Nice Work If You Can Get It, and You Can Get it at Cockpit in Court!

By Jason Crawford Samios-Uy

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

Chances are, somewhere in your life you’ve at least hear a George and Ira Gershwin tune, whether in a movie, a wedding, a gathering of some kind, or you may have even had a chance to experience an actual Gershwin show. Cockpit in Court’s latest offering, Nice Work if You Can Get It, with Music and Lyrics by George and Ira Gerswhin, a Book by Joe DiPietro, and Inspired by Material by Guy Bolton and P. G. Wodehouse, is a jukebox musical, of sorts, of songs by the Gershwin brothers and sets it in a cute, funny story of a bygone era. Under the charge of Director Eric J. Potter, Music Director Gerald Smith, and Choreographer Ilona Kessell, this is a production that takes you away for awhile and adds a little pizzazz to the everyday grind.

According to Broadway.com “Set in the 1920s, Nice Work If You Can Get It is the story of charming and wealthy playboy Jimmy Winter, who meets rough female bootlegger Billie Bendix the weekend of his wedding. Jimmy, who has been married three (or is it four?) times before, is preparing to marry Eileen Evergreen, a self-obsessed modern dancer. Thinking Jimmy and Eileen will be out of town, Billie and her gang hid cases of alcohol [in] the basement of Jimmy’s Long Island mansion. But when Jimmy, his wife-to-be, and her prohibitionist family show up at the mansion for the wedding, Billie and her cohorts pose as servants, causing hijinks galore.”

Lizzy Pease and J. Bradley Bowers. Credit: Cockpit in Court

Costume Design by Tracy Bird of Stage Garb, Inc. is on point with this production. Set in the decadence of the 1920s, Bird has hit the nail on the head with all of the fashions and her attention to detail. Her efforts transport the audience to this fashionable era with every gown and pinstriped suit that graces the stage and she is to be applauded and revered for her precise and well thought-out design.

Michael Raskinski’s Set Design, too, is beyond praise-worthy. With clever set pieces that fly in and out easily and quickly, the pacing is kept on point and the Art Deco style that Rasinski has chosen adds immense value to the production as a whole. The entire design from set pieces to the simple, but detailed proscenium façade, this design is top notch and Rasinski is to be commended for his well planned efforts.

A particular highlight of this production is, indeed, Choreography by Ilona Kessell. It is high-energy and engaging and this ensemble has the ability to pull it off. I am quite impressed with the precision in which Kessell’s fun and well-rehearsed choreography is executed. Kessell knows her cast and their abilities, which is probably the most important aspect of a Choreographer’s job, and her routines are filled with variety and traditional styles that keep the audience interested. Kudos to Kessell for this superb choreography.

Many, if not all of these Gershwin tunes are familiar to most, and Music Direction by Gerald Smith is splendid as this cast manages to breathe fresh life into each number. Harmonies are spot on and featured numbers emit the dynamics and emotions that the Gershwins intended. This production has also managed to round up a very impressive pit orchestra consisting of Tim Viets (Conductor), Michael DeVito (Keyboard 1), Michael Clark (Keyboard 2), Dieter Schodde (Percussion), Steve Haaser and Helen Schlaich (Reeds), Jay Ellis (Trombone), Tony Neenan and Ginger Turner (Trumpet), Matthew DeBeal (Violin), and Bob DeLisle (Bass).

The book for this piece is light and fluffy, and is, in a word, trite, but that’s to be expected with jukebox musicals, right? Maybe not, but this one is. Crazy For You, the other Gershwin musical, has a meatier book, and probably got dibs on most of the best George and Ira Gershwin songs, but this piece is not without it’s merits. The thing that helps this production Direction by Eric J. Potter and he really has a good grasp on this material. It’s an old-fashioned song-and-dance type show, happy ending and all that, but Potter has taken these songs and this book and weaved them into a well put-together, polished production with near perfect pacing and character work that is superb. Under his charge, the classic music is given a fresh coat of paint and it shines bright making for an entertaining, energetic evening of good theatre. Snaps to Potter for a job quite well done.

I’d be amiss if I didn’t mention that this production of Nice Work If You Can Get It has an absolutely phenomenal Ensemble consisting of Mary Margaret McClurg, Olivia Aubele, Angela Boeren (Dance Captain), Sarah Jones, Emily Machovec, Rachel Verhaaren, J. Purnell Hargrove (Dance Captain), Ryan Christopher Holmes, Conner Kiss, Shane Lowry, and Josh Schoff. These folks dance and sing their way across this stage effortlessly, will grab you from the moment the curtain goes up, and bring you into the performance with them. Hands down, one of the best and able ensembles I’ve seen in community theatre in a good while. Kudos to all for their hard work and excellent abilities.

J. Bradley Bowers and Lynn Tallman. Credit: Cockpit in Court

Taking on the role of the seemingly bumbling, sensitive Chief Berry is Thomas “Toby” Hessenauer and he does quite well with the role, even if his accent or lack of accent is noticeable. Actually, I’m not sure if he was going for an accent or not, but one seems to be trying to peek out once in awhile, but I might be hearing things. Regardless, Hessenauer is a wonderful actor and understands this comical character and pulls him off nicely. Vocally, Hessenauer is not a powerhouse in this particular production, but he does hold his own and brings comedy into familiar numbers such as “Let’s Call the Whole Thing Off.” In the same boat is Lynn Tallman as Eileen Evergreen, the snooty, oblivious fiancé who needs to be put in her place. Evergreen has a good grasp on what her character is about and portrays her beautifully. Again, the attempted accent, if that’s what it can be called, may hinder her witty dialogue, at times, but overall, she gives an admirable performance. She certainly makes you take notice with her charming featured number “Delichious,” on which she gives a strong delivery.

Patrick Martyn and Jane E. Brown. Credit: Cockpit in Court

Taking on the more non-savory characters in this story are Patrick Martyn as Cookie McGee, Gary Dieter as Duke Mahoney, and Casey Lane as Jeannie Muldoon. First off, these folks couldn’t have been cast better. Martyn and Dieter completely embody their characters and I believed them from the moment they stepped onto the stage. Both play the somewhat bumbling criminals well, with impeccable comedic timing, and had me laughing out loud throughout their performances. Lane, too, as the gold-digging, deceived young woman, is natural in this role and makes this supporting character something to take notice of. Dieter is definitely the stronger vocalist, shining in his humorous featured number, “Blah, Blah, Blah,” and Lane does very well, also, in the reprise of the same song and in the adorable “Do It Again.” Martyn, though not as strong, vocally, does give heartfelt and confident in his featured “Fascinating Rhythm,” and “Looking for a Boy.”

Highlights in this production are, hands down, John Amato as Senator Max Evergreen, the staunch, uptight father of the fiancé, Jane E. Brown as Duchess Estonia Dulworth, the self-righteous anti-liquor crusader, and Joan Crooks as Millicent Winter, the strong, confident mother of the leading man. As with the rest of this cast, these folks were cast perfectly in their roles. Amato exudes the rigidness this straight-man character needs, but his comedic timing is superb, getting befuddled when needed and trying to take charge of the situation. His booming, smooth voice just adds to this character and his natural delivery is like butter. In tandem with Amato’s performance, Brown’s portrayal of Duchess Estonia Dulworth is absolutely and completely on point. She has embodied this character and has made it her own. Her strong stage presence and thoughtful, though seemingly effortless portrayal of this character is make her one to watch in this production. Not only does she have the staunchness down, her comedic timing is just as wonderful. Vocally, Brown is a powerhouse and one can help but notice her powerful technique and know-how in her featured number, “Demon Rum” (with impeccable and superb back up from the ensemble), and the side-splitting “Looking for a Boy.” In the like, Crooks, who only shows up toward the end of the piece, makes her short time on stage well worth it. She, too, embodies this character of Millicent and takes charge of the stage from the moment she steps onto it. This trio of which I call the “previous generation” of this story, is well-cast, and well performed and I can’t give enough kudos to Amato, Brown, and Crooks.

J. Bradley Bowers and Lizzy Pease. Credit: Cockpit in Court

Rounding out this praise-worthy ensemble are standouts Lizzy Pease as Billie Bendix and J. Bradley Bowers as Jimmy Winter. It’s easy to see both of these actors are disciplined and hard working as it shows in their portrayal of these young lovers that carry the show. Pease knows her character well and portrays her with just the right balance of roughness and tenderness. Again, the story is fluffy, but Pease makes the most of her character and glides through her performance naturally, with a distinct delivery and ease. She comfortable on stage and gives a strong showing. Vocally, she’s top notch with a voice that soars throughout the theatre, especially in her featured numbers, the poignant “Someone to Watch Over Me,” and the cutesy duet, “S’wonderful.” Overall, her performance is grade-A and should not be missed.

In the same vein, Bowers knocks it completely out of the ball park into the next town in his performance. Completely at ease in this character and a definite knowledge of the stage, his performance leaves me wanting more. He’s not simply going through the motions of the script, but becomes this person, Jimmy Winter, and his performance alone is worth the price of admission. His natural talent, strong stage presence, and confidence drives his performance and he’s a fun to watch. He’s what folks might call a triple-threat… he can act, he can sing, and boy he dance. Who could ask for anything more? (See what I did there?) Vocally, Bowers is phenomenal with a smooth, silky baritone, with a great range that makes listening to all his numbers a joy, especially his renditions of “Nice Work if You Can Get It,” “I’ve Got to Be There,” “I Do, Do, Do” (with absolutely perfect backup and harmony from the gentlemen in the ensemble), and the aforementioned duet, “Let’s Call the Whole Thing Off.” I’m looking forward to seeing more stage work from Mr. Bowers in the future.

Final thought… Nice Work if You Can Get It is a high-energy, old-fashioned song-and-dance kind of show that will have you tapping your toes, feeling nostalgic, and take you a allow you to escape for just a couple of hours, at least. Casting is spot on, Set Design is brilliant, Choreography is engaging, and the talent and abilities of the entire ensemble are top notch. The production is polished and fun for the entire family. Though, the story and script can be a bit trite and fluffy, it’s still a fun piece with good message. Whether your familiar with the work of the Gershwins or not, you’ll be thoroughly entertained and humming as you leave the theatre.

This is what I thought of Cockpit in Court Summer Theatre’s production of Nice Work if You Can Get It… What did you think? Please feel free to leave a comment!

Nice Work if You Can Get It will run through August 4 at Cockpit in Court Summer Theatre, CCBC Essex, Robert and Eleanor Romadka College Center, F. Scott Black Theatre. For tickets call the box office at 443-840-ARTS (2787) or purchase them online.

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Review: Disney’s The Little Mermaid at Cockpit in Court Summer Theatre

By TJ Lukacsina

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

Under the Sea with Sebastian (Derek Cooper). Credit: Trent Haines-Hooper

Sebastian is certainly onto something when he tells Airel that “the human world is a mess. Life under the sea is better than anything they got up there.” Especially if he’s referring to Cockpit in Court’s latest production of Disney’s The Little Mermaid, with music by Alan Menken, lyrics by Howard Ashman and Glen Slater. This production is Directed by Jillian Bauersfeld, with Music Direction by Andrew Worthington, and Choreography by Karli Burnham. Originally produced by Disney Theatrical Productions, this adaptation from Disney’s 1989 film has a book by Doug Wright which has had some unfortunate rewrites since the show closed on Broadway in 2009. I’ll be upfront in saying that the majority of my qualms for this production stem from these poor rewrites and cuts that Disney made before allowing it to be licensed to local theatre groups. In general the writing is watered down and presentational on a basic, at times insulting, level and makes you feel as if you’re watching the Wikipedia Summary instead of the show. Thankfully, Jillian Bauersfeld’s handling of the show not only makes it palatable but also an enjoyable experience for all ages.

Briefly, The Little Mermaid is about Ariel, King Triton’s youngest daughter, who wishes to pursue the human Prince Eric in the world above. She bargains with the evil sea witch, Ursula, to trade her tail for legs by giving up her voice. But the bargain is not what it seems, and Ariel needs the help of her colorful friends, Flounder the fish, Scuttle the seagull and Sebastian the crab to restore order under the sea. (www.mtishows.com)

Under the Direction of Jillian Bauersfeld, Music Direction of Andrew Worthington and Stage Management of Robert W. Oppel, this production is highly entertaining and manages to allow the audience to drift from scene to scene without any pull from the undertow. The audience feeds off the energy flowing from the stage and one can’t help but enjoy being slightly distracted from little kids singing along to some of their favorite songs. That’s when you know you have tapped into the Disney magic and are encouraging future theatre lovers.

Allison Comotto as Ariel. Credit: Trent Haines-Hooper

Walking into the theatre you are treated with a projection of a beach and the sounds of waves and seagulls to help take you away from the pouring rain outside. Creating their magical world, Set Designer Michael Rasinski should be proud of the scene shop’s execution. These beautiful set pieces are large enough to maintain their presence while the cast dances on and around them. Corals in Ariel’s grotto and individual wood planks on Eric’s ship are the kinds of details that help transport you and are much appreciated. But even with the details, a little more attention to the destruction of the grotto would have helped the audience grieve with Ariel instead of wonder why she was so upset that her thingamabobs were moved a few feet away from her whatchamacallits. However, all of these set pieces would go unnoticed if it weren’t for Thomas Gardner’s Lighting Design. Overall, the lighting is aesthetically pleasing and appropriate. The heavy use of haze allowed the lighting to be seen to help fill the full stage space but allowed the lights to become distracting during the scenes on the apron where they obscured the projection heavily. Use of moving lights helped to create the underwater effect and while effective, would occasionally get lost due to similarities in the color pallette . Mr. Gardner certainly has an eye for key moments in songs and certainly knows when and how to highlight them for maximum effect.

Deanna Brill’s Costume Design walked the line between expectation and invention. I applaud the bold choice to tastefully show so much beautiful skin and the design of the mer-tales that were as practical as they were visually delightful. The ensemble were dressed vividly while the classic looks from the movie were still alluded to, from Prince Eric’s classic outfit to even the puffy sleeves on the wedding dress. From the fish, eels and even the birds, the costumes allowed the actor’s characters to come to life.  Although the designer is not listed in the program, make-up design was detailed and really helped to establish these characters as otherworldly. My main makeup concern was actually a lack of a certain makeup: the decision to not conceal actor’s tattoos. While appropriate in some shows, I found them to be a minor distraction for this production.

Gary Dieter as Scuttle. Credit: Trent Haines-Hooper

For a show that has a focus on story and is aided occasionally with dance, Karli Burnham’s Choreography helped to showcase the wonderful talent in the cast. With a working knowledge of the costumes, the choreography wasn’t limited to just foot movement but body and arm movements which allowed for a fluid movement from the actors. Some of the large ensemble numbers while portraying water felt repetitive and tedious in their attempt to fill the musical space. However, her work really shines with the small tap ensemble as well as the evolution of dance Eric teaches Ariel in “One Step Closer” was storytelling through dance.

The heavy lifting of Alan Menken’s score is in the capable hands of Andrew Worthington. The cast was well prepared and knowledgeable enough of their parts to make them their own and not rely on mimicking the original cast recordings. All voice parts were balanced and easily heard along with the pit thanks to the constant vigilance by sound designer Brent Tomchik. Following Mr. Worthington’s conducting was a competent orchestra consisting of established musicians in the area: Stephen Deninger, William Zellhofer, Christopher Rose, Stacey Antoine, Joseph Pipkin, William Georg, and Gregory Troy Bell. While proficient and accurate, the orchestra only suffered from a lack of actual brass and additional woodwinds. Even though those parts were covered in the keyboards, I found the patches were inconsistent among themselves and rarely compensates for the timbre from the actual instrument.

All these designers were able to achieve on a level which produced a thorough and consistent vision from Director Jillian Bauersfeld. With the aid of Assistant Director Jake Stuart, the cast is able to portray these fantasy characters with heart, believability and a recognizable humanity. While working under the shadow of a Disney title, it’s difficult to produce a show that allows artistic freedom with a vision while still giving the audience a dose of their expectations from the movie which kicked off the Disney animated renaissance. Ms. Bauersfeld was able to give us a cast worth watching and set up a show that ran smoothly. Small decisions to have the sea characters constantly moving arms or allowing several acting choices that were inconsistent to their characters are minor annoyances and never hurt the overall enjoyment. The true art of directing is assembling the right team to find the right cast and crew and allow everyone to do what they do while pushing them for more. Congrats to Ms. Bauersfeld on your ability to inspire everyone to give their best!

(l-r) Josh Schoff as Flostom, Holly Gibbs as Ursula, and Jonah Wolf as Jetsam. Credit: Trent Haines-Hooper

I have always felt that some of the hardest working actors seem to get lost in the ensemble. When asked to play several different characters, help shift set pieces, and often run off stage only to completely change costumes and makeup and run back on stage for two minutes of a three minute song, it’s hard to remember what is next let alone your name. Major kudos to Nicole Arrison, Olivia Aubele, Amy Bell, Lanoree Blake, Katelyn Blomquist, Karli Burnham, Kelsey Feeny, Shani Goloskov, Aaron Hancock, Mark Johnson Jr, Dorian Smith, Ian Smith and Jose Teneza for your energy, talent and being consistently in character. These actors jumped from the sailors steering the ship and winding the rope, to King Triton’s court, to the seagull ensemble, chefs and Ariel’s attendants in the castle and were always able to help establish the mood of the scene.

Featuring Ellen Manuel (Aquata), Elisabeth Johnson (Andrina), Malarie Zeeks (Arista), Kaitlyn Jones (Atina), Emily Caplan (Adella) and Hannah Bartlett (Allana), Ariel’s mer-sisters were a wonderful balance to Ariel’s positive and dreamy attitude. Using different hair styles and different shells while porting vastly different personalities and physical traits, each sister managed to be her own while presenting a unified front in their featured numbers “Daughters of Triton” and “She’s in Love.” Pulling double duty, they are a delight to see on land competing for Eric’s love in the vocal contest that plays up the fantastically poor vocals of these characters.

Brian Jacobs as Chef Louis. Credit: Trent Haines-Hooper

In supporting yet memorable roles, Brian Jacobs revels in playing Chef Louis during “Les Poissons” while Nicholas Pepersack’s dignified and proper Grimsby was always moving with purpose on stage. Mr. Jacobs clearly enjoys his song and slashes into his character to the breaking point of the cleaver. A fun cameo for sure that was able to get the giggles and laughs from the audience. Grimsby’s conversation with King Triton really gives Mr. Pepersack a moment to have a heartfelt moment and show how proud he is of Prince Eric.

My scene-stealing award goes to Gary Dieter who simply was Scuttle from the moment he flew in to his flawless tap dance in “Positoovity.” Scuttle was over the top and as endearingly annoying as I remember from the movie. It was hard not to smile when he was visible. Sharing the stage with him most of the time and impressively holding his own ground was Adrien Amrhein as Flounder. With sweet dance moves and a solid voice, this kid will secure more roles on stage and we will benefit from seeing him. Dutifully performing a poorly written character, his choices to not emphasize being friend-zoned and play up the best friend were appreciated.

Slithering onto the stage on their matching scooters were Josh Schoff as Flotsam and Jonah Wolf as Jetsam. The choice of scooters to maneuver them around stage was inventive and paid off in execution. Both actors were able to skillfully incorporate them in their character and not rely on them as a crutch. They were perfect henchmen to Holly Gibbs’ Ursula. Having arguably both the best and worst songs in the show, Ms. Gibb was able to make the most of her voice and complemented with acting ability that emanated from all eight limbs.

As ruler of the sea, Mark Lloyd’s King Triton managed to capture the softer side and showcased his mourning for his deceased wife and inability to properly communicate with Ariel. “If Only” is a great song to show that Triton is more than just a fierce ruler who banished his sister to a small part of the ocean but is also a parent who is sometimes unsure how to parent. He relies on Sebastian, played by Derek Cooper, to spy on Ariel and win her trust. With a clever costume and sublime vocals, Mr. Cooper is able to bring Sebastian into our lives with his own lovely interpretation. “Under the Sea” is his time to shine and when out in front singing he earns your attention with powerful falsettos and fantastic facial expressions.

The Daughters of Triton. Credit: Trent Haines-Hooper

Our leading man, Jim Baxter hits the stage as Prince Eric while taking charge of his ship. Mr. Baxter certainly looks every bit of what you’d expect from the cartoon and captures his love for adventure when on the ship and when courting Ariel in the second act. When beginning “Her Voice” he was oddly out of breath but managed to salvage some and really drive the second half of his number home with gusto and emotion. Not to be out-done by her new fiance, Allison Comotto’s Ariel is exactly what you could want from a Disney princess. Ms. Comotto is able to capture Ariel’s longing and desire to escape all while dealing with difficult family members. Allison really comes to life in Act two when her curiosity and excitement can only be communicated through her facial expressions. The joy Ariel finds in the new world is brilliantly shown during “Beyond My Wildest Dreams” where she sings her inner monologue to us. But however fantastic she is, she is at her prime when singing “Part of Your World.” Congratulations on your fairytale engagement and for inspiring a cast to follow your lead.

Disney’s Little Mermaid is a local theatre production that is able to rely on the community of actors, crew, musicians and artistic staff to bring its own magic to the stage. They should be proud of the work that they have poured into this show. The perfect escape from the summer heat, bring the family to see Cockpit in Court’s production where “it’s better down where it’s wetter.”

Disney’s The Little Mermaid will run through Auguest 5 at Cockpit in Court Summer Theatre, CCBC Essex, Robert and Eleanor Romadka College Center, F. Scott Black Theatre. For tickets call the box office at 443-840-ARTS (2787) or purchase them online.

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