Life is a Cabaret at Silhouette Stages with Kander & Ebb’s Cabaret!

By Jason Crawford Samios-Uy

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

What good is sitting alone in your room? Come here the music play… at Silhouette Stages for their latest offering, Cabaret with a book by Joe Masteroff, Music by John Kander, and Lyrics by Fred Ebb, Directed by Stephen Foreman, with Music Direction by Michael Tan, and Choreography by Amie Bell. Whether your familiar with the original theatrical treatment or the film (which is way different), you’ll enjoy your time with these crazy but deep characters as they find their way through the beginnings of the Nazi regime in 1930s Berlin.

Tommy Malek as The Emcee with the Kit Kat Boys and Girls (Photo by Stasia Steuart Photography)

Cabaret, in short, concerns itself with Cliff Bradshaw, a young American man trying to find his footing in the world and has traveled to write. Questioning his sexuality and finding himself in a world of sketchy nightclubs and meetups, he finds himself sharing a room with Sally Bowles, a young, eccentric club performer originally from England. While he represents the ordinary, she represents the extraordinary and through song and dance, along with the mysterious Emcee of the Kit Kat club, they work their way through issues of antisemitism, sexuality, and living in the moment that is quite relevant in the world we live in today.

Stephen Foreman and Alex Porter have opted for a minimal Set Design, which works well with this production. The pit orchestra is incorporated into the set high above the action and two simple platforms and three doors make up the rest of the set and it’s a fantastic, practical design. The attention to detail is on point and the audience is transported to the different locations with various set pieces and props that are well chosen and bring the scenes together. My one (and only) complaint, if it can be called that, because it’s not a big deal, is the original German spelling of “Kabarett.” Thought I appreciate the authenticity and the idea, someone on the design team must think they’re very clever and it’s a bit high-brow for my tastes. There’s nothing wrong with keeping it simple. That aside, however, the overall Set Design is quite appropriate and well-fitting of this production and I give major kudos to Foreman and Porter for their efforts.

Tommy Malek as The Emcee (Photo by Stasia Steuart Photography)

Lighting Design by TJ Lukacsina and Sound Design by Ben Kinder blend in nicely and add to rather than hinder the action going on up on the stage. Lukacsina separates the dark, seething nightclub scenes from the bright, daytime scenes nicely, giving us a great contrast in location and mood. There are no major sound issues, so Kinder has done his job in amplifying the cast and adding in the appropriate sound effects when needed. Both Lukacsina and Kinder are to be commended for their work on this production.

Period pieces are always challenging for wardrobe but Costume Design by Clare Kneebone and Tommy Malek knock it out of the park. They are spot on with their design, transporting us back to the 1930s with the fashions and styles of the era matched to a tee. From the day-wear to the slinky bustiers and heels, this Costume Design is spot on.

Megan Mostow as Sally Bowles with the Kit Kat Boys and Girls (Photo by Stasia Steuart Photography)

Cabaret is one of those shows where not only the songs are well-known, but there’s a certain amount of importance put on the dancing, and this, too, can be challenging. Though Choreography by Amie Bell is pleasant to watch and works well with the production as a whole, it seems a little uninspiring, at times. That’s not to say it’s not good, because it is very good, but in certain points, just doesn’t have the “oomph” I’d like to see. Now, this very well could be on the ensemble and not Bell’s choreography, but it all has to go hand in hand. I reiterate, it is good choreography. It’s tight and well-rehearsed, so, not all is lost. Bell has a tight comprehension on what the numbers are about and the movement is appropriate

Linda Roby as Fraulein Kost (Photo by Stasia Steuart Photography)

making for a wonderful showing on her part.

Music Direction by Michael Tan is absolutely on point. All of the numbers are well sung and emote the feelings of each song. He has a good grasp of the material and has directed this ensemble to fun, poignant, and strong performances. The small orchestra consisting of Michael Tan (conductor/keyboard), Tina James (Reed 1), Mari Hill (Reed 2), Tony Neenan (Trumpet), Mike Allman (Trombone), Jeff Eckert (Bass), and Billy Georg (Drums) rocks the house and are well-rehearsed, sounding as clear and polished as a recording. I tip my hat to this stellar pit ensemble.

Direction by Stephen Foreman has put together a polished, meaningful production and certainly has a strong comprehension of the text. His casting is superb and his staging is smooth making the action and dialogue easy to follow. Pacing at the performance I saw was dragging a little, but it didn’t stop the exquisite performances. His characters are fleshed out and his vision is clear making for a brilliant production, overall.

Pamela Northrup as Fraulein Schneider (Photo by Stasia Steuart Photography)

It’s worth mentioning that it’s clear to this reviewer that the ensemble are a tight bunch. They work well with and off of each other making for authentic and precise performances. The Kit Kat Girls and Boys, consisting of Felicia Howard, Briana Arielle Downs, Katie Jones, Miranda Austin Tharp, Linda Michele, Lauren Romano, Angel Duque, Chris Weaver, Rew Garner and Nick Carter, all give strong and natural performances, taking this production to the next level. I’ve always believed if you have a strong ensemble, aside from the main characters, you have a strong show, and this production proves my point with this amazing, dedicated ensemble.

Megan Mostow as Sally Bowles and Seth Fallon as Clifford Bradshaw (Photo by Stasia Steuart Photography)

To mention a few main characters, Pamela Northrup as Fraulein Schneider and Christopher Kabara as Herr Schultz, Linda Michele as Fraulein Kost make up the owner and a couple residents of the boarding house in which some of the story takes place. Northup fits well into her character and her portrayal is heart-felt and she emotes the exhaustion and worry of this character, as well as her softer side. Vocally, Northup may not be the strongest performer, but she carries her songs well, such as “So What?” and “It Couldn’t Please Me More.” Kabara, too, portrays his character quite well, though, he struck me as someone more modern rather than a 1930s fruit seller, he still manages to play this character well and seems to understand the trials and tribulations this character is going through at the time. He shines in his featured vocal numbers like “It Couldn’t Please Me More” and “Married.” Michele, playing double duty as a Kit Kat Girl, also manages to portray a believable young German girl trying to get by in 1930s Germany, using what she’s got (her body) to make a living. Michele has great chemistry with her fellow cast mates and knows her character well giving a strong, confident performance.

Seth Fallon takes on the role of Clifford Bradshaw, the young American writer, and Brad Davis portrays Ernst Ludwig, a loyal German who shows initial kindness to Cliff. Davis plays his role beautifully even though it’s a darker character. Davis’ courage to play such a character in this uber-politically correct theatre landscape these days is commendable and he plays this supporting character well. Seth Fallon has an absolutely beautiful, soothing bari-tenor voice that saturates the theatre in the small singing parts his character has, and it makes me want to hear more. His portrayal of Cliff, however, falls a little flat. He seems to have a good grasp of this character and what he’s going through, but his performance is a bit scripted and unnatural at times. He just needs to loosen up a bit and he’ll hit the nail on the head! His chemistry with his cast mates is very good, but could be a bit more, especially with Megan Mostow, who plays the fun-loving and free Sally Bowels. Overall, he gives a good, confident performance and is, for the most part, confident in the character.

Megan Mostow as Sally Bowles (Photo by Stasia Steuart Photography)

Speaking of Megan Mostow as Sally Bowles, let’s get into the highlights of this production. She  and Tommy Malek as the Emcee are the hands-down standouts in this production. Starting with Malek, though I’m not 100% onboard with his take on the Emcee (which very well could have been a directorial choice, it’s hard to tell sometimes) I still enjoyed his performance. I envision the Emcee to be an asexual, slithering, lurking character, who’s always in the shadows in the background, but I didn’t get that with this character. Not to say that it was wrong, because there is no denying Malek gave 100% effort and plays this character to the hilt. Though I like my Emcee to be different, that’s not to say I was not entertained and invested in Malek’s take. He took this role and hit the ground running. He has a great comprehension of this sleazy night club entertainer, who might have a big heart underneath all the makeup and sleaze, and he embodies him fully. He’s comfortable in the role and it helps to bring him to life. Vocally, Malek gives an impressive performance, especially in his featured numbers such as “Wilkommen,” which opens the entire show and sets the mood nicely, the high-energy, pulsating “The Money Song,” and the cute, “If You Could See Her,” all come off nicely with a tight performance from Malek. Overall, he gives a strong, praise-worthy performance that isn’t to missed.

Finally, we get to the iridescent Mostow, who has a deep and clear understanding of her character and, oh brother, does it show. She completely embodies this character and makes it her own. Vocally, Mostow is a powerhouse. She’s not belting and screeching through her songs, but using her amazing lower register and seemingly effortlessly sings through each other featured numbers as I get lost in her tone. She plays the fun and flirty “Don’t Tell Mama” with just as much feeling and enthusiasm as “Maybe This Time” down to the stellar performance of the ever popular “Cabaret”. Mostow truly becomes this character showing she’s done her homework and knows who this character I giving a strong, confident performance. Hats off and a heartfelt kudos to Mostow for a job very well done. You don’t want to miss her in this role.

Final thought… Cabaret is not a production you want to miss this season. It’s well put-together and each and every ensemble member gives 100% dedication and effort. The musical numbers are tight and engaging, performed by a top-notch cast. Whether you’re familiar with the piece or not, you will be entertained and maybe even learn a little something about compassion and acceptance along the way. It’s relevant to today’s goings on and it’s a relatable story to get into. Get your tickets now and come to the Cabaret, old chum! Life is a cabaret!

This is what I thought of Silhouette Stages’ production of Cabaret… What did you think? Please feel free to leave a comment!

Cabaret will play through March 24 at Silhouette Stages10400 Cross Fox Lane, Columbia, MD. For tickets, call the box office at 410-637-5289 or purchase them online.

Email us at backstagebaltimore@gmail.com

Like Backstage Baltimore on Facebook and Follow us on Twitter and Instagram.

 

Review: In the Closet at Third Wall Productions

By Jason Crawford Samios-Uy

Running Time: Approx. 2 hours with one intermission

Everyone copes with things differently and there’s really no “right” way to cope with any situation that may come your way. There are fighters, there are flighters, there are talkers, and those who shut down into themselves, but, again, there’s no right way to deal with things. When bad things happen in someone’s life, he or she must find his or her own way of coping. In Third Wall Productions‘ latest offering, In the Closet by Siegmund Fuchs, Directed by Emily Daubenmire, gives us an interesting take on a coping mechanism that may or may not be relatable to many but makes one think about how we all are individuals in dealing with crisis in our own lives.

In the Closet concerns itself with John, a young man who has just had relations with another man for the first time, an old man dealing with the illness of his husband, a middle-aged man dealing with getting older and a community with which he doesn’t relate anymore, and a 20-something man who is a victim of rape and told he must act straight on the stand in court, all in a metaphorical closet to which they’ve escaped because of these varied reasons. Throughout, the older men are working to get John to walk back out of the closet by discussing experiences each have been through, good and bad, as well as trying to explain what the closet is. Will they be able to get John out of the closet or will they all be stuck there forever, not being able to face the real world or themselves? In the Closet forces us to ask ourselves what would we tell our younger selves about our lives and what would we ask our older selves, if we had the chance?

Author Siegmund Fuchs has given us a well put-together script and tells an interesting story making for a pleasant evening of theatre. His dialogue is natural, for the most part, though there are a few bits where the wording probably looks better on paper than it sounds coming out of an actor but, overall, it’s a solid, thoughtful script. His characters are fleshed out well and their individuality and similarity are subtle but clear in the dialogue. Each character is going through his own turmoil that makes for a diverse and engaging script. Though Fuchs’ concept is clever, the “twist” is somewhat predictable but thought-provoking, and well though-out nonetheless.

One drawback for this production, unfortunately, is Set Design by Patrick Rudai and Jordan Hollett. To make a long story short… it is too much for this space. Yes, the setting is a closet, and yes, most closets are small, however, with the amount of items on this set, including set pieces and decorations, it was very cramped and the small ensemble seemed to have trouble navigating and maneuvering around each other during the scenes, which did distract, at times. It looks great, don’t get me wrong, the authenticity and detail are apparent which is a plus for Rudai and Hollett, but it hinders the action rather than helps it and, sometimes, less is more. Overall, it’s a good design, but could be scaled back.

Taking the helm of this production is Director Emily Daubenmire and, though, overall, the piece runs smoothly, staging is a bit erratic. The set isn’t helping matters when it comes to the staging, but during certain points, the pacing of this piece comes to a near halt. Daubenmire seems to have a good grasp on this material and text but the execution is haphazard. For example, there are a few scenes in which one actor must complete a simple task but the dialogue doesn’t begin until the task is complete making for elongated moments of awkward silence that could be eliminated with simple transitioning techniques. This is not to say the entire production is messy, it’s a very well put-together production and it’s my assumption that the set has a big hand in the problems in staging, but, as the Director, Daubenmire should be watching more carefully to make sure these problems are smoothed out before opening.

Moving on to the performance aspect of this piece, H. Ray Lawson takes on the role of Man #1 (the old man) and Mike Zellhofer tackles the role of Man #2 (the middle-aged man). Lawson has a good comprehension of his character, who is the wisest of the quartet, but he does have problem with his lines, leaving long moments of silence where you can see the cogs turning to remember lines. His delivery is a bit stiff but his effort is top-notch. However, beyond these troubles, the character’s sincerity and caring shines through naturally and Lawson obviously feels deeply about this character and his portrayal us poignant and authenticity is apparent.

Zellhofer, as Man #2, has a strong grasp of his character and he has a strong presence making for an admirable performance. Though sounding a bit scripted in delivery, he still manages to bring an authenticity to the role that makes the character heartwarming and charming. His character has a sorted past, as they all do, but Zellhofer really understands the trials of his character and expresses it well. In one intense scene toward the end of Act I, Zellhofer shines in both character and delivery and makes for a shining moment in the production.

Rounding out this small ensemble are Stephen Foreman, who takes on the role of Man #3 (the young man) and Angel Duque portrays John (and even younger man). Foreman gives a commendable performance as the young man who has come to terms with his homosexuality but has endured a horrible incident that has forced him back into the closet, for the time being. Foreman has a clear grasp on his character and portrays him in a way that shows his understanding. His delivery is natural and he seems comfortable in the character making for a well-rounded and believable performance.

A highlight of the production is Angel Duque and his performance is solid with an obvious comprehension of his role. He seems to embody this character of John and portrays him with defined emotions and a sense of uncertainty that is required. His delivery is smooth, and his presence is robust, making for an enjoyable and engaging performance, overall.

Final thought…  In the Closet is an interesting take on a very personal experience that is individual to all. The production certainly has its flaws but is still a good story with a good script and, with each performance, I’m certain the wrinkles will be ironed out. Staging and some delivery of the text might need work, but the dialogue is thoughtful and weaves a multi-generational story that cleverly concerns only one person. It makes us think hard on whether or not we can forgive our past trespasses and look toward an uncertain future. In this day and age of learning to be yourself and having to have a thick skin, this is an important story that needs to be told and seen.

This is what I thought of Third Wall Productions’ production of In the Closet… What did you think? Please feel free to leave a comment!

In the Closet will play through January 27 at Function Coworking Community, 4709 Harford Road, Baltimore, MD. For tickets, you can purchase them at the door or online.

Email us at backstagebaltimore@gmail.com

Like Backstage Baltimore on Facebook!

Follow us on Twitter and Instagram!

Review: Legally Blonde at Silhouette Stages

By Jason Crawford Samios-Uy

Running Time: 2 hours and 30 minutes with one intermission
It’s interesting how many incarnations a story can make. Usually a story will be created in a novel and then be turned into a film, then a stage production… or after the novel, the stage production will come and then the film. Either way, it’s usually a well-known story from the get and it can be challenging for a creative team (whether stage or film) to visually recreate or reimagine a beloved novel. However, some stories just lend well to a transfer from film to stage and Silhouette Stages latest production, Legally Blonde the Musical with Music & Lyrics by Laurence O’Keefe and Nell Benjamin and Book by Heather Hach, and on the novel by Amanda Brown and the MGM Motion Picture, is a story that looks just as good on the stage as it does in the pages of a novel or on the silver screen. This latest production is Directed by TJ Lukacsina, with Music Direction by Nathan C. Scavilla and Michael Wolfe, and Choreography by Rikki Lacewell and is a joy to experience and should not be missed.

The cast of Legally Blonde; Photo by Silhouette Stages.


Briefly, Legally Blonde the Musical is about Elle Woods (Lindsey Landry), a pretty, blonde West Coast girl, from Malibu who follows her college boyfriend, Warner (Stephen Foreman), all the way to Harvard Law School to win him back and along the way, shows herself and those around her, such as teaching assistant Emmett Forrest (Matt Wezel) and Professor Callahan Ryan Geiger) that you can’t judge a book by its cover and that she is much more than what she looks like. She overcomes challenges and finds friendships places she least expected. It’s a story of discovering what is inside of a person is much more important that what we see on the outside. It’s a good message told with a balance of humor and poignancy that makes for a delightful evening of theatre.
Set Design by TJ Lukacsina is simple, yet appropriate for this production. More set pieces than a permanent set, each scene is insinuated but it is easy to see where everything is taking place and the clever use of set pieces makes it easier to create the many different locations needed for this piece. Aside from a few lackluster pieces that are supposed to represent simple doors but look a little untidy, the cast and crew are well-rehearsed on the changes and everything moves smoothly and quickly keeping up with the pace of the piece and not hindering it.
Andrew Malone has yet to disappoint with his Costume Design and this production is no different. As the nature of this piece goes, the look is just as important as the story and Malone has managed to capture that look beautifully. From the West Coast, haute couture look for Elle Woods (and there is no mistaking that pink is her signature color) to the darker, more conservative look of the East Coast, Malone has chosen a near perfect wardrobe for each character in this production. Kudos to Andrew Malone for a job well done.

Erica Loy as Kate; Lindsey Landry as Elle Woods; Kendall Nicole Sigman as Serena; Jennie Phelps as Margot; Nia Smith as Pilar; Photo by John Cholod.


Choreography by Rikki Lacewell is well on point. Definitely much more than dance squares and jazz hands, this choreography is well thought-out and befitting of this upbeat and modern piece. The fast-paced numbers such as “Omigod You Guys” (the opening number), “Positive,” “Whipped Into Shape,” and the infamous “Bend and Snap” are exciting and stimulating and Lacewell seems to know her cast and the varying abilities of each and wonderfully blends them all into all these numbers. There was an attempt at a hip-hop style of dancing during “Positive” that might have benefitted from a bit more rehearsal, but overall, the choreography is fitting, thought-out, and well executed adding great value to this production.
Music Direction by Nathan C. Scavilla and Michael Wolfe is superb with a strong, vocally stellar ensemble. The music is recorded, but that doesn’t damper the abilities of the cast as they in harmony and spot in in every number. Some performances are stronger than others but Scavilla and Wolfe have managed to get brilliant performances out of every member of the cast and this music is presented exquisitely and with gusto.
Along with Set Design, TJ Lukascsina has double duty and also takes on Director duties of this production and he’s risen to the challenge of bringing this popular and familiar story to the stage. He has a vision of his own and it’s apparent in this piece while still being faithful to the original to both the film and staged productions. His casting is impeccable and the characters really come to life and move the story along nicely. Lukascina has created a smooth pace but, because of the use of recorded music, the transitions into musical numbers seems a bit abrupt and it’s clear the actors are waiting for their music cues whereas with a live band, a little vamping goes a long way for seamless transitions. Overall, his work is to be commended and he gives us a fun, meaningful piece that is a joy to experience.
Moving into the performance aspect of this piece, I have to mention that the entire ensemble of Legally Blonde the Musical gives a strong, confident, and committed performance. With a large cast, it’s easy to blend in, but there were many good, worthy performances in this piece and all of the ensemble are to be commended and congratulated on a job well done!

Lindsey Landry as Elle Woods; Matt Wetzel as Emmett Forrest; the cast of Legally Blonde; Photo by John Cholod.


Though this piece seems like a female-character heavy piece, there are actually quite a few featured roles for males, as well, including Warner Huntington III, played by Stephen Foreman and Professor Callahan, played by Ryan Geiger. These gentlemen carry their own against the female driven script and give admirable performances. Ryan Geiger has as great look for Callahan and the way he carries himself as the character is spot on. He understands the antagonistic ways of his character and he’s comfortable in the role, giving a very confident performance. Playing the character of Warner Stephen Foreman made some curious choices in mannerism and delivery. Warner is supposed to be a “bro” per say, and not much on his mind besides old family money and when the next kegger is but Foreman’s performance seems a bit too forced and uncomfortable at times. Vocally, he does a fine job with his featured number “Serious” but I would like a more of a jerk-like confidence in this portrayal. However, that being said, Foreman does a good job and makes this role his own. He has great chemistry with his cast mates and it makes for a worthy performance, overall.

Lindsey Landry as Elle Woods; Stephen Foreman as Warner Huntington III; Photo by John Cholod.


Kendall Nichole Sigman as Serena, Jennie Phelps as Margot, and Nia Smith as Pilar take on the responsibilities of the “best friends” and Greek chorus of this piece and they hit the nail on the head. They are committed and stay upbeat (as required by their characters) throughout the entire production and are in step with every bit of choreography thrown at them. All three are assets to the ensemble and they are comfortable in these roles giving splendid performances.
Summer Hill gives a top notch performance as Brooke Wyndham, Elle Wood’s first client and fellow Delta Nu sorority sister. Portraying a fitness instructor has its own set of challenges but Hill steps up to the plate and knocks it out of the ball park with a high energy jump rope/aerobic number “Whipped Into Shape” that had my heart racing and I was just sitting in my seat. However, Hill didn’t miss a beat or a note and that, my friends, is quite impressive. She makes the entire thing look easy and she has a good understanding of her character and makes the role her own. It’s also worth mentioning, the ensemble members who join Hill in “Whipped Into Shape” also keep up with the high energy number, not missing a beat, and give a tight, well-rehearsed performance.

Parker Bailey Steven as Enid; Nia Smith as Pilar; Lindsey Landry as Elle Woods; Jennie Phelps as Margot; Allison Bradbury as Vivienne Kensington; Summer Hill as Brooke Wyndham; Ryan Geiger as Professor Callahan; Photo by John Cholod.


Allison Bradbury takes on the role of Vivienne Kensington, the uptight, snobby, and, well… bitchy, new girlfriend of Warner and, no offence intended, but Bradbury nails this part. She gives off just enough bitchiness to make you not like her, but also makes her transition toward the end of the piece all the more important and Bradbury gets this importance of that transition. She gives a hell of a vocal performance and, overall, gives a terrific performance.
Matt Wetzel as Emmett Forrest is quite likable and gives an admirable performance. He has great chemistry with Lindsay Landry making for a believable and authentic portrayal. His vocal stylings on his featured number such as “Chip on My Shoulder” and “Legally Blonde” are commendable and heartfelt and he really grasps the essence of his character making for an enjoyable performance.
I’d also like to mention the four-legged actors of this ensemble, who both did stupendous jobs in their roles: Biscuit Boo Bradbury who takes on the challenging role of Elle’s faithful friend Bruiser, and Olive Ann Landry who takes on the part of Rufus, the poor furry child in the middle of a custody dispute with Paulette and her ex. Note: If you put dogs in a production… you can’t go wrong with me. I. LOVE. DOGGIES. I’m just sayin’.

Matt Wetzel as Emmett Forrest; Lindsey Landry as Elle Woods; Photo by John Cholod.


Definite highlights of this production are Lindsey Landry as Elle Woods and Michele D. Vicino-Coleman as Paulette. Both of these actresses are a joy to watch and their performances are superb as they really comprehend their characters and their motivations and play the roles to the hilt.
Michele D. Vicino-Coleman plays a hilarious, down-to-earth, and street-wise Paulette, the local stylist who befriends Elle and supports her no matter what. Vicino-Coleman takes this role and gives it a fresh look and portrayal. She has a strong and beautiful belt and smashes her featured number “Ireland” not taking it too, too seriously and adding just enough comedy in to keep it funny, but still poignant. Her chemistry with the hunky Kyle (played brilliantly by a hunky Rob White) is fantastic and, importantly, she looks as though she’s having a blast playing this part which, in turn, makes for a fabulous performance.
Filling the cute, fashionable shoes of Elle Woods, Lindsey Landry is just about perfect casting for this role. It helps that her look is spot on for this character, but more importantly, her understanding of Elle Woods is quite apparent as her transition from the beginning of the show to the end is seamless but definitely noticeable. Her voice is absolutely beautiful as it fills the theatre during numbers such as “What You Want,” “So Much Better,” “Legally Blonde,” and the touching “Find My Way.” She gives an authentic portrayal and really connects with the audience to where you’re really rooting for her every step of the way. Landry gives an impeccable performance and I’m looking forward to seeing more of her work in the future.
Final thought… Legally Blonde the Musical  at Silhouette Stages is a delightful, fun, well put-together production that should not be missed this season.  Having to contend with the successful film and book on which it is based, it could have gone horribly wrong or amazing well and, thank goodness, it’s the latter. This production is fresh while staying true to those previous incarnations and, if you’re looking for an enjoyable evening head on down to Columbia to see this production. With a clever script, uber-fun and catchy music, and a well-abled, dedicated cast that makes the show their own while staying true to the original characters, Silhouette Stages has a bona fide success on their hands.
This is what I thought of Silhouette Stages’ production of Legally Blonde the Musical… What did you think? Please feel free to leave a comment!
Legally Blonde the Musical will play through May 28 at Silhouette Stages, Slayton House, 10400 Cross Fox Lane, Columbia, MD 21044. For tickets, call 410-637-5289 or purchase them online.
Email us at backstagebaltimore@gmail.com
Like Backstage Baltimore on Facebook
Follow Backstage Baltimore on Twitter (@backstagebmore) and Instagram (backstagebaltimore)

Review: The 25th Annual Putnam County Spelling Bee at Heritage Players

By Jason Crawford Samios-Uy
14390952_1327125667332451_804889332350167442_n
Running Time: 2 hours with a 15-minute intermission
It’s been repeated through the ages – being a kid isn’t easy! If you can remember (and most of us can), the world is a completely different place for a kid and Heritage Players latest offering The 25th Annual Putnam County Spelling Bee, Directed by Ryan Geiger, with Music Direction by TJ Lukacsina and Robin Trenner and Choreography by Jose Reyes Teneza, takes us right back to that crazy time when changes in body, mind, and viewpoints were happening and every day was a struggle… then the bastards throw something like a spelling bee in the mix to pit us against each other!

Chip Tolentino (Charlie Roberts) at the mic as the rest of the cast looks on. Credit: Heritage Players

Chip Tolentino (Charlie Roberts) at the mic as the rest of the cast looks on. Credit: Heritage Players


Walking into the Rice Auditorium at Spring Grove is a treat! It’s bright, neat, and clean and it’s a space that lends itself nicely to community theatre! Ryan Geiger, who takes on double duty as Director and Set Designer uses the traditional setting (a school gymnasium) for this production and, liking traditional theatre as I do, I thought it worked very nicely. It was a minimal set but Geiger’s attention to detail is on point and large printouts of a scoreboard and sports banners are clever and give the set a neat, precise look. This is a unit set show with movable set pieces and every piece had a purpose and helped tell the story.
Lighting Design by TJ Lukacsina and Sound Design by Stuart Kazanow is appropriate and sets the mood for this quirky piece. Notably, there is a very neat effect concerning the Taj Mahal that is very clever and quite effective.
Sound is always a challenge for small theatres depending on the space and what the space is originally intended for. Kazanow’s Sound Design for this production is good, but seems a bit muted, slowing down the action onstage. Again, this could be because of venue and, overall, Lighting and Sound are respectable.
William Barfee explains his "Magic Foot" as the rest of the cast joins in. Credit: Heritage Players

William Barfee explains his “Magic Foot” as the rest of the cast joins in. Credit: Heritage Players


The 25th Annual Putnam County Spelling Bee is an eccentric kind of show where there’s a lot of music but it doesn’t call for a ton of choreography. However, Choreography by Jose Reyes Teneza fits in nicely. There are only a few big group numbers including “Magic Foot” and “Pandemonium” but the choreography is creative and tight and the cast seems to be having a great time with it.
Music Direction by TJ Lukacsina and Robin Trenner is impressive with great solo numbers and harmonic ensemble numbers that are on point and well-rehearsed. For being a fun, breezy show, Spelling Bee does, in fact, have some complex harmonies, but these were handled beautifully under the direction of Lukascsina and Trenner.
Going along with Music Direction, the orchestra is worth mentioning, giving a commendable performance with Robin Trenner on Piano, Ellie Whittenberger on Synthesizer, David Booth on Reeds, Ina O’Ryan and Juliana Torres on Cello, and Mykel Allison on Drums.
The spellers take center stage. Credit: Heritage Players

The spellers take center stage. Credit: Heritage Players


Taking on double duty as both a character in the production and Costume Designer, Stephen Foreman hit the nail on the head with these costumes. The costume design follows the original Broadway production’s scheme, for the most part, and his eye for detail is impressive. All of this actors seems comfortable in their wardrobe and the well though-out, meticulous costumes definitely add great value to this production.
Being a first time director has its own set of challenges but being a first time director for a musical is something entirely different. However, Director Ryan Geiger does a fantastic job with this piece, understanding its humor and its poignancy in a very balanced production. His casting is superb and his vision is clear, seeing life through the eyes of some very anxious, over-achieving kids in competition with each other and trying to discover themselves in the process. Kudos to Geiger for a job well done on his inaugural production as a director.
The cast. Credit: Heritage Players

The cast. Credit: Heritage Players


Moving into the performance aspect of this piece, I have to say the ensemble, as a whole, is outstanding. Audience participation is the name of the game for this show and the ensemble works with the participants brilliantly. The seemingly random audience members who are asked to participate in the bee seem to have a great time with this ensemble and the ensemble assures each audience member is at ease during the performance. The chemistry is crystal clear, the harmonies are flawless, and the dancing is tight and concise. Every one of these actors is giving 100% and seem to be having a blast onstage, which, in turn, brightens the mood of the audience.
Marcy Parks (Kristi Dixon) explains her many talents, backed up by the girls. Credit: Heritage Players

Marcy Parks (Kristi Dixon) explains her many talents, backed up by the girls. Credit: Heritage Players


Kirsti Dixon’s Macy Park is staunch and uptight, as the character calls and her number was upbeat and energetic. Though Dixon may have slight issues with the higher register of her number, “I Speak Six Languages,” her character is near perfect and she gives a strong, confident performance.
Matt Scheer tackles the role of Mitch Mahoney, the rough and tough, ex-con Comfort Counselor who’s job it is to give the kids a hug and juice box when they’ve been eliminated. Scheer plays the role as more of an 80s metal-head throwback rather than the original gruff, leather jacket and chains wearing character. Still, this character works nicely and he’s comfortable in the part and has a strong, booming voice for his number “Prayer for the Comfort Counselor” that is a fitting finale for the first act.
Logainne Schwartzandgrubinierre (Libby Burgess) tries to describe her strife as her dads discuss behind her. Credit: Heritage Players

Logainne Schwartzandgrubinierre (Libby Burgess) tries to describe her strife as her dads discuss behind her. Credit: Heritage Players


Logainne Schwartzangrubenierre, played by Libby Burgess, is an over-over-achiever pushed by parents who want what’s best for her, but might not see the burden it puts on her young, frail shoulders. Burgess tackles this role beautifully and her character is strong. The anxiousness and nervousness come out in her performance and she seems to really understand this poor kid. She’s comfortable on stage and has great chemistry with Zach Roth and Richard Greenslit, who play her two fathers.
Charlie Roberts takes on the role of Chip Tolentino, the “alpha male” of the group and the winner of last year’s Spelling Bee. Roberts certainly looks the part in his clean cut Boy Scouts uniform but his portrayal of Tolentino falls a bit flat. Overall, he did a fine job with his performance, choreography, and songs, but I want his character to be a little more forceful and less delicate. His featured numbers “Pandemonium” and “Chip’s Lament” was performed nicely, but may have been a little too high for his register. However, he’s confident and comfortable onstage and gives a commendable performance.
William Barfee, the obnoxious, know-it-all, and probably the keenest speller in the Bee, is played by Stephen Foreman who does a good job pulling this character together. His comedic timing is very good, though some of the jokes could be milked just a tad bit more as he tends to skim by them at times and, dare I say it, he could be just a bit more obnoxious as it’s what’s funny about this character. His number, “Magic Foot” is performed well and confidently and he seems comfortable and his look is spot on for this role.
Kristen Zwobot as Olive Ostrovsky. Credit: Heritage Players

Kristen Zwobot as Olive Ostrovsky. Credit: Heritage Players


Kristen Zwobot as Olive Ostrovsky is definitely reaching in for her inner child for this role. She’s believable in the role and captures the awkwardness of a young girl with separated parents who may be too smart for her own good. She seems to get this character and doesn’t play her with pity but with compassion. Her numbers, “My Friend the Dictionary” and “The I Love You Song” (a trio with Rachel Weir and Matt Scheer), are touching and she performs them well with a strong, confident voice.
Zach Roth as Leaf Coneybear. Credit: Heritage Players

Zach Roth as Leaf Coneybear. Credit: Heritage Players


Among the “child” characters, Zach Roth as Leaf Coneybear is definitely a highlight. His character is different from the other characters in that he’s really in it for the fun, not the competition. His innocence and naiveté makes you feel for him and root for him and he pulls the character off with ease. He’s comfortable in the role and his comedic timing is top-notch. He keeps his character interesting and makes a connection with the audience. Kudos to Roth for an admirable performance.
Rachel Weir portrays Rona Lisa Peretti, one of the three adult characters in this show and one of the moderators of the Bee as well as a former winner. Weir is also a highlight in this production in this role as she embodies this character heart and soul. It isn’t hard to believe this woman is a adamant fan of spelling and of spelling bees and that, deep down, she does care for this kids and wants them to succeed because she had been in their shoes at one time. Weir has an absolutely beautiful voice that resonates throughout the auditorium in songs such as her “Favorite Moment” songs throughout the production explaining how the bee actually works. She acts this character flawlessly and has a strong confident presence making her a joy to watch.
Richard Greenslit as Douglas Panch is the standout in this production of The 25th Annual Putnam County Spelling Bee. As Douglas Panch, Greenslit has impeccable comedic timing and doesn’t take his character too seriously making for a phenomenal performance. He had me at stitches with his delivery of some of the definitions and sentences for some of the words in the bee. His chemistry with his cast mates is excellent and he seems to have a grasp on the purpose of this character which makes him quite believable in this role. He’s comfortable with a very strong stage presence and gives a performance that knocks it out of the park.
Matt Scheer as Mitch Mahoney and the Cast. Credit: Heritage Players

Matt Scheer as Mitch Mahoney and the Cast. Credit: Heritage Players


Final thought… The 25th Annual Putnam County Spelling Bee at Heritage Players is an entertaining and funny show to which mostly everyone can relate. We’ve all had that crazy time in life where changes were happening and things we don’t find so important today were life or death situations. It’s easy to relate to these characters and see a little of ourselves in each of them. If you want a fun show to check out, get your tickets now!
This is what I thought of Heritage Players production of The 25th Annual Putnam County Spelling Bee. What did you think? Please feel free to leave a comment!
The 25th Annual Putnam County Spelling Bee will play through November 20 at The Heritage Players, Rice Auditorium at Spring Grove Hospital Center, 55 Wade Avenue, Catonsville, MD. For Tickets, email heritageplayerslive@gmail.com or purchase them online.