Tidewater Players Bares All in The Full Monty!

By Jennifer L. Gusso

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

Every so often, a production comes around where every element works perfectly and transcends to a level of sheer theater magic. One of those productions is the Tidewater Players’ current production of The Full Monty with Book by Terrence McNally and Music & Lyrics by David Yazbek, Directed by Laurie Starkey, with Music Direction by R. Christopher Rose, and Choreography by Elise Starkey. If you don’t already have tickets to this hysterical and heartwarming delight, you should buy them immediately. This cast and production team consistently deliver in bringing to life one of the funniest scripts in Musical Theater.

The Cast of The Full Monty at Tidewater Players. Credit: Tidewater Players

Fair warning: This is the tale of a group of out-of-work steel workers who have decided to make some money by taking off all their clothes. There will be some skin, combined with language and other adult themes, that does make this production not appropriate for young audiences. However, mature teens and even the most conservative adults are unlikely to be offended, as this is not skin for the sake of skin – this is a story about loving yourself and about body acceptance. It has a strong moral foundation and excellent themes about what it means it be a “Man.”

Director Laurie Stentman Starkey’s curtain speech talked about her great love for this piece and her desire to really do justice to the message of this show. That love shows in every detail of this production. From assembling a dynamic cast to effective staging, quick scene changes, and seamless integration of technical aspects, a strong and skilled directorial hand is evident throughout. Her vision is furthered with strong musical leadership at the hands of R. Christopher Rose. Both soloists and ensembles shine consistently in their knowledge of the music and how to deliver the music for maximum impact. Another shining star is the choreography of Elise Starkey. Her choreography is not only eye-catching and delivered with stunning synchronicity, it also often tells the story and adds to the humor.

The technical aspects are also very well-designed and effective. Laurie Starkey & Todd Starkey create a set design that easily transforms into a variety of locales, ending in the amazing culmination of the “Full Monty” sign in the closing scenes. The lighting design by Thomas Gardner adds depth and character throughout and works perfectly in the most crucial of moments. Costume Design by Eva Grove is clever and detailed. Like the other aspects, it highlights the two key aspects of this production: character and humor.

With these things in place, the cast is set up for success, and they take that ball and run with it. There is truly not a weak link in the entire ensemble. The thing that works so brilliantly is that the production team and cast really got the characters and the theme of the piece. What makes this show both funny and touching is that these are real men stepping outside of their comfort zone. The characters are quirky and zany at times, but, above all else, they are real. It is only in playing these characters as real and complex and not over-the-top that this show can truly work. Starkey and her cast understand this and instead of trying to play for laughs or manipulate audience emotion, they allow themselves to be real characters who experience this story as it unfolds. The result is that the audience laughs and cries and falls in love with the vulnerability and reality on display in front of them.

The cast also melds together so well as an ensemble that is practically impossible to single out and talk about these performances as individuals. They are always working as a team, reacting and supporting as much as taking the spotlight. The supporting characters are just as real as the leads and played by some equally strong actors. With just a few small scenes, Matt Peterson allows the audience to see things from Teddy’s side, as much as we may be inclined to dislike him. The same is true of Angie Sokolov as Pam. It’s tough to play characters that are standing in opposition to the protagonist. Sokolov allows us to see Pam’s point of view in way that lets us feel OK about rooting for her happiness as well. Another strength in the supporting characters can be seen in Samantha Jednorski’s portrayal of Estelle. She finds ways to build layers and depths with her reactions that create a real person and not a one-dimensional cliché. Audiences will also definitely remember the supporting performance of Wayne Ivusich (Rev. Willoughby/Minister) who almost bares it all with zeal in one of his several standout comedic moments.

Two actresses that definitely deserve some individual attention are Barbara Snyder (Jeanette Burmeister) and Lisa Pastella (Georgie Bukatinsky). Snyder consistently brings joy and laughter to the audience with her feisty character and solid comedic delivery, and Pastella easily has one of the best female voices in the local theater community. Pastella also has incredible chemistry with her onstage husband and creates a character who is vibrant and believable.

However, at the end of the day, this show is truly about the six men who decide to bare it all. These six men forge an incredible bond on stage that is the foundation of this show, while each creating unique and loveable characters. Austin Barnes (Ethan Girard) sparkles with optimism and heart. Ethan is a character that could easily be overplayed, but Barnes finds the reality in his constant belief that he can do impossible things. Balancing Ethan’s often misguided optimism is Malcolm’s often misguided pessimism. As Malcolm, Josh Schoff finds the balance and the lightness in his conflicted character. The onstage chemistry between Barnes and Schoff is also impressive, as they say so much through simple looks and gestures and tiny moments that slowly build. During “You Walk With Me,” Barnes and Schoff, in beautiful harmony, make the audience’s hearts both break and swell with them.

Adding to the dynamic group of gentlemen is Steve Flickinger as Harold Nichols. Flickinger has stellar comedic timing and the most priceless facial reactions. Then, there is Lamar Leonard as Noah “Horse” Simmons with his smooth dance moves, sweet vocals, and comedic calisthenics. He lights up the entire room with his performance of “Big Black Man.”  Like so much of the cast, Flickinger and Leonard balance all of these crazy comedic moments with vulnerability. Both men have these touching, small moments in which we see the fears and real person inside. This group of men is so unafraid to be exposed on stage – emotionally and mentally as well as physically that the audience leaves feeling like it is a group of old friends.

The Cast of The Full Monty at Tidewater Players. Credit: Tidewater Players

The cornerstone of old friends, with such a believable onstage dynamic that you feel like they must truly be old friends, are Dave Bukatinsky (Mark Lloyd) and Jerry Lukowski (Jake Stuart). Everything that this production does well is crystallized in the amazing performances by these two gentlemen. Lloyd has these moments like “You Rule My World” or wrapped in Saran Wrap, where he shows the audience Dave’s fears and insecurities and pains despite the fact that everyone is laughing. He does an excellent job of living those moments rather than trying to chase the cheap humor. The audience laughs at him, but knowing that we are laughing at him also builds a deep empathy for everything that Dave struggles with. It is empowering and a testament to Lloyd’s strong character development to watch Dave slowly gain confidence and sense of self throughout the piece. Ultimately, though, the heart of the show is its unconventional protagonist Jerry, and Stuart gives the most impressively real portrayal. There is not a single moment where it feels like he is acting or pretending. Every line, every action, and every reaction feels real and genuine and in the moment. He creates the most believable, flawed, and loveable man, and it just feels natural. A beautiful example of Lloyd and Stuart together is “Big-Ass Rock.” The song is hilarious. The vocals are gorgeous. The harmonies are solid. Right beneath the surface, though, is real pain and real men. We get to know them. We get to love them. In many ways, we are them.

When Starkey talked in her curtain speech about the powerful and important theme of this show, she touched on something that was then brought to life for her audience. The Full Monty is about real people – people with insecurities and flaws and quirks and weaknesses – people who succeed sometimes and fail other times – people who are victims to external things they can’t control and internal things that they can control. The Full Monty shows how real people can learn to love themselves and each other despite all of that – despite our own flaws, despite others’ flaw, despite an imperfect world – an imperfect world which is perfectly represented in this flawless production that should top everyone’s to-do list within the next two weekends.

This is what I thought of Tidewater Players’ production of The Full Monty… What did you think? Please feel free to leave a comment!

The Full Monty will play through May 19 at Tidewater Players at The Cultural Center at the Opera House121 N. Union Street, Havre de Grace, MD. Purchase tickets at the door one hour before show time or purchase them online.

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Review: Shrek the Musical at Dundalk Community Theatre

By Jason Crawford Samios-Uy

Running Time: 2 hours and 45 minutes with one 15-minute intermission
Lately, within the last few years, either fortunately or unfortunately, a plethora of “new” musicals to hit the scene have been based on Hollywood films. There have been some doozies such as Ghost or The Toxic Avenger and even Evil Dead the Musical (which I actually adore… hey, we all have our vices) but, with that said, some actually lend well to the stage such as Hairspray, The Bodyguard, Anastasia, Newsies, and the like and Dundalk Community Theatre’s latest offering, Shrek the Musical, based on the Dream Works Animation Motion picture and the book by William Steig, with Music by Jeanine Tesori and Book & Lyrics by David Lindsay-Abaire Directed by John Desmone, with Music Direction by Nathan Christover Scavilla, and Choreography by Vincent Musgrave, is one of those that actually transfers nicely to the stage and fun for the entire family.

Gary Dieter, Dickie Mahoney, Sherry Benedek, and Peter N. Crews. Credit: DCT


In a nutshell, the story goes something like this: A bunch of fairy tale characters are banished from the town of Duloc by the Napoleon complex-ridden Lord Farquaad and they end up in the swamp that is already inhabited by a big green, solitary ogre, Shrek, and he wants nothing to do with any of it. To get them all off his claimed land, he goes to Duloc to try and reason with Lord Farquaad but along the way, Shrek meets and saves Donkey, a talking donkey, who is being chased by Lord Farquaad’s guards. Donkey takes a shine to Shrek and sticks to him like glue. Once in Duloc, Farquaad agrees to officially deed the land over to Shrek, but in return, sends Shrek on a mission, of sorts, to rescue Princess Fiona, who has been locked up in a tower for about 20 years, guarded by a fire-breathing dragon. Farquaad plans to marry Princess Fiona to rise in the ranks of monarchy and become a king. Shrek and Donkey succeed and escort Princess Fiona back to Duloc and along the way, something sparks between the princess and the Ogre, but Fiona is hiding a deep, dark secret and she wants to keep it that way. The princess is delivered to Lord Farquaad but, as in all good stories, there’s a twist that you’ll have to see, if you don’t know it already, that is.
Set Design by Marc W. Smith is simple, yet quite appropriate on this one. Being familiar with Smiths outstanding design work, he seems to have toned it down a bit for this production using backdrops and cutouts as opposed to his usual original complex and detailed design and construction. This isn’t to say the Set Design wasn’t amazing, because it was very polished with professional backdrops from Kenmark Scenic Backdrops that flew in and out with ease.

Dickie Mahoney, Peter N. Crews, and Gary Dieter. Credit: DCT


Costumes for a show like this can be challenging and downright difficult but Costume Design by Tracy Bird is spot on as all the fairy tale characters have appropriate wardrobes and each is easily distinguishable. Shrek, Donkey, Fiona, and Farquaad have near perfect wardrobes and each fairy tale character has his or her own unique look making for a vast and quite impressive Costume Design by Bird.
Vincent Musgrave hits the nail on the proverbial head with his choreography, especially for certain numbers such as “What’s Up Duloc?” and “Morning Person” and for as enthralling as these numbers were, dance-wise (and they were amazing… the ensemble members included in these numbers are on point!), it feels as though so much concentration was put into these couple of numbers that the others were a bit looser. Regardless, overall, the choreography is tight and the ensemble is dedicated and well-rehearsed giving 100% to each number.

Dickey Mahoney as Shrek and Sherry Benedek as Fiona. Credit: DCT


Musically, this production is top notch and Music Direction by Nathan Christopher Scavilla is absolutely on point. He already has an extremely able ensemble to work with so all the numbers were strong and confident. The pit orchestra is flawless in their efforts and though they are not listed in the program, I highly suggest an insert thrown in with all their names because this orchestra is well-rehearsed and polished, sounding like a CD playing or a professional Broadway theatre orchestra. Kudos to Scavilla for getting together such a great sounding orchestra and getting his cast to sound near perfect and in harmony in every number.
Baltimore theatre veteran John Desmone takes the helm of this production and his Direction stays true to the film almost everyone knows but still manages to put his mark on it and express his vision of acceptance, tolerance, and self discovery. Knowing a little bit of the history of Shrek the Musical in Baltimore theatre, I’m aware that the actors portraying Shrek and Donkey have a history playing the roles, opposite each other, in several other productions and it seems Desmone may have depended on that history a bit and left Shrek and Donkey to their own devices but it didn’t hinder the production value a lot. He tells the story in a well-cast, well-thought out production guiding this talented cast to a very entertaining and fun production.

Peter N. Crews as Lord Farquaad. Credit: DCT


Peter N. Crews takes on the role of Lord Farquaad, the small minded and statured villain of the story and, anyone who tackles this role has my applause and ovation because, physically, I couldn’t imagine spending an entire show crawling around on my knees. It may be easier than it looks, but, still… Crews has a good grasp of this character and gives an admirable performance but it falls a little flat. His portrayal seems a little more whiney than angry, though it could be a directorial choice. Vocally, Crews is OK and holds his own in numbers such as “What’s Up Duloc?” and “Ballad of Farquaad.” Overall, he gives a confident performance and, like I said, anyone who takes on this crazy role has my kudos for his bravery and physical prowess.

Gary Dieter as Donkey. Credit: DCT


Gary Dieter tackles the challenging role of the chatty, expert one-liner, loyal friend Donkey, who doesn’t leave Shrek’s side once they meet. Dieter is a terrific showman and absolutely makes this role his own and doesn’t give a carbon copy of the uber-successful portrayal Eddie Murphy gave in the film and he has my utmost respect and admiration for that aspect of his portrayal. He understands his audience and the audience loves him. However, though his asides and ad libs had the audiences eating out of his hands, I would have preferred he pulled it back a bit as it seems he’s trying too hard for the laugh. Again, the audience adores him and he had them laughing in the isles so, maybe it’s just me. Dieter is an accomplished dancer, but in this role dancing isn’t really showcased and his vocals are commendable in his featured numbers “Don’t Let Me Go” and the soulful “Make a Move,” in which he is accompanied by the titillating 3 Blind Mice (beautifully played by Lacy Comstock, Emily Morgan, and Sydney Phipps). Overall, his comprehension of the story and his character is apparent and he has a great command of the stage making for a strong, confident performance.

Dickie Mahoney as Shrek. Credit: DCT


Taking on the titular character of Shrek, Dickie Mahoney hits the ground running with this role. As stated before, Mahoney has a history with this character and he’s comfortable and confident in his portrayal. He gives us a brilliant portrayal but, at times, it seems he is going through the motions, but after performing the role so many times, it’s somewhat understandable and the audience, en masse, doesn’t seem to mind. He, too, makes the part his own and does not give us a copy of the Mike Meyers portrayal of the big green ogre and it’s refreshing to see. Vocally, Mahoney has a commanding smooth, clear voice that resonates throughout the theatre making the songs like “Bright Big Beautiful World,” “I Think I Got You Beat,” and the poignant “When Words Fail” sound effortless. He does utilize the Irish/Welsh/Scottish accent always associated with this character and he does lose it slightly every now and again, but all things considered, he’s got it down pat. Overall, Mahoney gives a praiseworthy performance that is filled with heart and dedication that is a joy to watch.
Two standouts in this production are Sherry Benedeck as Princess Fiona and Lisa Pastella as the Voice of Dragon who belt their way through songs and take command of not only the stage, but of the entire theatre.

Sherry Benedek as Fiona. Credit: DCT


Sherry Benedek as Princess Fiona is a powerhouse. She’s a triple threat, taking the role and putting her own twist on it, making it original and vocally, she is a powerhouse. I found myself absolutely enthralled in her singing in numbers such as “I Know It’s Today” (with the younger Fionas, Juliet Jones and Anna Adelstein, who both hold their own and blend nicely with Benedek) and “Morning Song” in which she gets a chance to show us her brilliant dancing/tapping abilities. Benedek is a joy to watch and I’m looking forward to seeing more from this actress.
Dragon, though a puppet, needs a heart and soul and Lisa Pastella gives her just that. We don’t see Pastella (except when she’s scurrying around as The Wicket Witch with the ensemble), but with her featured number, the soulful, heartfelt “Forever,” I didn’t need to see her because he voice did it for me. Vocally, she is crystal clear, smooth, and hits every note flawlessly making for an exciting and powerful performance.

Gingy and Lord Farquaad. Credit: DCT


The entire ensemble works well together and seem to be having a great time up on the stage together. Featured characters like the fed up activist, Pinocchio (Josh Schoff), The Big Bad Wolf in drag (Mark Lloyd), The Three Bears (Stacey Bonds, Vincent Musgrave, Sarah Jones) and, who could forget poor wounded/cracked Gingy (Veronica Lockett) round out the cast nicely and the actors bring an updated feel and humor to them, as required by the story. All around, the entire cast of this show deserves kudos for their dedication and effort for their outstanding chemistry and giving 100% to this production.
Final thought… Shrek: The Musical at Dundalk Community Theatre is a family friendly romp peppered slyly with a few adult-oriented jokes to keep it interesting, with fabulous voices, exciting choreography, colorful and fun costumes, and a stage full of familiar and new fairy tale characters that will keep you entertained and engaged throughout the evening. Beyond the great production value, the important message of this piece, which is acceptance, not only of others, but of yourself, is what you should take home. The performances are strong and confident and the entire ensemble works quite well together making for a charming, enjoyable, and toe-tapping evening of theatre that should not be missed!
This is what I thought of Dundalk Community Theatre’s production of Shrek the Musical… What did you think? Please feel free to leave a comment!
Shrek the Musical will play through May 7 at Dundalk Community Theatre, The Ravekes Theatre, CCBC Dundalk, 7200 Sollers Point Road, Dundalk, MD. For Tickets, call the box office at 443-840-2787 or purchase them online.
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