Review: Chess at Tidewater Players

By Jason Crawford Samios-Uy

Running Time: Approx. 2 hours and 30 minutes with two 10-minute intermissions

The Cold War, an international chess championship, political relations between The United States and The Soviet Union, spies, friends, enemies, lovers, enemies who become lovers… it’s all going on at Tidewater Players in their latest offering, Chess, with Music by Benny Andersson and Bjorn Ulvaeus, and Lyrics by Tim Rice. All this fodder and music by the dudes from ABBA can’t go wrong and, wherever you stand on Chess (some love it, some hate it), there’s no denying that Director Mark Briner, Music Director R. Christopher Rose and Stephanie Carlock Cvach, and Choreographer Bambi Johnson knocked it out of the ballpark with this better-flowing, energized concert version that tells the story completely and cuts out all the muddle.

Briefly, and according to the Guide to Musical Theatre (http://www.guidetomusicaltheatre.com), “This highly acclaimed musical develops the ancient and distinguished game of chess into a metaphor for romantic rivalries and East-West political intrigue. The principal pawns form a love triangle: the loutish American Grandmaster, the earnest Russian champion, and the Hungarian-American female chess second, who arrives at the international championships with the American but falls for the Russian. From Tyrol to Thailand the players, lovers, politicians, CIA and KGB make their moves to the pulse of this monumental rock score.”

Set Design by Director Mark Briner is smart and minimal and pulled this piece together nicely. As this production is more of a concert version, a large, lavish set was not needed, but a few levels and, some chairs and music stands did the job just fine and didn’t clutter the stage allowing for the superb staging and choreography to be showcased.

Thomas Gardner’s lighting design is, in a word, splendid. His use of colors, isolated lighting, and blend of cool and warm tones helped tell this story and kept the piece energized and interesting throughout. He knows his stage well and lights it beautifully, adding great value to this production.

Choreography by Bambi Johnson is impeccable. She knows her cast and the ensemble shined in each number. Upbeat, high-energy, and tight, the impressive choreography was engaging and kept the audience interested. From the smooth ballet to the rockin’ pop moves, this original choreography inspires.

Music Direction under R. Christopher Rose and Stephanie Cvach is superb and it seems quite easy with the exquisite voices with which they have to work. A small band including R. Christopher Rose on Piano, Stephanie Carlock Cvach on Keyboard, Will Poxon on Percussion, Helen Slaich on Reeds/Clarinet, and Greg Bell on Bass Guitar fill the theatre as adequately as a full orchestra and each number is polished and well-performed. Kudos to Rose and Cvach for an impeccable job.

Director Mark Briner is to be applauded for his efforts in bringing this production to the stage. As I stated, Chess is one of those shows that people love or people hate, for the most part. I’m in a small percentage that is in between where I love the music (how can you dislike anything from the dudes from ABBA?… don’t answer that), but I’m not very fond of the book. Since this is more of a concert version, the book has been cut to a minimum and the concentration is on the music which works brilliantly for this piece. Briner’s staging is tight and refined and the pacing is just about perfect. A mix of blocking and choreography brings it all together beautifully and makes for a very entertaining evening of theatre.

Moving on to the performance of this production, I’d be amiss not to mention that the entire ensemble of this piece give top notch performances and all should be commended for their work and effort to make this a stellar production, a whole.

To mention a few, Terry D’Onofrio as Alexander Molokov and Aaron Dalton as Walter de Courcey take on the roles of puppet masters, of sorts, guiding their chess champions for political gain. D’Onofrio is well suited for his role as Molokov and has a good grasp though his use of an accent may hinder his performance rather than enhance it, especially vocally in the numbers in which he is featured. However, his performance is strong and confident and he pulls it off nicely. Dalton gives a strong performance with a solid stage presence. Vocally, Dalton gives impressive renditions of the numbers he’s in, such as “Merchandisers.”

Eileen Aubele and Barbara Hartzell are marvelous Svetlana Sergievskaya and Florence Vassy, respectively. Hartzell excels in this conflicted character, portraying that conflict in delivery of dialogue and physical gestures and great chemistry with her cast mates while Aubele, who comes in later in the piece, makes the most of her stage time with a poised presence and good hold on her scorned, but seemingly forgiving character. Vocally, both actresses are powerhouses and fill the theatre with a smooth, booming sound and harmony as in numbers like the poignant “Someone Else’s Story” sung beautifully by Hartzell, and the powerful duet, “I Know Him So Well.” Aubele and Hartzell are to be celebrated for their performances.

Taking on the role of cocky International chess champion (and former champion) Frederick Trumper, Rob Tucker is a highlight and shines in this production. He embodies this character and portrays him with just as much pompousness as required and his transition in his character is seamless from beginning to end. Vocally, Tucker is superb which he showcases in his strong and confident performances in numbers such as the popular, high-energy “One Night in Bangkok” and the emotional “Pity the Child.” Tucker is certainly one to watch (and you can’t help but to) in this production.

Rounding out the featured cast is standout Shawn Doyle, taking on the multifaceted role of Anatoly Sergievsky. Doyle has performed this role numerous times but it’s as fresh as ever. He understands this role inside and out and he gives a consistent and exquisite performance. He portrays the conflict, confusion, and hurt that is required of this character and gives a vocal performance that is excellent, to say the least. His renditions of the duet “You and I” and the Broadway standard, “Anthem” is smooth, emotive, and resonates throughout the theatre making for a memorable and exquisite performance.

Final thought… Even the cold war is over, Chess is still as relevant today as when it was released. This production is well put together and cuts what needed to be cut and still told the story in its completion. The performances are spot on and the entire ensemble is giving 100% effort. Staging keeps the audience engaged and interested and the music is performed near flawlessly. Admittedly, Chess is not on the top of my list when it comes to musical theatre, but it’s mainly because of the book. The music has always been the driving force in this piece and in this production is more concert-like making for an absolutely joyous evening at the theatre. Get your tickets now because this is not one you want to miss this season.

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

Chess will play through October 1 at Tidewater Players at The Cultural Center at the Opera House, 121 N. Union Street, Havre de Grace, MD. Purchase tickets at the door one hour before show time or purchase them online.

Email us at backstagebaltimore@gmail.com

Like Backstage Baltimore on Facebook

Follow us on Twitter (@BackstageBmore) and Instagram (BackstageBaltimore)

Review: Without a Clue at Tidewater Players

By Jason Crawford Samios-Uy
28335860_1612012338883647_2496024593817040118_o
Running Time: Approx. 2 hours and 30 minutes with a 15-minute intermission
It was Mrs. Peacock, in the Conservatory, with the Candlestick!… Or was it? If you understood that reference instantly, you, like many, many others, are familiar with a certain board game aptly named Clue in which one must use his or her powers of deduction to solve a murder. This board game has also spawned a highly successful and oft quoted 1985 film of the same name, and stage musical adaptation, and many parodies through the years. Included in these adaptations is Tidewater Players latest offering, the new and original Without a Clue by Mark Briner, who also puts on the hat of Director.

28238765_1614038152014399_802922092492731217_o

The cast of Without a Clue. Credit: Tidewater Players


In a nutshell, Without a Clue is a parody based on the board game Clue! and cleverly incorporates pop culture both past and recent. Five guests, Mrs. Peacock, Colonel Mustard, Professor Plum, Mr. Green, and Miss Scarlet are invited to the palatial home of Mr. Boddy for dinner and, what they are led to believe, a beneficial financial opportunity. Once settled in with the help of Mr. Boddy’s staff, Ashe, the able Butler, Mrs. White, the begrudged maid, and Violet, the not-so-bright French maid, Mr. Boddy wastes no time in revealing the actual reason of the invitation… blackmail. Mr. Boddy is planning on blackmailing each guest for certain indiscretions and makes no bones about it. The guest, fed up with Mr. Boddy, and his crazy plan decide to leave but, as they do, the power goes out and Mr. Boddy is quickly taken care of by the way of a gun and the search for the killer begins and every person in the house is considered a suspect. By the end, it’s up to the audience to point out the murderer… if they’ve been paying attention!
Set Design by Dickie Mahoney and Mark Briner is smart and simple rolling walls and individual set pieces. With only one level to work with in the new and improved space at The Cultural Center at the Opera House, and many different locals written in the script, Mahoney and Briner’s design is easy to transition and effectively represents each location within the story nicely, adding great value to the production as a whole.
Along with Set Design, Mahoney and Briner also take on the responsibility of Costume Design and this design, like their Set Design, is spot on. Each character is appropriately represented whether in full color (as is Miss Scarlet and Mrs. Peacock, which we find out is actually just blue), or a splash of color, as for Mr. Green with his green tie or Colonel Mustard with his yellow or mustard colored ascot. The staff is traditionally dressed in maid uniforms and a tuxedo for Ashe, the Butler. Mahoney and Briner clearly takes time with their design with attention to detail that makes it all the more aesthetically pleasing and authentic.
Austin Barnes 3

(l-r) Phil Hansel, Chris Volker, Allyson Sands, and Denise Rogers Mylin. Credit: Austin Barnes


To round out the production team responsibilities, Mark Briner, who authored the piece, takes on the helm and places the Director hat on, as well. In some cases, it can be risky to have the author direct his or her own work, but in this case, it seems to have worked out beautifully. He keeps the pacing consistent with his staging and has guided these actors to delightful performances of the characters he has crafted. As the author, he has a complete comprehension of the story and the humor of one-liners and wise-cracks. His understanding of farce is well apparent in this upbeat and frenetic piece.
There is a bit at the end of the production when the audience is supposed to vote on who the murderer is and the actors are assigned a section of the theatre to collect votes but the way this is done is quite chaotic and haphazard. The actors simply yell out to the audience to vote by raising their hand when the character they believe to be the killer is called out. With six or seven actors yelling out names and trying to adlib, it can become a bit overwhelming a loud. I get the whole audience participation bit, but perhaps this can be tweaked for future performances.
However, screaming actors aside, Briner has done a superb job with this production and is to be commended and applauded for his hard and diligent work creating and bringing this slice of witty and clever theatre to life.
Moving into the performance aspect of Without a Clue, Eric Brooks takes on the role of Mr. Boddy, the host of the evening and not the most popular kid at the party. Brooks is a bit scripted and sounds more like he’s screaming rather than having a conversation, but he pulls the role off adequately. Where Brooks shines is in his performance as the fed-up, over-dramatic, and comedic Chef Bleu with this grand gestures and impressive French accent. Along the same lines of an actor performing an unnamed role a bit better than the named role (according to the program) is Allyson Sands who portrays Violet, the ditzy French maid who can’t seem to find her way to the kitchen, and the new, psychic neighbor, Madame Rose. Sands has a good grasp of comedic timing and her portrayal of Violet is on par, but it’s her turn as Madame Rose that adds value to her performance. Her timing is on point, as well as her accent for this character. Sands has a good command of the stage and seems comfortable in these roles making for a strong performance.
Tom Hartzell tackles the role of the seemingly perverted Professor Plum and, though he seems to have a good comprehension of his character, his performance falls a bit flat. He certainly has issues in his delivery of the material as he trips over most of his lines, losing the momentum of the fast-paced piece. He seems scripted and uncomfortable most of the time, but he is believable as this sorted character and has a good chemistry with his cast mates.
Austin Barnes

(l-r) Chris Volker, Greg Guyton, Denise Rogers Myli, Michele Guyton, and Phil Hansel. Credit: Austin Barnes


Taking on the role of the suave Mr. Green, Chris Volker gives a respectable performance but also has some trouble with his delivery of the text. Scripted and a little stiff, Volker seems to be going through the motions of this funny, sleazy character. That being said, he does give a dedicated performance and keeps the energy up throughout. He works well with and off of his cast mates and makes the role of Mr. Green his own.
Rounding out this motley crew of guests is Phil Hansel as Colonel Mustard and Michele Guyton as Mrs. Peacock and Denise Rogers Mylin as Miss Scarlet and all give admirable portrayals of their characters. Hansel’s portrayal is a bit befuddled but that could very well be the way the character is written and he does have good comedic timing that makes his character almost charming, in a way.
Mylin’s Miss Scarlet is on point and, though a bit monotone in her delivery, it is natural and consistent and she has a smooth, velvety voice that matches perfectly with her character. She does well with the fast pace and gives an overall strong performance
Michele Guyton’s portrayal of Mrs. Peacock (my favorite character in most of the adaptations) is not without its flaws but is a commendable performance. Her southern accent comes and goes, which ends up being a distraction, but her comedic skills are spot on and she delivers some great zingers throughout the evening. It just seems as though Guyton is trying too hard to caricaturize Mrs. Peacock and portray her as the “funny, sassy drunk” and it all seems forced. The trick in a character like this is to play it seriously and trust the dialogue and situations will invoke all the comedy that is required. However, aside from these minor issues, Guyton gives a splendid showing and praiseworthy performance.
Austin Barnes 2

Justine Quirk as Mrs. White. Credit: Austin Barnes.


Definite highlights of this production are Greg Guyton and Justine Quirk who tackle the roles of Ashe and Mrs. White, the poor senior staff of the manor and the ones who try to keep thing manageable. Greg Guyton is perfectly cast for the role of Ashe and he completely embodies this character, keeping him consistent throughout. His delivery is near perfect and his character choices are absolutely appropriate. He has a strong presence and a knack for improvisation, as demonstrated when he breaks the fourth wall to stall for time as the audience votes are being counted. His pacing is near flawless, notably, his recap of events at the beginning of Act II. Guyton’s instincts and dedication to the character make for an outstanding performance.
Justine Quirk, as Mrs. White, is absolutely believable and she is probably the keenest with comedic timing and crystal clear delivery. Because of her style, she reminds me of Jackie Hoffman (of Broadway and Feud: Bette and Joan fame), one of my favorite current actresses of stage and screen. Quirk has a complete grasp of the humor of this piece and her portrayal of the begrudged servant is impeccable as she is able to take the role seriously enough to up the comedy of the character. Her delivery and instincts even make the touch of unmitigated, over-the-top melodrama digestible and funny. Her skillful portrayal make for a standout performance and certainly a joy to watch.
Final thought… Without a Clue is a witty, cute, and nostalgic slice of theatre incorporating familiar games and pop culture into a delightful, zany evening of intrigue, comedy and fun for all! It’s very reference heavy, as all parodies should be, so you’ve got to pay close attention to catch them all, and though some references may be more obscure than others, it’s still a delightful evening of theatre. A majority of the performances are top-notch and the pacing and staging is on point and swift making the two and a half hour run time feel less than it actually is. With a little tweaking of the script, this piece is going to be near flawless and Mark Briner is to be applauded for his efforts in both script and direction of this world premiere production. Get your tickets for the weekend as you don’t want to miss this one.
This is what I thought of Tidewater Players’ production of Without a Clue… What did you think? Please feel free to leave a comment!
Without a Clue will run through March 4 at Tidewater Players, The Cultural Center at the Opera House, 121 N. Union Avenue, Havre de Grace, MD. For tickets call the box office at 667-225-8433 or purchase them online.
Email us at backstagebaltimore@gmail.com
Like Backstage Baltimore on Facebook
Follow us on Twitter (@BackstageBmore) and Instagram (BackstageBaltimore)

Review: Monty Python's Spamalot at Cockpit in Court Summer Theatre

by Jason Crawford Samios-Uy
spam resize (Page 1)
Running Time: 2 hours and 25 minutes with one 15-minute intermission
Many folks the world over are familiar with or at least have heard of that crazy troupe from across the pond called Monty Python and this company’s various films and television appearances. I was one of those folks who had heard tell about this zany group of people but… I admit it… I was not very familiar with their work and I do get funny looks for saying so! However, I did have the pleasure of seeing Cockpit in Court Summer Theatre’s latest offering, Monty Python’s Spamalot, with Music by John Du Prez and Lyrics & Book by Eric Idle, Direction by Laurie Starkey, Musical Direction by R. Christopher Rose, and Choreography by Amanda Dickson.
Having heard of Monty Python, I knew I was in for some comedy but I was glad I hadn’t seen any of the films because I was able to go in with no preconceived notions. I knew this piece was loosely based on the story of King Arthur and Camelot but that’s about as far as my knowledge went. Most of the jokes, although about 40 years old, were new to me and I enjoyed watching the audience burst into fits of laughter and often joined in.

DSC_0125-600x401 (1)

(l-r) Jeff Burch, Steve Flickinger, David Jennings, Chip Meister, Phil Gallagher, and Gary Deiter as King Arthur and the Knights of the Round Table and Patsy. Photo Credit: Lisa Boeren


From the moment I entered the theatre, I knew I was in for a treat from a technical standpoint and Scenic Designer Michael Rasinski took me back to the Middle Ages with his brilliant set. The focal point is a large two story castle right in the middle of the stage with two towers on either side. Along with smaller set pieces, the set came together very nicely, and scene changes were fluid and quick. The large set, which looked like a lot of thought and care was taken, helped the story along without overshadowing it. While renting sets and set pieces is easier and a route many larger theatres take, Rasinski designed and created a sensational, original set that deserves its own curtain call. I also have to mention the representation of “God” that was very clever and funny as the higher being is portrayed as to very, very large feet that fly in and , indeed, that might need a bit of room to store for the next time! The attention to detail is impressive and I’m looking forward to seeing more from Rasinski in the future.
Adding to the production value is the well thought out costume plot by Costumer Mark Briner. This seems like a show with a million costumes, but Briner has brilliantly managed to make sure every piece of wardrobe is in place and each character is costumed appropriately whether it be the female ensemble in soldier uniforms or a male actor playing the mother of a knight, all the costumes are spot on and fitting for this madcap musical.
Speaking of music, Music Director R. Christopher Rose did a fine job of getting this large cast to perform these songs swimmingly. As a fan of “old-fashioned” Broadway, all the songs were definitely of the traditional “show tune” variety and the cast pulls them off nicely under the direction of Rose.
As far as community theatre goes, Choreographer Amanda Dickson knocks this production out of the park! Her choreography is not only appropriate for the piece, but very entertaining and well thought out. All of the larger numbers like “Knights of the Round Table” were tight and precise, which is what I look for in group dances, and the cast looks like their having a blast performing. “The Laker Girls” cheer routine was brilliant and the ensemble performed it flawlessly and the tap numbers (which make this old fashioned Broadway guy smile ear to ear) hit the nail on the head! Dickson seems to know her cast and choreographs accordingly, making the production look effortless.
Rounding out the production side of Month Python’s Spamalot, I mustn’t neglect Director Laurie Sentman Starkey and I have to say she does a bang up job with this production. She seems to have a complete grasp of the material and the comedy therein, which is no small feat and her vision is well thought out and it transferred flawlessly to the stage. Her casting choices were superb and under her guidance, this production is top notch.
Overall, the performance of Cockpit in Court’s Monty Python’s Spamalot was very enjoyable and every entertaining. Again, as a person who was only somewhat familiar with the popular Monty Python, I was certainly not disappointed, in general. I consider Monty Python’s Spamalot an ensemble piece and I adore ensemble pieces as it features each individual of a cast in one way or another. The female ensemble of this piece is absolutely on point with their dances and voices and they added a certain pizazz that I look for in this kind show. The male ensemble, though decent and giving a very respectable performance, doesn’t seem to have the energy that the female ensemble has in the group numbers. One mostly male ensemble group number (and eleven o’clock number), “His Name is Lancelot” stands out to me, but, I must say that, though it was a disco, upbeat song, the performance is a little flat and fell short of energizing the audience as it should have. Regardless, it is clear the entire ensemble, both female and male, gives 100% to their performance and carried the show along very nicely.
Sir Lancelot, one of the most famous Knights of the Round Table is portrayed by standout Steve Flickinger, who also takes on many other roles in this piece including a French Taunter, a Knight of Ni, and Tim the Enchanter, all of whom he portrays magnificently. Flickinger is a brilliant character actor with great comedic timing who’s quite a busy bee in this production but each of his characters is unique and stands on their own.
Another standout in this production is Jeff Burch, a Baltimore theatre native who takes on the role of Sir Robin, as well as Guard 1 and Brother Maynard. Burch does a splendid job as Sir Robin, the Knight of the Round Table who has, shall we say, theatrical proclivities and a habit of soiling himself at the most inopportune times. His number “You Won’t Succeed on Broadway” is one of those old fashioned numbers I’d mentioned before and Burch performs it flawlessly with high energy.
DSC_0084-600x401

Eileen Keenan as The Lady of the Lake with Ensemble. Photo Credit: Lisa Boeren


As the only female with a featured role, Eileen Keenan takes on the role of The Lady of the Lake, and being the only featured female among all these zany male characters can be quite challenging. However, Keenan tackles the role with no holds barred and carries her own with this crazy actors and has a big voice with an impressive belt, which is exactly what this role needs. There were times when Keenan seemed a little out of breath for her big diva-esque numbers and her pitch may have been a little off as was the case in her number “The Diva’s Lament” but, overall, she performed the role brilliantly and with a brassy confidence that is required for this challenging role.
David Jennings as Sir Gallahad, as well as taking on the roles of Herbert’s Father and The Black Knight is one of the highlights of this production. His comedic timing is spot on and he commands the stage whenever he steps on. He seems to understand the tongue and cheek comedy of this piece and though his performance is outstanding, he knows not to take himself too seriously as to not ruin the comedy of his characters. He exhibits this understanding in his duet with Eileen Keenan, “The Song That Goes Like This.” It’s a beautifully written song, but still comical, and can’t be taken too seriously and though the two perform the song beautifully, the comedy is still prominent and shines through. I look forward to seeing great things from Jennings in the future.
Gary Deiter as Patsy and Phil Gallagher as King Arthur. Photo Credit: Lisa Boeren

Gary Deiter as Patsy and Phil Gallagher as King Arthur. Photo Credit: Lisa Boeren


Another absolute highlight and standout in this production was Baltimore theatre veteran Gary Dieter who takes on the role of Patsy, King Arthur’s devoted and belittled manservant. There’s not much I can say about Deiter’s performance other that it was near perfection. He is certainly a triple threat. His acting and comedic time are superb as he also takes on a couple of other roles in the piece, his voice is big and confident, and his dancing is magnificent, especially his tap dancing skills which are hands down excellent. He takes the lead in the number “Always Look in the Bright Side of Life” arguably the most famous of the songs from this production, and his performance is impeccable in this production. He has a great command of the stage and is a pure joy to watch in this production.
Of course, Monty Python’s Spamalot couldn’t be without the character of King Arthur, who is portrayed by Phil Gallagher. It’s a fun-fact that Gallagher is actually from across the pond and his British accent is absolutely genuine. He’s a fine actor and seems to grasp understand the comedy of the piece but, according to his bio, this is his very first attempt at musical theater and… it shows. While he is up against power houses like Dieter and Jennings, his singing and dancing seem sub-par but he does hold his own and is very comfortable on the stage, which helps immensely. Though his performance is up to the level of some of his fellow actors, he keeps the character light and airy and he does have great comedic timing. He may not have experience with musical theatre, but his confidence shines through and his command of the stage is evident.
Rounding out the cast are Chip Meister, another Baltimore theatre regular, who takes the roles of Sir Bedevere, Dennis’ Mother, and Concorde, Stanton Zacker, as Not Dead Fred, and Sir Bors, and Austin Shields as Historian, Minstrel, and Herbert.
Meister pulls his characters off gloriously, especially as Dennis’ Mother, who he plays in bad drag, and has the audience in stitches, Zacker, as Not Dead Fred, participates in one of the most famous bits from Monty Python and takes the lead in the number “I Am Not Dead Yet,” in which he gives a wonderful performance, also leaving the audience in fits of laughter, and Shields, who opens the show as the Historian and sets the tone and pace, does a very nice job as the Minstrel and Herbert with his tenor voice and slim frame which both fit perfectly with the roles.
Final thought… Monty Python’s Spamalot is a perfect production for a larger community theatre and Cockpit in Court’s production is not to be missed this summer. Overall, it is a very enjoyable, funny, fast-paced show that is chock full of familiar jokes and bits but also has a fresh presentation for those who are not so familiar. I was unfamiliar with the show but I was certainly NOT disappointed. As a matter of fact, I’m looking forward to seeing the Monty Python films on which this show is based!
This is what I thought of this production of Spamalot.… what do you think?
Monty Python’s Spamalot will play through July 31, Friday-Saturday at 8pm, Sundays at 3pm, and Thursday, July 28 at 8pm at CCBC, Essex Campus, Community Center. For tickets, call 443-840-ARTS (2787) or purchase the online.