Little Women Makes a Big Splash at Strand Theatre

By Jason Crawford Samios-Uy

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

(l-r) Surasree Das, Kay-Megan Washington, Elizabeth Ung, Katharine Vary, and Anabel Milton. Photo: Shealyn Jae Photography

The bond between sisters is a strong one that is not easily severed if at all possible. In Strand Theatre’s latest offering, Little Women adapted and Directed by Erin Riley, based on the novel of the same name by Louisa May Alcott, this sentiment couldn’t be more true and it’s a production you won’t want to miss.

In a nutshell, if you are unfamiliar with the story of Little Women, it concerns itself with the four March sisters, Meg, Jo, Beth, and Amy, and their loving mother, affectionately known as Marmee, and their next door neigbors. Through the years, each March sister finds her own way and in Riley’s adaptation, from sister Jo’s point of view, we see the effects each life has on the others. Reiley’s choice of having Jo March’s tell the story, her story, helps move the story along smoothly and keeps the audience engaged from beginning to end.

Surasree Das and Kathryn Falcone. Photo: Shealyn Jae Photography

With a brilliant Set Design by Laurie Brandon, the audience is placed smack dab in the middle of the story in the Victorian era. Strand Theatre never ceases to amaze me with what they can do with their space and Brandon’s design is no different. A splendid and detailed Costume Design from Amy Rawe Weimer completes the setting beautifully and the to designs work in tandem to transport the audience into the lives of these women easily. Kudos to Brandon and Weimer for their efforts on this production.

Erin Reily also takes the helm of this production with help from Assistant Director Ruta Douglas-Smith. Their staging is top notch and the pacing is on point. The character work makes each character an individual and their grasp and comprehension of this material is clear. The dialogue and scenes are easy to follow and smoothly played out. It’s easy to see the love Reily and Douglas-Smith have for this story and their presentation is spot on. Both should be commended for their work.

(l-r) Kathryn Falcone, Kay-Megan Washington, Surasree Das, Anabel Milton, Katharine Vary, and Elizabeth Ung. Photo: Shealyn Jae Photography

I can confidently say this is one of the tightest and dedicated casts I have come across this season and each pulls his or her own weight making for a charming production, as a whole.

The ensemble is led by Surasree Das, as Jo March, and she hits the groung running, embodying this character with ease. Her natural portrayal of this strong-minded young woman is superb and pulls the audience in and has you rooting for her throughout. She has a deep understanding of this character and gives a solid, confident performance.

In the same vein, her sisters, Meg, Beth, and Amy, played by Elizabeth Ung, Katharine Vary, and Anabel Milton, are equally excellent in their portrayals and the chemistry between these women is natural and strong. Ung plays the older sister Meg with a gentleness that captures your heart while Vary shines as the fragile Beth while Milton, in contrast, is brash and confident as the youngest sister Amy. All together, they form a formidable troupe that makes one stand up and take notice.

Bill Brekke and JC Payne. Photo: Shaelyn Jae Photography

Joining the March women are Kay-Megan Washington as Marmee and Kathryn Falcone as Aunt March and Hannah (Falcone also tackles Hair Design and Styling and it is absolute brilliant). These women give strong, confident performances and are standouts in this particular telling. Washington portrays the matriarch of this family effortlessly and seems to have a great understanding of this character who is just trying to keep things together during times of strife. Falcone, in the same vein, is simply amazing in her portrayal of the old, crotchety Aunt March in both manner and delivery and the contrast in her portrayal of the loving and sweet Hannah, the March’s maid, is flawless. Hats off to Washington and Falcone for their beautiful, dedicated, and strong performances.

Alexander Scally and Elizabeth Ung. Photo: Shaelyn Jae Photography

The male characters in this story, Mr. March, Mr. Laurence, Laurie, Brooke, and Bhare are taken on marvelously by Bill Brekke, JC Payne, and Alexander Scally, with Brekke and Scally taking on dual roles. Bill Brekke is believable enough as Mr. March and Mr. Laurence but at times seems a little stiff and scripted, but his chemistry with his cast mates is top notch and he holds his own. JC Payne as the young, energetic, fun Laurie, knows his way around the stage and gives a wonderful, seamless portrayal as his character grows from childish young man to responsible adult. Scally, too, shines in his portrayal of Brooke, family friend and tutor who finds his way into the heart of the eldest March sister. He plays Brooke with a nice balance of straight-forwardness and gentleness that makes for a superb performance and his contrast in playing Bahre, a seemingly rough and gruff German professor, is spot on making for an impressive performance overall. In short, Brekke, Payne, and Scally should be applauded and commended for their efforts and work on this production.

Final thought… Little Women is a tour-de-force for Strand Theatre and is a beautiful adaptation of Lousia May Alcott’s classic that pulls it nicely into the 21st century. The script is splendidly put together, the staging is on point, and the performances are top notch. All should be commended for their efforts on this production and you don’t want to miss this production this season. Get your tickets now because they will probably be hard to come by the longer you wait.

This is what I thought of The Strand Theatre’s production of Little Women… What did you think? Please feel free to leave a comment!

 Little Women will play through December 22 at The Strand Theatre, 5426 Harford Road, Baltimore, MD. For tickets, call the box office at 443-874-4917 or you can purchase them online.

Email us at backstagebaltimore@gmail.com

Like Backstage Baltimore on Facebook

Follow us on Twitter and Instagram

Review: ‘Night, Mother at The Strand Theatre

By Jason Crawford Samios-Uy

Running Time: Approx. 90 minutes with no intermission

The relationship between a mother and her child is a complex one, not to understate it. Mom is the only person in this world who has really known us our entire life, and then some! As we grow, we may stray away from each other, but the bond is always there, no matter what – whether we like it or not. Mom is that one person we can never explain to anyone else and we are the only one who sees her in a particular way. Vice versa, Mom can only see us in a certain way unlike anyone else. The Strand Theatre’s latest production, ‘Night, Mother by Marsha Norman, Directed by Anne Hammontree, peeks behind the curtain into one strained and intricate relationship between an “it-is-what-it-is” kind of mother and a daughter who has managed to find herself in a deep, dark place with only one seemingly way out. It’s a 90-minute snapshot in the lives of two women that is chillingly, but poignantly real.

Briefly, ‘Night, Mother concerns itself with Jessie, the daughter, and Thelma, the mother as they go about a regular Saturday night with one twist… Jessie has announced that she has decided to commit suicide within the next hour or so. Through the dialogue, we discover more about these characters and Jessie’s reasoning for making such a decision, as well as a little family history and feelings that had not been discussed before. As Thelma tries to convince Jessie that she can’t go through with her plan, it’s clear that Jessie has thought it through and might not be convinced.

I’d seen the 1986 film version of ‘Night, Mother, starring Sissy Spacek and Ann Bancroft (which I highly recommend) but this stage production of this piece is my first venture to Strand Theatre (and I don’t know why I waited so long!) and the space is unique but absolutely charming. Set Design by TJ Lukasina is, without a doubt, superb. The details from the working sink in the kitchen, to the lit lamps, to the grandfather clock that actually chimes on the hour are impeccable and give an authentic feel to the piece. This design puts the audience right into the action and makes one feel as though he or she is sitting at the kitchen table with these two ladies which keeps the entire production appealing throughout. The interestingly shaped space was not match for Lukasina as he transforms it into a living space that is cozy and real that adds great value to this production.

Kathryn Falcone as Thelma Cates and Andrea Bush as Jessie Cates. Credit: Shealyn Jae

Anne Hammontree takes the reigns of this production of ‘Night, Mother, and it’s clear she has a great comprehension of this piece, overall, and the thoughtful dialogue. Her staging is on point and though this piece could very well be two people sitting at a table talking all evening, she keeps the action going and engaging for the audience. It’s a challenging piece, but her casting is spot on and the presentation is clear and concise making this a delightful and thoughtful evening of theatre.

Moving on to the performance aspect of this piece, Kathryn Falconetakes on the role of Thelma (Mama) Cates and Andrea Bush tackles the role of Jessie Cates. Both of these actress give strong, confident performances and their chemistry is incredible. From time to time, I completely forget these are two actresses performing roles in a play rather than a mother and daughter on a regular Saturday night – that’s how good they work with and off of each other.

From the moment she steps onto the stage, Kathryn Falcone completely embodies this character. Her delivery of the text is natural and she’s quite comfortable in this role with a strong presence and purpose. Falcone’s understanding of this character is clear and the audience can feel her urgency throughout the production. Overall, a job well done and Falcone should be commended for her splendid performance.

As Jessie Cates, the totally capable and able Andrea Bush could not be better suited for this role. It’s clear that Bush pulls from a very deep place to pull out this interpretation of this character. She becomes this character from the moment we see her walking onto the stage carrying bath and beach towels. Her instincts are correct and her compassion for this character guides her hand. She has a good grasp of what her character is going through and presents it authentically and clearly with a confident presence with a delicate handling. Kudos to Bush for an outstanding performance.

Final thought… ‘Night Mother is a heart-wrenching look at strained mother-daughter relationship full of resentment and regrets, but with a deep love for each other. It’s also a redemption, of sorts, with new connections and positive self-realizations. It’s an emotional roller-coaster that brings out the best and worst in family relationships, especially between mothers and daughters, when they are seem to be so similar but are actually vastly different. This one hit home hard for me. TRIGGER WARNING: this piece deals with suicide. However, it presents this story exceedingly well with poignancy as well as with a pinch of humor, giving a well-blended mix of ups and downs that make for a good drama. The performances are authentic and natural, and the characters are extremely relatable. The staging and pacing is on point making for an impeccable evening of theatre. Do yourself a favor – grab your tissues and get out to experience this show! It’s not one you want to miss this season.

This is what I thought of The Strand Theatre’s production of ‘Night Mother… What did you think? Please feel free to leave a comment!

‘Night Mother will play through October 14 at The Strand Theatre, 5426 Harford Road, Baltimore, MD. For tickets, call the box office at 443-874-4917 or you can purchase them online.

Email us at backstagebaltimore@gmail.com

Like Backstage Baltimore on Facebook  and Follow us out Twitter @BackstageBmoreand Instagram @backstagebaltimore

Review: Psycho Beach Party at StillPointe Theatre

By Jason Crawford Samios-Uy

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

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


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

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


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

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


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