Review: Sweat at Everyman Theatre

By Jason Crawford Samios-Uy

Running Time: Approx. 2 hours with one intermission

Though times may seem crazy right now, the early 2000s were a doozy, as well! The economy was down the tubes and many areas in America were feeling it. Jobs seemed to be disappearing and everyone was replaceable, whether it be by a machine or someone willing to do the job for less pay. Everyman Theatre’s latest offering, Sweat, by Lynn Nottage (their fourth Nottage produced work), Directed by Vincent Lancisi, gives us a peek into one community as their security and way of life seem to be slipping from their fingers and there are no easy answers.

(l-r) Dawn Ursula, Kurt Rhoads, Megan Anderson, Deborah Hazlett. Credit: Clinton Brandhagen

Sweat is a Pulitzer winning play by Lynn Nottage and centers around the working-class of Reading, Pennsylvania. It bounces back and forth between 2000 and 2008 and concerns itself with three longtime friends, Cynthia, Tracey, and Jessie, who have worked at the same factory for years. The economy being what it is, there are fears that the factory is laying people off and even a possibility of it closing its doors for good. Suddenly job security is taken away and the characters have no idea what to do with this new feeling except express disbelief. Two of the friends, Cynthia a black woman and Tracey a white woman, apply for the same management job and Cynthia lands it, perplexing Tracey, who has a few years of experience on Cynthia. Soon, the company moves jobs to Mexico, the trade union goes on strike and the workers are locked out of the factory, putting Cynthia in a hard position. The new hierarchy of management vs. workers begins to put a strain on the friends, while racial issues widen the already growing gap, as well.

(l-r) Megan Anderson, Deborah Hazlett, Matthew Ward, Vaughn Ryan Midder, Dawn Ursula. Credit: Clinton Brandhagen

I’ve got to admit. I’ve seen a few Lynn Nottage plays and… I can’t say that I’m a fan. It’s not because the stories aren’t moving or the performances were poor, but… the script. Sweat seems to be trying too hard for some reason. The dialogue makes the very able actors seem scripted and unnatural, for some. I just can’t seem to get invested in any of the characters of a Nottage piece, as much as I want to be. Ensemble pieces are hard to write, I’m sure, but Nottage seems to have a bunch of smaller sub-plots going on and she seems to leave characters hanging with no real resolutions. If she stuck to one or two plots, she might be more successful in fleshing out the characters, who have so much potential, a little more. I will say, the tension of this piece does come through, such as the racial issues and union vs. non-union folks, so, there are some highlights.  That’s not to say her writing is bad, but, she could put more time into some of her characters. However, check it out and judge for yourself!

Daniel Ettinger has, once again, outdone himself with this Set Design. It’s a masterpiece unto itself. With a fluid set revolving from a dank, blank area that is used as an office and low-income apartments to the lavish but cozy neighborhood bar, this Set Design is superb. The attention to detail is not to be missed and Ettinger is to be heartily applauded for his work on this production.

(l-r) Vaughn Ryan Midder and Dawn Ursula. Credit: Clinton Brandhagen

Working in tandem with Ettinger’s Set Design, Lighting Design by Harold F. Burgess II and and Sound Design by C. Andrew Mayer are impeccable. Setting just the right moods for each scene and adding emotion and just the right amount of intensity to the piece rather than drawing attention from the action, make Burgess’ and Mayer’s work flawless and adds value to this production, in general. Kudos to them for jobs very well done.

Costume Design by David Burdick is spot on and his presentation of the first decade of the 21st century is stellar. Not only a general style, but a specific, blue-collar style shines through in Burdick’s design putting the audience right smack dab in the middle of the time setting and adding a sense of authenticity to the entire piece.

(l-r) Alejandro Ruiz and Deborah Hazlett. Credit: Clinton Brandhagen

Vincent M. Lancisi, Founding Artistic Director of Everyman Theatre, takes the helm of this production and he certainly seems to have a solid grasp of the story and each character. His staging is impeccable and the pacing is near perfect. His vision is apparent and his casting is superb, working with resident company members and non-members, pulling together a cast that has a natural chemistry and understanding of their characters. The subject matter is delicate but Lancisi takes it and presents it in a way that’s easy to follow and entertaining, all the while making the audience think about the trials and tribulations of folks who may be living these same scenarios right at this moment. Kudos to Lancisi for an exquisite job.

Moving on to the performance aspect of this production, Jason B. McIntosh portrays Evan, the parole officer and though he is believable he comes off as scripted and stiff at times. He only has two scenes at the beginning and end of the play, and most of the problem may be the dialogue, but he manages the short stage time he has nicely.

(l-r) Vaughn Ryan Midder, Matthew Ward, Kurt Rhoads. Credit: Clinton Brandhagen

Vaughn Ryan Midder portrays Chris, the young man who has dreams of getting off the factory floor by going to school, and Matthew Alan Ward takes on the role of Jason, his close, longtime friend who seems content on the factory floor, but still has big dreams with the money he could possibly make. Both of these actors are quite able and work well with and off of each other, giving 100% effort to their roles. However, Ward does seem a bit forced in his role and uncomfortable with the dialogue… at first. As the production moves along, he gets more comfortable but there’s still a certain stiffness in his delivery, but, again, this could very well be Nottage’s dialogue itself. Stronger of the young duo is Midder, who plays his role with an authenticity that shows he certainly has a good grasp on his character and is comfortable in his actions and delivery.

(l-r) JaBen Early, Dawn Ursula, Megan Anderson, Kurt Rhoads. Credit: Clinton Brandhagen

JaBen Early plays, Brucie, the out-of-work partner of Cynthia, who has resorted to dope to get by, but is seemingly trying to get back on track. Early seems to have a good understanding of this character and plays him confidently, but I just don’t buy that this character is a dope feign. Once again, I don’t think I can blame the actor for this… it’s Nottage’s writing or director’s decision. It’s mentioned repeatedly that this character, Brucie, is on dope, but it’s not really presented in the dialogue or in the action and portrayal. I can tell Early is a damn fine actor, but in this role, unfortunately, it doesn’t come across so clearly. Alejandro Ruiz, however, as Oscar, they Latino barback who just wants to get ahead in life and work, is more of a character one can invest in. He means no harm, but is accused of things for which he is not responsible. Ruiz plays the role smoothly and unassuming which is absolutely required for this character. His delivery is natural and his presence is strong, making for a wonderful performance.

(l-r) Dawn Ursula and Kurt Rhoads. Credit: Clinton Brandhagen

In this production, we are treated to resident company actors and highlights, the incomparable Dawn Ursula, Deborah Hazlett, and Megan Anderson. These ladies never cease to amaze and impress. Ursula, as the level-headed Cynthia excels in this role as she gives us just the right amount of emotion to portray the conflict of management vs. friendship all while dealing with an out-of-work partner and maturing son. Though, it takes a minute to ease into Ursula’s performance (she starts off a bit rigid and deliberate as opposed to natural), 15 minutes in, you get her groove and it’s smooth sailing from then on. She has a tight grasp on this character and portrays her beautifully. Hazlett, as the hot-headed, content Tracey gives a stellar performance as a woman who is not so much narrow-minded as she is set in her ways, but can definitely come off as narrow-minded. Her delivery and stage presence is authentic and her understanding of this character and her trials and tribulations is very apparent. Anderson’s take on Jessie is superb and her usual authenticity shines through in this role. Anderson is quite comfortable in this role and she has a certain appreciation for her character, playing her with a perfect blend of dignity and spitfire. All of these actors have an impeccable chemistry and work well with and off of each other. All three should be applauded for their work in this poignant, important piece.

(l-r) Vaughn Ryan Midder, Dawn Ursula, Matthew Ward, Alejandro Ruiz, Megan Anderson, Kurt Rhoads. Credit: Clinton Brandhagen

A definite standout in this production is Kurt Rhoads, who takes on the role of Stan, the laid-back, impartial (most of the time) bartender of the small neighborhood bar. Rhoads’ performance is flawless with his booming, but soothing voice, and easy delivery of his dialogue. He has a deep understanding of this character and plays him with a rough-around-the-edges exterior but an empathetic and compassionate interior. Somehow I connect with this character (one of the only ones I truly connect with, really) and see him as the wise, worldly old uncle at a family gathering, which is what a bartender of a neighborhood bar should be, anyway. Rhoads gets this character and his performance is spot on. He is one to watch and should be commended and praised for this marvelous performance.

Final thought… Sweat is a serious, in-depth look at middle-class America and its inhabitants. Concentrating on the trials between family, friends, and work, and the fine line that separates these parts of life, Sweat gives us a peek into a blue-collar town in Northeast America and looks beyond skin color and other surface differences to express the kinship and ideals of the characters within. With very real and hard situations, Sweat manages, to tell a story that is relatable to many. Speaking of the story… it’s good. It’s very good but, unfortunately, Lynn Nottage’s script doesn’t do it justice. It seems to be trying too hard to present this middle-class group of people and the dialogue ends up sounding forced and phony, taking away from the other not-so-unfortunate parts. Overall, the production value is top notch and the performances are on point. It’s another bona fide success for Everyman Theatre and, forgiving the script and dialogue, it’s definitely worth checking out!

This is what I thought of Everyman Theatre’s production of Sweat… What did you think? Please feel free to leave a comment!

Sweat will play through November 25 at Everyman Theatre, 315 W. Fayette Street, Baltimore, MD. For tickets, call the box office at 410-752-2208 or purchase them online.

Email us at backstagebaltimore@gmail.com

Like Backstage Baltimore on Facebook

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

Review: Dancing at Lughnasa at Everyman Theatre

By Andrea Bush

Approx. Running Time: 2 hours with a 10-minute intermission

“I know I had a sense of unease, some awareness of a widening breach between what seemed to be and what was, of things changing too quickly before my eyes, of becoming what they ought not to be.”

L-R: Katie Kleiger, Lahbahoise Magee,
and Megan Anderson.
Photo Credit: Teresa Castracane

Dancing at Lughnasa by Brian Friel and Directed and Choreographed by Amber Paige McGinnis, is the story of a memory, told by Michael Evan’s as he looks back across a quarter-century, to August 1936 during the Festival of Lughnasa. The five unmarried Mundy sisters – Michael’s mother, Christina, and his aunts, Kate, Maggie, Agnes, and Rose – live together in a cottage outside the fictional village of Ballybeg, Ireland. Their brother, Father Jack, has returned after 25 years as a missionary on a leper colony in Uganda, with malaria, a spotty memory, and some contrary ideas. Before long, Michael’s charming but unreliable father, Gerry, resurfaces, as well. As the Industrial Revolution finally makes its way to Ireland, we find this family in transition, but between what? Old and new? Real and imagined? Together and apart? Restraint and abandon? Well…yes. Dancing at Lughnasa is a beautiful piece of theatre that may be an entirely different story for each patron.

L-R: Annie Grier, Bari Hochwald, Katie
Kleiger, and Labhaoise Magee.
Photo Credit: Teresa Castracane

The action takes place in and around the Mundy sisters’ cottage, which is brilliantly realized by Set Designer Yu-Hsuan Chen. I am legitimately in such awe of her set that I struggle to find the words to praise it. Chen has so beautifully captured the line between reality and memory with a perfectly-appointed cottage kitchen (complete with smoke from the chimney of the wood-burning stove), the walls of which seem to have dissolved away so we may sneak a glimpse into the lives it contains. The cottage is surrounded by impressions of wind-swept trees and an abstract landscape. I truly felt like I was looking in on someone else’s memory and it made me uncomfortable in the best possible way. Chen’s set is nothing short of perfection.

L-R: Bruce Randolph Nelson, Bari Hochwald, Labhaoise
Magee, Annie Grier, Megan Anderson, Tim Getman, and
Katie Kleiger.
Photo Credit: Teresa Castracane

Upon entering the theatre, patrons are greeted by Irish music, which foretells the wonderful sound design by Phillip Owen. Music (or the lack thereof) is almost another character in the play, and Owen’s design is spot on.

David Burdick’s costume design is excellent and appropriate for each character, and I appreciate Annie Nesmith’s almost-undetectable wig design.

For the most part, the actors seem to have taken well to the dialect coaching of Gary Logan and I was grateful that he chose diction over dialect without losing the authenticity of the accent.

Props Master Jillian Mathews may well deserve an unsung hero award for her work on this production. The sheer volume of “things” on the stage is overwhelming, giving the cottage and yard an authentic, lived-in feel. Kudos to Stage Manager Cat Wallis, as well – it seems like there are so many nearly imperceptible moving parts to this show that no one will ever know, thanks to Wallis.

L-R: Bari Hochwald, Bruce Randolph Nelson, Annie Grier,
Danny Gavigan, Labhaoise Magee, Tim Getman, Katie
Kleiger, and Megan Anderson.
Photo Credit: Teresa Castracane

Jay Herzog’s lighting design is stunning, which is no surprise. I would honestly go see a production at Everyman Theatre just for his design work. In a production that transitions between past and present, we expect to see shifts in lighting to represent the time change, but it is all too often done with a heavy hand, which makes me feel disrespected as an audience member. Herzog takes a gentler approach and his subtle transitions enhance the story, rather than becoming the story. I also always love his use of pools of light, instead of a consistent spot, to track an actor across the stage.

L-R: Megan Anderson and Tim Getman.
Photo Credit: Teresa Castracane

As the play begins, the adult Michael (Tim Getman) invites us into his memory and the lights come up on the rest of the characters in tableau. Getman adeptly breaks the fourth wall consistently throughout the play and his performance feels genuine, never forced or overly sentimental (In fact, none of the actors get weighed down in sentiment, which is a testament to Amber Paige McGinnis’ apt direction of this piece). As he stands outside the action, he also takes on the persona and delivers lines for his seven-year-old self – a challenge for him and his fellow actors to interact without interacting. I enjoyed this device immensely and it is well-handled by all.

L-R: Labhaoise Magee,
Katie Kleiger, Annie Grier,
and Bari Hochwald.
Photo Credit: Teresa
Castracane

The oldest sister, Kate (Bari Hochwald) is stern, but likeable. Toward the beginning of the evening, Hochwald seemed a little unsure of herself, but as the show went on, I thought it might be a character choice that she hasn’t fully settled into yet. I did, however, enjoy her performance. Kate is the practical sister and often has to play the “bad guy” to keep the household going. It would be easy to play the character as mean, but Hochwald finds beautiful layers within Kate and this may be my favorite role that I’ve seen her in.

Megan Anderson’s portrayal of Maggie is a delight. She is sassy and bold and I wanted to be her friend. Her interactions with young Michael, full of riddles and imagination, were some of the most beautiful moments of the show. Anderson’s absolute abandon as she danced and sang and tried to bring lightness to the home made me yearn to get up and dance with her.

L-R: Katie Kleiger, and
Danny Gavigan.
Photo Credit: Teresa
Castracane

Labhaoise Magee is a sweet, childlike Rose, the youngest sister. Her desire to embrace the world is palpable. Magee brings an unexpected combination of innocence and practicality to the role, which was interesting to watch.

Christina (Katie Kleiger) and Gerry (Danny Gavigan) are Michael’s unmarried parents. Kleiger plays the dichotomy between who Christina is on her own and who she is with Gerry with aplomb. Gavigan plays Gerry with just enough charm to make you want him to stay and just enough smarm to make you doubt he ever will, which makes Kleiger’s performance that much more heartbreaking.

Father Jack, played by Bruce Randolph Nelson, is my conundrum for this show. I have to say that I very much enjoyed seeing Bruce Randolph Nelson tell stories about Pagan rituals and be just a bit off his rocker – he really was captivating in his own right. But, in the context of the show, I’d have rather seen Father Jack. Unfortunately, Nelson’s authenticity in the role was lacking, right down to his on-again-off-again accent.

L-R: Bari Hochwald and Megan
Anderson.
Photo Credit: Teresa Castracane

But, Annie Grier’s performance as Agnes is the one I can’t stop thinking about. Agnes is the most subtle sister and her performance is perfectly understated and gorgeous. I couldn’t stop watching her, even as she sat in the background of a scene, knitting. I don’t want to give away her story arc, but I will say that her masterful performance makes it all the more poignant.

Overall, Dancing at Lughnasa is another stunning production from Everyman Theatre. From design to direction to performance, it is a must-see this season. I hope to get back to see it again before it fades to nothing more than a memory.

Dancing at Lughnasa will play through October 7 at Everyman Theatre, 315 West Fayette Street, Baltimore, MD. For tickets, call the Box Office at 410-752-2208 or purchase them online.

Email us at backstagebaltimore@gmail.com

Like Backstage Baltimore on Facebook

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

Review: The Book of Joseph at Everyman Theatre

By Jason Crawford Samios-Uy

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

(l-r) Megan Anderson, Helen Hedman, Beth Hylton, and Bari Hochwald. Credit: ClintonBPhotography

There are secrets in every family whether close or estranged. There are untold stories and questions we may have about or family we just let go of because we either don’t want to know or we don’t know where to find the information and with the current rage of DNA testing and ancestry more and more folks are finding answers to the questions they have about their own families. Everyman Theatre’s latest offering, The Book of Joseph by Karen Hartman is Directed by Noah Himmelstein and is based on the book The Life of Joseph A. Hollander and His Family by Richard Hollander. It is a journey of discovery of a man who was a father, son, brother, uncle, and husband who kept his past in letters and documents that tell an

The Cast of The Book of Joseph. Credit: ClintonBPhotography

extraordinary story of the bonds of family and an unconditional love.

In a nutshell, The Book of Joseph concerns itself with the story of Joseph Hollander, a Polish immigrant who happens to be Jewish, and his correspondence with the family he left behind during World War II, as the Nazi Party took over most of Europe. The story is told by his son, Richard, as he discusses the book he wrote about these correspondences he discovered after the death of Joseph. The thing is, it took years for Richard to read these correspondences because of the fear he had of what he might find out about his family after noticing the Nazi emblems on the letters in his father’s briefcase. Richard had managed to tell the story with kid gloves, glazing over the horrible parts and concentrating on the good parts, while possibly adding a bit of his own optimism. However, Richard’s son, Craig, is determined to get the truth about what happened, even if it means facing a darkness that has been hidden within the family.

Daniel Ettinger’s Set Design is, once again, impeccable, and helps move the story along nicely allowing for easy exits and entrances with thoughtful use of projections and dark colors to express the poignancy of the story. The turntable that takes the audience from one setting to the next is clever and makes for smooth transitions between scenes. Ettinger has created yet another successful design.

(l-r) Wil Love, Beth Hylton, Hannah Kelly, Danny Gavigan, and Bari Hochwald. Credit: ClintonBPhotography

Working in tandem with the Set Design, the Sound Design by Elisheba Ittoop and Lighting Design by Cory Pattak is superb and sets the mood of not only entire production but each scene as well. Pattak uses rays of isolated light and subtle dimming of light to represent the dreariness and uncertainty in the story as well as brightening to express the more uplifting points. Working with the lighting Ittoop’s sound design blends perfectly into the production and may not be noticeable until she wants you to notice it which makes for an intelligent design. Her original compositions are faintly heard in the background during certain scenes, but are fitting and well-thought out. Together, these aspects of light and sound do not hinder the production and performances but enhance and help them along.

David Burdick rarely disappoints and his Costume Design for this production is no different. His attention to detail is immaculate and, being a period piece that requires a specific style, Burdick’s design is spot on. His choice of wardrobe for each character gives them an individuality and the modern and bygone era styles are presented flawlessly and transitions smoothly from one scene to the next. Kudos to Burdick for his work on this production.

Noah Himmelstein takes the helm of this superb production and presents the story clearly with a focused vision. It’s obvious he has a great comprehension of the text, the characters represented, and the message of the story. Himmelstein has amassed a balanced, well-rounded cast with a chemistry that is second to none and his staging is engaging, making for spot on pacing that is just about perfect. Himmelstein should be applauded for his impeccable work on this production.

Danny Gavigan as Joseph (foreground) and Cast. Credit: ClintonBPhotography

Commenting on the performance aspect of this production, it’s worth mentioning that, according to this story, the Hollander family is a family driven by strong women, with Joseph being the only male amongst supportive females. Hellen Hedman as Berta, the matriarch of the Hollander family, plays her character as a woman who has an unencumbered faith in family and puts on a show of strength for her daughters and only son. Hedman is comfortable with her role and plays it with confidence.

In the same vein, Bari Hochwald plays Mania, the eldest sister, and she plays it in a way that makes this character relatable to anyone who has an older sister, like myself. She seems to portray this character as an obligated caretaker, as many eldest children feel, having a nice blend of being both strict and stern as well as compassionate for her family. The match with Everyman Theatre Resident Company member Wil Love as Salo, her husband, is brilliant and Love’s portrayal of a loving and supportive husband with a gentle demeanor is believable and charming.

Bruce Randolph Nelson. Credit: ClintonBPhotography

Beth Hylton, an Everyman Theatre Resident Company member takes on the role of Klara, Joseph’s next eldest sister who seems to be a tough cookie, as well as Felicja Hollander, the first wife of Joseph. Playing these two vastly different characters is a representation of Hylton’s impressive skills as she plays Klara with a rough-around-the-edges but soft on the inside kind of sister and mother who manages to get along no matter what life throws at her and the snooty, uptight Felicja. Kudos to Beth Hylton on a remarkable performance. Along with Hylton’s Klara, Hanna Kelly tackles the role of Genka and the gender-bending role of Boy Arnold. Much like Hylton, Kelly’s portrayal of these roles is a natural and believable switching flawlessly between the anxious and nervous young immigrant, Boy

Arnold, and the young, optimistic, and hopeful Genka.

Megan Anderson and David Gavigan. Credit: ClintonBPhotography

Two highlights in this production are Everyman Theatre Resident Company members Megan Anderson and Daid Gavigan. Anderson takes the roles of Dola, Joseph’s sister to whom he seems to be closest, and Vita, Joseph’s second wife and lifelong love, and Gavigan takes on the titular role of Joseph, the man who kept correspondence with his family and tried to help them immigrate to the United States for as long as he possibly could. Anderson brings her usual energy and confidence to her roles that make her a joy to watch and she has a tight grasp on her strong, independent characters making for a remarkable performance. Gavigan, too, understands the nuances of his character, a conflicted and worried young man who is desperate to help his family. He has a good presence and is confident in this role and it makes for a fantastic performance that is the backbone of this production.

Bruce Randolph Nelson as Richard and Elliott Kashner as Craig. Credit: ClintonBPhotography

Rounding out the cast are two more highlights – Elliott Kashner as Elliott, Joseph’s grandson, and Everyman Theatre Resident Company member Bruce Randolph Nelson as Richard, Joseph’s son. Both these actors bring the modern into this production amidst the flashbacks and memories and they do it seamlessly and they both have a deep comprehension of their characters and the text. Nelson brings a certain levity to this poignant piece that fits in perfectly without making a mockery of the story and his rollercoaster of emotions is clear making for an authentic performance that is a delight to experience. Kashner, who enters later in the piece, is absolutely believable with a great mix of flippancy that makes you want to smack him, a yearning to know his own history, and a compassion for his father. He has a confident presence on stage and it makes for an admirable performance, overall.

Final thought… The Book of Joseph is a poignant, heart-wrenching look into the life of one family during the turbulent and uncertain times during WWII. The story is well framed and structured even though it hops through time, it’s easy to follow in the way the script is laid out. It’s a story that incorporates hope, regret, love of family, survival, and moving on under extreme circumstances. It also has a certain amount of levity mixed in with the tragedy that gives the audience emotional peaks and valleys that make for great theatre. It reminds us of the untold stories of war and strife that don’t come to light until years later when those involved are long gone and we only have letters and documents to put the pieces of the past puzzle together. The performances are extraordinary and the script is well put-together making for a thoughtful and entertaining production as a whole. Once again, Everyman has not disappointed and you don’t want to miss this final production of the 2017-18 season.

This is what I thought of Everyman Theatre’s production of The Book of Joseph… What did you think? Please feel free to leave a comment!

 The Book of Joseph will play through June 10 at Everyman Theatre315 W. Fayette Street, Baltimore, MD. For tickets, call the box office at 410-752-2208 or you can purchase them online.

Email us at backstagebaltimore@gmail.com

Like us on Facebook and follow us on Twitter and Instagram!

Review: Aubergine at Everyman Theatre

By Jason Crawford Samios-Uy

Running Time: Approx. 2 hours with one intermission

(l-r) Glenn Kubota as Father and Tony Nam as Ray. Credit: Stan Barouh

The memories people keep are vast and varied but most people have at least some memories that involve food. Even most of the greatest chefs of our time will remember, are inspired by, and mention his or her “momma’s cooking” and the memories it induces. Breaking bread with someone is one of the most civil acts we, as a species, can participate in to express our humanity toward one another and breaking bread with family is one of the most special and loving acts we commit in our lives. With that being said, we all have different tastes; some like simple cuisine while others enjoy more complex dishes, and even within our own family, our tastes clash and mirror our lives away from the dinner table. In Everyman Theatre’s latest offering, Aubergine by Julia Cho (in association with Olney Theatre Center), Directed by Vincent M. Lancisi, gives us a glimpse into the lives of an Asian-American family in the last days of the father and how even in the most strained and estranged relationships, there’s hope for a reconciliation or redemption when we take the time to learn about one another and see each other from a different angle.

(l-r) Negan Anderson, Tony Nam, and Eunice Bae. Credit: Stan Barouh

Briefly, Aubergine follows the story of Ray, a young Asian-American chef, as he processes the passing and last few days of his father, with whom he’s had a strained and volatile relationship with for most of his life. The father, is a stern, simple man who doesn’t seem to appreciate the more stylish, complex life Ray has chosen to live. When Ray is called to care of his dying father, he reconnects with a jilted lover, Cornelia, who still has strong feelings for Ray, and his estranged Uncle from Korea. Together, through a language and cultural barrier and food, they learn to process the passing of this man they knew at different times and realize the lessons he’s taught them through his actions.

(l-r) Glenn Kubota as Father and Tony Nam as Ray. Credit: Stan Barouh

Technically, Everyman Theatre has not disappointed thus far and Aubergine is no different. Set Design by Misha Kachman is intelligent and appropriate using a unit set that can be used to portray different locations using set pieces that are easily set up and taken away, not interrupting the flow of the piece. The modern setting is authentic and adds value to the piece as a whole. Along with Kachman’s Set Design, Light Design by Harold F. Burgess II and Sound Design by Roc Lee work in tandem to help tell and move this story along. With isolated lighting on various sections of the stage at certain times, Burgess manages to set the mood for each scene beautifully while Roc matches the mood with traditional and modern music, as well as impeccable sound effects to represent certain locations. Overall, Kachman, Burgess, and Lee should be applauded and commended for their efforts in this production.

(l-r) Eunice Bae as Cornelia and Tony Nam as Ray. Credit: Stan Barouh

Vincent M. Lancisi, Founding Artistic Manager of Everyman Theatre, takes the helm of this piece and presents it simply with a clear vision. His staging is superb as the pacing is consistent which moves the story along nicely. This is a tricky subject matter that should be handled with kid gloves, and Lancisi has managed to present it respectfully and with due diligence, but truthfully, as well. His decision to use subtitles is wise as a lot of this dialogue is in Korean and this helps the audience keep up without sacrificing the tempo of the piece. His casting is splendid and his cast comes together as naturally as any real family going through this type of situation. It’s clear that Lancisi has a firm comprehension of this delicate material.

Moving on the performance aspect of this piece, Everyman Theatre Resident Company member Megan Anderson takes on the supporting role of Diane and Hospital Worker and though her stage time is light, she makes the most of it, starting off the show with the first of a few monologues, setting the tone nicely and setting the stage for the piece as a whole.

(l-r) Jefferson A. Russell as Lucien and Tony Nam as Ray. Credit: Stan Barouh

Jerfferson A. Russell takes on the role of Lucien, the hospice nurse assigned to Ray’s father. Russell shines in this role and he seems to completely embody this special type of character who must have a perilous balance of compassion and logic dealing with death and the family members left behind. Russell has a great presence and understands his character and his part in the hospice process, making for a confident and authentic performance.

(l-r) Tony Nam as Ray and Song Kim as Uncle. Credit: Stan Barouh

The son, Ray, has an unlikely support system in this story and Eunice Bae tackles the role of Cornelia, the younger, but just as mature girlfriend and Song Kim takes on the role of Uncle, the brother of Ray’s father who is almost a stranger to Ray, but understands the value of family and travels far to be with him. Both of these actors are standouts in this production. Bae is outstanding in this bi-lingual role and she really grasps the meaning of her character. She plays the character with a natural flare that fits it nicely. Bae understands that this character is kind of the caregiver for the caregiver and, though she is not obligated to take on such responsibility, steps up and does so. Her comprehension of the character is clear and she is comfortable in the role, playing her confidently.

Kim, too, is impressive in his role which requires speaking Korean more than English (having only a few lines or words in English), he manages to play this character in a way we can understand exactly what he is saying (even though there are clear subtitles). This really displays his aptitude as an actor knowing how to communicate non-verbally, but clearly. His chemistry with his cast mates is spot on and his comprehension of the material and his character make for an outstanding performance.

(l-r) Tony Nam as Ray and Glenn Kubota as Father. Credit: Stan Barouh

Lastly, we have Glenn Kubota as Ray’s Father and Tony Nam as Ray, the two characters around whom this entire story revolves. Kubota is absolutely authentic as an immigrated Asian father (I grew up with one, I know all too well) and he hits the nail on the head in his performance. It’s like watching my own father up on the stage and it was both eerie and poignant, for just a moment, seeing my father here with me again. Though Kubota doesn’t have many lines, his performance is stellar. I admit, I may be biased, considering my life experiences, but Kubota wears this character like a perfectly fitting glove. He has a complete grasp on this character and plays it to the hilt making for an incomparable performance.

The character of Ray holds a special place in my heart as well, being a character to whom I can completely and utterly relate. Growing up American with deep Asian roots can be tricky and it’s a delicate balance one must keep and Nam portrays this flawlessly. He embodies his character and emotes the conflict of resentment and love he has for his father, which many folks have, I suppose, and makes it easy for the audience to connect with and relate to him. He has a good command of the stage, a great chemistry with his cast mates, and has a deep understanding of his character making for a splendid performance.

Tony Nam as Ray. Credit: Stan Barouh

Final thought… Aubergine is a heart-wrenching look at strained family relationships and regrets in the last days of a loved one’s life, but it’s also a redemption, of sorts, with new connections and positive self-realizations. It’s an emotional roller-coaster that brings out the best and worst in family relationships, especially between fathers and sons, when they are separated not only by generation but by culture and taste. This one hit home hard for me, experiencing the passing of my own father just last June, but this piece presents the hospice process exceedingly well with poignancy as well as with a pinch of humor, giving a well-blended mix of ups and downs that make for a good drama. The performances are authentic and natural, and the characters are extremely relatable. The staging and pacing is on point making for an impeccable evening of theatre. The passing of a loved one is never easy, no matter how your relationship played out, but this piece is a great account of how things could be handled and what happens in those final days. Do yourself a favor – grab your tissues and get out to experience this show! It’s not one you want to miss this season.

This is what I thought of Everyman Theatre’s production of Aubergine… What did you think? Please feel free to leave a comment!

Aubergine will play through April 15 at Everyman Theatre, 315 W. Fayette Street, Baltimore, MD. For tickets, call the box office at 410-752-2208 or you can purchase them online. As an added bonus, use the online code FOODIE18 for a 20% discount on tickets!

Email us at backstagebaltimore@gmail.com

Like Backstage Baltimore on Facebook  and Follow us out Twitter @BackstageBmore and Instagram @backstagebaltimore

Review: The Revolutionists at Everyman Theatre

By Jason Crawford Samios-Uy
00-REVOLUTIONISTS-ShowArt
Running Time: Approx. 2 hours with one intermission

01-REVOLUTIONISTS-ClintonBPhotography

(l-r) Beth Hylton, Emily Kester, Megan Anderson, and Dawn Ursula. Photo: ClintonBPhotography


When strong women get together, change can happen, ideas can turn into action, and passions can be expressed. At a time when women voices are becoming stronger and more empowered, Everyman Theatre‘s latest offering, The Revolutionists by Lauren Gunderson, Directed by Casey Stangl, gives us an extremely humorous, but extremely poignant look at how women’s voices can make the aforementioned change whether it be in their current time or for posterity. It’s a story of how important a woman’s voice can be, even in the darkest of times.
Briefly, The Revolutionists is about a group of women, a playwright, a strong woman of color and activist, an assassin, and… a queen who discuss life and current events in Paris, France during the Reign of Terror (circa 1793) when the government is chopping off heads with the guillotine at the drop of a hat and a revolution is definitely brewing. These women, who have gathered in a study, a safe space, obviously come from different walks of life explain life and their thoughts to each other as they individually know them and they learn from and teach each other along the way, growing just a little strong and wiser just from knowing each other.
13-REVOLUTIONISTS-ClintonBPhotography

(l-r) Emily Kester, Beth Hylton, Megan Anderson, and Dawn Ursula. Photo: ClintonBPhotography


Daniel Ettinger’s Set Design is well thought-out and brings this piece together nicely. With various locations, including a large study in a home, a prison cell, and the scaffold where the dreaded guillotine lives, Ettinger has managed to smoothly mesh these locations together with a clever design using set pieces and projections that work in tandem with each other to move the story along nicely.
Light Design by Elizabeth Harper and Sound Design by C Andrew Mayer blend beautifully within the production and help the audience, both visually and audibly, discern where any particular scene is taking place. The mood is created nicely with these aspects as well, engaging the audience wholly. With a nice balance of subtle and bold lighting changes and well-chosen and executed sound effects, Harper’s Light Design and Mayer’s Sound Design add great value to this production.
03-REVOLUTIONISTS-ClintonBPhotography

(l-r) Dawn Ursula as Marianne Angelle and Beth Hylton as Marie Antoinette. Photo: ClintonBPhotography


David Burdick’s Costume Design is on point with these diverse characters. Each character has such a distinguishable personality and look, Burdick manages to bring out these differences in unique, yet appropriate costumes for each. His attention to detail is impeccable as with Marie Antoinette’s bright yellow and garnished ensemble that exudes the excess and decadence for which she is known (whether accurate or not). The authenticity of the costumes brought these characters to life and made them complete individuals which helped move the story along very nicely.
Casey Stangl takes the helm of this production and her Direction of this piece is, in a word, superb. She has a definite grasp and comprehension of this piece and it shines through in the staging and through the actors’ portrayal of these characters. Stangl’s staging is well-paced and engaging while be focused and clean. The transitions are smooth from one scene and setting to another making making for an even flow that’s easy to follow. Her casting is spot on and her overall vision of presenting strong, confident women is quite apparent.
10-REVOLUTIONISTS-ClintonBPhotography

Emily Kester as Charlotte Corday. Photo: ClintonBPhotography


Performance-wise, this piece is acted beautifully and confidently with each member of the small four-person ensemble giving fully committed performances making the roles their own. The chemistry between these actors seems effortless and they all work well with and off of each other, especially Dawn Ursula as Marianne Angelle, the scrappy activist and Beth Hylton as the bubbly Queen Marie Antoinette, who play off of each other’s performance superbly.
05-REVOLUTIONISTS-ClintonBPhotography

Megan Anderson as Olympe de Gouges. Photo: ClintonBPhotography


Emily Kester takes on the role of Charlotte Corday, a young assassin who comes to the only female playwright she knows of to write her last words before she is put to death for killing a very prominent male figure. Kester embodies this character and performs the role with high energy and gusto as required. Her comedic timing is good though it would benefit her and the production if she gave the audience a moment to laugh at the funny lines rather than speaking over the laugh, thus losing many of her lines. She plays this rough-around-the-edges character well and gives the comedy a good balance with poignancy and passion. Overall, she gives a commendable performance that’s a delight to watch.
Olympe de Gouges, the reluctant revolutionist female playwright, is played flawlessly by the incomparable Megan Anderson, an Everyman Resident Company member. She has a good grasp on this character and is authentic in her mannerisms and characterization of this high-strung and passionate character. Anderson’s delivery of the text is spot on and her comedic timing is down pat. She does well with this witty, intelligent dialogue and gives a confident, comfortable, and praiseworthy performance.
08-REVOLUTIONISTS-ClintonBPhotography

(l-r) Emily Kester as Charlotte Corday and Dawn Ursula as Marianne Angelle. Photo: ClintonBPhotography


As mentioned, Everyman Resident Company member Dawn Ursula takes on the role of Marianne Angelle, the sassy activist who is trying to bring liberty and justice to her people of the Caribbean and she plays it to the hilt. With a keen and impressive sense of deadpan comedy and its delivery, Ursula is gives a strong, authentic presentation and embodies this character wholly. She has a good comprehension of what this character is about and exudes the passions and empathy that is required in her delivery of the text and is certainly one to watch in this production.
As stated previously, Beth Hylton, another Everyman Resident Company member tackles the complex role of Marie Antoinette, Queen of France who doesn’t really get the regular folks, and she is, hands down, the standout in this production. With an Elle Woods (of Legally Blond) type personality and persona, Hylton is both hilarious and touching in this role. This character seems to be the one that grows and learns the most in this piece and it makes sense. The others are fighting against everything Marie Antoinette stands for, or seems to stand for, but, after talking and spending time with the other characters, her empathy shines through and she really seems to comprehend their plights. Hylton portrays this exquisitely, all the while keeping the comedy in tact while showing the compassionate and empathetic side to Marie. With a balance of humor and poignancy, Hylton shines as this flourishing character, giving a strong, note-worthy performance.
12-REVOLUTIONISTS-ClintonBPhotography

Beth Hylton as Marie Antoinette. Photo: ClintonBPhotography


Final thought… The Revolutionists is a fun, hysterical but thoughtful and important look at how women’s voices can change the course of events and be important in deciding upon policy. The performances are strong and confident, much like the characters these actors are portraying, and the message is clear. Though a comedy, the production is focused and well-thought out both technically and onstage. With it’s modern, comedic twist on a dark, confusing era, The Revolutionists tickles the brain with witty and intelligent humor that forces us to think while we laugh and it’s a production that is not to be missed this season. Get your tickets, now, for this brilliant, funny, and thought-provoking piece of clever theatre!
This is what I thought of Everyman Theatre’s production of The Revolutionists… What did you think? Please feel free to leave a comment!
The Revolutionists will play through January 7 at Everyman Theatre, 315 W. Fayette Street, Baltimore, MD. For tickets, call the box office at 410-752-2208 or purchase them online.
Email us at backstagebaltimore@gmail.com
Like Backstage Baltimore on Facebook
Follow us on Twitter (@BackstageBmore) and Instagram (BackstageBaltimore)

Review: Noises Off at Everyman Theatre

By Jason Crawford Samios-Uy

Running Time: 2 hours and 30 minutes with two intermissions (one 15-minute and one 10-minute)
Doors and sardines! Doors and sardines! Apparently, that’s what life is all about… right? Well, maybe not, but it’s always exciting (and a little voyeuristic) to take a peek behind the scenes to see how a show is produced. I don’t know about you, but when a film or an album tickles my fancy, I always enjoy seeing a “Making of…” that particular project and Everyman Theatre‘s latest and last offering of their 2016-17 season, Noises Off by Michael Frayn, Directed by Vincent M. Lancisi, gives us a humorous, frantic peek into what it takes to get a show off the ground and that the show must go on… no matter what.

L-R Deborah Hazlett, Megan Anderson, Carl Schurr, Beth Hylton, Bruce Nelson, and Eric Berryman. Credit: ClintonBPhotography


Noises Off is a “show within a show,” meaning the show itself is about putting on a show called Nothing On and Everyman Theatre has even provided the audience with a program for Nothing On, which adds to the authenticity of the piece. The show is given to us in three acts with breaks in between each act. Act I consists of the final dress, Act II takes place backstage a few months into the tour with the play still going on in the front with problems upon problems going on in the back, including cast love triangles, real and imagined, and Act III shows a performance during the last leg of the tour when everyone has lost all give-a-fuck and have stopped being nice and have started getting real, making for some interesting choices onstage. The comedy comes from the slight changes in each Act as the character flaws come to surface off-stage causing everyone to undermine their on-stage performances with A LOT of slapstick. The contrast between the fictional characters of the play Nothing On and the fictional actors playing those characters is also a great example of comic dissonance.
It’s worth mentioning that Noises Off was made into a film in 1992 and starred heavy-hitters such as Carol Burnett, Michael Cain, John Ritter, and Christopher Reeve, among other big names of the time, and, though it was a box office flop, it has since become a favorite (for those who love theatre, anyway), and has gained a sort of cult-ish following. I’m proud to say I’m a part of that group and I LOVE this film.

BACK: Bruce Nelson and Beth Hylton. FRONT: Danny Gavigan, Deborah Hazlett, and Carl Schurr. Credit: ClintonBPhotography


That being said, the production at Everyman Theatre is definitely one to contend with. With Director Vincent M. Lancisi at the helm, Everyman has made this production their own and it is difficult to compare, which is a feat in itself. Lancisi has a complete comprehension of this piece and the farcical comedy with which it comes. He keeps the action moving and the pacing, for the most part, is spot on. Most of the casting is spot on and Lancisi was wise to use the Everyman Theatre Resident Company to fill all but one role as they were splendid in the roles. Though Act I seems a bit subdued, I was at a matinee performance, so, that may have been a factor but, overall, Lancisi does a superb job presenting the never-give-up essence of this piece and brining to the audience an example of putting on a show and what happens behind the scenes as opposed to what we, the audience, sees as the final product.

L-R Beth Hylton, Bruce Nelson, Danny Gavigan, Deborah Hazlett, Emily Kester, Eric Berryman, and Wil Love. Credit: ClintonBPhotography


I would not do any favors for this review or do the production justice if I didn’t mention the set for this production. I’ve stated in the past that Everyman Theatre has yet to disappoint when it comes to their sets and this production is no different at all. Set Design by Daniel Ettinger is exquisite and complex but absolutely appropriate for this piece. Ettinger has an amazing attention to detail and from the stylish woodwork to the knick-knacks, every set piece is befitting and seems to have been carefully chosen. As the three acts require a “flipping” of the set to represent both the front of the set as well as backstage, Set Design must be handled carefully and Ettinger is on point with is design. During the breaks between acts, the set is flipped completely and while most theatres who produce Noises Off have the luxury of a revolve on the stage, Everyman Theatre crew has to manually flip individual set pieces and they do so with great precision and speed so a major shout out and kudos to Stage Manager Cat Wallis and the stage crew of this production.

Emily Kester as Brooke Ashton and Danny Gavigan as Garry Lejeune. Credit: ClintonBPhotography


Costume Design by Eric Abele is appropriate as Director Vincent M. Lancisi wisely decided to keep the play set in the 1970s and all the actors were dressed in the general styles of the day with nothing too modern, and all looked comfortable, even the poor actor playing Garry Lejeune with his plaid pants and matching coat and the actress playing the scantily clad Brook Ashton running around in her underwear for most of the show. Abele’s overall Costume Design helped the setting of the piece added value to it rather than distract from it.
Lighting and Sound Design by Jay Herzog and Phillip Owen, respectively, is impressive with an acute attention to detail that added extra authenticity to the production. The slight differences between the front of the set to the back of the stage lighting is realistic as there are certainly different levels of brightness and darkness and the difference in sound is exceptional. Being familiar with being backstage during a production, it’s uncanny how Herzog manages to bring that sound to the audience – a sort of muffled, but understandable speaking to which one must pay close attention to hear what is being said. Both Herzog and Owen are to be commended on their work for this production.

L-R Danny Gavigan as Garry LeJeune, Deborah Hazlett as Dotty Otley, and Bruce Nelson as Frederick Fellowes. Credit: ClintonBPhotography


The ensemble for this production of Noises Off is top-notch and all are dedicated, committed performers who understand the piece and the comedy/farce that goes along with it.
Though all of the performances were on point, Carl Schurr’s take on the role of Lloyd Dallas, the helpless director of the runaway train of a production, falls a little flat for me. The character has peaks and valleys of frustration, calm, anger, and resignation, but Schurr doesn’t seem to invest enough emotion to show the contrast between the feelings this character is experiencing. His frustration could be much more which would make the instant switch to calm much more comedic. I can see where he is going with the character, trying to keep the calm and being a British gentleman, of sorts, but I would still like to see the desperation of the character trying to make the show work. That being said Schurr’s comedic timing is absolutely marvelous and he has great chemistry with his cast making for an fine performance.

FRONT: Bruce Nelson as Frederick Fellowes. BACK: Emily Kester as Brooke Aston. Credit: ClintonBPhotography


Bruce Randolph Nelson takes on the role of the dim-witted Frederick Fellowes who is prone to nose-bleeds and isn’t a very good actor at all. In this sense, Nelson is such a good actor, he has this character down pat and certainly makes the role his own as he hits the ground running. The spirit of show is improvisation and Nelson is a hands-down expert in this area. However, there may have been times he took it a bit far, this could just be me being stuffy, but he does such a fine job with the script, too much addition takes away from the performance. This isn’t to say Nelson doesn’t do a great job because he most certainly gives an impeccable performance that will have you belly-laughing throughout his performance.

Megan Anderson as Poppy NOrton-Taylor and Eric Berryman as Tim Allgood. Credit: ClintonBPhotography


Tackling the roles of the poor over-worked Stage Manager, Tim Allgood and Assistant Stage Manager, Poppy Norton-Taylor, are Eric Berryman and Megan Anderson, respectively and these two actors completely embody these roles and make them their own. In real life, the behind the scenes folks are sometimes the most dedicated to a production and Berryman and Anderson evoke that spirit in these characters flawlessly, frantically trying to keep the show on course and doing whatever they can to help. Anderson’s portrayal of the skittish, emotional Poppy makes you feel for this character from the get and Berryman’s take on the easily flustered Tim, is funny and authentic.
Danny Gavigan takes on the young Garry Lejeune, a good enough actor with a jealous streak, who involved with the older Dotty Otley and can’t finish a sentence to save his life, unless it’s scripted. Gavigan does a bang up job in this role. His contrast between the two characters he plays (the actor and the character in the play Nothing On) is clear and concise and his physical work a could be a tad more frenetic and fluid but he does a superb job, looks comfortable in the role, and has a very good command of the stage.

L-R Megan Anderson as Poppy NOrton-Taylor, Wil Love as Selsdon Mowbray, and Deborah Hazlett as Dotty Otley. Credit: ClintonBPhotography


Wil Love is hilarious as Selsdon Mowbray, the aging, heard of hearing, alcoholic actor who seems to be on his own time and script, but manages to shuffle along with the rest of the show. Love’s comedic timing is spot on and he completely embodies this character making him real and a joy to watch. Emily Kester takes on the role of Brooke Ashton, the ditsy, by-the-script bombshell blond actress, and holds her own with the Resident Company members and they seem to welcome her with open arms. Running around in her unmentionables for a majority of the show doesn’t seem to faze Kester and she gives a strong comedic performance having great chemistry with her cast mates.
Beth Hylton tackles the role of Belinda Blair, the upbeat, positive (for the most part), peacemaker of the troupe and gives a beautiful performance. She’s confident and graceful as this character but also plays the comedic bits superbly, as well. Hylton’s portrayal is believable as the positive one in the group who sees the glass as half-full and is enough to get on your nerves, but also as the one who is able to keep it together when things start falling apart. She gives a committed performance that is a joy to watch.

Deborah Hazlett as Dotty Otley. Credit: ClintonBPhotography


Deborah Hazlett as Dotty Otley is absolutely believable and likable in this role and her comedic timing is outstanding. She seems to start off cautious at first, kind of like a slow burn, but then she starts to let loose and by the second act, she lets it go, especially with her quiet interactions with Gavigan who, as Garry, is the love interest to her character, and the relationship is rocky. She may lose her accent here and there, but for the most part, she has it down. Her facial expressions and mannerisms as this character are excellent and make for a very successful performance.
Final thought… Noises Off at Everyman Theatre is a madcap farce that will tickle the most stubborn of funny bones. With a witty script and a dedicated cast, we are given a peek behind the curtain of putting on a production and all that goes with it, good and bad. The entire production is well put-together and the cast has a superb comprehension of the piece. Noises Off has been popular in its own right but contending with a beloved film version (in theatre community, anyway) comparison is always a challenge. However, this production knocks it out of the ballpark. The pacing is frantic, as it should be, and the comedy is spot on making this a must see this season. I couldn’t think of a better way to end out a season so… get your tickets while they last!
This is what I thought of Everyman Theatre’s production of Noises Off… What did you think? Please feel free to leave a comment!
Noises Off will play through June 18 at Everyman Theatre, 315 W. Fayette Street, Baltimore, MD. For  tickets, call the box office at 410-752-2208 or purchase them online.
Email us at backstagebaltimore@gmail.com
Like Backstage Baltimore on Facebook
Follow Backstage Baltimore on Twitter (@backstagebmore) and Instagram (backstagebaltimore)
 

Famed Farce Noises Off to Receive Resident Company Treatment With Comically Chaotic Revival at Baltimore's Everyman Theatre



If you’re a theatre lover, you don’t want to miss this show wherever and whenever it is playing! This hilarious farce shows the real-world problems that can and inevitably arise during any production and relatable to every actor who has tread the boards! So excited for this production!
FOR IMMEDIATE RELEASE
April 25, 2017
 
Theatre’s Season Wraps with Sardines, Silliness and Split-Second Timing
Baltimore, MD – Everyman Theatre’s Resident Company of actors transforms into a British company of actors during the 1970s in this hotly anticipated revival of Tony Award-Winner Michael Frayn’s side-splitting farce to end all farces, Noises Off, directed by Founding Artistic Director Vincent M. Lancisi and running from May 17 through June 18, 2017.
With this love-letter to the thrilling unpredictability of the stage, Everyman Theatre ends its 2016/17 season on a zany note, joined by eight of its Resident Company members portraying a cast of bumbling British thesps (starring in the fictitious play-within-a-play, “Nothing On”) whose backstage buffoonery threatens to steal the show. With their opening night on London’s West End just hours away, can the cast pull their act together before lost lines, love triangles and flying sardines upstage the production?
Punctuated with wall-to-wall wackiness, carefully timed/choreographed hijinks, and spiked with color-popping 1970s pizazz and sight gags galore, Noises Off considers what happens when everything thatcan go wrong, does go wrong, earning laughs-a-minute from its talented cast.
“We’ve all heard the saying that ‘dying is easy, comedy is hard,’ but working within a Resident Company provides a level of family-like comfort for the actors that paves the way for hilarity of the highest caliber to ensue,” said Lancisi. “When audiences recognize our Resident Company members shifting between the characters they play, and the characters that those characters play (in the play within the play), it only adds to the infectious mayhem – literally tripling up on the fun.”
Resident Company members Deborah Hazlett (The Roommate, Death of a Salesman, A Streetcar Named Desire, An Inspector Calls) and Danny Gavigan (A Streetcar Named Desire, Death of a Salesman, Ghosts, Deathtrap) lead the show-within-a-show cast as Dotty Otley, the top-billed star ofNothing On and Garry Lejeune, her leading man. They are joined by fellow Resident Company members Bruce Randolph Nelson (Great Expectations, Wait Until Dark, Death of a Salesman, A Streetcar Named Desire) as Nothing On co-star Frederick Fellowes, Beth Hylton (A Streetcar Named Desire, Death of a Salesman, Outside Mullingar) as actress Belinda Blair, and Wil Love (Death of a Salesman, Outside Mullingar, Deathtrap) as Selsdon Mowbray, a veteran actor with a weakness for the bottle. The show-within-a-show cast is rounded out by Emily Kester, making her Everyman Theatre debut as the naïve actress Brooke Ashton.
Other featured Resident Company actors in Noises Off include Carl Schurr (Death of a Salesman, A Streetcar Named Desire, Blithe Spirit) as Lloyd Dallas, the director of Nothing On, with Eric Berryman(Red, Topdog/Underdog, A Raisin in the Sun) and Megan Anderson (Dot, Wait Until Dark, Death of a Salesman, A Streetcar Named Desire), respectively, as stage manager Tim Allgood and assistant stage manager Poppy Norton-Taylor.
The Noises Off design team includes Resident Designer Company members Daniel Ettinger (Set Design), Jay A. Herzog (Lighting), Gary Logan (Dialects), Lewis Shaw (Fight Choreography) and Jillian Mathews (Props Master). Costume Design is provided by Eric Abele and Sound Design by Phillip Owen.
Noises Off first premiered in 1982 in London and opened in 1983 on Broadway where it received a Tony Award nomination for Best Play. Performed nearly nonstop ever since, Everyman Theatre’s production follows a recent Broadway revival produced by Roundabout Theatre Company.
Tickets for Noises Off are now on sale online (www.everymantheatre.org), by phone (410.752.2208), or at the Everyman Theatre Box Office (315 W. Fayette Street, Baltimore, MD 21201).
Event Listings
Pay-What-You-Can Performance
May 16, 2017 at 7:30 PM
Pay-What-You-Can (suggested minimum donation: $5) to see the final dress rehearsal of Noises Off. Tickets are sold on a first-come, first-serve basis at the Box Office beginning at 5:30pm. Tickets must be paid for in cash. Seating is general admission.
TNT: Theatre Night for Teens
May 16, 2017 at 6:00 PM
Students in grades 9-12 can enjoy dinner from Noodles & Company, an artist meet-and-greet withNoises Off prop master Jillian Matthews, and the 7:30 PM performance, followed by post-show discussion and dessert. Tickets: $10 each.
The Show Must Go On! A Stoop Storytelling Event
May 22, 2017 (Drinks/music at 6:00 PM; Performance at 7:30 PM)
Everyman and Stoop Storytelling partner to present an entertaining evening of hilarious-but-true stories about the unexpected pitfalls and pratfalls of the stage. Tickets: $20 each.
Taste of Everyman: Wacky Mix-Ups
June 1, 2017 at 6:00 PM
Mix and mingle with other theatre lovers during a pre-show social, this month featuring unique cocktail concoctions combining the most unexpected ingredients, and paired with hors d’oeuvres by The French Kitchen. Tickets: $60 each for show and event.
World of the Play
June 3, 2017 at 5:00 PM
Take part in an in-depth panel discussion on the themes and topics of the show, hosted by Marc Steiner (WEAA’s The Marc Steiner Show). Tickets: $5 each (free for subscribers).
Salon Series: Women’s Voices: Trouble In Mind
June 5, 2017 (Cocktails at 6:00 PM; Performance at 7:00 PM)
A reading of Trouble In Mind by Obie Award-winning African-American playwright Alice Childress, directed by Resident Company member Dawn Ursula. Tickets: $15 each ($5 for students).
Cast Conversations
Jun 8, 2017 at 9:30 PM
Talk about the play with the members of the cast after the show. Free.
About Everyman Theatre
Everyman Theatre is a professional Equity theatre company celebrating the actor, with a Resident Company of artists from the Baltimore/DC area. Founded in 1990 by Vincent M. Lancisi, the theatre is dedicated to engaging the audience through a shared experience between actor and audience seeking connection and emotional truth in performance. Everyman is committed to presenting high quality plays that are affordable and accessible to everyone. The theatre strives to engage, inspire and transform artists, audiences and community through theatre of the highest artistic standards and is committed to embodying the promise of its name, Everyman Theatre.
Noises Off is presented by production sponsor University of Maryland, Baltimore. The 16/17 Season is generously sponsored by LifeBridge Health and Neil & Ellen Meltzer. Everyman Theatre’s Pay-What-You-Can nights are supported by Dr. E. Lee & Bea Robbins. Everyman Theatre is proud to have The Baltimore Sun Media Group and WYPR Season Media Sponsors. MSAC provides financial support and technical assistance to non-profit organizations, units of government, colleges and universities for arts activities. Funding for the Maryland State Arts Council is also provided by the National Endowment for the Arts, a federal agency.
Everyman Theatre is a proud member of the Bromo Tower Arts and Entertainment District and the Greater Baltimore Cultural Alliance.
Vincent M. Lancisi is the Founding Artistic Director of Everyman Theatre; Jonathan K. Waller is the Managing Director. For information about Everyman Theatre, visit www.everymantheatre.org or call 410.752.2208.

Review: DOT at Everyman Theatre

By Jason Crawford Samios-Uy
title
Running Time: 2 hours and 30 minutes with one 15-minute intermission
Family. You always love them but sometimes you don’t like them very much and that’s OK. The latest offering from Everyman Theatre, DOT by Coleman Domingo and Directed by Vincent M. Lancisi, with Set Design by James Fouchard, Lighting Design by Harold F. Burgess II, Sound Design by Elisheba Ittoop, and Costume Design by David Burdick gives us a glimpse into the lives of a middle-class West Philadelphia family who are dealing with illness, change, and individual demons that are trying to get them down. All of these issues thrown into the pot make for an entertaining, bittersweet tale that is relatable and very important, tackling Alzheimer’s disease and Dementia in a way that is accessible to all audiences.

Dawn Ursula and Sharon Hope. Photo by Stan Barouh

Dawn Ursula and Sharon Hope. Photo by Stan Barouh


Set in present day in an old neighborhood in West Philadelphia, Dotty is the widowed matriarch of a middle class family with three grown children including two daughters and one son. Recently, the tables have turned and the children are finding they are all of a sudden taking care of mom rather than the other way around. When it comes to family, you deal, you compromise, and you make sacrifices. Family is just plain hard to deal with sometimes but then, nature likes to throw a curve ball and it throws Alzheimer’s disease or Dementia on top of everything else and the ball game changes completely.
As I’ve stated before, Everyman Theatre has not disappointed when it comes to sets for their productions and James Fouchard’s exquisite Set Design is no different. He has managed to recreate an elegant upper-middle class home that is still “homey” with working kitchen appliances and crown molding that’s to die for! Fouchard’s ingenuity shines through as the entire set makes a complete shift to the left during intermission for Act II. What was once a large kitchen and dining room (left to right) becomes ¼ kitchen, dining room, and large living room (left to right) within 15 minutes. His attention to detail from the tchotchkes around the room to the beautifully decorated Christmas tree is superb and authentic and Fouchard is to be commended for his striking design.
Lighting and Sound Design by Harold F. Burgess II and Elisheba Ittoop, respectively, is well thought out and absolutely appropriate to this piece. Burgess’ Lighting Design is spot on giving the audience cues to what time of day it is both inside and outside and sets the mood beautifully throughout the piece. Working in tandem with Lighting Design, Ittoop’s Sound Design works nicely, especially when a good old fashioned vinyl record of a bygone era is played on the record player giving a nostalgic feel to the entire piece. Along with that, whether scripted or otherwise, the song choices for this production near perfect and move the piece along with ease.
Yaegal T. Wlech, Paige Hernandez, and Dawn Ursula. Photo by Stan Barouh

Yaegal T. Wlech, Paige Hernandez, and Dawn Ursula. Photo by Stan Barouh


Costume Design by David Burdick is superb capturing the contemporary look of this middle-class family in West Philly. Not being a period piece, costumes are pretty much every day styles but Burdick’s design still shines as each character’s style is unique, adding to each character’s presence. Urban elegance is what I would call this costume plot and it works impeccably with this piece, adding to the value of the production.
The script for DOT (by none other than Coleman Domingo, a star of AMC’s Fear the Walking Dead) is touching on a delicate topic and is funny and poignant at the same time so any director has to handle it adroitly but under the bright helm of Director Vincent M. Lancisi, this piece shines. Lancisi really understands this piece and uses the humor of the script wisely, catching the audience off guard, at times, and breaking up the drama of this emotional story. His characters are authentic and his casting makes for great chemistry onstage. He keeps the action moving smoothly and presents an on point and very well put together production.
Moving on to the performance aspect of DOT, this ensemble is impeccable. They work well together, have the right look, and each actor understands his or her character and the inner emotional factors and outside actions that move them.
Ryan Carlo Dalusung and Sharon Hope. Photo by Stan Barouh

Ryan Carlo Dalusung and Sharon Hope. Photo by Stan Barouh


Ryan Carlo Dalusung takes on the role of Fidel, a more supporting role of caregiver to our titular character, Dot, but just as significant as every other character in this piece. Dalusung gives strong performance as the Kazakhstani caregiver who answered a Craigslist ad and really seems to get his characters purpose of going through a similar situation as Dot, not really understanding everything that is going on at all times with the only difference being his handicap is a language barrier while Dot’s is more physical. I did have slight issue with his accent as I heard it as more South American or Spanish but it very could be Kazakhstani as Kazakhstan is placed smack dab in the middle between Russia, The Middle East, Eastern Europe, and Asia… any one of those accents may have worked. Regardless of the accent, Dalusung gives a believable performance making his character very likable and befitting with the family for whom he works.
Rob Jansen and Sharon Hope. Photo by Stan Barouh

Rob Jansen and Sharon Hope. Photo by Stan Barouh


The role of Adam, the fussy husband of the only male of the family who has some demons of his own to contend with, is masterfully played by Rob Jansen. Adam is a 40-year-old who is possibly in the beginnings of a mid-life crisis and Jansen’s portrayal is near perfect. He gets this character and he is comfortable on the stage. He manages to show two sides of this character with one being the nagging husband of Donnie as well as the empathetic, sweet son-in-law of Dotty. His delivery may be a bit too careful at times, sounding a bit scripted and unnatural, but overall, his character is congenial he gives a confident and enjoyable performance.
Dawn Ursula, Paige Hernandez, and Yaegel T. Welch.  Photo by Stan Barouh

Dawn Ursula, Paige Hernandez, and Yaegel T. Welch. Photo by Stan Barouh


Yaegel T. Welch tackles the role of Donnie, the prodigal (and only) son of Dotty, who is a 40-year-old freelance writer and middle child, who might not like the idea of his mother being sick. Welch’s portrayal of Donnie is absolutely outstanding as he navigates through the emotions of this character, dealing with the possibility of growing apart from his husband, not having a steady job in New York, caring for a sick parent, and wanting children. Throw in an ex-girlfriend and you have the makings of a pretty heavy character, but Welch takes this challenge and runs with it. His mannerisms and overall attitude make for a very authentic and affable character and, comparing to my brother, the middle child in my own family, Welch plays this role beautifully. His chemistry with his fellow cast mates is wonderful and he gives a strong, confident performance.
Dawn Ursula and Sharon Hope. Photo by Stan Barouh

Dawn Ursula and Sharon Hope. Photo by Stan Barouh


Shelly, the overbearing, eldest child who is also a stressed out, day-drinking single mom is played by Resident Artist Dawn Ursula, and she pulls off this role flawlessly. Her character, like many caretakers, feels as though she’s the only one of her siblings dealing with the situation of a sick parent while trying to stay afloat in her own life and the gesticulations and emotion that exudes from Ursula’s performance are outstanding. She captures the desperation and stress of this character but also gets the humor that is intertwined making for a very real and relatable. Her delivery might be a bit too forceful in the beginning, sounding too scripted and deliberate, but as the show progresses, her delivery falls into a very good rhythm, fitting in nicely with the show as a whole. I just wish it would have happened from the beginning. Ursula managed to get to the heart of this character and it makes for a very strong, entertaining, touching, and noteworthy performance.
Dawn Ursula and Paige Hernandez. Photo by Stan Barouh

Dawn Ursula and Paige Hernandez. Photo by Stan Barouh


Paige Hernandez takes on the role of Averie, the youngest, brash, lost-all-give-a-f**k, one-time YouTube sensation, and she is a standout in this production. Though the character, with her loud entrances and blunt replies, seems to be the comic relief of the piece, Hernandez pulls off the character with excellence and ease.  She is very natural and confident in this role and her comedic timing and delivery are spot on. Being the youngest in my family, I can assure you, her attitude toward and actions in the situations that arise in the show are just about perfect. I think the youngest of any brood has his or her own ideas on how things run and, usually, he or she thinks she absolutely right and Hernandez portrays this in a way that hits home for me. Her performance is definitely funny, but it is also moving making the character of Averie well-rounded and well-performed. Kudos to Hernandez on a great performance.
Dawn Ursula and Megan Anderson. Photo by Stan Barouh

Dawn Ursula and Megan Anderson. Photo by Stan Barouh


Another definitely highlight in this production of DOT is Resident Artist Megan Anderson, who takes on the role of Jackie, the high school sweetheart of Donnie and a current hot mess. Jackie has a plethora of problems of her own, but sometimes family doesn’t mean just blood related and she gets sucked into the situations of this family she’s known her entire life. Anderson is so natural in this role and brings a realness to it that it was easy for me to forget she was reading from a script. Her story of life in the big city, infidelity, being single, and coming home for a break from life is just as interesting as the main plot and Anderson carries it well. She plays her character to fit right in with this family and she shines in her performance. Her authenticity and comedic timing are impeccable, as are her emotional scenes, making her character amiable and relatable. Kudos to Anderson for a job very well done.
Sharon Hope with the Cast of DOT. Photo by Stan Barouh

Sharon Hope with the Cast of DOT. Photo by Stan Barouh


The pinnacle of this production certainly Sharon Hope, who takes on the titular role of Dotty (or Dot), the elderly, strong matriarch of this crazy family who, by fate alone, is slipping into an inevitable oblivion because of the recent diagnosis of Alzheimer’s disease. Hope takes this role and makes it her own and it’s hard to imagine anyone else in this role. Though an elderly character, she’s a contemporary character and Hope manages to embrace the old fashioned (and conservative) values of this woman but brings an air of au fait to the character. Her quick transitions from congenial mother to angry, confused woman is on point and poignant. She is able to portray the struggles of one whose mind is slowly slipping away, with no way of coming back while at the same time portraying a woman who loves and enjoys her family and wants to be present for as long as she can. Her performance is top notch and is worth the price of admission.
Yaegel T. Welch, Dawn Ursula, Sharon Hope, Ryan Carlo Dalusung, and Paige Hernandez. Photo by Stan Barouh

Yaegel T. Welch, Dawn Ursula, Sharon Hope, Ryan Carlo Dalusung, and Paige Hernandez. Photo by Stan Barouh


Final though… DOT at Everyman Theatre is a well-crafted story of an everyday family and is a relatable, poignant, and funny study into an issue that is far from funny, but absolutely present in our current lives. I laughed, I cried, I had all the feels, and whether you’ve experienced Alzheimer’s or Dementia first hand, indirectly, or not at all, you will walk away with a better understanding and perhaps a bit more compassion for our fellow humans, especially those affected by this disease. Get your tickets now because this is not a production that is to be missed this season.
That’s what I thought about DOT, playing at Everyman Theatre… what did you think? Please feel free to leave a comment!
To learn more about Alzheimer’s disease or dementia, please go to Alzheimer’s & Dementia: The Journal of the Alzheimer’s Association.
DOT will play through January 8 at Everyman Theatre, 315 West Fayette Street, Baltimore, MD. For tickets, call the box office at 410-752-2208 or purchase them online.

New Backstage Banter for Wait Until Dark at Everyman Theatre

Backstage Banter Title Update 061716
Check out the Backstage Banter for Wait Until Dark at Everyman Theatre!
“… throw in Greenwich Village, NYC in 1944 and a basement apartment and you have a fast paced, intelligent story that has you writhing in your seat and wanting to jump up on stage to yell directions to the protagonist.”
Everyman Theatre

Review: Wait Until Dark at Everyman Theatre

By Jason Crawford Samios-Uy
13895002_10154101558853598_2889318687442635475_n
Running Time: 2 hours with one 15-minute intermission.
I’ve always been a fan of a good thriller. The nail biting, the jumps, the wondering what’s going to happen next, the edge-of-your-seat stuff… everything! I also love it because it accelerates the heart rate and you don’t even have to step on a treadmill, and we could all use some good cardio every now and again! The latest offering and opening production of the 2016/2017 season at Everyman Theatre, Wait Until Dark by Frederick Knott, Adapted by Jeffery Hatcher, and Directed by Donald Hicken is two hours of excitement, intrigue, and entertainment that gets the heart racing and will have you leaving the theatre with shorter nails and when you walked in.

Megan Anderson as Susan. Credit: ClintonBPhotography

Megan Anderson as Susan. Credit: ClintonBPhotography


Wait Until Dark is cleverly crafted with a ruthless gangster-type, an ousted NYPD detective, an army buddy, a bratty neighbor girl, an absent husband, and a seemingly helpless blind housewife who are all intertwined in a deadly game of hide and seek and catch-me-if-you-can. If this isn’t intriguing enough, throw in Greenwich Village, NYC in 1944 and a basement apartment and you have a fast paced, intelligent story that has you writhing in your seat and wanting to jump up on stage to yell directions to the protagonist.
Set Design by Daniel Ettinger is authentic, very well thought-out and compliments the story beautifully. Being a unit set and a basement apartment, Ettinger uses levels and, working along with the blocking of the piece, keeps the action moving and interesting. The set was so realistic, I really felt I was looking in through the window of a 1940s apartment in Greenwich Village so Mr. Ettinger has absolutely and superbly accomplished his set designing goals.
Eric M. Messner as Mike and Megan Anderson as Susan. Credit: ClintonBPhotography

Eric M. Messner as Mike and Megan Anderson as Susan. Credit: ClintonBPhotography


Costume Design by Ben Argenta Kress is spot on for the 1944 New York City setting and each actor’s wardrobe is seemingly researched and well though-out. Also, the costumes did not only fit the piece, the actors seemed to be very comfortable in what he or she is wearing, adding to the natural feel of the performances. From the saddle shoes of the upstairs neighbor girl to the uniform of a WWII soldier back from Italy, everything was in place and was matched impeccably with the piece.
Continuing with the technical aspect of this production, I couldn’t call this review complete without mentioning Lighting Design by Jay A. Herzog and Sound Design by Patrick Calhoun. Along with the Set Design and Costume Design, the Lights and Sound make this production a standout in current-running Baltimore theatre.
Megan Anderson as Susan. Credit: ClintonBPhotography

Megan Anderson as Susan. Credit: ClintonBPhotography


Many folks have different theatre tastes – traditional, minimal, spectacle, etc. – and I am more of a traditionalist, overall, but this production is truly impressive for the fact that I felt as though I was sitting in a movie theatre watching a film because of the Light and Sound Design. The cinematic feel was just want this production needed and every cue was chosen wisely.
Patrick Calhoun’s choice of incidental music and dramatic string chords were not overbearing but used seamlessly with the scenes playing out on the stage. The attention to detail is absolutely remarkable from the footsteps in the hall, the locking of doors, and the city sounds to the ticking clock, that emphasizes the suspense and has your heart beating just as loudly and in rhythm. Calhoun’s design is extraordinary and is a major part of the success of this production.
In 1967, Wait Until Dark was made into a successful film starring Audrey Hepburn, Alan Arkin, and Richard Crenna using the film noir style. The “noir” bit was a huge part in making the film successful (not to mention Miss Hepburn, of course), and this fact does not go unnoticed by Jay A. Herzog. His Lighting Design was near perfect for this production and completed the aforementioned cinematic feel of this piece. His use of lighting through the windows and through the open doors is realistic and added to the action. The prop lighting, such as lamps, flashlights, and the like fit in flawlessly, as well, adding subtle practicality to the entire production. The piece is dim, as all noir pieces are, but Herzog found a happy medium between the dark scenes and brightly lit scenes that did not take away from or hinder the action or story, but helped it along making for a very effective design.
The technical aspect of this production took this piece to the next level and Ettinger, Kress, Herzog, and Calhoun are to be commended for their impeccable technical work.
Taking the helm of this production, Director Donald Hicken’s vision for Wait Until Dark is genuine and well examined. He keeps the piece in its traditional setting, which is ideal for this piece, and his blocking keeps the actors moving through the various entrances and exits and keeps the action exciting. All of the technical and performance elements mesh together wonderfully and the tension is clearly present throughout but Hicken keeps the piece entertaining, as well, as to not overload the audience with horror and suspense. Overall, Hicken does a tremendous job in guiding this production.
Megan Anderson as Susan and Bruce Randolph Nelson as Roat. Credit: ClintonBPhotography

Megan Anderson as Susan and Bruce Randolph Nelson as Roat. Credit: ClintonBPhotography


At a particularly intense point in this piece, there is a drag-out, knock-down fight between a couple of important characters and though the scene choreographed by Fight Choreographer Lewis Shaw is respectable and passionate, something seemed to be off kilter. Perhaps it is the unbalanced momentum of the scene that seems to be interrupted here and there, giving us spurts of extreme physicality with dark quiet in between. The entire fight scene just seemed a bit forced and not as naturally flowing as the rest of the piece. Still, it was a respectable fight scene and the intensity was definitely there, making the audience gasp and clutch the arm rests while waiting to see who the ultimate victor is.
To comment on the performance side of Wait Until Dark, I’d like to begin by stating that the entire ensemble is impressive from the supporting actors such as Arturo Tolentino who gives a strong performance as the congenial WWII veteran husband, Sam, and Todd Scofield who is a convincing gruff, weathered, and disgraced former member of the NYPD.
Tolentino is confident as the very likable, young newlywed, Sam, who isn’t going to do things for his disabled wife, but wants her to do things for herself and he’s very natural and gives a very pleasing performance.
Todd Scofield as Carlino and Eric M. Messner as Mike. Credit: ClintonBPhotography

Todd Scofield as Carlino and Eric M. Messner as Mike. Credit: ClintonBPhotography


Scofield takes on Carlino, the first character to whom we are introduced and he sets the tone nicely, giving a robust, accurate portrayal of a character he seems to truly understand.
Bruce Randolph Nelson tackles the role of the old time, tough-guy ganster, Roat. He gives a commendable performance as he not only plays the tough gangster, but has to play a mild-mannered husband, as well as an in-your-face father, all within moments of each other. The contrasts between the characters he portrays and the ease in which he portrays them is evidence of the self-assurance he conveys on stage making for a magnificent, strong performance.
Bruce Randolph Neslon as Roat. Credit: ClintonBPhotography

Bruce Randolph Neslon as Roat. Credit: ClintonBPhotography


In this particular production, the role of Gloria, the bratty upstairs neighbor girl who “helps” her disabled downstairs neighbor, is played by two young actresses, Ui-Seng Francois and Shannon Hutchinson. I had the pleasure of experiencing the performance of Ui-Seng Francois and I was not disappointed. Francois’ performance is so authentic, I found myself actually hating this little monster and wishing she’d step out in front of a NY Transit bus every time she opens her nasty flippant mouth. So, needless to say, wishing for her unpleasant demise is a credit to her very strong performance. Also, this character’s change throughout the piece is very interesting and Francois pulls it off flawlessly and she ended up probably being my favorite character in the piece. I’m looking forward to seeing more from this young lady.
Eric M. Messner takes on the role of Mike, a jovial, friendly soldier who’s back from the war on the Italian front but, as with many things and people, never judge a book by its cover. Messner plays the complex character brilliantly and comfortably with a confidence and definite command of the stage. This character is supposed to be likeable from the beginning and Messner accomplishes this nicely with his large stature, his voice – a soothing timber and tone, his gentle mannerisms, and giving off the overall sense of security. He is likened to a gentle giant that you’d like to have around in a pinch.
Megan Anderson as Susan. Credit: ClintonBPhotography

Megan Anderson as Susan. Credit: ClintonBPhotography


A definite highlight of this production is Megan Anderson as Susan, the blind but independent housewife who ends up in the middle of this nerve-racking tale, who has a constitution of steel and discovers exactly how strong she can be despite her disability. Portraying a character with any disability is a challenge for any actor, but Anderson pulls it off flawlessly and authentically. She does not falter or drop her “blindness” at any moment in the production and her dedication and understanding not only of the disability of this character, but of the character herself is clear in superb performance. Her transition from the poor blind woman we feel sorry for to strong blind woman we’re rooting for is gradual, realistic, and seamless. She is an absolute joy to watch and her command of the stage makes for a solid and worthy performance.
Final thought… Wait Until Dark is a suspenseful and extremely entertaining show that will raise your heart rate, have you biting your nails wondering who is friend and who is foe, and rooting for the assumed underdog. It definitely has all the requirements for a good thriller with a twisting story and very talented cast that will have you on the edge of your seat from beginning to end.
This is what I thought of this production of Wait Until Dark.… what do you think?
Wait Until Dark will play through October 9 at Everyman Theatre, 315 W. Fayette Street, Baltimore, MD 21201. For tickets, call the box office at 410-752-2208 or purchase them online.