Review: Blackbird at Fells Point Corner Theatre

By Jason Crawford Samios-Uy
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Running Time: 80 minutes with no intermission
Sometimes theatre is created to simply entertain and help one escape the realities of life and sometimes it’s created to make one think and, sometimes, that’s uncomfortable, depending on the subject matter but it’s OK. Being a traditionalist and loving theatre that makes me smile and tap my foot and giving me a happy ending, I certainly understand and appreciate the importance of theatre that makes one step out of his or her comfort zone and is in your face about issues we don’t like to talk about in public. Fells Point Corner Theatre‘s latest offering, Blackbird by David Harrower, with Direction and Set Design by Anthony Lane Hinkle and Sound and Light Design by Christoper Flint is the latter; up close and personal with the audience, making them look into an uncomfortable issue that makes for an enlightening, intense evening of theatre that’s not to be missed.

Credit: Fells Point Corner Theatre

Credit: Fells Point Corner Theatre


Presented in the intimate upstairs Sokal Stage, this production very effectively puts the issue of sexual abuse, quite literally, in the face of the audience and forces them to look and listen. The setting is a very unkempt break room in some office building on the outside of London and the absolute mess of a room mirrors the issue at hand and is a perfect setting with trash all over the floor and on the tables and counters. At first glance Set Design by Anthony Lane Hinkle seems over simplified, simply throwing trash all over the stage, but, thinking deeper and associating it with the mixed up emotions and confusion that makes up sexual abuse, Hinkle gives us an intelligent, well thought-out design that is absolutely befitting of this production.
Along with Set Design, Hinkle’s Direction of Blackbird is stellar. He forces his actors to make choices in a tight space with intense situations and guides them into the right choices for this piece. He throws a whole lot in your face in only 80 minutes and though the action seems a bit rushed, there’s almost no choice as this piece hits the ground running from the moment the characters step onto the stage. Though the overall intensity of this piece is high, it is a roller coaster of frenzy and calm that Hinkle manages to balance nicely.
The performance of this piece is outstanding and both Steve Shriner and Ann Turiano give powerful performances.
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Steve Shriner as Ray. Credit: Fells Point Corner Theatre


Steve Shriner, last seen in his hilarious performance of Mother Superior in Fells Point Corner Theatre’s production of The Divine Sister, make a complete 180 degree turn for this production. He is a proven comedic actor but his dramatic chops are on point, as well. He is so in tune with his character, Ray, not once did I see a hint of true regret or remorse for the sordid relationship with a 12-year-old girl years before. Nor did I see any attempt to apologize because though this character realizes what he did was legally wrong, he truly doesn’t believe it was emotionally wrong at all, allowing him to move on with his life. All this combined makes for a complex, somewhat pathetic character that Shriner plays beautifully.
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Ann Turiano as Una. Credit: Fells Point Corner Theatre


Ann Turiano, as Una, the young victim in this relationship, now a seemingly confident woman plays this part superbly and with ease. She is comfortable in this role and her very purposeful movements express the childish 12-year-old Una once was as well as the brave, confident woman she has become who doesn’t seem to know what she wants from this meeting. Una’s relationship with Ray is complicated but open as she talks to him bluntly about having sex all those years back and Turiano is no-holds-barred when it comes to the dialogue or getting in your face. Her strong performance is not one to be missed this season.
Final thought… Blackbird at Fells Point Corner Theatre is a poignant, raw, powerful, and unapologetic look at not only sexual abuse, but it’s long term effects. Without making judgment or defending, this piece takes a serious look into both sides of abuse and tells a story only victim and predator can tell. It’ll make you angry, it’ll make you uncomfortable, it’ll make you feel sorry for everyone involved, and it will make you think long and hard about this unfortunate truth in our world. You don’t want to miss this production so get your tickets while they last.
This is what I thought of Fells Point Corner Theatre’s production of Blackbird.
Check out what The Bad Oracle thought here: https://thebadoracle.com/2017/01/16/blackbird-the-dead-of-night/
What did you think? Please feel free to leave a comment!
Blackbird will play through January 29 at Fells Point Corner Theatre, 251 S Ann Street, Baltimore, MD. For Tickets, go to fpct.org for information or purchase them online.

Review: The Divine Sister at Fells Point Corner Theatre

By Jason Crawford Samios-Uy

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Running Time: 2 hours and 10 minutes with one 15-minute intermission

Religion is always a tricky and sometimes touchy subject in the arts, but that’s only when its taken too seriously. The latest offering from Fells Point Corner Theatre, the Baltimore Premiere of The Divine Sister, by Charles Busch finds a delightful balance. Directed by Steve Goldklang, with Set Design by Roy Steinman, Lighting Design by Charles Danforth III, Sound Design by Andrew Porter, and Costume Design by Anthony Lane Hinkle and Mary Bova (of A.T. Jones) this piece tickles the proverbial funny bone without offending and the story actually isn’t heavy on religion but sending a message of love, faith, and hope.

Steven Shriner and Holly Gibbs. Credit: Tessa Sollway

Steven Shriner and Holly Gibbs. Credit: Tessa Sollway

Set Design by Roy Steinman is simple, yet detailed. Two moveable walls on wheels cleverly allow for various locations including an underground passageway, a courtyard garden, and a sitting room of an elegant mansion. Steinman’s design is traditional in the way that the scenes are definitely painted and not necessarily realistic, such as stained glass windows and a fireplace and mantel, but absolutely fitting for this production. Being a fan of traditional theatre and suspension of disbelief, I rather enjoyed the simplicity of the set. The entire set is designed to display stone work, as you would see in old churches and buildings and the stone painting is on point. Steinman uses his space very wisely, using the surprisingly large stage and breaking it up into sections with the moveable walls. The set pieces chosen are fitting and really separate the scenes and locations. Overall, the Steinman’s Set Design is appropriate and smart adding charm to the entire production.

The scene changes are precise and careful, but often go on a few seconds too long. There are quite a few set pieces that have to make their way on and off stage between scenes and I’m sure the scene changes will cut their time as the production runs.

Tom Lodge and Kathryne Daniels. Credit: Tessa Sollway

Tom Lodge and Kathryne Daniels. Credit: Tessa Sollway

Lighting Design by Charles Danforth III does more than light the actors on stage but sets the mood completely for each scene. Whether outside in a courtyard or in an underground tunnel, the lighting scheme matches the action and setting. Danforth’s design blends in with the action and is absolutely appropriate for the piece.

To go along with Lighting Design, Andrew Porter’s Sound Design is on point for this production. Though there are not a lot of sound effects in this production, what is utilized is definitely befitting. Namely, the realistic “dripping water” sound effect used in the underground tunnel setting adds value to the scene and the production.

Steven Shriner and Anne Shoemaker. Credit: Tessa Sollway

Steven Shriner and Anne Shoemaker. Credit: Tessa Sollway

The use of recordings is wise and is hilarious as the actors blatantly lip-sync through an entire number, skipping and dancing as they do. It’s worthe mentioning the song in the the courtyard between Mother Superior and Agnes is not only hilarious with the afore mentioned lip-syncing and skipping, but has beautiful vocals by actresses Holly Gibbs and Anne Shoemaker, with guitar by David Shoemaker.

Costume Design by Anthony Lane Hinkle and Mary Bova (of A.T. Jones) is authentic and fun for this piece. Set in the mid 1960s, styles and fashion were flashy and all over the place, but Hinkle and Bova manage to capture the essence of the 60s with their Costume Design. The nuns, of course, are your traditionally dressed 1960s nuns with the full habit and rosarary and the actors seemed very comfortable in these genuine-looking habits, moving freely about the stage. Outside of the nun costumes, the “civilian” character costumes were equally as impressive. The many costumes of the character named Mrs. Levinson, were all on point and fitting of the character and time, with polyester looking material and vibrant colors of a wealthy middle-aged woman with a penchant and propensity for current fashion and haute couture. Kudos to Hinkle and Bova for their impeccable design.

Lynda McClary and Tom Lodge. Credit: Tessa Sollway

Lynda McClary and Tom Lodge. Credit: Tessa Sollway

Steve Goldklang’s Direction of this piece is impressive and concise as his vision for this very funny and upbeat piece is clear making for a very well put-together production. Goldklang seems to understand this story is not merely making fun of any particular religion but using humor to tell a story and send an important message of trust and belief.

Though I don’t consider The Divine Sister a traditional farce, it does have farcical aspects and quick entrances and exits, but, overall is just a very witty comedy that Goldklang understands and keeps that delicate balance of mocking and poking fun. He keeps the action moving and, aside from the lengthy scene changes, manages to use the immense talents of his cast to keep the stor
y moving forward. Overall, Steven Goldklang does an outstanding job at the helm of this production.

Kathryne Daniels as Sister Walburga. Credit: Tessa Sollway

Kathryne Daniels as Sister Walburga. Credit: Tessa Sollway

Moving on to the performance aspect of this piece, Kathryne Daniels as Sister Walburga/Mrs. Macduffie has a great look and command of the stage making both her characters interesting and entertaining. Her characters are completely different and Sister Walburga as the stern Sister from Berlin may not be all she seems while Mrs. Macduffie, the cleaning lady, seems to know everything that’s going on in their little circle and is happy to share her information. It seems Daniels is the only actor required to use accents for her characters (German for Sister Walburga and Scottish for Mrs. Macduffie) but she may have benefited by working with a dialect coach as her accents for both characters were a dicey, at best. Regardless, her performance was impressive and she seems to understand her characters and plays them beautifully.

Tom Lodge as Brother Venerius/Jeremy is likable and carries the weight of being the only male character in the entire piece. He is comfortable and confident onstage and his portrayal of Jeremy is believable and moves the story along through his dialogue, making him an involved character. However, for as good as he portrays Jeremy, his portrayal of Brother Venerius, whose face we never see, falls a little flat. Brother Venerius is a mysterious character lurking in the underbelly of the convent but I couldn’t pinpoint where is character is supposed to be from as the accent he chooses to use is all over the place and a little strange. Overall, Lodge gives a very strong performance and carries his characters quite well.

Holly Gibbs as Sister Acacius and Lynda McClary as Mrs. Levinson. Credit: Tessa Sollway

Holly Gibbs as Sister Acacius and Lynda McClary as Mrs. Levinson. Credit: Tessa Sollway

Holly Gibbs is brilliant as Sister Acacius a.k.a. Lily in this production of The Divine Sister. She has great comedic timing and her understanding of the character is apparent as she pulls off the New York accent and mannerisms impeccably. As a nun who’s going through some things, including not necessarily wanting to be a nun anymore, and has an interesting past along with Mother Superior, Gibbs plays the role with the right amount of humor and is absolutely believable as Sister Acacius, the right hand man to Mother Superior. Gibbs never disappoints and her work in this production is no different.

Kathryne Daniels, Anne Shoemaker, and Holly Gibbs. Credit: Tessa Sollway

Kathryne Daniels, Anne Shoemaker, and Holly Gibbs. Credit: Tessa Sollway

Anne Shoemaker as Agnes, the postulate who is having visions and healing the sick, is a standout in this production. Her comedic timing is on point and her character choices are impeccable. She plays this role with the perfect amount of “crazy” that is required for this character. A cross between Maria Von Trappe and Annie Wilkes (from Stephen King’s novel Misery), Shoemaker finds a perfect balance of innocence and insanity for this character and her depiction of the transition her character goes through is also admirable, In general, Shoemaker is confident and commanding and gives a strong and impressive performance.

Lynda McClary as Mrs. Levinson/Timothy is hands down one of the highlights of this production. With that being said, in the role of Timothy, the young man who is bullied and not the best athlete, along with other adolescent issues, McClary is a bit much. An adult actor playing a child is always tricky and, for this production, McClary takes it to the extreme to being almost annoying, rather than funny, but, if anything, she is absolutely dedicated to the role, giving 100%. Her portrayal of Mrs. Levinson, however, is a completely different story. Mrs. Levinson is the wealthy, fashionable, and philanthropic widow who has secrets of her own and McClary pulls this role off flawlessly. With just the right balance of snootiness and humility, she is a riot with immaculate comedic timing and is an actress who isn’t afraid to make a fool of herself for the good of the production. She’s a seasoned actor and her confidence and command of the stage makes for a funny and outstanding performance.

Steven Shriner as Mother Superior. Credit: Tessa Sollway

Steven Shriner as Mother Superior. Credit: Tessa Sollway

Last but certainly not least is Steven Shriner as Mother Superios a.k.a. Susan who is another absolute highlight of this production. For some reason, a man in drag is still funny after all the years of it being a bit in show business and this production is no different. Shriner is superb as Mother Superior and his delivery of the clever lines and his timing is just about perfect. The success of his performance is the character of Mother Superior seriously, not as a mockery, and it makes for a very strong, funny, natural performance. His soothing voice and mannerisms make for an authentic portrayal and a very likable character. As both Mother Superior and Susan, the young and sweet, but cut-throat New York reporter, Shriner gives a confident and commanding performance and I’m looking forward to seeing more from him.

The Cast of The Divine Sister. Credit: Tessa Sollway

The Cast of The Divine Sister. Credit: Tessa Sollway

Final thought… The Divine Sister at Fells Point Corner Theatre is witty, hilarious show with a clever script and excellent performances from the ensemble. The piece pokes fun at religion but certainly does not mock it and, in the end, sends a good message of faith and hope through crafty humor that will have your sides splitting. Get your tickets now! You don’t want to miss this one!

This is what I thought of Fells Point Corner Theatre’s production of The Divine Sister. What did you think? Please feel free to leave a comment!

The Divine Sister will play through December 18 at Fells Point Corner Theatre, 251 S Ann Street, Baltimore, MD. For Tickets, go to fpct.org for information or purchase them online.

Review: The Elephant Man at Fells Point Corner Theatre & Collaborative Theatre Company

By Jason Crawford Samios-Uy
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Running Time: 2 hours and 25 minutes with one 15-minute intermission
Theatre is supposed to do something to us, emotionally. Whether we’re supposed to think, feel sad, feel hopeful, or simply be entertained, it’s supposed to do something. The Elephant Man by Bernard Pomerance, currently playing at Fells Point Corner Theatre and co-produced with Collabortive Theatre Company does all of it. With Direction by Anthony Lane Hinkle, Set and Lighting Design by Kel Millionie, Costume Design by Ben Kress, and Sound Design by Chris Aldrich, this poignant, very real story is breathtakingly woven together flawlessly and had me feeling all the feels and thoroughly entertained.
The Elephant Man gives us the true story of Joseph Carey Merrick (1862-1890), who is usually called John Merrick, as in this play, and his trials and tribulations as a person with a rare medical disorder in Victorian England. It also teaches us about ourselves and our reactions to people who may be “different” and how those people make us feel a little better about ourselves. Human nature is unpredictable and, at times, a very scary thing.
bttfTo begin, walking into the main theatre of Fells Point Corner Theatre, my initial excitement came from Kel Millionie’s beautiful set design. The unit set has smart levels that all lead to the center of the stage where most of the action takes place. The main entrance, through glass plated french doors blend nicely into the set design and the lower entrance, a hallway of sorts, is a nice contrast to the elegant french doors. The earthy tones lend well to expressing the Victorian era. Millionie used his space very wisely, cleverly creating storage for set pieces not in use within the set itself. The clean, subtle set was near perfect for this production.
Along with Set Design, Millionie has double duty as the Lighting Designer and this design is just as fantastic as his set design. I suppose, who better to light the set than the designer and in this case, it matches up stunningly. His use of shadows and dim light sets the audience not only in the mind of the Victorian age, but in the context of the show, exhibiting how Merrick had to live in the shadows for much of his short life.
The Set and Lighting Design added immense value to this already successful production and major kudos go out to Millionie for his thoughtful and impressive work.
To add to the technical side of the production, Sound Designer Chris Aldrich did a superb job finding music that fit the period and set the mood for scenes and added to the production rather than interfere. To go along with the sound, this production utilized projections to move the story along. The use of projections can be tricky and can almost ruin a show if not used properly however, Directory Anthony Lane Hinkle and Set & Lighitng Designer Kel Millionie took on the responsibility of choosing appropriate projections and they are all spot on. They do not take away from the production or add fluff, but are apart of the story and the action and help move it along, filling in the blanks for the audience as to better understand Merrick’s story.

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Grayson Owen as John Merrick and Darius Foreman as London Police Officer. Credit: Tessa Sollway


Being a period piece, costumes play a very important role in this play and Costume Designer Ben Kress hits the nail on the head! The costumes are very appropriate and complement the actors wearing them. From the elegant gowns of the ladies to the sharp suits of the upper class gentlemen, to the ratted and tattered coats of the lower class characters, each costume was well thought-out and the actors are quite comfortable in them. There are a few absolutely beautiful gowns (with help from Shelly Steffens Joyce) and every costume made each character more real and tangible.
Aladrian Wetzel and Elizabeth Ung as Pinheads and Grayson Owen as John Merrick. Credit: Tessa Sollway.

Aladrian Wetzel and Elizabeth Ung as Pinheads and Grayson Owen as John Merrick. Credit: Tessa Sollway.


Anthony Lane Hinkle’s integrity and ingenuity shines through in his direction of this piece. His blocking with the use of levels keeps the movement of the actors interesting and purposeful and each actor seems to really understand his or her characters. All but one actor in his cast takes on more than one role and each character is different and fresh. His use of projections to accompany the story is helpful to the audience and the information he chooses for projection does not cause a distraction but educates. It’s clear that Hinkle has taken his time with this piece and researched the subject to get a better understanding of the story of Joseph (John) Merrick and wants to not only entertain, but teach his audience about the life of this remarkable man. From day one of accepting directing responsibilities for this proven, emotional piece is challenging but Hinkle is quite successful in transferring this piece from the page to the stage and teaching the audience that one, indeed, mustn’t judge a book by its cover. Well deserved kudos go out to Anthony Lane Hinkle for a stellar job and I’m looking forward to seeing his future work.
Grayson Owen as John Merrick and Sean Coe as Frederick Treves. Credit: Tessa Sollway.

Grayson Owen as John Merrick and Sean Coe as Frederick Treves. Credit: Tessa Sollway.


Sean Coe takes on the very important role of Dr. Frederick Treves, the brave, young doctor who tried to give Merrick somewhat of a normal life, whatever that means, as well as studied him to figure out his medical disorder. Coe has a strong command of the stage and is very comfortable as he navigates through a plethora of emotions with this character from curious doctor simply wanting to study Merrick to trusted friend making daily visits. Coe seems to truly understand the character of Frederick Treves and plays him with grace and compassion giving a truly superb performance.
Mark Scarf as Carr Comm. Credit: Tessa Sollway.

Mark Scarf as Carr Comm. Credit: Tessa Sollway.


Mark Scharf, who portrays Carr Gomm, head of the London Hospital where Merrick presides, does a wonderful job projecting the sternness and class-consciousness of an upper-class Victorian gentleman. He is quite believable with his hoity-toity attitude and I imagine him looking down his nose at those who he thinks lead less than exemplary lives. He is very comfortable on stage and gives  a very strong performance.
Frank Mancino as Ross. Credit: Tessa Sollway.

Frank Mancino as Ross. Credit: Tessa Sollway.


Ross, the sleezy freak show barker and low-life manager of John Merrick is played brilliantly by Frank Mancino and his characterization is on point. One cannot ignore his booming voice when he first enters onto the stage and he has a great presence that makes the audience take notice. He seems to understand the devious character he is playing and I must admit, I found myself very much disliking him which tells me he has accomplished his task as an actor superbly. He also takes on the part of a completely different type of character named Bishop Walsham How, but even then, he plays the Bishop with a tinge of “holier-than-thou” authenticity that makes the character somewhat unlikable, as well. Mancino’s performance was an admirable one but I did find him hard to understand most of the time, which may have been the cockney and/or british accent getting in the way.
 
Elizabeth Ung is charming as The Duchess as she sweeps in and out of her scenes and just as charming as she is as The Duchess, she is just as vile as the over confident, obnoxious Nurse Sandwich, who thinks she’s seen it all but quickly finds out she hasn’t seen the likes of John Merrick. She also takes a turn as a “pinhead” from a freak show and all of her characters, though secondary, are strong and she has a strong presence on the stage.
Darius Foreman takes on various supporting characters including a London Policeman, Porter, and Lord John and, as an actor, his skills aren’t as strong as his cast mates, but he manages to hold his own against his very strong co-horts. It is very difficult to understand what he is saying throughout the play but, the accents for his characters range from cockney to proper British and it can be quite a challenge for any actor. Regardless, I could see he is giving 100% on stage and has a good presence.
Aladrian Wetzel as Mrs. Kendal and Grayson Owen as John Merrick. Credit: Tessa Sollway.

Aladrian Wetzel as Mrs. Kendal and Grayson Owen as John Merrick. Credit: Tessa Sollway.


A definite highlight in this production is Aladrian Wetzel who takes on the role of Mrs. Kendal, a friend and confidant of John Merrick’s and she is an absolute joy to watch. From the moment Wetzel enters onto the stage she takes full command and is stunning with her period gowns and graceful movements. Her very unique, soothing voice resonates throughout the theatre with every line and she is very comfortable on the stage and in her interactions with her cast mates. She has a complete understanding of her character; an actress who started an acquaintance with John Merrick at the request of Dr. Treves, their mutual friend, to become a true and dear friend. Her transition from acquaintance to friend is seamless and she gives a phenomenal performance. In this challenging piece and strong ensemble, Wetzel shines bright.
Grayson Owen tackles the very challenging, titular role of The Elephant Man himself, John Merrick. If I had to chose one word to describe Owen’s performance it would be… outstanding. His performance was the stuff every actor strives for and he pulled it off flawlessly. Though physically he was an absolutely average man, his skill in physicality caused me to believe he had the ailments suffered by the real John Merrick. One of his most amazing feats was his transformation from average man into the deformed John Merrick. This transition happens, cleverly, as Dr. Treves is explaining his patient’s ailments and seemingly, right before our eyes, Owen manages to mangle his body to become The Elephant man… Superb. His vocal work was superb as his speech was supposed to be almost inaudible but yet, I understood every word he said. This role is a major physical challenge but Owen managed to keep it up throughout the entire play, save one scene, even throughout the scene changes. So exceptional is his performance, there were times I teared up not only because of his acting skills but because I believed John Merrick was speaking out. His command of the stage is second to none and he truly takes the reigns of this production, on stage. It seems as though he’s done his homework because his understanding of John Merrick is clear as he truly becomes the man himself. I am very much looking forward to seeing more from Grayson Owen in the future and he is to be commended for this stellar performance. Someone, give this man an award!
Grayson Owen as John Merrick and Sean Coe as Frederick Treves. Credit: Tessa Sollway.

Grayson Owen as John Merrick and Sean Coe as Frederick Treves. Credit: Tessa Sollway.


Final thought… The Elephant Man is a moving, poignant, strong, and deep piece about not judging a book by its cover and how human nature can get in the way of most things. This production is not to be missed. The performances are authentic and the production teaches us not only about The Elephant Man, Joseph “John” Merrick, but also about ourselves and how we see the world and others. It’s a timeless message of acceptance and tolerance and you will not be disappointed with this interpretation of this piece. Go see this show!
This is what I thought of this production of The Elephant Man.… what do you think?
The Elephant Man will play through October 2, Friday-Saturday at 8pm, Sundays at 2pm, and a special Saturday Matinee on September 24 at 2pm at Fells Point Corner Theatre, 251 S Ann Street, Baltimore, MD 21231. For tickets, call 410-276-7837 or purchase them online.