Review: Disney’s The Little Mermaid at Cockpit in Court Summer Theatre

By TJ Lukacsina

Run Time: Approx. 2 hours and 15 minutes with one intermission

Under the Sea with Sebastian (Derek Cooper). Credit: Trent Haines-Hooper

Sebastian is certainly onto something when he tells Airel that “the human world is a mess. Life under the sea is better than anything they got up there.” Especially if he’s referring to Cockpit in Court’s latest production of Disney’s The Little Mermaid, with music by Alan Menken, lyrics by Howard Ashman and Glen Slater. This production is Directed by Jillian Bauersfeld, with Music Direction by Andrew Worthington, and Choreography by Karli Burnham. Originally produced by Disney Theatrical Productions, this adaptation from Disney’s 1989 film has a book by Doug Wright which has had some unfortunate rewrites since the show closed on Broadway in 2009. I’ll be upfront in saying that the majority of my qualms for this production stem from these poor rewrites and cuts that Disney made before allowing it to be licensed to local theatre groups. In general the writing is watered down and presentational on a basic, at times insulting, level and makes you feel as if you’re watching the Wikipedia Summary instead of the show. Thankfully, Jillian Bauersfeld’s handling of the show not only makes it palatable but also an enjoyable experience for all ages.

Briefly, The Little Mermaid is about Ariel, King Triton’s youngest daughter, who wishes to pursue the human Prince Eric in the world above. She bargains with the evil sea witch, Ursula, to trade her tail for legs by giving up her voice. But the bargain is not what it seems, and Ariel needs the help of her colorful friends, Flounder the fish, Scuttle the seagull and Sebastian the crab to restore order under the sea. (www.mtishows.com)

Under the Direction of Jillian Bauersfeld, Music Direction of Andrew Worthington and Stage Management of Robert W. Oppel, this production is highly entertaining and manages to allow the audience to drift from scene to scene without any pull from the undertow. The audience feeds off the energy flowing from the stage and one can’t help but enjoy being slightly distracted from little kids singing along to some of their favorite songs. That’s when you know you have tapped into the Disney magic and are encouraging future theatre lovers.

Allison Comotto as Ariel. Credit: Trent Haines-Hooper

Walking into the theatre you are treated with a projection of a beach and the sounds of waves and seagulls to help take you away from the pouring rain outside. Creating their magical world, Set Designer Michael Rasinski should be proud of the scene shop’s execution. These beautiful set pieces are large enough to maintain their presence while the cast dances on and around them. Corals in Ariel’s grotto and individual wood planks on Eric’s ship are the kinds of details that help transport you and are much appreciated. But even with the details, a little more attention to the destruction of the grotto would have helped the audience grieve with Ariel instead of wonder why she was so upset that her thingamabobs were moved a few feet away from her whatchamacallits. However, all of these set pieces would go unnoticed if it weren’t for Thomas Gardner’s Lighting Design. Overall, the lighting is aesthetically pleasing and appropriate. The heavy use of haze allowed the lighting to be seen to help fill the full stage space but allowed the lights to become distracting during the scenes on the apron where they obscured the projection heavily. Use of moving lights helped to create the underwater effect and while effective, would occasionally get lost due to similarities in the color pallette . Mr. Gardner certainly has an eye for key moments in songs and certainly knows when and how to highlight them for maximum effect.

Deanna Brill’s Costume Design walked the line between expectation and invention. I applaud the bold choice to tastefully show so much beautiful skin and the design of the mer-tales that were as practical as they were visually delightful. The ensemble were dressed vividly while the classic looks from the movie were still alluded to, from Prince Eric’s classic outfit to even the puffy sleeves on the wedding dress. From the fish, eels and even the birds, the costumes allowed the actor’s characters to come to life.  Although the designer is not listed in the program, make-up design was detailed and really helped to establish these characters as otherworldly. My main makeup concern was actually a lack of a certain makeup: the decision to not conceal actor’s tattoos. While appropriate in some shows, I found them to be a minor distraction for this production.

Gary Dieter as Scuttle. Credit: Trent Haines-Hooper

For a show that has a focus on story and is aided occasionally with dance, Karli Burnham’s Choreography helped to showcase the wonderful talent in the cast. With a working knowledge of the costumes, the choreography wasn’t limited to just foot movement but body and arm movements which allowed for a fluid movement from the actors. Some of the large ensemble numbers while portraying water felt repetitive and tedious in their attempt to fill the musical space. However, her work really shines with the small tap ensemble as well as the evolution of dance Eric teaches Ariel in “One Step Closer” was storytelling through dance.

The heavy lifting of Alan Menken’s score is in the capable hands of Andrew Worthington. The cast was well prepared and knowledgeable enough of their parts to make them their own and not rely on mimicking the original cast recordings. All voice parts were balanced and easily heard along with the pit thanks to the constant vigilance by sound designer Brent Tomchik. Following Mr. Worthington’s conducting was a competent orchestra consisting of established musicians in the area: Stephen Deninger, William Zellhofer, Christopher Rose, Stacey Antoine, Joseph Pipkin, William Georg, and Gregory Troy Bell. While proficient and accurate, the orchestra only suffered from a lack of actual brass and additional woodwinds. Even though those parts were covered in the keyboards, I found the patches were inconsistent among themselves and rarely compensates for the timbre from the actual instrument.

All these designers were able to achieve on a level which produced a thorough and consistent vision from Director Jillian Bauersfeld. With the aid of Assistant Director Jake Stuart, the cast is able to portray these fantasy characters with heart, believability and a recognizable humanity. While working under the shadow of a Disney title, it’s difficult to produce a show that allows artistic freedom with a vision while still giving the audience a dose of their expectations from the movie which kicked off the Disney animated renaissance. Ms. Bauersfeld was able to give us a cast worth watching and set up a show that ran smoothly. Small decisions to have the sea characters constantly moving arms or allowing several acting choices that were inconsistent to their characters are minor annoyances and never hurt the overall enjoyment. The true art of directing is assembling the right team to find the right cast and crew and allow everyone to do what they do while pushing them for more. Congrats to Ms. Bauersfeld on your ability to inspire everyone to give their best!

(l-r) Josh Schoff as Flostom, Holly Gibbs as Ursula, and Jonah Wolf as Jetsam. Credit: Trent Haines-Hooper

I have always felt that some of the hardest working actors seem to get lost in the ensemble. When asked to play several different characters, help shift set pieces, and often run off stage only to completely change costumes and makeup and run back on stage for two minutes of a three minute song, it’s hard to remember what is next let alone your name. Major kudos to Nicole Arrison, Olivia Aubele, Amy Bell, Lanoree Blake, Katelyn Blomquist, Karli Burnham, Kelsey Feeny, Shani Goloskov, Aaron Hancock, Mark Johnson Jr, Dorian Smith, Ian Smith and Jose Teneza for your energy, talent and being consistently in character. These actors jumped from the sailors steering the ship and winding the rope, to King Triton’s court, to the seagull ensemble, chefs and Ariel’s attendants in the castle and were always able to help establish the mood of the scene.

Featuring Ellen Manuel (Aquata), Elisabeth Johnson (Andrina), Malarie Zeeks (Arista), Kaitlyn Jones (Atina), Emily Caplan (Adella) and Hannah Bartlett (Allana), Ariel’s mer-sisters were a wonderful balance to Ariel’s positive and dreamy attitude. Using different hair styles and different shells while porting vastly different personalities and physical traits, each sister managed to be her own while presenting a unified front in their featured numbers “Daughters of Triton” and “She’s in Love.” Pulling double duty, they are a delight to see on land competing for Eric’s love in the vocal contest that plays up the fantastically poor vocals of these characters.

Brian Jacobs as Chef Louis. Credit: Trent Haines-Hooper

In supporting yet memorable roles, Brian Jacobs revels in playing Chef Louis during “Les Poissons” while Nicholas Pepersack’s dignified and proper Grimsby was always moving with purpose on stage. Mr. Jacobs clearly enjoys his song and slashes into his character to the breaking point of the cleaver. A fun cameo for sure that was able to get the giggles and laughs from the audience. Grimsby’s conversation with King Triton really gives Mr. Pepersack a moment to have a heartfelt moment and show how proud he is of Prince Eric.

My scene-stealing award goes to Gary Dieter who simply was Scuttle from the moment he flew in to his flawless tap dance in “Positoovity.” Scuttle was over the top and as endearingly annoying as I remember from the movie. It was hard not to smile when he was visible. Sharing the stage with him most of the time and impressively holding his own ground was Adrien Amrhein as Flounder. With sweet dance moves and a solid voice, this kid will secure more roles on stage and we will benefit from seeing him. Dutifully performing a poorly written character, his choices to not emphasize being friend-zoned and play up the best friend were appreciated.

Slithering onto the stage on their matching scooters were Josh Schoff as Flotsam and Jonah Wolf as Jetsam. The choice of scooters to maneuver them around stage was inventive and paid off in execution. Both actors were able to skillfully incorporate them in their character and not rely on them as a crutch. They were perfect henchmen to Holly Gibbs’ Ursula. Having arguably both the best and worst songs in the show, Ms. Gibb was able to make the most of her voice and complemented with acting ability that emanated from all eight limbs.

As ruler of the sea, Mark Lloyd’s King Triton managed to capture the softer side and showcased his mourning for his deceased wife and inability to properly communicate with Ariel. “If Only” is a great song to show that Triton is more than just a fierce ruler who banished his sister to a small part of the ocean but is also a parent who is sometimes unsure how to parent. He relies on Sebastian, played by Derek Cooper, to spy on Ariel and win her trust. With a clever costume and sublime vocals, Mr. Cooper is able to bring Sebastian into our lives with his own lovely interpretation. “Under the Sea” is his time to shine and when out in front singing he earns your attention with powerful falsettos and fantastic facial expressions.

The Daughters of Triton. Credit: Trent Haines-Hooper

Our leading man, Jim Baxter hits the stage as Prince Eric while taking charge of his ship. Mr. Baxter certainly looks every bit of what you’d expect from the cartoon and captures his love for adventure when on the ship and when courting Ariel in the second act. When beginning “Her Voice” he was oddly out of breath but managed to salvage some and really drive the second half of his number home with gusto and emotion. Not to be out-done by her new fiance, Allison Comotto’s Ariel is exactly what you could want from a Disney princess. Ms. Comotto is able to capture Ariel’s longing and desire to escape all while dealing with difficult family members. Allison really comes to life in Act two when her curiosity and excitement can only be communicated through her facial expressions. The joy Ariel finds in the new world is brilliantly shown during “Beyond My Wildest Dreams” where she sings her inner monologue to us. But however fantastic she is, she is at her prime when singing “Part of Your World.” Congratulations on your fairytale engagement and for inspiring a cast to follow your lead.

Disney’s Little Mermaid is a local theatre production that is able to rely on the community of actors, crew, musicians and artistic staff to bring its own magic to the stage. They should be proud of the work that they have poured into this show. The perfect escape from the summer heat, bring the family to see Cockpit in Court’s production where “it’s better down where it’s wetter.”

Disney’s The Little Mermaid will run through Auguest 5 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: Tick, Tick… BOOM! at StillPointe Theatre

By Jason Crawford Samios-Uy
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Running Time: Approx. 80 minutes with no intermission
If you’re a fan of musical theatre, unless you’ve been living under a rock, you’ve heard of Jonathan Larson or… you’ve at least heard of that relentless bohemian musical he penned called RENT. With that out of the way, let’s get into StillPointe Theatre’s latest offering, Tick, Tick… Boom! with Music and Lyrics by Jonathan Larson and Book by Jonathan Larson and David Auburn, Directed by Grace Anastasiadis, with Music Direction by Stacey Antoine. Tick, Tick… Boom! is Larson’s pre-RENT, semi-autobiographical piece that gives us more insight into his life with catchy but thoughtful songs and a nostalgic feel that takes us back to those flannel, maroon and black, angst-y 90s that we all remember and love.

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Set of Tick, Tick… Boom! at StillPointe Theatre. Credit: Ryan Haase


It’s no secret I am a fan of Ryan Haase’s set designs and this production is no different. Once again, Haase has creatively and efficiently designed the intimate StillPointe Theatre space into something magical and befitting of this material. His minimal, immersive set puts the audience smack-dab in the middle of the action and makes us part of the show. His choice of material, which really is just some chairs, a small love-seat, an old upright piano, and a sea of musical staff paper that floats above the audience, may not sound like much, but really works with this show, not distracting but adding to the story and production as a whole.
Kitt Crescenzo has great attention to detail with it comes to costuming this small cast of three and the 90s pop out with the dark color palate and accessories, and she even has the “90s yuppie” look down with the vertical striped shirt and loafers. The authenticity of the wardrobe took me back to this by-gone ear and added value to the piece.
Direction by Grace Anastasiadis is superb and she really seems to have a good comprehension of the material. With a more popular Larson piece out there in the world, it can be daunting to take on a lesser known piece, but Anastasiadis takes it and runs with it. Her blocking keeps the action moving and keeps the audience engaged and part of the story unfolding in front of them. With minimal sets, cast, and props, she tells the story beautifully and her casting is top notch.
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The Band. Credit: Rob Clatterbuck


Music Direction by Stacey Antoine is on point. The small, four-piece band including Stacey Antoine on Piano, Tanner Selby on Guitar, Cody Raum on Bass, and Joe Pipkin of Percussion are well-rehearsed and Antoine has a good grasp on Larson’s score. The cast is in tune and in harmony and the band, behind glass doors but still very much intertwined in the production, give a commendable performance.
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Adam Cooley and Ryan Haase. Credit: Rob Clatterbuck


Ryan Haase is delightful as Mike, the best friend who never gives up on you but is finding his own way in the process. I’ve already stated he’s a wizard when it comes to Set Design, but he’s rather able onstage, as well. He understands this character and his yearning for something more. He plays him with a stiffness that works well for the role and, vocally, Haase shines with a smooth tone in numbers such as his featured number “Real Life” and in his beautiful harmony in “Johnny Can’t Decide.” It’s good to see him using his talents onstage in this production, as well as off.
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Adam Cooley as Jon. Credit: Rob Clatterbuck


Adam Cooley as Jon gives a commendable performance and really gets to the heart of this character. It’s worth noting that from the moment you step into the theatre, Cooley does NOT LEAVE THE STAGE. He’s there for the entire 80 – 90 minute ride and he doesn’t falter once. He keeps the energy up and transitions smoothly through each scene, telling the story as he goes along. Impressively, Cooley actually plays the piano, quite well, in his poignant and emotional number “Why” and it just takes the show to the next level. This show is really on his shoulders, as Jon, but he rises nicely to the challenge.
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Amber Wood and Adam Cooley. Credit: Rob Clatterbuck


Last, but certainly not least, we have Amber Wood as Susan and she is a definite highlight of this production. She gives an absolute natural performance that takes the audience in from the moment she steps onto the stage. Relaxed and cool, as the characterization calls for, she performs this role seemingly effortlessly and her vocal performance is spot on and is a joy to watch. She has a good comprehension of the role and the characters place in the story and she superbly makes it her own. I’m looking forward to seeing more from Ms. Wood.
Final thought… Tick, Tick… Boom! at StillPointe Theatre is a charming, poignant look semi-autobiographical look at one of the prolific composers of the 20th century who was teetering on entering the 21st century but was taken from us too soon. Though I am not a fan of Jonathan Larson, this piece touched me. Without the fanfare and over-saturation that I had to endure with RENT, this piece stands firmly on its own but certainly gives us the beginnings of RENT but only subtly. StillPointe, as usual, has managed to take this small show and give us an immersive experience that is beautiful, thought-provoking, and all-around entertaining. The performances are authentic and emotional and the overall production is on you do not want to miss so get your tickets now!
This is what I thought of StillPointe Theatre’s production of Tick, Tick… Boom!… What did you think? Please feel free to leave a comment!
Tick, Tick… Boom! will play through August 10 at StillPointe Theatre, 1825 N. Charles Street, Baltimore, MD. For tickets, purchase them online.
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Review: Grey Gardens at Stillpointe Theatre

By Jason Crawford Samios-Uy
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Running Time: 2 hours and 20 minutes with one 15 minute intermission
Looking on the bright side isn’t something everyone can do. Not everyone can find joy in the face of adversity but in Stillpointe Theatre’s latest offering, Grey Gardens with Music & Lyrics by Scott Frankel and Michael Korie and Book by Doug Wright, shows us there are folks who can. Directed by Danielle Robinette and Ryan Haase, with Music Direction by Ben Shaver, Choreography by Lauren Spencer-Harris, Set Design by Ryan Haase, Costume Design by Kit Crescenzo, and Lighting Design by Adrienne Gieszl, Grey Gardens shows that there are people who can see the light at the end of a dark tunnel and survive even when the world has forgotten them.

The cast of Grey Gardens at Stillepoint Theatre. Credit: Rob Clatterbuck/Stillepoint Theatre

The cast of Grey Gardens at Stillepoint Theatre. Credit: Rob Clatterbuck/Stillepoint Theatre


Some are very familiar with the Beale women and the documentary about an Easthampton mansion named Grey Gardens and some have never heard of such a place or this piece of Long Island history. I was introduced to the Beales a few years back when a very good friend described a 1970s documentary that I just had to watch about these two oddball recluses who lived in a dilapidated 28-room garbage and critter filled mansion with barely any utilities and engulfed in overgrown foliage in Easthampton among the well-maintained houses and lawns of the well-to-do and… I’ve been in love with these two oddballs ever since!
Co-Directors Danielle Robinette and Ryan Haase really captured the essence of this piece, which is survival and self-preservation, treating it dignity and respect. The relationship between this mother/daughter duo was so complex, they managed to touch on all the nuances such as the co-dependency and even jealousy these women had for each other. Their casting is on point and the experiment of using two spaces to represent to different times is a bona fide success. There is such a vast difference between the settings and time of Act I and Act II, it totally makes sense to use two separate spaces.
Speaking of spaces, Ryan Haase’s Set Design is, in a word, impeccable. He never ceases to amaze me with his original designs and this production is no different. Aside from being in two different spaces, the contrast between Act I and Act II is absolute and really compliments the story of these two women, not to mention, the attention to detail in Act II which adds tremendous value to this already superb production.
Another impressive aspect of this production is the phenomenal musicians in the orchestra. this orchestra is spot on in every number and has a very polished, well-rehearsed sound. Music Diretor Ben Shaver not only did a splendid job with the onstage ensemble, he managed to get together a top notch band including himself on Piano, Joe Pipkin on Drums, Stacey Antoine on Reeds, Billy Scaletta on Keyboards, and Andrea Gibeck on Violin. Kudos to each every one of them for a job well done.
Christine Demuth as Little Edie and Bobby Libby as Joe Kennedy. Credit: Rob Clatterbuck/Stillepoint Theatre

Christine Demuth as Little Edie and Bobby Libby as Joe Kennedy. Credit: Rob Clatterbuck/Stillepoint Theatre


I can’t overlook the Costume Design by Kit Crescenzo as they are spot on and authentic, adding realism to this production, especially in Act II where the costumes are near perfect matches to the wardrobe the women wore in the Maysles Brothers documentary.
Working in such unique spaces, Adrienne Gieszl has to be clever with her Lighting Design and it is absolutely appropriate and befitting to the piece, setting the mood for each scene and number subtly but surely.
The ensemble for this production is dedicated and gives a brilliant showing. Bobby Libby makes a great showing as Joe Kennedy with his booming, smooth voice and good grasp of the character while Barney Rinaldi has a great command of the stage and gives a confident performance as the Bouvier patriarch, Major Bouvier. Jon Kevin Lazarus tackles the role of Jerry and his interpretation of this character is absolutely endearing and just made me want to give him a big ol’ hug. Rounding out the ensemble is Terrance Flemming as Brooks and Brooks Jr. and Anne Murphy or Kate Kilner-Pontone as young Jackie Bouvier and Avagail Hulbert or Compton Little as young Lee Bouvier, all who give commendable performances. Also, I’d like to comment on the Choreography by Lauren Spencer-Harris that was absolutely appropriate for the piece adding great value to the piece as a whole.
Gould (Adam Cooley) at the piano and Big Edie (Zoe Kanter) signing as Jackie and Lee look on. Credit: Rob Clatterbuck/Stillepoint Theatre

Gould (Adam Cooley) at the piano and Big Edie (Zoe Kanter) signing as Jackie and Lee look on. Credit: Rob Clatterbuck/Stillepoint Theatre


Three actresses lead this exquisite ensemble in this journey through space and time and Edith “Big Edie” Ewing Bouvier Beale is played flawlessly by Zoe Kanter (in Act I as a younger Big Edie) and Danielle Robinette (in Act II as the older Big Edie that was immortalized in the documentary). Both of these actresses seem to really have a grasp on this character as Kanter plays her as whispy and carefree who values family above all, regardless of if it’s falling apart or not, and desperately trying to hold on to her only remaining child so she won’t be alone. And though Kanter is a bit stiff in her performance at times, almost as if she’s thinking too hard, she belts out her songs with a resonating and beautiful belt and she gives a fantastic showing. It’s also worth mentioning the great chemistry with Adam Cooley, who plays Gould, Big Edie’s ever-faithful accompanist, confidant, and friend and gives an admirable performance with a flamboyancy and flair I imagine the real George “Gould” Strong would have been.
Playing the role of older Big Edie in Act II, Danielle Robinette, couldn’t have played it better. With a brilliant make up job aging her to fit her character and her slouched posture and limping that was consistent through her entire performance made for a believable showing. Vocally, Robinette gives an outstanding performance, especially with the touching and tender “Jerry Likes My Corn.” Playing a somewhat iconic character can be daunting but Robinette takes this role and makes it her own.
Christine Demuth as Little Edie. Credit: Rob Clatterbuck/Stillepoint Theatre

Christine Demuth as Little Edie. Credit: Rob Clatterbuck/Stillepoint Theatre


Last but certainly not least, there’s Christine Demuth who is the absolute highlight of this production. She embodies both a young Little Edie and the iconic older Little Edie from the iconic documentary, all the while, bringing her own interpretation into the character. Not only does she give an outstanding vocal performance, her acting chops are superb. The subtle but definite change in her character from Act I to Act II is seamless and she plays it to the hilt. The real Little Edie had a very distinctive accent (New England, for sure) and Demuth is on point. From the moment she steps onstage until the emotional “Winter in a Summer Town,” she had me hooked. Kudos to Miss Demuth on a stellar performance and I can’t wait to see more from her.
Final thought…Grey Gardens is poignant and compassionate look into the lives of two women time and everyone else seemed to have forgotten but who had the gumption to survive. Whether or not you are familiar with the original Maysles Brothers documentary, Grey Gardens, you will not be disappointed with this production. Stillpointe Theatre has managed to bring a fresh look and feel to this piece and is not only able to express the absolute quirkiness of the Beales with brilliant casting and set designs, but also the tenderness and tragedy of this overlooked piece of Americana. This is NOT an experience you want to miss this season. Get your tickets now!
This is what I thought of Stillpointe Theatre’s production of Grey Gardens… What did you think? Please feel free to leave a comment!
Grey Gardens will play through February 4 at Stillpointe Theatre, 1825 N Charles Street, Baltimore, MD. For Tickets, go to stillpointetheatre.com for more information or purchase them online.
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