What-ifs Galore Highlight ‘& Juliet’ at the Hippodrome

I think just about everyone has heard of William Shakespeare’s classic play Romeo and Juliet dubbed “the greatest love story of all-time.” And we recall the extremely sad and tragic ending where both star-crossed lovers took their own lives at such a young age.

Well, Baltimore’s Hippodrome Theatre is the venue for the launch of the 30-city American tour of & Juliet, a contemporary jukebox musical reimagining the “what-if” possibilities had Juliet not met her demise after all.

With songs by the Grammy-winning Swedish pop songwriter/producer Max Martin, a book by the Emmy-winning writer from Schitt’s Creek, David West Read, direction by Luke Sheppard and choreography by Emmy-Award winner Jennifer Weber, & Juliet is a triumph in its touring debut. The Broadway production received nine Tony Award nominations including Best Musical in 2022. The high-energy, electric show featuring a largely youthful and attractive cast marks the beginning of the Hippodrome’s 2024-2025 Season.

The visuals are amazing. Dazzling lighting by Howard Hudson splashes the stage with hue-rich splendor. Between that and the video and projection design by Andrezej Goulding, the effects are eye-popping and is a veritable light show. They enhance the imaginative scenery designed by Soutra Gilmour that employ drop-down scenery and numerous set pieces that smoothly transition to the various scenes. Paloma Young’s costume design ably and colorfully mixes 15^th century English attire with contemporary garments. 

An example of superb staging occurs during the moving original song “One More Try.” The presentation is spectacular using all the technical power these folks command. Also, Gareth Owen’s crystal-clear sound design is top-notch.

The largely familiar and toe-tapping numbers are a joy and comical as the lyrics fit in neatly with the dialogue on stage. The precise, energetic dancing by the cast adds even more.  Read’s book provides the farce story with its head-scratching improbabilities.

But it is the uber talented, diverse cast plus the extraordinary work of the technical crew, orchestration and costumes that make this hilarious and at times, poignant show excel. These elements blend so well under the deft hand of multiple award-winning Luke Sheppard whose meticulous direction guides the cast and crew to reach a high level of quality musical theatre.

Songs by some of the world’s most familiar and successful artists like the Backstreet Boys, Britney Spears, Bon Jovi, Katy Perry, *NSYNC, Céline Dion, Kelly Clarkson and others augment the wacky story. Musical Conductor Andre Cerullo and the seven-piece orchestra marvelously back up the vocalists.

As William Shakespeare (Corey Mach) is about to introduce his newest play Romeo and Juliet to the audience, his wife Anne Hathaway (Teal Wicks) intervenes (some might call it meddling) with suggestions on how the play needs a better ending. They go back and forth but Anne pitches the idea that what if Juliet did not take her own life and instead pursues a life of her own whereby she is in control of her destiny.

She prevailed, but it wasn’t easy.

Juliet (Rachel Simone Webb), after attending the funeral of Romeo where she learned he had dated others including men, embarks on a trip to Paris to avoid being forced by her parents to join a convent. She brings her non-binary best friend May (Nick Drake), her nurse Angélique (Kathryn Allison) and Anne who writes herself into the play as another friend April.

At a party in a Parisian club for young François (Mateus Leite Cardoso) set up by his overbearing father Lance (Paul-Jordan Jansen), Juliet and her friends crash the event. Not only does Juliet connect with François but so does May. This entanglement is a major part of the plot.

"...it is the uber talented, diverse cast plus the extraordinary work of the technical crew, orchestration and costumes that make this hilarious and at times, poignant show excel." 

As I previously noted the story contains a multitude of improbabilities. So, how’s this one—Romeo (Michael Canu) returns from the dead to vie for Juliet’s heart once more. In addition, nurse Angélique had a previous affair with the then-married Lance and father of François and somehow hooks up with him again!

I will leave it there because there are many choices to be made and watching them unfold is central to the storyline.

Who will Juliet wind up with—Romeo or François whom she got engaged to take the pressure off of him put on by Lance. Or, does she choose at all?

What about François and May? They had a great connection but François, or Frankie as he’s referred to in the show, was set to marry Juliet.

What’s to become of Romeo now that he came back from the dead? Does he win over Juliet again?

What about Lance and Angélique? Do they make their relationship permanent?

And there's Shakespeare and Anne. That marriage is in jeopardy because the former’s love for his works and Anne thinks she takes a backseat to that. Do they reconcile amid that competition for his heart?

And finally, Juliet herself. Does she forge her own destiny given this second chance?

These many what-ifs are answered, and you will have to see the show to learn the outcome.

As the title character Juliet, Rachel Simone Webb is brilliant in her vocals and acting. 

Ms. Webb conveys the overprotected and rebellious Juliet superbly.  She performs in many of the show’s numbers either as a solo or in groups where her vocals shine. “Baby One More Time,” “I’m Not a Girl, Not Yet a Woman,” “Oops…I Did it Again,” “That’s the Way It Is,” and “Roar” are among those where Ms. Webb soars.

Juliet’s loving support of her friend May and the interactions with François and later Romeo are portrayed by Ms. Webb with charm and feeling.

Corey Mach, a 2024 Tony Award winner for his part in Merrily We Roll Along, plays the role of the famous Shakespeare with relish and campiness. Emphasizing the cockiness and hubris of the mostly comedic character, Mr. Mach demonstrates his versatility in acting and singing. His performances in the Backstreet Boys numbers “Everybody (Backstreet’s Back),” “As Long As You Love Me” and “I Want it That Way” are stellar. Mr. Mach’s interactions with Teal Wicks as his wife Anne show great chemistry between the two actors employing excellent timing and body language.

Teal Wicks as Anne Hathaway, Shakespeare’s wife and mother of their two daughters, is convincing in her portrayal of the strong-willed and critical character. Her repartee with Mr. Mach are marked by snappy rejoinders and provide much of the comedy in the show.

She has a marvelous soprano voice, which is evident in such songs as “I Want it That Way,” “Show Me the Meaning of Being Lonely,” and “That’s the Way It Is.”

Rachel Simone Webb stars as Juliet

One of the emotional highlights of the show is the portrayal of non-binary May by Nick Drake. They share their story to Juliet about how May struggles in a binary world. When May first encounters François, the moment is tender. Both are attracted to each other and comes off as genuinely warm.

Nick Drake brings sensitivity and sweetness to the character that is authentic and moving. The duet with Ms. Webb in “I’m Not a Girl, Not Yet a Woman” Nick Drake hits the mark. They also perform well in the duet with Mr. Cardoso playing François in the Adam Lambert hit “Whataya Want From Me” when May expresses anger at François for ignoring their feelings and deciding to marry Juliet.

Mateus Leite Cardoso playing the young musician François is a sympathetic character, and he plays it very well. His domineering father Lance (Paul-Jordan Jansen) has extremely high expectations of him and offers him the choice: find a girl and get married or join the army. Not thrilled with either option, his encounter with both May and Juliet had given him hope. The confused François elicits empathy.

Mr. Cardoso performs well in such songs as “Overprotected”, a duet with Ms. Webb and the duet with Nick Drake “It’s Gonna Be Me.”

Paul-Jordan Jansen plays the gruff Lance expertly. Yet, his interactions with Angélique are as amusing as they are sweet. But his relationship with François is tense. Mr. Jansen displays a powerful baritone in arguably one of the most emotional numbers “Shape of My Heart.” Here Lance apologizes to François and accepts his relationship with May.

Kathryn Allison does a fine job in playing Angélique, Juliet’s loyal nurse and former and potentially future lover of Lance. She performs well in “Confident” and “Teenage Dream/Break Free” among others.

And then there’s good ole but miraculously alive Romeo played by Michael Canu. Still handsome after death, Romeo was resurrected by Shakespeare to bring some conflict to the plot. It did just that. Juliet was initially cool to him but Romeo could be persuasive in trying it again.

Mr.Canu plays the romantic role competently. He sings well in group numbers “It’s My Life,” “As Long As You Love Me” and “I Want It That Way” among others.

The remainder of the cast and Ensemble showcase their talents in augmenting the great work of the leads.

& Juliet is a stellar, highly entertaining production. I loved it. The audience loved it.  And I have no doubt the future audiences on the tour will love it, too.

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

&Juliet runs through September 28 at the Hippodrome Theatre at the France-Merrick Performing Arts Center, 12 N. Eutaw St, Baltimore, MD 21201.  For tickets, call Ticketmaster at 800-982-ARTS or visit ticketmaster.com or BaltimoreHippodrome.com.

Photos: Mathew Murphy

Hyde & Sink

 

Fans are wrong to blame the Orioles’ manager for the team’s disappointing season.

Orioles manager Brandon Hyde

There was so much promise and enthusiasm leading up to the Baltimore Orioles 2024 season. They were the reigning champs in the best division in baseball. Young, talented and exciting players were poised to break out. The farm system was stocked with high-ranking prospects. A trade was made for a bona fide pitching ace in Corbin Burnes. The team’s ownership changed adding life to a weary fan base that had been soured by the cloud hanging over the team by the Angelos family ownership.

The O’s met the high expectations well into June. They played well, particularly offensively, as they led the major leagues in home runs, runs scored, and a bevy of other offensive categories. They fielded five all-stars. The team was poised to exceed even last year’s win totals.

But then the injury bug hit the team. Not really a bug but a pandemic. Wells, Means, Bradish, Coulombe, Webb, Rodriguez all were either finished for the season or out for significant time. This was on top of not having their brilliant closer Felix Bautista who was out for the year because of Tommy John surgery.

While this misfortune was taking place, the position players started to drop. Westburg, Mateo, Kjerstad, Urias, and Mountcastle have missed significant time. Hays was lost via a trade, as were back-up players Norby and Stowers.

Trades were made at the deadline to bolster the pitching and to put band-aids on the wounded position players’ vacancies. Still, other maladies afflicted the team.

Craig Kimbrel, a likely hall of fame closer, was signed as a free agent to replace the injured Bautista. After a good first half, Kimbrel’s performance sunk like a stone since. He no longer is used in high leverage moments and is relegated to mop-up duty now. (UPDATE: Kimbrel had been designated for assignment.)

The disappointing performances by once heralded phenoms Jackson Holliday and Coby Mayo have not helped. The decline of the veteran stalwarts who were expected to help propel the O’s to the World Series didn’t help either. I’m especially referring to Mullins, Rutschman, and O’Hearn.

Gunnar Henderson has been the team’s most consistent and feared hitter, but his defensive errors have hurt plus he strikes out too much. Santander reached the 40-home run milestone in his walk year but is woefully inept in driving in runners in scoring position when he doesn'thit a home run. In fact, the entire team has failed on that front during a sub-par second half.

None of these problems is the fault of the manager Brandon Hyde.

So many fans on social media criticize Hyde even while the team played well in the first half in leading or being close to the top of the division. Fans across major league baseball have seemingly forever from Seattle to Miami and from Boston to San Diego always, and I mean always, second guess their respective manager’s decision making whether it is the batting line-up, bullpen management, failing to call for a bunt, etc.

There is nothing new here. In New York the vitriol is even worse where a fan on X called for Yankee manager Aaron Boone to be imprisoned. Dodger fans have been screaming for Dave Roberts’ firing throughout every 100-win season.

But I find it fundamentally unfair to blame Hyde for the team’s downward spiral. As noted before, the injuries have played a significant role. The failure of the ballyhooed young talent to emerge is a contributing factor as is the regression of some of the veteran players.

When Rutschman chases out of the strike zone, he is not thinking of the manager.

When Santander pops up or strikes out when there are runners on second and third, he’s not thinking of the manager.

When Henderson boots a routine grounder, he’s not thinking of the manager.

When Cowser can’t make contact on a change-up to save his life, he is not thinking of the manager.

When Holliday and Mayo appear overmatched at the plate, they’re not thinking of the manager.

Like all managers, Brandon Hyde cannot control individual performances. It’s up to the players and the coaching staff to work things out. Over the course of baseball’s history, managers have taken the fall for the teams’ failures. Some are fair but others are not. That’s baseball.

While I’m part of an online Orioles fan page  where many of the members derisively call us who defend Hyde as “Hyde apologists,” I still defend him. The accusation that he “lost the clubhouse” is absent of any evidence. Fans believe he should have left a pitcher in longer to achieve a personal outcome and then bemoan the slew of pitching injuries. To be clear, I have questioned a few of his decisions. But I don’t hop on the bandwagon to get him fired.  

Brandon Hyde was the American League Manager of the Year last year.  He should have won it the year before as well. A manager can only operate with the personnel he is given. In my view, the Orioles regression this year is a result of debilitating injuries, hitters pressing and a spotty bullpen. This cannot and should not be pinned on Brandon Hyde.

And yet, the season and post-season still have games to be played and anything is possible in this crazy sport. Time will tell.

The Addams (Not So Normal) Family is a Treat at Toby’s

The Halloween decorations, candy and costumes are already out in the stores and have been since the summer. So, what better treat to partake in the seasonal fun than to head to Toby’s Dinner Theatre in Columbia, Maryland and see the zany musical, The Addams Family and enjoy the luscious show-themed buffet.

Creepy, kooky, mysterious and spooky—that surely defines that ooky Addams family.  You can add hilarious and goofy to the mix, and you have the recipe for a delectable, wacky production.

Not many musicals include potions to provoke one’s inner dark side, torture apparatus, and de-blooming of flowers but The Addams Family has all that and more.  Toby’s production also includes an incredibly well-cast group of performers under the precise direction and choreography by Helen Hayes Award winner Mark Minnick.

The pace of the show is solid, and scene changes, even with large set pieces, are carried out seamlessly with the aid of Lighting Designer Lynn Joslin.

In a tour de force, Jordan B. Stocksdale is fantastic in portraying Gomez Addams. 

The atmosphere in the theatre speaks to this not-so-normal family. With all the cobwebs and odd lighting around the ceiling and walls, I had to do a double take for a moment, thinking I was at home. 

Scenic and Properties designer Shane Lowry brought his creative talent to the fore in employing a series of intricate three-dimensional collages of objects on the theatre’s interior walls from skulls, musical instruments and other items that represent tidbits from The Addams Family comic strip, TV show and film. The opening scene with tombstones on the in-the-round stage amplifies the mood. Set pieces including 19^th century Gothic furniture also feature a Spanish Inquisition chair that is bound to get a response from a person sitting on it. Even “Thing” makes an appearance.

This is not a knock-off of the loveable and popular TV series The Addams Family of mid-60’s yore with John Astin and Carolyn Jones as the leads.  Instead, the stage show, whose music and lyrics by Andrew Lippa and book by Marshall Brickman and Rick Elice, was patterned after the ghoulish characters in Charles Addams’ single-panel gag cartoons.

The storyline centers on the morbid and crazy Addams family—Gomez, Morticia, Uncle Fester, Grandma, Wednesday, Pugsley and the butler Lurch—whose preoccupation with death and darkness provides most of the humor in the show.  They are visited by the strait-laced, so-called normal Beineke family from Ohio—a swing state as bellowed by Gomez—whereby the son Lucas, the beau of Wednesday, brings his parents Mal and Alice to meet the Addamses in a what-can-possibly-go-wrong scenario. This reminds me of the madcap antics that took place in the popular film, The Birdcage.

Fortunately, a lot does go wrong, which forms the essence of the story and the ensuing hilarity.  The hijinks, nuttiness and zingers, however, are largely packed into the first act.  The second act lacks that same torrid pace and comedic punch from the first act with the characters turning to sentimentality and reconciliation, but it is still enjoyable.  In the end, the Addams clan realizes it’s too crazy, and the Beinekes acknowledge they’re not crazy enough.

Musically, Lippa’s score does not contain the memorable tunes that will leave you humming as you exit the theater as in some other musicals.  Nonetheless, his lyrics are potently funny, and in the manner of Sondheim, those lyrics will get your attention. Musical Director and Conductor Ross Scott Rawlings (Nathan Scavilla conducts in other performances) and the six-piece orchestra do a sterling job backing up the extraordinary vocals.

Stand out songs include, “When You’re an Addams,” “Trapped,” “Pulled,” “One Normal Night,” “Full Disclosure,” “Crazier Than You,” and the good advice song “Let’s Live Before We Die.”

Credit Costume Coordinators Janine Sunday and Sarah King, Wig and Hair Designer Jayson Kueberth, Make-Up Design by Ms. Sunday and the excellent work of Mark Smedley’s Sound Design for adding the appropriate spookiness and quality to the production.

The Addams Family at Toby’s is led by its exceptional cast. As much as comedy dominates the show, the vocals and choreography are stellar. Wonderfully varied choreography is exemplified in such numbers as “When You’re an Addams,” “Just Around the Corner” and the superb tango piece “Tango De Amor.”

In a tour de force, Jordan B. Stocksdale is fantastic in portraying Gomez Addams. The Helen Hayes winner for his role as Nostradamus in Toby’s Something Rotten commands the stage with his well-timed rejoinders, gestures and a rich baritone voice. He is particularly strong in singing “Trapped,” the sweet ballad “Happy/Sad,” “Not Today” and “Let’s Live Before We Die” with an exceptional ability to hit the big notes.

Mr. Stocksdale comedic skills are a big part of the show using body language, facial expressions and timing.  This is evident in his portrayal of Gomez as he is challenged to placate Morticia because he kept a certain secret from her (she abhors secrecy) and is one of the major plotlines.

The lovely MaryKate Brouillet as Morticia demonstrates her vocal prowess in “Secrets” and the group number “Just Around the Corner.” She acts with passion and conveys the character’s varied moods so adroitly. Morticia gives a lot of grief to Gomez and was convincing in doing so. Their onstage repartee is excellent.

Wednesday Addams, played by Lydia Gifford, is believable in demonstrating her sadism towards   her younger brother Pugsley and her desire to marry Lucas (played earnestly by Jackson Miller). Her strong vocals are evident in “Pulled” and “Crazier Than You.”

Elijah Doxtater plays younger brother Pugsley (alternates with Colton Roberts) and commands a good range in his vocals (“What If,” a duet with Mr. Stocksdale) and comedic instincts. These traits bode well for this youngster’s future in musical theatre.

In a cross-gender role as the centenarian Grandma, multiple Helen Hayes winner David James is funny at every turn. You can laugh simply by looking at him/her.

Rounding out the Addams clan is Shawn Kettering as Uncle Fester who discovers he is in love with the moon and Adam Grabau as the near silent, methodically plodding Lurch.  Both play their respective characters to the hilt. Mr. Kettering performs on roller skates while singing his love song “The Moon and Me.” He also sings well in “But Love.”

Helen Hayes winner Jeffrey Shankle in the role of Mal Beineke, Lucas’ father, excels as a control-freak whose marriage was about to collapse from deceit and other maladies.  He needed to be crazier, and where would be a better place to start other than the Addams’ mansion in the middle of Central Park?  Mr. Shankle’s usual strong vocals shine in “Crazier Than You.”

His wife Alice, played energetically by Anna Phillips-Brown, is seemingly victimized by Mal’s bland personality. She had turned to random rhymes for solace, and their marital problems seem to work out at the end.  Ms. Phillips-Brown also performs very well in the hilarious loony number “Waiting.”

The remainder of the talented cast portraying the ten living, dead and undecided Addams’ ancestors include Asia-Ligé Arnold, Jessica Barraclough, Brandon Bedore, Benjamin Campion, Rachel Cahoon, Carter Crosby, Joey Ellinghaus, Amanda Kaplan-Landstrom, Alexis Krey-Bedore and Ariel Messeca.

The Addams Family at Toby’s is totally entertaining on many levels, and you will count your blessings that you’re not a relative of that kooky but loveable family. Full disclosure: If you need a laugh or two (or a hundred), this one’s for you.

Running time. 2 hours and 45 minutes with an intermission

Advisory. Fog, haze and strobe effects

The Addams Family runs through November 10 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 Sound of Music – November 15, 2024 through January 12, 2025.

The Menu is shown here. The Drink Special is "The Thing"--alcoholic or non-alcoholic.

Photos by Jeri Tidwell Photography