Review: All Aboard! Anything Goes Sails into Silhouette Stages

By Jason Crawford Samios-Uy

Running Time: Approx. 2 hours and 30 minutes with one 15-minute intermission

People do crazy things for love, especially young people, even if it means crossing the Atlantic Ocean on a luxury cruise ship, without a ticket and luggage, and bunking with a wanted criminal. In Silhouette Stages latest production, Anything Goes, with Music & Lyrics by the legendary Cole Porter and an Original Book by P.D. Wodehouse & Guy Crouse, and a New Book by Timothy Crouse & John Weidman, we get a look at how that kind of story turns out. This production, the 1987 revival version, is Directed by Conni Ross with Music Direction by William Georg and Choreography by Tina Marie DeSimone.

(l-r) Triana McCorkle, Maddie Bohrer and Abby McDonough. Credit: Russell Wooldridge

Anything Goes, in a nutshell, takes place aboard the S.S. American and brash Reno Sweeny, famous nightclub singer and evangelist, is on her way to England. Billy Crocker, an old friend has stowed away because he wants to be near his love interest, Hope Harcourt, how happens to be engaged to a wealthy and elderly gentleman, Evelyn Oakleigh. Throw in a loveable Public Enemy #13, a case of mistaken identity, and a handful of showgirls called Angels, and you have a triste worthy of witty and brash songs of Cole Porter.

The setting is a character of its own and when one mentions Anything Goes, usually, the first thought is “That show that takes place on the ship.” Set Design by Alex Porter is admirable with the distinct levels that make this setting interesting but other than the levels, the set seemed a bit sparse. It could be all the whitewashed walls/flats with very little color but other than being a little boring in the aesthetics, the design is classic and well-built. This is a good showing for Porter and he and his team are to be commended for their efforts.

Taps, taps, taps! That’s another thing one thinks of if one is familiar with Anything Goes and taps we have! Choreography by Tina De Simone is high energy and engaging… for the big, popular numbers, namely “Anything Goes” and “Blow, Gabriel, Blow.” The other numbers seem to be afterthoughts such as poor Bonnie’s featured numbers, “Heaven Hop” and “Let’s Step Out.” The savior of those numbers are the vocals and brilliant presentation of Bonnie by Maddie Bohrer, but we’ll get more into that later in this review. Looking to the bright side, DeSimone’s work shines and is precise and outstanding in the aforementioned “Anything Goes” and “Blow, Gabriel, Blow.” The energy is high and the ensemble is on point. DeSimone really gets these numbers and style and has created a fresh look that is a joy to watch.

(l-r) Miranda Snder, Abby McDonough, Robyn Bloom, Marcie Prince, Maggie Mellott and Lisa Rigsby. Credit: Russell Wooldridge

Vocally, this ensemble is phenomenal. With the help of Sound Design by Alex Porter, this ensemble is spot on and kudos must go to William Georg for his Music Direction. Many of these songs are well-known, so any flaws are easily noticeable, but, there weren’t many to speak of. The music is canned (recorded), but this cast is well rehearsed and they have this score down pat making for an enjoyable and toe-tapping experience.

This production is helmed by Director Conni Ross and she gives us a charming presentation of this beloved piece and her staging is smooth but it loses momentum at times which effects the comedic timing. Overall, Ross has done a splendid job with this production – you work with the material you got, so, she has given us a strong showing. The presentation isn’t necessarily fresh and innovative, but it keeps the more traditional, old-fashioned presentation in-tact, and that’s always a good thing. If it’s not broke, don’t fix it, right? My only issues with Ross’ work is her curious casting choices. Now, in community theatre, you work, first and foremost (or are supposed to) with the folks who come out for auditions and may the best man/woman land the role. I get that. But this cast seemed quilted together. Age ranges seem to be all over the place and there are actors who look to be playing characters younger or older than they actually are which throws off the entire feel of the production, for me. Regardless, Ross has given us a pleasant show that makes for a wonderful evening of theatre.

Jim Gross and Todd Hochkeppel. Credit: Russell Wooldridge

Moving toward the performance aspect of this production, we have Jim Gross as Billy Crocker and Rebecca Hanauer as Hope Harcourt, the young lovebirds of this story. Gross seems to have a good grasp of this character, but I question his casting in this role. Again, he gets this character, knows his objectives, and follows staging nicely but… I didn’t buy it. His delivery of the material is good, if slightly scripted at times, and, occasionally, his comedic timing is a little off. Vocally, Gross can hold his own but he just doesn’t fully capture the energy and urgency the character requires. However, that being said, he’s comfortable in the role and gives a confident performance. Along the same vein, Hanauer seems a bit miscast, as well. She, too, understands her character well and goes through the motions, but I just didn’t buy it. Vocally, Hanauer has a beautiful soprano and performs her featured songs quite well, such as “De-Lovely” and “All Through the Night.” I think one of the main issues is the chemistry between Gross and Hanauer. It’s easy to see their great friends, but it would be a stretch to think they were anything more than that. In general, both give good performances and are consistent throughout the show.

Todd Hochkeppel, Ryan Geiger and Robyn Bloom. Credit: Russell Wooldridge

Though this is a musical comedy in which all characters have a certain comedic value, Ryan Geiger as Sir Evelyn Oakleigh and Todd Hochkeppel as Moonface Martin have got the comedy down pat. These two are a pleasure to watch and their portrayals of these characters is top notch. Geiger embodies the role Evelyn Oakleigh and pulls off the pompousness mixed with charm that endears him to the audience. His comedic timing is spot on and he plays the character seriously enough to not take him over the top which makes for a solid, hilarious performance. Also, Hochkeppel seems to have been born for this role. His understanding of this character is clear and the way he portrays the loveable, but wanting-to-be-bad Moonface is quite enjoyable. There’s a tendency for actors to take this role over the top, but Hochkeppel keeps him reigned in just enough to be farcical but still charming and non-obnoxious. Kudos to both of Geiger and Hochkeppel for their efforts.

Lawrence Custis, Robyn Bloom and Doug Thomas. Credit: Russell Wooldridge

Playing the role of Reno Sweeney, an actor has some pretty big shoes to fill but Robyn Bloom take the reigns and makes the role her own. Seemingly channeling the spirt of Mae West, Bloom is comfortable and confident in this role and it shows. She gives an assured performance and makes the character likeable from the moment she steps onto the stage. Her Angels (Lisa Rigsby, Marcie Prince, Maggie Mellott, Tirana McCorkle, Abby McDonough, and Miranda Snyder) impressively keep up as well, displaying their apt dance and tap skills throughout. Her delivery is natural and her timing is fantastic. She has a clear, smooth voice that resonates throughout the theatre, especially in her featured numbers such as the highly energized title song, “Anything Goes” and the hand-clapping-foot-tapping “Blow, Gabriel, Blow.” Though she doesn’t have the usual “belt” actresses who play this character have, her performances of the songs and her dance abilities are a joy to watch making for a superb performance, overall.

Jim Gross, Becca Hanauer and Ryan Geiger. Credit: Russell Wooldridge

The standout in this particular production is Maddie Bohrer as Bonnie (remember, I mentioned her earlier in this review). Now, Bonnie is more of a supporting character, but Bohrer has put her front and center in every scene she’s in. She knows this character well and portrays her as a street-wise, but caring girl who does what she can to help her friends. Bohrer has the perfect look for the character and her delivery of the dialogue is clear and authentic. The thing that sets her apart is that she is so expressive, and one can’t help but notice her even when the entire ensemble is on the stage. She keeps her performance consistent throughout the entire production and is an absolute joy to watch. Her renditions of “Heaven Hop” and “Let’s Step Out” have you wanting more from her character and she’s one to watch. Hats off to Bohrer for an outstanding showing.

Final thought… Anything Goes exists mainly to highlight the songs of Cole Porter. There’s not much to the Book and, it seems very haphazardly thrown together to work around the music. Production-wise, there are a few interesting casting choices, the Set Design is appropriate, but a bit flat, and the choreography seems more concentrated in the more popular numbers, which leaves the other dancing a little lackluster throughout. However, the vocal work of the entire ensemble is quite admirable and makes up for the minor flaws in this production. Overall, it is a good, solid production and the ensemble is giving 100% effort and, it is a favorite classic to which the audience responds well. If you’re in it for a good fluffy, entertaining show, this one’s for you and you will have a delightful evening of theatre.

This is what I thought of Silhouette Stages’ production of Anything Goes… What did you think? Please feel free to leave a comment!

Anything Goes will play through March 24 at Silhouette Stages, 10400 Cross Fox Lane, Columbia, MD. For tickets, call the box office at 410-637-5289 or purchase them online.

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Review: First Date at Spotlighters Theatre

By Jason Crawford Samios-Uy
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Running Time: Approx. 1 hour and 40 minutes with no intermission
Most of us have been there. A well-meaning friend or family member wants to set us up with someone who will be “perfect” for us. So, we give in (usually after relentless nudging) and find ourselves in a coffee shop or restaurant, waiting anxiously to meet our possible future lifelong mate. Sometimes it works out, sometimes it’s a total disaster, but every time, we learn something about ourselves and that can be a good thing or a bad thing. In Spotlighters Theatre‘s latest offering, First Date with a Book by Austin Winsberg and Music and Lyrics by Alan Zachary and Michael Weine, Directed by Fuzz Roark, with Music Direction by Michael W. Tan, and Choreography by Emily Frank, gives us a glimpse, from a safe distance, into one of these first dates and all the feelings, anxieties, and emotions that go into the whole messy affair.
In a nutshell, First Date tells the story of, well, a first date between Aaron and Casey, who have been set up by Aaron’s best friend and Casey’s sister. Aaron has no experience with blind dates and Casey is what one would call a serial dater, having a lot of experiences, with first dates, anyway. Throughout the show, we are given a glimpse into the thoughts that go through Aaron and Casey’s heads as these thoughts materialize in front of us in the form of friends, family, ex-girlfriends, etc. We are shown the insecurities, anxieties, and fears of these two young people as they discover themselves, in the process.

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The Company of First Date. Photo: Spotlighters Theatre / Shaelyn Jae Photography


Alan Zemla’s Set Design is clever for this space, that he knows so well. He has managed to create a cozy setting using the entire theatre, making the audience feel as though they are sitting in the same small restaurant where the action is unfolding. The use of easy to move set pieces and detailed set decorations make for an authentic, immersive design that works quite well for this piece.
Choreography by Emily Frank is high-energy and fun and the ensemble seems to be having a blast performing it. She seems to know her cast well, and has created moves that her cast can perform effortlessly. With it’s contemporary style, it works well with Michael W. Tan’s focused, and well-rehearsed Music Direction. Together, Frank’s Choreography and Tan’s Music Direction add great value to this production and make for a delightful evening of theatre.
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Matt Wetzel and Adam Abruzzo. Photo: Spotlighters Theatre / Shaelyn Jae Photography


Fuzz Roark takes the helm of this production and his vision for this modern piece is clear in his Direction. This may be billed as a one act, but pacing is a bit dragging and this piece can easily be broken up into two acts, if just to let the audience run to the restroom or stretch our legs a bit. Not even a decade old, it can be tricky to make a piece like this look authentic, but Roark does just that. With so many modern day references such as cell phones, Facebook, dating apps, and the like, dialogue could be very scripted, but with Roark’s splendid casting, he has managed to guide this ensemble to portraying an impressive realism. The transitions are smooth and the piece flows nicely (aside from the minor pacing issue) making for a charming and enjoyable production.
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Reed DeLisle as Aaron and Lindsay Litka as Casey. Photo: Spotlighters Theatre / Shaelyn Jae Photography


First Date has quite a few characters with a small ensemble taking on various roles and this strong ensemble takes on the task with gusto and dedication. Aside from the actors portraying the main characters, Aaron and Casey, the other five actors impressively take on all of the other characters in this piece and their hard work pays off.
Matt Wetzel and Marela Kay Minosa take on the supporting roles of Man 2 and Woman 2, two other patrons in the restaurant, as well as other important characters such as Allison, Aaron’s chilly ex-girlfriend, and Reggie, Casey’s flamboyant best friend who leaves messages on her voicemail throughout the evening. According to Roark, Minosa is making her stage debut and she gives a very good first showing. She is committed to her roles and seems to understand how they move the story along, especially the role of Allison. Though a bit subdued in her performance, she gives the character an icy and snooty overtone that is required of this character and should be applauded for her first time treading the boards.
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Lindsay Litka and Reed DeLisle. Photo: Spotlighters Theatre / Shaelyn Jae Photography


It’s clear to see that Wetzel is giging 100% to all his characters and he shines with his praise-worthy performance as Aaron’s Future Son as he easily raps his way through the number “The Girl for You.” He also gives a very strong, humorous performance as a British Rocker, with a spot on British accent and good comedic timing in another featured number “That’s Why You Love Me.” His energy is consistent and it’s easy to see he’s enjoying performing his roles but in such an intimate space as Spotlighters, it may be a bit too much at times. He’s very expressive and, on a larger stage, it works perfectly, but when the audience is inches away, it comes off as unnatural. For instance, though some may find his portrayal as Reggie, the over-the-top friend of Casey amusing, I find it to be stereotypical and a bit mocking, though the audience seems to get a kick out of it. However, that being said, he has a good comprehension of his characters’ roles in this story and has has a good command of the stage making for a strong, entertaining performance.
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(l-r) Marela Kay Minosa, Reed DeLisle, and Adam Abruzzo. Photo: Spotlighters Theatre / Shaelyn Jae Photography


Adam Abruzzo and Alyssa Bell take on the role of Man 1 and Woman 1, but also take on other, important roles such as Gabe and Lauren, the best friend of Aaron and sister of Casey, the architects of this first date. Both of these actors are able and make all of the characters they portray individuals. Abruzzo, as Gabe, is comfortable playing this aggressive, in-your-face character, making him quite the lovable asshole, who really just wants what’s best for his best bud. He also carries his own, vocally, along side Wetzel in his featured number, “That’s Why You Love Me,” as well as his part in the rap (again, along with Wetzel) in “The Girl for You.”
Bell is cast well in her roles, especially as Lauren, Casey’s over-bearing sister and Aaron’s Mother. Her performance is authentic and varied, giving each character their own space and, vocally, she shines with a sweet tone as in number such as the emotional “The Things I Never Said.” Also, she’s hilarious portraying Aaron’s very Jewish grandmother with a good grasp on comedic timing and character.
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(l-r) Adam Abruzzo, Alyssa Bell, Jim Gross, and Marela Kay Minosa. Photo: Spotlighters Theatre / Shaelyn Jae Photography


Jim Gross, as Waiter, the love-lorn observer, who has seen more than his fair share of first dates, gives a commendable showing. With a big presence and command of the stage, he certainly makes one stand up and take notice, but, like Wetzel, seems to be a bit too big for Spotlighters intimate setting. He knows his character and is dedicated to his performance, but it seems a bit scripted, but probably would not be on a larger stage. In his featured number, “I’d Order Love,” his booming voice easily fills the theatre and he completely understands the humor of this number and performs it nicely.
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Reed DeLisle and Lindsay Litka. Photo: Spotlighters Theatre / Shaelyn Jae Photography


Reed DeLisle as Aaron and Lindsey Litka as Casey are the definite highlights of his production. Both of these actors have an uncanny chemistry and a completely natural delivery of dialogue that makes one forget these two are reading from a script. They are comfortable with their characters and with each other making for impeccable performances. They both have a strong presence and easily command the stage. Both are superb actors but, vocally, Litka is the stronger singe. That’s not to say DeLisle can’t hold his own, because he certainly can, as he exhibits in the poignant “The Things I Never Said.” Litka is an absolute powerhouse with every note she sings and her flawless performance of “Safer” will downright give you chills.
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Lindsay Litka as Casey. Photo: Spotlighters Theatre / Shaelyn Jae Photography


Final thought… First Date at Spotlighters Theatre is a fun, thoughtful piece that you do not want to miss this season. The story is deep and poignant with an important message of not only self-discovery but discovery of the people who surround you and the interactions involved in first meetings. With high energy choreography, and a great cast with impeccable chemistry and two leads who have a natural delivery and ability to portray these insecure characters, you’ll be able to relate, if not about first dates, about how anxieties and self-doubt occasionally creep into our everyday lives. It’s also a story of how we can overcome those doubts to find our happiness, when we really need it. Get your tickets now!
This is what I thought of Spotlighters Theatre’s production of First Date… What did you think? Please feel free to leave a comment!
First Date will play through January 21 at Spotlighters Theatre, 817 St. Paul Street, Baltimore, MD. For tickets, call the box office at 410-752-1225 or purchase them online.
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Review: Heathers the Musical at How Do You Like Me Now Productions

By Jason Crawford Samios-Uy
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Running Time: Approx. 2 hours and 30 minutes with a 15-minute intermission
***NOTE: Heathers the Musical at How Do You Like Me Now Productions ended its run on Sunday, October 29***
To ask the age old question of the wisest men… What’s your damage?! Well, How Do You Like Me Now (HDYLMN) Productions, in association with Erase the Hate Through Art, is trying to answer that question with their most recent production of Heathers the Musical with Book, Music, & Lyrics by Laurence O’Keefe and Kevin Murphy, Directed by Ed Higgins, Music Direction by Andrew Zile, and Choreography by Kristen Rigsby. Based on a quirky film from 1989 of the same name (minus the Musical) Heathers the Musical takes us through a journey of popularity, the repercussions of that popularity, teen angst, and all those crazy things and ups and downs that happen during our teenage years.
In a nutshell, Heathers the Musical is about Veronica Sawyer, a teen outcast turned popular kid who hooks up with the most popular kids in school, the Heathers, and learns that being at the top isn’t all it’s cracked up to be. Enter Jason Dean (JD) an angsty, trench coat wearing, dark and brooding new kid who shows Veronica there’s more than one way to stop the bullies from bullying.

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(l-r) Ellie Parks, Bryce Gudelsky, and Emily Wesselhoff. Photo: Shealyn Jae Photography


The Studio Theatre at Chesapeake Center for the Arts is a great space to see a show, it’s not too big and not too small, especially for a show like Heathers the Musical. Set/Technical Design by Josh Anderson is completely minimal with no real set to speak of, but his use of projections is clever and the set pieces are well thought-out and chosen wisely. Some of the scene transitions are a bit lengthy and clunky, but the crew gets the job done and are ready when the lights come up.
Costume Design by Grant Myers is on point for this production. It’s always fun to see the style of a bygone era and the 80s were a doozy! You never knew what you were going to see in the halls of a high school and everything was always so unique, even within cliques. One hiccup might be the repeated mention of JD’s trench coat but… no trench coat. Regardless, it’s a great design and Myers’ attention to detail is admirable and authentic, adding great value to this piece.
It’s worth saying that Choreography by Kristen Rigsby is certainly a highlight of this production. Every group number has variety, is well rehearsed, and tight making for some delightful moments. Rigsby seems to know her cast and the choreography emphasizes their strengths making every number look splendid. Her instincts to match her dances to the music are remarkable and the cast seems to be having a great time performing her choreography. Kudos to Rigsby for a job well done!
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Luis Mentes and Olivia Winter. Photo: Shealyn Jae Photography


Music Director Andrew Zile should be commended for his work on this piece as he had his cast in harmony and singing strong. At no fault of Zile’s I wish I could have heard more of his work but, since the cast isn’t amplified with microphones and there is practically a full orchestra, I strained to hear the singers through much of the production. Speaking of the orchestra, there are many consisting of Andrew Zile as Conductor/Synthesizer, W. William Zellhoffer on Piano, Eric Allard on Violin, Ian Lyons on Reeds, Steven Bailey on Trumpet, David Kistler on Guitar, Kevin Jones on Bass, and Winfield Clasing on Drums, but they sound phenomenal! They are tight and spot on in every number. There are a few hiccups with pitch and timing but, overall, Zile has a great grasp of the score and guides this cast nicely.
Ed Higgins takes the reigns of this production and he does seem to have a good comprehension of the text and story and, though his space has its limitations, there are some curious choices for scene settings, such as the corner of the theatre where, depending on where you are sitting, you can’t see or hear much of what’s going on. He has assembled a good cast and they have a fantastic chemistry that is clear throughout the production. The quirkiness required of this piece wasn’t as apparent as it should have been, but it is a well put-together production that gives an enjoyable evening of theatre.
Concerning the performance of this piece, this ensemble is strong and committed. All in the ensemble give a praiseworthy performance and should be applauded.
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(l-r) Michael Leard and Zach Husak. Photo: Shealyn Jae Photography


Ram Sweeney and Kurt Kelley are played by Zach Husak and Michael Leard, respectively and give a hilarious portrayal of stereotypical jocks of the school. Their comedic timing is near perfect and they play well off each other. Vocally, they don’t give the strongest showing, especially with the higher register in the songs and lean more on the comedy of the absurd but, overall, give humorous, strong performances.
In this particular performance, Veronica Sawyer (who is usually portrayed by Olivia Winter) is portrayed by Linda Roby and she gives an admirable performance. As mentioned, no one is amplified with microphones and Roby didn’t project as well as she could have making her hard to hear, at times. Also, some of the songs may have been above her comfortable register as she seems to strain on the high notes, but she seems to understand the character very well and portrays the teenaged angst extremely well.
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Luis Mentes and Olivia Winter. Photo: Shealyn Jae Photography


JD (Jason Dean), the brooding, dark new kid is played by Luis Montes and he gives a strong, confident performances but he seems to have a bit too much urgency than is called for this character who is usually laid back and cool. However, he makes the role his own and makes for a respectable presentation. Vocally, he does well, overall, with a few strains here and there, but nothing that spoils his performance as a whole.
The Heathers, the pinnacle of the Westerberg High School pyramid, are played flawlessly by Bryce Gudelsky as Heather Chandler, Ellie Parks as Heather McNamara, and Emily Wesselhoff as Heather Duke. All three of these ladies have a great chemistry and exude the bitchiness that is The Heathers. Gudelsky embodies Heather Chandler and all her power and wails on her featured number “Candy Store.” All the while Parks, as Heather McNamara, plays the follower near perfectly, portraying an insecurity and need to be accepted through her mannerisms and delivery and can almost bring the audience to tears in her poignant number, “Life Boat.” Last but not least, Wesselhoff as the bottom Heather on the totem pole, Heather Duke, portrays this Heater beautifully.  Her gradual change in position throughout the production is seamless and makes for a strong, poised performance that is to be commended. Vocally, Wesselhoff is a powerhouse and belts out her part in featured numbers such as “Candy Store,” “Big Fun,” and “Shine a Light (Reprise).”
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Jim Gross as Ram’s Dad. Photo: Shealyn Jae Photography


A few highlights include Kristen Demers as Martha Dunstock (Dumptruck), Jim Gross as Ram’s Dad, and Jennifer Alexander as Ms. Flemming. All three of these supporting actors give strong and focused performances that are definitely worth mentioning. Jim Gross (who also plays the lurking Coach), gives a side-tickling performance as Ram’s Dad, confidently belting out his featured, gospel-inspired number, “My Dead Gay Son,” while Jennifer Alexander does the same, impeccably belting out her inspiring featured number, “Shine a Light.”
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Kristen Demers as Martha Dunstock. Photo: Shealyn Jae Photography


Kristen Demers tackles the role of Martha Dunstock, or Dumptruck, as the other kids call her, who is kind of the embodiment of all the outcasts and bullied kids at school. Her portrayal is funny, moving, and spot on, making the audience feel for her from the start. Demers is not afraid of the role and makes it her own, making for a strong, meaningful performance. Vocally, she starts out strong in her featured number, “Kindergarten Boyfriend,” but loses a bit of steam toward the end of the song. She does act out the song like a champ, but at the sacrifice of the music. Regardless, her performance is spot on and leaves a lasting impression.
Final thought…Heathers the Musical is a great piece of theatre when it doesn’t take itself too seriously. Director Ed Higgins states it was chosen as it goes along with the mission of HDYLMN Productions to start a dialogue about bullying and suicide, which this piece presents humorously, but with a serious message. I can tell HDYLMN Productions are apt and able to put on some great shows but, though this production yields some very good qualities, overall, it falls a little flat whether it be because of sound issues, pacing, or directorial choices. The performances, for the most part, are commendable, the choreography is an absolute joy to watch, and the cast seems to be having a great time, giving 100% effort and dedication. That’s not to say this isn’t a good show, because it certainly is, but I’m looking forward to seeing what HDYLMN Productions can really do!
This is what I thought of How Do You Like Me Now’s production of Heathers the Musical… What did you think? Please feel free to leave a comment!
Heathers the Musical has ENDED its run but played through October 29 at How Do You Like Me Now Productions in the Black Box Theatre space of The Chesapeake Arts Center, 194 Hammonds Lane in Brooklyn Park, MD.
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Review: Das Barbecu at Spotlighters

By Jason Crawford Samios-Uy

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Running Time: 2 hours and 30 minutes with one 15-minute intermission.

A series of Wagner operas and the great state of Texas?! Can the two mix? Sounds crazy, right? Well, Spotlighters Theatre‘s latest contribution to Baltimore theatre, Das Barbecu, with Book & Lyrics by Jim Luigs and Music by Scott Warrender, proves that it can be so. Directed by Greg Bell, with Music Direction by Michael Tan and Choreography by Jillian Bauersfeld and Greg Bell, Das Barbecu manages to take Wagner‘s complex four-part Ring Cycle opera and make it just a little more accessible and (some would argue) more interesting and fun for audiences not so versed with the classics. Now, this isn’t to say that Das Barbecu is a dumbed-down version of the Ring Cycle, but more contemporary and in-tune with today’s audiences. The story, characters, and message is still in tacked, only now it has a charming Texas drawl.

Rob Wall and Clare Kneebone. Credit: Spotlighters Theatre /  Shealyn Jae Photography  / Shealynjaephotography.com

Rob Wall and Clare Kneebone. Credit: Spotlighters Theatre / Shealyn Jae Photography / Shealynjaephotography.com

The intimate, in-the-round space at Spotlighters would usually be a challenge for a show like this with its multiple locations and, well, they say everything is bigger in Texas, but Spotlighters has a lot of experience putting big shows up in this small space and Set Designer Alan Zemba used his space very wisely. With simple yet creative set pieces, Zemba manages to take the audience from the garden of a palatial mansion to a vast ranch, to bedrooms, then to a bar, then to the top of a mountain, then to a barbecue (whew!), all with minimal set pieces. Not only was the set creative, but it is easy and practical enough for the stage crew to get on and off quickly. I will say, however, there were a few scene changes that seemed a bit longer than usual, but all in all, the stage crew had razor sharp, rehearsed precision and the set worked beautifully with the piece and certainly helped tell the story.

The cast of Das Barbecue. Credit: Spotlighters Theatre /  Shealyn Jae Photography  / Shealynjaephotography.com

The cast of Das Barbecue. Credit: Spotlighters Theatre / Shealyn Jae Photography / Shealynjaephotography.com

Adding great value to this production is Costume Design by Andrew Malone. There are so many characters in this piece played by only five actors, Malone does an impeccable job making each character absolutely individual and memorable with simple, yet noticeable wardrobe changes. An actor can play up to five characters, but, because of the character costumes, it is easy to distinguish each character, which is invaluable with this involved, twisting story. Major kudos to Andrew Malone for his creative and flawless design.

With the space being as intimate as it is, Light Design by Al Ramer is simple, yet very befitting to this production and did not impede but enhance the action onstage. The lighting is well thought-out and sets the proper mood for each scene helping move the story along.

Moving into the production aspect of this piece. Choreography by Jillian Bauersfeld and Greg Bell is fun and very appropriate for this piece and the space in which it is performed. The dancing is tight and entertaining and adds to the production rather than takes away from this piece. Also, the actors are comfortable with the choreography and perform it confidently and with high energy making it enjoyable to watch.

Allison Comotto and Clare Kneebone. Credit: Spotlighters Theatre /  Shealyn Jae Photography  / Shealynjaephotography.com

Allison Comotto and Clare Kneebone. Credit: Spotlighters Theatre / Shealyn Jae Photography / Shealynjaephotography.com

Baltimore theatre veteran Music Director Michael Tan does not disappoint in this production. He manages to take his small cast and have them harmonizing and blending beautifully to bring this story to life. Some songs are funny and some poignant, but whichever mood, under the direction of Tan, the actors seem to understand what these songs are about and perform them accordingly. It helps that the most of the ensemble is already strong, vocally, and Tan uses this to his advantage making for a very impressive showing.

Directing 5 actors to play 26 characters can be quite a challenge for any director, experienced or otherwise, but Greg Bell takes on this challenge and executes his impeccable skill. It is important for whomever takes the reigns of this piece to completely understand the story of Wagner’s complicated Ring Cycle and Bell seems to have a tight grasp and his vision for this piece is apparent and well put together. He excels in blocking his actors to keep the story moving smoothly and at a near perfect pace. Though, as an audience member, I did have to do my part by paying attention, but the story was presented to me clearly and I wasn’t scratching my head or asking questions during intermission or after the performance. Das Barbecü is another well-done project from Greg Bell.

Jim Gross. Credit: Spotlighters Theatre /  Shealyn Jae Photography  / Shealynjaephotography.com

Jim Gross. Credit: Spotlighters Theatre / Shealyn Jae Photography / Shealynjaephotography.com

Jim Gross, a.k.a. Actor 4, takes on the role of Woton, Gunther, Hagen, a Texas Ranger, and a Giant and, according to his bio, is back after a year hiatus from the stage. He gives an admirable performance having to take on so many characters and keeping each an individual through not only costumes, but mannerisms and physicality, as well. His Texan/Southern accent could use a bit more work as I don’t hear much of one throughout and his solo number “River of Fire” does fall a bit flat for being so early in the second act. However, he does hold his own commendably against the other strong actors in the ensemble and his performance is to be applauded.

Clare Kneebone. Credit: Spotlighters Theatre /  Shealyn Jae Photography  / Shealynjaephotography.com

Clare Kneebone. Credit: Spotlighters Theatre / Shealyn Jae Photography / Shealynjaephotography.com

Clare Kneebone was last seen at Spotlighters in Tick, Tick… Boom! and, in this production, she is known as Actor 3, taking on the roles of Brünnhilde, a Norn Triplet, a Texas Ranger, and a Rivermaiden. Kneebone is comfortable on this stage and takes strong command when she appears. Though this is a complete ensemble piece, she takes on what’s closest to the female lead in this piece and she gives a confident, natural performance. Her beautiful, strong vocals b
lend very nicely with the ensemble and shine through in her solo number “County Fair.” Kneebone is a joy to watch and I look forward to experiencing her future work.

Rob Wall. Credit: Spotlighters Theatre /  Shealyn Jae Photography  / Shealynjaephotography.com

Rob Wall. Credit: Spotlighters Theatre / Shealyn Jae Photography / Shealynjaephotography.com

Rob Wall is no stranger to the Spotlighters stage, also having been last seen in Tick, Tick… Boom! Wall takes on the responsibilities of Actor 5, performing the roles of Siegfried, a Norn Triplet, Milam Lamar, Alberich, and a Giant. Taking on what could be considered the lead male role, Wall gives a very enjoyable, strong performance. His gorgeous, booming voice resonates throughout the theatre but he blends well with the ensemble, filling out the sound beautifully. He is able to separate each character he plays and give them each their own respective lives. He understands his characters and works hard to bring them to life. He has a great command of the stage and seems quite comfortable and natural in his roles and this is another great performance from Rob Wall.

Allison Comotto is Actor 1 and takes on the roles of Gutrune, a Norn Triplet, Freia, Y-Vonne Duvall, a Rivermaiden, and a Valkyrie. She, too, is a veteran of the Spotlighters stage having been last seen in Zombie Prom.

Allison Comotto. Credit: Spotlighters Theatre /  Shealyn Jae Photography  / Shealynjaephotography.com

Allison Comotto. Credit: Spotlighters Theatre / Shealyn Jae Photography / Shealynjaephotography.com

Comotto is a busy bee in this production but she is certainly a highlight with her spot-on comedic timing and natural acting chops that make her characters very enjoyable to watch. Vocally, she’s strong and is able to hold her own in the harmonies and blends well. Not to beat a dead horse, but her comedic timing is absolutely flawless. Her character, Y-Vonne Duval (actually pronounced WHY-vonne), a high society Texas wife who knows all the gossip in town, is just plain hysterical. She’s comfortable on stage and has a very strong presence that makes one take notice. Her natural talents are a joy to watch and I’m looking forward to seeing more from Ms. Comotto in the future.

Andrea Bush. Credit: Spotlighters Theatre /  Shealyn Jae Photography  / Shealynjaephotography.com

Andrea Bush. Credit: Spotlighters Theatre / Shealyn Jae Photography / Shealynjaephotography.com

Lastly, but certainly not least, Andrea Bush, who is most decidedly another standout of this production. Bush is an absolute pleasure to watch as she navigates through her characters as Actor 2, taking on the roles of Narrator, Fricka, Erda, Needa Troutt, Back-Up Singer, Katsy Snapp, a Rivermaiden, and a Valkyrie. For as many characters as Bush had to play, she transitioned seamlessly and gave each character an individual personality, displaying her on-point acting skills. Vocally, this woman has some strong pipes and her booming voice is an asset to this piece. In both her comedic and more serious numbers, she gave a strong vocal showing and found the feeling in every song through her performance. Her comedic timing is outstanding and she seems to understand all her characters and the story, allowing her to give an assured performance that adds value to this production. She’s defintiely one to watch.

Andrea Bush and Allison Comotto. Credit: Spotlighters Theatre /  Shealyn Jae Photography  / Shealynjaephotography.com

Andrea Bush and Allison Comotto. Credit: Spotlighters Theatre / Shealyn Jae Photography / Shealynjaephotography.com

Final thought… much like the Looney Tunes made Wagner much easier to swallow (and introduced children and a lot of adults to the opera genre), Spotlighters production of Das Barbecu takes a complex, classic piece and makes it more accessible and funny. Wagner’s Ring Cycle is not a piece I am entirely familiar with, but now, should I delve into a performance of it somewhere in my journeys, I’ll have a better understanding of the story and will probably appreciate more than I would have going in blind. Who knew Texas and a Wagner series of operas would mesh so well together?

Want another point of view? Check out what The Bad Oracle had to say!

Das Barbecu will play through October 30 at Spotlighters Theatre, 817 St. Paul Street, Baltimore, MD. For tickets, call the box office at 410-752-1225 or purchase them online.