Review: Thank You, Dad at Rapid Lemon Productions

By Jason Crawford Samios-Uy

Running Time: Approx. 2 hours with one intermission

On November 18, 1978, tragedy struck in a little stretch of land in Guyana, in South America, where some 900 people lost their lives because of on crazed man. News hit hard in the United States because most of these folks were lost, disenchanted Americans, including a United States Senator. Some of you might know this story and the story of Jonestown, led by the Reverend Jim Jones and the final act of revolutionary suicide that occurred over four decades ago and Rapid Lemon Prouctions‘ latest offering, Thank You, Dad by Aladrian C. Wetzel and Directed by Donna Ibale, gives us insight into the man behind the tragedy, Jim Jones. Through Three acts, we learn of his beginnings, his ministry with The People’s Temple, and then ultimate insanity that took the lives of the people who followed him.

Lance Bankerd as Jim Jones. Credit: Rapid Lemon Productions

Hands down, author Aladrian C. Wetzel has crafted an intelligent, thoughtful piece of theatre. It’s apparent she has done her research and has gathered together three important phases of Jim Jones’ life to present in this work. As one who has always been macabrely fascinated by this tragedy, I’ve spent hours online watching videos and films about Jim Jones and Jonestown, and Wetzel has hit the nail on the head in her presentation. The script is well put-together and engaging and it offers facts with an artistic license that doesn’t hinder the information. Jim Jones is a complicated man, obviously, but Wetzel has managed to tell his story, through his point of view, while showing the madness that was just under the surface that some people saw directly, while others saw only a savior. The dialogue is easy to follow and helps us understand Jones as a regular man, a self-proclaimed prophet, and madman. Whether you’re familiar with this sad story or not, you will walk away learning a little more about this complex man and the massacre of Jonestown. Wetzel is to be commended and applauded for her work and efforts.

Lance Bankerd as Jim Jones. Credit: Rapid Lemon Productions

Set and Property Design by Max Garner and Projection Design by Chris Uehlinger blend perfectly into this production and add great value as a whole. Set pieces and digital images and video are chosen wisely and help move the story along as we take this journey with Jones. The full back wall projections and simple setting do not take away from the storytelling of this piece and give just enough to put the audience in the scene to better understand what they are watching. The Baltimore Theatre Project is such a great venue and the perfect space for this production that was used wisely by Garner and Uehlinger.

Lance Bankerd as Jim Jones. Credit: Rapid Lemon Productions

Director Donna Ibale (with Justin Johnson, Chara Bauer, and Lee Conderacci) do a splendid job realizing their visions on the stage. Ibale has wisely chosen to use a blank stage with simple set pieces that does not get in the way of the telling of the story, but adds to it. Ibale seems to have a good grasp on who this tragic person was and the history leading up to his ultimate dastardly deed. The only drawback is the recorded voices filling in as followers and such as they sound too rigid and scripted to be folks talking from the heart or giving spontaneous responses. However, the text that is spoken does move the story along and gives Jones something with which the actor portraying Jones can work. Each act is presented as a sermon, of sorts, and we are forced to pay attention, making the experience all the more immersive. Simple sets, simple staging, but fantastic storytelling. Kudos to Ibale and company for their efforts.

Lance Bankerd as Jim Jones. Credit: Rapid Lemon Productions

Taking on a character in a one-man show is daunting and taking on the persona of a real person can be downright trying but Lance Bankerd, a veteran of Baltimore theatre, as the The Reverend Him Jones shows no signs of difficulty whatsoever. Bankerd effortlessly embodies the role of Jim Jones and, just like the man himself, keeps the audience enthralled. He completely transforms himself to create this character, inside and out. From the younger monkey selling Jones until the whacked-out Jones giving the death speech, he doesn’t falter once and keeps his performance consistent. It’s easy to see he has a magnificent comprehension of the character, the story, and the text and his delivery is natural and engaging. Hands down, it’s a tour-de-force for Bankerd and this is not a performance to be missed.

Final thought…  Thank You, Dad from Rapid Lemon Production is a fresh look at a story that has fascinated us for over four decades. It’s such a poignant story about lost, disenfranchised souls and the man who led them to death. How could this not be great fodder for a stage play? Wetzel takes all the facts and weaves a brilliant script, wisely keeping it simple as a one-man show. Ibale and company’s Direction and Bankerd’s performance are top-notch and the production, as a whole, is to be commended. You seriously do not want to miss this kick off production of the new Rapid Lemon Productions season. Get your tickets now!

This is what I thought of Rapid Lemon Productions‘ production of Thank You, Dad… What did you think? Please feel free to leave a comment!

Thank You, Dad will play through January 20 at Baltimore Theatre Project, 45 W. Preston Street, Baltimore, MD. For tickets, you can purchase them at the door or online.

Email us at backstagebaltimore@gmail.com

Like Backstage Baltimore on Facebook!

Follow us on Twitter and Instagram!

Review: Fiddler on the Roof at Third Wall Productions

By Jason Crawford Samios-Uy
logo
Running Time: 2 hours and 45 minutes with one 15-minute intermission
Tradition is what keeps things together for some people but there are folks who thrive on change. Tradition and Change certainly make strange bedfellows and Third Wall Production‘s lates offering, the classic Fiddler on the Roof, Directed by Lance Bankerd, with Music Direction by Edward Berlett, Choreography by Kali Baklor, Set Design by Jordan Hollett and Costume Design by Sally Kahn, takes us back to the early part of the 20th century and gives us the tale of a poor, Russian milkman struggling with and trying to balance his traditions and radical, new ideas of a new era.
I have to admit, I had serious reservations when I walked into the theatre and realized Director Lance Bankerd is putting Fiddler on the Roof – a big show – in an intimate space and in the round! Well, as soon as the first number started, though it was a bit tight with such a massive cast, it actually worked and it worked quite well!
Set Designer Jordan Hollett manages to give the audience a full musical theatre experience with set pieces and backdrops rather than full sets and it seems less tedious and just as effective. The story is told with benches and tables with a few “fancy” pieces such as a spinning bed and required wedding canopy. Kudos toe Hollett for his inventive design and intelligent use of space. Also worth mentioning is the painting of the large backdrops by Artists Ann Pallank, Amy Rudai, and Emma Hawthorn, adding great value to the space and the production as a whole.
Sally Kahn’s Costume Design is on point and her choices for this ensemble fir the bill of a poor Eastern European village in the early 20th century. Her attention to detail is commendable as this piece is not only somewhat of a period piece but also a cultural piece dealing with rules and restrictions of the Jewish religion that Kahn seems to understand and wardrobes her actors as such.
Kali Baklor takes on double-duty as both Choreographer and tacking the whirlwind role of Fruma-Sarah, the dead wife of the town butcher. Balkor’s choreography work is impressive and befitting for the piece and her ensemble. The space is intimate so there isn’t a ton of room for her large cast, but she uses what space she does have wisely with minimal but interesting and entertaining choreography. Along with keeping the cast in step, her take on the loud, obnoxious Fruma-Sarah is high-energy, confident and quite admirable.
Music Director Edward Berlett has this ensemble sounding beautiful in each number and his work with actors in the featured numbers is apparent as they run smoothly and sound splendid. I do regret the orchestra has no recognition in the program because they sound absolutely phenomenal. Taking up almost a third of the space, they were not overwhelming and blended in nicely with the ensemble making for a very pleasant sound. Featured musician, violinist Jonathan Goram is a gem in this impressive orchestra as he didn’t falter once during his solos making for an sensational performance. Kudos to the pit orchestra for a job well done and, hopefully, you’ll all get an insert in the program before the production is over!
Direction by Lance Bankerd is innovative and well-thought out, presenting this traditional musical in an nontraditional space. The space is tight, and the attempt of audience immersion from some of the cast is a little much, but some people enjoy that sort of thing and, overall, it was a joyous experience. There are a few curious casting choices, in appearance only, such as some characters who are younger than others actually looking older, but, all in all, it’s a very well put-together production. Fiddler on the Roof is A LOT of show and Bankerd has managed to keep the action moving and his cast kept the pace nicely. Major kudos to Lance Bankerd on a superb job with this piece.
Emma Hawthorn takes a turn as Yente, the matchmaker and pulls off the part nicely. This role is more of a comic relief and has a lot of the funny lines, but Hawthorn’s timing is a bit off on some of the jokes that could have been gold. Overall, however, she gives a fine performance and she understands the important role (after all, there’s an entire song in her honor!). She leads the attempt to bring the audience into the action with asides and interactions and seems successful in her attempts.
Michelle Hosier tackles the supernatural role of Grandma Tzeitel, who Tevye claims comes to him in a dream and she is delightful. She has a beautiful, strong soprano that is featured in “The Dream” and she’s comfortable and confident in the role.
Michael Zellhofer takes on the role of Lazar Wolf and his performance is top notch. He has a strong stage presence and makes this role his own and plays it confidently with a balance of drama and brilliant comedic timing.
Taking on the roles of eldest daughter Tzeitel and her unintended beau, Motel, the tailor are Lauren DeSha and Daniel Plante. From the moment DeSha steps onto the stage, she is a joy to watch. She gives a natural, comfortable performance, both in the portrayal of her character and vocally, and she has great chemistry with her fellow cast mates, espeically with Plante, her character’s love interest. The two give a believable performance and though Plante may not give the strongest vocal performance, but he is certainly giving 100% effort making for a commendable and confident performance.
Next up, Mea C. Holloway tackles the role of Hodel, the second eldest daughter and Joe Weinhoffer as portrays her counterpart, Perchik, the Student from Kiev. Aside from looking a bit older than the actress playing her older sister, Holloway gives a brilliant performance, vocally, but her portrayal of Hodel, though admirable, fell just a little flat. Weinhoffer’s interpretation of Perchik is spot on and his confidence and charisma shines through in his performance. Though he sounds a bit scripted, at times, his a clear, smooth, resonating voice fits the character near perfectly.
Alex Clasing who plays Chava, the third eldest daughter, is a definite standout in this production and her performance is a pleasure to watch. Vocally, she has a strong, clear voice that makes one take notice, even in the group numbers like “Matchmaker” and her acting chops are on point. Clasing portrays Chava naturally and authenticly and works easily with her cast mates. Her performance is one to watch in this piece and I’m looking forward to seeing more from this young actor.
Jenifer Grundy-Hollett as Golde is a treat and she gives this role 100%. Her comedic timing is spot on and she really grasps her character, making wise choices and making Golde a realistic mother and wife.  Her lovely soprano shines through, vocally, especially in numbers like “Do You Love Me?” and “Sunrise, Sunset.” She does play the part with a heavy hint of New York City in both accent and attitude but she still pulls the part off authentically and works well with all her cast mates.
Baltimore theatre veteran Roger Schulman as Tevye is the highlight of this production and he leads this ensemble with ease. Tevye is a traditional, yet jovial character and Schulman embodies these attributes superbly. His performance of Tevye’s signature “If I Were a Rich Man” is a joy to watch and Schulman refreshingly makes it his own. His overall delivery is natural and he makes the audience feel welcome and at home. He presents the subtle transition of his character seamlessly but with certainty and his presentation of Tevye’s evolution and growth is what knocks this performance out of the ball park.
Final thought…Fiddler on the Roof is usually a show that people love or hate. Rarely is there an in between but this production at Third Wall Productions is a creative, innovative presentation of this classic Broadway show. I had my reservations with it being in-the-round, at first, but this production did not disappoint. The intimate space was a bit cramped for the large cast and the attempt of audience immersion was a bit much, but overall, Third Wall Productions can chalk this one up as a bona fide success. The gifted ensemble and orchestra is a joy to watch and hear and the outstanding performances of these talented players should not be missed.
This is what I thought of Third Wall Productions’ production of Fiddler on the Roof… What did you think? Please feel free to leave a comment!
Fiddler on the Roof will play through February 26 at Third Wall Productions, 5801 Harford Road, Baltimore, MD. For tickets, call the box office at 443-838-4064 or purchase them online.
Email us at backstagebaltimore@gmail.com 
Like Backstage Baltimore on Facebook
Follow Backstage Baltimore on Twitter (@backstagebmore) and Instagram (backstagebaltimore)