It’s a Spooky Christmas With A Christmas Carol at Chesapeake Shakespeare Company

Posted on December 21, 2019 by Jason

By Jason Crawford Samios-Uy

Approx. Running time: 2 hours with one intermission

We all know the story or have heard it (or at least bits and pieces of it) throughout our lives and it’s a good story and a staple for the holiday season. Of course I’m talking about Charles Dickens’ A Christmas Carol, which, incidentally, I didn’t learn until recently is the story they sing about in “It’s the Most Wonderful Time of the Year” in the lyric “there’ll be scary ghost stories and tales of the glories from Christmases long, long ago!” In Chesapeake Shakespeare Company’s latest production, A Christmas Carol, Adapted by Ian Gallanar and Directed by Scott Alan Small, we’re taken back, once again, to Victorian England to learn a lesson of compassion, love, and the Christmas spirit (or spirits).

Gregory Burgess (Ebenezer Scrooge) and Michael Toperzer (The Ghost of Christmas Yet to Come). Photo: Brandon W. Vernon

For those unfamiliar, and I can’t imagine it’s many, A Christmas Carol concerns itself with Ebenezer Scrooge, an old curmudgeon miser who wants nothing to do with Christmas until his old partner, Jacob Marley, who has passed on before him, comes to him carrying heavy chains made from his horrible actions while he was alive and a warning that three ghosts will visit him, The Ghosts of Christmas Past, Present, and Future, to teach him what the season is all about. Marley warns him to change his ways or else he’ll end up with the same fate and even heavier chains.

Scenic Designer Daniel O’Brien keeps it simple with a unit set and pieces that move in and out to create the spaces in which each scene is set. Kudos to O’Brien for the attention to detail in the pieces and the dark, Gothic color scheme that is most appropriate to the period. The set adds great value to the production, as a whole, and helps move the story along rather than hinder it and O’Brien is to be commended for his efforts.

Costumes are challenging for a period piece, even for a professional theatre company, but Costume Designer Kristina Lambdin and Hair, Wig, and Makeup Designer Sandra Spence are on point with every stitch and curl. No detail was too small and Lambdin and Spence transport the audience right back to Victorian England with their superb designs and they deserve their own round of applause for their work on this production.

Tamieka Chavis and Gregory Michael Atkin. Photo: Brandon W. Vernon

Some would consider this production a musical because of all the music provided pre-show, in-show, and pre-Act II, but I can’t help but think it more of a play with music. That being said, Music Direction by Grace Srinivasan is exquisite. Every song that was chosen is apropos and she guides her cast in to tight, harmonious performances that add that something extra special to this production. I couldn’t mention music without mentioning Donna Korn, credited as Musician, and she is phenomenal in her craft, though other very apt cast members join her in accompanying the cast in their songs, Korn takes the lead playing several instruments throughout, flawlessly. Hats off to Korn for her strong, delightful showing.

Along with music, Dance usually isn’t far behind and Choreographer Nellie K. Glover gives us engaging and enjoyable choreography that is in the style of Victorian England, so it’s clear she’s done her homework. Intricate group numbers are upbeat, sophisticated, and tight and are just a joy to watch from the audience.

Scott Alan Small takes the helm of this piece and it’s clear he has a tight grasp on the classic, well-known story from a bygone era. He puts his own seasoning on this yearly production and his staging is smooth, keeping up a steady pace that moves along nicely. Most, not all, know the story coming in, so Small isn’t trying to rewrite the story, but presents it in a charming manner rebooting the relatable characters, making them fit into his vision. Hats off to Small for a job well done.

Gregory Burgess and Bethany Mayo. Photo: Brandon W. Vernon

Moving to the performance aspect of the production, the adage that comes to mind is “you win some, you lose some.” Most of the performances are splendid with an apt ensemble that is giving 100% effort and thoroughly enjoying themselves on stage and with each other which makes the overall performance enjoyable.

One interesting performance, to be delicate, is that of Company Member Gregory Michael Atkin who takes on the dual role of Fezziwig, Scrooge’s former and jovial employer, and The Ghost of Christmas Present. Now, I’m all for camp and I usually enjoy it immensely, however, Atkin’s style of camp just stuck out like a sore thumb in this production. I can see what he and/or Director Scott Alan Small is going for, bringing a modern twist to an old story, but Atkin just seems to go over the top repeatedly. Seeing him portray both roles with no real contrast between the two, it’s just as if he’s disregarded the characters themselves with no real character work. The flamboyance, the overt sass, and needless ad lib is a bit too much for this reviewer, but, hey, everyone’s a critic, right?

Xander Martin and Steve Torres. Photo: Brandon W. Vernon

On the other end of the scale, however, there are many highlights and standout performances in this production. To mention a few, Tamieka Chavis is absolutely delightful and authentic as Mrs. Fezziwig, among other characters. Her portrayal of this bubbly character just makes you smile from the moment she steps on stage and she has a certain presence and air that is second to none. I’m looking forward to seeing more stage work from her. Also, Steve Torres gives a good showing as the meek but caring Bob Cratchit giving a lovely performance with a natural delivery and purpose, showing he has a good grasp on this character. Along side Torres, Molly Moores as Mrs. Cratchit (and a shining moment as Scrooge’s old teacher, Miss Winthrop), and all the Cratchit children, especially young Temperance Oppel, are charming as the down and out but still loving Cratchit family.

Other mentionable performances come from Michael Toperzer who takes on the role of the ever optimistic, only living relative of Ebenezer Scrooge, Fred. Toperzer gives a strong, confident performance and works well with his castmates, especially in scenes with Fred’s close friends, including Kate Forton who gives a humorous and warm presentation as Caroline, a tipsy and fun-loving young woman.

Bethany Mayo, as the Ghost of Christmas Past gives an admirable performance, if not a little stiff, at times, but walking around lit up like a Christmas tree (though an beautiful and elegant Christmas tree) can be a little distracting for anyone.

Scrooge himself is portrayed, once again, by Gregory Burgess and this performer seems to completely embody this character. After playing a role repeatedly for several years, one would think it would get stale, but if it is, you won’t know it watching Burgess as he masterfully navigates through the story with a confident and consistent performance that brings Ebenezer Scrooge right off the page and into the real world. His dedication and character work is clear and he has a deep comprehension of this character making for a near flawless showing. Kudos to Burgess for his efforts and hard work.

Gregory Burgess and Lance Bankerd. Photo: Brandon W. Vernon

A standout in this particular production is undoubtedly Lance Bankderd, tackling the role of Jacob Marley. Bankerd has this role down pat and from his facial expressions to the spooky character voice he uses, his stage movement – everything is superb. He brings this small, but significant character to life and is in your face with no bones about it. He has a tight grasp on what the purpose of this character is and what this character is saying, which makes his performance impeccable all around. I can say, arguably, his performance is almost worth the price of admission and you don’t want to miss it.

Final thought… A Christmas Carol is always a good bet around the holidays, albeit a common one. This script is part of the Chesapeake Shakespeare Company’s annual holiday tradition and it suits them well. Every production is different and I actually saw one a couple of years ago and this current one happens to be much more entertaining and engaging so, it’s an evolving production with a revolving cast and different directors so, it doesn’t get stale. There are a few curious acting choices in this production, but overall, it’s a fun-filled, loving telling off the Dickens’ classic. The production is well put-together and polished and keeps it simple which is how it should be. Kudos to the cast, crew, and production team for a solid, entertaining production.

A Christmas Carol will play through December 24 at Chesapeake Shakespeare Company, 7 South Calvert Street, Baltimore, MD. For tickets, call the box office at 410-244-8570 or you can purchase them online.

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Review: A Midsummer Night’s Dream at Chesapeake Shakespeare Company

Posted on July 12, 2018 by Jason

By Jason Crawford Samios-Uy

Running Time: Approx. 2 hours and 30 minutes with one 15-minute intermissions

William Shakespeare is not everyone’s cup of tea, but his work has well outlasted him and is being produced regularly throughout the world so, he must have done something right. His stories are timeless and can relate to anyone in any era which is what, I think, helps the longevity of his work. The comedies are my personal favorite, but, that’s just me, and Chesapeake Shakespeare Company’s latest offering, A Midsummer Night’s Dream, is on top of my list so, I went in with lofty expectations. However, this production, Directed by Gerrad Alex Taylor did not disappoint in any way.

Elana Michelle as Hippolyta and Michael Toperzer as Theseus. Credit: Shealyn Jae Photography

Briefly, A Midsummer Night’s Dream is a fanciful triste through the city and wood of ancient Athens. A young woman, Hermia, is betrothed to one noble man, Demetrius, while in love with another, Lysander, who just so happens to be in love with her. Bring in Helena, who is in love with Demetrius, but the feelings are not mutual. Enter the Fairy King, Oberon, and Fairy Queen, Titania who are having their own lover’s quarrel, and a sort of practical joke including dew from a certain plant that makes a person fall in love with the first person they see after waking up. Throw a little troublemaking imp named Puck in the mix and you have a farcical comedy that has lasted hundreds of years… for good reason.

Designing a set for an outdoor setting can be challenging but Daniel O’Brien’s Set Design is impeccable as it is simple. Not calling for much in the way of scenery, O’Brien has managed to turn this small corner of space in the midst of “ruins” of a building at a historic park into the solid and larger than life Athens, as well as a blissful and fanciful forest in which fairies and imps romp, all with the opening and closing of two large canvases. It works beautifully with the piece and adds great value to the production as a whole.

Jose Guzman as Nick Bottom and Alana Michelle. Credit: Shealyn Jae Photography

For Costume Design, Heather C. Jackson chose to keep it traditional with colorful flowing robes and sashes that work extremely well for this traditional setting. Her design is well thought-out and the ensemble seems comfortable in their wardrobe which helps the overall performance of the piece. It’s apparent she’s familiar with the both the era and the fanciful theme and it shows in her impeccable design.

Gerrad Alex Taylor take the reins as Director of this production and it couldn’t be in better hands. His choice to use a traditional setting is wise and takes everything back to basics. So many companies like to adapt and modernize Shakespeare’s work (which I’m all for), but it’s good to see that the traditional setting still works and works brilliantly. Taylor has a strong comprehension of the material and his whimsical and fantastic vision is clear in every scene. The pacing is on point and the staging is engaging every step of the way. Taylor also takes on double duty as Fight Choreographer and he hits the nail on the head with this aspect, as well. Each fight is finely tuned and exciting making for an overall delightful experience. Kudos to Gerrad Alex Taylor for a superb production.

Moving on to the performance aspect of this production, I’d be amiss if I didn’t mention that the entire ensemble did their part and performed with 100% effort. It’s easy to see this cast is comfortable with each other and their chemistry is second to none.

Michael Toperzer as Oberon and Elana Michelle as Titania. Credit: Shealyn Jae Photography

Michael Toperzer as Oberon and Elana Michelle as Titania shine in these roles, as well as their takes on the characters of Theseus and Hippolyta. Their interaction with and off of each other draw the audience in and Toperzer and Michelle portray the complex relationship between Oberon and Titania beautifully and with confidence making for intense and engaging performances from both.

Christine Watt as Peaseblossom, Abigail Funk as Cobweb, and Sydney Thomas as Mustardseed are the perfect complement to Elana Michelle’s Titania and these three play their characters to the hilt. They, too, work well with and off of each other to create a tight circle that moves the dialogue and story along nicely. All three actresses are well rehearsed and well suited for their roles.

The story revolves around two couples, mainly, and Nina Marti and Rafael Sebastian portray Hermia and Lysander, the two forbidden lovers. Marti is a firecracker and as the script states, “…she’s fierce, even though she’s little.” and that’s exactly what she is. Marti has a tight grasp on the text and performs it effortlessly while Sebastian, too, portrays Lysander with just the right amount of innocence and a young man’s lust making for commendable performances from both.

The Fairies Dance. Credit: Shealyn Jae Photography

The other unfortunate couple, Demetrius and Helena, are portrayed brilliantly by Nick Fruit and Kate Forton. Though their characters start out as anything but a couple, through a little bit of magic and luck, they end up happily joined. Fruit plays the uppity Demetrius well with confidence and grand gestures but also understands and does well with the slapstick that is required of the character. Likewise, Forton is stellar in this role. She completely embodies this character and it’s easy to see the love and passion she has for this character and the piece as a whole. She has a strong stage presence and gives a natural, seemingly unscripted performance that makes her a highlight in this production. Fruit and Forton work well off of each other and their timing is flawless making for a delightful and strong performance, overall.

Imani Turner as Puck. Credit: Shealyn Jae Photography

Young Imani Turner, still in high school, tackles the role of Puck, the little trouble making imp who doubles, at times, as narrator of this story. This young actor is a true talent and his instincts and natural ability are apparent as he portrays this comedic character with just enough mischief for him to irritate but with a mix of a bigheartedness, one cannot help but like this character. His delivery and comedic timing is on point and I’m looking forward to seeing more of his work in the future.

The Athens acting troupe, also known as The Rude Mechanicals consist of Colin Connor as Peter Quince, Brenden Edward Kennedy as Francis Flute, Tim Neil as Snug, Owen Halstad as Robin Starveling and the casting of these gents is superb. All of them comedians and the performance of their featured part, the play within a play called Pyramus and Thisby will have you rolling in the isles. It can be seen as the play that goes wrong, and it was one of the most enjoyable moments of theatre I’ve encountered this season. Connor, Kennedy, Neil, and Halstad show off their comedic timing and slapstick abilities impeccably and have the audience roaring with laughter. This crew is certainly a highlight of the production.

Iman Turner as Puck and Michael Toperzer as Oberon. Credit: Shealyn Jae Photography

Another member of this troupe is standout Jose Guzman as Nick Bottom. Seemingly a vain and obtuse character, Guzman plays Nick Bottom to perfection. Guzman has a complete grasp of the text and plays it over the top, but not so over the top as to be annoying… just the right amount. Guzman is a force to be reckoned with onstage with a strong stage presence and a natural comedic ability. You can’t miss him in any scene he is in whether he is speaking or pantomiming in the back and his delivery is spot on. He’s certainly one to watch in this particular production and I can’t wait to see future performances from this actor.

Final thought…A Midsummer Night’s Dream is not a show you want to miss this season. The production is top-notch in every aspect and the setting couldn’t be more picturesque. From the scenery to the staging to the performances, this production of a Shakespeare favorite will not disappoint and makes for an absolutely delightful evening of theatre. The thought and care that went into this performance is apparent and the actors, who are giving 100% of their effort and passion, make this a successful retelling of this classic comedy that will have you doubled over, laughing, and engaged every step of the way. Get your tickets now!

This is what I thought of Chesapeake Shakespeare Company’s production of A Midsummer Night’s Dream… What did you think? Please feel free to leave a comment!

A Midsummer Night’s Dream will play through July 29 at The Patapsco Female Institute Historic Park, 3655 Church Rd, Ellicott City, MD 21043. For tickets, call 410-244-8570 or purchase them online.

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