Review: Grey Gardens at Stillpointe Theatre

By Jason Crawford Samios-Uy
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Running Time: 2 hours and 20 minutes with one 15 minute intermission
Looking on the bright side isn’t something everyone can do. Not everyone can find joy in the face of adversity but in Stillpointe Theatre’s latest offering, Grey Gardens with Music & Lyrics by Scott Frankel and Michael Korie and Book by Doug Wright, shows us there are folks who can. Directed by Danielle Robinette and Ryan Haase, with Music Direction by Ben Shaver, Choreography by Lauren Spencer-Harris, Set Design by Ryan Haase, Costume Design by Kit Crescenzo, and Lighting Design by Adrienne Gieszl, Grey Gardens shows that there are people who can see the light at the end of a dark tunnel and survive even when the world has forgotten them.

The cast of Grey Gardens at Stillepoint Theatre. Credit: Rob Clatterbuck/Stillepoint Theatre

The cast of Grey Gardens at Stillepoint Theatre. Credit: Rob Clatterbuck/Stillepoint Theatre


Some are very familiar with the Beale women and the documentary about an Easthampton mansion named Grey Gardens and some have never heard of such a place or this piece of Long Island history. I was introduced to the Beales a few years back when a very good friend described a 1970s documentary that I just had to watch about these two oddball recluses who lived in a dilapidated 28-room garbage and critter filled mansion with barely any utilities and engulfed in overgrown foliage in Easthampton among the well-maintained houses and lawns of the well-to-do and… I’ve been in love with these two oddballs ever since!
Co-Directors Danielle Robinette and Ryan Haase really captured the essence of this piece, which is survival and self-preservation, treating it dignity and respect. The relationship between this mother/daughter duo was so complex, they managed to touch on all the nuances such as the co-dependency and even jealousy these women had for each other. Their casting is on point and the experiment of using two spaces to represent to different times is a bona fide success. There is such a vast difference between the settings and time of Act I and Act II, it totally makes sense to use two separate spaces.
Speaking of spaces, Ryan Haase’s Set Design is, in a word, impeccable. He never ceases to amaze me with his original designs and this production is no different. Aside from being in two different spaces, the contrast between Act I and Act II is absolute and really compliments the story of these two women, not to mention, the attention to detail in Act II which adds tremendous value to this already superb production.
Another impressive aspect of this production is the phenomenal musicians in the orchestra. this orchestra is spot on in every number and has a very polished, well-rehearsed sound. Music Diretor Ben Shaver not only did a splendid job with the onstage ensemble, he managed to get together a top notch band including himself on Piano, Joe Pipkin on Drums, Stacey Antoine on Reeds, Billy Scaletta on Keyboards, and Andrea Gibeck on Violin. Kudos to each every one of them for a job well done.
Christine Demuth as Little Edie and Bobby Libby as Joe Kennedy. Credit: Rob Clatterbuck/Stillepoint Theatre

Christine Demuth as Little Edie and Bobby Libby as Joe Kennedy. Credit: Rob Clatterbuck/Stillepoint Theatre


I can’t overlook the Costume Design by Kit Crescenzo as they are spot on and authentic, adding realism to this production, especially in Act II where the costumes are near perfect matches to the wardrobe the women wore in the Maysles Brothers documentary.
Working in such unique spaces, Adrienne Gieszl has to be clever with her Lighting Design and it is absolutely appropriate and befitting to the piece, setting the mood for each scene and number subtly but surely.
The ensemble for this production is dedicated and gives a brilliant showing. Bobby Libby makes a great showing as Joe Kennedy with his booming, smooth voice and good grasp of the character while Barney Rinaldi has a great command of the stage and gives a confident performance as the Bouvier patriarch, Major Bouvier. Jon Kevin Lazarus tackles the role of Jerry and his interpretation of this character is absolutely endearing and just made me want to give him a big ol’ hug. Rounding out the ensemble is Terrance Flemming as Brooks and Brooks Jr. and Anne Murphy or Kate Kilner-Pontone as young Jackie Bouvier and Avagail Hulbert or Compton Little as young Lee Bouvier, all who give commendable performances. Also, I’d like to comment on the Choreography by Lauren Spencer-Harris that was absolutely appropriate for the piece adding great value to the piece as a whole.
Gould (Adam Cooley) at the piano and Big Edie (Zoe Kanter) signing as Jackie and Lee look on. Credit: Rob Clatterbuck/Stillepoint Theatre

Gould (Adam Cooley) at the piano and Big Edie (Zoe Kanter) signing as Jackie and Lee look on. Credit: Rob Clatterbuck/Stillepoint Theatre


Three actresses lead this exquisite ensemble in this journey through space and time and Edith “Big Edie” Ewing Bouvier Beale is played flawlessly by Zoe Kanter (in Act I as a younger Big Edie) and Danielle Robinette (in Act II as the older Big Edie that was immortalized in the documentary). Both of these actresses seem to really have a grasp on this character as Kanter plays her as whispy and carefree who values family above all, regardless of if it’s falling apart or not, and desperately trying to hold on to her only remaining child so she won’t be alone. And though Kanter is a bit stiff in her performance at times, almost as if she’s thinking too hard, she belts out her songs with a resonating and beautiful belt and she gives a fantastic showing. It’s also worth mentioning the great chemistry with Adam Cooley, who plays Gould, Big Edie’s ever-faithful accompanist, confidant, and friend and gives an admirable performance with a flamboyancy and flair I imagine the real George “Gould” Strong would have been.
Playing the role of older Big Edie in Act II, Danielle Robinette, couldn’t have played it better. With a brilliant make up job aging her to fit her character and her slouched posture and limping that was consistent through her entire performance made for a believable showing. Vocally, Robinette gives an outstanding performance, especially with the touching and tender “Jerry Likes My Corn.” Playing a somewhat iconic character can be daunting but Robinette takes this role and makes it her own.
Christine Demuth as Little Edie. Credit: Rob Clatterbuck/Stillepoint Theatre

Christine Demuth as Little Edie. Credit: Rob Clatterbuck/Stillepoint Theatre


Last but certainly not least, there’s Christine Demuth who is the absolute highlight of this production. She embodies both a young Little Edie and the iconic older Little Edie from the iconic documentary, all the while, bringing her own interpretation into the character. Not only does she give an outstanding vocal performance, her acting chops are superb. The subtle but definite change in her character from Act I to Act II is seamless and she plays it to the hilt. The real Little Edie had a very distinctive accent (New England, for sure) and Demuth is on point. From the moment she steps onstage until the emotional “Winter in a Summer Town,” she had me hooked. Kudos to Miss Demuth on a stellar performance and I can’t wait to see more from her.
Final thought…Grey Gardens is poignant and compassionate look into the lives of two women time and everyone else seemed to have forgotten but who had the gumption to survive. Whether or not you are familiar with the original Maysles Brothers documentary, Grey Gardens, you will not be disappointed with this production. Stillpointe Theatre has managed to bring a fresh look and feel to this piece and is not only able to express the absolute quirkiness of the Beales with brilliant casting and set designs, but also the tenderness and tragedy of this overlooked piece of Americana. This is NOT an experience you want to miss this season. Get your tickets now!
This is what I thought of Stillpointe Theatre’s production of Grey Gardens… What did you think? Please feel free to leave a comment!
Grey Gardens will play through February 4 at Stillpointe Theatre, 1825 N Charles Street, Baltimore, MD. For Tickets, go to stillpointetheatre.com for more information or purchase them online.
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Review: Murder Ballad at StillPointe Theatre @ The Ottobar

 

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By Jason Crawford Samios-Uy

Running Time: 1 hours and 10 minutes with no intermission

Art can happen anywhere at any time and StillPointe Theatre has proven that with their latest offering, Murder Ballad with Book & Lyrics by Julia Jordan and Music & Lyrics by Juliana Nash. Directed by Corey Hennessy and Co-Directed by Amanda J. Rife with Music Direction by Nick Jewett, Murder Ballad is a voyeuristic peek into a juicy, dark love triangle in an edgy setting of which one would be hard pressed to look away!

Credit: Jason Crawford Samios-Uy

Credit: Jason Crawford Samios-Uy

First, the setting of this production is like none I’ve had the pleasure of experiencing and it was a joyous experience. The action takes place in the upstairs bar of The Ottobar and it couldn’t be a better setting. The performance has a very casual, fringe feeling too it and could be considered performance art, but whatever you consider it, the setting sets an appropriate mood. Researching the piece, I discovered that it was, in fact, written for just this type of setting but The Ottobar, a Baltimore institution for live, local music, was familiar and comfortable, putting me instantly at ease for this completely immersive production. The booming bass from the live bands playing downstairs added to the realism of just sitting in a crowded bar watching the drama unfold between three poor souls in the city and I was set in the mood of curious excitement.

The Ottobar. Credit: Jason Crawford Samios-Uy

The Ottobar. Credit: Jason Crawford Samios-Uy

The setting being what it is, there’s not much in the way of set, lights, and sound but, it absolutely worked for this production. There was some special lighting and a few props but the Production/Design team of Ryan Haase, Corey Hennessey, Zoe Kanter, and Danielle Robinette didn’t seem to have much to do but their choice of the upstairs bar at The Ottobar is brilliant. The bar itself compliments the performance and, though this piece might work on a traditional stage, I wouldn’t have wanted to experience it any other way. Since the upstairs bar at The Ottobar isn’t huge, the actors were able to use just about every inch of the space without much trouble. The band was set off in one of the corners and they aren’t hidden, but exposed in all their glory and were apart of the setting and a welcome addition.

To mention sound, the balance between the actors and the band could use a little more work as the actors microphones were set very low. When the Murder Ballad band started it was challenging to hear what the actors were singing but when the local bands downstairs started, it was almost impossible, but the blocking of the piece helped a little, putting the actors closer to the audience members throughout.

Murder Ballad is a sung-through piece and it’s worth mentioning the score by Juliana Nash is exhilarating with a modern rock feel that had me tapping my foot throughout the performance. Reminiscent of the music of the guitar heavy 90s, I thoroughly enjoyed this well-befitting score.

The Murder Ballad Band. Credit: Jason Crawford Samios-Uy

The Murder Ballad Band. Credit: Jason Crawford Samios-Uy

Speaking of the music, I have to mention the terrific band for Murder Ballad consisting of Nick Jewett on Guitar, who also put on the hat of Music Director, Cody Raum on Bass, Trevor Shipley on Keys, and Joe Pipkin on Drums. These guys were on point and on key through the entire performance and the use of electric drums was wise as it kept everything very well balanced. Kudos to these talented players!

Co-directors Corey Hennessey and Amanda J. Rife do a fantastic job of transferring this piece to this unique setting, not disrupting the original set up of the bar. They keep their actors moving around, keeping the action interesting and purposeful. There is a slow-motion fight scene during a pivotal point in the piece but since the space is so intimate, it seems a bit trite and doesn’t work as well as it would on a more traditional stage. Regardless, Hennessey and Rife use their space cleverly and give us an entertaining and meaningful show.

Moira Horowitz as Michael. Credit: Jason Crawford Samios-Uy

Moira Horowitz as Michael. Credit: Jason Crawford Samios-Uy

Cleverly, the actors performances begin well before actual show time. They actually begin the moment the first patron walks through the door and it’s fun to watch these four characters interact as I settled into my seat and waited for the actual show to start. The gender-blind casting worked wonderfully with this piece and did not hinder the story at all, but complimented the story. The actors didn’t put a masculine o
r feminine spin on their characters but simply played them as human beings.

Corey Hennessey as Narrator. Credit: Jason Crawford Samios-Uy

Corey Hennessey as Narrator. Credit: Jason Crawford Samios-Uy

Aside from co-directing, Corey Hennessey tackles the role of the Narrator (a part originally played by a female) with a strong presence and just enough creepiness to make one shudder when he is near. This character is very similar to the omnipotent Master of Ceremonies (MC) character in Cabaret – a more traditional musical – as he is ever-present and lurks in the shadows, just watching. Hennessey starts out strong with a strong voice and sets the mood for the entire piece with an edginess that is very appropriate for this character. However, as the show progresses, his performance falls a little flat as the only feeling I get from him is “I’m-irritated-and-I-don’t-care-about-these-idiots”. The only emotion he seems to emote is that of disdain. Rolling eyes and grimaces can only take this character so far, but if he isn’t interested and irritated with these characters, why should I worry about them? Vocally, his performance is good, but he does have some issues with the notes in the higher register. Overall, with few issues, he gives a strong and confident performance.

Moira Horowitz takes on the role of Michael, the stand-up, feet-on-the-ground provider who falls for the wild city girl. Horowitz does a fine job portraying this character and seems to understand the inner pain of this character. Thankfully, Horowitz does not try to play this character as a man, but simply as a person struggling to understand his partner and the relationship in which he is involved. Vocally, she is delicate when needed and strong when needed and holds her own very well.

Amber Wood as Tom and Sarah Heiderman as Sara. Credit: Rob Clatterbuck

Amber Wood as Tom and Sarah Heiderman as Sara. Credit: Rob Clatterbuck

Taking on the role of Tom, the downtown bad boy, is Amber Wood who gives the part a realistic feel as she navigates through the desperation and wanting of this character who let “the one” slip through his fingers only to find her again, years later. Wood has the appropriate look and is quite comfortable in this role and has a good command of the “stage.” She, too, does not try to play this part as a man, but simply as non-gender specific person in the middle of a love triangle and she plays it with ease. She easily finds her way through the score with rock-style vocals and gives a very enjoyable performance.

Moira Horowitz as Michael and Sarah Heiderman as Sara. Credit: Rob Clatterbuck

Moira Horowitz as Michael and Sarah Heiderman as Sara. Credit: Rob Clatterbuck

The highlight in this production is Sarah Heiderman as Sara, the bad-downtown-girl turned good-uptown-mother. Her performance is nearly flawless and confident as she has a very strong command of the the stage. She has a big voice and is comfortable with the score giving a idyllic performance. Her character’s transition is seamless and her inner conflict is expressed beautifully in her gestures and facial expressions. She really understands her character and, what’s more, her characters change and portrays it beautifully. She is a joy to watch and I look forward to seeing her future work.

Final thought… Murder Ballad is a strong, modern piece about love in the big city as well as finding and losing “the one.” It’s a meaningful piece with a well thought-out, relatable story and a fantastic rock score. The setting and immersion is worth the price of admission and the experience is riveting! If you don’t mind that the fourth wall is broken and if you’re into fringe-type theatre, this is the show for you! Go check it out! It’s an experience not to be missed!

This is what I thought of this production of Murder Ballad.… what do you think?

Murder Ballad will play through September 17 at StillPointe Theatre @ The Ottobar (upstairs), 2549 N Howard Street, Baltimore, MD 21218. Tickets are available for purchase at the door or purchase them online.