Review: Psycho Beach Party at StillPointe Theatre

By Jason Crawford Samios-Uy

Running Time: 90 minutes with no intermission
So, we’re just about smack dab right in the middle of Maryland, and if you’ve been here for more than a year, you know how crazy the weather can be. It’s summer time and it feels like the middle of autumn… today… tomorrow might feel like the beginning of winter, who knows? However, seeing that we’re in the summer months, if you ever wanted to be a hep cat or a cool chick and ride the waves on the warm, summer beach, StillPointe Theatre has just the ticket for you with their latest production of the kooky Psycho Beach Party by Charles Busch, Directed by Courtney Procter with Set Design by Ryan Haase, Costume Design by Nick Staigerwald, Lighting Design by Lillie Kahkonen, and Sound Design by Todd Mion.
Briefly, Psycho Beach Party is about Chicklet Forrest, a teenager with a personality problem who desperately wants to be in the “in crowd” at Malibu Beach in 1962. Her biggest problem is her personality problem… she has too many of them! These include a Safeway checkout girl, Steve, a male model, and the entire accounting firm of Edelman and Edelman. Her biggest problem, among others, is her alter ego who is a sexual vixen leaning toward Fifty Shades of Grey who wants nothing less than world domination. Along for the ride are some beach bums, the adorable Yo-Yo and Provoloney, the dashing catch and medical school dropout Star Cat, and the King of the Beach, the surf God, Kanaka. Throw in a promiscuous Marvel Ann and Chicklet’s best friend, Berdine, and Mrs. Forrest, you have a twisted tale that’s a cross between the Hitchcock psychological thrillers, Gidget, and a Frankie Avalon and Annette Funicello beach party all bunched up in an itsy-bitsy-teeny-weeny-little-polka-dot-bikini.
Once again, Set Design by Ryan Haase does not disappoint. Though a little more minimal than his usual flare, his design is perfectly befitting for this piece, cleverly using the natural levels available to him in this intimate space and using more representative rather than a literal design. Haase’s creativity is impeccable with using material like laminate flooring to represent a sandy beach, which works surprisingly well. It’s minimal, but Haase trusts his actors and artistic team to tell this story and his design does not hinder the storytelling in any way, but enhances it. Kudos to Haase for another job well done.

Rex Anderson, David Brasington, and Jess Rivera. Credit: StillPointe Theatre

As this is definitely a period piece, costuming can be challenging but Costume Designer Nick Staigerwald seems to have no problem with taking us back a few decades to a Malibu Beach with authentic early 60s style swimsuits that help this piece move along. From the modest but bright and printed bathing suits of the ladies to the not-so-modest, barely-there pastel shorts of the men (which absolutely need to make a comeback), the wardrobe is totally appropriate and adds to these characters adding value to this production.
StillPointe’s Mercury Theatre space is interesting and quite intimate and seems a bit tricky for production but you wouldn’t know it with Light Design and Sound Design by Lillie Kahkonen and Todd Mion, respectively. Kahkonen’s use of isolated lighting for important points in the script is spot on and moves the story along and she cleverly uses the general house lighting, as well, to clearly light the space to make sure we see all the action. All the while, Mion’s well-suited and well thought-out Sound Design is reminiscent of the aforementioned beach movies, utilizing the guitar heavy surf-rock music of the era during the transitions that brings the entire production together.
Courtney Procter takes the Directing reigns and has a clear vision for this curious, wacky piece. She doesn’t take the piece too seriously but just seriously enough that the camp isn’t overdone and the story is clearly told. It really is like watching an early 60s teen beach movie and the pacing is on point. She knows the space well and uses what’s available to her. With great casting and intelligent blocking, Procter gives us an enjoyable evening of quirky theatre that’s perfect for Baltimore.
Moving toward the performance aspect of this production, the entire ensemble deserves props for their work in this piece. Playing 1960s beach teens is a feat in itself but all of these actors found their characters and played them well.

Andy Fleming, John Benoit, Christine Demuth, Rex Anderson, and David Brasington. Credit: StillPointe Theatre

Jess Rivera takes on the role of Marvel Ann and Bevin Keefer tackels the part of Bettina Barnes. Both of these actresses gave quite admirable performances and take the roles to heart as the vixen of the beach (Rivera) and the movie star who wants to be an actress (Keefer). Vocal choices and mannerisms drive these characters home nicely to help move the story along.
John Benoit as Kanaka, a little older and King of the Beach, is believable and has the surf tone down pat. He gives a confident performance if a bit scripted, at times, but that’s more the script itself rather than Benoit’s performance choices. Meanwhile, Andy Fleming takes on the role of Star Cat, the medical school drop-out who might have more to offer than he thinks and he plays the role with a self-assurance that is befitting of the part.
Character-wise, the cute-as-a-couple-of-buttons David Brasinston as Yo-Yo and Rex Anderson as Provoloney have to be my favorite. Did I mention the shorts? I did? I’ll say no more about it then. Brasinston and Anderson make a perfect comic team and exude a certain innocence and naivete that is spot on for these young coming-of-age characters. They play their homo-erotic subplot to the T and are hilarious in the process with their asides and quiet background interactions. The seem comfortable in these roles and look like they’re having a blast which, in turn, makes their characters even more lovable and helps the audience have just as much of a good time as they are. Kudos to these two for brilliant, funny performances.
Kathryn Falcone as Mrs. Forrest is impressive as the uptight, 50s/60s mother who seemingly only wants what’s best for her daughter and may or may not have a sordid past. Her character is already an anomaly for being a single mother in the time period but she plays it to the hilt. Mrs. Forrest does go through a comical, complex transition but Falcone plays it seamlessly giving an authentic performance and she is absolutely dedicated to the role.
Though the entire ensemble gives commendable performances, a couple of highlights of this production are June Keating as Berdine and Christine Demuth as Chicklet.

The Cast of Psycho Beach Party. Credit: StillPointe Theatre.

Keating shines as the good-goody, nerdy, but extremely intelligent Berdine portraying this character with a gentleness and purity that makes you root for her. Her subtle facial expressions and movements make her performance natural and totally believable. She’s a joy to watch and I hope to see more from Ms. Keating in the future.
As Chicklet, the most complex character in this piece, Demuth delves into this character and, for as kooky as Chicklet is, Demuth doesn’t play it too absurd and finds a good balance between camp and sincerity. Her transition from personality to personality is flawless (and quite comical, at times) and she has a great comprehension of this loony girl. Her dedication and commitment to this role make her performance a highlight to this production and a treat to experience.
Final thought… Psycho Beach Party at StillPointe Theatre is a fun, nostalgic, and comedic romp through an era when Frankie and Annette ruled the waves… in the movies, anyway, and everyone wanted to be a hep cat or a cool chick. StillPointe Theatre has managed to embody and represent this era in their intimate space with a colorful set design, authentic costumes, and, overall, a well put together production. The script is quirky and a little zany, but the cast is committed and give their all making for an enjoyable evening of theatre. If the crazy Baltimore weather is getting you down, check out Psycho Beach Party and join the grooviest kids in town for some fun in the sun!
This is what I thought of StillPointe Theater’s production of Psycho Beach Party… What did you think? Please feel free to leave a comment!
Psycho Beach Party will play through June 16 at StillPointe Theatre, 1825 N. Charles Street, Baltimore, MDFor more information or tickets, log on to or purchase them online.
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Review: Grey Gardens at Stillpointe Theatre

By Jason Crawford Samios-Uy
Running Time: 2 hours and 20 minutes with one 15 minute intermission
Looking on the bright side isn’t something everyone can do. Not everyone can find joy in the face of adversity but in Stillpointe Theatre’s latest offering, Grey Gardens with Music & Lyrics by Scott Frankel and Michael Korie and Book by Doug Wright, shows us there are folks who can. Directed by Danielle Robinette and Ryan Haase, with Music Direction by Ben Shaver, Choreography by Lauren Spencer-Harris, Set Design by Ryan Haase, Costume Design by Kit Crescenzo, and Lighting Design by Adrienne Gieszl, Grey Gardens shows that there are people who can see the light at the end of a dark tunnel and survive even when the world has forgotten them.

The cast of Grey Gardens at Stillepoint Theatre. Credit: Rob Clatterbuck/Stillepoint Theatre

The cast of Grey Gardens at Stillepoint Theatre. Credit: Rob Clatterbuck/Stillepoint Theatre

Some are very familiar with the Beale women and the documentary about an Easthampton mansion named Grey Gardens and some have never heard of such a place or this piece of Long Island history. I was introduced to the Beales a few years back when a very good friend described a 1970s documentary that I just had to watch about these two oddball recluses who lived in a dilapidated 28-room garbage and critter filled mansion with barely any utilities and engulfed in overgrown foliage in Easthampton among the well-maintained houses and lawns of the well-to-do and… I’ve been in love with these two oddballs ever since!
Co-Directors Danielle Robinette and Ryan Haase really captured the essence of this piece, which is survival and self-preservation, treating it dignity and respect. The relationship between this mother/daughter duo was so complex, they managed to touch on all the nuances such as the co-dependency and even jealousy these women had for each other. Their casting is on point and the experiment of using two spaces to represent to different times is a bona fide success. There is such a vast difference between the settings and time of Act I and Act II, it totally makes sense to use two separate spaces.
Speaking of spaces, Ryan Haase’s Set Design is, in a word, impeccable. He never ceases to amaze me with his original designs and this production is no different. Aside from being in two different spaces, the contrast between Act I and Act II is absolute and really compliments the story of these two women, not to mention, the attention to detail in Act II which adds tremendous value to this already superb production.
Another impressive aspect of this production is the phenomenal musicians in the orchestra. this orchestra is spot on in every number and has a very polished, well-rehearsed sound. Music Diretor Ben Shaver not only did a splendid job with the onstage ensemble, he managed to get together a top notch band including himself on Piano, Joe Pipkin on Drums, Stacey Antoine on Reeds, Billy Scaletta on Keyboards, and Andrea Gibeck on Violin. Kudos to each every one of them for a job well done.
Christine Demuth as Little Edie and Bobby Libby as Joe Kennedy. Credit: Rob Clatterbuck/Stillepoint Theatre

Christine Demuth as Little Edie and Bobby Libby as Joe Kennedy. Credit: Rob Clatterbuck/Stillepoint Theatre

I can’t overlook the Costume Design by Kit Crescenzo as they are spot on and authentic, adding realism to this production, especially in Act II where the costumes are near perfect matches to the wardrobe the women wore in the Maysles Brothers documentary.
Working in such unique spaces, Adrienne Gieszl has to be clever with her Lighting Design and it is absolutely appropriate and befitting to the piece, setting the mood for each scene and number subtly but surely.
The ensemble for this production is dedicated and gives a brilliant showing. Bobby Libby makes a great showing as Joe Kennedy with his booming, smooth voice and good grasp of the character while Barney Rinaldi has a great command of the stage and gives a confident performance as the Bouvier patriarch, Major Bouvier. Jon Kevin Lazarus tackles the role of Jerry and his interpretation of this character is absolutely endearing and just made me want to give him a big ol’ hug. Rounding out the ensemble is Terrance Flemming as Brooks and Brooks Jr. and Anne Murphy or Kate Kilner-Pontone as young Jackie Bouvier and Avagail Hulbert or Compton Little as young Lee Bouvier, all who give commendable performances. Also, I’d like to comment on the Choreography by Lauren Spencer-Harris that was absolutely appropriate for the piece adding great value to the piece as a whole.
Gould (Adam Cooley) at the piano and Big Edie (Zoe Kanter) signing as Jackie and Lee look on. Credit: Rob Clatterbuck/Stillepoint Theatre

Gould (Adam Cooley) at the piano and Big Edie (Zoe Kanter) signing as Jackie and Lee look on. Credit: Rob Clatterbuck/Stillepoint Theatre

Three actresses lead this exquisite ensemble in this journey through space and time and Edith “Big Edie” Ewing Bouvier Beale is played flawlessly by Zoe Kanter (in Act I as a younger Big Edie) and Danielle Robinette (in Act II as the older Big Edie that was immortalized in the documentary). Both of these actresses seem to really have a grasp on this character as Kanter plays her as whispy and carefree who values family above all, regardless of if it’s falling apart or not, and desperately trying to hold on to her only remaining child so she won’t be alone. And though Kanter is a bit stiff in her performance at times, almost as if she’s thinking too hard, she belts out her songs with a resonating and beautiful belt and she gives a fantastic showing. It’s also worth mentioning the great chemistry with Adam Cooley, who plays Gould, Big Edie’s ever-faithful accompanist, confidant, and friend and gives an admirable performance with a flamboyancy and flair I imagine the real George “Gould” Strong would have been.
Playing the role of older Big Edie in Act II, Danielle Robinette, couldn’t have played it better. With a brilliant make up job aging her to fit her character and her slouched posture and limping that was consistent through her entire performance made for a believable showing. Vocally, Robinette gives an outstanding performance, especially with the touching and tender “Jerry Likes My Corn.” Playing a somewhat iconic character can be daunting but Robinette takes this role and makes it her own.
Christine Demuth as Little Edie. Credit: Rob Clatterbuck/Stillepoint Theatre

Christine Demuth as Little Edie. Credit: Rob Clatterbuck/Stillepoint Theatre

Last but certainly not least, there’s Christine Demuth who is the absolute highlight of this production. She embodies both a young Little Edie and the iconic older Little Edie from the iconic documentary, all the while, bringing her own interpretation into the character. Not only does she give an outstanding vocal performance, her acting chops are superb. The subtle but definite change in her character from Act I to Act II is seamless and she plays it to the hilt. The real Little Edie had a very distinctive accent (New England, for sure) and Demuth is on point. From the moment she steps onstage until the emotional “Winter in a Summer Town,” she had me hooked. Kudos to Miss Demuth on a stellar performance and I can’t wait to see more from her.
Final thought…Grey Gardens is poignant and compassionate look into the lives of two women time and everyone else seemed to have forgotten but who had the gumption to survive. Whether or not you are familiar with the original Maysles Brothers documentary, Grey Gardens, you will not be disappointed with this production. Stillpointe Theatre has managed to bring a fresh look and feel to this piece and is not only able to express the absolute quirkiness of the Beales with brilliant casting and set designs, but also the tenderness and tragedy of this overlooked piece of Americana. This is NOT an experience you want to miss this season. Get your tickets now!
This is what I thought of Stillpointe Theatre’s production of Grey Gardens… What did you think? Please feel free to leave a comment!
Grey Gardens will play through February 4 at Stillpointe Theatre, 1825 N Charles Street, Baltimore, MD. For Tickets, go to for more information or purchase them online.
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