Review: 10x10x10 at Fells Point Corner Theatre

By Mike Zellhofer

Top row (From left to write): Tom Piccin, Dana Woodson, Dickey Wilson, Jon Meeker, Holly Gibbs, Parker, Dianne Hood and David Shoemaker.
Bottom Row: Natalie Dent and Barbara Madison Hauck. Credit: Shealyn Jae Photography

If you are searching for a hidden gem, then search no more, and get out to Fells Point Corner Theatre’s 10X10x10. This is a wonderful evening of ten plays, written by local playwrights, ten minutes in length, and performed by ten actors. You get to vote for your top three and the winner receives the “Audience Selection Award”.

Let me address a few administrative issues. This being the third year of the competition, I expect that some things are still being worked out and new ideas being tried, but here is my input:

  • The website states that the cash prize is $150. “That’s 10 TIMES the price of admission!” However, the price of admission is $19 opening weekend and Sunday’s and $24 on Fridays and Saturdays. So, let’s make the cash prize $250 and call it even.
  • It was nice to have the bios of the playwrights hanging in the lobby. However, if you are going to include bios for the actors in the program, then extend the same courtesy to the playwrights. After all it is a playwrighting competition.
  • I feel that if you are going to host a play writing competition, then the voting should be based on the merit of the plays themselves. This can best be done with a read through, with the director reading stage directions. No sets, no lighting, no sound, no costumes. As much as they added to the enjoyment of the evening, they took away from the spirit of the competition.
  • Give more information in the program, i.e. history of the competition, past winners, number of submissions, dates for next year, etc. I took time to speak to a staff member, but not every audience member has that luxury.
  • Have an opening night event with light refreshment prior to the show, and a talk back with the actors and playwrights at the end of the night.

David Shoemaker (Left) and Holly Gibbs (Right) in “WHILE IN A PARALLEL DIMENSION
CLOTHES HANGERS CONSPIRE” written by R.A. Pauli and directed by Andrew Porter with ast. dir. by Sarah Burton. Credit: Shealyn Jae Photography

Since this is a competition, I feel that it would be unfair to review, reveal my selections, or give my opinion of the plays themselves. Suffice it for me to say that every play was entertaining, well written and that the playwrights brought the “A” game. I’m sure that review over 100 submissions from over 70 authors, and selecting only ten, could not have been an easy task for the committee.

One thing is for sure, you will enjoy an evening of fine entertainment. The ideas that this group of playwrights have penned will have you laughing, crying, scratching your head and wondering. I was so grateful that I was able to see genius come to life.

Barbara Madison Hauck in “Crito,” directed by Meghan Stanton and written by Alice Stanley. Credit: Shealyn Jae Photography

Mark Scharf – The Last Ten

Alice Stanley- Crito

MJ Perrin- Open Mic

Rich Espey- In Memory of Mrs.Mary Brown

Rufus Dawlings- Mr. Shells Gets Shipped East for Beef

Daniel Collins- What’s the Point

Jennifer Harrison- Shrimp at the Radisson

Richard Pauli -While in a Parallel Dimension

DC Cathro- The Fine Art of Critiquing the Hang of the Shoe

Tatiana Nya Ford- Hello, baby. I miss you.

Tom Piccin (left) and Jon Meeker (Right) in “What’s the Point?” Written by Dan Collins directed by Andrew Porter. Shealyn Jae Photography

The evening would not have been complete without the talents of Dana Woodson, Dickey Wilson, Parker Damm, Dianne Hood, Natalie Dent, Holly Gibbs, Jon Meeker, Tom Piccin, David Shoemaker, and Barbara Madison Hauck. I don’t exaggerate when I say that this cast oozes talent. Their ability to play multiple characters in multiple plays, and to do it as different as night and day is simple astonishing. Pay close attention to the fun loving, huggable Natalie Dent as she makes the transition from Dax to the young woman in Ms. Ford’s production. What she brings to the stage in those two

Natalie Dent in “Hello, baby. I miss you.” Directed by Christen Cromwell and written Tatiana Nya Ford. Credit: Shealyn Jae Photography

contrasting plays alone, should be studied by all freshman theatre majors.

Another major stand out for me was Tom Piccin. His confidence and commanding stage presence leave you hanging on his every word and at the end wanting for more. Yet he plays his roles with such a subtleness, deriving his allure from his fellow actors by letting them have their moments. A few times I thought that I was watching Kevin Pollak, and in both of his plays I kept waiting for Rod Serling to come on stage saying, “You’re traveling through another dimension, a dimension not only of sight and sound but of mind. A journey into a wondrous land whose boundaries are that of imagination. That’s the signpost up ahead – your next stop, …”

So, if you are ready for some good, home grown theatre, with interesting stories and amazing actors, head to Fells Point Corner Theatre now through May 6th, and let me know what you thought of 10x10x10.

This is what Mike Zellhofer thought of 10x10x10 at Fells Point Corner Theatre. What did you think?

10x10x10 will play through May 6 at Fells Point Corner Theatre, 251 S Ann Street, Baltimore, MD. For more information log on to, or purchase tickets online.

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Review: 10x10x10 at Fells Point Corner Theatre

By Jason Crawford Samios-Uy

Running Time: 2 hours and 15 minutes with one intermission
Having never experienced a short-play event before, I had my reservations. I was hoping I wouldn’t have to sit through short play after short play of pretentious writing, actors too damned serious for their own good, and an evening of writers trying to push the envelope and shock so much that it’s no longer entertaining. HOWEVER, that’s not at all what I experienced at Fells Point Corner Theatre’s latest presentation, their annual 10x10x10, a series of original 10-minute plays by Baltimore authors, in their intimate upstairs Skokal Theatre.

Thom Sinn, Francis Cabatac, and Steve Barroga. Credit: Tessa Sollway

This year, the audience gets to experience an outstanding line up of plays. All of the pieces are strong and send good messages in creative and unique ways. We start off the evening with Hologram by Utkarsh Rajawat which is a session with… you guessed it, a hologram (impressively performed by Betse Lyons) full of fun facts and trivia you might find important to your life but even holograms have feelings, right? Then we get into the funny Kings of the World by Kate Danley that speaks to the idea of change and gives us a peek into a local, seemingly rural bar in a dusty Southern or Midwestern town where two regulars venture into new territory but possibly realize sometimes the traditional is a good, safe thing. The next short consists of the largest cast of the evening, The Second Episode of Dyke Tracy by Dian “MJ” Perrin, and is a fun take on the old fashioned detective stories which impressively has a complete arc in 10 minutes! The actors are dedicated to their roles and the humor shines through in this one. Then the Act I ends with Meridian Trench by Rufus Drawlings which is a confusing, frantic tale of a homeless, dirt-eating woman who is taken in by a dubious gentleman in the park. The material in this last piece of Act I seems a bit pretentious and all over the place, but with that said, the performances from the actors, Crystal Sewell and Francis Cabatac, is superb.

Steve Barroga in Making Time. Credit: Tessa Sollway

Act II begins with the supernatural Dog Years by Peter Davis which is well-wrtten and performed and tells a story of a lost soul and a stranger who wants to make an interesting deal. Then keeping with the supernatural feel, Closing the Door by Nicholas Morrison is a contemporary and fresh look at the Greek Gods and Goddesses and how they handle humans and death. It’s a clever and entertaining piece with a good balance of humor and drama. Next up is Addict Named Hal by Alice Stanley, performed by David Shoemaker. It’s a cautionary tale that peeks into the life of a once recovering addict and the decisions he’s made while he tells us his story as if we are in a Narcotics Anonymous meeting. This piece has a very natural performance from Shoemaker who embodies this character entirely. Nearing the end of the evening we experience Making Time by Mark Scharf which is absolutely one of the standouts in these plays. It’s a touching story of two strangers at a bus stop who make a human connection and realize our journeys may be different, but we’re all heading to the same final destination. This is a powerful piece and is exquisitely performed by Helenmary Ball and Steve Barroga making for a moving and entertaining 10 minutes. Ending the evening is Rising, Rising by Rich Espey which is a quirky tale of transformation and change. Not really my cup of tea, it seems a little absurd at times but that’s probably what Espey is going for. With that said, it’s an interesting commentary on change and the resistance of change to finally giving in and accepting. Mia Robinson and Thom Sinn are dedicated and give strong, confident performances in this piece.

Betse Lyons in Hologram. Credit: Tessa Sollway

Overall, the entire ensemble is strong. They are confident and grasp the pieces they are performing and each give an impressive performances in multiple and vastly different pieces and characters. Kudos to the entire ensemble of this year’s 10x10x10.
The Directors, ustin Lawson Isett, Christen Cromwell, Ben Kleymeyer, Peter Davis, and Alice Stanley do stellar jobs with these pieces as they seem to understand each piece and character and tell the stories clearly and concisely with a steady and even tempo.
Also worth mentioning is the technical side of this production. Light Design and Sound Design by Charles Danforth III and Andrew Porter, respectively, help set the mood for each of the plays and adds value each and, I’ve got to say, the running crew for this production (many of whom were cast members, as well) is on point! The changes between each piece took only seconds, moving the evening along nicely and keeping a good pace.
Final thought… 10x10x10 at Fells Point Corner Theatre is a very well put-together production of 10 plays that can stand on their own and have been well thought out and well written. Some are stronger than others, but it’s a matter of taste, really. Fells Point Corner Theatre has managed to group together 10 short plays that work well together and share the same theme (matching Fells Point Corner Theatre’s them of 2017 – #RescueMe). The plays run the gambit of feels from witty humor to poignant drama. It’s a great showcase of local Baltimore talent both on stage and on the page. It’s also good to just support local theatre, so, get your tickets while they last because this is definitely an event you want to experience this season.
Line up of Plays:
Hologram by Utkarsh Rajawat
Kings of the World by Kate Danley
The Second Episode of Dyke Tracy by Dian “MJ” Perrin
Meridian Trench by Ben Kleymeyer
Dog Years by Peter Davis
Closing the Door by Nicholas Morrison
Addict Named Hal by Alice Stanley
Making Time by Mark Scharf
Rising, Rising by Rich Espey
This is what I thought of Fells Point Corner Theatre’s production of 10x10x10… What did you think? Please feel free to leave a comment!
10x10x10 will play through April 16 at Fells Point Corner Theatre, 251 S Ann Street, Baltimore, MD. For more information log on to, or purchase tickets online.
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Review: Trust at Fells Point Corner Theatre

By Jason Crawford Samios-Uy
Running Time: 1 hours and 50 minutes with one 15-minute intermission
The 90s was a hell of a decade and I would do it all over again, if I could! Amidst the Gulf War, Rodney King Riots, and presidential sex-scandals, there were some pretty cool times, as well, such as The Berlin Wall coming down, the ending of the Cold War with the U.S.S.R. and… the World Wide Web! Fells Point Corner Theatre‘s production of Trust by Steven Dietz, Directed by Michael Byrne Zemarel, with Music Direction by Kristen Cooley, Set Design by Bush Greenbeck, and Lighting Design by Chris Allen takes the audience back to a bygone era where relationships and sex were just “a thing,” Chris Hardwick was hosting Singled Out on MTV and not talking about zombies, and Nirvana dominated the airwaves.

The Cast of Trust. Credit: Chris Hartlove

The Cast of Trust. Credit: Chris Hartlove

In a nutshell, Trust is steamy, raw tale about Cody and Becca, a young engaged couple, and Cody has recently hit it big in the music industry and has graced the cover of the latest issue of Rolling Stone magazine. However, Cody also has the hots for an older faded and jaded star, Leah, who may or may not have a thing for him, too. Gretchen knew Leah back before she was big and had the hots for her, but never told her. Low and behold, Gretchen, who happens to be a dressmaker, is making Becca’s wedding dress may or may not have the hots for Becca and Becca might possibly have similar feelings in return. Enter the young Holly, another outspoken friend of Gretchen’s who adores Cody, the rising star, while Roy, a DJ, has his motor running for Holly. Welcome to love in the 90s.
Bush Greenbeck’s minimal, clean set design works well with this piece and his clever use of a revolving stage takes the audience seamlessly from one location to another and adds a bit of variety to the piece, which, in authentic 90s fashion, is quite black. To counter this dark tone, Greenbeck adds splashes of color and prints to break up the monotony and it keeps the set visually appealing.
To complement Greenbeck’s design, Lighting Design by Chris Allen sets the mood of the piece very nicely. He uses the levels in his lighting to portray locations such as living rooms, bars, and hotel rooms and his subtle changes and splashes of color are effective and moving the piece along smoothly.
Michael Byrne Zemarel, Laura Malkus, and David Shoemaker. Credit: Chris Hartlove

Michael Byrne Zemarel, Laura Malkus, and David Shoemaker. Credit: Chris Hartlove

According to Music Director Kristen Cooley, Trust is written as a straight play with no music, but it was the decision of Director Michael Byrne Zemarel to add this element, making it a play with music and it was indeed a creatively wise choice. The music that was added beautifully complimented the action in the piece and Cooley lucked out with actors who are instrumentalists as well, including Mark Scharf, who is credited only as The Musician. I’m assuming Scharf’s character was added in, as well, and he does an excellent job providing accompaniment with his acoustic guitar throughout the piece. I like the fact that the song choices aren’t just the top hits of the decade but some B-side songs were utilized as well, which is refreshing. Overall, Cooley’s song choices (in collaboration with Zemeral, I’m sure) are smart and befitting and her work with the cast shines through in their tight harmonies and strong vocal performances.
Michael Byrne Zemarel takes on double duty as a performer and director in this piece. On his directing, he does a superb job with this piece. As previously discussed, his decision to add the element of music is brilliant. It adds so much value to this piece and the decision of using live, acoustic guitar accompaniment makes it all the better. He was not afraid to push the boundaries in this piece that’s not only filled with relationship drama but also has a touch of simulated sex and nudity that may or may not be for shock value. Whether or not the sex stuff is or is not for shock value, it works and pulls the piece together.   His portrayal of Roy is realistic and, through is mannerisms, he really captures the essence of a man longing or love in the grunge age.
Rachel Roth as Gretchen. Credit: Chris Hartlove

Rachel Roth as Gretchen. Credit: Chris Hartlove

Overall, this ensemble worked superbly together with excellent chemistry. It is obvious they are comfortable with each other as they play off each other naturally and with confidence.
Casey Dutt portrayal of Holly, the sharp tongued, opinionated young friend is strong and entertaining. She portrays well a character who simply says what’s on her mind and doesn’t mean any harm, but does, in fact, cross the line sometimes.
David Shoemaker as Cody. Credit: Chris Hartlove

David Shoemaker as Cody. Credit: Chris Hartlove

David Shoemaker tackles the role of Cody, the rising star, trying to navigate through the newfound fame and all that goes with it. He definitely looked the part of a young rock star with the wispy hair and chiseled physique (and what a physique it is). He gives a confident performance and absolutely understands the humility of his character and aside from some of the decisions this character takes, he is quite likable. He is an outstanding musician both on his guitar and vocally with a soothing bass that resonates throughout the theatre. That being said, I would have like a little more enthusiasm whereas Shoemaker plays this role rather subtly to the point where it was almost hard to understand what he was saying or doing. However, a lot of the 90s was chill so, he would have probably fit right in.
Laura Malkus as Leah. Credit: Chris Hartlove

Laura Malkus as Leah. Credit: Chris Hartlove

Gretchen and Leah played by Rachel Roth and Laura Malkus, respectively, are definite highlights in this production. Roth plays her character, Gretchen, with just the right amount of angst and bitterness balanced out with a tenderness from the pain her character has experienced. In a character that seems to be cut from the same cloth, Malkus plays the jaded Leah with the skepticism that perfectly matches a fading star who was probably promised the world and given very little. It’s worth noting that Malkus gives an impressive, strong vocal performance with a clear, even-textured tone that made me take notice from the very first note.
Valerie Dowdle as Becca. Credit: Chris Hartlove

Valerie Dowdle as Becca. Credit: Chris Hartlove

Among her gifted cast mates, Valerie Dowdle as Becca is the standout in this piece. Her portrayal of her character is absolutely authentic and enthralling and she gives strong, confident performance. She fully embodies this character, making it her own. Dowdle understands Becca and the turmoil she is experiencing and balances this character beautifully with levels of intensity and reserve that keep Becca interesting for the audience. Kudos to Dowdle for a superb job and I’m very much looking forward to seeing more from this actress.
Final thought…Trust at Fells Point Corner Theatre is a fearless, unabashed, and gritty look at love and lost love in the 90s as well as the intertwining passions and all the male and female assumptions that go along with it. Adding the heartfelt, guitar driven music of the decade, this production looks past the flannel, choker necklaces, Doc Martins, and everything “grunge” to the human outlook on the difficulties of not only being in a relationship, but holding on to one, which is a timeless story and relevant to today’s audiences. Though the attire is correct and the music fits, being a kid/teen of the 90s, it might not have as much of a nostalgic feel as I would like, it still represents the decade nicely. This relevant, intelligent, and in-your-face production with all its twists and turns, chance meetings, and 90s nostalgic music will have you enthralled every step of the way and should be high on your list of things to see in Baltimore theatre this season.
This is what I thought of Fells Point Corner Theatre’s production of Trust… What did you think? Please feel free to leave a comment!
Trust will play through March 19 at Fells Point Corner Theatre, 251 South Ann Street, Baltimore, MD. For more information, go to or purchase tickets online.
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Review: The Elephant Man at Fells Point Corner Theatre & Collaborative Theatre Company

By Jason Crawford Samios-Uy
Running Time: 2 hours and 25 minutes with one 15-minute intermission
Theatre is supposed to do something to us, emotionally. Whether we’re supposed to think, feel sad, feel hopeful, or simply be entertained, it’s supposed to do something. The Elephant Man by Bernard Pomerance, currently playing at Fells Point Corner Theatre and co-produced with Collabortive Theatre Company does all of it. With Direction by Anthony Lane Hinkle, Set and Lighting Design by Kel Millionie, Costume Design by Ben Kress, and Sound Design by Chris Aldrich, this poignant, very real story is breathtakingly woven together flawlessly and had me feeling all the feels and thoroughly entertained.
The Elephant Man gives us the true story of Joseph Carey Merrick (1862-1890), who is usually called John Merrick, as in this play, and his trials and tribulations as a person with a rare medical disorder in Victorian England. It also teaches us about ourselves and our reactions to people who may be “different” and how those people make us feel a little better about ourselves. Human nature is unpredictable and, at times, a very scary thing.
bttfTo begin, walking into the main theatre of Fells Point Corner Theatre, my initial excitement came from Kel Millionie’s beautiful set design. The unit set has smart levels that all lead to the center of the stage where most of the action takes place. The main entrance, through glass plated french doors blend nicely into the set design and the lower entrance, a hallway of sorts, is a nice contrast to the elegant french doors. The earthy tones lend well to expressing the Victorian era. Millionie used his space very wisely, cleverly creating storage for set pieces not in use within the set itself. The clean, subtle set was near perfect for this production.
Along with Set Design, Millionie has double duty as the Lighting Designer and this design is just as fantastic as his set design. I suppose, who better to light the set than the designer and in this case, it matches up stunningly. His use of shadows and dim light sets the audience not only in the mind of the Victorian age, but in the context of the show, exhibiting how Merrick had to live in the shadows for much of his short life.
The Set and Lighting Design added immense value to this already successful production and major kudos go out to Millionie for his thoughtful and impressive work.
To add to the technical side of the production, Sound Designer Chris Aldrich did a superb job finding music that fit the period and set the mood for scenes and added to the production rather than interfere. To go along with the sound, this production utilized projections to move the story along. The use of projections can be tricky and can almost ruin a show if not used properly however, Directory Anthony Lane Hinkle and Set & Lighitng Designer Kel Millionie took on the responsibility of choosing appropriate projections and they are all spot on. They do not take away from the production or add fluff, but are apart of the story and the action and help move it along, filling in the blanks for the audience as to better understand Merrick’s story.


Grayson Owen as John Merrick and Darius Foreman as London Police Officer. Credit: Tessa Sollway

Being a period piece, costumes play a very important role in this play and Costume Designer Ben Kress hits the nail on the head! The costumes are very appropriate and complement the actors wearing them. From the elegant gowns of the ladies to the sharp suits of the upper class gentlemen, to the ratted and tattered coats of the lower class characters, each costume was well thought-out and the actors are quite comfortable in them. There are a few absolutely beautiful gowns (with help from Shelly Steffens Joyce) and every costume made each character more real and tangible.
Aladrian Wetzel and Elizabeth Ung as Pinheads and Grayson Owen as John Merrick. Credit: Tessa Sollway.

Aladrian Wetzel and Elizabeth Ung as Pinheads and Grayson Owen as John Merrick. Credit: Tessa Sollway.

Anthony Lane Hinkle’s integrity and ingenuity shines through in his direction of this piece. His blocking with the use of levels keeps the movement of the actors interesting and purposeful and each actor seems to really understand his or her characters. All but one actor in his cast takes on more than one role and each character is different and fresh. His use of projections to accompany the story is helpful to the audience and the information he chooses for projection does not cause a distraction but educates. It’s clear that Hinkle has taken his time with this piece and researched the subject to get a better understanding of the story of Joseph (John) Merrick and wants to not only entertain, but teach his audience about the life of this remarkable man. From day one of accepting directing responsibilities for this proven, emotional piece is challenging but Hinkle is quite successful in transferring this piece from the page to the stage and teaching the audience that one, indeed, mustn’t judge a book by its cover. Well deserved kudos go out to Anthony Lane Hinkle for a stellar job and I’m looking forward to seeing his future work.
Grayson Owen as John Merrick and Sean Coe as Frederick Treves. Credit: Tessa Sollway.

Grayson Owen as John Merrick and Sean Coe as Frederick Treves. Credit: Tessa Sollway.

Sean Coe takes on the very important role of Dr. Frederick Treves, the brave, young doctor who tried to give Merrick somewhat of a normal life, whatever that means, as well as studied him to figure out his medical disorder. Coe has a strong command of the stage and is very comfortable as he navigates through a plethora of emotions with this character from curious doctor simply wanting to study Merrick to trusted friend making daily visits. Coe seems to truly understand the character of Frederick Treves and plays him with grace and compassion giving a truly superb performance.
Mark Scarf as Carr Comm. Credit: Tessa Sollway.

Mark Scarf as Carr Comm. Credit: Tessa Sollway.

Mark Scharf, who portrays Carr Gomm, head of the London Hospital where Merrick presides, does a wonderful job projecting the sternness and class-consciousness of an upper-class Victorian gentleman. He is quite believable with his hoity-toity attitude and I imagine him looking down his nose at those who he thinks lead less than exemplary lives. He is very comfortable on stage and gives  a very strong performance.
Frank Mancino as Ross. Credit: Tessa Sollway.

Frank Mancino as Ross. Credit: Tessa Sollway.

Ross, the sleezy freak show barker and low-life manager of John Merrick is played brilliantly by Frank Mancino and his characterization is on point. One cannot ignore his booming voice when he first enters onto the stage and he has a great presence that makes the audience take notice. He seems to understand the devious character he is playing and I must admit, I found myself very much disliking him which tells me he has accomplished his task as an actor superbly. He also takes on the part of a completely different type of character named Bishop Walsham How, but even then, he plays the Bishop with a tinge of “holier-than-thou” authenticity that makes the character somewhat unlikable, as well. Mancino’s performance was an admirable one but I did find him hard to understand most of the time, which may have been the cockney and/or british accent getting in the way.
Elizabeth Ung is charming as The Duchess as she sweeps in and out of her scenes and just as charming as she is as The Duchess, she is just as vile as the over confident, obnoxious Nurse Sandwich, who thinks she’s seen it all but quickly finds out she hasn’t seen the likes of John Merrick. She also takes a turn as a “pinhead” from a freak show and all of her characters, though secondary, are strong and she has a strong presence on the stage.
Darius Foreman takes on various supporting characters including a London Policeman, Porter, and Lord John and, as an actor, his skills aren’t as strong as his cast mates, but he manages to hold his own against his very strong co-horts. It is very difficult to understand what he is saying throughout the play but, the accents for his characters range from cockney to proper British and it can be quite a challenge for any actor. Regardless, I could see he is giving 100% on stage and has a good presence.
Aladrian Wetzel as Mrs. Kendal and Grayson Owen as John Merrick. Credit: Tessa Sollway.

Aladrian Wetzel as Mrs. Kendal and Grayson Owen as John Merrick. Credit: Tessa Sollway.

A definite highlight in this production is Aladrian Wetzel who takes on the role of Mrs. Kendal, a friend and confidant of John Merrick’s and she is an absolute joy to watch. From the moment Wetzel enters onto the stage she takes full command and is stunning with her period gowns and graceful movements. Her very unique, soothing voice resonates throughout the theatre with every line and she is very comfortable on the stage and in her interactions with her cast mates. She has a complete understanding of her character; an actress who started an acquaintance with John Merrick at the request of Dr. Treves, their mutual friend, to become a true and dear friend. Her transition from acquaintance to friend is seamless and she gives a phenomenal performance. In this challenging piece and strong ensemble, Wetzel shines bright.
Grayson Owen tackles the very challenging, titular role of The Elephant Man himself, John Merrick. If I had to chose one word to describe Owen’s performance it would be… outstanding. His performance was the stuff every actor strives for and he pulled it off flawlessly. Though physically he was an absolutely average man, his skill in physicality caused me to believe he had the ailments suffered by the real John Merrick. One of his most amazing feats was his transformation from average man into the deformed John Merrick. This transition happens, cleverly, as Dr. Treves is explaining his patient’s ailments and seemingly, right before our eyes, Owen manages to mangle his body to become The Elephant man… Superb. His vocal work was superb as his speech was supposed to be almost inaudible but yet, I understood every word he said. This role is a major physical challenge but Owen managed to keep it up throughout the entire play, save one scene, even throughout the scene changes. So exceptional is his performance, there were times I teared up not only because of his acting skills but because I believed John Merrick was speaking out. His command of the stage is second to none and he truly takes the reigns of this production, on stage. It seems as though he’s done his homework because his understanding of John Merrick is clear as he truly becomes the man himself. I am very much looking forward to seeing more from Grayson Owen in the future and he is to be commended for this stellar performance. Someone, give this man an award!
Grayson Owen as John Merrick and Sean Coe as Frederick Treves. Credit: Tessa Sollway.

Grayson Owen as John Merrick and Sean Coe as Frederick Treves. Credit: Tessa Sollway.

Final thought… The Elephant Man is a moving, poignant, strong, and deep piece about not judging a book by its cover and how human nature can get in the way of most things. This production is not to be missed. The performances are authentic and the production teaches us not only about The Elephant Man, Joseph “John” Merrick, but also about ourselves and how we see the world and others. It’s a timeless message of acceptance and tolerance and you will not be disappointed with this interpretation of this piece. Go see this show!
This is what I thought of this production of The Elephant Man.… what do you think?
The Elephant Man will play through October 2, Friday-Saturday at 8pm, Sundays at 2pm, and a special Saturday Matinee on September 24 at 2pm at Fells Point Corner Theatre, 251 S Ann Street, Baltimore, MD 21231. For tickets, call 410-276-7837 or purchase them online.