Review: Sex With Strangers at Fells Point Corner Theatre

Posted on September 25, 2018 by Jason

By Jason Crawford Samios-Uy

Running Time: 2 hours with one 15-minute intermission

In the world of billions of people, two sometimes come together whether by chance or a little planning and sparks fly. You only get one chance at a first impression and sometimes you find that the one you love is the one you hated at first sight. I’ve heard we’re drawn to people who help us grow and learn so, in a way, we are drawn to people we need. Sometimes we get what we need honestly and, in the real world, we sometimes get what we need with a little “arranging,” whether we like to admit it or not. In Fells Point Corner Theatre’s latest production, Sex With Strangers by Laura Eason, Directed by Patrick Gorirossi, gives us a glimpse into a somewhat dysfunctional relationship between an older woman and younger man who both need something from the other whether they know it or not.

Matthew Lindsay Payne and Kathyrne Daniels in Sex With Strangers. Credit: David Iden

Sex With Strangers, in a nutshell, concerns a twenty-something blogger, Ethan who finds his writing hero, the older Olivia, in a secluded cabin and they realize they both want what the other has already. A flirty attraction turns to an intimate relationship and they slowly move closer to what each wants from each other. However, through twist and turns, each must go through some self-realization and the sleazy side of climbing the ladder (or falling off the ladder) as each reinvents him and herself to attain their ambitions.

The story, itself, is a good story, very relatable, and can be set in any era. The characters are fleshed out and I found myself liking one over the other then making a complete 180° turn by the end. The dialogue is natural and authentic with no major plot holes or, any plot holes at all. It’s an easy story to follow and the ending, which I won’t give away, of course, leaves the audience thinking, which is always the hallmark of a good, well-told story.

Fells Point Corner Theatre, with its more traditional space, never disappoints when it comes to their sets and David Shoemaker’s Set Design is no different. He knows the space well and uses it wisely, giving us an authentic space for this piece. Everything is strategically placed and natural putting the audience in the scenes making the production more engaging. It’s a simple design, but absolutely appropriate and, from the audience, I feel like I’m looking through the window into a living room of a secluded cabin or a New York City apartment. Kudos to Shoemaker for his impeccable design.

Patrick Gorirossi takes the helm of this production and his Direction and staging is superb and engaging. Having a two-person cast can be challenging but Gorirossi manages to keep the action moving and it’s clear he has a good grasp on the material and the movement on stage is authentic and natural. His casting is top-notch and the production is polished and paced perfectly. Kudos to Gorirossi on a job well done.

Kathryne Daniels as Olivia. Credit: David Iden

Moving on to the performance aspect of this production, it’s worth noting that the two-person cast of Kathryne Daniels as Olivia and Matthew Lindsay Payne as Ethan couldn’t have been cast more perfectly. They both embody this characters completely and have a great comprehension of the text. Neither are merely going through the motions, but are feeling what their characters are feeling and their choices fit the piece flawlessly.

Matthew Lindsay Payne as Ethan. Credit: David Iden

Though it was a bit of a stretch to believe Daniels is a woman in her early forties, she plays the character splendidly. Her transition from obscure, self-doubting writer to confident and ambitious novelist is seamless and occurs naturally. The writing accomplishes this well already, but Daniels brings it to life. Her natural and purposeful delivery makes her performance believable and she has a strong stage presence that works well for this piece. The chemistry she has with Payne is quite good and makes for a solid and refined performance.

Payne, too, gives and honest and solid performance as the twenty-something brash and no-holds-barred blogger who is “plugged in” 90% of the day. He handles his character’s change from beginning to end delicately and smoothly making for a brilliant performance. His comprehension of this character and his conflicts is apparent and his presence is strong making for a terrific performance, overall.

Final thought… Sex with Strangers is a moving, poignant piece that makes one think about relationships and what we need and/or want out of them. It’s also about learning to trust people and learning, sometimes the hard way, about what it is to be betrayed. The production is unassuming but strong and the performances are on point filled with skill and a solid chemistry. The modern setting makes it relatable and the characters and story are timeless making for a show that will be relevant for years to come and makes for a charming, thoughtful evening of theatre. Get your tickets because you don’t want to miss this one.

This is what I thought of this production of Sex with Strangers.… what do you think?

Sex with Strangers will play through October 7 at Fells Point Corner Theatre, 251 S Ann Street, Baltimore, MD 21231. For tickets, call 410-276-7837 or purchase them online.

Review: A Christmas Carol at Chesapeake Shakespeare Company

Posted on December 18, 2017 by Jason

By Jason Crawford Samios-Uy
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Running Time: Approx. 2 hours with one intermission
Bah Humbug! It’s a phrase familiar to most who know the story of old, crotchety Ebeneezer Scrooge from Charles Dickens’ A Christmas Carol. The story teaches many lessons including compassion, empathy, and love, especially around the holidays. So, it’s popular story and has been adapted countless times for both stage and film so, there’s always a risk that most of the theatre companies in any particular area will rush to present their own version of this staple of the holiday season. With about 15 productions going on in Baltimore at the same time, Chesapeake Shakespeare Company has joined the fray to mount their latest production of A Christmas Carol, adapted and Directed by Founding Artistic Directory Ian Gallanar, with Music Direction by Grace Srinivasan, Choreography by Nellie K. Glover, Set and Lighting Design by Daniel O’Brien, and Costume Design by Kristina Lambdin, giving a traditional look at this classic with a good old Baltimore twist.
Set and Light Design by Daniel O’Brien is simple, but impressive. A bit minimal as it is a unit set but using various set pieces to represent times and places makes for an efficient design to help move the story along and O’Brien’s attention to detail for each well-chosen piece gives the production a more authentic feel all around. His Lighting Design is also a well though-out design as it sets the mood for each scene adding a little creepiness when needed as well as bringing a particular brightness to the more lighthearted scenes.

Tiny Tim (Vivian Klepper) and Bob Cratchit (Scott Alan Small) take a stroll in the snow on Christmas Day. Photo: Jean Thompson

Kristina Lambdin’s Costume Design are nothing less than superb. Her attention to detail and craftsmanship is top notch, taking the audience back to the Victorian era with its layers and subdued, earthy colors. Each character was dressed appropriately and seemed to be as comfortable as can be in the style making for a very intelligent, authentic design.
Choreography by Nellie K. Glover is delightful and upbeat for the numbers requiring dance and merry-making. In numbers such as the Fezziwig party scene, Glover keeps the chorography engaging and in the style of the era in which the production is set, adding to the authenticity of the entire piece. The cast seems to have a blast performing the choreography making for a fun, energized performance.
Grace Srinivasan’s Music Direction is admirable as we are treated to traditional carols such as “God Rest Ye Merry Gentlemen,” “Coventry Carol,” and “We Wish You a Merry Christmas” that fit very well with this production. Srinivasan has this ensemble singing in harmony and has well-chosen featured vocalists. There is actually a very good balance of music in this production and Srinivasan’s work adds value to this production.

Scrooge and Ghost of Christmas Yet To Come

The Ghost of Christmas Yet to Come (Elliott Kashner) reveals to Ebenezer Scrooge (Gregory Burgess) that few people will remember him fondly after his death because he has been so miserly. Photo: Jean Thompson

Founding Artistic Director Ian Gallanar wears the hats of both Director and Adapter of this production and, overall, it’s a good showing, but it does have it’s flaws. First off, setting the story in Baltimore is endearing and charming indeed, but the reminders of this in what seems every other line can get taxing and give the appearance of trying too hard. He didn’t change the time, just the place and because of that, it frankly doesn’t change much. Spouting out Baltimore street names and places is more like filler rather than important to the story line making the script seem a bit trite. He may have been a little more successful by keeping the story in tact, completely. As for his Direction of the production, it’s commendable keeping this large cast in sync, but the staging is a little flat. For instance, the fateful meeting between Scrooge and the Ghost of Marley is very lackluster and moves along at a snail’s pace, as do other scenes. Most of the performances are admirable with a well-cast, dedicated ensemble, but the staging and script somewhat hinder some of the phenomenal talent onstage. Overall, pacing was okay, but transitions were a bit clunky and slowed the flow. That being said, it’s clear Gallanar has a good comprehension of the story and the message it sends as well as a good understanding of these characters. The audiences are definitely entertained, but a little more work on the text and staging would do well for this production as a whole.
Moving on to the performance aspect of this production, Scott Alan Small takes on the role of Bob Cratchit, Scrooge’s gentle and compassionate clerk and Gabriel Hoch tackles the role of the ill, but positive Tiny Tim. Small gives an admirable performance but it does fall a bit flat throughout. He has a good grasp of the character but is stiff and scripted throughout. However, he has good chemistry with this ensemble and is confident onstage. Gabriel Hoch, one of the many children in this production also gives a good showing and is a good fit for this role and understands its importance, giving a good sympathetic spin on this character. When it comes to the many children in this production, all seem to be simply going through the motions – reading their lines and moving to their marks. A little more work with the children may have benefited their performances just a tad.

The Ghost of Christmas Past (Ashly Fishell-Shaffer) enjoys Scrooge’s memories of his Maryland childhood. Photo: Jean Thompson

There are quite a few ghosts or spirits in this production and Keegan Cassady takes on the role of The Ghost of Jacob Marley and, though he portrays a very creepy ghost, the performance seems called in but this may be because of the staging. For such an important scene, I wanted more from The Ghost of Jacob Marley, not just a walking around banging chains. It looks great, and Cassady does what he’s supposed to do in being scary, but he could step up the intensity.
Ashly Fishell-Shaffer portrays The Ghost of Christmas Past, Larry Malkus takes on the Ghost of Christmas Present, and Elliot Kashner performs the silent role of the Ghost of Christmas Yet to Come. Fischell-Shaffer gives a fantastic, whimsical portrayal of the Ghost of Christmas Past and gives the character a good balance of empathy and sternness that the character requires to help Scrooge remember better times, as well as not so happy times that shaped him into the man he is. Larry Malkus is a dominant, confident Ghost of Christmas Present and gives a strong performance as the traditionally robust and hearty character.

Fred Scrooge (Elliott Kashner) invites his uncle Ebenezer Scrooge (Gregory Burgess) to dinner and offers a gift, which Scrooge declines. Photo: Jean Thompson

Elliott Kashner does take on the shadowy role of the Ghost of Christmas Yet to Come, but he is a highlight of this production as Fred, Scrooge’s young, hapless, and congenial nephew. Kashner gives a committed and strong performance as the counter to the curmudgeon old Scrooge and keeps up his energy throughout the production. A featured scene, a Christmas party along with his wife, Dorothy (Alana Michelle), Topper (Bart Debick), and Caroline (Kate Forton), is natural with a good chemistry between all of the actors. Forton gives a particularly humorous performance of a young girl who’s had a little too much egg nog.
Two standouts in this production are Larry Malkus as Mr. Fezziwig and Kathryne Daniels as Mrs. Fezziwig. This scene during a point in Scrooge’s past is always a high-energy, upbeat scene and Malkus and Daniels take it to the hilt. They both give strong, energetic performances with a natural flare that make these characters likable from the moment they step onstage.

Mr. and Mrs. Fezziwig (Larry Malkus and Kathryne Daniels) kick up their heels during an office party with employees Young Scrooge (JC Payne), George Wilkens (Bart Debicki) and others (Lauren Engler and Elana Michelle) among the revelers. Photo: Jean Thompson

Gregory Burgess is superb as Ebeneezer Scrooge and has a tight grasp on this character and what he’s all about. His transition from the beginning of this story to the end is seamless but noticeable, as it should be. He has a strong presence and a great command of the stage making him an ideal Ebeneezer Scrooge. There are a few curious choices he makes portraying this character such as a screeching yelp I believe is supposed to be comical but comes off more jarring than anything and a tendency to over-act with large, sweeping gestures and exaggerated facial expressions. Regardless, Burgess portrays this popular, well-known character with a natural ease and succeeds in transitioning Scrooge from a stingy, heartless old man to a loving, compassionate being who has really learned the meaning of Christmas and the love of your fellow man.
Final thought… A Christmas Carol is a timeless tale that can be challenging to give an overall fresh look. Some adaptations are successful, some are so-so, and some are downright painful. I’d put this production at Chesapeake Shakespeare Company in the middle category of so-so. Don’t get me wrong… the production itself is quite good and the audiences seem to enjoy it immensely. Most of the performances were top-notch and dedicated, the costumes were on point, the music selections are appropriate and well-rehearsed, the Set Design is spot on, and all technical aspects of this production work nicely together. The problem lies in the script and the attempt to bring Baltimore into the equation. This story is such that it can be set anywhere, but the setting is not so important as the lesson taught and being reminded that we are in Baltimore every five minutes got downright annoying. We get it. We’re in Baltimore. It’s cute and it helps the audience make a connection, but sometimes it’s best to air on the side of moderation. As stated, overall, it is a well put-together, focused and, even though there are about fifteen other productions of A Christmas Carol happening in the area, this is a production, aside from a few minor flaws, worth checking out during the holiday season.
This is what I thought of Chesapeake Shakespeare Company’s production of A Christmas Carol… What did you think? Please feel free to leave a comment!
A Christmas Carol will play through December 23 at Chesapeake Shakespeare Company, 7 South Calvert Street, Baltimore, MD. For tickets, call the box office at 410-244-8571 or purchase them online.
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Review: Julius Caesar at Chesapeake Shakespeare Company

Posted on October 9, 2017 by Jason

By Jason Crawford Samios-Uy
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Running Time: Approx. 2 hours and 45 minutes with two 10-minute intermissions
It seems that today, politics rule the airwaves and television screens. Something is always happening and no matter what, there are people who are unhappy or vehemently disagree with whatever’s going on. Well, it’s good to see some things never change (of course, I’m being sarcastic) and people have been following and fighting over politics since we were first able to form our own thoughts. Of course, people have been writing about politics and current events for as long as we could write, as well, and Chesapeake Shakespeare Company‘s season opener, William Shakespeare’s Julius Caesar, Directed by Michael Tolaydo, with Set Design by Audrey Bodek, Lighting Design by Michael Lonegro, Sound Design by David Crandall and Costume Design by Kristina Martin, gives us a glimpse into The Great Bard’s view of ancient Roman politics and how they handled things. Certainly one of Shakespeare’s classics, Chesapeake Shakespeare Company has managed to pull this piece into the 21^st century and presents it in a way that is easy to follow and enthralling making it one of the best productions of this piece that I’ve seen yet.

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Ron Heneghan, Caitlin Carbone, Briana Manente, Michael P. Sullivan, Lesley Malin, Mehul Gulati, Vince Eisenson and Mary Coy. Photo by Robert Neal Marshall.

Audrey Bodek’s Set Design is minimal but absolutely breath-taking. She uses her space wisely and keeps the to traditional Shakespearean design with the balcony and all that, but her choice of gold coloring to cover this set works well and fits nicely with the piece. Her artistic ability is apparent with the random but beautiful cross-section pattern that make up the railings and coverings that are subtle but make up the perfect background.
Costume Design by Kristina Martin is quite appropriate, and, though fashionable, breezy, and fun, you won’t be seeing any togas on this stage. All attire is modern business attire or modern casual and all of the actors seem rather comfortable in their wardrobe. Though using a traditional design for a Shakespeare work is all well and fine and, of course, works, it’s nice to see that Martin uses an updated design that is just as effective, if not more effective in bringing a modern day audience to a better understanding of the piece.

Octavia (Caitlin Carbone), who is Caesar’s heir, and Mar Antonia (Briana Manente), who is Caesar’s loyal supporter, will avenge the death of Caesar. Photo by Robert Neal Marshall.

Lighting and Sound Design by Michael Lonegro and David Crandall, respectively, work in tandem and create a superb atmosphere throughout the piece. Each scene is lit just about perfectly and each sound is deliberate and spot on. It’s worth noting the storm lighting and sound is some of the best I’ve seen in any production. Both Light and Sound Design blend so well into the production, one doesn’t notice them directly, which is exactly what an audience is supposed to do, but when you notice it… it’s on point and adds an authenticity to the production.
Michael Tolaydo takes the helm of this production of Julius Caesar and he knows exactly what he wants and executes it beautifully. He has a definite comprehension of the text and the way he tells this story is easy to follow even for those who are not familiar with the work of William Shakespeare. The care he took with the modern day theme while staying true to the text is apparent and his casting is top-notch. While a piece like this can be drawn out, the pacing for this piece is spot on as Tolaydo keeps the action moving smoothly, with purpose.

Following the assassination, as civil war erupts, Brutus (Ron Heneghan) quarrels with Cassius (Vince Eisenson) as soldiers look on (Molly Moores, Seamus Miller, Lesley Malin). Photo by Robert Neal Marshall.

Moving on to the performance of this production, the entire ensemble works well together and each actor seems understands his or her role and how they fit into the piece. With such a large cast (even with folks doubling or tripling roles), it’s a lot to keep track of, but that’s the beauty of it… you don’t have to! Whether a supporting or leading player, each gives 100% effort and dedication making for a quite an entertaining evening of theatre.
Among the many supporting players, Kathryne Daniels, who takes on various roles, including a couple of Senators and a Poet, is a joy to watch because of her versatility and apparent grasp of each contrasting character she plays. This lady knows her stuff and gives us her all.
As Portia, the dutiful but strong willed and intelligent wife of Marcus Brutus, Caitlin Carbone knocks it out of the park with strong, confident performance as does Imani Turner as Lucius, another supporting, but rather important character as personal servant to Marcus Brutus. Turner gives a dedicated performance and gives this character purpose.

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On the Ides of March, Julius Caesar (Michael P. Sullivan) arrives to meet with senators including Metellus Cimber (Lee Conderacci) and Casca (Mary Coy). Photo by Robert Neal Marshall.

Keith Snipes and Mary Coy tackle the roles of Cinna and Casca, respectively, and both actors are great assets to this production. Snipes, with his booming, clear voice and great stage presence gives a pristine performance while Coy, who has a clear understanding of the text and her character, gives a confident, distinct portrayal of a conflicted, but determined conspirator.
Mar Antonia, one of the leading characters and loyal friend to the unfortunate Julius Caesar, is portrayed by Briana Manete and she gives a stellar performance of this sly, clever character. Manete plays this character as the one you love to hate. The character is full of pure politics and plays all the angles she needs to accomplish her goals and Manete plays the role with a snarky quality that takes her performance to the hilt. She comfortable and confident, making her a definite highlight in this production.
Rounding out this remarkable cast Michael P. Sullivan as Julius Caesar, Vince Eisenson as Caius Cassius, and Ron Heneghan as Marcus Brutus. These three gentlemen carry this piece beautifully and emote all of the emotions of anger, sadness, and even love that the characters require.

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(clockwise) VInce Eisenson as Cassius, Michael P. Sullivasn as Julius Caesar, and Briana Manente as Mar Anotnio. Photo: Robert Neal Marshall.

Sullivan, as Caesar, seems to have a good grasp on this character and carries his pseudo-humbleness nicely and this character’s confidence is well portrayed. He has a strong stage presence and his delivery is near flawless making for an overall worthy performance.
Eisenson, a highlight of this production, takes the role of Caius Cassius and makes it his own. The conflict is clear in his gestures and delivery making for a very believable character. His comprehension of the text is apparent and he articulates the lines clearly and with confidence making the dialogue easy to follow. His brooding quality and good chemistry with his fellow actors, especially Heneghan, adds to this character making for an excellent performance.
Lastly, Ron Heneghan tackles the gut-wrenching role of Marcus Brutus, the best friend, but loyal Roman who must decide between his love for a person or his love for a country. Heneghan captures these emotions and tribulations perfectly in this thoughtful and well-played performance. He’s completely comfortable with the character and his confidence in his choices of subtle gestures, clear, intonated delivery of dialogue, and chemistry with his cast make his portrayal seem effortless and makes him a standout in this production.
Final thought…Julius Caesar is a classical piece presented in a very modern style that is easy to follow, well-paced, and fantastically entertaining. With original text, the performances are rich and spot on and the technical aspects of light and sound just adds to this phenomenal production. The actors are well versed in the text and have a good comprehension of both character and story. Whether your familiar with the work of William Shakespeare or experiencing it for the first time, you will easily follow this timeless story and you will not be disappointed. Run, don’t walk, to get your tickets now!
This is what I thought of Chesapeake Shakespeare Company’s production of Julius Caesar… What did you think? Please feel free to leave a comment!
Julius Caesar will play through October 29 at Chesapeake Shakespeare Company, 7 South Calvert Street, Baltimore, MD 21202 For tickets, call the box office at 410-244-8570 or purchase them online.
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Review: A Midsummer Night's Dream at Baltimore Shakespeare Factory

Posted on July 14, 2017 by Jason

By Jason Crawford Samios-Uy
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Running Time: Approx. 2 hours with one intermission
Lately, I’ve had the opportunity to experience theatre that is not full of flashy sets or intricate costumes, but of minimal design and I’ve grown to appreciate this style immensely. I’m learning that you don’t need all the bells and whistles to tell a good story (notice, I said “good” story) and Baltimore Shakespeare Factory (BSF) demonstrates this near perfectly with their latest offering, A Midsummer Night’s Dream by William Shakespeare, Directed by Tom Delise. It’s good old fashioned story-telling in a serene, outdoor setting that takes you back to the days of old when Shakespeare ruled the stage and people appreciated a good story.

Titania and the Fairies seducing an egotistical Nick Bottom. Credit: Will Kirk

If you get a chance to check out a production in the Meadow at Johns Hopkins University’s Evergreen Museum and Library… DO IT! In the middle of a bustling city, this small patch of land is the perfect setting for an evening of Shakespeare, and you can bring your own picnic if you wish! The sounds of nature surround you as you watch a timeless story unfold before you performed by able actors working from a flawless text.
In a nutshell (if it’s possible), A Midsummer Night’s Dream is about events unfolding around the marriage of Duke Theseus and Hippolyta, the former Queen of the Amazons. Included in these events are the escapades of four young Athenian lovers, a traveling troupe of actors – The Mechanicals, a bunch of fairies, and the King and Queen of the Fairies who are throwing monkey wrenches in everything while trying to fix it at the same time. Sounds complicated doesn’t it? Well, it’s not too complicated if you pay attention and it’s quite funny and farcical making for a great evening of theatre.
Director Tom Delise, a Shakespeare purist, seems to have a confident grasp on the material. His vision of bringing pure Shakespearean theatre to the stage with little gems of modern day references to tell the story make it easy to follow and indubitably entertaining. He keeps the action moving and interesting creating a smooth flow that isn’t overwhelming to those not as experienced. He manages to keep it down to a nice 2-hours while still telling the entire story which is a feat in itself when it comes to any Shakespeare play. Kudos to Delise for an impeccable production.

Kathryne Daniels and Jeff Miller. Credit: Will Kirk

Costume Design by Jessica Behar is simple, yet very appropriate and effective. Being a fanciful piece with a fairy king and queen and man turning into a donkey, one would think the costumes have to be outlandish and complex, but Behar has managed to design a costume plot that isn’t over the top, but still quite effective. Of course, the togas and tunics are present, but ornamented nicely and subtly differentiating the classes (the upper crust and the actors, really). Tatiana, Queen of the Fairies is elegant in her flowing robe while Oberon, King of the Fairies is aptly costumed in a nature-inspired ensemble with funky headpiece included. Overall, Behar’s design is appropriate, creative, and adds value to the production as a whole.
Moving to the performance aspect of this piece, it’s worth saying the entire ensemble gives 100% to their performance and work quite well together. It’s a joy to watch this cast as a whole and they know their stuff!

Micaela Mannix, Liz Galuardi, Fred Fletcher-Jackson, and Davon Harris. Credit: Will Kirk

Taking on the roles of the four confused lovers are Fred Fletcher-Jackson as Lysander, Liz Galuardi as Hermia, Davon Harris as Demetrius, and Micaela Mannix as Helena and this quartet hits the nail on the head with their performances. Their chemistry is second to none and they’re comedic timing is delightful. In a particularly farcical scene where poor Hermia is actually sat on by the boys, I was laughing out-loud and thoroughly enjoying the physical comedy before me. All four give confident performances and are a joy to watch.

A couple of The Mechanicals performing the play-within-the-play. Credit: Will Kirk

The Mechanicals, the acting troupe, compsed of Cheryl Campo, Tess Garret, Jeff Miller, Tegan Williams, Kathryne Daniels, and Shaquille Stewart, much like their name implies, is a well-oiled machine and all work well off of each other. Their mini play-within-the-play had me belly-laughing – especially Jeff Miller, who had the honor of taking on the female role, as many males did in the time period, and he played it to the hilt with an impeccable grasp of the cheeky comedy. Other highlights in this troupe are Shaquille Stewart who takes on the role of Nick Bottom, the egotistical, self-admiring actor, and Kathryne Daniels as Peter Quince, the flustered writer of the troupe. Stewart steals just about every scene he’s in with his physical comedy and superb delivery and Daniels humorously portrays Quince’s frustration with big gestures and asides that work well with the material. It’s a job well done by all.

Allie Press as Puck. Credit: Will Kirk

Allie Press tackles the role of Puck, the impish go-to guy for King Oberon and she really grasps this character. The character of Puck means well and is only doing his masters bidding but he is also a lurking observer most of the time and strikes when it is most opportune. Press skillfully delivers her dialogue and moves about the stage effortlessly giving a confident, strong performance.

Elijah Moreland as Oberon, King of the Fairies. Credit: Will Kirk

Definite highlights of this production are the Titania and Oberon, the Fairy Queen and King played masterfully by Valerie Dowdle (a BSF Company Member) and Elijah Moreland. Their chemistry is brilliant and they work very well off of each other. Moreland, in probably the flashiest costume in the production, moves confidently and gracefully taking on not only the intricate role of Oberon, but also of Duke Theseus. He delivers his dialogue clearly and has a good comprehension of his characters. His interaction with the audience is subtle and not in your face which is something I can totally deal with not being a huge fan of breaking the fourth wall. Overall, Moreland has a strong presence on the stage and gives an absolutely commendable performance.

Valerie Dowdle as Hippolyta. Credit: Will Kirk

Valerie Dowdle also takes on two roles – that of the Titania and Hippolyta and she nails both of these characters. Quite an able Shakespearean actor, Dowdle effortlessly embodies her characters, especially that of Titania, and gives a strong, graceful, and authentic performance. Her comprehension of the material is apparent and her delivery is completely natural, making it easy to follow and understand. Another fine performance from Ms. Dowdle.

The Fairies and Nick Bottom. Credit: Will Kirk

Final thought…A Midsummer Night’s Dream at Baltimore Shakespeare Factory is a step back in time where there was no need for big spectacles or lights and sound but the actors told the story and the text spoke for itself. Baltimore Shakespeare Factory’s attempt at producing authentic Shakespearean theatre is a success, especially out on the rolling meadow at Johns Hopkins University’s Evergreen Museum and Library. T he actors are well-rehearsed and have an impeccable comprehension of the story they’ve been tasked to tell and their interpretation, along with the vision of Director Tom Delise, is easy to follow and quite entertaining. This is a fun, humorous, timeless tale and BSF knocks it out of the ballpark with this production. Those experienced with Shakespeare or those who are currently discovering his work will be thoroughly delighted and entertained.
This is what I thought of Baltimore Shakespeare Factory’s production of A Midsummer Night’s Dream… What did you think? Please feel free to leave a comment!
A Midsummer Night’s Dream will play through July 30 at Baltimore Shakespeare Factory, The Meadow at Johns Hopkins University’s Evergreen Museum and Library. For tickets, purchase them at the door or purchase them online.
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Review: The Divine Sister at Fells Point Corner Theatre

Posted on November 26, 2016 by Jason

By Jason Crawford Samios-Uy

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Running Time: 2 hours and 10 minutes with one 15-minute intermission

Religion is always a tricky and sometimes touchy subject in the arts, but that’s only when its taken too seriously. The latest offering from Fells Point Corner Theatre, the Baltimore Premiere of The Divine Sister, by Charles Busch finds a delightful balance. Directed by Steve Goldklang, with Set Design by Roy Steinman, Lighting Design by Charles Danforth III, Sound Design by Andrew Porter, and Costume Design by Anthony Lane Hinkle and Mary Bova (of A.T. Jones) this piece tickles the proverbial funny bone without offending and the story actually isn’t heavy on religion but sending a message of love, faith, and hope.

Steven Shriner and Holly Gibbs. Credit: Tessa Sollway

Set Design by Roy Steinman is simple, yet detailed. Two moveable walls on wheels cleverly allow for various locations including an underground passageway, a courtyard garden, and a sitting room of an elegant mansion. Steinman’s design is traditional in the way that the scenes are definitely painted and not necessarily realistic, such as stained glass windows and a fireplace and mantel, but absolutely fitting for this production. Being a fan of traditional theatre and suspension of disbelief, I rather enjoyed the simplicity of the set. The entire set is designed to display stone work, as you would see in old churches and buildings and the stone painting is on point. Steinman uses his space very wisely, using the surprisingly large stage and breaking it up into sections with the moveable walls. The set pieces chosen are fitting and really separate the scenes and locations. Overall, the Steinman’s Set Design is appropriate and smart adding charm to the entire production.

The scene changes are precise and careful, but often go on a few seconds too long. There are quite a few set pieces that have to make their way on and off stage between scenes and I’m sure the scene changes will cut their time as the production runs.

Tom Lodge and Kathryne Daniels. Credit: Tessa Sollway

Lighting Design by Charles Danforth III does more than light the actors on stage but sets the mood completely for each scene. Whether outside in a courtyard or in an underground tunnel, the lighting scheme matches the action and setting. Danforth’s design blends in with the action and is absolutely appropriate for the piece.

To go along with Lighting Design, Andrew Porter’s Sound Design is on point for this production. Though there are not a lot of sound effects in this production, what is utilized is definitely befitting. Namely, the realistic “dripping water” sound effect used in the underground tunnel setting adds value to the scene and the production.

Steven Shriner and Anne Shoemaker. Credit: Tessa Sollway

The use of recordings is wise and is hilarious as the actors blatantly lip-sync through an entire number, skipping and dancing as they do. It’s worthe mentioning the song in the the courtyard between Mother Superior and Agnes is not only hilarious with the afore mentioned lip-syncing and skipping, but has beautiful vocals by actresses Holly Gibbs and Anne Shoemaker, with guitar by David Shoemaker.

Costume Design by Anthony Lane Hinkle and Mary Bova (of A.T. Jones) is authentic and fun for this piece. Set in the mid 1960s, styles and fashion were flashy and all over the place, but Hinkle and Bova manage to capture the essence of the 60s with their Costume Design. The nuns, of course, are your traditionally dressed 1960s nuns with the full habit and rosarary and the actors seemed very comfortable in these genuine-looking habits, moving freely about the stage. Outside of the nun costumes, the “civilian” character costumes were equally as impressive. The many costumes of the character named Mrs. Levinson, were all on point and fitting of the character and time, with polyester looking material and vibrant colors of a wealthy middle-aged woman with a penchant and propensity for current fashion and haute couture. Kudos to Hinkle and Bova for their impeccable design.

Lynda McClary and Tom Lodge. Credit: Tessa Sollway

Steve Goldklang’s Direction of this piece is impressive and concise as his vision for this very funny and upbeat piece is clear making for a very well put-together production. Goldklang seems to understand this story is not merely making fun of any particular religion but using humor to tell a story and send an important message of trust and belief.

Though I don’t consider The Divine Sister a traditional farce, it does have farcical aspects and quick entrances and exits, but, overall is just a very witty comedy that Goldklang understands and keeps that delicate balance of mocking and poking fun. He keeps the action moving and, aside from the lengthy scene changes, manages to use the immense talents of his cast to keep the stor
y moving forward. Overall, Steven Goldklang does an outstanding job at the helm of this production.

Kathryne Daniels as Sister Walburga. Credit: Tessa Sollway

Moving on to the performance aspect of this piece, Kathryne Daniels as Sister Walburga/Mrs. Macduffie has a great look and command of the stage making both her characters interesting and entertaining. Her characters are completely different and Sister Walburga as the stern Sister from Berlin may not be all she seems while Mrs. Macduffie, the cleaning lady, seems to know everything that’s going on in their little circle and is happy to share her information. It seems Daniels is the only actor required to use accents for her characters (German for Sister Walburga and Scottish for Mrs. Macduffie) but she may have benefited by working with a dialect coach as her accents for both characters were a dicey, at best. Regardless, her performance was impressive and she seems to understand her characters and plays them beautifully.

Tom Lodge as Brother Venerius/Jeremy is likable and carries the weight of being the only male character in the entire piece. He is comfortable and confident onstage and his portrayal of Jeremy is believable and moves the story along through his dialogue, making him an involved character. However, for as good as he portrays Jeremy, his portrayal of Brother Venerius, whose face we never see, falls a little flat. Brother Venerius is a mysterious character lurking in the underbelly of the convent but I couldn’t pinpoint where is character is supposed to be from as the accent he chooses to use is all over the place and a little strange. Overall, Lodge gives a very strong performance and carries his characters quite well.

Holly Gibbs as Sister Acacius and Lynda McClary as Mrs. Levinson. Credit: Tessa Sollway

Holly Gibbs is brilliant as Sister Acacius a.k.a. Lily in this production of The Divine Sister. She has great comedic timing and her understanding of the character is apparent as she pulls off the New York accent and mannerisms impeccably. As a nun who’s going through some things, including not necessarily wanting to be a nun anymore, and has an interesting past along with Mother Superior, Gibbs plays the role with the right amount of humor and is absolutely believable as Sister Acacius, the right hand man to Mother Superior. Gibbs never disappoints and her work in this production is no different.

Kathryne Daniels, Anne Shoemaker, and Holly Gibbs. Credit: Tessa Sollway

Anne Shoemaker as Agnes, the postulate who is having visions and healing the sick, is a standout in this production. Her comedic timing is on point and her character choices are impeccable. She plays this role with the perfect amount of “crazy” that is required for this character. A cross between Maria Von Trappe and Annie Wilkes (from Stephen King’s novel Misery), Shoemaker finds a perfect balance of innocence and insanity for this character and her depiction of the transition her character goes through is also admirable, In general, Shoemaker is confident and commanding and gives a strong and impressive performance.

Lynda McClary as Mrs. Levinson/Timothy is hands down one of the highlights of this production. With that being said, in the role of Timothy, the young man who is bullied and not the best athlete, along with other adolescent issues, McClary is a bit much. An adult actor playing a child is always tricky and, for this production, McClary takes it to the extreme to being almost annoying, rather than funny, but, if anything, she is absolutely dedicated to the role, giving 100%. Her portrayal of Mrs. Levinson, however, is a completely different story. Mrs. Levinson is the wealthy, fashionable, and philanthropic widow who has secrets of her own and McClary pulls this role off flawlessly. With just the right balance of snootiness and humility, she is a riot with immaculate comedic timing and is an actress who isn’t afraid to make a fool of herself for the good of the production. She’s a seasoned actor and her confidence and command of the stage makes for a funny and outstanding performance.

Steven Shriner as Mother Superior. Credit: Tessa Sollway

Last but certainly not least is Steven Shriner as Mother Superios a.k.a. Susan who is another absolute highlight of this production. For some reason, a man in drag is still funny after all the years of it being a bit in show business and this production is no different. Shriner is superb as Mother Superior and his delivery of the clever lines and his timing is just about perfect. The success of his performance is the character of Mother Superior seriously, not as a mockery, and it makes for a very strong, funny, natural performance. His soothing voice and mannerisms make for an authentic portrayal and a very likable character. As both Mother Superior and Susan, the young and sweet, but cut-throat New York reporter, Shriner gives a confident and commanding performance and I’m looking forward to seeing more from him.

The Cast of The Divine Sister. Credit: Tessa Sollway

Final thought… The Divine Sister at Fells Point Corner Theatre is witty, hilarious show with a clever script and excellent performances from the ensemble. The piece pokes fun at religion but certainly does not mock it and, in the end, sends a good message of faith and hope through crafty humor that will have your sides splitting. Get your tickets now! You don’t want to miss this one!

This is what I thought of Fells Point Corner Theatre’s production of The Divine Sister. What did you think? Please feel free to leave a comment!

The Divine Sister will play through December 18 at Fells Point Corner Theatre, 251 S Ann Street, Baltimore, MD. For Tickets, go to fpct.org for information or purchase them online.