Nice Work If You Can Get It, and You Can Get it at Cockpit in Court!

By Jason Crawford Samios-Uy

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

Chances are, somewhere in your life you’ve at least hear a George and Ira Gershwin tune, whether in a movie, a wedding, a gathering of some kind, or you may have even had a chance to experience an actual Gershwin show. Cockpit in Court’s latest offering, Nice Work if You Can Get It, with Music and Lyrics by George and Ira Gerswhin, a Book by Joe DiPietro, and Inspired by Material by Guy Bolton and P. G. Wodehouse, is a jukebox musical, of sorts, of songs by the Gershwin brothers and sets it in a cute, funny story of a bygone era. Under the charge of Director Eric J. Potter, Music Director Gerald Smith, and Choreographer Ilona Kessell, this is a production that takes you away for awhile and adds a little pizzazz to the everyday grind.

According to Broadway.com “Set in the 1920s, Nice Work If You Can Get It is the story of charming and wealthy playboy Jimmy Winter, who meets rough female bootlegger Billie Bendix the weekend of his wedding. Jimmy, who has been married three (or is it four?) times before, is preparing to marry Eileen Evergreen, a self-obsessed modern dancer. Thinking Jimmy and Eileen will be out of town, Billie and her gang hid cases of alcohol [in] the basement of Jimmy’s Long Island mansion. But when Jimmy, his wife-to-be, and her prohibitionist family show up at the mansion for the wedding, Billie and her cohorts pose as servants, causing hijinks galore.”

Lizzy Pease and J. Bradley Bowers. Credit: Cockpit in Court

Costume Design by Tracy Bird of Stage Garb, Inc. is on point with this production. Set in the decadence of the 1920s, Bird has hit the nail on the head with all of the fashions and her attention to detail. Her efforts transport the audience to this fashionable era with every gown and pinstriped suit that graces the stage and she is to be applauded and revered for her precise and well thought-out design.

Michael Raskinski’s Set Design, too, is beyond praise-worthy. With clever set pieces that fly in and out easily and quickly, the pacing is kept on point and the Art Deco style that Rasinski has chosen adds immense value to the production as a whole. The entire design from set pieces to the simple, but detailed proscenium façade, this design is top notch and Rasinski is to be commended for his well planned efforts.

A particular highlight of this production is, indeed, Choreography by Ilona Kessell. It is high-energy and engaging and this ensemble has the ability to pull it off. I am quite impressed with the precision in which Kessell’s fun and well-rehearsed choreography is executed. Kessell knows her cast and their abilities, which is probably the most important aspect of a Choreographer’s job, and her routines are filled with variety and traditional styles that keep the audience interested. Kudos to Kessell for this superb choreography.

Many, if not all of these Gershwin tunes are familiar to most, and Music Direction by Gerald Smith is splendid as this cast manages to breathe fresh life into each number. Harmonies are spot on and featured numbers emit the dynamics and emotions that the Gershwins intended. This production has also managed to round up a very impressive pit orchestra consisting of Tim Viets (Conductor), Michael DeVito (Keyboard 1), Michael Clark (Keyboard 2), Dieter Schodde (Percussion), Steve Haaser and Helen Schlaich (Reeds), Jay Ellis (Trombone), Tony Neenan and Ginger Turner (Trumpet), Matthew DeBeal (Violin), and Bob DeLisle (Bass).

The book for this piece is light and fluffy, and is, in a word, trite, but that’s to be expected with jukebox musicals, right? Maybe not, but this one is. Crazy For You, the other Gershwin musical, has a meatier book, and probably got dibs on most of the best George and Ira Gershwin songs, but this piece is not without it’s merits. The thing that helps this production Direction by Eric J. Potter and he really has a good grasp on this material. It’s an old-fashioned song-and-dance type show, happy ending and all that, but Potter has taken these songs and this book and weaved them into a well put-together, polished production with near perfect pacing and character work that is superb. Under his charge, the classic music is given a fresh coat of paint and it shines bright making for an entertaining, energetic evening of good theatre. Snaps to Potter for a job quite well done.

I’d be amiss if I didn’t mention that this production of Nice Work If You Can Get It has an absolutely phenomenal Ensemble consisting of Mary Margaret McClurg, Olivia Aubele, Angela Boeren (Dance Captain), Sarah Jones, Emily Machovec, Rachel Verhaaren, J. Purnell Hargrove (Dance Captain), Ryan Christopher Holmes, Conner Kiss, Shane Lowry, and Josh Schoff. These folks dance and sing their way across this stage effortlessly, will grab you from the moment the curtain goes up, and bring you into the performance with them. Hands down, one of the best and able ensembles I’ve seen in community theatre in a good while. Kudos to all for their hard work and excellent abilities.

J. Bradley Bowers and Lynn Tallman. Credit: Cockpit in Court

Taking on the role of the seemingly bumbling, sensitive Chief Berry is Thomas “Toby” Hessenauer and he does quite well with the role, even if his accent or lack of accent is noticeable. Actually, I’m not sure if he was going for an accent or not, but one seems to be trying to peek out once in awhile, but I might be hearing things. Regardless, Hessenauer is a wonderful actor and understands this comical character and pulls him off nicely. Vocally, Hessenauer is not a powerhouse in this particular production, but he does hold his own and brings comedy into familiar numbers such as “Let’s Call the Whole Thing Off.” In the same boat is Lynn Tallman as Eileen Evergreen, the snooty, oblivious fiancé who needs to be put in her place. Evergreen has a good grasp on what her character is about and portrays her beautifully. Again, the attempted accent, if that’s what it can be called, may hinder her witty dialogue, at times, but overall, she gives an admirable performance. She certainly makes you take notice with her charming featured number “Delichious,” on which she gives a strong delivery.

Patrick Martyn and Jane E. Brown. Credit: Cockpit in Court

Taking on the more non-savory characters in this story are Patrick Martyn as Cookie McGee, Gary Dieter as Duke Mahoney, and Casey Lane as Jeannie Muldoon. First off, these folks couldn’t have been cast better. Martyn and Dieter completely embody their characters and I believed them from the moment they stepped onto the stage. Both play the somewhat bumbling criminals well, with impeccable comedic timing, and had me laughing out loud throughout their performances. Lane, too, as the gold-digging, deceived young woman, is natural in this role and makes this supporting character something to take notice of. Dieter is definitely the stronger vocalist, shining in his humorous featured number, “Blah, Blah, Blah,” and Lane does very well, also, in the reprise of the same song and in the adorable “Do It Again.” Martyn, though not as strong, vocally, does give heartfelt and confident in his featured “Fascinating Rhythm,” and “Looking for a Boy.”

Highlights in this production are, hands down, John Amato as Senator Max Evergreen, the staunch, uptight father of the fiancé, Jane E. Brown as Duchess Estonia Dulworth, the self-righteous anti-liquor crusader, and Joan Crooks as Millicent Winter, the strong, confident mother of the leading man. As with the rest of this cast, these folks were cast perfectly in their roles. Amato exudes the rigidness this straight-man character needs, but his comedic timing is superb, getting befuddled when needed and trying to take charge of the situation. His booming, smooth voice just adds to this character and his natural delivery is like butter. In tandem with Amato’s performance, Brown’s portrayal of Duchess Estonia Dulworth is absolutely and completely on point. She has embodied this character and has made it her own. Her strong stage presence and thoughtful, though seemingly effortless portrayal of this character is make her one to watch in this production. Not only does she have the staunchness down, her comedic timing is just as wonderful. Vocally, Brown is a powerhouse and one can help but notice her powerful technique and know-how in her featured number, “Demon Rum” (with impeccable and superb back up from the ensemble), and the side-splitting “Looking for a Boy.” In the like, Crooks, who only shows up toward the end of the piece, makes her short time on stage well worth it. She, too, embodies this character of Millicent and takes charge of the stage from the moment she steps onto it. This trio of which I call the “previous generation” of this story, is well-cast, and well performed and I can’t give enough kudos to Amato, Brown, and Crooks.

J. Bradley Bowers and Lizzy Pease. Credit: Cockpit in Court

Rounding out this praise-worthy ensemble are standouts Lizzy Pease as Billie Bendix and J. Bradley Bowers as Jimmy Winter. It’s easy to see both of these actors are disciplined and hard working as it shows in their portrayal of these young lovers that carry the show. Pease knows her character well and portrays her with just the right balance of roughness and tenderness. Again, the story is fluffy, but Pease makes the most of her character and glides through her performance naturally, with a distinct delivery and ease. She comfortable on stage and gives a strong showing. Vocally, she’s top notch with a voice that soars throughout the theatre, especially in her featured numbers, the poignant “Someone to Watch Over Me,” and the cutesy duet, “S’wonderful.” Overall, her performance is grade-A and should not be missed.

In the same vein, Bowers knocks it completely out of the ball park into the next town in his performance. Completely at ease in this character and a definite knowledge of the stage, his performance leaves me wanting more. He’s not simply going through the motions of the script, but becomes this person, Jimmy Winter, and his performance alone is worth the price of admission. His natural talent, strong stage presence, and confidence drives his performance and he’s a fun to watch. He’s what folks might call a triple-threat… he can act, he can sing, and boy he dance. Who could ask for anything more? (See what I did there?) Vocally, Bowers is phenomenal with a smooth, silky baritone, with a great range that makes listening to all his numbers a joy, especially his renditions of “Nice Work if You Can Get It,” “I’ve Got to Be There,” “I Do, Do, Do” (with absolutely perfect backup and harmony from the gentlemen in the ensemble), and the aforementioned duet, “Let’s Call the Whole Thing Off.” I’m looking forward to seeing more stage work from Mr. Bowers in the future.

Final thought… Nice Work if You Can Get It is a high-energy, old-fashioned song-and-dance kind of show that will have you tapping your toes, feeling nostalgic, and take you a allow you to escape for just a couple of hours, at least. Casting is spot on, Set Design is brilliant, Choreography is engaging, and the talent and abilities of the entire ensemble are top notch. The production is polished and fun for the entire family. Though, the story and script can be a bit trite and fluffy, it’s still a fun piece with good message. Whether your familiar with the work of the Gershwins or not, you’ll be thoroughly entertained and humming as you leave the theatre.

This is what I thought of Cockpit in Court Summer Theatre’s production of Nice Work if You Can Get It… What did you think? Please feel free to leave a comment!

Nice Work if You Can Get It will run through August 4 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: The Graduate at Dundalk Community Theatre

By Jason Crawford Samios-Uy
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Running Time: Approx. 2 hours a 15-minute intermission

DCT Pic The Graduate. Poster

Dyana Neal as Mrs. Robinson and Stephen Edwards as Benjamin Braddock. Credit: Dundalk Community Theatre


“Plastics.” If you are familiar with this one-word movie quote, you are familiar with one of the American Film Institute’s 100 Greatest Movie Quotes of All Time (#42), and the 1967 film The Graduate. It’s a classic film with big name stars such as Dustin Hoffman and Anne Bancroft and gave us the musical styling of the impeccable Simon and Garfunkle, including the well-known “Sound of Silence.” In 2002, The Graduate was taken from the screen and transferred to the stage starring Kathleen Turner, Jason Biggs, and Alicia Silverstone, who were all on their games at the time and it was a critical and commercial hit during its year-long, 380 performance run. The Graduate is now Dundalk Community Theatre’s latest offering, Directed by Todd Starkey, and presents this 1960’s coming-of-age and still-relevant piece to a new generation, some of whom may be dealing with similar personal problems as the complex characters in the story.
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Stephen Edwards Rachel Verhaaren, and Elisabeth Johnson. Credit: Dundalk Community Theatre


Scenic Design by Marc W. Smith (who also wears the hats of Lighting and Sound Design, as well as Technical Director, in general) is, to say the least, exquisite. Smith, being the resident Scenic Designer for Dundalk Community Theatre, knows his space and is wise in his choice of a clean, minimal unit set utilizing set pieces to present various locations. Though the set is minimal, Smith has a great attention to detail with his choice of pieces adding a realistic, but non-hindering value to the production as a whole. With the amount of locations written in the script, the pieces are many and cause for a few lengthy transitions, but the design is superb, as a whole.
Costume Design by Eva Grove, who also graces the stage in a few supporting roles, is spot on and absolutely appropriate for the 1960s setting. Being a unique and eclectic time for fashion, Grove has managed to represent it flawlessly with loud colorful patterns, as well as subdued conservative looks that help, not distract from the action and setting. Her well thought-out, detailed design adds great value to the entire production.
Todd Starkey takes the helm of this production and, directing an adaption of an already well-known piece is always a challenge, but Starkey seems to have stepped up to that challenge. There are definite minor issues with the script, the main problem being missing information. If you’re familiar with the film, you’ll be okay, but if you are not, you might get confused as to how the relationship between the younger characters blossom and why but, taking it at face value, the gist is still intact. Starkey has cast his show well and has a good comprehension of the material and, aside from a few aforementioned lengthy transitions (the production could have done without a few of the blackouts, which broke up the momentum a bit), the pace is appropriate and consistent. Overall, Starkey should be applauded for his efforts in bringing this relevant and relatable story to the stage.
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Dyana Neal and Mrs. Robinson and Stephen Edwards as Benjamin Braddock. Credit: Dundalk Community Theatre


Moving on to the performance aspect of this piece, it’s worth stating that the entire ensemble is dedicated and gives 100% effort to this production and each player works hard to bring this material together to tell this multifaceted story.
Alice Scanlon and Thomas “Toby” Hessenauer take on the roles of the caring, but somewhat oblivious Mr. and Mrs. Braddock. Though Scanlon is a little stiff and scripted in her performance, she clearly understands the character of the hapless, naïve mother who is a woman of a different time and is content being a housewife and letting the males in her life take the lead. She pulls off the role nicely and compliments the superb performance from Hessenauer, who is a highlight of this production and who completely embodies the character of the financially and, some would consider, personally successful Mr. Braddock. He emotes the confidence and strong will of a 1960s head-of-household. He works well with and off of his fellow cast mates that makes for a brilliant and believable performance.
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Stephen Edwards as Benjamin Braddock and Elisabeth Johnson as Elaine Robinson. Credit: Dundalk Community Theatre


John Dignam as Mr. Robinson and Elisabeth Johnson and Elaine Robinson make up 2/3 of the dysfunctional Robinson family and are major players in this tawdry tale. Elisabeth Johnson does well with the role, having a good understanding of her character and the naiveté and sheltered upbringing that makes up Elaine Robinson. She has good chemistry with her cast mates and gives a commendable portrayal, save an over the top, hokey scene where her character gets drunk and Johnson is scripted and unnatural, barely getting her dialogue out, but, overall, she gives a delightful performance.
John Dignam is another highlight of this piece, portraying the at first confident, successful business man to distraught husband near flawlessly. His dramatic turn where his character breaks down and confronts Ben, his unassuming nemesis, is a bit forced and unnatural but, aside from that, his performance is strong, confident, and authentic.
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Dyana Neal as Mrs. Robinson and Stephen Edwards as Benjamin Braddock. Credit: Dundalk Community Theatre


Last but certainly not least, we have Dyana Neal as the sensual cougar, Mrs. Robinson, and Stephen Edwards as Benjamin Braddock, the young man who is just searching for purpose, like so many so soon after graduating from college. It’s clear that Neal and Edwards have a firm grasp of their characters, but, unfortunately, the chemistry between the two is just not as apparent. Both play their characters well, individually, with Neal being the stronger performer, but are missing the connection and attraction required of these two characters, not to mention the awkward, forced insinuation of sexual acts that are, I assume, supposed to be humorous to downplay the sex, but just end up falling flat. Neal is on point with the sultriness of the bored Mrs. Robinson and keeps her character consistent, as she should be portrayed. It’s also worth mentioning Neal’s velvet voice that is a pleasure to listen to and makes it easy to understand why she is on the radio. Edwards starts off portraying Benjamin Braddock as an awkward, unsure recent graduate, which works perfectly, but as the story moves forward, Benjamin is supposed to find his footing and become surer of himself and comfortable with the world around him, but Edwards can’t seem to find that arc in this character. With that being said, he exudes a certain confidence and authenticity that makes for a charming performance.
Final thought…The Graduate is a coming-of-age story with a good blend of lightheartedness and complexity that keeps this piece interesting. Being a well-known, classic film, there are built-in challenges of transferring to the live stage and for those who are unfamiliar with the film, there may be some missing pieces in the script and it may seem a little jumbled and rushed, but in the end, you get the gist of the story. The performances are commendable and, aside from the numerous blackouts breaking up the flow, the pacing is decent. The story itself is timeless and relatable, so it’s worth checking out this well put-together production.
This is what I thought of Dundalk Community Theatre’s production of The Graduate… What did you think? Please feel free to leave a comment!
The Graduate will run through March 4 at Dundalk Community Theatre, College Community Center, John E. Ravekes Theatre. For tickets call the box office at 443-840-ARTS (2787) or purchase them online.
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Review: I Hate Hamlet at Dundalk Community Theatre

By Jason Crawford Samios-Uy
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Running Time: 2 hours with one 15-minute intermission
Some of the Baltimore theatre community are going through “A Year of Shakespeare,” producing the Great Bard’s plays or works based on his writing. Dundalk Community Theatre’s latest piece, I Hate Hamlet by Paul Rudnick, Directed by Tom Colonna, with Set Design by Marc W. Smith, and Costume Design by James J. Fasching and Eva Grove is just right if you’re looking for a piece that’s not too heavy but has enough substance to help you learn a little something about a legendary actor of stage and screen and Hamlet, the play by William Shakespeare.
I Hate Hamlet is set John Barrymore’s actual New York City apartment and focuses on Andrew Rally, a successful television actor who is on the horns of a dilemma as he takes on the dream role of Hamlet. All the while, he’s struggling with a girlfriend who’s not budging on her chastity. The ghost of John Barrymore shows up only to convince Rally he’s good enough for the role of Hamlet and can’t go back to the other side until he does. Just as Barrymore has convinced Andrew he’s worthy of the role, his West Coast director friend shows up offering a role in a television pilot and a hefty salary and guaranteed fame to go along with it. Which will he choose? Shakespeare, which arguably makes him a real actor and a project his girlfriend loves, or TV, where he can have fame and fortune?
This is a bit of a biographical play as it gives you a little insight into the life of actor John Barrymore and how he felt about the role of Hamlet and, as a bonus, it explains the character of Hamlet a little to give us a better understanding of the poor fellow who asks the age old question of “to be or not to be.”
Set Design from Marc W. Smith is, in a word, stunning. Smith, who has been designing for the Dundalk Community Stage for many years, absolutely knows every square inch of his stage like the back of his hand and his designs express his knowledge. The authenticity shines through in this set and his use of levels and matching just the right set piece or piece of furniture to compliment the piece is superb and his attention to detail makes for impressive, thoughtful work.
Costume Design by James J. Fasching and Eva Grove is subtle but appropriate for the “living” cast and each character has his or her own unique look from the flashy New York real estate agent to the quirky girlfriend, to the West Coast director, and even John Barrymore himself, who happens to be in costume for Hamlet. Fasching and Grove do a fantastic job costuming these characters with a well thought-out, unassuming wardrobe that the actors seem to be comfortable wearing.
Director Tom Colonna looks to have taken the traditional route with this production (though there’s not really an alternative to the traditional) and he keeps the story moving along. His vision is a bit dicey as I couldn’t decipher if this show is about Andrew, the rising star or John Barrymore, the legendary star, but either way, the simple message of “believe in yourself” is somewhat clear, if you look close enough. The casting is a bit curious as the balance between Thomas “Toby” Hessenaauer’s confident performance as John Barrymore and Charlie Lidard’s shaky performance as Andrew heavily teeters on the uneven. Just as the pairing of Jennifer Skarzinski’s brilliant and funny portrayal of Felicia to Phil Vannoorbeeck’s inconsistent attempt at Gary. Overall, Colonna does a good job moving the story along, but some of the jokes (or what I think are jokes) are glazed over. For instance, since there’s a supernatural theme to this piece a lot of sound effects were used to portray supernatural happenings, like when a character feels a cold chill that is Barrymore standing behind them waving his hand around the back of their neck. Aside from looking a little corny, the actor’s reactions weren’t big enough and the bit kind of just fell to the wayside. It’s a quirky piece, as it is and a challenge for any director so aside from some minor casting choices, Colonna does admirable job with the piece, in general.
The small ensemble of this piece work very well together and are natural enough to be believable. The characters are individuals and the actors do a great job tackling their roles, overall.
Phil Vannoorbeeck as takes on the role of Gary, the fast talking West Coast director. Now, I think I see what Vannoorbeeck was going for, and he gives 100% to his performance, but it just falls a little flat for me. He seems to overcompensate the carefree personality of his character and comes off as unauthentic. There are times when he keeps the pace up and then he falters and slows down to be not so fast talking. He might want to work on his consistency throughout the piece because he goes from being likable to be a complete ass and I’m not sure whether to grab him by the scruff of the neck and throw him out for being an ass or go and have a beer with him! However, that’s not to say Vannoorbeeck didn’t do a good job because his performance was quite appropriate and like I stated, he gives a great effort and works well with his fellow ensemble members.
Charlie Lidard takes on the role of Andrew, the up and coming television star who, whether he likes it or not, is getting help from the ghost of the legendary John Barrymore. All in all, Lidard does a great job with this role, but he just couldn’t keep my interest for very long. He has a great look for the part but seems scripted and unnatural at times. He works well with his cast mates and his chemistry with them (especially Morgan and Hessenauer) is giving his all, which is absolutely commendable, but perhaps it’s just a weak written character.
Tackling the role of sweet Deidre, the flighty good-natured, naïve girlfriend who holds tightly to her chastity, driving her boyfriend crazy is Emily Morgan. Morgan shines in this role. She plays the role with an authentic sweetness that it almost gives you diabetes and her confidence allows her to make good character choices. She’s comfortable and she gives the character just enough whispiness mixed with compassion to give an authentic, entertaining performance.
Regina Rose as Lillian, the elderly, wise agent to Andrew plays this character very well. Rose’s accent is spot on and fits the character perfectly and she understands the comedy of this piece and her character, not taking it too seriously. She gives a strong, confident performance with a good command of the stage and it’s a joy to watch.
As Felicia, the New York real estate agent, Jennifer Skarzinski is an absolute and undoubted highlight in this piece. She has a fantastic sense of comedy and her timing is on point, every time! Even though a couple of her great one-liners fell on deaf audience ears, she kept it going strong and didn’t falter once. Her stereotypical “New York” accent was spot on and worked well for the character add to the authenticity. Skarzinski gives a natural and comfortable performance giving 110% effort making for an absolutely superb performance.
Thomas “Toby” Hessenauer as the late, great John Barrymore is a standout in this production. He has a great command of the stage, a great comedic timing, and has a clear and bold voice adding to his near flawless performance. Tackling a biographical role has its own set of challenges but Hessenauer, a Baltimore theatre veteran, seems to really understand John Barrymore and is comfortable in this role, giving an excellent performance.
Final thought…I Hate Hamlet at Dundalk Community Theatre is a light, fluffy piece that doesn’t seem to have much of a message (that I took away) other than, perhaps, the cliché of “have faith in yourself and you can do things beyond what you think you can do” but it is a well-presented and, for the most part, well performed piece that has some great one-liners and moves along nicely. Whether you’re unfamiliar with John Barrymore and the work of William Shakespeare or a fan, you’ll enjoy this piece as touches on not only Barrymore’s professional life, but his private, personal side, also, and gives a little insight to this legendary actor, as well as enlightening the audience on the character Hamlet and the play in general.
This is what I thought of Dundalk Community Theatre’s production of I Hate Hamlet… What did you think? Please feel free to leave a comment!
I Hate Hamlet will play through March 5 at Dundalk Community Theatre, 7200 Sollers Point Road, Baltimore, MD. For Tickets, call the box office at 410-840-ARTS (2787) or purchase them online.
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