Dear Friends at Just Off-Broadway: They May Not Be There For You

By Mark Briner

DISCLAIMERPlease note, one or more persons directly involved in this production are members of the staff of Backstage Baltimore. This individual or persons did not write or participate in writing this review. The only editing performed on this piece was for grammar, punctuation, and organization. No content editing (adding, changing, or omitting words) were completed without the expressed permission of the author.
Running Time: 2 hours with one intermission
In this internet age of 2017, there is not one person reading this column that does not have that ubiquitous, annoying friend or relative who bemoans all the woes of their lives to them personally—the sexless bedroom, the kids’ classroom struggles, the anger, hate, and silence on a daily basis—then logs onto Facebook and posts picture after picture of the perfect Osmond-like family moments, the spouse who is the love of their life, the all-American perfect 2.3 golden children who excel at everything, the blessings of family they gratefully thank God for on a daily basis, the entire “life is beautiful and I’m so thankful” package. As we find in the east coast premiere of Dear Friends by Reginald Rose, presented this weekend only at Just Off Broadway, it’s actually a tale as old as time. Except fifty years ago, the fraud was generally confined to suburban cocktail pleasantries and the annual fake Christmas card letter.
Originally a screenplay written for CBS Playhouse as part of a live television series of plays in 1967 starring such luminaries as Rosemary Harris, Eli Wallach, James Daly, Pernell Roberts, and Hope Lange, the saga opens at a dinner party for eight longtime dear friends hosted, secretly, in efforts to stage an intervention in concern for two of their group, Michael and Lois (Jason Crawford and Tracy Dye) who have recently separated. The ambush however backfires when we soon find that, like in real life, their efforts are not totally altruistic. The fact that one of their own marriages in their close-knit group could fall apart suddenly threatens each of the couples’ not so solid as they would have the others believe relationships.

Cast of Dear Friends. Credit: Jason Crawford Samios-Uy


The play alternates between the events of the soireé on the traditional mainstage with flashbacks to each of the four couples in private on a satellite platform on the audience floor. In these transitions, we learn the cracks beneath each of their perfect veneers they wear for each other. In an attempt to contemporize a dated script (an affair—shocking!), director Patrick Jay Golden shakes up the gender balance (the four heterosexual white suburban couples in the script are now two straight, one lesbian, and one gay) and utilizes a welcome diverse cast of interracial relationships.

Penny Nichols and Tom Piccin. Credit: Jason Crawford Samios-Uy


Mature couple Lenny and Charlotte (Tom Piccin and Penny Nichols) encourage Michael and Lois to think of their children. But after a late night of Lenny “entertaining a client”, we find their marriage to be a farce fueled by a toxic cocktail of alcohol and anger. The darkest of the relationships, as they pour from a never-ending super-sized bottle of Canadian Club, they heap emotional and physical abuse upon each other in proportion to the alcohol they down. Yet the stay together because they can’t think of a better option to satisfy their individual selfish needs. Think of the children. Piccin and Nichols range from volatile to downright terrifying as the night carries on until these traits publicly unveil themselves at the gathering.

Sarah O’Hara and India Palmer. Credit: Jason Crawford Samios-Uy


Lesbian couple Gigi and Vivian (Sarah O’Hara and India Palmer) actually seem to have a genuine loving relationship. Their only flaw, albeit a critical one, is their disparate views on starting a family. Vivian longs for the experience of motherhood; Gigi isn’t interested. However, they have an extra dimension to their deception. Whereas all the other couples lies are ones of (significant) omission, Gigi and Vivian add a layer of active duplicity, inventing medical complications including a fake cancer scare to justify Gigi’s refusal to have children. Palmer is sweet, gentle, and loving to a fault, burying any disappointment her wife’s decision evokes behind her radiant façade. O’Hara mines an addition layer to her character, so quick to be vocally “honest” regarding the flaws and fallacies of her friends, all the while perpetuating the biggest lie that caused everyone genuine concern and unwarranted worry.

Brad Angst, Joyanne Gohl, and Emmanuel Vickers. Credit: Jason Crawford Samios-Uy


As the hosts of the evening, gay couple Douglas and Sal (Brad Angst and Emmanuel Vickers) are perhaps the most stereotypically comic in their personal scenes. Angst is the gay trifecta of precision, polish, and perfection, while Vickers is hyper-emotional and tending towards the dramatic. However, when Douglas does the math and deduces that Sal has been unfaithful, the couple draws deep on restraint and inner strength to consciously maintain that perfection they apparently consider so important to their public image. Their scenes are a cool complement to the bombastic, burn the house down Albee-esque theatrics of Lenny and Charlotte.

Tracy Dye and Jason Crawford. Credit: Jason Crawford Samios-Uy


All the couples in the engaging cast have strong, well defined bonds between themselves, and hide these from the group in their own manipulative ways. But it is Crawford and Dye as the couple in the center of the storm who excel. True, they are aided by the strongest storyline in script, being the only couple who is completely honest with their friends and each other. But their private scenes are not about lies and resentment, instead they are about harsh honesty and unpleasant choices. Ironically the couples with all the secreted problems manage to stay together while these two drift apart not from issues and betrayals, but from simple stagnation. Yet in the midst of the histrionics of the dinner party aimed at saving them, they actually draw closer together, defending their privacy and each other, observing the dislikeable facets of their friends which makes them appreciate the qualities they admire in each other that initially drew them together. We leave the evening in doubt about the future of every couple in the piece, but these two with their amiability and genuine respect for each other, despite actually being separated, may actually be the strongest bet for the duo to be left standing down the road.
Though Theresa Bonvegna is the Resident Set Designer for Just Off Broadway, Jason Crawford and Patrick Jay Golden take the lead on this one and do an admirable job on the main dinner party set creating the ambiance of Douglas and Sal’s gay tastes, utilizing sleek lines in the furniture and fun accents like framed Broadway playbills and a Warholian shrine to Audrey Hepburn across the back wall. Their secondary set on the floor employs sometimes extravagant touches to set the tone of locales from an Atlantic City hotel room to a garden patio brunch. Sometimes his attention to detail on the secondary set leads to extended set changes between scenes. Perhaps they could have chosen a more generic design that could flex into different locations, or have collaborated with Golden to stage them in a common room in everyone’s house. However, having seen a press preview early in production week, these lengthy set changes could have very well ironed themselves out by opening night. Lighting designer Alex Powell gives contrasting effects for the chaotic party and the more intimate scenes on the floor.

Cast of Dear Friends. Credit: Jason Crawford Samios-Uy


Director Golden has assembled a very capable and engaging cast through which to interpret his revisionist piece. Golden defends his bold choices of shaking up the genders in the relationships by stating that at the core, all marriages suffer from the same base issues. (Famed gay playwright Terrance McNally might disagree). His able cast gamely embraces the challenge, but with mixed results. For instance, the gender flip of Gigi and Vivian defuses their script. A woman who isn’t interested in adopting or raising another woman’s child doesn’t carry the emotional heft of a husband who doesn’t want to have a child with his wife, the denial of a basic emotional need and betrayal of the very basis of their marriage. In the case of Douglas and Sal, however, the gender flip adds a layer of complexity when a revealed extramarital affair, a common enough issue in the gay community (famed gay playwright Terrance McNally would absolutely agree), transforms a bored bedroom dalliance amongst the group into a lie at the very core of another marriage with its down low implications of closeted homosexuality and an almost direct assault on the boundaries of the group as a corp.
Golden displays proficiencies to be a more intimate director, finding the heart in the scenes between the couples in their private territory, exploring their deceit and flaws while finding their unique pairings. He moves them fluidly through their paces and establishes their inner connections and their outward disconnects. Mechanically, though, his group scenes at the dinner party by contrast are slightly static, lacking blocking movement and physical dynamics. He is not aided by the major flaw in set design, laying out the living room like an actual living room and not a stage (or TV) set space. The sofa is centered and side chairs hug the walls completely across the stage, instead of being drawn into a more intimate central arena in relationship to the sofa and other set pieces. When actors are confined to these seats, the result is a lot of shouted unpleasantries across the room instead of the more personal, in your face assaults the words suggest. This also affects the pacing and emotional dynamics of these encounters since everyone hurls insults from a very safe distance, instead of the lines coming fast and quick, on top of and over each other in the face of the heated, impassioned revelations that unravel the group in the final scenes. Again, however, this was an early dress rehearsal and the cast may improve the pace by merely being more familiar with the scene as the week progressed.
Overall, Dear Friends is an evening of reflection that encourages one to look inward into their own relationships, and reminds us that those daily, awesome, life affirming Facebook posts those dear friends of our own make ad nauseum, usually mask, in direct proportion, the lies and insecurities that are at the heart of the exaggerations. Golden has given us a mirror in which to examine our own exteriors, and the multiple faces covering the various truths and lies that we tell the world, each other, and ourselves in order to get by at the end of the day.
This is what I thought of Just Off Broadway’s production of Dear Friends… What did you think? Please feel free to leave a comment!
Dear Friends will play through May 21 at Just Off Broadway @ JELC, 4506 Belair Road, Baltimore, MD 21206. For ticket reservation information, email justoffbroadwaymd@gmail.com or purchase them online.
Email us at backstagebaltimore@gmail.com 
Like Backstage Baltimore on Facebook 
Follow Backstage Baltimore on Twitter (@backstagebmore) and Instagram (backstagebaltimore)

East Coast Premiere of DEAR FRIENDS, Reginald Rose's Obscure but Enlightening Play at Just Off Broadway

Just Off Broadway gives us an East Coast Premiere of a piece that rarely sees the light of day because of the playwright Reginald Rose’s more popular piece, Twelve Angry Men, but this piece, with some, but not much re-imagining, is as relevant and relatable today as it was 50 years ago.

For Immediate Release:
April 26, 2017
The Author of 12 Angry Men Gives Us a Story of What We Present to the Outside World and What Happens Behind Closed Doors
Baltimore, MD – Just Off Broadway presents the East Coast Premiere of Dear Friends, a drama from the Emmy award winning film and television author who gave us 12 Angry Men, Reginald Rose. Dear Friends is currently in rehearsal and runs ONE WEEKEND from April 18-21, 2017.

The Cast of Dear Friends. Credit: Jason Crawford Samios-Uy


Like the more popular 12 Angry Men, a teleplay for CBS Studio One in 1955, Dear Friends began as a 90-minute teleplay for CBS Playhouse aired in 1967 and, aside from a single matinee performance from theatre club at a small college on the banks of Lake Eerie, it hasn’t been seen on stage since. With the popularity of the 12 Angry Men, Dear Friends is a real-life, slice of life drama that has been hidden in the shadows for the last five decades until Jason Crawford Samios-Uy, Co-founder of Just Off Broadway, stumbled upon it while searching for a 2017 spring production. The author’s name was recognizable but the title wasn’t but by reading the first few sentences of the synopsis, it was clear this was an appropriate, near perfect piece for Just Off Broadway.

The Cast of Dear Friends. Credit: Jason Crawford Samios-Uy


Four married couples have been friends for several years and one of the couples, Lois & Michael, decide to call it quits. The other couples, Charlotte & Lenny, Gigi & Vivian, and Douglas & Sal want desperately to help these two see the error of their ways and realize divorce is not what they really want and concoct an intervention, unbeknownst to Lois & Michael. As the evening wears on, problems in all of the marriages and in the friendships themselves start to bubble to the surface. Are these dear friends trying to help Lois & Michael get back together because they truly believe it’s what’s best for them or… are Lois & Michael examples of the raw truth that could shatter the seemingly blissful lives of the others and they want to stop it for their own sakes?
Since it was written and produced 50 years ago, Just Off Broadway Co-Founder and first-time Director Patrick Jay Golden and Jason Crawford Samios-Uy have re-imagined this piece, updating it and bringing it into the 21st century. Diverse and non-traditional casting help to modernize this piece and make it more relatable to today’s audiences. However, the story itself stays in tack as they are timeless issues and situations any married couple through the ages could experience which makes this piece still relevant today.
Dear Friends features Brad Angst, Tracy Dye, Joyanne Gohl, Penny Nichols, Sarah O’Hara, India Palmer, Tom Piccin, Jason Crawford Samios-Uy, and Emmanuel Vickers and is Directed by Patrick Jay Golden. This production will play ONE WEEKEND, May 18-21 at Just Off Broadway @ JELC located at Jerusalem Evangelical Lutheran Church, 4605 Baltimore, MD 21206.
You may purchase tickets online at: www.justoffbroadwaymd.wordpress.com.
Reserve tickets by email: justoffbroadwaymd@gmail.com. Please use Subject Line TICKETS and include the following in the body of the email:

  1. Full Name
  2. Number of Tickets
  3. Date of Performance
  4. Contact phone number

DEAR FRIENDS is presented by special arrangement with Dramatists Play Service, Inc., New York.

Review: The Game's Afoot at Spotlighters Theatre

By Jason Crawford Samios-Uy

gamesafoot-artwork_orig

Running Time: 2 hours and 30 minutes with one 15-minute intermission

When one thinks of the holidays, rarely does one think of a murder-mystery, but Spotlighters Theatre latest offering, Ken Ludwig’s The Game’s Afoot, Directed by Fuzz Roark with Danny Romeo, along with Set Design by Alan Zemla, Lighting Deisign by Al Ramer, and Costume Design by Andrew Malone is a joyful whodunit that is sure to be a pleasing break from the hustle and bustle of this holiday season.

The Cast of The Game's Afoot at Spotlighters Theatre. Credit: Spotlighters Theatre/Shealyn Jae Photography/shealynjaephotography.com

The Cast of The Game’s Afoot at Spotlighters Theatre. Credit: Spotlighters Theatre/Shealyn Jae Photography/shealynjaephotography.com

Set in 1936, this zany story unfolds at the large estate of William Gillette, a famous actor who is known for portraying that well known sleuth, Sherlock Holmes. The problem is, Gillette fancies himself a real life detective and when murder comes to his home, he and his guests (and cast mates from his latest production) work to figure out who the culprit is. Throw in a sharp tongued theatre reviewer and a local constable, the investigation develops with humorous results.

Credit: Spotlighters Theatre/Shealyn Jae Photography/shealynjaephotography.com

Credit: Spotlighters Theatre/Shealyn Jae Photography/shealynjaephotography.com

Set Design by Alan Zemla is impressive with an attention to detail. Spotlighters is somewhat unique in the fact that practically the entire theatre is used in their sets and this production is no different. It’s already theatre in the round and every corner is utilized, including a large trimmed Christmas tree, a small closet, an entrance/exit to the stage, and… get this… a secret room, which is absolutely ingenious. Taking a moment with the secret room, the door is evening seemingly automatic with the pull of an ornamented rope. Zemla’s detail with the stone work and shiny marble floor is superb and adds value to the production and sets the mood for the piece. Major kudos to Alan Zemla on his brilliant design.

Lighting Design by Al Ramer is appropriate and well planned out, adding to the value of the production. Murder-mysteries rely on precisely timed blackouts and Ramer’s design is on point, adding suspense to the scenes. Spotlighters is a small space but Ramer manages to light it accordingly with a well thought out design.

Melanie Bishop, Ilene Chalmers, and Thom Eric Sinn. Credit: Spotlighters Theatre/Shealyn Jae Photography/shealynjaephotography.com

Melanie Bishop, Ilene Chalmers, and Thom Eric Sinn. Credit: Spotlighters Theatre/Shealyn Jae Photography/shealynjaephotography.com

Costume Design by Andrew Malone is impeccable and he nails the period of the piece, which is the mid-1930s (and one of my favorite eras). Mens fashion hasn’t changed much through the years and a suit is always the norm, but Malone fits his male actors nicely and they seem comfortable as they move about the stage. The ladies fashions are quite a different story. Malone completely captures the essence of the 1936 upper class with flowing, yet form fitting gowns that ooze elegance. All the characters look their part and the period and gives an authenticity to the entire piece. Overall, Malone’s design is stunning and intelligent and is a joy to experience.

Tom Piccin and Ilene Chalmer. Credit: Spotlighters Theatre/Shealyn Jae Photography/shealynjaephotography.com

Tom Piccin and Ilene Chalmer. Credit: Spotlighters Theatre/Shealyn Jae Photography/shealynjaephotography.com

Direction by veteran Fuzz Roark with Danny Romeo is very good and they give us a charming and entertaining piece. Their vision is strong and through clever blocking in the round and with the talents of the cast, the story is easy to follow throughout. Roark and Romeo keep the action and their actors moving naturally to make sure the entire audience gets attention and doesn’t miss out on any of the story being told. The character work is brilliant and with the guidance of Roark and Romeo, they are fleshed out and authentic. The twist at the end is a bit abrupt and a tad bit confusing, but it is surprising, as intended and you’ll have to check it out to find out what it is! In general, Roark and Romeo did a splendid job with this piece and kept it funny, entertaining, and suspenseful, making for an veritable murder-mystery for the holidays.

Suzanne Hoxsey as Inspector Harriet Goring. Credit: Spotlighters Theatre/Shealyn Jae Photography/shealynjaephotography.com

Suzanne Hoxsey as Inspector Harriet Goring. Credit: Spotlighters Theatre/Shealyn Jae Photography/shealynjaephotography.com

Moving into the performance aspect of The Game’s Afoot, Suzanne Hoxsey takes on the role of Inspector Harriet Goring, the local constable assigned to check out a mysterious call made to the police station earlier in the evening. The character of Inspector Harriet Goring is supposed to be the “straight-man,” as it were, taking things seriously and trying to solve the mystery. Through this seriousness, the comedy shines through but, frankly, Hoxsey’s performance falls flat for me. She seems as though she’s trying too hard for the laugh but the timing is off and somewhat monotone, cautious delivery loses the comedy. That being said, Hoxsey gives 100% to her performance which is very admirable. She’s de
dicated to the role and sticks with it with confidence and a command of the stage.

Kellie Podsednik, Ilene Chalmers, and Andrew Wilkin. Credit: Spotlighters Theatre/Shealyn Jae Photography/shealynjaephotography.com

Kellie Podsednik, Ilene Chalmers, and Andrew Wilkin. Credit: Spotlighters Theatre/Shealyn Jae Photography/shealynjaephotography.com

Andrew Wilkin tackles the role of Simon Brigh, the younger actor who exudes a certain sleaziness but you can’t figure out just why because he seems like a gentleman but there’s just something about him. Wilken plays that aspect of the role beautifully and he looks the part and plays it confidently but his representation of this character seems to be all in contorted facial expressions. At times, in his intense scenes, he comes off more as a scary deranged clown rather than an upset and angry young actor. His character goes from one end of the spectrum to the other, between a suave demeanor to an angry desperation and both are a bit over the top with no in between. Now, this is not to say his performance is bad, because it is not. He commands the stage easily and his voice resonates throughout the small theatre. He, too, gives 100% to his character and makes choices to allow his character to be easily understood.

Tom Piccin as Felix Geisel does an admirable job as the loyal, laid back best friend and gives a strong performance with very good comedic timing and an urgency that drives his character’s actions. He understands his character and plays him with ease while having great chemistry with his fellow cast mates making for a very enjoyable performance.

Kellie Podsednik as Aggie Wheeler. Credit: Spotlighters Theatre/Shealyn Jae Photography/shealynjaephotography.com

Kellie Podsednik as Aggie Wheeler. Credit: Spotlighters Theatre/Shealyn Jae Photography/shealynjaephotography.com

The role of Aggie Wheeler, the young, impressionable actress is taken on by Kellie Podsednik and her take on this character is thoughtful and entertaining. There may be more to this character than meets the eye and Podsednik plays the role with a natural, innocent air that works well and actually makes her a likable character. Podsednik is comfortable on stage and gives a strong performance that is confident and enjoyable.

Ilene Chalmers takes on the role of Madge Geisel, an old friend who is just as loyal as her husband, Felix. Chalmers plays this role with gusto and gives her all to this character and her dedication pays off as her portrayal is authentic and natural. Madge Geisel is more than an innocent bystander and she likes to get into the heart of the action and Chalmers plays this beautifully. She has a strong command of the stage and is a joy to watch.

Thom Eric Sinn. Credit: Spotlighters Theatre/Shealyn Jae Photography/shealynjaephotography.com

Thom Eric Sinn. Credit: Spotlighters Theatre/Shealyn Jae Photography/shealynjaephotography.com

Thom Eric Sinn plays William Gillette, the leading man who is famous for playing Sherlock Holmes and actually considers himself a brilliant detective and who has gathered these poor souls to his home on Christmas Eve. Sinn has a very strong stage presence and fits nicely into this character. His voice resonates throughout the theatre and he is natural and comfortable in this role. He has great comedic timing and does well with the farce, though his urgency does seem a bit forced at times. Overall, Sinn gives a very strong and entertaining performance.

Penny Nichols as Martha Gillette. Credit: Spotlighters Theatre/Shealyn Jae Photography/shealynjaephotography.com

Penny Nichols as Martha Gillette. Credit: Spotlighters Theatre/Shealyn Jae Photography/shealynjaephotography.com

Martha Gillette, the doting, elderly mother of William Gillette, is played by Penny Nichols and she is beyond charming in this role. At first glance, I didn’t buy the fact that Nichols is playing Sinns mother as she looks entirely too young for the role, but her portrayal of the character just emphasizes her acting skills and she played this part to the hilt. After a few moments, she is totally believable as the mother of Sinn’s character, regardless of looking younger than her character is supposed to be. She has beautiful comedic timing and her asides as she leaves the stage are just as funny as her onstage lines. She is a joy to watch and I hope to see more of her work in the future.

Melanie Bishop as Daria Chase. Credit: Spotlighters Theatre/Shealyn Jae Photography/shealynjaephotography.com

Melanie Bishop as Daria Chase. Credit: Spotlighters Theatre/Shealyn Jae Photography/shealynjaephotography.com

Melanie Bishop as Daria Chase, the cut-throat, acidic theatre reviewer who seems to know the secrets of all the other guests and isn’t afraid to share them, is an absolute highlight of his production giving an outstanding performance. She has the fast talking, quit witted character down pat even using a Katherine Hepburn-esque voice that absolutely fits this character making her more authentic. Her confidence and comfort on stage makes for a superb performance that is not to be missed.

Final thought… The Game’s Afoot at Spotlighters Theatre is a bona fide murder-mystery that will have you laughing and scratching your head, wondering “whodunit?” The performances are strong and the story is entertaining and original making for a fun night of theatre in the midst of the hustle and bustle of the holiday season. Take a break from the craziness and check out this show!

This is what I th
ought of Spotlighters Theatre production of
The Game’s Afoot. What did you think? Please feel free to leave a comment!

The Game’s Afoot will play through December 18 at Spotlighters Theatre, 817 St. Paul Street, Baltimore, MD. For Tickets, call the box office at 410-752-1225 or purchase them online.