Fells Point Corner Theatre Connects with Love & Information

By Jason Crawford Samios-Uy

Approx. Running Time: 2 hours with one intermission

Love is an emotion and information is tangible but both have so much to do with each other. People are weird and things are important and that’s just how it is in this world we live in. Both love and information are acquired and expressed differently by everyone and Fells Point Corner Theatre attempts to address this in their latest offering, Love & Information by Caryl Churchill, Directed by Deidre McAllister and what we get is an abstract, frenetic presentation of those different processes.

Deirdre McAllister takes the helm of this production and the staging is on point dealing with at least 40 small vignettes, ranging from 30 seconds to a few minutes, but McAllister is on top of it. The theme of human dealings and interaction with electronics and technology is clear and, though it all seems jumbled, McAllister seems to have a grasp on the material and presents it in a solid presentation. Helping McAllister’s vision is a simple, minimal but effective Set Design by Michael Vincent of just solid light color walls and a few set pieces such as a table and some chairs. Though sparse, the design works well with the piece and the very different stories each vignette tells and Vincent is to be commended for his keep-it-simple design.

Lighting and Sound Design by David Crandall is spot on making for smooth transitions and engaging visuals. His use of local music from Horse Lords, adds to the charm of this piece and fits perfectly with the production as a whole. Adding to the rich technical aspect of this production is Projection Design by Chris Uehlinger, who has yet to disappoint, and his design works in tandem with Crandall’s design adding interesting levels and textures.

The cast of Love & Information. Photo: Shealyn Jae Photography

For the performance aspect of this production, I’d be amiss if I didn’t say this ensemble of nine performers is stellar and giving 100% effort. I may not like the material, but these well apt actors keep the piece engaging and entertaining.

To name a few, Willard Brewington III is splendid as “The Child Who Didn’t Feel Pain” and Caitlin Weaver impresses in the same short as well as “Memory House.” Nina Kearin shines as a cynical bystander discussing God with Jess Rivera, who plays a convincing messenger wanting to “spread the word of God.” Isaiah Mason Harvey is superb in his shorts and works well with the material and with his fellow cast mates making him one to watch. Along with the aforementioned, Carolyn Koch, Autumn Koehnlein, Megan Livingston, and Michael Makar round out this phenomenal cast and all give fantastic showings.

Final thought… Love & Information is a frenetic, intense piece that requires your utmost attention because if you blink, you might miss something and, though it’s not my cup of tea, the production itself is well put-together. Being so fast-paced, it seems a bit jumbled, at times, and the saving grace is that it is broken up into vignettes; some a few minutes, some no more than 30 seconds, and you get a lot of information (and love) thrown at you in 90 minutes. Overall, the performers are top notch and the staging is superb. Though I don’t like the material, I was certainly entertained and the performance is well worth checking out.

This is what I thought of this production of Love & Information at Fells Point Corner Theatre.… what do you think?

Love & Information will play through February 2 at Fells Point Corner Theatre, 251 S Ann Street, Baltimore, MD 21231. For tickets, call 410-276-7837 or purchase them online.

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Lizzie Borden Took an Axe in Lizzie: The Musical at Guerrilla Theatre Front

By Jason Crawford Samios-Uy

Approx. Running Time: 2 hours with one intermission

Picture it: Fall River, MA, August of 1892. Most say, “Lizzie Borden took an axe, gave her mother 40 whacks, when she saw what she had done, she gave her father 41.” We’ve all heard it at one point in our lives and when we got older, we may have delved more into the story. Along with writing reviews for theatre, and participating in theatre in most of my free time, I am an admitted and proud true-crime junkie, and the story of Lizzie Borden up there with the handful of stories and events I (and many others) cannot get enough of. My head exploded a little (in a good way) when I heard the Lizzie Borden story had been turned into a musical, and not just a regular musical, but a rock opera with a modern twist and I was even more ecstatic when I was invited to a performance from Guerrilla Theatre Front earlier this month. Directed by Greg Bell, with Music Direction by Megann Baldwin, Lizzie: The Musical, is an instant hit and one show you need to put on your calendar.

The Cast of Lizzie: The Musical. Credit: Shealyn Jae Photography

Set Design by Aaron Elson is nothing short of perfection. His design incorporates the space at Creative Labs (which one might call a warehouse basement, if that’s a thing), and it blends in so naturally with its surroundings. The raw material look of the entire set sets the mood the moment the audience walks in and the grunge works wonderfully with the production as a whole. Kudos to Elson for his creative design.

Amy Bell, Marie Bankerd, and Maggie Flannigan’s Costume Design is on point in bringing this 100+ year old story to life as well as dragging it into the 21st century. It’s a kind of “Modern Victorian,” if you will with corsets and lacy gloves, high-top boots, and floor-length dresses, all in dark and dank colors that set the mood of this grizzly but infatuating tale. The wardrobe choices for this production are suited nicely to the cast and they seem comfortable and confident in every garment making this a truly successful design from Bell, Bankerd, and Flannigan.

Lighting Design by Jim Shomo and Sound Design by Charles Hirsch work in tandem to create the feel for the entire production… ROCK. The intense light show puts you in a legit rock concert and the audience is encouraged to dance around, cheer, and whatever else mood takes them! Shomo seems to have a good grasp on this material and has created a design that fits in perfectly with strobe effects, flashes of light, blackouts when necessary and it’s easy to see he’s no stranger to this Lighting Design game. Hirsch had some challenges to deal with, including a non-traditional space, but he seems to have overcome the challenge and given us a good design, overall. Both Shomo and Hirsch are to be commended and applauded for their efforts on this production.

The Cast of Lizzie: The Musical. Credit: Shealyn Jae Photography

Blending in perfectly with the lights and sound, but also making a splash are the Projections by Christopher Uehlinger. His choices were impeccable and fit in with ever scene. The split screen and background projections kept the action moving onstage, but didn’t hinder it or get in the way. More and more projections are being used in theatrical productions and Uehlinger seems to be ahead of the game and I’m looking forward to seeing more of his work in other productions in the area and beyond.

Music Direction by Megann Baldwin is top notch with a top notch pit orchestra to boot! Her comprehension of this score translates beautifully to her cast and the melodies and harmonies soar throughout the theatre. The heavy rock style is not lost on Baldwin, either, as she navigates through this non-traditional musical with ease like a light in the darkness.

JacQuan Knox as Alice. Credit: Shealyn Jae Photography

Greg Bell takes the helm of this production and his Direction of this piece exemplifies his grasp not only on this story, but the style of the piece, and his work is spot on. His staging is simple, but effective and his casting is just about perfect. His vision is presented clearly and the mix of rock concert and traditional theatre mesh effortlessly making for a fresh, engaging production that will have you interested from beginning to end. Bell is to be commended for his impeccable work on this production.

Moving into the performance aspect of this production, this quartet is nothing to mess with, Each and every lady in this cast has come ready to smash it with their A-game and that just adds to the beauty of this production. Not only do they smash it musically, they each seem to have a tight grasp on their respective character and play them to the hilt.

Caitlin Weaver as Emma. Credit: Shealyn Jae Photography

JacQuan Knox as Alice, the reserved friend and secret lover of Lizzie, is a joy to watch and with her honeyed vocals that seemed to be reserved until she let it all out with bursts of intensity that drove the song and sentiment home. This character, Alice, seems to be the one who has the steadiest grasp on real life and Knox portrays that authentically and confidently.

Caitlin Weaver, as Emma, the elder Borden sister, is a highlight in this piece as she navigates her way through this crazy story and she does it with a great confidence and presence that does not falter throughout. Every time she stepped onto the stage, she had a mission and accomplished it through her passionate portrayal of this character. Vocally, Weaver knocks it out of the park, especially in featured numbers such as “Sweet Little Sister.”

Parker Bailey Steven as Lizzie. Credit: Shealyn Jae Photography

In the titiular role of Lizzie, Parker Bailey Steven is a powerhouse and left me wanting more. She effortlessly transitions from the shy, awkward young lady of domineering parental figures to a strong, confident woman with just a look, a gesture, and voice inflection. Her take on the infamous, complex Lizzie Borden is not a performance to be missed and she pulls it off with ease. With a hint of Stevie Nicks mixed with Janis Joplin, and Ann Wilson, Parker Bailey Steven effortlessly rocks the stage and makes this part her own.

The standout, however, in this production is Siobhan Beckett as Bridget “Maggie” Sullivan, the sulky, scheming maid of the Borden household and sometimes narrator. I can’t say enough of about how much life Beckett gave me in her portrayal of this character. The character was spot on and she seems to embody this sly character with natural delivery of dialogue and movement and gesturing that has purpose. Vocally this woman can wail and makes the audience stand up and take notice. Her pure, distinct voice resonates throughout the space and gave me chills at points (which is not small feat). She takes this part, chews it up, spits it out, and gives a strong, heartfelt performance that sticks with you long after the show is over.

Siohhan Beckett as Bridget Sullivan. Credit: Shealyn Jae Photography

Final thought…  Lizzie: The Musical is a high-energy, modern, engaging success that looks at one of the most enthralling true-crime events in this country’s history. Pulled right into the 21st century with rocking, in-your-face music, this isn’t your run of the mill musical theatre experience but it is an experience you do not want to miss, especially if you like your music loud and hard. With wailing actresses reminiscent of the Wilson sisters (Heart), Grace Slick, and Stevie Nicks, who will melt your face with their amazing vocals, staging that keeps you in the story, and a score that tells the story well with a modern twist, this is the show to see. Do yourself a favor and get out to see this show. You won’t regret it in the least and will leave thoroughly satisfied.

This is what I thought of Guerrilla Theatre Front’s Lizzie: The Musical… What did you think? Please feel free to leave a comment!

Lizzie: The Musical will play through October 25 (8pm & 11pm) and Oct 26 (8pm & 11pm) at Guerrilla Theatre Front, at Creative Labs, 1786 B Union Ave, Baltimore, MD 21211. For tickets, purchase them at the door or online.

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