead of trying to play for laughs or manipulate audience emotion, they allow themselves to be real characters who experience this story as it unfolds. The result is that the audience laughs and cries and falls in love with the vulnerability and reality on display in front of them.

The cast also melds together so well as an ensemble that is practically impossible to single out and talk about these performances as individuals. They are always working as a team, reacting and supporting as much as taking the spotlight. The supporting characters are just as real as the leads and played by some equally strong actors. With just a few small scenes, Matt Peterson allows the audience to see things from Teddy’s side, as much as we may be inclined to dislike him. The same is true of Angie Sokolov as Pam. It’s tough to play characters that are standing in opposition to the protagonist. Sokolov allows us to see Pam’s point of view in way that lets us feel OK about rooting for her happiness as well. Another strength in the supporting characters can be seen in Samantha Jednorski’s portrayal of Estelle. She finds ways to build layers and depths with her reactions that create a real person and not a one-dimensional cliché. Audiences will also definitely remember the supporting performance of Wayne Ivusich (Rev. Willoughby/Minister) who almost bares it all with zeal in one of his several standout comedic moments.

Two actresses that definitely deserve some individual attention are Barbara Snyder (Jeanette Burmeister) and Lisa Pastella (Georgie Bukatinsky). Snyder consistently brings joy and laughter to the audience with her feisty character and solid comedic delivery, and Pastella easily has one of the best female voices in the local theater community. Pastella also has incredible chemistry with her onstage husband and creates a character who is vibrant and believable.

However, at the end of the day, this show is truly about the six men who decide to bare it all. These six men forge an incredible bond on stage that is the foundation of this show, while each creating unique and loveable characters. Austin Barnes (Ethan Girard) sparkles with optimism and heart. Ethan is a character that could easily be overplayed, but Barnes finds the reality in his constant belief that he can do impossible things. Balancing Ethan’s often misguided optimism is Malcolm’s often misguided pessimism. As Malcolm, Josh Schoff finds the balance and the lightness in his conflicted character. The onstage chemistry between Barnes and Schoff is also impressive, as they say so much through simple looks and gestures and tiny moments that slowly build. During “You Walk With Me,” Barnes and Schoff, in beautiful harmony, make the audience’s hearts both break and swell with them.

Adding to the dynamic group of gentlemen is Steve Flickinger as Harold Nichols. Flickinger has stellar comedic timing and the most priceless facial reactions. Then, there is Lamar Leonard as Noah “Horse” Simmons with his smooth dance moves, sweet vocals, and comedic calisthenics. He lights up the entire room with his performance of “Big Black Man.”  Like so much of the cast, Flickinger and Leonard balance all of these crazy comedic moments with vulnerability. Both men have these touching, small moments in which we see the fears and real person inside. This group of men is so unafraid to be exposed on stage – emotionally and mentally as well as physically that the audience leaves feeling like it is a group of old friends.

The Cast of The Full Monty at Tidewater Players. Credit: Tidewater Players

The cornerstone of old friends, with such a believable onstage dynamic that you feel like they must truly be old friends, are Dave Bukatinsky (Mark Lloyd) and Jerry Lukowski (Jake Stuart). Everything that this production does well is crystallized in the amazing performances by these two gentlemen. Lloyd has these moments like “You Rule My World” or wrapped in Saran Wrap, where he shows the audience Dave’s fears and insecurities and pains despite the fact that everyone is laughing. He does an excellent job of living those moments rather than trying to chase the cheap humor. The audience laughs at him, but knowing that we are laughing at him also builds a deep empathy for everything that Dave struggles with. It is empowering and a testament to Lloyd’s strong character development to watch Dave slowly gain confidence and sense of self throughout the piece. Ultimately, though, the heart of the show is its unconventional protagonist Jerry, and Stuart gives the most impressively real portrayal. There is not a single moment where it feels like he is acting or pretending. Every line, every action, and every reaction feels real and genuine and in the moment. He creates the most believable, flawed, and loveable man, and it just feels natural. A beautiful example of Lloyd and Stuart together is “Big-Ass Rock.” The song is hilarious. The vocals are gorgeous. The harmonies are solid. Right beneath the surface, though, is real pain and real men. We get to know them. We get to love them. In many ways, we are them.

When Starkey talked in her curtain speech about the powerful and important theme of this show, she touched on something that was then brought to life for her audience. The Full Monty is about real people – people with insecurities and flaws and quirks and weaknesses – people who succeed sometimes and fail other times – people who are victims to external things they can’t control and internal things that they can control. The Full Monty shows how real people can learn to love themselves and each other despite all of that – despite our own flaws, despite others’ flaw, despite an imperfect world – an imperfect world which is perfectly represented in this flawless production that should top everyone’s to-do list within the next two weekends.

This is what I thought of Tidewater Players’ production of The Full Monty… What did you think? Please feel free to leave a comment!

The Full Monty will play through May 19 at Tidewater Players at The Cultural Center at the Opera House, 121 N. Union Street, Havre de Grace, MD. Purchase tickets at the door one hour before show time or purchase them online.

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Extra! Extra! A Murder is Announced at Artistic Synergy of Baltimore

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By Jason Crawford Samios-Uy

Running Time: Approx. 2 hours with one intermission

A good murder-mystery is a staple of community theatre and you don’t get any better than a tried and true Agatha Christie tale. She had it down to a science and have had readers and audiences guessing and scratching their heads for the past nine decades (coming up on 100 years in 2020) and many have adapted her novels into stage plays, including Christie herself. Artistic Synergy of Baltimore’s latest production, A Murder is Announced by Leslie Darbon, Directed by Michael Crook and Assistant Director Lou Otero, brings one of those stories to life, having us scratching our heads and wondering… whodunnit?

(l-r) Jim Gerhardt, Donna Zubrowski, Chloe Scully, and Ashley Gerhardt. Credit: Artistic Synergy of Baltimore

A Murder is Announced, the novel, was first published in June of 1950 and both the novel and the play concern themselves with an announcement in the local paper of a murder to be committed at a planned birthday party at a local boarding house. The house is owned by Letitia, a staunch, soft spoken woman, who has an old friend living with her, Dora “Bunny” Bunner (the birthday girl), as well as her adult niece and nephew, Julia and Patrick, who she hasn’t seen since they were small children. Joining the fray are the maid/cook/housekeeper, Mitzi, a steely Russian, and three neighbors, Edmund Swettenham, his mother, and the famous and inquisitive Mrs. Marple. At the party, a fuse is blown momentarily, an intruder breaks in in the dark, scaring the party-goers, and when the lights come back up, the intruder is dead on the floor. Enter a patient Inspector Craddock, and you have the makings of a good old fashioned Christie mystery.

Donna Zubrowski and Ashley Gerhardt. Credit: Artistic Synergy of Baltimore

Though no Set Designer is listed in the program, the design for this production uses the intimate space wisely. One is transported to a parlor room of a small English country house with not bells and whistles which is absolutely appropriate for this piece. Rachel DiGraizia and Joshua Perry (the two names listed as “Set Construction” and the only two names associated with the set in the program) have put together a sound set that helps the action of this mystery and assists the staging that the audience should be watching carefully.

Speaking of staging, Director Michael Crook and Assistant Director Lou Otero seem to have a strong vision and have executed it beautifully. Staging a murder-mystery is no small feat, one must understand the script, but also the action and has to work that out within the space he or she has. Crook and Otero’s staging is smooth and easy to follow and it shows they have a deep comprehension of this material and the presentation is praise-worthy, indeed.

Jim Fitzpatrick and Catherine Shinaberry. Credit: Artistic Synergy of Baltimore

Moving on to the performance aspect of this production, Jim Morgan pulls double duty in supporting, but important role as Rudi Sherz/Sergeant Mellors, the unfortunate intruder and a constable, respectively and he pulls both characters off nicely with decisive blocking and dedication to his roles. Claire Levine takes on the character of Mrs. Sweetenham, a neighbor, and though she seems stiff and scripted, she seems to understand the frailty of her character and makes a good showing.

Donna Zubrowski tackles the role of Dora Bunner, a childhood friend of Letitia’s and a woman who seems to be slipping slowing but surely into dementia, forgetting simple things and remembering things from the far past. Zubrowski has a tight grasp on this character, but gives a rigid performance with a deliberate delivery that makes it unnatural at times, but her chemistry with her cast mates is fantastic and she plays the character adequately enough to get the point across nicely. In the same vein, Chloe Scully takes on the role of Phillipa Haymes

Ann Marie Taglavore, Phill Vannoorbeeck, and Donna Zubrowski. Credit: Artistic Synergy of Baltimore

Phil Vannoorbeeck takes on the role of Patrick Simmons and Ann Marie Taglavore portrays Julia Simmons, the young brother-sister team who may or may not have ulterior motives for visiting their sweet, old aunt. Both Vannoorbeeck and Taglavore give strong, confident portrayals and know their characters well. Vannoorbeeck may be playing the character a bit larger than he should, at times, but still comes off as believable and natural. Taglavore is the stronger actor, giving a smooth, natural performance and delivery are both natural and effortless.

Catherine Shinaberry and Mel Tillery. Credit: Artistic Synergy of Baltimore

A few highlights of this production are Jim Gerhardt as Edmund Sweetenham, Mel Tillery as Mitzi, and Catherine Shinaberry as Letitia Blacklock. Gerhardt is comfortable in his role and has a great presence on stage with natural delivery of the dialogue and a solid take on the character. Shinaberry is aptly cast in her role of Letitia, and, though she is too soft spoken at times, making it hard to make out what she is saying, she seems to embody this character nicely and has a strong comprehension of her character. Tillery is phenomenal as Mitzi and is the one to watch whenever she’s on stage. Her delivery, in a believable Russian accent, is impressive and her energy is second to none, making for one of the strongest showings in this production.

Jim Fitzpatrick, Catherine Shinaberry, and Ashley Gerhardt. Credit: Artistic Synergy of Baltimore

Rounding out the cast we have the sleuths, Inspector Craddock played by Jim Fitzpatrick and the loveable, famously intuitive Mrs. Marple, portrayed by Ashley Gerhardt. These two are the definite standouts in this production and pull their characters off effortlessly. Fitzpatrick is near perfect in this role and he seems to completely embody this character. His delivery is flawless and his chemistry with the rest of the ensemble is on point and it makes for a strong, faultless performance. Gerhardt, who may be a bit young to play Mrs. Marble just yet, still gives an impeccable performance, regardless of this. She knows the character well, and she portrays her with a certain charm that makes you like her from the get. I’m a big fan of Jessica Fletcher in Murder, She Wrote (who is probably structured after Mrs. Marple), so I’m pretty hard on any character that resembles her, but Gerhardt hits it out of the park with this performance. She’s a wonderful character actress and seems to become this character making for a standout performance, overall.

Final thought…A Murder is Announced at Artistic Synergy of Baltimore is well put-together presentation of a great Agatha Christie story with mostly solid performances and a solid vision from its Director and Assistant Director. Being it’s a murder-mystery, there are times when the dialogue seems to drag along, but, it’s the nature of the beast… things have to be explained thoroughly, so, the excessive exposition is a necessary evil. The story is dated, but definitely not stale, and is still relatable today. Murder and/or mystery really never go out of style. Get your tickets now. You wouldn’t want to miss this classic this season.

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

A Murder is Announced will play through May 5 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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Six Characters and Three Actors Shine in And Baby Makes Seven at The Strand Theatre

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By Jason Crawford Samios-Uy

Running Time: Approx. 90 minutes with no intermission

Young expecting parents may have strange ways of coping with the inevitable. Some research and read every book they can get their hands on or watch every video they can find on the Internet, and some just let it happen, taking advice from those who have gone through the same experience. Everyone has their own way of coping and preparing and in The Strand Theatre’s latest offering, And Baby Makes Seven by Paula Vogel, Directed by Emily Hall, gives us a glance into what could be called an unconventional coping and preparation mechanism from an expecting mother, her lesbian partner, and male friend/father. The trio works their way through the usual issues of expecting parents with humor and poignancy, which, in the end, is pretty much like everyone else.

(l-r) Grant Emerson Harvey, Jess Rivera, and Katherine Vary. Credit: The Strand Theatre

In a few words, And Baby Makes Seven concerns itself with a trio of folks expecting a baby, but realize they have to get rid of the three imaginary children in the house before the real baby comes. Sound a little off? Well, it is, but it all comes out in the wash.

Set Design by Kate Smith-Morse works just about perfectly for this piece. It’s an intimate space, but Smith-Morse has used her workspace wisely. There is a simple separation between the two main spaces, a bedroom and the kitchen area, but it’s just enough to be distinguishable. It is a realistic set that fits nicely with this production. Smith-Morse’s design doesn’t hinder any action and helps the action flow smoothly making for a well thought-out design.

Emily Hall takes the helm of this production and her Direction of this piece is superb. As I mentioned, this theatre is an intimate space and a show like this, with only three characters, is perfect for this stage. Hall seems to have a good comprehension of the characters and she has guided this apt cast into telling this story well. For such a quirky tale, Hall has presented it in an easy to follow fashion and her vision is clear… it’s a group of folks simply trying to cope with a pending birth, and doing what they feel is right, regardless of what anyone else may think about it. Hall is to be commended for her work on this production.

Moving to the performance aspect of this piece, this trio of actors work their way through this script superbly.

(l-r) Jess Rivera, Grant Emerson Harvey, and Katherine Vary. Credit: The Strand Theatre

Though Jess Rivera, as Ruth, the non-pregnant female in this trio, started off by annoying me with her over the top  portrayal of imaginary Henri, a young French boy, and imaginary Orphan, a dog of sorts, but I found myself getting used to it as the play progressed. Rivera certainly knows what she’s doing on stage, but it looked as though she was trying to hard as the imaginary kids. However, when she switched off to play the normal, everyday Ruth, she shined and portrayed her effortlessly, so, I can see this actress has an real talent. Overall, Rivera has a tight grasp on this character and gives a great showing and makes these characters endearing, making for a delightful performance.

Next up, Katherine Vary takes on the role of Anna, and the imaginary child genius, Cecil. Vary is well in tune with this character and her character’s imaginary counterpart. She plays Anna, the pregnant character, with ease. She seems to have a good understanding of this character, as well as with Cecil, making him just irritating enough, but charming a the same time, which is not small feat. Her delivery is smooth and natural and, overall, she gives a strong, confident performance.

Rounding out this stellar ensemble is Grand Emerson Harvey, who takes on the role of Peter, the father of the unborn child, and thought it’s eluded to him being a homosexual, it’s only really hinted at in a few lines toward the beginning of the play. Either way, Harvey pulled this role off beautifully and confidently. This character seems to be the only “normal” one in this trio, keeping his feet grounded in the real world, but he also understands that Ruth and Anna need to have these imaginary kids to cope and prepare themselves for what’s to come, and… maybe he does, too. Harvey was near flawless in his portrayal of this character. He made this character his own and seemed to embody him. His delivery is clear and concise and he really brings the character to life. Working in tandem with Rivera and Vary, this trio seems to naturally fit with brilliant chemistry and it just makes the characters more real and the story more believable.

Final thought… And Baby Makes Seven at The Strand Theatre is a quirky, comedic take of how people prepare themselves and cope with pregnancy and the inevitable addition of a new baby to the family. However, don’t let the imaginary children fool you. In the end, I really liked these characters because they knew the kids were imaginary and knew they were pretending and nothing more, adding a realism that was needed. Paula Vogel has weaved a poignant, off-center story about a blended family and their interpretation of the world around them. It may take a moment to get into the groove with this piece, but the small three-person ensemble presents these characters beautifully and truthfully, making for a delightful evening of theatre. You may have to pay extra attention to to keep up with the characters, but the ensemble does a good job keeping everything in place. If you haven’t seen it yet, it’s definitely worth checking out.

This is what I thought of The Strand Theatre’s production of And Baby Makes Seven… What did you think? Please feel free to leave a comment!

 And Baby Makes Seven will play through April 21 at The Strand Theatre, 5426 Harford Road, Baltimore, MD. For tickets, call the box office at 443-874-4917 or you can purchase them online.

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Boogie into the 60s at Spotlighters Theatre with Beehive, the 60s Musical

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By Jason Crawford Samios-Uy

Running Time: Approx. 1 hour and 30 minutes with one intermission

The 1960s. It was quite a turbulent time in the country, as far as I can tell from research, history class, and stories my parents have told me. Everything and everyone was changing and though, it too was changing, one of the constants was music. New sounds, new voices, voices of different colors and creeds, and it was something everyone could turn to. Spotlighters Theatre latest offering, Beehive, the 60s Musical, by Larry Gallagher, Directed and Choreographed by Quae Simpson, with Music Direction by LaVar Betts, takes us back to that bygone era and brings back or introduces those tunes to today’s audience reminding us that music is always with us, no matter what.

(front, l-r) Marela Kay Minosa, Asia-Lige Arnold. (back, l-r) Quae Simpson, Karen Steelman, Timoth David Copney, Nicholas Miles, Danielle Harrow. Credit: Spotlighters Theatre / Shaelyn Jae Photography

Beehive, the 60s Musical is a jukebox musical, so if you’re looking for a story line, don’t look too closely. There really isn’t one to speak of. There is a half-hearted attempt to introduce a reunion of sorts, but it really isn’t needed and would have done well to cut it completely and start with the opening number. The ensemble tries to keep up this reunion feel throughout the evening, but it just falls flat. It’s curious, also, that the first song we hear is a recording of “Welcome to the 60s” from another hit musical, Hairspray, but… why? Regardless, you’ll spend a delightful evening hearing the biggest hits from the 1960s (of course) and be treated to beautiful performances from this very able cast.

Again, I’m not sure direction Director Quae Simpson was going in with the “reunion” but, it really was not needed. The musical numbers would have stood on their own if we would have trusted them just a little more. I get it, some of these songs are unfamiliar to a younger audience, but they are good songs and can stand on their own. Another curious bit for this production is casting. The show is written for 6 females, supposedly giving it a 60s girl group atmosphere, but here we have two gentlemen joining the cast. I’m all for gender-blind casting, if it works for the production, go for it! However, it just seemed a little off for this production. It may have modernized the piece, but it comes off a little off. Also, I’m not saying the gentlemen in this cast gave subpar performances because they most certainly did not. All of the ensemble members are top notch and gave top notch performances. But including the men seems to take it over the top as if this piece is trying too hard to cover up with comedy and it comes off as hokey. Those minor flaws aside, it’s definitely a good showing for Spotlighters Theatre.

The cast of Beehive, the 60s Musical. Credit: Spotlighters Theatre / Shaelyn Jae Photography

Alan Zemla’s Set Design is appropriate to the piece, and all the clichés are there, but they are needed for a piece like this. The intimate space is used wisely and, though I wasn’t blown away as I usually am by Zemla’s work, that’s no mark against him. This piece doesn’t call for much, and what he has created is superb and works well for the production.

Music Direction by LeVar Betts is stellar. This show is all about the music and Betts has guided this cast into beautiful, fun renditions of these old hits. He is even the featured performer in the poignant “Abraham, Martin, and John” and gives a heartfelt, sincere performance. As for the cast, they are in just about perfect harmony and well-rehearsed on the other numbers and Betts’ work is to be applauded.

Timoth David Copney. Credit: Spotlighters Theatre / Shaelyn Jae Photography

Directions & Choreography by Quae Simpson has it’s flaws, but is, for the most part, commendable. Choreography is minimal and there is opportunity for more than what is presented, but any movement offered also depend on the ensemble and the choreography fits this ensemble nicely. It doesn’t take away from the performances but is enough to be engaging. Simpson’s use of audience participation and breaking the fourth wall, though probably required for this type of show, seems a bit forced, especially because of the intimate space at Spotlighters. The audience does seem to enjoy the participation, but it’s not my cup of tea, so, it could just be me. Aside from the interesting casting and the few aforementioned minor faults, Simpson’s staging is quite good and he keeps it interesting with seamless transitions from one song to the next. Overall, Simpson has done a fine job with this presentation.

Danielle Harrow. Credit: Spotlighters Theatre / Shaelyn Jae Photography

Moving on to the performance aspect of this production, Nicholas Miles and Marela Kay Minosa are crowd pleasers, and it’s easy to see their energies are not for naught especially in Minosa’s fun and upbeat rendition the popular and timeless Lesley Gore song “It’s My Party” and the poignant “Baby, I Love You,” made popular by The Ronnettes. Meanwhile, Miles gives us a fun and humorous performance of “My Boyfriend’s Back,” originally released by The Angels, with all the schtick and tongue and cheek you can handle.

Highlights of this particular production are Timoth David Copney, who really seems to have a great comprehension of this music and style, especially with his near flawless performance of The Shirelles “Will You Still Love Me Tomorrow,” which ends up being one of my favorite interpretations of this song, and his featured bit in Dusty Springfield’s “Son of a Preacherman.”  Karen Steelman holds her own and makes the audience take notice taking on and belting out the intense and popular Janice Joplin hits, “Me and My Bobby McGee” and “Take a Little Piece of My Heart.”

Asia-Lige Arnold. Credit: Spotlighters Theatre / Shaelyn Jae Photography

Rounding out this stellar cast are two definite stand outs, Danielle Harrow and Asia-Lige Arnold. These two ladies perform every one of the their numbers with heart and soul, and with superb, strong voices. Harrow, knocks it out of the park with her takes on Ike and Tina Turner’s “River Deep, Mountain High” and Ike and Tina Turner’s “Proud Mary,” among other hits from The Ronnettes such as ”Walking in the Rain” and “Be My Baby.”  In the She is also featured in an Aretha Franklin medley, including songs such as “Chain of Fools,” “Never Loved a Man,” and “Natural Woman.” In the same vein, Arnold give splendid, memorable performances of Lulu’s “To Sir With Love” and is featured, as she should be, in the same Aretha Franklin medley in which she will knock you out with her strong, emotional vocals that are hard to forget.

Final thought… Beehive, the 60s Musical is a fun journey of nostalgia and great music that will take you back, even if you didn’t live them. It’s easy to at least recognize the tunes, and they are definitely the sounds that changed the world. Though the story line isn’t much to speak of, it doesn’t matter because the songs will keep you engaged and even singing along and tapping your foot. The ensemble gives 100% effort and their work is stupendous. The voices in this production are absolutely amazing and each performer is a powerhouse on his or her own, with a band to match. Really, the years will melt away as the both poignant and rockin’ songs are performed one after another. Though unplanned from Spotlighters Theatre original season, this is a perfect replacement and one you should not miss!

This is what I thought of Spotlighters Theatre’s production of Beehive, the 60s Musical… What did you think? Please feel free to leave a comment!

Beehive, the 60s Musical will play through April 21 at Spotlighters Theatre, 817 St. Paul Street, Baltimore, MD. For tickets, call the box office at 410-752-1225 or purchase them online.

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Between the Lines with Rosencrantz & Guildenstern are Dead at Fells Point Corner Theatre

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By Jason Crawford Samios-Uy

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

Poor Rosencrantz and Guildenstern. If you’re familiar with Shakespearian tragedies, you’ll recognize these two characters as supporting players in Hamlet and their unfortunate demise. Fells Point Corner Theatre’s latest production, Rosencrantz and Guildenstern are Dead by Tom Stoppard, Directed by Lance Bankerd, takes a peek between the lines of the Shakespeare classic to gives us a theoretical peek into what these two ill-fated characters were up to in the background while our friend Hamlet was going crazy.

Matt Wetzel, Bethany Mayo, Rory Kennison, Michael Panzarotto. Credit: Trent Haines-Hopper/THsquared Photography

I’m usually a big fan of stories that include telling more in depth, parallel stories about minor or supporting characters of established stories. It’s always interesting to see and hear what’s going on in the background of other stories, and they are usually quite creative and imaginative. So, not knowing much about this title, but being familiar with Shakespeare’s Hamlet, I was excited to see what could transpire. I was excited. Then I realized this is Absurdist theatre. Admittedly, I am not a fan of Absurdist theatre and, after five minutes of rambling dialogue about probabilities and odds, I was turned off. The actors were doing a magnificent job, but the dialogue left me cold. The text is ostentatious and the fast pace of dialogue seems to me that the author is trying to create a character who’s mind works so fast he or she has to get out all the words before the next bright idea comes along. Ugh. Also, this doesn’t seem to be a stand-alone piece (as other titles are, this isn’t the only one) and one must have a familiarity with Hamlet before seeing this piece. There is an attempt to keep the audience up to pace with the introduction of certain characters and light explanations, but it’s half-hearted, at best. However, Stoppard does keeps true to the action of Hamlet, but when it comes to these two characters (and company), you can keep ‘em… but that’s just me.

No matter my feelings of the script, there’s absolutely no denying the fabulous production value Fells Point Corner Theatre gives us. Lance Bankerd, who takes the helm of this production, has a clear vision and tells the story straight-forward, with simple staging but superb character work. He seems to have a tight grasp on the tedious material and presents it in a laidback, easy-to-follow way making for a delightful showing. Also, it’s worth mentioning the creative Costume Design by Deana Fisher Brill and Maggie Flanigan who have managed to find and gather more denim in one place than I’ve seen since house party in the 90s. Their design compliments the piece and is consistent which makes it a praise-worthy design.

Moving on to the performance aspect of this production, I’d be amiss if I didn’t mention the effort and dedication this entire ensemble puts into this production and their work pays off, nicely.

(l-r) Thom Sinn and Dominic Gladden. Credit: Trent Haines-Hopper/THsquared Photography

Though most of the ensemble seemed like fillers, all gave beautiful performances such as Elizabeth Ung as Ophelia, who didn’t have much stage time, but made the most of what she had and Michael Panzarotto and Rory Kennison, who took on the roles of The Tragedians Horatio and Alfred, respectively. Panzarotto and Kennison didn’t have many lines, but they certainly played their characters to the hilt, physically, with appropriate gestures, mannerisms, and impeccable reactions to the other happenings on the stage.

Dominic Gladden takes on the role of Hamlet, who actually isn’t the main character in this particular story, but Gladden played the role effortlessly. It’s hard to make out his dialogue, at times, through a heavy dialect, but he has a good comprehension of the twisted character and plays him with confidence giving a strong performance. In step with the freaky family, Tom Piccin tackled the role of Claudius, the conniving uncle to Hamlet, and Kay-Megan Washington portrays Gertrude, the award-winner for Worst Mother of the Year. Both Piccin and Washington know these characters well and they have a good chemistry to play well off of and with each other. Both are quite able actors and they shine through the supporting roles to give brilliant performances.

There are certainly highlights in this production, including Bethany Mayo as The Player, the leader of a passing troupe of actors, and a little bit of a con artist. She has this role down pat and her comedic timing, as well as understanding of dramatics is crystal clear. She is comfortable in the role and plays it with ease, making for a solid and robust portrayal.

Thom Sinn as Polonius, the hapless, disheveled advisor to Claudius, is also a highlight mainly because of his comedic timing. His take on this character is spot on. Playing Polonius as more of a bumbling assistant, Sinn makes this character likeable and you start rooting for him, but you don’t why, you just know you want everything to work out for this poor fool. His delivery is a bit mushed at first, but that could be what Sinn is going for as it would fit with the character, but otherwise, his performance is strong and confident, making for a charming character.

(l-r) Logan Davidson and Matt Wetzel. Credit: Trent Haines-Hopper/THsquared Photography

Rounding out the cast is the truly remarkable Logan Davidson as Rosencrantz and Matt Wetzel as Guildenstern, who are the standouts in this production and they are working their asses off on that stage. Rosencrantz and Guildenstern, in the Shakespeare play, are friends of Hamlet, but are assigned by Claudius to take Hamlet to England with a letter to the King of England asking him to kill Hamlet, unbeknownst to the duo. Hamlet finds out, and, well… let’s just say things don’t turn out so well for Rosencrantz and Guildenstern. You read the title already.

Davidson and Wetzel have a fantastic chemistry and work well off of each other, and, a little birdy told me they learned this hefty script in a little over a month, which is impressive with the amount of dialogue these two have to deliver throughout the show. They’re physical work is also spot on and they keep the audience engaged and entertained. Wetzel has a natural flair in his delivery and precise mannerisms that make him a joy to watch. Davidson, too, has a knack for the physical and portrays her role (whether it be Rosencrantz or Guildenstern, depending on what’s happening on stage at the time) with confidence and ease. Both of these actors have a tight grasp on their characters and play them solidly. Their effort is apparent, and they deserve the utmost kudos for their work on this production. They are certainly ones to watch.

Final thought… Rosencrantz and Guildenstern are Dead, is a polished, beautifully performed, well-thought out production but it’s not one I’d be running to see if it comes around again. Many folks love this kind of stuff, but absurdist theatre is just not my cup of tea, as it were, and the script is a little too pretentious for my tastes. However, Tom Stoppard’s pretentious “look-how-smart-I-am” script and dialogue aside, this is a splendid production. The ensemble is giving 100% effort in their superb performances and Bankerd’s staging is spot on, creating a smooth flow that keeps it engaging and entertaining. It’s definitely a praise-worthy production that deserves checking out.

This is what I thought of this production of Rosencrantz and Guildenstern are Dead at Fells Point Corner Theatre.… what do you think?

Rosencrantz and Guildenstern are Dead will play through May 5 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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