Review: Sweet Charity at Heritage Players

By Jason Crawford Samios-Uy

Running Time: Approx. 2 hours and 40 minutes with one 15-minute intermission

Most of us just want to be loved, right? I say “most” because there are some folks out there who are content and happy (or claim they are) without the love of others. However, this is not the case with the title character of Heritage Players latest offering Sweet Charity, with a Book by Neil Simon and Music and Lyrics by Cy Coleman and Dorothy Fields, respectively. This production is Directed and Choreographed by Timoth David Copney with Music Direction by Mari Hill.

Briefly, Sweet Charity concerns itself with the romantic goings on of Charity Hope Valentine, a taxi dancer (a profession that teeters precariously on the line of prostitution) in a seedy dance hall in New York City. Her surroundings may be drab but Charity’s optimism, romanticism, and upbeat attitude seem to get her through tough times. She’s been dumped, robbed, and insulted by lovers and boyfriends but she still sees a better life for herself. She meets Oscar, a neurotic, shy fellow, is it possible she has found true love at last… or is the other shoe just waiting to drop?

Bailey Wolf as Ursula, Daniel Douek as Vittorio Vidal, and Katherine Sheldon as Charity, and Kamryn Polastre Scott as Doorman. Credit: Shealyn Jae Photography

Set Design by Ryan Geiger is minimal but absolutely appropriate, using moving set pieces to represent various locations on a simple black stage. I don’t mind the black stage, but the stage is a bit unkempt with the use of sheets or curtains of different shades of black and different, ununiformed lengths which is a bit of a distraction. Overall, however, the set worked for this piece as there is heavy choreography and you don’t want a bulky set in the way of that. Geiger used his space wisely and the unkemptness may very well be a part of the design as a lot of the action takes place in the seedier-looking parts of New York City.

Andrew Malone’s and Lanoree Blake’s Costume Design is on point for this period, 1960s piece. Every stich of clothing on this ensemble is well thought-out and authentic to the time. The bright color palate, the styles and crazy prints, the hair… everything just oozed the mid to late 60s and I love it. Kudos to Malone and Blake for their efforts and superb design.

Mari Hill’s Music Direction is concise and she has this cast and orchestra sounding tight. Since quite a few of these songs are standards, it’s a good chance most or at least some of the audience will at least be familiar with the tunes but Hill doesn’t let that deter her and she has guided this ensemble to perform these songs well and true to the original compositions. The orchestra that has convened for this production is led by the able and well-apt Patty DeLisle, who doubles as both Conductor and Keyboards, sounds sweet and strong. The orchestra consists of: Will Zellhofer on Keyboards, Mari Hill, Matt Elky, Dan Longo, Katie Marcotte, and David Booth on Reeds, Erica Bright and Jon Bright on Trombone, Randy Whittenberger, Kevin Shields, and Allyson Wessley on Trumpet, Billy Georg on Percussion, Maxwell Kazanow on Guitar, and Thomas Jackson on Bass Guitar.

“I’m a Brass Band” with Katherine Sheldon as Charity and the Cast of Sweet Charity. Credit: Shealyn Jae Photography

It’s worth mentioning that Sweet Charity was given a successful 1969 film adaptation (depending on who you talk to) staring Shirley McClain and Chita Rivera (not to mention Sammy Davis, Jr. and Ricardo Montalbán) and directed and choreographed by the legendary Bob Fosse. That being said it, it can be a challenge to recreate a well-known piece and present it in a fresh light. Timoth David Copney stepped up and took on this challenge not only as Director but doubling as Choreographer and his efforts are not in vain. Copney presented this piece in a more traditional setting, as written, and didn’t mess much with the original script/score. His choreography is impeccable and is prominent in moving the story along. For “Rich Man’s Frug,” it’s clear he makes an homage to the film adaptation with near exact chorography. On a side note, Libby Burgess (Lead Frug Dancer) tears up the stage with concise and tight movement that adds great value to this intricate dance number. He knows his cast and has created movement that makes them shine rather than hinder their performances. That being said, it seems Copney concentrated mainly on choreography (because it really is brilliant) and less on blocking and scene work. The pacing is a bit lagging, especially in lengthy scenes with most of the ensemble onstage, but still, the story is so cleverly written, the dialogue helps with the pacing. Handmade signs between scenes poking out of the side of the stage are a bit hokey and barely legible if you are more than three rows back, but, thankfully, their not too, too important to the production. Overall, Copney’s efforts are commendable are and are to be applauded as it seems he has a good comprehension of both the text and the story as a whole making for a good showing.

“The Richman’s Frug” with the Cast of Sweet Charity, featuring Libby Burgess. Credit: Shealyn Jae Photography

Moving on to the performance aspect of this production, I’d be amiss not to mention that the entire ensemble of this piece gives 100% effort and is dedicated to this piece and all should be commended for their efforts, including Apollo, the beautiful and well-behaved canine who makes a couple of cameos and is an absolute natural!

Taking on role of Vittorio Vidal, the Italian movie star with whom Charity has a chance encounter, is Daniel Douek, and he fully embodies this suave, yet tender character very nicely and exudes that beautiful balance of debonair playboy and lovelorn schoolboy giving an authentic and thoughtful performance, especially in his featured number, “Too Many Tomorrows.” Oscar, Charity’s main love interest, is played by Adam Abruzzo who plays this neurotic, shy character near perfectly. Abruzzo may not be the strongest, vocally, but his portrayal is delightful and his comedic timing is spot on making for a charming performance.

Anwar Thomas takes on the challenging role of Daddy Brubeck, the charismatic leader of the cult-ish religion of the Rhythm of Life, but he pulls it off quite well. His performance is confident as he tackles the facets of this kooky character and though, vocally, he could be stronger, especially in his featured number, the high-energy “The Rhythm of Life,” what he lacks in vocalese, he absolutely makes up for and shines in his dancing. This man is no joke when it comes to a dance number and he makes each move look effortless making for a strong performance, overall.

Katherine Sheldon as Charity Hope valentine. Credit: Shealyn Jae Photography

Katherine Sheldon takes on the title role of Sweet Charity, otherwise known as Charity Hope Valentine, our upbeat, hopeful heroine. Sheldon seems to have a tight grasp of this character and plays her to the hilt. She portrays a good blend of optimistic innocence and a lifetime of broken hearts very well and it’s that perfect blend that makes this character work. It’s easy to see she’s worked hard for this role and her solo dancing and comedic timing is on point. She gives a good showing, vocally, in such numbers as the standard “If My Friends Could See Me Now” and “Where Am I Going?”, but struggles a bit with the higher notes. However, that could very well be the result of her intense concentration on choreography, which she nails. Overall, Sheldon is confident and dedicating, making for a strong performance.

One highlight of this production is Jim Gerhardt, who takes on the role of Herman, the proprietor of the seedy dance hall ii which Charity works. This character certainly has a rough exterior, but deep down, is a big softy who cares about the girls who work at the hall and Gerhardt knocks it out of the ballpark with his portrayal giving us that perfect character in his mannerisms, stereo-typical “New Yorker” dialect, and his authenticity. Vocally, he shines, both while speaking and his featured musical number, “I Love to Cry at Weddings.” Gerhardt is certainly one to watch in this show.

Megan Mostow as Helene, Ashley Gerhardt as Niki, and Katherine Sheldon as Charity. Credit: Shealyn Jae Photography

Last but certainly not least, we have our hands down standouts Megan Mostow as Helene and Ashley Gerhardt as Nickie. These two ladies are superb in their roles and they work well off of each other making for a heartfelt and true performance that makes you want to be friends with both of them because you feel as though they’ll always have your back and that’s what makes a great portrayal. Mostow moves naturally onstage and embodies this character of Helene completely. Her delivery of the material is on point and it’s she’s comfortable with the character and has a strong presence making for a brilliant performance. Gerhardt, too, is confident and comfortable with and impeccable portrayal of this rough-around-the-edges character who has a heart of gold. Her dialect work is near perfect and she really has a good grasp on her character and her wants and needs.

Vocally, both actresses are powerhouses and their performances in numbers such as “There’s Got to Be Something Better Than This” and their featured parts in the popular and well-known “Big Spender” will make you stand up and take notice while the poignant “Baby Dream Your Dream” will have you near tears with their touching performance. Overall, Mostow and Gerhardt are two who bring this production to the apex and their dedication to their characters and the production as a whole is quite apparent. Kudos to both for jobs very well done.

Final thought…Sweet Charity is a fun romp through a colorful, jazzy bygone era of what seems like a simpler time with interesting fashion choices. The story is cute, but not extremely deep, but it’s witty and funny with a book by Neil Simon, so, you can’t go wrong! The music is damn catchy and a few of these tunes are recognizable standards and this production doesn’t skimp nor cut corners with the dancing. Most of the characters are relatable and it’s a piece with which anyone who has a love of theatre should be acquainted. I recommend checking it out! You won’t be sorry you did!

This is what I thought of Heritage Players production of Sweet Charity… What did you think? Please feel free to leave a comment!

Sweet Charity will run through April 29 at Heritage Players in the Thomas-Rice Auditorium on the Spring Gove Hospital Campus, Catonsville, MD. For tickets, purchase them at the door or online.

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Review: The Secret Garden at Memorial Players

By Jason Crawford Samios-Uy

Running Time: 2 hours and 30 minutes with one 15-minute intermission
Some may be privy to, but many may not know about this little gem of a theatre company in the middle of Botlon Hill called Memorial Players and it’s a company that everyone should know about. Admission is free and you get a hell of show with a packed house and community support out the wazoo! It’s heartwarming to see and enjoyable to experience and you should make time to get down and check these folks and see what community theatre is all about.
Their latest offering, The Secret Garden, with Book & Lyrics by Marsha Norman, Music by Lucy Simon, and based on the novel by Frances Hodgson Burnett, Directed by Bill Kamberger, with Music Direction by Gregory Salorie-Robinson and Tim Viets is a production worthy of the packed house it assembles just about every night.

Charlie Roberts, Gabe Viets, Ruby Webb, and Lauren Lowell. Credit: David Hornbeck


The Secret Garden, in a nutshell, tells the story of Mary Lennox, a young girl orphaned by a cholera outbreak in India when she is ten years old and she is sent to Yorkshire (The Moors) in England to live with her unhappy Uncle Archibald Craven and his curmudgeon brother, Dr. Neville Craven, as well as her seemingly sickly cousin, Collin. All the while, her late Aunt Lily Craven is never far away and watches over the household in spirit. Though they start off with a rocky relationship, Mary and Collin grow quite fond of each other and Mary discovers her aunt’s beloved but neglected “secret garden” which she, with the help of a gardener, Dickon, a chambermaid, Martha, and Collin, brings back to life. She blossoms into a happy child bringing happiness and love back into the house as well as to her cousin and uncle.

Jennifer Viets, Stephen M Deininger, and Ruby Webb. https://twitter.com/BackstageBmore


Set Design by John Seeley is simple, yet very appropriate for the space with which he is working. He cleverly uses levels to distinguish specific locations and rolling flats to change settings and it works beautifully and seamlessly. Along with a brilliant Costume Design by Rosslyn D. Kooser, one is transported to Victorian England and to this manor house and gardens.
Lighting Design by Charles Danforth, III is creative and exciting using light and shadows to insinuate the settings of each scene just enough that the audience has a better idea of where everything is taking place. The minimal projections add value to this piece and the splashes of color and specials used enhance the piece rather than hinder it and makes for smooth transitions.
I’ve got to mention that the voices in this production are AH-MA-ZING! The ensemble, as a whole, is on point and on key for every number and all are giving 100% to the score. Music Direction by Gregory Salorie-Robinson and Tim Viets knocks it out of the ballpark and this piece is well-rehearsed and well presented, musically.

Stephen M Deininger as Archibald Craven. Credit: David Hornbeck.


I wouldn’t do this production justice if I didn’t mention the absolutely outstanding orchestra for this production. This orchestra is so spot on, if one were to close one’s eyes, one would think they are listening to a polished, mastered recording of this music. This orchestra, conducted by Tim Viets, is to be commended and praised for their work on this piece. As a matter of fact, they did such a stellar job, I’d like to list them, if I may:
Keyboard I – Diana Barbour; Keyboard II – Patty DeLisle; Flute/Piccolo – Mari Hill; Oboe/English Horn – Mary Haaser; Clarinet/Bass Clarinet – David Dimmock; Trumpet – Kate Gorman; Trombone – Rob White; French Horn – Rich Roberts; Violins – Michael Vaughn and Ji Hee Cha; Violas – Hyejin Kim and Zoe Hartenbaum; Cello – Cindy Rosenberg and Najette Abouelhadi; Bass – Alec West; Percussion – Brendan Betyn; Conductor – Tim Viets
Major props all around to the orchestra of this production of The Secret Garden!
This piece is well-known and has been produced regularly since it’s Broadway run and sometimes it’s difficult to find a new and fresh way to present something so familiar but Director Bill Kamberger had a vision and it was executed marvelously. He blends the traditional with the new and presents this piece in a fresh and innovative way. He seems to really comprehend the piece and the message it sends and under his guidance, this cast tells this story and presents the message of being open to new experiences and the love of others and learning how to return it, as well. Kudos to Kamberger for a job well done.
Moving into the performance aspect of The Secret Garden, it’s worth noting that every single person involved in this performance gives his or her all. The dedication and commitment are clear and everyone looks to be having a blast up on stage, which, in turn, lets the audience to enjoy the production all the more. Though only a few are mentioned in this review, every performer in this piece is to be commended for their work and dedication.

Charlie Roberts as Dickon and Ruby Webb as Mary Lennox. Credit: David Hornbeck


Charlie Roberts takes on the role of the likable, inspiring gardener, Dickon, who helps young Mary Lennox bring the secret garden back to life. Roberts seemed to be playing this role cautiously and subdued, but he still gives a good showing. This character has a very distinct accent and Roberts does an admirable job with it, but I lost most of what he’s saying because the accent seems to be getting in the way. From the third row, it was difficult to hear him, as well, as he doesn’t project as much as I’d like and he’s using a delicate sounding voice that seems higher than his regular speaking voice for this role, which could be a directorial choice, but it somewhat hinders his performance. That being said, I’m not saying Roberts does a bad job because he certainly does not. He’s very comfortable on stage and gives a strong, physical, confident performance and seems to understand his character quite well.

Gabe Viets as Collin Craven and Ruby Webb as Mary Lennox. Credit: David Hornbeck


Ruby Webb as Mary Lennox and Gabe Viets as Collin Craven are two young actors who are going places, should they choose. Webb gives an admirable performance as they young, unhappy girl who grows to realize all is not horrible in the world and people can be good and caring and her delicate voice fits the character and music she performs. Gabe Viets is spectacular as the impertinent, spoiled Collin Craven who grows to be compassionate and loving. He gives a very authentic, natural performance that is spot on. I’m looking forward to seeing this young man in the future as he refines his craft. The two young actors have great chemistry and give delightful performances.

Stephen M Deininger as Archibald Craven and E. Lee Nicol as Dr. Neville Craven. Credit: David Hornbeck


Stephen M. Deininger as Archibald Craven and E. Lee Nicol as Dr. Neville Craven are impeccable choices for these roles and they work well with and off of each other. Deininger hits the ground running with this role. Though at points he seems a bit melodramatic and could pull back a bit, his commitment to this character and the emotion he exudes is on point. He has a strong, clear voice that resonates throughout the theatre (sanctuary) in songs such as “A Bit of Earth” and “Where in the World.” Adding to the feels this piece gives, Nicol, as Dr. Neville Craven, shows off his impeccable acting chops as he navigates through the story as a curmudgeon brother who might have done something different with his life had it not been for the choices his brother has made. Both together are a powerhouse and one of the most familiar songs, the poignant “Lily’s Eyes,” is beautifully performed by these actors both in acting and vocally.
Among this able and talented cast, a few highlights are noticeable such as Lauren Lowell as Martha, Nancy Kelso as Mrs. Medlock, and Jennifer Viets as Lily Craven.
As Mrs. Medlock, the stern, rigid housekeeper of a large house in The Moors of England, Nancy Kelso’s performance is second to none. A perfect look and top notch acting make for a natural, authentic performance where Kelso completely embodies this character. Though this character has no solo or featured vocal numbers, her performance is still strong and confident making this a character to be remembered. Kudos to Kelso on an outstanding performance in a musical without having a featured or solo number of which to speak (or sing)!

Lauren Lowell as Martha and Ruby Webb as Mary Lennox. Credit: David Hornbeck


Lauren Lowell as the chambermaid, Martha had me smiling from the moment she stepped onto the stage. The way she portrays this character just makes her likable from the get and she keeps it up throughout the production. Her lovely performances of “A Fine White Horse” and “Hold On” just make her more likeable and she has a good grasp on this character. Her accent work is pretty good, as well, making for a well-rounded, enjoyable performance.

Stephen M Deininger and Jennifer Viets. Credit: David Hornbeck


Jennifer Viets has a great look for this role and sings the hell out of it. This character doesn’t have many lines, but with a clear, booming, and superb soprano that rings throughout the theatre, she portrays a spirit of a loving wife and mother and her performance is just about flawless.
Final thought… The Secret Garden at Memorial Players is truly a production made possible by the community with so many folks lending a helping hand. This production of this classic story is full of strong, beautiful voices, able, committed actors, and a top notch orchestra making for pleasant evening of theatre that’s fit for the entire family. Whether your familiar with this piece or seeing it for the first time, you’ll walk away understanding that friendships and relationships can happen anytime, anywhere, as long as you’re open to receive and give back. It’s a well-rehearsed, well put-together production and, if that weren’t enough, it’s FREE ADMISSION so, do yourself a favor and get a seat for this show!
This is what I thought of Memorial Players’ production of The Secret Garden… What did you think? Please feel free to leave a comment!
The Secret Garden will play through May 14 at Memorial Players at Memorial Episcopal Church, 1407 Bolton Street, Baltimore, MD 21217. For more information, call 410-669-0220, ext. 13 or log on to memorialplayers.org.
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