By Mike Zellhofer
Approx. Running Time: 2 hours with one intermission
“They let you dream just to watch ’em shatter…” Your employer that is. The good folks at Stand Up for Theatre (SUFT) encourage you to dream and would never let you down. This time they are dreaming about equality in the workplace, a fair wage, and men who act like gentleman, as they bring to life 9 to 5: The Musical, Directed by Ed Higgins, with Music Direction by Brandon Seehoffer, and Choreography by Lenore Florez. Once again, they do not disappoint.
We go to the theatre to be entertained. Over the years I have come to accept that Stand Up for Theatre gives me so much more than simple entertainment. Sure, they provide quality productions that keep me laughing, crying or (insert emotion here), but it’s their commitment to keeping me thinking that sets them apart. Again, they have delivered an entertaining production that is thought provoking. Donald Rumsfeld once said, “There are known knowns. These are things we know that we know. There are known unknowns. That is to say, there are things that we know we don’t know. But there are also unknown unknowns. There are things we don’t know we don’t know.” My wife has been in the same industry for over thirty years. I asked her what she thought and what she had noticed over the years regarding gender equality in the workplace. It turns out that I may have turned a blind eye to the subject, or at the very least, there was plenty that I didn’t know that I didn’t know. THIS is what separates SUFT from any other theatre company.
Director/Set Designer Ed Higgins does a nice job of using the playing space and gets the most he can from his actors. Higgins is no stranger to the black box performance space and in the past has come up with some wonderful staging. This time, however, he seems to have gotten a little too imaginative for his own good. This, in my opinion, painted acclaimed set builder Jordan Hollett into a corner. Higgins decided to break the set into thirds by using front facing panel curtains. Whichever part of the set was being used there was an opening, while the panels covered to other two sections. While an interesting concept on paper it made for poor viewing. I sat in the center section, house left, and could not see everything that was happening stage left. Many scenes were conducted there and at times I heard voices but could not see actors. Perhaps using a half wall between sections, or better yet, leaving the playing space open and letting the audience use their imagination would have been a better choice. It definitely would have made for easier viewing.
Music Director Brandon Seehoffer does a nice job with the cast. His three leads are amazing and an absolute pleasure to listen to. Lenore Florez takes on the role of Choreographer and delivers a lively entertaining show. Florez’s work with the smaller numbers is detailed and does not go unnoticed, but it is her ensemble numbers that stand out. She works the large ensemble very well in a small space and should be commended for her efforts. As an added bonus to the production, Andrew Vida has put together a lighting design that is one of the best I have seen in that space.
The trio of Erin Cassell (Violet), Sarah Burrall (Doralee), and Jenna Sharples (Judy) seemed as though they had been working together for years. They deliver a tight, crisp performance that is not to be missed. Vocally they are unmatched. They all have beautiful harmonies and a belt, and they know when to cut loose. They are not mic’d but have no problem singing over the recorded tracks. I recommend sitting close to the stage so that you don’t miss the lovely undertones and blending when they all sing together. In addition to their voices, these ladies know how to act. Each is perfectly cast for their role and they deliver a performance that is worth seeing a second time.
For as amazing as the three leads are, the big show stopping number of the evening is performed by one of the supporting actors. Scarlett Corso’s performance as Roz Keith is award winning. Corso pours her heart and soul into her character and it is a performance for the ages. From the very first time she hits the stage to the closing number Corso is vibrant, in character, and a pleasure to watch. Sometimes you see a community theatre production and wonder how an actor could possibly compare to the original production. Scarlett Corso makes the role her own and delivers a performance better than any I have seen.
9 to 5: The Musical runs through February 8 at the Chesapeake Arts Center. It is a show that is both entertaining and thought provoking. I encourage you to go see it.
This is what I thought of this production of 9 to 5 the Musical at Stand Up for Theatre.… what do you think?
9 to 5 the Musical will play through February 8 at The Chesapeake Arts Center, 194 Hammonds Lane, Brooklyn Park, MD. For tickets, purchase at the door or purchase them online.
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In all my years in theatre I have seen countless theatre companies produce Joseph & the Amazing Technicolor Dreamcoat. I myself have been involved in numerous productions of Joseph and each time I am amazed at the creativity that directors and actors bring to the stage. Each production that I have seen and been a part of has attempted to spruce up the familiar tunes, scenes, and characters, usually without success. Fortunately for us, 
When you attend the show, I encourage you to spot the absolutely hilarious props! See if you can find the cheeseburger beret and the razor scooter. The creative team really came together and provided the Baltimore theatre scene with a great production of Joseph. That being said, no show will ever be perfect– as a professional theatre teacher and director I know this. All we can do is ask that the actors put their everything into a role and hope that it works out. Despite some minor criticism, I would consider this production a success. This is definitely a production that you would not want to miss.
The moment I walked into the theatre, something felt different. I’ve been to several productions at Just Off Broadway and the first thing I noticed was that the pit had been moved. When the overture began, I immediately knew that the creative team had made the right call. Under the direction of Patty Delisle, the orchestra’s first notes brought back so many memories for me of waiting anxiously behind the curtain for an entrance. Andrew Vida is also to be commended for his creative light design. I can say with confidence that I have not met a more professional high school student (and I teach high school). He attends Calvert Hall College High School and hopes to pursue technical theatre once he graduates this coming year. Unfortunately, the issues with the microphones took me out of the performance at times. No theatre company is immune to technical difficulties. I recall a time when the microphones completely stopped working during a production that I was involved with. Due to the microphone issues, it was hard to hear every single line and note.
Unless you are familiar with the story of Joseph, it is somewhat hard to follow. The person I came with had never seen Joseph before and was constantly asking me to clarify what was happening on the stage. The chorus was too overpowering when a soloist was taking the lead and the orchestra volume was too intense during certain scenes. One thing that I enjoyed was the ability of the actors to blend their voices together. The harmonies during “Close Every Door” were perfect to the point of giving me goosebumps. I can look past the technical errors to a degree because the entire cast was not only vocally capable, but proved itself able to pull me back into the story with their intoxicating harmonies. While preserving the professionalism and style of the original work, Just Off Broadway has preserved its meaning as well. “Close Every Door”, while Joseph, played by Josh Schoff, is singing the famous lyrics of Tim Rice, “I do not matter. I’m only one person”, words that certainly resonate with anyone who has ever felt alone, cast members turn their back to him, symbolizing his complete neglect and loneliness.
As the cast made their way onto the stage during the overture, it was easy to see which actors were genuinely invested in their role. Most of them were, but a few actors seemed distracted. One great challenge as an actor is to be completely immersed in their character. Jason Crawford Samios-Uy, Chris Thomas, B. Ever Hanna, and Kate Forton were a few of my favorites throughout the performance. Their facial expressions, crisp clear vocals, ability to harmonize, and overall pizzazz on stage kept me engaged and entertained throughout the performance. I legitimately laughed out loud when Hanna and Forton were performing “One More Angel”, they are truly a dynamic duo. Also worth a “ention is the falsetto voice from Micah Rufsvold, which was used both for comedic relief as well as musical entertainment. 
There are lots of reasons to see this show, but the “One More Angel” number really takes the cake. It’s also worth mentioning and the effervescence of Elton Knupp as the Narrator, who skillfully and beautifully keeps the action moving on stage while telling the story with confidence and on point vocal ability.
Despite the small stage, the choreography was effective, creative, and enjoyable. Katie Gertsmeyer is to be commended for her fantastic skill as a choreographer. Each movement appeared natural for the characters, easy enough for all cast members to perform, and yet still appeared complex. The cast obviously worked extremely hard to pull off some of the choreography. One dancer in particular stands out in my mind. Samantha Jednorski, featured as Mrs. Potiphar, was one of the highlights of the performance. Jednorski has been involved in theatre for years; her expertise in the theatre realm shines through. Her facial expressions, reactions, and vibrant attitude was a true pleasure to witness. Speaking of cast members talent, I was extremely impressed by B’Jion Wright, Naphtali and the Butler, As someone who directs shows at a high school level, the first thought that ran through my mind when I saw her take the stage was, “Wow! This is a perfect example of an actress who has all the essential components to be successful! I wish my students could see her on stage!” Wright has the presence about her; total investment in her character and the skills to make it happen. I was also extremely impressed by Patrick Jay Golden’s performance as Pharaoh. Despite the simple costume, his characterization is what sold me on his solo. I even had the privilege of touching the hand of Ramessess *swoon* when he came into the audience to keep theatre goers on their toes.