Between the Lines with Rosencrantz & Guildenstern are Dead at Fells Point Corner Theatre

By Jason Crawford Samios-Uy

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

Poor Rosencrantz and Guildenstern. If you’re familiar with Shakespearian tragedies, you’ll recognize these two characters as supporting players in Hamlet and their unfortunate demise. Fells Point Corner Theatre’s latest production, Rosencrantz and Guildenstern are Dead by Tom Stoppard, Directed by Lance Bankerd, takes a peek between the lines of the Shakespeare classic to gives us a theoretical peek into what these two ill-fated characters were up to in the background while our friend Hamlet was going crazy.

Matt Wetzel, Bethany Mayo, Rory Kennison, Michael Panzarotto. Credit: Trent Haines-Hopper/THsquared Photography

I’m usually a big fan of stories that include telling more in depth, parallel stories about minor or supporting characters of established stories. It’s always interesting to see and hear what’s going on in the background of other stories, and they are usually quite creative and imaginative. So, not knowing much about this title, but being familiar with Shakespeare’s Hamlet, I was excited to see what could transpire. I was excited. Then I realized this is Absurdist theatre. Admittedly, I am not a fan of Absurdist theatre and, after five minutes of rambling dialogue about probabilities and odds, I was turned off. The actors were doing a magnificent job, but the dialogue left me cold. The text is ostentatious and the fast pace of dialogue seems to me that the author is trying to create a character who’s mind works so fast he or she has to get out all the words before the next bright idea comes along. Ugh. Also, this doesn’t seem to be a stand-alone piece (as other titles are, this isn’t the only one) and one must have a familiarity with Hamlet before seeing this piece. There is an attempt to keep the audience up to pace with the introduction of certain characters and light explanations, but it’s half-hearted, at best. However, Stoppard does keeps true to the action of Hamlet, but when it comes to these two characters (and company), you can keep ‘em… but that’s just me.

No matter my feelings of the script, there’s absolutely no denying the fabulous production value Fells Point Corner Theatre gives us. Lance Bankerd, who takes the helm of this production, has a clear vision and tells the story straight-forward, with simple staging but superb character work. He seems to have a tight grasp on the tedious material and presents it in a laidback, easy-to-follow way making for a delightful showing. Also, it’s worth mentioning the creative Costume Design by Deana Fisher Brill and Maggie Flanigan who have managed to find and gather more denim in one place than I’ve seen since house party in the 90s. Their design compliments the piece and is consistent which makes it a praise-worthy design.

Moving on to the performance aspect of this production, I’d be amiss if I didn’t mention the effort and dedication this entire ensemble puts into this production and their work pays off, nicely.

(l-r) Thom Sinn and Dominic Gladden. Credit: Trent Haines-Hopper/THsquared Photography

Though most of the ensemble seemed like fillers, all gave beautiful performances such as Elizabeth Ung as Ophelia, who didn’t have much stage time, but made the most of what she had and Michael Panzarotto and Rory Kennison, who took on the roles of The Tragedians Horatio and Alfred, respectively. Panzarotto and Kennison didn’t have many lines, but they certainly played their characters to the hilt, physically, with appropriate gestures, mannerisms, and impeccable reactions to the other happenings on the stage.

Dominic Gladden takes on the role of Hamlet, who actually isn’t the main character in this particular story, but Gladden played the role effortlessly. It’s hard to make out his dialogue, at times, through a heavy dialect, but he has a good comprehension of the twisted character and plays him with confidence giving a strong performance. In step with the freaky family, Tom Piccin tackled the role of Claudius, the conniving uncle to Hamlet, and Kay-Megan Washington portrays Gertrude, the award-winner for Worst Mother of the Year. Both Piccin and Washington know these characters well and they have a good chemistry to play well off of and with each other. Both are quite able actors and they shine through the supporting roles to give brilliant performances.

There are certainly highlights in this production, including Bethany Mayo as The Player, the leader of a passing troupe of actors, and a little bit of a con artist. She has this role down pat and her comedic timing, as well as understanding of dramatics is crystal clear. She is comfortable in the role and plays it with ease, making for a solid and robust portrayal.

Thom Sinn as Polonius, the hapless, disheveled advisor to Claudius, is also a highlight mainly because of his comedic timing. His take on this character is spot on. Playing Polonius as more of a bumbling assistant, Sinn makes this character likeable and you start rooting for him, but you don’t why, you just know you want everything to work out for this poor fool. His delivery is a bit mushed at first, but that could be what Sinn is going for as it would fit with the character, but otherwise, his performance is strong and confident, making for a charming character.

(l-r) Logan Davidson and Matt Wetzel. Credit: Trent Haines-Hopper/THsquared Photography

Rounding out the cast is the truly remarkable Logan Davidson as Rosencrantz and Matt Wetzel as Guildenstern, who are the standouts in this production and they are working their asses off on that stage. Rosencrantz and Guildenstern, in the Shakespeare play, are friends of Hamlet, but are assigned by Claudius to take Hamlet to England with a letter to the King of England asking him to kill Hamlet, unbeknownst to the duo. Hamlet finds out, and, well… let’s just say things don’t turn out so well for Rosencrantz and Guildenstern. You read the title already.

Davidson and Wetzel have a fantastic chemistry and work well off of each other, and, a little birdy told me they learned this hefty script in a little over a month, which is impressive with the amount of dialogue these two have to deliver throughout the show. They’re physical work is also spot on and they keep the audience engaged and entertained. Wetzel has a natural flair in his delivery and precise mannerisms that make him a joy to watch. Davidson, too, has a knack for the physical and portrays her role (whether it be Rosencrantz or Guildenstern, depending on what’s happening on stage at the time) with confidence and ease. Both of these actors have a tight grasp on their characters and play them solidly. Their effort is apparent, and they deserve the utmost kudos for their work on this production. They are certainly ones to watch.

Final thought… Rosencrantz and Guildenstern are Dead, is a polished, beautifully performed, well-thought out production but it’s not one I’d be running to see if it comes around again. Many folks love this kind of stuff, but absurdist theatre is just not my cup of tea, as it were, and the script is a little too pretentious for my tastes. However, Tom Stoppard’s pretentious “look-how-smart-I-am” script and dialogue aside, this is a splendid production. The ensemble is giving 100% effort in their superb performances and Bankerd’s staging is spot on, creating a smooth flow that keeps it engaging and entertaining. It’s definitely a praise-worthy production that deserves checking out.

This is what I thought of this production of Rosencrantz and Guildenstern are Dead at Fells Point Corner Theatre.… what do you think?

Rosencrantz and Guildenstern are Dead will play through May 5 at Fells Point Corner Theatre, 251 S Ann Street, Baltimore, MD 21231. For tickets, call 410-276-7837 or purchase them online.

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Review: Judy and the General at Spotlighters Theatre

By Jason Crawford Samios-Uy

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

Kay-Megan Washington and Kellie Podsednik. Credit: Spotlighters Theatre / Shaelyn Jae Photography

It seems no matter what time or era, women have always been underestimated, especially in biblical times. Women were supposed to act a certain way, be accepting of everything men threw at them, and docile and obedient. However… there were a few “rouge” women who weren’t having it, whatsoever. One of those women is Judith from the biblical Book of Judith which we don’t hear much about (I wonder why?) but is a great story of strength, faith, and love. Spolighters Theatre latest offering, the World Premiere of Judy and the General, by Baltimore playwright Rosemary Frisino Toohey, Directed and Musically Directed by Michael Tan, presents this epic story in an accessible, humorous telling of this intriguing and important story.

Kellie Podsednik as Judy. Credit: Spotlighters Theatre / Shaelyn Jae Photography

As stated, we don’t hear much about Judith today but there are representations in paintings, monuments, and song all over the world. Briefly, Judy and the General tells the story of Judith, a young girl who lives in a small farming village with her father and they seem to be on the verge of bankruptcy. She meets the very rich and very tender Manasseh and the two fall madly in love. With her newfound riches, Judith becomes quite a pill for others, especially her maid. Unfortunately, Manasseh keels over soon after and Judith is left alone. Meanwhile, a neighboring Assyrian king wants to take over the land in which the village sits and sends his best general, Holofernes. All the while, Judith has put herself in solitary confinement and has seen the light and wants to be a better person by helping others. The Assyrians and the villagers are at a standoff and Judith realizes she can use her feminine wiles on Holofernes to help her village and be a better, more pious person.

Richard Greenslit as Soldier. Credit: Spotlighters Theatre / Shaelyn Jae Photography

Alan Zemla’s Set Design is minimal but, as always, on point. The space at Spotlighters is intimate and in the round and Zemla knows it like the back of his hand. His use of the entire theatre is wise and opens up the production more than what the stage has to offer. His scenic art work is brilliant and he puts the audience smack dab in the middle of the ancient village and dwellings. Simple set pieces are used to represent locations and allow for smooth transitions. Kudos to Zemla for adding great value to the production.

Wayne Ivusich, Kellie Podsednik, and Rob Wall. Credit: Spotlighters Theatre / Shaelyn Jae Photography

Putting new work out can be frightening, but, someone has to do it and I’m glad those “someones” do. Rosemary Frisino Toohey has given us a strong piece to mull over. Her script is spot on in all aspects including dialogue, structure, and timing. It’s witty, engaging, and tells this epic story in an accessible, witty way that is entertaining and keeps the attention of the audience. My criticism is with the music aspect. It is a musical, so, music is half the deal, but with this particular production, the music just seemed to fall flat. Don’t get me wrong, the songs are simple and sing-able, but you won’t find yourself tapping your foot or humming any of the tunes when you walk out of the theatre. Some might, but most probably won’t. That being said, the music is appropriate for the piece and it yields some cute melodies, but overall, it doesn’t make a deep impression. Toohey’s lyrics may be the biggest problem. At times they are elementary and predictable and might work better as simple dialogue than in a song. Again, that’s not to say the music aspect of this piece is bad, but it’s the weakest, especially up against a strong, intelligent script.

Wayne Ivusich, Rob Wall, and Richard Greenslit. Credit: Spotlighters Theatre / Shaelyn Jae Photography

Michael Tan takes the reigns of both Direction and Music Direction of this piece and he pulls it off flawlessly. His staging works well for the space and the pacing is near perfect. He seems to have a good comprehension of these characters and this story and has presented it clearly to an audience. Directing the first full production of any piece can be daunting, but Tan has stepped up nicely. His Music Direction, too, is top-notch keeping the cast in harmony and in tune while playing along as the lone musician! Tan is to be applauded for his efforts in this well put-together production.

Richard Greenslit as Servant. Credit: Spotlighters Theatre / Shaelyn Jae Photography

Moving into the performance aspect of this production, Wayne Ivusich and Richard Greenslit, who play multiple roles are quite an act together. Ivusich gives off such a jovial air, no matter which character he’s playing, making him a delight to watch and it works for all of his characters, including Dad, King, Head Man, and Captain. He has a good grasp on the material and presents it beautifully. Now, Greenslit… I could watch him onstage all day. He could have two lines or ten monologues in a row, it doesn’t matter because of his expressive face, it’s all a joy to watch. He’s a master of the subtle glances and side pantomimes as well as comedic timing which is required for his roles as Workman, Servant, Soldier, and Advisor. Vocally, both of these gentlemen are confident and not only sing their featured numbers, such as “The Guy in Charge” and “The Servent’s Lament, Why Can’t We Switch,” nicely, they also act them out which adds so much to the performance.

Rob Wall as General Holofernes. Credit: Spotlighters Theatre / Shaelyn Jae Photography

Rob Wall takes on the roles of Manasseh and Hologernes; two completely different characters – one being tender, one being hard as nails, and he portrays them both superbly.  His switch between the characters is effortless and he plays them like night and day, which is required, and he does it without a hitch. Vocally, Wall is a pro with a rich, smooth voice that resonates and is filled with emotion making for a strong, confident performance all around, especially in his featured numbers sucha s “April” and “Plunder Pillage, and Loot.”

Tackling the role of Judith (rather, Judy) is a highlight of this production, Kellie Podsednik. She is on point in her portrayal of this complex, driven woman and her gradual change from poor farm girl to pain-in-the-ass rich girl, to the pious woman she ends up being is unbroken. Because of her skill, her character at the end of the piece is completely contrasting with the character at the beginning of the piece which makes her one to watch in this production. Her high, delicate soprano is a perfect fit for this role and she knocks it out of the park, vocally, as in her featured numbers, “Closer to My Heart” and the poignant “Gone Now.”

Kay-Megan Washington as Maid (Narrator). Credit: Spotlighters Theatre / Shaelyn Jae Photography

The standout in this piece is Kay-Megan Washington, who portrays Maid (Narrator), though she is called Fallacia, it may not be her actual name, but that’s how it goes when you’re a servant in biblical times, right? Washington gives a confident, effortless performance and is absolutely natural on the stage and with the delivery of her dialogue. She has a deep understanding of this story and her character and it shows in her portrayal. Her vocal skills are strong and makes one take notice, especially in the opening number, “Tale to Tell” and her humorous “A Prayer”. She’s comfortable on stage and gives a strong, confident showing.

Kellie Podsednik as Judy. Credit: Spotlighters Theatre / Shaelyn Jae Photography

Final thought… Judy and the General at Spotlighters Theatre is a fun, lighthearted take on an epic biblical story that is not well known, but should be. The subject matter is relevant and serious but Rosemary Frisino Toohey manages to make it accessible with a witty, humorous, and well-structured script. The score, on the other hand (or beginnings of the score as this is the world premiere), is quaint and, at times, lackluster, but appropriate for this piece. Production value for this particular production is top-notch with well thought-out staging and Music Direction, a minimal but clever Set Design, and superb performances from every member of this small 5-person ensemble. Premieres can be challenging and World Premieres can be downright difficult, but Spotlighters Theatre and everyone involved in this production should be applauded for their efforts and this is certainly a production you want to check out this season.

This is what I thought of Spotlighters Theatre’s production of Judy and the General… What did you think? Please feel free to leave a comment!

Judy and the General will play through July 29 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: Three Penny Opera at Spotlighters Theatre

By Jason Crawford Samios-Uy
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Running Time: 3 hours with one 15 minute intermission

Connor Moore As the Street Singer. Credit: Spotlighters Theatre/Shealyn Jae Photography

Connor Moore As the Street Singer. Credit: Spotlighters Theatre/Shealyn Jae Photography


I’m both a musical theatre fan and an opera fan, with emphasis on the former, but I certainly appreciate a good opera now and then. Of course, both genres’ main element is music but the production is a bit different. Spotlighters Theatre‘s latest offering, Three Penny Opera Adapted by Bertolt Brecht and Music by Kurt Weill (adapted from a translation of Jonathan Gay’s The Beggar’s Opera by Elizabeth Hauptmann) merges both of these genres to give us a three hour journey where our heroes fight for social and economic justices to which today’s audiences can relate. This production is Directed, Edited, Adapted, and Newly Translated by Michael Blum, with Music Direction by Erica Rome, and Choreography by Melissa McGinley.
The story begins with the familiar Ballad of Mack the Knife, beautifully performed by Connor Moore (though, be forewarned, it’s much different from the jazzy Bobby Darrin version we’re used to), then goes on to tell the story of Macheath (a.k.a. Mack the Knife) the most notorious criminal in all of England. Macheath marries Polly Peachum (Allison Hicks) much to the dismay of her parents (Frank Mancino and Kay-Megan Washington), who happen to be wealthy and in charge of all the beggars in London but there’s not much to be done since Tiger Brown, the High Sheriff of London is a very good boyhood friend of Macheath. Mr. Peachum, with his clout, threatens Tiger Brown, leading to the arrest of Macheath who manage to escape (a couple of times) with the help of some prostitutes, which leads to an abrupt ending a la deus ex machina (but you’ll have to see it to see if it’s happy or sad).
Steve Quintillian and Robert Wall. Credit: Spotlighters Theatre/Shealyn Jae Photography

Steve Quintillian and Robert Wall. Credit: Spotlighters Theatre/Shealyn Jae Photography


Although this piece runs just about as long as an average opera, the pacing and tempo is very good so, it’s not that the cast is dragging their feet, it’s just A LOT of show. Blum skillfully punches out each scene smoothly without much downtime and keeps the action moving along nicely.
Spotlighters Theatre’s space being as intimate as it is, the Set Design by Alan Zemla is fitting for this piece utilizing set pieces rather than a unit set, which is clever, and using space off the stage wisely, as well.
Going along with the production aspect of this piece, Costume Design by Amy Weimer and Darcy Elliot was well thought-out and befitting with variety and authenticity.
Rachel Verhaaren, Andrea Bush, Evangeline Ridgeway, and Kay-Megan Washington. Credit: Spotlighters Theatre/Shealyn Jae Photography

Rachel Verhaaren, Andrea Bush, Evangeline Ridgeway, and Kay-Megan Washington. Credit: Spotlighters Theatre/Shealyn Jae Photography


Overall, this is a well put-together production with a tight ensemble but the story gets somewhat lost in the translation by Director Michael Blum. According to Blum’s bio, he has a background in opera, and it seems as though that’s how he approached this production rather than a play with music or a musical theatre piece. The program states the setting of this piece is supposed to be Baltimore in 2017 and London, 1838 (as seen through the eyes of Brecht in Berlin, 1928) – did ya get all that? Blum manages to portray the latter adequately, but the only hint of Baltimore 2017 comes in to play during two instances where the cast dresses up like modern day beggars but, unless I missed it, I didn’t get the feel of modern day Baltimore at all in this piece. However, minor curious direction choices aside, his casting is full of superb vocalists and most are indeed top notch such as Kay-Megan Washington, Allison Hicks, and Amber Hooper – all vocal powerhouses. Music Director Erica Rome is to be commended for her work with this ensemble as they are on point, musically, and Choreography by Melissa McGinley is charming and appropriate, adding value to the production.
Robert Wall. Credit: Spotlighters Theatre/Shealyn Jae Photography

Robert Wall. Credit: Spotlighters Theatre/Shealyn Jae Photography


A couple of highlights in this production are Evangeline Ridgeway as Jenny Diver and Robert Wall as Tiger Brown, High Sheriff of London. Both a very accomplished vocalists and each portrays his or her respective character with confidence and ease with a strong presence on the stage.
Steve Quintillian takes on the role of our “hero,” Macheath, and though his overall performance falls a little flat as, vocally, he may not be as strong as his counterparts, he gives a good showing as the suave con man, King of Criminals and he is dedicated to his role.
Allison Hicks. Credit: Spotlighters Theatre/Shealyn Jae Photography

Allison Hicks. Credit: Spotlighters Theatre/Shealyn Jae Photography


The entire ensemble gives an admirable, dedicated performance (especially ensemble standout Andrea Bush, who carries her smaller role naturally and confidently), moving the piece along smoothly and really rounding out this production beautifully.
Final thought… Three Penny Opera is definitely a bit of an acquired taste but definitely worth checking out because of the incredibly immense vocal talent in this production. The translation may make the sordid story of criminals, con men, crooked cops, and even a little love a bit jumbled, but, overall, it’s a well-performed, charming piece with an absolutely dedicated ensemble. Whether your an opera fan or an old fashioned musical theatre fan, you’ll find a familiar joy in this production.
This is what I thought of Spotlight Theatre’s production of Three Penny Opera.
What did you think? Please feel free to leave a comment!
Three Penny Opera will play through February 5 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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