Review: The Secret Garden at Memorial Players

Posted on May 8, 2017 by Jason

By Jason Crawford Samios-Uy

Running Time: 2 hours and 30 minutes with one 15-minute intermission
Some may be privy to, but many may not know about this little gem of a theatre company in the middle of Botlon Hill called Memorial Players and it’s a company that everyone should know about. Admission is free and you get a hell of show with a packed house and community support out the wazoo! It’s heartwarming to see and enjoyable to experience and you should make time to get down and check these folks and see what community theatre is all about.
Their latest offering, The Secret Garden, with Book & Lyrics by Marsha Norman, Music by Lucy Simon, and based on the novel by Frances Hodgson Burnett, Directed by Bill Kamberger, with Music Direction by Gregory Salorie-Robinson and Tim Viets is a production worthy of the packed house it assembles just about every night.

Charlie Roberts, Gabe Viets, Ruby Webb, and Lauren Lowell. Credit: David Hornbeck

The Secret Garden, in a nutshell, tells the story of Mary Lennox, a young girl orphaned by a cholera outbreak in India when she is ten years old and she is sent to Yorkshire (The Moors) in England to live with her unhappy Uncle Archibald Craven and his curmudgeon brother, Dr. Neville Craven, as well as her seemingly sickly cousin, Collin. All the while, her late Aunt Lily Craven is never far away and watches over the household in spirit. Though they start off with a rocky relationship, Mary and Collin grow quite fond of each other and Mary discovers her aunt’s beloved but neglected “secret garden” which she, with the help of a gardener, Dickon, a chambermaid, Martha, and Collin, brings back to life. She blossoms into a happy child bringing happiness and love back into the house as well as to her cousin and uncle.

Jennifer Viets, Stephen M Deininger, and Ruby Webb. https://twitter.com/BackstageBmore

Set Design by John Seeley is simple, yet very appropriate for the space with which he is working. He cleverly uses levels to distinguish specific locations and rolling flats to change settings and it works beautifully and seamlessly. Along with a brilliant Costume Design by Rosslyn D. Kooser, one is transported to Victorian England and to this manor house and gardens.
Lighting Design by Charles Danforth, III is creative and exciting using light and shadows to insinuate the settings of each scene just enough that the audience has a better idea of where everything is taking place. The minimal projections add value to this piece and the splashes of color and specials used enhance the piece rather than hinder it and makes for smooth transitions.
I’ve got to mention that the voices in this production are AH-MA-ZING! The ensemble, as a whole, is on point and on key for every number and all are giving 100% to the score. Music Direction by Gregory Salorie-Robinson and Tim Viets knocks it out of the ballpark and this piece is well-rehearsed and well presented, musically.

Stephen M Deininger as Archibald Craven. Credit: David Hornbeck.

I wouldn’t do this production justice if I didn’t mention the absolutely outstanding orchestra for this production. This orchestra is so spot on, if one were to close one’s eyes, one would think they are listening to a polished, mastered recording of this music. This orchestra, conducted by Tim Viets, is to be commended and praised for their work on this piece. As a matter of fact, they did such a stellar job, I’d like to list them, if I may:
Keyboard I – Diana Barbour; Keyboard II – Patty DeLisle; Flute/Piccolo – Mari Hill; Oboe/English Horn – Mary Haaser; Clarinet/Bass Clarinet – David Dimmock; Trumpet – Kate Gorman; Trombone – Rob White; French Horn – Rich Roberts; Violins – Michael Vaughn and Ji Hee Cha; Violas – Hyejin Kim and Zoe Hartenbaum; Cello – Cindy Rosenberg and Najette Abouelhadi; Bass – Alec West; Percussion – Brendan Betyn; Conductor – Tim Viets
Major props all around to the orchestra of this production of The Secret Garden!
This piece is well-known and has been produced regularly since it’s Broadway run and sometimes it’s difficult to find a new and fresh way to present something so familiar but Director Bill Kamberger had a vision and it was executed marvelously. He blends the traditional with the new and presents this piece in a fresh and innovative way. He seems to really comprehend the piece and the message it sends and under his guidance, this cast tells this story and presents the message of being open to new experiences and the love of others and learning how to return it, as well. Kudos to Kamberger for a job well done.
Moving into the performance aspect of The Secret Garden, it’s worth noting that every single person involved in this performance gives his or her all. The dedication and commitment are clear and everyone looks to be having a blast up on stage, which, in turn, lets the audience to enjoy the production all the more. Though only a few are mentioned in this review, every performer in this piece is to be commended for their work and dedication.

Charlie Roberts as Dickon and Ruby Webb as Mary Lennox. Credit: David Hornbeck

Charlie Roberts takes on the role of the likable, inspiring gardener, Dickon, who helps young Mary Lennox bring the secret garden back to life. Roberts seemed to be playing this role cautiously and subdued, but he still gives a good showing. This character has a very distinct accent and Roberts does an admirable job with it, but I lost most of what he’s saying because the accent seems to be getting in the way. From the third row, it was difficult to hear him, as well, as he doesn’t project as much as I’d like and he’s using a delicate sounding voice that seems higher than his regular speaking voice for this role, which could be a directorial choice, but it somewhat hinders his performance. That being said, I’m not saying Roberts does a bad job because he certainly does not. He’s very comfortable on stage and gives a strong, physical, confident performance and seems to understand his character quite well.

Gabe Viets as Collin Craven and Ruby Webb as Mary Lennox. Credit: David Hornbeck

Ruby Webb as Mary Lennox and Gabe Viets as Collin Craven are two young actors who are going places, should they choose. Webb gives an admirable performance as they young, unhappy girl who grows to realize all is not horrible in the world and people can be good and caring and her delicate voice fits the character and music she performs. Gabe Viets is spectacular as the impertinent, spoiled Collin Craven who grows to be compassionate and loving. He gives a very authentic, natural performance that is spot on. I’m looking forward to seeing this young man in the future as he refines his craft. The two young actors have great chemistry and give delightful performances.

Stephen M Deininger as Archibald Craven and E. Lee Nicol as Dr. Neville Craven. Credit: David Hornbeck

Stephen M. Deininger as Archibald Craven and E. Lee Nicol as Dr. Neville Craven are impeccable choices for these roles and they work well with and off of each other. Deininger hits the ground running with this role. Though at points he seems a bit melodramatic and could pull back a bit, his commitment to this character and the emotion he exudes is on point. He has a strong, clear voice that resonates throughout the theatre (sanctuary) in songs such as “A Bit of Earth” and “Where in the World.” Adding to the feels this piece gives, Nicol, as Dr. Neville Craven, shows off his impeccable acting chops as he navigates through the story as a curmudgeon brother who might have done something different with his life had it not been for the choices his brother has made. Both together are a powerhouse and one of the most familiar songs, the poignant “Lily’s Eyes,” is beautifully performed by these actors both in acting and vocally.
Among this able and talented cast, a few highlights are noticeable such as Lauren Lowell as Martha, Nancy Kelso as Mrs. Medlock, and Jennifer Viets as Lily Craven.
As Mrs. Medlock, the stern, rigid housekeeper of a large house in The Moors of England, Nancy Kelso’s performance is second to none. A perfect look and top notch acting make for a natural, authentic performance where Kelso completely embodies this character. Though this character has no solo or featured vocal numbers, her performance is still strong and confident making this a character to be remembered. Kudos to Kelso on an outstanding performance in a musical without having a featured or solo number of which to speak (or sing)!

Lauren Lowell as Martha and Ruby Webb as Mary Lennox. Credit: David Hornbeck

Lauren Lowell as the chambermaid, Martha had me smiling from the moment she stepped onto the stage. The way she portrays this character just makes her likable from the get and she keeps it up throughout the production. Her lovely performances of “A Fine White Horse” and “Hold On” just make her more likeable and she has a good grasp on this character. Her accent work is pretty good, as well, making for a well-rounded, enjoyable performance.

Stephen M Deininger and Jennifer Viets. Credit: David Hornbeck

Jennifer Viets has a great look for this role and sings the hell out of it. This character doesn’t have many lines, but with a clear, booming, and superb soprano that rings throughout the theatre, she portrays a spirit of a loving wife and mother and her performance is just about flawless.
Final thought… The Secret Garden at Memorial Players is truly a production made possible by the community with so many folks lending a helping hand. This production of this classic story is full of strong, beautiful voices, able, committed actors, and a top notch orchestra making for pleasant evening of theatre that’s fit for the entire family. Whether your familiar with this piece or seeing it for the first time, you’ll walk away understanding that friendships and relationships can happen anytime, anywhere, as long as you’re open to receive and give back. It’s a well-rehearsed, well put-together production and, if that weren’t enough, it’s FREE ADMISSION so, do yourself a favor and get a seat for this show!
This is what I thought of Memorial Players’ production of The Secret Garden… What did you think? Please feel free to leave a comment!
The Secret Garden will play through May 14 at Memorial Players at Memorial Episcopal Church, 1407 Bolton Street, Baltimore, MD 21217. For more information, call 410-669-0220, ext. 13 or log on to memorialplayers.org.
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Review: 10x10x10 at Fells Point Corner Theatre

Posted on April 4, 2017 by Jason

By Jason Crawford Samios-Uy

Running Time: 2 hours and 15 minutes with one intermission
Having never experienced a short-play event before, I had my reservations. I was hoping I wouldn’t have to sit through short play after short play of pretentious writing, actors too damned serious for their own good, and an evening of writers trying to push the envelope and shock so much that it’s no longer entertaining. HOWEVER, that’s not at all what I experienced at Fells Point Corner Theatre’s latest presentation, their annual 10x10x10, a series of original 10-minute plays by Baltimore authors, in their intimate upstairs Skokal Theatre.

Thom Sinn, Francis Cabatac, and Steve Barroga. Credit: Tessa Sollway

This year, the audience gets to experience an outstanding line up of plays. All of the pieces are strong and send good messages in creative and unique ways. We start off the evening with Hologram by Utkarsh Rajawat which is a session with… you guessed it, a hologram (impressively performed by Betse Lyons) full of fun facts and trivia you might find important to your life but even holograms have feelings, right? Then we get into the funny Kings of the World by Kate Danley that speaks to the idea of change and gives us a peek into a local, seemingly rural bar in a dusty Southern or Midwestern town where two regulars venture into new territory but possibly realize sometimes the traditional is a good, safe thing. The next short consists of the largest cast of the evening, The Second Episode of Dyke Tracy by Dian “MJ” Perrin, and is a fun take on the old fashioned detective stories which impressively has a complete arc in 10 minutes! The actors are dedicated to their roles and the humor shines through in this one. Then the Act I ends with Meridian Trench by Rufus Drawlings which is a confusing, frantic tale of a homeless, dirt-eating woman who is taken in by a dubious gentleman in the park. The material in this last piece of Act I seems a bit pretentious and all over the place, but with that said, the performances from the actors, Crystal Sewell and Francis Cabatac, is superb.

Steve Barroga in Making Time. Credit: Tessa Sollway

Act II begins with the supernatural Dog Years by Peter Davis which is well-wrtten and performed and tells a story of a lost soul and a stranger who wants to make an interesting deal. Then keeping with the supernatural feel, Closing the Door by Nicholas Morrison is a contemporary and fresh look at the Greek Gods and Goddesses and how they handle humans and death. It’s a clever and entertaining piece with a good balance of humor and drama. Next up is Addict Named Hal by Alice Stanley, performed by David Shoemaker. It’s a cautionary tale that peeks into the life of a once recovering addict and the decisions he’s made while he tells us his story as if we are in a Narcotics Anonymous meeting. This piece has a very natural performance from Shoemaker who embodies this character entirely. Nearing the end of the evening we experience Making Time by Mark Scharf which is absolutely one of the standouts in these plays. It’s a touching story of two strangers at a bus stop who make a human connection and realize our journeys may be different, but we’re all heading to the same final destination. This is a powerful piece and is exquisitely performed by Helenmary Ball and Steve Barroga making for a moving and entertaining 10 minutes. Ending the evening is Rising, Rising by Rich Espey which is a quirky tale of transformation and change. Not really my cup of tea, it seems a little absurd at times but that’s probably what Espey is going for. With that said, it’s an interesting commentary on change and the resistance of change to finally giving in and accepting. Mia Robinson and Thom Sinn are dedicated and give strong, confident performances in this piece.

Betse Lyons in Hologram. Credit: Tessa Sollway

Overall, the entire ensemble is strong. They are confident and grasp the pieces they are performing and each give an impressive performances in multiple and vastly different pieces and characters. Kudos to the entire ensemble of this year’s 10x10x10.
The Directors, ustin Lawson Isett, Christen Cromwell, Ben Kleymeyer, Peter Davis, and Alice Stanley do stellar jobs with these pieces as they seem to understand each piece and character and tell the stories clearly and concisely with a steady and even tempo.
Also worth mentioning is the technical side of this production. Light Design and Sound Design by Charles Danforth III and Andrew Porter, respectively, help set the mood for each of the plays and adds value each and, I’ve got to say, the running crew for this production (many of whom were cast members, as well) is on point! The changes between each piece took only seconds, moving the evening along nicely and keeping a good pace.
Final thought… 10x10x10 at Fells Point Corner Theatre is a very well put-together production of 10 plays that can stand on their own and have been well thought out and well written. Some are stronger than others, but it’s a matter of taste, really. Fells Point Corner Theatre has managed to group together 10 short plays that work well together and share the same theme (matching Fells Point Corner Theatre’s them of 2017 – #RescueMe). The plays run the gambit of feels from witty humor to poignant drama. It’s a great showcase of local Baltimore talent both on stage and on the page. It’s also good to just support local theatre, so, get your tickets while they last because this is definitely an event you want to experience this season.
Line up of Plays:
Hologram by Utkarsh Rajawat
Kings of the World by Kate Danley
The Second Episode of Dyke Tracy by Dian “MJ” Perrin
Meridian Trench by Ben Kleymeyer
Dog Years by Peter Davis
Closing the Door by Nicholas Morrison
Addict Named Hal by Alice Stanley
Making Time by Mark Scharf
Rising, Rising by Rich Espey
This is what I thought of Fells Point Corner Theatre’s production of 10x10x10… What did you think? Please feel free to leave a comment!
10x10x10 will play through April 16 at Fells Point Corner Theatre, 251 S Ann Street, Baltimore, MD. For more information log on to fpct.org, or purchase tickets online.
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Review: The Divine Sister at Fells Point Corner Theatre

Posted on November 26, 2016 by Jason

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

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

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

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

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

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 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

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

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

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.