Tidewater Players Bares All in The Full Monty!

By Jennifer L. Gusso

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The Full Monty will play through May 19 at Tidewater Players at The Cultural Center at the Opera House121 N. Union Street, Havre de Grace, MD. Purchase tickets at the door one hour before show time or purchase them online.

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Review: Dear Diary, Heathers Comes to Tidewater Players

By Jennifer L. Gusso

Running Time: Approx. 2 hours with one intermission

Dear Diary: I know that Heathers is that kind of cult, fringe piece that true Theatre nerds are just supposed to adore. I don’t. I find the characters flat and confusing and unlikeable. I find the script filled with some major plot holes and raunchy humor for the sake of shock. Still, the current production of Heathers by Laurence O’Keefe and Kevin Murphy at Tidewater Players almost changed my mind. Co-directors Laurie Starkey and Austin Barnes (along with Music Director R. Christopher Rose and Choreographer Leslie Perry) seemed to be very mindful of some of the concerns and limitations with the script and really found ways to appeal to a broader audience. Strong performance after strong performance worked to make this show appeal to a broad audience. So, if you are thinking about giving Heathers another chance, this is the production with which to make that happen. Conversely, if you are already a fan of the show, this production is certain to be the “Big Fun” that you are looking for; it has all the hallmark trades of the cult classic mixed with some new, multi-dimensional spins on the characters.

Some of the things that I was left wondering after some past productions of Heathers are: Why should I care about Veronica Sawyer? And why the heck does she care about Jason “J.D.” Dean? Rylynn Woods and Gabriel Webster provide those answers. Woods’ Veronica is multi-layered. Even as she becomes caught up in evil schemes from all directions, her heart and her human longing is vividly on display in this performance. Even when Veronica is making some major mistakes, the vulnerability and transparency that Woods lets hang out for display in front of the audience creates a compelling, raw performance. Her consistent and strong vocals also carry the show. Likewise, Webster makes J. D. more real and more layered than the character is frequently portrayed. There is a light-hearted and fun side to J. D.. There are times when he really seems to want to do more and better. Webster’s nuanced performance helps the audience understand why Veronica keeps standing by his side through other moments in which he is truly a cruel and ferocious monster. Webster convincingly alternates between madman, charmer, and tormented little boy with believability. His dynamic acting performance makes up for his occasional vocal imperfections. In the moment, where he nails before the vocals and acting, it is pure magic. Woods and Webster also have sizzling chemistry and a playful comfortability. This is evident in both “Dead Girl Walking” and “Our Love is God.”

Other characters who are often, in other productions, one-dimensional and provide little reason to like are the Heathers: Chandler (Holly Blondheim), McNamara (Mary Cate Carder), and Duke (Elise Starkey). Blondheim masters Queen of Ice, as she mocks and tortures everyone around her, and yet there are subtle moments that make the audience see that “The Me Inside of Me” may not just be a construct in Veronica’s head. She takes this caricatured villain and makes her a real, not-so-live, girl. Likewise, Starkey’s Heather Duke appears all evil, ruling with even greater cruelty when she gets the chance, but there is this moment at the end where she lets down her guard and joins the rest of ensemble. It is such a small moment played so authentically that it speaks volumes. Another one of the best moments in the show – when everything comes together (masterful acting, beautiful and haunting vocals, powerful staging and lighting) – is Heather McNamara’s “Lifeboat.” Carder seizes this opportunity and absolutely shines. Her performance is spectacular throughout the show with well-timed comedic one-liners paired with emotional depth. As good as they are all separately, the Heathers are also dynamic together. Tight harmonies and crisp synchronicity of choreography makes for a memorable “Candy Store.”

Another standout is Emily Caplan in the role of Martha Dunnstock. Once again, the directorial vision of this show is clear in her portrayal. This is the kind of script in which it can be so easy to leave the characters as one-dimensional caricatures. However, Starkey and Barnes clearly made sure to tease out the emotional depth of each character and to cast actors that were able to handle that level of complexity. Caplan is no exception. Her Martha is not just weak, not just a victim. There is strength and hope even in her darkest moments. Her rendition of “Kindergarten Boyfriend” is light on the surface and brimming with pain just underneath. Caplan gives a perfectly restrained performance. Rather then over-singing or over-acting, she lets the vocals and the heart flow effortlessly.

All that being said, sometimes a little – or a lot – over the top is necessary. There is honestly nothing in the script that provides Nick Castillo (Kurt) and Henry Jester (Ram) with emotional levels for their characters. These characters are pure id, pure unlikeable, and pure comic relief. Castillo and Jester definitely deliver on all fronts. Their timing, chemistry, and comic delivery is up there with any of the great comedic duos. They also show off great physical comedy skills especially in their slow-motion fight scene and their final moments on stage. Equally delightful are the pairs’ fathers: Brian Ruff (Ram’s Dad) and Phil Hansel (Kurt’s Dad). “My Dead Gay Son” is a big, fabulous, hysterical number, and Ruff takes his moment voraciously. He has a natural presence and charm on stage that lights up this number.

Overall, the ensemble was solid. They were especially strong as a vocal ensemble with the harmonies often being noticeable and accurate when they joined as group. At times, the choreography was a little muddied, but overall enthusiasm and energy made up for any missed steps. Two standouts in the ensemble were Elias Courtney (Hipster/Officer McCord) and Lamar Leonard (Preppy/Officer Milner). Their bit as the officers was extremely well-delivered and memorable. Courtney also made an impression with several perfect one-liners throughout the show, and Leonard was especially memorable in his standout 80’s dance moves.

The final star of the show was the lighting design by Thomas Gardner. Different colors were used with great intentionality to highlight emotions and mood in different scenes. This was just another layer of the strong design and vision in this production. Tidewater Players’ Heathers is a well-constructed performance with lots of strong and realistic character portrayals. Whether you love the show or weren’t a fan before today, take a step back to being “Seventeen” and check out this production.

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

Heathers the Musical will play through March 3 at Tidewater Players at The Cultural Center at the Opera House121 N. Union Street, Havre de Grace, MD. Purchase tickets at the door one hour before show time or purchase them online.

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Review: Newsies at Street Lamp Productions

By Jennifer Gusso

DISCLAIMERPlease note, one or more persons directly involved in this production are immediate family or relatives of the Backstage Baltimore reviewer. The reviewer has vowed and striven to write an honest, fair, and  thoughtful review, regardless of his or her connection with any member(s) of the cast of this production.

Running Time: 2 hours and 30 minutes with one intermission

With the recent release of production rights, we are definitely in the midst of a great Newsies explosion. With one generation of those who grew up in love with the original Disney movie and a new younger generation that has fallen in love with the Broadway production (available in full on Netflix), many have waited breathlessly for the opportunity to perform in or see this show on the local stage. The story of a crew of lovable and determined young people standing up from the powerlessness of poverty to take a stand for what is right and fair against a conniving businessman is a tale that is both timeless and timely. For these same reasons, any local production has big shoes in comparison to the film, the Broadway production readily available for screening, and the growing number of current productions. Street Lamp Productions presentation of Newsies (Book by Harvey Fierstein, Music by Alan Menken, and Lyrics by Jack Feldman), Directed and Choreographed by Bambi Johnson, with Music Direction by Nikki Tart, doesn’t necessarily get everything right and definitely battles some challenges in their current production, but they do most certainly get the things that matter most just right and land with a production that will certainly entertain audiences of all ages and all levels of familiarity with the script.

The ensemble of Newsies at Street Lamp Productions. Credit: Street Lamp Productions Facebook Page

The story surrounds the actual historic Newsboys’ strike under the leadership of the fictionalized Jack Kelly (Art Bookout). Bookout easily channels the youthful energy and excitement of Jack. His vocals are inconsistent at times, but his tone is absolutely lovely when he lands squarely on the mark. Bookout also has a tendency to go small and intense with his darker emotions. While this is likely to work exceptionally well in a smaller space, those moments were sometimes swallowed up in the large stage that was being utilized at Rising Sun High School. One simple fix, which may have helped some of these moments—including “Santa Fe” and “Something to Believe In”—would have been to move the scaffolding and the action downstage.

Erin McArthur, as Katherine, would also have benefited from having her big number “Watch What Happens” moved to the forefront. McArthur’s strength lies in her acting and the little moments of natural reactions that she has throughout the song. Bringing her closer to the audience would have really helped to capitalize on the little nuances in her performance. There were some definite issues with the sound system that also could have been helped by bringing the solos and small scenes closer to the audience. Between the size of the stage and the sound issues, you couldn’t even really hear Jack during “I Never Planned on You,” as all focus was pulled by the Bowery Beauties who were further downstage.

Luckily, most the scenes in Newsies are not small scenes, and, as soon as the rest of the cast joined Bookout and McArthur on stage everything came to life. Bookout quickly became a confident and competent leader when surrounded by the rest of the newsboys. The most important part of any production of Newsies has to be those big production numbers. Not surprisingly, the direction and choreography employed by Bambi Johnson in those moments is top-notch. The energetic and synchronized skill of the entire cast is true magic. The newspaper dance sequence in “Seize the Day” was truly legendary, as, even while working with a difficult prop, no one seemed to miss a beat. Likewise, “King of New York” was a stunning display of tap technique. The dance didn’t stop with the large dance numbers, as Johnson cleverly used dance as a mode to change sets and fill the brief moments in between scenes as well. The action kept going and keeping everything alive.

The ensemble of Newsies at Street Lamp Productions. Credit: Street Lamp Productions Facebook Page

Helping make that possible was a truly strong ensemble that operated together like a well-oiled machine. That ensemble also had no shortage of standout performances from some of the featured Newsies. Matthew Peterson was a warm and likable Race. Sammi Flickinger (Specs) showed off impressive ballet and tap technique at the forefront of every number. Ryan Conner (Henry) was always alive with his reactions and bright smile. Stephanie Peterson (JoJo) brought this loveable, innocent energy to her character and dazzled with her athleticism as a dancer. Connor Reagan (Buttons) and Delany Flickinger (Mush) entertained with well-delivered one-liners. Any time that you glanced at Meg Smith (Newsie), she was in the moment and living the character. There was never a time that any one of the ensemble members seemed distracted or unprepared. Each one was focused in the moment, and you could feel the energy and chemistry that all of them brought as a team.  The whole concept in Newsies is the whole is more important that the individual and we are at our best when we work together, and this production nailed that.

Another example of taking a small featured part and really making it shine was Patricia Egner as Hannah. She really created an authentic character and brought great humor and energy to her scenes.

Still, two performances managed to really stand out among the others bringing something more to the entire production. The first was Austin Barnes as Davey. In addition to his beautiful tenor vocals, Barnes provided the audience with a master class in acting performance. A difficult skill is to show how a character goes through a radical transform. In some hands, the transformation is too subtle. In others, it is too sudden or too vast. The core of Barnes’ Davey never changes. He is clearly playing the same character from the beginning to the end, and yet Davey at the end is a grown, changed man from Davey at the beginning. From subtle things that he does with his body language and his vocal patterns to larger choices that he makes in line delivery and overt reactions, Barnes shows Davey’s slow and gradual progression into someone more confident and more compassionate. His performance was truly technique at its finest.

The ensemble of Newsies at Street Lamp Productions. Credit: Street Lamp Productions Facebook Page

The heart and soul of this production, fittingly as he is the real heart and soul behind Jack, was Josh Willig’s flawless portrayal of Crutchie. To start with, Willig showed unbelievable body control in the way that he carried his leg so still and at such an odd angle that is truly looked crippled. It was impossible to catch him letting down his guard about the leg. While you would think that would require all of his focus, he was in no way distracted from a performance that seemed completely genuine. He embodied the utter sweetness of Crutchie and truly gripped hearts with his vocally gorgeous rendition of “Letter from the Refuge.” Willig was honestly just delightful to watch.

Several of the weaknesses in this production were beyond control (being in a rented space), like the before mentioned sound system and the lack of real theatrical lights. However, the one misstep may have been in the character choices for the “adult” characters in the production, specifically Joseph Pulitzer (Ted Cregger) and Medda Larkin (Jennifer McDonald). Both Cregger and McDonald have big personalities and big voices, but the choice was made to play these characters in the vein of over-the-top humor that didn’t quite resonate with the more subtle and realistic character choices made by the rest of the cast. It may have been intentional to further set the adults apart from our heroes, but it didn’t quite land.

Minor flaws aside, this production is worth seeing and will definitely stand out even in a sea of Newsies productions. The choreography alone is enough to enthrall, and, once you add the chemistry and comradery of the cast that brings it to life, audience members won’t be able to help but to smile and to cheer. Layer on top of the that the heart and the spirit of the story of the underdog being heard shared with sincerity and passion, and you are likely to leave ready to come back and see it again.

This is what I thought of Street Lamp Productions production of Newsies… what did you think? Please feel free to leave a comment!

Newsies will play through December 9 at Street Lamp Productions at the Rising Sun High School theatre, 100 Tiger Dr, North East, MD 21901. For tickets, call 410-658-5088, email streetlamparts@gmail.com, or purchase the online.

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Review: Oklahoma! at Artistic Synergy of Baltimore

By Jason Crawford Samios-Uy

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

If you dream of a place where the wind comes sweepin’ down the plain and the wavin’ wheat can sure smell sweet when the wind comes right behind the rain, well… you can traverse to the great state of Oklahoma, or you needn’t go any further than Artistic Synergy of Baltimore to experience their latest offering, Oklahoma! by Richard Rodgers and Oscar Hammerstein II, Directed by H. Ray Lawson, with Music Direction by Jeff Baker and Choreography by Suzanne Zacker. This well-known classic is reincarnated to give us a glimpse into a simpler time and happier endings.

The Cast of Oklahoma! Credit: Jason Crawford Samios-Uy

Briefly, Oklahoma! takes place in a territory (not yet a state) not long after the turn of the century when there was a spirited rivalry between cowboys and farmers. Curly, a cowboy, and Laurey, a farm girl are quite in love and the story mainly revolves around these two characters. Laurey is pursued by the sullen, dark farm hand, Jud Fry and threatens her budding romance with Curly. Throw in a spunky Aunt Eller, a whippersnapper of a cowboy, Will Parker, and a curious and spirited young woman, Ado Annie, who likes when men talk “purdy” to her, and you have the makings of a good, old-fashioned, feet stamping musical.

Music Direction by Jeff Baker is superb as this strong ensemble sings through this soaring Rodgers and Hammerstein score with ease. The use of canned music takes away from the energy of the piece, but that’s not to say it’s not energized and upbeat as the cast gives a good showing of this familiar music.

Austin Barnes and Suzy Zacker. Credit: Jason Crawford Samios-Uy

Choreographer Suzanne Zacker seems to know her cast well and has created interesting and engaging choreography that is performed well by the ensemble. It’s worth mentioning that Zacker is a highlight in this piece, taking on the role of Dream Laurey, during the “Dream Ballet” number. Her grace and elegant movement during this number is impeccable and is certainly a praiseworthy performance that keeps you enthralled and entertained.

Ray Lawson takes the reigns of this production and he should be applauded for his Direction, presenting this piece with a balance of the familiar and freshness. It’s always challenging to produce a tried and true story but Lawson wisely sticks with the traditional staging and seems to have a good comprehension of this material. The pacing is on point and the two and a half hour run time is no more or no less than what is needed to present this piece and still be entertaining for the audience. The ending of the show is a little lackluster, ending on a whimper rather than a bang, but I’m chalking that up to using recorded music, and I’m sure the cast will improve this ending with each performance. Overall, his vision is clear and it is a well thought-out, well-rehearsed production.

Austin Barnes as Curly and Josh Schoff as Jud Fry. Credit: Jason Crawford Samios-Uy

Moving on to the performance aspect of this production, Josh Schoff  takes on the complex and meaty role Jud Fry but, unfortunately, is a little weak in presentation. He certainly does not bomb in this role and he seems to have a good grasp of the character but also seems to be just going through the motions. His eyes dart all over the place and he rarely makes eye contact with his cast mates which loses that connection he must have to make his character work. This may seem like a knit-picky flaw but eye contact and that connection is essential for this role. Vocally, he’s a little shaky but emotes adequate emotion needed in songs such as “Poor Jud is Daid” and “Lonely Room” which redeems his performance a bit. With that being said, he looks near perfect for the role and is comfortable onstage and with a little more effort, could take this character to the hilt.

Donna Zubrowski as Aunt Eller. Credit: Jason Crawford Samios-Uy

Tackling the role of the feisty and spunky Aunt Eller is Donna Zubrowski and she is perfectly cast in this role. Zubrowski brings a certain authenticity to the part and her choices are befitting of such an endearing character. She has a great chemistry with the ensemble and is comfortable in the role making for a delightful performance. To go along with the more comedic characters, Lou Otero gives a humorous take on the role of Ali Hackim, the traveling salesman who finds himself in the wrong place at the wrong time and in the site hairs of a couple of young women of the territory. Otero has a good comprehension of his character, even if his accent is a little wonky, and he has good comedic timing.

Joe Weinhoffer as Will Parker and Kristin Miller as Ado Annie. Credit: Jason Crawford Samios-Uy

The young, optimistic couple Ado Annie and Will Paker are portrayed by Kristin Miller and Joe Weinhoffer, respectively, and both play these roles splendidly with an absolute believable performance and great chemistry. Miller embodies the giddy, immature, but yearning Ado Annie and, gives a terrific vocal performances as in her featured (and well-known) number “I Cain’t Say No.” Weinhoffer is brilliant as the lovelorn Will Parker and effectively and poignantly portrays the love his character has for Ado Annie. Vocally, he gives a commendable performance, especially in his featured number “Kansas City” where he also gets to show off his movement skills along with the rest of the male ensemble.

Mea Holloway as Laurey and Austin Barnes as Curly. Credit: Jason Crawford Samios-Uy

Leading this ensemble are Austin Barnes, as the loveable and upstanding Curly, and Mea Holloway, as Laurey, the simple, independent farm girl. These two actors definitely know their characters and have a firm grasp on the material making for a strong leading duo. Barnes has a booming, smooth voice and is a powerhouse, making the audience take notice from the get with his rendition of “Oh, What a Beautiful Mornin’.” He fully embodies this character and gives a  jovial flair to Curly, as it should be. He has as great presence on stage, giving a strong performance. Holloway is suited nicely for her role but seems a bit subdued and stiff at times It seems she lights up when she has lines and interaction but falls flat in between those instances and the character is not consistent in that aspect, drawing away from her obvious skill and talent. Her voice is absolutely appropriate and beautiful for this score and she gives a stellar vocal performance, shining in her featured numbers such as “Many a New Day,” “People Will Say We’re in Love,” and “Out of My Dreams.” Overall, the two work well with each other and, though a little forced at times, the chemistry is there and makes for a good showing.

Final thought…Oklahoma! at Artistic Synergy of Baltimore is a well put-together production that does this classic, familiar piece justice. The pacing is good (for a show that could easily seem to go on forever), and the ensemble is strong, overall, and seem to enjoy working with each and off of each other. The traditional staging still holds its own in our modern age and the tunes are still delightful and will have you tapping your toes or drawn in to their poignancy. They just don’t write ‘em like this anymore! It’s definitely a fluffy, feel-good piece of theatre that works well for community theatres like Artistic Synergy of Baltimore and it’s a wise choice to produce the classics to remember where our modern shows came from and to introduce them to a new, younger audience. This production of Oklahoma! is definitely one you want to check out.

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

Oklahoma! will play through March 18 at Artistic Synergy of Baltimore, Prince of Peace Lutheran Church, 8212 Philadelphia Road, Baltimore, MD. For tickets, purchase them at the door or online.

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