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: She Kills Monsters at Spotlighters Theatre

By Jason Crawford Samios-Uy

Running Time: 80 minutes with no intermission

Stephen Edwards, Danielle Shorts, Lanoree Blake, Rachel Verhaaren, and Amanda Harris. Credit: Spotlighters Theatre / Shealyn Jae Photography / Shealynjaephotography.com


Have you ever role-played with a Dungeon Master? Acted out your fantasies with a group of people in in a dimly lit basement? Sounds kinda kinky, no? Well, I’m talking about Dungeons and Dragons or D&D for those in the know. If you don’t know a damned thing about D&D, don’t feel bad, I didn’t either and never even had an inkling to dabble in it. However, I have had friends that have taken the leap and started campaigns with like minded folks and have had a blast and made some great friends. It’s almost like it’s own culture and if you do want to get an idea of what this game and culture are all about, head on down to see Spotlighters Theatre‘s latest offering, She Kills Monsters by Qui Nguyen, Directed by Stephanie Miller, with Set Design by Alan Zemla, and Costume Design by Lanoree Blake. With a well thought-out script and a cast who has a great comprehension of the material, She Kills Monsters is one of the best productions running at the moment.

Andrea Bush, Amanda Harris, and Danielle Shorts. Credit: Spotlighters Theatre / Shealyn Jae Photography / Shealynjaephotography.com


She Kills Monsters follows the story of Agnes, an average 20-something in the mid-90s, as she struggles with the loss of her entire family in a car crash, including her younger sister Tilly, who she realizes she never really knew. Through the popular role-playing game, Dungeons and Dragons, and with the help of Chuck, a sort of expert of the game, Agnes navigates through a fantasy world created by sister to discover who she was and, in the midst of it all, discovers things about herself. Throw in a band of fanciful allies, an uncertain relationship with an average boyfriend, a sassy best friend, and evil cheerleaders, you have an entertaining and thoughtful story to which everyone can relate in one way or another.
The story is, in a word, brilliant. It’s funny, poignant, and well thought-out and the short scenes lend itself to good pacing. The audience is enthralled and all-in from the start creating an electrified energy throughout the small theatre. The script cleverly guides the audience into rooting for these characters and before you know it, you’re invested, which is what a good script is supposed to do.

Set Design by Alan Zemla. Credit: Spotlighters Theatre / Shealyn Jae Photography / Shealynjaephotography.com


Set Design by Alan Zemla is minimal, as expected for the intimate space, but that’s not to say it’s boring because that it is not. Zemla uses his space wisely and utilizes the corners of the theatre that almost gives an immersive feel to the entire production. Zemla knows his space and makes it work beautifully for this production.
Lanoree Blake’s Costume Design is spot on as this story takes place in the 90s and, at first glance, I knew exactly what time period I was in. Her attention to detail took me back to a time when Nirvana ruled the airwaves and flannel was high fashion. Her design for the fantasy world, New Landia, are also impressive and fitting for each character that is created. Kudos to Blake for her work on this production.

Rachel Verhaaren as Agnes. Credit: Spotlighters Theatre / Shealyn Jae Photography / Shealynjaephotography.com


I wouldn’t do this production justice without mentioning the exquisite Sound Design by Stephanie Miller, who happens to take the helm of this production as Director, as well. The carefully chosen music for this production is on point and fits it perfectly. Mostly themes from video games, it the design has a nostalgic feel that puts the audience at ease (those who are old enough to remember these sounds from the 90s that are ingrained in our psyche).
Miller also has an exquisite understanding of this story and crafts the story in a way that’s easy to follow, even if you aren’t familiar with the nuances of the game. Her casting is superb and her vision is apparent. She guides this cast seamlessly through the complex but relatable story and the very short scenes run at a great pace but aren’t choppy helping the entire production run smoothly.

Tina James as Vera. Credit: Spotlighters Theatre / Shealyn Jae Photography / Shealynjaephotography.com


As characters in the real world, Miles, the doting but average boyfriend played by Peter Daly, and Vera, the sassy best friend played by Tina James, keep Agnes as grounded as possible. James does a commendable job as Vera, portraying her as a strong-willed, sarcastic, but caring friend and her deadpan style humor, though scripted at times, works quite well for the character and adds to the character. Daly does a fine job in his portrayal but, in the intimate space, I got the feeling he was uncomfortable making a connection with his cast mates as his eyes dart all over the place, rarely making eye contact while having a dialogue with anyone and it’s somewhat of a distraction to his performance. Otherwise, he seems to understand his character quite well and is committed to his role.

Michael Crook and Peter Daly. Credit: Spotlighters Theatre / Shealyn Jae Photography / Shealynjaephotography.com


Michael Crook tackles the role of the very helpful, over-zealous Chuck, the resident expert of Dungeons & Dragons, and it’s as if Crook was born for this role. At times, he’s a little too much and over the top, but that very well could be the intimate space making his gesturing and voice bigger than intended. I imagine in a larger space, he’s on point. He does, however, embody a teen-aged boy excited about playing make-believe and he gives an impressive performance.
In a supporting but extremely humorous role, Sam Cure takes on the character of Steve, a fellow player of D&D who pops up in the middle of various fights Tilly’s group gets into only to be struck down, quickly, every time. Again, Cure has little stage time, but what he does have tickles the funny bone and his portrayal almost has you rooting for him.

Danielle Shorts and Amanda Harris. Credit: Spotlighters Theatre / Shealyn Jae Photography / Shealynjaephotography.com


Amanda Harris as Kaliope and Danielle Shorts as Lilith are stunning in their roles as members and femme fatales (but good guys) of Tilly’s rag-tag New Landia campaign. Shorts has her character down-pat and gives a confident performance with a good command of the stage while Harris’ character is more subdued but her portrayal is equally as commendable and she looks comfortable in the role. Both of these actors have great chemistry with each other making for splendid performances.

Zoe Lunga and Claire Iverson. Credit: Spotlighters Theatre / Shealyn Jae Photography / Shealynjaephotography.com


Taking on the villainous roles in this production, Zoe Lunga and Claire Iverson take on the roles of Evil Gabbi and Evil Tina, respectively, and they play these evil cheerleaders to the hilt. Both actresses give believable performances and I can imagine both of these bully characters roaming the halls of any high school in the country today. Along with the ultimate mean girls is Andrea Bush who takes on the role of Farrah, the smack-talking, rough-around-the-edges fairy guard who is trying to thwart our unlikely heroes. Bush is absolutely hilarious as this dirty-mouthed fairy and gives a superb, no-holds-barred performance.

Lanoree Blake as Tilly. Credit: Spotlighters Theatre / Shealyn Jae Photography / Shealynjaephotography.com


A couple of definite highlights of this production are Lanoree Blake as Tilly and Rachel Verhaaren as Agnes. Both actors have great chemistry and seem to have a great comprehension of the characters. Lanoree completely embodies her character of a teen-aged “outsider” who has found comfort and a chosen family in this game and world she has created. Her portrayal of Tilly, giving her a rough exterior but a fragile soul, is top notch and makes for some very poignant scenes. Verhaaren gives an authentic performance as an older sister and has great chemistry with her cast mates. Her yearning and strife are well portrayed and you feel for this character from the get and are happy to go on this journey with her. Kudos to superb performances for both of these actors.

Stephen Edwards as Orcus. Credit: Spotlighters Theatre / Shealyn Jae Photography / Shealynjaephotography.com


The standout of this production, mainly for his acting chops and comfort on stage is the funny and confident Stephen Edwards who takes on the role of Orcus, an evil soul-snatcher who has pretty much given up and called it quits on the evil business and joins our heroes on their quest to recover Tilly’s soul (more so because he’s the one that lost it and is forced to help). Edwards is a natural on stage and so comfortable in this role, he puts the audience at ease. His performance seems effortless as he throws out one-liners (many of which refer to the 90s and are dear to my heart) and, even though his character is evil, or was at one time, Edwards plays the role in such a way that he is absolutely likable. From his delivery of his lines to his movement about the stage he gives a near flawless performance that is not to be missed and I hope to see more from this actor in the future.

Rachel Verhaaren as Agnes. Credit: Spotlighters Theatre / Shealyn Jae Photography / Shealynjaephotography.com


Final thought… She Kills Monsters at Spotlighters Theatre is a fun, thoughtful piece that you do not want to miss this season. The story is deep and poignant with an important message of not only self-discovery but discovery and acceptance of those closest to you. With a brilliant, raw script and dedicated performances from a cast who gives 100%, this production of She Kills Monsters is a highlight of the season and a great way to end out for Spotlighters to end out their 55th season. Do yourself a favor and get your tickets now!
This is what I thought of Spotlighters Theatre’s production of She Kills Monsters… What did you think? Please feel free to leave a comment!
She Kills Monsters will play through June 18 at Spotlighters Theatre, 817 St. Paul Street, Baltimore, MD. For tickets, call the box office at 410-752-1225 or purchase them online.
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