Famed Farce Noises Off to Receive Resident Company Treatment With Comically Chaotic Revival at Baltimore's Everyman Theatre



If you’re a theatre lover, you don’t want to miss this show wherever and whenever it is playing! This hilarious farce shows the real-world problems that can and inevitably arise during any production and relatable to every actor who has tread the boards! So excited for this production!
FOR IMMEDIATE RELEASE
April 25, 2017
 
Theatre’s Season Wraps with Sardines, Silliness and Split-Second Timing
Baltimore, MD – Everyman Theatre’s Resident Company of actors transforms into a British company of actors during the 1970s in this hotly anticipated revival of Tony Award-Winner Michael Frayn’s side-splitting farce to end all farces, Noises Off, directed by Founding Artistic Director Vincent M. Lancisi and running from May 17 through June 18, 2017.
With this love-letter to the thrilling unpredictability of the stage, Everyman Theatre ends its 2016/17 season on a zany note, joined by eight of its Resident Company members portraying a cast of bumbling British thesps (starring in the fictitious play-within-a-play, “Nothing On”) whose backstage buffoonery threatens to steal the show. With their opening night on London’s West End just hours away, can the cast pull their act together before lost lines, love triangles and flying sardines upstage the production?
Punctuated with wall-to-wall wackiness, carefully timed/choreographed hijinks, and spiked with color-popping 1970s pizazz and sight gags galore, Noises Off considers what happens when everything thatcan go wrong, does go wrong, earning laughs-a-minute from its talented cast.
“We’ve all heard the saying that ‘dying is easy, comedy is hard,’ but working within a Resident Company provides a level of family-like comfort for the actors that paves the way for hilarity of the highest caliber to ensue,” said Lancisi. “When audiences recognize our Resident Company members shifting between the characters they play, and the characters that those characters play (in the play within the play), it only adds to the infectious mayhem – literally tripling up on the fun.”
Resident Company members Deborah Hazlett (The Roommate, Death of a Salesman, A Streetcar Named Desire, An Inspector Calls) and Danny Gavigan (A Streetcar Named Desire, Death of a Salesman, Ghosts, Deathtrap) lead the show-within-a-show cast as Dotty Otley, the top-billed star ofNothing On and Garry Lejeune, her leading man. They are joined by fellow Resident Company members Bruce Randolph Nelson (Great Expectations, Wait Until Dark, Death of a Salesman, A Streetcar Named Desire) as Nothing On co-star Frederick Fellowes, Beth Hylton (A Streetcar Named Desire, Death of a Salesman, Outside Mullingar) as actress Belinda Blair, and Wil Love (Death of a Salesman, Outside Mullingar, Deathtrap) as Selsdon Mowbray, a veteran actor with a weakness for the bottle. The show-within-a-show cast is rounded out by Emily Kester, making her Everyman Theatre debut as the naïve actress Brooke Ashton.
Other featured Resident Company actors in Noises Off include Carl Schurr (Death of a Salesman, A Streetcar Named Desire, Blithe Spirit) as Lloyd Dallas, the director of Nothing On, with Eric Berryman(Red, Topdog/Underdog, A Raisin in the Sun) and Megan Anderson (Dot, Wait Until Dark, Death of a Salesman, A Streetcar Named Desire), respectively, as stage manager Tim Allgood and assistant stage manager Poppy Norton-Taylor.
The Noises Off design team includes Resident Designer Company members Daniel Ettinger (Set Design), Jay A. Herzog (Lighting), Gary Logan (Dialects), Lewis Shaw (Fight Choreography) and Jillian Mathews (Props Master). Costume Design is provided by Eric Abele and Sound Design by Phillip Owen.
Noises Off first premiered in 1982 in London and opened in 1983 on Broadway where it received a Tony Award nomination for Best Play. Performed nearly nonstop ever since, Everyman Theatre’s production follows a recent Broadway revival produced by Roundabout Theatre Company.
Tickets for Noises Off are now on sale online (www.everymantheatre.org), by phone (410.752.2208), or at the Everyman Theatre Box Office (315 W. Fayette Street, Baltimore, MD 21201).
Event Listings
Pay-What-You-Can Performance
May 16, 2017 at 7:30 PM
Pay-What-You-Can (suggested minimum donation: $5) to see the final dress rehearsal of Noises Off. Tickets are sold on a first-come, first-serve basis at the Box Office beginning at 5:30pm. Tickets must be paid for in cash. Seating is general admission.
TNT: Theatre Night for Teens
May 16, 2017 at 6:00 PM
Students in grades 9-12 can enjoy dinner from Noodles & Company, an artist meet-and-greet withNoises Off prop master Jillian Matthews, and the 7:30 PM performance, followed by post-show discussion and dessert. Tickets: $10 each.
The Show Must Go On! A Stoop Storytelling Event
May 22, 2017 (Drinks/music at 6:00 PM; Performance at 7:30 PM)
Everyman and Stoop Storytelling partner to present an entertaining evening of hilarious-but-true stories about the unexpected pitfalls and pratfalls of the stage. Tickets: $20 each.
Taste of Everyman: Wacky Mix-Ups
June 1, 2017 at 6:00 PM
Mix and mingle with other theatre lovers during a pre-show social, this month featuring unique cocktail concoctions combining the most unexpected ingredients, and paired with hors d’oeuvres by The French Kitchen. Tickets: $60 each for show and event.
World of the Play
June 3, 2017 at 5:00 PM
Take part in an in-depth panel discussion on the themes and topics of the show, hosted by Marc Steiner (WEAA’s The Marc Steiner Show). Tickets: $5 each (free for subscribers).
Salon Series: Women’s Voices: Trouble In Mind
June 5, 2017 (Cocktails at 6:00 PM; Performance at 7:00 PM)
A reading of Trouble In Mind by Obie Award-winning African-American playwright Alice Childress, directed by Resident Company member Dawn Ursula. Tickets: $15 each ($5 for students).
Cast Conversations
Jun 8, 2017 at 9:30 PM
Talk about the play with the members of the cast after the show. Free.
About Everyman Theatre
Everyman Theatre is a professional Equity theatre company celebrating the actor, with a Resident Company of artists from the Baltimore/DC area. Founded in 1990 by Vincent M. Lancisi, the theatre is dedicated to engaging the audience through a shared experience between actor and audience seeking connection and emotional truth in performance. Everyman is committed to presenting high quality plays that are affordable and accessible to everyone. The theatre strives to engage, inspire and transform artists, audiences and community through theatre of the highest artistic standards and is committed to embodying the promise of its name, Everyman Theatre.
Noises Off is presented by production sponsor University of Maryland, Baltimore. The 16/17 Season is generously sponsored by LifeBridge Health and Neil & Ellen Meltzer. Everyman Theatre’s Pay-What-You-Can nights are supported by Dr. E. Lee & Bea Robbins. Everyman Theatre is proud to have The Baltimore Sun Media Group and WYPR Season Media Sponsors. MSAC provides financial support and technical assistance to non-profit organizations, units of government, colleges and universities for arts activities. Funding for the Maryland State Arts Council is also provided by the National Endowment for the Arts, a federal agency.
Everyman Theatre is a proud member of the Bromo Tower Arts and Entertainment District and the Greater Baltimore Cultural Alliance.
Vincent M. Lancisi is the Founding Artistic Director of Everyman Theatre; Jonathan K. Waller is the Managing Director. For information about Everyman Theatre, visit www.everymantheatre.org or call 410.752.2208.

Review: Los Otros at Everyman Theatre

By Jason Crawford Samios-Uy

Running Time: 90 minutes with no intermission
When people who come from different walks of life collide, directly or indirectly, one wonders how the two came together. What journey did they take to place one in the other’s life? Everyman Theatre’s latest offering, the premiere of Los Otros, with Book & Lyrics by Ellen Fitzhugh and Music by Michael John LaChiusa, Direction by Noah Himmelstein, and Music Direction by Jon Kalbfleisch gives us a glimpse into that journey and of the steps two characters take through life to cross each other’s path. I’d like to, if I may, give major kudos to Everyman Theatre, as well, for stepping out of their “comfort zone” of strictly plays and producing not only a musical but a brand new, commissioned musical, at that!

Judy McLane and Philip Hernandez. Credit: ClintonBPhotography


Los Otros revolves around Lillian, a white woman, and Carlos, a Hispanic man, who both live in California and is told in a series of vignettes composed of their memories, reflections, and discoveries about themselves and the world around them between the years of 1938 and 1995. According to Everyman Theatre, “Inspiring, energetic and emotionally charged, this semi-autobiographical work captures a universal story of interconnectedness, love, risk and revelation through the lens of two people’s lives.”

Director Noah Himmelstein, Composer Michael John LaChiusa, Writer/Lyricist Ellen Fizhugh. Credit: Kirstin Pagan


The story of Los Otros itself is engaging and I feel for these characters and am genuinely interested in their lives and the stories they tell. The book by Ellen Fitzhugh is authentic and raw with simple storytelling that makes this piece so charming. For spanning so many years, it’s organized and easy to follow and the ending is certainly fitting and satisfying. Michael John LaChiusa’s music leaps off the page and is absolutely appropriate for this piece. I appreciate the hints of different styles representing different eras and though some of the melodies seem a little elementary, overall, the score is pleasing and well thought-out.
For as good as the music and book are, Lyrics, also by Fitzhugh, though good, in general, could use a little more editing. At points it seems Fitzhugh is trying too hard for a rhyme and over-telling the story through song. A couple of the pieces, such as “Arturo,” which is a still a good song, had many parts that sound more like a recitative that can be been spoken rather than trying to throw it into a song. That being said, Music & Lyrics, aside from a few minor, specific criticisms that may smooth out over time, work very well together for this piece as a whole.

Judy McLane. Credit: ClintonBPhotography


Once again, Everyman Theatre has no disappointed with their beautiful set. Set Design by Daniel Ettinger is simple and minimal, yet elegant and appropriate for a production of compiled vignettes. Each character has his or her own main space on either side of the stage with shared space in the center. The use of sliding lattice and slight levels makes the setting interesting without taking away from the action of the piece. This is yet another fantastic set design from Daniel Ettinger.

Philip Hernandez and Judy McLane. Credit: ClintonBPhotography


Lighting and Sound Design by Nancy Schertler and Ken Travis, respectively, also adds to this piece and does not distract from it. Both work in tandem to set the mood of each vignette and brings the audience into the piece subtly guiding the emotion of the action onstage.
David Burdick’s Costume Design is minimal, as it should be for a piece such as this, and each character is costumed befittingly with an wardrobe that is simple, but versatile enough add a piece or take away a piece to represent the different eras of the five decade timeline.
Music Direction is tackled by Jon Kalbfleisch and I would imagine that taking the musical reigns of a brand new piece can be challenging, even daunting, but if it is, Kalbfleisch does an exquisite job. Under his direction, the vocal performances and orchestra were well-rehearsed, giving us a superb final product.

Philip Hernandez. Credit: ClintonBPhotography


Everyman Theatre’s new Associate Artistic Director, Noah Himmelstein, takes the reigns of this production and not only took on Direction of this new and re-imagined piece, but also had a hand in development. His vision is unpretentious, but innovative and effective. His vision is evident and he handles the material nicely and makes it relevant for today’s social and cross-cultured environment. The story is told clearly and the characters are precise making for an enjoyable and enlightening evening of theatre.
Both Judy McLane and Philip Hernandez, both experienced, veteran actors of stage and screen do an impeccable job bringing these characters to life and embodying them completely. Their performances are absolutely engaging and their storytelling is top notch. The connection between these two characters is gradual and clear and both McLane and Hernandez follow this connection at and equal pace impressively reaching the climax seamlessly and simultaneously.

Philip Hernandez. Credit: ClintonBPhotography


Philip Hernandez takes on the role of Carlos, who goes on a journey of sexual identity, defining and finding love, and honoring culture and Hernandez plays it near flawlessly. He has a strong, confident presence and seems to really understand his character. Vocally, he gives an admirable performance with a clear voice that resonates beautifully throughout the theatre. Though, at times, the performance seemed a bit (just a bit) forced, his gradual change in demeanor during his storytelling of his childhood through adulthood is seamless and one is brought into an immersed in the story rather than just sitting on the outside listening making for a commendable and impressive performance.

Judy McLane. Credit: ClintonBPhotography


Judy McLane as Lillian is an absolute joy to watch. She gives an outstanding, natural performance with an exceptional ability to tell a story. McLane presents the authenticity of her character tastefully but with a raw, unabashed undertone throughout the entire production. Life has thrown some curve balls at Lillian and McLane portrays it near perfectly. Her vocal performance is outstanding and strong even while smoothly (and brilliantly) acting her way through her songs. Overall, she gives a solid and remarkable performance.
Final thought… Los Otros at Everyman Theatre is basically a poignant coming-of-age tale spanning many decades and two different cultures. The simple storytelling is what makes this piece work so well and the music is fresh with hints of each decade it represents though the lyrics are a bit hokey and elementary, at times, while at other times, too much. The script is light as the concentration is on the music, but it is engaging and commanding. The journey these characters take us on is mixed with sadness, happiness, smooth sailing, and bumps in the road, but the ending of this story is worth the traveling. It’s always a pleasure and a privilege great to see new and re-imagined works at our larger small theatres in Baltimore and Everyman Theatre is to be commended for their work with this piece. This is definitely a production worthy of your time and consideration!
This is what I thought of Everyman Theatre’s production of Los Otros… What did you think? Please feel free to leave a comment!
Los Otros will play through April 23 at Everyman Theatre, 315 West Fayette Street, Baltimore, MD. For Tickets, call the box office at 410-752-2208 or purchase them online.
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Review: Wait Until Dark at Everyman Theatre

By Jason Crawford Samios-Uy
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Running Time: 2 hours with one 15-minute intermission.
I’ve always been a fan of a good thriller. The nail biting, the jumps, the wondering what’s going to happen next, the edge-of-your-seat stuff… everything! I also love it because it accelerates the heart rate and you don’t even have to step on a treadmill, and we could all use some good cardio every now and again! The latest offering and opening production of the 2016/2017 season at Everyman Theatre, Wait Until Dark by Frederick Knott, Adapted by Jeffery Hatcher, and Directed by Donald Hicken is two hours of excitement, intrigue, and entertainment that gets the heart racing and will have you leaving the theatre with shorter nails and when you walked in.

Megan Anderson as Susan. Credit: ClintonBPhotography

Megan Anderson as Susan. Credit: ClintonBPhotography


Wait Until Dark is cleverly crafted with a ruthless gangster-type, an ousted NYPD detective, an army buddy, a bratty neighbor girl, an absent husband, and a seemingly helpless blind housewife who are all intertwined in a deadly game of hide and seek and catch-me-if-you-can. If this isn’t intriguing enough, throw in Greenwich Village, NYC in 1944 and a basement apartment and you have a fast paced, intelligent story that has you writhing in your seat and wanting to jump up on stage to yell directions to the protagonist.
Set Design by Daniel Ettinger is authentic, very well thought-out and compliments the story beautifully. Being a unit set and a basement apartment, Ettinger uses levels and, working along with the blocking of the piece, keeps the action moving and interesting. The set was so realistic, I really felt I was looking in through the window of a 1940s apartment in Greenwich Village so Mr. Ettinger has absolutely and superbly accomplished his set designing goals.
Eric M. Messner as Mike and Megan Anderson as Susan. Credit: ClintonBPhotography

Eric M. Messner as Mike and Megan Anderson as Susan. Credit: ClintonBPhotography


Costume Design by Ben Argenta Kress is spot on for the 1944 New York City setting and each actor’s wardrobe is seemingly researched and well though-out. Also, the costumes did not only fit the piece, the actors seemed to be very comfortable in what he or she is wearing, adding to the natural feel of the performances. From the saddle shoes of the upstairs neighbor girl to the uniform of a WWII soldier back from Italy, everything was in place and was matched impeccably with the piece.
Continuing with the technical aspect of this production, I couldn’t call this review complete without mentioning Lighting Design by Jay A. Herzog and Sound Design by Patrick Calhoun. Along with the Set Design and Costume Design, the Lights and Sound make this production a standout in current-running Baltimore theatre.
Megan Anderson as Susan. Credit: ClintonBPhotography

Megan Anderson as Susan. Credit: ClintonBPhotography


Many folks have different theatre tastes – traditional, minimal, spectacle, etc. – and I am more of a traditionalist, overall, but this production is truly impressive for the fact that I felt as though I was sitting in a movie theatre watching a film because of the Light and Sound Design. The cinematic feel was just want this production needed and every cue was chosen wisely.
Patrick Calhoun’s choice of incidental music and dramatic string chords were not overbearing but used seamlessly with the scenes playing out on the stage. The attention to detail is absolutely remarkable from the footsteps in the hall, the locking of doors, and the city sounds to the ticking clock, that emphasizes the suspense and has your heart beating just as loudly and in rhythm. Calhoun’s design is extraordinary and is a major part of the success of this production.
In 1967, Wait Until Dark was made into a successful film starring Audrey Hepburn, Alan Arkin, and Richard Crenna using the film noir style. The “noir” bit was a huge part in making the film successful (not to mention Miss Hepburn, of course), and this fact does not go unnoticed by Jay A. Herzog. His Lighting Design was near perfect for this production and completed the aforementioned cinematic feel of this piece. His use of lighting through the windows and through the open doors is realistic and added to the action. The prop lighting, such as lamps, flashlights, and the like fit in flawlessly, as well, adding subtle practicality to the entire production. The piece is dim, as all noir pieces are, but Herzog found a happy medium between the dark scenes and brightly lit scenes that did not take away from or hinder the action or story, but helped it along making for a very effective design.
The technical aspect of this production took this piece to the next level and Ettinger, Kress, Herzog, and Calhoun are to be commended for their impeccable technical work.
Taking the helm of this production, Director Donald Hicken’s vision for Wait Until Dark is genuine and well examined. He keeps the piece in its traditional setting, which is ideal for this piece, and his blocking keeps the actors moving through the various entrances and exits and keeps the action exciting. All of the technical and performance elements mesh together wonderfully and the tension is clearly present throughout but Hicken keeps the piece entertaining, as well, as to not overload the audience with horror and suspense. Overall, Hicken does a tremendous job in guiding this production.
Megan Anderson as Susan and Bruce Randolph Nelson as Roat. Credit: ClintonBPhotography

Megan Anderson as Susan and Bruce Randolph Nelson as Roat. Credit: ClintonBPhotography


At a particularly intense point in this piece, there is a drag-out, knock-down fight between a couple of important characters and though the scene choreographed by Fight Choreographer Lewis Shaw is respectable and passionate, something seemed to be off kilter. Perhaps it is the unbalanced momentum of the scene that seems to be interrupted here and there, giving us spurts of extreme physicality with dark quiet in between. The entire fight scene just seemed a bit forced and not as naturally flowing as the rest of the piece. Still, it was a respectable fight scene and the intensity was definitely there, making the audience gasp and clutch the arm rests while waiting to see who the ultimate victor is.
To comment on the performance side of Wait Until Dark, I’d like to begin by stating that the entire ensemble is impressive from the supporting actors such as Arturo Tolentino who gives a strong performance as the congenial WWII veteran husband, Sam, and Todd Scofield who is a convincing gruff, weathered, and disgraced former member of the NYPD.
Tolentino is confident as the very likable, young newlywed, Sam, who isn’t going to do things for his disabled wife, but wants her to do things for herself and he’s very natural and gives a very pleasing performance.
Todd Scofield as Carlino and Eric M. Messner as Mike. Credit: ClintonBPhotography

Todd Scofield as Carlino and Eric M. Messner as Mike. Credit: ClintonBPhotography


Scofield takes on Carlino, the first character to whom we are introduced and he sets the tone nicely, giving a robust, accurate portrayal of a character he seems to truly understand.
Bruce Randolph Nelson tackles the role of the old time, tough-guy ganster, Roat. He gives a commendable performance as he not only plays the tough gangster, but has to play a mild-mannered husband, as well as an in-your-face father, all within moments of each other. The contrasts between the characters he portrays and the ease in which he portrays them is evidence of the self-assurance he conveys on stage making for a magnificent, strong performance.
Bruce Randolph Neslon as Roat. Credit: ClintonBPhotography

Bruce Randolph Neslon as Roat. Credit: ClintonBPhotography


In this particular production, the role of Gloria, the bratty upstairs neighbor girl who “helps” her disabled downstairs neighbor, is played by two young actresses, Ui-Seng Francois and Shannon Hutchinson. I had the pleasure of experiencing the performance of Ui-Seng Francois and I was not disappointed. Francois’ performance is so authentic, I found myself actually hating this little monster and wishing she’d step out in front of a NY Transit bus every time she opens her nasty flippant mouth. So, needless to say, wishing for her unpleasant demise is a credit to her very strong performance. Also, this character’s change throughout the piece is very interesting and Francois pulls it off flawlessly and she ended up probably being my favorite character in the piece. I’m looking forward to seeing more from this young lady.
Eric M. Messner takes on the role of Mike, a jovial, friendly soldier who’s back from the war on the Italian front but, as with many things and people, never judge a book by its cover. Messner plays the complex character brilliantly and comfortably with a confidence and definite command of the stage. This character is supposed to be likeable from the beginning and Messner accomplishes this nicely with his large stature, his voice – a soothing timber and tone, his gentle mannerisms, and giving off the overall sense of security. He is likened to a gentle giant that you’d like to have around in a pinch.
Megan Anderson as Susan. Credit: ClintonBPhotography

Megan Anderson as Susan. Credit: ClintonBPhotography


A definite highlight of this production is Megan Anderson as Susan, the blind but independent housewife who ends up in the middle of this nerve-racking tale, who has a constitution of steel and discovers exactly how strong she can be despite her disability. Portraying a character with any disability is a challenge for any actor, but Anderson pulls it off flawlessly and authentically. She does not falter or drop her “blindness” at any moment in the production and her dedication and understanding not only of the disability of this character, but of the character herself is clear in superb performance. Her transition from the poor blind woman we feel sorry for to strong blind woman we’re rooting for is gradual, realistic, and seamless. She is an absolute joy to watch and her command of the stage makes for a solid and worthy performance.
Final thought… Wait Until Dark is a suspenseful and extremely entertaining show that will raise your heart rate, have you biting your nails wondering who is friend and who is foe, and rooting for the assumed underdog. It definitely has all the requirements for a good thriller with a twisting story and very talented cast that will have you on the edge of your seat from beginning to end.
This is what I thought of this production of Wait Until Dark.… what do you think?
Wait Until Dark will play through October 9 at Everyman Theatre, 315 W. Fayette Street, Baltimore, MD 21201. For tickets, call the box office at 410-752-2208 or purchase them online.