Proof at Everyman Theatre Proves They’re on Their A-Game

By Jason Crawford Samios-Uy

Running Time: Approx. 2 hours with one intermission

Mental illness and care seems to be in the forefront these days, as well it should be. For too many years, we’ve turned a blind eye to mental illness and it hasn’t done us or those who suffer any favors. It’s all around us and sometimes it’s a little too close for comfort especially when it’s a family member and even more so when it’s a parent. Everyman Theatre touches on these topics and more in their 2019-2020 season opener, Proof by David Auburn, Directed by Paige Hernandez.

(l-r) Bruce Randolph Nelson, Jeremy Keith Hunter, Katie Kleiger, and Megan Anderson. Credit: DJ Corey Photography

In short, Proof concerns itself with Robert, an unstable but famous mathematician, his daughters Catherine, who has cared for him for years, Claire, a well put-together adult living her own life, and Hal, a former student turned professor. After Robert’s death, Catherine has to deal with her capricious emotions, her estranged and level-headed sister, and the blossoming affections of Hal. All this on top of 103 notebooks her father left behind in which Hal hopes to find valuable work. During this long weekend, Catherine has to figure out what or how much of her father’s mental instability or genius she has inherited.

It’s an important piece in the way it portrays a family in distress because of mental illness and the uncertainty it brings to surviving members of the family and the questions it raises. It also highlights the tendency to think women are not as apt in fields such as science and math that is still, unfortunately, prevalent thought in today’s modern society. However, it also helps to begin to answer not all, but a few questions such as inheritance or propensity of mental illness and how women are actually quite apt with unlimited ability in the world of math and science. Though almost 20 years old, this play is still as relevant and though-provoking as when it was first written.

Jeremy Keith Hunter, Katie Kleiger, and Bruce Randolph Nelson. Credit: DJ Corey Photography

Set Design by Daniel Ettinger has done it again and it’s not big surprise. His design is both modern and practical but transports the audience to whichever location he chooses. The stage is no longer a stage, but the back porch of an old Chicago home that needs a little TLC but is livable and homey. The aged furniture adds to the feel and overall notion of what Ettinger was going for and this design is top-notch.

At the helm of this production is Director Paige Hernandez, who happens to be an Everyman Resident Company member, as well. It’s clear Hernandez has a deep comprehension of this material and has presented it in an easy to follow and authentic manner. The characters are fleshed out and polished and the staging is natural and smooth, making for a near flawless production. It’s clear Hernandez knows her way around the stage as well as in guiding a successful production. Her vision is clear and makes for a successful and strong production. Kudos to Hernandez for her efforts.

Bruce Randolph Nelson. Credit: DJ Corey Photography

Moving on to the performance aspect of this production, it’s worth saying this small quartet of actors are perfectly cast for their roles. They each have a tight grasp on their characters and work quite well with and off of each other making for a solid ensemble to tell this poignant story.

Resident Company Member Bruce Randolph Nelson tackles the role of the unstable genius, Robert. Nelson takes this role and completely makes it his own with every subtle move and facial reaction making for a natural, real portrayal of a troubled man. His delivery of this dialogue is effortless and he portrays this character as someone you feel comfortable with, regardless of the situation. Robert is both fatherly and child-like and Nelson’s portrayal is nothing short of impeccable as he tackles this tough, emotional role.

Katie Kleiger, Megan Anderson. Credit: DJ Corey Photography

Another Resident Company Member, Megan Anderson as Claire, the older, stable sister knocks it out of the park with her portrayal. She’s what I would think of as any overly helpful, condescending older sister would be. For a bit of trivia, Anderson actually tackled the role of Catherine a few years back, so, she has a good grasp on how Claire should be reacting to Catherine and it shows. Her character work is splendid and she gives a strong, confident performance overall.

Katie Kleiger, Jeremy Keith Hunter. Credit: DJ Corey Photography

Jeremy Keith Hunter takes on the role of Hal, the former student who is searching through 103 notebooks to find something of value from his former teacher. Hunter fits nicely into this role and plays it authentically with just the right amount of comedy and poignancy. His comedic timing is on point as is his ability to switch into more dramatic material seamlessly. He understands this character and his place in this piece and plays it to the hilt.

Katie Kleiger as Catherine is a standout in her portrayal. A new Resident Company Member, she comfortable in this role giving a strong, confident performance and a polished portrayal. Her grasp of the character is apparent and her delivery is natural and smooth making for a solid performance. The chemistry between her and the rest of the ensemble is authentic and makes for a tight presentation of this characters relationships with the other characters. Overall, Kleiger becomes this character and portrays her uncertainties, conflicts, happiness, and crisis beautifully and delicately that makes for a praiseworthy performance.

Final thought…  Proof at Everyman Theatre is a poignant, thoughtful look at a family relationship and dynamic and how it is effected by mental illness. It also touches on the misogyny that still exists in the sciences and scientific fields but handles both mental illness and the misogyny delicately and powerfully. The Set Design is superb, the staging is near flawless, and the small ensemble is perfectly cast with an abundance of chemistry that adds an authenticity to the entire production. This is quite the opener for Everyman Theatre and I, for one, can’t wait to see what the rest of the season holds. Get your tickets now as you don’t want to miss this well put-together, polished production.

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

Proof will play through October 6 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.

Email us at backstagebaltimore@gmail.com

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Step Back in Time with Queens Girl in the World & Queens Girl in Africa at Everyman Theatre

By Jason Crawford Samios-Uy

Running Time: Both productions approx. 2 hours with one intermission

I sometimes think I was born in the wrong era. The early 1960s fascinates me, from politics, to styles, to music… all of it! I grew up with a very nostalgic mother, so, I’m actually quite familiar with all of it and I love it! Shows like Everyman Theatre’s latest offering, Queens Girl in the World and Queens Girl in Africa, in repertory, by Caleen Sinnette Jennings, Directed by Paige Hernandez, always takes me back, even though I didn’t live it, but know enough about it to relate. Whether you experienced the era first hand or just learned about it from your elders, these shows will transport you right back to a time when things seemed simpler, but a mess of things was bubbling just under the surface.

Dawn Ursula. Credit: Teresa Castracane

Queens Girl in the World and Queens Girl in Africa is a multi-chapter memoir, of sorts, from Caleen Sinnette Jennings and both concern themselves with young Jacqueline Marie Butler, from Queens, New York, as she tells her story from her childhood to young adulthood. Through impressions of the people in her life, we watch her come of age both in America and Africa as she emotes the humor and poignancy of being a Queens girl in the world and in Africa.

Overall, both of these pieces are very, very well written and thought-out. It’s a refreshing, one woman piece that gives a glimpse into a the life of a young African-American girl who grew up in a practically all-white social circle, and her balancing between whites and blacks in the early 1960s. It’s original, engaging, and authentic with superb performances and staging.

Erika Rose. Credit: Teresa Castracane

Paige Hathway’s Set Design is minimal, but absolutely gorgeous. With a simple stoop and front door for Queens Girl in the World and practically blank stage with a simple chair, for the most part, for Queens Girl in Africa, it forces the audience to fill in the blanks, but that’s what makes this production so engaging. Hathaway has managed to transport us to early 60s Queens, New York and Nigeria with a simple design and she is to be applauded and commended for her efforts.

Lighting Design by Nancy Schertler and Sound Design by David Lamont Wilson is subtle but effective. Schertler’s design sets the mood for each “scene” seamlessly and follows the action as Jaqueline changes topics and explains her days and nights. Wilson’s Sound Design works in tandem with the production with well-chosen effects and music of the time. Though minimal, both of these designs do their jobs in moving the action forward and not hindering it and taking focus away, making for excellent Lighting and Sound Design.

Dawn Ursula. Credit: Teresa Castracane

Paige Hernandez, a resident company member, takes the reigns of this production and it’s clear she has a great comprehension of this material. Staging a one-person show can actually be challenging, but Hernandez has knocked it out of the park with this production. Her vision is clear and her character work is apparent working with these actresses to create this character from childhood into adulthood. She keeps the character engaging (with the help of the actresses, of course), and the seamless transition between actresses is impeccable and impressive. What I like is that she keeps it simple and lets the actresses do their thing without a bunch of bells and whistles. This brings the raw talent out of the actress and makes for a stellar production. Hats off and kudos to Hernandez for a job quite well done.

Dawn Ursula takes on the role of Jacqueline Marie Butler in Queens Girl in the World and she has this character down pat. She’s comfortable playing the childhood to teen Jaqueline and manages the impressions of all the other characters with ease. A large part of this piece is the impressions this character does when discussing the people in her life and Ursula does this seamlessly. She understands this character (and the ages she’s portraying), and makes this role her own. Overall, she gives a strong, confident, and commendable performance.

Tackling the role of Jacqueline in Queens Girl in Africa is the apt and able Ericka Rose and she is phenomenal in her portrayal. The first thing I noticed and loved about this actress is her smooth but resonating stage voice. I was engaged the moment she started speaking and stayed engaged through to the end. She, too, effortlessly performed the impressions of others in Jacqueline’s life with ease, embodying all of the characters discussed in this piece. She tackles Jacqueline’s later years and matches Ursula’s portrayal near perfectly, while adding her own twist and making the role hers, which is no small feat. She holds the entire piece on her shoulders and doesn’t falter once giving a strong and praiseworthy performance.

Erika Rose. Credit: Teresa Castracane

Both of these actresses, Dawn Ursula and Erika Rose, emote both the humor and poignancy this character and material calls for and it’s easy they can feel this character deeply, making for extraordinary performances from both.

Final thought…  Queens Girl in the World & Queens Girl in Africa at Everyman Theatre is a coming of age story that is original and immersive using nostalgia, pathos, humor, and everything in between to tell a simple story of a girl growing up. Real life may be boring, but when it’s put into a script and performed well, as both of these productions provide, it can be a wondrous experience and that’s what these shows are. Ursula and Rose perform this character well and it’s easy to see their understanding of this character and how they can relate to her, making it easy for an audience to relate. I’m looking forward to seeing the next installment next season, but until then, you don’t want to miss these productions running in repertory. Get your tickets now.

This is what I thought of Everyman Theatre’s Queens Girl in the World & Queens Girl in Africa… What did you think? Please feel free to leave a comment!

Queens Girl in the World & Queens Girl in Africa will play in repertory through June 23 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

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Review: The Importance of Being Earnest at Everyman Theatre

By Jason Crawford Samios-Uy

Running Time: Approx. 2 hours and 40 minutes with two intermissions

Oscar Wilde is probably one of the most prolific and controversial authors of his day and, in some instances, today, but there’s no denying his talent as his works are still being produced today, worldwide. He certainly had a knack for comedy as well as a sharp wit that subtly poked fun at the class system of his time but in such a way that it was nothing but charming. Everyman Theatre treats us to one of his more popular works, The Importance of Being Earnest, Directed by Joseph W. Ritsch, and they’ve masterfully presented this piece in a way that, I assume, Wilde would have been proud and tickled pink.

L-R: Paige Hernandez, Danny Gavigan, Bruce Randolph Nelson, Carl Schurr, Katie Kleiger, Jaysen Wright, Helen Hedman, Wil Love. Photo Credit: Clinton Brandhagen

Ina nutshell, The Importance of Being Earnest deals with a young man, Jack, who has invented a man named Earnest,to live a secret, care-free life in town while handling serious responsibilities at home, in the country. Because of a forgotten cigarette case, he is forced to confess this farce to his dear friend, Algernon, another aloof young man who makes it a point to avoid any type of social situation. Two women, Gwendolen and Cecily, are in love with Earnest while the two young men are in love with them. Throw in a cranky, snobbish old Aunt Augusta (Lady Bracknell) into the mix and you’ve got great fodder for a comedy.

I’ve said it before and I’ll say it again. When it comes to Set Design, Everyman Theatre never disappoints and Daniel Ettinger has not broken this streak. With Three Acts, Ettinger’s innovative design has taken us from a bachelor’s living room, to an English country garden, to the study of a grand English manor and he hits the nail on the head with every location. The genius is the simple presentation of specific locations that is consistent throughout in color and style. Kudos to Ettinger for a job well done.

L-R: Katie Kleiger, Paige Hernandez. Photo Credit: Clinton Brandhagen

Adding to the appropriate late Victorian age setting, Costume Design by David Burdick is inspiring and eye-catching in this production. He has an impeccable eye for detail and every actor was individual in their wardrobe because of that detail. For example, there is a distinct differentiation in fashion between the elder generation from which Aunt Augusta hails and the younger generation of Gwendolyn and Cecily and though the difference is subtle, it’s enough to be just noticeable enough which is brilliant. Another splendid job from David Burdick.

L-R: Katie Kleiger, Jaysen Wright. Photo Credit: Clinton Brandhagen

Joseph W. Ritsch takes the helm of this production and it’s crystal clear he has a deep comprehension of this material and text and his vision presents it easily to a 21st century audience. His staging is energized and the pacing is on point for a three act piece. More importantly, Ritsch’s grasp on the sharp wit and comedy of Oscar Wilde shines through in every moment of this production. Casting is splendid and he masterfully guides this ensemble to present a humorous, tongue-in-cheek, but true look at the upper class of Victorian England. Ritsch is to be commended and applauded for his telling of this wonderful production.

As for the performance aspect of this production, this entire, small ensemble give full effort and work well together, respectfully bringing to life Wilde’s text seemingly effortlessly. In supporting by important roles are Wil Love as Rev. Canon Chasuble and Helen Hedman as Miss Prism. Love is lovable as the jovial Chasuble and portrays him appropriately as a well-meaning gentleman who wants to help though he seems oblivious to the farce around him. He’s confident in the role and gives a very good showing. Almost as a counterpart to Love’s Chasuble, Helen Hedman pulls of the role of Miss Prism, the stuffy, older governess, beautifully. For playing such a straight-forward, stringent character, her comedic timing is spot on and she has a good grasp on her character and the conflict between her current piety and checkered pass. Both of these actors fit nicely in their characters and give strong performances.

L-R: Bruce Randolph Nelson, Helen Hedman. Photo Credit: Clinton Brandhagen

A highlight in this production is Carl Schurr in the dual roles of Lane and Merriman,the hapless servants of the other well-to-do characters of this piece. Schurr gives an exquisite performance in this supporting role and makes a mark on this production. His comedic timing is near-perfect, especially as the older, feeble Merriman with slight but hilarious physical comedy that will have you laughing in the aisles. He’s certainly one to watch and he gives a believable, funny, and strong performance.

Taking on the roles of the lovey young ladies of interest in this piece are Paige Hernandez as Cecily Cardew and Katie Kleiger as Hon. Gwendolen Fairfax. Both actresses perform these roles eloquently and confidently and are a pleasure to watch. Hernandez emotes the youth and vivaciousness of a caged young woman coming of age and delivers the dialogue with ease and authenticity while Kleiger is comfortable in role as the upper-class, free-spirited young woman with a domineering mother and performs her character with grace and confidence as is required. The chemistry between Hernandez and Kleiger is splendid as they transition their roles within minutes from strangers to rivals to friends and because of their understanding of their characters, it makes for brilliant performances from both.

Danny Gavigan. Photo Credit: Clinton Brandhagen

As for the scheming, dandy young gentlemen, Danny Gavigan takes on the role of Algernon Moncrieff, a self-proclaimed bachelor who shies away from social gatherings, and Jaysen Wright tackles the role of John Worthing, a gentle man with a double identity, one of who is the infamous Earnest. Gavigan gives a stellar performance as Algernon Moncrieff and seems to embody Oscar Wilde himself (or how I think Oscar Wilde would have behaved, anyway) and his delivery of the dialogue is impeccable. Smooth and almost swarmy, he portrays the role with just the correct recipe of charm with a dash of obnoxiousness that is absolutely appropriate for this character. Wright also plays his character,John Worthing, to the hilt and emotes charm and likability. Both Gavigan and Wright tackle these roles seemingly effortlessly with personality and charisma making for strong, confident performances from both.

Bruce Randolph Nelson. Photo Credit: Clinton Brandhagen

The hands-down standout of this production is Bruce Randolph Nelson as Lady Bracknell. I’ve mentioned in a recent review that, for some reason, when it comes to theatre (especially older pieces) audiences seem to eat up anything with a man in drag and this production seems to be no different. The trick is, and what makes Nelson’s performance so commendable is the fact that, though he is playing for laughs – it’s a comedy, after all – he’s still taking the part seriously.He’s not playing a man pretending to be a woman, but he’s playing a woman and it’s the gravity he puts into the role that makes it hilarious. Not to mention, Nelson is a genius when it comes to comedic timing, expressions, and reactions and you will regret missing him in this role. He’s comfortable in the role and pulls it off with grace, dignity, and confidence. He’s a riot and had me laughing well after the house lights came on.

Final thought…  The Importance of Being Earnest at Everyman Theatre is a fast-paced, well put-together production that is side-splittingly funny and you don’t want to miss it. Oscar Wilde really knew how to turn a phrase and this ensemble knows how to deliver them. From the glorious Set Design to the impeccable Costume Design, to the masterful wit of Wilde, one can’t help but be amazed and amused by this production. Don’t let the fact that this piece is over 100 years old (premiering in 1895), because the story and the comedy are timeless and it still tickles audiences today. If you see anything this season,make sure you make it out to this one!

Thisis what I thought of Everyman Theatre’s The Importance of Being Earnest… What did you think? Please feel free to leave a comment!

The Importance of Being Earnest will play through December 30 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.

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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.