Review: The Women at Spotlighters Theatre

By Jason Crawford Samios-Uy

Running Time: 2 hours and 50 minuts with one 15-minute intermission

Kellie Podsednik and Michele Guyton. Credit: Spotlighters Theatre / Shealyn Jae Photography / Shealynjaephotography.com


Times change and gender roles aren’t so black and white anymore. Though equality may not be 100% today, the stereotypes of men and women have blurred and aside from child birth and those pesky hormones, estrogen and testosterone (which both exist in both sexes, mind you), I like to think men and women are on a pretty level playing field. Of course, I’m saying this as someone of the male persuasion (with many female tendencies, if you catch my drift). Spotlighters Theatre’s latest offering, The Women by Clare Booth Luce, Directed by Fuzz Roark, with Set Design by Alan Zemla, and Costume Design by Andrew Malone, Amy Weimer, and Darcy Elliott takes us back to a bygone era where women were expected to tend to home an children while men were expected to provide and, if a husband strayed, it was all good and no questions were asked as long as the wife kept lifestyle to which she was accustomed. As advertised, this is a play is called The Women… and it’s all about the men!
Briefly, The Women is a comedy of manners and a 1930s commentary about the high class lives and power plays of wealthy socialites of Manhattan and the gossip that guides and ruins relationships, namely for women. Most of the discussions are about the men with which these women are involved and though the men are important to the plot, they strictly talked about but never seen.
The Women was written and first produced in 1936 and later adapted into an uber successful film in 1939 starring some of the top actresses of the day including Norma Sheer, Rosalind Russell, and Joan Crawford. It was also adapted and updated in 2008, but we’ll pretend that never happened.

Kellie Podsednik as Crystal Allen. Credit: Spotlighters Theatre / Shealyn Jae Photography / Shealynjaephotography.com


Anyone who’s tread the boards of the Spotlighters stage or sat in the audience can see right off the challenges it presents being an intimate space as well as in the round, but Alan Zemla’s Set Design is spot on for this production. Practically each scene is a different setting and the use of set pieces is the most effective and innovative way to present each scene. Zemla’s attention to detail is impeccable and the pieces used in this production are befitting and does not hinder the story whatsoever but moves it along nicely. The scene changes could move a bit faster, with some going as long as 2 to 3 minutes long (a century in production time), but the 4-person stage crew does a stupendous job moving the large, but absolutely appropriate set pieces on and off stage cautiously in the small space. Kudos to Alan Zemla for a job well done.
The wardrobe for this piece is a beast but Costume Design by Andrew Malone, Amy Weimer, and Darcy Elliot is on point. Every stitch these ladies wear is appropriate, to period, and authentic. Set in the days of art deco, the gowns provided to these actresses are superb and all of the actresses look comfortable in what they are wearing. Most of the ensemble members seem to have at least 3 costumes a piece, so I can only imagine the hours this Costume Design team put into this production, but it paid off. They were able to present the glamour these society ladies exuded as well as the conservatism of the 1930s through casual wear and business attire. Overall, Malone, Weimer, and Elliott knocked it out of the ballpark with their design and added great value to this production.

Andrea Bush as Nancy Blake. Credit: Spotlighters Theatre / Shealyn Jae Photography / Shealynjaephotography.com


Baltimore theatre veteran and Spotlighters Theatre Managing Artistic Director Fuzz Roark takes the helm as Director of this piece and for a man directing all these ladies, he does an outstanding job. Aside from the long scene changes, Roark keeps the action moving along and though the piece runs almost 3 hours, it’s not because of any dragging on the stage, it’s just a lot of show, that Roark has managed to present at a good pace and with authenticity. His casting is impeccable and, above all, his vision is clear, and he seems to have a strong comprehension of the material and the era in which this piece is set allowing him to present an impressive production that is a joy to watch.

Kellie Podsednik as Crystal Allen. Credit: Spotlighters Theatre / Shealyn Jae Photography / Shealynjaephotography.com


There are definitely some actresses who are stronger than others and there is a wide range of ability on the stage. However, all the members of this ensemble work well together and off of each other having a tremendous chemistry. Within this abundant cast, there were quite a few highlights.
Ilene Chalmers is charming and motherly as Mrs. Morehead, the conservative, wise mother of poor Mary Haines and though her role doesn’t require as much stage time as others, she gives a strong performance and delivers her lines confidently. Another “supporting” role is that of Jane, the loyal maid, played by Christina Holmes. Holmes gives an outstanding performance adding an Irish accent that is near flawless and she makes this character her own and one to watch.

Michele Guyton as Mary Haines. Credit: Spotlighters Theatre / Shealyn Jae Photography / Shealynjaephotography.com


Nancy Blake, the witty, single and brassy author and world traveler of the group of ladies this story follows is played by Andrea Bush and she is on point with this character. She has a definite command of the stage and digs her teeth into this character, giving her a rough-around-the-edges persona that actually makes her very likable. This character doesn’t mince her words and Bush embraces this giving a very enjoyable, humorous performance.
Kellie Podsednik tackles the role of Crystal Allen, the other woman who frankly doesn’t give a damn and knows how to play the game of infidelity and social climbing. From the moment she stepped on stage, I wanted to scratch this woman’s eyes out so, with that said, Podsednik played this role superbly. She had just enough smugness and confidence that one has to almost respect her even though she is a homewrecker. Crystal Allen is a high-toned woman, but Podsednik may have taken her vocalization or accent a bit too far, almost sounding straight up British, but other than that minor detail, her performance is realistic and outstanding.

Suzanne Young as Countess de Lage. Credit: Spotlighters Theatre / Shealyn Jae Photography / Shealynjaephotography.com


The role of Mary Haines, or Mrs. Stephen Haines, a gentle, level-headed socialite housewife and the character around whom this story mainly revolves is tackled by Michele Guyton who brings a certain grace and dignity to this character. Her choices work very well for this character and she gives a balanced and confident performance and, at times, seems to glide effortlessly across the stage adding to her brilliant performance.
A certain highlight of this piece is Suzanne Young who takes on the role of Countess de Lage, the very rich, care-free, love lorn lady who has been married several times. Young is an absolute hoot in this role summoning up belly laughs from the audience nearly every time she’s on stage. She understands the comedy and her timing is just about perfect. She plays off the other actresses beautifully and delivers her lines naturally and boldy. I’m lookig forward to seeing more from this extremely talented actress.

Melanie Bishop and Michele Guyton. Credit: Spotlighters Theatre / Shealyn Jae Photography / Shealynjaephotography.com


Melanie Bishop portrays Sylvia Fowler, the sharp-tongued, gossipy, friend you love to hate and she plays it with gusto making her bona fide standout in this production. Having last seen Bishop in Spotlighters production of The Game’s Afoot playing a similar character in a similar time, she couldn’t have been cast better. She understands this type of character in and out and brings an authenticity that is second to none. I’d love to see her play another type of character because her acting chops are on point, but I thoroughly enjoy watching her play this type of role. Bishop’s comprehension, her comfort on the stage, and her strong stage presence makes for a superior execution of this nasty, loud-mouthed character.
Final thought… The Women at Spotlighters Theatre is a witty, brash, and honest play taking the point of view of women of the 1930s and though socially outdated, with certain ideas of how men and women should behave in relationships (namely marriage), it is still a piece ahead of its time. It portrays strong women and gives a humorous, true, and intelligent insight into their ideas of men. Spotlighters Theatre’s production is well thought-out, entertaining production with an more than able ensemble of strong actresses that should be added to your list of shows to see this season.
This is what I thought of Spotlighters Theatre‘s production of The Women… What did you think? Please feel free to leave a comment!
The Women will play through March 19 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: Three Penny Opera at Spotlighters Theatre

By Jason Crawford Samios-Uy
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Running Time: 3 hours with one 15 minute intermission

Connor Moore As the Street Singer. Credit: Spotlighters Theatre/Shealyn Jae Photography

Connor Moore As the Street Singer. Credit: Spotlighters Theatre/Shealyn Jae Photography


I’m both a musical theatre fan and an opera fan, with emphasis on the former, but I certainly appreciate a good opera now and then. Of course, both genres’ main element is music but the production is a bit different. Spotlighters Theatre‘s latest offering, Three Penny Opera Adapted by Bertolt Brecht and Music by Kurt Weill (adapted from a translation of Jonathan Gay’s The Beggar’s Opera by Elizabeth Hauptmann) merges both of these genres to give us a three hour journey where our heroes fight for social and economic justices to which today’s audiences can relate. This production is Directed, Edited, Adapted, and Newly Translated by Michael Blum, with Music Direction by Erica Rome, and Choreography by Melissa McGinley.
The story begins with the familiar Ballad of Mack the Knife, beautifully performed by Connor Moore (though, be forewarned, it’s much different from the jazzy Bobby Darrin version we’re used to), then goes on to tell the story of Macheath (a.k.a. Mack the Knife) the most notorious criminal in all of England. Macheath marries Polly Peachum (Allison Hicks) much to the dismay of her parents (Frank Mancino and Kay-Megan Washington), who happen to be wealthy and in charge of all the beggars in London but there’s not much to be done since Tiger Brown, the High Sheriff of London is a very good boyhood friend of Macheath. Mr. Peachum, with his clout, threatens Tiger Brown, leading to the arrest of Macheath who manage to escape (a couple of times) with the help of some prostitutes, which leads to an abrupt ending a la deus ex machina (but you’ll have to see it to see if it’s happy or sad).
Steve Quintillian and Robert Wall. Credit: Spotlighters Theatre/Shealyn Jae Photography

Steve Quintillian and Robert Wall. Credit: Spotlighters Theatre/Shealyn Jae Photography


Although this piece runs just about as long as an average opera, the pacing and tempo is very good so, it’s not that the cast is dragging their feet, it’s just A LOT of show. Blum skillfully punches out each scene smoothly without much downtime and keeps the action moving along nicely.
Spotlighters Theatre’s space being as intimate as it is, the Set Design by Alan Zemla is fitting for this piece utilizing set pieces rather than a unit set, which is clever, and using space off the stage wisely, as well.
Going along with the production aspect of this piece, Costume Design by Amy Weimer and Darcy Elliot was well thought-out and befitting with variety and authenticity.
Rachel Verhaaren, Andrea Bush, Evangeline Ridgeway, and Kay-Megan Washington. Credit: Spotlighters Theatre/Shealyn Jae Photography

Rachel Verhaaren, Andrea Bush, Evangeline Ridgeway, and Kay-Megan Washington. Credit: Spotlighters Theatre/Shealyn Jae Photography


Overall, this is a well put-together production with a tight ensemble but the story gets somewhat lost in the translation by Director Michael Blum. According to Blum’s bio, he has a background in opera, and it seems as though that’s how he approached this production rather than a play with music or a musical theatre piece. The program states the setting of this piece is supposed to be Baltimore in 2017 and London, 1838 (as seen through the eyes of Brecht in Berlin, 1928) – did ya get all that? Blum manages to portray the latter adequately, but the only hint of Baltimore 2017 comes in to play during two instances where the cast dresses up like modern day beggars but, unless I missed it, I didn’t get the feel of modern day Baltimore at all in this piece. However, minor curious direction choices aside, his casting is full of superb vocalists and most are indeed top notch such as Kay-Megan Washington, Allison Hicks, and Amber Hooper – all vocal powerhouses. Music Director Erica Rome is to be commended for her work with this ensemble as they are on point, musically, and Choreography by Melissa McGinley is charming and appropriate, adding value to the production.
Robert Wall. Credit: Spotlighters Theatre/Shealyn Jae Photography

Robert Wall. Credit: Spotlighters Theatre/Shealyn Jae Photography


A couple of highlights in this production are Evangeline Ridgeway as Jenny Diver and Robert Wall as Tiger Brown, High Sheriff of London. Both a very accomplished vocalists and each portrays his or her respective character with confidence and ease with a strong presence on the stage.
Steve Quintillian takes on the role of our “hero,” Macheath, and though his overall performance falls a little flat as, vocally, he may not be as strong as his counterparts, he gives a good showing as the suave con man, King of Criminals and he is dedicated to his role.
Allison Hicks. Credit: Spotlighters Theatre/Shealyn Jae Photography

Allison Hicks. Credit: Spotlighters Theatre/Shealyn Jae Photography


The entire ensemble gives an admirable, dedicated performance (especially ensemble standout Andrea Bush, who carries her smaller role naturally and confidently), moving the piece along smoothly and really rounding out this production beautifully.
Final thought… Three Penny Opera is definitely a bit of an acquired taste but definitely worth checking out because of the incredibly immense vocal talent in this production. The translation may make the sordid story of criminals, con men, crooked cops, and even a little love a bit jumbled, but, overall, it’s a well-performed, charming piece with an absolutely dedicated ensemble. Whether your an opera fan or an old fashioned musical theatre fan, you’ll find a familiar joy in this production.
This is what I thought of Spotlight Theatre’s production of Three Penny Opera.
What did you think? Please feel free to leave a comment!
Three Penny Opera will play through February 5 at Spotlighters Theatre, 817 St. Paul Street, Baltimore, MD. For Tickets, call the box office at 410-752-1225 or purchase them online.
Email us at backstagebaltimore@gmail.com
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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.

Review: Das Barbecu at Spotlighters

By Jason Crawford Samios-Uy

barbecu-artwork-smring_orig

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

A series of Wagner operas and the great state of Texas?! Can the two mix? Sounds crazy, right? Well, Spotlighters Theatre‘s latest contribution to Baltimore theatre, Das Barbecu, with Book & Lyrics by Jim Luigs and Music by Scott Warrender, proves that it can be so. Directed by Greg Bell, with Music Direction by Michael Tan and Choreography by Jillian Bauersfeld and Greg Bell, Das Barbecu manages to take Wagner‘s complex four-part Ring Cycle opera and make it just a little more accessible and (some would argue) more interesting and fun for audiences not so versed with the classics. Now, this isn’t to say that Das Barbecu is a dumbed-down version of the Ring Cycle, but more contemporary and in-tune with today’s audiences. The story, characters, and message is still in tacked, only now it has a charming Texas drawl.

Rob Wall and Clare Kneebone. Credit: Spotlighters Theatre /  Shealyn Jae Photography  / Shealynjaephotography.com

Rob Wall and Clare Kneebone. Credit: Spotlighters Theatre / Shealyn Jae Photography / Shealynjaephotography.com

The intimate, in-the-round space at Spotlighters would usually be a challenge for a show like this with its multiple locations and, well, they say everything is bigger in Texas, but Spotlighters has a lot of experience putting big shows up in this small space and Set Designer Alan Zemba used his space very wisely. With simple yet creative set pieces, Zemba manages to take the audience from the garden of a palatial mansion to a vast ranch, to bedrooms, then to a bar, then to the top of a mountain, then to a barbecue (whew!), all with minimal set pieces. Not only was the set creative, but it is easy and practical enough for the stage crew to get on and off quickly. I will say, however, there were a few scene changes that seemed a bit longer than usual, but all in all, the stage crew had razor sharp, rehearsed precision and the set worked beautifully with the piece and certainly helped tell the story.

The cast of Das Barbecue. Credit: Spotlighters Theatre /  Shealyn Jae Photography  / Shealynjaephotography.com

The cast of Das Barbecue. Credit: Spotlighters Theatre / Shealyn Jae Photography / Shealynjaephotography.com

Adding great value to this production is Costume Design by Andrew Malone. There are so many characters in this piece played by only five actors, Malone does an impeccable job making each character absolutely individual and memorable with simple, yet noticeable wardrobe changes. An actor can play up to five characters, but, because of the character costumes, it is easy to distinguish each character, which is invaluable with this involved, twisting story. Major kudos to Andrew Malone for his creative and flawless design.

With the space being as intimate as it is, Light Design by Al Ramer is simple, yet very befitting to this production and did not impede but enhance the action onstage. The lighting is well thought-out and sets the proper mood for each scene helping move the story along.

Moving into the production aspect of this piece. Choreography by Jillian Bauersfeld and Greg Bell is fun and very appropriate for this piece and the space in which it is performed. The dancing is tight and entertaining and adds to the production rather than takes away from this piece. Also, the actors are comfortable with the choreography and perform it confidently and with high energy making it enjoyable to watch.

Allison Comotto and Clare Kneebone. Credit: Spotlighters Theatre /  Shealyn Jae Photography  / Shealynjaephotography.com

Allison Comotto and Clare Kneebone. Credit: Spotlighters Theatre / Shealyn Jae Photography / Shealynjaephotography.com

Baltimore theatre veteran Music Director Michael Tan does not disappoint in this production. He manages to take his small cast and have them harmonizing and blending beautifully to bring this story to life. Some songs are funny and some poignant, but whichever mood, under the direction of Tan, the actors seem to understand what these songs are about and perform them accordingly. It helps that the most of the ensemble is already strong, vocally, and Tan uses this to his advantage making for a very impressive showing.

Directing 5 actors to play 26 characters can be quite a challenge for any director, experienced or otherwise, but Greg Bell takes on this challenge and executes his impeccable skill. It is important for whomever takes the reigns of this piece to completely understand the story of Wagner’s complicated Ring Cycle and Bell seems to have a tight grasp and his vision for this piece is apparent and well put together. He excels in blocking his actors to keep the story moving smoothly and at a near perfect pace. Though, as an audience member, I did have to do my part by paying attention, but the story was presented to me clearly and I wasn’t scratching my head or asking questions during intermission or after the performance. Das Barbecü is another well-done project from Greg Bell.

Jim Gross. Credit: Spotlighters Theatre /  Shealyn Jae Photography  / Shealynjaephotography.com

Jim Gross. Credit: Spotlighters Theatre / Shealyn Jae Photography / Shealynjaephotography.com

Jim Gross, a.k.a. Actor 4, takes on the role of Woton, Gunther, Hagen, a Texas Ranger, and a Giant and, according to his bio, is back after a year hiatus from the stage. He gives an admirable performance having to take on so many characters and keeping each an individual through not only costumes, but mannerisms and physicality, as well. His Texan/Southern accent could use a bit more work as I don’t hear much of one throughout and his solo number “River of Fire” does fall a bit flat for being so early in the second act. However, he does hold his own commendably against the other strong actors in the ensemble and his performance is to be applauded.

Clare Kneebone. Credit: Spotlighters Theatre /  Shealyn Jae Photography  / Shealynjaephotography.com

Clare Kneebone. Credit: Spotlighters Theatre / Shealyn Jae Photography / Shealynjaephotography.com

Clare Kneebone was last seen at Spotlighters in Tick, Tick… Boom! and, in this production, she is known as Actor 3, taking on the roles of Brünnhilde, a Norn Triplet, a Texas Ranger, and a Rivermaiden. Kneebone is comfortable on this stage and takes strong command when she appears. Though this is a complete ensemble piece, she takes on what’s closest to the female lead in this piece and she gives a confident, natural performance. Her beautiful, strong vocals b
lend very nicely with the ensemble and shine through in her solo number “County Fair.” Kneebone is a joy to watch and I look forward to experiencing her future work.

Rob Wall. Credit: Spotlighters Theatre /  Shealyn Jae Photography  / Shealynjaephotography.com

Rob Wall. Credit: Spotlighters Theatre / Shealyn Jae Photography / Shealynjaephotography.com

Rob Wall is no stranger to the Spotlighters stage, also having been last seen in Tick, Tick… Boom! Wall takes on the responsibilities of Actor 5, performing the roles of Siegfried, a Norn Triplet, Milam Lamar, Alberich, and a Giant. Taking on what could be considered the lead male role, Wall gives a very enjoyable, strong performance. His gorgeous, booming voice resonates throughout the theatre but he blends well with the ensemble, filling out the sound beautifully. He is able to separate each character he plays and give them each their own respective lives. He understands his characters and works hard to bring them to life. He has a great command of the stage and seems quite comfortable and natural in his roles and this is another great performance from Rob Wall.

Allison Comotto is Actor 1 and takes on the roles of Gutrune, a Norn Triplet, Freia, Y-Vonne Duvall, a Rivermaiden, and a Valkyrie. She, too, is a veteran of the Spotlighters stage having been last seen in Zombie Prom.

Allison Comotto. Credit: Spotlighters Theatre /  Shealyn Jae Photography  / Shealynjaephotography.com

Allison Comotto. Credit: Spotlighters Theatre / Shealyn Jae Photography / Shealynjaephotography.com

Comotto is a busy bee in this production but she is certainly a highlight with her spot-on comedic timing and natural acting chops that make her characters very enjoyable to watch. Vocally, she’s strong and is able to hold her own in the harmonies and blends well. Not to beat a dead horse, but her comedic timing is absolutely flawless. Her character, Y-Vonne Duval (actually pronounced WHY-vonne), a high society Texas wife who knows all the gossip in town, is just plain hysterical. She’s comfortable on stage and has a very strong presence that makes one take notice. Her natural talents are a joy to watch and I’m looking forward to seeing more from Ms. Comotto in the future.

Andrea Bush. Credit: Spotlighters Theatre /  Shealyn Jae Photography  / Shealynjaephotography.com

Andrea Bush. Credit: Spotlighters Theatre / Shealyn Jae Photography / Shealynjaephotography.com

Lastly, but certainly not least, Andrea Bush, who is most decidedly another standout of this production. Bush is an absolute pleasure to watch as she navigates through her characters as Actor 2, taking on the roles of Narrator, Fricka, Erda, Needa Troutt, Back-Up Singer, Katsy Snapp, a Rivermaiden, and a Valkyrie. For as many characters as Bush had to play, she transitioned seamlessly and gave each character an individual personality, displaying her on-point acting skills. Vocally, this woman has some strong pipes and her booming voice is an asset to this piece. In both her comedic and more serious numbers, she gave a strong vocal showing and found the feeling in every song through her performance. Her comedic timing is outstanding and she seems to understand all her characters and the story, allowing her to give an assured performance that adds value to this production. She’s defintiely one to watch.

Andrea Bush and Allison Comotto. Credit: Spotlighters Theatre /  Shealyn Jae Photography  / Shealynjaephotography.com

Andrea Bush and Allison Comotto. Credit: Spotlighters Theatre / Shealyn Jae Photography / Shealynjaephotography.com

Final thought… much like the Looney Tunes made Wagner much easier to swallow (and introduced children and a lot of adults to the opera genre), Spotlighters production of Das Barbecu takes a complex, classic piece and makes it more accessible and funny. Wagner’s Ring Cycle is not a piece I am entirely familiar with, but now, should I delve into a performance of it somewhere in my journeys, I’ll have a better understanding of the story and will probably appreciate more than I would have going in blind. Who knew Texas and a Wagner series of operas would mesh so well together?

Want another point of view? Check out what The Bad Oracle had to say!

Das Barbecu will play through October 30 at Spotlighters Theatre, 817 St. Paul Street, Baltimore, MD. For tickets, call the box office at 410-752-1225 or purchase them online.

 

 

 

 

 

Review: Marx in Soho at Spotlighters Theatre

By Jason Crawford Samios-Uy
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Running Time: 1 hours and 35 minutes with no intermission

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Karl Marx. Credt: Public Domain


If I were to invite any deceased historic figure to dinner, Karl Marx would not have been my first choice. Actually, he probably wouldn’t have even crossed my mind but after experiencing Spotlighters Theatre latest offering of Marx in Soho by Howard Zinn and directed by Sherrionne Brown and starring Phil Gallagher, I think Mr. Marx could possibly make my Top Five (of whom currently includes Mozart, Joan Crawford, Karen Carpenter, Abraham Lincoln, and Walt Disney, but I haven’t a clue of who would be bumped).
I admit… I walked in thinking this piece thinking it was going to be uber-political and argue the pros of Marxism and Communism and, with the political climate being what it is in the country at the moment, I rolled my eyes and settled in for the long haul. I can also admit my thinking was incorrect. Though this piece did touch on a many of Karl Marx’s ideas, it was not so much political as it was a piece showing Marx in a different light. He is usually thought of as a revolutionary, trouble maker, or rabble rouser but Zinn’s piece expressed his softer side; his life as a family man and his love and adoration for his wife and children (of which only three lived into adulthood). It shows a Marx who can admit when he is wrong and came back from the dead to express to the world that his ideas are different to the ideals of Communism that Lenin spouted out and that he wasn’t so stubborn that he couldn’t debate (sometimes heatedly) different ideas with friends and colleagues. Zinn manages to reveal Marx’s positive achievements rather than concentrate on the negative connotations of his life and work.
I certainly have my own ideals, politically and otherwise, as we all do, but I’m glad I was able to attend this production of Marx in Soho as it enlightened me, made me think, and reminded me that there are many different angles to folks that we must consider before passing any type of judgment. This piece wasn’t a lesson on Marxism or Communism, but a look into the life of a man who had his own ideas and way of looking at the world and his courage to express them, regardless of any adversity. Zinn manages to balance out the history and the entertainment in his script and it blends together beautifully.
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Credit: Spotlighters Theatre/Shaelyn Jae Photography


Spotlighters is a unique space, to say the least. It’s theatre in the round, which is always challenging and to add to that challenge, they have four pillars on each corner of the stage of which they have to contend but Spotlighters has not disappointed, yet! The production teams for each show manage to use the space to maximum efficiency, and this production is no different. The Set Design by Director Sherrionne Brown is minimal, with a desk, a couple of chairs, and a stool, but it all comes together perfectly. It’s the set decorations of old photos of historic figures such and folks from Marx’s life add a sense of familiarity, like we’re sitting in Marx’s parlor or study, as a guest or old friend, listening to him as he talks about his ideas and writings.
Lighting Design by Fuzz Roark was very subtle but that’s exactly what is needed in this piece. His use of brightness levels are barely noticeable but add depth to the performance as the lighting seems to change with Marx’s changing moods from fiery revolutionist to loving husband and doting father and add great production value to the piece. The imitation thunder and lightning are perfect transitions and stop signs for the character of Karl Marx when he gets a little too saucy or political.
Director Sherrione Brown uses this space wisely and keeps her actor moving fluidly as to not ignore any part of the audience that surrounds him. Her guidance, along with the natural instincts of Phil Gallagher, brought Karl Marx to life right before my eyes and the nuances of the character, including the look, gestures, and facial expressions set me at east, as an audience member looking in. The Set Design complimented the performance and Brown is to be commended for her thought-provoking work on this piece.
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Phil Gallagher as Karl Marx. Credit: Spotlighters Theatre/Shaelyn Jae Photography


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Phil Gallagher as Karl Marx. Credit: Spotlighters Theatre/Shaelyn Jae Photography


Phil Gallagher as the titular character of Karl Marx is an absolute joy to watch. Performing in a biographical piece has its own set of challenges but Gallagher completely nails this role and gives an outstanding performance. From the moment he steps on stage, one cannot help but notice the striking resemblance Gallagher has to a young(er) Marx (a little different from the common white bushy bearded, older Marx). The Costume Design by Andrew Malone is spot on and very appropriate for the time in which Marx lived and for this piece. Gallagher is very comfortable both in his wardrobe and on the stage, having a strong command and he moves smoothly around making sure he gives attention to all sides of his audience. To be honest, Gallagher has completely changed the way I envisioned Karl Marx that was formed from what I’ve researched about him and from the stern photographs I’ve seen. Gallagher’s very authentic performance makes Marx approachable and downright likeable and though this may have something to do with the script, it is mostly because of the friendly feel I get from Gallagher. He is so natural in this role, there were many times I completely forgot there was a script involved. His German accent is on point and he, impressively, holds it throughout the entire performance, adding a realism to the performance. Gallagher seemed to have really understood the man he was portraying and it showed through in his strong, confident performance. Major kudos to Phil Gallagher for this exceptional performance as Karl Marx.
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Phil Gallagher as Karl Marx. Credit: Spotlighters Theatre/Shaelyn Jae Photography


Final thought… Marx in Soho is a show that makes me see things from a different angle and appreciate another view. In these crazy times of this crazy United States Presidential election, I’m glad that I was reminded that this is very important. This piece portrays another side of a man who is commonly seen in a negative light and makes him more familiar and approachable. Whatever ideals you may have, Marx in Soho is an enlightening, provocative look into the life of a man who, in the end, just wanted the world to be a little better for everyone.
This is what I thought of this production of Marx in Soho.… what do you think?
Another point of view: The Bad Oracle’s review of Marx in Soho
Marx in Soho will play through September 18 at Spotlighters Theatre, 817 St. Paul Street, Baltimore, MD 21202. For tickets, call the box office at 410-752-1225 or purchase them online.