Extra! Extra! A Murder is Announced at Artistic Synergy of Baltimore

By Jason Crawford Samios-Uy

Running Time: Approx. 2 hours with one intermission

A good murder-mystery is a staple of community theatre and you don’t get any better than a tried and true Agatha Christie tale. She had it down to a science and have had readers and audiences guessing and scratching their heads for the past nine decades (coming up on 100 years in 2020) and many have adapted her novels into stage plays, including Christie herself. Artistic Synergy of Baltimore’s latest production, A Murder is Announced by Leslie Darbon, Directed by Michael Crook and Assistant Director Lou Otero, brings one of those stories to life, having us scratching our heads and wondering… whodunnit?

(l-r) Jim Gerhardt, Donna Zubrowski, Chloe Scully, and Ashley Gerhardt. Credit: Artistic Synergy of Baltimore

A Murder is Announced, the novel, was first published in June of 1950 and both the novel and the play concern themselves with an announcement in the local paper of a murder to be committed at a planned birthday party at a local boarding house. The house is owned by Letitia, a staunch, soft spoken woman, who has an old friend living with her, Dora “Bunny” Bunner (the birthday girl), as well as her adult niece and nephew, Julia and Patrick, who she hasn’t seen since they were small children. Joining the fray are the maid/cook/housekeeper, Mitzi, a steely Russian, and three neighbors, Edmund Swettenham, his mother, and the famous and inquisitive Mrs. Marple. At the party, a fuse is blown momentarily, an intruder breaks in in the dark, scaring the party-goers, and when the lights come back up, the intruder is dead on the floor. Enter a patient Inspector Craddock, and you have the makings of a good old fashioned Christie mystery.

Donna Zubrowski and Ashley Gerhardt. Credit: Artistic Synergy of Baltimore

Though no Set Designer is listed in the program, the design for this production uses the intimate space wisely. One is transported to a parlor room of a small English country house with not bells and whistles which is absolutely appropriate for this piece. Rachel DiGraizia and Joshua Perry (the two names listed as “Set Construction” and the only two names associated with the set in the program) have put together a sound set that helps the action of this mystery and assists the staging that the audience should be watching carefully.

Speaking of staging, Director Michael Crook and Assistant Director Lou Otero seem to have a strong vision and have executed it beautifully. Staging a murder-mystery is no small feat, one must understand the script, but also the action and has to work that out within the space he or she has. Crook and Otero’s staging is smooth and easy to follow and it shows they have a deep comprehension of this material and the presentation is praise-worthy, indeed.

Jim Fitzpatrick and Catherine Shinaberry. Credit: Artistic Synergy of Baltimore

Moving on to the performance aspect of this production, Jim Morgan pulls double duty in supporting, but important role as Rudi Sherz/Sergeant Mellors, the unfortunate intruder and a constable, respectively and he pulls both characters off nicely with decisive blocking and dedication to his roles. Claire Levine takes on the character of Mrs. Sweetenham, a neighbor, and though she seems stiff and scripted, she seems to understand the frailty of her character and makes a good showing.

Donna Zubrowski tackles the role of Dora Bunner, a childhood friend of Letitia’s and a woman who seems to be slipping slowing but surely into dementia, forgetting simple things and remembering things from the far past. Zubrowski has a tight grasp on this character, but gives a rigid performance with a deliberate delivery that makes it unnatural at times, but her chemistry with her cast mates is fantastic and she plays the character adequately enough to get the point across nicely. In the same vein, Chloe Scully takes on the role of Phillipa Haymes

Ann Marie Taglavore, Phill Vannoorbeeck, and Donna Zubrowski. Credit: Artistic Synergy of Baltimore

Phil Vannoorbeeck takes on the role of Patrick Simmons and Ann Marie Taglavore portrays Julia Simmons, the young brother-sister team who may or may not have ulterior motives for visiting their sweet, old aunt. Both Vannoorbeeck and Taglavore give strong, confident portrayals and know their characters well. Vannoorbeeck may be playing the character a bit larger than he should, at times, but still comes off as believable and natural. Taglavore is the stronger actor, giving a smooth, natural performance and delivery are both natural and effortless.

Catherine Shinaberry and Mel Tillery. Credit: Artistic Synergy of Baltimore

A few highlights of this production are Jim Gerhardt as Edmund Sweetenham, Mel Tillery as Mitzi, and Catherine Shinaberry as Letitia Blacklock. Gerhardt is comfortable in his role and has a great presence on stage with natural delivery of the dialogue and a solid take on the character. Shinaberry is aptly cast in her role of Letitia, and, though she is too soft spoken at times, making it hard to make out what she is saying, she seems to embody this character nicely and has a strong comprehension of her character. Tillery is phenomenal as Mitzi and is the one to watch whenever she’s on stage. Her delivery, in a believable Russian accent, is impressive and her energy is second to none, making for one of the strongest showings in this production.

Jim Fitzpatrick, Catherine Shinaberry, and Ashley Gerhardt. Credit: Artistic Synergy of Baltimore

Rounding out the cast we have the sleuths, Inspector Craddock played by Jim Fitzpatrick and the loveable, famously intuitive Mrs. Marple, portrayed by Ashley Gerhardt. These two are the definite standouts in this production and pull their characters off effortlessly. Fitzpatrick is near perfect in this role and he seems to completely embody this character. His delivery is flawless and his chemistry with the rest of the ensemble is on point and it makes for a strong, faultless performance. Gerhardt, who may be a bit young to play Mrs. Marble just yet, still gives an impeccable performance, regardless of this. She knows the character well, and she portrays her with a certain charm that makes you like her from the get. I’m a big fan of Jessica Fletcher in Murder, She Wrote (who is probably structured after Mrs. Marple), so I’m pretty hard on any character that resembles her, but Gerhardt hits it out of the park with this performance. She’s a wonderful character actress and seems to become this character making for a standout performance, overall.

Final thought…A Murder is Announced at Artistic Synergy of Baltimore is well put-together presentation of a great Agatha Christie story with mostly solid performances and a solid vision from its Director and Assistant Director. Being it’s a murder-mystery, there are times when the dialogue seems to drag along, but, it’s the nature of the beast… things have to be explained thoroughly, so, the excessive exposition is a necessary evil. The story is dated, but definitely not stale, and is still relatable today. Murder and/or mystery really never go out of style. Get your tickets now. You wouldn’t want to miss this classic this season.

This is what I thought of Artistic Synergy of Baltimore’s production of A Murder is Announced… What did you think? Please feel free to leave a comment!

A Murder is Announced will play through May 5 at Artistic Synergy of Baltimore, Prince of Peace Lutheran Church, 8212 Philadelphia Road. For tickets, purchase them at the door or online.

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

By Jason Crawford Samios-Uy
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Running Time: 1 hour and 45 minutes with one 15-minute intermission

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

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


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

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


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

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


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

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


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

The Brothers. Credit: Artistic Synergy of Baltimore


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

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


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

Joe Weinhoffer. Credit: Artistic Synergy of Baltimore


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

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


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