Breaking New Ground in Columbia

Construction begins for Howard County’s New Performing Arts Center & Artists Flats

Groundbreaking ceremony outside Toby's

The dawn of a new cultural era in Howard County, Md. is officially underway. On April 8, 2025, around 200 showed up at Toby’s Dinner Theatre in downtown Columbia to salute the beginning of construction of a new Performing Arts Center and Artists Flats with a groundbreaking ceremony. The county event featured elected officials, state and local partners, contributors, and performers from Toby’s and the Columbia Center for Theatrical Arts (CCTA) as well as other guests.

The project is part of the Downtown Columbia Plan, passed in 2010, that revitalizes Downtown with a diverse, mixed-use, physically distinctive area. The $68 million project is aimed at enhancing the arts and culture scene in the county and will house a new Toby’s Dinner Theatre alongside CCTA, and The Howard County Arts Council. The Artists Flats will feature 174 mixed-income units serving a full spectrum of household incomes. It will be the first of its kind mixed-use building in the county. 

“This is the kind of project the Housing Commission and Howard County envisioned when we talk about inclusive, forward-thinking communities,” said Jacqueline West Spencer, Chair, Howard County Housing Commission. “Artists Flats brings us closer to James Rouse’s founding vision for Columbia- a place where people of all incomes, backgrounds, and professions can live side by side in a vibrant, welcoming downtown.”

The Performing Arts Center (PAC) will be located at the site of Toby’s Dinner Theatre. For 46 years, Toby’s has been a cultural landmark, bringing award winning theatre to Columbia. Toby’s unique, cozy in-the-round theatre where no seat is located more than 30 feet from the stage is one of the few dinner theatres nationwide with a live orchestra at every performance. Toby’s is also known for its quality buffet-style cuisine to go along with the popular shows.

CCTA and Toby's performers singing "Beautiful City"

The center will contain one 340-seat dinner theater, two 200-seat black box theaters, a public art gallery and several dance studios and performance classrooms. 

The PAC will become a part of a broader network of arts organizations that have a presence in Downtown, including the Merriweather Arts & Culture Center, Inner Arbor Trust, the Lakefront, Color Burst Park and the Chrysalis. Additionally, Toby’s will become a part of the Columbia Center for the Theatrical Arts, or CCTA, a nonprofit organization which provides performing arts education to youth throughout the county. 

After welcoming remarks by Kelly Cimino, Director of Howard County Department of Housing & Community Development and Toby’s Associate Producer Mark Minnick, performers from CCTA and Toby’s gave a stirring performance of “Beautiful City” from Godspell, the first show to be mounted at Toby’s in 1979.

 “Today’s groundbreaking of the new Performance Arts Center has been nearly 15 years in the making,” said County Executive Dr. Calvin Ball. “For me, this is a particularly personal milestone. I served on the Howard County Council in 2010 when the Downtown Columbia Plan passed unanimously. I am thrilled to see parts of this plan come to fruition today.”

He added, “Downtown Columbia will continue to grow and expand as a destination for the arts. We are also fulfilling our commitment to providing more diverse income housing in this highly desirable downtown area, furthering our mission to keep Columbia a truly inclusive place for all.”

County Executive Calvin Ball with Toby Orenstein

Maryland State Senator Guy Guzzone from District 13 in Columbia, proudly exclaimed, “This is Columbia,” He said the state will contribute $4.8 million to the project.

Toby’s founder and current artistic director Toby Orenstein was in attendance as just about everybody scrambled to have pictures taken with the venerable local theatre legend. Her husband Hal was with her, and their son Jeff spoke movingly about Toby’s historical work with the CCTA providing new theatrical experiences and offering young artists an opportunity to perform. “It’s a day for the arts in Howard County,” he said.

Following brief comments from other dignitaries, the ceremonial groundbreaking took place on this chilly, blustery day. A wide array of elected officials, partners and stakeholders participated in the event.

Long-time actor Robert Biedermann, who is familiar to Toby’s audiences and the one who for years makes the introductory announcements before each show, has fond memories of Toby Orenstein and Toby’s Dinner Theatre.

“When I think of Toby’s I think of ‘home’... a place where unbelievable happiness is created and shared with an audience that is better for having experienced the show,” said Biedermann.

“The same goes for the actor...I started here in 1989 and had to leave the show to be a bone marrow donor for my brother. Toby and Toby’s were waiting for me when I came ‘home’. Toby herself is the epitome of kindness...and I have been graced with that for 36 years.” 

Toby’s Associate Producer Mark Minnick is elated about this major development.

 “This project has been in the works for years and it is finally happening,” said Minnick. “We congratulate all parties involved and thank those who helped get this across the finish line. We are thrilled with the endless possibilities this project will allow. We will thrive artistically, but we will never lose the warmth, intimacy and love that has been a trademark of Toby’s and CCTA.”

Rendering of the new project

‘The Music Man’ Comes Thundering Into Toby’s

Jeffrey Shankle stars in Toby's production of The Music Man

While we are currently dealing with a con man of epic proportions in our lives, another one disembarks from the train station in River City, Iowa by way of The Music Man at Toby’s Dinner Theatre of Columbia. It is always heartwarming when Toby’s features a Broadway classic, such as The Music Man, and the production does this elite musical justice.

Directed and choreographed by Helen Hayes Award winner Mark Minnick, the talented cast and crew jell in making this a top-notch presentation and a much-needed entertaining escape.

With a book, music and lyrics by Meredith Willson, The Music Man gives a delightful glimpse of the American-as-apple-pie culture and values in early 20^th century River City. That fictional town is based on Willson’s birthplace Mason City, Iowa. The original Broadway musical received 5 Tony Awards in 1958 including Best Musical, beating out the iconic West Side Story.

Despite the confines of the cozy in-the round stage, Mr. Minnick does a craftsman-like job in helming a splashy extravaganza put on by an amazing cast and bolstered by colorful scenery designed by Shane Lowry, exquisite period costumes designed by Sarah King and Janine Sunday, wigs designed by Jayson Kueberth, and the expert lighting and sound design by Lynn Joslin and Mark Smedley, respectively.

Catina McLagan conducted the six-piece orchestra with aplomb, delivering Willson’s superb score and ably backing up the performers. Ross Scott Rawlings takes the baton in other performances.

The ingenious music combines the marching band pomp with clever numbers as well as a classic love song. Beloved songs, such as “Ya Got Trouble,” “Seventy-Six Trombones,” “Pick-a-Little, Talk-a-Little & Goodnight Ladies,” “Shipoopi,” and the elegant love song “Till There Was You” are highlights to be sure.

But the show’s opener “Rock Island” sets the tone with witty clickety-clack rhythmic dialogue by traveling salesmen crammed in a train carriage. After that number, you just know you are in for a treat. And the show’s heart-pumping finale with an endless line of brass band members marching out on the stage is the exclamation point to a magnificent show.

The Music Man centers on the exploits of a slick con man Harold Hill, played brilliantly by Jeffrey Shankle, as he disembarks from that train and views the close-knit people of River City in 1912 as his next mark. He starts to win them over by lamenting the arrival of a pool table at the town’s billiard hall, which previously did not have one and its accompanying decline of morality. The famous song “Ya Got Trouble,” delivered with gusto by Mr. Shankle, speaks to that.  

Jeffrey Shankle, Janine Sunday and cast

Harold’s scheme was to sell musical instruments, instructions and uniforms for a kids’ band and would abscond with the money. His problem is that he knows nothing about music and fictionalizes his credentials.

Harold encounters the town’s stern librarian and piano teacher Marian Paroo (played sensationally by Janine Sunday) who has a shy, unconfident younger brother Winthrop played well by Elijah Doxtater. Marian also has a mother who is a spunky Irish widow, played by Jane C. Boyle, who would love for Marian to settle down.

Marian is suspicious of Harold as is Mayor Shinn (played robustly by Alan Hoffman) as are the other townsfolk. The mayor’s quest for credentials and other tight spots that Harold finds himself in are met with his mastery of deflection, distraction and evasion.

A complication sets in when Marian starts to fall for Harold after Winthrop receives a cornet and is so happy that he loses his shyness and becomes more confident. Harold then acknowledges he has fallen in love with Marian while the good people of River City realize they have experienced a positive change since Harold’s arrival despite Mayor Shinn’s best efforts. Spoiler alert: there is a happy ending.

Throughout the show, Mr. Minnick’s dazzling choreography that is well executed by a truly talented cast and ensemble adds vibrancy to the production. The choreography, which is eye-popping considering large numbers of performers must navigate the tight area of the stage without bumping into one another, is exemplified in such numbers as “Iowa Stubborn,” “Ya Got Trouble,” “Seventy-Six Trombones,” the jubilant “Marian the Librarian,” and “Shipoopi” among others.

"...the talented cast and crew jell in making this a top-notch presentation..."

Helen Hayes Award winner Jeffrey Shankle, as he always does, brings his A-game as the lead. Playing the smooth-talking, roguish and charming con man Harold, Mr. Shankle showcases his expansive acting skills. From his passionate moments of persuasion to his tender moments with Marian, Mr. Shankle comes through with flying colors. His excellent vocals are on display in the aforementioned “Ya Got Trouble” and “Marian the Librarian.”

For her part, Janine Sunday excels as Marian. As an actress she convincingly plays the role that spans her distrust and revulsion to Harold to her eventual falling in love. Along with that, her soprano voice is astonishing. Ms. Sunday reaches notes that have probably never been discovered. “If You Don’t Mind Saying So,” Good Night, My Someone,” and “My White Knight” are examples of her superb vocals. But it is her gorgeous love song with Mr. Shankle “Till There Was You” that is one of the show’s high-water marks.

Shawn Kettering plays Harold’s old friend and former shill Marcellus Washburn with vigor. He is the lead in the number “Shipoopi” with the Townspeople. Young Elijah Doxtater who plays Winthrop is commendable. He alternates with Colton Roberts in other performances. Elijah does a wonderful job singing along with Ms. Sunday and Jane C. Boyle in “Gary, Indiana.” A consistently fine actress and vocalist, Ms. Boyle is endearing in the role of Mrs. Paroo.

Other exceptional members of the cast include David James as the gossipy Charlie Cowell, an anvil salesman who tries to expose Harold as a fraud and insists “he doesn’t know the territory.” Mr. James plays the role with his patented flair.

Dereck Atwater plays the part of Tommy Djilas, the town’s troublemaker, with much enthusiasm. He is secretly dating Zaneeta ( Julia Williams) the daughter of pompous Mayor Shinn to his chagrin. It should also be noted that Mr. Atwater is an excellent dancer as are Ensemble members Joey Ellinghaus, Jaylen Fontaine, Kiana King and Patricia “Pep” Targete.

Other notable cast members include Shawn Kettering as the Conductor, Lynn Sharp-Spears as the Mayor's manipulative wife Eulalie Mackecknie Shinn, Kiana King as Gracie Shinn, Valerie Adams Rigsbee as Alma Hix, Heather Narie Beck as Maud Dunlop, Amanda Kaplan Landstrom as Ethel Toffelmier, and Melynda Burdette as Mrs. Squires.

Then there is the school board-turned-barbershop quartet transformed with the help of Harold. Ewart Dunlop (played by Carter Crosby), Oliver Hix (Vince Gover), Jacey Squires (Alec Brashear) and Olin Britt (David Bosley-Reynolds) comprise the group, and their harmonizing vocals are outstanding. They shine on like the harvest moon in “Ice Cream/Sincere,” “It’s You” and the reprise of Lida Rose.”

The Quartet: Alec Brashear, Vince Gover
David Bosley-Reynolds and Carter Crosby

For the performance reviewed, Amaryllis, a young piano student, is played well by Julia Ballenger. She alternates with Lily Martin and Ellie May Sennett.

A complete listing of the talented cast is shown below.

It’s difficult to portray the scope of a town in an intimate theater. But Shane Lowry cleverly created various signs along the walls of the theater depicting a hospital, livery, hardware store, post office, bank, barber shop and other edifices. A balcony was used to convey the outside of Marian and Mrs. Paroo’s home. Another balcony depicts shelves in a library.

Janine Sunday and Sarah King fitted the cast in spectacular costumes highlighted by early 20^th century pastel dresses and gowns with feathered hats for the ladies. The marching band’s costumes are striking as well.

All the elements of a hit show come together with Toby’s presentation of The Music Man. Great cast and crew, spot-on direction and choreography and wonderful musicians performing revered and beloved music make this a must-see event. And you will enjoy a delicious buffet as well.

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

The Music Man runs through May 18, 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 tobysdinnertheatre.com. Next up: The Little Mermaid, May 23 through August 17.

Photos Jeri Tidwell Photography

The menu is shown here.

Specialty Drink: The Shipoopi

‘Shucked’ Delivers a Harvest Full of Corn at the Hippodrome

 

Why did the corn join a band? It had a great ear for music.

Pretty punny, huh?  You will hear barrels of much better puns, and I might say, corny jokes in Shucked, a nine-time Tony Award-nominated musical, making a stop in Baltimore’s Hippodrome Theatre as part of its first national tour.

To be sure, corn is the central commodity of Shucked’s whacky plot. It is tempting to lace this review with corn references and corn jokes and fritter away an opportunity to describe the show, but I will do my best to resist. I’m only human, after all.

While most of the corn jokes appear in the first act, other such puns and jokes dominate the dialogue throughout with mostly hilarious results. The funnier lines, to no surprise, contain sexual innuendos, and leave the audience howling with laughter. Yet, it’s the talented performers who deliver these lines with well-timed, snappy rejoinders, facial expressions and body language that enhance the comedy.

The 2022 musical with music and lyrics by Nashville music superstars Brandy Clark and Shane McAnally, and a book by Robert Horn (TV’s Designing Women) is a laugh-a-minute experience with all those puns—some of which are silly and cringe-worthy—but land nonetheless. Indeed, Horn, a Tony nominee, admitted in an interview for Encore, the theatre’s program guide, “My mind works in puns. For me it is more about editing them than creating them, because I’ll sit down and write way too many, and it’s about what works.”

Jake Odmark as Beau and Danielle Wade as Maizy

Under the direction of Lifetime Achievement Tony Award recipient Jack O’Brien, Shucked is a warm, funny,
vibrant, colorful production with excellent songs, stellar choreography and vocal performances that are pleasing to the ears. The plot is cute in an odd way and is the vessel for the comedic lines and melodious songs.

Multiple Tony Award winner Scott Pask designed a gorgeous set depicting a dilapidated large barn with cornfields around. Numerous set pieces and effective lighting design my Japhy Weidman augment the stationary scenery.

The setting for the story is Cob County (where else?) in what appears to be a southern farm that seems isolated from the world. The corn is dying, and Cob native Maizy who was about to marry her beau, Beau, also a local, decides to leave the farm to remedy the crop problem before they have their nuptials.

 Maizy ventures to Tampa of all places to seek help and meets up with a “corn doctor,” a podiatrist named Gordy. He happens to be a second-rate corn man, oops, con man who is up to his ears in debt to the mob. He successfully woos Maizy and, in the process, convinces her that the stones in her bracelet can fix the corn issue back home. In reality, Gordy believes the stones are valuable and can be the key to relieving his debt.

Gordy, in simultaneous phone conversations with a mob person and a jeweler where misunderstandings abound because of poor cell service, offers one of the funnier bits in the show. The jeweler tries to tell Gordy the stones are worthless, but he didn’t get that; he still thinks they are valuable.

To Beau’s chagrin, Maizy brings Gordy back to Cob and tells the good folks there that the stones are the problem and are preventing the corn from growing. He urges the community to give up their stones to make the corn grow. He wants to keep them for himself.

Meanwhile, a disgusted Beau finds intimate comfort with Maizy’s cousin Lulu as the chowder thickens. I will leave it there because there are twists and turns like a maze leading to a surprise conclusion.

Costumes designed by Tilly Grimes and Mia Meal’s wig design adds the right amount of country flavor to the corn meal.

As mentioned previously, Clark and McAnally put together some really enjoyable songs. “Walls,” “Woman of the World,” and “Best Man Wins” are among them. The song “Holy Shit” is interesting in that I’m sure there are some composers who wanted to name one of their songs like that but couldn’t pull the trigger. The music and lyrics of the numbers are quite enjoyable and are sung with the appropriate country vocal inflections performed by skilled vocalists.

"...a warm, vibrant, funny, colorful production with excellent songs, stellar choreography and vocal performances that are pleasing to the ears."

Jason Howland’s music supervision, orchestrations and arrangements do justice to the excellent score.  Sarah O’Gleby’s choreography is precise, and as performed by the Ensemble and leads, mightily enhance the production. And the sound design by John Shivers is top-notch with its appropriate volume and clarity.

The story is narrated by two superb, highly energetic performers Maya Lagerstam and Tyler Joseph Ellis. As Storytellers 1 and 2, respectively, they not only playfully narrate the happenings with wit and warmth but also provide much of the comedy in a light-hearted jovial manner. They sing, they dance, they do jokes and puns and play multiple roles, such as members of the mob and jewelers. And they are really good at it.

Storytellers Maya Lagerstam and Tyler Joseph Ellis

Danielle Wade plays the role of the confident and optimistic Maizy to the hilt. Her voice shines in “Walls,” “Travelin’ Song,” “Woman of the World,” “Maybe Love,” and in particular, the tender ballad “ Friends” in a duet with Lulu played by Miki Abraham.  Ms. Wade can deliver a punchline, too. When asked what her mother would say if she were alive today, she responded, “Get me out of this box!”

Jake Odmark convincingly plays the stubborn but big-hearted farmer Beau. His acting is spot-on as his onstage chemistry with Ms. Wade and Miki Abraham is strong. Mr. Odmark displays his muscular tenor voice in his rendition of “Somebody Will,” which is one of the show’s highlights.

Maizy’s cousin Lulu is a trip. Played exceptionally by Miki Abraham, they deliver sassy and sexy comedic lines with aplomb. Lulu, a whiskey distillery owner and a romantic, never fails to offer an opinion no matter the subject. Their performance in “Independently Owned” is remarkable as well as in the duet with Ms. Wade in “Friends.”

The good-looking and fast-talking con artist Gordy is played well by Quinn VanAntwerp. Also, comedic in his delivery of lines, Mr. VanAntwerp shines in his number “Bad.”

Mike Nappi plays the role of Peanut, Beau’s brother, with campiness and flair. He provides steady counsel to Beau, and as the town prophet he offers his views on any subject telling all what he thinks. In rapid-fire lines, Mr. Nappi snaps out one pun after another, to the audience’s delight.

In another comedic role, Erick Pinnick plays the role of Grandpa well with a few funny lines. Mr. Pinnick brings a local connection to the show as he is a Mount Hebron H.S. graduate in Howard County (Md.).

A big chowder-out goes to the entire cast and production team.

You may be up to your ears in puns, but Shucked is a much-needed respite from the chaos in the world today.  There’s more than a kernel of truth to that.

Running time. Two hours and 20 minutes with an intermission.

Shucked will play through Sunday April 6. Tickets will be available at BaltimoreHippodrome.com,Ticketmaster.com or in-person at the Hippodrome Box Office (12 N Eutaw Street).

Photos: Mathew Murphy & Evan Zimmerman

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

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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,