A Rock Show for the Ages Rocks Toby’s

Oscar Salvador, Jr. as Stacee Jaxx

It may as well have been a 1980’s rock concert sans illegal substances: mind-blowing, hand-clapping rock music with an infusion of metal; multi-hued lighting; fog effects; and an audience totally into it and eager to sing along to the music.  That’s what occurs during the superb production of Rock of Ages, now gracing the in-the-round stage at Toby’s, the Dinner Theatre of Columbia. The heat generated by the non-stop energy will hopefully melt the frigid snowpack outside that has stubbornly persisted when this performance was reviewed.

There have been dozens of popular jukebox musicals—Mamma Mia!, Jersey Boys, Escape to Margaritaville, On Your Feet, to name a few—that showcase a particular individual or group. In the five-time Tony Award-nominated Rock of Ages, another jukebox musical, you have a show which focuses on multiple acts and performers, but in particular, an era and genre—the rocking 1980’s.

Mark Minnick, a Helen Hayes Award winning director, helms the show with precision, solid pacing and crisp tempo, guiding the hard-working and talented cast. Several faces new to Toby’s regular patrons appear in this production, and they did not disappoint.

Mr. Minnick also co-choreographed the production with Julia L. Williams where the high-octane dancing is rhythmic and creative utilizing the round stage with aplomb. All the dancers excel during the numerous production numbers.

Lynn Joslin’s stunning lighting design and Mark Smedley’s effective sound design augment the atmospherics.  Eighties-period rocker costumes designed by Heather C. Jackson with a grunge vibe are spot on. Jason Kueberth, who was kept busy designing the hair and wigs, did a splendid job in topping off the company with a distinct 80’s look including long hair and mullets for the guys.

Musical director Ross Scott Rawlings, who conducted the absolutely fantastic 5-piece orchestra, was clearly on his game the night this production was reviewed. The orchestra, not concealed behind a balcony partition as they normally are during Toby’s productions, gave the rock score including ballads, the treatment they deserved. Ethan Popp is credited for the arrangements and orchestrations from the original Broadway musical.

A visually pleasing set designed by Shane Lowry with the use of creative set pieces and props augment the visuals.  Mr. Lowry is the master of 3-dimensional wall decorations, and his reputation for excellence continues with this production. Creating a bar/club ambiance with period artifacts, musical instruments, neon beer signs and other objects on the walls surrounding the stage hit the mark. You know we are going back several decades in time when a sign displayed the price of gas at 86 cents per gallon.

The cute but convoluted love story that unwinds and the often-hilarious subplots from a book by Chris D’Arienzo are embedded in a catalogue of classic rock ‘n roll and glam metal songs.  Music from Journey, Styx, Whitesnake, Bon Jovi, REO Speedwagon, Foreigner, Starship, Pat Benatar, Twisted Sister and many others tie in neatly to the story. Many of these songs are popular, and likely will be familiar to the audience with some of the numbers truncated; that is, only snippets of the songs are performed, to keep the plot moving along.

"Mark Minnick, a Helen Hayes Award winning director, helms the show with precision, solid pacing and crisp tempo..."

Set in 1987, Noah Mutterperl plays Drew Boley, a barback in the Bourbon Room, a bar on Hollywood’s Sunset Strip, who falls for an innocent girl from Kansas named Sherrie Christian played by Rachel Cahoon.  (You just know that the Steve Perry song “Oh Sherrie” will surface at some point.)  Their desire and pursuit of a romantic relationship form the central plot but there are other humorous storylines with a lot of moving parts going on that supplement it.

Mr. Mutterperl is exceptional as the vulnerable good-guy Drew with dreams of making it as a rock star.  His powerful tenor voice with an enormously wide range is magnificent. Such numbers as “I Wanna Rock,” “High Enough,” the superb duet with Ms. Cahoon “Waiting for a Girl Like You” and yes, “Oh Sherrie” showcase his amazing vocal talents. Yet, it is during “The Search is Over,” the romantic ballad made famous by REO Speedwagon, that Mr. Mutterperl demonstrates why he is an elite vocal talent.

As Sherrie, Ms. Cahoon, a tremendous talent with spot-on acting skills, is also dreaming of being a star.  At a picnic on a hill overlooking Los Angeles, Drew drops the f-word—friends—and that was that.  She mistook his desire to be simply friends and not looking for a serious relationship. Sherrie was so disappointed she pursues other options.  This innocent young lady winds up becoming a performer in the Venus Club—a strip joint, er, gentleman’s club, as many aspiring stars wind up doing.

Rachel Cahoon as Sherrie and Noah Mutterperl as Drew

Rachel Cahoon possesses a strong rock belt voice and excels in several group numbers. They include “More Than Words/To Be with You/Heaven IV,” “Wanted Dead or Alive,” “I Want to Know What Love Is” and “Here I Go Again” among others. Her duets with Noah Mutterperl give goosebumps, and it wouldn’t be a stretch to describe them as Broadway caliber.

Justin Colombo plays Lonny Barnett, who also works at the Bourbon Room and serves as the show’s narrator whereby he immediately endears himself to the enthusiastic audience. Charming and comedic, mischievous and fun-loving, energetic and whimsical, Mr. Colombo plays the role to the hilt. He is literally a scene stealer as he comically inserts himself into many scenes. His clowning is manifested not only by his spoken words but also his physical comedy, of which there is an ample amount.

Mr. Colombo’s singing talent and strong tenor voice are on display in a few numbers highlighted by a loveable and amusing duet “Can’t Fight This Feeling” with Matthew D. Burns as Dennis Dupree. The owner of the Bourbon Room.

One of several performers making their Toby’s debut, Mr. Burns’ laid-back portrayal of Dennis is excellent and a perfect complement to the hyper Lonny character. His facial expressions are priceless and well-timed by the veteran actor.  Together they perform nicely in “Just Like Paradise/Nothin’ But a Good Time” that opens the show as well as the aforementioned duet that shines as one of the production’s show-stopping numbers.

In the role of cocky bad boy Stacee Jaxx, a biceps-flexing rock star who decides to leave his successful metal-rock band Arsenal to try it solo, Oscar Salvador, Jr.  performs quite effectively with an abundance of flair. Stacee is one of the story’s villains who does some naughty things, with Mr.  Salvador’s comedic and acting skills being on target.

His vocals are superb in “Wanted Dead or Alive” and “Here I Go Again.” But it is his performance in “I Want to Know What Love Is” that highlights another memorable scene.

Jordan B. Stocksdale plays Hertz Klinemann, a cold-hearted German developer who is trying to buy up the Sunset Strip to eliminate the sex, drugs and rock ‘n roll lifestyle and bring in what he calls “clean living” to the area. Of course, the Bourbon Room is a target.  Mr. Stockdale is charming in one of the musical’s rare solos, “Keep On Loving You” showcasing his excellent tenor vocals.

His flamboyant son Franz is played deliciously by Jeremy Crawford. Campy Franz wishes to open his own candy store in Germany but is intimidated by his strong father until things change over the course of the show. One of his funny lines, “I’m not gay… I’m German” is uproarious in its delivery.

Proficient vocalists, they appear together in several numbers, such as “We Built This City/Too Much Time on My Hands.” They excel in the group number “Hit Me with Your Best Shot” when Franz finally stands up to his father.

An excellent performance is turned in by Tobi Baisburd as Regina (rhymes with Carolina) Koontz as the mayor’s assistant who is fighting to save the Strip.  She and the ensemble heartily deliver “We’re Not Gonna Take It” and “The Final Countdown.”

Also performing well is Kadejah Oné as Justice, the owner of the Venus Club.  A former performer, Justice provides soothing advice to Sherrie and demonstrates solid acting abilities in the process.  Possessing a sterling singing voice, Ms. Oné excels in “Shadows of the Night,” “Here I Go Again and “Every Rose Has Its Thorn.”

Terrell Chambers is wonderful in playing multiple comedic roles, especially the Mayor.

The remainder of the cast and musicians support the leads exceptionally. They include Patricia “Pep” Targete, Alexis Krey-Bedore, Kiana King, Shane Lowry, and Carter Crosby.  Those in the talented and energetic Ensemble not named above are Justin Diaz, MaryKate Brouillet and Nadja Tomaszewski.

For full list of the cast, musicians and technical crew, visit here.

With Rock of Ages, you will experience a well-directed lively, nostalgic, highly entertaining production performed by a rock-solid company. The journey takes you back in time, and it’s time well spent to get out from the chill. The finale is electric and perfect. And while you’re at it, enjoy Toby’s famously delicious buffet. The Menu is shown here. Rock on!

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

Advisory. Rock of Ages contains adult language and adult situations and is not recommended for young children.

Rock of Ages plays through March 15 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.

Photos: Jeri Tidwell Photography

Specialty Drink: The Bourbon Room (Jack Daniels and lemonade, but a non-alcoholic version is available).

Next up: The Wizard of Oz, March 20 through June 7.

‘Elf’ at Toby’s Delivers Needed Christmas Spirit

In this chaotic world we live in today, the holiday season can’t come fast enough. If nothing else, the holidays with all its inherent stress, is a pleasant and indispensable distraction. Elf The Musical, currently playing at Toby’s, The Dinner Theatre of Columbia, is providing audiences with holiday cheer and delight just when we need it.

The cast and production team excel in all facets, and Helen Hayes Award winning Director and Choreographer Mark Minnick skillfully guides them through a heart-warming, energetic, fast-paced celebration of Christmas and family.  Enjoyable music under the direction of Ross Scott Rawlings and the six-piece orchestra and well-placed humor throughout remind us how we loved to revel in Christmas as well as the other holidays of December.

Because of the schedule issues resulting from the covid pandemic, Elf The Musical had been presented by Toby’s during the sweltering summer of 2021 but did so with aplomb. We are closer to Christmas today, of course, so it has more relevance. Several of the leads reprise their roles from that production with Helen Hayes Award winner Jeffrey Shankle starring once again as Buddy.

Elf The Musical, which played on Broadway from 2010 to 2011, the West End from 2015 to 2016 and spawned several tours, was scored by Matthew Sklar and Chad Beguelin. The book by Bob Martin and Thomas Meehan was adapted from the 2003 film version, Elf, which did not contain music.

Most of the songs are largely sentimental and lighthearted with melodies that are not exceptionally memorable. Nonetheless, they effectively tie the story together and are performed proficiently by the Toby’s cast and orchestra.

The story is about a young orphan named Buddy Hobbs who accidentally crawls into Santa’s bag of toys and winds up at the North Pole where he is brought up by elves. He thought he was one of them as he became older until one blurted out he was really human.  Santa urged him to travel to New York City to find his actual father who happens to be on Santa’s naughty list because he doesn’t believe in, well, Santa and by extension, the spirit of Christmas.

Buddy learns to his chagrin that all adults do not believe in Santa Claus. He attempts to win over his newly discovered family and instill the true meaning of Christmas. Along the way, Buddy finds love that showcases some of the more touching scenes in the show.

"...Director and Choreographer Mark Minnick skillfully guides [the cast] through a heart-warming, energetic, fast-paced celebration of Christmas and family. 

In a tour de force, veteran performer Jeffrey Shankle, commands the lead role of Buddy. Playing the naive but exuberant elf/human, Mr. Shankle draws upon his comedic instincts, timing and superb vocals to reflect his unbridled enthusiasm and optimism. Mr. Shankle’s tenor voice is pitch perfect and in stellar form in such songs as “Happy All the Time,” “World’s Greatest Dad,” “Just Like Him” and in a marvelous, well-choreographed production number “Nobody Cares About Santa.”  

His duet with his love interest Jovie, played well by MaryKate Brouillet, in the tender ballad “A Christmas Song” is moving. Ms. Brouillet also showcases her crystal clear, melodic voice in the touching “Never Fall In Love (With An Elf)”. Jovie was cynical at first regarding Buddy but eventually warmed up to his eccentricities capping off a tender love story.

The supporting cast is similarly outstanding. David Bosley-Reynolds as the stern father Walter Hobbs exhibits his strong acting and comedic skills with a solid baritone voice. With his job on the line as a developer of children’s books and little time for family, Mr. Bosley-Reynolds expresses his toughness and newly revealed tenderness as the story unfolds. He performs well in the group number “In The Way.”

Janine Sunday does a fine job as Emily Hobbs, Buddy’s stepmother and devoted wife of Walter. She proficiently expresses her true love for her family while hoping her beleaguered husband spends more time with them. It was Emily who procured a DNA test to prove that Buddy is Walter’s son. Ms. Sunday’s superb vocals are on display in the numbers “In the Way” and the lovely “There is a Santa Claus” with Emily’s son Michael, played in this performance by Noah Frieman. Noah Anderson and Joey Vogel assume the role of Michael in other performances.

Noah Frieman plays an adorable and smart 12- year-old demonstrating potential as a strong performer in musical theatre. Poised on the stage and blessed with a fantastic singing voice, Noah had the opportunity to showcase his talent in those duets with Ms. Sunday. 

Anwar Thomas performs admirably as Macy’s Manager using his laudable comedic skills. He also can sing with the best of them and performs well in the production number “Happy All the Time” and in a solo “Nobody Cares (Santa Reprise)”.

Jordan B. Stockdale plays Santa in a narrator role, setting up the story, and is effective in doing so.

David James is a delight in playing the part of Walter’s boss, the cranky and demanding Mr. Greenway. He never spent Christmas with his family in 30 years to build a children’s book company and it shows. Mr. James plays the role to the hilt.

Other members of the cast and ensemble are outstanding as well. They acted, they sang, they danced, they moved set pieces, they did it all. Among them are: Asia Lige Arnold as Mrs. Claus, Brandon Bedore in multiple roles, Vince Gover as Chadwick, Spencer Teal as Sam, and Joey Ellinghaus and Patricia “Pep” Targete also in multiple roles.

A full list of the Cast and Ensemble as well as the Production Staff are listed in the Playbill.

Mark Minnick’s choreography is precise and detailed as always. Using all areas of the in-the-round stage, the performers moved about in synch and in rhythm. Such numbers as “Happy All the Time,” “In the Way,” “Sparklejollytwinklejingley” (what a title!) and “Nobody Cares About Santa” are fine examples. And the simulated Rockefeller Center skating rink with several cast members rollerblading in lieu of ice skates in the number “A Christmas Song” is a nice touch.

Brilliantly hued costumes were coordinated by Sarah King and Helen Hayes nominee Janine Sunday—from colorful elf attire to street garb to a multitude of Santas. There are countless combinations and costume changes throughout—all executed seamlessly.

Also notable are the imaginative set pieces employed. Shane Lowry designed numerous clever props and sets especially in the opening scene where the elves were riding wagons. That was awesome. The walls of the theater are decorated in Christmas trees and images of New York’s skyline. Garlands hanging from the ceiling add more to the Christmas flavor. And then there was snow!

Lynn Joslin’s lighting design is spot-on, and Mark Smedley’s sound design allowed for very clear and audible dialogue and song.

Elf The Musical is welcome Christmas present for the young and not so young. It provides much joy and fun in Santa’s bag of goodies including the tasty buffet for a laugh-filled, nostalgic escape highlighted by a talented cast and crew under expert direction.

In the immortal words of composer Jerry Herman when he penned the music for Mame, “We need a little Christmas right this very minute…we need a little Christmas now.” And Toby’s is delivering this welcome gift.

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

Elf the Musical plays through January 4, 2026, 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: Rock of Ages, January 9, 2026 to March 15, 2026

Photos Jeri Tidwell Photography

The Menu can be found here.

Specialty Drink: The Cotton-Headed-Ninny-Muggins

‘We’re Fighting Back’

Maryland AG Brown offers reassurances to LGBTQIA+ Community.

Maryland Attorney General Anthony Brown

At a fundraising event for Democrat Delegate Kris Fair (District 3, Frederick), Maryland Attorney General Anthony Brown forcefully reassured concerned LGBTQIA+ community members and allies that Maryland is actively pushing back on threats to hard-earned rights from the federal government. The event took place on October 28 at the historic Bentztown Bar and Restaurant in downtown Frederick, Md. Nearly 100 attended including LGBTQIA+ community members, business leaders, members of the Maryland General Assembly as well as city and county officials.

Following opening remarks by State Senator Karen Lewis Young (D-3) and Fair, Brown, assured those in attendance that Maryland has been using all the tools at its disposal to combat executive orders from President Trump and agency actions that attempt to limit the rights of LGBTQIA+ persons.

These actions have been aimed at eliminating programs that address discrimination in federal and federally funded programs, denying transgender youth necessary health care, making schools unsafe for transgender and gender non-conforming students, denying protections for LGBTQIA+ people in the workplace, and other measures.

Brown, a long-time supporter of LGBTQIA+ rights and who has a transgender son, pointed out that Maryland law continues to provide protections from discrimination for persons based on sexual orientation and gender identity, and federal policy can only override state law in limited circumstances. He noted that the Maryland Medical Assistance Program—Maryland’s version of Medicaid—requires gender-affirming care be provided in a non-discriminatory manner.

Brown said the state is fighting back and taking bold steps against threats to the community.  “We are using amicus briefs in pending cases, and we are filing lawsuits—many lawsuits,” said Brown, in an effort to combat the federal actions.

Del. Kris Fair (l.) and Anthony Brown

Acting as a moderator sitting across from Brown on a stage in an informal conversational format, Kris Fair, the event’s host, served up several questions, and audience members added some of their own. Fair, who is seeking re-election to the House of Delegates, is chair of the Maryland Legislative LGBTQ+ Caucus and is one of 10 openly LGBTQ members of the General Assembly.

One question that had particular interest to the audience involved the status of marriage equality as the U.S. Supreme Court on November 7 is poised to decide whether or not to take up the matter of overturning the landmark Obergefell v. Hodges decision of 2015. The questioner wanted to know what would happen if the Court takes the case and rules to overturn it as was done in Roe v. Wade.

Brown emphasized that same-sex marriage is legal in Maryland and will continue to be so. He was uncertain as to whether or not other states will recognize the legal marriages in Maryland and was unsure how federal benefits (such as, joint tax returns, etc.) would be affected.

“I’m hopeful that the Supreme court will leave it alone and not overturn it,” Brown emphasized. He believes that since marriage equality is viewed very favorably by the public, the Court is mindful of that.

“These are deeply unsettling times for queer people across the country and even here in Maryland.” Kris Fair, whom Senator Young referred to as 'a rising star,' told me following the event. “Understanding the threats our community faces and the misinformation being spread is essential. Attorney General Brown and his team have been steadfast since January 20^th, ensuring Marylanders are informed, supported, and protected.”

He added, “It was an honor to stand alongside him as we equipped our community with the most powerful tool we have: a clear plan to organize, take action, and fight back.”

Kris Fair and Anthony Brown

 

‘The Crucible’ Offers Intense Drama at Silhouette Stages

J.R. Hontz and Nathan Rosen

Over the past eight years, we’ve been subject to the incessant accusations of “witch hunt” or “hoax” in the political arena.   There were, however, unquestioned witch hunts in our history, such as the McCarthy accusations of Communism against those within the State Department and beyond, and until the repeal of “Don’t Ask, Don’t Tell, the expulsion of gays and lesbians from the military. 

In Arthur Miller’s intense classic, The Crucible, currently being presented at Silhouette Stages, an actual witch hunt is portrayed.  Loosely based on historical facts, Miller had penned a four-act play (consolidated into two in this production) depicting the infamous Salem witch trials of 1692 in the Massachusetts Bay Colony.  He had written this play as an allegory to the aforementioned McCarthy era of the early 1950’s, and it captured a Tony Award for Best Play in 1953.

Though the setting for The Crucible occurred centuries ago, today’s culture can be examined through the lens of the play. Baseless suspicion and the spreading of rumors and misinformation on social media, for example, can have devastating consequences. 

Miller captures the horrors of that period in a Puritanical society where the Christian Bible and state laws were one of the same.  Paranoia and hysteria were prevalent.  Grudges were commonplace and seemingly irreconcilable. Morality ruled the day and everyone’s religious activities were under intense scrutiny. There was no tolerance for anyone deviating from moral laws.  And many in Salem were fearful of guilt by association, which could damage their reputation—a major theme throughout. 

Then there is the absolute necessity for self-preservation where people would say anything and fabricate stories to protect their own interests.  In other words, throwing people under the bus to save their own hide was a way of life, which directly led to the tragic imprisonment and executions that was the outcome of the witch trials.

For Silhouette Stages, The Crucible is most likely the first true dramatic play the theatre had produced in its 20 seasons.  Under Henry Cyr’s meticulous, first-rate direction, the ensemble cast of 21 talented actors leaves nothing on the stage, and they perform like it was the last thing they were ever going to do.

With enormous levels of energy and passion, the acting displayed is eye-popping and at times, ear-popping. The amazing actors through Mr. Cyr’s direction make the audience feel like they are right there on stage while the chilling drama unfolds. These actors are clearly invested emotionally in their roles. 

The plot is a labyrinth of moving parts with twists galore, and it’s purely frightening at times.  Accordingly, I will not reveal much to detract from the dramatic effect for those who are fortunate enough to see this presentation. And I certainly will not divulge the ending.

"The amazing actors through Mr. Cyr’s direction make the audience feel like they are right there on stage while the chilling drama unfolds."

It all starts when the Reverend Samuel Parris, played forcefully by Nick Cherone, is tending to his 10-year-old daughter, Betty (Shannon Monroe), lying lifeless in her bed.  Earlier he had discovered Betty and a bunch of girls performing some suspicious ritual in a nearby forest though the ringleader, Abigail Williams (played by Carly Brownstein), maintain they were merely dancing.  They fall ill with no ostensible explanation.  The hysteria among the townspeople develops whereby many are convinced witchcraft has enveloped the town and the arrests, trials and punishment of those suspected ensue.

Matt Scheer is exceptional in the role of the main protagonist, John Proctor, a farmer.  It was John’s affair with Abigail prior to when the play begins that led to Abigail’s jealousy of his wife, Elizabeth Proctor (Glennyce Lynn). Elizabeth fired Abigail as the family servant once she discovered the affair.  Mr. Scheer’s final dramatic scene is superb and is convincing with an expansive range of emotions.

Abigail, a principal villain in the play, uses this jealousy as a trigger that sets in motion the hysterical witch hunt with her lies and ability to manipulate people. Ms. Brownstein is truly effective in this role. 

As virtuous Elizabeth Proctor, Ms. Lynn conveys an earnest down-to-earth quality.   Her poignant interactions with Mr. Scheer at various points in the play represent one of the play’s highlights.

Maxwell Wolf is compelling in playing the role of young Reverend John Hale from Beverly, Massachusetts.  An intelligent man, Hale was considered an expert on witchcraft. His determinations resulted in the prosecutions of many suspected witches.  Later, he regretted his actions and tried to save the lives of the suspects by persuading them to confess.

Carley Brownstein and Delaney Gregg

Suzi Eldridge does an excellent job portraying Rebecca Nurse, an elderly respected woman who was sentenced to death after being accused of witchcraft by the wealthy Thomas Putnam (Michael McDonald) and his wife, Ann Putnam (Rebecca Hanauer) and refused to confess.

Veteran performer J.R. Hontz exhibits jaw-dropping acting talent as Deputy Governor Danforth—another of the play’s villains.  He doesn’t appear until later on but his impact on the overall production cannot be overstated.

Danforth is the presiding judge at the witch trials and is commanding and inflexible in his beliefs.  Mr. Hontz’s tour de force performance is something to behold.

Wendy Messick as Tituba, an enslaved Black woman from Barbados belonging to the Parris family, is convincing, displaying anguish towards those who framed her.  She was the first person accused of witchcraft when she admitted to creating love potions for Abigail and her friends. Tituba was sentenced to prison with harsh conditions along with Sarah Good (Kaylee McDonald). Those conditions led Tituba to become insane.

Other notable performances include Delaney Gregg as Mary Warren, a Proctor family servant and one of Abigail’s friends, and Nathan Rosen as Giles Corey, an elderly farmer and close friend of Proctor whose wife was accused of witchcraft and sentenced to death. He was sentenced to death as well for his refusal to cooperate.  Mr. Corey provided some of the few opportunities for comic relief.  However, the entire cast worked together flawlessly thanks to the guiding hand of Director Cyr.

Rounding out the cast are: Elena Powell as Susanna Walcott, Rose Gerson as Mercy Lewis, Brian Doctrow as Francis Nurse, Judah Isaac Canizares as Ezekiel Cheever, Brian Sackett as John Willard, John Sheldon as Judge Hawthorne, and Megan Mostow Kaiser as Martha Corey.

The simple set designed by Sammy Jungwirth features clusters of wooden boards in random crisscross formations that framed the stage from the sides and above. Embedded within the pattern were several crosses, a symbolic touch.

Mr. Jungwirth is also the lighting designer, which was quite effective until midway through the first act on the night this performance was reviewed. The lighting board in the auditorium conked out, and the remainder of the play had to be performed with stage lights only, thus limiting the desired dramatic effects of the planned design, which would have highlighted the anxiety and fear permeating throughout the production.

To his credit, Director Henry Cyr, who is also the theatre’s artistic director, addressed the audience prior to the second act to explain the situation. Kudos to the cast and crew for plowing through with their performances so remarkably. Hopefully, this was a one-time occurrence.

Mr. Cyr is also the sound designer. He ensured that all dialogue was heard clearly. There are numerous instances of high-volume interactions among the cast including screaming, so be prepared.

A special nod goes to costume designer Zen Tabligan, who fitted the cast in authentic, colonial attire, lending even more reality in depicting 1692 Salem.

The Crucible is by no means a feel-good play.  It’s serious to the core with a few clever chuckles sprinkled among the dialogue. Though not entirely historically accurate as far as individual characters’ ages and other details are concerned, it still presents a grim portrait of this shameful period in history and alarmingly shows that human foibles of that era exist even today.

This American classic that denotes an actual witch hunt is recommended for the historical benefit of the story and especially to witness an extraordinary cast giving it their all. Silhouette Stages does a splendid job in bringing life to the story.

Photos: Shealyn Jae Photography 

Running time. Three hours with an intermission

Advisory: The Crucible contains adult themes and is not recommended for children under age 13.

 The Crucible plays on weekends through October 26 at the Slayton House Theatre, 10400 Cross Fox Ln, Columbia, MD 21044. For tickets, call 410-730-3987 visit here.

National Coming Out Day: A Personal Essay by Byron Macfarlane

 

I've been out and proud as a gay man for 19 years.

While I knew I was different, I think as early as 11 or 12, the 90's/early 2000's was not a great time to come out. I saw one of the only openly gay students in my high school bullied relentlessly. There were few role models in public life or pop culture. I knew even as a teenager that I would probably never be able to marry and have children, a "normal" life, so to speak. The only other gay man in my family was a great uncle, who was ostracized by my father's entire family, left the state never to return, and who I regrettably never got to know before he passed.

But eventually time was up for living in the closet. I just couldn't do it anymore. After college, I spent 16 months working in the Maryland General Assembly, and then began law school. I remember clearly it was right after orientation, I was home with my mom, who could tell - as only mothers can - that something was on my mind and I needed her. I did most of the crying, but she calmly and lovingly told me that I was her son and she loved me no matter what. My brother was similarly supportive. 

"I love being a gay man and the experiences it has given me in my life."

And fortunately, I had already chosen years prior to no longer involve my father and his family- racists, misogynists, and homophobes - in my life. To paraphrase Noxzema Jackson in To Wong Foo, their approval was neither desired nor required. And my friends were also largely supportive, along with members of my extended local Democratic political family. Over the years, I even found I have four cousins who are also openly queer and I'm so happy for them. 

I've had it easier than many, and I am grateful to my family, friends, and community for accepting me as I was made. I love being a gay man and the experiences it has given me in my life.

 No one should have to come out. I look forward to a future that has less of the oppressive heterosexism we have today - where it's assumed you're straight, you will marry, you will have children, you will check all of the "right boxes," unless you state otherwise (and explain yourself) - and more of an open-minded, accepting, and loving world that I think can represent humanity at its best.

Until then, come out and just be you, if you can and you feel safe doing it. It's liberating. No more shame. No more pain. No more "I wonder what they'll think." Let them think whatever they want. The judgment of others about who you are is completely meaningless. What truly matters, what really means something, is choosing a life of honesty and authenticity and happiness in who you are.

Happy National Coming Out Day.

Byron Macfarlane, the first openly gay individual elected in Howard County, Md., has been the County’s Register of Wills for over 14 years and is seeking re-election. His website can be found here.

‘Saturday Night Fever’ Brings the Heat to Toby’s

Patrick Gover as Tony Manero and 
Rachel Cahoon as Stephanie Mangano

Remember the disco era of the 70’s and 80’s? It was a cultural phenomenon with its rhythmic beats from the era’s distinctive dancing songs, platform shoes, bell bottoms, wide collar shirts, glittering dresses, the radiating colorful lights of the discotheques with their iconic mirrored disco balls hovering over the dance floor. The 1977 release of the film Saturday Night Fever starring John Travolta launched disco to the stratosphere. Some hated disco music but far more loved it.

So, if you enjoyed disco, or if you are curious what this craze is about, put on your boogie shoes and head to the funky disco inferno known as Toby’s, The Dinner Theatre in Columbia. There you will see the sparkling jukebox musical Saturday Night Fever, based on that smash film with those hip-swerving moves, 70’s costumes, super performances, and enjoy the beats of the toe-tapping music all wrapped up into one groovy disco ball.

The book is by Nan Knighton (in collaboration with Arlene Phillips, Paul Nicholas, and Robert Stigwood), and the songs mostly align to the film’s soundtrack, which in turn were mostly written and performed by the fabulous Bee Gees. Conductor Ross Scott Rawlings and the seven-piece orchestra do justice to the magnificent catalogue of songs. (Catina McLagan and Justin Hardman take the baton in other performances.)

The production at Toby’s, under the direction of Helen Hayes Award winner Mark Minnick, features those classic Bee Gees songs performed by a young and vibrant cast with outstanding vocals and spectacular dancing choreographed by Christen Svingos. It also tells a dramatic story: a boy-meets-girl saga with some ups and downs, highs and lows, a few laughs, and tragedy thrown into the mix with the songs neatly interwoven to advance the plot. All with the distinctive Brooklyn accent.

White hot disco songs, such as “Staying Alive,” “Boogie Shoes,” “Disco Inferno,” “Jive Talkin’,” “Night Fever,” “Nights on Broadway,” “More than a Woman,” “If I Can’t Have You,” and “How Deep is Your Love” will make you want to get out on the floor to dance, but don’t!

Yes, leave the dancing to the performers; they do it so well and with a high degree of energy. Ms. Svingos’ choreography is creative and precise. The in-the-round stage is used efficiently, with the Company managing to dance as individuals or couples yet blending as if it was a single unit. I really liked the way the performers pulled it off.  There were several outstanding numbers in this regard but “Disco Inferno” is a sure-fire showstopper.

While the action takes place in several places in and around Bay Ridge, a Brooklyn, NY neighborhood in the 1970’s, the 2001 Odessey disco club is the principal venue. Scenic designer Shane Lowry helped create the atmosphere with disco-related scenery, such as a colorful light panel on the wall, the mirrored disco ball above the floor,  and the 2001 Odessey sign among others. On the balcony platform, a bedroom was designed to allow the lead Patrick Gover as Tony Manero to change shirts and preen and flex in the mirror. Mr. Lowry and his set construction team also displayed some neighborhood markings and a rendering of the Verrazzano Bridge, which is near Bay Ridge.

Lynn Joslin’s lighting design further enhanced it with laser lights in the club’s walls. Period costumes including the legendary white disco suit worn by the lead were designed by Heather C. Jackson. Jayson Kueberth’s wig design was the crowning touch. And Mark Smedley’s sound design was excellent, and the volume was loud and clear.

"...put on your boogie shoes and head to the funky disco inferno known as Toby’s, The Dinner Theatre in Columbia."

The story centers on the aforementioned Tony Manero, a 19-year-old clerk in a paint store who is perpetually in a bad mood. And why wouldn’t he be?

His parents have no respect for him but adore his brother Frank Jr. who was a priest.  He has a dead-end job as a clerk in a paint store and doesn’t get along with his boss. His close friends are a bunch of goofballs with no clear direction for their futures and frequently gets on Tony’s nerves. His clingy ex-girlfriend Annette agitates Tony to no end with her ceaseless infatuation and can’t accept the fact he is done with her.

Tony’s only solace appears to be his dancing ability.  He goes to the 2001 on weekends with his buddies to hone his talent and perhaps find love. He spends his free time rehearsing routines and is anxious to participate in an upcoming dance contest.

Well, Tony spots an attractive and skillful dancer at the club named Stephanie Mangano. It was not love at first sight, at least on Stephanie’s part, and she like so many others plucks Tony’s nerves especially when she pronounces the word “in-ter-est-ing.” In return, she has little respect for Tony or ostensibly any attraction. Despite the hostility between them at the outset, this is a match made in Brooklyn.

Friction aside, Stephanie, who is desperate to leave Brooklyn and start a life of her own in Manhattan, acquiesces to Tony’s pressure and agrees to be his dance partner for the contest.

I will leave it there so that the surprise moments that occur later on are best left for the audience to experience.

As the vulnerable Tony, Patrick Gover, in a tour de force, does a masterful job in his return to the Toby’s stage. He had an abundance of practice playing cocky, egotistical, preening, strutting roles in the past like Gaston in Disney’s Beauty and the Beast, bad boy Tommy DeVito in Jersey Boys where he received a Helen Hayes nomination and Rocky among others.

Charismatic and handsome, Mr. Gover maintains his swagger and Brooklyn accent throughout, strutting around the stage,  emulating the John Travolta version from the film. His dancing is supreme, often lifting his partner with agility and strength. Mr. Gover’s tenor vocal ability is versatile and on point. He only sings briefly in “More Than a Woman” and in group numbers “Boogie Shoes,” a song by Harry Casey and Richard Finch, and the production opener in “Staying Alive.” But he is moving in the finale “How Deep is Your Love” where he truly showcases his vocal skills.

As an actor, Mr. Gover excels. He displays an exuberant intensity with flashes of temper in his dialogue signifying the frustration he experiences in his life. Despite his sexy confidence and dancing prowess, he sees himself as an underdog and conveys it with aplomb, convincing the audience to root for him, gruffness and all.

Rachel Cahoon as Stephanie is also a standout. A Helen Hayes nominee for outstanding lead performer as Maria in 5he Toby’s production of The Sound of Music, Ms. Cahoon, who has a lovely singing voice, is wonderful in her solo “What Kind of Fool.”

Stephanie is a complex character. An ambitious young lady, she first tries to portray herself to Tony as a “snotty b****” but in reality, she’s not. Her demeanor gradually softens up, and she eventually falls in love with Tony. Ms. Cahoon’s acting is stellar as she reflects the evolving changes in her attitude.

Ben Ribler (Bobby), Benjamin Campion (Gus), Helen Hayes nominated Nicky Kaider (Double-J) and Helen hayes winner Joey Ellinghaus (Joey) form the gang of pals (The Faces) that accompany Tony to 2001. These characters all have their own tough guy personalities as they look up to Tony.

Mr. Kaider and Mr. Ellinghaus provide a good deal of comedic wisecrack moments and do it well. Mr. Ribler portrays a troubled guy with a lot of anxiety, especially after he found out his ex-girlfriend Pauline (Shannon Sullivan) is pregnant. Mr. Ribler’s duet with Ms. Sullivan in “Jive Talkin’” is excellent. Mr. Campion’s character Gus is a follower and is revealed that he lied about who attacked him. All four are energetic and skillful vocalists and dancers in the group numbers, especially “Boogie Shoes.”

Noah Mutterperl is effective as Tony’s older brother Frank Manero, Jr. He was a priest, which his parents admired, but left the church because of his increasing feelings of loneliness. When Tony took him clubbing, it really upset their religious mother, Flo.

KadeJah Oné plays Candy, the 2001’s resident singer. And Goodness can she sing!

She performs superbly with her Mezzo-Soprano vocals in group numbers “Staying Alive,” “Disco Inferno,” “Night Fever,” “Nights on Broadway,” “More Than a Woman” and “Open Sesame”—a song by Ronald Bell and Kool &The Gang.

Terrell Chambers plays the goodlooking and charismatic emcee and DJ at the club. A larger- than-life personality, Mr. Chambers belts out some fine numbers, such as “Night Fever,” “You Should Be Dancing,” and a wonderful rendition of “More Than a Woman” (Reprise) in a duet with Ms. Oné.

Other notable cast members include Brian Kaider as Tony’s boss Mr. Fusco, Alan Hoffman as Tony’s father Mr. Manero, Jane C. Boyle as Tony’s ultra-religious mother Flo, Margaret Kelly as Tony’s spunky sister Linda, and Tori Weaver as the desperate Annette. One of the best performances of the show was Ms. Weaver’s sterling rendition of “If I Can’t Have You”.

The talented Ensemble not previously named includes JC Bost, Carter Crosby, Brian Dauglash, Cameren Evans, Jaylen Fontaine, Carolina Tomasi and Julia Williams.

(A full list of the cast, orchestra and production staff are shown at the conclusion of the review.)

The stage may be round but don’t be a square. Party like it’s 70’s again. You will appreciate the effort and the talents of this wonderful cast and crew as well as the toe-tapping music. And enjoy Toby's luscious buffet.

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

Saturday Night Fever plays through November 2, 2025, at Toby’s the Dinner Theatre, 4900 Symphony Woods Rd., Columbia, MD 21044.  Tickets may be purchased by calling the box office at 410-730-8311or visiting here. 

Next up: Elf the Musical, November 7, 2025 to January 4, 2026

Photos: Katie Simmons-Barth

The Menu can be found here.

Specialty Drink: The Boogie Shoes (outstanding)

Howard County Summer Theatre Presents an Extraordinary and Colorful ‘Joseph’

Danny Bertaux stars as Joseph

In its 50^th year in delivering high-quality, community-driven musicals in Howard County (MD) the Howard County Summer Theatre (HCST) is presenting the famed Joseph and the Amazing Technicolor Dreamcoat. And anyone who happened to catch last year’s Guys and Dolls and Hello Dolly! the year before that, for instance, you know what I mean by high quality.

HCST annually produces a classic Broadway musical to enthrall audiences during the warm summers. The 2025 installment is the 4^th time HCST is producing Joseph. This high-tempo, high-octane production is jaw-dropping on so many levels.

A well-staged, brilliantly orchestrated, meticulously choreographed spectacle is performed by a talented and enthusiastic cast. HCST brings Joseph and his coat of many colors to life in a compact whirlwind of memorable, tuneful songs and a story that takes the audience on a journey from the sins of jealousy and revenge to the virtues of forgiveness and reconciliation.

"A well-staged, brilliantly orchestrated, meticulously choreographed spectacle..."

Tom Sankey, the director of the production, is marking his 40^th year with the theatre company. In describing Joseph, Mr. Sankey says, “It’s a story about dreams, resilience, and the power of forgiveness—timeless themes that resonate now more than ever.” 

Mr. Sankey’s light touch and precise direction enables the large cast including 49 elementary and middle schoolers among the 130 total cast and crew to thoroughly enjoy themselves on stage. That joy is clearly evident in every song, movement and dance step.  The performers had a lot of fun, which easily rubs off to the audience sharing in that delight.

With such a large cast, performers not only packed the stage but at times used the auditorium’s interior ramps and aisles as well as the area in front of the stage. And they did so flawlessly and efficiently, thus expanding the spectacle.

Nathan Moe as Pharaoh

Some of the catchy numbers from the Rice-Lloyd Webber team include “Joseph’s Dreams,” “One More Angel,” “Close Every Door,” “Go, Go, Go Joseph,” “Pharaoh’s Story,” “Those Canaan Days,” and my favorite “Any Dream Will Do.”

The music styles are diverse with pop, rock, country-western and even a little calypso thrown into the mix. Kassi Serafini’s astounding and ambitious choreography allowed the dancers to demonstrate a wide array of moves during the production numbers while singing up a storm.

The familiar plot, a retelling of the biblical story, described mostly through song, centers on Joseph, the favored son of Jacob who had bestowed upon him a coat of many colors. His eleven brothers were jealous and sold Joseph into slavery while telling their father he had in fact, died.

Joseph winds up working for the mega-rich Potiphar, but Mrs. Potiphar tries to seduce him and, of course, he gets caught as one does.  Joseph is sent to prison where it is discovered that he has the uncanny ability for interpreting dreams and predicting the future.

The Elvis-like Pharaoh is impressed and releases Joseph from prison making him second in command.  The brothers, after not recognizing Joseph, grovel to him and eventually reconcile when his identity is revealed. Joseph is then reunited with his father.

The show features two narrators Naomi Abankwah and Heather Reed, possessing excellent soprano vocals, who spin the tale guiding the audience through song. Libby Burgess and Emily Saitta assume the roles on alternate dates.

Well cast as the title character is charismatic Danny Bertaux.  Energetic throughout and having a wonderful time with the part, Mr. Bertaux, who performs in most of the songs, demonstrates strong vocal skills and is particularly solid in such numbers as “Joseph’s Dreams” and “Any Dream Will Do.” His rendition of “Close Every Door”—a challenging number to be sure—is one of the showstoppers. Mr. Bertaux, portraying the newly imprisoned Joseph, delivers the emotional song with passion and strength. His pitch-perfect tenor voice is Broadway-caliber.

Chris Wilhelm plays the role of Potiphar to the hilt. His brawny voice is on display in the aptly named song “Potiphar.”  Julie Dauber, as the seductress Mrs. Potiphar on the evening this show was reviewed also performs well in that number. Olivia Dibble plays the role on alternate performances.

Nathan Moe romps through his role as Pharaoh, the Elvis look/act alike.  He runs through a series of Elvis-like antics and cockiness with swagger and performs well with Mr. Bertaux, The Children and Egyptians in “Song of the King.”

Other notable performances are turned in by Rebecca Stryker as Baker and Bill Pond as Butler who were cell mates of Joseph. Todd Hochkeppel does a fine job as Jacob, the father of the 12 sons, displaying the range of emotions as the story evolved.

All the actors playing the brothers are excellent. They sing and dance extremely well and provide much of the drama. While they largely perform as a unit, they each demonstrate their own personality and identity contributing to the charm. Kudos to Justin Moe, Jacob Kempic, Jacob VanderVat, John White, Jed Silverman, Luke Pinsky, Kevin Nolan, Andrew Garcia, Timothy Moon, Henry Maeshiro and Michael Gbadamoshi.

Allison Ciborowski’s operatic vocals are on display in the wonderful production number “One More Angel.”

All the people playing the Israelites and Egyptians as well as the youngsters in the Children’s Chorus are terrific, contributing mightily to the success of the production.  The kids are great.

Douglas Thomas designed the simple but functional set. A great touch is having the children’s chorus seated in two bleacher sections on stage.

Kathy Bondura, the Costume Director, and her team created sensational and colorful period costumes giving the show the look of professionalism not often seen in community theatre. The remainder of the creative team including the outstanding orchestra round out a brilliant production.

Joseph and the Amazing Color Dreamcoat boasts a terrific catalog of songs, superb performances, and visually pleasing costumes and set pieces.  It’s an energetic family-friendly show that because of its fast pace and relatively short length should keep the youngsters interested while learning about the power of dreams.

Everyone involved should take a bow because this is community theatre at its best.  And enjoy the curtain call’s show within the show. Bravo to a job well done and worthy of the raucous standing ovation the show received on opening night.

Running time. One hour and 45 minutes with an intermission.

JOSEPH Show Dates & Times:

8 Performances Only!
June 20, 21, 25, 26, 27, & 28 at 7 p.m.

June 22 & 28 at 2 p.m.

Venue:  Marriotts Ridge High School

Tickets:   Tickets available at the door or online here.
Proceeds from this year’s production will benefit local charities.  A gala to celebrate the company’s golden anniversary will be held on November 6, 2025, at the Ten Oaks Ballroom.

 Photos: Neil Rubino

THE FULL CAST AND CREW ARE SHOWN BELOW.