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.

Email us at backstagebaltimore@gmail.com

Like Backstage Baltimore on Facebook

Follow us on Twitter (@BackstageBmore) and Instagram (BackstageBaltimore)

Review: Disney’s The Little Mermaid at Cockpit in Court Summer Theatre

By TJ Lukacsina

Run Time: Approx. 2 hours and 15 minutes with one intermission

Under the Sea with Sebastian (Derek Cooper). Credit: Trent Haines-Hooper

Sebastian is certainly onto something when he tells Airel that “the human world is a mess. Life under the sea is better than anything they got up there.” Especially if he’s referring to Cockpit in Court’s latest production of Disney’s The Little Mermaid, with music by Alan Menken, lyrics by Howard Ashman and Glen Slater. This production is Directed by Jillian Bauersfeld, with Music Direction by Andrew Worthington, and Choreography by Karli Burnham. Originally produced by Disney Theatrical Productions, this adaptation from Disney’s 1989 film has a book by Doug Wright which has had some unfortunate rewrites since the show closed on Broadway in 2009. I’ll be upfront in saying that the majority of my qualms for this production stem from these poor rewrites and cuts that Disney made before allowing it to be licensed to local theatre groups. In general the writing is watered down and presentational on a basic, at times insulting, level and makes you feel as if you’re watching the Wikipedia Summary instead of the show. Thankfully, Jillian Bauersfeld’s handling of the show not only makes it palatable but also an enjoyable experience for all ages.

Briefly, The Little Mermaid is about Ariel, King Triton’s youngest daughter, who wishes to pursue the human Prince Eric in the world above. She bargains with the evil sea witch, Ursula, to trade her tail for legs by giving up her voice. But the bargain is not what it seems, and Ariel needs the help of her colorful friends, Flounder the fish, Scuttle the seagull and Sebastian the crab to restore order under the sea. (www.mtishows.com)

Under the Direction of Jillian Bauersfeld, Music Direction of Andrew Worthington and Stage Management of Robert W. Oppel, this production is highly entertaining and manages to allow the audience to drift from scene to scene without any pull from the undertow. The audience feeds off the energy flowing from the stage and one can’t help but enjoy being slightly distracted from little kids singing along to some of their favorite songs. That’s when you know you have tapped into the Disney magic and are encouraging future theatre lovers.

Allison Comotto as Ariel. Credit: Trent Haines-Hooper

Walking into the theatre you are treated with a projection of a beach and the sounds of waves and seagulls to help take you away from the pouring rain outside. Creating their magical world, Set Designer Michael Rasinski should be proud of the scene shop’s execution. These beautiful set pieces are large enough to maintain their presence while the cast dances on and around them. Corals in Ariel’s grotto and individual wood planks on Eric’s ship are the kinds of details that help transport you and are much appreciated. But even with the details, a little more attention to the destruction of the grotto would have helped the audience grieve with Ariel instead of wonder why she was so upset that her thingamabobs were moved a few feet away from her whatchamacallits. However, all of these set pieces would go unnoticed if it weren’t for Thomas Gardner’s Lighting Design. Overall, the lighting is aesthetically pleasing and appropriate. The heavy use of haze allowed the lighting to be seen to help fill the full stage space but allowed the lights to become distracting during the scenes on the apron where they obscured the projection heavily. Use of moving lights helped to create the underwater effect and while effective, would occasionally get lost due to similarities in the color pallette . Mr. Gardner certainly has an eye for key moments in songs and certainly knows when and how to highlight them for maximum effect.

Deanna Brill’s Costume Design walked the line between expectation and invention. I applaud the bold choice to tastefully show so much beautiful skin and the design of the mer-tales that were as practical as they were visually delightful. The ensemble were dressed vividly while the classic looks from the movie were still alluded to, from Prince Eric’s classic outfit to even the puffy sleeves on the wedding dress. From the fish, eels and even the birds, the costumes allowed the actor’s characters to come to life.  Although the designer is not listed in the program, make-up design was detailed and really helped to establish these characters as otherworldly. My main makeup concern was actually a lack of a certain makeup: the decision to not conceal actor’s tattoos. While appropriate in some shows, I found them to be a minor distraction for this production.

Gary Dieter as Scuttle. Credit: Trent Haines-Hooper

For a show that has a focus on story and is aided occasionally with dance, Karli Burnham’s Choreography helped to showcase the wonderful talent in the cast. With a working knowledge of the costumes, the choreography wasn’t limited to just foot movement but body and arm movements which allowed for a fluid movement from the actors. Some of the large ensemble numbers while portraying water felt repetitive and tedious in their attempt to fill the musical space. However, her work really shines with the small tap ensemble as well as the evolution of dance Eric teaches Ariel in “One Step Closer” was storytelling through dance.

The heavy lifting of Alan Menken’s score is in the capable hands of Andrew Worthington. The cast was well prepared and knowledgeable enough of their parts to make them their own and not rely on mimicking the original cast recordings. All voice parts were balanced and easily heard along with the pit thanks to the constant vigilance by sound designer Brent Tomchik. Following Mr. Worthington’s conducting was a competent orchestra consisting of established musicians in the area: Stephen Deninger, William Zellhofer, Christopher Rose, Stacey Antoine, Joseph Pipkin, William Georg, and Gregory Troy Bell. While proficient and accurate, the orchestra only suffered from a lack of actual brass and additional woodwinds. Even though those parts were covered in the keyboards, I found the patches were inconsistent among themselves and rarely compensates for the timbre from the actual instrument.

All these designers were able to achieve on a level which produced a thorough and consistent vision from Director Jillian Bauersfeld. With the aid of Assistant Director Jake Stuart, the cast is able to portray these fantasy characters with heart, believability and a recognizable humanity. While working under the shadow of a Disney title, it’s difficult to produce a show that allows artistic freedom with a vision while still giving the audience a dose of their expectations from the movie which kicked off the Disney animated renaissance. Ms. Bauersfeld was able to give us a cast worth watching and set up a show that ran smoothly. Small decisions to have the sea characters constantly moving arms or allowing several acting choices that were inconsistent to their characters are minor annoyances and never hurt the overall enjoyment. The true art of directing is assembling the right team to find the right cast and crew and allow everyone to do what they do while pushing them for more. Congrats to Ms. Bauersfeld on your ability to inspire everyone to give their best!

(l-r) Josh Schoff as Flostom, Holly Gibbs as Ursula, and Jonah Wolf as Jetsam. Credit: Trent Haines-Hooper

I have always felt that some of the hardest working actors seem to get lost in the ensemble. When asked to play several different characters, help shift set pieces, and often run off stage only to completely change costumes and makeup and run back on stage for two minutes of a three minute song, it’s hard to remember what is next let alone your name. Major kudos to Nicole Arrison, Olivia Aubele, Amy Bell, Lanoree Blake, Katelyn Blomquist, Karli Burnham, Kelsey Feeny, Shani Goloskov, Aaron Hancock, Mark Johnson Jr, Dorian Smith, Ian Smith and Jose Teneza for your energy, talent and being consistently in character. These actors jumped from the sailors steering the ship and winding the rope, to King Triton’s court, to the seagull ensemble, chefs and Ariel’s attendants in the castle and were always able to help establish the mood of the scene.

Featuring Ellen Manuel (Aquata), Elisabeth Johnson (Andrina), Malarie Zeeks (Arista), Kaitlyn Jones (Atina), Emily Caplan (Adella) and Hannah Bartlett (Allana), Ariel’s mer-sisters were a wonderful balance to Ariel’s positive and dreamy attitude. Using different hair styles and different shells while porting vastly different personalities and physical traits, each sister managed to be her own while presenting a unified front in their featured numbers “Daughters of Triton” and “She’s in Love.” Pulling double duty, they are a delight to see on land competing for Eric’s love in the vocal contest that plays up the fantastically poor vocals of these characters.

Brian Jacobs as Chef Louis. Credit: Trent Haines-Hooper

In supporting yet memorable roles, Brian Jacobs revels in playing Chef Louis during “Les Poissons” while Nicholas Pepersack’s dignified and proper Grimsby was always moving with purpose on stage. Mr. Jacobs clearly enjoys his song and slashes into his character to the breaking point of the cleaver. A fun cameo for sure that was able to get the giggles and laughs from the audience. Grimsby’s conversation with King Triton really gives Mr. Pepersack a moment to have a heartfelt moment and show how proud he is of Prince Eric.

My scene-stealing award goes to Gary Dieter who simply was Scuttle from the moment he flew in to his flawless tap dance in “Positoovity.” Scuttle was over the top and as endearingly annoying as I remember from the movie. It was hard not to smile when he was visible. Sharing the stage with him most of the time and impressively holding his own ground was Adrien Amrhein as Flounder. With sweet dance moves and a solid voice, this kid will secure more roles on stage and we will benefit from seeing him. Dutifully performing a poorly written character, his choices to not emphasize being friend-zoned and play up the best friend were appreciated.

Slithering onto the stage on their matching scooters were Josh Schoff as Flotsam and Jonah Wolf as Jetsam. The choice of scooters to maneuver them around stage was inventive and paid off in execution. Both actors were able to skillfully incorporate them in their character and not rely on them as a crutch. They were perfect henchmen to Holly Gibbs’ Ursula. Having arguably both the best and worst songs in the show, Ms. Gibb was able to make the most of her voice and complemented with acting ability that emanated from all eight limbs.

As ruler of the sea, Mark Lloyd’s King Triton managed to capture the softer side and showcased his mourning for his deceased wife and inability to properly communicate with Ariel. “If Only” is a great song to show that Triton is more than just a fierce ruler who banished his sister to a small part of the ocean but is also a parent who is sometimes unsure how to parent. He relies on Sebastian, played by Derek Cooper, to spy on Ariel and win her trust. With a clever costume and sublime vocals, Mr. Cooper is able to bring Sebastian into our lives with his own lovely interpretation. “Under the Sea” is his time to shine and when out in front singing he earns your attention with powerful falsettos and fantastic facial expressions.

The Daughters of Triton. Credit: Trent Haines-Hooper

Our leading man, Jim Baxter hits the stage as Prince Eric while taking charge of his ship. Mr. Baxter certainly looks every bit of what you’d expect from the cartoon and captures his love for adventure when on the ship and when courting Ariel in the second act. When beginning “Her Voice” he was oddly out of breath but managed to salvage some and really drive the second half of his number home with gusto and emotion. Not to be out-done by her new fiance, Allison Comotto’s Ariel is exactly what you could want from a Disney princess. Ms. Comotto is able to capture Ariel’s longing and desire to escape all while dealing with difficult family members. Allison really comes to life in Act two when her curiosity and excitement can only be communicated through her facial expressions. The joy Ariel finds in the new world is brilliantly shown during “Beyond My Wildest Dreams” where she sings her inner monologue to us. But however fantastic she is, she is at her prime when singing “Part of Your World.” Congratulations on your fairytale engagement and for inspiring a cast to follow your lead.

Disney’s Little Mermaid is a local theatre production that is able to rely on the community of actors, crew, musicians and artistic staff to bring its own magic to the stage. They should be proud of the work that they have poured into this show. The perfect escape from the summer heat, bring the family to see Cockpit in Court’s production where “it’s better down where it’s wetter.”

Disney’s The Little Mermaid will run through Auguest 5 at Cockpit in Court Summer Theatre, CCBC Essex, Robert and Eleanor Romadka College Center, F. Scott Black Theatre. For tickets call the box office at 443-840-ARTS (2787) or purchase them online.

Email us at backstagebaltimore@gmail.com

Like Backstage Baltimore on Facebook

Follow us on Twitter (@BackstageBmore) and Instagram (BackstageBaltimore)

Review: Shrek the Musical at Dundalk Community Theatre

By Jason Crawford Samios-Uy

Running Time: 2 hours and 45 minutes with one 15-minute intermission
Lately, within the last few years, either fortunately or unfortunately, a plethora of “new” musicals to hit the scene have been based on Hollywood films. There have been some doozies such as Ghost or The Toxic Avenger and even Evil Dead the Musical (which I actually adore… hey, we all have our vices) but, with that said, some actually lend well to the stage such as Hairspray, The Bodyguard, Anastasia, Newsies, and the like and Dundalk Community Theatre’s latest offering, Shrek the Musical, based on the Dream Works Animation Motion picture and the book by William Steig, with Music by Jeanine Tesori and Book & Lyrics by David Lindsay-Abaire Directed by John Desmone, with Music Direction by Nathan Christover Scavilla, and Choreography by Vincent Musgrave, is one of those that actually transfers nicely to the stage and fun for the entire family.

Gary Dieter, Dickie Mahoney, Sherry Benedek, and Peter N. Crews. Credit: DCT


In a nutshell, the story goes something like this: A bunch of fairy tale characters are banished from the town of Duloc by the Napoleon complex-ridden Lord Farquaad and they end up in the swamp that is already inhabited by a big green, solitary ogre, Shrek, and he wants nothing to do with any of it. To get them all off his claimed land, he goes to Duloc to try and reason with Lord Farquaad but along the way, Shrek meets and saves Donkey, a talking donkey, who is being chased by Lord Farquaad’s guards. Donkey takes a shine to Shrek and sticks to him like glue. Once in Duloc, Farquaad agrees to officially deed the land over to Shrek, but in return, sends Shrek on a mission, of sorts, to rescue Princess Fiona, who has been locked up in a tower for about 20 years, guarded by a fire-breathing dragon. Farquaad plans to marry Princess Fiona to rise in the ranks of monarchy and become a king. Shrek and Donkey succeed and escort Princess Fiona back to Duloc and along the way, something sparks between the princess and the Ogre, but Fiona is hiding a deep, dark secret and she wants to keep it that way. The princess is delivered to Lord Farquaad but, as in all good stories, there’s a twist that you’ll have to see, if you don’t know it already, that is.
Set Design by Marc W. Smith is simple, yet quite appropriate on this one. Being familiar with Smiths outstanding design work, he seems to have toned it down a bit for this production using backdrops and cutouts as opposed to his usual original complex and detailed design and construction. This isn’t to say the Set Design wasn’t amazing, because it was very polished with professional backdrops from Kenmark Scenic Backdrops that flew in and out with ease.

Dickie Mahoney, Peter N. Crews, and Gary Dieter. Credit: DCT


Costumes for a show like this can be challenging and downright difficult but Costume Design by Tracy Bird is spot on as all the fairy tale characters have appropriate wardrobes and each is easily distinguishable. Shrek, Donkey, Fiona, and Farquaad have near perfect wardrobes and each fairy tale character has his or her own unique look making for a vast and quite impressive Costume Design by Bird.
Vincent Musgrave hits the nail on the proverbial head with his choreography, especially for certain numbers such as “What’s Up Duloc?” and “Morning Person” and for as enthralling as these numbers were, dance-wise (and they were amazing… the ensemble members included in these numbers are on point!), it feels as though so much concentration was put into these couple of numbers that the others were a bit looser. Regardless, overall, the choreography is tight and the ensemble is dedicated and well-rehearsed giving 100% to each number.

Dickey Mahoney as Shrek and Sherry Benedek as Fiona. Credit: DCT


Musically, this production is top notch and Music Direction by Nathan Christopher Scavilla is absolutely on point. He already has an extremely able ensemble to work with so all the numbers were strong and confident. The pit orchestra is flawless in their efforts and though they are not listed in the program, I highly suggest an insert thrown in with all their names because this orchestra is well-rehearsed and polished, sounding like a CD playing or a professional Broadway theatre orchestra. Kudos to Scavilla for getting together such a great sounding orchestra and getting his cast to sound near perfect and in harmony in every number.
Baltimore theatre veteran John Desmone takes the helm of this production and his Direction stays true to the film almost everyone knows but still manages to put his mark on it and express his vision of acceptance, tolerance, and self discovery. Knowing a little bit of the history of Shrek the Musical in Baltimore theatre, I’m aware that the actors portraying Shrek and Donkey have a history playing the roles, opposite each other, in several other productions and it seems Desmone may have depended on that history a bit and left Shrek and Donkey to their own devices but it didn’t hinder the production value a lot. He tells the story in a well-cast, well-thought out production guiding this talented cast to a very entertaining and fun production.

Peter N. Crews as Lord Farquaad. Credit: DCT


Peter N. Crews takes on the role of Lord Farquaad, the small minded and statured villain of the story and, anyone who tackles this role has my applause and ovation because, physically, I couldn’t imagine spending an entire show crawling around on my knees. It may be easier than it looks, but, still… Crews has a good grasp of this character and gives an admirable performance but it falls a little flat. His portrayal seems a little more whiney than angry, though it could be a directorial choice. Vocally, Crews is OK and holds his own in numbers such as “What’s Up Duloc?” and “Ballad of Farquaad.” Overall, he gives a confident performance and, like I said, anyone who takes on this crazy role has my kudos for his bravery and physical prowess.

Gary Dieter as Donkey. Credit: DCT


Gary Dieter tackles the challenging role of the chatty, expert one-liner, loyal friend Donkey, who doesn’t leave Shrek’s side once they meet. Dieter is a terrific showman and absolutely makes this role his own and doesn’t give a carbon copy of the uber-successful portrayal Eddie Murphy gave in the film and he has my utmost respect and admiration for that aspect of his portrayal. He understands his audience and the audience loves him. However, though his asides and ad libs had the audiences eating out of his hands, I would have preferred he pulled it back a bit as it seems he’s trying too hard for the laugh. Again, the audience adores him and he had them laughing in the isles so, maybe it’s just me. Dieter is an accomplished dancer, but in this role dancing isn’t really showcased and his vocals are commendable in his featured numbers “Don’t Let Me Go” and the soulful “Make a Move,” in which he is accompanied by the titillating 3 Blind Mice (beautifully played by Lacy Comstock, Emily Morgan, and Sydney Phipps). Overall, his comprehension of the story and his character is apparent and he has a great command of the stage making for a strong, confident performance.

Dickie Mahoney as Shrek. Credit: DCT


Taking on the titular character of Shrek, Dickie Mahoney hits the ground running with this role. As stated before, Mahoney has a history with this character and he’s comfortable and confident in his portrayal. He gives us a brilliant portrayal but, at times, it seems he is going through the motions, but after performing the role so many times, it’s somewhat understandable and the audience, en masse, doesn’t seem to mind. He, too, makes the part his own and does not give us a copy of the Mike Meyers portrayal of the big green ogre and it’s refreshing to see. Vocally, Mahoney has a commanding smooth, clear voice that resonates throughout the theatre making the songs like “Bright Big Beautiful World,” “I Think I Got You Beat,” and the poignant “When Words Fail” sound effortless. He does utilize the Irish/Welsh/Scottish accent always associated with this character and he does lose it slightly every now and again, but all things considered, he’s got it down pat. Overall, Mahoney gives a praiseworthy performance that is filled with heart and dedication that is a joy to watch.
Two standouts in this production are Sherry Benedeck as Princess Fiona and Lisa Pastella as the Voice of Dragon who belt their way through songs and take command of not only the stage, but of the entire theatre.

Sherry Benedek as Fiona. Credit: DCT


Sherry Benedek as Princess Fiona is a powerhouse. She’s a triple threat, taking the role and putting her own twist on it, making it original and vocally, she is a powerhouse. I found myself absolutely enthralled in her singing in numbers such as “I Know It’s Today” (with the younger Fionas, Juliet Jones and Anna Adelstein, who both hold their own and blend nicely with Benedek) and “Morning Song” in which she gets a chance to show us her brilliant dancing/tapping abilities. Benedek is a joy to watch and I’m looking forward to seeing more from this actress.
Dragon, though a puppet, needs a heart and soul and Lisa Pastella gives her just that. We don’t see Pastella (except when she’s scurrying around as The Wicket Witch with the ensemble), but with her featured number, the soulful, heartfelt “Forever,” I didn’t need to see her because he voice did it for me. Vocally, she is crystal clear, smooth, and hits every note flawlessly making for an exciting and powerful performance.

Gingy and Lord Farquaad. Credit: DCT


The entire ensemble works well together and seem to be having a great time up on the stage together. Featured characters like the fed up activist, Pinocchio (Josh Schoff), The Big Bad Wolf in drag (Mark Lloyd), The Three Bears (Stacey Bonds, Vincent Musgrave, Sarah Jones) and, who could forget poor wounded/cracked Gingy (Veronica Lockett) round out the cast nicely and the actors bring an updated feel and humor to them, as required by the story. All around, the entire cast of this show deserves kudos for their dedication and effort for their outstanding chemistry and giving 100% to this production.
Final thought… Shrek: The Musical at Dundalk Community Theatre is a family friendly romp peppered slyly with a few adult-oriented jokes to keep it interesting, with fabulous voices, exciting choreography, colorful and fun costumes, and a stage full of familiar and new fairy tale characters that will keep you entertained and engaged throughout the evening. Beyond the great production value, the important message of this piece, which is acceptance, not only of others, but of yourself, is what you should take home. The performances are strong and confident and the entire ensemble works quite well together making for a charming, enjoyable, and toe-tapping evening of theatre that should not be missed!
This is what I thought of Dundalk Community Theatre’s production of Shrek the Musical… What did you think? Please feel free to leave a comment!
Shrek the Musical will play through May 7 at Dundalk Community Theatre, The Ravekes Theatre, CCBC Dundalk, 7200 Sollers Point Road, Dundalk, MD. For Tickets, call the box office at 443-840-2787 or purchase them online.
Email us at backstagebaltimore@gmail.com
Like Backstage Baltimore on Facebook
Follow Backstage Baltimore on Twitter (@backstagebmore) and Instagram (backstagebaltimore)

Review: Monty Python's Spamalot at Cockpit in Court Summer Theatre

by Jason Crawford Samios-Uy
spam resize (Page 1)
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.

DSC_0125-600x401 (1)

(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.
DSC_0084-600x401

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.