Review: Oklahoma! at Artistic Synergy of Baltimore

By Jason Crawford Samios-Uy

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

If you dream of a place where the wind comes sweepin’ down the plain and the wavin’ wheat can sure smell sweet when the wind comes right behind the rain, well… you can traverse to the great state of Oklahoma, or you needn’t go any further than Artistic Synergy of Baltimore to experience their latest offering, Oklahoma! by Richard Rodgers and Oscar Hammerstein II, Directed by H. Ray Lawson, with Music Direction by Jeff Baker and Choreography by Suzanne Zacker. This well-known classic is reincarnated to give us a glimpse into a simpler time and happier endings.

The Cast of Oklahoma! Credit: Jason Crawford Samios-Uy

Briefly, Oklahoma! takes place in a territory (not yet a state) not long after the turn of the century when there was a spirited rivalry between cowboys and farmers. Curly, a cowboy, and Laurey, a farm girl are quite in love and the story mainly revolves around these two characters. Laurey is pursued by the sullen, dark farm hand, Jud Fry and threatens her budding romance with Curly. Throw in a spunky Aunt Eller, a whippersnapper of a cowboy, Will Parker, and a curious and spirited young woman, Ado Annie, who likes when men talk “purdy” to her, and you have the makings of a good, old-fashioned, feet stamping musical.

Music Direction by Jeff Baker is superb as this strong ensemble sings through this soaring Rodgers and Hammerstein score with ease. The use of canned music takes away from the energy of the piece, but that’s not to say it’s not energized and upbeat as the cast gives a good showing of this familiar music.

Austin Barnes and Suzy Zacker. Credit: Jason Crawford Samios-Uy

Choreographer Suzanne Zacker seems to know her cast well and has created interesting and engaging choreography that is performed well by the ensemble. It’s worth mentioning that Zacker is a highlight in this piece, taking on the role of Dream Laurey, during the “Dream Ballet” number. Her grace and elegant movement during this number is impeccable and is certainly a praiseworthy performance that keeps you enthralled and entertained.

Ray Lawson takes the reigns of this production and he should be applauded for his Direction, presenting this piece with a balance of the familiar and freshness. It’s always challenging to produce a tried and true story but Lawson wisely sticks with the traditional staging and seems to have a good comprehension of this material. The pacing is on point and the two and a half hour run time is no more or no less than what is needed to present this piece and still be entertaining for the audience. The ending of the show is a little lackluster, ending on a whimper rather than a bang, but I’m chalking that up to using recorded music, and I’m sure the cast will improve this ending with each performance. Overall, his vision is clear and it is a well thought-out, well-rehearsed production.

Austin Barnes as Curly and Josh Schoff as Jud Fry. Credit: Jason Crawford Samios-Uy

Moving on to the performance aspect of this production, Josh Schoff  takes on the complex and meaty role Jud Fry but, unfortunately, is a little weak in presentation. He certainly does not bomb in this role and he seems to have a good grasp of the character but also seems to be just going through the motions. His eyes dart all over the place and he rarely makes eye contact with his cast mates which loses that connection he must have to make his character work. This may seem like a knit-picky flaw but eye contact and that connection is essential for this role. Vocally, he’s a little shaky but emotes adequate emotion needed in songs such as “Poor Jud is Daid” and “Lonely Room” which redeems his performance a bit. With that being said, he looks near perfect for the role and is comfortable onstage and with a little more effort, could take this character to the hilt.

Donna Zubrowski as Aunt Eller. Credit: Jason Crawford Samios-Uy

Tackling the role of the feisty and spunky Aunt Eller is Donna Zubrowski and she is perfectly cast in this role. Zubrowski brings a certain authenticity to the part and her choices are befitting of such an endearing character. She has a great chemistry with the ensemble and is comfortable in the role making for a delightful performance. To go along with the more comedic characters, Lou Otero gives a humorous take on the role of Ali Hackim, the traveling salesman who finds himself in the wrong place at the wrong time and in the site hairs of a couple of young women of the territory. Otero has a good comprehension of his character, even if his accent is a little wonky, and he has good comedic timing.

Joe Weinhoffer as Will Parker and Kristin Miller as Ado Annie. Credit: Jason Crawford Samios-Uy

The young, optimistic couple Ado Annie and Will Paker are portrayed by Kristin Miller and Joe Weinhoffer, respectively, and both play these roles splendidly with an absolute believable performance and great chemistry. Miller embodies the giddy, immature, but yearning Ado Annie and, gives a terrific vocal performances as in her featured (and well-known) number “I Cain’t Say No.” Weinhoffer is brilliant as the lovelorn Will Parker and effectively and poignantly portrays the love his character has for Ado Annie. Vocally, he gives a commendable performance, especially in his featured number “Kansas City” where he also gets to show off his movement skills along with the rest of the male ensemble.

Mea Holloway as Laurey and Austin Barnes as Curly. Credit: Jason Crawford Samios-Uy

Leading this ensemble are Austin Barnes, as the loveable and upstanding Curly, and Mea Holloway, as Laurey, the simple, independent farm girl. These two actors definitely know their characters and have a firm grasp on the material making for a strong leading duo. Barnes has a booming, smooth voice and is a powerhouse, making the audience take notice from the get with his rendition of “Oh, What a Beautiful Mornin’.” He fully embodies this character and gives a  jovial flair to Curly, as it should be. He has as great presence on stage, giving a strong performance. Holloway is suited nicely for her role but seems a bit subdued and stiff at times It seems she lights up when she has lines and interaction but falls flat in between those instances and the character is not consistent in that aspect, drawing away from her obvious skill and talent. Her voice is absolutely appropriate and beautiful for this score and she gives a stellar vocal performance, shining in her featured numbers such as “Many a New Day,” “People Will Say We’re in Love,” and “Out of My Dreams.” Overall, the two work well with each other and, though a little forced at times, the chemistry is there and makes for a good showing.

Final thought…Oklahoma! at Artistic Synergy of Baltimore is a well put-together production that does this classic, familiar piece justice. The pacing is good (for a show that could easily seem to go on forever), and the ensemble is strong, overall, and seem to enjoy working with each and off of each other. The traditional staging still holds its own in our modern age and the tunes are still delightful and will have you tapping your toes or drawn in to their poignancy. They just don’t write ‘em like this anymore! It’s definitely a fluffy, feel-good piece of theatre that works well for community theatres like Artistic Synergy of Baltimore and it’s a wise choice to produce the classics to remember where our modern shows came from and to introduce them to a new, younger audience. This production of Oklahoma! is definitely one you want to check out.

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

Oklahoma! will play through March 18 at Artistic Synergy of Baltimore, Prince of Peace Lutheran Church, 8212 Philadelphia Road, Baltimore, MD. For tickets, purchase them at the door or online.

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Review: TOWARD ZERO at Cockpit in Court Summer Theatre

By Jason Crawford Samios-Uy

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(l. to r.) Thomas C. Hessenauer, Randy Dalmas, John Rowe, Kelly Rardon, and Christopher D. Cahill. Photo credit: Joey Hellman


I always enjoy a good murder mystery and they’re always good money makers for community theatres and no one writes a good murder mystery like the legendary Agatha Christie. This summer, Cockpit and Court Summer Theatre’s first offering in their cabaret space is Toward Zero by Agatha Christie, (who also penned the novel) and Gerald Verner and is directed by Joey Hellman.
Toward Zero tells the tale of a house party (of course) at Gull Point, the house of Lady Tressilian, at Saltcreek, Cornwall. The guests consist of an old family friend, a divorced couple, his 2nd wife and her suave friend, and a barrister, who is also and old friend of the family. The divorced couple are cordial and may still have something for each other, the suave friend has a thing for the 2nd wife, the 2nd wife hates the 1st wife, the old family friend has a thing for the 1st wife, and the hostess and the barrister want everyone to be mindful of their manners. Throw in a Superintendent, an Inspector, and a P.C., and, oh, yeah, a murder, then BOOM… you have an Agatha Christie mystery.
At first glance, I knew I was in for a treat when I walked into the cabaret and was greeted by a beautiful, classic set by Scenic Designer Michael Rasinski. Designing for theatre in the round is difficult but Rasinski pulled it off flawlessly and brilliantly with vintage furniture, wainscoting on the walls, a chandelier hanging in the middle of the stage, and a chaise lounge that, when this production is over, I’d like transported to my house! No detail was overlooked down to the light switches, which were the old fashioned push two-buttoned type rather than the modern one-switch we use today. The set design was practically perfect! Rasinski also pulled double duty as the Lighting Designer and he, too, pulled this off brilliantly with lighting that set the moods perfectly for each scene.
Throughout the production, Sound Designer James Lefter added the usual murder mystery show sound effects such as thunder storms and glass breaking but they sounded like quality effects and not just a generic mp3 that can be downloaded off the Internet (even if they were) and they were all placed perfectly. Director Joey Hellman and Stage Manager Marcy Petrick put together a great soundtrack of music including classical instrumental pieces as well as popular vocal works of the mid 20th century.
Kudos definitely goes to Costumer Eva Grove as costume designs were spot on and thought-out for both formal and casual wear for 1955. There were quite a few costumes for both the male and female actors in this production and each one was appropriate and natural.
Getting into the performance aspect of the production, let me preface by stating that, as a whole, Toward Zero is a very appropriate show for community theatre and Agatha Christie can always be counted on to give the audience a good story and she’ll always keep us on our toes. However, play adaptations of Christie stories can be challenging, especially pieces such as Toward Zero, one of her lesser known adaptations. Even though Christie herself had a hand in writing this adaptation, and it was your classic Agatha Christie whodunnit and predictable, I still found the script a bit jumbled and hard to follow, at times, if you aren’t paying close attention.
Overall, the cast did a fine job with this challenging piece and Hellman made some wise choices such as impeccable blocking, which is difficult in the round, where no actor’s back was facing the audience for any extended period of time, but, as I sat there watching the action unfold, I said to myself, “I think this cast needs to go out for a drink with each other!” because there seemed to be little chemistry within the cast which is of the utmost importance when it comes to any play, especially a murder mystery. The chemistry that is present is OK, but does feel a bit strained.
At various points in the script, characters speak of the feeling of “something wrong” or “something out of place” but, because of the lack of chemistry, unfortunately, there is a lack of much needed tension. For there having just been a murder in the house, and suspicion being thrown around, one would think one could cut the tension with a knife, but, that’s not the case here. It’s as if the actors are just going through the motions of a predictable script. However, let me clearly state I don’t blame the cast or the director… I reiterate… a murder mystery is a challenging undertaking!
Speaking of the cast, in general, the British accents are admirable, but, overall, a dialect coach may have been beneficial all around. The actors knew their blocking and their lines quite well and spoke very naturally with each other.
Christopher D. Cahill as Thomas Royde is the first character we meet and, though it’s a bit difficult to understand what he’s saying, at times (I think the British accent is tripping him up occasionally), he has a very good and demanding stage presence and demeanor and knew and played his character very well and gave a strong performance and his vape pipe was brilliant and added to his character.
Kristin Miller takes on the role of Kay Strange, the 2nd, discontented wife of Neville Strange, played by Randy Dalmas. Miller has a tendency to take her character over the top with seemingly one emotion – upset – accompanied by pouty faces, crossed arms, and rolling eyes every time she steps onto the stage. However, the character is unhappy being where she is and has to deal with an ex-wife, so, Miller’s choices aren’t off the mark and she pulls off a very good, though mellow-dramatic, performance. Kay’s cohort, Ted Latimer, is nicely played by Andrew Wilkin and another character even mentions that Latimer is “a dramatic fellow” and, boy, does Wilkin take this to heart. It’s almost fitting that his character and Miller’s characters are so close because he, too, takes the character a bit over the top, at times, with the same rolling of the eyes and pouty faces. Regardless, he gives a strong performance and  has the perfect look for his character.
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(l. to r.) Christopher D. Cahill, Kelly Rardon, Andrew Wilkin, Randy Dalmas, Kristin Miller, Thomas C. Hessenauer, John Rowe. Photo credit: Jason Crawford Samios-Uy


Kelly Rardon tackles the roll of Mary Aldin, the pitiful Lady’s Maid to Lady Tressilian, played by Suzanne Young. Rardon gives a strong performance as Mary and is comfortable moving about the stage, giving a very nice performance but Young is one of the highlights of this production as she gives a very strong, believable performance as the old, crippled Lady Tressilian and has a demanding presence onstage as the matriarch of the bunch, shouting orders, and reminding everyone of the manners of a bygone era. Young is certainly one to watch!
A Baltimore favorite and a fixture in community theatre, John Rowe puts himself in the role of Matthew Treves, a barrister (an attorney, in America), and old friend of the family. He gives a strong performance as a stuffy, old fashioned gentleman of good background and is comfortable on the stage. Well, after being involved in community theatre for over 40 years, one should be comfortable, and Mr. Rowe certainly is! He certainly does take time with his lines, at times, maybe a bit too much time, but he is clear and strong and gives a very strong, believable performance.
Rounding out the cast are Thomas C. Hessenauer, Ryan Frank, and Connor Moore playing Superintendent Battle, Inspector Leach, and P.C. Benson, respectively. Hessenauer, a veteran of Baltimore community theatre, does a wonderful job as the lawman called in to investigate the inevitable murder and he has a strong understanding of his character and is believable as the person who takes charge to find out whodunnit! Occasionally, he comes on strong right out of the gate pointing a suspicious finger at the people he is questioning instead of transitioning gradually into that suspicion, but overall, Hessenauer pulls his role off very well.
As Inspector Leach, Ryan Frank seems to play the part more like an inexperienced young man who got his position because of nepotism rather than on merit. His character pops in, carrying various pieces of evidence and stands on the perimeter while his uncle, Superintendent Battle, solves the crimes. Script wise, I’m not sure the character is needed, but Frank plays the part admirably with the material he’s given and the same can be said for Connor Moore, as P.C. Benson. This character seems to just fill space on stage but could easily be cut, as well. However, Moore, in his impeccable costume and brilliant whistle, pulls off the part nicely and it’s obvious he’s giving 100%!
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Stephanie Horvath. Photo credit: Jason Crawford Samios-Uy


Two highlights of this production of Toward Zero are Stephanie Horvath and Randy Dalmas. The two play ex-spouses, Audrey Strange and Neville Strange and they pull off the parts flawlessly. Randy Dalmas has a strong presence and seems to understand his character. He moves comfortably around the stage and, if I might add, has a very nice, smooth voice that lends well to the British accent he pulls off beautifully. Horvath glides across the stage comfortably and effortlessly, embodying the character of an ex-wife who may or may not be who we think she is. Though a few of her reactions to major events in the show could have been more thought out, she is still gives a strong, believable performance. Hovarth and Dalmas make a dynamic duo that are a joy to watch.
Toward Zero is indeed a good show and has some very talented folks involved so, if you find yourself looking for something to do for the next couple of weekends, check it out! Agatha Christie always delivers and it’s always fun to see if you and your friends can solve the mystery before the big reveal!
Running time: 2 hours, 30 minutes with one 10 minute intermission
This is my take on this production of Toward Zero… what do you think?
Toward Zero will play Friday-Saturday at 8pm and Sunday at 3pm through June 26th at CCBC, Essex Campus, Community Center. For tickets, call 443-840-ARTS (2787) or purchase them online.