Review: It’s “Loverly” at Spotlighters Theatre with Pygmalion

Posted on February 25, 2019 by Jason

By Jason Crawford Samios-Uy

Running Time: Approx. 2 hours and 30 minutes with one intermission

In this day and age, there’s no real distinction between how a woman should look and act and how a man should look and act, and there shouldn’t be, but some folks think so and they certainly did think so in the early 20^th century. Not only the way one looks, but how one should act was also a product of the precise class distinction that went on around that same time. However, Spotlighters Theatre latest offering, Pygmalion by George Bernard Shaw, Directed by Sherrione Brown, breaks down that comfortable way of thinking and presents us with a opposing view that a person can indeed make changes to oneself to be whatever he or she wants to be, without losing those qualities that make them unique. Written in 1912, it’s a period piece, but, deep down, has a message that is timeless.

(l-r) Phil Gallagher, Randy Dalmas, and Linae’ C. Bullock. Credit: Spotlighters Theatre / Shaelyn Jae Photography

Now, I’m sure most of you are familiar with the smash Lerner and Loewe musical My Fair Lady and all the catchy songs that go along with it including “Wouldn’t it Be Loverly” and “I Could Have Danced All Night,” but… it all started with this play right here. Pygmalion, in a nutshell, takes us back to 1912 England where a brash flower seller is taken on by the sometimes harsh Dr. Henry Higgins and the gentle, caring Colonel Pickering to see if Higgins can transform her from a “gutter rat” into a duchess by simply changing the way she speaks.

Spotlighters always manages to impress me with their Set Designs and what they do with their intimate space, however, in this instance, Set Design by Director Sherrione Brown is a bit uninspired, but it is simple and works with the piece. However, in a piece such as Pygmalion where there is supposed to be a distinctive contrast between the streets of London and the parlors of high society, there’s not much change as this production uses simple but appropriate set pieces (as is the fashion at Spotlighters). To present locales and Brown has selected pieces that do this nicely, but the usual ambiance that presents any particular production throughout the theatre and immerses the audience in the story just seems to be missing.

(l-r) Phil Gallagher and Randy Dalmas. Credit: Spotlighters Theatre / Shaelyn Jae Photography

Set Design aside, Costume Design by Jenifer Grundy Hollett is splendid. She has managed to capture the time period and gives the main character, Eliza Doolittle a definite and precise change in look to show her transition. Her attention to detail is exquisite and she should be applauded for her efforts. I’d be amiss if I didn’t mention Hollett is also a performing ensemble member taking on the role of Mrs. Pearce, Henry Higgins level headed housekeeper and she is definitely a standout in this production. Though taking on a supporting role with limited stage time, she makes the most of her character and gives a strong, solid performance with a natural delivery of the dialogue that make her performance a joy to watch.

Sherrione Brown, who has taken the helm of this production really knows her stuff when it comes to this story. She has a strong comprehension of this material and her staging is smooth (with only a few clunky and lengthy scene changes) and the pacing of this two-and-a-half hour period piece is on point. She handles this well known story nicely and presents it in an easy-to-follow manner. She guides this production with an assured hand and seems to get the best performances from her ensemble. Kudos to Brown for her Direction of this production.

(l-r) Melissa McGinley as Mrs. Eynsford Hill and Caelyn Sommerville as Calra Eynsford Hill. Credit: Spotlighters Theatre / Shaelyn Jae Photography

Speech and accent are a huge aspect of this story; after all, it’s what Higgins thinks makes the difference between a poor girl and a duchess. Though the performances, overall, in this production are poised and polished, the accents do fall a bit short. They’re there… I can hear them, but I don’t buy them. The ensemble is working hard and their efforts are not for naught, but when it comes to dialect work, they probably would have been well served with a bit more rehearsal. The traditional cockney accent is a beast so, unless there is a certain amount of time to master it, which is just about impossible during any rehearsal schedule for a show, there will always be flaws but, again, that’s not to say the performances weren’t good, because they certainly were in other aspects.

Carlo Olivi as Freddy Eynsford Hill. Credit: Spotlighters Theatre / Shaelyn Jae Photography

In the way of supporting characters, portraying the upper-crust Eynsford Hills are Melissa McGinley as Mrs. Eynsford Hill, Caelyn Sommerville as Clara, and Carlo Olivi as Freddy, then there’s Sarah Weissman who takes on various roles such as a parlormaid and elegant hostess. Weissman fills out the ensemble well but her performance is scripted and stiff at times. She understands why her characters are there, but seems to be going through the motions for most of the production. McGinley seems to understand her character as the mother of young adults but her performance falls a little flat. She’s a bit scripted making for an unnatural delivery, but she does portray the gentleness and dignity the character requires. Sommerville, as Clara, a young woman of high society, does a terrific job of emoting the snobby, spoiled, holier-than-though attitude with slivers of politeness, especially with other members of the upper class. Sommerville is comfortable in this role though her speech seems to be off as if she’s speaking in a voice higher than her own natural voice, but other than that very minor flaw, her performance is delightful. Olivi, as the young and in love Freddy shines in this role. His authentic portrayal of this lovelorn character is believable and it’s easy to see he’s giving 100% effort in his character. He looks the part, he acts the part, and he gives a fine, sophisticated performance. An honorable mention goes out to Don Lampasone, who, a little birdy tells me, stepped into various small roles two nights before opening and gives an impressive, authentic performance as a Taximan, a Constable, and a lower class comrade of Eliza Doolittle’s. Though he keeps his script cleverly hidden in a newspaper, that doesn’t hinder his abilities and he gives a praise-worthy performance and I’m quite sure that script will be out of his hands quickly. My hat off to you, Mr. Lampasone, for stepping in and stepping up.

Rich Espy as Alfred Doolittle. Credit: Spotlighters Theatre / Shaelyn Jae Photography

Rich Espy takes on the character of the lazy, living-in-the moment Alfred P. Doolittle, who, at heart, is a con-man that reluctantly comes into some money and is forced into being respectable. Espy’s portrayal is charming, as this character is naturally charming, if not sketchy at times, and his take causes the audience to dislike him then because of his transition riles up sympathy so, with good writing and a good performance, Espy pulls this character off nicely.

Rounding out the ensemble, Hillary Mazer who takes on the role of Mrs. Higgins, Randy Dalmas tackles the loveable and kind Colonel Pickering, and Phil Gallagher portrays the no-nonsense, logical Henry Higgins. Mazer is believable in her role as a matriarch who does care about her son, who embarrasses her every chance he gets, but has no qualms in telling him so and her chemistry with Gallagher is spot on. She plays this role with a certain finesse that makes her a likeable character and makes for an enjoyable performance.

Phil Gallagher and Hillary Mazer. Credit: Spotlighters Theatre / Shaelyn Jae Photography

Randy Dalmas seems to embody this character of Colonel Pickering and the way he plays this role makes Pickering endearing from the start. His work with and off of Gallagher’s Higgins is wonderful and he gives a strong, confident performance throughout. Speaking of Gallagher, his portrayal of the crotchety, straight forward Henry Higgins is outstanding. He really captures the stuffiness of the character with that hint of caring that he tries so hard to hide. Henry Higgins is such a complex character, he’s easy to play to heavily stern and it’s the balance an actor needs to find within him that Gallagher does near flawlessly. His comedic timing is on point and his calm chemistry with Linae’ C. Bullock helps make his performance that much more superb.

Linae’ C. Bullock. Credit: Spotlighters Theatre / Shaelyn Jae Photography

Finally, we have a highlight of this production, Linae’ C. Bullock, who takes on the challenging role of Miss Eliza Doolittle. I don’t mind saying Bullock is truly marvelous in this role. She impressively spits out the cockney, not necessarily perfectly, but near perfect and it makes the transition this character makes all the more believable. She has a good grasp of this character and her portrayal gets across the message I think this piece wants to send which is we may change on the outside but we’ll always be who we are on the inside. She gives a high-energy performance that balances out her more subdued portrayal later that is required of the character. She manages to get the audience invested in Eliza early on and we’re rooting for her throughout. She works very well with and off of Gallagher, who makes it easy with his performance, as well as with Dalmas, and the sincerity of her different relationships with both shine through. She’s certainly one to watch in this production.

Final thought… Pygmalion can be interpreted very different ways. On one hand, it’s a story of trying to change someone to better their station in life, in the other, it’s a story of what matters is on the inside and not the outside. Seeing as though it was written in 1912, it was probably the former, but the latter still rings true. It’s always challenging to produce a 100+ year old piece for a modern audience, but Spotlighters has managed to do it with finesse and charm. The production is simple when it comes to Set Design, but it just makes the performers work harder and they’ve certainly stepped up to the task. The production, as a whole, is polished and well put together from Costume Design, staging, and performance, it’s a delightful triste to a bygone era that teaches us you can take the girl out of [insert city/town/area name] but you can’t take the [insert city/town/area name] outta the girl! Definitely worth checking out!

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

Pygmalion will play through March 10 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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Review: TOWARD ZERO at Cockpit in Court Summer Theatre

Posted on June 12, 2016 by Jason

By Jason Crawford Samios-Uy

(l. to r.) Thomas C. Hessenauer, Randy Dalmas, John Rowe, Kelly Rardon, and Christopher D. Cahill. Photo credit: Joey Hellman

I always enjoy a good murder mystery and they’re always good money makers for community theatres and no one writes a good murder mystery like the legendary Agatha Christie. This summer, Cockpit and Court Summer Theatre’s first offering in their cabaret space is Toward Zero by Agatha Christie, (who also penned the novel) and Gerald Verner and is directed by Joey Hellman.
Toward Zero tells the tale of a house party (of course) at Gull Point, the house of Lady Tressilian, at Saltcreek, Cornwall. The guests consist of an old family friend, a divorced couple, his 2nd wife and her suave friend, and a barrister, who is also and old friend of the family. The divorced couple are cordial and may still have something for each other, the suave friend has a thing for the 2^nd wife, the 2^nd wife hates the 1^st wife, the old family friend has a thing for the 1^st wife, and the hostess and the barrister want everyone to be mindful of their manners. Throw in a Superintendent, an Inspector, and a P.C., and, oh, yeah, a murder, then BOOM… you have an Agatha Christie mystery.
At first glance, I knew I was in for a treat when I walked into the cabaret and was greeted by a beautiful, classic set by Scenic Designer Michael Rasinski. Designing for theatre in the round is difficult but Rasinski pulled it off flawlessly and brilliantly with vintage furniture, wainscoting on the walls, a chandelier hanging in the middle of the stage, and a chaise lounge that, when this production is over, I’d like transported to my house! No detail was overlooked down to the light switches, which were the old fashioned push two-buttoned type rather than the modern one-switch we use today. The set design was practically perfect! Rasinski also pulled double duty as the Lighting Designer and he, too, pulled this off brilliantly with lighting that set the moods perfectly for each scene.
Throughout the production, Sound Designer James Lefter added the usual murder mystery show sound effects such as thunder storms and glass breaking but they sounded like quality effects and not just a generic mp3 that can be downloaded off the Internet (even if they were) and they were all placed perfectly. Director Joey Hellman and Stage Manager Marcy Petrick put together a great soundtrack of music including classical instrumental pieces as well as popular vocal works of the mid 20^th century.
Kudos definitely goes to Costumer Eva Grove as costume designs were spot on and thought-out for both formal and casual wear for 1955. There were quite a few costumes for both the male and female actors in this production and each one was appropriate and natural.
Getting into the performance aspect of the production, let me preface by stating that, as a whole, Toward Zero is a very appropriate show for community theatre and Agatha Christie can always be counted on to give the audience a good story and she’ll always keep us on our toes. However, play adaptations of Christie stories can be challenging, especially pieces such as Toward Zero, one of her lesser known adaptations. Even though Christie herself had a hand in writing this adaptation, and it was your classic Agatha Christie whodunnit and predictable, I still found the script a bit jumbled and hard to follow, at times, if you aren’t paying close attention.
Overall, the cast did a fine job with this challenging piece and Hellman made some wise choices such as impeccable blocking, which is difficult in the round, where no actor’s back was facing the audience for any extended period of time, but, as I sat there watching the action unfold, I said to myself, “I think this cast needs to go out for a drink with each other!” because there seemed to be little chemistry within the cast which is of the utmost importance when it comes to any play, especially a murder mystery. The chemistry that is present is OK, but does feel a bit strained.
At various points in the script, characters speak of the feeling of “something wrong” or “something out of place” but, because of the lack of chemistry, unfortunately, there is a lack of much needed tension. For there having just been a murder in the house, and suspicion being thrown around, one would think one could cut the tension with a knife, but, that’s not the case here. It’s as if the actors are just going through the motions of a predictable script. However, let me clearly state I don’t blame the cast or the director… I reiterate… a murder mystery is a challenging undertaking!
Speaking of the cast, in general, the British accents are admirable, but, overall, a dialect coach may have been beneficial all around. The actors knew their blocking and their lines quite well and spoke very naturally with each other.
Christopher D. Cahill as Thomas Royde is the first character we meet and, though it’s a bit difficult to understand what he’s saying, at times (I think the British accent is tripping him up occasionally), he has a very good and demanding stage presence and demeanor and knew and played his character very well and gave a strong performance and his vape pipe was brilliant and added to his character.
Kristin Miller takes on the role of Kay Strange, the 2^nd, discontented wife of Neville Strange, played by Randy Dalmas. Miller has a tendency to take her character over the top with seemingly one emotion – upset – accompanied by pouty faces, crossed arms, and rolling eyes every time she steps onto the stage. However, the character is unhappy being where she is and has to deal with an ex-wife, so, Miller’s choices aren’t off the mark and she pulls off a very good, though mellow-dramatic, performance. Kay’s cohort, Ted Latimer, is nicely played by Andrew Wilkin and another character even mentions that Latimer is “a dramatic fellow” and, boy, does Wilkin take this to heart. It’s almost fitting that his character and Miller’s characters are so close because he, too, takes the character a bit over the top, at times, with the same rolling of the eyes and pouty faces. Regardless, he gives a strong performance and has the perfect look for his character.

(l. to r.) Christopher D. Cahill, Kelly Rardon, Andrew Wilkin, Randy Dalmas, Kristin Miller, Thomas C. Hessenauer, John Rowe. Photo credit: Jason Crawford Samios-Uy

Kelly Rardon tackles the roll of Mary Aldin, the pitiful Lady’s Maid to Lady Tressilian, played by Suzanne Young. Rardon gives a strong performance as Mary and is comfortable moving about the stage, giving a very nice performance but Young is one of the highlights of this production as she gives a very strong, believable performance as the old, crippled Lady Tressilian and has a demanding presence onstage as the matriarch of the bunch, shouting orders, and reminding everyone of the manners of a bygone era. Young is certainly one to watch!
A Baltimore favorite and a fixture in community theatre, John Rowe puts himself in the role of Matthew Treves, a barrister (an attorney, in America), and old friend of the family. He gives a strong performance as a stuffy, old fashioned gentleman of good background and is comfortable on the stage. Well, after being involved in community theatre for over 40 years, one should be comfortable, and Mr. Rowe certainly is! He certainly does take time with his lines, at times, maybe a bit too much time, but he is clear and strong and gives a very strong, believable performance.
Rounding out the cast are Thomas C. Hessenauer, Ryan Frank, and Connor Moore playing Superintendent Battle, Inspector Leach, and P.C. Benson, respectively. Hessenauer, a veteran of Baltimore community theatre, does a wonderful job as the lawman called in to investigate the inevitable murder and he has a strong understanding of his character and is believable as the person who takes charge to find out whodunnit! Occasionally, he comes on strong right out of the gate pointing a suspicious finger at the people he is questioning instead of transitioning gradually into that suspicion, but overall, Hessenauer pulls his role off very well.
As Inspector Leach, Ryan Frank seems to play the part more like an inexperienced young man who got his position because of nepotism rather than on merit. His character pops in, carrying various pieces of evidence and stands on the perimeter while his uncle, Superintendent Battle, solves the crimes. Script wise, I’m not sure the character is needed, but Frank plays the part admirably with the material he’s given and the same can be said for Connor Moore, as P.C. Benson. This character seems to just fill space on stage but could easily be cut, as well. However, Moore, in his impeccable costume and brilliant whistle, pulls off the part nicely and it’s obvious he’s giving 100%!

Stephanie Horvath. Photo credit: Jason Crawford Samios-Uy

Two highlights of this production of Toward Zero are Stephanie Horvath and Randy Dalmas. The two play ex-spouses, Audrey Strange and Neville Strange and they pull off the parts flawlessly. Randy Dalmas has a strong presence and seems to understand his character. He moves comfortably around the stage and, if I might add, has a very nice, smooth voice that lends well to the British accent he pulls off beautifully. Horvath glides across the stage comfortably and effortlessly, embodying the character of an ex-wife who may or may not be who we think she is. Though a few of her reactions to major events in the show could have been more thought out, she is still gives a strong, believable performance. Hovarth and Dalmas make a dynamic duo that are a joy to watch.
Toward Zero is indeed a good show and has some very talented folks involved so, if you find yourself looking for something to do for the next couple of weekends, check it out! Agatha Christie always delivers and it’s always fun to see if you and your friends can solve the mystery before the big reveal!
Running time: 2 hours, 30 minutes with one 10 minute intermission
This is my take on this production of Toward Zero… what do you think?
Toward Zero will play Friday-Saturday at 8pm and Sunday at 3pm through June 26^th at CCBC, Essex Campus, Community Center. For tickets, call 443-840-ARTS (2787) or purchase them online.