'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. 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.