Elf the Musical Brings in the Holidays at Tidewater Players

By Jason Crawford Samios-Uy

Approx. Running Time: 2 hours with one intermission

It’s that time of year, again, when even the most jolliest of Christmas enthusiasts are saturated with holiday shows and reviews. If I see one more adaptation of A Christmas Carol, it may be my last. However, ‘tis the season, and it’s to be expected so, I trudge on. At least there are a couple of new holiday shows that have come to light in the last few years and Tidewater Player’s latest venture, Elf the Musical, with a Book by Thomas Meehan and Bob Martin, Music by Matthew Sklar, and Lyrics by Chad Beguelin, is a modern holiday show with a fresh look on how we see the holidays. This production is Directed by Laurie Sentman Starkey, with Music Direction by Stephanie Carlock Cvach, and Choreography by Carissa Lagano.

Briefly, Elf the Musical is based on the film Elf, starring Will Farrell and James Caan, featuring the likes of Bob Newhart, Ed Asner, Mary Steenburgen, and Zoe Deschanel. Buddy the Elf is actually a human who was mistakenly brought back to the North Pole and raised as one of Santa’s little helpers but has always felt like he didn’t belong. The truth is discovered and Buddy travels to New York City to find his real father, meeting a slew of characters along the way including a Stepmother, a stepbrother, and a love interest, all while keeping his cheerful elven charm and humor about him.

The cast of Elf the Musical. Photo: Tidewater Players

Overall, the production value is good, but though there is a minimal set consisting mainly furniture pieces with a few larger pieces, some of the scene changes were a little clunky and the vamp of recorded music was not synced up as well as it could be making it more of an annoyance than a distraction. Speaking of recorded music, it really did nothing for this production. Admittedly, I’m not a fan of canned (recorded) music for live theatre productions, but I can understand the need for it. Without a live orchestra, the recorded music seems to suck the energy out of this production even though the performers are keeping up a good pace.

Music Director Stephanie Carlock Cvach seems to have had her hands full with this score. It doesn’t help that the music and lyrics are a bit elementary and kitschy but, what can you do with a holiday show except throw some camp at it? Sometimes less is more. Though most of it is performed nicely, there are a few spots that could have had a few more rehearsals with both featured soloists and the entire ensemble. There are times when the cast seems to be out of sync not only with the music but with each other and it jolts the audience out of the magic. Some performances are better than others, but overall, Cvach seems to do her best with the material she’s given.

The cast of Elf the Musical. Photo: Tidewater Players

Carissa Lagano tackles Choreography in this production and though appropriate, it’s a bit on the lackluster side. The movement seems to be all over the place at times but the cast seems to be enjoying themselves and it gets a splendid reaction out of the audience. I could see what Lagono was going for, and it has the potential to be marvelous, but again, it could be the material she has to work with. In general, Lagano does a terrific job and, just like the music, with a few more rehearsals, her choreography has the potential to shine.

Amanda Lynn McDowell as Jovie. Photo: Tidewater Players

Laurie Sentman Starkey takes the helm of this production and aside from a few clunky scene changes, it is a good showing, overall. She seems to understand the material and presenting an adaptation of a popular and loved film is challenging, not to mention that the holiday aspect. She balanced the comedy and poignant bits nicely and though apparent, her character work might be delved into a bit more. She keeps the pacing beautifully but the ending seems rushed and frenetic. Regardless, Starkey presents a well rounded, charming production.

Moving on to the performance aspect of this production of Elf the Musical, it is absolutely clear that this entire ensemble gives 100% effort, like Samantha Jednorski, who takes on multiple roles and makes each of the individual and engaging, and all are having a blast working with each other. They work hard and should be commended for their efforts, each and every one of them.

To name a few, taking on the roles of Buddy’s human family, Bob Willenbrink, Eva Grove, and Michael Amhein portray Walter, Emily, and Michael Hobbs, respectively, and all give good showings. The strongest of the three would be Eva Grove who gives a charming performance as the wife of a workaholic who is trying to get her husband to spend more time with the family. She makes the most of her stage time and makes the role her own.

Michael Amhein and Dickey Mahoney. Photo: Tidewater Players

Tackling the role of the cynical Jovie is Amanda Lynn McDowell and though her character is supposed to be deadpan through most of the story, McDowell may have taken it a bit too far at times. This could be actor choice or direction, but it didn’t add any variety to her role. Vocally, McDowell has a stunning lower range and shines in her featured numbers such as “Never Fall in Love With an Elf” and “A Christmas Song.” Dicky Mahoney takes on the main role of Buddy the Elf and seems to be having a great time with the role and his jovial energy is consistent throughout the production. In the same breath, it seems, at times, Mahoney is trying too hard and it comes off as insincere with wide eyes and yelling the dialogue. However, overall, his performance is delightful, if not out of place, and he’s giving his all with a great presence, making for a strong, confident performance.

Lisa Standish as Deb. Photo: Tidewater Players

A definite highlight in this particular production is Lisa Standish who takes on a supporting role as Deb, Walter Hobbs loyal and efficient assistant. She has a good comprehension of her character and play her with a flawless balance of seriousness and comedy. Her delivery of the dialogue is natural and her gestures and mannerisms make the character believable from the start. She has a strong stage presence and seems to embody this character. She gives a superb vocal performance, especially in her featured numbers such as “In the Way” and “The Story of Buddy the Elf.” Standish is to be commended for her work and effort in this production.

Final Thought… Elf the Musical is a delightful, modern holiday romp that is sure to become a classic. It’s definitely family-friendly with enough “grown up” jokes to keep all of the adults engaged throughout. Though it doesn’t have the same oomph as the Will Ferrell film, it still pleases the audience and gets the message of the real meaning of Christmas across. Tidewater Player’s has a lot of heart and it’s easy to see their folks are giving 100% effort on stage and are truly enjoying themselves. The production has its flaws, is a little haphazard in spots, and tries too hard in others, it’s still a fun and funny production that will please the entire family.

This is what I thought of Tidewater Players’ production of Elf the Musical… What did you think? Please feel free to leave a comment!

Elf the Musical will play through December 8 at Tidewater Players at The Cultural Center at the Opera House121 N. Union Street, Havre de Grace, MD. Purchase tickets at the door one hour before show time or purchase them online.

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A Few Good Men (And a Woman) Are Abound at Tidewater Players

By Jennifer L. Gusso

Running Time: 2 hours and 40 minutes with one intermission

A Few Good Men is definitely an understatement. The current Tidewater Players’ production, written by Aaron Sorkin and running at the Havre de Grace Opera House has many exceptionally good men and one exceptionally good woman. Under the masterful direction of Todd Starkey, this is a brilliant and compelling production that is not to be missed. Gorgeous staging and lighting combined with powerhouse performance after powerhouse performance, it really doesn’t get any better than this.

Starkey makes the first of many excellent decisions with his set design and the corresponding staging. By creating different scenes in different portions of the stage, he is able to avoid complex set changes and create minimal time spent in blackout. This allows the action to flow and segue quickly. Starkey also intentionally blocks scene within in those sections to allow for varied and interested movement, even in smaller staging areas. The set and staging are enhanced beautifully by the gorgeous and artistic lighting design of Moises Estrada. Powerful use of red, white, and blue, a subtle flag background, and the shadows of prison bars are just a few of the transcendent ways in which the lights become an intricate part of the production. The perfectly designed look of the show is furthered by the precise costuming of Eva Grove.

Within those uniforms, there is a host of characters that are brought to life by a group of talented performers. The audience is first introduced to Lance Cpl. Harold W. Dawson (Lamar Leonard) and Pfc. Louden Downey (Jordan Baumiller). Leonard and Baumiller use their body language and posture to show the dedication of their characters to the Marine Corp from moment one. As the audience gets to know the two characters better, the two actors create characters that feel real. Leonard manages to let us see the heart of his character without ever losing the precision to duty that is so essential to Dawson. Downey plays a character that is incredibly naïve and is able to do this so realistically that performance doesn’t look forced or over-the-top.

The rest of the cast follows in their footsteps. Shining appearances are made by Tim Hartley (Capt. Isaac Whitaker) and Phil Hansel (Col. Julius Alexander Randolph). As Lt. Jack Ross, Aaron Dalton makes the opposing counsel warm and respectable. In a truly top-notch portrayal of duty turned sadistic, Leif McCurry stands out as Lt. Jonathan James Kendrick.

Of course, it is the defense team that compromises the protagonists of the piece, and all three create distinct, nuanced, and lovable characters. As Lt. j.g. Sam Weinberg, Jake Stuart masters deadpan comedy and projecting complex emotions with appropriate restraint. As Lt. Cmdr. Joanne Galloway, Samantha Murray absolutely dazzles. She is so feisty and passionate and raw. She makes you want to stand up and cheer with her victories. At the center of it all, Lt. j.g. Daniel A. Kaffee is truly the heart of the piece. In the hands of charismatic Joe Weinhoffer, it is truly enjoyable to watch the character mature and acquire depth as he becomes a lawyer.

Good guys aside, though, it is Brian Ruff’s performance as Col. Nathan Jessep that has chins falling to the floor. With flawless rage and believable conviction, he brings a true egomaniacal monster to life. His performance alone would make the production worth seeing. However, in this particularly well-crafted production, Ruff’s performance is just the icing on the already masterful cake.

Everyone should find a way to see Tidewater Players’ A Few Good Men before it closes on Sunday.

This is what I thought of Tidewater Players’ production of A Few Good Men… What did you think? Please feel free to leave a comment!

A Few Good Men will play through September 29 at Tidewater Players at The Cultural Center at the Opera House121 N. Union Street, Havre de Grace, MD. Purchase tickets at the door one hour before show time or purchase them online.

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Tidewater Players Bares All in The Full Monty!

By Jennifer L. Gusso

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

Every so often, a production comes around where every element works perfectly and transcends to a level of sheer theater magic. One of those productions is the Tidewater Players’ current production of The Full Monty with Book by Terrence McNally and Music & Lyrics by David Yazbek, Directed by Laurie Starkey, with Music Direction by R. Christopher Rose, and Choreography by Elise Starkey. If you don’t already have tickets to this hysterical and heartwarming delight, you should buy them immediately. This cast and production team consistently deliver in bringing to life one of the funniest scripts in Musical Theater.

The Cast of The Full Monty at Tidewater Players. Credit: Tidewater Players

Fair warning: This is the tale of a group of out-of-work steel workers who have decided to make some money by taking off all their clothes. There will be some skin, combined with language and other adult themes, that does make this production not appropriate for young audiences. However, mature teens and even the most conservative adults are unlikely to be offended, as this is not skin for the sake of skin – this is a story about loving yourself and about body acceptance. It has a strong moral foundation and excellent themes about what it means it be a “Man.”

Director Laurie Stentman Starkey’s curtain speech talked about her great love for this piece and her desire to really do justice to the message of this show. That love shows in every detail of this production. From assembling a dynamic cast to effective staging, quick scene changes, and seamless integration of technical aspects, a strong and skilled directorial hand is evident throughout. Her vision is furthered with strong musical leadership at the hands of R. Christopher Rose. Both soloists and ensembles shine consistently in their knowledge of the music and how to deliver the music for maximum impact. Another shining star is the choreography of Elise Starkey. Her choreography is not only eye-catching and delivered with stunning synchronicity, it also often tells the story and adds to the humor.

The technical aspects are also very well-designed and effective. Laurie Starkey & Todd Starkey create a set design that easily transforms into a variety of locales, ending in the amazing culmination of the “Full Monty” sign in the closing scenes. The lighting design by Thomas Gardner adds depth and character throughout and works perfectly in the most crucial of moments. Costume Design by Eva Grove is clever and detailed. Like the other aspects, it highlights the two key aspects of this production: character and humor.

With these things in place, the cast is set up for success, and they take that ball and run with it. There is truly not a weak link in the entire ensemble. The thing that works so brilliantly is that the production team and cast really got the characters and the theme of the piece. What makes this show both funny and touching is that these are real men stepping outside of their comfort zone. The characters are quirky and zany at times, but, above all else, they are real. It is only in playing these characters as real and complex and not over-the-top that this show can truly work. Starkey and her cast understand this and instead of trying to play for laughs or manipulate audience emotion, they allow themselves to be real characters who experience this story as it unfolds. The result is that the audience laughs and cries and falls in love with the vulnerability and reality on display in front of them.

The cast also melds together so well as an ensemble that is practically impossible to single out and talk about these performances as individuals. They are always working as a team, reacting and supporting as much as taking the spotlight. The supporting characters are just as real as the leads and played by some equally strong actors. With just a few small scenes, Matt Peterson allows the audience to see things from Teddy’s side, as much as we may be inclined to dislike him. The same is true of Angie Sokolov as Pam. It’s tough to play characters that are standing in opposition to the protagonist. Sokolov allows us to see Pam’s point of view in way that lets us feel OK about rooting for her happiness as well. Another strength in the supporting characters can be seen in Samantha Jednorski’s portrayal of Estelle. She finds ways to build layers and depths with her reactions that create a real person and not a one-dimensional cliché. Audiences will also definitely remember the supporting performance of Wayne Ivusich (Rev. Willoughby/Minister) who almost bares it all with zeal in one of his several standout comedic moments.

Two actresses that definitely deserve some individual attention are Barbara Snyder (Jeanette Burmeister) and Lisa Pastella (Georgie Bukatinsky). Snyder consistently brings joy and laughter to the audience with her feisty character and solid comedic delivery, and Pastella easily has one of the best female voices in the local theater community. Pastella also has incredible chemistry with her onstage husband and creates a character who is vibrant and believable.

However, at the end of the day, this show is truly about the six men who decide to bare it all. These six men forge an incredible bond on stage that is the foundation of this show, while each creating unique and loveable characters. Austin Barnes (Ethan Girard) sparkles with optimism and heart. Ethan is a character that could easily be overplayed, but Barnes finds the reality in his constant belief that he can do impossible things. Balancing Ethan’s often misguided optimism is Malcolm’s often misguided pessimism. As Malcolm, Josh Schoff finds the balance and the lightness in his conflicted character. The onstage chemistry between Barnes and Schoff is also impressive, as they say so much through simple looks and gestures and tiny moments that slowly build. During “You Walk With Me,” Barnes and Schoff, in beautiful harmony, make the audience’s hearts both break and swell with them.

Adding to the dynamic group of gentlemen is Steve Flickinger as Harold Nichols. Flickinger has stellar comedic timing and the most priceless facial reactions. Then, there is Lamar Leonard as Noah “Horse” Simmons with his smooth dance moves, sweet vocals, and comedic calisthenics. He lights up the entire room with his performance of “Big Black Man.”  Like so much of the cast, Flickinger and Leonard balance all of these crazy comedic moments with vulnerability. Both men have these touching, small moments in which we see the fears and real person inside. This group of men is so unafraid to be exposed on stage – emotionally and mentally as well as physically that the audience leaves feeling like it is a group of old friends.

The Cast of The Full Monty at Tidewater Players. Credit: Tidewater Players

The cornerstone of old friends, with such a believable onstage dynamic that you feel like they must truly be old friends, are Dave Bukatinsky (Mark Lloyd) and Jerry Lukowski (Jake Stuart). Everything that this production does well is crystallized in the amazing performances by these two gentlemen. Lloyd has these moments like “You Rule My World” or wrapped in Saran Wrap, where he shows the audience Dave’s fears and insecurities and pains despite the fact that everyone is laughing. He does an excellent job of living those moments rather than trying to chase the cheap humor. The audience laughs at him, but knowing that we are laughing at him also builds a deep empathy for everything that Dave struggles with. It is empowering and a testament to Lloyd’s strong character development to watch Dave slowly gain confidence and sense of self throughout the piece. Ultimately, though, the heart of the show is its unconventional protagonist Jerry, and Stuart gives the most impressively real portrayal. There is not a single moment where it feels like he is acting or pretending. Every line, every action, and every reaction feels real and genuine and in the moment. He creates the most believable, flawed, and loveable man, and it just feels natural. A beautiful example of Lloyd and Stuart together is “Big-Ass Rock.” The song is hilarious. The vocals are gorgeous. The harmonies are solid. Right beneath the surface, though, is real pain and real men. We get to know them. We get to love them. In many ways, we are them.

When Starkey talked in her curtain speech about the powerful and important theme of this show, she touched on something that was then brought to life for her audience. The Full Monty is about real people – people with insecurities and flaws and quirks and weaknesses – people who succeed sometimes and fail other times – people who are victims to external things they can’t control and internal things that they can control. The Full Monty shows how real people can learn to love themselves and each other despite all of that – despite our own flaws, despite others’ flaw, despite an imperfect world – an imperfect world which is perfectly represented in this flawless production that should top everyone’s to-do list within the next two weekends.

This is what I thought of Tidewater Players’ production of The Full Monty… What did you think? Please feel free to leave a comment!

The Full Monty will play through May 19 at Tidewater Players at The Cultural Center at the Opera House121 N. Union Street, Havre de Grace, MD. Purchase tickets at the door one hour before show time or purchase them online.

Email us at backstagebaltimore@gmail.com

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Review: Dear Diary, Heathers Comes to Tidewater Players

By Jennifer L. Gusso

Running Time: Approx. 2 hours with one intermission

Dear Diary: I know that Heathers is that kind of cult, fringe piece that true Theatre nerds are just supposed to adore. I don’t. I find the characters flat and confusing and unlikeable. I find the script filled with some major plot holes and raunchy humor for the sake of shock. Still, the current production of Heathers by Laurence O’Keefe and Kevin Murphy at Tidewater Players almost changed my mind. Co-directors Laurie Starkey and Austin Barnes (along with Music Director R. Christopher Rose and Choreographer Leslie Perry) seemed to be very mindful of some of the concerns and limitations with the script and really found ways to appeal to a broader audience. Strong performance after strong performance worked to make this show appeal to a broad audience. So, if you are thinking about giving Heathers another chance, this is the production with which to make that happen. Conversely, if you are already a fan of the show, this production is certain to be the “Big Fun” that you are looking for; it has all the hallmark trades of the cult classic mixed with some new, multi-dimensional spins on the characters.

Some of the things that I was left wondering after some past productions of Heathers are: Why should I care about Veronica Sawyer? And why the heck does she care about Jason “J.D.” Dean? Rylynn Woods and Gabriel Webster provide those answers. Woods’ Veronica is multi-layered. Even as she becomes caught up in evil schemes from all directions, her heart and her human longing is vividly on display in this performance. Even when Veronica is making some major mistakes, the vulnerability and transparency that Woods lets hang out for display in front of the audience creates a compelling, raw performance. Her consistent and strong vocals also carry the show. Likewise, Webster makes J. D. more real and more layered than the character is frequently portrayed. There is a light-hearted and fun side to J. D.. There are times when he really seems to want to do more and better. Webster’s nuanced performance helps the audience understand why Veronica keeps standing by his side through other moments in which he is truly a cruel and ferocious monster. Webster convincingly alternates between madman, charmer, and tormented little boy with believability. His dynamic acting performance makes up for his occasional vocal imperfections. In the moment, where he nails before the vocals and acting, it is pure magic. Woods and Webster also have sizzling chemistry and a playful comfortability. This is evident in both “Dead Girl Walking” and “Our Love is God.”

Other characters who are often, in other productions, one-dimensional and provide little reason to like are the Heathers: Chandler (Holly Blondheim), McNamara (Mary Cate Carder), and Duke (Elise Starkey). Blondheim masters Queen of Ice, as she mocks and tortures everyone around her, and yet there are subtle moments that make the audience see that “The Me Inside of Me” may not just be a construct in Veronica’s head. She takes this caricatured villain and makes her a real, not-so-live, girl. Likewise, Starkey’s Heather Duke appears all evil, ruling with even greater cruelty when she gets the chance, but there is this moment at the end where she lets down her guard and joins the rest of ensemble. It is such a small moment played so authentically that it speaks volumes. Another one of the best moments in the show – when everything comes together (masterful acting, beautiful and haunting vocals, powerful staging and lighting) – is Heather McNamara’s “Lifeboat.” Carder seizes this opportunity and absolutely shines. Her performance is spectacular throughout the show with well-timed comedic one-liners paired with emotional depth. As good as they are all separately, the Heathers are also dynamic together. Tight harmonies and crisp synchronicity of choreography makes for a memorable “Candy Store.”

Another standout is Emily Caplan in the role of Martha Dunnstock. Once again, the directorial vision of this show is clear in her portrayal. This is the kind of script in which it can be so easy to leave the characters as one-dimensional caricatures. However, Starkey and Barnes clearly made sure to tease out the emotional depth of each character and to cast actors that were able to handle that level of complexity. Caplan is no exception. Her Martha is not just weak, not just a victim. There is strength and hope even in her darkest moments. Her rendition of “Kindergarten Boyfriend” is light on the surface and brimming with pain just underneath. Caplan gives a perfectly restrained performance. Rather then over-singing or over-acting, she lets the vocals and the heart flow effortlessly.

All that being said, sometimes a little – or a lot – over the top is necessary. There is honestly nothing in the script that provides Nick Castillo (Kurt) and Henry Jester (Ram) with emotional levels for their characters. These characters are pure id, pure unlikeable, and pure comic relief. Castillo and Jester definitely deliver on all fronts. Their timing, chemistry, and comic delivery is up there with any of the great comedic duos. They also show off great physical comedy skills especially in their slow-motion fight scene and their final moments on stage. Equally delightful are the pairs’ fathers: Brian Ruff (Ram’s Dad) and Phil Hansel (Kurt’s Dad). “My Dead Gay Son” is a big, fabulous, hysterical number, and Ruff takes his moment voraciously. He has a natural presence and charm on stage that lights up this number.

Overall, the ensemble was solid. They were especially strong as a vocal ensemble with the harmonies often being noticeable and accurate when they joined as group. At times, the choreography was a little muddied, but overall enthusiasm and energy made up for any missed steps. Two standouts in the ensemble were Elias Courtney (Hipster/Officer McCord) and Lamar Leonard (Preppy/Officer Milner). Their bit as the officers was extremely well-delivered and memorable. Courtney also made an impression with several perfect one-liners throughout the show, and Leonard was especially memorable in his standout 80’s dance moves.

The final star of the show was the lighting design by Thomas Gardner. Different colors were used with great intentionality to highlight emotions and mood in different scenes. This was just another layer of the strong design and vision in this production. Tidewater Players’ Heathers is a well-constructed performance with lots of strong and realistic character portrayals. Whether you love the show or weren’t a fan before today, take a step back to being “Seventeen” and check out this production.

This is what I thought of Tidewater Players’ production of Heathers the Musical… What did you think? Please feel free to leave a comment!

Heathers the Musical will play through March 3 at Tidewater Players at The Cultural Center at the Opera House121 N. Union Street, Havre de Grace, MD. Purchase tickets at the door one hour before show time or purchase them online.

Email us at backstagebaltimore@gmail.com

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Review: A Christmas Story at Tidewater Players

By Jennifer L. Gusso

Approx. Running Time: 2 hours and 20 minutes with one intermission

“You’ll shoot your eye.” A tongue stuck to a freezing pole. Ominous images of Santa while a young boy careens down a slide. For anyone who has seen and loved the iconic film A Christmas Story, all of those memorable moments find themselves brought to life on stage at the Havre de Grace Opera House in Tidewater Players‘ production of the musical of the same title, Directed by Laurie Starkey, with Music Direction by Stephanie Cvach, and Choreography by Amanda Poxon. In addition to the expected elements of the film, there is a score by Benj Pasek and Justin Paul (of Dear Evan Hansen fame) and Book by Joseph Robinette that brings new nuances to the original story. With a multi-generational cast, a fun Christmas message, a lot of big dance numbers, and a few tender moments, this production is certain to warm the hearts of audiences both old and young.

The stage is set from the moment that audiences enter with a Christmas tree and lights hung all around the stage. While the set design is simple, there is a careful eye to detail in the set dressing that really makes the Parker home come to life. Set Designers Dickie Mahoney and Laurie Starkey have focused on the details with the pictures on the mantle and coats on the coat rack. It instantly feels like a home. Several simple and quick movements transform the entire space into a variety of other locations. Adding to the overall tone and mood set with each location is a Lighting Design by Thomas Gardner. He is especially able to demonstrate his creativity in moments like the slow-motion exchange with Santa. There are several instances in which the lights are the perfect accompaniment to Ralphie’s current emotional state. Carefully selected or designed props (like the leg lamp) and costumes (like the Elf costumes and the pink bunny suit) are more strong homages to the movie that are equally entertaining to new audiences.

However, the stage really comes to life when it is inhabited by the residents of Hohman, Indiana. The ensemble, both young and old, is full of life and energy. The script also allows for many of them to take scenes and make them their own. Stacey Bonds and Samantha Jednorski have an entertaining turn as Santa’s Chief Elves. Reagan McComas delights as he tries to sing with his tongue stuck to a pole. Sophia MacKinnon is adorable as she lists her wants to Santa and impresses in an early scene by freezing perfectly to give the illusion that her hand is pressed against a glass window. Carly Greaver is consistently alive with energy and really bring her choreography to life. Michael Maroney has the audience in stitches with his turn on Santa’s lap. He and Braeden Waugh shine in their slick dance routine in their suits. Chip Meister brings a chuckle with his portrayal of a tired department store Santa. As Miss Shields, Amanda Poxon provides a larger-than-life character and a stunning turn on the dance floor. All of these little bits and moments bring the world around the Parkers to life.

Right at the center, literally bringing the Parkers to life, is the narrator, Jean Shepherd. Tom Hartzell bring a genuine folksy warmth to the role. Especially strong are his physical reactions and facial expressions in the way that he sometimes squirms with the excitement of his child self and other times gazes at these younger versions of his parents with a longing that makes us wonder if they are still around. He looks upon the events in such way that the audience members feel like they really are seeing the events through his memory.

As his younger counterpart, Jamie LaManna gives a solid performance as Ralphie. It is a huge role and a huge score for a young actor, and he conveys himself with poise and has a lovely tone quality to his voice. LaManna really comes into his own as actor, just as his character matures, in the touching “Before the Old Man Comes Home.” His interactions with his brother Randy (played by the adorable Evan Christy) are warm and genuine.

What really makes this production though are Ralphie’s parents: The Old Man (Gary Dieter) and Mother (Eva Grove). Dieter brings just the right blend of loveable and curmudgeonly to his portrayal of Ralphie’s father. So much of the character’s material is subtext. There are clearly concerns about money and the pride that goes with that for a father, which Dieter brings to the front with just the right amount of subtlety.  It doesn’t hurt either that Dieter gets to show off his skill as a showman in two big dance numbers, walking over a chair and breaking out his tap shows. It is almost as if this role was written just for him.

Right over his shoulder though is the emotional heart of the entire production. Grove’s performance as Mother is practically flawless. She never appears to be performing. Every word and gesture is natural. She feels like your own mother or grandmother in the safety and warmth and joy that she brings to the Parker family and to the entire show. Nowhere is this more evident than in the beautiful moments of “Just Like That.” I can’t imagine that I was the only audience member with tears in my eyes. Grove commands the stage without ever trying to do so and, therein, creates the emotional center of everything.

Overall, there is a lot of energy and heart on display in this production. Even though there are a few spots in Act One where the script seems to drag a little, Director Laurie Starkey does an excellent job of planning transitions and moments that keep things moving along quickly to the next joke or large musical number. Choreographer Amanda Poxon keeps the cast moving throughout a significant amount of dance. When the cast comes together and all hit their marks, the choreography is fun. In a cast with a ton of big numbers and some members of the cast who may not be natural dancers, she really finds way to help them sell the choreography. Similarly, despite a few clear winter colds and a relative weakness in harmony, Musical Director Stephanie Carlock Cvach pulls out strong soloists and focuses the cast on signing mainly in a robust unison.

The strong work by the cast and production team was evident in the constant laughter, hooting, and applause by the audience. There were chuckles of appreciation from fans of the movie and gasps of delight from the children. My 8-year old daughter walked around all night singing “When You’re a Wimp,” clearly a fan of the score. Certainly, with the theme of the show resonating in my head, I appreciated it all the more, because “just like that the moment’s gone.” Young or old, fans or not fans of the movie, there is something for everyone to enjoy in this production. There is no doubt that you will leave ready to embrace some Christmas stories of your own.

This is what I thought of Tidewater Players’ production of A Christmas Story… What did you think? Please feel free to leave a comment!

A Christmas Story will play through December 2 at Tidewater Players at The Cultural Center at the Opera House, 121 N. Union Street, Havre de Grace, MD. Purchase tickets at the door one hour before show time or purchase them online.

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Review: Chess at Tidewater Players

By Jason Crawford Samios-Uy

Running Time: Approx. 2 hours and 30 minutes with two 10-minute intermissions

The Cold War, an international chess championship, political relations between The United States and The Soviet Union, spies, friends, enemies, lovers, enemies who become lovers… it’s all going on at Tidewater Players in their latest offering, Chess, with Music by Benny Andersson and Bjorn Ulvaeus, and Lyrics by Tim Rice. All this fodder and music by the dudes from ABBA can’t go wrong and, wherever you stand on Chess (some love it, some hate it), there’s no denying that Director Mark Briner, Music Director R. Christopher Rose and Stephanie Carlock Cvach, and Choreographer Bambi Johnson knocked it out of the ballpark with this better-flowing, energized concert version that tells the story completely and cuts out all the muddle.

Briefly, and according to the Guide to Musical Theatre (http://www.guidetomusicaltheatre.com), “This highly acclaimed musical develops the ancient and distinguished game of chess into a metaphor for romantic rivalries and East-West political intrigue. The principal pawns form a love triangle: the loutish American Grandmaster, the earnest Russian champion, and the Hungarian-American female chess second, who arrives at the international championships with the American but falls for the Russian. From Tyrol to Thailand the players, lovers, politicians, CIA and KGB make their moves to the pulse of this monumental rock score.”

Set Design by Director Mark Briner is smart and minimal and pulled this piece together nicely. As this production is more of a concert version, a large, lavish set was not needed, but a few levels and, some chairs and music stands did the job just fine and didn’t clutter the stage allowing for the superb staging and choreography to be showcased.

Thomas Gardner’s lighting design is, in a word, splendid. His use of colors, isolated lighting, and blend of cool and warm tones helped tell this story and kept the piece energized and interesting throughout. He knows his stage well and lights it beautifully, adding great value to this production.

Choreography by Bambi Johnson is impeccable. She knows her cast and the ensemble shined in each number. Upbeat, high-energy, and tight, the impressive choreography was engaging and kept the audience interested. From the smooth ballet to the rockin’ pop moves, this original choreography inspires.

Music Direction under R. Christopher Rose and Stephanie Cvach is superb and it seems quite easy with the exquisite voices with which they have to work. A small band including R. Christopher Rose on Piano, Stephanie Carlock Cvach on Keyboard, Will Poxon on Percussion, Helen Slaich on Reeds/Clarinet, and Greg Bell on Bass Guitar fill the theatre as adequately as a full orchestra and each number is polished and well-performed. Kudos to Rose and Cvach for an impeccable job.

Director Mark Briner is to be applauded for his efforts in bringing this production to the stage. As I stated, Chess is one of those shows that people love or people hate, for the most part. I’m in a small percentage that is in between where I love the music (how can you dislike anything from the dudes from ABBA?… don’t answer that), but I’m not very fond of the book. Since this is more of a concert version, the book has been cut to a minimum and the concentration is on the music which works brilliantly for this piece. Briner’s staging is tight and refined and the pacing is just about perfect. A mix of blocking and choreography brings it all together beautifully and makes for a very entertaining evening of theatre.

Moving on to the performance of this production, I’d be amiss not to mention that the entire ensemble of this piece give top notch performances and all should be commended for their work and effort to make this a stellar production, a whole.

To mention a few, Terry D’Onofrio as Alexander Molokov and Aaron Dalton as Walter de Courcey take on the roles of puppet masters, of sorts, guiding their chess champions for political gain. D’Onofrio is well suited for his role as Molokov and has a good grasp though his use of an accent may hinder his performance rather than enhance it, especially vocally in the numbers in which he is featured. However, his performance is strong and confident and he pulls it off nicely. Dalton gives a strong performance with a solid stage presence. Vocally, Dalton gives impressive renditions of the numbers he’s in, such as “Merchandisers.”

Eileen Aubele and Barbara Hartzell are marvelous Svetlana Sergievskaya and Florence Vassy, respectively. Hartzell excels in this conflicted character, portraying that conflict in delivery of dialogue and physical gestures and great chemistry with her cast mates while Aubele, who comes in later in the piece, makes the most of her stage time with a poised presence and good hold on her scorned, but seemingly forgiving character. Vocally, both actresses are powerhouses and fill the theatre with a smooth, booming sound and harmony as in numbers like the poignant “Someone Else’s Story” sung beautifully by Hartzell, and the powerful duet, “I Know Him So Well.” Aubele and Hartzell are to be celebrated for their performances.

Taking on the role of cocky International chess champion (and former champion) Frederick Trumper, Rob Tucker is a highlight and shines in this production. He embodies this character and portrays him with just as much pompousness as required and his transition in his character is seamless from beginning to end. Vocally, Tucker is superb which he showcases in his strong and confident performances in numbers such as the popular, high-energy “One Night in Bangkok” and the emotional “Pity the Child.” Tucker is certainly one to watch (and you can’t help but to) in this production.

Rounding out the featured cast is standout Shawn Doyle, taking on the multifaceted role of Anatoly Sergievsky. Doyle has performed this role numerous times but it’s as fresh as ever. He understands this role inside and out and he gives a consistent and exquisite performance. He portrays the conflict, confusion, and hurt that is required of this character and gives a vocal performance that is excellent, to say the least. His renditions of the duet “You and I” and the Broadway standard, “Anthem” is smooth, emotive, and resonates throughout the theatre making for a memorable and exquisite performance.

Final thought… Even the cold war is over, Chess is still as relevant today as when it was released. This production is well put together and cuts what needed to be cut and still told the story in its completion. The performances are spot on and the entire ensemble is giving 100% effort. Staging keeps the audience engaged and interested and the music is performed near flawlessly. Admittedly, Chess is not on the top of my list when it comes to musical theatre, but it’s mainly because of the book. The music has always been the driving force in this piece and in this production is more concert-like making for an absolutely joyous evening at the theatre. Get your tickets now because this is not one you want to miss this season.

This is what I thought of Tidewater Players’ production of Chess… What did you think? Please feel free to leave a comment!

Chess will play through October 1 at Tidewater Players at The Cultural Center at the Opera House, 121 N. Union Street, Havre de Grace, MD. Purchase tickets at the door one hour before show time or purchase them online.

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Review: Without a Clue at Tidewater Players

By Jason Crawford Samios-Uy
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Running Time: Approx. 2 hours and 30 minutes with a 15-minute intermission
It was Mrs. Peacock, in the Conservatory, with the Candlestick!… Or was it? If you understood that reference instantly, you, like many, many others, are familiar with a certain board game aptly named Clue in which one must use his or her powers of deduction to solve a murder. This board game has also spawned a highly successful and oft quoted 1985 film of the same name, and stage musical adaptation, and many parodies through the years. Included in these adaptations is Tidewater Players latest offering, the new and original Without a Clue by Mark Briner, who also puts on the hat of Director.

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The cast of Without a Clue. Credit: Tidewater Players


In a nutshell, Without a Clue is a parody based on the board game Clue! and cleverly incorporates pop culture both past and recent. Five guests, Mrs. Peacock, Colonel Mustard, Professor Plum, Mr. Green, and Miss Scarlet are invited to the palatial home of Mr. Boddy for dinner and, what they are led to believe, a beneficial financial opportunity. Once settled in with the help of Mr. Boddy’s staff, Ashe, the able Butler, Mrs. White, the begrudged maid, and Violet, the not-so-bright French maid, Mr. Boddy wastes no time in revealing the actual reason of the invitation… blackmail. Mr. Boddy is planning on blackmailing each guest for certain indiscretions and makes no bones about it. The guest, fed up with Mr. Boddy, and his crazy plan decide to leave but, as they do, the power goes out and Mr. Boddy is quickly taken care of by the way of a gun and the search for the killer begins and every person in the house is considered a suspect. By the end, it’s up to the audience to point out the murderer… if they’ve been paying attention!
Set Design by Dickie Mahoney and Mark Briner is smart and simple rolling walls and individual set pieces. With only one level to work with in the new and improved space at The Cultural Center at the Opera House, and many different locals written in the script, Mahoney and Briner’s design is easy to transition and effectively represents each location within the story nicely, adding great value to the production as a whole.
Along with Set Design, Mahoney and Briner also take on the responsibility of Costume Design and this design, like their Set Design, is spot on. Each character is appropriately represented whether in full color (as is Miss Scarlet and Mrs. Peacock, which we find out is actually just blue), or a splash of color, as for Mr. Green with his green tie or Colonel Mustard with his yellow or mustard colored ascot. The staff is traditionally dressed in maid uniforms and a tuxedo for Ashe, the Butler. Mahoney and Briner clearly takes time with their design with attention to detail that makes it all the more aesthetically pleasing and authentic.
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(l-r) Phil Hansel, Chris Volker, Allyson Sands, and Denise Rogers Mylin. Credit: Austin Barnes


To round out the production team responsibilities, Mark Briner, who authored the piece, takes on the helm and places the Director hat on, as well. In some cases, it can be risky to have the author direct his or her own work, but in this case, it seems to have worked out beautifully. He keeps the pacing consistent with his staging and has guided these actors to delightful performances of the characters he has crafted. As the author, he has a complete comprehension of the story and the humor of one-liners and wise-cracks. His understanding of farce is well apparent in this upbeat and frenetic piece.
There is a bit at the end of the production when the audience is supposed to vote on who the murderer is and the actors are assigned a section of the theatre to collect votes but the way this is done is quite chaotic and haphazard. The actors simply yell out to the audience to vote by raising their hand when the character they believe to be the killer is called out. With six or seven actors yelling out names and trying to adlib, it can become a bit overwhelming a loud. I get the whole audience participation bit, but perhaps this can be tweaked for future performances.
However, screaming actors aside, Briner has done a superb job with this production and is to be commended and applauded for his hard and diligent work creating and bringing this slice of witty and clever theatre to life.
Moving into the performance aspect of Without a Clue, Eric Brooks takes on the role of Mr. Boddy, the host of the evening and not the most popular kid at the party. Brooks is a bit scripted and sounds more like he’s screaming rather than having a conversation, but he pulls the role off adequately. Where Brooks shines is in his performance as the fed-up, over-dramatic, and comedic Chef Bleu with this grand gestures and impressive French accent. Along the same lines of an actor performing an unnamed role a bit better than the named role (according to the program) is Allyson Sands who portrays Violet, the ditzy French maid who can’t seem to find her way to the kitchen, and the new, psychic neighbor, Madame Rose. Sands has a good grasp of comedic timing and her portrayal of Violet is on par, but it’s her turn as Madame Rose that adds value to her performance. Her timing is on point, as well as her accent for this character. Sands has a good command of the stage and seems comfortable in these roles making for a strong performance.
Tom Hartzell tackles the role of the seemingly perverted Professor Plum and, though he seems to have a good comprehension of his character, his performance falls a bit flat. He certainly has issues in his delivery of the material as he trips over most of his lines, losing the momentum of the fast-paced piece. He seems scripted and uncomfortable most of the time, but he is believable as this sorted character and has a good chemistry with his cast mates.
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(l-r) Chris Volker, Greg Guyton, Denise Rogers Myli, Michele Guyton, and Phil Hansel. Credit: Austin Barnes


Taking on the role of the suave Mr. Green, Chris Volker gives a respectable performance but also has some trouble with his delivery of the text. Scripted and a little stiff, Volker seems to be going through the motions of this funny, sleazy character. That being said, he does give a dedicated performance and keeps the energy up throughout. He works well with and off of his cast mates and makes the role of Mr. Green his own.
Rounding out this motley crew of guests is Phil Hansel as Colonel Mustard and Michele Guyton as Mrs. Peacock and Denise Rogers Mylin as Miss Scarlet and all give admirable portrayals of their characters. Hansel’s portrayal is a bit befuddled but that could very well be the way the character is written and he does have good comedic timing that makes his character almost charming, in a way.
Mylin’s Miss Scarlet is on point and, though a bit monotone in her delivery, it is natural and consistent and she has a smooth, velvety voice that matches perfectly with her character. She does well with the fast pace and gives an overall strong performance
Michele Guyton’s portrayal of Mrs. Peacock (my favorite character in most of the adaptations) is not without its flaws but is a commendable performance. Her southern accent comes and goes, which ends up being a distraction, but her comedic skills are spot on and she delivers some great zingers throughout the evening. It just seems as though Guyton is trying too hard to caricaturize Mrs. Peacock and portray her as the “funny, sassy drunk” and it all seems forced. The trick in a character like this is to play it seriously and trust the dialogue and situations will invoke all the comedy that is required. However, aside from these minor issues, Guyton gives a splendid showing and praiseworthy performance.
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Justine Quirk as Mrs. White. Credit: Austin Barnes.


Definite highlights of this production are Greg Guyton and Justine Quirk who tackle the roles of Ashe and Mrs. White, the poor senior staff of the manor and the ones who try to keep thing manageable. Greg Guyton is perfectly cast for the role of Ashe and he completely embodies this character, keeping him consistent throughout. His delivery is near perfect and his character choices are absolutely appropriate. He has a strong presence and a knack for improvisation, as demonstrated when he breaks the fourth wall to stall for time as the audience votes are being counted. His pacing is near flawless, notably, his recap of events at the beginning of Act II. Guyton’s instincts and dedication to the character make for an outstanding performance.
Justine Quirk, as Mrs. White, is absolutely believable and she is probably the keenest with comedic timing and crystal clear delivery. Because of her style, she reminds me of Jackie Hoffman (of Broadway and Feud: Bette and Joan fame), one of my favorite current actresses of stage and screen. Quirk has a complete grasp of the humor of this piece and her portrayal of the begrudged servant is impeccable as she is able to take the role seriously enough to up the comedy of the character. Her delivery and instincts even make the touch of unmitigated, over-the-top melodrama digestible and funny. Her skillful portrayal make for a standout performance and certainly a joy to watch.
Final thought… Without a Clue is a witty, cute, and nostalgic slice of theatre incorporating familiar games and pop culture into a delightful, zany evening of intrigue, comedy and fun for all! It’s very reference heavy, as all parodies should be, so you’ve got to pay close attention to catch them all, and though some references may be more obscure than others, it’s still a delightful evening of theatre. A majority of the performances are top-notch and the pacing and staging is on point and swift making the two and a half hour run time feel less than it actually is. With a little tweaking of the script, this piece is going to be near flawless and Mark Briner is to be applauded for his efforts in both script and direction of this world premiere production. Get your tickets for the weekend as you don’t want to miss this one.
This is what I thought of Tidewater Players’ production of Without a Clue… What did you think? Please feel free to leave a comment!
Without a Clue will run through March 4 at Tidewater Players, The Cultural Center at the Opera House, 121 N. Union Avenue, Havre de Grace, MD. For tickets call the box office at 667-225-8433 or purchase them online.
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