The Strand Theatre Hits it Big with The Most Massive Woman Wins

Posted on May 12, 2021 by Jason

By Jason Crawford Samios-Uy

Running Time: Approx. 1 hour with no intermission

Different genders have different problems and, just until recently (in the grand scheme of things) most women’s problems weren’t something people wanted to discuss publicly. Forget about biological issues, good society certainly didn’t want to discuss emotional problems. However, in Strand Theatre’s latest offering, The Most Massive Woman Wins by Madeleine George, Directed by Nicole Mullins, makes no bones about touching on troubling women’s issues. Mainly concerning itself with body image, this piece also touches on emotional abuse, mother-daughter relationships, romantic relationships, and motherhood, among a plethora of other topics. It’s a show one needs to experience, even if to just get a smidgeon of an idea of what an number of women are possibly going through this very moment.

(l-r) Jess Rivera, Kaitlyn Fowler, Molly Boyle, Penni Barnett. Credit: Strand Theatre

Briefly, The Most Massive Woman Wins concerns itself with four women, Carly, Rennie, Sabine, and Cel, who are in the waiting room of an office (presumably) offering surgical cosmetic procedures. During their wait, they each tell the audience, and, at times, each other, their stories which include fat-shaming, troubled romantic and mother-daughter relationships, marriage, sexual urges, and self-harm, just to name a few. For reasons of their own, these women seem to believe cosmetic surgery is going to “fix” whatever problems they have, but each seems to have at least a sliver of doubt as to why they are there. As each woman takes the spotlight to tell of their trials and tribulations, the audience is pulled in and it’s not as though these women are looking for concrete answers, but needs the therapeutic process of just telling their truth.

Director Nicole Mullins seems to have a good grasp of this material and presents it in a minimal, but immersive way. It’s a deep, dramatic piece and delivery of the dialogue must be handled carefully and, for the most part, Mullins is able to guide her actors to effective performances, but, once in awhile, not often, the delivery does seem a bit over-dramatic. In fairness, this could be a director choice or an actor choice, so, there’s that. However, this is from a male reviewer, so, you can take that with a grain of salt. Overall, Mullins does a brilliant job with this piece and has given the audience an efficient, poignant presentation and should be applauded for her work.

Set and Lighting Design by Amy Rhodes is minimal, but engaging. The small space is transformed into a waiting room at doctor’s office in full effect and the impressive design makes it easy to be immersed in the piece. Lighting Design works nicely as it is subtle enough not to interfere with the action and highlights each character when necessary, adding value to the production, as a whole. Along with this, the Costume Design by Maggie Flanigan works well, giving each character a distinctive, individual look that matches their personalities. Though written in the 90s, it’s a timeless piece and the Set/Lighting Design and Costume Design are, as well. Kudos to Rhodes and Flanigan for their efforts.

Kaitlyn Fowler. Credit: The Strand Theatre

Since this is a stream-only presentation, a word or to must be said about Video Production by Glenn Ricci. Ricci is spot on with his superb camera work, keeping the production flowing, letting the actors do their thing as it is captured in a flowing design. It’s not just setting a camera or two up in the seating area and pressing record… not at all. Ricci makes an effort to keep it interesting with sweeps and follows that really get us up close and personal with the characters, adding great value to the production and keeping us engaged. Major kudos to Ricci for excellent videography.

Moving on to the performance aspect, it’s worth saying this small ensemble, a quartet, works to make this production all it can be. Their efforts are not in vain as each brings her own individuality to the stage as well as finds a way to blend in with their fellow actors. Though the scenes concentrate on each character, individually, the four actors have great chemistry that connects them, which is no small feat in a piece such as this. It’s a delicate balance, but these four make it work beautifully.

Penni Barnett takes on the role of Sabine, a slightly older character and one who seems to have had a few more life experiences than the other characters and also seems to be at her sexual peak. Barnett makes some good choices with her character and isn’t afraid of the dialogue or situations, express the sexuality of her character without a second thought, making for a solid performance. There are a few moments when the connection is broken as she sounds a bit scripted, but they are few and far between, not having an effect on the overall quality performance she gives.

Taking on the role of Rennie is Molly Boyle and she seems to have a good comprehension of her character and what she has gone through. Her character concentrates on an estranged relationship with a mother and it’s a relatable situation. Boyle’s natural delivery brings the audience in and makes you feel for her character, and want to help in some way. She portrays a character with a solid outer shell but a broken inner self and it comes across splendidly making for a strong performance.

Kaitlyn Fowler as Cel is a highlight in this particular production. Her portrayal is authentic and engaging as she clearly portrays a vulnerable character who seems to have been pushed into this appointment by a domineering husband who has gotten into her head. It’s a story that’s more common than not, unfortunately, but through her delivery of the dialogue, one begins to understand how someone can get themselves into this type of situation. Overall, her superb performance makes on take notice and she should be commended for her exceptional performance.

Lastly, but certainly not least, Jess Rivera is a standout in her portrayal of Carly, a down to earth, strong (though she may not know it) woman who is there because of her body image issues that, seemingly, she’s been dealing with throughout her entire life. Rivera is passionate and brings that raw passion to her character as she brings this woman’s story to the audience. She’s a great fit for this character and understands the anger, pain, and yearning in Carly, and portrays it excellently. Kudos to Rivera for her outstanding performance in this production.

Jess Rivera. Credit: The Strand Theatre

Final thought… The Most Massive Woman Wins from The Strand Theatre is a no-holds-barred, intimate look in to the tribulations woman have to endure on a daily basis. The actors handle the material quite well, and though sometimes it seems a bit melodramatic, its effective enough not to be a hindrance to the performance. This small ensemble is giving 100% effort and deserve kudos for their wonderful performances. I have to mention, being an online only presentation, The Strand Theatre got it right! Videography is thought-out and top notch, making for a pleasant viewing experience. Though slightly dated, as the producers state in the beginning of the stream, it’s an important piece that should be experienced to give insight to the many unspoken issues women have to deal with and overcome. This delving, poignant piece of theatre is not to be missed. Get your tickets now.

This is what I thought of The Strand Theatre’s production of The Most Massive Woman Wins… What did you think? Please feel free to leave a comment!

The Most Massive Woman Wins will play (streaming only) through May 16. Click here for ticket info.

Email us at backstagebaltimore@gmail.com

Like Backstage Baltimore on Facebook!

Destiny Calls and Third Wall Productions Goes with Man of La Mancha

Posted on November 14, 2019 by Jason

By Jason Crawford Samios-Uy

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

We all need an escape sometimes. Life isn’t fair and can be quite hard to deal with, so, we all have our own little defense mechanisms to help us get through. Sometimes, folks actually get lost in their escape and it’s hard to come back to reality. However, who has it worse? The person lost in his or her escape or the people out here in the real, hard world? In Third Wall Production’s latest offering, Man of La Mancha by Dale Wasserman, with Music by Mitch Leigh and Lyrics by Joe Darion, we are able to take a peek into one man’s madness and/or bliss, whichever you want to all it, as he imagines a world much better than the one he’s actually living in. His dreams aren’t his escape… they’re his reality. This production is Directed by Mike Zellhofer, with Music Direction by William Zellofer, and Choreography by Timoth David Copney-Welton.

In a nutshell, in case you’ve never heard of Man of La Mancha (which might be impossible), it is inspired by Miguel de Cervantes’ 17^th century novel, Don Quixote, but only inspired by. Man of La Mancha is a play within a play where Cervantes himself, as well as other prisoners who are awaiting the Spanish Inquisition, perform the story of the “mad” knight, Don Quixote, who is actually an old, dying man refusing to let go of his ideals and passions.

Lance Bankerd as Don Quixote. Photo: Stasia Steuart Photography

The Scenic Design by Jordan Hollett and Pat & Amy Rudai is impeccable. The creativity and attention to detail is wonderful and, though it’s a unit set, allows itself to fit into every scene with the addition of small set pieces. It’s practical yet pleasing on the eye, making for a great combination. The motorized door/ramp is quite impressive and adds value to the production as a whole. Kudos to this team for their innovative and charming design.

Lighting and Sound Design go hand in hand and Jim Shomo (Lighing Design) and Charles Hirsch (Sound Design) hit the nail on the head with this production. Both Shomo and Hirsch are masters of their crafts and both Lighting and Sound Design helped move this production along subtly, without hindering or taking attention away from the action. Shomo has a distinct knack for mood lighting and setting the mood for each scene beautifully, while Hirsch adds just the correct amount of effects without overloading and keeps the balance just right. Both Shomo and Hirsch are to be commended for their efforts.

Maggie Flanigan takes on Costume Design and it is on point. Flanigan has a great comprehension of this piece and wardrobes the ensemble to the nines. Each character whether ensemble or featured is appropriately and splendidly dressed, adding to the authenticity and fanciful nature of the show. She’s done her research and has created a wonderful design that is to be applauded.

Timoth David Copney-Welton, a Baltimore theatre fixture, takes on Chorographer duties in this production and he knows his ensemble and helps them shine. Though not heavy choreography, it is entertaining and helps tell this classic story. Innovative and creative, the choreography is a joy to watch and every single ensemble member seems to be having a blast performing it. Along the same lines, Music Direction by William Zellhofer is top notch. With such familiar music and songs, Zellhofer has this cast in tight harmonies and the featured performers are well-rehearsed and spot on. Copney-Welton and Zellhofer both give great showings in their admirable work on this production.

Mike Zellhofer takes the helm of this production and it’s clear he has a tight grasp on the material. His staging of this piece is engaging and keeps the audience interested. The transitions are smooth and simple keeping the pace balanced. The characters come to life and his vision is apparent in every move and scene. It’s always challenging to take on Direction of such a popular, classic piece, but Zellhofer faces it head on and creates an enjoyable, clean, and polished piece that makes for a delightful evening of theatre.

Jessica Preactor as Aldonza. Photo: Stasia Steuart Photography

Moving on to the performance aspect of this production, it’s worth noting that every ensemble member, whether featured or not, is giving the utmost effort in their roles. They all work quite well together and each has a hand in helping move the story along nicely.

To name a few, Timoth David Copney-Welton as Padre and Annmarie Pallanck as Sancho both have a great understanding of their characters and their objectives. They are charming as a quirky priest and a fiercely loyal servant. Copney-Welton plays Padre with just enough sincerity to make the role funny and he seems to embody this character. His rendition of “To Each His Dulcinea” rings throughout the theatre and is a joy to experience. Pallanck is, at times, a little stiff and scripted, but still oozes the charm and giddiness of the character that makes her likeable from the get. Her performance of “I Really Like Him” is both funny and sincere at the same time making for a beautiful moment. Both give strong, admirable performances in this production.

A highlight of this production is Jessica Preactor, who takes on the role of Aldonza/Dulcinea, the young woman to whom Don Quixote takes a shine, and she hits the ground running. Vocally, she’s a powerhouse with a strong, clear voice that resonates and her performances of her featured numbers such as “It’s All the Same,” “What Does He Want of Me,” and “Aldonza” are picture perfect, just as her character work is, really getting to the nitty-gritty of the character and presenting her beautifully.

The standout in this piece is definitely Lance Bankerd, who tackles the role of Miguel de Cervantes/Don Quixote. Bankerd’s character work is second to none. He becomes this character in both manner and look with ease. Watching him, he seems to actually transform from Lance Bankerd into Don Quixote and it’s awesome to watch. One thing I really admire about Bankerd is his ability to act out a song. His vocals are marvelous, indeed, but he’s not worried about a perfect vocal performance and that’s what makes a good actor great. His renditions of the standard “The Impossible Dream” is outstanding, strong, and heartfelt. This performance is almost worth the price of admission! He knows what he’s singing about and exudes it with every word and note, same with his other featured numbers, including the lovelorn “Dulcinea.” Major kudos to Bankerd for his fine work in this production.

This is what I thought of Third Wall Productions’ production of Man of La Mancha… What did you think? Please feel free to leave a comment!

Man of La Mancha will play through November 17 at Third Wall Productions, St. Thomas’ Episcopal Church, 1108 Providence Road in Towson, MD. For tickets, you can purchase them at the door or online.

Email us at backstagebaltimore@gmail.com

Like Backstage Baltimore on Facebook!

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

Posted on April 12, 2019 by Jason

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.

Email us at backstagebaltimore@gmail.com

Like Backstage Baltimore on Facebook, and follow us on Twitter and Instagram!

Review: Jesus Christ Superstar at Third Wall Productions

Posted on July 3, 2017 by Jason

By Jason Crawford Samios-Uy
68b82ab52c5af25744f76e1ea64d180a
Running Time: 2 hours with one intermission
Regardless how religious one is, many stories in the Bible are familiar because many of the stories have been the inspiration for countless artistic endeavors. Usually, one doesn’t even have to practice a faith or be spiritual to know the story of Jesus Christ, and whether one does believe or not, does not hinder the amazing storytelling the Bible offers. The latest offering from Third Wall Productions, the popular Jesus Christ Superstar, with Music by Andrew Lloyd Webber and Lyrics by Tim Rice, Directed by Mike Zellhofer and Music Direction by Daniel Plante and Choreography by Kristen Rigsby reminds of those stories and how they can be presented in a modern, yet simple format making it extraordinarily entertaining while staying on message.
Jesus Christ Superstar, still going strong after more than 40 years, is loosely based on the Gospels of Matthew, Mark, Luke, and John and tells of the events during the last week of Jesus’ life while touching on his relationships with Judas Iscariot, Mary Magdalene, the Disciples, and the Romans, culminating with the Crucifixion and death of Jesus.

19510430_10155566376461579_8399711310743412589_n

Jesus and the Apostles at the Last Supper. Credit: Kristin Rigsby Facebook/Third Wall Productions

Taking place in the Sanctuary of the St. Thomas Episcopal Church, the overall design works quite well. With no actual set, lighting is mainly used to distinguish between scenes and Light Design by Jim Shomo connects the scenes smoothly, setting the mood for each. At times, the lights are overwhelming and a bit too flashy, contrasting with the minimal look of the entire production, but, in general, Shomo does an extraordinary job lighting this space – a type not often used for traditional theatre.
Costume Design by Amy Rudai is traditional and simple, fitting with the production very nicely. Rudai does elaborate on a few of the costumes such as those for Pilate, King Herod, and the Pharisees but not so much as they stood out so much they are a distraction, but gave the production a skillful balance and authentic look.
Choreography be Kristin Rigsby is on point for this production. She seems to really know her cast and her choreography accentuates their talents and abilities and keeps the production moving and exciting. Rigsby’s cast of able featured dancers (Jillian Arnold, Grace Volpe, Elizable Volpe, Grace Dillon, Andrea rudai, Maggie Flanigan, Clare Green, Kali Baklor, Brooklyn Ritter, and Jennifer Alexander) are definite highlights of this production and the choreography is well though-out, well rehearsed, varied, and fresh.
Music Director Daniel Plante is superb and he has this cast singing in harmony and with gusto. The ensemble of this piece is strong and adds great value to the production as a whole. With such a familiar score, it can be difficult not to imitate the many previous renditions but try to add a crazy spin on the material but Palante seems to understand that less is more and keeping it traditional isn’t such a bad thing sometimes. Under Plante, this ensemble is well rehearsed and does an extraordinary job with the material.
It’s worth mentioning that, once again, the Pit Orchestra is phenomenal and gives a splendid performance. Consisting of Conductor Andrew Zile, Marshall White on Trumpet, Alan White on Horn, Kevin Jones on Bass Guitar, David Kistler on Lead Guitar, W. William Zellhofer on Piano, David E. Booth, Jr. on Reeds, Winfield Clasing on Drum Set, and Daniel Plante on Percussion, this orchestra is one to be reckoned with. Kudos for a job well done!

19642527_10155566377166579_2110631740987551810_n

Jesus Christ Superstar. Credit: Kristin Rigsby Facebook/Third Wall Productions

Michael Zelhoffer takes the reigns of this production and kudos to for telling this timeless story in a way that is entertaining but not overwhelming for the senses. Hats off to Zelhoffer for a fantastic production. Many Andrew Lloyd Webber productions can be put in to the category of “Extravaganza” or even called spectacles (which I personally don’t mind), but Zelhoffer does it right with this piece. Though there are built in restrictions when your stage is the altar of a church, but Zelhoffer doesn’t worry about fancy sets and simply tells the story. That’s what it’s about and he hits the nail on the head with this piece. I appreciate he keeps it simple and let’s the actors and the score do what they are meant to do. He also takes a turn onstage as Pontius Pilate, the conflicted Roman in charge of saying “yay” or “nay” to the Crucifixion and he gives an admirable performance.
Moving onto the performance aspect of this piece, The Pharisees, the nemesis of Jesus of Nazareth are played nicely by Anthony Singer (Caiaphas), Harper Craven (Annas), and Brian Becker (Priest 3), who all exude a believable “holier than thou” persona making it easy for the audience to dislike them, in general, aside from a few lyric flubs from Singer, the trio has a great chemistry, look the parts, and give strong performances.
Mea Celeste Holloway, a Third Wall Productions regular, takes on the role of Mary Magdalene, and for being the only real featured female role in this piece, any actress in this part has the chance to shine amidst her male counterparts. The character herself is forlorn and apprehensive but Holloway just blends in with the rest of the ensemble, giving a subdued performance. Between her featured vocal numbers, Holloway seems to just be going through the motions and the character may have been more effective with a little more “oomph” than she gives. That being said, she gives absolutely lovely performances of her featured numbers such as the standard “I Don’t Know How to Love Him” and “Everything’s All Right.”
Chip Willet as Simon and Andrew Pedrick as Peter, two of the featured Disciples, and they rock it out, as required, and give commendable, confident performances both character-wise and vocally. Willet is strong as Simon and takes command of the stage during his featured number “Simon Zealotes/Poor Jerusalem” and Andrew Pedrick nails it with his portrayal of a man at odds with accepting his role in Christ’s mission or denying Christ to save his own skin and he gives superb performances of his featured numbers “Peter’s Denial” and “Could We Start Again, Please.”
Thomas Rendulic portraying King Herod is a delightful highlight of this production. One of the more humorous roles in this piece, Rendulic embodies this flamboyant character and Rudai’s costume design is spot on, all the way down to the gold gladiator sandals. His performance of the upbeat, ragtime “King Herod’s Song” is well done and entertaining, along with superb backup dancers.
Timoth Copney tackles the complex role of Judas Iscariot and his portrayal is quite worthy of the well-known character. Copney beautifully expresses the heavy emotion and turmoil of this trouble character and you can clearly see how he delves into the part. Vocally, Copney is powerhouse. Though some parts of some of the songs may have been a tiny bit out of his vocal range, he pulls off featured numbers such as “Heaven on Their Minds” and the title song, “Jesus Christ Superstar” confidently and passionately, making the role and the songs his own, commanding the stage and giving an exceptional performance.

19511285_10155563967151579_4254065621897103337_n

The Crucifixion. Credit: Kristin Rigsby Facebook/Third Wall Productions

Having performed the role numerous times, James Fitzpatrick as Jesus of Nazareth is glorious. His voice is a perfect fit for this role and he gives a 100% commitment, giving an authentic, passionate performance that commands attention. Aside from a few obligatory high pitched screams that seem out of place, Fitzpatrick’s performance is near perfect and on point both in character and vocally as revealed in his poignant rendition of “Gethsemane,” Jesus’ only solo piece. Overall, Fitzpatrick seems to really understand who he’s portraying and embodies him wholly.
Final thought… Jesus Christ Superstar at Third Wall Productions is a well thought-out and well put-together production that doesn’t slap you in the face with overdone sets or costumes but lets the actors and score tell the timeless story of Jesus Christ’s last days on earth. The familiar score is kept intact and the performers really seen to understand the story they’re telling. Minimal, but entertaining and committed, get your tickets now for this limited run!
This is what I thought of Third Wall Productions’ production of Jesus Christ Superstar… What did you think? Please feel free to leave a comment!
Jesus Christ Superstar will play through July 8 at Third Wall Productions, St. Thomas Episcopal Church, 1108 Providence Road, Baltimore, MD 21286. For tickets, purchase them at the door or purchase them online.
Email us at backstagebaltimore@gmail.com
Like Backstage Baltimore on Facebook
Follow us on Twitter (@BackstageBmore) and Instagram (BackstageBaltimore)

Review: Little Women the Musical at Third Wall Productions

Posted on May 17, 2017 by Jason

By Jason Crawford Samios-Uy

Running Time: 2 hours and 45 minutes with one intermission

Cast of Little Women the Musical. Credit: Karen Osborn, House of Bankerd

This season, I’ve seen more Victorian age stories brought to the stage than I’ve seen in my entire life (only about three, but still) and, I’m not a huge fan of this era with its stuffy clothes and attention to the particulars of etiquette and all that jazz but, I have to say, aside from the style (with which all the Costume Designers did impeccable work), I actually enjoyed to the stories being told. Thus is the case with Third Wall Productions’ latest production, Little Women the Musical with Book by Allan Knee, Music by Jason Howland, and Lyrics by Mindi Dickstein, based on the novel by Lousia May Alcott. This production is Directed by Christine Thomas with Music Direction by Eliza van Kan, Set Design by Jordan Hollett, and Costume Design by Lisa Ann Dickinson and makes for a charming evening of relatable and enjoyable musical theatre.
Set Design by regular Third Wall Productions designer Jordan Hollet is massive, to say the least. Well, for the space at Third Wall Productions, it’s massive. With essentially four different scene settings, an outdoor garden, a living room, an attic, and a small parlor room, Hollet has managed to cleverly fit all of this in the space provided him. The one level design works quite well, with an elevated attic area, but there are spots in the audience where the action is not easily seen. However, that being said, it’s really the nature of the beast with spaces like this and of no real fault to the designer. Just note that the phrase, “Not a bad seat in the house” does not apply here as there are a few seats that aren’t ideal. Overall, the set design is innovative and creative and helps the story along very nicely and keeps the action interesting.

Grace Dillon, Mea Holloway, Lizzy Jackson, Maggie Flanigan, and J. Purnell Hargrove. Credit: Karen Osborn, House of Bankerd

Lisa Ann Dickson, with the help of House of Bankerd gives us an on point Costume Design for this piece. As stated, this is a Victorian era story and the wardrobe may be just as important as the story itself and Dickson knocks it out of the ballpark with this one. The attention to detail and style are exquisite and seem to be tailor made for each performer. Dickinson and House of Bankerd are to be commended for the fantastic Costume Design of this piece.
I admit I was expecting a different type of score walking into this as I had never experienced Little Women the Musical before but I was pleasantly surprised. The music for this piece is quite contemporary and entertaining and is allowed to shine under Music Direction by Eliza van Kan. The ensemble has a very good, strong sound and seems to make easy work of this score. It’s worth mentioning the pit orchestra for this piece gives a polished, accomplished performance as well. Though the orchestra may have drowned out the cast, at times, and weren’t as tight as they usually are (here and there), they still give a very good showing in this production.
Christine Thomas not only plays Marmee March in this production, but she also takes the helm of it and her vision for this piece is apparent as she brings the story of the March girls to the stage. She keeps the action moving and seems to really grasp the story of these ladies – some who are traditional for their time and some who are forward thinkers. She understands the relationship between these sisters and the different stories going on in this piece and presents them beautifully though, the link between the characters is a little weak and the chemistry is there, but at times seems as though the actors are just going through the motions. Regardless, the entire ensemble works well together and creates Thomas’ vision nicely and the solo moments are absolutely lovely. As Marmee March, she is a vocal powerhouse. She has a strong, clean vocal style and commands the stage with every note in her solos “Here Alone” and “Days of Plenty.” Her portrayal as the matriarch of four daughters is admirable and she seems quite comfortable in the role.
Producer Mike Zellhoffer steps onto the stage as the seemingly curmudgeon neighbor, Mr. Laurence, and Patricia Brunker takes on the role of the actual curmudgeon Aunt March. Both Zellhoffer and Brunker give commendable, authentic performances complimenting the story and the other characters while helping move the story forward. Brunker gives a terrific vocal performance and totally embodies the character of Aunt March and all her stuffiness, while Zellhoffer transitions nicely from stern to kind in his wonderful character work.

Grace Dillon, Mea Holloway, Lizzy Jackson, Maggie Flanigan, and J. Purnell Hargrove. Credit: Karen Osborn, House of Bankerd

Purnell Hargrove takes on the role of the amiable Laurie Laurence, quite literally the boy next door and close friend to the March sisters. Hargrove gives a committed and confident performance and has good chemistry with his cast mates. He looks like he’s having a blast up on the stage and, in his featured numbers “Take a Chance on Me” and “Five Forever,” he seems to be pushing his upper range, vocally, but still gives a commendable showing.
Taking on the role of the youngest sister, Amy March, Lizzy Jackson has a good comprehension of this character and plays her well, though, at times, is a bit scripted in her delivery. However, that being said, she nails the demeanor and personality of this character and plays the transition of Amy March beautifully.
Maggie Flanigan tackles the role of the eldest sister, Meg March, and does so with gusto. She works well with her fellow actresses and her portrayal of Meg makes her a likeable character who’s just trying to find her own way in life with Mr. John Brooke, played by Andrew Pedrick. According to his bio, Pedrick is making his way back to the stage after a decade or so and though he’s quite natural, the character gets lost, sometimes, and I see Andrew Pedrick onstage rather than John Brooke. However, as soon as Pedrick opens his mouth to sing as in his featured number “More Than I Am,” a duet with the able Maggie Flanigan, it’s pure art. He has a smooth, resonating tone and I found myself putting down my pen just to listen to him.

Patricia Brunker and Grace Dillon. Credit: Karen Osborn, House of Bankerd

Daniel Plante takes on the role of Professor Bhaer, the serious and stern fellow boarder to Jo March at a New York City boarding house. Plante’s interpretation is spot on and authentic and though he decided not to use an accent (the character is German), it doesn’t hinder his performance in the least. Vocally, Plante has a unique sound and, technically, gives a superb performance of “How I Am” making for a strong performance overall.
Regular, Mea Holloway takes on the role of the gentle Beth March, the other middle sister who has a sweetness and saintliness about her that the other sisters don’t seem to have. Holloway plays this part to the hilt and impressively portrays the sweet nature of this character consistently throughout. She impeccably interprets her featured songs, “Off to Massachusetts” and the poignant “Some Things are Meant to Be” and she embodies this character wholly.

Grace Dillon as Jo March. Credit: Karen Osborn, House of Bankerd

Grace Dillon as Jo March couldn’t have been cast more perfectly. Dillon takes this role and runs with it, making it her own while sticking to the basics of this character of the exuberant, exciting, forward thinking, middle sister, Jo March. With high energy and a seemingly complete grasp of this character and her objectives, Dillon is authentic and confident in this part. She has a great command of the stage and, aside from her acting abilities, gives an outstanding vocal performance as well. As the evening progresses, she seems to pull back, but still gives powerful performances in songs such as “Astonishing” and “The Fire Within Me”. Kudos to Dillon for a job well done.
Final thought… Little Women the Musical at Third Wall Productions is an enjoyable and stimulating piece that this company executes wonderfully. The story is entertaining and relevant, concerning itself with the struggle of woman and the different choices different women make each day, even if they are cut from the same cloth. With strong female characters, the message of finding one’s own way and overcoming any obstacle is clear and apparent. With a fun score and a clever script, the story is easy to understand and the performances are top notch. Whether you’re familiar with the story or seeing it for the first time, Little Women the Musical will delight and entertain and is a production well worth its price of admission.
This is what I thought of Third Wall Productions’ production of Little Women the Musical… What did you think? Please feel free to leave a comment!
Little Women the Musical will play through May 21 at Third Wall Productions, 5801 Harford Road, Baltimore, MD 21206. For tickets, call 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)