Legally Blonde Gives Us Delightful Loopholes at Third Wall Productions

Posted on February 19, 2020 by Jason

By Jason Crawford Samios-Uy

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

Most of us are taught, at an early age, to not judge a book by it’s cover… I guess now-a-days, it would be don’t judge a site by its homepage? Regardless, what’s on the outside may not tell the entire story of what’s on the inside and in Third Wall Production’s latest offering, Legally Blonde the Musical, with Music & Lyrics by Laurence O’Keefe and Nell Benjamin and Book by Heather Hach, Direction by Henry Cyr, Music Direction by Patty DeLisle, and Choreography by Cecila and Lucy DeBaugh, we are treated to a story of overcoming adversity and redemption all wrapped up with a pink, stylish bow.

For those who may not be in the know… Based on the 2001 film of the same name, starring the perfectly cast Reese Witherspoon, Legally Blonde the Musical follows true California blonde, Elle Woods, who beats the odds and surprises everyone by getting herself a spot at Harvard Law School, for no other reason than to follow the boy who dumped her for being what she was. At Harvard, she surpasses all limited expectations of others and learns she’s more than what people see and think of her.

Scenic Design by Jordan Hollett, Amy Rudai, and Pat Rudai is on point with a unit set in the background at all times and set pieces that are brought on and off to represent various locations. Simple, but effective, Hollett and the Rudais should be commended for their work and efforts. In the same vein, Lighting Design by Jim Shomo is stellar and absolutely fitting for this production. He keeps the already high energy up with his fast moving, varied design and keeps the action engaging. Another great job from Shomo. Anyone who is involved in community or small theatre will most likely tell you that sound is a curse and one of the most difficult aspects of a production to overcome. Unfortunately, if there is a criticism of this production, it is Sound Design by Charles Hirsch. That’s not to say that it is completely Hirsch’s fault as many factors go into how good or bad a sound is, including space, number of people in the venue, volume of the live pit orchestra, etc., etc. I’m glad I know this show well and could follow along, but there are many times, with and without music where sound is a problem, and those who may not be familiar may lose some of the dialogue and story points. That being said, Hirsch does his best and it’s still a strong showing.

Jenifer Hollet’s Costume Design is spot on for this particular production and each character has their own, individual style that fits in with everyone else, our main character stands out, as she should. My only complaint, if it can be called one, is the blonde wig thrown onto the actress playing Elle Woods. This wig, unfortunately, looks like it belongs on a certain HBO show on a woman who deals with dragons, and seemed just a bit out of place on this actress. It worked, but I imagine there may have been better options. Regardless of this one small detail, with great attention to detail and creative styling, Hollet is to be applauded for her efforts and work on this production.

Music Direction by Patty DeLisle and Choreography by Cecilia and Lucy DeBaugh are definite highlights of this production. This is some of the best vocal work and choreography I’ve seen at Third Wall Productions in recent years. DeLisle’s skill is apparent as every group number is in perfect or near perfect harmony and strong voices are brought out in each featured number showing her superb direction. The DeBaugh’s choreography is stellar, high-energy, and upbeat keeping everyone on their toes, literally, at times. They really seem to understand this style of dancing and have created choreography that is well-fitting, fun, and a joy to watch. Major kudos to DeLisle for her Music Direction and the DeBaughs for their creative choreography.

Henry Cyr takes the helm of this production and does an outstanding job. It’s always tough to transfer a popular film to the stage, but Cyr seems to have it all under control. His staging is concise and the pacing is on point, making for an enjoyable telling of this heartfelt story. He knows his way around the stage, has a good grasp on the material, and gives us a great presentation of this popular, modern story.

Moving on to the performance aspect of this production, it’s absolutely worth stating that this entire ensemble is giving 100% effort with high-energy and gusto and are having a blast performing this material. The chemistry within the entire ensemble is apparent and makes the performance all the better. This transfers to the audience and we have just a good a time as they are making for a quite enjoyable evening of theatre.

To name a few, our leading lady, Maggie Mellott as Elle Woods, our bouncy, optimistic, and common sense heroine, is well cast though, at times, she may seem scripted and more subdued than I would like Elle, but she holds her own and gives a solid performance. Vocally, she has the perfect voice for this score and her beautiful performances of featured numbers such as “Positive” and “Legally Blonde” proves she knows this character well. Equally as impressive is Johnny Dunkerly as Emmett Forest, the fellow fish-out-of-water Harvard student who has a big heart and feet planted firmly on the ground. Dunkerly holds his own on stage, giving a strong performance and, vocally, he gives a commendable showing, especially in his featured numbers such as “Chip on My Shoulder” and “Legally Blonde.” Their chemistry is spot on and believable helping their already wonderful performances.

Emily Wesselhoff takes on the physically taxing role of Brooke Wyndham, the high profile client on trial for murder who is a fitness whiz and, let me say… Wesselhoff does not disappoint with her performance in the choreographed jump-rope number, “Whipped Into Shape” and, vocally, she’s a powerhouse giving a strong, confident performance. Also, Christopher Kabara as Professor Callahan, the brilliant, if not sketchy high-priced attorney who doubles as a Harvard professor, seems to have been made for this role. Cabara’s has a strong presence and intensity and makes this role his own. He gives an impressive vocal performance as well, as he shows in his performance of “Blood in the Water.”

Rounding out the featured cast is Lizzy Jackson Fleischmann as Vivienne Kensington, the snobby, uptight current girlfriend of Warner Huntington III and Andy Collins as Warner Huntington III, the well-bred, but douchey guy who thinks he has his future all figured out. Fleischmann embodies this role and presents her as a complete opposite to Elle Woods, as she should and it’s a notable performance. Collins has his role down pat and is nicely cast. He seems to have a good grasp on this character and vocally, he shines, especially in his featured number, the funny, but important “Serious.” Hats off to Fleischmann and Collins for jobs well done.

Honorable mention has to go to a few supporting players such as Mike Zellhofer as Dad/Winthrop/Dewy, Alex Pecas as Kyle, the sexy UPS guy, and Delta Nu Sisters, especially the Greek Chorus of Margot (Katelyn Clay), Serena (Bailey Wolf), Pilar (Patricia Anderson), Gaelen (Kayla Szczybor), and Kate (Kelsey Albert). Though they play supporting roles, these few ensemble members give strong, confident performances that move the story along beautifully.

One of the supporting players, the aforementioned Katelyn Clay, as Margo, is a highlight of this production as her presence is one of the strongest and she seems to glow in every featured piece of dialogue or vocal bit causing the eye to move to her. Her efforts don’t go unnoticed and she’s certainly one to watch in this production. The standout in this, though, is Amy Haynes Rapnicki as Paulette Buonufonte, the unexpected friend to Elle and down-to-earth, positive stylist. Haynes is a pro who knows her way around the stage and knows this character inside and out. She becomes this character and her natural delivery and authenticity shine through. Vocally, this woman has pipes! Her solid performance of her featured number, “Ireland” is stellar and one you won’t easily forget. You really don’t want to miss her performance in this role.

Final thought… This production is high energy and every single member of the ensemble is giving 100% which always makes for a great showing. They’re dedicated to their roles and are having a blast which, in turn, hypes up the audience to make for a great evening of theatre. The performances are solid, the Set Design is effective and aesthetically pleasing, the pacing is on point, and, so far, this production has the best Music Direction and Choreography I’ve seen at Third Wall Productions with phenomenal vocals and dancing, making this a production you won’t want to miss this season. Get your tickets now!

This is what I thought of Third Wall Productions’ production of Legally Blonde the Musical… What did you think? Please feel free to leave a comment!

Legally Blonde the Musical will play through February 23 at Third Wall Productions, St. Thomas’ Episcopal Church, 1108 Providence Road in Towson, MD. For tickets, you can purchase them at the door or online.

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Destiny Calls and Third Wall Productions Goes with Man of La Mancha

Posted on November 14, 2019 by Jason

By Jason Crawford Samios-Uy

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

We all need an escape sometimes. Life isn’t fair and can be quite hard to deal with, so, we all have our own little defense mechanisms to help us get through. Sometimes, folks actually get lost in their escape and it’s hard to come back to reality. However, who has it worse? The person lost in his or her escape or the people out here in the real, hard world? In Third Wall Production’s latest offering, Man of La Mancha by Dale Wasserman, with Music by Mitch Leigh and Lyrics by Joe Darion, we are able to take a peek into one man’s madness and/or bliss, whichever you want to all it, as he imagines a world much better than the one he’s actually living in. His dreams aren’t his escape… they’re his reality. This production is Directed by Mike Zellhofer, with Music Direction by William Zellofer, and Choreography by Timoth David Copney-Welton.

In a nutshell, in case you’ve never heard of Man of La Mancha (which might be impossible), it is inspired by Miguel de Cervantes’ 17^th century novel, Don Quixote, but only inspired by. Man of La Mancha is a play within a play where Cervantes himself, as well as other prisoners who are awaiting the Spanish Inquisition, perform the story of the “mad” knight, Don Quixote, who is actually an old, dying man refusing to let go of his ideals and passions.

Lance Bankerd as Don Quixote. Photo: Stasia Steuart Photography

The Scenic Design by Jordan Hollett and Pat & Amy Rudai is impeccable. The creativity and attention to detail is wonderful and, though it’s a unit set, allows itself to fit into every scene with the addition of small set pieces. It’s practical yet pleasing on the eye, making for a great combination. The motorized door/ramp is quite impressive and adds value to the production as a whole. Kudos to this team for their innovative and charming design.

Lighting and Sound Design go hand in hand and Jim Shomo (Lighing Design) and Charles Hirsch (Sound Design) hit the nail on the head with this production. Both Shomo and Hirsch are masters of their crafts and both Lighting and Sound Design helped move this production along subtly, without hindering or taking attention away from the action. Shomo has a distinct knack for mood lighting and setting the mood for each scene beautifully, while Hirsch adds just the correct amount of effects without overloading and keeps the balance just right. Both Shomo and Hirsch are to be commended for their efforts.

Maggie Flanigan takes on Costume Design and it is on point. Flanigan has a great comprehension of this piece and wardrobes the ensemble to the nines. Each character whether ensemble or featured is appropriately and splendidly dressed, adding to the authenticity and fanciful nature of the show. She’s done her research and has created a wonderful design that is to be applauded.

Timoth David Copney-Welton, a Baltimore theatre fixture, takes on Chorographer duties in this production and he knows his ensemble and helps them shine. Though not heavy choreography, it is entertaining and helps tell this classic story. Innovative and creative, the choreography is a joy to watch and every single ensemble member seems to be having a blast performing it. Along the same lines, Music Direction by William Zellhofer is top notch. With such familiar music and songs, Zellhofer has this cast in tight harmonies and the featured performers are well-rehearsed and spot on. Copney-Welton and Zellhofer both give great showings in their admirable work on this production.

Mike Zellhofer takes the helm of this production and it’s clear he has a tight grasp on the material. His staging of this piece is engaging and keeps the audience interested. The transitions are smooth and simple keeping the pace balanced. The characters come to life and his vision is apparent in every move and scene. It’s always challenging to take on Direction of such a popular, classic piece, but Zellhofer faces it head on and creates an enjoyable, clean, and polished piece that makes for a delightful evening of theatre.

Jessica Preactor as Aldonza. Photo: Stasia Steuart Photography

Moving on to the performance aspect of this production, it’s worth noting that every ensemble member, whether featured or not, is giving the utmost effort in their roles. They all work quite well together and each has a hand in helping move the story along nicely.

To name a few, Timoth David Copney-Welton as Padre and Annmarie Pallanck as Sancho both have a great understanding of their characters and their objectives. They are charming as a quirky priest and a fiercely loyal servant. Copney-Welton plays Padre with just enough sincerity to make the role funny and he seems to embody this character. His rendition of “To Each His Dulcinea” rings throughout the theatre and is a joy to experience. Pallanck is, at times, a little stiff and scripted, but still oozes the charm and giddiness of the character that makes her likeable from the get. Her performance of “I Really Like Him” is both funny and sincere at the same time making for a beautiful moment. Both give strong, admirable performances in this production.

A highlight of this production is Jessica Preactor, who takes on the role of Aldonza/Dulcinea, the young woman to whom Don Quixote takes a shine, and she hits the ground running. Vocally, she’s a powerhouse with a strong, clear voice that resonates and her performances of her featured numbers such as “It’s All the Same,” “What Does He Want of Me,” and “Aldonza” are picture perfect, just as her character work is, really getting to the nitty-gritty of the character and presenting her beautifully.

The standout in this piece is definitely Lance Bankerd, who tackles the role of Miguel de Cervantes/Don Quixote. Bankerd’s character work is second to none. He becomes this character in both manner and look with ease. Watching him, he seems to actually transform from Lance Bankerd into Don Quixote and it’s awesome to watch. One thing I really admire about Bankerd is his ability to act out a song. His vocals are marvelous, indeed, but he’s not worried about a perfect vocal performance and that’s what makes a good actor great. His renditions of the standard “The Impossible Dream” is outstanding, strong, and heartfelt. This performance is almost worth the price of admission! He knows what he’s singing about and exudes it with every word and note, same with his other featured numbers, including the lovelorn “Dulcinea.” Major kudos to Bankerd for his fine work in this production.

This is what I thought of Third Wall Productions’ production of Man of La Mancha… What did you think? Please feel free to leave a comment!

Man of La Mancha will play through November 17 at Third Wall Productions, St. Thomas’ Episcopal Church, 1108 Providence Road in Towson, MD. For tickets, you can purchase them at the door or online.

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

Posted on October 24, 2019 by Jason

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 21^st 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 21^st 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.

Email us at backstagebaltimore@gmail.com

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Review: Joseph & the Amazing Technicolor Dreamcoat at Artistic Synergy of Baltimore

Posted on December 15, 2016 by Jason

By Jason Crawford Samios-Uy

Running Time: 1 hour and 45 minutes with one 15-minute intermission

The cast of Joseph & the Amazing Technicolor Dreamcoat. Credit: Artistic Synergy of Baltimore

There are quite a few shows that are staples in small and community theatre and you will see them pop up weekly in small hamlets and big cities across this great country. Some shows are just so good they never get old and some, well… let’s just say they’re familiar and comfortable. Artistic Synergy of Baltimore’s latest offering, Joseph and the Amazing Technicolor Dreamcoat, with Music by Andrew Lloyd Webber and Lyrics by Tim Rice, is definitely in the category of never getting old, having been a continued success for nearly five decades. This production, Directed by Mike Zellhofer, with Music Direction by Edward Berlett, Choreogrpahy by Temple Fortson, Set Design by Jordan Hollett, Lighing Design by Jim Shomo, Sound Design by Charles Hirsch, and Costume Design by Lorelei Kahn, shows the ingenuity of a small theatre and manages to put on a well-crafted, fresh production of an old favorite.

The Cast of Joseph & the Amazing Technicolor Dreamcoat. Credit: Artistic Synergy of Baltimore

Set Design by Jordan Hollett is far from extravagant and is quite subdued, but a simpler design works for this piece because a Director and Set Designer can create a traditional setting or more whimsical and it will still work. Depending on the theatre and the space, the Set Design for Joseph and the Amazing Technicolor Dreamcoat can be a spectacle, but Hollet has decided against this and has gone with a couple of panels on either side of the stage with crudely painted Egyptian and desert scenes and a large, blank white canvas that stretches across the back of the stage reflecting the very colorful light show that happens throughout the production. His set pieces such as a very cartoon-y camel (that looked fabulous, but had some technical trouble the day I saw this production) and a bulky “chariot of gold” work well with this production and do not take away from the story but add to it. Overall, Hollett’s work is minimal, but compliments the piece very nicely.
Lighting and Sound Design go hand in hand with this piece and where the set may be simply, Lighting Design by Jim Shomo is nothing short of a spectacle, in a good way. Shomo uses all the colors of the rainbow (at least all the colors mentioned in song) and lights the entire stage up like NYC’s famed night club Studio 54 in its hey-day. With what looked like state of the art equipment, the lighting is top notch. It’s worth mentioning there are a few heavy strobe effects that aren’t mentioned in the program or in the curtain speech, so, consider this a heads up! In general, Shomo has created a well thought-out design that adds great value to this piece.
Sound is always a challenge for a small theatre (especially in unique places such as church basements) but Charles Hirsch tackles this challenge with the resources he has at his disposal. The space at Artistic Synergy is intimate, not small, but intimate and when you throw a full orchestra right next to the audience, there are going to be some balancing issues. However, there weren’t as many as there could have been and the actors who had featured roles had microphones that made their performances easy to hear, so, Hirsch was able to find that balance to make for an enjoyable performance. One thing I will say is that this is a loud show. I mean more so than the usual loud of a live performance with a live orchestra. There are parts of this show that are downright rock-concert loud and in this space, they might want to pull back just a tad, but, overall, it’s a very nice balance.

Wayne Ivusich and Jim Gerhardt. Credit: Artistic Synergy of Baltimore

Costume Design Lorelei Kahn is very fitting for this piece and many of the costumes are more of a suggestion of the setting rather than full blown costumes. The design is modern and traditional mixed and all of the actors seem very comfortable and everyone is uniform, which adds to the precise look of the piece. In a hometown homage, Jacob proudly displays his Baltimore Ravens jersey which went over very well with the audience in attendance. Joseph’s 11 brothers have a base costume of jeans, sandals, and different colored button down shirts and it’s a smart move because, for each scene, a costume piece is added or taken away depending on what is going on in the scene. The more traditional costumes, such as Egyptian guards, harem wives, and servants are all simple, but very effective and Kahn’s design is attentive and fitting for this production.

The Cast of Joseph & the Amazing Technicolor Dreamcoat. Credit: Artistic Synergy of Baltimore

Choreography by Temple Fortson is tight and precise, for the most part, and the cast seems to be comfortable in every dance and, more importantly, they seem to be having a blast, thus, leading to the audience having a blast right along with them. The dances aren’t too complicated that the cast of varying experience can’t handle, but not too simple that they’re simply doing jazz squares in every number. Fortson’s choreography is high energy and full of variety, keeping the story interesting for both the ensemble and the audience, alike. Kudos to Fortson for her work on this piece.
Music Direction by Edward Berlett is superb as this ensemble and featured performers sounded well-rehearsed and confident in each number. The harmonies were present and the performances were tight, in general, and easy to understand. If you are familiar with the piece, you’ll be singing along (in your head, hopefully), and if you are not familiar, you will easily understand the vocals to follow along with the old biblical story. I must also mention the talent and impeccable sound of the live orchestra that took this production to a new level. I wish the names of the orchestra members were listed in the program (there could at least be an insert, these guys and gals are great!) because, just like Berlett is to be commended for his Music Direction, the orchestra deserves many kudos for their near flawless performance.
Joseph and the Amazing Technicolor Dreamcoat is a sung-through show, meaning it’s all music, singing, and dancing with little to no script so, one could argue this type of show only needs a Music Director and Choreographer but there still needs to be a vision and Director Mike Zellhofer gives us a new look at this classic. Presenting an overall traditional staging, Zellhofer makes it fun for both the cast and the audience, and not taking the piece too seriously, but getting the story across smoothly with action that is easy to follow and not taking too much liberty and making it hokey, which is a danger when it comes to shows like this. Zellhofer seems to keep everything under control and crafts a very well-though out production that is a joy to watch.

The Brothers. Credit: Artistic Synergy of Baltimore

Switching to the performance aspect of this production, I want to mention that the entire ensemble does a fantastic job moving this story along and it’s easy to see each cast member is fully dedicated to this piece and is giving his or her all making for a very successful production. The voices are strong, the choreography is tight, and the chemistry is great as everyone looks as they are having a stellar and fun time with each other which, in turn, makes it fun for the audience.
The roles of Jacob and Potiphar are taken on by Wayne Ivusich who seems to have a very good time with these roles and is comfortable and confident with his performance. He has a good command of the stage and, vocally, is fitting for these roles. He understands the humor in these characters and runs with it making for a strong performance.
Amy Rudai and Lisa Rigsby take on the roles of the Baker and Butler, respectively and they give very good showings as these characters. Traditionally, these characters are doubled and played by two of the brothers, but it was refreshing to see the gender-blind casting for these roles and these ladies pulled them off very nicely. Vocally, they could have been a little stronger, but overall, they gave admirable performances, holding their own against the “guys” and they seems to have a blast with these roles.
Of Joseph’s 11 brothers, there are a few featured roles with and Rueben, the eldest of the Children of Israel, played by Nick Ruth, is one of them. He performs the featured number “One More Angel in Heaven,” a fun country-western style song with a built in hoe-down in which the entire ensemble is dancing and singing about the demise of poor Joseph. Ruth does a commendable job with this number and though it is traditionally sung with a southern twang, his “Baltimore accent” is prominent, but it adds a certain charm to the performance. With a good command of the stage, Ruth gives a good showing and the number itself, is fun going from a slow and steady tempo to a high energy, upbeat tempo making for an pleasant performance.
Asher, portrayed by Bill Bisbee, is another brother who has a featured number called “Those Canaan Days,” in the style of a traditional french ballad. Bisbee does a fine job with the french accent and the other brothers give him fitting backup. Though a slower paced song, the ensemble does a great job keeping it interesting and funny. Vocally, Bisbee gives a strong performance and he’s confident and performs with ease.

Jim Fitzpatrick and Jim Gearhardt. Credit: Artistic Synergy of Baltimore

Baltimore theatre veteran Jim Fitzpatrick tackles the role of the Elvis Presley impersonating Pharaoh and he tackles it with gusto. More than just a suggestion of the King of Rock and Roll, Fitzpatrick dons an entire Elvis Presley costume from the pompadour wig and large sunglasses down to the bell-bottomed jumpsuit and gives 100% to this role. His vocals are spot on and his performance is high-energy and he makes a superb showing.
Featured brother Zebulon is played by Joe Weinhoffer and though, usually performed by the brother playing Judah, Weinhoffer performs the featured Caribbean themed 11:00 number, “Benjamin’s Calypso,” with the purpose of defending a wrongly accused little brother, Benjamin. It’s easy to see Weinhoffer is having a delightful time performing this number and the ensemble enthusiastically backs him up. Vocally, he is strong and comfortably holds his own against the ensemble with a very good presence on the stage.

Joe Weinhoffer. Credit: Artistic Synergy of Baltimore

The Narrator is traditionally one of the only featured female roles and for this production at Artistic Synergy of baltimore, this role is split between Mea Holloway and Melissa Broy Fortson. At this particular performance, Mea Holloway takes on the role and though she does quite well, her performance isn’t without a few minor issues including lyrics and timing/cues. Also, at first appearance, with her darker makeup and frequent scowl, she’s a bit harsh looking for the usually jovial Narrator making her seem irritated and preoccupied and it affects her performance. At one point, because of the positioning of a speaker she became a headless storyteller as she was spotlighted from the neck down but her head disappeared behind the shadow of the said speaker – a simple blocking issue any experienced actor would have fixed immediately. Regardless of the minor issues, she has a strong, beautiful voice and, aside from the aforementioned timing/cue problems, she gives an admirable showing in this piece.

Joe Weinhoffer and Jim Gearhardt. Credit: Artistic Synergy of Baltimore

The titular role of Joseph, the lucky and favorite son of Jacob is portrayed nicely by Jim Gerhardt and he gives a strong, confident presentation. He makes the role his own and has a strong, clear voice to back up his performance. Though it is every actors responsibility and prerogative to make a role or song his or her own, occasionally, it’s wise to keep songs simple. In my experience in musical theatre, tenors love their money notes. How can they not? They feel good and they’re fun to sing. However, it is important to understand that every last note of every song does not have to be taken up an octave or harmonized to a higher note and, in this case, Gerhardt frequently toys with the melody and it loses that special something when it’s overdone. With that being said, his performance is absolutely commendable and he gives a fresh look at the character. His performance of “Any Dream Will Do” and “Close Every Door” (money note included) are very good and he is comfortable with this character and gives a strong, enjoyable performance.
Final though… Joseph and the Amazing Technicolor Dreamcoat at Artistic Synergy of Baltimore is community and small theatre at its finest. With familiar nods to our charming little town of Baltimore and some very talented folks, it’s definitely worth checking out. The ensemble is dedicated and gives 100% to the performance and everyone is having a great time on stage and with each other, making for a fun, upbeat, feel-good show that can be enjoyed by all.
That’s what I thought about Joseph and the Amazing Technicolor Dreamcoat, playing at Artisti Synergy of Baltimore… what did you think? Please feel free to leave a comment!
Joseph and the Amazing Technicolor Dreamcoat will play through December 18 at Artistic Synergy of Baltimore, Prince of Peace Lutheran Church, 8212 Philadelphia Road, Baltimore, MD. Tickets are available at the door (cash, check, or credit card) or purchase them online.