Phoenix Festival Theatre Makes the Cut with A Chorus Line

By Jennifer L. Gusso

Running Time: 2 hours

A little before show time at Phoenix Festival Theatre, the cast of A Chorus Line (Music by Marvin Hamlisch, Lyrics by Edward Kelban, and Book by James Kirkwood, Jr.) slowly starts to enter the room. They set down their bags and waters. They stretch and practice combinations and otherwise get ready for the audition to resume. There is a subtle and gradual segue into the performance. The show just starts to happen around you. It is this acute level of verisimilitude that works so beautifully throughout the entire production. It definitely justifies running so long without intermission, which would have broken the mood.

Director and Choreographer Becky Titelman makes smart choices in the concept and the direction to focus on keeping things real and raw throughout. She finds ways to infuse an air of sophistication while focusing on keeping the choreography simple enough that it makes dancers of various levels all look good. The staging is simplistic, as is apropos to the show, and it allows the actors’ movements to look genuine and not forced. Similarly, the Lighting Design by Bill Price maintains the same careful design that ends up almost invisible, as the focus is on the characters and the moments that they are living.

The Cast of A Chorus Line. Photo: Matthew Peterson

Like any production, there are a few times that a note is missed or out-of-range or a performer is momentarily out-of-step, but it doesn’t even matter because these characters are so solid and strong that the audience is rooting for them in every moment – sometimes even more in the occasional moments of imperfection. This cast always gets what matters right – truly living out these moments in a way that draws the audience in. Never once do any of the performers appear to be “acting.” If you didn’t know any better, it would be easy to believe they were just spontaneously sharing their own experiences.

Additionally, the cast is incredibly well-balanced. They know when to take their own moments and when to support each other. It is almost impossible to pull out individual performances, as they truly meld and connect as an ensemble. Every actor has a moment that belongs to them, and none of them let that moment go to waste. Even the little details and moments are reflective of the focus on character, such as the way that arms are held and the selection of facial expressions.

The Cast of A Chorus Line. Photo: Matthew Peterson

Stephen Deininger (Zach) is the powerful presence presiding over everything and shows careful nuance in just how much he does and doesn’t reveal what he is feeling in dramatic moments. Leslie Perry (Lori) is a captivating dancer. Liz Marion (Cassie) oozes with raw emotion in “The Music and the Mirror” but then shows great control in becoming one with the line. Emily Machovec (Sheila) has stellar deadpan delivery and embodies the physicality of her character – right down to the way she walks. Angie Sokolov (Val) brims with crazy personality and excellent comedic timing. Ally Morris (Diana) tells every story with her eyes in a way that draws in the audience to hang on her every word. Samantha Jednorski (Judy) is truly delightful with her bursts of spunk and spontaneity. Stephanie (Kristine) and Matt Peterson (Al) are just adorable and their real-life chemistry sparkles in their duet. Sophia Williams (Maggie) has an angelic innocence and the voice to match. Eric Bray (Richie) sizzles with electric energy and stellar vocals. Aaron Knight (Mark) shows strong storytelling chops in his hysterical monologue. Not only does Tyler White (Paul) have the advantage of getting some of the best material in the show, he takes that advantage and runs with it. His monologue was heartbreaking and raw and relevant.

The Cast of A Chorus Line. Photo: LIVE at Harford Community College Facebook

A Chorus Line is a thoroughly enjoyable evening at the theater, and you should definitely go and check it out this coming weekend (if you can find any tickets left!).

This is what I thought of Phoenix Theatre Festival’s production of A Chorus Line… What did you think? Please feel free to leave a comment!

A Chorus Line will play through March 15 at Phoenix Theatre Festival at Harford Community College, 401 Thomas Run Road, Bel Air, MD. Purchase tickets by calling 443-412-2211 or purchase them online.

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Scottfield Theatre Company Gets in the Spirit (or Three) of Christmas with Scrooge! The Musical

By Jason Crawford Samios-Uy

Approx. Running Time: 2 hours with one intermission

Well, it’s about that time of year again, and holiday shows are abound. Some new, some old, some fresh looks at old stories, and so on and so forth. I’m sure at one time or another, we’ve all heard the story of Ebenezer Scrooge and the three ghosts of Christmas (past, present, and future), and the story finds its way into our lives, even if we don’t know it by heart. This season, Scottfield Theatre Company has decided to join the fray and present Scrooge! The Musical, by Leslie Bricusse, based on and taken directly from the 1970 film Scrooge. This production is Directed by William Price, with Music Direction by Dominic LaFrancesca, and Choreography by Becky Titleman. It’s a delightful telling of the classic A Christmas Carol by Charles Dickens that should hit the spot during the holiday season.

Scrooge! The Musical. Photo: @machpe

I’ve got to admit, Bricusse’s adaptation isn’t really my cup of tea. For being such a classic story, the book just drones along and the music is, in a word, uninspiring with sing-songy nursery rhyme melodies and lyrics that are a bit too on the nose, limiting the songs. Little jokes peppered in fall flat and the attempts of humor and updating the dialogue a bit end up just being annoying. However, this is by no means a reflection on the ensemble. This ensemble gives an admirable performance and they are dedicated to the material, however droll it is. Kudos to the entire ensemble for pushing through and giving a wonderful performance.

Set Design by Director William Price is simple, but exquisite. The backdrops and unit set pieces are well designed and executed and puts the audience smack dab in the middle of Victorian London and Price is to be commended for his design as well as kudos to Jimmy O’Burrill for his Set Painting and Construction. It’s authentic design with attention to detail that is quite impressive.

Another challenge for period pieces is wardrobe but Gay Lynn Price has tackled and overcome that challenge with her impeccable Costume Design. Price has managed to wardrobe every character, featured or ensemble, with period fitting clothes that adds great value to the production, overall.

Music Direction by Dominic LaFrancesca is impressive and he’s worked quite well with this ensemble. The music, as stated, is nothing spectacular, but LaFrancesa has this ensemble on point with near perfect harmonies soaring throughout the theater. Each featured number is well-rehearsed and even with recorded music, the performances are on spot on. Kudos to LaFrancesca for his efforts in this production.

The Cratchets. Photo: @machpe

Becky Titleman tackles Choreography for this piece and there are a lot of upbeat, fun numbers that require choreography, but unfortunately the dancing, overall, seems a bit lackluster. The ensemble seems to be having a blast with the dancing and they are superb in their performance, but from the audience, it just fell a little flat. There is a lot of unison moving without a lot of variety but, again, the ensemble’s performance keeps it entertaining and Titleman seems to know her cast and creates choreography that helps them shine.

William Price, who takes the helm of this production, seems to have a clear vision and a tight grasp on the material, and though the production as a whole is entertaining, it is stagnant at times with bouts of what I call “stand and bark” with not a lot going on, especially during the music numbers where there are opportunities for choreography. There are points when there the stage is a little too full, but at least the actors have something to do, however, sometimes, less is more. Transitions are smooth and simple, keeping the pacing up nicely. Price’s understanding of the material is clear and his staging, if at times a bit tedious, is charming and makes for a good showing.

The Ghosts of Christmas Past, Present, and Future. Photo: @machpe

The entire ensemble is into this production and it definitely shows that that are enjoying themselves, which is really what it’s all about. To mention a few Ariel Edler as The Ghost of Christmas Past makes a fantastic showing with good character work and a beautiful voice that resonates through the theater, especially on her featured number, “Love While You Can.” In the same vein, Elizabeth Marion shines as The Ghost of Christmas Present with a great command of the stage and good comprehension of her role. She has a natural delivery of the dialogue and embodies this role and her featured vocal parts in “Finale Act I” keep the audience interested and engaged. Finally, Josh Hannas, portraying The Ghost of Christmas Future, didn’t have much to do but appear and point, he still gives off a sinister air and the costume is on point (high-five, Gay Lynn Price)! A few honorable mentions include Phil Hansel who plays a ghostly Jacob Marley with a strong vocal performance of his featured number, “Make the Most of This World.” Also, Charlie Johnson as Nephew and Young Scrooge gives a good showing, but can be a little scripted at times, but overall gives a strong performance. We mustn’t forget the Cratchets, played beautifully by Hayden Floros and Lisa Rigsby, who have great chemistry and work quite well together.

A highlight in this production is a young Erin Acerno, who takes on the role of Kathy, Bob Cratchet’s daughter and seemingly closest sibling to Tiny Tim. This young lady hits the ground running with this role and knows her way around the stage. She takes this character and makes it her own and, vocally, she’s a powerhouse. Her clear, strong vocals rings throughout the theater and her featured vocal parts makes one stand up and take notice. I’m looking forward to seeing what this young lady is going to accomplish, theatrically.

The standout in this production of Scrooge! The Musical is James Fitzpatrick, who takes on the titular role of Ebenezer Scrooge. Fitzpatrick was born for this role. He completely embodies this character and it’s a good fit for him. It’s clear to see he’s giving 100% and then some for his performance and it pays off. He’s a joy to watch as the crotchety old miser and his transition to the kindly, enlightened man at the end of the story is clean and believable. His comedic timing is spot on and his grasp of this character makes for a brilliant performance. Vocally, Fitzpatrick shines, especially in his featured numbers such as the humorous, “I Hate People,” and poignant “I’ll Begin Again.” Fitzpatrick is certainly the one to watch in this production.

Final thought… Though this particular adaptation was not my cup of tea, it’s still a good presentation of the timeless Dicken’s story. It stays in the time period and the story itself is a classic but the book, music, and lyrics just fall flat in this telling, and the recorded music takes away from the energy of live theatre that may have helped give this adaptation a boost. That’s not to say that the performances aren’t spectacular, because they certainly are. Every ensemble member gives 100% effort and the production, overall, is polished and very entertaining, but there’s only so much you can do with lackluster material. However, ‘tis the season for this lasting tale and Scottfield gave their all making for a delightful evening of theatre.

This is what I thought of Scottfield Theatre Company’s Scrooge the Musical… What did you think? Please feel free to leave a comment!

Scrooge the Musical played through November 10 at Scottfield Theatre Company at The Cultural Center at The Opera House, 121 N. Union Avenue, Havre de Grace, MD.

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