Md. LGBTQ+ Caucus Celebrates Successful Efforts and Urges Action

Instead of focusing on making life better and more affordable for Americans, the Trump Administration and its cohorts are prioritizing attacks on LGBTQIA+ people -- and trans people in particular -- by taking away their health care, eroding their civil rights and nondiscrimination protections, and cruelly removing their ability to have necessary identity documents.

The Maryland Legislative LGBTQ+ Caucus and our colleagues in the General Assembly are sounding the alarm and pushing back, because in Maryland, we will not allow bullies in the White House or anywhere else to hurt our communities.

This session the Caucus organized a first-ever, multi-organization, statewide LGBTQIA+ Advocacy Night in Annapolis, reaffirmed Maryland’s commitment to protecting gender affirming care, collaborated for a historic joint press conference with the Black Caucus, the Latino Caucus, the AAPI Caucus, the Women's Caucus, and the Jewish Caucus, and have thus far passed six critical bills for the LGBTQIA+ community.

We are proud that many of the Caucus' bills passed their chambers, including:

• Delegate Atterbeary - HB 161 - Comprehensive Health Education Framework 
• Delegate Fair and Senator Smith - HB 39/SB 356 - Carlton R. Smith Jr. HIV Modernization Act (passed both chambers)
• Delegate Korman and Senator Feldman - HB 324/SB 293 - County Board Member Antibias Training Act (passed both chambers)
• Delegate Allen and Senator Gile HB 699/SB 491 - General Provisions - Veterans Benefits - Honorable Discharge (passed both chambers)
• Delegate Ebersole and Senator M. Jackson - HB 1/SB 7 - See Someone, Save Someone Act (passed both chambers)
• Delegate Rosenberg - HB 718 - Health Insurance Coverage Protection Commission

Delegate Kris Fair and members of the Md.
LGBTQ+ Caucus

 "We are thankful that many of these bills have passed both chambers and are hopeful that the Senate will follow the House's lead on HB 161 and HB 718,” remarked Caucus Chair Delegate Kris Fair (D3 – Frederick), “though we only have three weeks left in session, we cannot let up now. Governor Moore needs to sign these bills, and we need to continue looking at the other priorities that have not yet passed.”

It is more important than ever for State Houses and Governors across the country stand up for LGBTQIA+ people and send a strong message that they are protected, loved, and valued members of our community. Maryland is proud to lead that charge. 

The members of the LGBTQ+ Caucus are:

EXECUTIVE MEMBERS

Delegate Kris Fair, Chair

Delegate Joe Vogel, Vice Chair

Delegate Anne Kaiser, Legislative Chair

Delegate Ashanti Martinez, Legislative Chair

Delegate Gabriel Acevero, Secretary

Delegate Dylan Behler

Delegate Luke Clippinger

Delegate Bonnie Cullison

Senator Mary Washington

Delegate Teresa Woorman

ASSOCIATE MEMBERS

Delegate Nick Allen

Delegate Heather Bagnall

Delegate J. Sandy Bartlett

Delegate Lorig Charkoudian

Delegate Charlotte Crutchfield

Delegate Eric Ebersole

Delegate Jessica Feldmark

Delegate Linda Foley

Delegate Cathi Forbes

Delegate David Fraser-Hidalgo

Delegate Pam Guzzone

Delegate Anne Healey

Delegate Dana Jones

Delegate Aaron Kaufman

Delegate Ben Kramer

Delegate Mary Lehman

Delegate Robbyn Lewis

Delegate Lesley Lopez

Delegate Bernice Mireku-North

Delegate David Moon

Delegate Cheryl Pasteur

Delegate Julie Palakovich Carr

Delegate Joseline Peña-Melnyk

Delegate Andrew Pruski

Delegate Lily Qi

Delegate Sheila Ruth

Delegate Ryan Speigel

Delegate Karen Simpson

Delegate Jen Terrasa

Delegate Courtney Watson

Delegate Greg Wims

Senator Guy Guzzone

Senator Shaneka Henson

Senator Shelly Hettleman

Senator Nancy King

Senator Clarence Lam

Senator Karen Lewis Young

Senator Sara Love

Senator Jeff Waldstreicher

Senator Craig Zucker

Photos: Camila Reynolds-Dominguez

Sturdy ‘Kinky Boots’ Inspires at Silhouette Stages

Joshua Franklin as Lola and Xander Conte as Charlie

The production of Kinky Boots at Silhouette Stages in Columbia, Md. could not have come at a better time. Relentless withering attacks by the Trump Administration against the LGBTQ+ communities, especially the transgender population, has caused fear and anxiety among these folks and allies nationwide.

“Kinky Boots is a show about just being yourself and never letting anyone tell you who you ought to be,” Silhouette Stages explained in an email statement. “We welcome you to come to the theater dressed however you feel comfortable, whether that means in drag, casual clothing, pajamas, pride gear, wigs, and anything in between!”

This display of affirmation of the LGBTQ+ communities is aimed particularly at youth who may be struggling with their sexual orientation or gender identity. The good people associated with Silhouette Stages, which is celebrating its 20^th anniversary season, should be commended for their support, and in doing do, they are offering a musical with an abundance of heart and elite-level performances.

Under the direction of Jeremy Goldman, the cast and crew deliver an astounding presentation that is both cohesive and beautiful. Profoundly superb staging, costuming, sound, lighting, and musical direction are blended with near perfection to augment the performances from the talented cast. The production features the jaw-dropping theatrical debut of Joshua Franklin as Lola/Simon and the wide range of talent displayed by Xander Conte as Charlie. They are the focus of the plot.

In Kinky Boots there are poignant and inspirational moments that go right to your heart, and one cannot help reflecting on current events. But there are also instances where you will laugh until your shoes fall off.

"...a musical with an abundance of heart and elite-level performances."

The set designed by Sammy Jungwirth is functional, eye-catching and captures the essence of a working-class British shoe factory. Plenty of lumber is used to create warehouse-type shelving and other pieces of furniture and props used in the manufacture of the product. Kudos to the members of the construction team for their efforts in this regard.

This sturdy set is the centerpiece for the show, and because of its magnitude, the already cozy stage
must be efficiently used. Jeremy A. McShan’s imaginative and precise choreography is particularly commendable given the relatively small space the performers are asked to move about.  And some of these moves consisted of cartwheels! Big splashy production numbers with many adorning eye-popping costumes, make-up and wigs add fire power to an already electric production.

Kinky Boots with music and lyrics by pop music icon Cyndi Lauper and book by Harvey Fierstein topped the 2013 field by receiving 6 Tony Awards including Best Musical among 13 nominations.  Lauper’s “Sex is in the Heel” in the first act is a showstopper in its own right; “Everybody Say Yeah,” a stirring song that brings down the act’s curtain, matches it.  The second act’s “In This Corner,” a well-staged boxing scene and a pivotal part of the storyline, also shines. And the musical’s rousing finale “Raise You Up/Just Be” hits the emotional and inspirational target.

Xander Conte as Charlie and the Ensemble

Based on the 2005 film Kinky Boots, which was inspired by a true story, the musical tells of a near-bankrupt British shoe factory’s owner, Charlie Price (Xander Conte) who had inherited the business from his father.  He forms an unlikely partnership with a drag queen named Lola whose actual name is Simon (Joshua Franklin) to save the business. Charlie develops a plan to address the “underserved niche market” by producing custom footwear for drag queens to support a man’s weight, rather than the men’s dress shoes that his firm is known for. In the process, he and Lola bond and discover that they have a lot more in common than originally thought.

Mr. Fierstein, in penning the book, brings to the fore an impressive body of work where he has written about or performed as a drag queen (Torch Song Trilogy, La Cage Aux Folles, Hairspray).  And like these others, Kinky Boots excels in its touching, uplifting message with a strong infusion of humanity. Its overarching themes, such as “Just Be,” center on parental expectations, battling prejudice and stereotypes, and the need for open-mindedness.

With the setting in an economically struggling British factory town, Kinky Boots is similar to other Broadway musicals like Billy Elliot the Musical and The Full Monty.

Versatile Xander Conte, who was the exceptional lead in Silhouette Stages’ production of The Wedding Singer two years ago turns in another scintillating performance as Charlie who clumsily attempts to save the factory, manages his skeptical workers, balancing his desire to save the factory with his romantic life and overcoming his initial resistance to Lola’s world to eventually see the light.

This is a demanding role, and Mr. Conte rises to the occasion by displaying outstanding acting skills and vocal prowess as well as physicality.  These attributes are on display in the snappy song “Step One”—whereby Charlie invites Lola to the factory to design a boot for a “niche market”—and in particular, the moving “Soul of a Man” as he copes with the legacy of his father. He hits those challenging big notes out of the park.

In a tour de force, Joshua Franklin sparkles as the drag queen headliner Lola. It is inconceivable that Mr. Franklin had never performed in theatre before as he is so poised and polished.

Summoning up potent acting skills, Mr. Franklin convincingly displays a wide range of emotions from high camp to melancholy with the right amount of sass and attitude. His powerful voice does justice to the beautiful score in “The Land of Lola” where he performs with his excellent backup troupe of drag dancers, the Angels, and the tender ballad “Hold Me in Your Heart,” which he sings to his wheelchair-bound father, Simon, Sr. (Elijah Davis), who did not approve of his son’s world.

But the most moving of all, “Not My Father’s Son,” in which Mr. Franklin ultimately forms a duet with Mr. Conte is my favorite.  Though they tried to be like their fathers, Simon and Charlie felt the sting from their falling short of their fathers’ expectations. That formed the bonding of the two disparate men.  The stunningly emotional lyrics resonate with all those who felt they let their parents down in some way but were determined to live their lives for themselves:

“So I jumped in my dreams and found an escape
maybe I went to extremes of leather and lace,
but the world seems brighter six inches off the ground
and the air seemed lighter
I was profound and I felt so proud
just to live out loud.”

Joshua Frankin as Lola; The Angels
 (Seth Fallon, Leon Nguyen, Julie Mimms
and Thomas Allen)

The entire ensemble is excellent in support of the leads.  Most notable among them include Chris Riehl as factory worker Don, a boorish, testosterone-oozing antagonist to Lola and Cera Baker as Lauren, also a factory worker and potential love interest for Charlie. (Maddie Ervin will play the role March 14, 15 and 16).  If anyone may have forgotten that Cyndi Lauper had written the score, Ms. Baker’s well executed performance in “The History of Wrong Guys” complete with the snarl facial expression would be a good reminder.

Erica Miller as Nicola, Charlie’s girlfriend who dumped him, played the role well. Amy Haynes Rapnicki as Pat, Tricia Anderson as Trish, Henry Cyr as Harry/Richard Bailey and MarQuis Fair as George also shine.

The other members of the cast not previously mentioned include Keith Field, Will Hertz, McKenley Barnes, Angie Townsend and Neal Townsend. Playing in the Ensemble as factory workers are Dance Captain Maddie Ervin, Coby Kay Callahan, Madison Clay, Chris Draghi, Alex Gubler, Terin Kelsey and Zen Tabligan.

Then there are The Angels. Donning brilliant attire, their singing talents and wonderfully energetic dancing add much flair to the production. Applause goes to Seth Fallon, Leon Nguyen, Thomas Allen and Julie Mimms.

Costume designers Jeremy Goldman, Ande Kolp and Debbie Mobley fit the non-drag cast in basic working-class attire. Joshua Franklin (Lola) and Seth Fallon, Leon Nguyen, Thomas Allen and Julie Mimms (the aforementioned Angels) designed the colorful satiny gowns for Lola and The Angels in a variety of bright colorful costumes highlighted by those gorgeous boots! And for good measure, they all designed their own vivid make-up.

You will get a kick out of Kinky Boots.  The score, the storyline, and the uplifting message provide persuasive reasons alone to buy tickets to the show and deserving of the raucous standing ovation at the final curtain. You will also experience the debut of an emerging star in Joshua Franklin and the solid performances of Xander Conte and the rest of the talented and enthusiastic cast to boot. This is community theatre at its best.

Running time. Two hours and 30 minutes with an intermission.

Kinky Boots plays through March 23 on weekends with matinees at 2:00 p.m. and evening performances at 8:00 p.m. at the Slayton House Theatre, 10400 Cross Fox Ln., Columbia, MD 21044. For tickets, call 410-730-3987 visit online.

Photos: Shealyn Jae Photography

***

Silhouette Stages has partnered with Soles4Souls  - an organization that resells your gently used shoes creating jobs and helping people start and grow businesses. Together they are helping turn your old shoes into opportunities for everyone regardless of gender, race, ethnicity or nationality to ensure they have access to a better life. There will be a donation box in the lobby at all performances.

'Waitress' is Pie-umphant at Olney

Ashley D. Nguyen (Dawn), Malinda (Jenna), and
Allison Blackwell (Jenna)

It is hard to imagine that themes, such as an unwanted pregnancy, an abusive husband, adultery, and sexual encounters in the workplace would keep you laughing until your eyes tear, but here we are with Waitress. To be sure, the instances when these themes are addressed are also handled tenderly and with great emotion. The mixture is effective.

Olney Theatre Center’s production of the musical Waitress in the Roberts Mainstage reunites star Malinda in the lead role of Jenna, and director/choreographer Marcia Milgrom Dodge. Waitress is a high-energy, often hilarious, and at times poignant presentation with all elements clicking. Excellent staging, an ultra-talented cast, a wonderful score, great sets, costumes and lighting make up all slices of the tasty pie.

Malinda (formerly known as Malinda Kathleen Reese; she now goes by the mononym used in her singing career) won the 2020 Helen Hayes Award for Outstanding Performance in a Musical for her last turn at Olney Theatre as the Girl in Once.

Waitress may not be the most well-known musical to ever hit the stage but it is a first-rate one. It garnered four Tony Award nominations in 2016 including Best Musical. The all-female creative team includes music and lyrics by Sara Bareilles and a book by Jessie Nelson. It is based on the 2007 film of the same name, written by Adrienne Shelly.

Accordingly, there is a palpable amount of feminism laced throughout as the story deals with the veracity of the lives of working women in America and how women bond to help bring out the best in each.

The multi-layered plot centers on Jenna, a baker and waitress at Joe’s Pie Diner in a small Southern town. She has a penchant for creating magnificent pies and coming up with clever names for them based on the situation. Many of her recipes originated with her late mother but Jenna concocts some pies on the fly. There are pies galore in this show, and thankfully, they are not the kind seen in Sweeney Todd.

Her problem is that she is in loveless relationship with her temper-prone husband Earl (played by Greg
Twomey) who is abusive and demanding. As an example, he regularly pops in the diner and collects the tips she earned while he habitually shows up late for work and is constantly on the precipice of being fired.

You would think Jenna would have left him given this toxic relationship. Easy as pie? Not so fast. Complicating matters is that Jenna discovered she was unexpectedly pregnant as a result of a drunken night with Earl—a development in which she kept from him until she blurted it out right before he attempted to strike her.

Jenna attempts to escape from this misery by finding solace in baking pies and also from the companionship of her two close friends in the diner, waitresses Becky (Allison Blackwell) and Dawn (Ashley D. Nguyen.)  The trio serves as confidants to one another and provides the moral support needed to escape from their ho-hum existence and to make choices to seek the joy that had been missing from their lives. Each reveals their own bit of eccentricities as they embark on this journey.

Sam C. Jones (Ogie), Malinda (Jenna)
and Ashley D. Nguyen (Dawn)

Jenna’s baking prowess leads her to consider entering a pie baking contest that would award $20,000 to the winner and enable her to leave Earl.

Adding another element to the plot is that Jenna has fallen for her handsome gynecologist, Dr. Jim Pomatter (David Socolar), who as it turns out, is also married, and the two have sex in his office. That makes for a zesty and hilarious scene. Mr. Socolar’s athleticism, physical comedy and his fumbling of a piece of paper in that office is one of the show’s highlights.

Meanwhile, Becky, also married, begins an affair with Cal (Ethan Watermeier), a manager at the diner, and Dawn finds love from an uproariously gawky goofball, Ogie, (Sam C. Jones), she met online.

So, there you go. The ingredients for this pie of a plot are in place. It’s just a matter of how they are mixed and with the right proportions to make it yummy. Spoiler alert: it is scrumptious!

Ms. Bareilles’ ballad-heavy score is solid with many numbers heart-wrenching and tender, such as the exraordinary “She Used to Be Mine” and “Take it From an Old Man.”  Some are simply playful and much fun like “Never Ever Getting Rid of Me.” The show starts off on the right foot with the snappy number “What’s Inside.”

As the central character Jenna, Malinda excels on all fronts. Her acting is strong in portraying the victim trapped in her marriage and the anguish she experiences in confronting the reality of her pregnancy as well as her dealing with infidelity. Malinda’s soprano voice is crystal clear and powerful, holding notes exceptionally. Her solos “What Baking Can Do” and the show-stopping “She Used to Be Mine” showcase her vocal prowess.

"Excellent staging, an ultra-talented cast, a wonderful score, great sets, costumes and lighting make up all slices of the tasty pie."

Allison Blackwell as Becky, one of the waitresses, fills the comedy role with relish. Sassy and loud, Ms. Blackwell demonstrates impeccable comedic timing with her wisecracking antics directed mainly towards her boss Cal (played effectively by Ethan Watermeier). Always on the edge of being fired by Cal, Becky intimidates him enough to stay on and has an affair with Cal though she, too, is in an unfulfilling marriage. Ms. Blackwell joins other cast members in song but her one solo number “I Didn’t Plan It” soars.

The third waitress in the musical is Dawn played wonderfully by Ashley D. Nguyen.  A shy, quirky type, Dawn is another who plays a largely comedic role. Through online dating, she meets a guy named Ogie (played terrifically by Sam C. Jones). Initially, it was hate at first sight from Dawn’s perspective, but once they found out both loved American Revolution re-enactments, it was just a matter of time that they would marry.

Mr. Jones’ Ogie is a scene stealer with his nerdy looks and his physical comedy offerings. He sang in "I Love You Like a Table,” but his performance with Ms. Nguyen in the production number “Never Ever Getting Rid of Me” where he briefly shows off his odd dance moves and his own brand of athleticism is a genuine showstopper.

David Socolar as the gynecologist Dr. Pomatter is one of the show’s standouts. Nimble physically with astounding comedic timing, Mr. Socolar turns in a superb performance as his character navigates the tricky terrain of adultery while he falls deeply for his patient Jenna. There were many funny lines, and he executed them to perfection. Mr. Socolar performs splendidly with Malinda in “It Only Takes a Taste,” “Bad Idea” and the tender ballad You Matter to Me” –also a duet with Malinda—displaying a smooth tenor voice.

Then there is the villain of the show, Earl, Jenna’s arrogant and manipulative husband, played convincingly by Greg Twomey. His sweet duet with Malinda in “You Will Still Be Mine” follows his request that Jenna will not love the baby more than him. He has accomplished vocal skills.

Bobby Smith as Joe, the aging, cranky, picky and generous owner of Joe’s Pie Diner, is excellent in his role that calls on him to be comedic and gruff and eventually gentle and kindhearted. He is a fan of Jenna and encourages her to participate in the pie contest. Mr. Smith’s performance in the lovely ballad, “Take it From an Old Man,” is touching. The surprise ending involving Joe is a game changer on several levels.

Rounding out the excellent cast is Jessica Bennett who deliciously plays Nurse Norma. She is wise to Dr. Pomatter’s antics and is hilarious with her reactions.

The talented Ensemble support the leads with solid vocal back-up and occasional dancing. Also, providing a musical lift is the 7 –piece on-stage orchestra conducted splendidly by Christopher Youstra.

Scenic Designer Chen-Wei Liao created a wonderfully functional set. Much of the action takes place in the diner with its kitchen, tables, counter and other props that depict the small town eatery. Other scenes switch seamlessly to the doctor’s office, Jenna and Earl’s home among other venues by utilizing two covered rectangular openings on the stage where set pieces rise up an elevator.

Minjoo Kim’s lighting design is bright and cheery that adds quality to the production. And Sarah Cubbage added more flavor to the pie with terrific and imaginative costumes.

Waitress is a well-staged and well-directed musical with a wonderful score that takes on serious issues with a good heart and levity. The performers excel in all facets, and the show makes for a most entertaining experience, no matter how you slice it.

Advisory: The show contains mature themes and sexual situations and is not recommended for young children.

Running time. Two hours and 45 minutes with an intermission.

Waitress runs through April 6 in the Roberts Mainstage at Olney Theatre Center, 2001 Olney-Sandy Spring Road, Olney, MD. Tickets ($41-$116) are available online or through the box office at 301-924-3400, open from 12 p.m. – 6 p.m. Wednesdays through Saturdays. 

Performance Schedule

Wednesday through Saturday evenings at 7:30 p.m.

Wednesday, Saturday, and Sunday matinees at 1:30 p.m.

Select Sunday evenings at 7:00 p.m.

See the full schedule at: https://tickets.olneytheatre.org/overview/waitress

Accessible Performances Audio-Described Performance – Wednesday, March 5 at 7:30p.m.

ASL Interpreted Performance – Thursday, March 6 at 7:30 p.m.

Due to popular demand, Waitress has been extended from March 30 to April 6.

The additional performance schedule is as follows:

Thursday, April 3 at 7:30 p.m.

Friday, April 4 at 1:30 p.m.

Friday, April 4 at 7:30 p.m.

Saturday, April 5 at 1:30 p.m.

Saturday, April 5 at 7:30 p.m.

Sunday, April 6 at 1:30 p.m.

Photos: Patricia Castracarne Photography

‘The Lion King’ Brings Disney’s Magic to the Hippodrome

Photo: Matthew Murphy

Adapted to the stage from the hit 1994 Disney animated film with the same title, The Lion King, makes its way to Baltimore for a 3-week run as part of its long-running national tour. With imaginative costumes and masks, sterling puppetry and artistry, powerful and soaring choreography, dazzling lighting and special effects, and a superbly talented cast, the production can only be described as spectacular.

From the iconic opening number “Circle of Life” whereby a new lion cub Simba is introduced to the other animals in Africa’s Pride Lands and until the very end of the show, the presentation is jaw-dropping. Key to the story, which is loosely based on William Shakespeare’s Hamlet, the circle of life represents an ordered sequence of life events that comes full circle and repeats itself.

In that number, performers are magnificently costumed or are operating puppets with masks, ropes, rods wires and stilts representing a menagerie of African animals in a parade down the theater’s aisles to the stage. The elephant alone, operated by four humans, could be the size of Oriole Park. All these animals and more embody the show’s characters. Even birds and fish are depicted.

Produced by Disney Theatrical Group, The Lion King is one of the most popular stage musicals in the world. Since its premiere on November 13, 1997, 28 global productions have been seen by over 112 million people. The show garnered 6 Tony awards in 1998 including Best Musical. It is Broadway’s third longest running show in history and the all-time highest grossing Broadway production.

The score features Elton John and Tim Rice’s songs from the animated film along with three new songs by John and Rice; additional musical material by South African Lebo M, Mark Mancina, Jay Rifkin, Julie Taymor and Hans Zimmer.  There is an infusion of African words in the songs and in the dialogue. The book was penned by Roger Allers and Irene Mecchi. Featured are two of John’s more popular songs, “The Circle of Life” and “Can You Feel the Love Tonight”. Other notable songs include “I Just Can’t Wait to Be King,” “Be Prepared” with extraordinary choreography, and the first act finale, the peppy “Hakuna Matata”.

Photo: Deen Van Meer

On the night of this performance, Kyle Shymanovitz was the conductor of the orchestra that did a fine job in presenting the music with its significant African influence. In that vein, percussion musicians are situated on the theater’s side balconies to produce those drumbeats.

Director Julie Taymor imaginatively translated the film to the stage. Not only did she helm the show, where she won a Tony Award, she also designed the amazing and extraordinarily detailed costumes, masks and puppets herself. In collaboration with her scenic designer Richard Hudson, lighting designer Donald Holder, and hair and makeup designer Michael Ward, Taymor created a uniquely lavish spectacle.

The story follows the life lessons of Simba, a young, curious and energetic cub (played by a charismatic Bryce Christian Thompson on the evening this performance was reviewed). His father Mufasa (played strongly by Darnell Abraham) who is king of the Pride Lands in Africa’s beautifully rich savanna region, offers life’s lessons to young Simba.

When he warns the young cub to avoid leaving the Pride Lands, Simba, egged on by Mufasa’s brother and Simba’s uncle Scar, leaves the acceptable boundaries and visit the forbidden elephant graveyard. Scar, played convincingly and with a dose of campiness by Peter Hargrave, is the antagonist in the story in that he sees Simba’s presence as getting in the way of his ambition to be the king.

Photo: Joan Marcus

(Scar is an interesting and seemingly familiar character. He desperately wants to be king. He will use any means to attain that title and hold on to power when he eventually seizes it. His mind is unstable, deteriorating, and he is weak. He is narcissistic. He lies, he cheats, and he makes bold promises (to hyenas) but doesn’t keep them but uses them as tools to further his aims. And he is hated. Hmm.)

Back to the story. With his female cub friend Nala (Jaxyn Damasco for this performance) in tow, Simba heads for the graveyard where he is threatened by three hyenas, Shenzi, Banzai and Ed (played by Brinie Wallace for this performance, Forest Vandyke and Sam Linda, respectively. Mufasa rescues them but he admonishes Simba and reminds him that bravery and bravado are two different things, and he will be guided by the great kings of the past.

"...the production can only be described as spectacular."

Meanwhile, Scar conspires with the hyenas to kill Mufasa and then Simba so he can ascend to the throne. Scar starts a wildebeest stampede and tells his brother that Simba is caught in it. Mufasa saves him but Scar pushes his brother back into the stampede and kills him. Scar falsely tells the young cub that it is Simba’s fault his father is dead and urges him to run away. He sends the hyenas to kill Simba with the hyenas telling him that he is dead and returns to Pride Rock to take the throne.

Simba escapes but collapses from heat exhaustion in the desert. As vultures circle overhead, Simba is rescued by Timon the meerkat (Nick Cordileone) and Pumbaa the warthog (Danny Grumich). They take him to their home in the jungle where there are no rules or responsibilities and plenty of bugs to eat. These two have largely comedic roles and are wonderful in their playfulness. 

Simba grows up to be a strapping, defined and muscular, er, lion (played marvelously by Erick D. Patrick). Under Scar’s reign, the Pride Lands deteriorated into a drought-stricken wasteland. The hyenas are outraged over the lack of food. After Scar’s desire to make now grown-up Nala (Thembelihle Cele) his queen, she rejects him and searches for help.

Photo: Matthew Murphy

Timon needs to be rescued from a waterfall but Simba freezes in fear. In singing “Endless Night” Simba is inspired by the spirit of his dead father who is watching over him and saves Timon. Pumbaa is being chased by a lioness, and again Simba does the rescuing. He recognizes her as Nala. She implores Simba to return to the Pride Lands and restore the circle of life.

Raifki (Mukelisiwe Goba), a spiritual and quirky baboon or mandrill and a trusted associate of Mufasa urges Simba to return home and the spirit of Mufasa does the same. Upon Simba’s return, he confronts Scar, and during an altercation the villain tumbles off Pride Rock to a waiting pack of hungry hyenas.

Simba assumes his rightful place as king and he and Nala produce a cub of their own, thus completing the circle of life.

The entire cast and Ensemble display excellent vocals and dancing ability. As dancers, they showcase their athleticism, timing and grace executing the powerful African-influenced choreography by Garth Fagan.

The Lion King is a remarkable production with all the elements in place to justify its reputation for excellence. The majesty, artistry and performances are unique and breathtaking.  The opening number is worth the price of admission alone. But do stay for the remainder of the show and enjoy how the circle of life endures despite its many challenges with eye-popping imagery.

Running time. Two hours and 30 minutes with an intermission.

Disney’s The Lion King will play through Sunday March 2 Tuesdays through Thursdays at 7:30 p.m., Fridays at 8 p.m., Saturdays at 2 p.m. and 8 p.m. and Sundays at 1:30 p.m. and 6:30 p.m. Tickets will be available here, Ticketmaster. or in-person at the Hippodrome Box Office (12 N Eutaw Street) Monday through Friday, 11 a.m.to3 p.m. and show days 11 a.m. until show time. Groups of 10or more should contact BaltimoreGroups@BroadwayAcrossAmerica.com or by calling (888) 451-5986,

Is ‘9 to 5’ at Toby’s Time Well Spent?

MaryKate Brouillet as Judy, Janine Sunday as Violet
and Rachel Cahoon as Doralee

When 9 to 5 the Musical was included in this season’s lineup for Toby’s, the Dinner Theatre of Columbia, I fondly recalled the 1980 film starring Dolly Parton. I remembered it being a light and fluffy flick with a catchy title song that became a big hit back in the day. The 2008 musical, which was nominated for four Tony Awards, is based on that movie.

The story of how three downtrodden female office workers in the late 70’s with a domineering and sexist male boss who had little, if any, reverence for women, had to fight extra hard to receive a deserving promotion, gain respect from said boss and gain their own self-respect and confidence in the process. It is an anthem for equality in the workplace.

That was then.

Over the next four–plus decades, there had been significant changes to the workplace environment where diversity, equity and inclusion (DEI) efforts as well as litigation reduced those trying circumstances. While there is still a long way to go, especially in pay discrepancies, there had been noticeable and welcome improvements for women and other minority employees.

Sadly, recent developments triggered the rolling back of DEI programs and initiatives in both the private and public sectors. We’re on a path back to pre-1980 workplace conditions, so this musical becomes more relevant than one could have ever imagined before January.

Serious as this issue is the Toby’s production of 9 to 5 the Musical under the meticulous direction of Helen Hayes Award winner Mark Minnick gives us all a respite from the daily drama with an amusing musical spearheaded by a superb cast and crew.  For a few hours forget the trauma that has befallen us and enjoy the quality entertainment and luscious buffet.

Violet Newstead, played magnificently by Janine Sunday, is a veteran employee who is widowed, and despite her talent and smarts cannot rise up the employment ladder at Consolidated Industries. Doralee Rhodes, a secretary (Dolly Parton’s film role), played exceptionally by Rachel Cahoon, is an attractive, happily married country woman who had been shunned by her female co-workers because her boss falsely let it be known he’s having an affair with her. Separated Judy Bernly, played outstandingly by MaryKate Brouillet, just began working at Consolidated and lacks confidence.

Jordan B. Stocksdale as Franklin Hart

What all three have in common is their disdain for their boss, the company’s president Franklin M. Hart, Jr., played deliciously by Jordan B. Stockdale. Hart’s a pompous boor, a sexist, a liar, a hypocrite and a letch, and those are his good characteristics. Though married, he is an unabashed womanizer and sees his female employees as targets.

Each of these women have reasons to get rid of him, and by rid of him, they fantasized murdering Hart while smoking a joint. Instead, they kidnap him at his own home in a hilarious scene and mount him to a garage opener.

In the meanwhile, the women effect changes to the office and enact policies that are certain to boost
morale and productivity. This is noted by the Chairman of the Board Russell Tinsworthy, played by Robert Biedermann (see article below) with happy and comical results at the end.

Mr. Minnick along with Production Stage Manager Cheryl Stansfield assures that the pacing and staging of the show is top-notch.  Conductor Catina McLagan and the 6-piece orchestra (Ross Scott Rawlings takes the baton in other performances) deliver Dolly Parton’s score with the performers enunciating Parton’s lyrics. Choreographer Christen Svingos created dance steps that are fluid, in synch and allowing the Ensemble to showcase their talents with precise movements on the in-the-round stage.

If there was any doubt about which era the show takes place, terms like Xerox machine, white-out and Atari embedded in Patricia Resnick’s lively and hilarious book will remove such doubts. And who doesn’t remember you need to have paper in the typewriter before typing?

Costume Designer Heather C. Jackson and Hair and Wig Designer Jayson Kueberth deftly brought us back to the 70’s with their period attire and signature hairdo’s.

Lynn Joslin's lighting design is spot-on in effectuating scene changes, and Mark Smedley's crisp sound design is flawless.

David A. Hopkins and Shane Lowry teamed up to design a set that is eye-catching and pertinent to the era. Lots of office furniture is employed as well as other numerous set pieces. It does bring back memories. Unquestionably, the best touch is the visual recording on small screens around the theater of Dolly Parton herself who narrates the introduction of the musical as well as the Epilogue. In the latter, she comically describes the future of the main characters. 

"...an amusing musical spearheaded by a superb cast and crew."

9 to 5 the Musical is an amazingly enjoyable production at Toby’s. The three female leads consisting of Janine Sunday, MaryKate Brouillet and Rachel Cahoon as well as the male lead Jordan B. Stocksdale are simply sensational—both in performing musical numbers and acting. Credit Mr. Minnick for allowing the actors to freely allow their comedic skills to shine seemingly unrestrained. They are the centerpiece of the show and excel on every level.

All have extraordinary vocal skills individually and are even more powerful as a group. Songs, such as, “Around Here,” “I Just Might,” “Backwoods Barbie,” “Cowgirl’s Revenge.” “Joy to the Girls,” “Shine Like the Sun,” and “Change It” are examples of Parton’s songs that shine a spotlight on the performers’ vocal talents. And if you are anxious to hear the hit song “9 to 5” you won’t have to wait long as it opens the show. It also closes the show in its reprise.

In addition, the lead actors’ facial expressions and movements around the stage along with their stellar comedic timing are ovation-worthy.

Jordan B. Stocksdale and Rachel Cahoon

Other notable cast members include Diane Alonso as Roz who worships the ground Hart walks on and is a snitch. She plays the role splendidly. Tina Marie DeSimone is hilarious as the office lush Margaret Pomerance. Carter Crosby does a wonderful job as Joe, the junior accountant, who attempts to woo Violet and performs well in the tender number “Let Love Grow” in a duet with Ms. Sunday. Joey Ellinghaus convincingly plays Violet’s teenage son Josh. Jeffrey Shankle plays Judy’s separated husband Dick. On the other hand, Adam Grabau plays Doralee’s loving husband Dwayne.  And Robert Biedermann as the kind Mr. Tinsworthy delivers the fun conclusion.

The remainder of the talented company ably supports the leads with dancing and singing prowess and helps bring the show to a high level of enjoyment.

9 to 5 the Musical is the perfect escape at this time and is definitely time well spent. We hope that the conditions that gave root to the story don’t return but that’s an unknown. What is known is that the show should not be missed.

Running time. Two hours and 30 minutes with an intermission.

9 to 5 the Musical plays through March 16, 2025, at Toby’s the Dinner Theatre, 4900 Symphony Woods Rd., Columbia, MD 21044.  Tickets may be purchased by calling the box office at 410-730-8311or visiting here. Next up: The Music Man, March 21 to May 18.

 

The Menu is shown here.

Specialty Drink: “The Skinny n’ Sweet”

Photos by Jeri Tidwell Photography

 

The Cast in Order of Appearance and Orchestra

 

Warming Up the Audience

As he has done for many years at Toby's, veteran actor of 46 years Robert Biedermann performs a routine approximately 20 minutes prior to the show’s opening. Pacing around in a circle reminding everyone of the in-the-round stage, Mr. Biedermann navigates to the various sections in the theater to announces birthdays and anniversaries with his tongue firmly placed in his cheek and with a twinkle in his eye.

Mr. Biedermann relates well with Toby’s audiences developing a community spirit while displaying self-deprecating humor during his schtick. As an example, when announcing future shows, he pointed out that Saturday Night Fever is on the schedule, he would play the John Travolta role. Following the giggles from the audience, Mr. Biedermann promptly responded, “Thanks for the laughs,” which generated even more laughter.

A Viet Nam veteran, Mr. Biedermann’s extensive theatrical career has been highlighted by a 27 months-long national tour of The Wizard of Oz. He has appeared in over 50 Toby’s productions earning him multiple Helen Hayes nominations.

Indeed, Mr. Biedermann has been a tradition at Toby’s as much as the delicious buffet. His show before the show sets the right mood for what lies ahead.

The Sequel Will be Far Worse than the Original

  

I don’t know which is worse for our country: that Donald Trump was elected for the second time as president or that nearly half the voters actually wanted him in office.

Democrats are scratching their collective heads wondering what went wrong. You had a bright, energetic and experienced candidate in Kamala Harris facing off against a known liar, cheat, convicted felon, adjudicated rapist, and con artist who, during his first term, demonstrated ghastly incompetence when having to face the threat of a worldwide pandemic.

Were it not for the slowness of Attorney General Merrick Garland in initiating an investigation of Trump’s role in attempting to overturn a free and fair election, the outcome could have been different. But the timid hesitation from said Garland allowed Trump’s legal team to stall and effectively run out the clock.

Trump will never face punishment for his post-2020 election shenanigans. The U.S. Supreme Court saw to that as they gave Trump, of all people, blanket immunity from whatever heretofore crimes he has or will commit in the future as long as they fall under the vague term “official acts.”

Regardless of Trump’s numerous character flaws and the qualifications of a person of color who had been derided for having a funny laugh, voters sought a change that would, in their view, fix the economy as Trump promised. The inflation stemming from the post-pandemic recovery legislation, supply line issues and energy unevenness, was too much to overcome, and Harris didn’t distance herself from Biden’s policies going forward. People who voted for Trump in 2016 and then Biden in 2020 reverted back to Trump in 2024 in all quarters of the country.

They will likely experience regrets in the not-so-distant future. Trump is assembling a clown car of cabinet picks that if it weren’t so tragically true, could pass as a comedy sketch. A man whose alleged womanizing and alcoholism would normally result in a discharge from the armed services, has been tapped to lead the entire defense department. Another one who has been linked to Russia in the past is slated to be the Director of National Intelligence. I am not making this up.

And then there is Bobby Kennedy, Jr. to helm HHS despite his vaccine denying, own personal addiction, and is opposed to research. There are so many others. It reached the point whereby I think of Marco Rubio (State) as the “normal” one.

Most of these nominees are billionaires that will help cement an oligarchy that will run the country. They will serve themselves and the mega-rich, not the country writ large. And the complicit corporate-controlled media will have failed us with their lack of truth telling.

All of his picks will be confirmed. All.  That’s because Republicans in the Senate abdicated its constitutionally mandated advise and consent role and instead, will do as Trump demands. The Senate used to be a co-equal branch of government with the executive branch and the judiciary. Not anymore.

Fearful of being primaried if they go against Trump, lawmakers will try to push his xenophobic agenda. You see with them, power is what they crave and are determined to hold on to it. Not one will say, “Go ahead and primary me. I’m doing what I believe is right.” That won’t happen.  

Trump, as King, will launch an attack on perceived enemies near and far and create chaos throughout the administration. If you have equities in the stock markets, prepare for a bumpy ride.

“The corruption comes hand in hand with the elevation of personal loyalty over any other obligation or imperative. And it is enhanced by the destruction of institutions, power centers, enforcement mechanisms, and norms that would otherwise impose restraints,” writes David Kurtz, executive editor of Morning Memo.com. He adds, “All three impulses combine to project dominance, giving him and his backers a frisson of power as they bully, hurt, and demean for the sake of doing so.”

There should be a lot of fear as this sequel gets underway. The promised mass deportations will disrupt the agriculture industry among others that will allow food prices to spike. Tariffs will substantially raise the costs of imported goods, such as automobiles, phones and appliances. 

Accordingly, the economy will tank with high interest rates and an inability to get goods to the market. Even Trump’s most loyal supporters will be disillusioned—again as the grifting continues. 

‘The Sound of Music’ Climbs the Mountain at Toby’s

Rachel Cahoon stars as Maria von Trapp and the Children

For decades The Sound of Music has enthralled audiences worldwide with its superb score and its uplifting message that the power of love can prevail against all odds during a dangerous period in our history.  It is fitting that during these precarious times, when many people today experience anxiety about the future, this classic musical is on display at Toby’s Dinner Theatre of Columbia, Md. to shine a bright beam of hope through its charming story as well as its delightful music and sterling performances.

Director and Choreographer Mark Minnick along with the technical crew, musicians and performers, successfully took on the challenge of mounting a classic musical and adapting it to the contours of the in-the-round theatre.

Scenic Designer David A. Hopkins ably utilizes all the walls, steps and balconies in the theatre displaying windows—regular and stained glass—and images, props and set pieces to capture the myriad locales in which the action takes place. And yes, the image of the distant iconic mountains is displayed on the wall throughout.  

Lynn Joslin’s imaginative lighting design amplifies these scene changes, which are executed seamlessly throughout the production. Flashes of lightening during a storm through the windows is awesome. 

Costume designers Janine Sunday and Sarah King fitted the cast with a wide variety of 1930’s style European attire that feature eclectic garb ranging from nuns' habits to chilling German Nazi soldier uniforms to the multiple outfits worn by the children in the show. The costumes are exceptional and realistic.

Mr. Minnick, a Helen Hayes Award winner, helms this production with strong attention to detail and solid pacing with a nod towards the humanity contained in the story. He affords the performers the artistic freedom to interpret their respective characters, and the results are wonderful.

The staging of this classic at Toby’s is a beauty to behold—both visually and through its superb score penned by the legendary team of Rodgers and Hammerstein. The book, written by Howard Lindsay and Russel Crouse, was based on the memoir of Maria von Trapp, The Story of the Trapp Family Singers.

Jeffrey Shankle as Captain Georg von Trapp and his children

For Oscar Hammerstein II, The Sound of Music represented his final production as he died nine months after the show debuted on Broadway in November 1959 with Mary Martin and Theodore Bikel as the leads. Having won five Tony Awards, it closed in 1963 after 1,443 performances. Several revivals both on Broadway and London followed and, of course, the immensely popular 1965 film with its five Oscars, based on the musical starring Julie Andrews and Christopher Plummer. Even a live TV production was spawned.

The Sound of Music boasts a catalogue of well-known and endearing songs including “My Favorite Things,” “Do-Re-Mi,” “Sixteen Going on Seventeen,” “So Long, Farewell,” “Climb Every Mountain,” “Edelweiss” as well as the title song. Musical Director and Conductor Ross Scott Rawlings and his six-piece band do a glorious job in delivering the wonderful music without overpowering the vocalists. Mark Smedley’s sound design brings clear audio to the dialogue and vocals.

"The staging of this classic at Toby’s is a beauty to behold—both visually and through its superb score..."

Many musicals offer a plot simply to connect the songs. In The Sound of Music, the plot is as integral as the performances to the entertainment value of the show. 

In the familiar story, the musical is set in Salzburg, Austria in 1938. The inevitability that the homeland will fall (Anschluss) to Nazi Germany forms the backdrop for the musical, while the story focuses on the improbable love between two incongruent individuals.

The story centers on a former postulant, Maria, performed brilliantly by Rachel Cahoon, who has been sent to be the governess of the seven children, ages 5 to 16, of Captain Georg von Trapp (Jeffrey Shankle), a widower and former Austro-Hungarian Navy Captain. He treats his children like military underlings, but Maria teaches them to sing and a whole new world opens up to the kids and Maria.

Rachel Cahoon as Maria

The Captain had intended to marry Elsa Schraeder (Asia-Ligé Arnold), a wealthy socialite. But differences in the way they see the imminent Anschluss—the annexation by Nazi Germany of Austria—and his growing affection for Maria doom the union.

After being shaken by the real prospect that she and Captain Georg are falling in love, she runs back to the abbey and listens to the advice of Mother Abbess (Adrienne Athanas), who belts out "Climb Ev'ry Mountain. "

Maria then returns to the von Trapps’ house to determine if there is indeed love between the Captain and her. They eventually marry.

Max Detwiler (David James), a mutual friend of Elsa and Captain Georg whom the kids refer to as Uncle Max is a pushy music promoter. Resigned to the eventual Nazi takeover, he convinces the Captain that the kids should perform at the upcoming Salzburg Music Festival.

Meanwhile Captain Georg is under intense pressure to accept a commission in the Third Reich’s Navy, who as an Austrian, is loathe doing. Leaving him no choice, the Captain decides to escape from Austria and pulls it off following the children’s performance at the festival, which took place with eight large Nazi swastika banners unfurled from the ceiling signaling ominously what was about to come and leading to a tense conclusion.

As the plucky Maria, Rachel Cahoon is a standout. Ms. Cahoon, who was magnificent as Belle in Toby’s Beauty and the Beast, brightens the stage with her shiny presence and her glorious singing voice. Radiant throughout the show, her crystal-clear soprano voice does justice to such songs as, “My Favorite Things,” Do-Re-Mi,” and “Something Good.” Ms. Cahoon’s empathy and love for the children comes off perfectly, and she displays the romantic connection to Captain Georg with eye-watering tenderness.

Veteran actor and Helen Hayes Award recipient Jeffrey Shankle is excellent as Captain von Trapp. He commands the stage with the vigor of an authoritarian father whose icy demeanor slowly melts upon meeting Maria.  There have been sterner versions of the character to be sure, but Mr. Shankle portrays the role admirably with nuance and a softer edge.  

His powerful tenor voice is on display when he joins the children in “The Sound of Music (Reprise).” And he particularly shines in the moving number “Edelweiss.”

As Max Detwiler, a mutual friend of Elsa Schraeder and the Captain whom the kids refer to as Uncle Max, David James, also a Helen Hayes Award winner, convincingly plays a pushy music promoter. He playfully injects his own campy personality into the role, providing some of the show’s comedic moments.

Then there are the adorable and talented von Trapp children who are on stage throughout most of the production. As good as the leads are, these children are fantastic and will pull at your heartstrings. 

The young performers are quite adept in their singing, dancing, acting and stage positioning.  Their voices sound so well harmonized as a group as they perform in many of the show’s numbers.  Their rendition of "So Long, Farewell" is particularly outstanding. 

Moreover, Emily Signor who is a mainstay in the cast as oldest sister Lisl von Trapp, turns in a fine duet with her love interest Rolf Gruber (Jackson Miller) in “Sixteen Going on Seventeen.”

On the evening this production was reviewed, the other von Trapp children were Lucas Rahaim as Friedrich; Ava Lamanna as Louisa; Noah Frieman as Kurt; AJ Bassett as Brigitta; Kylie Gourley as Marta; and Gwyneth Porter playing the youngest child, Gretl. (The other children who will alternately be playing these roles throughout the run as well as the other cast members are listed at the conclusion of this review.)

Every great musical has a blockbuster showstopper.  In The Sound of Music “Climb Ev’ry Mountain” is that number.  Adrienne Athanas as Mother Abbess brings that song home in a truly virtuoso performance that concludes the first act on a high note in more ways than one. The other Sisters in the abbey all sing like bells—beautiful, on pitch and resounding.

Indeed, The Sound of Music at Toby’s climbs the mountain and is sure to lift the spirits of theatergoers during this holiday season at a time when it’s needed most. Adults and children alike will be entertained by the music, the story and the artistry of the performers of this well-directed and executed theatre classic. And let me tell you, the buffet is out of this world.

Running time. Two hours and 40 minutes with an intermission.

The Sound of Music plays through January 25, 2025, at Toby’s the Dinner Theatre, 4900 Symphony Woods Rd., Columbia, MD 21044.  Tickets may be purchased by calling the box office at 410-730-8311or visiting here. Next up: 9 to 5, January 17 - March 16, 2025.

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Photos by Jeri Tidwell Photography

The Menu is shown here.

Specialty Drink: “The Favorite Thing”

The Cast & Understudies in Order of Appearance