At Olney Theatre, Ike Wins Again

John Rubinstein as Dwight Eisenhower Photo: Maria Baranova

There’s always a tightrope act when a theatre company brings in a production that centers on a former president during election season.  This is especially true in a country that is so massively divided politically. 

In offering The New Los Angeles Repertory Company production of Eisenhower: This Piece of Ground, the Olney Theatre Center can feel confident that partisanship can take a break and re-ignite, if necessary, following this two-hour, solo performer play. Through this biographical account, audiences can evaluate the successes or failures of the two-term president Dwight D. Eisenhower, also known as Ike, and can hope that his values of true patriotism, compromise, moderation and service can lead us to a future with less toxic politics and eschewing the extremes on both sides. As Eisenhower pronounced during the play, “The middle was the usable part of the road — if you go too far right or left, you wind up in a ditch.”

In a master class acting performance, John Rubinstein plays the role of the folksy but complex Dwight D. Eisenhower. Mr. Rubinstein is an acclaimed veteran of theatre and television. He was a Tony Award winner in Children of a Lesser God and famously originated the title role in Pippin over a half century ago. He also appeared in Kiss of the Spider Woman among many other plays and musicals. For his role in the off-Broadway production of Eisenhower: This Piece of Ground, Mr. Rubinstein was nominated for the Outer Critics’ Circle and the Off-Broadway award for Best Solo Performance.

The play, whose run has been extended for a second time at Olney, by Richard Hellesen is adapted from a vast array of Eisenhower's memoirs, speeches, and letters. Director Peter Ellenstein allows Mr. Rubinstein to freely move around the stage as he speaks to an old tape recorder in preparation for an upcoming book. Sometimes he paces. Sometimes he stands. Sometimes he sits. And sometimes he talks on the phone to unseen parties. Since there are no other actors to interact with, this movement is necessary so that the soliloquy doesn’t come off as static as some one-person shows do.

Photo: Maria Baranova

Eisenhower: This Piece of Ground is set in 1962 in the sun porch of the house at the Eisenhower farm in Gettysburg, Pennsylvania, with a picture window looking out at an open field with changeable skies.  That window serves as a screen for projections, designed by Joe Huppert, of the people and events in Eisenhower’s life—photos of a slew of family members, to an old photo of the West Point Academy, which he attended, to a concentration camp in Europe at the end of World War II. All are displayed while Mr. Rubinstein is speaking, providing a rich texture to the production. 

Michael Deegan’s set within the black box confines is pleasant and homey and for realism, precise in its details. The set pieces include period (mid-1950’s) furniture, such as desks, a telephone, a bookcase, lamps, easy chairs, assorted knick-knacks, family pictures, a painting Eisenhower was working on, and an area rug as part of the decoration scheme. Even Eisenhower’s old golf bag is seen in the vestibule (he was an avid golfer). 

The play opens with Eisenhower, 18 months removed from his presidency, attired in a plain sport jacket, tie and trousers, grousing angrily how he was ranked 22^nd out of 31 presidents assessed by 75 historians in an article appearing in the New York Times Magazine. This is the root of the play and a source of much of the humor. He would frequently question how in the world specific presidents were ranked above him, generating laughter from the audience.

During this oration, Mr. Rubinstein as the affable Eisenhower, proficiently and earnestly offers his perspective of the formation of his character. He tells of his Kansas upbringing and the role his parents played in his development. He recounts his decades-long decorated Army career including his heroic victories especially as the allied commander at D-Day during World War II.

Photo: Maria Baranova

He speaks of his two terms as president – and contemplates the qualities and adversities that make an American president great. What struck me was his admission that he was reluctant to be a president in the first place but wound up with two lopsided victories over Adlai Stevenson. He admitted he enjoyed being in the Army most and had to be persuaded to run for the highest office in the land.

Presenting his own accomplishments from his perspective, President Eisenhower certainly had victories to point to. He signed landmark civil rights bills. He condemned mob rule and sent in Federal troops to Little Rock to enforce the 1954 Supreme Court’s Brown v. Board of Education decision. Though fiscally conservative, Eisenhower spent large amounts of funds to create our Interstate Highway system, founding NASA and expanding Social Security. All the while he reiterates his questioning of his place in the presidential rankings in the article.

With all these triumphs, Mr. Rubinstein also adroitly conveys the sadness Eisenhower and wife Mamie had to endure in the death of his first-born child, the shock and anger while visiting a Nazi concentration camp and the challenges he experienced in dealing with Senator Joe McCarthy and McCarthyism.

"In a master class acting performance, John Rubinstein plays the role of the folksy but complex Dwight D. Eisenhower."

What was not mentioned in Hellesen’s play but a shadow over his presidency was his signing Executive Order 10450 in April 1953 that banned lesbians and gays from working in the federal government or any of its contractors. The order contributed to the ongoing “Lavender Scare” of the mid-1950s where thousands lost Federal jobs.  Moreover, Eisenhower was known to have been zealous in his pursuit of rooting out gay people in the armed forces.

Nonetheless, Eisenhower points out it is better “to choose the harder right instead of the easier wrong.” He extols the virtue of moderation and presciently warns of the dangers of the Military-Industrial Complex, a term he created. In this play, Hellesen’s Eisenhower lays down a blueprint for future generations to take that usable middle of the road and avoid those ditches.

Mr. Rubinstein is brilliant in the role showcasing a full range of emotions and not missing a line. He speaks in a realistic cadence that befits Eisenhower’s long military career. His movement around the stage skillfully augments his spoken words.

In Eisenhower: This Piece of Ground you will receive a lesson in history, a taste of politics, a little philosophy,  and perhaps more importantly, humanity. You will experience some laughter and some melancholy, but you will undoubtedly be riveted to the performance by an extraordinary actor in John Rubinstein who works his craft with aplomb.  

Though the show has been extended due to its popularity, tickets are going fast, so you need to hurry.

Running time. Approximately two hours with an intermission.

EXTENDED FOR SECOND TIME: Eisenhower: This Piece of Ground runs through November 3, 2024, at Olney Theatre Center, Mulitz-Gudelsky Theatre Lab, 2001 Olney-Sandy Spring Road, Olney, MD. Tickets ($45–$60) are available online here or through the box office at 301-924-3400, open from 12 p.m. – 6 p.m. Wednesdays through Saturdays. 

This reviewer with John Rubinstein, the original Pippin in 2015
returning as Charlamagne in the touring production of PIPPIN 
at the Hippodrome Theatre Photo: Bob Ford

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

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

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

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

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

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

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

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

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

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

She prevailed, but it wasn’t easy.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Rachel Simone Webb stars as Juliet

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

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

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

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

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

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

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

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

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

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

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

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

Photos: Mathew Murphy

Hyde & Sink

 

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

Orioles manager Brandon Hyde

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Running time. 2 hours and 45 minutes with an intermission

Advisory. Fog, haze and strobe effects

The Addams Family runs through November 10 at Toby’s the Dinner Theatre, 4900 Symphony Woods Rd., Columbia, MD 21044.  Tickets may be purchased by calling the box office at 410-730-8311or visiting here. Next up: The Sound of Music – November 15, 2024 through January 12, 2025.

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

Photos by Jeri Tidwell Photography

 

‘Jersey Boys’ at Toby’s: Oh, What a Night!

Benjamin Campion, Ben Clark, Nicky Kaider and Patrick Gover

One summer’s day in 1962, as a youngster I recall listening on a portable radio an interesting new song with a unique sound: “She-erry, Sherry baby, She-erry, Sherry baby…” The falsetto lead vocal with backup singers was tuneful, rhythmic and haunting. Many others agreed.

“Sherry” vaulted to the top of the Billboard Top 100 and held the spot for 5 weeks in 1962 and was The Four Seasons’ first big hit. It launched the group into stardom with Frankie Valli as the lead singer and the group was ultimately enshrined in the Rock 'n Roll Hall of Fame.    A multitude of Four Seasons’ songs experienced success like "Sherry " that I along with millions worldwide have enjoyed over the years.

The Four Seasons was among the most potent pop rock groups of the sixties. This despite the fact it had to compete with iconic groups like the Beach Boys, the advent of Motown, myriad superstar solo performers, and the historic British invasion, the band still sold 175 million records worldwide.

And here I am again, over six decades since “Sherry,” taking pleasure in the work of The Four Seasons. It could have just been a concert that played the pop group’s numerous hits, and the audience would have been enthralled. 

Jersey Boys, the well-received jukebox musical, is now gracing the in-the-round stage at Toby’s the Dinner Theatre of Columbia for the first time. It is not a concert as one might have expected. It’s a gritty biographical story that weaves together those fabulous songs and the roller coaster lives of the band members.

The musical tells the story of a bunch of young guys hanging around street corners in Newark, New Jersey getting into mischief and more.  They formed a group called The Four Lovers that went nowhere; then it evolved into The Four Seasons once “hit” songs were written; and they eventually became Frankie Valli and The Four Seasons. 

Under the impeccable direction and choreography by Helen Hayes award winner Mark Minnick, the show is a tapestry of superb performances both in music and acting. Blending the performance of memorable hits and strong acting from a fantastic cast amid precise staging, Jersey Boys at Toby’s is a stellar entertainment experience.

Jersey Boys with music by Bob Gaudio, lyrics by Bob Crewe, and book by Marshall Brickman and Rick Elice has been a Broadway success capturing four Tony Awards in 2006 including Best Musical and a Grammy Award for Best Musical Show Album in 2007.  It brings to life the story of the creation of The Four Seasons through its ups and downs—and there were many of them—not unlike many popular musical groups who have experienced huge success but also internal splits, money issues, mistrust, individual tragedies, romantic tensions, and run-ins with the law.

Much of their popular catalogue of hits is included in this masterpiece of a production. The aforementioned “Sherry,” “Big Girls Don’t Cry,” “Rag Doll,” “Walk Like A Man,”, “December, 1963 (Oh, What a Night),” “My Eyes Adored You,” “Dawn (Go Away),” “Stay,” “Let’s Hang On,” “Rag Doll,” “Can’t Take My Eyes Off You” and many others are among them.  All told, over 30 such songs are in the show, including 5 Number 1 hits plus one from the pop group the Angels (“My Boyfriend’s Back). There is also a comedic appearance by Joe Pesci (Christopher Decker) and for good measure Ed Sullivan (via screen projection) to lend even more nostalgia.

"In a breakout performance, Nicky Kaider is simply sensational."

Not all songs are performed to completion, but they go far enough to recognize and enjoy them. Music Director and Conductor Ross Scott Rawlings (Nathan Scavilla conducts in other performances) and the six-piece orchestra do a splendid job backing up the outstanding vocals.

Perfectly cast, the very good looking core performers—Patrick Gover as Tommy DeVito, Benjamin Campion as Nick Massi, Ben Clark as Bob Gaudio and Nicky Kaider as Frankie Valli—are spot on in their individual and blended vocals and excel in their acting skills particularly during the tension-filled encounters.  They also replicate the group members’ characteristic dancing moves during their numbers attired in vintage suits and ties, especially those cardinal-red blazers, designed by Heather Jackson that add more realism to an already realistic production.  

Each member of the group shares his own personality, history, goals, values, problems and achievements distinct from the others, which are carried out with supreme excellence while those wonderful songs are performed.

Patrick Gover is scintillating as bad-boy Tommy DeVito, the guy who formed the group.  In addition to his strong vocals, which are evident from the outset when he sings “Silhouettes,” he ably conveys the gruff character who has been in and out of jails, plunders the group into debt with a dangerous loan shark, hides unpaid taxes from the group and hits on Frankie’s girlfriend.

Benjamin Campion does a good job as Nick Massi and is The Four Seasons’ bass player.  He is the one who helped train Frankie with his vocals.  Mr. Campion offers dead-pan humor in his role, acts with skill when it is his turn to narrate and sings very well in the group numbers.

As Bob Gaudio, the songwriter and keyboards player who previously experienced success with the hit “Short Shorts,” Ben Clark, is excellent. Driven to write hit songs and delves deeply into his music, Gaudio decides to execute a side deal with Frankie.  Mr. Clark gets to showcase his singing talent in “December, 1963 (Oh, What a Night)”.

Then there is Nicky Kaider as The Four Seasons’ lead singer Frankie Valli. Frankie had to cope with keeping the group together, bailing Tommy out of his debt, dealing with marital strife and enduring an unimaginable tragedy. 

In a breakout performance, Mr. Kaider is simply sensational. Oozing with charisma, he conquers the extraordinary vocal challenge of singing the lead and does so with aplomb all the way through the end with amazing endurance. Pitch perfect in every song including falsettos, Mr. Kaider crushed it. If you close your eyes and listen to him sing, you’d swear you’re hearing Frankie Valli.  Even if you open them, you’d think it was him.  That’s how authentic Mr. Kaider’s performance is.

And if that isn’t enough, his acting skills that exhibit a full range of emotions from anger to triumph to despair to resolve are jaw-dropping. Bravo to Nicky Kaider on this elite-level tour de force!

Helen Hayes award winner David James is splendid as Bob Crewe, the producer and lyricist for the group.  He is campy and flamboyant, and the band recognizes he is “a little off” in the manner of Liberace but he delivers the hits.  Mr. James, as always, comes through.

Other notable performances are turned in by Brian Lyons-Burke as the mob boss Gyp DeCarlo, MaryKate Brouillet as Frankie’s first wife Mary Delgado, and the energetic Anwar Thomas in a variety of roles.

In fact, the remainder of the talented cast and Ensemble perform multiple roles. They include: Leela Aviles-Dawson, Brandon Bedore as Tommy’s brother Nick, Carter Crosby, Christopher Decker, Lydia Gifford, Adam Grabau who also did a wonderful job providing the pre-show introductions and announcements, Shane Lowry. Jackson Miller, and Helen Hayes award winner Jeffrey Shankle.

David A. Hopkins provides excellent scenic and lighting design creating a concert atmosphere. Many set pieces are employed denoting a recording studio, cars, TV cameras and even a 4-toilet holding cell in a police station.

Tori Alioto and David A. Hopkins make good use of projections on screens along the theater’s walls to include “breathtaking” images of New Jersey.

And Mark Smedley’s sound design is excellent in that all the songs and dialogue are clearly audible as well as sound effects.

The Four Seasons over decades had quite a journey individually and as a band before and after the release of that iconic hit “Sherry.”  Jersey Boys at Toby’s conveys this ride so adroitly. It is a thoroughly entertaining masterpiece steeped in nostalgia and wonderful music. Extraordinary talent in both cast and crew under skillful direction makes this an absolute don’t miss show.

Running time. Two hours and 50 minutes with an intermission.

Advisory: Jersey Boys contains some profanity and sexual situations and is not recommended for small children.

 Jersey Boys runs through September1 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 online.

The Menu for the fabulous buffet is shown here.

Drink Special: Rag Doll

Photos by Jeri Tidwell Photography

Howard County Summer Theatre’s ‘Guys and Dolls’ is a Sure Bet

Danny Bertaux as Sky Masterson and Company

In 1975 the Howard County Summer Theatre launched its long and distinguished run with the iconic musical Guys and Dolls. The community theatre annually produces a classic Broadway musical to enthrall audiences during the warm summers. Now, nearly 50 years later, HCST has brought back the five-time Tony Award winner Guys and Dolls that is currently gracing the stage at Marriotts Ridge High School in Marriottsville, Maryland.

I will give 8 to 5 odds that members of the original cast, which undoubtedly was a good one, do not appear in the new iteration. But I can say definitively, this mostly youthful company can rival anyone in talent, energy and enthusiasm.

The beauty of superior musicals is that they are timeless in that they are as captivating and entertaining today as they were in say, 1950, when the original production opened on Broadway. The success of Guys and Dolls on Broadway led to well-received revivals. In 1955 the film with the same title was released starring Marlon Brando Jean Simmons, Vivian Blaine and Frank Sinatra.

The current production of Guys and Dolls restores the nostalgia of 1950 New York while delivering a bravura musical extravaganza under the impeccable direction of Tom Sankey, who has been helming HCST productions for 40 years. Also standing out are Kassi Serafini’s meticulous choreography, the solid orchestra direction of Kevin George and the stellar musicians, as well as the absolutely fabulous costumes designed by long-time HCST stalwart Laural Seivold Clark.

Then there is the wonderfully creative set design by Douglas Thomas and lighting design by Em Muryhina.  In all, an exceptional, perfectly cast company and technical crew carry out the vision of the director in a way that will render your hands raw from all the applause-worthy moments.

Contributing to this effort is the show’s superlative material.  With music and lyrics by Frank Loesser and a book by Jo Swerling and Abe Burrows, it is no wonder Guys and Dolls captured so many awards in both its original rollout and the subsequent revivals.

"...a bravura musical extravaganza under the impeccable direction of Tom Sankey..."

Needless to say, the music catalogue, which is outstanding and varied from top to bottom, plus the clever book, places Guys and Dolls in the same category of brilliance as the Rodgers and Hammerstein, Lerner and Loewe, and Jerry Herman musical classics.  As in the case of those shows, Guys and Dolls withstands the test of time and is loved by folks of all ages.

The music is delightfully entwined in the zany plot involving gambler Nathan Detroit (Todd Hochkeppel), who needs $1,000 for a venue to stage a crap game—“The Oldest Established Floating Crap Game”—with all the big-time gamblers in town, whom he cannot disappoint for the sake of his own reputation, and yes, safety.  He also has been avoiding marriage as he has been the fiancé of Miss Adelaide (Tori Farnsworth), a lovely blond nightclub singer, for 14 years and counting. Notably, Ms. Farnsworth is a late replacement for Marloe Lippert on the day the show was reviewed and turned in a sturdy performance; she is a real trouper.

There is Sarah Brown (Heather Moe) who is under pressure to save the souls of sinners in the mission she runs.  Any thoughts she may harbor of romance take a back seat to her mission. 

Nathan who is desperate to come up with the grand in which neither he nor his employees Nicely-Nicely Johnson (James Toler) and Benny Southstreet (Justin Moe) have or the credit to rent space at the Biltmore garage. This venue was selected to avoid the watchful eye of policeman Lt. Brannigan (David Zotian) who is relentless in his quest to stop the gamblers.

As a last-ditch effort to raise the money, Nathan places a $1,000 bet with a more successful gambler Sky Masterson (Danny Bertaux) that he will not be able to convince Sarah—so committed to saving souls at the sacrifice of her personal life—to go with him to Havana.  He accepts the bet, and she is lured to Havana based on Sky’s promise to deliver 12 sinners to her mission. The rest of the hilarious tale will be up to the audience to enjoy.

Danny Bertaux as Sky Masterson and Heather Moe as Sarah Brown

As pleasing and endearing the book is, it’s the music that makes the show a classic.  Songs like “A Bushel and a Peck,” “Guys and Dolls,” “If I Were a Bell,”  “Luck Be a Lady,” and “Sit Down, You’re Rockin’ the Boat” are famous.  But all the numbers in Guys and Dolls are gems.

“Luck Be a Lady” and “Sit Down, You’re Rockin’ the Boat” are fantastic production numbers with Ms. Serafini’s choreography and the talented dancers all in synch providing unforgettable “wow” moments.

The cast did these great songs justice with outstanding vocals throughout.  As Miss Adelaide, Tori Farnsworth performs “A Bushel and a Peck” and “Adelaide’s Lament” in the way Frank Loesser had imagined.  The beautiful mezzo-soprano vocals of Heather Moe as Sarah are on display when she performs “If I Were a Bell” and in the bouncy duet with Ms. Farnsworth in “Marry the Man Today.”  

Danny Bertaux as the commanding Sky Masterson brings home the iconic number “Luck Be a Lady” with his strong tenor voice.  He also delivers “My Time of Day” in style. His onstage chemistry with Ms. Moe is strong as he seeks to woo Sarah. The effort to do so is whiplash-producing in its multiple changes in direction.

Poor schnook Nathan Detroit is played exceptionally and with flair by Todd Hochkeppel. A regular laugh machine, he skillfully executes all the comedic scenes in which he is featured, and his performance in the duet with Ms. Farnsworth “Sue Me” is spot on.

Then there is James Toler as Nicely-Nicely Johnson.  Mr. Toler demonstrates his comedic props in several scenes with well-timed lines, facial expressions and body language.  Vocally, he is off the charts.  He performs well in several numbers including “Fugue for Tinhorns,” “Oldest Established,” and “Guys and Dolls” with other cast members.

However, his lead in “Sit Down, You’re Rockin’ the Boat” represents the show-stopper that every great musical must have.  Mr. Toler and the rest of the company at the Save-a-Soul Mission sing the ultimate up-tempo number with gusto while the precise choreography is amazing. 

So spectacular was this performance on the day this show was reviewed, that the raucous ovation was extended well beyond the norm. It was akin to a baseball player hitting a home run and the crowd’s cheers continue so long in quest of a curtain call from the batter.  “Sit Down, You’re Rockin’ the Boat” was the production’s home run.

To be sure, choreography throughout the production is dazzling thanks to choreographer Ms. Serafini and the company. 

The “Havana” number that is highlighted by a fight scene is simply sensational.  Executed to near perfection, the ensemble attired in eye-popping colorful costumes manages the high-energy extended dancing and fighting while they seamlessly clear the stage of the props and furniture at the scene’s end.  Also, the lively and comedic “Take Back Your Mink” performed by Ms. Farnsworth and the Hot Box (Nightclub) Dancers is another one of the show’s highlights.

Kudos goes to David Zotian as Lt. Brannigan, the intrepid policeman, who maintains his Irish brogue as a throwback to New York’s Irish policemen.  On that point, most of the actors consistently display New York accents without any slips.

Also, a nod goes to J.R. Hontz who convincingly plays Big Jule, the fear-invoking gangster from Chicago thirsty for the craps game and doesn’t like to lose. To that end, he brings his own dice to the  game with no dots on them, but he remembers where they were!

The remainder of the company is proficient in their acting, dancing and vocals that add strong support to the leads. Notably among them are: Sam Bishop/Kevin Nolan as Rusty Charlie, Chris Wilhelm with his strong tenor vocal in “More I Cannot Wish You” as Arvide Abernathy, Douglas Thomas as Angie the Ox, Dana Bonistalli as General Matilda R. Cartwright, and Michael Gbadamoshi as the Hot Box Emcee.

As noted previously, Laural Seivold Clark and her costume crew does a splendid job is fitting the cast in 1950’s attire from suits and hats for the guys and colorful dresses and gowns for the dolls, to missionary uniforms and costumes for assorted street characters.

HCST’s well-staged and performed production of Guys and Dolls is first-rate with all the pieces expertly fitting together.  A talented cast and crew under superb direction will result in one of the most memorable shows you will see.  You can bet on it.

Running time. Three hours with an intermission.

Guys and Dolls remaining performances are June 26, 27, 28 and 29 at Marriotts Ridge High School, 12100 Woodford Dr., Marriotsville, MD 21104

Ticket Prices are $22 for adults, $18 for children under 12 and seniors over 60. All seats are General Admission. Proceeds benefit Prepare for Success, The Salvation Army and Grassroots of Howard County. Tickets may be purchased at the door the evening of the performance or online.

Photos by Neil Rubino

Mystery Solved: ‘Clue’ Kills It at the Hippodrome

I confess not being a player of the old Hasbro board game Clue as a kid. I was more of a Monopoly kind of guy, whose experience was invaluable in helping me buy up beachfront property in Atlantic City and to get out of jail free so many times (j/k). However, you did not have to play Clue to enjoy the laugh-a-minute Clue: A New Comedy murder mystery as it is appearing at Baltimore’s Hippodrome Theatre as part of a national tour.

Written by Sandy Rustin based on the screenplay by Jonathan Lynn with additional material by Hunter Foster and Eric Price, Clue: A New Comedy is inspired by the classic board game and the 1985 cult film with the same title. 

Veteran director Casey Hushion helms this rapid-fire, tight, well-paced slapstick comedy in a 75 minute window with an abundance of physical humor and quick sarcastic rejoinders. A talented ensemble cast executes the madcap zaniness with aplomb.

A gothic deserted New England mansion—Boddy Manor—is the scene of a dinner party on this dark and stormy night in 1954. (Come to think of it, when is a night not dark?)  The six mysterious invited guests are given aliases—Colonel Mustard, Mrs. White, Mr. Green, Mrs. Peacock, Professor Plum, and Miss Scarlet. They all have their own individual skeletons to hide but the one thing they have in common is that they are being blackmailed by the host.

In keeping with the board game, each guest is handed a weapon: a revolver, a rope, a lead pipe, a wrench, a candlestick and a dagger. Soon the host is murdered, then a visitor to the mansion is killed and is followed by others.

"...an abundance of physical humor and quick sarcastic rejoinders."

Bodies are turning up at Boddy Manor and given the secrets the guests hold and the fear of exposure by the blackmailer, the motives are ever-present with each guest and the butler suspecting another amid the mayhem. And some of this fear can be traced to McCarthyism that was frightening during the time, fostering even more paranoia about their lives.

Because Clue is a whodunit with dizzying twists and turns, I will not divulge the solution to the madness since every performance contains the same conclusion. So, no spoilers here.

The ensemble cast of Clue consists of in alphabetical order: Mariah Burks as the Cook, John Treacy Egan as Colonel Mustard, Michelle Elaine as Miss Scarlet, Joanna Glushak as Mrs. Peacock, Tari Kelly as Mrs. White, Mark Price as Wadsworth, John Shartzer as Mr. Green, Jonathan Spivey as Professor Plum, Alex Syiek as Mr. Boddy, Teddy Trice as the Cop, and Elisabeth Yancey as Yvette. 

All of these actors possess strong comedic timing and solid physical humor. As Mr. Green, John Shartzer particularly stands out with his physical comedy and antics. Other standouts include Michelle Elaine as Miss Scarlet and Mark Price as Wadsworth.

The cast has their individual moments to shine using their accents, acting-comedic skills and body language, but they also jell in perfect harmony with one another. From my standpoint, the entire cast excels in this work.

Another star is the accomplished scenic designer, Lee Savage. The Boddy Manor is elegant, sophisticated and detailed. The main room with its high ceilings, dark wood-paneled walls and two large chandeliers provide a perfect contrast to the zaniness unfolding on stage. Other rooms, such as the billiards room, the library, the kitchen, etc. open up at the sides flawlessly via turntables making for smooth transitions. Hushion’s direction is precise.

Also, lighting designer Ryan O’Gara does an excellent job employing lighting effects to accent the numerous dramatic moments and punch lines and illuminating the never-ending thunderstorm that night.

Jen Caprio’s costume design is effective in taking us back to the 50’s with style.

What music exists it serves as background similar to what you would hear in a thirties movie. As the main cast shuffles in well-choreographed movements from room to room as a group in search of clues, they do so comically to the background music.

Clue is a darkly funny, sometimes silly, high-energy, well-directed and performed play with most lines landing on the target. But these lines do come quickly so be prepared for that; it could seem like a whirlwind.  

This is a unique experience, and why would anyone want to miss this fine body of work? I don’t have a clue.

Running time. One hour and 15 minutes with no intermission.

Clue: A New Comedy runs through May 12 the Hippodrome Theatre at the France-Merrick Performing Arts Center, 12 N. Eutaw St, Baltimore, MD 21201.  For tickets, call Ticketmaster at 800-982-ARTS or visit ticketmaster.com or BaltimoreHippodrome.com.

Photos by Evan Zimmerman

The actual Clue board
courtesy of Wikipedia

Enchantment Galore in ‘Beauty and the Beast’ at Toby’s

 

Rachel Cahooon as Belle and Justin Calhoun as the Beast

It’s great that Toby’s Dinner Theatre has brought back Disney’s Beauty and the Beast at a time when we can all use a heartwarming fairy tale to relieve some stress. It’s also notable that Toby’s maintains a cache of veteran actors that can enchant us again.

If memory serves me, several performers—Jeffrey Shankle, David James, Lynn Sharp-Spears, Robert Biederman 125 as well as most of the technical crew—reprise their roles from Toby’s 2017 production. A lot has happened since that time. For example, we never heard of the word “covid.” But miraculously, these actors still remember their lines!

Yes, there are new cast members that add freshness and energy to the 2024 version of this classic musical. However, a theatrical star has emerged in the person of Rachel Cahoon who delivers a Broadway-worthy performance in the role of Belle (the beauty part of the title). There will be more about her later in the review.

Directed and choreographed by Helen Hayes Award winner Mark Minnick, who also helmed the 2017 iteration, the production clearly reflects his meticulous attention to details as well as his keen awareness of the in-the-round stage that is a hallmark of Toby’s.  It is an enchanting spectacle of superb music performed by a talented company demonstrating strong vocals and dazzling, high tempo dancing.

"...a theatrical star has emerged in the person of Rachel Cahoon who delivers a Broadway-worthy performance in the role of Belle."

Combine that with brilliant, extravagant period costumes designed by Janine Sunday; the imaginative set by David A. Hopkins, that add set pieces, props and dropdown fabric denoting the woods; Lynn Joslin’s effective lighting design; and the precise staging, Beauty and the Beast is far more beauty than beast.

Countless costume pieces are employed including colorful 18^th century gowns, dresses with hoopskirts, as well as attire for wolves and the beast himself.  Prosthetics and other devices are used to outfit the enchanted objects—clock, tea pot, candelabra, etc.  There are great challenges in designing such costumes, but Ms. Sunday is clearly up to the task, which fortifies the aesthetics of the show.

The atmosphere representing the interior of a castle is amplified by Mr. Hopkins use of simulated oil paintings of previous kings on the walls around the theater and well-placed hanging lamps above and around the stage. Ms. Joslin makes good use of her vast lighting design experience as well as the appropriate use of fog effects to take us back to a time when princes inhabit castles while fierce wolves roam the woods nearby.

The musical, which opened on Broadway in 1994, was based on Oscar-nominated Disney’s 1991 animated feature film with the same name. It became the tenth longest ever running musical on Broadway.

Patrick Gover as Gaston

Beauty and the Beast featured the Oscar-winning score with music by Alan Menken and lyrics by Howard Ashman, with additional songs composed by Alan Menken and lyrics by Tim Rice. The book was written by Linda Woolverton.

Show-stopping production numbers that highlight the singing and dancing talents of the ensemble are audience pleasers to be sure.  Menken’s rich score is ably presented by Ross Scott Rawlings and his six-piece orchestra (Nathan Scavilla conducts on alternate performances).  Entertaining as that is, the fairy tale itself sweeps you away on an emotional and romantic journey.  

The story centers on a spoiled prince (Justin Calhoun) who had been transformed by an enchantress (Alexis Krey-Bedore) into a boorish, hot-tempered, unsightly creature because of an act of unkindness. That horrendous condition can only end, and the prince could return to his human form, if he can find love before petals fall off from an eternal rose given by the enchantress.  

The mutual love would come from a beautiful book-loving woman Belle (played by the aforementioned Rachel Cahoon) from a provincial town who enters the castle in search of her father Maurice (Robert Biederman) who had previously stumbled into said castle having lost his way. The story is tender and endearing, and the relationship between Belle and the Beast has the audience rooting hard for both. 

Also pushing hard for the couple to fall in love are various servants in the prince’s castle who were converted into enchanted household objects when the spell was cast on the prince.  They, too, have a stake in the spell being removed so they can return to being humans.

Simultaneously, the town’s egomaniacal, bicep-flexing, bully, Gaston (Patrick Gover), rejected by Belle to be his wife, strives to make her change her mind.

As Belle, lovely Ms. Cahoon, making her Toby’s debut in stunning fashion, shines throughout.  Considered “weird” by the townsfolk because of her passion for books, Belle is strong-minded, and her eventual attraction to the Beast that requires his becoming more gentlemanly for starters is tearful in its sweetness.    Ms. Cahoon displays her exquisite soprano voice in such the ballads “Belle,” “Home” and “A Change in Me.”

Not only are her vocals stellar, Ms. Cahoon brandishes her polished acting skills. Regardless of whom she interacts with, there is great chemistry. Whether it is with Mr. Biederman, Mr. Gover or Mr. Calhoun, those scenes hit the mark largely because of the chemistry displayed between the actors.

For his part, Mr. Calhoun as the Prince/Beast is also excellent.  He is called upon to be mean, gruff and demanding. Yet, he competently softens his demeanor as his love for Belle grows, demonstrating his acting gifts.  Mr. Calhoun’s pleasant baritone is evident in the emotional “How Long Must This Go On?” and the tender, beautifully delivered “If I Can’t Love Her.”

Patrick Gover romps through his role as the superior, perfect-looking God’s gift to women, Gaston.  His character, though an antagonist, provides comic relief early on because of his over-the-top self-centeredness and swagger with the amusing help from Lefou, Gaston’s goofy, ever-fawning sycophant, played with flair by Jeffrey Shankle. But his character darkens towards the end as he sets out to destroy the Beast. Mr. Gover showcases his commanding baritone in “Me,” “Gaston” and “The Mob Song”.

Rachel Cahoon, Adam Grabau and enchanted objects in "Be Our Guest"

As mentioned earlier, because of the spell, the Prince’s-then Beast’s staff had been turned into enchanted objects. One of those was a teapot, Mrs. Potts, played by Lynn Sharp-Spears. She executes the role with humor and warmth, and her rendition of the title song in the second act is performed tenderly. 

One of the characters in this group is Cogsworth (David James), the head of the castle and who was converted into a mantle clock. With his adroit comedic timing and delivery, multiple Helen Hayes Award winner Mr. James is an ongoing laugh machine.

Others in the talented cast include Babette, the enchanted feather duster (Patricia “Pep” Targette); the suave Lumiere, the maitre d’ of the castle and enchanted candelabra (Adam Grabeau); former opera diva Madame de la Grande Bouche; the enchanted wardrobe (MaryKate Brouillet); and young Chip (Elijah Doxtater who alternates with Julia Ballenger and Dylan Iwanczuk), the teacup and son of Mrs. Potts.  All perform brilliantly in their mostly comic roles as foils to the Beast.

Also, turning in a solid performance is the always reliable veteran Robert John Biedermann as Maurice, Belle’s inventor-father thought to be crazy by Gaston and the townsfolk.

Production numbers, such as “Gaston,” “Be Our Guest,” and “Human Again” involving the ensemble are extraordinary in their execution of Mr. Minnick’s choreography.  Precise throughout, these numbers are simply sensational especially when the enchanted objects have to navigate the floor with oversized, bulky costumes. As a nod to the times, waltzes are occasionally featured.

Rounding out the energetic, talented ensemble are Brandon Bedore, Carter Crosby, Lydia Gifford, Angelo Harrington II, Sarah Joyce, Nicky Kaider (see him as Frankie Valli in Toby’s upcoming Jersey Boys), Amanda Kaplan-Landstrom, Alexis Krey-Bedore and Anwar Thomas.

With the talent overflowing and the technical crew’s skill, Toby’s presentation of Beauty and the Best excels in all facets from direction to staging to performances.

This production proves why the musical has received such worldwide popularity. No matter our age, we can all enjoy a good fairy tale with a happy ending to brighten our lives.

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

Disney’s Beauty and the Beast runs through June 16, 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 here.

Photos: Jeri Tidwell Photography

The Menu for the fabulous buffet is shown here.

Drink Special: The Gray Stuff

The cast of Beauty and the Beast