Review: Charley’s Aunt at Fells Point Corner Theatre

Posted on December 6, 2018 by Jason

By Jason Crawford Samios-Uy

Running Time: 2 hours with one 15-minute intermission

No matter which era, what the situation is, or who it is, it seems that in entertainment, a stereotypical cis male in drag brings down the house in laughter. Why? I couldn’t tell you. Real drag or female impersonation is an art and I know folks who earn a good living doing it and take pride in what they do, and I love it (I may have *ahem* even dabbled in the art form myself sometime ago), but when you throw the cheap, just-for-laughs drag into a script, it adds tons to the comedic value. Fells Point Corner Theatre’s latest offering, Charley’s Aunt by Brandon Thomas, Directed by Kristen Cooley, takes us back to a time when a man could get away with posing as a woman by simply putting on a dowdy dress… and that’s all it took. However, when you need the services of an absent aunt… you take what you can get.

Kellie Podsednick as Kitty Verdun and Jon Meeker as Jack Chesney. Credit: Trent Haines-Hopper/THsquared Photography

Briefly, Charley’s Aunt was written in 1892 and was a smash hit in London, running for 4 years with 1,466 performances which was almost unheard of for productions of the day. The farce concentrates on Lord Fancort Babberley (or Babs, as he’s affectionately known), and his two friends Jack and Charley, who convince him to help them woo two young ladies by posing as Charley’s rich aunt, who was intended to be a chaperone but has changed her arrival date. Other problems and situations include, but are not limited to, the real aunt’s arrival and the attempted seduction of an elderly gold-digger toward the fake aunt, and a plea to give consent for two pairs of young lovers to marry. Got all that? If not, it’s a simple search on Google!

Set Design by Moe Conn is splendid and inovative as he turns the intimate FPCT stage into three locations, including interiors and exteriors. Moving walls and simple set pieces transform easily and smoothly and easily distinguishes each location perfectly. Not only mechanics, but choices of the aforementioned set pieces and colors are authentic and present the time very nicely. Kudos to Conn for a job well done.

Kristen Cooley and Barbara Madison Hauck put together a Costume Design that is on point for this production. Period pieces are always challenging, but Cooley and Madison have taken the challenge head on and have presented an authentic and fitting design that adds great value to the production. From the men in their materials of heavy materials (or at least look like it) to the elaborate gowns of the ladies, every costume is appropriate and makes each character look as though they stepped right out of the late 1800s, England.

Kristen Cooley also takes on the Direction of this piece and it’s easy to see she has a tight grasp on the text and really knows the material. Presenting such a dated piece to a modern audience is tricky, no doubt, but Cooley manages it beautifully. Her understanding of comedy and farce are apparent and her staging in this intimate space works well. She should be commended for her work on this piece.

Alice Gibson as Amy Spettigue and Kellie Podsednick as Kitty Verdun. Credit: Trent Haines-Hopper/THsquared Photography

Moving on to the performance aspect of this piece, two players in supporting roles are Peter Wilkes, who takes on the role of Brassett, the poor butler of Jack Chesney and Jennifer Skarzinski who tackles the role of Ela Delahay, a young fatherless girl who has been taken under the wing of Donna Lucia. Though supporting characters, both Brassett and Ela Delahay have important purposes and keep the story moving along. Wilkes does well portraying Brassett as a loyal employee to a young, brash Jack Chesney who can only roll his eyes, have a drink, and go about his day as his employer gets himself deeper into trouble at every turn. Skarzinski has a good grasp of her character, a naïve, young girl who has a big heart and she portrays her nicely but she looks out of place in the role. She gives a great showing and has great chemistry with her cast mates, but this flaw seems to take away from the authenticity of the character. Overall, however, she has a strong presence and natural delivery making for a delightful, if not completely believable, performance.

Michael Panzarrotto portrays Colonel Sir Francis Chesney, the elder Chesney and though he makes the character likable, he plays this role a bit over the top, but in a way that it seems he’s trying to hard which takes away from the comedy. He’s confident and works well with his fellow cast mates, so, in general, he gives a decent performance and gets the character’s point across nicely. As a sort of cohort to his character, Maribeth Vogel takes on the role of Donna Lucia, Charley’s real aunt who has arrived in a kind of disguise. Vogel is splendid in this role. Her delivery of the material is natural and she seems to have a good comprehension of her character she is portraying. Her presence and confidence allow her to give a strong showing in this piece that is a joy to watch.

Jon Meeker plays Jack Chesney, a scheming, but charming young gentleman and Brandon Richards takes on the role of Charles Wykeham, a lovesick young man who hesitantly goes along with Jack’s plans, after only a little persuading. Richards knows his character and is comfortable with him but his performance falls a little flat. The urgency that is required for this role seems a bit forced and takes away from the quickness needed for this piece. His character is nervous most of the time but he portrays more of a frightened, whiny young man rather than a nervous one. He does, however, work quite well with and off of Meeker, who is the stronger performer of the two, and Richards gets the comedy of the piece, giving an overall respectable performance. Jon Meeker, a fine performance and emotes just the right amount of urgency and worry as required for this character. His movements jand delivery are genuine and he has a strong, confident presence on stage that makes for a commendable performance.

Alice Gibson as Amy Spettigue and Kellie Podsednik as Kitty Verdun are very well cast and play their parts to the hilt. Gibson is cute and flighty as the young Amy and comfortably plays her as if she stepped right out of the time in which this piece takes place. Podsednik as the more mature Kitty is elegant and poised as the character should be. She has tight chemistry with all of her cast mates and gives a strong, assured performance that is one to watch in this production.

David Shoemaker as Lord Fancourt Babberley.

The definite standouts in this production are David Shoemaker as Lord Fancourt Babberley and Tom Wyatt as Stephen Spettigue. Shoemaker, who I’ve seen perform in more dramatic pieces, has near perfect comedic timing and understands the comedic nuances of this piece and presents them beautifully. As the aforementioned man-in-drag character, he doesn’t play this character over the top but takes it serious enough to get the humor across and he will have you laughing as he keeps a straight face throughout. In delivery and authenticity, Shoemaker is top notch and gives an impeccably funny and memorable performance. In the same vein, Tom Wyatt as Stephen Spettigue, the hard-nosed and serious uncle/guardian of the young girls will have you rolling in the isles. Wyatt takes this role and knocks it out of the park. Being almost a supporting character, Wyatt steals the show in many of his scenes with a flamboyancy that is ridiculously funny but he plays this flamboyance in a way that it is not forced making it all the more humorous. From his immaculate delivery to his gestures and facial expressions, he gives a flawless performance that is not to be missed. It’s worth noting that both Shoemaker and Wyatt work extremely well together on this piece and their chemistry and their comprehension of the comedy shine through. Kudos to both David Shoemaker and Tom Wyatt for jobs very well done.

Final thought… Comedy, when done right, is timeless and Charley’s Aunt is a fast-paced, humorous romp and farce of mistaken identity in a bygone era that’s still side-splitting funny in today’s age. Some individual performances are better than others, but this ensemble, as a whole, is a hard-working, well-oiled machine with great chemistry and a prodigious comprehension of the material. The production is polished with a creative Set Design and challenging Costume Design that is on point. Don’t let the fact that it’s a period piece deter you because this is not a production to be missed.

This is what I thought of this production of Charley’s Aunt.… what do you think?

Charley’s Aunt will play through December 23 at Fells Point Corner Theatre, 251 S Ann Street, Baltimore, MD 21231. For tickets, call 410-276-7837 or purchase them online.

Review: [Title of Show] at Fells Point Corner Theatre

Posted on May 13, 2017 by Jason

By Jason Crawford Samios-Uy

Running Time: 1 hours and 55 minutes with no intermission
With the arts scene booming in Baltimore, some who are not in the “the know” enjoy (or don’t enjoy) the final product of months of auditions, casting, rehearsals, finding designers, and sometimes even writing but sometimes folks wonder what it takes to get a show from page to stage. Fells Point Corner Theatre‘s latest offering, [Title of Show] by Jeff Bowen and Hunter Bell, with Direction by Kristen Cooley, Music Direction by Mandee Ferrier Roberts, and Choreographed by Tom Wyatt.
[Title of Show] actually covers its own creation and it’s journey from a blank page to the New York Musical Theatre Festival, all the way up to it’s Off Broadway run. Much of the material is based on true events and people, including writers, Jeff Bowen and Hunter Bell, so much so that they used the real names of the folks involved. It explains the process and the changes and compromises that must be made and even the possible change in the people involved.
Set Design by Bush Greenbeck is simple but he uses his space wisely and his use of levels and revolves keeps the action moving and interesting. Primarily a unit set with set pieces, Greenbeck’s design fits this piece nicely and move the piece along.

Owen O’Leary as Jeff and Lauren Stuart as Heidi. Credit: Tessa Soloway

Choreography by Tom Wyatt is charming and the cast seems to have a good grasp of it and they are tight and well-rehearsed. There’s not a lot going on so you won’t see any big dance numbers, but with four characters, that would be going a bit overboard, anyway, but the choreography that is present is appropriate and adds value to the production.
Music Direction by Mandee Ferrier Roberts, who is also a character in the show, as the sole instrumenalist, is superb. I want to take a moment to say that the vocal work in this piece is outstanding. The four actors are in key and in harmony every step of the way. The whole piece has a very subdued sound having only piano accompaniment as backup, but the music shines through because of stellar performances. Mandee Ferrier Roberts is the usual accompanist, but I had the pleasure of experiencing Homeretta Ayala’s performance and it’s as if she had been performing with them from day one. Overall, the music is what makes this piece, but then again, it should… it’s a musical! Kudos to Roberts for a job well done.
Kristen Cooley, a wonderful fixture in Baltimore theatre, takes the helm of this production an makes her vision and love for this piece apparent. With an easy seat and good casting, she keeps this show moving and interesting. This is a unique show in that it’s not really a show within a show, but a show about its own creation, but Cooley seems to have a good comprehension of the script and and presents it clearly and with authenticity making for an enjoyable evening of theatre.

Owen O’Leary as Jeff and Izaak Michael as Hunter. Credit: Tessa Soloway

Moving into the performance aspect of this production, Owen O’Leary takes on the role of the more cautious, subdued Jeff and Izaak Michael tackles the role of the more exuberant and frantic Hunter. Both of these actors really do get their characters but, whether or not it is a directorial choice, both seem a bit too scripted throughout the entire piece. The singing… top notch, but the acting seems a bit forced. The script is a bit trite at times, as well, so that doesn’t help, either. This isn’t to say these gentlemen didn’t do an admirable job in these roles. Vocally, they are strong and have a pleasant, clean sound and they are both confident and seem comfortable on the stage, giving commendable performances.
The highlights of this production are the female counterparts, Heidi and Susan played by Lauren Stuart and Casey Dutt, respectively. These two actors are powerhouses and give superb and confident performances. Dutt has a natural flare and shines in her featured number “Die, Vampire, Die!” and Stuart gives a poignant, heartfelt performance of her featured number “A Way Back to Then” toward the end of the show. Both have great chemistry with each other and with O’Leary and Michael, making them a delight to watch.
Final thought… [Title of Show] at Fells Point Corner Theatre might not be my cup of tea as I see the script as a little trite and though the song selections are fitting and easy on the ear, they’re not ones that left an impression on me or had me humming as I left the theatre. However, it is a fun romp that delves into the subject of creating theatre, more specifically, musical theatre and all the good and not so good things that go into it. The production itself is simple, but the voices are absolutely top notch and the portrayal of the four characters by the actors give the lackluster script a good boost. With bouncy songs, a committed cast (and accompanist), and a composer/lyricist from right here in Baltimore, [Title of Show] is not the usual fare we get from Fells Point Corner Theatre but it’s refreshing to see they’re broadening their horizons and adding a musical to their season. If you’ve ever wondered how a musical is written, this show is a pretty good representation of the process and worth a look if you’re around town.
This is what I thought of Fells Point Corner Theater’s production of [Title of Show]… What did you think? Please feel free to leave a comment!
[Title of Show] will play through May 28 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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Review: The Gazebo at Cockpit in Court Summer Theatre

Posted on July 19, 2016 by Jason

by Jason Crawford Samios-Uy

Running Time: 2 hours and 20 minutes with one 15-minute intermission
Murder mysteries are a staple of community theatre, especially summer community theatre and and one can always count on Cockpit in Court Summer Theatre to successfully present at least one, if not more each summer. C&Cs latest offering, The Gazebo by Alec Coppel, based on a story by Myra Coppel and Alec Coppel and Directed by Baltimore theatre veteran Linda Chambers is a little different, but in a good way.
The Gazebo isn’t your run of the mill “whodunit” but a farcical display where the TV-writer-husband is trying to secretly get rid of a house in the suburbs to move back to the city and the soap-opera-actress wife falls in love with a European gazebo that she has delivered to N.Y. piece by piece, as a present for her husband, and the audience already knows who the killer is but the question is… who’s the victim? The script moves along nicely and the characters are likeable and the twist toward the end makes it a very enjoyable production.
At first glance, I could tell this was a top notch production as the set, which is in a round, is absolutely beautiful. The stage is just about on the same level as the audience, but Set Designer Moe Conn does a brilliant job expressing the elegance of an early 60s Long Island, N.Y. home from the gold wall art to the intricate fireplace and bookshelf display. Conn does a great job of matching the room with appropriate furniture and everything blended very well together.
Conn also took on the duties of Light Designer and though with a straight play lighting is minimal, but Conn does a very nice job setting the mood and contrasting between bright scenes and dark scenes very appropriately. Though the dark scenes are supposed to be… well… dark, it may have been a tad too dark, but it was still appropriate and set the mood nicely.

(l-r back) Albert J. Boeren, Richard Ahlstrom, Tom Wyatt, Christopher D. Cahill, Anna Steuerman (l-r front) Regina Rose, Thom Peters, Liz Boyer Hunnicutt. Photo Credit: Cockpit in Court Summer Theatre

The show actually starts with a bang and you’ve now been warned! A real stage gun is used, so… be aware! Thank goodness the audience is warned ahead of time or I would have probably been hanging from the rafters! However, I like the “go big or go home” attitude and Director Linda Chambers did a fantastic job moving the story of The Gazebo along. I’ve stated before and I’ll state it again, directing in the round is difficult work, but Chambers does it flawlessly. She moves her actors around the stage fluidly and naturally and gives attention to all four sides of the audience and she uses her space very wisely. The pacing is a bit slower than it should be for a comical farce, but still moves along nicely (though the blackouts between scenes could pick up the pace a bit, as well). Chambers vision is apparent and her casting is on point.
According to the program, the time of this piece was the “Early 60s” and Costume Designer Eva Grove does a fine job costuming the cast in the garb reminiscent of that ear. I say reminiscent because I wouldn’t say the look was exactly from the 60s but with the loud prints and saddle shoes, it had hints of the ear. That being said, the costumes were absolutely wonderful and appropriate. Grove’s actors were comfortable, which is very important, and were dressed as I imagined their characters would be dressed being from upper class Long Island.

Thom Peters and Liz Boyer Hunnicutt as Elliott and Nell Nash. Photo Credit: Cockpit in Court Summer Theatre

Heading up the small cast of The Gazebo, Thom Peters takes on the role of Elliott Nash, the TV writer who is stuck in the suburbs of Long Island because his wife loves the house they live in but longs to be back in the New York City, living in the Algonquin Hotel with their outstanding room service. Peters does outstanding work portraying this role when things are going well for Elliott Nash but when things start getting a little frantic, Peters seems to have a hard time keeping up. A farce is very fast-paced with many things happening at the same time and when the pacing in the script picked up, Peters performance became exasperated facial expressions, a high-pitched voice, and flailing arms. However, that’s not to say his performance wasn’t good, just a bit much and a drastic change from when things were running more smoothly in the script. Overall, his performance is very good, indeed, and he is comfortable and confident on stage and seems to understand his character and the troubles his character has to endure.
Tom Wyatt, known in Baltimore theatre, takes on the role of Harlow Edison, the next-door neighbor and friend who happens to be a District Attorney, is a highlight in this production. From his first appearance on stage, his has a very good command of the stage and has a great presence. He’s very natural and comfortable and glides effortlessly through his performance. He’s a joy to watch in this production.

Tom Wyatt and Liz Boyer Hunnicutt as Harlow Edison and Nell Nash.

As the leading lady in this production, Liz Boyer Hunnicutt, a Baltimore theatre regular, is the standout as Nell Nash. She really seems to know her character and couldn’t be more natural in this role and she is quite comfortable and confident on stage with a commanding presence that doesn’t overpower but makes one take note. Her comedic timing is spot on and she really seemed to get the nuances of her character, the actress-wife who only wants her husband to be happy and will stick by him through thick and thin, whatever that may be. Hunnicutt’s performance alone is worth the price of admission.
In a more minor but very important role, Christopher D. Cahill tackles the character of Charlie Thorpe, the contractor who lays the foundation for the titular gazebo (of which he humorously pronounces “Gaze-boh”). Cahill’s character acting hits the nail on the head and is a highlight in this production making Charlie Thorpe a very likable character who reminds me of that favorite uncle with the down-to-earth charm that makes you smile when he comes around. Cahill also takes on the role of a British tough-guy called The Dook, which is a complete flip from the down-to-earth Charlie Thorpe and he pulls this role off brilliantly, as well. Two completely different characters performed flawlessly by one actor.

Tom Wyatt, Anna Steuerman, and Thom Peters as Harlow Edison, Matilda, and Elliott Nash. Photo Credit: Cockpit in Court Summer Theatre

Rounding out the cast are Regina Rose as Mrs. Chandler, the motivated real estate agent secretly working with Elliott Nash, Anna Steuerman as Matilda, the unimpressed maid of the Nashes, Richard Ahlstrom as Louie, the bumbling assistant thug to The Dook, and Albert J. Boeren as Detective Jenkins, the no-nonsense officer of the law just trying to get down to the bottom of things.
Final thought… The Gazebo is a light mystery-farce that moves along quickly and has some magnificent performances. Not the usual “whodunit” but very enjoyable and is appropriate for the space and all audiences. If you’re looking for something fun to do the next couple of weekends, check out this show! Bring your friends and see if you can figure out who the victim might be!
This is what I thought of this production of The Gazebo.… what do you think?
The Gazebo will play through July 31, Friday-Saturday at 8pm, Sundays at 3pm at CCBC, Essex Campus, Community Center. For tickets, call 443-840-ARTS (2787) or purchase them online.