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

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.

Email us at backstagebaltimore@gmail.com

Like Backstage Baltimore on Facebook

Follow us on Twitter and Instagram

Review: Songs for a New World at Spotlighters Theatre

By Jason Crawford Samios-Uy

Running Time: Approx. 2 hours with one intermission

(l-r) Luis “Matty” Montes, Kristen Zwobot, Erica Irving, Andrew Worthington. Credit: Spotlighters Theatre / Shaelyn Jae Photography

Everyone walks a different path. Some are content and maybe even happy, but there are some who are discontent and searching. In a way, I suppose we’re all searching. One of my favorite quotes from Robert Browning – “Ah, but a man’s reach should exceed his grasp, or what’s a heaven for?” We should always be reaching for new experiences, new horizons. Sometimes we get stuck but we should always be searching and wondering what’s around the bend. This is a theme that runs through Spolighters Theatre’s latest offering, Songs for a New World by Jason Robert Brown, Directed by Andrea Bush and Michael Tan, with Music Direction by Michael Tan. It’s a song cycle that presents us with people who searching and longing for something else and it’s not a show you want to miss this season.

(l-r) Erica Irving, Kristen Zwobot. Credit: Spotlighters Theatre / Shaelyn Jae Photography

Being a song cycle, which is, simply put, a grouping of songs with a similar theme, there are many ways Songs for a New World can be presented. The original production was more like a cabaret than a full production but it works for this piece. However, Andrea Bush and Michael Tan have threaded this grouping of songs together very nicely, presenting it in the lobby of a hotel where people are coming and going and a million stories are told, started, and sometimes ended. From an attention seeking wife threatening to jump off the ledge, to an up and coming basketball star, to a mother of a fallen soldier, these characters are folks you could easily run into while rushing through a lobby of any hotel anywhere in the world.

Alan  Zemla’s Set Design is superb and he can work wonders with this intimate space. It’s simple but elegant with bold colors and strategically placed lobby locations that allow for a smooth flow and does not hinder the action on stage. Kudos to Zemla for a job well done… again.

I’d be amiss if I didn’t mention Costume Design by Laura Nicholson. With so many different characters played by a small 4-person ensemble, Nicholson has managed to present each character as an individual with varied and appropriate looks from graceful to meager. Every costume for each song is absolutely fitting and well thought-out making for an aesthetically pleasing presentation.

Luis “Matty” Montes. Credit: Spotlighters Theatre / Shaelyn Jae Photography

Direction by Andrea Bush and Michael Tan is impeccable. They have a tight grasp on the material and the stories these songs tell and have presented them beautifully. Their choice of setting the piece in a hotel lobby works and the pacing is just right. Just as if people were coming and going and pausing for just a moment to tell us their story is refreshing and a sensible presentation. Adding to his Directing duties, Tan wears the hat of Music Director and it’s clear his has a great comprehension of this score. He has guided this cast to tight, stunning harmonies and gathers together a small but powerful pit orchestra consisting of himself on Keyboard, Greg Bell on Bass, and William Georg on Drums. Though not mentioned in the program, keep an eye on the precise and fitting light choreography that takes place throughout the show, courtesy of Michael Tan. It certainly adds value to the production and keeps the audience engaged. Overall, Bush and Tan are to be commended for their work on this through-provoking, poignant, and polished production.

Kristen Zwobot. Credit: Spotlighters Theatre / Shaelyn Jae Photography

Moving on to the performance aspect of this production, the small ensemble is on point with this material and presentation. Using the original casting of just four actors, 2 males and 2 females, it creates a great balance both aesthetically and vocally. All four of these actors and actresses are comfortable and have a strong presence on the stage and give great showings in their roles.

Starting with the ladies, Erica Irving and Kristen Zwobot are immaculate in the roles they portray. Irving has lovely, delicate vocals, though a bit too delicate at times, but she’s confident in her songs such as the touching, “I’m Not Afraid of Anything,” and the heartfelt “Christmas Lullaby,” and her interpretations are strong. Zwobot is brilliant and shows off her acting chops by being able to switch from humorous to poignant at the drop of a hat. Her performances of the funny “Just One Step” and “Surabaya Santa” are gems in this production and her more serious and touching interpretations of “Stars and the Moon” and “The Flagmaker, 1775” are top-top notch. Both of these actresses understand the characters they portray

and make them relatable making for spot on performances.

Andrew Worthington. Credit: Spotlighters Theatre / Shaelyn Jae Photography

Andrew Worthington and Luis “Matty” Montes round out this stellar ensemble and add to the balance and blend seamlessly. Worthington’s smooth, resonating baritone is a pleasing and is highlighted in his featured numbers such as “She Cries” and the whole-hearted “The World Was Dancing.” His empathy for the characters he plays is apparent and it’s easy to see he’s giving 100% effort, giving a strong, deeply-felt performance. In the same note, Montes fills in the higher registers of harmonies and his tenor cuts through nicely, especially in his featured numbers such as the inspiring “On the Deck of a Spanish Sailing Ship 1492” and the fast-paced “The Steam Train.” Montes is spot on with his acting out of each of these songs and brings you into his character’s stories making for a strong confident performance.

Erica Irving. Credit: Spotlighters Theatre / Shaelyn Jae Photography

Final thought… Songs for a New World at Spotlighters Theatre is a poignant, thoughtful piece that you do not want to miss this season. Directors Andrea Bush and Michael Tan have created a thread that brings the vignettes together nicely and into a story that easy to follow. The performances are top notch and the small cast has a tight chemistry that is second to none. It’s a small but very well put-together and polished production that has a huge heart. Don’t miss this one. Get your tickets now!

This is what I thought of Spotlighters Theatre’s production of Songs for a New World… What did you think? Please feel free to leave a comment!

Songs for a New World will play through November 28 at Spotlighters Theatre, 817 St. Paul Street, Baltimore, MD. For tickets, call the box office at 410-752-1225 or purchase them online.

Email us at backstagebaltimore@gmail.com

Like Backstage Baltimore on Facebook

Follow us on Twitter (@BackstageBmore) and Instagram (@backstagebaltimore)

Follow Backstage Baltimore on Twitter Follow and Instagram (backstagebaltimore)

Review: Judy and the General at Spotlighters Theatre

By Jason Crawford Samios-Uy

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

Kay-Megan Washington and Kellie Podsednik. Credit: Spotlighters Theatre / Shaelyn Jae Photography

It seems no matter what time or era, women have always been underestimated, especially in biblical times. Women were supposed to act a certain way, be accepting of everything men threw at them, and docile and obedient. However… there were a few “rouge” women who weren’t having it, whatsoever. One of those women is Judith from the biblical Book of Judith which we don’t hear much about (I wonder why?) but is a great story of strength, faith, and love. Spolighters Theatre latest offering, the World Premiere of Judy and the General, by Baltimore playwright Rosemary Frisino Toohey, Directed and Musically Directed by Michael Tan, presents this epic story in an accessible, humorous telling of this intriguing and important story.

Kellie Podsednik as Judy. Credit: Spotlighters Theatre / Shaelyn Jae Photography

As stated, we don’t hear much about Judith today but there are representations in paintings, monuments, and song all over the world. Briefly, Judy and the General tells the story of Judith, a young girl who lives in a small farming village with her father and they seem to be on the verge of bankruptcy. She meets the very rich and very tender Manasseh and the two fall madly in love. With her newfound riches, Judith becomes quite a pill for others, especially her maid. Unfortunately, Manasseh keels over soon after and Judith is left alone. Meanwhile, a neighboring Assyrian king wants to take over the land in which the village sits and sends his best general, Holofernes. All the while, Judith has put herself in solitary confinement and has seen the light and wants to be a better person by helping others. The Assyrians and the villagers are at a standoff and Judith realizes she can use her feminine wiles on Holofernes to help her village and be a better, more pious person.

Richard Greenslit as Soldier. Credit: Spotlighters Theatre / Shaelyn Jae Photography

Alan Zemla’s Set Design is minimal but, as always, on point. The space at Spotlighters is intimate and in the round and Zemla knows it like the back of his hand. His use of the entire theatre is wise and opens up the production more than what the stage has to offer. His scenic art work is brilliant and he puts the audience smack dab in the middle of the ancient village and dwellings. Simple set pieces are used to represent locations and allow for smooth transitions. Kudos to Zemla for adding great value to the production.

Wayne Ivusich, Kellie Podsednik, and Rob Wall. Credit: Spotlighters Theatre / Shaelyn Jae Photography

Putting new work out can be frightening, but, someone has to do it and I’m glad those “someones” do. Rosemary Frisino Toohey has given us a strong piece to mull over. Her script is spot on in all aspects including dialogue, structure, and timing. It’s witty, engaging, and tells this epic story in an accessible, witty way that is entertaining and keeps the attention of the audience. My criticism is with the music aspect. It is a musical, so, music is half the deal, but with this particular production, the music just seemed to fall flat. Don’t get me wrong, the songs are simple and sing-able, but you won’t find yourself tapping your foot or humming any of the tunes when you walk out of the theatre. Some might, but most probably won’t. That being said, the music is appropriate for the piece and it yields some cute melodies, but overall, it doesn’t make a deep impression. Toohey’s lyrics may be the biggest problem. At times they are elementary and predictable and might work better as simple dialogue than in a song. Again, that’s not to say the music aspect of this piece is bad, but it’s the weakest, especially up against a strong, intelligent script.

Wayne Ivusich, Rob Wall, and Richard Greenslit. Credit: Spotlighters Theatre / Shaelyn Jae Photography

Michael Tan takes the reigns of both Direction and Music Direction of this piece and he pulls it off flawlessly. His staging works well for the space and the pacing is near perfect. He seems to have a good comprehension of these characters and this story and has presented it clearly to an audience. Directing the first full production of any piece can be daunting, but Tan has stepped up nicely. His Music Direction, too, is top-notch keeping the cast in harmony and in tune while playing along as the lone musician! Tan is to be applauded for his efforts in this well put-together production.

Richard Greenslit as Servant. Credit: Spotlighters Theatre / Shaelyn Jae Photography

Moving into the performance aspect of this production, Wayne Ivusich and Richard Greenslit, who play multiple roles are quite an act together. Ivusich gives off such a jovial air, no matter which character he’s playing, making him a delight to watch and it works for all of his characters, including Dad, King, Head Man, and Captain. He has a good grasp on the material and presents it beautifully. Now, Greenslit… I could watch him onstage all day. He could have two lines or ten monologues in a row, it doesn’t matter because of his expressive face, it’s all a joy to watch. He’s a master of the subtle glances and side pantomimes as well as comedic timing which is required for his roles as Workman, Servant, Soldier, and Advisor. Vocally, both of these gentlemen are confident and not only sing their featured numbers, such as “The Guy in Charge” and “The Servent’s Lament, Why Can’t We Switch,” nicely, they also act them out which adds so much to the performance.

Rob Wall as General Holofernes. Credit: Spotlighters Theatre / Shaelyn Jae Photography

Rob Wall takes on the roles of Manasseh and Hologernes; two completely different characters – one being tender, one being hard as nails, and he portrays them both superbly.  His switch between the characters is effortless and he plays them like night and day, which is required, and he does it without a hitch. Vocally, Wall is a pro with a rich, smooth voice that resonates and is filled with emotion making for a strong, confident performance all around, especially in his featured numbers sucha s “April” and “Plunder Pillage, and Loot.”

Tackling the role of Judith (rather, Judy) is a highlight of this production, Kellie Podsednik. She is on point in her portrayal of this complex, driven woman and her gradual change from poor farm girl to pain-in-the-ass rich girl, to the pious woman she ends up being is unbroken. Because of her skill, her character at the end of the piece is completely contrasting with the character at the beginning of the piece which makes her one to watch in this production. Her high, delicate soprano is a perfect fit for this role and she knocks it out of the park, vocally, as in her featured numbers, “Closer to My Heart” and the poignant “Gone Now.”

Kay-Megan Washington as Maid (Narrator). Credit: Spotlighters Theatre / Shaelyn Jae Photography

The standout in this piece is Kay-Megan Washington, who portrays Maid (Narrator), though she is called Fallacia, it may not be her actual name, but that’s how it goes when you’re a servant in biblical times, right? Washington gives a confident, effortless performance and is absolutely natural on the stage and with the delivery of her dialogue. She has a deep understanding of this story and her character and it shows in her portrayal. Her vocal skills are strong and makes one take notice, especially in the opening number, “Tale to Tell” and her humorous “A Prayer”. She’s comfortable on stage and gives a strong, confident showing.

Kellie Podsednik as Judy. Credit: Spotlighters Theatre / Shaelyn Jae Photography

Final thought… Judy and the General at Spotlighters Theatre is a fun, lighthearted take on an epic biblical story that is not well known, but should be. The subject matter is relevant and serious but Rosemary Frisino Toohey manages to make it accessible with a witty, humorous, and well-structured script. The score, on the other hand (or beginnings of the score as this is the world premiere), is quaint and, at times, lackluster, but appropriate for this piece. Production value for this particular production is top-notch with well thought-out staging and Music Direction, a minimal but clever Set Design, and superb performances from every member of this small 5-person ensemble. Premieres can be challenging and World Premieres can be downright difficult, but Spotlighters Theatre and everyone involved in this production should be applauded for their efforts and this is certainly a production you want to check out this season.

This is what I thought of Spotlighters Theatre’s production of Judy and the General… What did you think? Please feel free to leave a comment!

Judy and the General will play through July 29 at Spotlighters Theatre, 817 St. Paul Street, Baltimore, MD. For tickets, call the box office at 410-752-1225 or purchase them online.

Email us at backstagebaltimore@gmail.com

Like Backstage Baltimore on Facebook

Follow us on Instagram and Twitter!

Review: First Date at Spotlighters Theatre

By Jason Crawford Samios-Uy
1718-firstdateartwork_1_orig
Running Time: Approx. 1 hour and 40 minutes with no intermission
Most of us have been there. A well-meaning friend or family member wants to set us up with someone who will be “perfect” for us. So, we give in (usually after relentless nudging) and find ourselves in a coffee shop or restaurant, waiting anxiously to meet our possible future lifelong mate. Sometimes it works out, sometimes it’s a total disaster, but every time, we learn something about ourselves and that can be a good thing or a bad thing. In Spotlighters Theatre‘s latest offering, First Date with a Book by Austin Winsberg and Music and Lyrics by Alan Zachary and Michael Weine, Directed by Fuzz Roark, with Music Direction by Michael W. Tan, and Choreography by Emily Frank, gives us a glimpse, from a safe distance, into one of these first dates and all the feelings, anxieties, and emotions that go into the whole messy affair.
In a nutshell, First Date tells the story of, well, a first date between Aaron and Casey, who have been set up by Aaron’s best friend and Casey’s sister. Aaron has no experience with blind dates and Casey is what one would call a serial dater, having a lot of experiences, with first dates, anyway. Throughout the show, we are given a glimpse into the thoughts that go through Aaron and Casey’s heads as these thoughts materialize in front of us in the form of friends, family, ex-girlfriends, etc. We are shown the insecurities, anxieties, and fears of these two young people as they discover themselves, in the process.

fd35_orig

The Company of First Date. Photo: Spotlighters Theatre / Shaelyn Jae Photography


Alan Zemla’s Set Design is clever for this space, that he knows so well. He has managed to create a cozy setting using the entire theatre, making the audience feel as though they are sitting in the same small restaurant where the action is unfolding. The use of easy to move set pieces and detailed set decorations make for an authentic, immersive design that works quite well for this piece.
Choreography by Emily Frank is high-energy and fun and the ensemble seems to be having a blast performing it. She seems to know her cast well, and has created moves that her cast can perform effortlessly. With it’s contemporary style, it works well with Michael W. Tan’s focused, and well-rehearsed Music Direction. Together, Frank’s Choreography and Tan’s Music Direction add great value to this production and make for a delightful evening of theatre.
fd58_orig

Matt Wetzel and Adam Abruzzo. Photo: Spotlighters Theatre / Shaelyn Jae Photography


Fuzz Roark takes the helm of this production and his vision for this modern piece is clear in his Direction. This may be billed as a one act, but pacing is a bit dragging and this piece can easily be broken up into two acts, if just to let the audience run to the restroom or stretch our legs a bit. Not even a decade old, it can be tricky to make a piece like this look authentic, but Roark does just that. With so many modern day references such as cell phones, Facebook, dating apps, and the like, dialogue could be very scripted, but with Roark’s splendid casting, he has managed to guide this ensemble to portraying an impressive realism. The transitions are smooth and the piece flows nicely (aside from the minor pacing issue) making for a charming and enjoyable production.
fd21_orig

Reed DeLisle as Aaron and Lindsay Litka as Casey. Photo: Spotlighters Theatre / Shaelyn Jae Photography


First Date has quite a few characters with a small ensemble taking on various roles and this strong ensemble takes on the task with gusto and dedication. Aside from the actors portraying the main characters, Aaron and Casey, the other five actors impressively take on all of the other characters in this piece and their hard work pays off.
Matt Wetzel and Marela Kay Minosa take on the supporting roles of Man 2 and Woman 2, two other patrons in the restaurant, as well as other important characters such as Allison, Aaron’s chilly ex-girlfriend, and Reggie, Casey’s flamboyant best friend who leaves messages on her voicemail throughout the evening. According to Roark, Minosa is making her stage debut and she gives a very good first showing. She is committed to her roles and seems to understand how they move the story along, especially the role of Allison. Though a bit subdued in her performance, she gives the character an icy and snooty overtone that is required of this character and should be applauded for her first time treading the boards.
fd92_orig

Lindsay Litka and Reed DeLisle. Photo: Spotlighters Theatre / Shaelyn Jae Photography


It’s clear to see that Wetzel is giging 100% to all his characters and he shines with his praise-worthy performance as Aaron’s Future Son as he easily raps his way through the number “The Girl for You.” He also gives a very strong, humorous performance as a British Rocker, with a spot on British accent and good comedic timing in another featured number “That’s Why You Love Me.” His energy is consistent and it’s easy to see he’s enjoying performing his roles but in such an intimate space as Spotlighters, it may be a bit too much at times. He’s very expressive and, on a larger stage, it works perfectly, but when the audience is inches away, it comes off as unnatural. For instance, though some may find his portrayal as Reggie, the over-the-top friend of Casey amusing, I find it to be stereotypical and a bit mocking, though the audience seems to get a kick out of it. However, that being said, he has a good comprehension of his characters’ roles in this story and has has a good command of the stage making for a strong, entertaining performance.
fd74_orig

(l-r) Marela Kay Minosa, Reed DeLisle, and Adam Abruzzo. Photo: Spotlighters Theatre / Shaelyn Jae Photography


Adam Abruzzo and Alyssa Bell take on the role of Man 1 and Woman 1, but also take on other, important roles such as Gabe and Lauren, the best friend of Aaron and sister of Casey, the architects of this first date. Both of these actors are able and make all of the characters they portray individuals. Abruzzo, as Gabe, is comfortable playing this aggressive, in-your-face character, making him quite the lovable asshole, who really just wants what’s best for his best bud. He also carries his own, vocally, along side Wetzel in his featured number, “That’s Why You Love Me,” as well as his part in the rap (again, along with Wetzel) in “The Girl for You.”
Bell is cast well in her roles, especially as Lauren, Casey’s over-bearing sister and Aaron’s Mother. Her performance is authentic and varied, giving each character their own space and, vocally, she shines with a sweet tone as in number such as the emotional “The Things I Never Said.” Also, she’s hilarious portraying Aaron’s very Jewish grandmother with a good grasp on comedic timing and character.
fd07_orig

(l-r) Adam Abruzzo, Alyssa Bell, Jim Gross, and Marela Kay Minosa. Photo: Spotlighters Theatre / Shaelyn Jae Photography


Jim Gross, as Waiter, the love-lorn observer, who has seen more than his fair share of first dates, gives a commendable showing. With a big presence and command of the stage, he certainly makes one stand up and take notice, but, like Wetzel, seems to be a bit too big for Spotlighters intimate setting. He knows his character and is dedicated to his performance, but it seems a bit scripted, but probably would not be on a larger stage. In his featured number, “I’d Order Love,” his booming voice easily fills the theatre and he completely understands the humor of this number and performs it nicely.
fd75_orig

Reed DeLisle and Lindsay Litka. Photo: Spotlighters Theatre / Shaelyn Jae Photography


Reed DeLisle as Aaron and Lindsey Litka as Casey are the definite highlights of his production. Both of these actors have an uncanny chemistry and a completely natural delivery of dialogue that makes one forget these two are reading from a script. They are comfortable with their characters and with each other making for impeccable performances. They both have a strong presence and easily command the stage. Both are superb actors but, vocally, Litka is the stronger singe. That’s not to say DeLisle can’t hold his own, because he certainly can, as he exhibits in the poignant “The Things I Never Said.” Litka is an absolute powerhouse with every note she sings and her flawless performance of “Safer” will downright give you chills.
fd65_orig

Lindsay Litka as Casey. Photo: Spotlighters Theatre / Shaelyn Jae Photography


Final thought… First Date at Spotlighters Theatre is a fun, thoughtful piece that you do not want to miss this season. The story is deep and poignant with an important message of not only self-discovery but discovery of the people who surround you and the interactions involved in first meetings. With high energy choreography, and a great cast with impeccable chemistry and two leads who have a natural delivery and ability to portray these insecure characters, you’ll be able to relate, if not about first dates, about how anxieties and self-doubt occasionally creep into our everyday lives. It’s also a story of how we can overcome those doubts to find our happiness, when we really need it. Get your tickets now!
This is what I thought of Spotlighters Theatre’s production of First Date… What did you think? Please feel free to leave a comment!
First Date will play through January 21 at Spotlighters Theatre, 817 St. Paul Street, Baltimore, MD. For tickets, call the box office at 410-752-1225 or purchase them online.
Email us at backstagebaltimore@gmail.com
Like Backstage Baltimore on Facebook
Follow Backstage Baltimore on Twitter (@backstagebmore) and Instagram (backstagebaltimore)

Review: The Hairy Ape at Spotlighters Theatre

By Jason Crawford Samios-Uy
01hairyape-artworkf
Running Time: Approx. 2 hours with one 15-minute intermission

01ha_orig

The cast of The Hairy Ape. Photo: Spotlighters Theatre / Shaelyn Jae Photography


Through the ages, a class system has plagued societies and have created haves and have nots. Unfortunately, this is still true today and it’s interesting that a play written in the early part of the 20th century can still hit us in the gut and make us face these problems and questions to which no one seems to have answers. Spotlighters Theatre latest offering, The Hairy Ape by Eugine O’Neill, Directed by Sherrione Brown, touches on these questions and problems and presents them to us quite successfully.
Whether by necessity or choice, Set Design by Sherrionne Brown is simple with set pieces and Scenic Art (with the help of Alan Zemler) and the intimate stage is sparse, but effective to the piece. To help this design, Lighting Design by Al Ramer is flawless. With cleverly insinuated settings, the Lighting Design adds value, especially with the isolation style lighting, highlighting a single actor, and shadow effects effectively representing jail cells and animal cages.
Also adding an authenticity to the production is Sound Design by Sherrionne Brown, Stephy Miller, Alan Zemla, and Fred Brown. From the sounds of the bowels of a luxury steam-liner to the sounds of the jungle, the Sound Design is well thought-out and absolutely adds value to the production as a whole.
45ha_orig

The cast of The Hairy Ape. Photo: Spotlighters Theatre / Shaelyn Jae Photography


Adding that extra bit of authenticity is Costume Design by a few folks, including Sherrionne Brown, House of Bankerd, Fuzz Roark, Phelix Blais-Evers, and members of the cast. The Hairy Ape could be considered a period piece, but the costumes transcend time and are accurate for the 1920s but also fit in completely today. The distinction between the classes is very apparent and an interesting, over-the-top, colorful pallet is used to represent the rich and though, odd at first, makes complete sense and drives the point home. Kudos to all the a successful design.
Overall, the technical aspect of this production is impeccable and takes this piece to the next level.
27ha_orig

The stokers. Photo: Spotlighters Theatre / Shaelyn Jae Photography


Sherrionne Brown wears a bunch of hats for this production but most importantly, she takes the helm of this piece as its Director and she has knocked it out of the ballpark. She has a complete grasp of this story and text and her comprehension of it is apparent. She keeps the actors moving about stage and the transitions are quick and concise making for great pacing. She should be applauded her assembling of such an able and committed cast, as well. This play has a message to send and Brown does it beautifully having a hand in all aspects of this production.
13ha_orig

Thom Eric Sinn as Paddy. Photo: Spotlighters Theatre / Shaelyn Jae Photography


Moving on to the performance aspect of this production, as stated, this ensemble is strong and works well together. Taking on various, diverse roles Rebecca Clendaniel, John Covaleskie, Daniel Douek, Melanie Eifert, Bob Michel, and Jacob Urtes carry this piece along very nicely transitioning from one character to the next effortlessly and with purpose. Playing Stokers, Rich People, Prisoners, and a plethora of other roles, this small but apt troupe brings these characters to life and move the piece along nicely. Truly being an ensemble piece, every actor on the stage holds his or her own making for a brilliant, overall performance of this intense, moving piece.
20ha_orig

Julie Press. Photo: Spotlighters Theatre / Shaelyn Jae Photography


Taking on the role of Mildred, a rich daughter of a steel tycoon who seemingly wants to understand those less fortunate than her, but only ends up insulting them (whether directly or indirectly), and realizes she might be over her head once she is actually faced with “the other side,” is played by Karen Sarliper who does an admirable job in the role but gives a performance that falls a little flat. She portrays the character’s class well, but seems scripted at times, losing some of the poise required of a girl of the upper class. However, she seems comfortable in the role and is confident in her scenes.
Thom Eric Sinn takes on the role of Paddy, an old-timer who is still breaking his back stoking coal in the underbelly of a cruise ship, and he does quite well in this role. Aside from his weak Irish accent (I believe it was supposed to be Irish), he seems to understand his character and portrays him well. His poignant monologues of how things used to be and how things are believably performed and, overall, he gives a strong performance.
A couple of highlights in this production are Julie Press who plays Aunt, the hesitant, old-school, snooty but absolutely poised chaperon to her niece, Mildred, and Phil Gallagher, who takes on the role of Long, a more progressive activist-type character who seems to have his finger on the pulse of the political climate of the time. Press gives 100% to this character giving an authentic and meaningful performance. Though more of a supporting role, Press takes this role and makes it her own making for an impressive portrayal. Along the same lines, Gallagher really delves into his character and gives a realistic portrayal. His dedication to the character is clear and he has a strong, confident stage presence.
30ha_orig

Michael Leicht and Karen Starliper. Photo: Spotlighters Theatre / Shaelyn Jae Photography


The standout in this production is Michael Leicht, who takes on the role of Yank, the rough and gruff New York born stoker who wants to find a place to belong in this world. Leicht seems as though he was born to play this part. His intensity, focus, and commitment to this character allows Leicht to embody him completely. From the start, it’s hard to separate the actor from the character. He commands the stage and is confident in his purpose for this character. His grasp of this character’s trials and tribulations is absolutely apparent and his physicality is on point. He exudes the yearning to belong in Yank and his delivery of the text is natural and poignant. Overall, he gives a phenomenal performance that is certainly the one to watch.
50ha_orig

Michael Leicht. Photo: Spotlighters Theatre / Shaelyn Jae Photography


Final thought…The Hairy Ape is an intense, poignant piece of theater that touches on class distinctions, nature vs. nurture, and trying to find out where we belong in the world. Written in the 1920s, this story is still relevant today as we all are trying to find where we fit in and break the glass ceiling of class structures. This production is well put-together with a strong, dedicated ensemble that is not afraid to get in the faces of the audience. The performances are moving and authentic and pull the audience in from the start. With great technical aspects such as lights and sound to help tell the story, this is definitely not a production you want to miss this season.
This is what I thought of SpotlightersTheatre’s production of The Hairy Ape… What did you think? Please feel free to leave a comment!
 The Hairy Ape will run through November 19 at Spotlighters Theatre, 817 St. Paul Street, Baltimore, MD. For tickets call the box office at 410-752-1225 or purchase them online.
Email us at backstagebaltimore@gmail.com
Like Backstage Baltimore on Facebook
Follow us on Twitter (@BackstageBmore) and Instagram (BackstageBaltimore)

Review: She Kills Monsters at Spotlighters Theatre

By Jason Crawford Samios-Uy

Running Time: 80 minutes with no intermission

Stephen Edwards, Danielle Shorts, Lanoree Blake, Rachel Verhaaren, and Amanda Harris. Credit: Spotlighters Theatre / Shealyn Jae Photography / Shealynjaephotography.com


Have you ever role-played with a Dungeon Master? Acted out your fantasies with a group of people in in a dimly lit basement? Sounds kinda kinky, no? Well, I’m talking about Dungeons and Dragons or D&D for those in the know. If you don’t know a damned thing about D&D, don’t feel bad, I didn’t either and never even had an inkling to dabble in it. However, I have had friends that have taken the leap and started campaigns with like minded folks and have had a blast and made some great friends. It’s almost like it’s own culture and if you do want to get an idea of what this game and culture are all about, head on down to see Spotlighters Theatre‘s latest offering, She Kills Monsters by Qui Nguyen, Directed by Stephanie Miller, with Set Design by Alan Zemla, and Costume Design by Lanoree Blake. With a well thought-out script and a cast who has a great comprehension of the material, She Kills Monsters is one of the best productions running at the moment.

Andrea Bush, Amanda Harris, and Danielle Shorts. Credit: Spotlighters Theatre / Shealyn Jae Photography / Shealynjaephotography.com


She Kills Monsters follows the story of Agnes, an average 20-something in the mid-90s, as she struggles with the loss of her entire family in a car crash, including her younger sister Tilly, who she realizes she never really knew. Through the popular role-playing game, Dungeons and Dragons, and with the help of Chuck, a sort of expert of the game, Agnes navigates through a fantasy world created by sister to discover who she was and, in the midst of it all, discovers things about herself. Throw in a band of fanciful allies, an uncertain relationship with an average boyfriend, a sassy best friend, and evil cheerleaders, you have an entertaining and thoughtful story to which everyone can relate in one way or another.
The story is, in a word, brilliant. It’s funny, poignant, and well thought-out and the short scenes lend itself to good pacing. The audience is enthralled and all-in from the start creating an electrified energy throughout the small theatre. The script cleverly guides the audience into rooting for these characters and before you know it, you’re invested, which is what a good script is supposed to do.

Set Design by Alan Zemla. Credit: Spotlighters Theatre / Shealyn Jae Photography / Shealynjaephotography.com


Set Design by Alan Zemla is minimal, as expected for the intimate space, but that’s not to say it’s boring because that it is not. Zemla uses his space wisely and utilizes the corners of the theatre that almost gives an immersive feel to the entire production. Zemla knows his space and makes it work beautifully for this production.
Lanoree Blake’s Costume Design is spot on as this story takes place in the 90s and, at first glance, I knew exactly what time period I was in. Her attention to detail took me back to a time when Nirvana ruled the airwaves and flannel was high fashion. Her design for the fantasy world, New Landia, are also impressive and fitting for each character that is created. Kudos to Blake for her work on this production.

Rachel Verhaaren as Agnes. Credit: Spotlighters Theatre / Shealyn Jae Photography / Shealynjaephotography.com


I wouldn’t do this production justice without mentioning the exquisite Sound Design by Stephanie Miller, who happens to take the helm of this production as Director, as well. The carefully chosen music for this production is on point and fits it perfectly. Mostly themes from video games, it the design has a nostalgic feel that puts the audience at ease (those who are old enough to remember these sounds from the 90s that are ingrained in our psyche).
Miller also has an exquisite understanding of this story and crafts the story in a way that’s easy to follow, even if you aren’t familiar with the nuances of the game. Her casting is superb and her vision is apparent. She guides this cast seamlessly through the complex but relatable story and the very short scenes run at a great pace but aren’t choppy helping the entire production run smoothly.

Tina James as Vera. Credit: Spotlighters Theatre / Shealyn Jae Photography / Shealynjaephotography.com


As characters in the real world, Miles, the doting but average boyfriend played by Peter Daly, and Vera, the sassy best friend played by Tina James, keep Agnes as grounded as possible. James does a commendable job as Vera, portraying her as a strong-willed, sarcastic, but caring friend and her deadpan style humor, though scripted at times, works quite well for the character and adds to the character. Daly does a fine job in his portrayal but, in the intimate space, I got the feeling he was uncomfortable making a connection with his cast mates as his eyes dart all over the place, rarely making eye contact while having a dialogue with anyone and it’s somewhat of a distraction to his performance. Otherwise, he seems to understand his character quite well and is committed to his role.

Michael Crook and Peter Daly. Credit: Spotlighters Theatre / Shealyn Jae Photography / Shealynjaephotography.com


Michael Crook tackles the role of the very helpful, over-zealous Chuck, the resident expert of Dungeons & Dragons, and it’s as if Crook was born for this role. At times, he’s a little too much and over the top, but that very well could be the intimate space making his gesturing and voice bigger than intended. I imagine in a larger space, he’s on point. He does, however, embody a teen-aged boy excited about playing make-believe and he gives an impressive performance.
In a supporting but extremely humorous role, Sam Cure takes on the character of Steve, a fellow player of D&D who pops up in the middle of various fights Tilly’s group gets into only to be struck down, quickly, every time. Again, Cure has little stage time, but what he does have tickles the funny bone and his portrayal almost has you rooting for him.

Danielle Shorts and Amanda Harris. Credit: Spotlighters Theatre / Shealyn Jae Photography / Shealynjaephotography.com


Amanda Harris as Kaliope and Danielle Shorts as Lilith are stunning in their roles as members and femme fatales (but good guys) of Tilly’s rag-tag New Landia campaign. Shorts has her character down-pat and gives a confident performance with a good command of the stage while Harris’ character is more subdued but her portrayal is equally as commendable and she looks comfortable in the role. Both of these actors have great chemistry with each other making for splendid performances.

Zoe Lunga and Claire Iverson. Credit: Spotlighters Theatre / Shealyn Jae Photography / Shealynjaephotography.com


Taking on the villainous roles in this production, Zoe Lunga and Claire Iverson take on the roles of Evil Gabbi and Evil Tina, respectively, and they play these evil cheerleaders to the hilt. Both actresses give believable performances and I can imagine both of these bully characters roaming the halls of any high school in the country today. Along with the ultimate mean girls is Andrea Bush who takes on the role of Farrah, the smack-talking, rough-around-the-edges fairy guard who is trying to thwart our unlikely heroes. Bush is absolutely hilarious as this dirty-mouthed fairy and gives a superb, no-holds-barred performance.

Lanoree Blake as Tilly. Credit: Spotlighters Theatre / Shealyn Jae Photography / Shealynjaephotography.com


A couple of definite highlights of this production are Lanoree Blake as Tilly and Rachel Verhaaren as Agnes. Both actors have great chemistry and seem to have a great comprehension of the characters. Lanoree completely embodies her character of a teen-aged “outsider” who has found comfort and a chosen family in this game and world she has created. Her portrayal of Tilly, giving her a rough exterior but a fragile soul, is top notch and makes for some very poignant scenes. Verhaaren gives an authentic performance as an older sister and has great chemistry with her cast mates. Her yearning and strife are well portrayed and you feel for this character from the get and are happy to go on this journey with her. Kudos to superb performances for both of these actors.

Stephen Edwards as Orcus. Credit: Spotlighters Theatre / Shealyn Jae Photography / Shealynjaephotography.com


The standout of this production, mainly for his acting chops and comfort on stage is the funny and confident Stephen Edwards who takes on the role of Orcus, an evil soul-snatcher who has pretty much given up and called it quits on the evil business and joins our heroes on their quest to recover Tilly’s soul (more so because he’s the one that lost it and is forced to help). Edwards is a natural on stage and so comfortable in this role, he puts the audience at ease. His performance seems effortless as he throws out one-liners (many of which refer to the 90s and are dear to my heart) and, even though his character is evil, or was at one time, Edwards plays the role in such a way that he is absolutely likable. From his delivery of his lines to his movement about the stage he gives a near flawless performance that is not to be missed and I hope to see more from this actor in the future.

Rachel Verhaaren as Agnes. Credit: Spotlighters Theatre / Shealyn Jae Photography / Shealynjaephotography.com


Final thought… She Kills Monsters at Spotlighters Theatre is a fun, thoughtful piece that you do not want to miss this season. The story is deep and poignant with an important message of not only self-discovery but discovery and acceptance of those closest to you. With a brilliant, raw script and dedicated performances from a cast who gives 100%, this production of She Kills Monsters is a highlight of the season and a great way to end out for Spotlighters to end out their 55th season. Do yourself a favor and get your tickets now!
This is what I thought of Spotlighters Theatre’s production of She Kills Monsters… What did you think? Please feel free to leave a comment!
She Kills Monsters will play through June 18 at Spotlighters Theatre, 817 St. Paul Street, Baltimore, MD. For tickets, call the box office at 410-752-1225 or purchase them online.
Email us at backstagebaltimore@gmail.com
Like Backstage Baltimore on Facebook
Follow Backstage Baltimore on Twitter (@backstagebmore) and Instagram (backstagebaltimore)

Review: The Women at Spotlighters Theatre

By Jason Crawford Samios-Uy

Running Time: 2 hours and 50 minuts with one 15-minute intermission

Kellie Podsednik and Michele Guyton. Credit: Spotlighters Theatre / Shealyn Jae Photography / Shealynjaephotography.com


Times change and gender roles aren’t so black and white anymore. Though equality may not be 100% today, the stereotypes of men and women have blurred and aside from child birth and those pesky hormones, estrogen and testosterone (which both exist in both sexes, mind you), I like to think men and women are on a pretty level playing field. Of course, I’m saying this as someone of the male persuasion (with many female tendencies, if you catch my drift). Spotlighters Theatre’s latest offering, The Women by Clare Booth Luce, Directed by Fuzz Roark, with Set Design by Alan Zemla, and Costume Design by Andrew Malone, Amy Weimer, and Darcy Elliott takes us back to a bygone era where women were expected to tend to home an children while men were expected to provide and, if a husband strayed, it was all good and no questions were asked as long as the wife kept lifestyle to which she was accustomed. As advertised, this is a play is called The Women… and it’s all about the men!
Briefly, The Women is a comedy of manners and a 1930s commentary about the high class lives and power plays of wealthy socialites of Manhattan and the gossip that guides and ruins relationships, namely for women. Most of the discussions are about the men with which these women are involved and though the men are important to the plot, they strictly talked about but never seen.
The Women was written and first produced in 1936 and later adapted into an uber successful film in 1939 starring some of the top actresses of the day including Norma Sheer, Rosalind Russell, and Joan Crawford. It was also adapted and updated in 2008, but we’ll pretend that never happened.

Kellie Podsednik as Crystal Allen. Credit: Spotlighters Theatre / Shealyn Jae Photography / Shealynjaephotography.com


Anyone who’s tread the boards of the Spotlighters stage or sat in the audience can see right off the challenges it presents being an intimate space as well as in the round, but Alan Zemla’s Set Design is spot on for this production. Practically each scene is a different setting and the use of set pieces is the most effective and innovative way to present each scene. Zemla’s attention to detail is impeccable and the pieces used in this production are befitting and does not hinder the story whatsoever but moves it along nicely. The scene changes could move a bit faster, with some going as long as 2 to 3 minutes long (a century in production time), but the 4-person stage crew does a stupendous job moving the large, but absolutely appropriate set pieces on and off stage cautiously in the small space. Kudos to Alan Zemla for a job well done.
The wardrobe for this piece is a beast but Costume Design by Andrew Malone, Amy Weimer, and Darcy Elliot is on point. Every stitch these ladies wear is appropriate, to period, and authentic. Set in the days of art deco, the gowns provided to these actresses are superb and all of the actresses look comfortable in what they are wearing. Most of the ensemble members seem to have at least 3 costumes a piece, so I can only imagine the hours this Costume Design team put into this production, but it paid off. They were able to present the glamour these society ladies exuded as well as the conservatism of the 1930s through casual wear and business attire. Overall, Malone, Weimer, and Elliott knocked it out of the ballpark with their design and added great value to this production.

Andrea Bush as Nancy Blake. Credit: Spotlighters Theatre / Shealyn Jae Photography / Shealynjaephotography.com


Baltimore theatre veteran and Spotlighters Theatre Managing Artistic Director Fuzz Roark takes the helm as Director of this piece and for a man directing all these ladies, he does an outstanding job. Aside from the long scene changes, Roark keeps the action moving along and though the piece runs almost 3 hours, it’s not because of any dragging on the stage, it’s just a lot of show, that Roark has managed to present at a good pace and with authenticity. His casting is impeccable and, above all, his vision is clear, and he seems to have a strong comprehension of the material and the era in which this piece is set allowing him to present an impressive production that is a joy to watch.

Kellie Podsednik as Crystal Allen. Credit: Spotlighters Theatre / Shealyn Jae Photography / Shealynjaephotography.com


There are definitely some actresses who are stronger than others and there is a wide range of ability on the stage. However, all the members of this ensemble work well together and off of each other having a tremendous chemistry. Within this abundant cast, there were quite a few highlights.
Ilene Chalmers is charming and motherly as Mrs. Morehead, the conservative, wise mother of poor Mary Haines and though her role doesn’t require as much stage time as others, she gives a strong performance and delivers her lines confidently. Another “supporting” role is that of Jane, the loyal maid, played by Christina Holmes. Holmes gives an outstanding performance adding an Irish accent that is near flawless and she makes this character her own and one to watch.

Michele Guyton as Mary Haines. Credit: Spotlighters Theatre / Shealyn Jae Photography / Shealynjaephotography.com


Nancy Blake, the witty, single and brassy author and world traveler of the group of ladies this story follows is played by Andrea Bush and she is on point with this character. She has a definite command of the stage and digs her teeth into this character, giving her a rough-around-the-edges persona that actually makes her very likable. This character doesn’t mince her words and Bush embraces this giving a very enjoyable, humorous performance.
Kellie Podsednik tackles the role of Crystal Allen, the other woman who frankly doesn’t give a damn and knows how to play the game of infidelity and social climbing. From the moment she stepped on stage, I wanted to scratch this woman’s eyes out so, with that said, Podsednik played this role superbly. She had just enough smugness and confidence that one has to almost respect her even though she is a homewrecker. Crystal Allen is a high-toned woman, but Podsednik may have taken her vocalization or accent a bit too far, almost sounding straight up British, but other than that minor detail, her performance is realistic and outstanding.

Suzanne Young as Countess de Lage. Credit: Spotlighters Theatre / Shealyn Jae Photography / Shealynjaephotography.com


The role of Mary Haines, or Mrs. Stephen Haines, a gentle, level-headed socialite housewife and the character around whom this story mainly revolves is tackled by Michele Guyton who brings a certain grace and dignity to this character. Her choices work very well for this character and she gives a balanced and confident performance and, at times, seems to glide effortlessly across the stage adding to her brilliant performance.
A certain highlight of this piece is Suzanne Young who takes on the role of Countess de Lage, the very rich, care-free, love lorn lady who has been married several times. Young is an absolute hoot in this role summoning up belly laughs from the audience nearly every time she’s on stage. She understands the comedy and her timing is just about perfect. She plays off the other actresses beautifully and delivers her lines naturally and boldy. I’m lookig forward to seeing more from this extremely talented actress.

Melanie Bishop and Michele Guyton. Credit: Spotlighters Theatre / Shealyn Jae Photography / Shealynjaephotography.com


Melanie Bishop portrays Sylvia Fowler, the sharp-tongued, gossipy, friend you love to hate and she plays it with gusto making her bona fide standout in this production. Having last seen Bishop in Spotlighters production of The Game’s Afoot playing a similar character in a similar time, she couldn’t have been cast better. She understands this type of character in and out and brings an authenticity that is second to none. I’d love to see her play another type of character because her acting chops are on point, but I thoroughly enjoy watching her play this type of role. Bishop’s comprehension, her comfort on the stage, and her strong stage presence makes for a superior execution of this nasty, loud-mouthed character.
Final thought… The Women at Spotlighters Theatre is a witty, brash, and honest play taking the point of view of women of the 1930s and though socially outdated, with certain ideas of how men and women should behave in relationships (namely marriage), it is still a piece ahead of its time. It portrays strong women and gives a humorous, true, and intelligent insight into their ideas of men. Spotlighters Theatre’s production is well thought-out, entertaining production with an more than able ensemble of strong actresses that should be added to your list of shows to see this season.
This is what I thought of Spotlighters Theatre‘s production of The Women… What did you think? Please feel free to leave a comment!
The Women will play through March 19 at Spotlighters Theatre, 817 St. Paul Street, Baltimore, MD. For Tickets, call the box office at 410-752-1225 or purchase them online.
Email us at backstagebaltimore@gmail.com
Like Backstage Baltimore on Facebook
Follow Backstage Baltimore on Twitter (@backstagebmore) and Instagram (backstagebaltimore)

Review: Three Penny Opera at Spotlighters Theatre

By Jason Crawford Samios-Uy
logo
Running Time: 3 hours with one 15 minute intermission

Connor Moore As the Street Singer. Credit: Spotlighters Theatre/Shealyn Jae Photography

Connor Moore As the Street Singer. Credit: Spotlighters Theatre/Shealyn Jae Photography


I’m both a musical theatre fan and an opera fan, with emphasis on the former, but I certainly appreciate a good opera now and then. Of course, both genres’ main element is music but the production is a bit different. Spotlighters Theatre‘s latest offering, Three Penny Opera Adapted by Bertolt Brecht and Music by Kurt Weill (adapted from a translation of Jonathan Gay’s The Beggar’s Opera by Elizabeth Hauptmann) merges both of these genres to give us a three hour journey where our heroes fight for social and economic justices to which today’s audiences can relate. This production is Directed, Edited, Adapted, and Newly Translated by Michael Blum, with Music Direction by Erica Rome, and Choreography by Melissa McGinley.
The story begins with the familiar Ballad of Mack the Knife, beautifully performed by Connor Moore (though, be forewarned, it’s much different from the jazzy Bobby Darrin version we’re used to), then goes on to tell the story of Macheath (a.k.a. Mack the Knife) the most notorious criminal in all of England. Macheath marries Polly Peachum (Allison Hicks) much to the dismay of her parents (Frank Mancino and Kay-Megan Washington), who happen to be wealthy and in charge of all the beggars in London but there’s not much to be done since Tiger Brown, the High Sheriff of London is a very good boyhood friend of Macheath. Mr. Peachum, with his clout, threatens Tiger Brown, leading to the arrest of Macheath who manage to escape (a couple of times) with the help of some prostitutes, which leads to an abrupt ending a la deus ex machina (but you’ll have to see it to see if it’s happy or sad).
Steve Quintillian and Robert Wall. Credit: Spotlighters Theatre/Shealyn Jae Photography

Steve Quintillian and Robert Wall. Credit: Spotlighters Theatre/Shealyn Jae Photography


Although this piece runs just about as long as an average opera, the pacing and tempo is very good so, it’s not that the cast is dragging their feet, it’s just A LOT of show. Blum skillfully punches out each scene smoothly without much downtime and keeps the action moving along nicely.
Spotlighters Theatre’s space being as intimate as it is, the Set Design by Alan Zemla is fitting for this piece utilizing set pieces rather than a unit set, which is clever, and using space off the stage wisely, as well.
Going along with the production aspect of this piece, Costume Design by Amy Weimer and Darcy Elliot was well thought-out and befitting with variety and authenticity.
Rachel Verhaaren, Andrea Bush, Evangeline Ridgeway, and Kay-Megan Washington. Credit: Spotlighters Theatre/Shealyn Jae Photography

Rachel Verhaaren, Andrea Bush, Evangeline Ridgeway, and Kay-Megan Washington. Credit: Spotlighters Theatre/Shealyn Jae Photography


Overall, this is a well put-together production with a tight ensemble but the story gets somewhat lost in the translation by Director Michael Blum. According to Blum’s bio, he has a background in opera, and it seems as though that’s how he approached this production rather than a play with music or a musical theatre piece. The program states the setting of this piece is supposed to be Baltimore in 2017 and London, 1838 (as seen through the eyes of Brecht in Berlin, 1928) – did ya get all that? Blum manages to portray the latter adequately, but the only hint of Baltimore 2017 comes in to play during two instances where the cast dresses up like modern day beggars but, unless I missed it, I didn’t get the feel of modern day Baltimore at all in this piece. However, minor curious direction choices aside, his casting is full of superb vocalists and most are indeed top notch such as Kay-Megan Washington, Allison Hicks, and Amber Hooper – all vocal powerhouses. Music Director Erica Rome is to be commended for her work with this ensemble as they are on point, musically, and Choreography by Melissa McGinley is charming and appropriate, adding value to the production.
Robert Wall. Credit: Spotlighters Theatre/Shealyn Jae Photography

Robert Wall. Credit: Spotlighters Theatre/Shealyn Jae Photography


A couple of highlights in this production are Evangeline Ridgeway as Jenny Diver and Robert Wall as Tiger Brown, High Sheriff of London. Both a very accomplished vocalists and each portrays his or her respective character with confidence and ease with a strong presence on the stage.
Steve Quintillian takes on the role of our “hero,” Macheath, and though his overall performance falls a little flat as, vocally, he may not be as strong as his counterparts, he gives a good showing as the suave con man, King of Criminals and he is dedicated to his role.
Allison Hicks. Credit: Spotlighters Theatre/Shealyn Jae Photography

Allison Hicks. Credit: Spotlighters Theatre/Shealyn Jae Photography


The entire ensemble gives an admirable, dedicated performance (especially ensemble standout Andrea Bush, who carries her smaller role naturally and confidently), moving the piece along smoothly and really rounding out this production beautifully.
Final thought… Three Penny Opera is definitely a bit of an acquired taste but definitely worth checking out because of the incredibly immense vocal talent in this production. The translation may make the sordid story of criminals, con men, crooked cops, and even a little love a bit jumbled, but, overall, it’s a well-performed, charming piece with an absolutely dedicated ensemble. Whether your an opera fan or an old fashioned musical theatre fan, you’ll find a familiar joy in this production.
This is what I thought of Spotlight Theatre’s production of Three Penny Opera.
What did you think? Please feel free to leave a comment!
Three Penny Opera will play through February 5 at Spotlighters Theatre, 817 St. Paul Street, Baltimore, MD. For Tickets, call the box office at 410-752-1225 or purchase them online.
Email us at backstagebaltimore@gmail.com
Like Backstage Baltimore on Facebook
Follow Backstage Baltimore on Twitter (@backstagebmore) and Instagram (backstagebaltimore)

Review: The Game's Afoot at Spotlighters Theatre

By Jason Crawford Samios-Uy

gamesafoot-artwork_orig

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

When one thinks of the holidays, rarely does one think of a murder-mystery, but Spotlighters Theatre latest offering, Ken Ludwig’s The Game’s Afoot, Directed by Fuzz Roark with Danny Romeo, along with Set Design by Alan Zemla, Lighting Deisign by Al Ramer, and Costume Design by Andrew Malone is a joyful whodunit that is sure to be a pleasing break from the hustle and bustle of this holiday season.

The Cast of The Game's Afoot at Spotlighters Theatre. Credit: Spotlighters Theatre/Shealyn Jae Photography/shealynjaephotography.com

The Cast of The Game’s Afoot at Spotlighters Theatre. Credit: Spotlighters Theatre/Shealyn Jae Photography/shealynjaephotography.com

Set in 1936, this zany story unfolds at the large estate of William Gillette, a famous actor who is known for portraying that well known sleuth, Sherlock Holmes. The problem is, Gillette fancies himself a real life detective and when murder comes to his home, he and his guests (and cast mates from his latest production) work to figure out who the culprit is. Throw in a sharp tongued theatre reviewer and a local constable, the investigation develops with humorous results.

Credit: Spotlighters Theatre/Shealyn Jae Photography/shealynjaephotography.com

Credit: Spotlighters Theatre/Shealyn Jae Photography/shealynjaephotography.com

Set Design by Alan Zemla is impressive with an attention to detail. Spotlighters is somewhat unique in the fact that practically the entire theatre is used in their sets and this production is no different. It’s already theatre in the round and every corner is utilized, including a large trimmed Christmas tree, a small closet, an entrance/exit to the stage, and… get this… a secret room, which is absolutely ingenious. Taking a moment with the secret room, the door is evening seemingly automatic with the pull of an ornamented rope. Zemla’s detail with the stone work and shiny marble floor is superb and adds value to the production and sets the mood for the piece. Major kudos to Alan Zemla on his brilliant design.

Lighting Design by Al Ramer is appropriate and well planned out, adding to the value of the production. Murder-mysteries rely on precisely timed blackouts and Ramer’s design is on point, adding suspense to the scenes. Spotlighters is a small space but Ramer manages to light it accordingly with a well thought out design.

Melanie Bishop, Ilene Chalmers, and Thom Eric Sinn. Credit: Spotlighters Theatre/Shealyn Jae Photography/shealynjaephotography.com

Melanie Bishop, Ilene Chalmers, and Thom Eric Sinn. Credit: Spotlighters Theatre/Shealyn Jae Photography/shealynjaephotography.com

Costume Design by Andrew Malone is impeccable and he nails the period of the piece, which is the mid-1930s (and one of my favorite eras). Mens fashion hasn’t changed much through the years and a suit is always the norm, but Malone fits his male actors nicely and they seem comfortable as they move about the stage. The ladies fashions are quite a different story. Malone completely captures the essence of the 1936 upper class with flowing, yet form fitting gowns that ooze elegance. All the characters look their part and the period and gives an authenticity to the entire piece. Overall, Malone’s design is stunning and intelligent and is a joy to experience.

Tom Piccin and Ilene Chalmer. Credit: Spotlighters Theatre/Shealyn Jae Photography/shealynjaephotography.com

Tom Piccin and Ilene Chalmer. Credit: Spotlighters Theatre/Shealyn Jae Photography/shealynjaephotography.com

Direction by veteran Fuzz Roark with Danny Romeo is very good and they give us a charming and entertaining piece. Their vision is strong and through clever blocking in the round and with the talents of the cast, the story is easy to follow throughout. Roark and Romeo keep the action and their actors moving naturally to make sure the entire audience gets attention and doesn’t miss out on any of the story being told. The character work is brilliant and with the guidance of Roark and Romeo, they are fleshed out and authentic. The twist at the end is a bit abrupt and a tad bit confusing, but it is surprising, as intended and you’ll have to check it out to find out what it is! In general, Roark and Romeo did a splendid job with this piece and kept it funny, entertaining, and suspenseful, making for an veritable murder-mystery for the holidays.

Suzanne Hoxsey as Inspector Harriet Goring. Credit: Spotlighters Theatre/Shealyn Jae Photography/shealynjaephotography.com

Suzanne Hoxsey as Inspector Harriet Goring. Credit: Spotlighters Theatre/Shealyn Jae Photography/shealynjaephotography.com

Moving into the performance aspect of The Game’s Afoot, Suzanne Hoxsey takes on the role of Inspector Harriet Goring, the local constable assigned to check out a mysterious call made to the police station earlier in the evening. The character of Inspector Harriet Goring is supposed to be the “straight-man,” as it were, taking things seriously and trying to solve the mystery. Through this seriousness, the comedy shines through but, frankly, Hoxsey’s performance falls flat for me. She seems as though she’s trying too hard for the laugh but the timing is off and somewhat monotone, cautious delivery loses the comedy. That being said, Hoxsey gives 100% to her performance which is very admirable. She’s de
dicated to the role and sticks with it with confidence and a command of the stage.

Kellie Podsednik, Ilene Chalmers, and Andrew Wilkin. Credit: Spotlighters Theatre/Shealyn Jae Photography/shealynjaephotography.com

Kellie Podsednik, Ilene Chalmers, and Andrew Wilkin. Credit: Spotlighters Theatre/Shealyn Jae Photography/shealynjaephotography.com

Andrew Wilkin tackles the role of Simon Brigh, the younger actor who exudes a certain sleaziness but you can’t figure out just why because he seems like a gentleman but there’s just something about him. Wilken plays that aspect of the role beautifully and he looks the part and plays it confidently but his representation of this character seems to be all in contorted facial expressions. At times, in his intense scenes, he comes off more as a scary deranged clown rather than an upset and angry young actor. His character goes from one end of the spectrum to the other, between a suave demeanor to an angry desperation and both are a bit over the top with no in between. Now, this is not to say his performance is bad, because it is not. He commands the stage easily and his voice resonates throughout the small theatre. He, too, gives 100% to his character and makes choices to allow his character to be easily understood.

Tom Piccin as Felix Geisel does an admirable job as the loyal, laid back best friend and gives a strong performance with very good comedic timing and an urgency that drives his character’s actions. He understands his character and plays him with ease while having great chemistry with his fellow cast mates making for a very enjoyable performance.

Kellie Podsednik as Aggie Wheeler. Credit: Spotlighters Theatre/Shealyn Jae Photography/shealynjaephotography.com

Kellie Podsednik as Aggie Wheeler. Credit: Spotlighters Theatre/Shealyn Jae Photography/shealynjaephotography.com

The role of Aggie Wheeler, the young, impressionable actress is taken on by Kellie Podsednik and her take on this character is thoughtful and entertaining. There may be more to this character than meets the eye and Podsednik plays the role with a natural, innocent air that works well and actually makes her a likable character. Podsednik is comfortable on stage and gives a strong performance that is confident and enjoyable.

Ilene Chalmers takes on the role of Madge Geisel, an old friend who is just as loyal as her husband, Felix. Chalmers plays this role with gusto and gives her all to this character and her dedication pays off as her portrayal is authentic and natural. Madge Geisel is more than an innocent bystander and she likes to get into the heart of the action and Chalmers plays this beautifully. She has a strong command of the stage and is a joy to watch.

Thom Eric Sinn. Credit: Spotlighters Theatre/Shealyn Jae Photography/shealynjaephotography.com

Thom Eric Sinn. Credit: Spotlighters Theatre/Shealyn Jae Photography/shealynjaephotography.com

Thom Eric Sinn plays William Gillette, the leading man who is famous for playing Sherlock Holmes and actually considers himself a brilliant detective and who has gathered these poor souls to his home on Christmas Eve. Sinn has a very strong stage presence and fits nicely into this character. His voice resonates throughout the theatre and he is natural and comfortable in this role. He has great comedic timing and does well with the farce, though his urgency does seem a bit forced at times. Overall, Sinn gives a very strong and entertaining performance.

Penny Nichols as Martha Gillette. Credit: Spotlighters Theatre/Shealyn Jae Photography/shealynjaephotography.com

Penny Nichols as Martha Gillette. Credit: Spotlighters Theatre/Shealyn Jae Photography/shealynjaephotography.com

Martha Gillette, the doting, elderly mother of William Gillette, is played by Penny Nichols and she is beyond charming in this role. At first glance, I didn’t buy the fact that Nichols is playing Sinns mother as she looks entirely too young for the role, but her portrayal of the character just emphasizes her acting skills and she played this part to the hilt. After a few moments, she is totally believable as the mother of Sinn’s character, regardless of looking younger than her character is supposed to be. She has beautiful comedic timing and her asides as she leaves the stage are just as funny as her onstage lines. She is a joy to watch and I hope to see more of her work in the future.

Melanie Bishop as Daria Chase. Credit: Spotlighters Theatre/Shealyn Jae Photography/shealynjaephotography.com

Melanie Bishop as Daria Chase. Credit: Spotlighters Theatre/Shealyn Jae Photography/shealynjaephotography.com

Melanie Bishop as Daria Chase, the cut-throat, acidic theatre reviewer who seems to know the secrets of all the other guests and isn’t afraid to share them, is an absolute highlight of his production giving an outstanding performance. She has the fast talking, quit witted character down pat even using a Katherine Hepburn-esque voice that absolutely fits this character making her more authentic. Her confidence and comfort on stage makes for a superb performance that is not to be missed.

Final thought… The Game’s Afoot at Spotlighters Theatre is a bona fide murder-mystery that will have you laughing and scratching your head, wondering “whodunit?” The performances are strong and the story is entertaining and original making for a fun night of theatre in the midst of the hustle and bustle of the holiday season. Take a break from the craziness and check out this show!

This is what I th
ought of Spotlighters Theatre production of
The Game’s Afoot. What did you think? Please feel free to leave a comment!

The Game’s Afoot will play through December 18 at Spotlighters Theatre, 817 St. Paul Street, Baltimore, MD. For Tickets, call the box office at 410-752-1225 or purchase them online.

Review: Tick, Tick… Boom! at Audrey Herman Spotlighters Theatre

by Jason Crawford Samios-Uy

4850260_orig

Running Time: 90 minutes with no intermission

Most theater folk know or at least have heard of the recent Broadway sensation called Hamilton. Now, about 20 years ago, there was another Broadway sensation that caused the same kind of ruckus (whether warranted or unwarranted, depending on who you talk to) written by a Lyricist/Composer/Author named Jonathan Larson called RENT. Well, let’s go back a few years before that and this same Lyricist/Composer/Author wrote a small, three person musical called Tick, Tick… Boom!, an autobiographical account of what he called his failure and frustrations up till that time.

Tick, Tick… Boom! with Book, Music, & Lyrics by Jonathan Larson and Vocal Arrangements and Orchestrations by Stephen Oremus is the latest offering from Audrey Herman Spotlighters Theatre and is Directed and Choreographed by Jillian Locklear Bauersfeld with Music Direction by Michael W. Tan.

I’m going to admit, I’ve never been a RENT fan by any stretch of the imagination, but… I was pleasantly surprised and quite entertained by this production of Tick, Tick… Boom! and I just might have to give RENT another more comprehensive listen!

03ttboom_orig

Garrett Zink as Jon. Photo Credit: Spotlighters Theatre

Beginning with the production aspect, Set Designer/Scenic Artist Alan Zemla used the small Spotlighters space very wisely by not cluttering it with frivolous set pieces but with six black boxes that were moved around and acted as all the set pieces including a bed, a BMW, office furniture, and convenience store counter. The moving of the boxes was incorporated into the blocking and with no other clutter on stage, it was easy for the actors to transition from one scene to the next. Also impressive are the theatre walls themselves. Each wall is cleverly painted to represent New York City from New York Subway walls to a representative skyline. Zemla is to be commended for his work in this production.

Costume Design by Andrew Malone was simple and contemporary as this play is pretty much set in modern times, 1990 to be exact, and, though the “skinny jeans” (or what looks like skinny jeans) the character of Jon is wearing throughout the show may be a bit of a stretch, the plaid button-down was a perfect choice, as were the outfits of the other two characters.

The space is very unique and small with pillars on the four corners of the stage and I imagine it’s a bit difficult to light a production but Lighting Designer Fuzz Roark managed very nicely. Though a little dark at times, the production was lit very appropriately and simply with no major bells and whistles, which is not needed in this production, anyway, and Roark’s lighting scheme was spot on.

Again, being a small space, one would think sound wouldn’t be an issue, however, it is quite a feat to launch a full fledged musical in a small space but Sound Designers Lanoree Blake and Fuzz Roark managed to do just that. There is a full, live pit orchestra only inches away from the stage and none of the actors are equipped with a microphone so, there are only a few times when the balance between the orchestra and the actors is a little wonky and if an actor is on the opposite side of the stage from where one is sitting it’s difficult to hear every line, but I lost nothing from the story and was able to keep up. The sound effects used were appropriate and well placed and moved the story along quite nicely.

52ttboom_orig

Garret Zink as Jon & Rob Wall as Michael. Photo Credit: Spotlighters Theatre

According to the Director’s Note, Director Jillian Locklear Bauersfeld had directed Tick, Tick… Boom! About 10 years ago, while a directing major in college. She states that production was a success and though I can’t speak for her previous attempt, I’m tending to agree with her because this production can be chalked up as a success, as well! Anyone who takes on directing theatre in the round starts off with a challenge, but Bauersfeld pulls this off flawlessly, keeping her actors moving and using her space wisely as to not forget any section of the audience. Her blocking is very fluid and this keeps the pace of the piece moving nicely along, not too fast and not too slow. She seemed to have understood these characters and managed to pull thought-out performances from her cast, and her vision of Jonathan Larson’s life was clear and apparent with minimal sets, costumes, and props.

Garrett Zink as Jon & Clare Kneebone as Karessa. Photo Credit: Spotlighters Theatre

Garrett Zink as Jon & Clare Kneebone as Karessa. Photo Credit: Spotlighters Theatre

Music Direction by Baltimore theatre veteran Michael W. Tan (who also plays the keyboard) is superb as he brings the songs of pre-RENT Jonathan Larson to life. There is a certain modern feeling one must understand when dealing with Jonathan Larson and Tan seemed to understand this perfectly. Not the usual “show tunes,” Tan manages to pull the modern pop-rock style from his actors that fit this show like a glove. The fantastic orchestra he’s pulled together, including Christine MacDonald on guitar (with John Jeffries subbing on guitar on certain shows), Greg Bell on bass, and William Georg on percussion, also help make this production all the more enjoyable.

Garrett Zink as Jon & Rob Wall as Michael. Photo Credit: Spotlighters Theatre

Garrett Zink as Jon & Rob Wall as Michael. Photo Credit: Spotlighters Theatre

The only comment I can make on the music of this show is that it is amazing. It is certainly a Jonathan Larson score but it’s modern and melodic and the upbeat songs are driving and the ballads are poignant. If one is familiar with the more famous show from Larson, one can hear the beginnings of most of those songs in these songs. I enjoyed the variety of the score and the attempt at using different styles such as the country and western inspired “Therapy”, the rocking “No More,” and nostalgic, oldies sound of “Sugar.” These upbeat, fun songs were balanced out nicely with poignant power ballads such as “See Her Smile” and “Real Life” that didn’t slow the show down at all, but moved the story along. Also, among these different styles, these songs have a 90s feel to them and, as a kid of the 90s, I was thoroughly entertained!

Clare Kneebone as Susan. Photo Credit: Spotlighters Theatre

Clare Kneebone as Susan. Photo Credit: Spotlighters Theatre

Moving on to the performance aspect of this production, it’s a very small cast consisting of three actors – a perfect size cast for the space. Included in the cast is Garret Zink as Jon, the hapless lyricist/composer/author who’s about to turn 30 years old and doesn’t think he’s d
one anything with his life, Clare Kneebone as Susan the understanding, but yearning girlfriend of Jon, and Rob Wall as Michael, the forward moving best friend.

Jon is the first character to whom we’re introduced and he serves as the narrator throughout the show. Garret Zink has a very good presence and seems comfortable on stage with perfect articulation even though his Baltimore accent peeks in occasionally. Although his performance seems a little forced at times and his flailing hand gestures sometimes draws attention away from what he’s saying, he still pulls off the role very nicely and you do feel for the character and even relate to him as Zink brings a certain honesty to the character. The Larson score can be challenging (his mentor was Stephen Sondheim for goodness sake!) and aside from struggling a bit in the upper register, Zink was able to make a good showing with appropriate style and presentation.

Garrett Zink as Jon, Clare Kneebone as Susan, and Rob Wall as Michael. Photo Credit: Spotlighters Theatre

Garrett Zink as Jon, Clare Kneebone as Susan, and Rob Wall as Michael. Photo Credit: Spotlighters Theatre

Rob Wall as Michael was an absolute joy to watch. From the moment he steps on stage with his big smile and smooth, friendly voice, Wall makes Michael a character who’s easy to like. He’s very comfortable and confident on stage and he moves easily and with purpose. According to his bio, he sang in the Naval Academy Mens Glee Club and was the announcer for Naval Academy parades and with his velvet, booming voice, I don’t doubt it! He performed his songs flawlessly and not only hit the notes, but had that extra understanding of the songs such as “Johnny Can’t Decide” and “Real Life” where he takes the reigns and that takes his performance to a much deeper level. Wall also gives Michael a certain amount of calm that balances out the agitation that Zink gives the Jon character. Wall is certainly one to watch and you don’t want to miss him in this performance!

Clare Kneebone as Susan. Photo Credit: Spotlighters Theatre

Clare Kneebone as Susan. Photo Credit: Spotlighters Theatre

This leaves us with Clare Kneebone, who takes on the role of Susan, the girlfriend. Kneebone is the standout in this production and not only because she’s the only female but because she plays this role brilliantly, confidently, and flawlessly. As she stepped onto the stage, it was clear she was a powerhouse and very comfortable on stage. Her performance was very natural and purposeful as it was clear she understood her character and what her character was going through. Along with a fantastic acting talent (as she plays various characters, including a theatrical agent and an actress in a workshop of a new show), Kneebone has a very impressive musical talent as well and her big, beautiful voice shines throughout this production, namely in her solo number, “Come to Your Senses,” a true power ballad in which she’s not even playing the role of Susan, but of another character – the actress in the workshop of a new show, Karessa. Her performance alone should be reason enough to see this show!

Final thought… Tick, Tick… Boom! Is a show that shouldn’t be missed! Even if you aren’t a huge RENT fan, that’s OK because this show absoltuely stands on its own. Yes, you will see the beginnings of that more famous show, but it’s to be expected as it’s the same lyricist/composer/author and it’s definitely his unique style. This cast is great, the music is fun, and story is certainly relatable! Go see this show!

This is what I thought of this production of Tick, Tick… Boom!.… what do you think?

Tick, Tick… Boom! will play through July 31, Friday-Saturday at 8pm and Sundays at 2pm with a Ten Spot Thursday on July 14 at 8pm at Audrey Herman Spotlighters Theatre, 817 St. Paul Street, Baltimore, MD. For tickets, call 410-752-1225 or purchase them online.