Review: A Christmas Story at Tidewater Players

By Jennifer L. Gusso

Approx. Running Time: 2 hours and 20 minutes with one intermission

“You’ll shoot your eye.” A tongue stuck to a freezing pole. Ominous images of Santa while a young boy careens down a slide. For anyone who has seen and loved the iconic film A Christmas Story, all of those memorable moments find themselves brought to life on stage at the Havre de Grace Opera House in Tidewater Players‘ production of the musical of the same title, Directed by Laurie Starkey, with Music Direction by Stephanie Cvach, and Choreography by Amanda Poxon. In addition to the expected elements of the film, there is a score by Benj Pasek and Justin Paul (of Dear Evan Hansen fame) and Book by Joseph Robinette that brings new nuances to the original story. With a multi-generational cast, a fun Christmas message, a lot of big dance numbers, and a few tender moments, this production is certain to warm the hearts of audiences both old and young.

The stage is set from the moment that audiences enter with a Christmas tree and lights hung all around the stage. While the set design is simple, there is a careful eye to detail in the set dressing that really makes the Parker home come to life. Set Designers Dickie Mahoney and Laurie Starkey have focused on the details with the pictures on the mantle and coats on the coat rack. It instantly feels like a home. Several simple and quick movements transform the entire space into a variety of other locations. Adding to the overall tone and mood set with each location is a Lighting Design by Thomas Gardner. He is especially able to demonstrate his creativity in moments like the slow-motion exchange with Santa. There are several instances in which the lights are the perfect accompaniment to Ralphie’s current emotional state. Carefully selected or designed props (like the leg lamp) and costumes (like the Elf costumes and the pink bunny suit) are more strong homages to the movie that are equally entertaining to new audiences.

However, the stage really comes to life when it is inhabited by the residents of Hohman, Indiana. The ensemble, both young and old, is full of life and energy. The script also allows for many of them to take scenes and make them their own. Stacey Bonds and Samantha Jednorski have an entertaining turn as Santa’s Chief Elves. Reagan McComas delights as he tries to sing with his tongue stuck to a pole. Sophia MacKinnon is adorable as she lists her wants to Santa and impresses in an early scene by freezing perfectly to give the illusion that her hand is pressed against a glass window. Carly Greaver is consistently alive with energy and really bring her choreography to life. Michael Maroney has the audience in stitches with his turn on Santa’s lap. He and Braeden Waugh shine in their slick dance routine in their suits. Chip Meister brings a chuckle with his portrayal of a tired department store Santa. As Miss Shields, Amanda Poxon provides a larger-than-life character and a stunning turn on the dance floor. All of these little bits and moments bring the world around the Parkers to life.

Right at the center, literally bringing the Parkers to life, is the narrator, Jean Shepherd. Tom Hartzell bring a genuine folksy warmth to the role. Especially strong are his physical reactions and facial expressions in the way that he sometimes squirms with the excitement of his child self and other times gazes at these younger versions of his parents with a longing that makes us wonder if they are still around. He looks upon the events in such way that the audience members feel like they really are seeing the events through his memory.

As his younger counterpart, Jamie LaManna gives a solid performance as Ralphie. It is a huge role and a huge score for a young actor, and he conveys himself with poise and has a lovely tone quality to his voice. LaManna really comes into his own as actor, just as his character matures, in the touching “Before the Old Man Comes Home.” His interactions with his brother Randy (played by the adorable Evan Christy) are warm and genuine.

What really makes this production though are Ralphie’s parents: The Old Man (Gary Dieter) and Mother (Eva Grove). Dieter brings just the right blend of loveable and curmudgeonly to his portrayal of Ralphie’s father. So much of the character’s material is subtext. There are clearly concerns about money and the pride that goes with that for a father, which Dieter brings to the front with just the right amount of subtlety.  It doesn’t hurt either that Dieter gets to show off his skill as a showman in two big dance numbers, walking over a chair and breaking out his tap shows. It is almost as if this role was written just for him.

Right over his shoulder though is the emotional heart of the entire production. Grove’s performance as Mother is practically flawless. She never appears to be performing. Every word and gesture is natural. She feels like your own mother or grandmother in the safety and warmth and joy that she brings to the Parker family and to the entire show. Nowhere is this more evident than in the beautiful moments of “Just Like That.” I can’t imagine that I was the only audience member with tears in my eyes. Grove commands the stage without ever trying to do so and, therein, creates the emotional center of everything.

Overall, there is a lot of energy and heart on display in this production. Even though there are a few spots in Act One where the script seems to drag a little, Director Laurie Starkey does an excellent job of planning transitions and moments that keep things moving along quickly to the next joke or large musical number. Choreographer Amanda Poxon keeps the cast moving throughout a significant amount of dance. When the cast comes together and all hit their marks, the choreography is fun. In a cast with a ton of big numbers and some members of the cast who may not be natural dancers, she really finds way to help them sell the choreography. Similarly, despite a few clear winter colds and a relative weakness in harmony, Musical Director Stephanie Carlock Cvach pulls out strong soloists and focuses the cast on signing mainly in a robust unison.

The strong work by the cast and production team was evident in the constant laughter, hooting, and applause by the audience. There were chuckles of appreciation from fans of the movie and gasps of delight from the children. My 8-year old daughter walked around all night singing “When You’re a Wimp,” clearly a fan of the score. Certainly, with the theme of the show resonating in my head, I appreciated it all the more, because “just like that the moment’s gone.” Young or old, fans or not fans of the movie, there is something for everyone to enjoy in this production. There is no doubt that you will leave ready to embrace some Christmas stories of your own.

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

A Christmas Story will play through December 2 at Tidewater Players at The Cultural Center at the Opera House, 121 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: Monty Python's Spamalot at Cockpit in Court Summer Theatre

by Jason Crawford Samios-Uy
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Running Time: 2 hours and 25 minutes with one 15-minute intermission
Many folks the world over are familiar with or at least have heard of that crazy troupe from across the pond called Monty Python and this company’s various films and television appearances. I was one of those folks who had heard tell about this zany group of people but… I admit it… I was not very familiar with their work and I do get funny looks for saying so! However, I did have the pleasure of seeing Cockpit in Court Summer Theatre’s latest offering, Monty Python’s Spamalot, with Music by John Du Prez and Lyrics & Book by Eric Idle, Direction by Laurie Starkey, Musical Direction by R. Christopher Rose, and Choreography by Amanda Dickson.
Having heard of Monty Python, I knew I was in for some comedy but I was glad I hadn’t seen any of the films because I was able to go in with no preconceived notions. I knew this piece was loosely based on the story of King Arthur and Camelot but that’s about as far as my knowledge went. Most of the jokes, although about 40 years old, were new to me and I enjoyed watching the audience burst into fits of laughter and often joined in.

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(l-r) Jeff Burch, Steve Flickinger, David Jennings, Chip Meister, Phil Gallagher, and Gary Deiter as King Arthur and the Knights of the Round Table and Patsy. Photo Credit: Lisa Boeren


From the moment I entered the theatre, I knew I was in for a treat from a technical standpoint and Scenic Designer Michael Rasinski took me back to the Middle Ages with his brilliant set. The focal point is a large two story castle right in the middle of the stage with two towers on either side. Along with smaller set pieces, the set came together very nicely, and scene changes were fluid and quick. The large set, which looked like a lot of thought and care was taken, helped the story along without overshadowing it. While renting sets and set pieces is easier and a route many larger theatres take, Rasinski designed and created a sensational, original set that deserves its own curtain call. I also have to mention the representation of “God” that was very clever and funny as the higher being is portrayed as to very, very large feet that fly in and , indeed, that might need a bit of room to store for the next time! The attention to detail is impressive and I’m looking forward to seeing more from Rasinski in the future.
Adding to the production value is the well thought out costume plot by Costumer Mark Briner. This seems like a show with a million costumes, but Briner has brilliantly managed to make sure every piece of wardrobe is in place and each character is costumed appropriately whether it be the female ensemble in soldier uniforms or a male actor playing the mother of a knight, all the costumes are spot on and fitting for this madcap musical.
Speaking of music, Music Director R. Christopher Rose did a fine job of getting this large cast to perform these songs swimmingly. As a fan of “old-fashioned” Broadway, all the songs were definitely of the traditional “show tune” variety and the cast pulls them off nicely under the direction of Rose.
As far as community theatre goes, Choreographer Amanda Dickson knocks this production out of the park! Her choreography is not only appropriate for the piece, but very entertaining and well thought out. All of the larger numbers like “Knights of the Round Table” were tight and precise, which is what I look for in group dances, and the cast looks like their having a blast performing. “The Laker Girls” cheer routine was brilliant and the ensemble performed it flawlessly and the tap numbers (which make this old fashioned Broadway guy smile ear to ear) hit the nail on the head! Dickson seems to know her cast and choreographs accordingly, making the production look effortless.
Rounding out the production side of Month Python’s Spamalot, I mustn’t neglect Director Laurie Sentman Starkey and I have to say she does a bang up job with this production. She seems to have a complete grasp of the material and the comedy therein, which is no small feat and her vision is well thought out and it transferred flawlessly to the stage. Her casting choices were superb and under her guidance, this production is top notch.
Overall, the performance of Cockpit in Court’s Monty Python’s Spamalot was very enjoyable and every entertaining. Again, as a person who was only somewhat familiar with the popular Monty Python, I was certainly not disappointed, in general. I consider Monty Python’s Spamalot an ensemble piece and I adore ensemble pieces as it features each individual of a cast in one way or another. The female ensemble of this piece is absolutely on point with their dances and voices and they added a certain pizazz that I look for in this kind show. The male ensemble, though decent and giving a very respectable performance, doesn’t seem to have the energy that the female ensemble has in the group numbers. One mostly male ensemble group number (and eleven o’clock number), “His Name is Lancelot” stands out to me, but, I must say that, though it was a disco, upbeat song, the performance is a little flat and fell short of energizing the audience as it should have. Regardless, it is clear the entire ensemble, both female and male, gives 100% to their performance and carried the show along very nicely.
Sir Lancelot, one of the most famous Knights of the Round Table is portrayed by standout Steve Flickinger, who also takes on many other roles in this piece including a French Taunter, a Knight of Ni, and Tim the Enchanter, all of whom he portrays magnificently. Flickinger is a brilliant character actor with great comedic timing who’s quite a busy bee in this production but each of his characters is unique and stands on their own.
Another standout in this production is Jeff Burch, a Baltimore theatre native who takes on the role of Sir Robin, as well as Guard 1 and Brother Maynard. Burch does a splendid job as Sir Robin, the Knight of the Round Table who has, shall we say, theatrical proclivities and a habit of soiling himself at the most inopportune times. His number “You Won’t Succeed on Broadway” is one of those old fashioned numbers I’d mentioned before and Burch performs it flawlessly with high energy.
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Eileen Keenan as The Lady of the Lake with Ensemble. Photo Credit: Lisa Boeren


As the only female with a featured role, Eileen Keenan takes on the role of The Lady of the Lake, and being the only featured female among all these zany male characters can be quite challenging. However, Keenan tackles the role with no holds barred and carries her own with this crazy actors and has a big voice with an impressive belt, which is exactly what this role needs. There were times when Keenan seemed a little out of breath for her big diva-esque numbers and her pitch may have been a little off as was the case in her number “The Diva’s Lament” but, overall, she performed the role brilliantly and with a brassy confidence that is required for this challenging role.
David Jennings as Sir Gallahad, as well as taking on the roles of Herbert’s Father and The Black Knight is one of the highlights of this production. His comedic timing is spot on and he commands the stage whenever he steps on. He seems to understand the tongue and cheek comedy of this piece and though his performance is outstanding, he knows not to take himself too seriously as to not ruin the comedy of his characters. He exhibits this understanding in his duet with Eileen Keenan, “The Song That Goes Like This.” It’s a beautifully written song, but still comical, and can’t be taken too seriously and though the two perform the song beautifully, the comedy is still prominent and shines through. I look forward to seeing great things from Jennings in the future.
Gary Deiter as Patsy and Phil Gallagher as King Arthur. Photo Credit: Lisa Boeren

Gary Deiter as Patsy and Phil Gallagher as King Arthur. Photo Credit: Lisa Boeren


Another absolute highlight and standout in this production was Baltimore theatre veteran Gary Dieter who takes on the role of Patsy, King Arthur’s devoted and belittled manservant. There’s not much I can say about Deiter’s performance other that it was near perfection. He is certainly a triple threat. His acting and comedic time are superb as he also takes on a couple of other roles in the piece, his voice is big and confident, and his dancing is magnificent, especially his tap dancing skills which are hands down excellent. He takes the lead in the number “Always Look in the Bright Side of Life” arguably the most famous of the songs from this production, and his performance is impeccable in this production. He has a great command of the stage and is a pure joy to watch in this production.
Of course, Monty Python’s Spamalot couldn’t be without the character of King Arthur, who is portrayed by Phil Gallagher. It’s a fun-fact that Gallagher is actually from across the pond and his British accent is absolutely genuine. He’s a fine actor and seems to grasp understand the comedy of the piece but, according to his bio, this is his very first attempt at musical theater and… it shows. While he is up against power houses like Dieter and Jennings, his singing and dancing seem sub-par but he does hold his own and is very comfortable on the stage, which helps immensely. Though his performance is up to the level of some of his fellow actors, he keeps the character light and airy and he does have great comedic timing. He may not have experience with musical theatre, but his confidence shines through and his command of the stage is evident.
Rounding out the cast are Chip Meister, another Baltimore theatre regular, who takes the roles of Sir Bedevere, Dennis’ Mother, and Concorde, Stanton Zacker, as Not Dead Fred, and Sir Bors, and Austin Shields as Historian, Minstrel, and Herbert.
Meister pulls his characters off gloriously, especially as Dennis’ Mother, who he plays in bad drag, and has the audience in stitches, Zacker, as Not Dead Fred, participates in one of the most famous bits from Monty Python and takes the lead in the number “I Am Not Dead Yet,” in which he gives a wonderful performance, also leaving the audience in fits of laughter, and Shields, who opens the show as the Historian and sets the tone and pace, does a very nice job as the Minstrel and Herbert with his tenor voice and slim frame which both fit perfectly with the roles.
Final thought… Monty Python’s Spamalot is a perfect production for a larger community theatre and Cockpit in Court’s production is not to be missed this summer. Overall, it is a very enjoyable, funny, fast-paced show that is chock full of familiar jokes and bits but also has a fresh presentation for those who are not so familiar. I was unfamiliar with the show but I was certainly NOT disappointed. As a matter of fact, I’m looking forward to seeing the Monty Python films on which this show is based!
This is what I thought of this production of Spamalot.… what do you think?
Monty Python’s Spamalot will play through July 31, Friday-Saturday at 8pm, Sundays at 3pm, and Thursday, July 28 at 8pm at CCBC, Essex Campus, Community Center. For tickets, call 443-840-ARTS (2787) or purchase the online.