tag:blogger.com,1999:blog-188602332024-03-18T16:22:14.806-04:00Steve Charing OUTspokenCommentary on LGBTQ and political issues plus theatre reviews and sports.Steve Charinghttp://www.blogger.com/profile/10671770309656409487noreply@blogger.comBlogger873125tag:blogger.com,1999:blog-18860233.post-32840268128982242442024-02-22T14:51:00.009-05:002024-02-29T20:17:16.421-05:00‘Peter Pan’ Lets Your Imagination Take Flight at the Hippodrome<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIGnSRYC8FPwx8QVvyhpRNP__2662bq3s5i7KGz4YKml10j6L5UO0JtzXMV4GQcELh0l9PzLz-8yok5fHRTryfaqqoHBUs1jdTigjuV3D-h_x6BEGEAg4T04m4evcbKHDdHK0Xh0YSiFw2lEzBPJvczXFxSmZ3jJhA7kpbX4jxG-ybL1LAIjrk/s640/PP1%20Matthew%20Murphy.jpeg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="427" data-original-width="640" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIGnSRYC8FPwx8QVvyhpRNP__2662bq3s5i7KGz4YKml10j6L5UO0JtzXMV4GQcELh0l9PzLz-8yok5fHRTryfaqqoHBUs1jdTigjuV3D-h_x6BEGEAg4T04m4evcbKHDdHK0Xh0YSiFw2lEzBPJvczXFxSmZ3jJhA7kpbX4jxG-ybL1LAIjrk/w400-h268/PP1%20Matthew%20Murphy.jpeg" width="400" /></a></div><br /><span style="color: #073763;">Spoiler alert: <i>Peter
Pan</i> is not a true story. In fact, it is one of the most make
believe-fantasies to ever grace the stage. With its sparkling production,
technical excellence and a talented, multi-cultural young cast, Baltimore’s
Hippodrome Theatre is the venue for the national tour launch of this
re-imagined and newly adapted musical version of the classic story.</span><p></p>
<p class="MsoNormal"><span style="color: #073763;">I’m almost embarrassed to admit my first encounter with <i style="mso-bidi-font-style: normal;">Peter Pan</i> was, as a little kid, watching
the fairy tale on my family’s black and white console TV (it was televised in
color, however) back when there were only four known planets. My recollection
of that experience besides the fun songs and exciting story was my confusion as
to why the character Peter Pan was played by a woman, Mary Martin. </span></p>
<p class="MsoNormal"><span style="color: #073763;">Ms. Martin also starred in the 1954 Broadway production and
received a Tony Award for her performance as Peter. She was succeeded in
revivals by Sandy Duncan and Cathy Rigby as well as other women on a number of
tours. Alas, my parents were unable to offer clarity to a situation where
gender roles had been so clearly defined back then and why Ms. Martin played
Peter.</span></p>
<p class="MsoNormal"><span style="color: #073763;">However, this dazzling touring production debuts a bright
and talented young man Nolan Almeida, 17, as Peter Pan. He handles the
physically demanding role with aplomb and tons of enthusiasm. The charismatic
Mr. Almeida is an excellent vocalist, dances proficiently including tap dancing
with gracefulness not ordinarily seen in a teenager and excels in the superb
flying sequences with somersault flips.</span></p>
<p class="MsoNormal"><span style="color: #073763;">The musical is based on J.M. Barrie’s 1904 play <i style="mso-bidi-font-style: normal;">Peter Pan</i> and his 1911 novelization
of it, <i style="mso-bidi-font-style: normal;">Peter and Wendy</i>, whose
main storyline depicts Peter Pan as a boy who never wants to grow up<i style="mso-bidi-font-style: normal;">.</i> The music is mostly by Moose
Charlap, with additional music by Jule Styne, and most of the lyrics were
written by Carolyn Leigh, with additional lyrics by the potent duo Betty
Comden and Adolph Green. </span></p>
<p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEic_N06d8Wzn4Rnuq5hxgPpwf58tE_qf5yF3FGcCcVQV3F1D0-ufkt-2LAaAxnxS0zCTjmtg7K3bAiX9I0qnRM7UeBs8q9C-dfcvL8hEFQ7RNKlf160HYVITqO0-Y1ODecx6_zoNiljIwtXJOaKQhXnw_NyhpiR0YevkA_M44a1RqTfuywrCFd6/s640/PP2%20Matthew%20Murphy.jpeg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="color: #073763;"><img border="0" data-original-height="427" data-original-width="640" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEic_N06d8Wzn4Rnuq5hxgPpwf58tE_qf5yF3FGcCcVQV3F1D0-ufkt-2LAaAxnxS0zCTjmtg7K3bAiX9I0qnRM7UeBs8q9C-dfcvL8hEFQ7RNKlf160HYVITqO0-Y1ODecx6_zoNiljIwtXJOaKQhXnw_NyhpiR0YevkA_M44a1RqTfuywrCFd6/w400-h268/PP2%20Matthew%20Murphy.jpeg" width="400" /></span></a></div><span style="color: #073763;">The additional book was penned by Tony Award winning
playwright Larissa FastHorse, who,<br /> importantly, scrubbed the original material
of the offensive stereotypical portrayal of Indigenous people and women. She is
the first Native American female playwright whose work had been produced on Broadway.
With her influence, several characters including Tiger Lily are played by Indigenous peoples in the production.</span><p></p>
<p class="MsoNormal"><span style="color: #073763;">Still, under the direction of Emmy Award winner Lonny Price
and choreography by Lorin Lotarro, <i style="mso-bidi-font-style: normal;">Peter
Pan</i> stays true to the widely familiar story and pleasing music. Familiar
favorites, such as “I Gotta Crow,” "Neverland,” “I’m Flying,” which is an
incredibly striking and well-choreographed aerial number with sterling special
effects, the iconic “I Won’t Grow Up,” the main theme of the story, “Hook’s Tango,”
the moving “When I Went Home,” and the gentle “Tender Shepherd” highlight the musical. The excellent orchestra
was conducted by Jonathan Marro for this reviewed performance.</span></p>
<p class="MsoNormal"><span style="color: #073763;">For those not familiar, Peter Pan along with his mischievous
fairy sidekick Tinker Bell enters the bedroom of Wendy, Michael and John
Darling in search of his lost shadow. Wendy helps to sew it back on him, and
the smaller boys awaken to the visitor’s presence. He tells of Neverland, an
island where he is from and where there are “Lost Boys” who are in need of stories
to hear and also in need of a mother.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Peter demonstrates his flying prowess and immediately
teaches the children how to fly as long as they think lovely thoughts. A
sprinkle of fairy dust dropped on them by Peter completes the task. With
absolutely jaw-dropping technical effects, brilliant projections, imaginative lighting
and theatre magic, Peter and the Darling children embark on an adventurous
journey to Neverland. There they encounter a tribe of Indigenous people
representing cultures from around the world led by Tiger Lily. The “Lost Boys”
are there, of course, and there is also the evil Captain Hook and his pirate
crew.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Amid sword fights, flying sequences, and clever maneuvering,
Peter Pan and the Darling children, team up with Tiger Lily and her tribe to
eventually vanquish Captain Hook.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Through these adventures, the Darling children are taught valuable
lessons and appear to grow up. But Peter is loath to growing up. However, years
down the road, Wendy’s young daughter Jane will join Peter in a trek back to Neverland.</span></p>
<p class="MsoNormal"></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYsiG3V3oU5gjGl9xSKRzOKWNWn-1dnB8pcNNA2NgntgI1eOD0VzCarRQL1EktGBPxF5iESouVVi0OzA65rSFkuOJQY0IyFWHiDIbeVaj8S4f4xl3tmO7PJpYQ11A3bSKdirqwk3ZJiKBLDXjc6S3d3YY2tzitdGa_WkfWFAFuxX5jfN3Uyfsj/s640/PP3%20Matthew%20Murphy.jpeg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="color: #073763;"><img border="0" data-original-height="427" data-original-width="640" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYsiG3V3oU5gjGl9xSKRzOKWNWn-1dnB8pcNNA2NgntgI1eOD0VzCarRQL1EktGBPxF5iESouVVi0OzA65rSFkuOJQY0IyFWHiDIbeVaj8S4f4xl3tmO7PJpYQ11A3bSKdirqwk3ZJiKBLDXjc6S3d3YY2tzitdGa_WkfWFAFuxX5jfN3Uyfsj/w400-h268/PP3%20Matthew%20Murphy.jpeg" width="400" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"></td></tr></tbody></table><span style="color: #073763;"><br />As mentioned before, Nolan Almeida soars as Peter Pan,
literally and figuratively. Perfectly cast for the role, Mr. Almeida showcases
is abundance of talent in dancing, singing and acting. His vocals shine in such
varied numbers as “I Gotta Crow,” “Neverland,” the sensational group number
with the Darling children “I’m Flying” as well as “When I Went Home.”
Unquestionably, Mr. Almeida has a bright future in theatre. His present isn’t
so bad either.</span><p></p>
<p class="MsoNormal"><span style="color: #073763;">Hawa Kamara is making her professional debut in playing the
part of Wendy Darling. Her acting skills are excellent with her timing, use of
facial expressions and body language. Mature and caring, Wendy is as likeable
as one can be, and Ms. Kamara’s performance, especially her exchanges with
Peter at the outset, brings that to the fore.</span></p>
<p class="MsoNormal"><span style="color: #073763;">On the night this performance was reviewed, William Foon and
Reed Epley were wonderful as John and Michael Darling, respectively. They, too,
sing and dance well and can handle a sword when called upon.</span></p>
<p class="MsoNormal"><span style="color: #073763;">The villain is Captain Hook, and that role is adeptly played
by Cody Garcia. Evil and sadistic, Captain Hook can be seen as comical by
adults but frightening by children. Cody (who also plays Mr. Darling) has that
stereotypical pirate look of being tall, slender, mustachioed and
swashbuckling. <span style="mso-spacerun: yes;"> </span>Cody carries it off
perfectly with the right amount of flair, and sings well in “Hook’s Tango,” “Hook’s
Tarantella” and Hook’s Waltz.”</span></p>
<p class="MsoNormal"><span style="color: #073763;">Captain Hook’s flamboyant devoted sidekick Smee, played
deliciously by Kurt Perry, provides much of the comedy in the show with his
campy rejoinders. Mr. Perry hits it out of the park.</span></p>
<p class="MsoNormal"><span style="color: #073763;">As the generous but commanding Tiger Lily, Raye Zaragoza
turns in a splendid performance. Her strong vocals are on display in the group
number “Friends Forever,” which features glorious dancing from the entire Company
including a fast-paced tap segment to close out the first act.</span></p>
<p class="MsoNormal"><span style="color: #073763;">The remainder of the cast including the Pirates, Lost Boys
and the Tribe all contribute to this fantastic production.</span></p>
<p class="MsoNormal"></p><blockquote><b><span style="color: #38761d; font-size: large;">[a]"sparkling production, technical excellence and a talented, multi-cultural young cast..."</span></b></blockquote><p></p><p class="MsoNormal"><span style="color: #073763;">Anna Louizos’ brilliantly designed set adds much beauty to
the production. The scenes at Neverland with its lush flora that serve as a hideout
for the “Lost Boys” are gorgeous.</span></p>
<p class="MsoNormal"><span style="color: #073763;">David Bengali’s projections are eye-popping and nothing
short of spectacular. The “I’m Flying” number midway through the first act is
breathtaking and is alone worth the price of admission. And a spotlight should shine on
Paul Kieve for the creative “Tinker Bell” design, which is exceptional.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Amith Chandrashaker is on point with his rich and effective
lighting design. Kai Harada should get applause not only for the quality of the
sound but the impressive sound effects throughout the production.</span></p>
<p class="MsoNormal"><span style="color: #073763;">The astonishing fight scenes are directed by Rick Sordelet
and Christian Kelly-Sordelet with music and dance arrangements by David Dabbon.</span></p>
<p class="MsoNormal"><span style="color: #073763;">And Sarafina Bush’s stunning costume design makes it a lot
easier to imagine what went on in Neverland.</span></p>
<p class="MsoNormal"><span style="color: #073763;"><i style="mso-bidi-font-style: normal;">Peter Pan</i> is a
high-flying musical that melds a wealth of talent, a solid score and
creativity. I, for one, never wanted to grow up and didn’t. This is a must-see
show for all ages whether you have grown up or not.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Running time. Two hours and 15 minutes with an intermission.</span></p>
<p class="MsoNormal"><span style="color: #073763;"><i style="mso-bidi-font-style: normal;">Peter Pan</i> runs
through February 25 the Hippodrome Theatre at the France-Merrick Performing
Arts Center, 12 N. Eutaw St, Baltimore, MD 21201.<span style="mso-spacerun: yes;"> </span>For tickets, call Ticketmaster at
800-982-ARTS or visit ticketmaster.com or BaltimoreHippodrome.com.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Photos: Matthew Murphy</span></p>Steve Charinghttp://www.blogger.com/profile/10671770309656409487noreply@blogger.com0tag:blogger.com,1999:blog-18860233.post-7445308131726476132024-01-31T13:24:00.007-05:002024-01-31T18:36:27.686-05:00‘Mrs. Doubtfire’ is Sure-fire Hilarity at the Hippodrome<p><span style="color: #073763;"></span></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-Aa6VNRrBe_oec0Ita2JVVV5OIUWaVGnZGtNhm2OSl4GcIbvlj0uxMbzuVEsf3k-jeAEpnxB95X9io0jPuHyUeJ9WNvRmL8KNcmfvFF4cipFgmBB9535xAtUgyLpzFsM60ATifaV_KrsdkAdS8wpvn7kwRtjzrSwxkgvx88URdtjBZ_YtdYvA/s545/Mrs%20Doubtfire%20Joan%20Marcus.jpeg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="472" data-original-width="545" height="346" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-Aa6VNRrBe_oec0Ita2JVVV5OIUWaVGnZGtNhm2OSl4GcIbvlj0uxMbzuVEsf3k-jeAEpnxB95X9io0jPuHyUeJ9WNvRmL8KNcmfvFF4cipFgmBB9535xAtUgyLpzFsM60ATifaV_KrsdkAdS8wpvn7kwRtjzrSwxkgvx88URdtjBZ_YtdYvA/w400-h346/Mrs%20Doubtfire%20Joan%20Marcus.jpeg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="color: #0b5394;"><b>Rob McClure as Daniel Hillard/Mrs. Doubtfire</b></span></td></tr></tbody></table><p></p><p><span style="color: #073763;"><b><span style="font-family: georgia; font-size: x-large;">R</span></b>ight on the heels of a shockingly disappointing loss by the
hometown football team, the Ravens, the North America touring production of <i>Mrs. Doubtfire</i> has rolled into Baltimore
to bring some needed cheer while we lick our wounds. The musical now playing at
the iconic Hippodrome Theatre is a heartwarming, tender story but with high
octane comedy that is sure to keep you cracking up.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Four-time Tony Award winner Jerry Zaks adroitly directs this
zany, well-staged musical with precision, which is based on the 1993 film <i style="mso-bidi-font-style: normal;">Mrs. Doubtfire </i>that starred Robin
Williams. Lorin Latarro deftly handles the lively choreography, and Ethan Popp
is the music supervisor.</span></p>
<p class="MsoNormal"><span style="color: #073763;">The central plot consists of a divorced man with no custody
of his children because he is unemployed and lives with his brother. He transforms into a female Scottish nanny
named Mrs. Doubtfire in an effort to be close to his children. How he navigates
this ruse is the core of the laugh-a-minute tale.</span></p>
<p class="MsoNormal"><span style="color: #073763;">With some shows the plot is a vessel to carry the music,
which is common among jukebox musicals, such as <i style="mso-bidi-font-style: normal;">Mamma Mia</i>!, <i style="mso-bidi-font-style: normal;">Jagged
Little Pill</i>, <i style="mso-bidi-font-style: normal;">Rock of Ages</i> and
many others. In <i style="mso-bidi-font-style: normal;">Mrs. Doubtfire</i>, the
music by Karey and Wayne Kirkpatrick (the Tony Award nominated team
behind <i style="mso-bidi-font-style: normal;">Something Rotten</i>!) is the
vehicle to move the story along, and it’s well done. The book was penned by Karey
Kirkpatrick and John O'Farrell.</span></p>
<p class="MsoNormal"><span style="color: #073763;">The music in <i style="mso-bidi-font-style: normal;">Mrs.
Doubtfire</i> will not likely appear on many folks’ playlists; however, the score with its eclectic styles and comedic lyrics perform a key function and service
the story pleasingly. Some of the numbers are extraordinary with their lyrics and
the manner in how they are performed.</span></p>
<p class="MsoNormal"><span style="color: #073763;">“Easy Peasy” is a standout well-choreographed spectacle that
brings laughter and joy with its zany antics. “Welcome to La Rosa” is another
where everything in the plot unravels—literally. And that is followed up by the
equally funny “He Lied to Me.”</span></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJ9Qlzm1GB-cqqIwDqwZZLy3le6zQQHdUpTHCEKlgxO4NjPfEOydw_lPbTOB8jNxtWv9P4nTS3CAeZo6JVMBQYR02w5IknjRAy8wi-cgPazEQUyyadatNSrUVq9fQuSHgTGXXD-7aHpTbkoR0QzF8rIgxtacR4ttmLe7v8Ra6xjcM6UEavMozL/s640/Mrs%20Doubtfire3.jpeg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="427" data-original-width="640" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJ9Qlzm1GB-cqqIwDqwZZLy3le6zQQHdUpTHCEKlgxO4NjPfEOydw_lPbTOB8jNxtWv9P4nTS3CAeZo6JVMBQYR02w5IknjRAy8wi-cgPazEQUyyadatNSrUVq9fQuSHgTGXXD-7aHpTbkoR0QzF8rIgxtacR4ttmLe7v8Ra6xjcM6UEavMozL/w400-h268/Mrs%20Doubtfire3.jpeg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="color: #660000;"><b>Nik Alexander, Aaron Kaburick, Romelda Teron Benjamin <br />and Rob McClure</b></span></td></tr></tbody></table><span style="color: #073763;"><br /></span><p></p>
<p class="MsoNormal"><span style="color: #073763;">Rob McClure reprises his Tony-nominated Broadway role as
Daniel Hillard, the out-of-work impressionist in San Francisco who loses
custody of his three children after a messy divorce from his wife Miranda
(played superbly by Maggie Lakis who happens to be Mr. McClure’s real wife). As
stated previously, Daniel transforms into a Scottish nanny named Mrs. Doubtfire,
who is hired by Miranda unaware of the true identity. This takes place after
Daniel uses his voice impression skills, in a hilarious sequence, to sabotage
Miranda’s efforts to find a regular nanny. Mrs. Doubtfire is anything but
regular.</span></p>
<p class="MsoNormal"><span style="color: #073763;">No one would expect an actor to replicate the comic genius
of the late, great Robin Williams. But Mr. McClure comes darn close. In a <i style="mso-bidi-font-style: normal;">tour-de-force</i>, Mr. McClure is
exceptional in a <span style="mso-spacerun: yes;"> </span>physically demanding and
strenuous role that includes well over a dozen costume changes in rapid fashion
that must be accomplished on a dime to keep up with the fast pace of the show.</span></p>
<p class="MsoNormal"><span style="color: #073763;">In possessing <span style="mso-spacerun: yes;"> </span>natural
comedic gifts, Mr. McClure scores big in every scene. Yet, his acting abilities
come to the fore when he longs to be with his children and is desperate to do
so. His ability to convey tenderness in these scenes while performing slapstick
comedy in others is a tribute to his talent. Everybody roots for him.</span></p>
<p class="MsoNormal"></p><blockquote><span style="color: #990000; font-size: large;"><b>"... a heartwarming, tender story but with high octane comedy that is sure to keep you cracking up."</b></span></blockquote><p></p><p class="MsoNormal"><span style="color: #073763;">Oh, by the way, he
can sing well, too, as he is featured in over half the show's numbers. The
moving solo “I Want to Be There” where Daniel fights for custody of his
children in front of a judge is beautifully delivered. In another style, the
comedic “Make Me a Woman” with his brother and his brother’s husband is beyond
hilarious. Mr. McClure also excels while in the Mrs. Doubtfire character in the
insanely funny “Easy Peasy”—a group number with the talented Ensemble where he
desperately tries to brandish his cooking skills. There are many others. And
yes, he can dance real well, even tap. What can’t he do?</span></p>
<p class="MsoNormal"><span style="color: #073763;">For her part, Maggie Lakis as the strong-willed and business-savvy
mother Miranda Hillard, performs well. Miranda clearly has no more interest in
reconciling with Daniel and tries everything to keep him away from the children
only to be infiltrated by Mrs. Doubtfire whom she adores especially because of
the influence she has on her kids. Her one solo “Let Go” that showcases a
powerful alto voice is glorious. In the end, after the jolting discovery that
Mrs. Doubtfire was actually her husband, she comes to the realization that
things are better when Daniel is around the children. It leads to an emotional conclusion. </span></p>
<p class="MsoNormal"><span style="color: #073763;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="color: #073763;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDul8JQje84f-8BzUvXk7d8Olh1V2zPNXnVsfKxkaWqHZrXsTf71gA5JINowGt4wz1yWNsfjZ3dvKa9E-cCPAD-5yCSR2kFla5n1_7aThBwch_dYdi-INyc6NMjoNFO87ewMTwgTspKn-SbbX0Ms_y8R0gkaolfWjtgFVKz4WYGiRzXvZnz0qQ/s640/Mrs%20Doubtfire2.jpeg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="405" data-original-width="640" height="254" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDul8JQje84f-8BzUvXk7d8Olh1V2zPNXnVsfKxkaWqHZrXsTf71gA5JINowGt4wz1yWNsfjZ3dvKa9E-cCPAD-5yCSR2kFla5n1_7aThBwch_dYdi-INyc6NMjoNFO87ewMTwgTspKn-SbbX0Ms_y8R0gkaolfWjtgFVKz4WYGiRzXvZnz0qQ/w400-h254/Mrs%20Doubtfire2.jpeg" width="400" /></a></span></div><span style="color: #073763;"><br />Giselle Gutierrez as Lydia Hillard, the oldest daughter and
on the cusp of young adulthood, and for the reviewed performance Cody Braverman
as her brother Christopher and Emerson Mae Chan as the youngest sister Natalie
are bona fide scene stealers. Their acting skills are spot-on though Christopher
performs most of the comedic lines and does so with aplomb. He alternates with
Bernard Rimmele while Emerson alternates with Kennedy Pitney.</span><p></p>
<p class="MsoNormal"><span style="color: #073763;">The three kids perform in the hilarious number “What the
Hell”—yes they do, and Ms. Gutierrez shines in the emotional duet near show’s
end with Mr. McClure in “Just Pretend.”</span></p>
<p class="MsoNormal"><span style="color: #073763;">Now recall that the movie was released in 1993 and this
musical production had made adjustments to modernize. The use of smart phones,
internet and Siri are among the technical updates to the show’s plot. </span></p>
<p class="MsoNormal"><span style="color: #073763;">What’s not updated is that the creative team retained the
stereotypical gay characters for the musical. Indeed, sensibilities and
attitudes have changed regarding LGBTQ+ individuals over the years. <span style="mso-spacerun: yes;"> </span>One of the characters is Daniel’s flamboyant brother
Frank (played by Aaron Kaburick) who is a make-up artist, no less and his even
more flamboyant husband Andre (played by Nik Alexander). </span></p>
<p class="MsoNormal"><span style="color: #073763;">Though their antics are over-the-top and at times cringe-worthy,
they are fabulous and provide many comical moments during the course of the
show. Advice: Don’t ever say anything negative about Donna Summer in front of
Andre! </span></p>
<p class="MsoNormal"><span style="color: #073763;">The couple assists Daniel with the prosthetics and wardrobe
needed to pull off the Mrs. Doubtfire persona. And musically, the trio is
outstanding in the funny “Make Me a Woman.”</span></p>
<p class="MsoNormal"></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-BSoBl1khlTnEMmTyoWc0VduKx84S1ONz6vwB_1Pw0PzVhTgwRkds9pf6V8KEZbV-x_qIIG7ewLRCulcynYWAj_UnI2-v8tbsovDpH9QpH7ylMVC14ur6A72DiUxcUm_EaJrN6jh2ZD6VtCSdU6HYsqqdJLI-56uL4F44NVY8jGc84awOrnYg/s640/Mrs%20Doubtfire5.jpeg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="427" data-original-width="640" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-BSoBl1khlTnEMmTyoWc0VduKx84S1ONz6vwB_1Pw0PzVhTgwRkds9pf6V8KEZbV-x_qIIG7ewLRCulcynYWAj_UnI2-v8tbsovDpH9QpH7ylMVC14ur6A72DiUxcUm_EaJrN6jh2ZD6VtCSdU6HYsqqdJLI-56uL4F44NVY8jGc84awOrnYg/w400-h268/Mrs%20Doubtfire5.jpeg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b><span style="color: #cc0000;">Leo Roberts and Rob McClure</span></b></td></tr></tbody></table><span style="color: #073763;">Also performing splendidly is Romelda Teron Benjamin as Wanda
Sellner, the stern, all-business court liaison overseeing the progress made by
Daniel to get a job, earn enough money and provide suitable housing for the
children in advance of the court’s review of the custody ruling. In this
process, the exchanges between her and Daniel, Frank and Andre are side-splitting
funny. She also displays a powerful soprano. In the end, Daniel does find a job
using his impression skills to land a TV kids show gig and manages to find a
nice abode.</span><p></p>
<p class="MsoNormal"><span style="color: #073763;">Leo Roberts plays Stuart Dunmore, Miranda’s brand-new love
interest almost immediately following the divorce. Good-looking and muscular, Mr. Roberts portrays the rich British
character well as he is the chief rival to Daniel. Whether by design or not,
there is no chemistry between him and the children. Mr. Roberts also has a
solid tenor singing voice.</span></p>
<p class="MsoNormal"><span style="color: #073763;">The remainder of the talented cast and Ensemble supports the
leads exceptionally particularly in vocals and dancing.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Though the set is not intricate or highly technical, it is
attractive and services the plot effectively. Scenic Designer David Korins
makes use of dropdown curtains and screens for scene changes with images of San
Francisco in the background. <span style="mso-spacerun: yes;"> </span>Costume Designer
Catherine Zuber is very creative in outfitting the cast in colorful garb and,
of course, the costumes for Mrs. Doubtfire. Phillip S. Rosenberg’s brilliant
lighting design adds to the visual excellence of the show.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Truthfully, going in, I had my doubts about <i style="mso-bidi-font-style: normal;">Mrs. Doubtfire</i> and its conversion from
screen to stage as a musical. No more doubts. It’s a perfect blend of love and
laughs, and it’s fantastic.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Running time. Two hours and 30 minutes with an intermission.</span></p>
<p class="MsoNormal"><span style="color: #073763;"><i style="mso-bidi-font-style: normal;">Mrs. Doubtfire</i> runs
through February 4 the Hippodrome Theatre at the France-Merrick Performing Arts
Center, 12 N. Eutaw St, Baltimore, MD 21201.<span style="mso-spacerun: yes;">
</span>For tickets, call Ticketmaster at 800-982-ARTS or visit <a href="https://www.ticketmaster.com/discover/arts-theater">Ticketmaster</a> or the Hippodrome Theatre <a href="https://baltimore.broadway.com/">online</a>.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Photos: Joan Marcus</span></p>
<p class="MsoNormal"><span style="color: #073763;">The 2024-2025 season recently announced:</span></p><p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRM8VXGaMWppR0Srxvg6fehfJ5eOt8ekb90-G8vrw6rwDlJb0FoUdnq-oAkD0lpCweZOtqkkyHLnukp-7IuBtoVF4Tubp4mt8xrxp4JFW6sqdL85EEg_aO0OWJScntLsGrILuvUngqaG-lT91yovQvWIseaMxwo3UDVm2ETcBzryCAQBeu5Q_V/s1024/Mrs%20Doubtfire4.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="373" data-original-width="1024" height="146" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRM8VXGaMWppR0Srxvg6fehfJ5eOt8ekb90-G8vrw6rwDlJb0FoUdnq-oAkD0lpCweZOtqkkyHLnukp-7IuBtoVF4Tubp4mt8xrxp4JFW6sqdL85EEg_aO0OWJScntLsGrILuvUngqaG-lT91yovQvWIseaMxwo3UDVm2ETcBzryCAQBeu5Q_V/w400-h146/Mrs%20Doubtfire4.jpeg" width="400" /></a></div><br /><span style="color: #073763;"><br /></span><p></p>Steve Charinghttp://www.blogger.com/profile/10671770309656409487noreply@blogger.com0tag:blogger.com,1999:blog-18860233.post-9252398690606408062024-01-26T12:21:00.014-05:002024-02-01T00:30:10.285-05:005-6-7-8 'A Chorus Line' at Toby’s Will Surely Captivate<p><span style="color: #073763;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="color: #073763;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMkB0EhG_-wYHAgClhmH0QGjH65jJ1Fxpx-_eonEO13tHjmwL14IHJkvCgk9O2f_voQbsdAoUEZXk6vO9UFbRqApSDsGBuF-txpoS40B5-5pkYNxZWz6sCpyMKa8-4CVDf9Lx7wGjrMbhgqE7dOamVSX_bYP43IQcPRk250ps_fX0QWoPp-4o9/s5472/A%20chorus%20line3.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMkB0EhG_-wYHAgClhmH0QGjH65jJ1Fxpx-_eonEO13tHjmwL14IHJkvCgk9O2f_voQbsdAoUEZXk6vO9UFbRqApSDsGBuF-txpoS40B5-5pkYNxZWz6sCpyMKa8-4CVDf9Lx7wGjrMbhgqE7dOamVSX_bYP43IQcPRk250ps_fX0QWoPp-4o9/w400-h266/A%20chorus%20line3.jpg" width="400" /></a></span></div><span style="color: #073763;"><br /><span style="font-family: georgia; font-size: x-large;">I</span>t may have been 1975 with the birth years of the dancers
auditioning for a fictional Broadway musical ranging from 1942 to 1955, but the
competition for such chosen roles by these show dancers is as fierce today as
it was then. An abundance of talented
performers; needed jobs; few openings are available. That hasn’t changed over
the years. </span><p></p>
<p class="MsoNormal"><span style="color: #073763;">Toby’s Dinner Theatre triumphs with its entertaining
re-creation of the classic hit musical <i>A
Chorus Line</i>, which humanizes these seemingly anonymous dancers. Each brings
a story of struggle or dreams, of triumphs or failures, of family support or
abandonment. </span></p>
<p class="MsoNormal"><span style="color: #073763;">I was curious to see how Toby’s in-the-round configuration could
adapt to a linear production, such as this. Under the imaginative direction of
Helen Hayes Award winner Mark Minnick, who has been nominated for two more such
awards for his work last year with <i>Something
Rotten!</i> and <i>Escape to Margaritaville</i>
along with choreographer Vincent Musgrave making his Toby’s choreography debut, the
production team met the daunting challenge. </span></p>
<p class="MsoNormal"><span style="color: #073763;">Rather than stringing the auditioning dancers in a single line
across the stage as depicted in other productions, the performers are clustered
at the stage’s three entrances as well as forming double lines across the
stage. It’s very effective.</span></p>
<p class="MsoNormal"><span style="color: #073763;"><i>A Chorus Line </i>features
music by Marvin Hamlisch, lyrics by Edward Kleban, a book by James Kirkwood,
Jr. and Nicholas Dante and originally choreographed by Michael Bennett. In doing so, Mr. Minnick helms a tight
production on a mostly bare stage that boasts a diverse array of talented
dancers, singers and actors that perform some of the best-known songs on
Broadway.</span></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhl_JDHkbzOv996VrbxWu1IcTtrLiB3j5Rm4BIfBoEVWl5_if5bmUjOyFVnSavJvIvxjO-mktIPrnq3-5MncBXygnrebVzajCAb5s5Mz5BqrduVuSjLHdZyx33D5KXohbqgy62L3vcVFCgBgMXBvUAbnqwnNnr3VTB1P1S_3lyT4Vlo3ExvOTKc/s5472/A%20chorus%20line6.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhl_JDHkbzOv996VrbxWu1IcTtrLiB3j5Rm4BIfBoEVWl5_if5bmUjOyFVnSavJvIvxjO-mktIPrnq3-5MncBXygnrebVzajCAb5s5Mz5BqrduVuSjLHdZyx33D5KXohbqgy62L3vcVFCgBgMXBvUAbnqwnNnr3VTB1P1S_3lyT4Vlo3ExvOTKc/w400-h266/A%20chorus%20line6.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b><span style="color: #660000;">Paul played by Brian Dauglash</span></b></td></tr></tbody></table><span style="color: #073763;"><br /> </span><p></p>
<p class="MsoNormal"><span style="color: #073763;">Songs, such as “I Hope I Get It;” “Hello Twelve, Hello
Thirteen, Hello Love,” a brilliantly staged production number; “Dance: Ten,
Looks: Three;” the gorgeous ballad “What I Did for Love;” and “One,” a singular
sensation of a song, highlight the catalog. Honestly, you will have a hard time getting that song out of your head.</span></p>
<p class="MsoNormal"><span style="color: #073763;">The eight-piece orchestra under the musical direction of
conductor Ross Scott Rawlings (Nathan Scavilla conducts in other performances)
provides sturdy melodic support for the singers and dancers. Lynn Joslin’s
superb lighting design vividly amplifies the dramatic sequences with Mark
Smedley’s sound design enabling the musical performances and dialogue to be
clearly audible. </span></p>
<p class="MsoNormal"><span style="color: #073763;">The original version of <i>A
Chorus Line</i> ran for 6,137 performances and is the sixth longest-running
Broadway show ever. It spawned numerous
touring productions and revivals, captured 12 Tony Award nominations and won 9
of them, in addition to the 1976 Pulitzer Prize for Drama. </span></p>
<p class="MsoNormal"><span style="color: #073763;">The musical is dance-heavy, and chorographer Musgrave and
the performers are clearly up to the task. A variety of precisely arranged
moves are deployed making excellent use of the stage. They include lifts and tap
dancing among others, which are on display in solo and group numbers.</span></p>
<p class="MsoNormal"><span style="color: #073763;">The quality of the music, dancing and dialogue (largely
monologue) makes the show endearing and timeless and explains its enormous
popularity. Each of the 17 dancers is
called upon to not only flaunt their moves individually and in groups in a
strenuous audition but are also asked (um, told) to describe their life’s
experiences to the authoritative director and choreographer, Zach (played commandingly
by Jeffrey Shankle). </span></p>
<p class="MsoNormal"><span style="color: #073763;">Mr. Shankle mostly sits above one of the theater’s balconies
to simulate being in the rear of a theater’s auditorium. Zach’s assistant
Larry, played well by Andrew Gordon, is a standout dancer when he joins in
group numbers.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Never for once imagining they would be required to reveal their
inner secrets, confessions and self-doubts to the director, much less to their
fellow competitors, to vie for the limited number of openings (4 boys and 4
girls), the dancers opened their souls with remarkable candor. I mean, how many performers attend an audition
and admit they can’t sing? One did here.</span></p>
<p class="MsoNormal"></p><blockquote><b><span style="color: #741b47; font-size: large;">"Toby’s Dinner Theatre triumphs with its entertaining re-creation of the classic hit musical <i>A Chorus Line..."</i></span></b></blockquote><p></p><p class="MsoNormal"><span style="color: #073763;">Talking straight ahead to Zach and responding to his
questions bellowed from a microphone, these dancers tell their stories amidst a
series of musical numbers including a montage.
Though some of the soliloquies slow the pace down in spots, they are
mostly fun and unique and an integral part of the show. </span></p>
<p class="MsoNormal"><span style="color: #073763;">There are too many to name here, but these are some examples.
Don, the married man who worked in a strip club (Brandon Bedore); Connie (Kiana
King), a petite older Asian-American who still believes in eternal youth; Greg
(Ariel Messeca), an impish Jewish gay man who describes his first experience
with a woman; Sheila (Jessica Barraclough), a sassy, aging and sexy dancer who
describes her unhappy childhood; and Mark (Angelo Harrington II), the youngest
at age 20 who hilariously told his priest he thought he had gonorrhea when
instead it was...</span></p>
<p class="MsoNormal"><span style="color: #073763;">Paul (Brian Dauglash) presented one of the more emotional
stories. The Puerto Rican tells of his
earlier experiences growing up gay and his involvement in a drag act. He was
forced to drop out of school, and when his parents learned of his orientation, his
relating their reaction was a particularly poignant part of the show. Paul breaks down and Zach goes on stage to
comfort him. Mr. Daughlash is
exceptional in sharing Paul’s experience.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Then there is Diana (Leela Dawson), also Puerto Rican who
delivers the knockout number “Nothing” and later the classic “What I Did for
Love.” The latter follows a mishap to
Paul, who injured a knee during a tap dance number, and the other dancers on
the line experienced the sudden horror that their career could also end in a
flash. Few had alternative plans. </span></p>
<p class="MsoNormal"><span style="color: #073763;"></span></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfz3QdSAEQOXD5idvxUhaJcQdZDk_3dNqu_s1fo0X0KEu_VCdrO-U1A1xFksQEEnN4YpNGd-Ubg3s4_bq0JkRtaCP-7j3mSbaqy4LpnPiwleLo_BWPWimxw-T-pYYCciIx7i9uTckStWm80tbRGycX8SM6Cx0XojEl1EeEGYZ6z2ysMJUzRKGQ/s5472/A%20chorus%20line5.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="5472" data-original-width="3648" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfz3QdSAEQOXD5idvxUhaJcQdZDk_3dNqu_s1fo0X0KEu_VCdrO-U1A1xFksQEEnN4YpNGd-Ubg3s4_bq0JkRtaCP-7j3mSbaqy4LpnPiwleLo_BWPWimxw-T-pYYCciIx7i9uTckStWm80tbRGycX8SM6Cx0XojEl1EeEGYZ6z2ysMJUzRKGQ/w266-h400/A%20chorus%20line5.jpg" width="266" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b><span style="color: #cc0000;">Cassie played by Lydia Gifford</span></b></td></tr></tbody></table><span style="color: #073763;"><br /></span><span style="color: #073763;">Cassie, one of the significant characters in the production,
is played convincingly by Lydia Gifford.</span><span style="color: #073763;">
</span><span style="color: #073763;">She and director Zach once had a romantic relationship, and when Zach
became more involved with theatre than with her, they split.</span><span style="color: #073763;"> </span><span style="color: #073763;">Zach believes that Cassie, who was once a
successful solo dancer, is a feature-caliber performer, not merely a member of the
chorus. But Cassie wants to be a part of the chorus and respects all those
trying to make it. </span><span style="color: #073763;"> </span><p></p>
<p class="MsoNormal"><span style="color: #073763;">Ms. Gifford also elegantly performs a solo dance (“The Music
and the Mirror”) as an angled mirror presents images of her dancing smoothly
around the stage in a variety of moves donned in a sleek red dress.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Val, a fun character played by Alexis Krey Bedore, does a
splendid job as a potty-mouthed dancer who needed plastic surgery to “enhance”
her looks to get dancing jobs. Her rendition
of “Dance: 10; Looks: Three” is performed admirably.</span></p>
<p class="MsoNormal"><span style="color: #073763;">The ensemble, in the meantime, learn the steps and lyrics to
“One,” arguably the most iconic of the show’s numbers. The final eight chosen dancers are announced,
and those failing to make the cut exit the stage deflated. </span></p>
<p class="MsoNormal"><span style="color: #073763;">For the show’s finale all the dancers, including those cut,
are decked out in glistening gold formal costumes (designed by Kansas City Costumes
and coordinated by Janine Sunday) blending as a singular mass, absent
individual identity, wonderfully performing the catchy reprise of “One.” </span></p>
<p class="MsoNormal"><span style="color: #073763;">Rounding out the talented cast are in alphabetical order:
Dereck Atwater (Frank), Quadry Brown (Richie), Justin Calhoun (Butch), Aria
Renee Curameng (Vicki), Emily Flack (Maggie), Nicky Kaider (Mike), Amanda
Kaplan Landstrom (Kristine), Ryan Sellers (Al), Adam Shank (Roy), David
Singletoen (Bobby), Patricia “Pep” Targete (Bebe), Danielle Tuomey (Trish), and
Julia Williams (Judy).</span></p>
<p class="MsoNormal"><span style="color: #073763;">Toby's production of <i>A Chorus Line</i> features a very diverse, attractive and talented
bunch of dancers, singers and actors. They powerfully and gracefully glide and
swerve in precise movements and none deserve to be cut. But in the
end, somebody has to go. </span></p>
<p class="MsoNormal"><span style="color: #073763;">Through this show, which was inspired by a number of stories
from actual dancers, we’re taken back almost five decades. Indeed, some of the
topics, such as homosexuality and breast implants were groundbreaking back in
the day. But truth be told, aside from
the costumes, hairstyles, and cultural references of yore, it is all so
contemporary and a must-see.</span></p><p><span style="color: #073763;">Advisory: The show contains adult themes and language and is not recommended for young children.</span></p><p class="MsoNormal"><span style="color: #073763;">Running time. Two hours and 40 minutes with an intermission.</span></p><p class="MsoNormal"><span style="color: #073763;"><i>A Chorus Line</i> runs through March 10, 2024, at Toby’s the Dinner Theatre of Columbia, 4900 Symphony Woods Rd., Columbia, MD 21044. Tickets may be purchased by calling the box office at 410-730-8311or visiting <u><a href="https://tobysdinnertheatre.com/">online</a>.</u></span></p><p></p><p class="MsoNormal"><span style="color: #073763;">Photos: Jeri Tidwell Photography</span></p><p><span style="color: #073763;">Toby's Menu is shown <a href="https://tobysdinnertheatre.com/about-us/whats-on-the-menu/">here</a>.</span></p><p class="MsoNormal"><span style="color: #073763;">Drink Special: Singular Sensation</span></p><br /><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrRK38UxZkHSifPNR8FgCM6nVotcgbwEVFZiowWyUgpsK-c3WHFhChFabK53oIS_Na46TVwKuEgFgTuDVdDpEnR8t8KThJBa1h_aejhlY2zASpHZd04C7mkKwoSUCXoMp5iBxcrX69K5LC9UqM0XLYsIj3x1mQksa4Pt_G8dfo-AVWLcHGoo8c/s5334/A%20chorus%20line.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3556" data-original-width="5334" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrRK38UxZkHSifPNR8FgCM6nVotcgbwEVFZiowWyUgpsK-c3WHFhChFabK53oIS_Na46TVwKuEgFgTuDVdDpEnR8t8KThJBa1h_aejhlY2zASpHZd04C7mkKwoSUCXoMp5iBxcrX69K5LC9UqM0XLYsIj3x1mQksa4Pt_G8dfo-AVWLcHGoo8c/w400-h266/A%20chorus%20line.jpg" width="400" /></a></div><br /><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p>Steve Charinghttp://www.blogger.com/profile/10671770309656409487noreply@blogger.com0tag:blogger.com,1999:blog-18860233.post-79123698211266080082023-12-06T13:53:00.006-05:002023-12-19T13:32:40.818-05:00‘Moulin Rouge! The Musical’ est Splendide at the Hippodrome<p><span style="color: #073763;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="color: #073763;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7ky9WT1FG4jtCPdyEtPMtHw41EWuzCmu_KU2OJti-BtqqP3Gci9ja5Ez1B-zocbKU4NhYw7qFnIolEvkW912L3zrIL8K4fv73Ju9WvtN3GTAn5RImWknAV5OqfrVzC0qiutuH91ET0CTk1SPkozGmW5jE1f3__opmEPOJEK_K8KeFJ7MUWgip/s640/Moulin.jpeg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="427" data-original-width="640" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7ky9WT1FG4jtCPdyEtPMtHw41EWuzCmu_KU2OJti-BtqqP3Gci9ja5Ez1B-zocbKU4NhYw7qFnIolEvkW912L3zrIL8K4fv73Ju9WvtN3GTAn5RImWknAV5OqfrVzC0qiutuH91ET0CTk1SPkozGmW5jE1f3__opmEPOJEK_K8KeFJ7MUWgip/w400-h268/Moulin.jpeg" width="400" /></a></span></div><span style="color: #073763;"><span style="font-family: georgia; font-size: x-large;">W</span>hen the doors to the auditorium open up at the historic
Hippodrome Theatre in Baltimore for this production, you are transported to the
Montmartre Quarter of Paris, France in 1899 and more specifically to the
notorious Moulin Rouge cabaret club, the birthplace of the French can-can. In
its opulent, vivid red splendor, the Moulin Rouge with its famous red windmill on the roof represents a bit of raunch
and a bit of gaudy decadence with a French accent. Boundaries and restraint are
words with no meaning here.</span><p></p>
<p class="MsoNormal"><span style="color: #073763;">Naughty, racy, uninhibited, and sexiness are embodied in the
twirling pastel petticoats of the high-kicking can-can dancers. This is the
Moulin Rouge. It’s a place ‘where all your dreams come true.” And those dreams
mean love in all its forms. From scenery that depicts large, three-dimensional,
decorated heart-shaped Valentine’s Day candy boxes to scenery where “L’amour”
is written across a screen, there is no doubt that love is the central theme.
And at its core, this is a love story.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Behind a translucent curtain, as the audience files into
this free-spirit environment, performers are seen moving about sensuously in
slow motion, seducing one and all to a web of fantasy and no-limits. And when
the curtain suddenly rises and the chorus opens the show with the vigorous “Lady
Marmalade,” the seduction is complete.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Making a national tour stop in Baltimore that exceeds the
length of the normal Hippodrome Broadway series run, <i style="mso-bidi-font-style: normal;">Moulin Rouge! The Musical</i> sets a high bar in theatrical creativity
and pure beauty. </span></p>
<p class="MsoNormal"><span style="color: #073763;">The show officially opened on Broadway July 25, 2019 and is
still going strong. At the Covid-delayed 74<sup>th</sup> Tony Awards in
September 2021, <i style="mso-bidi-font-style: normal;">Moulin Rouge! The Musical</i>
garnered 10 Tony Awards including Best Musical from the 14 nominations. Other
competitors included <i style="mso-bidi-font-style: normal;">Jagged Little Pill</i>
and <i style="mso-bidi-font-style: normal;">Tina</i>—both eventual touring
productions having played at the Hippodrome.</span></p>
<p class="MsoNormal"><span style="color: #073763;"><i style="mso-bidi-font-style: normal;">Moulin Rouge! The
Musical</i> with a book by John Logan is based on the 2001 film <i style="mso-bidi-font-style: normal;">Moulin Rouge!</i> This is a jukebox musical
that deserves to be on the top shelf in that genre. Dozens of pop songs—some snippets
and some fuller length depending on the rights bestowed upon the producers—are offered.
</span></p>
<p class="MsoNormal"><span style="color: #073763;">Just as the stage is a kaleidoscope of brilliant hues augmented
by artistic scenery, imaginative lighting and over-the-top (in a good way)
costuming, the music during this masterpiece is an eclectic brew of songs
spanning decades and styles. Most are recognizable: from Madonna and Beyonce to
Rick Astley and Whitney Houston, from Lady Gaga and Elton John to Tina Turner
and Adele, the catalogue is limitless. Many of the songs had been added since
the film version increasing texture to the emotions conveyed in the plot.</span></p>
<p class="MsoNormal"><span style="color: #073763;">The musical is structured so that each main scene provides a
track to move the story along, and each track contains a bunch of these songs.
When the audience recognizes a number, even if it only a line or two, there is
giggling throughout because of how the lyrics fit into the scene depicted. This
offers a lighter touch to what is a more dramatic and serious storyline.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Set in the Montmartre Quarter of Paris,
France, at the turn of the 20<sup>th</sup> century. The plot centers
on Christian, a young American composer who moved to Paris to find himself and his
capabilities. But before that could happen, he and his two Bohemian pals, the
famous artist Toulouse-Lautrec and Argentinean dancer Santiago who are attempting
to write music for a play, encounter Satine, the beautiful star of the Moulin
Rouge cabaret club.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Despite its opulence on the surface, the Moulin Rouge is in
financial trouble. Harold Zidler, the club’s director, believes that the only
way to alleviate the pressure is to have the wealthy Duke of Monroth invest in
the Moulin Rouge. And for that to happen, he implores Satine to provide the
Duke the needed company to make him happy so that he may have a woman of his
own.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Mistaking Christian for the Duke, Satine falls for the
American instead, and he falls deeply for her, and the fateful triangle begins.
Much of the ensuing drama occurs when the Duke with his dangerous past
regarding women, fights to keep Satine for himself and tries to elevate her to
his class of wealth. Who says, you can’t buy me love?</span></p>
<p class="MsoNormal"><span style="color: #073763;">For her part, Satine, who is seriously ill from consumption (what was then tuberculosis),
sacrifices her own happiness and love for Christian in order to save the Moulin
Rouge and her friends’ jobs. All of this leads to an inevitably sad ending despite
the jovial music and comedic moments throughout.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Tony Award and Golden Globe winning director Alex Timbers
deftly keeps the show on point balancing the jubilant performances and
atmospherics with the heart-tugging love story. </span></p>
<p class="MsoNormal"><span style="color: #073763;">Veteran theatre and TV performer Robert Petkoff is superb as
the caring and exuberant Harold Zidler. Drawing upon his cache of acting and
comedic talents as well as a crystal clear commanding voice in both dialogue
and song, Mr. Zidler handles the role with flair and the right amount of
campiness. <span style="mso-spacerun: yes;"> </span></span></p>
<p class="MsoNormal"><span style="color: #073763;">Substituting for Christian Douglas, the character Christian was played by Preston Taylor on the night this performance was reviewed. He played the role tenderly and with
convincing emotion. An outstanding vocalist, he appears in much of the music
selections. Mr. Taylor's on-stage chemistry with Gabrielle McClinton as Satine
is excellent, and everybody roots for the love-struck couple despite the odds.</span></p>
<p class="MsoNormal"></p><blockquote><span style="color: #741b47; font-size: large;"><b><i>"Moulin Rouge! The Musical sets a high bar in theatrical creativity and pure beauty."</i></b></span></blockquote><p></p><p class="MsoNormal"><span style="color: #073763;">Lovely Ms. McClinton excels as the talented Satine caught in
a love triangle with no hopeful outcome given that Satine is slowly dying from
an incurable disease. <span style="mso-spacerun: yes;"> </span>She demonstrates
beautiful vocals as evidenced with her duets with Mr. Taylor, which blend
their voices perfectly.</span></p>
<p class="MsoNormal"><span style="color: #073763;">As the wealthy Duke of Monroth, Andrew Brewer adeptly plays
the villain role to the hilt. Showcasing a muscular voice in speaking and
singing, Mr. Brewer is spot-on portraying the cruel and sneaky character.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Nick Rashad Burroughs as Toulouse-Lautrec and Danny Burgos
as Santiago, the two Bohemian buddies and advisers of Christian, are effective
in delivering comedic relief moments. Both sing and dance very well, and Mr.
Burgos shines during the “Backstage Romance” track.. </span></p>
<p class="MsoNormal"><span style="color: #073763;">Rounding out the cast are Sarah Bowden as Nini, one of the
dancers at the Moulin Rouge who had always been jealous of Satine; Nicci Claspell
as Arabia and Harper Miles as La Choicolat who are other dancers at the club; Kamal
Lado as Pierre and Max Heitmann as Baby Doll.</span></p>
<p class="MsoNormal"><span style="color: #073763;">In addition, the Ensemble does and excellent job of
portraying the other quirky characters and sing and dance with precision.</span></p>
<p class="MsoNormal"><span style="color: #073763;">As good as the performances are, the technical team members
are co-stars without exception. Brilliant scenic design by Derek McLane adds
superb backdrops to the action using a variety of methods including drop-down
scenery. These colorful sets are enhanced by the hue-rich lighting design by
Justin Townsend. Catherine Zuber attired the cast in brilliantly colorful and
lavish period costumes. Peter Hylenski’s sound design is flawless. Notably, all
of these professionals received Tony Awards for their work in <i style="mso-bidi-font-style: normal;">Moulin Rouge! The Musical.</i></span></p>
<p class="MsoNormal"><span style="color: #073763;">An additional round of applause goes to the Musical Director
Andrew Graham and the talented musicians in the orchestra.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Truth, beauty, freedom and love are the mantra of the
Bohemians. In this production, you get some of each, but especially love. This
splashy, well-performed spectacle is an experience that should not be missed. <span style="mso-spacerun: yes;"> </span></span></p>
<p class="MsoNormal"><span style="color: #073763;">Be sure not to rush out of the theatre at curtain call,
however, as the performers put on an electric, dance-dominated mini-show following
their bows. </span></p>
<p class="MsoNormal"><span style="color: #073763;"><i style="mso-bidi-font-style: normal;">Oui, tout est permis
au Moulin Rouge</i>.<i style="mso-bidi-font-style: normal;"><span face="Helvetica, "sans-serif"" style="background: rgb(210, 227, 252); font-size: 8pt; line-height: 115%;"><o:p></o:p></span></i></span></p>
<p class="MsoNormal"><span style="color: #073763;">Running time. Two hours and 35 minutes with an intermission.</span></p>
<p class="MsoNormal"><span style="color: #073763;"><i style="mso-bidi-font-style: normal;">Moulin Rouge! The
Musical</i><b style="mso-bidi-font-weight: normal;"><span style="font-size: 20pt; line-height: 115%;"> </span></b>runs through December 17 at the Hippodrome
Theatre at the France-Merrick Performing Arts Center, 12 N. Eutaw St,
Baltimore, MD 21201.<span style="mso-spacerun: yes;"> </span>For tickets, call
Ticketmaster at 800-982-ARTS or visit ticketmaster.com or
BaltimoreHippodrome.com.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Photos: Matthew Murphy for MurphyMade</span></p>
<p class="MsoNormal"><o:p><span style="color: #073763;"> </span></o:p></p>Steve Charinghttp://www.blogger.com/profile/10671770309656409487noreply@blogger.com0tag:blogger.com,1999:blog-18860233.post-37364073968069894562023-11-22T15:59:00.007-05:002023-11-27T09:44:18.553-05:00A ‘Miracle’ Returns to Toby’s with Holiday Cheer<p><span style="color: #073763;"></span></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_4BFlt4D1Ia4Hk6ebikXa0aBRNmkpJ-D3A1n_udkrKw__ntkHfHAHn-iPfJSVJ2mt4PIuBUbgp6Eb6Lw7BmoCp9lEb60DnKlbdNSOTwaNds2cyC_uzqb7658RwkVKnrTPf-rw-g_FFIn81XCk3jikoIs9bEbitFv3Xgjwx58CIIc3MnlBTb8G/s1024/Miracle.jpeg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="683" data-original-width="1024" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_4BFlt4D1Ia4Hk6ebikXa0aBRNmkpJ-D3A1n_udkrKw__ntkHfHAHn-iPfJSVJ2mt4PIuBUbgp6Eb6Lw7BmoCp9lEb60DnKlbdNSOTwaNds2cyC_uzqb7658RwkVKnrTPf-rw-g_FFIn81XCk3jikoIs9bEbitFv3Xgjwx58CIIc3MnlBTb8G/w400-h266/Miracle.jpeg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b><span style="color: #274e13;">Robert Biedermann 125 as Kris Kringle</span></b></td></tr></tbody></table><p></p><p><span style="color: #073763;"><span style="font-family: georgia; font-size: x-large;">W</span>hen I think of miracles a couple of</span></p><p><span style="color: #073763;"> things immediately pop
into my head. “Do you believe in miracles?” shouted sportscaster Al Michaels at
the conclusion of the U.S men’s hockey team upsetting the heavily favored
Soviet squad during the 1980 Winter Olympics. The other is <i>Miracle on 34<sup>th</sup> Street</i>, a sweet musical that is now ushering
in the holiday season at Toby’s Dinner Theatre of Columbia.</span></p>
<p class="MsoNormal"><span style="color: #073763;">During these tense times, it is a delight to escape to the
warm, comfortable in-the-round theatre venue known as Toby’s and to enjoy not
only a luscious buffet but also to spend a couple of hours experiencing a
miracle. In bringing back <i style="mso-bidi-font-style: normal;">Miracle on 34<sup>th</sup>
Street</i> for the third time in ten years, Toby’s is offering as a dose of
holiday cheer comfort food for the palette and comfort food for the eyes and
ears.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Most of the energetic and talented cast members are
reprising their original roles (except for the children), not to mention the
fact that Director Shawn Kettering and Choreographer Mark Minnick as well as
some of the proficient technical crew also return. Therefore, they should all be
well-rehearsed, and clearly they are.</span></p>
<p class="MsoNormal"><span style="color: #073763;"><i style="mso-bidi-font-style: normal;">Miracle on 34<sup>th</sup>
Street</i>—not the black and white classic Christmas movie from 1947 presented
every December on television but a live musical adaptation—plays neatly on Toby’s in-the-round stage.<span style="mso-spacerun: yes;"> </span>The book,
music and lyrics were penned by Meredith Willson of <i style="mso-bidi-font-style: normal;">The Music Man</i> and <i style="mso-bidi-font-style: normal;">The Unsinkable
Molly Brown</i> fame, debuted on Broadway in 1963 under the title <i style="mso-bidi-font-style: normal;">Here’s Love</i>.</span></p><p class="MsoNormal"><span style="color: #073763;">No one will compare the melodies in <i style="mso-bidi-font-style: normal;">Miracle on 34<sup>th</sup> Street</i> with the rich score in<i style="mso-bidi-font-style: normal;"> The Music Man</i> or come close to the
hefty scores of many other successful Broadway musicals. Indeed, few of the
numbers in this one are memorable, save for the popular 1951 tune “It’s
Beginning to Look a Lot Like Christmas.”<span style="mso-spacerun: yes;">
</span>Moreover, the first act contains a few slow moments and some quirky
songs like “Plastic Alligator.” Fortunately, the drama, tempo and pacing pick
up noticeably in the second act with the courtroom scene being most enjoyable.</span></p>
<p class="MsoNormal"><span style="color: #073763;">The strength of <i style="mso-bidi-font-style: normal;">Miracle
on 34<sup>th</sup> Street</i> and the reason people should buy tickets the
sooner the better rests with its endearing storyline and the outstanding
performances. Every role is perfectly cast, and that lends to the sheen of the
production.</span></p>
<p class="MsoNormal"><b style="color: #073763;"><span style="font-size: large;"></span></b></p><blockquote><b style="color: #073763;"><span style="font-size: large;">"...Toby’s is offering as a dose of holiday cheer comfort food for the palette and comfort food for the eyes and ears."</span></b></blockquote><p></p><p class="MsoNormal"><span style="color: #073763;">The work of the creative team excels under the deft guidance
of Mr.<span style="mso-font-kerning: 16.0pt;"> Kettering, the imaginative
choreography of Helen Hayes Award winner Mark Minnick, and the musical
direction of Ross Scott Rawlings with Nathan Scavilla conducting the six-piece orchestra on the reviewed performance. <o:p></o:p></span></span></p>
<p class="MsoNormal"><span style="color: #073763;">Set in New York City before and after Thanksgiving in the
late 1940s, the story focuses on a white-bearded, avuncular man named Kris
Kringle (played convincingly by Robert Biedermann 125) who claims to be the
real Santa Claus.</span><span style="color: #073763;"> </span><span style="color: #073763;">He brings about a
genuine “Miracle on 34</span><sup style="color: #073763;">th</sup><span style="color: #073763;"> Street,” spreading good cheer and good will
among men throughout New York City. He encourages camaraderie between the
arch-rival department stores Macy’s and Gimbel’s, and persuades a divorced,
cynical single mother, Doris Walker (Heather Marie Beck), her daughter Susan
Walker (played on the night the show was reviewed by young Hazel Vogel who
alternates with Audrey Wolff) that Santa Claus is no myth.<br /></span></p>
<p class="MsoNormal"><span style="color: #073763;">Skeptics saw otherwise, and poor Kris Kringle had to appear
before a stern Judge (superbly played by David Bosley-Reynolds) at a hearing in
New York State Supreme Court to determine if he should be committed to the
Bellevue Hospital, known for housing mentally ill patients.</span></p>
<p class="MsoNormal"><span style="color: #073763;">As these events unfold, Doris finds her neighbor Fred Gaily
(Jeffrey Shankle), an ex-Marine and inexperienced lawyer, who develops a
father-daughter bond with Susan, falls for Doris and eventually represents Kris
Kringle at the hearing, leading to a lovely conclusion.</span></p>
<p class="MsoNormal"><span style="mso-font-kerning: 16.0pt;"><span style="color: #073763;">Holiday atmospherics
are in place. Scenic Designer David A. Hopkins constructed the set, which
features a few streetlamps on the stage, the entrance to an apartment on a
balcony, Christmas trees, garland, Christmas lights and views of the New York
City apartment buildings and other images displayed on panels surrounding the
walls of the theater.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></p>
<p class="MsoNormal"><span style="mso-font-kerning: 16.0pt;"><span style="color: #073763;">However, what makes
the visuals even more appealing is the seemingly limitless number of set pieces
and props employed throughout the show, which add texture to the scenery. The
sleigh on wheels that Santa occupies, for example, is gorgeous, and it wouldn’t
be a Christmas show without a little snow.<span style="mso-spacerun: yes;">
</span>Lynn Joslin’s effective lighting design is critical to the myriad
seamless scene changes. </span></span></p><p class="MsoNormal"><span style="mso-font-kerning: 16.0pt;"><span style="color: #073763;">Mark Smedley’s sound design helped the performers effectively ring in the holiday season.<o:p></o:p></span></span></p>
<p class="MsoNormal"><span style="color: #073763;">Sarah King designed the authentic 1940’s suits and dresses
as well as Santa outfits and other novelty garb, such as clowns and police uniforms,
thereby lending a realistic feel to this enchanting production.<span style="mso-font-kerning: 16.0pt;"><o:p></o:p></span></span></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_HaDg41D_HZwCCcjZsxWxeqgviR4FVlNbbRdmXHg_VT0iLdp7jsniWZpLSUBX5PKQaKlRYaaKu8b5bjvfx8XhZV2f77PE9fuDe8UU6kxuOvmelaJVORRNFHgLHJVvmINwq5qPpPAJ45NtpR29ndwOs8_SNbymnMcRMydAuM8z6d0rq-rN4Ktr/s640/Miracle2.jpeg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="427" data-original-width="640" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_HaDg41D_HZwCCcjZsxWxeqgviR4FVlNbbRdmXHg_VT0iLdp7jsniWZpLSUBX5PKQaKlRYaaKu8b5bjvfx8XhZV2f77PE9fuDe8UU6kxuOvmelaJVORRNFHgLHJVvmINwq5qPpPAJ45NtpR29ndwOs8_SNbymnMcRMydAuM8z6d0rq-rN4Ktr/w400-h268/Miracle2.jpeg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b><span style="color: #cc0000;">The cast of Miracle on 34th Street</span></b></td></tr></tbody></table><p></p>
<p class="MsoNormal"><span style="color: #073763;">Mr. Minnick’s detailed choreography is most effective
especially when there is a large group on the stage as in such numbers as
“Plastic Alligator,” “That Man Over There” and “My State, My Kansas,” whereby
he makes full use of the limited space by devising innovative dance steps,
plenty of motion and ensuring the dancers are in sync rhythmically.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Jeffrey Shankle, as he often does, delivers a sparkling,
near-flawless performance.<span style="mso-spacerun: yes;"> </span>In tuneful
voice, he sings “My Wish,” with Hazel and is simply stellar in his solo
“Look, Little Girl.” The title and lyrics are cringe-worthy, but the show was
set in the 1940’s after all.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Coming off an eight-months run in the national tour of <i style="mso-bidi-font-style: normal;">Les Misérables, </i>Hazel Vogel as Susan
shines. Never missing a line, never missing a cue, never missing a note or a
step, Hazel demonstrates can't-miss potential in musical theatre. </span></p>
<p class="MsoNormal"><span style="color: #073763;">Jordan B. Stocksdale plays R.H. Macy, the strict owner of
the department store bearing his name. Commanding on stage and with his strong
baritone, Mr. Stocksdale stands out in “That Man Over There”—a highlight number
during the courtroom scene, which in itself, is a highlight in the show.<span style="mso-spacerun: yes;"> </span></span></p>
<p class="MsoNormal"><span style="color: #073763;">As Doris, Heather Marie Beck is well cast and delivers a
solid performance.<span style="mso-spacerun: yes;"> </span>The part requires
proficient acting skills, and Ms. Beck delivers on that front particularly in
her confrontations with the characters Susan and Fred.<span style="mso-spacerun: yes;"> </span>She showcases her sturdy vocals in such
numbers as “You Don’t Know” and “Love, Come Take Me Again” and the warm duet
with Hazel, “Arm in Arm.”</span></p>
<p class="MsoNormal"><span style="color: #073763;">Veteran performer Robert John Biedermann 125 plays Kris
Kringle well.<span style="mso-spacerun: yes;"> </span>He
adroitly conveys the sweetness and kindness that all children believe Santa to
be.<span style="mso-spacerun: yes;"> His performance of "Here's Love" is touching. </span></span><span style="color: #073763;">Everybody roots for him.</span></p>
<p class="MsoNormal"><span style="color: #073763;">David Bosley-Reynolds hits the mark as Judge Martin Group
particularly in that fun courtroom scene and the Governor, delivering
well-timed comedic lines. </span></p>
<p class="MsoNormal"><span style="color: #073763;">Another notable cast member is the always entertaining David
James as Marvin Shellhammer whose facial expressions and comedic rejoinders are
in the “don’t-miss” category. </span></p>
<p class="MsoNormal"><span style="color: #073763;">Shane Lowry as Mr. Sawyer also exhibits comedic skills, and
Justin Calhoun is especially strong as the prosecutor Thomas Mara.<span style="mso-spacerun: yes;"> </span></span></p>
<p class="MsoNormal"><span style="color: #073763;">A number of the other performers are called on to play one
or more roles as well as being part of the ensemble and do so splendidly. They include:
Valerie Adams Rigsbee, Patrick Gover, AJ Whittenberger, Ryan Sellers, MaryKate Brouillet,
Brooke Bloomquist, Lydia Gifford, Gwyneth Porter (alternates with Julia
Bellinger), Jordyn Polk (alternates with AJ Bassett), Dylan Iwanczuk
(alternates with Ezra Tornquist), Amanda Kaplan Landstrom, and Julia Ballenger
(alternates with Skyler Smelkinson).</span></p>
<p class="MsoNormal"><span style="color: #073763;">Excellent performances plus a delightful feel-good story
(and a scrumptious buffet) make this a seasonal must-see, which will be enjoyed
by the young and the young at heart. <span style="mso-spacerun: yes;"> </span>To
answer Al Michaels’ “Do you believe in miracles?’—the answer is Yes!</span></p>
<p class="MsoNormal"><span style="color: #073763;">Running time. Two hours and 30 minutes with an intermission.</span></p>
<p class="MsoNormal"><span style="color: #073763;"><i style="mso-bidi-font-style: normal;">Miracle on 34<sup>th</sup>
Street</i> runs through January 7, 2024, at Toby’s the Dinner Theatre of
Columbia, 4900 Symphony Woods Rd., Columbia, MD 21044.<span style="mso-spacerun: yes;"> </span>Tickets may be purchased by calling the box
office at 410-730-8311or visiting <a href="https://tobysdinnertheatre.com/">online</a>.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Photos: Jeri Tidwell Photography</span></p>
<p class="MsoNormal"><span style="color: #073763;">The Menu is shown<a href="https://tobysdinnertheatre.com/about-us/whats-on-the-menu/"> here</a>.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Drink Special: The Kringle</span></p>Steve Charinghttp://www.blogger.com/profile/10671770309656409487noreply@blogger.com2tag:blogger.com,1999:blog-18860233.post-2048852544251540082023-10-25T13:56:00.009-04:002023-10-27T16:21:43.984-04:00Classic ‘Funny Girl’ Triumphs at the Hippodrome<p><span style="color: #073763;"></span></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFHQ4UYUoblKUkSjEFGxlMF6f8jBCIfM9wvy30uvI6ha_vo7n-uGNZpL6gi9UKiZ-WGRiGCZzlbSUzqhgzw-UK01WlHEe6twWZbmqUT59xGmttEk-GlFfAXKz4rOmC282zr8XCBX_N435wq4KkBHzAES3WSf5Vp_d1o8IIHk5WL9eg9TcDTCIl/s6924/Funny%20Girl4.jpeg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4618" data-original-width="6924" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFHQ4UYUoblKUkSjEFGxlMF6f8jBCIfM9wvy30uvI6ha_vo7n-uGNZpL6gi9UKiZ-WGRiGCZzlbSUzqhgzw-UK01WlHEe6twWZbmqUT59xGmttEk-GlFfAXKz4rOmC282zr8XCBX_N435wq4KkBHzAES3WSf5Vp_d1o8IIHk5WL9eg9TcDTCIl/w400-h266/Funny%20Girl4.jpeg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b><span style="color: #990000;">Katerina McCrimmon as Fanny Brice and <br />Stephen Mark Lukas as Nick Arnstein</span></b></td></tr></tbody></table><p></p><p><span style="color: #073763;"><span style="font-family: georgia; font-size: x-large;">A</span>h, it’s so refreshing to enjoy good old-time theatre. And
with the classic <i>Funny Girl</i>, whose
revival is touring the U.S., we are fortunate to have a splendid production
making a visit at Baltimore Hippodrome’s Theatre.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Under the direction of Michael Mayer, the outstanding
performances, fantastic scenery, rich period costumes, brilliant illumination
and wonderful music offer an old-time theatrical feel and charm representing
the 1920’s but with a modern glow.</span></p>
<p class="MsoNormal"><span style="color: #073763;"><i style="mso-bidi-font-style: normal;">Funny Girl</i> is a
loose biographical portrayal of dynamic entertainer Fanny Brice in the nascent
days of musical theatre during the early 20<sup>th</sup> century. It chronicles
her start in show business and how she defied the estimation from family and
friends that she is not sufficiently beautiful to appear on stage. </span></p>
<p class="MsoNormal"><span style="color: #073763;">But feisty Fanny, from Henry Street in New York’s lower east
side, would have none of that. She knew she has the talent—singing, comedy,
dancing—and through sheer determination, ambition and a little help from her
eventual husband, professional gambler Nick Arnstein, she ultimately became a
star in the famous Ziegfeld Follies.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Fanny’s marriage with Arnstein, which produced a daughter,
had its ups and downs like many marriages. But their careers, especially his
frequent “business” trips and ensuing legal troubles, kept getting in the way
and sadly could not endure the challenges that they faced despite their
professed love for one another.</span></p>
<p class="MsoNormal"><span style="color: #073763;">The first act frenetically describes how Fanny overcame the
doubters and began her rise to stardom.<br /> The second act, somewhat slower and
sadder, examines the complexities of her marriage to Arnstein and how it
affected her own values and the marriage’s impact on her mother, friends and
associates.</span></p>
<p class="MsoNormal"><span style="color: #073763;"><i style="mso-bidi-font-style: normal;">Funny Girl</i> whose score
was by Jule Styne, lyrics by Bob Merrill, and book by Isobel
Lennart opened on Broadway in 1964 and launched the career of superstar Barbra
Streisand in the title role. The show received eight Tony nominations for that
year but had the misfortune of going up against musical juggernaut <i style="mso-bidi-font-style: normal;">Hello, Dolly!</i> and didn’t take home a
statue. Nonetheless, <i style="mso-bidi-font-style: normal;">Funny Girl</i>
appealed to audiences all over and a film version was introduced in 1968 with
Streisand as the lead with Omar Sharif.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Nearly six decades later, the show was revived in 2022, and Harvey
Fierstein (<i style="mso-bidi-font-style: normal;">Kinky Boots</i>, <i style="mso-bidi-font-style: normal;">Newsies)</i> modified the book for the
Broadway revival.</span></p>
<p class="MsoNormal"></p><blockquote><span style="color: #073763;"><span style="font-size: large;"><b>"...an old-time theatrical feel and charm representing the 1920’s but with a modern glow."</b></span></span></blockquote><p></p><p class="MsoNormal"><span style="color: #073763;">Styne’s score is solid with two songs that are indisputable classics:
“People” whereby Fanny Brice expresses her loneliness and desire to live a
normal life and “Don’t Rain on My Parade,” an inspiring anthem to independence.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Both of these numbers as well as a host of others are
performed by an emerging charismatic star, Katerina McCrimmon, who is
commanding in the lead role. One should never compare anyone to a superstar
like Streisand. It just cannot and should not be done. Streisand’s simply
untouchable. </span></p>
<p class="MsoNormal"><span style="color: #073763;">However, Ms. McCrimmon’s zesty performance, her immaculate
vocals and endearing personality conjures up unavoidable memories of Streisand.
Diminutive in stature, I can only marvel how Ms. McCrimmon’s voice can hold up
during the 140-minute show. Not only is she involved in most of the musical
numbers with many of them strenuous, but her dialogue also requires a good deal
of shouting or “hollering” as Fanny’s mother (Eileen T’Kaye substituting for
popular singer-songwriter Melissa Manchester on the night this show was
reviewed) puts it.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Perhaps there was a bit too much shouting as her voice
becomes shrill at times. But Fanny Brice was known to have a booming voice. She
was Ethel Merman before there ever was an Ethel Merman, so it was realistic.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Ms. McCrimmon’s mezzo-soprano vocals are pure and powerful.
Aside from the two iconic songs mentioned previously, she shines in “Who Are
You Now?”and “I’m the Greatest Star” among other solos as well as in duets with
Stephen Mark Lukas who plays Nick Arnstein, such as “I Want To Be Seen With You”.
</span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEcZU4Sr0JFM2idSbQ8cBVr-aNKHES4yUjhLN_ECsuwwvh_Bn1ouU-6atfGoiZKCbCrOiLx6jQWKGLVCrHAiVeWAZ0KCPZJP8r0ihnhVkNCpLo9xeWRqFk_M9V9r1TcFAnV_5SU9BXtbILdUiR5QpOiwgq3U1JLjJWTLhXL6SzqND4hpeBm0Hy/s6374/Funny%20Girl%20Matthew%20Murphy%20for%20MurphyMade.jpeg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="4251" data-original-width="6374" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEcZU4Sr0JFM2idSbQ8cBVr-aNKHES4yUjhLN_ECsuwwvh_Bn1ouU-6atfGoiZKCbCrOiLx6jQWKGLVCrHAiVeWAZ0KCPZJP8r0ihnhVkNCpLo9xeWRqFk_M9V9r1TcFAnV_5SU9BXtbILdUiR5QpOiwgq3U1JLjJWTLhXL6SzqND4hpeBm0Hy/w400-h266/Funny%20Girl%20Matthew%20Murphy%20for%20MurphyMade.jpeg" width="400" /></a></div><p></p>
<p class="MsoNormal"><span style="color: #073763;">Besides her vocal prowess, Ms. McCrimmon’s comedic dialogue
and quips bring much joy to the production. Her acting skills are on full display
whereby she has those funny moments but can also be convincingly tender during
her exchanges with Arnstein. I have no doubt you will hear more about the
ultra-talented Katerina McCrimmon in the weeks, months and years ahead.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Hello gorgeous! As Nick Arnstein, Stephen Mark Lukas convincingly
plays the role of the suave, sophisticated gambler and schemer. Possessing a
muscular baritone voice that matches his muscular pecs, which he flashes all
too briefly early in the second act, he shines in duets with Ms. McCrimmon in “I
Want To Be Seen With You” and “You Are Woman, I Am Man”.<span style="mso-spacerun: yes;"> </span>Mr. Lukas also sings proficiently in the
ballad “You’re a Funny Girl.”</span></p>
<p class="MsoNormal"><span style="color: #073763;">It was a pity to have missed Melissa Manchester for this
performance, but her stand-in, Eileen T’Kaye as Mrs. Brice is fantastic. Quick-witted,
strong and supportive, Fanny’s mother is a hoot. Their exchanges are priceless
and perfectly timed, and both actors appear to relish their roles with their
onstage chemistry being very strong. Ms. T’Kaye sings well in a group number “If
a Girl Isn’t Pretty” and in a duet with Ms. McCrimmon in the reprise of “I’m
The Greatest Star” and with Izaiah Montaque Harris who plays Fanny’s good
friend Eddie Ryan in “Who Taught Hr Everything She Knows?”.</span></p>
<p class="MsoNormal"><span style="color: #073763;">I’m told that Ms. Manchester will be appearing in subsequent
performances.</span></p>
<p class="MsoNormal"><span style="color: #073763;">As the aforementioned singer-dancer Eddie, Mr. Harris excels
as the supportive and loyal friend of Fanny. However, his tap-dancing skills
are of show-stopping quality. He puts those formidable moves on display at
various points in the show and are breathtaking under the tap choreography of
Ayodele Casel.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Other notable performers include Walter Coppage as the
authoritative, no-nonsense Florenz Ziegfeld; Christine Bunuan as Mrs. Strakosh
who is Mrs. Brice’s pushy and comedic friend; Hannah Shankman as Mrs. Meeker;
and David Foley, Jr. as the gruff producer Tom Keeney. The remainder of the
talented cast and ensemble ably support the lead performers through vocals and
dancing.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Scenic Designer David Zinn created an excellent set for the
production. The use of varied lighting combinations (designed by Kevin Adams
for the proscenium stage) amplifies the visuals. Scenes change flawlessly and
efficiently behind a drop-down curtain that include the backstage at the New Amsterdam
Theatre in New York to an elegant restaurant in Baltimore to an apartment among
other locales. <span style="mso-spacerun: yes;"> </span>The staging is well-coordinated and
smooth.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Period costumes designed by Susan Hilferty are colorful and
eye-catching and add authenticity to the musical’s timeframe.</span></p>
<p class="MsoNormal"><span style="color: #073763;">The sound designed by Brian Ronan and Cody Spencer is well
balanced, and the orchestra led by Elaine Davidson ably brings the wonderful
score to life.</span></p>
<p class="MsoNormal"><span style="color: #073763;">All the elements come together beautifully in this
triumphant production. There will be laughter and there will be tears, and you
will witness the emergence of a budding star in this classic in which tickets remain
available. </span></p>
<p class="MsoNormal"><span style="color: #073763;">To paraphrase the song, people who will get to see <i style="mso-bidi-font-style: normal;">Funny Girl</i> are the luckiest people in the world.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Running time. Two hours and 40 minutes with an intermission.</span></p>
<p class="MsoNormal"><span style="color: #073763;"><i style="mso-bidi-font-style: normal;">Funny Girl</i> runs
through October 29 at the Hippodrome Theatre at the France-Merrick Performing
Arts Center, 12 N. Eutaw St, Baltimore, MD 21201.<span style="mso-spacerun: yes;"> </span>For tickets, call Ticketmaster at
800-982-ARTS or visit ticketmaster.com or BaltimoreHippodrome.com.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Photos: Matthew Murphy for MurphyMade</span></p>Steve Charinghttp://www.blogger.com/profile/10671770309656409487noreply@blogger.com0tag:blogger.com,1999:blog-18860233.post-38689566320410837442023-10-07T12:30:00.006-04:002023-10-07T16:36:25.698-04:00‘SpongeBob’ is Awash in Optimism at Silhouette Stages<p><span style="color: #073763;"></span></p><b style="color: #073763;"><span style="font-family: georgia; font-size: x-large;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiC-qr4e20r31f8288AVJhz1GWqfTM0a3p7HJ4wan8gS5CwfEruwmSvZpfUHORLsDUg1WbEC5vI1bFAmInizbt48Vuu51kkPwvardB67nmf7g7yEYNjbu9-JD7gedfDEIUSCtpsSk1LnZnHm_d7K7sstaD0woRWL_euz-A_9PU3W4Xu5gQsJdYF/s1239/sponge12.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="692" data-original-width="1239" height="224" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiC-qr4e20r31f8288AVJhz1GWqfTM0a3p7HJ4wan8gS5CwfEruwmSvZpfUHORLsDUg1WbEC5vI1bFAmInizbt48Vuu51kkPwvardB67nmf7g7yEYNjbu9-JD7gedfDEIUSCtpsSk1LnZnHm_d7K7sstaD0woRWL_euz-A_9PU3W4Xu5gQsJdYF/w400-h224/sponge12.jpg" width="400" /></a></div>I</span></b><span style="color: #073763;">f there was any question that the setting of </span><i style="color: #073763;">The SpongeBob Musical</i><span style="color: #073763;"> now playing at
Silhouette Stages takes place in a town called Bikini Bottom deep below the
sea, here are some clues. The names of some of the characters include Sheldon
Plankton, Squidward Q. Tentacles, Perch Perkins, Mr. Krabs, Larry the Lobster,
and SpongeBob. Add those names to the sea-themed set designed by Bill Pond and
the projections led by Todd Hochkeppel, the audience is called upon to imagine
this undersea town and the goofy characters that inhabit it.</span>
<p class="MsoNormal"><span style="color: #073763;">Under the polished direction of Debbie Mobley and Robyn
Yakaitis, the exuberant and talented cast entertains with explosive energy and
helps deliver a message of optimism, inclusion and coming together as a
community in this eye-pleasing, colorful, fantasy romp. Powerful vocals,
precise dancing and well-delivered comedic lines highlight the show that
employs a large array of props and set pieces, which are becoming the norm at
recent Silhouette Stages productions. </span></p>
<p class="MsoNormal"><span style="color: #073763;"><i style="mso-bidi-font-style: normal;">The SpongeBob Musical</i>
is an adaptation of Nickelodeon’s long-running animated children’s sitcom <i style="mso-bidi-font-style: normal;">SpongeBob SquarePants </i>created by Stephen
Hillenberg. It features a book by Kyle Jarrow, with an eclectic array of
original songs by Yolanda Adams, Steven Tyler and Joe Perry of Aerosmith, Sara
Bareilles, Jonathan Coulton, Alexander Ebert of Edward Sharpe & The
Magnetic Zeros, The Flaming Lips, Lady A, Cyndi Lauper, John Legend, Panic! At
the Disco, Plain White T’s, They Might Be Giants and T.I., and songs by David
Bowie, Tom Kenny and Andy Paley. Each song in the musical is composed by a
different artist.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Additional lyrics are by Jonathan Coulton, with other music
by Tom Kitt. The musical production was conceived by Tina Landau and received
12 Tony Award nominations in 2018 including Best Musical.</span></p>
<p class="MsoNormal"></p><blockquote><span style="color: #073763;"><b><span style="font-size: large;">"...the exuberant and talented cast entertains with explosive energy..."</span></b></span></blockquote><p></p><p class="MsoNormal"><span style="color: #073763;">The zany, campy story centers on an impending eruption from
nearby Mount Humongous that threatens to decimate the town and its colorful
inhabitants within 48 hours. A perennially sunny and optimistic pineapple-dwelling
sea sponge named SpongeBob (played zestfully by Matt Wetzel) sets out to save
the town and prove he is not “just a simple sponge” as he was accused of being
by miserly Mr. Krabs (Robert Howard), manager of the Krusty Krab restaurant. </span></p>
<p class="MsoNormal"><span style="color: #073763;">With his BFF Patrick Star (Geraden Ward) and Sandy (Summer
Moore)—a land mammal squirrel with scientific knowledge and who had been
marginalized by the townsfolk in tow—SpongeBob attempts to climb Mount
Humongous to intervene and prevent the seemingly inevitable eruption. </span></p>
<p class="MsoNormal"><span style="color: #073763;">They endeavor to overcome their own lack of self-esteem and
confidence as well as a pair of<br /> antagonists, Sheldon Plankton (Adam Goldsmith)
and his wife Karen (Jessica Long ) who want to thwart the effort. In the rather
predictable conclusion, all works out despite the obstacles. </span></p>
<p class="MsoNormal"><span style="color: #073763;">When I saw <i style="mso-bidi-font-style: normal;">Sondheim on
Sondheim</i> recently at Silhouette Stages, I was impressed by Matt Wetzel who</span></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-6LOpFAiljn02_NKl1r8NzIjDQR5HtokydoFGMcnxyAdrs57mE8w2r24bOZBrAF6o-Zl9TFRYpbv_Vq9WyR1QrEcnC-Leq59xXumy-Cf3ABbMIRniBGjI_T26FzrZqKNejZiQ1k590jPCrzq8HNoRkMv_e4WyJciGQXkKc3LZpkSwlCuv60I_/s1272/sponge8.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="848" data-original-width="1272" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-6LOpFAiljn02_NKl1r8NzIjDQR5HtokydoFGMcnxyAdrs57mE8w2r24bOZBrAF6o-Zl9TFRYpbv_Vq9WyR1QrEcnC-Leq59xXumy-Cf3ABbMIRniBGjI_T26FzrZqKNejZiQ1k590jPCrzq8HNoRkMv_e4WyJciGQXkKc3LZpkSwlCuv60I_/w400-h266/sponge8.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b><span style="color: #0b5394;">Matt Wetzel</span></b></td></tr></tbody></table><span style="color: #073763;"><br /> performed
well in the show. But his <i style="mso-bidi-font-style: normal;">tour de force</i>
as the title character in <i style="mso-bidi-font-style: normal;">SpongeBob </i>has
taken him to a new level. </span><p></p>
<p class="MsoNormal"><span style="color: #073763;">Though diminutive in stature, Mr. Wetzel has a big voice—and
not just a big voice but a strong one. Throughout the production, I was worried
that because of the many songs he participates in and the shouting he is called
upon in the dialogue that his voice wouldn’t hold up. Happily, it remained robust
through the end.</span></p>
<p class="MsoNormal"><span style="color: #073763;">He literally bursts on the stage with energy that only Mount
Humongous could hold. His role is physical with a lot of dancing and movements all
over while his acting skills excel in portraying the cheery, carefree character.<span style="mso-spacerun: yes;"> </span>He even tosses in a well-executed cartwheel
for good measure.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Mr. Wetzel performs
in many of the show’s songs with other members of the cast and stands out in
the solos “Bikini Bottom Day” and the excellent “(Just a) Simple Sponge.” He is
also wonderful in the snappy group number “Best Day Ever.” </span></p>
<p class="MsoNormal"><span style="color: #073763;">As SpongeBob’s best friend Patrick, Geraden Ward brings their own set of talents to the fore. Geraden is also a competent vocalist as evident in
the duet “BFF” and the outstanding group number “Super Sea-Star Savior” with a bunch
of sardines, no less, which has a revival feel. </span></p>
<p class="MsoNormal"><span style="color: #073763;">Patrick, a starfish, is kind of dim-witted. Yet, some of the
Bikini Bottom residents including those sardines clad in pink and green costumes
think Patrick is a genius and made him a guru of some sort, which threatened the BFF
status with SpongeBob. Spoiler alert: they do reconcile and join forces to
conquer Mt. Humongous. Geraden adeptly portrays that comedic character.</span></p>
<p class="MsoNormal"><span style="color: #073763;">As the denigrated scientist-squirrel Sandy, Summer Moore is
excellent. She came up with the invention, “the eruption interrupter” that was
counted on to stem the eruption and eventual doom. Her lovely singing voice is
on display in “Hero Is My Middle Name” with Mr. Wetzel and Mr. Ward and the
duet “Chop to the Top” with Mr. Wetzel.</span></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSgxrI1iwi9upo71OjGihcsE7gIC8PJ2-2vQ8WTzaN7xtStJbGq7lobPlzf9SuWT80ntsr6pr1rn9tX_fNVXIJQEFGE_QEqaw_oLun7x_Wr-upPTRMaLaie-7Em1DZsIdEoADz6GrLyC6aJYO1wi0D82HJCafbquraQgA4IlA1tuwOAuYWg7tY/s5408/Sponge%201%20Stasisa%20Stewart%20Photography.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3000" data-original-width="5408" height="223" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSgxrI1iwi9upo71OjGihcsE7gIC8PJ2-2vQ8WTzaN7xtStJbGq7lobPlzf9SuWT80ntsr6pr1rn9tX_fNVXIJQEFGE_QEqaw_oLun7x_Wr-upPTRMaLaie-7Em1DZsIdEoADz6GrLyC6aJYO1wi0D82HJCafbquraQgA4IlA1tuwOAuYWg7tY/w400-h223/Sponge%201%20Stasisa%20Stewart%20Photography.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b><span style="color: #cc0000;">Seth Fallon as Squidward and his sea anemone chorus line</span></b></td></tr></tbody></table><p></p>
<p class="MsoNormal"><span style="color: #073763;">Seth Fallon deliciously plays the 4-legged octopus (yes,
there are 4 legs) Squidward Q. Tentacles—my favorite name in the show.
Constantly reminded of being a loser, Squidward is determined to overcome the
label. </span></p>
<p class="MsoNormal"><span style="color: #073763;">Mr. Fallon excels in the song “I’m Not a Loser,” a superb tap-dancing number with the company. Tap dancing is quite a skill to possess;
dancing with 4 legs is definitely a challenge and Mr. Fallon pulls it off
splendidly. In addition, his facial expressions and flamboyant demeanor
throughout are worth the price of admission.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Robert Howard plays greedy Mr. Krabs, the manager of the
Krusty Krab, with flair. Mr. Howard performs well with Leah Freeman who plays
the role of Mr. Krabs’ daughter Pearl in the duet “Daddy Knows Best.”</span></p>
<p class="MsoNormal"><span style="color: #073763;">Other notable members of the amazing cast include Adam
Goldsmith and Jessica Long as the villains Sheldon Plankton and Karen,
respectively; Don Lampasone as the comedic Patchy the Pirate;<span style="mso-spacerun: yes;"> </span>Mica Weiss as campy Perch Perkins who performed
as a newscaster counting down the time of the impending volcano eruption; Debbi
Watts as the Mayor of Bikini Bottom who loves to create a multitude of task
forces to analyze problems; Nick Yarnevich as Larry the Lobster; John Sheldon
as Old Man Jenkins who demands that these creatures get off his lawn; and Forest
Roca as Gary. </span></p>
<p class="MsoNormal"><span style="color: #073763;">The Electric Skates is comprised of Shaelyn Betances, Kelsey
McDaniel and Samantha Sheldon. The remainder of the Ensemble include Angela
Cava, Katelyn Dixon, Bethany Jani, Al Norman, Tori Worth and Angie Townsend.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Music Director Mari Hill and the six-piece orchestra do a
fine job with the score. Tori Worth’s choreography is spot-on with the
tap-dancing number “I’m Not a Loser” as a standout. The cast execute the moves
proficiently.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Mica Weiss designed the eclectic, colorful costumes. Since <i style="mso-bidi-font-style: normal;">SpongeBob Square Pants</i> is a cartoon, the
imaginatively created costumes are suitably bright with pastels splashed all
over them. Many of the costumes are intricate and eye-popping and add much to
the spectacle. There are lots of pinks and greens as well as aqua shades and yellow.
And yes, SpongeBob had little square patterns on his pants.</span></p>
<p class="MsoNormal"><span style="color: #073763;">TJ Lukacsina’s lighting design adds much to the optics, and
sound designers Ethan Hogarty and Alex Porter keep the performers audible
without being overwhelmed by the orchestration.</span></p>
<p class="MsoNormal"><span style="color: #073763;"><i style="mso-bidi-font-style: normal;">The SpongeBob Musical</i>
is a solid show throughout highlighted by an outstanding lead performer Matt
Wetzel and a talented cast and crew. Under Debbie Mobley and Robyn Yakaitis’
direction, the production moves smoothly and meticulously and brings all the
elements together in a cohesive manner. </span></p>
<p class="MsoNormal"><span style="color: #073763;">You may be up to your gills in sea and fish references, but it’s
a lot of fun. Adults will enjoy the quality of the entertainment, the music and
the messaging contained therein; children will absolutely love it and swallow
it—hook, line and sinker. <span style="mso-spacerun: yes;"> </span></span></p>
<p class="MsoNormal"><span style="color: #073763;">Running time. Two hours and 30 minutes with an intermission.</span></p>
<p class="MsoNormal"><span style="color: #073763;"><i style="mso-bidi-font-style: normal;">The SpongeBob Musical</i>
plays on weekends through October 22 at the Slayton House Theatre, 10400 Cross
Fox Ln, Columbia, MD 21044. For tickets, call 410-730-3987 visit <a href="https://www.silhouettestages.com/box-office">online</a>. </span></p>
<p class="MsoNormal"><span style="color: #073763;">Photos: Stasia Steuart Photography</span></p>Steve Charinghttp://www.blogger.com/profile/10671770309656409487noreply@blogger.com0tag:blogger.com,1999:blog-18860233.post-16346065102510742342023-09-27T15:15:00.003-04:002023-10-01T15:50:12.545-04:00‘The Wiz’ Stunningly Brings it Home to Baltimore<p><span style="color: #073763;"></span></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgr82rDcHjQhSSKR28XrAsDWuE9wXVuFRNo2Y6x9wlgksvYkshrKfaI4MSohZCHUZnuj-TtXHJNLPptBFow3CaywbldPjBgbUXp7y33g_NtMn1_FmRzpEtRFCEi1ip0FjKnY-3LqdnoLZlREOob_SdEjNYg4qssn-NVwViVMfBYUmPpqN6pMePQ/s7200/Wiz%20Jeremy%20Daniel.jpeg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4500" data-original-width="7200" height="250" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgr82rDcHjQhSSKR28XrAsDWuE9wXVuFRNo2Y6x9wlgksvYkshrKfaI4MSohZCHUZnuj-TtXHJNLPptBFow3CaywbldPjBgbUXp7y33g_NtMn1_FmRzpEtRFCEi1ip0FjKnY-3LqdnoLZlREOob_SdEjNYg4qssn-NVwViVMfBYUmPpqN6pMePQ/w400-h250/Wiz%20Jeremy%20Daniel.jpeg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="color: #990000;"><b>Photo: Jeremy Daniel</b></span></td></tr></tbody></table><p></p><p><span style="font-family: georgia; font-size: x-large;">R</span><span style="color: #073763;">emember Baltimore’s Morris A. Mechanic Theatre? Along with
the venerable Lyric Opera House it was a centerpiece of theatre in Charm City
spanning four decades. Alas, the Mechanic closed its doors in 2004 but not
before it was the venue for numerous classic Broadway plays and musicals
featuring a ton of iconic, award-winning performers that are too many to list
here. </span></p><p><span style="color: #073763;">Well, the Mechanic happened to be the locale for the world premiere in
October 1974 of the breakthrough musical </span><i style="color: #073763;">The
Wiz</i><span style="color: #073763;">.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Now, nearly a half century later, the seven-time Tony
winning musical has launched its pre-Broadway revival, multi-city tour at the
more spacious and ornate Hippodrome Theatre in Baltimore. Who says you can’t go
home again? <span style="mso-spacerun: yes;"> </span></span></p>
<p class="MsoNormal"><span style="color: #073763;"><i style="mso-bidi-font-style: normal;">The Wiz</i>, with music
and lyrics by Charlie Smalls (and others) and book by William F.
Brown, is based on L. Frank Baum's children’s novel <i style="mso-bidi-font-style: normal;">The Wonderful Wizard of Oz</i> (1900). The
music and structure of <i style="mso-bidi-font-style: normal;">The Wiz</i>
originated with Black creators, directors and an all-Black cast. It was
reportedly created as an answer to the 1939 film, <i style="mso-bidi-font-style: normal;">The Wizard of Oz</i>, which had an all-white cast and an opportunity to
break through a Broadway culture, which ostensibly was not that receptive to
Black creators and performers. Nonetheless, notable productions with African
American themes, such as <i style="mso-bidi-font-style: normal;">Show Boat, A
Raisin in the Sun,</i> and <i style="mso-bidi-font-style: normal;">Porgy and Bess</i>
preceded <i style="mso-bidi-font-style: normal;">The Wiz</i> to Broadway.</span></p>
<p class="MsoNormal"><span style="color: #073763;">The musical, which originally starred Stephanie Mills,
spawned several tours, a film in 1978 starring Diana Ross and Michael Jackson
among others, and a live TV performance in 2015. Using soul, gospel, rock, jazz
and 70s funk, the dynamic score augments the story of Dorothy’s journey to find
her place in a contemporary world fraught with obstacles and her fervent quest
to find her way home.</span></p>
<p class="MsoNormal"><span style="color: #073763;">The top-selling single “Ease On Down The Road” and the
gospel-infused “Home” are highlights. But there are plenty of other songs to
enjoy including “The Feeling We Once Had,” “Be A Lion,” “We’re Gonna Make It,”
and “Don’t Nobody Bring Me No Bad News.” Some of these are in the showstopper
category. And there is plenty of wonderful dancing to add even more life to the
songs.</span></p>
<p class="MsoNormal"><span style="color: #073763;">With the dialogue, music styles, choreography and the
interactions among the endearing bunch of characters as presented in the
revival production, the Black experience and culture are celebrated in a
tapestry of light-hearted humor, campiness and powerhouse musical performances.
Yet, audiences of all backgrounds and ages will enjoy this work of art.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Given that the original movie <i style="mso-bidi-font-style: normal;">The Wizard of Oz</i>, which was later broadcast on television in 1956,
has been viewed by so many and is considered one of the greatest films of all
time, I am assuming that people are familiar with the fantasy storyline so I
will not offer a deep dive into the plot. </span></p>
<p class="MsoNormal"></p><blockquote><span style="color: #073763;"><b><span style="font-size: large;">"...the entire cast ... is brimming with vivacity and pure talent." </span></b></span></blockquote><p></p><p class="MsoNormal"><span style="color: #073763;">Suffice to say, the coming-of-age saga centers on Dorothy
whose house is blown away with her in it during a tornado and winds up in the
land of Oz. In order to find her way home, which is her top priority, she is
advised to meet the omniscient, mysterious “Wiz” (aka Wizard of Oz) in the
Emerald City who can help her return home. </span></p>
<p class="MsoNormal"><span style="color: #073763;">Along the way she encounters a scarecrow in need of a brain;
a tin man who lacks a heart; and a lion, which is short on courage—all of whom
were put under spells by Evillene, a wicked witch—can also benefit from Wiz’s “powers.”
Their adventures en route, especially the confrontation with the wicked witch Evillene,
comprise most of the action and fun in the show. </span></p>
<p class="MsoNormal"><span style="color: #073763;">While the contours of the storyline are pretty consistent
with the original film, there are some differences including the absence of a
yellow brick road, the munchkins, changes to the witches’ names, and there is
no Toto—Dorothy’s loveable pooch.</span></p>
<p class="MsoNormal"><span style="color: #073763;">On the night this production was reviewed, the theatre
experienced a power snafu that briefly delayed the opening. Undaunted, this
production of <i style="mso-bidi-font-style: normal;">The Wiz</i> is electric. </span></p>
<p class="MsoNormal"><span style="color: #073763;">Guided by the meticulous direction of Schele Williams,
choreography of Jaquel Knight, orchestrations by Joseph Joubert, and an
abundantly talented cast, the production’s energy alone could have powered the
performance. Thankfully, though, the issue was resolved after 30 minutes.</span></p>
<p class="MsoNormal"><span style="color: #073763;">An amazing set with hue-rich lighting, spectacular costumes
and a solid score provide support to the entire cast, which is brimming with vivacity
and pure talent. The leads are exceptional especially Nichelle Lewis as Dorothy,
who will be making her Broadway debut. Expect to hear a lot about her in the
future. </span></p>
<p class="MsoNormal"><span style="color: #073763;">As the youthful, homesick and caring Dorothy, Ms. Lewis is
phenomenal—both as an actress and vocalist. Dorothy convincingly offers encouragement
to the Scarecrow, Tin Man and Lion and is every bit on board in having their
deficiencies repaired by Oz. All the while she is wearing powerful silver
slippers that are coveted by Evillene.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Ms. Lewis’ Mezzo-Soprano voice soars throughout all her songs
hitting notes that I questioned if ever existed. “Soon As I Get Home,” “Wonder,
Wonder Why” and the show’s anthem “Home” are solos that exemplified her singing
prowess. She also partnered with other performers in songs that showcase her
gift like the repeated “Ease On Down The Road.”</span></p>
<p class="MsoNormal"><span style="color: #073763;">Melody A. Betts is another strong performer, first playing
the early role of Aunt Em, a tough but loving role model for Dorothy. Her first
name of Melody is apparently no accident; she can sing up a storm, and the tornado
happened to occur following her belted out rendition of “The Feeling We Once Had”
as part of a duet with Ms. Lewis.</span></p>
<p class="MsoNormal"><span style="color: #073763;">As if Ms. Betts’ talents weren’t enough as Aunt Em, she later
played the role of Evillene, one of the wicked witches who desperately wants
Dorothy’s silver slippers. In an incredibly amusing scene where the four
travelers were dispatched by Oz to kill Evillene in exchange for doing his
promised good deeds, Ms. Betts’ comedic skills are as spot-on as her vocals. “Don’t
Nobody Bring Me No Bad News” is fantastic. </span></p>
<p class="MsoNormal"><span style="color: #073763;">Avery Wilson plays quick witted Scarecrow, the first to join
Dorothy on her journey. The character might be brainless but Mr. Wilson can
sure dance! He’s graceful with powerful, sure-footed moves throughout. He sings
well in the comical number “You Can’t Win” with the crows who are supposed to
be frightened of him but clearly are not. He also appears in several group
numbers including the upbeat “We’re Gonna Make It.”</span></p>
<p class="MsoNormal"><span style="color: #073763;">Sad but hopeful Tin Man, played by Phillip Johnson
Richardson, is seeking a heart and also has a comical role. His solo “Slide
Some Oil To Me” is a good example of his vocal abilities. He joins his fellow
travelers in “What Would I Do If I Can Feel” as well as other numbers.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Kyle Ramar Freeman is particularly proficient as the campy,
cowardly Lion. Campy for sure; he uses highlighter in his mane. But he keeps
looking for his pride that was taken from him by Evillene. Mr. Freeman
possesses an excellent, far-ranging tenor voice, which is evident in “Mean Ole’
Lion” and the phenomenal group number with his travel companions “Be A Lion” that
concludes the first act.</span></p>
<p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgG-hDD_cpjUTmqXuALFGmaisBnHQAC5fl2dnlyITKWayKQjno8pNSmZr7Sk4m3dEBKvJfy7dj0WfMRvibpQWYfEX4DmgRmzbXjseMpLqrudRtiTaqaQNDG5S1A6oC75uFVcHlVAErdhDumTY-DD8GCFWXZ8tDZc9mLRSHUQ8TxL7D_x8xrsavm/s1641/wiz%202.jpeg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1641" data-original-width="1048" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgG-hDD_cpjUTmqXuALFGmaisBnHQAC5fl2dnlyITKWayKQjno8pNSmZr7Sk4m3dEBKvJfy7dj0WfMRvibpQWYfEX4DmgRmzbXjseMpLqrudRtiTaqaQNDG5S1A6oC75uFVcHlVAErdhDumTY-DD8GCFWXZ8tDZc9mLRSHUQ8TxL7D_x8xrsavm/w255-h400/wiz%202.jpeg" width="255" /></a></div><span style="color: #073763;">As the title character, Alan Mingo, Jr. first appears in the
second act. A conman’s conman, Wiz feigns powerful abilities in a deal with
Evillene to keep the Ozians trapped behind the gates of Emerald City. In a <i style="mso-bidi-font-style: normal;">tour de force</i>, Mr. Mingo acts and sings
with aplomb and is showcased in “Meet The Wizard” and “Y’all Got It.”</span><p></p>
<p class="MsoNormal"><span style="color: #073763;">Deborah Cox plays Glinda, one of the good witches, with
flair. Her powerful Mezzo-Soprano is evident in “He’s The Wiz” and the
stunningly powerful “Believe In Yourself.”</span></p>
<p class="MsoNormal"><span style="color: #073763;">Another notable performer is Allyson Kaye Daniel who plays
Addaperle, a funny, sassy witch. </span></p>
<p class="MsoNormal"><span style="color: #073763;">The remainder of the talent cast excels in their vocals and choreography
and add much quality to the show. They appear in many scenes and help to bolster the rich score.</span></p>
<p class="MsoNormal"><span style="color: #073763;">If <i style="mso-bidi-font-style: normal;">The Wiz</i> were to
have an additional co-star, I’d give the title to the scenic designer, Academy Award winner Hannah Beachler.
The set and scenery are nothing short of spectacular. The stage is framed with
an art deco design but what is between is simply eye-popping. With the use of
high-tech effects, projections and colorful scenery plus a wide variety of set
pieces, the changing scenes are in perpetual motion. Add to that the brilliant palette
of beautiful lights designed by Ryan J. O’Gara that combine so well with the
scenery changes.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Sharen Davis designed the stunning costumes—colorful,
fanciful, imaginative and functional. <span style="mso-spacerun: yes;"> </span>I
was a little disappointed, however, with the rather bland costumes for
Scarecrow and Tin Man. But that minor quibble does not mitigate the fact that <i style="mso-bidi-font-style: normal;">The Wiz</i> is a simply gorgeous visual. </span></p>
<p class="MsoNormal"><span style="color: #073763;">Also, Jon Weston’s sound design is flawless keeping the orchestra
and vocalists in perfect blend and<br /> enabling the audience to hear the dialogue
clearly.</span></p>
<p class="MsoNormal"><span style="color: #073763;">I had seen <i style="mso-bidi-font-style: normal;">The Wizard
of Oz</i> numerous times, the film <i style="mso-bidi-font-style: normal;">The
Wiz</i>, and the TV presentation. I loved these but I love this current
iteration most. The performances, the visuals, the staging are all top-notch
and pure joy. The underlying message of believing in yourself is powerful and
persuasive.</span></p>
<p class="MsoNormal"><span style="color: #073763;"><i style="mso-bidi-font-style: normal;">The Wiz</i> is
unquestionably going to be a success on the tour, and when it arrives at New
York’s Marquis Theatre next April, it is destined to be a smash hit. While in
Baltimore, it would be advisable to hurry to buy tickets to this stunning
masterpiece as the show eases on down the road across America very soon.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Running time. Two hours and 20 minutes with an intermission.</span></p>
<p class="MsoNormal"><span style="color: #073763;"><i style="mso-bidi-font-style: normal;">The Wiz</i> runs
through September 30 at the Hippodrome Theatre at the France-Merrick Performing
Arts Center, 12 N. Eutaw St, Baltimore, MD 21201.<span style="mso-spacerun: yes;"> </span>For tickets, call Ticketmaster at
800-982-ARTS or visit ticketmaster.com or BaltimoreHippodrome.com.</span></p>Steve Charinghttp://www.blogger.com/profile/10671770309656409487noreply@blogger.com2tag:blogger.com,1999:blog-18860233.post-85588822021482724932023-09-06T13:45:00.002-04:002023-09-19T21:00:46.852-04:00This (Sister) Act at Toby’s Never Gets Old <p><span style="color: #073763;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="color: #073763;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBslo3jtJV8mh1rs9THT_wv4fY5R70kdX719QmptHVoXWCKo6f7mR9E_aa8u3QOHCo9taU-kVWKstL0tU064WVJRyomRn3IqMgHRxoxa6x003VRmoHCD9H1MB-r8RLQONAreZZtTwP165lp7eeJmnbAU0pgJl7rQdYX_dh3lSI-2t8S0q842q2/s3502/Sister%201.jpeg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3502" data-original-width="2802" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBslo3jtJV8mh1rs9THT_wv4fY5R70kdX719QmptHVoXWCKo6f7mR9E_aa8u3QOHCo9taU-kVWKstL0tU064WVJRyomRn3IqMgHRxoxa6x003VRmoHCD9H1MB-r8RLQONAreZZtTwP165lp7eeJmnbAU0pgJl7rQdYX_dh3lSI-2t8S0q842q2/w320-h400/Sister%201.jpeg" width="320" /></a></span></div><span style="color: #073763;"><br /><span style="font-family: georgia; font-size: x-large;">I</span>f you prayed for a top-notch musical to kick off the fall
season, then your prayers have been answered. <i>Sister Act</i> makes its return to Toby’s The Dinner Theatre of
Columbia under new direction with several leads and cast members reprising
their roles from the 2016 iteration. The show’s themes of humanity, hope, faith
and sisterhood, and the message that people can change for the better if given
the right environment and support never gets old. </span><p></p>
<p class="MsoNormal"><span style="color: #073763;">Helmed by Helen Hayes Award winner Mark Minnick, this slick
production at Toby’s is as good as it gets. Mr. Minnick, who also choreographs the
intricate, well-executed dance numbers, is blessed with a sterling cast whose
vocals soar, works damn (oops, sorry) hard, and has a lot of fun entertaining
for an appreciative audience.</span></p>
<p class="MsoNormal"><span style="color: #073763;">With music by Alan Menken and lyrics by Glenn Slater and a
book by Bill and Cheri Steinkellner, <i style="mso-bidi-font-style: normal;">Sister
Act</i> is based on the successful 1992 movie of the same name that starred
Whoopi Goldberg.<span style="mso-spacerun: yes;"> </span>The musical production
opened on Broadway in 2011 and received five Tony Award nominations. The
prolific Menken is best known for his composing such stalwarts as <i style="mso-bidi-font-style: normal;">The Little Mermaid</i>, <i style="mso-bidi-font-style: normal;">Beauty and the Beast</i>, <i style="mso-bidi-font-style: normal;">Little
Shop of Horrors</i> and <i style="mso-bidi-font-style: normal;">Newsies</i>, to
name a few.</span></p>
<p class="MsoNormal"><span style="color: #073763;">There is an abundance of comedy that will keep you laughing
heartily. The up-tempo songs are toe-tapping with some powerfully delivered
ballads in the mix.<span style="mso-spacerun: yes;"> </span>The influence of
disco, Philly soul and gospel is evident in Mr. Menken’s score. A few of the
songs are of the show-stopping variety and are performed exceptionally by the skilled
vocalists.<span style="mso-spacerun: yes;"> </span>Ross Scott Rawlings’
six-piece orchestra (he alternates with Nathan Scavilla) is well-balanced in
support of the performers without overpowering them.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Set in 1977 Philadelphia, the Whoopi Goldberg in this
production is Ashley Johnson-Moore as Deloris Van Cartier, an aspiring disco
diva who ends up in hiding at a convent at the urging of police desk chief
Eddie Souther (Gerald Jordan) when her married club-owning gangster boyfriend,
Curtis Jackson (Ryan Holmes) and three buffoon-like accomplices Joey, Pablo and
TJ (Jordan B. Stockdale, Brian Dauglash, and Anwar Thomas, respectively) find
out she’s squealed to the cops about his murdering one of his cronies.<span style="mso-spacerun: yes;"> </span>Curtis is hell-bent (sorry again) to find her.
</span></p>
<p class="MsoNormal"><span style="color: #073763;">At the convent, Deloris meets up with the rigid, no-nonsense
Mother Superior (Lynn Sharp-Spears) where their backgrounds, personalities and religious
values clash but mostly in a light manner laced with sarcasm.<span style="mso-spacerun: yes;"> </span>Deloris brings to the convent her streetwise
persona, plenty of sass, and an irreverent view of religion and is frustrated
by the convent’s restricting rules. </span></p>
<p class="MsoNormal"><span style="color: #073763;">She also brings a ton of singing talent to help the other
sisters transform their hapless choir into one that is adding more folks to the
pews and more dollars to the collection plate, which are needed to make
necessary repairs.<span style="mso-spacerun: yes;"> </span>Throughout her stay
at the convent,she never loses her dream to be a big-time singer.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Moreover, Deloris finds the meaning of true friendship as
she engages with the other sisters. <span style="mso-spacerun: yes;"> </span>From
them Deloris ultimately finds a higher purpose to her life and that ultimately
they are not much different from her.</span></p>
<p class="MsoNormal"><span style="color: #073763;">David A. Hopkins’ imaginative set design converts the
in-the-round stage to a realistic convent and church chapel atmosphere. To be
sure, there are other scene locales like bars and a disco that require a bevy
of props and set pieces, but the design for the convent and church truly excels.
<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span></span></p>
<p class="MsoNormal"><span style="color: #073763;">Stained glass windows along the walls of the theater in
addition to well-placed candles, projection screens and even a faux church
organ take the audience inside these hallowed walls. Numerous set pieces are employed
that include tables, chairs, pews, bars, a piano, beds, swinging doors, lighted
pillars among them add much texture to the scenes. The staging for the scene
changes with all of these set pieces involved is thoroughly smooth and
seamless. Lynn Joslin’s lighting design is magnificent and augments the scene
changes to perfection.</span></p><p class="MsoNormal"></p><blockquote><b style="color: #073763;"><span style="font-size: large;">"...this slick production at Toby’s is as good as it gets." </span></b></blockquote><p></p>
<p class="MsoNormal"><span style="color: #073763;">Dammit, those fabulous costumes! (ugh, there I go again.) <span style="mso-spacerun: yes;"> </span>Sarah King and Carrie Seidman fitted the cast
in stunning attire. Tight disco dresses, various sets of habits for the sisters
(black, white and red), colorful gowns for the choir boys, pajamas, and polyester
suits present enormous visual appeal to the audience.</span></p><p class="MsoNormal"><span style="color: #073763;">Without question, Helen Hayes nominee Ms. Johnson-Moore (<i style="mso-bidi-font-style: normal;">Memphis, The Wiz, The Color Purple</i>) as
Deloris turns in a star-quality performance as she did during the 2016 Toby’s
production.<span style="mso-spacerun: yes;"> </span>She offers the right amount
of impudence in her dialogue, showcases her comedic skills with spot-on timing
and body language, and Lord, can she sing!</span></p>
<p class="MsoNormal"><span style="color: #073763;">Commanding a rich soprano voice, Ms. Johnson-Moore excels
from the opening numbers “Take Me to Heaven” and “Fabulous Baby” to “Raise Your
Voice” and “Sister Act.”</span></p>
<p class="MsoNormal"><span style="color: #073763;">The romantic interest is “Sweaty Eddie” Souther, played by Gerald
Jordan, a klutzy policeman whom she knew in high school.<span style="mso-spacerun: yes;"> </span>Eddie is assigned to protecting her from
Curtis.<span style="mso-spacerun: yes;"> </span>His big song “I Could Be that
Guy” is strong and emotional and well-delivered.<span style="mso-spacerun: yes;"> </span>That number is enhanced by a wonderful
double-breakaway costume.</span></p>
<p class="MsoNormal"><span style="color: #073763;">As the deadpan Mother Superior, Ms. Sharp-Spears reprises
her role and is the perfect foil for Deloris.<span style="mso-spacerun: yes;">
</span>Their exchanges provide many of the laughs in the show with each feeding
off each other with well-timed retorts. “Here Within These Walls” and “I Haven’t Got a
Prayer” ably displays Ms. Sharp-Spears’ solid soprano voice and her amazing
ability to hold a note. Ms. Sharp-Spears is excellent throughout.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Ryan Holmes as the show’s antagonist Curtis shines in “When
I Find My Baby” aided by his three aforementioned cohorts.<span style="mso-spacerun: yes;"> </span>He repeats that number in the second act as a
solo very movingly demonstrating his rich baritone vocals.</span></p>
<p class="MsoNormal"><span style="color: #073763;">A young apostolate in the convent, Sister Mary Robert,
played tenderly by MaryKate Brouillet, takes the leap from being shy to
confident thanks to her bonding with Deloris.<span style="mso-spacerun: yes;">
</span>Her soaring performance of “The Life I Never Led” that depicts this discovery
is one of the production’s highlights.</span></p><div class="separator" style="clear: both; text-align: center;"><span style="color: #073763;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbBwOaTRrSNnPBL3r9bgXMinvyPikfFJgGnx7McHnLNxziVA_KUakv6fZXfYtKhZ2e3jWXixYn4PGFXnmLdIZqtQ6iUUViDzjpuyE5PIpe6q6rerIrS5hvg_YmfMVHGH7QGASCTx6JbjDw-HOHxvgcUG9uzXc9EBoGeTXvbDkMgJPiaxsadJwC/s5472/Sister%202.jpeg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbBwOaTRrSNnPBL3r9bgXMinvyPikfFJgGnx7McHnLNxziVA_KUakv6fZXfYtKhZ2e3jWXixYn4PGFXnmLdIZqtQ6iUUViDzjpuyE5PIpe6q6rerIrS5hvg_YmfMVHGH7QGASCTx6JbjDw-HOHxvgcUG9uzXc9EBoGeTXvbDkMgJPiaxsadJwC/w400-h266/Sister%202.jpeg" width="400" /></a></span></div><p></p><p class="MsoNormal"><span style="color: #073763;">The remainder of the company supports the leads effectively
in the musical numbers with their vocals and dancing.<span style="mso-spacerun: yes;"> </span>Mr. Minnick’s creative choreography is
exemplified in such songs as “When I Find My Baby,” “I Could Be That Guy,” “Sunday
Morning Fever,” and in the revival-like finale, the reprise of “Raise Your
Voice.” Another favorite of mine is “Lady in the Long Black Dress” performed by
Jordan B. Stockdale, Brian Dauglash, and Anwar Thomas.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Other notable performers include the comedic Robert
Biedermann as Monsignor O’Hara, David James as Ernie, Valerie Adams Rigsbee as
Sister Mary Patrick, Lynne Sigler as Sister Mary Lazarus, and Jane C. Boyle as
Sister Mary Martin-of-Tours.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Rounding out the company are Jeffrey Shankle, Patricia “Pep”
Targete, Asia-Ligé Arnold, Adrienne Athanas, Brandon Bedore, Tina Marie
DeSimone, Lydia Gifford, and Patrick Gover. The male swing is Angelo Harrington
II, and the female swings are Amanda Kaplan Landstrom and Alexis Krey-Bedore.</span></p>
<p class="MsoNormal"><span style="color: #073763;"><i style="mso-bidi-font-style: normal;">Sister Act</i> is an
enjoyable, well-staged, uplifting musical with a solid score, stunning
visuals, an amazing cast and crew under expert direction. Praise the Lord, it
will surely entertain you. Don’t miss it. Your prayers will be answered. Amen!</span></p>
<p class="MsoNormal"><span style="color: #073763;">Advisory: Strobe lighting and fog effects.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Running time. Two hours and 45 minutes with an intermission.</span></p>
<p class="MsoNormal"><span style="color: #073763;"><i style="mso-bidi-font-style: normal;">Sister Act</i> runs
through November 5, 2023,<span style="mso-spacerun: yes;"> </span>at Toby’s the
Dinner Theatre of Columbia, 4900 Symphony Woods Rd., Columbia, MD 21044.<span style="mso-spacerun: yes;"> </span>Tickets may be purchased by calling the box
office at 410-730-8311or visiting <a href="https://tobysdinnertheatre.com/box-office/tickets/">online</a>.</span></p><p class="MsoNormal"><span style="color: #073763;">Photos: Jeri Tidwell Photography</span></p>
<p class="MsoNormal"><span style="color: #073763;">The Menu appears <a href="https://tobysdinnertheatre.com/about-us/whats-on-the-menu/">here</a>.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Drink Special: “The Van Cartier”</span></p>Steve Charinghttp://www.blogger.com/profile/10671770309656409487noreply@blogger.com0tag:blogger.com,1999:blog-18860233.post-43117117050842110902023-09-04T18:49:00.003-04:002024-02-04T10:21:14.022-05:00The Other Mr. Splash<p></p><p align="center" class="MsoNormal" style="text-align: center;"><b style="mso-bidi-font-weight: normal;"><span style="font-size: 14pt; line-height: 115%;"><span style="color: #20124d;">Orioles owner John
Angelos is throwing cold water on the fans’ <span style="font-size: 18.6667px;"><o:p></o:p></span></span></span></b><span style="font-size: 18.6667px; text-align: left;"><span style="color: #20124d;"><b>spirits.</b></span></span></p>
<p class="MsoNormal"><span style="color: #20124d;"></span></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgerm2VhBFjTBmfsmbtOC0upc3oMIrAIwczxvUCj4sUgE5ds3OXmZnHGKdWgZgNSM1OAJve4tjuurcaP4nOZe0rF-ys-L9PZMFCoRxf0lt0i_xY_JH9UlOOlbk_xW8Wsz6gKopEBFCzywrY61617u-mmvoVDDE4RX8wyAY3uYj2BOiI54N4Wq2m/s750/Angelos.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="437" data-original-width="750" height="233" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgerm2VhBFjTBmfsmbtOC0upc3oMIrAIwczxvUCj4sUgE5ds3OXmZnHGKdWgZgNSM1OAJve4tjuurcaP4nOZe0rF-ys-L9PZMFCoRxf0lt0i_xY_JH9UlOOlbk_xW8Wsz6gKopEBFCzywrY61617u-mmvoVDDE4RX8wyAY3uYj2BOiI54N4Wq2m/w400-h233/Angelos.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b><span style="color: #b45f06;">Orioles owner John Angelos dousing the fans with his nonsense</span></b></td></tr></tbody></table><span style="color: #20124d;"><br /></span><span style="color: #20124d;"><span style="font-family: georgia; font-size: x-large;">W</span>ithout question, this has been a magical season for the
Baltimore Orioles and Birdland. One year removed from a major turnaround
last year (83 wins) that effectively ended the rebuild, this season the O’s sit
atop the American League. And that includes you—Astros, Blue Jays and Yankees.</span><p></p>
<p class="MsoNormal"><span style="color: #20124d;">They are currently on pace to win 101 games when just two
years ago, their record was 52-110. Most betting experts prior to the 2023
season had projected the O’s to win 75 games or thereabouts—a regression from
2022. But that didn’t happen. Experts are not always experts.</span></p>
<p class="MsoNormal"><span style="color: #20124d;">The team, the fans, and both the national and local media
are all abuzz surrounding this astonishing success. Even Gerry Sandusky, the
sports anchor on WBAL-TV, has allowed Orioles news to share the time slot with
the Ravens happenings that always used to dominate. </span></p>
<p class="MsoNormal"><span style="color: #20124d;">Attendance, though not great, has improved. An increasing
number of fans root on the team in the road ballparks, no longer fearful of
being mocked by the home crowd. There is a lot of well-deserved and long
overdue swagger among the O’s faithful.</span></p>
<p class="MsoNormal"><span style="color: #20124d;">Nearly everyone seems excited in Birdland and for good
reason. Besides the superb and consistent record in which they have not been
swept in a series dating back to before the arrival of catching phenom and
all-star Adley Rutschman, and in this season the Birds only lost four games in
a row once, the team is showcasing its exciting and highly touted young
prospects. </span></p>
<p class="MsoNormal"><span style="color: #20124d;">Budding superstar Gunnar Henderson, the favorite to win the
American League Rookie of the Year trophy; Grayson Rodriguez, a hard-throwing
pitcher with electric stuff; slick fielding and potentially strong bat Jordan
Westburg; southpaw prospect DL Hall; and the emergence of other pitching
talent, such as Yennier Cano, Dean Kremer and Kyle Braddish have all made key
contributions. </span></p>
<p class="MsoNormal"><span style="color: #20124d;">And when you add the likes of Ryan O’Hearn, James McCann,
Adam Frazier, Kyle Gibson, Danny Coulombe, Jacob Webb, Shinataro Fujinami <span style="mso-spacerun: yes;"> </span>and Aaron Hicks that the O’s picked up as well
as mainstays Cedric Mullins, Ryan Mountcastle, Austin Hays, Ramón Urías, Cionel
Pérez and Anthony Santander, the team is jellin’ with off-the-charts chemistry
and solid ability. The only on-field downer this season has been the
potentially serious injury to super closer Félix Bautista.</span></p>
<p class="MsoNormal"><span style="color: #20124d;">Yes, everyone is excited except one key person: the team’s
owner John P. Angelos. I could be wrong, but I have never heard or read where
Angelos openly rooted the team on or praised the on-field performances given
their success. Last season, with the dramatic turnaround, he called them
overachievers. This year, crickets. </span></p>
<p class="MsoNormal"><span style="color: #20124d;">The O’s instituted a “Bird Bath” section in left center
field at Oriole Park whereby a fellow dubbed Mr. Splash, using a hose, sprays
the O’s fans seated there with water on every Oriole extra base hit or run
scored.<span style="mso-spacerun: yes;"> </span>Just as Mr. Splash soaks the
jubilant fans, Angelos douses Birdland with cold water seemingly every time he
speaks. </span></p>
<p class="MsoNormal"><span style="color: #20124d;">In Spring Training, Angelos, who is always crying poverty,
promised to open the team’s books to the media. That never happened. My guess
is that with the second lowest payroll among the Major League teams, the
Orioles are more profitable than he wants to let on. After all, major league
owners receive approximately $100 million from TV and other revenue sources
every year before a single ticket is sold.</span></p>
<p class="MsoNormal"><span style="color: #20124d;">Then there was the astoundingly tone deaf escapade involving
broadcaster Kevin Brown. It was reported that the popular Brown had been
suspended following his comparing the team’s successful performance this year
at Tropicana Field in St. Petersburg with the futility of previous seasons.
That didn’t sit well with Angelos who reportedly took offense at Brown’s
mentioning the factual numbers, which, by the way, Brown read from a graphic on
the MASN broadcast, since Angelos believed people would see him as cheap in
those lean years.</span></p>
<p class="MsoNormal"></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFtToASILSqng1YkVAH4gtfk1kCQhpYsqx7LfNvOt9Q5ju8OM9v32P9ADV-0z9vwXqoXnexzPY-2iSLinj9bC8fCIdAAFcjDYN1X0y7RB-a68PBGyWxOwp0K-3B6p3nV865gUKnx2eKMP06AQaDzpXsCg5mcWL9zuQJCQ--mgF_4ECjXEuuctr/s960/Angelos2.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="640" data-original-width="960" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFtToASILSqng1YkVAH4gtfk1kCQhpYsqx7LfNvOt9Q5ju8OM9v32P9ADV-0z9vwXqoXnexzPY-2iSLinj9bC8fCIdAAFcjDYN1X0y7RB-a68PBGyWxOwp0K-3B6p3nV865gUKnx2eKMP06AQaDzpXsCg5mcWL9zuQJCQ--mgF_4ECjXEuuctr/w400-h266/Angelos2.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b><span style="color: #b45f06;">The real Mr. Splash</span></b></td></tr></tbody></table><span style="color: #20124d;">The blowback was rapid and intense. Angelos managed to turn
himself into the laughingstock of the baseball world, and Brown was reinstated
eventually under fierce pressure. Angelos couldn’t figure out how this
suspension took place.</span><p></p>
<p class="MsoNormal"><span style="color: #20124d;">While that was going on, Anglos has been dithering with the
Maryland Stadium Authority on a new lease at Oriole Park at Camden Yards. It is
due to expire at the end of this year. Maryland Governor Wes Moore has been
involved with the negotiations, but no signing has taken place. Angelos had
pledged a new deal by the all-star break. But just like his offer to be
transparent about the team’s finances, this was another broken promise. Mindful
of what happened to the Colts sneaking out of Baltimore forty years ago,
Orioles fans are understandably skittish.</span></p>
<p class="MsoNormal"><span style="color: #20124d;">If that wasn’t enough, Angelos said in a<i style="mso-bidi-font-style: normal;"> New York Times</i> interview that this small market team cannot afford
to sign the young studs to long-term deals unless ticket prices (already high)
would go up dramatically. </span></p>
<p class="MsoNormal"><span style="color: #20124d;">As part of the negotiations with the MSA, Angelos wants to
model the surrounding area of Camden Yards after The Battery outside Atlanta’s
Truist Field with its shops, restaurants and bars. It’s a noble idea but
logistically challenging. Truist Field is in a suburban area; Camden Yards is
in an urban district with not much available land. </span></p>
<p class="MsoNormal"><span style="color: #20124d;">If Angelos wants the Orioles to emulate the Braves, he
should follow their example of extending the contracts of their young stars: Ronald
Acuna Jr., Austin Riley, Matt Olson (right after trading for him), Ozzie
Albies, Sean Murphy (also immediately after a trade), Spencer Strider, and
Michael Harris III. That’s an all-star team right there.</span></p>
<p class="MsoNormal"><span style="color: #20124d;">I am suspicious that deep down Angelos does not want the
Orioles to succeed on the field, only on the balance sheet. He never gave words
of encouragement as the team grabbed first place and has held it thus far. The
more team success, the more pressure he would face to open the checkbook and
sign the young studs long-term. </span></p>
<p class="MsoNormal"><span style="color: #20124d;">Angelos doesn’t appear to be onboard the Birdland Express.
He just throws cold water on the fans’ spirits and the good vibes the team
created. They will prevail on the field, however, not because of him but in
spite of him. </span></p><br /><p></p>Steve Charinghttp://www.blogger.com/profile/10671770309656409487noreply@blogger.com1tag:blogger.com,1999:blog-18860233.post-27007369428753646172023-08-21T01:21:00.002-04:002023-08-21T01:34:03.300-04:00Poignant ‘Fiddler on the Roof’ at Beth Tfiloh <p><span style="color: #073763;"><i></i></span></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjO3RqSFPUSIaP3acp7bQCAh6IhaBJBinHB5ORGytxHoxwoad4abTTMY34YqY8nct9M0fQuna4T4XucBohyAlSgKE43dPqsOt3x-uhLTNsworcxmcBLkZfUDegVFEsn40Lie64P4f-Y0HJmLCdbP5mNLI1mVtLtT56eSeszdbzWbprPLE4Mqdtq/s1764/Fiddler1.jpeg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1764" data-original-width="1536" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjO3RqSFPUSIaP3acp7bQCAh6IhaBJBinHB5ORGytxHoxwoad4abTTMY34YqY8nct9M0fQuna4T4XucBohyAlSgKE43dPqsOt3x-uhLTNsworcxmcBLkZfUDegVFEsn40Lie64P4f-Y0HJmLCdbP5mNLI1mVtLtT56eSeszdbzWbprPLE4Mqdtq/w349-h400/Fiddler1.jpeg" width="349" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b><span style="color: #073763;">Gabe Lewin as Tevye</span></b></td></tr></tbody></table><p></p><p><span style="color: #073763;"><i><span style="font-family: georgia; font-size: x-large;">F</span>iddler on the Roof</i>
at Baltimore County’s Beth Tfiloh Community Theatre is “a perfect fit…like a
glove,” to borrow a line from the show. It would seem to be a no-brainer that
BTCT would have put on this musical years ago. Except there is that pesky thing
called production rights that theatre producers and artistic directors must pursue
and obtain. Thankfully, BTCT was able to secure said rights after a five-year quest,
and this classic is now being presented as its annual summer musical. And it’s
superb.</span></p>
<p class="MsoNormal"><span style="color: #073763;"><i style="mso-bidi-font-style: normal;">Fiddler on the Roof</i>,
with its iconic score, opened in 1964 and became the longest running show on
Broadway (over 3,000 performances) until it was eclipsed by <i style="mso-bidi-font-style: normal;">Grease</i>.<span style="mso-spacerun: yes;">
</span>It captured 9 Tony Awards of the 10 categories nominated including Best
Musical, Score, Book, Direction and Choreography.<span style="mso-spacerun: yes;"> </span></span></p><p class="MsoNormal"><span style="color: #073763;">Based on the Sholem Aleichem story <i>Tevye and his
Daughters</i><span style="mso-bidi-font-style: italic;">, the show was crafted
from </span>music by Jerry Bock, lyrics by Sheldon Harnick, and book by Joseph
Stein. A hit movie and numerous productions worldwide were spawned by the
timeless musical. <span style="mso-spacerun: yes;"> </span></span></p>
<p class="MsoNormal"><span style="color: #073763;">Popular songs, such as “Tradition,” “Matchmaker,” ‘If I Were
a Rich Man,” “To Life” and “Do You Love Me” are performed expertly during Beth
Tfiloh’s production. And the classic “Sunrise Sunset” during the climactic
wedding scene at the end of the first act is extraordinary.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Venerable director and co-artistic director Diane M. Smith leads
a talented and enthusiastic cast, crew and orchestra in bringing the six decades-old
powerhouse musical to life. The performers’ ability to act, sing and dance at
such a high level may make you forget that this is a community theatrical
production. </span></p>
<p class="MsoNormal"><span style="color: #073763;">With the company being predominantly Jewish, it lends a
unique authenticity to the musical and that is evident throughout. Adding to
that authenticity are the magnificent period costumes designed and coordinated
by Lizzie Jaspan.</span></p>
<p class="MsoNormal"><span style="color: #073763;">The story centers on a Jewish family in Anatevka, a small
village in 1905 Czarist Russia. The head of the household, Tevye, tries
desperately to cling to the old-time Jewish traditions while confronting the
emerging changes in social mores that his three oldest daughters bring to the
table. These young women eschew deeply ingrained Jewish traditions in favor of pursuing
lives of their own as the times are changing.</span></p><p class="MsoNormal"></p><blockquote><b><span style="color: #741b47; font-size: large;">"The performers’ ability to act, sing and dance at such a high level may make you forget that this is a community theatrical production."</span></b></blockquote><p></p>
<p class="MsoNormal"><span style="color: #073763;">If there ever was a character in theatre who one feels
compelled to root for, it has to be Tevye, the nearly impoverished milkman in
Anatevka. His strong-willed wife has a sharp-tongue, and he is struggling to
house, feed and clothe his five daughters. <span style="mso-spacerun: yes;"> </span>And on top of that, Tevye and his family as
well as the other Jews in Anatevka face constant anti-Semitism and intimidation
from Czarist Russia.</span></p>
<p class="MsoNormal"><span style="color: #073763;">The central character, Tevye, played by Gabe Lewin, appears
in most scenes in the production. On one hand he possesses a rich and
authoritative baritone voice. On the other hand, he acts with a commanding
presence to include appropriate facial expressions, mannerisms and timing. On one
hand he demonstrates comedic instincts.<span style="mso-spacerun: yes;"> </span>On
the other hand, he can dance, too. Mr. Lewin would have made Zero Mostel—the
original Tevye—proud of his work and would have applauded him with both hands.<span style="mso-spacerun: yes;"> </span></span></p>
<p class="MsoNormal"><span style="color: #073763;">Once Mr. Lewin kicked off the production with a solid
rendition of “Tradition,” you knew you were in for a treat the rest of the
way.<span style="mso-spacerun: yes;"> </span>He continues to soar in “If I Were
a Rich Man,” the group number “Sabbath Prayer,” and in one of the more touching
songs, “Do You Love Me?” with Kendra Keiser as his wife Golde.</span></p>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibDwErbqNY6Vba7XdHlIbTV9Z4mUGrc9J1PIqiEN-ZyBHiKlAA79aAEdZ5pkKiXea93s_SbDlyfP3zzUTTgpzzIfSu1KIoMH8ze0BP2eF5AjjrAuSk8qKHzZqHT_zDwXpqZMI7iZHhmagnGkvx49NfCebQ_tGKpnRKMAae8GAo6NE0TailEG0t/s2049/Fiddler2.jpeg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1536" data-original-width="2049" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibDwErbqNY6Vba7XdHlIbTV9Z4mUGrc9J1PIqiEN-ZyBHiKlAA79aAEdZ5pkKiXea93s_SbDlyfP3zzUTTgpzzIfSu1KIoMH8ze0BP2eF5AjjrAuSk8qKHzZqHT_zDwXpqZMI7iZHhmagnGkvx49NfCebQ_tGKpnRKMAae8GAo6NE0TailEG0t/w400-h300/Fiddler2.jpeg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b style="font-family: "Segoe UI Historic", "Segoe UI", Helvetica, Arial, sans-serif; text-align: left; white-space: pre-wrap;"><span style="color: #073763; font-size: x-small;">Abby Ostrow, Ella LaFiandra, Samara Silverman</span></b><span face=""Segoe UI Historic", "Segoe UI", Helvetica, Arial, sans-serif" style="background-color: #e4e6eb; font-size: 15px; text-align: left; white-space: pre-wrap;"><span style="color: #050505;"> </span></span></td></tr></tbody></table><p class="MsoNormal"><span style="color: #073763;"></span><span style="color: #073763;">Demonstrating his acting dexterity, Mr. Lewin convincingly
and endearingly conveys his frustrations with his daughters Tzeitel, Hodel and
Chava.<span style="mso-spacerun: yes;"> </span>Each one of them pushes back on
longtime Jewish traditions, deeply troubling Tevye, to pursue the ones they
love.<span style="mso-spacerun: yes;"> </span></span></p>
<p class="MsoNormal"><span style="color: #073763;">With Tzeitel it was Tevye’s breaking an agreement—convinced
by the protests from Tzeitel (played exceptionally by Hannah Elliott)—with the
much older wealthy butcher Lazar Wolf, played by Brian Singer.<span style="mso-spacerun: yes;"> </span>Lazar had been “matched” by Yente (Julie Kitt
who plays the part wonderfully leading to amusing exchanges.)<span style="mso-spacerun: yes;"> </span></span></p>
<p class="MsoNormal"><span style="color: #073763;">But Tzeitel wanted to be with and eventually marry the poor
and timid tailor Motel (pronounced MAH-tel) played very well by Yitzchok
Smilowitz. In dramatic fashion, Motel calls up his latent inner strength to
fight for the woman he loves. He performs well in the number “Miracle of
Miracles.”</span></p>
<p class="MsoNormal"><span style="color: #073763;"></span></p><div class="separator" style="clear: both; text-align: center;"></div><span style="color: #073763;">Hodel, charmingly played by Ayala Asher, caused Tevye’s
blood pressure to rise as she rebuked tradition too.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>She
was not being formally “matched” and instead found love with Perchik, a radical
who thinks little of such customs.<span style="mso-spacerun: yes;"> </span>Strong-headed
Perchik is played excellently by Eitan Murinson.<span style="mso-spacerun: yes;"> </span>Ms. Asher’s rendition of “Far From the Home I
Love” is moving, using her beautiful voice to full effect.</span><p></p>
<p class="MsoNormal"><span style="color: #073763;">For Chava (Talia Lebowitz), it was all Tevye could
take.<span style="mso-spacerun: yes;"> </span>When analyzing each of the other
two daughter’s intentions, he reasoned, “On the one hand…but on the other
hand…” before he reached a decision.<span style="mso-spacerun: yes;"> </span>In
Chava’s case, “I have no other hand,” he concludes.<span style="mso-spacerun: yes;"> </span>This is a result of her desire to be with
Fyedka (Kemuel Vander-Puije) who was not Jewish.<span style="mso-spacerun: yes;"> </span>Tevye could not go along in this case.<span style="mso-spacerun: yes;"> <br /> </span></span></p>
<p class="MsoNormal"><span style="color: #073763;">Then there is Golde, Tevye’s wife of 25 years. <span style="mso-spacerun: yes;"> </span>She provides comedic balance with her brusque
retorts to Tevye especially when the sacred traditions were being compromised.<span style="mso-spacerun: yes;"> </span>Golde succumbs to Tevye’s fake nightmare ruse
in a spectacular scene that includes white-clad spirits from the otherworld
that allowed her to be convinced that Tzeitel should marry Motel. Kendra Keiser
plays the role to the hilt.</span></p>
<p class="MsoNormal"><span style="color: #073763;"></span></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvtKkTVbkypjfDQNan27epWJ1xE4wjc3AMeweHRqjk7kPzcwUdMpcsQXj7CQIknEkE7h0xF0nPdTRsC3c5MOw-oJzTuejkgzrs7IjPGZJuxZCd0RbPDObahX1o2UZwOfspMy1aLQMc2NZZ_VcQQFrlI2QJ_00P_AKX1PSjtc-h-GsWtVN0lujz/s2049/Fiddler3.jpeg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1536" data-original-width="2049" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvtKkTVbkypjfDQNan27epWJ1xE4wjc3AMeweHRqjk7kPzcwUdMpcsQXj7CQIknEkE7h0xF0nPdTRsC3c5MOw-oJzTuejkgzrs7IjPGZJuxZCd0RbPDObahX1o2UZwOfspMy1aLQMc2NZZ_VcQQFrlI2QJ_00P_AKX1PSjtc-h-GsWtVN0lujz/w400-h300/Fiddler3.jpeg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span face=""Segoe UI Historic", "Segoe UI", Helvetica, Arial, sans-serif" style="background-color: #e4e6eb; text-align: left; white-space: pre-wrap;"><span style="color: #073763; font-size: x-small;"><b>Kendra Keiser as Golde and Gabe Lewin as Tevye</b></span></span></td></tr></tbody></table><span style="color: #073763;"><br />Scott Black effectively plays the Constable, an underling of
the anti-Semitic Czar but one who has compassion for the Jewish community in
the village.<span style="mso-spacerun: yes;"> </span>He ably expresses his
conflicting emotions between duty and his concern for Tevye and his cohorts.</span><p></p>
<p class="MsoNormal"><span style="color: #073763;">At the end, the Czar ousts the Jewish residents from Anatevka
and the family members go their separate ways in a sad conclusion.</span></p>
<p class="MsoNormal"><span style="color: #073763;">The remainder of the sizable cast and ensemble provide
excellent support for the principal characters with their vocals and dancing.
They execute these numbers choreographed by Rachel Miller with energy and
precision, which are on target with Jewish traditional and Russian Cossack
dances.<span style="mso-spacerun: yes;"> </span>Charlotte Evans Crowley ably
directs the six-piece orchestra.</span></p>
<p class="MsoNormal"><span style="color: #073763;">The set was designed by Evan Margolis, BTCT’s co-artistic
director. The backdrop is simple but contains the Hebrew words for Tradition,
Marriage, The Bible, Family, Home, and Community—all overlying themes from the
show.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Scene changes are executed by moving large set pieces like a
porch, benches, chairs, tables, beds, a cart and a well. While these changes
occur, Ms. Crowley’s orchestra provides music to help with the transitions. </span></p>
<p class="MsoNormal"><span style="color: #073763;">At a time when anti-Semitism is on the rise in the U.S. and beyond,
it doesn’t hurt to be reminded of what can happen. Amid the music, dancing,
celebrating and joy, <i style="mso-bidi-font-style: normal;">Fiddler on the Roof,
</i>brings that poignant consciousness to the fore. <span style="mso-spacerun: yes;"> </span></span></p>
<p class="MsoNormal"><span style="color: #073763;">מַזָל טוֹב (congratulations) to Beth Tfiloh Community
Theatre and director Ms. Smith for staying true to the original and all of its
traditions and to the hardworking performers and technical crew for executing
an unforgettable and enlightening production.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Running time. Two hours and 45 minutes with an intermission.</span></p><p class="MsoNormal"><span style="color: #073763;">Advisory: Fog effects in use.</span></p>
<p class="MsoNormal"><span style="color: #073763;"><i style="mso-bidi-font-style: normal;">Fiddler on the Roof</i>
plays August 23 and 27 <span style="font-family: "Open Sans"; mso-bidi-font-family: Arial;">at the H. Morton Rosen Arts Center located at Beth Tfiloh Dahan
Community School, 3300 Old Court Rd., Pikesville, MD 21208</span>. Tickets can
be purchased <span style="font-family: "Open Sans"; mso-bidi-font-family: Arial;">by
calling 410-413-2436, visiting <a href="https://www.showtix4u.com/event-details/75377">online</a>. </span></span></p><p class="MsoNormal"><span style="color: #073763; font-family: Open Sans;">****</span></p><p class="MsoNormal"><span style="color: #073763;">Photos: Evan Margolis/Beth Tfiloh Community Theatre</span></p><p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhi902BKmwAjPauSrsZ2ySK5o1foYwpf35ZOBNzKKsPogPDUHMQcTpWhfs-m1SDLwegjgjMu_4CuXPF-QVv30J3myWMuC_eg4AjGcsnme8YgtSWhgaXrA3l3Snx2af_LVapE24Xq8FG0HTQRfUeTiByw9f-bd1-0vxnd5ATFpOp0rUqkVTcub0g/s2049/Fiddler5.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1536" data-original-width="2049" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhi902BKmwAjPauSrsZ2ySK5o1foYwpf35ZOBNzKKsPogPDUHMQcTpWhfs-m1SDLwegjgjMu_4CuXPF-QVv30J3myWMuC_eg4AjGcsnme8YgtSWhgaXrA3l3Snx2af_LVapE24Xq8FG0HTQRfUeTiByw9f-bd1-0vxnd5ATFpOp0rUqkVTcub0g/w400-h300/Fiddler5.jpeg" width="400" /></a></div><br /><span style="color: #073763;"><br /></span><p></p><p class="MsoNormal"><span style="color: #073763;"><br /></span></p>Steve Charinghttp://www.blogger.com/profile/10671770309656409487noreply@blogger.com0tag:blogger.com,1999:blog-18860233.post-90235896556440212282023-07-03T23:23:00.003-04:002023-07-26T11:32:00.751-04:00How the Orioles Can Boost Attendance<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiT5ZE-WM__b2HVilaPVahqlCejVpYGdQWv6Uk4oWILKzliQvI9qdgttG21cjzBGG71T9AWan8KQrd7Iol2Cw-qnn-60C1J2_elEzR6824MYdIDfAbRmVxEDBA7ZlrygGbQ1alqxbByoA1xlOz4ZPTghwyYMnivq5f2WeMNobrfjaCc-lFhe5IE/s1024/Orioles.jpeg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="575" data-original-width="1024" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiT5ZE-WM__b2HVilaPVahqlCejVpYGdQWv6Uk4oWILKzliQvI9qdgttG21cjzBGG71T9AWan8KQrd7Iol2Cw-qnn-60C1J2_elEzR6824MYdIDfAbRmVxEDBA7ZlrygGbQ1alqxbByoA1xlOz4ZPTghwyYMnivq5f2WeMNobrfjaCc-lFhe5IE/w400-h225/Orioles.jpeg" width="400" /></a></div><span style="font-family: georgia; font-size: x-large;">W</span><span style="font-family: inherit;">e</span>’re at the halfway point in the Baltimore Orioles 2023
season. With a dramatic turnaround in 2022, so much so that they competed for
postseason playoffs following five one hundred plus loss seasons (exception
pandemic-shortened 2020) and showcasing some of baseball’s brightest stars,
Mike Elias, the team’s general manager declared the team’s rebuild is over.
This season, the O’s are 15 games above .500 at this writing and in 2<sup>nd</sup>
place in the grueling American League East Division. With all the excitement
building around this team, you would think the fans would pack the Yard.<p></p>
<p class="MsoNormal">It hasn’t happened yet.</p>
<p class="MsoNormal">The Orioles have drawn 921,766 as they completed their final
home stand before the all-star break. That averages to be 20,949 per game, and
it ranks 22 out of the 30 MLB teams.</p>
<p class="MsoNormal">When you factor in the giveaway promotions when free hats
and shirts are handed to the fans, the team draws well. Other than those
special events, there were more crowds less than 20,000 than above. The
recently completed series against the Minnesota Twins is illustrative. Friday’s
game drew 35,000 when floppy hats were given out. Saturday’s game brought in
40,000 when Hawaiian shirts were the treat. Sunday’s game with nothing for free
brought back the usual 16,000. Even the Washington Nationals with the 4<sup>th</sup>
worst record in baseball is outdrawing the O’s with the 4<sup>th</sup> best
record.</p>
<p class="MsoNormal">This shouldn’t be the case. People around the nation are
noticing the surprising low attendance. For that Sunday game against an
exciting Twins team with such stars as Buxton, Correa, Kepler and Gray, the
game was carried nationally on Peacock. It had to be embarrassing to see such a
sparse crowd with the home team sporting such a solid record with some of the
young stars already contributing.</p>
<p class="MsoNormal">People have offered various explanations, not the least of
which is Baltimore’s relatively small market size. It is true Baltimore has the
5<sup>th</sup> smallest market size of the MLB cities. But St. Louis, which is
just two notches above Baltimore in size rankings, has the 2<sup>nd</sup>
largest attendance this year.</p>
<p class="MsoNormal">Here are some ideas that could bring the fans in and party
like it was 1992.</p><p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="color: #b45f06; font-size: large;">Lower the ticket
prices.</span></b></p><p class="MsoNormal"></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2QZp7r8k7YeXxU6t_W1lBofipjKGl2rHt9lbSyvM3uktkvfiYIQ8JGM0YDdj9Bt1TZOVcwdxr4hmI5Fl8DTxUorF7OrmWb3gvdzRVMZhdyUViUkz_p53WNG2agnAczMWMPgcNmU6ElT9lduGQQ7eJjKdHC4sKJwD7qWIJeIg0yf8yfoMJIvjM/s474/Orioles2.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="291" data-original-width="474" height="245" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2QZp7r8k7YeXxU6t_W1lBofipjKGl2rHt9lbSyvM3uktkvfiYIQ8JGM0YDdj9Bt1TZOVcwdxr4hmI5Fl8DTxUorF7OrmWb3gvdzRVMZhdyUViUkz_p53WNG2agnAczMWMPgcNmU6ElT9lduGQQ7eJjKdHC4sKJwD7qWIJeIg0yf8yfoMJIvjM/w400-h245/Orioles2.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b><span style="color: #b45f06;">Adley Rutschman should be signed to an extension</span></b></td></tr></tbody></table>The Orioles have the 10<sup>th</sup> highest ticket prices
out of 30 teams averaging $123 per ticket. This is<br /> outrageous given the team
has the next to lowest payroll at $60,722,300. The O’s have no $300 million
contract on the books, so it is crazy that the ticket prices are so high. The cost
of tickets exceeds such powerhouse franchises with high payrolls, as the
Phillies, Braves, Jays and Mets.<p></p><p class="MsoNormal"><span style="color: #b45f06; font-size: large;"><b>Make a Splash.</b></span><b><o:p></o:p></b></p>
<p class="MsoNormal">I’m not referring to Section 86 in Oriole Park that is known
as the “Bird Bath”—an exceptionally clever marketing idea where fans in that
section can get hosed down following extra base hits and runs scored by the
home team. I’m talking about doing something significant at the trade deadline
or before to acquire some quality pitching and a slugging bat in the order. The
O’s have the minor league resources to package deals together and help the
club. I trust Mike Elias’ judgment on this.</p>
<p class="MsoNormal">Last year, despite the big-time turnaround and in the hunt
for a Wild Card spot, the Orioles were sellers. They did little to improve the
club’s chances down the stretch and unloaded a fan favorite Trey Mancini. The
lack of a big addition allowed the team to slump in September and thus, failed
to make the postseason.</p>
<p class="MsoNormal">Fans were rightfully angered by this lack of commitment,
which carried through in the off-season. Other than pitcher Kyle Gibson who
signed a one-year $10 million contract, the O’s didn’t land a free agent worth
talking about. Gibson essentially replaced Jordan Lyles who the team did not
sign.</p>
<p class="MsoNormal">Also, extend the contract one of the team’s players, Adley
Rutschman or other players as well. Not only are you locking in a quality player
for years to come but you are telling the fan base that you’re in it to win it.
This commitment from ownership would go a long way in winning back the
confidence of the fans and they will be more likely to attend games in person.</p><p class="MsoNormal"><b style="color: #b45f06;"><span style="font-size: large;">Get the offense going again.</span></b></p><p class="MsoNormal">Fans love offense.<b> </b>When
those 40,000 attended the Saturday game against the Twins, the team lost 1-0.
That is so disheartening spending all that money, getting psyched for the game
and had nothing to cheer for. It’s like renting a limo to an exclusive restaurant
and sitting at a table without being served. Runs make excitement and fans want
to share in that.</p><p class="MsoNormal"><span style="color: #b45f06; font-size: large;"><b>The Orioles are not a
poverty team.</b></span><b><o:p></o:p></b></p>
<p class="MsoNormal">This is tied to the above suggestion about making a splash. While
the Angelos family as well as other team owners cry poverty, it is not the
case. Yes, the O’s attendance has been dismal for several years, but that is
understandable when you examine the on-field product. It’s different now.
Despite the relatively low attendance in league rankings, it is still an
improvement over last season.</p>
<p class="MsoNormal">When you consider national TV, local TV, and streaming
revenues as well as other income, teams generally begin each year with about
$100 million in the bank before a single ticket is sold. I’m not telling owners
how to spend money, but I believe the Orioles are in much better financial
shape than is conveyed. Earlier in the spring, CEO John Angelos promised to
reveal the books to the media. It hasn’t happened. My guess and it is only a
guess, is that the Orioles with its low payroll is flush with cash and Angelos
doesn’t want that fact revealed.</p>
<p class="MsoNormal">There may be other factors for the attendance challenges and
I’m sure there are a plethora of suggestions to fix it. I believe these would
work to get the fan base back into the Yard without having to hand out articles
of clothing each game.</p>Steve Charinghttp://www.blogger.com/profile/10671770309656409487noreply@blogger.com0tag:blogger.com,1999:blog-18860233.post-87645110188084927002023-06-28T14:36:00.006-04:002023-07-29T11:17:31.064-04:00No Wasting Away at Toby’s ‘Escape to Margaritaville’ <p><span style="color: #073763;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="color: #073763;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiZdWmZywcqmonjtfR_veNVVvstBI3-oDaHLz6ttWsEu4UR6ghoEQ6JS4_LOlfC-c51j4snE7JOJInetwjUNES3i3-YcH9aCT2JnFUzkukXLvNnXiQZOgt4qpq3zwSE-uBMQU2oIYkpfL1VVeblXDcWBOFUTdBhg8tId3gC7DlQVn965egWQTe/s5370/Margaritaville.jpeg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3580" data-original-width="5370" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiZdWmZywcqmonjtfR_veNVVvstBI3-oDaHLz6ttWsEu4UR6ghoEQ6JS4_LOlfC-c51j4snE7JOJInetwjUNES3i3-YcH9aCT2JnFUzkukXLvNnXiQZOgt4qpq3zwSE-uBMQU2oIYkpfL1VVeblXDcWBOFUTdBhg8tId3gC7DlQVn965egWQTe/w400-h266/Margaritaville.jpeg" width="400" /></a></span></div><span style="color: #073763;"><br /><span style="font-family: georgia; font-size: x-large;">I</span>t is summertime and you’re lying on a striped chaise
lounge on a pristine Caribbean beach watching the calmness of the azure ocean.
The palm trees sway softly in the light breeze and as you relax and mellow out
to the tunes of one of the most popular folk storytellers of all time. There’s
a tacky little bar nearby where it’s always Five O’clock. </span><p></p>
<p class="MsoNormal"><span style="color: #073763;">But you don’t need to spend a ton of bucks to head to this
tropical paradise for that type of diversion. Rather, you can come to Toby’s
the Dinner Theatre of Columbia to chill during its jukebox musical production
of <i style="mso-bidi-font-style: normal;">Jimmy Buffett’s</i> <i style="mso-bidi-font-style: normal;">Escape to Margaritaville</i>. </span></p>
<p class="MsoNormal"><span style="color: #073763;">You won’t find any sand.<span style="mso-spacerun: yes;">
</span>There isn’t much of an ocean in the theatre.<span style="mso-spacerun: yes;"> </span>And there’s certainly no lost shaker and
salt. But under the meticulous direction and choreography of Helen Hayes Award
winner Mark Minnick and scenic design and lighting by David A. Hopkins as well
as Janine Sunday’s costume design, the atmosphere is just right. And with a
volcano to boot. (Recall Mount Humongous from <i style="mso-bidi-font-style: normal;">SpongeBob SquarePants</i>?)</span></p>
<p class="MsoNormal"><span style="color: #073763;">“Margaritaville,” Buffett’s most popular song of all,
spawned a chain of restaurants and bars that has kept that word in the lexicon
of American culture. Expectedly, it is performed in Toby’s production of <i style="mso-bidi-font-style: normal;">Escape to Margaritaville</i> along with
other popular tunes, such as “Fins,” Five O’Clock Somewhere,” “Why Don’t We Get
Drunk and Screw” (a title you won’t find anywhere else),”Changes in Lattitudes,
Changes in Attitudes,” “Cheeseburger in Paradise,” “Come Monday” (as part of a
medley) and a host of others.</span></p>
<p class="MsoNormal"><span style="color: #073763;">To be sure, Jimmy Buffett is a cult-like figure and has been
so for over five decades. His fans, known as Parrotheads, are as devoted to an
artist as anyone can be. Yet, Buffett’s work transcends those loyal fans as his
music has broad appeal in the pop-rock, country-rock, calypso and easy
listening genres. His music often conveys an island escapism mindset, and that
is evident in the show’s storyline. The performers’ attire as well as that of much
of the audience reflects that, too.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Ross Scott Rawlings (alternates with Nathan Scavilla) ably leads
the six-piece orchestra split up in two locations in the theatre in backing up
the talented lead vocalists and ensemble. Mr. Minnick’s choreography, which is manifested
in most of the performed songs, offers the energetic cast the opportunity to
strut their stuff. A memorable tap-dance number during the song “Grapefruit,
Juicy Fruit” excels. Another well-choreographed number that stands out is the
amusing song “Fins.” <span style="mso-spacerun: yes;"> </span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="color: #073763;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-AC7tLqtXLWvt-Q96McXN69HHbdzP_egWYh2NMJhrVOYehcJiDROhB3WCGHa0hoGlB5MYpLH9CZwBdDoTbGs6JM5-h1EF7xxV2dP5G1jNXXffdVqvhrk9SNAB6Dx6kZ157-Fktx7wArRyQ5ua_gpQWBLgHdSq7lxisPsTGkBoIzuCCo3H8GvO/s4440/Margaritaville2.jpeg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="2960" data-original-width="4440" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-AC7tLqtXLWvt-Q96McXN69HHbdzP_egWYh2NMJhrVOYehcJiDROhB3WCGHa0hoGlB5MYpLH9CZwBdDoTbGs6JM5-h1EF7xxV2dP5G1jNXXffdVqvhrk9SNAB6Dx6kZ157-Fktx7wArRyQ5ua_gpQWBLgHdSq7lxisPsTGkBoIzuCCo3H8GvO/w400-h266/Margaritaville2.jpeg" width="400" /></a></span></div><p></p><p class="MsoNormal"><span style="color: #073763;">Some jukebox musicals are biographical like <i style="mso-bidi-font-style: normal;">Jersey Boys</i> (Frankie Valli and the Four
Seasons), <i style="mso-bidi-font-style: normal;">Tina: The Tina Turner Musical </i>and
<i style="mso-bidi-font-style: normal;">Ain’t Too Proud</i> (The
Temptations). Others use an original story as a vessel to convey an artist(s)
work, such as <i style="mso-bidi-font-style: normal;">Mamma Mia!</i> (ABBA), and <i style="mso-bidi-font-style: normal;">Jagged Little Pill</i> (Alanis Morrisette). <i style="mso-bidi-font-style: normal;">Escape to Margaritaville</i> falls into the
latter category. The 2017 musical is based on the music of Jimmy Buffett with a
book by Greg Garcia and Mike O’Malley.</span></p>
<p class="MsoNormal"><span style="color: #073763;">The plot, which brings the music to life, is light and
heartwarming. It centers on Tully (Patrick Gover), a singer-musician at the bar
in the Margaritaville hotel on a small Caribbean island. He performs his music
at night and woos the lady vacationers during the day. When scientist Rachel (Kathleen
West) joins her bestie Tammy (Anna Phillips-Brown) from Cincinnati just prior
to Tammy’s wedding on a bachelorette vacation, Tully sees in Rachel something
different, and after a few days of intimacy, he falls in love. But Rachel is
not in love with him.</span></p>
<p class="MsoNormal"><span style="color: #073763;">The engaged Tammy who was warned by her crummy fiancée back
home Chadd (Brandon Bedore) about “land sharks” and adhering to a diet so that
she loses weight before the wedding, meets Brick (Jordan B. Stocksdale), a bartender
at the Margaritaville. Brick believes that Tammy is beautiful just as she is
but her engagement to Chadd is a major complication.</span></p>
<p class="MsoNormal"><span style="color: #073763;">A wild volcano eruption (why have a volcano if there isn’t
an eruption?) sends the vacationers packing and the Margaritaville staff escaping.
What ensues, and there is a lot, will not be divulged here so that you can
enjoy the twists and turns as you are treated to some wonderful music and performances.</span></p>
<p class="MsoNormal"><span style="color: #073763;">I will say that a bunch of words taken from Buffett’s lyrics
find their way into the plot. Examples include sponge cake, tin cup or chalice,
shrimp, carrot juice, porch swings. You get the picture.</span></p>
<p class="MsoNormal"><span style="color: #073763;">As the confident and talented ladies’ man Tully, handsome
Patrick Gover (<i style="mso-bidi-font-style: normal;">Rocky</i>, <i style="mso-bidi-font-style: normal;">Ghost</i>, <i style="mso-bidi-font-style: normal;">Grease</i>) portrays the role convincingly. Guitar-strumming virtually
throughout the production, Mr. Gover’s flat abs provides eye candy for the
audience and can sing up a volcano eruption. Exuding charm and passion, Mr.
Gover delivers in his solo “King of Somewhere Hot” and in duets with Ms. West
in “”Son of a Son of a Sailor” and “Coast of Marseilles.” He also performs in
the group opening number, the vibrant “License to Chill.” </span></p>
<p class="MsoNormal"><span style="color: #073763;">Kathleen West as Rachel demonstrates her fine acting skills
during her interactions with Anna Phillips-Brown playing Tammy and with Mr.
Gover. Her vocal talents shine in the aforementioned duets and in her solo “It’s
My Job.” Her duet with Ms. Phillips-Brown in the popular “Changes in Latitudes,
Changes in Attitudes” is very well done.</span></p>
<p class="MsoNormal"><span style="color: #073763;">For her part, Ms. Phillips-Brown delivers a knockout
performance, and in the second act she literally delivers a knockout punch.
Possessing extraordinary vocals, Ms. Phillips-Brown soars in the duet with Mr.
Stocksdale “Cheeseburger in Paradise.” </span></p>
<p class="MsoNormal"><span style="color: #073763;">As the bartender Brick, Jordan B. Stocksdale is not just
likeable, he is loveable. He conveys authenticity, humor and warmth that has
the audience rooting for him. He appears in several group songs and excels in
the tap-dance group number “Grapefruit, Juicy Fruit.”</span></p>
<p class="MsoNormal"><b><span style="font-size: large;"><span style="color: #073763;">"[Buffett's]music often conveys an island escapism mindset, and that is evident in the show’s </span><span style="color: #073763;">storyline."</span></span></b></p><p class="MsoNormal"><span style="color: #073763;">Veteran actor Robert Biedermann turns in a moving
performance as JD, an aging one-eyed pilot who spends his days drinking at the
bar (who doesn’t know someone like that?). He adds warmth and humor to the show
and sings well in “Grapefruit, Juicy Fruit.” “He Went to Paris” performing with
Mr. Gover and Mr. Stockdale and in other group numbers.</span></p><p class="MsoNormal"><span style="color: #073763;">Brandon Bedore effectively plays Chadd, the villain of the
show, as the boorish fiancée of Tammy who is obsessed by her weight. As a
member of the Ensemble as well, Mr. Bedore performs in all of the group numbers
and is particularly fun in “Fins.”</span></p>
<p class="MsoNormal"><span style="color: #073763;">Marley is the owner of the Margaritaville and is played
deliciously by Asia-Ligé Arnold. She brings a frozen concoction of sass, humor
and playfulness to the show and appears in several group songs.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Similarly Anwar Thomas, who plays Jamal, the busboy, adds a
lot of joy and energy to the production.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Other members of the cast and Ensemble include Valerie Adams
Rigsbee, Joey Ellinghaus, Angelo Harrington II, David James, Amanda
Kaplan-Landstrom, Shawn Kettering, Alexis Krey-Bedore, Dustin Perrott, Cassie
Saunders, Jeffrey Shankle, and Patricia “Pep” Targete.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Scenic Designer David A. Hopkins and Properties Designer
Shane Lowry turned the in-the-round theatre into a realistic looking tacky bar
with overhead multi-colored string light and numerous set pieces and props. It
added neatly to the atmosphere.</span></p>
<p class="MsoNormal"><span style="color: #073763;">This is an enjoyable production and a wonderful escape for a
few hours. Great music, an energetic and talented cast and delicous food make this a nice summer experience. Don’t miss this show. If you do, there is no one
to blame, and as the song says, it’s your own damn fault.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Running time. Two hours and 30 minutes with an intermission.</span></p>
<p class="MsoNormal"><span style="color: #073763;"><i style="mso-bidi-font-style: normal;">Jimmy Buffett’s Escape
to Margaritaville</i> runs through August 20 at Toby’s the Dinner Theatre of
Columbia, 4900 Symphony Woods Rd., Columbia, MD 21044.<span style="mso-spacerun: yes;"> </span>Tickets may be purchased by calling the box
office at 410-730-8311or visiting <a href="https://tobysdinnertheatre.com/shows/jimmy-buffetts-escape-to-margaritaville-2023/">online</a>.</span></p><p class="MsoNormal"><span style="color: #073763;">P</span><span style="color: #073763;">hotos: Jeri Tidwell Photography</span></p><p class="MsoNormal"><span style="color: #073763;">The menu is shown <a href="https://tobysdinnertheatre.com/about-us/whats-on-the-menu/">here</a>.</span></p><p class="MsoNormal"><span style="color: #073763;">The specialty drink is "The Coconut Telegraph".</span></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhuUxh8US7H_kgDCalTWb3IlMX7l8shmV7ubbNuK_WOZBLCUvvH-zdAM5Tspvvn8S34HaGxenlfAoone8LsgvytoA8Sh83eCba-NZKVJNR1Yy1FpyOvBOf3ddLlvx72HzAu8m2ndfU74N3lYLEFCTyXSas4a8d3GzTZlXXV0_hNBKF51bFjunm/s5069/Margaritaville3.jpeg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="5069" data-original-width="3379" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhuUxh8US7H_kgDCalTWb3IlMX7l8shmV7ubbNuK_WOZBLCUvvH-zdAM5Tspvvn8S34HaGxenlfAoone8LsgvytoA8Sh83eCba-NZKVJNR1Yy1FpyOvBOf3ddLlvx72HzAu8m2ndfU74N3lYLEFCTyXSas4a8d3GzTZlXXV0_hNBKF51bFjunm/w266-h400/Margaritaville3.jpeg" width="266" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b><span style="color: #bf9000;">Patrick Gover as Tully</span></b></td></tr></tbody></table><p></p>Steve Charinghttp://www.blogger.com/profile/10671770309656409487noreply@blogger.com0tag:blogger.com,1999:blog-18860233.post-21847013067563275842023-06-09T14:32:00.015-04:002023-06-16T17:48:22.754-04:00Disney’s ‘Frozen’ Turns on the Warmth at the Hippodrome<p><span style="color: #073763;"></span></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEje7NpOLzssHJSU09Im_PUhRJk91e1eQmNnyPcUnJTc9GTOW1mSwn0G_xbof77S8yUgOKqhEFyR5iLE_F5_iON2JdIER8QRpKfNlAx-D0Kq1dEXr2lCYMfDUBchvVDZc6-LwPLgQMeYrjle7MuHHunyfyZ0LzkhJPI4wmNPGxo4XPrvvxw9Kw/s7200/Frozen%20Deenvan%20Meer.jpeg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4575" data-original-width="7200" height="254" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEje7NpOLzssHJSU09Im_PUhRJk91e1eQmNnyPcUnJTc9GTOW1mSwn0G_xbof77S8yUgOKqhEFyR5iLE_F5_iON2JdIER8QRpKfNlAx-D0Kq1dEXr2lCYMfDUBchvVDZc6-LwPLgQMeYrjle7MuHHunyfyZ0LzkhJPI4wmNPGxo4XPrvvxw9Kw/w400-h254/Frozen%20Deenvan%20Meer.jpeg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b><span style="color: #0b5394;">Caroline Bowman as Elsa. Photo: Deenvan Meer</span></b></td></tr></tbody></table><p></p><p><span style="color: #073763;"><span style="font-family: georgia; font-size: x-large;">T</span>he Merriam-Webster Dictionary defines <b>spectacle</b> as “something
exhibited to view as unusual, notable, or entertaining especially an
eye-catching or dramatic public display.” The dictionary should also list <i>Frozen</i>, the 2018 stage musical
adaptation of the 2013 Walt Disney Oscar-winning animated film now playing at
the Hippodrome Theatre, as another definition of <b>spectacle</b>. That is because <b>spectacle</b>
is what this show is.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Under the direction of Michael Grandage, choreography of Rob
Ashford and musical direction from Conductor Faith Seetoo, the production is
well-performed by a talented cast and incredibly staged.</span></p>
<p class="MsoNormal"><span style="color: #073763;">With unbelievable lighting design (Natasha Katz), special
effects (Jeremy Chernick), projections (Finn Ross), magnificent scenery design
and construction as well as the scintillating costumes (Christopher Oram) the
word <b>spectacle</b> is an understatement. There were moments that I simply said, “wow.”
</span></p>
<p class="MsoNormal"><span style="color: #073763;">Creating ice and snow on a theater stage is no easy task.
Sure, the animated film with its artistry and technical prowess can do that
with aplomb. For the stage, Disney’s magic takes over, and the audience is
treated to a visual display that must be described as breathtaking. <span style="mso-spacerun: yes;"> </span>At one point in the show, there was so much
sparkly ice depicted in the scenery and on the stage, I expected a Zamboni to
roll across it.</span></p>
<p class="MsoNormal"><span style="color: #073763;">The stage version, making its North America tour, provides
additional depth to the characters and expands the song catalogue from 8 to 20.
With music and lyrics by Kristen Anderson-Lopez and Robert
Lopez, and book by Jennifer Lee, the songs from the original film are wonderful. The added songs are pretty good and are primarily bolstered by
the splendid vocals that bring them to life.</span></p>
<p class="MsoNormal"></p><blockquote><span style="color: #073763; font-size: large;"><b>"...a visual display that must be characterized as breathtaking."</b></span></blockquote><p></p><p class="MsoNormal"><span style="color: #073763;">There is a lot of energy in the show though there are
moments when the action slows down because of extended dialogue. And at times
the volume for some of the dialogue could be dialed up a notch. But these
quibbles don’t detract from what is otherwise a superb production.</span></p>
<p class="MsoNormal"><span style="color: #073763;"><span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">Frozen</i> is an endearing fairy tale that the young and the not so
young will enjoy. The story focuses on two orphaned sisters, Elsa and Anna, who
are princesses in a Scandinavian kingdom. Their relationship is torn apart when
Elsa cannot control her powers in which she can turn everything into ice. When
Elsa accidentally hurt her younger sister Anna while building a magical snowman
Olaf, that’s when the problems become real.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Years later, Elsa is depressed because she cannot rein in her powers, which left the town of Arendelle (not to be confused with Arundel)
in a state of eternal winter. <span style="mso-spacerun: yes;"> </span>She
remains guilt-ridden for hurting Anna and fears she has become a monster. Elsa heads
to the icy mountains and builds an ice palace in order to cope with the
situation.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Anna with the help of three friends, the kind-hearted
Kristoff; Olaf, the adorable, crowd-pleasing snowman (puppet) whom the sisters
built; and Sven, the equally adorable reindeer (also a puppet), go on an
adventure-filled trek to find her sister to help restore summer to Arendelle. </span></p>
<p class="MsoNormal"><span style="color: #073763;">Prior to that journey, Anna had fallen for Hans, a handsome
prince, who becomes an important figure at the show’s end. But it is the love
and bond between the two sisters that warms the heart enough to melt the
prevalent ice.</span></p>
<p class="MsoNormal"><span style="color: #073763;">A native of Fulton, Md. in Howard County, Caroline Bowman
excels as the adult Elsa. An experienced and polished performer in such
Broadway and touring shows as <i style="mso-bidi-font-style: normal;">Wicked</i>,
<i style="mso-bidi-font-style: normal;">Grease</i>, <i style="mso-bidi-font-style: normal;">Spamalot</i>, <i style="mso-bidi-font-style: normal;">Evita</i> and <i style="mso-bidi-font-style: normal;">Kinky Boots</i> among others, Ms. Bowman
demonstrates solid acting skills and powerful mezzo-soprano vocals in conveying her burdened
character. She belts out the first act finale, Oscar winning “Let It Go,”
the popular girl-power anthem, to perfection. Ms. Bowman hits it out of the
park with another quality number in the dramatic song “Monster.”</span></p>
<p class="MsoNormal"><span style="color: #073763;">Lauren Nicole Chapman is wonderful as the adult Anna who is
determined to find her sister and renew their love for each other. She falls in
love with Hans (Will Savarese) only to be betrayed later on. Not all princes
are princes apparently. Their duet in the comical “Love Is an Open Door” with
its terrific choreography is one of the show’s best. Ms. Chapman and Ms. Bowman
hook up well in the emotional “I Can’t Lose You,” a song added to the stage
version. The chemistry between the two sisters is amazing.</span></p>
<p class="MsoNormal"><span style="color: #073763;">As Kristoff, the ice harvester who joins Anna on her quest
to find Elsa, Dominic Dorset is excellent. With his loveable reindeer Sven (Collin Baja
who alternates with Dan Plehal in a physically demanding role) in tow, Mr.
Dorset’s character finds himself increasing attracted to Anna. <span style="mso-spacerun: yes;"> </span>He performs well in “Reindeer(s) Are Better
Than People,” “Kristoff Lullaby,” and a duet with Ms. Chapman in “What Do You
Know About Love?”</span></p>
<p class="MsoNormal"><span style="color: #073763;">Jeremy Davis is superb as the puppeteer for the snowman
Olaf. Both Olaf and Sven are clear audience favorites, especially for the kids in
attendance, and provide much of the comical moments throughout.</span></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWGd05aK8JUUW_brsYJ8QjfpRlqpUinzSfUMtN4wuCvPIIkydnHg4oyEHcMq6V4ybkvlARqOKRLsiFoCIpXY86ynPjwe1O8eRKI0kWgqPKAH42IZQlQ_gvdDLc2apxJKy3DF6rJhSfyZgNkH16FPeEEj8QWXQY6oM5BuHgN1YOoAhP9XSjyw/s6000/Frozen3%20matthew%20Murphy.jpeg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4000" data-original-width="6000" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWGd05aK8JUUW_brsYJ8QjfpRlqpUinzSfUMtN4wuCvPIIkydnHg4oyEHcMq6V4ybkvlARqOKRLsiFoCIpXY86ynPjwe1O8eRKI0kWgqPKAH42IZQlQ_gvdDLc2apxJKy3DF6rJhSfyZgNkH16FPeEEj8QWXQY6oM5BuHgN1YOoAhP9XSjyw/w400-h266/Frozen3%20matthew%20Murphy.jpeg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b><span style="color: #0b5394;">Christine Bowman as Elsa & Lauren Nicole Chapman as Anna<br />Photo: Matthew Murphy</span></b></td></tr></tbody></table><p></p>
<p class="MsoNormal"><span style="color: #073763;">Will Savarese does a fine job as Hans. With his matinee idol
looks, Mr. Savarese is convincing as the prince that Anna falls for. But his
dark side emerges later, leading to a dramatic conclusion. His strong tenor
voice is notable in “Hans of the Southern Isles” and the aforementioned duet
with Ms. Chapman in “Love Is an Open Door.” He also performs well with Ms.
Bowman and the company in “Monster.”</span></p>
<p class="MsoNormal"><span style="color: #073763;">Also, excellent performances are turned in by Avelyn Choi
(alternates with Norah Nunes) as Young Anna, Sydney Elise Russell (alternates
with Erin Choi) as Young Elsa, Belinda Allen as Queen Iduna, Kyle Lamar
Mitchell as King Agnarr, Gretel Scarlett as Head Handmaiden, Tyler Jimenez as
Pabbie, Taylor Marie Daniel as Bulda, Jack Brewer as Bishop, Evan Duff as the
comedic Weselton, and Jack Brewer as another comical character Oaken. The
members of the Ensemble are also talented and energetic.</span></p>
<p class="MsoNormal"><span style="color: #073763;">If you pay close attention, you can identify components of
the show that are reminiscent of such Broadway standouts as <i style="mso-bidi-font-style: normal;">The Wiz</i>, <i style="mso-bidi-font-style: normal;">Into the Woods</i>, <i style="mso-bidi-font-style: normal;">Spamalot</i> and <i style="mso-bidi-font-style: normal;">Beauty and the Beast</i>, and that’s
a good thing.</span></p>
<p class="MsoNormal"><span style="color: #073763;">There is no question that<i style="mso-bidi-font-style: normal;">
Frozen</i> is geared towards children. <span style="mso-spacerun: yes;"> </span>In fact, there were many young girls in the
audience dressed as Elsa and Anna, and the lines to the Disney and <i style="mso-bidi-font-style: normal;">Frozen</i> merchandise in the lobby were
long. However, there is sufficient humor, warmth, songs, dancing and dazzling
scenery and costumes to entertain adults as well. And entertain it does. </span></p>
<p class="MsoNormal"><span style="color: #073763;">Go see the spectacle known as <i style="mso-bidi-font-style: normal;">Frozen</i>. It will melt your heart.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Running time. Two hours and 15 minutes with an intermission.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Disney’s <i style="mso-bidi-font-style: normal;">Frozen</i> runs
through June 18 at the Hippodrome Theatre at the France-Merrick Performing Arts
Center, 12 N. Eutaw St, Baltimore, MD 21201.<span style="mso-spacerun: yes;">
</span>For tickets, call Ticketmaster at 800-982-ARTS or visit ticketmaster.com
or BaltimoreHippodrome.com. </span></p>Steve Charinghttp://www.blogger.com/profile/10671770309656409487noreply@blogger.com0tag:blogger.com,1999:blog-18860233.post-75810046804721731252023-06-05T00:42:00.002-04:002023-06-05T12:44:00.164-04:00Pride and Prejuduce<p><span style="color: #351c75;"></span></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjN3Mlbb_Dd-IsLOX9KYNGGvEZD74MAiycrC6vZXnAntpZX7rJRhk10kruvorUBXDQKZmdlVpvS1qlL6hPyTCZG5QpJ4MfFY6hIHprpts926txDgwasMcaa8lygD0pn3QWz2xUfxrmEqh1TGmN1ZLvp8Xo8S_A7QR0e8dsY1U3xIB4IH4vMgg/s1498/Pride%20and%20Prejudice3.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="664" data-original-width="1498" height="178" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjN3Mlbb_Dd-IsLOX9KYNGGvEZD74MAiycrC6vZXnAntpZX7rJRhk10kruvorUBXDQKZmdlVpvS1qlL6hPyTCZG5QpJ4MfFY6hIHprpts926txDgwasMcaa8lygD0pn3QWz2xUfxrmEqh1TGmN1ZLvp8Xo8S_A7QR0e8dsY1U3xIB4IH4vMgg/w400-h178/Pride%20and%20Prejudice3.jpg" width="400" /></a><br /><br /><br /></td></tr><tr><td class="tr-caption" style="text-align: center;"><b><span style="color: #073763;">Seattle Mariners star Julio Rodriguez displaying his Pride for the LGBTQ <br />community; sign on the right not so much.</span> </b></td></tr></tbody></table><p></p><p><span style="color: #351c75;"><span style="font-family: georgia; font-size: x-large;">I</span> am old enough to remember when LGBTQ Pride celebrations
were mocked by opponents mainly because of the attire or lack thereof worn by
the participants. Before social media took off, images were cherry-picked to
illustrate the tawdriest outfits and flamboyant costumes. These photos were
used to raise money by right wing religious groups and others to push their
anti-LGBTQ agenda in an effort to stop the legalization of same-sex marriages,
adoptions and other LGBTQ rights.</span></p>
<p class="MsoNormal"><span style="color: #351c75;">Now it seems that the opponents of Pride celebrations are
not confined to religious institutions but by the far-right cluster of everyday
people who are simply homo/bi/transphobic. They don’t want to see our community
period; we should return to the closet so that their sensibilities are not
shaken.</span></p>
<p class="MsoNormal"><span style="color: #351c75;">Of course, extreme right wing homophobic politicians
cynically have seized on the bigotry in the land to win voters. They bundle
their hateful rhetoric under the vague term “anti-woke.” They demean drag
shows, conflating drag queens with transgender folks in an effort to frighten
parents. By the way, the “anti-woke” b.s. is not restricted to LGBTQ folks, but
it also is aimed at people of color, immigrants and other marginalized people.</span></p>
<p class="MsoNormal"><span style="color: #351c75;">With each year, the annual ritual of holding LGBTQ Pride
festivals and parades all over the world is gaining more media coverage and
popularity.<span style="mso-spacerun: yes;"> </span>These celebrations have been
taking place for over 50 years since the first one in New York City marked the
one-year anniversary of the Stonewall uprising when patrons in the Greenwich
Village underground bar fought back against yet another police raid.</span></p>
<p class="MsoNormal"><span style="color: #351c75;">Pride, as it is simply called, has had different meanings to
different people. To me it is affirming that I will love who I want. <span style="mso-spacerun: yes;"> </span>I also acknowledge the adversity that LGBTQ
people have had to endure throughout their lives, and that we are proud that we
have survived though, sadly, not everyone has.</span></p>
<p class="MsoNormal"><span style="color: #351c75;">The availability and the anonymity of the internet with its
chat platforms, groups and topical pages reveal the bigotry that is still out
there despite recent progress in the LGBTQ community. </span></p>
<p class="MsoNormal"><span style="color: #351c75;">Nothing is more obvious as to the extent of homo/bi/transphobia
on sports fan pages. Nothing triggers these people (overwhelmingly male) when a
professional baseball team announces their annual Pride Nights or Nights Out
events or a hockey team wishing its fans Happy Pride Month. It gets ugly and
stupid all at once.</span></p>
<p class="MsoNormal"><span style="color: #351c75;">In response to a team’s recognition of Pride, the comments
on these pages typically reflect three categories to mask (not that well) the individuals’ homo/bi/transphobia:</span></p>
<p class="MsoListParagraph" style="mso-list: l0 level1 lfo1; text-indent: -0.25in;"><!--[if !supportLists]--><span style="color: #351c75;"><b style="mso-bidi-font-weight: normal;"><span style="mso-fareast-font-family: "Times New Roman";"><span style="mso-list: Ignore;">1.<span style="font: 7pt "Times New Roman";">
</span></span></span></b><!--[endif]--><b style="mso-bidi-font-weight: normal;">We
shouldn’t mix politics and sports.<br /><o:p></o:p></b></span></p>
<p class="MsoNormal"><span style="color: #351c75;">Well, you can’t always take politics out of sports. For
example, there was the big-time flap over boxing champion Muhammad Ali’s virulently
strong opposition to the Vietnam War. Donald Trump made political hay over
football quarterback Colin Kaepernick’s kneeling during the National Anthem to
protest racial injustice at the hands of the police. </span></p>
<p class="MsoNormal"><span style="color: #351c75;">For my part, when the “don’t mix politics and sports” refrain
comes up, I reply, “People said the same thing when Jackie Robinson signed with
the Brooklyn Dodgers.” And now his uniform number 42 had been permanently
retired by all major league baseball clubs, and he is honored every year on
April 15, the date of his first game. </span></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZV5-6w7Qi9BCBFxSPCV-Xyhn7Q1CVlcLgbEBYH4QBxjkCcFNG7mmWMOY9y7v1jHlQs3n4VrYkPI9RGM32x1lWrXGilwonY_KC-CRIfFxS6CpRLI8znSfTKCUMbTqlr3QRt16KalLawgb8FAmzXB1Jv6_5sP68pWWfh6knQEI-t35FzTogyQ/s1230/Pride%20and%20Prejudice4.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="758" data-original-width="1230" height="246" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZV5-6w7Qi9BCBFxSPCV-Xyhn7Q1CVlcLgbEBYH4QBxjkCcFNG7mmWMOY9y7v1jHlQs3n4VrYkPI9RGM32x1lWrXGilwonY_KC-CRIfFxS6CpRLI8znSfTKCUMbTqlr3QRt16KalLawgb8FAmzXB1Jv6_5sP68pWWfh6knQEI-t35FzTogyQ/w400-h246/Pride%20and%20Prejudice4.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b><span style="color: #073763;">Chicago Cubs pitcher Marcus Stroman tweeting his support of LGBTQ Pride.</span></b></td></tr></tbody></table><p></p>
<p class="MsoNormal"><span style="color: #351c75;">Frankly, I don’t see being LGBTQ as political. It’s who we
are. Period. The opponents sounding off against us make it political.</span></p>
<p class="MsoNormal"><o:p><span style="color: #351c75;"> </span></o:p><b><span style="color: #351c75;">Just stick to baseball.</span></b></p>
<p class="MsoNormal"><span style="color: #351c75;">Do these people urge to the team to “stick to baseball” when
there is a breast cancer awareness night or a military night or Mother’s Day or
other similar events? Not hardly. Team uniforms conform to these special days—Camo hats for military nights; pink bats, wristbands and caps for Mother’s Day, etc.
Nobody is offended. To my knowledge, teams have not been pressured to wear
rainbow uniforms during Pride Night games. It’s total nonsense. </span></p>
<p class="MsoNormal"><o:p><span style="color: #351c75;"> </span></o:p><b><span style="color: #351c75;">There should be a “straight
pride.”</span></b></p>
<p class="MsoNormal"><span style="color: #351c75;">This is the most comical category, and you will clearly note
the absurdity. The notion that straight folks need to demonstrate their pride
is ludicrous, and that’s being mild. Every
day is straight pride. </span></p><p class="MsoNormal"><span style="color: #351c75;">LGBTQ Pride, as I indicated, is a celebration of who we
are and enduring the myriad manifestations of hatred directed towards our
community. Straight people have not had
to grapple with being straight in our society. Consider:</span></p>
<p class="MsoNormal"><span style="color: #351c75;">• No straight person has been fired from their job or
not hired for being straight.</span></p>
<p class="MsoNormal"><span style="color: #351c75;">• No straight person has been kicked out of an apartment or
disapproved of a lease because he or she is straight.</span></p>
<p class="MsoNormal"><span style="color: #351c75;">• No straight person has been assaulted or killed for being
straight.</span></p>
<p class="MsoNormal"><span style="color: #351c75;">• No straight person has to hide their sexuality from family
members, classmates, clergy, co-workers, bosses, friends and neighbors.</span></p>
<p class="MsoNormal"><span style="color: #351c75;">• Straight people are not committing suicide because of
prejudice against their being straight.</span></p>
<p class="MsoNormal"><span style="color: #351c75;">Let’s be real. A few blatantly admit their bigotry because
they safely hide behind an abstract identity. But others try to clumsily
conceal their homo/bi/transphobia by using arguments contained in the above
three categories. It doesn’t work. </span></p>
<p class="MsoListParagraph" style="mso-list: l0 level1 lfo1; text-indent: -0.25in;"><!--[if !supportLists]--><span style="color: #351c75;"><b style="mso-bidi-font-weight: normal;"><span style="mso-fareast-font-family: "Times New Roman";"><span style="mso-list: Ignore;">2.<span style="font: 7pt "Times New Roman";"> </span></span></span></b></span></p>Steve Charinghttp://www.blogger.com/profile/10671770309656409487noreply@blogger.com1tag:blogger.com,1999:blog-18860233.post-39940090311819704042023-05-22T10:38:00.000-04:002023-05-22T10:38:45.436-04:00The Rainbow Road is Rather Winding<p><i><span style="color: #351c75;"></span></i></p><div class="separator" style="clear: both; text-align: center;"><i><span style="color: #351c75;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimFlXukt_F2wE0gCbA_I4y1HZXUW8ovXLmXemrMAkpe-ihyMj3HRWEd6vm0HZS4mUXPuZZXCf3NKsKhGvBZDDGWxHVALCYz4qbsFEoQeUcoWjlpsWWPvMTGgrXrvDn4DzCT8vteHaZsrZkPB1jWW167v8hJ9ozVAruRO_VTcgV-Ttr0qRm4A/s818/Rainbow.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="671" data-original-width="818" height="328" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimFlXukt_F2wE0gCbA_I4y1HZXUW8ovXLmXemrMAkpe-ihyMj3HRWEd6vm0HZS4mUXPuZZXCf3NKsKhGvBZDDGWxHVALCYz4qbsFEoQeUcoWjlpsWWPvMTGgrXrvDn4DzCT8vteHaZsrZkPB1jWW167v8hJ9ozVAruRO_VTcgV-Ttr0qRm4A/w400-h328/Rainbow.jpeg" width="400" /></a></span></i></div><i><span style="color: #351c75;"><span style="font-family: inherit;">T</span>he road is long.</span></i><p></p><p><i><span style="color: #351c75;">With a many a winding turn</span></i></p><p class="MsoNormal"><span style="color: #351c75;"><i style="mso-bidi-font-style: normal;">
That leads us to who knows where.<br />
Who knows <o:p></o:p></i><i>where?</i></span></p>
<p class="MsoNormal"><span style="color: #351c75;"> ****</span></p><p class="MsoNormal"><span style="color: #351c75;"><span style="font-family: georgia; font-size: x-large;">T</span>hese lyrics from the pop song “He Ain’t Heavy, He’s My
Brother” written by Bobby Scott and Bob Russell and made famous by
The Hollies, Neil Diamond and others metaphorically describe the events in
LGBTQ Baltimore during the 20 years that <i style="mso-bidi-font-style: normal;">Baltimore
OUTloud</i> has been existence. The twists and turns are seemingly endless.
Along this road, which is alternately rough and smooth, are triumphs, defeats,
jubilation, tragedies, courage and determination.</span></p>
<p class="MsoNormal"><span style="color: #351c75;">The birth of <i style="mso-bidi-font-style: normal;">OUTloud</i>
itself was an unlikely development with its first publication occurring in May
2003.<span style="mso-spacerun: yes;"> </span>It came about when the editor of <i style="mso-bidi-font-style: normal;">Gay Life</i>, the communication arm of the
Gay and Lesbian Community Center of Baltimore (GLCCB), sought more independence
in its content, and along with other investors launched a new company, Pride
Media, Ltd., that published a newspaper, <i style="mso-bidi-font-style: normal;">Baltimore
OUTloud</i>. A bunch of writers and staff who had been volunteering at <i style="mso-bidi-font-style: normal;">Gay Life</i> headed over to the nascent periodical.</span></p>
<p class="MsoNormal"><span style="color: #351c75;">The GLCCB and <i style="mso-bidi-font-style: normal;">OUTloud</i>
had an uneasy co-existence at first. Some would characterize the situation as
contentious. Over the years, however, there was a rapprochement, and both <i style="mso-bidi-font-style: normal;">Gay Life</i> and <i style="mso-bidi-font-style: normal;">OUTloud</i> co-existed peacefully for the betterment of the community.</span></p>
<p class="MsoNormal"><span style="color: #351c75;">In 2016, the road took another turn and a deal was struck
between <i style="mso-bidi-font-style: normal;">OUTloud</i> and the <i style="mso-bidi-font-style: normal;">GLCCB</i> whereby Pride Media, Ltd. bought
out <i style="mso-bidi-font-style: normal;">Gay Life</i> and in effect, merged
providing space in <i style="mso-bidi-font-style: normal;">OUTloud</i> to
publicize GLCCB events, such as Pride, and its programs.</span></p>
<p class="MsoNormal"><span style="color: #351c75;">The fact that these entities reached such a significant and
collegial agreement after the early frosty relations marks one of the major
turns in Baltimore’s rainbow road.</span></p>
<p class="MsoNormal"><span style="color: #351c75;">Politically, that rainbow road was fraught with speed bumps
and potholes along the journey. Yet, it took us to some important destinations
but by no means final. Marriage equality is a prime example. </span></p>
<p class="MsoNormal"><span style="color: #351c75;">When <i style="mso-bidi-font-style: normal;">OUTloud</i> first
hit the streets on May 16, 2003, the legal recognition of same-sex couples was
merely a pipe dream. The only article in the first issue that remotely touched
on the subject was a lawsuit filed in federal court to strike down a Nebraska
constitutional amendment that would prohibit same-sex relationship recognition.<span style="mso-spacerun: yes;"> </span>Very few envisioned the legalization of
same-sex marriage, not with all the conservative and religious opposition
getting in the way.</span></p>
<p class="MsoNormal"><span style="color: #351c75;">As the years passed, momentum for achieving what was once
considered impossible gained steam. With the work by key LGBTQ organizations,
hundreds of dedicated individuals, elected officials and a society that was
growing more amenable to fairness and equality, that pipe dream became a
reality. Marylanders voted to support marriage equality, and the U.S. Supreme
Court in effect made it legal in every state. And whoever thought that the
Mayor of Baltimore, the Governor of Maryland and the President of the United
States would all advocate for marriage equality?</span></p>
<p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpjk1aKXGi8MymEYBYcsROhtFxAi7xTihGlV1dUgOqHCnUez8ZqkyEB-nSDusgg55P4eUpU7Nyx09VrqlPBj25PBauzARW8cSKzSyBboV-WCrN4nCqlxulxKpfxd6AsRdQ_YalIDxSdpMY8HJvfQxcNseutXDu8KqM6umqjV7Ifw--dKDoCQ/s922/Front%20page%201-11-13.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="889" data-original-width="922" height="386" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpjk1aKXGi8MymEYBYcsROhtFxAi7xTihGlV1dUgOqHCnUez8ZqkyEB-nSDusgg55P4eUpU7Nyx09VrqlPBj25PBauzARW8cSKzSyBboV-WCrN4nCqlxulxKpfxd6AsRdQ_YalIDxSdpMY8HJvfQxcNseutXDu8KqM6umqjV7Ifw--dKDoCQ/w400-h386/Front%20page%201-11-13.jpg" width="400" /></a></div><span style="color: #351c75;"><i style="mso-bidi-font-style: normal;">Baltimore OUTloud</i>
was there every step of the way covering the setbacks and successes, which are
intrinsic to any civil rights movement. A little less than 10 years after its
first publication, <i style="mso-bidi-font-style: normal;">OUTloud</i> was
present at Baltimore’s City Hall to chronicle the first same-sex weddings in
Maryland. And that was followed up with a state law prohibiting discrimination
based on gender identity that survived heated and nonfactual rhetoric from
opponents.</span><p></p>
<p class="MsoNormal"><span style="color: #351c75;">So the road seemed to have unbended with the surface
appearing to be smooth. But another turn has been encountered: a sharp turn,
which is making the journey more perilous.</span></p>
<p class="MsoNormal"><span style="color: #351c75;">The far right has seized upon queer-affirming books in
school libraries, drag shows, pronoun usage, transgender athletes and a revived
emphasis on parental control in education as a way to justify attacking the
LGBTQ+ community. They have falsely accused LGBTQ+ people of “grooming”
children and wrongly conflating drag queens with transgender individuals. </span></p>
<p class="MsoNormal"><span style="color: #351c75;">These ideas, which have been politically successful in many
conservative areas, are threatening the LGBTQ+ communities and the gains we
achieved, thus putting all of us at risk. In fact, hundreds of bills are before
state legislatures (some already passed) that largely target transgender youth
especially gender affirming care. </span></p>
<p class="MsoNormal"><span style="color: #351c75;">From the dim prospects of marriage quality to the
celebratory same-sex weddings, to attacks on trans kids, to asserting drag
shows more of a threat to children’s safety than guns, along with the condemnations
of Pride events, the turn in the road is so sharp, it borders on being a u-turn.</span></p>
<p class="MsoNormal"><span style="color: #351c75;">Another turn occurred since publication day, which also
could not have been predicted. Twenty years<br /> ago, the Mount Vernon district of
Baltimore, dubbed as the “gayborhood” because of the plethora of LGBTQ and
LGBTQ-friendly bars, clubs, shops and restaurants concentrated in a small area,
was a bustling place. On a given Saturday night, people were dining inside and
outside the City Café. Lines of patrons were seen waiting for admission into
the Club Hippo. Across the street, Grand Central was packed where you could
hardly move. Leon’s, The Drinkery and Jay’s on Read attracted their own devotees.</span></p>
<p class="MsoNormal"><span style="color: #351c75;">Almost suddenly in 2015 when the Hippo actually closed its
doors, the gayborhood began its descent. The ending of the 43 year-old mainstay
of Mount Vernon—the largest dance club in the state that attracted visitors
from all over the U.S. and beyond—signaled a turn that became irreversible. Grand
Central, the next largest club in the area, was put on sale. While it tried to
hang on as a viable alternative to the Hippo, a combination of factors led to
its demise, not the least of it was the Covid pandemic. Jay’s on Read closed ostensibly
for financial reasons. The effects of Covid claimed the City Café and the Mount
Vernon Stable, which were popular eateries in the area. Flavor, the only
lesbian bar in Mount Vernon, was also forced to close its doors.</span></p>
<p class="MsoNormal"><span style="color: #351c75;">Prior to these losses, the community center, which is now
called the Pride Center of Maryland, had moved a mile or so northbound to be
closer to a population that would benefit more from its programs. Not only did
the Center leave the gayborhood but the annual Pride parades and block
parties—a staple of the area every June—left with it. </span></p>
<p class="MsoNormal"><span style="color: #351c75;">Earlier, Lambda Rising, a well-known LGBTQ+ bookstore chain,
went out of business succumbing to competition from online book retailers. </span></p>
<p class="MsoNormal"><span style="color: #351c75;">While other establishments have sprung up to serve the
community, the identity of the gayborhood is not the same with all of these
missing pieces gone. It just seems like a long time between May 2003 and now
with so much happening, both good and bad. </span></p>
<p class="MsoNormal"><span style="color: #351c75;">But what remains constant despite the twisting rainbow road
over 20 years is the fact that <i style="mso-bidi-font-style: normal;">Baltimore
OUTloud</i> remains the only LGBTQ publication in Maryland.<span style="mso-spacerun: yes;"> </span>It has weathered a precipitous decline in
interest in print periodicals, the passing of its co-owner, the effects of the
pandemic as well as financial challenges that all newspapers and magazines are
facing. </span></p>
<p class="MsoNormal"><span style="color: #351c75;">Other publications have folded, among them and surprisingly,
the <i style="mso-bidi-font-style: normal;">City Paper</i>. But here we are 20
years later: <i style="mso-bidi-font-style: normal;">Baltimore OUTloud</i> is
still standing and poised to continue its coverage along that winding rainbow
road that leads us to who knows where.</span></p><p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjba76sYEyD9dCIm2TPyULXt3BUi1rVmQPoViQXXLPtvKTJO3tl5_nzn3VOIxWcVk46xFag0vhea7nhUQPN-AxP-CNNW2dWyeryN8VCxYAe9WHBE29G0wCdp80V94C6v4vnewLX-q5ocDyL1rjb90m-VDi2gKMYGBc3p2WEfrqKqv-p1ocNag/s720/28445_1450654822029_1103003485_1357312_2542783_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="480" data-original-width="720" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjba76sYEyD9dCIm2TPyULXt3BUi1rVmQPoViQXXLPtvKTJO3tl5_nzn3VOIxWcVk46xFag0vhea7nhUQPN-AxP-CNNW2dWyeryN8VCxYAe9WHBE29G0wCdp80V94C6v4vnewLX-q5ocDyL1rjb90m-VDi2gKMYGBc3p2WEfrqKqv-p1ocNag/w400-h266/28445_1450654822029_1103003485_1357312_2542783_n.jpg" width="400" /></a></div><br /><span style="color: #351c75;"><br /></span><p></p>Steve Charinghttp://www.blogger.com/profile/10671770309656409487noreply@blogger.com0tag:blogger.com,1999:blog-18860233.post-43229650038451264162023-05-10T13:41:00.001-04:002023-05-11T10:16:42.031-04:00‘SIX’ Reigns Supreme at the Hippodrome<p><span style="color: #073763;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="color: #073763;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQJvU60WNsfzy91bnaoIhuTpcoPARg7tU7LMwk1zT8VG1wiKu9zqXH2g3K5fsZcT80II0vaQh0EXMJWpoWXKN0cYjGt1TWemOY6Si2xVjVzm22Bl30DXJMhslq1NneK_v4er8qUxbBlV3qbsVcNI_iKm5mX3sZX34INNj_cEVmb43ycegmzQ/s4739/Six%20Joan%20Marcus.jpeg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3568" data-original-width="4739" height="301" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQJvU60WNsfzy91bnaoIhuTpcoPARg7tU7LMwk1zT8VG1wiKu9zqXH2g3K5fsZcT80II0vaQh0EXMJWpoWXKN0cYjGt1TWemOY6Si2xVjVzm22Bl30DXJMhslq1NneK_v4er8qUxbBlV3qbsVcNI_iKm5mX3sZX34INNj_cEVmb43ycegmzQ/w400-h301/Six%20Joan%20Marcus.jpeg" width="400" /></a></span></div><span style="color: #073763;"><span style="font-family: georgia; font-size: x-large;">M</span>erely three days removed from the coronation of King
Charles III, the Hippodrome raises the curtain on <i>Six</i>, a musical’s take on the six wives of Henry VIII, which is in
the midst of a national tour. I cannot
say for sure if the events occurring during the marriage(s?) of Charles III
will result in a musical five hundred years from now, but I can’t rule it out.
And with his genetics, he could still be around to authorize it.</span><p></p>
<p class="MsoNormal"><span style="color: #073763;">The production at the Hippodrome is electric—literally and
figuratively—featuring six top-notch female performers as Henry’s wives and
queens and an array of spectacular effects. <i style="mso-bidi-font-style: normal;">Six</i>
is a blend of razzle, dazzle, sizzle, energy, humor, sparkling costumes,
attitude, and an abundance of fierceness not seen in most musicals.</span></p>
<p class="MsoNormal"><span style="color: #073763;"><i style="mso-bidi-font-style: normal;">Six</i> is a British
musical comedy in which the original Broadway production earned nine Tony Award
nominations in 2020 capturing two. “Six: Live On Opening Night Broadway”
debuted as Number 1 on the Billboard cast album charts and surpassed 6 million
streams in its first month.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Under the direction of Jamie Armitage and Lucy Moss, the
latter of whom co-wrote the book, music and lyrics with Toby Marlow, <i style="mso-bidi-font-style: normal;">Six</i> brings a little history from the 16<sup>th
<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span></sup>century
with a ton of sass and talent from the diverse cast. <span style="mso-spacerun: yes;"> </span>Though the accuracy of the historical
depiction has been questioned, the wives and their fates are true.</span></p>
<p class="MsoNormal"><span style="color: #073763;"><span style="mso-spacerun: yes;"> </span>“Divorced. Beheaded.
Died. Divorced. Beheaded. Survived.”</span></p>
<p class="MsoNormal"><span style="color: #073763;">In a sort of a <i style="mso-bidi-font-style: normal;">kvetch</i>
fest, Henry VIII’s six Tudor queens hold a modern pop concert to relate their
gloomy stories of victimhood involving the king. They share the abuse they experienced
under Henry: the misogyny, the infidelity and the brutality. The lead singer
will have been determined in a contest by who suffered the most while being
Henry’s wife.</span></p><div class="separator" style="clear: both; text-align: center;"><span style="color: #073763;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhz7cB48adXVrDpERCKAGmD3xgbbFBIiN1_qUQgM4UhstUIdXwx3Psa_I63Mv8XGE7G20vBpB-uJxUDCYBntwrVLB45aolN7rKBM104PA7xqJ05-ujZrXPkBnqlTHPjB_h9vsErOZX8ev3_slOkUrQlH5DrubdKXFcWMfAhJK5zM9lCFjRJlw/s6000/Six2%20Joan%20Marcus.jpeg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="4000" data-original-width="6000" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhz7cB48adXVrDpERCKAGmD3xgbbFBIiN1_qUQgM4UhstUIdXwx3Psa_I63Mv8XGE7G20vBpB-uJxUDCYBntwrVLB45aolN7rKBM104PA7xqJ05-ujZrXPkBnqlTHPjB_h9vsErOZX8ev3_slOkUrQlH5DrubdKXFcWMfAhJK5zM9lCFjRJlw/w400-h266/Six2%20Joan%20Marcus.jpeg" width="400" /></a></span></div><span style="color: #073763;"><br /> </span><p></p>
<p class="MsoNormal"><span style="color: #073763;">To be sure, each wife had her miseries—some even lost their
heads—but through song and witty dialogue they are hell bent on ridiculing the
others in the pronouncements of their hardships. After all, it is a
competition. </span></p>
<p class="MsoNormal"><span style="color: #073763;">Ultimately, they decide to scuttle the notion that their legacy
is so tied to one man and instead agree to re-write their own stories that
celebrate womanhood, modern-day girl power and a poke in the eye of “patriarchal
structure” for good measure. They do not want to be known as simply one of
Henry’s wives.</span></p>
<p class="MsoNormal"><span style="color: #073763;">All of the performers demonstrate exceptional mezzo-soprano
vocals, comedic timing and dance moves that are choreographed by Carrie-Anne
Ingrouille. Each queen has her own unique story to tell and each is linked to a
musical genre and a contemporary pop star or a combination of several as Marlow
and Moss created composites of these stars as inspiration or “Queenspiration” for
the characters.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Catherine of Aragon (played by Gerianne Pérez) is Henry’s
first and longest wed wife. Despite her being loyal, Henry divorced her as he
chased what turned out to be his second wife, Anne Bolyeyn. Ms. Pérez is a commanding
figure who would be a combination of Beyoncé, Jennifer Lopez, and Jennifer
Hudson in her solo “No Way.”</span></p>
<p class="MsoNormal"></p><blockquote><b><span style="font-size: large;"><i style="color: #073763;">Six</i><span style="color: #073763;"> brings a little history from the 16</span><sup style="color: #073763;">th </sup><span style="color: #073763;">century with a ton of sass and talent from the diverse cast. </span></span></b></blockquote><p></p><p class="MsoNormal"><span style="color: #073763;">For her part, Anne Boleyn (Zan Berube) tried to deal with
Henry’s infidelity by making him jealous by flirting with others. That strategy
backfired as she lost her head as a result. <span style="mso-spacerun: yes;"> </span>She nails the comic relief aspect of the show
as she constantly reminds the other wives that nothing could be worse than having
her head chopped off. Ms. Berube brings Miley Cyrus. Lily Allen and Avril
Lavigne to mind with her rendition of “Don’t Lose Your Head.”</span></p>
<p class="MsoNormal"><span style="color: #073763;">Henry’s third wife, Jane Seymour (Amina Faye), claims she
was most loved by Henry but under the condition she bears a male child. She
died after giving birth to Prince Edward. Ms. Faye’s astoundingly moving torch
song “Heart of Stone” channels Adele’s “Hello.”</span></p>
<p class="MsoNormal"><span style="color: #073763;">Terica Marie plays Anne of Cleves, Henry’s fourth wife. She
brings Nicki Minaj and Rihanna into the fold with “Get Down,” a danceable rap
song about her post-divorce life.</span></p>
<p class="MsoNormal"><span style="color: #073763;"><br />Wife number five is Katherine Howard (Aline Mayagoitia), a
self-confident though abused young woman by those in power over her who also
wound up headless. She is excellent in the upbeat “All You Wanna Do” that would
make Ariana Grande and Britney Spears proud.</span></p>
<p class="MsoNormal"><span style="color: #073763;">The sixth and final wife, Catherine Parr (Sydney Parra), had
multiple marriages of her own with Henry being the third of four. Parr was
remembered for “surviving.” She pushes most of the feminist themes throughout and
her wonderful rendition of “I Don’t Need Your Love” is inspired by Alicia Keys Emeli
Sandé.<span style="font-family: Georgia, "serif"; font-size: 21.5pt; line-height: 115%;"><o:p></o:p></span></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkMqrHk7OpImiWrT_14DBvxyIsBKb1VyPj0E175t1GwJ2wrazJQzFs8KO-Sm0lSx420_YqMIrT6fvEKEO5NkH9PQrj-xLZrMxerRkdDre0jGIbQCDCT3lNbTgK1QSVWQBN9ilwAQUHm2sdsqxZl-qvAjujboJn8agXo9iiDa01iId6ruLW6Q/s5800/Six3%20Joan%20Marcus.jpeg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3773" data-original-width="5800" height="260" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkMqrHk7OpImiWrT_14DBvxyIsBKb1VyPj0E175t1GwJ2wrazJQzFs8KO-Sm0lSx420_YqMIrT6fvEKEO5NkH9PQrj-xLZrMxerRkdDre0jGIbQCDCT3lNbTgK1QSVWQBN9ilwAQUHm2sdsqxZl-qvAjujboJn8agXo9iiDa01iId6ruLW6Q/w400-h260/Six3%20Joan%20Marcus.jpeg" width="400" /></a></div><p></p>
<p class="MsoNormal"><span style="color: #073763;">The rollicking finale “Six” performed by The Queens is a
celebration of each other and themselves and puts the exclamation point on a
terrific show.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Three cheers to the technical crews from the tour and the
Hippodrome Theatre for transforming the elegant stage to a powerhouse concert
venue. Tim Deiling’s lighting design is beyond fantastic as is Paul Gatehouse’s
sound design.<span style="mso-spacerun: yes;"> </span>Emma Bailey’s set is
simple enough with nine illuminated cathedral-like arches as the basic scenery.
Thus, when combined with the brilliant lighting effects, the stage becomes a
stadium concert spectacle. The boisterous cheering from the audience clearly
adds to that ambience.</span></p>
<p class="MsoNormal"><span style="color: #073763;">The orchestra under the music direction of Lena Gabrielle
was every bit a concert band mounted on a platform upstage providing
exceptional backup to the vocalists. The rich score includes some soul, hip-hop
and house music that carries the witty and descriptive lyrics. Even a
heart-wrenching torch song is part of the catalogue. </span></p>
<p class="MsoNormal"><span style="color: #073763;">Imaginative colorful, glittering costumes designed by
Gabriella Slade bring additional sparkle to the production.<span style="mso-spacerun: yes;"> </span>They feature gleaming, sexy metallic attire
with boots and crowns as each of the queens are attired in a distinctive color
and style that give off a Spice Girls vibe.</span></p>
<p class="MsoNormal"><span style="color: #073763;"><i style="mso-bidi-font-style: normal;">Six</i> packs all the
elements of scintillating theatre in its performances, music and technical
prowess into a tight, fast-paced, highly entertaining 80 minutes. Its message
of independence, pride and feminism and support for one another resonates. </span></p>
<p class="MsoNormal"><span style="color: #073763;">I don’t know if Charles III ever saw <i style="mso-bidi-font-style: normal;">Six</i> but if he had, I’m sure he will be mindful of his legacy and
not follow the path of Henry VIII. It won’t be pretty. </span></p>
<p class="MsoNormal"><span style="color: #073763;">Running Time. One hour and 20 minutes with no intermission.</span></p>
<p class="MsoNormal"><span style="color: #073763;"><i style="mso-bidi-font-style: normal;">Six</i> runs through
May 14 at the Hippodrome Theatre at the France-Merrick Performing Arts Center,
12 N. Eutaw St, Baltimore, MD 21201.<span style="mso-spacerun: yes;"> </span>For
tickets, call Ticketmaster at 800-982-ARTS or visit ticketmaster.com or
BaltimoreHippodrome.com. </span></p>
<p class="MsoNormal"><span style="color: #073763;">Photos: Joan Marcus</span></p>Steve Charinghttp://www.blogger.com/profile/10671770309656409487noreply@blogger.com0tag:blogger.com,1999:blog-18860233.post-86725251818245184682023-04-23T15:20:00.006-04:002023-05-03T16:06:16.431-04:00Kander and Ebb Musical Revue Dazzles at Olney <p><span style="color: #073763;"><span style="font-family: georgia; font-size: x-large;"></span></span><span style="color: #073763; font-family: georgia; font-size: x-large;"></span></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCbhbLgFIv5q8vrELP5VHWtqiLPKrIQHmAiUwK76cVMV0D6U4g-ROmH9is_czVrjtKcMXPnd6SqlGdsr9moOxHyWcDUcfcGt2OyKMO2BUUTL0NItlqkkoupqFqakseavBxjo81HHviIA_4r1yQOq1VG_YareXuYtIqOZJbL0Wy62ektndktg/s1280/WorldTeresa%20Castracane%20Photography.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="852" data-original-width="1280" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCbhbLgFIv5q8vrELP5VHWtqiLPKrIQHmAiUwK76cVMV0D6U4g-ROmH9is_czVrjtKcMXPnd6SqlGdsr9moOxHyWcDUcfcGt2OyKMO2BUUTL0NItlqkkoupqFqakseavBxjo81HHviIA_4r1yQOq1VG_YareXuYtIqOZJbL0Wy62ektndktg/w400-h266/WorldTeresa%20Castracane%20Photography.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b><span style="color: #0b5394;">Harris Milgrim, Nova Y. Patton, Kevin S. McAllister<br />Natascia Diaz & Karen Vincent</span></b></td></tr></tbody></table><span style="color: #073763; font-family: georgia; font-size: x-large;">T</span><span style="color: #073763;">he songwriting duo of Kander and Ebb may not have the same
name recognition in musical theatre and film as legends Rodgers and
Hammerstein, Rodgers and Hart, Lerner and Loewe even Tim Rice and Elton John.
But it should.</span><p></p>
<p class="MsoNormal"><span style="color: #073763;">John Kander and the late Fred Ebb have collaborated on a
mountain of songs—many quite familiar—that earned them numerous accolades, Tony’s
and Oscars for their efforts. Spanning six decades, the team penned the music
for such classic musicals as <i style="mso-bidi-font-style: normal;">Cabaret</i>,
<i style="mso-bidi-font-style: normal;">Chicago</i>, <i style="mso-bidi-font-style: normal;">Kiss of the Spiderwoman </i>and <i style="mso-bidi-font-style: normal;">The
Scottsboro Boys</i> to name a few. And did you know that they wrote the colossally
famous song “New York, New York” for the film with the same name? Neither did
I.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Fortunately, the works of Kander and Ebb are being
celebrated in a scintillating revue taking place at the Olney Theatre Center in
a partnership with ArtsCentic and Everyman Theatre. With a striking set, a superb
orchestra and an incredibly talented company of five, 31 songs are showcased in
a two-act revue that brings to life some of the Kander and Ebb fine catalogue. </span></p>
<p class="MsoNormal"><span style="color: #073763;">The revue is titled “The World Goes ‘Round,” an updated
version of the 1991 off-Broadway production “And the World Goes Round” that was
originally created by Scott Ellis, Susan Stroman and David Thompson. <span style="mso-spacerun: yes;"> </span>(On a personal level, the title is ironic
given I was battling the effects of vertigo during the few days leading up to
opening night. Those who have experienced this condition could relate. But
enough of me. Back to the review of the revue.)<br /></span></p>
<p class="MsoNormal"><span style="color: #073763;">Kander and Ebb were known to be ahead of their time. While
certain topics were considered off-limits, Kander and Ebb confronted dark
issues like Nazism in <i style="mso-bidi-font-style: normal;">Cabaret</i>, for
instance, and social injustice. They dealt with the marginalized in society
like the incarcerated. They dealt with racism, female sexuality, queerness and
gender fluidity. <span style="mso-spacerun: yes;"> </span>But their songs do not
necessarily reflect darkness. Kander and Ebb have also created snappy buoyant melodies
and joyful, even humorous lyrics. The eclectic mix performed during the revue range
from tuneful, emotion-packed torch songs to comical numbers. </span></p>
<p class="MsoNormal"><span style="color: #073763;">The quintet performing these selections consists of a
multi-talented and experienced troupe: Natascia Diaz (Broadway’s <i style="mso-bidi-font-style: normal;">Man of La Mancha</i> and the Olney
Theatre/Round House production of <i style="mso-bidi-font-style: normal;">In
The Heights</i>); Kevin S. McAllister, who also directs this revue (Broadway's <i style="mso-bidi-font-style: normal;">Caroline...Or Change </i>and<i style="mso-bidi-font-style: normal;"> Come From Away</i>); Harris
Milgrim (Broadway’s <i style="mso-bidi-font-style: normal;">Cats</i>); Nova
Y. Payton (Signature Theatre’s <i style="mso-bidi-font-style: normal;">Into
the Woods</i> and <i style="mso-bidi-font-style: normal;">The Color
Purple</i>); and Karen Vincent (Ford’s Theatre’s <i style="mso-bidi-font-style: normal;">Ragtime</i> and <i style="mso-bidi-font-style: normal;">Into the Woods</i>).</span></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwLDHsRRpZ_RiMXifkkj0_mCHD-iS7CruWLv3h1bHqHAJCVKT_bcfL3ZSyp-Pa4WM7v7JlS14MWuukEv7-2MaYS8gkqqay3KZbAOucSzBMuvVu8urV3Hsd24rZ_fgft47KpJEGZLld3HEw_1vj_hBv4HIcm_d9ynvaWQxJ3iea6OZxxdAahQ/s960/World%203%20Teresa%20Castracane%20Photography.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="768" data-original-width="960" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwLDHsRRpZ_RiMXifkkj0_mCHD-iS7CruWLv3h1bHqHAJCVKT_bcfL3ZSyp-Pa4WM7v7JlS14MWuukEv7-2MaYS8gkqqay3KZbAOucSzBMuvVu8urV3Hsd24rZ_fgft47KpJEGZLld3HEw_1vj_hBv4HIcm_d9ynvaWQxJ3iea6OZxxdAahQ/w400-h320/World%203%20Teresa%20Castracane%20Photography.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b><span style="color: #741b47;">Natascia Diaz and Harris Milgrim</span></b></td></tr></tbody></table><p></p>
<p class="MsoNormal"><span style="color: #073763;">The members of this group can sing up a storm; they can
dance gracefully; they do comedy well; and they can “roller skate.” Well, maybe
not so much the latter as they hilariously demonstrate those skills in “The
Rink” from the show with the same title.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Under the direction of Mr. McAllister, who is no stranger to
directing revues at Olney as he helmed the sparkling <a href="https://stevecharing.blogspot.com/2022/12/a-cabaret-for-december-holidays.html">“The Most Wonderful Time of the Year”</a> this past winter, the show is well-paced and expertly staged. <span style="mso-spacerun: yes;"> </span>Music director and maestro Christopher Youstra
with his fabulous seven-piece orchestra playing upstage throughout the show,
provide the performers with superb backing and do the Kander score proud.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Each member of the company has a turn in singing solos with about
half of the selections sung in combination with others or the entire company.
As individuals, their vocals shine; in combination with others, they soar.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Nova Y. Payton, with her astoundingly big voice, gets the
show off on a high note with her rendition of “And the World Goes ‘Round” from
the film <i style="mso-bidi-font-style: normal;">New York, New York</i>. Another solo
“Maybe This Time” from <i style="mso-bidi-font-style: normal;">Cabaret</i> is a
showstopper. It should be noted that this ballad was not written by Kander and
Ebb specifically <i style="mso-bidi-font-style: normal;">for</i> <i style="mso-bidi-font-style: normal;">Cabaret</i> but was included in the 1972
film version. It had been written in 1964 for Liza Minnelli’s debut album <i style="mso-bidi-font-style: normal;">Liza! Liza!</i> </span></p>
<p class="MsoNormal"><span style="color: #073763;">As mentioned previously, director Kevin S. McAllister also
performs in the troupe. Possessing a burly tenor voice, Mr. McAllister
demonstrates his strong vocals in the title song from the lesser known 60’s
musical <i style="mso-bidi-font-style: normal;">The Happy Time</i> as well as “I
Don’t Remember.” His rendition of “She’s a Woman” from <i style="mso-bidi-font-style: normal;">Kiss of the Spiderwoman</i> is outstanding.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Karen Vincent has a lush voice and performs well
throughout. Her two solos, “Colored Lights” from <i style="mso-bidi-font-style: normal;">The Rink</i> and “Isn’t This Better?” from <i style="mso-bidi-font-style: normal;">Funny Lady</i> are spot on. In a comical number “Sara Lee” that was popularized
by Liza Minnelli, Ms. Vincent joins Ms. Payton and Harris Milgrim. It is a pure
delight as costume designer Moyenda Kulemeka fitted the ladies in garb
resembling pastries. Ms. Kulemeka did a fabulous job in outfitting the troupe in a wide variety of costumes that coincide with the applicable period.</span></p><p class="MsoNormal"><span style="color: #073763;">Ms. Vincent also performs in “How Lucky Can You Get” from <i style="mso-bidi-font-style: normal;">Funny Lady</i> with Mr. Harris and Mr.
McAllister and “There Goes The Ballgame” from <i style="mso-bidi-font-style: normal;">New York, New York</i> with Natascia Diaz and Ms. Payton.</span></p>
<p class="MsoNormal"><span style="color: #073763;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="color: #073763;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHzslXm_9h8MXndNuEaRhgW1spUIaNsrp6dMz9O7xqPjGJf7vArOGj0QgEE4NRWl9aM-RLb5828jyFWn0If4EBmLaBzwV_9IaJlFLdRyUHBXK0QeoTy9TbHrD-_rjp0bGBDmg6sXulZYLtfsABFYk5fUAy_NRQQzcQrN0UOFChAvsejQNt1A/s1280/World%202%20Teresa%20Castracane%20Photography.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="852" data-original-width="1280" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHzslXm_9h8MXndNuEaRhgW1spUIaNsrp6dMz9O7xqPjGJf7vArOGj0QgEE4NRWl9aM-RLb5828jyFWn0If4EBmLaBzwV_9IaJlFLdRyUHBXK0QeoTy9TbHrD-_rjp0bGBDmg6sXulZYLtfsABFYk5fUAy_NRQQzcQrN0UOFChAvsejQNt1A/w400-h266/World%202%20Teresa%20Castracane%20Photography.jpg" width="400" /></a></span></div><span style="color: #073763;"><br />Mr. Milgrim takes on many of the revue’s comedic moments and
hits them out of the park. The lithe, athletic performer reminds me of a
modern-day Tommy Tune. He literally shows off his fit physique in the amusing “Arthur
in the Afternoon” from <i style="mso-bidi-font-style: normal;">The Act</i>, which
is splendidly sung by Natascia Diaz. An accomplished dancer to be sure,
Mr. Milgrim has a solid tenor singing voice and can hold a note longer than an
airport line. <span style="mso-spacerun: yes;"> </span>He shines in “Sometimes a
Day Goes By” from <i style="mso-bidi-font-style: normal;">Woman of the Year</i>, an
exceptional rendition of “Mister Cellophane” from <i style="mso-bidi-font-style: normal;">Chicago</i> and “Marry Me” from <i style="mso-bidi-font-style: normal;">The
Rink</i>.</span><p></p>
<p class="MsoNormal"><span style="color: #073763;">Besides “Arthur in the Afternoon,” Natascia Diaz with
her rich vocals performs adroitly in “A Quiet Thing” from <i style="mso-bidi-font-style: normal;">Flora, The Red Menace</i>. This show happened to be Kander and Ebb’s
first collaboration and launched the career of Liza Minnelli who won a Tony for
Best Actress in a Musical for the 1965 production. Ms. Diaz takes the lead in
the outstanding dance number “And All That Jazz,” one of the highlights from <i style="mso-bidi-font-style: normal;">Chicago</i> and performs a beautifully performed
extended dance number “When It All Comes True” with Mr. Milgrim.</span></p>
<p class="MsoNormal"><span style="color: #073763;">There are a number of well-executed dance numbers that rev up the tempo of the revue. Choreographer Shalyce Hemby guides the company with
precise and fluid movements in such songs as “Coffee In A Cardboard Cup” from <i style="mso-bidi-font-style: normal;">70, Girls, 70</i>, “Me and My Baby” from
Chicago, and “Money, Money” from <i style="mso-bidi-font-style: normal;">Cabaret</i>.
“The Rink” concludes the first act with a roller skating “exhibition” from four
of the five members of the company that is pure fun. Ms. Payton was wise to
stay off the wheels for this one as she took on a different and safer role
during the number.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Scenic Designer Daniel Ettinger allows the performers to do
their thing in a gorgeous, colorful setting. The orchestra is upstage but in
certain numbers, the platform moves towards the front. There are several rectangular
panels on the wall that serve as screens for projections designed by Patrick W.
Lord. These projections contain a wide assortment of images that coincide with
a particular song. Several personalities are seen offering tributes to Kander and
Ebb. They include Chita Rivera and Dame Judi Dench among others.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Lighting Designer Aja M. Jackson adds rich hues to the
optics. As a great touch, strings of footlights frame the stage, the wall
panels and even the platform where the orchestra is mounted to give off a cool
theatre vibe. Well done!</span></p>
<p class="MsoNormal"><span style="color: #073763;">One does not need to be familiar with all the Kander and Ebb
songs to enjoy this wonderful musical experience. More likely than not, you
will recognize the real popular ones and enjoy the interpretation that is applied.
For example, the production number “Cabaret” has been “jazzed up” with an
enjoyable result. And there’s the surprise finale “New York, New York” with a
new twist.</span></p>
<p class="MsoNormal"><span style="color: #073763;">This production is an extraordinary tribute to the team of Kander
and Ebb. Outstanding performers and orchestra with stellar work from the
technical crew all under the guiding hand of Kevin S. McAllister make this a
don’t miss show. Life is indeed a cabaret.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Running time. Two hours and 15 minutes with an intermission</span></p>
<p class="MsoNormal"><span style="color: #073763;"><i style="mso-bidi-font-style: normal;">The World Goes ‘Round</i>
plays through May 21, 2023, at the Olney Theatre Center, 2001 Olney-Sandy Spring
Road, Olney, MD 20832. Tickets may be purchased by calling 301-924-3400 or by
visiting <a href="https://www.olneytheatre.org/">here</a>.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Photos by Teresa Castracane Photography</span></p>Steve Charinghttp://www.blogger.com/profile/10671770309656409487noreply@blogger.com0tag:blogger.com,1999:blog-18860233.post-69665229120368339882023-04-19T00:02:00.013-04:002023-06-12T19:27:41.403-04:00Not Every New Idea is a Good One<p><span style="color: #073763;"><span style="font-family: georgia; font-size: x-large;"></span></span></p><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px;"><div class="separator" style="clear: both; text-align: left;"><br /></div></blockquote><div class="separator" style="clear: both; text-align: center;"><p class="MsoNormal" style="text-align: left;"><span style="color: #20124d;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="color: #20124d;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgO3yD2d6EojeCxB_eb7-O67QZowk8jWA1EUgHwLtOTPv7rBa4Bv6ctfrmrS8EbGtW9xXAVGGTW6heLBaGOSvgt7j6iEOz0CXh6aQn92-fKP64tVAB6OAmRvH83xCppLDpPTL9J-2lf5DGOR-YxdVzSw7Mm3YL_E9BBwQKXMtmhoExJ0_SQ8A/s1549/pflag3.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="639" data-original-width="1549" height="165" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgO3yD2d6EojeCxB_eb7-O67QZowk8jWA1EUgHwLtOTPv7rBa4Bv6ctfrmrS8EbGtW9xXAVGGTW6heLBaGOSvgt7j6iEOz0CXh6aQn92-fKP64tVAB6OAmRvH83xCppLDpPTL9J-2lf5DGOR-YxdVzSw7Mm3YL_E9BBwQKXMtmhoExJ0_SQ8A/w400-h165/pflag3.jpg" width="400" /></a></span></div><span style="color: #20124d;"><span style="font-family: georgia; font-size: x-large;">W</span>hen I first saw the new PFLAG logo, I thought the person
showing it to me was committing a prank. Sadly, he wasn’t. I admit that I don’t know how the decision was reached at
PFLAG National to change the existing logo(left) to the new one (right); who
designed this thing; how much did it cost the organization to commission the
new design; and how and why PFLAG officials believe this was a good idea. All I
know is that it was a ridiculous decision and an example of how to screw up
branding. Moreover, all chapters must use the new edition in their
communications and websites.</span><p></p>
<p class="MsoNormal" style="text-align: left;"><span style="color: #20124d;">A logo has been essential for companies, universities,
sports teams and organizations of all stripes to create a brand identity and
for customers to recognize it immediately. An overwhelming majority if these
entities have maintained their logos for years and in many cases, decades as
they understood the critical marketing imperative of having the company readily
identified with their logo.</span></p>
<p class="MsoNormal" style="text-align: left;"><span style="color: #20124d;">Logos appear on official communications, signs, advertising
and various types of merchandise. Rarely do these entities tinker with them. If
they do, it is usually subtle and just a few minor tweaks at that. They know
all too well that maintaining a consistent logo works. It surely has worked
well with companies like Coca-Cola, Walmart, Delta Airlines, NBC, Kellogg’s,
Colgate, NY Mets, Royal Caribbean, Ford, University of Miami, Dallas Cowboys,
Detroit Red Wings and thousands of others. </span></p>
<p class="MsoNormal" style="text-align: left;"><span style="color: #20124d;">LGBTQ organizations benefit from their logos as well. The
Human Rights Campaign’s popular yellow equal sign on a blue field can be seen
on thousands of cars’ bumpers, businesses windows, t-shirts, caps and mugs. Whatever
your opinion is of HRC, you must admit they know a thing or two about branding.</span></p>
<p class="MsoNormal" style="text-align: left;"><span style="color: #20124d;">But PFLAG seemed to have ignored the basics of marketing and
decided to dispense with the cheerful, colorful, distinctive logo on the left in
favor of the new one that screams…meh.</span></p>
<p class="MsoNormal" style="text-align: left;"><span style="color: #20124d;">If I had drawn this new logo in my 7<sup>th</sup> grade art
class, my teacher not only would have given me a low grade but she would have
also scolded me for a lack of effort and imagination. Simply put, it is visually
unappealing and simply boring.</span></p>
<p class="MsoNormal" style="text-align: left;"><span style="color: #20124d;">The change does not appear to be necessary.</span></p>
<p class="MsoNormal" style="text-align: left;"><span style="color: #20124d;">I am not trying to dump on PFLAG. I love the organization with
its hundreds of chapters nationwide and believe it is one of the most effective
organizations in the LGBTQ rights movement. For over 50 years and through its
volunteers PFLAG has succeeded in keeping countless number of families together
and literally saved lives in the wake of hostility and discrimination.</span></p>
<p class="MsoNormal" style="text-align: left;"><span style="color: #20124d;">I have been a volunteer in multiple chapters for a better
part of 20 years and have written a slew of positive articles in the LGBTQ and
mainstream press touting PFLAG’s invaluable work.</span></p>
<p class="MsoNormal" style="text-align: left;"><span style="color: #20124d;">Their brand and reputation have always been wonderful, and
even in today’s difficult times for LGBTQ organizations, it should capitalize
on that brand. </span></p>
<p class="MsoNormal" style="text-align: left;"><span style="color: #20124d;">I’m pretty sure it’s too late to restore the previous logo,
but hopefully decision-makers at PFLAG National will see the light nonetheless. </span></p><div style="text-align: left;"><br /></div></div>Steve Charinghttp://www.blogger.com/profile/10671770309656409487noreply@blogger.com1tag:blogger.com,1999:blog-18860233.post-50366097256522908822023-04-17T15:49:00.006-04:002023-04-18T09:29:21.419-04:00LGBTQIA+ Unity Center Unveiled in Westminster<p></p><p class="MsoNormal"><span style="color: #073763;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="color: #073763;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguyUXOTE1eJKYOBpo6Qh4WaHZDxJOlYgIboIR-JsTndLP4zXXuQfQ77dAixpH8-E0Suun_KJugWoC0JVFR_4y6875LvSV2Hm0ZJT1U3aDPAwMPrlGeBUtatTnIyqv_DDkjiY3HXul555LTYPea1_rn1RWabMShUWWpfKgThBtkQfJGywqVoA/s4032/Unity%204.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="2895" data-original-width="4032" height="288" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguyUXOTE1eJKYOBpo6Qh4WaHZDxJOlYgIboIR-JsTndLP4zXXuQfQ77dAixpH8-E0Suun_KJugWoC0JVFR_4y6875LvSV2Hm0ZJT1U3aDPAwMPrlGeBUtatTnIyqv_DDkjiY3HXul555LTYPea1_rn1RWabMShUWWpfKgThBtkQfJGywqVoA/w400-h288/Unity%204.jpg" width="400" /></a></span></div><span style="color: #073763;"><span style="font-family: georgia; font-size: x-large;">T</span>here is a Rainbow Room, a Game Room, a Media Room and a
lounge area for those who simply want to get away from the hubbub. These rooms
comprise the new safe space, called the Unity Center in Westminster, Md., to
promote inclusion and equity for LGBTQIA+ people, families, their friends and
allies in Carroll County. It is located on the ground floor of Westminster’s
Saint Paul’s United Church of Christ (17 Bond Street), which has served as the
meeting space for PFLAG-Carroll County for over 15 years.</span><p></p>
<p class="MsoNormal"><span style="color: #073763;">The PFLAG chapter’s volunteers with cooperation and
donations from the church, local businesses, schools and the public have
developed this space to serve the needs of the community.</span></p>
<p class="MsoNormal"><span style="color: #073763;">“Carroll County actually does a very decent job of providing
services for our community overall, but they are still lacking for our LGBTQIA+
folks,” says Joy Fisher, the PFLAG-Carroll County chapter’s president.<span style="mso-spacerun: yes;"> </span>“We see our Unity Center helping to fill that
void.<span style="mso-spacerun: yes;"> </span>Additionally, I feel that having
the Unity Center solidifies our presence.”</span></p>
<p class="MsoNormal"><span style="color: #073763;">The need is evident. Last June the Carroll County School
Board voted to ban Pride flags on school property. </span></p>
<p class="MsoNormal"><span style="color: #073763;">“I think it is taking a step back to take something away
that students recognize as a support, that [they] recognize something they’ve
come to know as a safe place,” Superintendent Steven Lockard, who does not have
a vote, told CBS Baltimore.</span></p>
<p class="MsoNormal"><span style="color: #073763;"><span style="color: #073763;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-iWB-EF5HgpIxbXA2EYsEHIUD31sM8_2Qkv2twGMFTPej-zUYpiWtR21eQGCacyzbTmPf8rjdPeiKMJS_b3azHq7okLxBw3pO8_0aBD3eo6G5pf8ECgJIvSs4voEjo7XA2BI9JAEONHIRH5osozVHUiOQj6PawtcnQtzy335LvEliYckjFw/s2992/Unity%205.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="2274" data-original-width="2992" height="304" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-iWB-EF5HgpIxbXA2EYsEHIUD31sM8_2Qkv2twGMFTPej-zUYpiWtR21eQGCacyzbTmPf8rjdPeiKMJS_b3azHq7okLxBw3pO8_0aBD3eo6G5pf8ECgJIvSs4voEjo7XA2BI9JAEONHIRH5osozVHUiOQj6PawtcnQtzy335LvEliYckjFw/w400-h304/Unity%205.jpg" width="400" /></a></span>The official ribbon-cutting ceremony that launched the new
Unity Center took place on April 16 when a diverse crowd of about 50 attended
the tour of the space and ceremony. </span></p>
<p class="MsoNormal"><span style="color: #073763;">PFLAG provides services at the Unity Center for the LGBTQIA+
community that are not currently available in Carroll County. They include: </span></p>
<p class="MsoNormal"><span style="color: #073763;">▲Support via phone, email and website</span></p>
<p class="MsoNormal"><span style="color: #073763;">▲Social Media—Facebook, Private Facebook groups, and
Instagram</span></p>
<p class="MsoNormal"><span style="color: #073763;"></span></p><div class="separator" style="clear: both; text-align: center;"></div><span style="color: #073763;">▲Library/resources—Loans of Queer-themed DVDs, books and
resources</span><p></p>
<p class="MsoNormal"><span style="color: #073763;">▲Young, Teen & Adults (YTA) Fridays and Safe Space
programs for queer individuals and allies (see below)</span></p>
<p class="MsoNormal"><span style="color: #073763;">▲Education—Provide speakers and training to expand
understanding and support of LGBTQIA+ issues</span></p>
<p class="MsoNormal"><span style="color: #073763;">▲Social events—a safe space for the LGBTQIA+ community and
their allies to participate in and benefit from activities, such as dances,
picnics, karaoke, movies and games</span></p>
<p class="MsoNormal"><span style="color: #073763;">▲Monthly PFLAG Community Meetings—Open to the public to
provide support, education and advocacy for issues and challenges faced by
LGBTQIA+ folks, their families and allies.</span></p>
<p class="MsoNormal"><span style="color: #073763;">▲Monthly PFLAG Parents’ Support Group—for parents and
caregivers of LGBTQIA+ children and family members</span></p>
<p class="MsoNormal"><span style="color: #073763;">“We want the community at large to understand that we are here, and we plan to continue to support our LGBTQIA+ youth and adults,” explains
Fisher.<span style="mso-spacerun: yes;"> </span>“The Unity Center means support,
it means love, it means reaching out to those struggling and needing somewhere
to feel safe and be around like-minded people.<span style="mso-spacerun: yes;">
</span>We hope the Unity Center invites dialogue and we can have meaningful and
useful discussion with folks who are having trouble understanding or accepting
our LGBTQIA+ folks.”<span style="mso-spacerun: yes;"> </span></span></p><p class="MsoNormal"><span style="color: #073763;"></span></p><blockquote><span style="color: #073763;"><b><span style="font-size: large;">“The Unity Center means support, it means love, it means reaching out to those struggling </span></b><b style="color: black;"><span style="font-size: large;"><span style="color: #073763;">and needing somewhere to feel safe</span><span style="color: #073763;"> </span><span style="color: #073763;">..."</span></span></b></span></blockquote><p></p>
<p class="MsoNormal"><span style="color: #073763;">She adds, “But whether we bring the community around or not,
it will not stop us from providing our LGBTQIA+ people the safe space they need
and eventually the services to help them strive in our community.<span style="mso-spacerun: yes;"> </span>We look forward to growing the Unity Center
with all the many ideas and programs that we can manage.”</span><span style="color: #073763;"> </span></p>
<p class="MsoNormal"><span style="color: #073763;">In light of the Carroll County School Board’s actions, one
of the major programs PFLAG-Carroll County is offering through the Unity Center
is the previously mentioned Youth, Teen and Adults (YTA) Fridays Monthly Safe
Space program. </span></p>
<p class="MsoNormal"><span style="color: #073763;">This is intended for gay, lesbian, bisexual, asexual,
pansexual and transgender individuals and their allies. The cost is free but
donations are always accepted.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Starting in June, the First Fridays from 6:30 p.m. to 10:00
p.m. the Unity Center will be open for those ages 14 to 18 (9<sup>th</sup> to
12<sup>th</sup> grade).</span></p>
<p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdwqiZK_GdgJxgiVpPsw-5RSn3UdhfYQyyKNAC_-_ifpfdAYQFrbrknnmgJ46XFBJk_U6tYpYpC5pBiw5Y2fUVDDckgQN50cyjtR8WLIwY-U8hHZoMDDYVgxbb-7Ipp0_ANlumyqKikiiFffAoYitW76BUW-GcLHPru_wY7FdAk4tY1tMDOQ/s3544/Unity%203.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="2597" data-original-width="3544" height="293" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdwqiZK_GdgJxgiVpPsw-5RSn3UdhfYQyyKNAC_-_ifpfdAYQFrbrknnmgJ46XFBJk_U6tYpYpC5pBiw5Y2fUVDDckgQN50cyjtR8WLIwY-U8hHZoMDDYVgxbb-7Ipp0_ANlumyqKikiiFffAoYitW76BUW-GcLHPru_wY7FdAk4tY1tMDOQ/w400-h293/Unity%203.jpg" width="400" /></a></div><span style="color: #073763;">The Second Fridays during the same timeframe the space will
be available to Adults over age 18.</span><p></p>
<p class="MsoNormal"><span style="color: #073763;">The Third Fridays from 6:30 p.m. to 9:00 p.m. children ages
10 to 14 (5<sup>th</sup> to 9<sup>th</sup> grade).</span></p>
<p class="MsoNormal"><span style="color: #073763;">Some of the activities in this environment include video
games, board games, ping-pong, foosball, air hockey, karaoke, arts and crafts
along with good conversation. The chapter supplies snacks, drinks and pizza and
offer a separate area for supportive parents who want to stay and chat with
other parents.</span></p>
<p class="MsoNormal"><span style="color: #073763;">President Joy Fisher recognizes that the Unity Center will bolster
the chapter’s visibility and provide awareness in the community.</span></p>
<p class="MsoNormal"><span style="color: #073763;">“We are very excited to begin this initiative and were very
encouraged by the Grand Opening participants, and we feel we are well on our
way to a successful, useful and needed endeavor,” she says.<span style="mso-spacerun: yes;"> </span></span></p>
<p class="MsoPlainText"><o:p><span style="color: #073763;"> </span></o:p><span style="color: #073763;">“Our Unity Center steering committee has worked very hard
for over 6 months to bring this to fruition and I for one am very excited.</span><span style="color: #073763;"> </span><span style="color: #073763;">It would be neglectful of me not to do a huge
shout out to our team:</span><span style="color: #073763;"> </span><span style="color: #073763;">Erin Snell, Jody
Ledford, Judy Gaver, Beatrice Bordzol, Debra Weidman, Lisah Aubergine, Marty
Kuchma, Jane Bownes, and Laura Russel.</span><span style="color: #073763;"> </span><span style="color: #073763;">Without their
dedication and willingness to assist none of this would have come
together.</span><span style="color: #073763;"> </span></p>
<p class="MsoNormal"><span style="color: #073763;">For more information visit the chapter’s <a href="https://www.pflagwcc.org/">website</a> or email <a href="mailto:PFLAGcarroll@gmail.com">PFLAGcarroll@gmail.com</a> </span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFahqXUUEYZ-_PdUo01nIusikATn-3Dw-P-wbwHVryiLzvsh7sfHlq_GeL8zbROAtJPomRM90e5eulFJAsW7pjawqV4k_cdXRL76J95vdO3AMznnRDhBjZJhsM3eGJV68FwKjF56-uXWpHHWYE8f-mWMKJ1JbcgMqBW5s9L3KdATRrIGv_tg/s450/Unity%20logo.tiff" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="450" data-original-width="450" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFahqXUUEYZ-_PdUo01nIusikATn-3Dw-P-wbwHVryiLzvsh7sfHlq_GeL8zbROAtJPomRM90e5eulFJAsW7pjawqV4k_cdXRL76J95vdO3AMznnRDhBjZJhsM3eGJV68FwKjF56-uXWpHHWYE8f-mWMKJ1JbcgMqBW5s9L3KdATRrIGv_tg/w400-h400/Unity%20logo.tiff" width="400" /></a></div><br /><p class="MsoNormal"><br /></p><br /><p></p>Steve Charinghttp://www.blogger.com/profile/10671770309656409487noreply@blogger.com0tag:blogger.com,1999:blog-18860233.post-38607859920061982962023-04-13T13:59:00.011-04:002023-04-20T16:00:40.502-04:00A Very Cool 'Grease' Rocks at Toby's<p><span style="color: #073763;"><span style="font-family: georgia; font-size: x-large;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="color: #073763;"><span style="font-family: georgia; font-size: x-large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0wX55RSby9Jl1C-kYNhkqCF88uiHJgftCfvxWTEREp-i23FPViDOvrzE2fO-UQWhDowP7QGrV8Ft-BAWVn9CKVYFXmrlSyYQuT0qIHwq7Nmofrl7Jpmn97LSK83IXRcvVGDsep0AmtZRMxGq3D2fIQJeBjoACPmVyDZfw1F50-_3gJGl85g/s3904/Grease3.jpeg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="2603" data-original-width="3904" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0wX55RSby9Jl1C-kYNhkqCF88uiHJgftCfvxWTEREp-i23FPViDOvrzE2fO-UQWhDowP7QGrV8Ft-BAWVn9CKVYFXmrlSyYQuT0qIHwq7Nmofrl7Jpmn97LSK83IXRcvVGDsep0AmtZRMxGq3D2fIQJeBjoACPmVyDZfw1F50-_3gJGl85g/w400-h266/Grease3.jpeg" width="400" /></a></span></span></div><span style="color: #073763;"><span style="font-family: georgia; font-size: x-large;">H</span>ow do you not love a musical where one of the featured
songs is titled “Mooning”? The popular show <i>Grease</i>,
which is currently playing at Toby’s, the Dinner Theatre of Columbia, has many
reasons for one to fall in love besides the titles of the songs.</span><p></p>
<p class="MsoNormal"><span style="color: #073763;">It’s pretty safe to say that virtually all theatre-goers
have heard of or seen the American classic musical <i style="mso-bidi-font-style: normal;">Grease</i> in some form or another. <i style="mso-bidi-font-style: normal;">Grease</i>
had been one of Broadway’s longest running productions. It spawned several
revivals on Broadway and has played all over the world in professional theatre
via tours as well as in summer stock, community theatre and in schools all over
the U.S. The 1978 movie with the same title starring John Travolta and Olivia
Newton-John was a huge success.<span style="mso-spacerun: yes;"> </span>And
even that led to a sequel.</span></p>
<p class="MsoNormal"><span style="color: #073763;"><i style="mso-bidi-font-style: normal;">Grease</i> takes you
back to an era where spit curls and cigarette packs stuffed in the sleeves of tight
t-shirts, and sporty cars, drive-ins, sock-hops and gossipy Pink Ladies ruled
the day for teenagers. It is no wonder that this beloved 1971 musical, written
and composed by Jim Jacobs and Warren Casey, found a way into the hearts of so
many. <span style="mso-spacerun: yes;"> </span></span></p>
<p class="MsoNormal"><span style="color: #073763;">And here it is (again). As in the past, the bouncy nostalgic
1950’s era production at Toby’s can also be characterized as a smash.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Working with an essentially fresh new cast from Toby’s iteration
of four years ago, Helen Hayes Award winner Mark Minnick directed and
choreographed this vibrant masterpiece with supreme skill and vision. The
precise staging and period aesthetics are matched by a wonderful young and exuberant
cast whose dance moves are dazzling and whose vocals are sparkling. </span></p>
<p class="MsoNormal"><span style="color: #073763;">Musical Director Ross Scott Rawlings six-piece orchestra (conducted
by Nathan Scavilla on this particular evening with Mr. Rawlings taking the
baton at other performances) is in total synch with the company, never
overwhelming the vocals. </span></p>
<p class="MsoNormal"><span style="color: #073763;">Janine Sunday stayed true to the era by designing a splendid
array of 1950’s costumes including black</span></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiga31gkI6WpYHBAc6egdH3LWtTKCjoCyTEYDYfvrgsoUnsUwxSMKiMAFSjMcjN_2egmji4zWsmctC38p_kj3SlG-uUF-0KL82ogr1BBwB0H44qTfVDmZGQcHKPtLper-ik5s_XXvahCZxiN9f6hTTpAqSCkv3TaLfZZQ3xjz0n80vqpajO8Q/s5472/Grease2.jpeg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiga31gkI6WpYHBAc6egdH3LWtTKCjoCyTEYDYfvrgsoUnsUwxSMKiMAFSjMcjN_2egmji4zWsmctC38p_kj3SlG-uUF-0KL82ogr1BBwB0H44qTfVDmZGQcHKPtLper-ik5s_XXvahCZxiN9f6hTTpAqSCkv3TaLfZZQ3xjz0n80vqpajO8Q/w400-h266/Grease2.jpeg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b><span style="color: #990000;">Cassie Sauders as Sandy; Patrick Gover as Danny</span></b></td></tr></tbody></table><span style="color: #073763;"><br /> jeans, black tight t-shirts and black
leather jackets for the guys and cheerleading uniforms or below-the-knee
pastel-colored skirts for the gals. The costumes worn during the number “Beauty
School Dropout” are unforgettable.</span><p></p>
<p class="MsoNormal"><span style="color: #073763;">Lynn Joslin’s lighting design is captivating and creative.
And Mark Smedley’s sound design brings crystal clear audio to Toby’s
in-the-round theater.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Scenic Designer David A. Hopkins did a wonderful job with
the set. Lockers are on the balcony to denote what would be ordinarily
seen at a high school. Projection screens are mounted around the theatre's walls that
capture images of yearbook pictures and other period scenes throughout. Streamers from
the ceiling are used to decorate a school dance. Awesome set pieces from diner
booths to a miniature red and white hot rod dubbed “Greased Lightning” amplify the
presentation so adroitly.</span></p>
<p class="MsoNormal"><span style="color: #073763;">The plot, probably familiar to most due to the show’s
prolific exposure, has undergone some tweaking in terms of score and dialogue
during its course.<span style="mso-spacerun: yes;"> </span>Yet, it continues to
center on the relationships between lead characters Danny Zuko (played by charismatic
Patrick Gover) and the Sandra Dee-like Sandy Dumbrowski (played well by Cassie Saunders) and among their respective working class peer cliques—the
Burger Palace Boys (formerly called the T-Birds in other productions) and the Pink
Ladies—at the fictional Rydell High School in 1959.<span style="mso-spacerun: yes;"> </span></span></p>
<p class="MsoNormal"><span style="color: #073763;">While other characters emerge and their attempts at coupling
form much of the comedic sequences, the focus remains on the ebbs and flows of
the romantic relationship between Danny and Sandy.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Director Minnick steers the action with a light touch and
keeps the proceedings breezy and fun throughout. Yet, embedded in the plot are
such social issues as teenage pregnancy, peer pressure bordering on bullying,
sexism, and gang violence amid the themes of love, friendship, teenage
rebellion, sexual exploration during adolescence, and class consciousness.<span style="mso-spacerun: yes;"> </span></span></p>
<p class="MsoNormal"></p><blockquote><span style="color: #073763;"><b><span style="font-size: large;">"...the bouncy nostalgic 1950’s era production at Toby’s can also be characterized as a smash."</span></b></span></blockquote><p></p><p class="MsoNormal"><span style="color: #073763;">Although those issues are legitimate in any period, <i style="mso-bidi-font-style: normal;">Grease</i> is all about the 50’s in terms of
music, wardrobe, culture, dialogue, and gestures. Its popularity over these
many years is a testament to the show’s ability to entertain audiences of all
ages and in all eras.</span></p>
<p class="MsoNormal"><span style="color: #073763;">And entertain they do. </span></p>
<p class="MsoNormal"><span style="color: #073763;">The perfectly cast energetic and multi-talented company</span><span style="color: #073763;"> in
the Toby’s production do the show proud.</span><span style="color: #073763; mso-spacerun: yes;">
</span><span style="color: #073763;">Once the iconic production number “Summer Nights” is performed so effectively
in the second scene of the first act, the tone is set and the audience is
captured for the duration.</span></p>
<p class="MsoNormal"><span style="color: #073763;">As one would expect in a musical with the pedigree of <i style="mso-bidi-font-style: normal;">Grease</i>, the songs are the show’s
strength, and the cast delivers under the guidance of Mr. Minnick and Musical
Director Rawlings.</span></p>
<p class="MsoNormal"><span style="color: #073763;">A big dance number “Greased Lightnin” with the
aforementioned hot rod rolling on the stage belonging to one of the greasers
Kenickie (played strongly by Calvin Malone) is a crowd pleaser to be sure.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Other numbers with high-level, high-intensity choreography
include the production numbers, “Summer Nights,” “Those Magic Changes,” “Freddie
My Love,” </span><span style="color: #073763;">“We Go Together,” “Shakin’ at the High School Hop,”
“Born to Hand Jive,” “You’re the One
That I Want,” as well as others.</span></p>
<p class="MsoNormal"><span style="color: #073763;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="color: #073763;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirnb7Zj2Da_ir0S4E01ikUsUD_hdr18crssi2Aw0tacFaA-rXVUzpPu4GzgHw2G2lG4U_8OeQccBcZKeZeli9bxil4PkNaGFQ9aAlwqQeUqcDNQTaXsfFlU7T47TzV5UxsAfHwxK35JkRBiwRLvHGz5GZy0MhYod0azLBGNRTpda9lxE0hQw/s4999/Grease.jpeg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3332" data-original-width="4999" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirnb7Zj2Da_ir0S4E01ikUsUD_hdr18crssi2Aw0tacFaA-rXVUzpPu4GzgHw2G2lG4U_8OeQccBcZKeZeli9bxil4PkNaGFQ9aAlwqQeUqcDNQTaXsfFlU7T47TzV5UxsAfHwxK35JkRBiwRLvHGz5GZy0MhYod0azLBGNRTpda9lxE0hQw/w400-h266/Grease.jpeg" width="400" /></a></span></div><span style="color: #073763;"><br />Then there is that hilarious song “Mooning” performed marvelously
by Tony Lemus and Lydia Gifford.</span><p></p>
<p class="MsoNormal"><span style="color: #073763;">The uniqueness of each dance number, the creativity and
precision involved and the ability to perform the dances within the confines of
Toby’s in-the-round stage are a testament to the guidance from Mr. Minnick and
the performers’ talents.</span></p>
<p class="MsoNormal"><span style="color: #073763;">As Danny Zuko, Patrick Gover excels as an actor and
vocalist. With his matinee idol good looks, Mr. Gover does his greaser garb
proud.<span style="mso-spacerun: yes;"> </span>He has all the moves: a cocky
swagger, preening and adjusting his hair frequently to make it crystal clear he
is the lead greaser and attracting women is essentially a given.<span style="mso-spacerun: yes;"> </span>Mr. Gover’s solid tenor voice excels in
“Summer Nights” using falsetto at the end effectively and “Alone at the
Drive-In Movie.”</span></p>
<p class="MsoNormal"><span style="color: #073763;">Cassie Saunders plays innocent and later, not so innocent Sandy, to the hilt. Also
equipped with strong vocal prowess, Ms. Saunders performs very well in “Summer
Nights” and the lovely ballad “Hopelessly Devoted to You”—a song popularized by
Olivia Newton-John in the film version of <i style="mso-bidi-font-style: normal;">Grease</i>
and later incorporated in the stage musicals. She also performs well in the
reprise of “Look at Me, I’m Sandra Dee.”</span></p>
<p class="MsoNormal"><span style="color: #073763;">As Betty Rizzo, the tough, gum-snapping, chain-smoking heavy
among the Pink Ladies, Alicia Osborne does justice to her role.<span style="mso-spacerun: yes;"> </span>She expertly performs the song “Look at Me,
I’m Sandra Dee.” </span></p>
<p class="MsoNormal"><span style="color: #073763;">Other outstanding performers include Calvin Malone as
Kenickie, Tony Lemus as Roger, Brandon Bedore as Doody, Caelyn D. Williams as
Marty, Joey Ellinghaus as Sonny, Emily Flack as Frenchy, Dereck Atwater as
Eugene Florczyk, Lydia Gifford as Jan, Asia-Lige Arnold as Miss Lynch as well
as Teen Angel whose performance of “Beauty School Dropout” is a
goose-bump-producing vocal, Jeffrey Shankle as Vince Fontaine, Shane Lowry as
Johnny Casino, Candace Foreman as Cha-Cha DiGregorio, and Brooke Bloomquist as
Patty Simcox.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Rounding out the company are the ensemble members Angelo
Harrington II, Alexis Krey-Bedore, James Mernin and Tori Weaver.</span></p>
<p class="MsoNormal"><span style="color: #073763;">The Toby’s production stayed true to <i style="mso-bidi-font-style: normal;">Grease’s</i> classic rock ‘n roll core, and everybody associated with
it deserves bravos. Even if you spent a summer night with <i style="mso-bidi-font-style: normal;">Grease</i> before, drive your hot rod over to Toby’s and catch this
amazing production. <i style="mso-bidi-font-style: normal;">Grease</i> is the
word, and is the one that you’ll want! But please avoid mooning.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Running time. Two hours and 20 minutes with an intermission</span></p>
<p class="MsoNormal"><span style="color: #073763;"><i style="mso-bidi-font-style: normal;">Grease</i> runs
through June 11 at Toby’s the Dinner Theatre of Columbia, 4900 Symphony Woods
Rd., Columbia, MD 21044.<span style="mso-spacerun: yes;"> </span>Tickets may be
purchased by calling the box office at 410-730-8311or visiting
<a href="https://tobysdinnertheatre.com/box-office/tickets/">here</a>.</span></p>
<p class="MsoNormal"><span style="color: #073763;">****</span></p><p class="MsoNormal"><span style="color: #073763;">The full buffet menu is shown <a href="https://tobysdinnertheatre.com/about-us/whats-on-the-menu/">here</a>, and the specialty drink
is “Pink Lady.”</span></p>
<p class="MsoNormal"><span style="color: #073763;">Photos: Jeri Tidwell Photography</span></p>Steve Charinghttp://www.blogger.com/profile/10671770309656409487noreply@blogger.com0tag:blogger.com,1999:blog-18860233.post-47178005262046780242023-04-12T14:32:00.009-04:002023-04-14T15:12:58.693-04:00‘Hadestown’ at the Hippodrome is One Helluva Show<p><span style="color: #073763;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="color: #073763;"></span></div><span style="color: #073763;"><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8uukWVm1nR5EIXyu6SBf8NUv-y4OJPJnyVEj9imLF70Nr3ABjeiSs3E_EPnj9fujW3SW7cC34jgztFbIv15YjWw4OmGziaxT37dCvhLAho8QkTfEQ4qk8uedI3Ss3wngdvCK7GkzMdWl9AQZWifqgcrwy9r-pEzuBv7nwcuEXGFLNmP3p1g/s5042/Hadestown2%20T.%20Charles%20Erickson.jpeg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3788" data-original-width="5042" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8uukWVm1nR5EIXyu6SBf8NUv-y4OJPJnyVEj9imLF70Nr3ABjeiSs3E_EPnj9fujW3SW7cC34jgztFbIv15YjWw4OmGziaxT37dCvhLAho8QkTfEQ4qk8uedI3Ss3wngdvCK7GkzMdWl9AQZWifqgcrwy9r-pEzuBv7nwcuEXGFLNmP3p1g/w400-h300/Hadestown2%20T.%20Charles%20Erickson.jpeg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b><span style="color: #783f04;">Hannah Whitley as Eurydice and J. Antonio Rodrigues as Orpheus</span></b></td></tr></tbody></table><span style="font-family: georgia; font-size: x-large;">O</span>ne may not have to be well-versed in Greek mythology to
appreciate <i>Hadestown</i>, the highly
touted musical that is currently making a national tour stop at Baltimore’s
Hippodrome Theatre. For while the characters in the show—Orpheus, Eurydice,
Persephone, Hades, and Fates—are based on those in Greek mythology, there is a
strong connection to the modern world’s environment. One thing is for certain:
the power of love and hope despite struggles and hardship transcend time.</span><p></p>
<p class="MsoNormal"><span style="color: #073763;">The story is narrated by the herald of the gods, the lively
and nimble Hermes. He guides the audience throughout and is aided by the ensemble performing as a Greek chorus and the three Fates who shape the destiny
of each human. The energetic opening song, “Road to Hell” presents the contours
of the story and sets the tone.</span></p>
<p class="MsoNormal"><span style="color: #073763;"><i style="mso-bidi-font-style: normal;">Hadestown</i> is a
mostly sung-through musical that presents a folk-rock vibe with an infusion of
soul, jazz, and pop. <span style="mso-spacerun: yes;"> </span>This unique show was
conceived by Anaïs Mitchell, who wrote the music and the story. In 2019 it received
8 Tony Awards out of its 14 nominations including Best Musical and Best
Original Score.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Captivating and emotional, the production at the Hippodrome,
under the direction of Rachel Chavkin and choreography by David Neumann, is
exceptional. Though the story is riveting, and the eclectic music is memorable,
the strength of the shows lies with the performers and their magnificent vocal prowess.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Orpheus is a passionate songwriter and musician who falls in
love at first sight with Eurydice a pragmatic but vulnerable young girl. He
immediately, and I do mean immediately, asks Eurydice to be his wife. But the
young girl lives in poverty and suffers through and is fearful of extreme
climate changes. Orpheus believes that he can create a song that can remedy the
world’s ills. Their love does well in spring and summer but is challenged
during the fall and winter seasons.<br /></span></p>
<p class="MsoNormal"></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivgd2Z05Vf2wkwJAChae5O-eFRIrzRZyznoB4WW3LdQoMCHg6fh79QKbj5wq4LUHgsHJZuexFPmoQRdeauogbs5BR2bOlXovwT_PXXdBsJuWHwKsmrVdLTgp7YVWVxdzGIFh1oOi4gJWWthTM3VOqr9EBlSg-HxufBY0iBrgUGOSSAfpqsHQ/s5869/Hadestown3%20T.%20Charles%20Erickson.jpeg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3913" data-original-width="5869" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivgd2Z05Vf2wkwJAChae5O-eFRIrzRZyznoB4WW3LdQoMCHg6fh79QKbj5wq4LUHgsHJZuexFPmoQRdeauogbs5BR2bOlXovwT_PXXdBsJuWHwKsmrVdLTgp7YVWVxdzGIFh1oOi4gJWWthTM3VOqr9EBlSg-HxufBY0iBrgUGOSSAfpqsHQ/w400-h266/Hadestown3%20T.%20Charles%20Erickson.jpeg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b><span style="color: #351c75;">Matthew Patrick Quinn as Hades; Hannah Whitley as Eurydice</span></b></td></tr></tbody></table><span style="color: #073763;">The impoverished and hungry Eurydice gets caught in a storm
while trying to find food. At that point she is lured by Hades, the ruler of
the Underworld (hell) and encouraged by the Fates, to escape the harsh
conditions above and become a factory worker in Hadestown, a hellish industrial
empire with its oil drums and what-not. Seeking that security, she signs a
contract to do so. </span><p></p>
<p class="MsoNormal"><span style="color: #073763;">Upon discovering that Eurydice is missing, Orpheus receives
instructions from Hermes how to go to Hadestown to rescue his love despite the
odds. With his music and undying love for Eurydice in tow, Orpheus arrives. He
is confronted by Hades who points out that she signed that contract and is
bound by it. But Persephone, Hades’ wife in a rocky marriage and who alternates
her time in the Underworld and in the world above, tries to persuade Hades to
let Eurydice go, noting the determination on the part of Orpheus. How the final
decision is reached and what ultimately transpires form the remainder of the
powerfully emotional story.</span></p>
<p class="MsoNormal"><span style="color: #073763;">This all unfolds on a fixed multi-level set that resembles a
well-worn New Orleans jazz club complete with a French Quarter-style balcony.
Rachel Hauck’s scenic design allows the terrific seven-piece orchestra to
appear onstage with some musicians moving about the stage from time to time. A
steel door is located upstage that swallows up those entering Hadestown. </span></p>
<p class="MsoNormal"><span style="color: #073763;">The scenes are split between this jazz club as well as
Hadestown where the workers in hell perform their repetitive tasks in circles on a
turntable. This effect, choreographed by David Neumann in addition to the
creative and vivid lighting design by Bradley King that includes swinging light
fixtures during emotional moments, is impactful. Neumann’s well-choreographed
numbers are presented throughout, with “Livin’ It Up On Top” and “Way Down
Hadestown” being exemplary, showcasing high-voltage, emphatic dance movements.</span></p>
<p class="MsoNormal"><span style="color: #073763;">The show starts off with Hermes, the narrator, so I will
start with him. Played deliciously and with flair by Nathan Lee Graham, the
character captures the audience’s imagination and affection with his joyful and
sympathetic qualities. What few comedic moments surface during the musical, Mr.
Graham holds most of them. <span style="mso-spacerun: yes;"> </span>He has a nice
tenor voice and performs in multiple numbers including the stage-setting opener
“Road to Hell” and the standout song “Wait For Me.”</span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibNRg6M_skM43qlAYUTDkHXbQa5RfMf3Mo4ANwLbS66DEno90cXyiil35iYxR8RbGv2Eh_skCFMLzcSIkdXpFSHaCVrrz2VPlBaNMIjggKPHKDTW9wW0WNR5Pe0I23Vxg3wKa6UQVzjCb0Sa4tso5oyUCFhEPQrK_UHWAJYb1q25s44BGVvw/s6000/Hadestown%20T.%20Charles%20Erickson.jpeg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="4000" data-original-width="6000" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibNRg6M_skM43qlAYUTDkHXbQa5RfMf3Mo4ANwLbS66DEno90cXyiil35iYxR8RbGv2Eh_skCFMLzcSIkdXpFSHaCVrrz2VPlBaNMIjggKPHKDTW9wW0WNR5Pe0I23Vxg3wKa6UQVzjCb0Sa4tso5oyUCFhEPQrK_UHWAJYb1q25s44BGVvw/w400-h266/Hadestown%20T.%20Charles%20Erickson.jpeg" width="400" /></a></div><p></p>
<p class="MsoNormal"><span style="color: #073763;">J. Antonio Rodriguez shines in the role of the passionate
and eternally optimistic Orpheus. A fine singing voice that is featured in such
songs as “Epic I,” “Epic II,” “Epic III,” “Come Home With Me,” and the group
number “Doubt Comes In,” Mr. Rodriguez possesses an exceptional command of
falsetto during his vocals and is a treat to listen to.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Mr. Rodriguez displays wonderful onstage chemistry with
Hannah Whitley, who plays the role of Eurydice. Their growing love is captured tenderly
with a prevalence of emotion. The realistic and worried Eurydice is a perfect
counterpoint to the sanguine Orpheus. <span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span></span></p>
<p class="MsoNormal"><span style="color: #073763;">Ms. Whitney’s voice is as clear as a bell and performs in
many group numbers. Her duets with Mr. Rodriguez in “All I’ve Ever Known” and “Gone,
I’m Gone” are gorgeous.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Matthew Patrick Quinn is outstanding as the antagonist
Hades. Commanding and authoritative, Mr. Quinn conveys the steely ruler of the
Underworld with verve. His bass voice is stunning with his lower register likely
to reach the depths of Hadestown itself. Mr. Quinn excels in the duet with Ms.
Whitney in the seductive “Hey, Little Songbird” and in the solo “His Kiss, The
Riot.”</span></p>
<p class="MsoNormal"><span style="color: #073763;">As Hades’ wife Persephone, the person who tries to assist
Orpheus in his pursuit and attempts to reconcile her own marriage, Lana Gordon is enjoyable in conveying the lively, free-spirit. <span style="mso-spacerun: yes;"> </span>Equipped with a powerful singing voice, she
opens the second act with a good deal of campiness, and her solo, “Our Lady of
the Underground,” does just that. Ms. Gordon also performs well in group
numbers including “Livin’It Up On Top” and the duet with Mr. Quinn “How Long?”</span></p>
<p class="MsoNormal"><span style="color: #073763;">The Fates consist of three singers who are omniscient and all-seeing
and who provide commentary and advice throughout the show. They are played very
well by Belén Moyano, Dominique Kempf, and Nyla Watson. The trio performs in several
numbers including “When the Chips are Down” with Ms. Whitney and “Word to
the Wise.”</span></p>
<p class="MsoNormal"><span style="color: #073763;">The talented Workers Chorus include Sean Watkinson, Jordan
Bollwerk, Jamal Lee Harris, Courtney Lauster, Eddie Noel Rodriguez and Racquel
Williams.</span></p>
<p class="MsoNormal"><span style="color: #073763;"><i style="mso-bidi-font-style: normal;">Hadestown</i> is an
entertaining and vibrant production with exceptional performers, music,
costumes and staging. It takes us back to mythical time but has a relationship to
the world we live in today. A key takeaway is keep moving forward and do not turn
back. Should you see <i style="mso-bidi-font-style: normal;">Hadestown</i> at the
Hippodrome? Hell yes!</span></p>
<p class="MsoNormal"><span style="color: #073763;">Running time: Two hours and 30 minutes with an intermission.</span></p>
<p class="MsoNormal"><span style="color: #073763;"><i style="mso-bidi-font-style: normal;">Hadestown</i> runs
through April 16 at the Hippodrome Theatre at the France-Merrick Performing
Arts Center, 12 N. Eutaw St, Baltimore, MD 21201.<span style="mso-spacerun: yes;"> </span>For tickets, call Ticketmaster at
800-982-ARTS or visit ticketmaster.com or BaltimoreHippodrome.com.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Photos: T. Charles Erickson</span></p>Steve Charinghttp://www.blogger.com/profile/10671770309656409487noreply@blogger.com0tag:blogger.com,1999:blog-18860233.post-66459510643847356942023-03-26T21:20:00.008-04:002023-04-07T09:20:19.098-04:00Waco Whacko<p><b style="text-align: center;"><span style="font-size: 14pt; line-height: 115%;"><span style="color: #073763;">Not yet held accountable, Trump continues to stick his finger into the eyes of America</span></span></b></p>
<p class="MsoNormal"><span style="color: #073763;"></span></p><span style="color: #073763;"><span style="font-family: georgia; font-size: x-large;"><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwsciXJlkXZx6vjx-msnQ3waEALhjZOOlAbYbtSTElgfrdc-ExKqBN_6vTYxH92dYZ2Uf9vuUw3h-Ke7Xgfqt-1EcceFGOFn4SewThnWb_dTcCOhjCuMBVXY8Y7h3a6Dgvsw4fgaVwKIecL6gbQFkVMugg69RNWLBIs8QERDAM54Qg8JGIQw/s1150/Waco.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="668" data-original-width="1150" height="233" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwsciXJlkXZx6vjx-msnQ3waEALhjZOOlAbYbtSTElgfrdc-ExKqBN_6vTYxH92dYZ2Uf9vuUw3h-Ke7Xgfqt-1EcceFGOFn4SewThnWb_dTcCOhjCuMBVXY8Y7h3a6Dgvsw4fgaVwKIecL6gbQFkVMugg69RNWLBIs8QERDAM54Qg8JGIQw/w400-h233/Waco.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="color: #990000; font-size: x-small;">This is what a mob boss looks like</span></td></tr></tbody></table>D</span>espite his 90-minute piss and moan-a-thon in Waco, Texas on
March 25, former President Donald Trump behaved as though he will evade justice
as he always has. <span style="mso-spacerun: yes;"> </span></span><span style="color: #073763;">With criminal
investigations gathering steam in New York, Fulton County, and in Washington,
Trump used his Waco rally not to offer a vision of what he sees as the
future of the country in terms of policy, but to agitate and activate his
cultist supporters by assailing these investigations.</span><div><p></p>
<p class="MsoNormal"><span style="color: #073763;">Of course, there are methods to his madness. One, he is
attempting to lay the groundwork for massive protests should an indictment or
two or three be handed down. Trump’s incendiary rhetoric is designed to
intimidate prosecutors into not filing charges lest there would be wide-scale
violence or as he characterized it on social media, “death and destruction.”
Already Alvin Bragg, the New York District Attorney who appears poised to ask
the Grand Jury for such an indictment, has received multiple death threats. This is a mob
boss in action.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Two, his goal is to raise money off of his legal predicaments.
No stranger to theatre, Trump wants to do a perp walk led in handcuffs and have
a mug shot sent over every fundraising email that can be mustered. He needs
whatever money he can corral to pay off (not that he will) his burgeoning legal
fees.</span></p>
<p class="MsoNormal"><span style="color: #073763;">And speaking of theatre, Trump’s performance at Waco (the
site of the 1993 siege that left 75 dead) must be deemed a flop. Or in theatre
parlance, Trump laid an egg. <span style="mso-spacerun: yes;"> </span>It’s bad
enough that the crowd reportedly had begun to thin out 30 minutes into the
grievance-laced speech. </span></p>
<p class="MsoNormal"><span style="color: #073763;">It’s also bad that Trump continues to lie and exaggerate.
For example, he told his worshippers that he satisfied his 2016 campaign
promise by completing a concrete wall along the 2,000-mile southern border and
Mexico paid for it. In fact, only 40 miles of penetrable fencing was
constructed in which funding had been approved in the Bush Administration.</span></p>
<p class="MsoNormal"><span style="color: #073763;">However, his biggest miscue and where he stuck his finger
into the eyes of democracy-supporting Americans and maybe his own legal defense,
is when he led the crowd in the Pledge of Allegiance while the J6 Choir
performed in the background. That choir is made up by inmates serving time for
the January 6 insurrection. <span style="mso-spacerun: yes;"> </span>And if that
wasn’t enough to make you puke, Trump showed footage of those “patriots”
storming the Capitol on January 6. And this wasn’t the Tucker Carlson
sightseeing tour version.</span></p>
<p class="MsoNormal"><span style="color: #073763;">In other words, he is paying homage, no honoring, the
insurrectionists and explains why he didn’t lift a finger as Capitol Police and
other law enforcement were being bludgeoned by pro-Trump rioters on that fateful day. </span></p>
<p class="MsoNormal"><span style="color: #073763;">Special Prosecutor Jack Smith, who is investigating the
January 6 day of infamy as well as the Mar-a-Lago documents/obstruction of justice
case, always needed to nail down Trump’s state of mind as these events
unfolded. He needed to prove intent: intent to incite a riot/insurrection and
intent to obstruct justice. If Mr. Smith was watching footage from the Waco
pity party and how Trump honored the insurrectionists, he may be able to
finally check that box. </span></p><p class="MsoNormal"><span style="color: #073763;">He can thank the Waco Whacko.</span></p></div>Steve Charinghttp://www.blogger.com/profile/10671770309656409487noreply@blogger.com1tag:blogger.com,1999:blog-18860233.post-316447423958928822023-03-18T15:07:00.015-04:002023-03-24T23:04:39.732-04:00‘The Wedding Singer’ is Pitch Perfect at Silhouette Stages<p><span style="color: #073763;"></span></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTiKqvzGAATE2H3RLXJG4FkVzKwo_Eh98sW_iX7fDjE5wDA4rVXOBO7ARo7IYKlLeIMcwDnsnSyb7lt1bEX-8HXtf-mcKShv9pyRVZUW3_6YDG_fPMg-EUUL2cDSPXgCbZz7b9WbeSYSWdjHSnl4IycBoFt2ueRo5Kuvia3Htk5MMZ6fxDOw/s2411/Wedding%20Singer%2001.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2411" data-original-width="2270" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTiKqvzGAATE2H3RLXJG4FkVzKwo_Eh98sW_iX7fDjE5wDA4rVXOBO7ARo7IYKlLeIMcwDnsnSyb7lt1bEX-8HXtf-mcKShv9pyRVZUW3_6YDG_fPMg-EUUL2cDSPXgCbZz7b9WbeSYSWdjHSnl4IycBoFt2ueRo5Kuvia3Htk5MMZ6fxDOw/w376-h400/Wedding%20Singer%2001.jpg" width="376" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b><span style="color: #741b47;">L to R: Seth Fallon as George, Xander Conte as Robbie Hart, <br />Henry Cyr as Sammy</span></b></td></tr></tbody></table><span style="color: #073763;"><b><span style="font-family: georgia; font-size: x-large;">W</span></b>hen Jeremy Goldman, the President of the Board of Directors
of Silhouette Stages, one of Howard County’s venerable community theatres,
decided to step away from his over 30 years of performing on stage and tried
his hand at directing, he could not have picked a better show in </span><i style="color: #073763;">The Wedding Singer</i><span style="color: #073763;"> to make his directing
debut. He also couldn’t have chosen a better cast and crew—all volunteers—to
make it work. And did it ever!</span><p></p>
<p class="MsoNormal"><span style="color: #073763;">At the helm, Mr. Goldman ably stitches all the moving parts into
a cohesive, intricately staged, high-tempo tapestry of laughter and nostalgia.
The talented cast is brimming with enthusiasm and energy, and under the precise
choreography by Jeremy A. McShan, can dance up a storm.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Let me point out that the stage in the Slayton House Theater
where this production takes place is rather compact and does not have the
expanse of say, Radio City Music Hall. To choreograph the snappy numbers so
adroitly in limited space is a tribute to Mr. McShan’s imagining of the dance
steps and the abilities of the performers in the show led by dance captain Brandon Goldman to execute them. </span></p>
<p class="MsoNormal"><span style="color: #073763;">With music by Matthew Sklar, lyrics by Chad Beguelin,
and a book by Beguelin and Tim Herlihy, <i style="mso-bidi-font-style: normal;">The Wedding Singer </i>is based on the popular 1998 film of the same
name that propelled Adam Sandler’s cinema career. The show garnered 5 Tony
Award nominations in 2006 including Best Musical, Best Score and Best Choreography. I
never saw the movie; I was wayyyy too young. However, I am delighted to have experienced
the laugh-a-minute production at Silhouette Stages.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Even before the proverbial curtain rises, the sounds of the
1980’s are piped into the audience. The likes of Bon Jovi and other popular artists
of the era signal that the setting is 1985 New Jersey, not far from Exit 16.
Already it’s funny. And the never-ending, hilarious one-liners and goofy song
lyrics keep the audience in stitches from soup to nuts.</span></p>
<p class="MsoNormal"><span style="color: #073763;">From the opening number, “It’s Your Wedding Day” where the
cast scampers up the aisles and onto the stage, the burst of energy never wanes.
</span></p>
<p class="MsoNormal"><span style="color: #073763;">Yes, there is plenty of nostalgia to go around and enough
corn to blanket Iowa. A Back to the Future vibe permeates throughout with an
appearance of a Delorean on the stage, the prediction that coffee could never
ever cost $3, and a cellular phone that must be attached to a battery the size
of a car’s are just a sample of what you can expect. And when the scene shifts
to Las Vegas, you get to enjoy impersonators of Billy Idol, Mr. T, Imelda Marcos,
Cyndi Lauper, Ronald Reagan and Tina Turner.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Costume Designer Deanna Cruz-Conner’s colorful period attire
is on point and adds another dimension to the spectacle. Then there are those
mullets! Wig designer Tommy Malik deserves co-star status for the spectacular job
in adorning cast members with those Richard Marx do’s. (Tommy, I need to speak with
you.)</span></p>
<p class="MsoNormal"><span style="color: #073763;">The story centers on Robbie Hart (played exceptionally by
Xander Conte), a rock star wannabe and now a famous wedding singer who was
jilted at the altar by Linda (Megan Mostow Kaiser), a trashy woman who could
not at the last moment bring herself to marry a wedding singer.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Crushed by this disappointment and despite the encouragement
he receives from his bandmates Sammy (Henry Cyr) and George (Seth Fallon) as
well as a waitress at one of the halls he performed Julia (Maddie Bohrer),
Robbie flies off the handle at the next wedding gig and angers the guests with
his self-pity and ruminations about love. He gets dumped again, but this time
literally in a dumpster.</span></p>
<p class="MsoNormal"><span style="color: #073763;">With more encouragement from Julia and his bandmates as
well as his nutty Grandma Rosie (Debbie Mobley) he tries to bounce back but
will only perform at Bar Mitzvahs now rather than exposing his fragile emotions
at weddings. Along the way, he develops a connection with Julia and becomes
attracted to her. </span></p>
<p class="MsoNormal"><b style="color: #073763;"><span style="font-size: large;"></span></b></p><blockquote><b style="color: #073763;"><span style="font-size: large;">"...a cohesive, intricately staged, high-tempo tapestry of laughter and nostalgia.</span></b></blockquote><p></p><p class="MsoNormal"><span style="color: #073763;">The problem is she is dating and is ultimately engaged to
Glen Gulia (Chris Riehl), a wealthy, pompous Wall Streeter. It doesn’t look
like a comfortable match from the outset but regardless, Julia wants to be
married and have the perfect wedding song performed at her nuptials. She does
imagine being Julia Gulia, an odd name that is not lost on her.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Following a practice kiss with Robbie at the urging of Julia’s
cousin and friend Holly (Bailey Wolf), sparks begin to fly. Realizing that
Julia is going to marry Glen because of security and money, he tries to change
his lot by getting a job at Glen’s Wall Street firm where the almighty dollar
is worshipped at any cost.</span></p>
<p class="MsoNormal"><span style="color: #073763;">An ill-timed visit by Linda at Robbie’s basement apartment in
the house owned by Rosie, some communication missteps and further
misunderstandings seem to set back Robbie’s quest for true love. The feelings between
Julia and Robbie remain, however.</span></p>
<p class="MsoNormal"><span style="color: #073763;">How Robbie and Julia navigate this dilemma forms the
remainder of the plot and we’ll leave it there.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Though this is a community theatrical production, the
direction, performances and staging are professional caliber. <span style="mso-spacerun: yes;"> </span>In a demanding role and in a <i style="mso-bidi-font-style: normal;">tour
de force</i>, Xander Conte brings an abundance of personality and talent in
portraying the lead character Robbie. Likeable for sure, you can't help but root for Robbie. </span></p><p class="MsoNormal"><span style="color: #073763;">Mr. Conte sings, he dances, he impeccably delivers
comedic lines, he acts, he performs physical comedy, he strums the guitar, and
he possesses an inventory of facial expressions that is limitless.</span></p><p class="MsoNormal"><span style="color: #073763;">Mr. Conte’s emotional rendition of “Somebody Kill Me” and
duets with Ms. Bohrer in “Awesome,” “Come Out of the Dumpster” (not many songs
with that title), “If I Told You” and “Grow Old With You” are particularly well
done.</span></p>
<p class="MsoNormal"><span style="color: #073763;">A group number in which Mr. Conte participates, “Casualty of
Love” is among several songs with excellent choreography by the energetic cast
and Ensemble. This number and the Act One finale “Saturday Night in the City” stand
out. But others are quite good as well.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Maddie Bohrer does a fine job of conveying the likable and
conflicted Julie. Possessing a sweet singing voice, she performs well
in her solo “Someday” and the aforementioned duets with Mr. Conte.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Debbie Mobley as Robbie’s feisty grandmother Rosie should be
apprehended for scene-stealing. She boasts that she had been with 8 or 9 men prior
to marrying her (unseen) husband of nearly 50 years, and if adjusted to
inflation that amounts to about 200 men in 1985.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Robbie lives in her basement and as a present for his wedding
that was ultimately doomed, she bought him a new bed. However, with this bed,
you put a quarter in the slot, and it vibrates as in the case of those beds of
yesteryear with magic fingers. Judging how Robbie reacted when he tried it out,
only the middle one worked.</span></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjq2s4OY_kDPdW3KCDpqcEqGzBdNvdp3eBhujnJQ8bMOkUGU2-dwe5_D8-mTC7aLboag25JR71tL5M3kUh_xy4Z6wWUQAD-DrI3zA1lUtVP1IQAAKsUrNB82FtA5P_xY55En49xxEwm19nakUK7_3_q99JWefTYLCiSPooKWtyCD23JECTBpg/s2958/Wedding%20Singer%2008%20(1).jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2744" data-original-width="2958" height="371" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjq2s4OY_kDPdW3KCDpqcEqGzBdNvdp3eBhujnJQ8bMOkUGU2-dwe5_D8-mTC7aLboag25JR71tL5M3kUh_xy4Z6wWUQAD-DrI3zA1lUtVP1IQAAKsUrNB82FtA5P_xY55En49xxEwm19nakUK7_3_q99JWefTYLCiSPooKWtyCD23JECTBpg/w400-h371/Wedding%20Singer%2008%20(1).jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="color: #741b47;"><b>Xander Conte as Robbie Hart, Maddie Bohrer as Julia</b></span></td></tr></tbody></table><span style="color: #073763;"><br /></span><p></p>
<p class="MsoNormal"><span style="color: #073763;">Towards the end of the show, the hilariously zany number “Move
That Thang” in which Ms. Mobley performs with Seth Fallon as George and the Company
is a bona fide showstopper. </span></p>
<p class="MsoNormal"><span style="color: #073763;">Chris Riehl ably plays the role of Glen, the one who was to
marry Julia. He trades in junk bonds at work and other illegal activities where
making money at any cost is the goal. To that end, Mr. Riehl joins Mr. Conte
and the Company in the high-tempo dance number “All About the Green.”</span></p>
<p class="MsoNormal"><span style="color: #073763;">Glen has a wandering eye and lies and shows a violent streak
to go with his full-of-himself demeanor. He is a polar opposite of Julia.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Robbie’s bandmate and good friend Sammy, played very well by
Henry Cyr, is also a comical figure. His relationships with women aren’t the
nicest but he counsels Robbie to help him recover from his depression following
Robbie’s break-up with Linda.</span></p>
<p class="MsoNormal"><span style="color: #073763;">He joins George (Seth Fallon) and Robbie in the enjoyable
dance number, “Today You’re a Man” at the Bar Mitzvah where they performed and
later in a duet with Bailey Wolf as Holly in “Right In Front Of Your Eyes.”</span></p>
<p class="MsoNormal"><span style="color: #073763;">The other member of the band, George, played deliciously by
Seth Fallon is a campy, flamboyant character. Sammy is oblivious to George’s
sexual orientation, and that lack of awareness provides some good laughs. Mr. Fallon, as
stated before, is part of the showstopper “Move That Thang.”</span></p>
<p class="MsoNormal"><span style="color: #073763;">Ms. Wolf is excellent as the flirty, promiscuous Holly. She
helps Julia realize that she has fallen for Robbie after trying to latch onto
Robbie herself. <span style="mso-spacerun: yes;"> </span></span></p>
<p class="MsoNormal"><span style="color: #073763;">Linda, who broke up with Robbie on the day were to marry and
then returned later on to selfishly try to get back in Robbie’s life, is played
well by Megan Mostow Kaiser. During that attempt, Ms. Kaiser demonstrates her
powerful vocals in “Let Me Come Home.”</span></p>
<p class="MsoNormal"><span style="color: #073763;">The remainder of the talented cast does justice to the
production and includes Beth Cohen, Dean Davis, Nick Thompson, Johnny Dunkerly,
Rowena Winkler, Patricia Anderson, Julia L. Williams and Erin Branigan. The
Ensemble consists of Brandon Goldman, Patrick Gray, Devin Holsey and Geraden
Ward.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Aside from the wonderful performances, the atmospherics are
excellent. Set Designer Ryan Geiger and Scene Designer Jessie Krupkin plus the
set construction and painting crew have done a masterful job in providing the colorful
and functional sets. Large set pieces are used throughout that include the
Delorean car, a bar, a dumpster, even bathroom stalls. Despite such bulky items, the
scenes change with precision and efficiency that maintains the rapid tempo of
the show.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Light Designer Thomas P. Gardner and Lighting Board Operator
Erin Ardanuy bathe the stage in brilliant hues and change the intensity
according to the scene. <span style="mso-spacerun: yes;"> </span></span></p>
<p class="MsoNormal"><span style="color: #073763;">All the elements of Silhouette Stages’ <i style="mso-bidi-font-style: normal;">The Wedding Singer</i> blend beautifully under the direction of Jeremy
Goldman, his team and the amazing performers. You’re taken back to the 1980’s
with all its quirks and you will laugh throughout. <span style="mso-spacerun: yes;"> </span>As they would say back then, it’s a bitchin’
show and one that should not be missed.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Running time. Two hours and 40 minutes with an intermission.</span></p>
<p class="MsoNormal"><span style="color: #073763;"><i style="mso-bidi-font-style: normal;">The Wedding Singer</i>
plays on weekends through April 2 at the Slayton House Theatre, 10400 Cross Fox
Ln, Columbia, MD 21044. For tickets, call 410-730-3987 visit <a href="https://www.silhouettestages.com/box-office">online</a>. Performances are Friday and Saturday at 8:00 p.m. and Sunday at 3:00 p.m.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Photos: Stasia Steuart Photography</span></p><p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8wx2axzFEgJqCHSFoyn74lhoFOMSE56ozkC0sr8nF5rA6HmBIFn4XUIK_287m6gvY58Oj__3iK3p4gDOm72x1YFr3ec563Tl2pgFTeiBJgbAUWXo1bIbEgpcK_rqHfHol34LZp-xUAeGQLESbysoDnBqFSj5r5_p2w0Db5fhQqo_ug_3toA/s640/Wedding%20Singer.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="632" data-original-width="640" height="395" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8wx2axzFEgJqCHSFoyn74lhoFOMSE56ozkC0sr8nF5rA6HmBIFn4XUIK_287m6gvY58Oj__3iK3p4gDOm72x1YFr3ec563Tl2pgFTeiBJgbAUWXo1bIbEgpcK_rqHfHol34LZp-xUAeGQLESbysoDnBqFSj5r5_p2w0Db5fhQqo_ug_3toA/w400-h395/Wedding%20Singer.jpg" width="400" /></a></div><br /><span style="color: #073763;"><br /></span><p></p>Steve Charinghttp://www.blogger.com/profile/10671770309656409487noreply@blogger.com0tag:blogger.com,1999:blog-18860233.post-33277603759187833492023-03-15T15:09:00.005-04:002023-03-17T00:53:18.316-04:00‘Mockingbird,’ Thomas Soar at the Hippodrome<p><span style="color: #073763;"></span></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhaFW6iJRSKjgw9Z7bu6yFvsVpRvr3jk2BEmi4yF8kU-iFPzCr0WumfkGY4xwG4e5h3twTcn8_LSa8KepiqEXs9VmZUkNJAeaF4ougdRPPgKRMhi5rlUTG_NExueXhra7WZL9AXlRf4kCjBeX_ac18LkcVlgneQEZXChorcmJXO77OGfN_lg/s7174/Mockingbird%20Julieta%20Cervantes.jpeg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4785" data-original-width="7174" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhaFW6iJRSKjgw9Z7bu6yFvsVpRvr3jk2BEmi4yF8kU-iFPzCr0WumfkGY4xwG4e5h3twTcn8_LSa8KepiqEXs9VmZUkNJAeaF4ougdRPPgKRMhi5rlUTG_NExueXhra7WZL9AXlRf4kCjBeX_ac18LkcVlgneQEZXChorcmJXO77OGfN_lg/w400-h266/Mockingbird%20Julieta%20Cervantes.jpeg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b><span style="color: #660000;">Richard Thomas as Atticus Finch</span></b></td></tr></tbody></table><span style="color: #073763;"><br /></span><p></p><p><span style="color: #073763;"><span style="font-family: georgia; font-size: x-large;">A</span>tticus Finch.</span></p>
<p class="MsoNormal"><span style="color: #073763;">That is arguably one of the most recognized names in
American literature. It is also a famous name in American cinema, and now it is
a well-known name in theatre. Atticus Finch is the leading character in the
book, movie and play <i style="mso-bidi-font-style: normal;">To Kill A
Mockingbird,</i> the latter of which is currently gracing the stage of
Baltimore’s Hippodrome Theatre as part of a national tour.</span></p>
<p class="MsoNormal"><span style="color: #073763;">It is indeed a rare event that the Hippodrome presents a
straight play as opposed to a musical. However, Miriam Buether’s scenic design,
Ann Roth’s costumes, Jennifer Lipton’s lighting and Scott Lehrer’s sound design
plus the excellent performances by the actors make it work. I hope the
Hippodrome continues to feature stage plays, and next season the comedy <i style="mso-bidi-font-style: normal;">Clue</i> will be part of the slate.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Starring as Atticus Finch is none other than the celebrated
actor Richard Thomas, whose body of work spanning five decades has earned him
numerous awards and accolades. But his role as the beloved John-Boy character
in the 1970’s TV series <i style="mso-bidi-font-style: normal;">The Walt</i>ons
is probably what most people remember about him. Incredibly, he looks almost
the same as he did some 50 years ago. (I hate him!)</span></p>
<p class="MsoNormal"><span style="color: #073763;">Under the meticulous direction of Bartlett Sher, the cast
performs at a high level, and Mr. Thomas, in particular, offers a master class
in acting.<span style="mso-spacerun: yes;"> </span></span></p>
<p class="MsoNormal"><span style="color: #073763;"><i style="mso-bidi-font-style: normal;">To Kill A Mockingbird</i>
is a 2018 play based on the 1960 novel of the same
name by Harper Lee, adapted for the stage by Aaron Sorkin, the
writer best known for the Emmy Award winning TV series <i style="mso-bidi-font-style: normal;">The West Wing</i>. The 1962 black and white film version, which garnered
three Oscars, starred Gregory Peck. Fun fact: Mary Badham, who plays the role
of the racist neighbor, Mrs. Henry Dubose in this iteration, had played Scout
as a 10-year-old in the film.</span></p><p class="MsoNormal"></p><blockquote><span style="color: #073763; font-size: large;"><b>"Mr. Thomas... offers a master class in acting."</b></span></blockquote><p></p>
<p class="MsoNormal"><span style="color: #073763;">Sorkin’s depiction occasionally veers from Lee’s popular book, but the core storyline remains intact. The play takes on serious issues, but comedic lines are dropped throughout. While those lighter moments may
entertain the audience by offering a diversion from the solemnity, I feel that at
times that diversion distracts, albeit temporarily, from the powerful messaging
contained in the plot. </span></p>
<p class="MsoNormal"><span style="color: #073763;">For instance, a character throws around the N-word and
refers to someone as sub-human to jolt the audience only to have another
character say something amusing just a few minutes later inducing chuckles. Less
would be better. The exception is the well-placed stinging lines by Jacqueline
Williams as Calpurnia. They hit the mark.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Set in the fictional town of Maycomb, Alabama during the
1930’s, the story centers on Atticus Finch, a lawyer who was assigned the task
of defending a Black man, Tom Robinson, who was wrongfully accused of
assaulting and raping a white young woman Mayella Ewell. Finch, a widower, is
raising two young children, Scout and Jem. He is assisted in this effort by
Calpurnia, a Black housekeeper who is as close to a mother as the children ever
had.</span></p>
<p class="MsoNormal"><span style="color: #073763;">The poignant trial of Tom Robinson is the centerpiece of the
play. Flashbacks of events leading to the trial are presented, which is a fresh
approach to the plot. Here we learn of the palpable amount of ignorance and racism
in the town. </span></p>
<p class="MsoNormal"><span style="color: #073763;">Scout, a tomboy-ish, precocious girl; Jem, her good-hearted
friendly older brother; and Dill, their nerdy friend who dazzles Atticus with
his sophistication are narrators of the story looking back at these impactful
years. They also provide commentary throughout including the proceedings during
the trial.</span></p>
<p class="MsoNormal"></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXckRJMUP7iZdjZOyKyus-P81GOcEfoaeOWDjhy0JFWeyVEryk9BprZPJTzfLiy3Baq32fZj3ntCkvlcvicenVNXHyf4jJPwQIjYING_oCGZx3Lq2WazCWuTUizOgHlH6Y-Sx4HBuBBIrr1zP-hnhGJhlqUkowIEgMYPTAtbHNbGtETA0CxQ/s7064/Mockingbird3.jpeg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4712" data-original-width="7064" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXckRJMUP7iZdjZOyKyus-P81GOcEfoaeOWDjhy0JFWeyVEryk9BprZPJTzfLiy3Baq32fZj3ntCkvlcvicenVNXHyf4jJPwQIjYING_oCGZx3Lq2WazCWuTUizOgHlH6Y-Sx4HBuBBIrr1zP-hnhGJhlqUkowIEgMYPTAtbHNbGtETA0CxQ/w400-h266/Mockingbird3.jpeg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b><span style="color: #073763;">Melanie Moore as Scout and Jacqueline Williams as Calpurnia enjoy a playful </span></b><span style="color: #073763;"><b>moment.</b></span></td></tr></tbody></table><span style="color: #073763;">As a side story, these three are determined to flush out a
reclusive neighbor Boo Radley, a person nobody had seen. This character plays a
critical role at the end, which will not be divulged.</span><p></p>
<p class="MsoNormal"><span style="color: #073763;">In a <i style="mso-bidi-font-style: normal;">tour de force</i>,
Richard Thomas, as stated previously, excels as Atticus Finch and does more
than<br /> justice to the legendary role. The character sees only the good in people
and instills upon his children to respect everybody no matter who they are.
While not trained in criminal law, Atticus reluctantly agrees to take on the case
of Tom Robinson (played extraordinarily by Yaegel T. Welch) persuaded by Judge
Taylor (David Manis) who presides at the trial.</span></p>
<p class="MsoNormal"><span style="color: #073763;">As Atticus, Mr. Thomas’ interactions with the Finch children
Scout and Jem and later Dill are heartwarming and where much of the humor takes
place. He earnestly conveys the principles of respect and morality to the
children—traits he holds dear.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Yet, it his performance at the trial that reveals Mr. Thomas’
massive acting talents. Low-keyed at first, but during cross-examination of the
State’s witnesses he is explosive. Fiery and on point, Mr. Thomas demonstrates
the passion needed to convince a jury but, sadly, to no avail. His scorching
closing argument alone is worth the price of admission.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Melanie Moore plays young Scout with flair. At times pugnacious,
she has no trouble challenging her father and curiously refers to him as
Atticus rather than Dad. Her role as the narrator is effective and spirited.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Similarly, Daniel Neale, who plays Jem on the night this
performance was reviewed, performs well as Scout’s older brother and protector.
He grapples with the ills of society and in particular, the scourge of racism
existing in this southern town. <span style="mso-spacerun: yes;"> </span></span></p>
<p class="MsoNormal"><span style="color: #073763;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwQOOp-DxXGrPQ3G77hOp1rHMoNeWfsBJPu1nx2-UfdC_f11yZBurn9EdYIG8OIFn1Ke-wirBYRpwiMVthaniymPxTETWN4NWOemXlAlvrpVVFDgUmGUdQ8gCxgbQjhdY4mqdV_---bCB9Rru2_n_6MvC9n7K0c0rJX708WMIH9H9zn9jdyA/s7952/Mockingbird2.jpeg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="5304" data-original-width="7952" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwQOOp-DxXGrPQ3G77hOp1rHMoNeWfsBJPu1nx2-UfdC_f11yZBurn9EdYIG8OIFn1Ke-wirBYRpwiMVthaniymPxTETWN4NWOemXlAlvrpVVFDgUmGUdQ8gCxgbQjhdY4mqdV_---bCB9Rru2_n_6MvC9n7K0c0rJX708WMIH9H9zn9jdyA/w400-h266/Mockingbird2.jpeg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b><span style="color: #7f6000;">Richard Thomas as Atticus Finch and Yaegel T. Welch as Tom Robinson</span></b></td></tr></tbody></table><span style="color: #073763;"><br />Their friend Dill, who was visiting his aunt and neighbor of
the Finches during the summer, played by Morgan Bernhard on the night this
performance was reviewed, has a somewhat comedic role. He continually impresses
Atticus with his sophistication and wisdom.</span><p></p>
<p class="MsoNormal"><span style="color: #073763;">Perhaps one of the most touching scenes in the play was his
moving conversation with Atticus whereby the youngster reveals his loneliness
and never having known his father. Mr. Bernhard delivers the scene splendidly.</span></p>
<p class="MsoNormal"><span style="color: #073763;">An outstanding performance is turned in by Jacqueline
Williams as Calpurnia, the Finches housekeeper. Maternal to the core and sassy,
Calpurnia has experienced racism first-hand and is taking its toll on her. Ms.
Williams delivers her powerful lines with precise timing.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Yaegel T. Welch convincingly plays the falsely accused
rapist Tom Robinson. From an injury sustained at childhood, Tom was not
physically able to have attacked his accuser Mayella Ewell (Arianna Gayle
Stucki) nor did Atticus Finch’s explosive defense stop the jury from convicting
him in 37 minutes and facing an eventual death penalty.<span style="mso-spacerun: yes;"> </span></span></p>
<p class="MsoNormal"><span style="color: #073763;">For her part, Ms. Stucki is excellent in conveying the
tormented Mayella. Unable to face the principals in the courthouse and seemed
to be sitting in a fetal position throughout the proceedings, she was triggered
by Atticus’ cross-examination. There it was revealed that her attacks and
subsequent bruises were brought on by her father, Bob Ewell (Joey Collins) and
not Tom Robinson, not that she admitted it. When that point was raised, Ms.
Stucki effectively portrays Mayella as she releases her pent-up emotions and
fears that her father wrought. It is a dynamite scene.</span></p>
<p class="MsoNormal"><span style="color: #073763;">As the villain Bob Ewell, Mr. Collins has the unenviable
task of spewing the most racist and also antisemitic language in the play. Ignorant
and illiterate and often drunk, Ewell comes off as a menacing figure and a threat to anyone
including Atticus who sides with “them.” Through rousing diatribes, Mr. Collins
is masterful in portraying that character.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Overall, the cast and technical crew are terrific in
presenting a powerful story. The staging adds to the excellence with the
frequent scene changes, such as from the courtroom to the Finches front porch that
require the movement of sizable set pieces. <span style="mso-spacerun: yes;"> </span></span></p>
<p class="MsoNormal"><span style="color: #073763;"><i style="mso-bidi-font-style: normal;">To Kill a Mockingbird</i>
is an American classic no matter the medium. Its overarching message of respect,
morality and goodness overrules the cynicism, evil and racism that
unfortunately still exist today. This is a must-see play and a joy to witness such
an accomplished actor like Richard Thomas perform in a role so suitable for
him. </span></p><p class="MsoNormal"><span style="color: #073763;">And that is my closing argument.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Advisory: The play contains profoundly racist language in
the dialogue including the use of the N-word.</span></p>
<p class="MsoNormal"><span style="color: #073763;">Runing time. Three hours with an intermission.</span></p>
<p class="MsoNormal"><span style="color: #073763;"><i style="mso-bidi-font-style: normal;">To Kill a Mockingbird</i>
runs through March 19 at the Hippodrome Theatre at the France-Merrick Performing
Arts Center, 12 N. Eutaw St, Baltimore, MD 21201.<span style="mso-spacerun: yes;"> </span>For tickets, call Ticketmaster at
800-982-ARTS or visit ticketmaster.com or BaltimoreHippodrome.com.</span></p><p class="MsoNormal"><span style="color: #073763;">Photos: Julieta Cervantes</span></p>Steve Charinghttp://www.blogger.com/profile/10671770309656409487noreply@blogger.com1