Review: I Hate Hamlet at Fells Point Corner Theatre

By Jason Crawford Samios-Uy

Running Time: Approx. 2 hours with one intermission
As a reviewer, I have the opportunity and honor of seeing the same show at different venues and sometimes I hate the show (not to be confused with the performances) and sometimes I love the show (again, not to be confused with the performances) but it’s rare that I hate the show at one venue but love it at another. However, this is exactly what happened with Fells Point Corner Theatre’s latest offering, I Hate Hamlet by Paul Rudnick, Directed by Mark Franceschini, with Set Design by Christopher Flint. Not my favorite piece of theatre, Fells Point Corner Theatre’s production has changed my opinions and it’s a production I suggest you experience if you get the chance.

(l-r) Gabe Fremuth, Abigail Wright, Kimberley Lynne, and Zarah Rautell. Credit: Shealyn Jae


I Hate Hamlet is about a young television actor, Andrew Rally, who rents the great John Barrymore’s old apartment in New York City as he prepares for the title role in Hamlet for Shakespeare in the Park. The only problem is, Andrew hates Hamlet. With the support of his aging agent, his upbeat, excited girlfriend, a shifty director-friend from L.A., and, oddly enough, his real estate agent, he tries to decide if this is the role for him. It’s then that the ghost of the aforementioned great John Barrymore comes for a visit to help Andrew discover he is good enough and even better than what people (and he, himself) gives him credit for. It’s a good story with a good message of self-worth that plays nicely.
Set Design by Christopher Flint is excellent with levels and an attention to detail. Not only is it aesthetically pleasing, it’s quite functional working quite well with the blocking of this piece. Since the set is a major aspect of this show, being the former home of the legendary John Barrymore, it’s important to get it right and Flint has done just that with his choice of furniture pieces to his ornamentations and classic style. For a small (not micro, but small) space, Flint has used his space wisely and has created an appropriate setting for this production.
Mark Franceschini is at the helm of this production and he has hit the nail on the head. His casting is outstanding and his comprehension of the text is apparent. Franceschini understands the witty humor involved in the text and guides his already apt cast in delivering it appropriately. The action keeps moving and the characters are authentic making for a delightful piece of theatre.
Though a Costume Designer is not named in the program, it’s worth mentioning the Costume Design as it was realistic and well thought-out adding value to the production.
Moving on to the performance aspect of I Hate Hamlet, this small ensemble of six really knocks it out of the ballpark. They work well together with good chemistry and seem to have a good grasp of their characters.

Steven Shriner as John Barrymore and J Prunell Hargrove as Gary Peter Lefkowitz. Credit: Shealyn Jae


J. Purnell Hargrove takes on the role of Gary Peter Lefkowitz, the sleazy L.A. directory trying to get Andrew back on to television, and does an admirable job with the role. Though, at times, he’s a bit too much and in your face for the intimate space, Purnell seems to understand the kind of man this character is and plays it with gusto. I will say, the touchy-feely-ness he portrays with Gabe Fremuth gets a little too creepy. Whether it’s an actor or director choice, I totally get the whole “sleazy” aspect, and it totally works for the character but… sometimes, less is more.
Zarah Rautell takes on the role of real estate agent-turned-friend, Felicia Dantine. Rautell fits this role like a glove. Her comedic timing is spot on and she seems to embody this rough around the edges type character. The balance of edginess and tenderness she finds and portrays in this character is impressive.
Lillian Troy, the very German and elderly agent to Andrew, is played by Kimberley Lynne and this performance is on point. She has the German accent down pat and her gestures and delivery of her lines are totally authentic. She, too, has terrific comedic timing and knows her character well.
Next up is Abigail Wright as Deidre McDavey, the somewhat naïve, but kind and optimistic actress-girlfriend to Andrew. Wright is an absolute joy to watch in this production. Her upbeat, energized performance adds so much to this production and her delivery is spot on. I’d seen this character performed a very different way in a very different production but Wright has this on in the bag. Her energy alone, as she hops across the stage (and the furniture) gives a certain needed “oomph” to the entire production. I’m looking forward to seeing more from this actress.
Andrew Rally, the television actor on whom this entire story is revolved, is played diligently and aptly by Gabe Fremuth, who embodies this character with a lack of self-confidence. He finds a good balance of fake confidence and vulnerability that makes this character endearing and has you rooting for him. He has a good look for the role and gives a strong, confident performance, comfortable with the text and the character. He has a great chemistry with his cast and does well with this character.

(l-r) Gabe Fremuth, Abigail Wright, and Steven Shriner. Credit: Shealyn Jae


Rounding out the ensemble is the incomparable standout of this production, Steven Shriner, who tackles the complex but common sense role of John Barrymore, who some consider was the best Hamlet to hit the stage. Shriner pulls this role off beautifully and is totally believable as the ghost of Barrymore. His comedic timing is second to none and he seems to have a complete comprehension of this character and the story of I Hate Hamlet. He is confident and comfortable on stage and delivers his lines clearly with purpose. He mixes this character with humor and poignancy and his balance of both is superb. He is certainly one to watch in this particular production.
Final thought… I Hate Hamlet is a humorous, but serious look at and partly analyzes one of Shakespeare’s most famous and popular plays in an easy, understandable way but, through this Shakespearean tragedy, also teaches us a little about ourselves and what we’re capable of doing in today’s modern world when we think the odds are against us. The story moves along nicely and the performances are strong and confident with a sturdy, impressive set and a fantastic costume design that makes for an exquisitely delightful evening of theatre.
This is what I thought of Fells Point Corner Theatre’s production of I Hate Hamlet… What did you think? Please feel free to leave a comment!
I Hate Hamlet will play through October 1 at Fells Point Corner Theatre, 251 S Ann Street, Baltimore, MD. For tickets, call 410-669-0220 or purchase them online
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PRESS RELEASE: Kicking off FPCT's 30th Season with… I HATE HAMLET by Paul Rudnick SEPTEMBER 8th, 2017

I Hate Hamlet FPCT

BUY TICKETS

I Hate Hamlet by Paul Rudnick
September 8, 2017 – October 1st, 2017
Directed by Mark C. Franceschini
An up-and-coming young television star is offered every actor’s dream role: playing Hamlet onstage. There’s just one complication… he HATES Hamlet. With the return of John Barrymore’s ghost, intoxicated and in full costume to reclaim his legendary role, the two embark on a wildly funny duel over women, art, success, duty, television, and yes, even the apartment where Barrymore once lived!
CAST: Gabe Fremuth, Abbie Wright, J Purrnell Hargrove, Zarah Rautell, Kimberley Lynne and Steven Shriner as the ghost of John Barrymore.

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“fast-mouthed and funny…It has the old-fashioned Broadway virtues of brightness without pretensions and sentimentality without morals.” 
– Village Voice
“…unapologetically silly and at times hilarious…affectionately amusing about the theatre…”
– NY Times

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Opens Friday, September 8th and runs through
Sunday, October 1st, 2017
Fridays and Saturdays at 8:00 p.m. and Sundays at 2:00 p.m.
Two Saturday Matinees at 2:00pm on
*September 16th and September 23rd*

Pay What You Can: Thursday September 7th – Preview and P.W.Y.C. at 8:00pm

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Fells Point Corner Theatre
Announces our 2017 – 2018 Season:

#UnfinishedBusiness
The past is an inviting but dangerous place. When we are haunted by the ghosts of our past, we attribute their torment to the deeds they’ve left undone. Benevolent or otherwise, these spirits employ the living to serve in their endeavor for rest… or unrest.
For our 30th season, Fells Point Corner Theatre invites audiences to experience the bewildering world of the beyond. On our stage, we will seek the answers, cross the boundaries, and blur the lines between life and the afterlife. Join us in the fall of 2017 as we embark on our 2017-2018 season of#UnfinishedBusiness.


Season Subscriptions are on Sale Now!

Subscribe and Save with FPCT

Save over 20% when you buy a season subscription
for the one time price of $130.00
(A package of 1 ticket to each of our 7 season shows)
AND enjoy exclusive subscriber offers through out the season

PRESS RELEASE: Fells Point Corner Theatre proudly presents on our Godfrey Stage I Hate Hamlet By Paul Rudnick Directed by Mark C. Franceschini

FOR IMMEDIATE RELEASE:
poster_ihatehamlet

Fells Point Corner Theatre proudly presents on our Godfrey Stage
I Hate Hamlet
By Paul Rudnick
Directed by Mark C. Franceschini

An up-and-coming young television star is offered every actor’s dream role: playing Hamlet onstage. There’s just one complication… he HATES Hamlet. With the return of John Barrymore’s ghost, intoxicated and in full costume to reclaim his infamous role, the two embark on a wildly funny duel over women, art, success, duty, television, and yes, even the apartment where Barrymore once lived!

“Fast-mouthed​ ​and​ ​funny…It​ ​has​ ​the​ ​old-fashioned​ ​Broadway​ ​virtues​ ​of
brightness​ ​without​ ​pretensions​ ​and​ ​sentimentality​ ​without​ ​morals.” -​ ​Village Voice

“…unapologetically​ ​silly​ ​and​ ​at​ ​times​ ​hilarious…af ectionately​ ​amusing
about​ ​the​ ​theatre…” -​ ​NY Times

Directed by Mark C. Franceschini and featuring the talents of Gabe Fremuth, Steven Shriner, Abigail Wright, J Purrnell Hargrove, Zarah Rautell and Kimberley Lynne, I Hate Hamlet is a story about the pressures of fame and sheer insanity of this thing we call theatre.

Admission:​ ​$15​ ​for​ ​Sundays,​ ​$20​ ​for​ ​Fridays/Saturdays.

Dates: Opens Friday September 8, 2017 and runs through Sunday, October 1st, 2017
Fridays and Saturdays at 8:00 p.m. and Sundays at 2:00 p.m. Two Saturday matinees
at 2pm on September 16th and September 23rd.

*There will also be a Pay What You Can Thursday performance on September 7th, which will be
an open dress rehearsal.*

Fells Point Corner Theatre is located at 251​ ​South​ ​Ann​ ​Street, Baltimore​ ,​MD​ ​21231

Review: Blackbird at Fells Point Corner Theatre

By Jason Crawford Samios-Uy
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Running Time: 80 minutes with no intermission
Sometimes theatre is created to simply entertain and help one escape the realities of life and sometimes it’s created to make one think and, sometimes, that’s uncomfortable, depending on the subject matter but it’s OK. Being a traditionalist and loving theatre that makes me smile and tap my foot and giving me a happy ending, I certainly understand and appreciate the importance of theatre that makes one step out of his or her comfort zone and is in your face about issues we don’t like to talk about in public. Fells Point Corner Theatre‘s latest offering, Blackbird by David Harrower, with Direction and Set Design by Anthony Lane Hinkle and Sound and Light Design by Christoper Flint is the latter; up close and personal with the audience, making them look into an uncomfortable issue that makes for an enlightening, intense evening of theatre that’s not to be missed.

Credit: Fells Point Corner Theatre

Credit: Fells Point Corner Theatre


Presented in the intimate upstairs Sokal Stage, this production very effectively puts the issue of sexual abuse, quite literally, in the face of the audience and forces them to look and listen. The setting is a very unkempt break room in some office building on the outside of London and the absolute mess of a room mirrors the issue at hand and is a perfect setting with trash all over the floor and on the tables and counters. At first glance Set Design by Anthony Lane Hinkle seems over simplified, simply throwing trash all over the stage, but, thinking deeper and associating it with the mixed up emotions and confusion that makes up sexual abuse, Hinkle gives us an intelligent, well thought-out design that is absolutely befitting of this production.
Along with Set Design, Hinkle’s Direction of Blackbird is stellar. He forces his actors to make choices in a tight space with intense situations and guides them into the right choices for this piece. He throws a whole lot in your face in only 80 minutes and though the action seems a bit rushed, there’s almost no choice as this piece hits the ground running from the moment the characters step onto the stage. Though the overall intensity of this piece is high, it is a roller coaster of frenzy and calm that Hinkle manages to balance nicely.
The performance of this piece is outstanding and both Steve Shriner and Ann Turiano give powerful performances.
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Steve Shriner as Ray. Credit: Fells Point Corner Theatre


Steve Shriner, last seen in his hilarious performance of Mother Superior in Fells Point Corner Theatre’s production of The Divine Sister, make a complete 180 degree turn for this production. He is a proven comedic actor but his dramatic chops are on point, as well. He is so in tune with his character, Ray, not once did I see a hint of true regret or remorse for the sordid relationship with a 12-year-old girl years before. Nor did I see any attempt to apologize because though this character realizes what he did was legally wrong, he truly doesn’t believe it was emotionally wrong at all, allowing him to move on with his life. All this combined makes for a complex, somewhat pathetic character that Shriner plays beautifully.
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Ann Turiano as Una. Credit: Fells Point Corner Theatre


Ann Turiano, as Una, the young victim in this relationship, now a seemingly confident woman plays this part superbly and with ease. She is comfortable in this role and her very purposeful movements express the childish 12-year-old Una once was as well as the brave, confident woman she has become who doesn’t seem to know what she wants from this meeting. Una’s relationship with Ray is complicated but open as she talks to him bluntly about having sex all those years back and Turiano is no-holds-barred when it comes to the dialogue or getting in your face. Her strong performance is not one to be missed this season.
Final thought… Blackbird at Fells Point Corner Theatre is a poignant, raw, powerful, and unapologetic look at not only sexual abuse, but it’s long term effects. Without making judgment or defending, this piece takes a serious look into both sides of abuse and tells a story only victim and predator can tell. It’ll make you angry, it’ll make you uncomfortable, it’ll make you feel sorry for everyone involved, and it will make you think long and hard about this unfortunate truth in our world. You don’t want to miss this production so get your tickets while they last.
This is what I thought of Fells Point Corner Theatre’s production of Blackbird.
Check out what The Bad Oracle thought here: https://thebadoracle.com/2017/01/16/blackbird-the-dead-of-night/
What did you think? Please feel free to leave a comment!
Blackbird will play through January 29 at Fells Point Corner Theatre, 251 S Ann Street, Baltimore, MD. For Tickets, go to fpct.org for information or purchase them online.

Review: The Divine Sister at Fells Point Corner Theatre

By Jason Crawford Samios-Uy

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Running Time: 2 hours and 10 minutes with one 15-minute intermission

Religion is always a tricky and sometimes touchy subject in the arts, but that’s only when its taken too seriously. The latest offering from Fells Point Corner Theatre, the Baltimore Premiere of The Divine Sister, by Charles Busch finds a delightful balance. Directed by Steve Goldklang, with Set Design by Roy Steinman, Lighting Design by Charles Danforth III, Sound Design by Andrew Porter, and Costume Design by Anthony Lane Hinkle and Mary Bova (of A.T. Jones) this piece tickles the proverbial funny bone without offending and the story actually isn’t heavy on religion but sending a message of love, faith, and hope.

Steven Shriner and Holly Gibbs. Credit: Tessa Sollway

Steven Shriner and Holly Gibbs. Credit: Tessa Sollway

Set Design by Roy Steinman is simple, yet detailed. Two moveable walls on wheels cleverly allow for various locations including an underground passageway, a courtyard garden, and a sitting room of an elegant mansion. Steinman’s design is traditional in the way that the scenes are definitely painted and not necessarily realistic, such as stained glass windows and a fireplace and mantel, but absolutely fitting for this production. Being a fan of traditional theatre and suspension of disbelief, I rather enjoyed the simplicity of the set. The entire set is designed to display stone work, as you would see in old churches and buildings and the stone painting is on point. Steinman uses his space very wisely, using the surprisingly large stage and breaking it up into sections with the moveable walls. The set pieces chosen are fitting and really separate the scenes and locations. Overall, the Steinman’s Set Design is appropriate and smart adding charm to the entire production.

The scene changes are precise and careful, but often go on a few seconds too long. There are quite a few set pieces that have to make their way on and off stage between scenes and I’m sure the scene changes will cut their time as the production runs.

Tom Lodge and Kathryne Daniels. Credit: Tessa Sollway

Tom Lodge and Kathryne Daniels. Credit: Tessa Sollway

Lighting Design by Charles Danforth III does more than light the actors on stage but sets the mood completely for each scene. Whether outside in a courtyard or in an underground tunnel, the lighting scheme matches the action and setting. Danforth’s design blends in with the action and is absolutely appropriate for the piece.

To go along with Lighting Design, Andrew Porter’s Sound Design is on point for this production. Though there are not a lot of sound effects in this production, what is utilized is definitely befitting. Namely, the realistic “dripping water” sound effect used in the underground tunnel setting adds value to the scene and the production.

Steven Shriner and Anne Shoemaker. Credit: Tessa Sollway

Steven Shriner and Anne Shoemaker. Credit: Tessa Sollway

The use of recordings is wise and is hilarious as the actors blatantly lip-sync through an entire number, skipping and dancing as they do. It’s worthe mentioning the song in the the courtyard between Mother Superior and Agnes is not only hilarious with the afore mentioned lip-syncing and skipping, but has beautiful vocals by actresses Holly Gibbs and Anne Shoemaker, with guitar by David Shoemaker.

Costume Design by Anthony Lane Hinkle and Mary Bova (of A.T. Jones) is authentic and fun for this piece. Set in the mid 1960s, styles and fashion were flashy and all over the place, but Hinkle and Bova manage to capture the essence of the 60s with their Costume Design. The nuns, of course, are your traditionally dressed 1960s nuns with the full habit and rosarary and the actors seemed very comfortable in these genuine-looking habits, moving freely about the stage. Outside of the nun costumes, the “civilian” character costumes were equally as impressive. The many costumes of the character named Mrs. Levinson, were all on point and fitting of the character and time, with polyester looking material and vibrant colors of a wealthy middle-aged woman with a penchant and propensity for current fashion and haute couture. Kudos to Hinkle and Bova for their impeccable design.

Lynda McClary and Tom Lodge. Credit: Tessa Sollway

Lynda McClary and Tom Lodge. Credit: Tessa Sollway

Steve Goldklang’s Direction of this piece is impressive and concise as his vision for this very funny and upbeat piece is clear making for a very well put-together production. Goldklang seems to understand this story is not merely making fun of any particular religion but using humor to tell a story and send an important message of trust and belief.

Though I don’t consider The Divine Sister a traditional farce, it does have farcical aspects and quick entrances and exits, but, overall is just a very witty comedy that Goldklang understands and keeps that delicate balance of mocking and poking fun. He keeps the action moving and, aside from the lengthy scene changes, manages to use the immense talents of his cast to keep the stor
y moving forward. Overall, Steven Goldklang does an outstanding job at the helm of this production.

Kathryne Daniels as Sister Walburga. Credit: Tessa Sollway

Kathryne Daniels as Sister Walburga. Credit: Tessa Sollway

Moving on to the performance aspect of this piece, Kathryne Daniels as Sister Walburga/Mrs. Macduffie has a great look and command of the stage making both her characters interesting and entertaining. Her characters are completely different and Sister Walburga as the stern Sister from Berlin may not be all she seems while Mrs. Macduffie, the cleaning lady, seems to know everything that’s going on in their little circle and is happy to share her information. It seems Daniels is the only actor required to use accents for her characters (German for Sister Walburga and Scottish for Mrs. Macduffie) but she may have benefited by working with a dialect coach as her accents for both characters were a dicey, at best. Regardless, her performance was impressive and she seems to understand her characters and plays them beautifully.

Tom Lodge as Brother Venerius/Jeremy is likable and carries the weight of being the only male character in the entire piece. He is comfortable and confident onstage and his portrayal of Jeremy is believable and moves the story along through his dialogue, making him an involved character. However, for as good as he portrays Jeremy, his portrayal of Brother Venerius, whose face we never see, falls a little flat. Brother Venerius is a mysterious character lurking in the underbelly of the convent but I couldn’t pinpoint where is character is supposed to be from as the accent he chooses to use is all over the place and a little strange. Overall, Lodge gives a very strong performance and carries his characters quite well.

Holly Gibbs as Sister Acacius and Lynda McClary as Mrs. Levinson. Credit: Tessa Sollway

Holly Gibbs as Sister Acacius and Lynda McClary as Mrs. Levinson. Credit: Tessa Sollway

Holly Gibbs is brilliant as Sister Acacius a.k.a. Lily in this production of The Divine Sister. She has great comedic timing and her understanding of the character is apparent as she pulls off the New York accent and mannerisms impeccably. As a nun who’s going through some things, including not necessarily wanting to be a nun anymore, and has an interesting past along with Mother Superior, Gibbs plays the role with the right amount of humor and is absolutely believable as Sister Acacius, the right hand man to Mother Superior. Gibbs never disappoints and her work in this production is no different.

Kathryne Daniels, Anne Shoemaker, and Holly Gibbs. Credit: Tessa Sollway

Kathryne Daniels, Anne Shoemaker, and Holly Gibbs. Credit: Tessa Sollway

Anne Shoemaker as Agnes, the postulate who is having visions and healing the sick, is a standout in this production. Her comedic timing is on point and her character choices are impeccable. She plays this role with the perfect amount of “crazy” that is required for this character. A cross between Maria Von Trappe and Annie Wilkes (from Stephen King’s novel Misery), Shoemaker finds a perfect balance of innocence and insanity for this character and her depiction of the transition her character goes through is also admirable, In general, Shoemaker is confident and commanding and gives a strong and impressive performance.

Lynda McClary as Mrs. Levinson/Timothy is hands down one of the highlights of this production. With that being said, in the role of Timothy, the young man who is bullied and not the best athlete, along with other adolescent issues, McClary is a bit much. An adult actor playing a child is always tricky and, for this production, McClary takes it to the extreme to being almost annoying, rather than funny, but, if anything, she is absolutely dedicated to the role, giving 100%. Her portrayal of Mrs. Levinson, however, is a completely different story. Mrs. Levinson is the wealthy, fashionable, and philanthropic widow who has secrets of her own and McClary pulls this role off flawlessly. With just the right balance of snootiness and humility, she is a riot with immaculate comedic timing and is an actress who isn’t afraid to make a fool of herself for the good of the production. She’s a seasoned actor and her confidence and command of the stage makes for a funny and outstanding performance.

Steven Shriner as Mother Superior. Credit: Tessa Sollway

Steven Shriner as Mother Superior. Credit: Tessa Sollway

Last but certainly not least is Steven Shriner as Mother Superios a.k.a. Susan who is another absolute highlight of this production. For some reason, a man in drag is still funny after all the years of it being a bit in show business and this production is no different. Shriner is superb as Mother Superior and his delivery of the clever lines and his timing is just about perfect. The success of his performance is the character of Mother Superior seriously, not as a mockery, and it makes for a very strong, funny, natural performance. His soothing voice and mannerisms make for an authentic portrayal and a very likable character. As both Mother Superior and Susan, the young and sweet, but cut-throat New York reporter, Shriner gives a confident and commanding performance and I’m looking forward to seeing more from him.

The Cast of The Divine Sister. Credit: Tessa Sollway

The Cast of The Divine Sister. Credit: Tessa Sollway

Final thought… The Divine Sister at Fells Point Corner Theatre is witty, hilarious show with a clever script and excellent performances from the ensemble. The piece pokes fun at religion but certainly does not mock it and, in the end, sends a good message of faith and hope through crafty humor that will have your sides splitting. Get your tickets now! You don’t want to miss this one!

This is what I thought of Fells Point Corner Theatre’s production of The Divine Sister. What did you think? Please feel free to leave a comment!

The Divine Sister will play through December 18 at Fells Point Corner Theatre, 251 S Ann Street, Baltimore, MD. For Tickets, go to fpct.org for information or purchase them online.