Howard County Summer Theatre Presents a First-Rate ‘Fiddler on the Roof’

Howard County Summer Theatre’s 50^th annual production is Fiddler on the Roof, and it is so spot-on, it is easy to forget this is a community theatre presentation. Director Tom Sankey weaves a gorgeous tapestry of talent, costuming, choreography, and lighting in guiding the large cast (I stopped counting at 2 million) through a tightly, well-staged version of the classic musical.

Combining the outstanding music with a blend of comedy and tears-provoking emotions, Fiddler on the Roof, if you haven’t seen it already, will touch your heart in multiple ways. It starts with the central character Tevye, who from the opening number, is consumed by his devotion to tradition.

If there ever was a character in theatre who one feels compelled to root for, it has to be Tevye, the nearly impoverished milkman who resides in Anatevka, a small village in Czarist Russia in 1905.  His strong-willed wife has a sharp-tongue, and he is struggling to house, feed and clothe his five daughters.  

The three oldest of them eschew deeply ingrained Jewish traditions to which Tevye so desperately tries to cling in favor of pursuing lives of their own fueled by changing social mores.  And on top of that, Tevye and his family as well as the other Jews in Anatevka face constant anti-Semitism and intimidation from Russia’s Czar.

This production has enough gusto and energy to light that village of Anatevka and perhaps some of Columbia’s villages as well.

Fiddler on the Roof, with its iconic score, opened in 1964 and became the longest running show on Broadway (over 3,000 performances) until it was eclipsed by Grease.  It captured 9 Tony Awards of the 10 categories nominated including Best Musical, score, book, direction and choreography. 

Based on the Sholem Aleichem story Tevye and his Daughters, the show was crafted from music by Jerry Bock, lyrics by Sheldon Harnick, and book by Joseph Stein. A hit movie and countless productions worldwide were spawned by the timeless musical. 

Popular songs, such as “Tradition,” “Matchmaker,” ‘If I Were a Rich Man,” “To Life” and “Do You Love Me” are performed expertly.

The central character, Tevye, who appears in most of the scenes, requires a commanding presence and superior acting skills to include appropriate facial expressions, stage movements, mannerisms and timing.  He also needs to possess a rich and authoritative baritone voice.  John Bruns checks every one of those boxes. On one hand he demonstrates comedic instincts.  On the other hand, he can dance. And on the other hand, he talks directly to God. Mr. Bruns would have made Zero Mostel—the original Tevye—proud of his work and would have applauded him with both hands.

Mr. Bruns kicks off the production with a solid rendition of “Tradition,” and you know you are in for a treat the rest of the way.  He continues to soar in “If I Were a Rich Man,” “Sabbath Prayer,” and in one of the more touching numbers, “Do You Love Me?” with Rebecca Stryker as his wife Golde.

Demonstrating his acting dexterity, Mr. Bruns convincingly and endearingly conveys his frustrations with his daughters Tzeitel, Hodel and Chava.  Each one of them pushes back on Jewish traditions, deeply troubling Tevye, to pursue the men they love. 

With Tzeitel it was Tevye’s breaking an agreement—convinced by the protests
from Tzeitel (played nicely by Sarah Young)—with the much older wealthy butcher Lazar Wolf, superbly played by Todd Hochkeppel.  Lazar had been “matched” by Yente (Debbie Mobley).   But Tzeitel wanted to be with and eventually marry the poor and timid tailor Motel (pronounced MAH-tel) with Jed Silverman in the role.

Hodel, charmingly played by Naomi Abankwah, caused Tevye’s blood pressure to rise as she rebuked tradition, too.   She was not being formally “matched” and instead found love with Perchik, a radical who thinks little of such customs.  Strong-headed Perchik is played excellently by Justin Moe.  Ms. Abankwah’s rendition of “Far From the Home I Love” is moving, using her gorgeous soprano voice to full effect.

For Chava (Libby Burgess), it was all Tevye could take.  When analyzing each of the other two daughter’s intentions, he reasoned, “On the one hand…but on the other hand…” before he reached a decision.  In Chava’s case, “I have no other hand,” he concludes.  This is a result of her desire to be with Fyedka (Sam Bishop) who is not Jewish.  Tevye could not go along in this case. 

Then there is Golde, Tevye’s wife of 25 years.  She provides comedic balance with her brusque retorts to Tevye especially when the sacred traditions were being compromised. Rebecca Stryker is exceptional in the role.  Golde succumbs to Tevye’s fake nightmare ruse in a stunning scene that includes white-clad spirits from the otherworld that allowed her to be convinced that Tzeitel should marry Motel.

Jed Silverman effectively portrays the poor tailor Motel in need of a new sewing machine.  Wimpy, especially in front of Tevye, Motel calls up his latent inner strength to fight for the woman he loves.

Todd Hochkeppel is perfectly cast as Lazar Wolf—that wealthy but lonely butcher. Comedic in all his scenes, Mr. Hochkeppel is particularly hilarious during Tzeitel and Motel’s wedding when he chastised Tevye for breaking his agreement that would have allowed Tzeitel to marry him.

"...a tightly, well-staged version of the classic musical."

Debbie Mobley plays Yente to the hilt leading to amusing exchanges.  And although frequently onstage or above (like on a roof) but not speaking a word, The Fiddler himself is played by Michael Gbadamoshi.

Matt Cannon is effective in the role of Constable, an underling of the anti-Semitic Czar but one who has compassion for the Jewish community in the village.  He ably expresses his conflicting emotions between duty and his concern for Tevye and his cohorts.

Other notable performances were turned in by Doug Kook as The Rabbi and Luke Pinsky as Mendel, his son.

Lists of the entire cast and production team are shown at the conclusion of the review.

At the end, the Czar ousts the Jewish residents from Anatevka, and the family members go their separate ways in a melancholy conclusion.

As fascinating as the story is, the music, choreography and staging excel.  Other special songs like “Sunrise, Sunset” and “Wedding Dance” add depth to a superb score.  Orchestra Director Kevin George and the musicians do a fine job with the wonderful score in backing up the vocalists, effectively enhancing the singers’ robust performances. 

Kassi Serafini directed the choreography, which was on target with Jewish traditional and Russian Cossack dances.  The entire ensemble executes these with energy and precision and are wonderful in their vocals.

Kathy Bondura and her team designed extraordinary and colorful period costumes.  They truly augmented the visual quality of the show as did the lighting sequences by Lucy Lanthier, Em Muryhina and Olivia Rumsey. I particularly enjoyed the continual changes in hues projected on the blank screen behind Tevye’s cabin.

Howard County Summer Theatre and all who participated should be congratulated for taking a classic show and maintaining its luster after six decades.

Anti-Semitism, a key component in Fiddler, is real. Whether it occurred in 1905 Russia or 1939 Germany or 2026 worldwide, it is a scourge that needs to be addressed. Anti-Semitism has surged globally and in the U.S. fueled by social media, political polarization, generational shifts, and conflicts involving Israel, resulting in increased violence and fear among Jewish communities. This production is welcome not only for the entertainment value it brings but also to raise awareness of anti-Semitism.

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

Show Dates & Times:

8 Performances Only
June 18, 20*, 24, 25*, 26, 27 @ 7 p.m.
June 21, 28 @ 2 p.m.
* ASL interpretation is available for this performance

Venue:  Marriotts Ridge High School, 12100 Woodford Dr., Marriottsville, MD 21104

Tickets:   Tickets available at the door or online .

The proceeds of the production will benefit Luminus.

Photos: Neil Rubino

 

Green Day’s ‘American Idiot’ Rocks Silhouette Stages

Silhouette Stages continues its 21^st season, which is themed “Coming of Age!” with an ambitious production of Green Day’s American Idiot. Director Henry Cyr excels in guiding an energetic and youthful cast through the sung-through punk rock opera with some excellent vocal performances, clever choreography by Maddie Ervin and stellar staging keeping the production lively throughout. Costume Designers Zen Tabligan and Jaylyn Hess appropriately fitted the cast with grunge-style attire that contributes splendidly to the vibe. Sammy Jungwirth’s lighting design enhances the rock show environment.

What also makes the production work is the wonderful live six-piece orchestra assembled on stage led by conductor Virginia Moses who is also on keys. For nearly 90 minutes straight, the musicians did Green Day’s score justice and then some. All members of the talented orchestra will be listed in the Production Team at the conclusion of this review.

With the stage basically cluttered with numerous set pieces wheeled in and out and with the orchestra stationed upstage, it is a testament to Mr.  Cyr and the crew to allow the leads and ensemble to adroitly navigate through those obstacles symbolizing the chaos that’s associated with the story. A screen upstage contains images as the show progresses but are not truly clear. Prior to the show there are videos that depict lowlights of 21^st century events from 9/11 to covid to the current mess in our country that set the mood.

American Idiot is based on the punk rock group Green Day’s 2004 concept album of the same name and incorporates songs from another Green Day album, 21^st Century Breakdown from 2009. Both albums won the Grammy Award for Best Rock Album in their respective years. Lyrics were by Billie Joe Armstrong, and the book was penned by Armstrong and Michael Mayer. The 2010 Broadway show captured two Tony awards.

Some of the memorable songs include “American Idiot,” “Give Me Novacaine,” “Wake Me Up When September Ends,” and the finale “Good Riddance (Time of Your Life)”.  There’s an abundance of angst and teenage rebellion throughout, and many of the songs are laced with profanity.

The musical follows three disaffected friends from the suburbs in post-9/11 suburbia—Johnny, Tunny and Will—who are about to set off from their empty lives to look for fulfillment. To that end, Johnny and Tunny head to the big city. Will remains, however, when he learns his girlfriend is pregnant and goes into a drug and alcohol tailspin. Johnny is seduced by women and drugs while Tunny enlists and marches off to war where he is seriously injured.

Maxwell Wolf turns in a superb performance as Johnny, the musical’s protagonist.  His journey takes him to lost love to drug abuse as he conjures up St. Jimmy, a fast-living, drug-dealing, chaotic manifestation of everything Jimmy wishes he could be. St. Jimmy is played exuberantly by Tyler White.  

Mr. Wolf’s acting skills shine as his emotions range from depressed to even more depressed. Yet, his movements are animated and often packed with high energy.  You can feel how overwrought he is with emotion, and he conveys it convincingly. Mr. Wolf’s vocals in the numerous songs he is called on to perform are strong. His singing versatility are demonstrated by the many high velocity numbers to the tender ballad “Wake Me Up When September Ends”.  On a couple of occasions, he strums a guitar to accompany the songs.

Terin Kelsey adroitly plays Johnny’s friend Tunny. He accompanies Johnny to the big city but is enticed by advertisements to join the military. In a chilling scene, Mr. Kelsey and members of the ensemble, clad in military fatigues, slowly march across the stage as they head to war, presumably Iraq. There Tunny is seriously injured and is sent to rehab. He meets his nurse “Extraordinary Girl,” played by Lily Arbaugh, and they fall in love. Both Mr. Kelsey and Ms. Arbaugh display fine vocals.

The friend who remained in suburbia, Will, is played well by Ryan New. Will yearns for freedom but is trapped by reality as he learns his girlfriend Heather (played by Domenica “Minnie” Gregorini) is pregnant. His devotion to alcohol and drugs was too much for Heather. She decides to leave him, baby in tow.

Other key members of the cast include Geneva Croteau who plays Whatsername, the woman Johnny longed for and dragged into the world of drugs; Tyler White who excels as the frenetic St. Jimmy, the drug pushing id of Johnny with abundant singing talent; Ross Bollinger, who plays Favorite Son, the TV model who got Tunny’s attention that led to his enlistment; and Scott Armiger as Heather's Rock N Roll Boyfriend.

The Ensemble is excellent. They participate in virtually every number in backup singing roles and dancing. Their movements around the compact stage are precise and add tons of energy and enthusiasm. All cast members are named at the conclusion of the review.

By no means, is this show uplifting and joyous; it contains some rather unlikeable characters who struggle to find the happiness they crave. 

American Idiot works best if you view it not as a conventional book musical, but as a theatricalized punk rock concert. If you are a Green Day fan or love high-energy, unconventional theater, it is a thrilling experience. However, if you require deep character development and a linear, dialogue-driven story, the show may leave you somewhat confused by the fragmented plot with the music valued over nuanced storytelling. Regardless, the stage presentation, the talents exhibited by the cast, and the fine direction make for an entertaining 90 minutes.

Advisory: The production contains mature themes including drugs, sexual situations, violence and profanity and is not recommended for young children.

Running time. One hour and 30 minutes with no intermission.

American Idiot plays on weekends through June 28 at the Slayton House Theatre, 10400 Cross Fox Ln, Columbia, MD 21044. For tickets, call 410-730-3987 visit online.

Photos: Shealyn Jae Photography

 

 

‘The Wizard of Oz’ at Toby’s is Over the Rainbow

I would be hard pressed to find someone who had not seen the cherished and classic film The Wizard of Oz. Perhaps younger children hadn’t seen it yet, but they are likely aware of the famous characters and story derived from other sources. Characters like the Scarecrow, the Tin Man, the Cowardly Lion and, of course, Dorothy are as well-known as any in cinema and stage.  Movies and musicals, such as The Wiz and Wicked further bring the characters to audiences worldwide.

Personally, I can relate to these characters. I definitely don’t have courage. I clearly lack a brain. And as I learned from Damn Yankees that I gotta have heart, I do have miles and miles and miles of heart! And so does the show.

As the beloved film is filled with magic, emotion and fantasy, the stage adaptation at Toby’s, the Dinner Theatre of Columbia, manages to take everything familiar and heighten it with the vibrant energy of live theatre, especially using the intimate in-the-round environment.

"The show is perfect for all ages and a splendid introduction to theatre for the youngsters."

The Wizard of Oz is based on the 1939 film of the same name and in turn is based on L. Frank Baum’s novel The Wonderful Wizard of Oz. The show hews closely to the film and uses music and lyrics by Harold Arlen and E. Y. Harburg from the film with background music by Herbert Stothart.

Songs that have endured over these many decades highlight the production, such as the iconic “Over the Rainbow” (the only solo performance), “Yellow Brick Road,” “We’re Off to See the Wizard,” and “Ding Dong! The Witch is Dead” among others.

Under the meticulous direction and choreography of Helen Hayes award winner Mark Minnick, the show is a triumph, capturing the familiarity of the film and its score and performed by a highly enthusiastic, talented cast and group of musicians. The pace of the show is energetic with scene changes taking place seamlessly. Mr. Minnick gives the performers the latitude needed to be campy and playful without going over the top.

Imaginative and high-tempo choreography appears throughout the show. Each
number reflects a unique style and brings flourish and tons of energy to the production by the skilled performers. Mr. Minnick is well-known for his attention to detail, and that trait is reflected during these numbers. The choreography in “Jitterbug,” for example, is eye-popping to say the least.

Ross Scott Rawlings and his 6-piece orchestra as well as the magnificent vocals by the leads and Ensemble bring the score to life. The dazzling, fanciful costumes coordinated by Janine Sunday and Sarah King are simply breathtaking. How the Munchkins are portrayed is a sight to behold and one of the show’s highlights combining artistic, innovative costuming and choreography.

Set designer Shane Lowry uses screens around the theater for projected imagery, and Lynn Joslin’s lighting design add texture to the optics. Numerous set pieces are employed including a Wizard of Oz puppet that will appeal to the younger members of the audience. If you wonder how a tornado is portrayed in the cozy in-the-round stage at Toby’s, you should attend to find out. Hint: excellent costuming, choreography and lighting techniques make it work without too much damaging wind. Note that haze, fog and smoke appear at various times in the show.

During the aforementioned twister young Dorothy, with her dog Toto in hand, is hurled from the Kansas farm she lives on to a land far enough away so she couldn’t easily return. She travels to the Emerald City to ask the Wizard for help in getting back to Kansas, following the Yellow Brick Road to avoid the Wicked Witch of the West, who seeks vengeance for the accidental killing of her sister.

Along the way, she befriends the Scarecrow (seeking a brain), the Tin Man (seeking a heart), and the Cowardly Lion (seeking courage). The Wicked Witch attempts to steal the magical ruby slippers that had been worn by the witch’s sister and given to Dorothy by Glinda, the Good Witch, while the group overcomes obstacles like a field of poisonous poppies and other adventures.

After defeating the Wicked Witch by melting her with water, the group discovers the Wizard is a “humbug” (a fraud). However, he grants the friends’ wishes, and Glinda the Good Witch teaches Dorothy that she had the power to return home all along, ending with the famous lesson: “There’s no place like home”. 

Most of the large Company consist of audience favorites from previous Toby’s productions. And they do not disappoint.

Fresh off of her Helen Hayes Award nomination from her performance in The Sound of Music at Toby’s, Emily Signor stars as Dorothy. While her vocals are beautiful as evidenced by her rendition of “Over the Rainbow” as well as in several other numbers, her acting skills shine.

Seemingly in a perpetual state of anguish from her fervent desire to return home and her concern over the safety and, at times, whereabouts of Toto, the petite Ms. Signor comes up large. She embodies the perfect mixture of vulnerability and strength and adds spunk to the Judy Garland portrayal of Dorothy from the film.

The Scarecrow, played by Helen Hayes Award winner David James; the Tin Man, played by Helen Hayes Award winner Jeffrey Shankle; and the Lion, played by Jordan B. Stocksdale are frequent scene stealers with their physical comedy and endearing performances. All are campy—the proper attribute for this trio—and all do it with flair.

The reliably funny David James as the brainless Scarecrow is more than amusing during the number “If I Only Had a Brain” along with Dorothy and Crows-- Brandon Bedore, Patrick Gover and Shawn Kettering. Oh, those costumes!

Jeffrey Shankle playing the heart-missing Tin Man is also comedic in his role. In “If I Only Had a Heart” he displays his vocal prowess as he is joined in the number by Scarecrow, Dorothy and Apple Trees-- Amanda Kaplan Landstrom, Carolina Tomasi and Tori Weaver.

Jordan B. Stocksdale, playing the Cowardly Lion, does so with aplomb. He performs “If I Only Had the Nerve” with Dorothy and his cohorts, and his performance in “If I Were King of the Forest” reveals his superb baritone vocals.

Tina Marie DeSimone as the Wicked Witch shines. She’s loud, menacing and campy all at the same time. And very entertaining indeed. Children should be fascinated by her character. Ms. DeSimone brings it.

The lovely MaryKate Brouillet is perfectly cast as Glinda the Good Witch. She is the embodiment of “good,” and her vocal talents shine during the “Munchkin Land Sequence (Ding Dong! The Witch is Dead).

Then there is veteran actor Robert Biedermann as the title character. Bringing his 46 years of acting experience to the role, Mr. Biedermann elicits jubilation then disappointment and ultimately joy to the four travelers. He does it smoothly and proficiently with nuance.

Also, contributing is the Lullaby Guild consisting of JC Bost, Patricia “Pep” Targete, and Carolina Tomasi. And there is the Lollypop Guild featuring Helen Hayes Award winner Joey Ellinghaus, the mustachioed Patrick Gover and Walker Vlahos.

The entire cast and Ensemble demonstrate their talents throughout this wonderful production. A full listing of the performers, musicians and technical crew is shown at the conclusion of the review.

If you are looking for a magical, nostalgic trip down the Yellow Brick Road, this high-quality live production of The Wizard of Oz is an enjoyable experience that captures the heart of the original saga. The show is perfect for all ages and a splendid introduction to theatre for the youngsters. The Wizard of Oz is an “over the rainbow” experience and a must-see show. And, as always, Toby’s famous buffet is outstanding.

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

The Wizard of Oz plays through June 7 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. The best options to attend the show are Tuesdays and Wednesdays.

Photos: Jeri Tidwell Photography

The menu is shown here.

Specialty Drink: The Flying Monkey

Next up: Mean Girls June 12 – August 23.

Silhouette Stages Offers an Emotional Rollercoaster in ‘Fun Home’

As the queer community continues to experience relentless attacks on its rights by the Trump administration, it is refreshing and timely that Silhouettes Stages is presenting the musical Fun Home this month. The groundbreaking show, which opened on Broadway in 2015 and captured 5 Tony Awards among its 12 nominations including Best Musical, Best Book and Best Score, is perhaps the first Broadway musical production to feature a lesbian protagonist. The story is potent and heartfelt with two queer characters traveling on a road where one has discovered the joys of her identity and living proudly and openly while the other is joyless in that respect and resides in the closet.

Award winning director Stephen Foreman deftly guides the talented cast through a structure that entwines three storylines revolving around a single character.  Within this framework, Mr. Foreman allows the performers to exhibit a wide range of emotions with clarity and precision. The pacing of the production is rapid but still leaving sufficient time to reflect on and appreciate what transpired in each scene. There are complexities and challenges, to be sure, such as, conveying conversations between the living and the dead, but Mr. Foreman and the cast adroitly pull it off.

Kaylee McDonald as Medium Alison,
Katie Cashin as Alison and Caroline Anderson
as Small Alison

Based on the graphic memoir by Alison Bechdel, Fun Home is a deeply intimate and quietly revolutionary musical that redefines what Broadway storytelling should look like. With music by Jeanine Tesori and a book and lyrics by Lisa Kron, the show transforms Bechdel’s coming-of-age story into a moving exploration of memory, identity, and family secrets.

Set in a small-town in Pennsylvania during the 1970’s, the story unfolds across three timelines, following Alison as a child (Small Alison), a college student (Medium Alison) discovering her sexuality, and a middle-aged cartoonist (Alison) reflecting on her father’s life and death as she attempts to pen captions to her work.

Alison, played deftly by Katie Cashin, is a fixture onstage throughout the show. She serves as the narrator, often at the side of the stage or upstage observing and commenting as she conjures up memories of her childhood and her relationship with her father Bruce, played exceptionally by Michael McGovern.

Bruce is the owner of the Bechdel Funeral Home (‘fun home” as it’s known to young Alison and her brothers John and Christian) and is a teacher. At times an overbearing father, Bruce is concerned or even obsessed with how Alison’s attire (dresses as opposed to jeans) and other facets are perceived by others. With an abundance of confidence and perkiness, Small Alison, sprightly played by Caroline Anderson on the evening of the reviewed performance (alternates with Jules Kanarek) seems to be the focus of Bruce’s parenting.

Significantly, Bruce is a closeted gay man trapped by societal expectations. He has trysts in secret with young men he meets.  His self-loathing and subsequent self-destruction are chronicled throughout with episodes of reckless behavior amid the secrecy. 

As Medium Alison (Kaylee McDonald) attends Oberlin College, she discovers her own identity and ultimately embraces it. She finds love with Joan (Maria Maclay) and eventually sends a letter to Bruce and her mother Helen (Ellen Quay) proclaiming she’s a lesbian. After not receiving a response, she returns home to confront her parents as to why they avoid a conversation on the subject.

Bruce’s death was revealed earlier in the show, so there is no surprise ending on that front. It appeared to be a suicide by standing in front of a truck or perhaps an accident. But Alison believes it was a suicide given the pressures and pitfalls her father had been experiencing.

"...Mr. Foreman allows the performers to exhibit a wide range of emotions with clarity and precision."

Sadly, we have seen too often in the entertainment media that a queer person feels compelled to take their own life. Alison submerges deeper into her memories and ultimately enters into them but is unable to reverse her father’s demise.

Tesori’s score is intricate and character-driven, blending folk, classical, and contemporary Broadway influences. Kron’s lyrics are intelligent and naturalistic, often feeling more like thought than performance. Together, they create a work that feels personal rather than performative. Numbers like “Ring of Keys” and “Telephone Wire” are low-key yet devastating, capturing both the elation of self-recognition and the agony of unanswered connection.

The comical and energetic song “Come to the Fun Home” is a crowd pleaser highlighting the antics of the young siblings as they were recording a possible commercial for the funeral home, and “Changing My Major” also adds a lighter touch. However, a deeply moving “Days and Days” exemplifies the eclectic catalogue. Overall, there are 27 musical numbers in the show.

In a tour-de-force, Michael McGovern shines as Bruce. Spirited throughout, Mr. McGovern commands the stage and employs his powerful voice in his acting and in song. He conveys his torment in a genuine manner.  Bruce is not only focused on Small Alison’s appearance, but he also obsesses about restoring the house. And when he is given to violent outbursts, Mr. McGovern rocks the auditorium.

Playing the character during the period from Small Alison to the current iteration, Mr. McGovern must undertake numerous costume changes, which is a challenge in itself. Credit costume designer Debbie Mobley for fitting the cast in realistic period attire.

As Alison, Katie Cashin delivers a rather subdued and effective performance. As her memories advance through her mind, her soft-spoken monologue and body language reflect the angst she had experienced as a youngster but is satisfied with the way her true identity emerged. Her regret is the way things turned out with her father. Ms. Cashin possesses solid vocals, which are evident in several group and solo numbers.

Caroline Anderson played Small Alison on the evening the show was reviewed. She and her siblings Christian, played by Noah Anderson and John, played by Cooper Johnsen, are bright stars in the production and provide much of the comic relief. They truly appear to enjoy themselves with their playfulness and quips, but Small Alison’s interactions with her father are poignant and gets your attention. The tension is manifested through her own ways of gender expression, which goes against her father’s viewpoint. Young Caroline does a wonderful job in those situations.

Medium Alison, the college student, is played well by Kaylee McDonald. It is while in college she accidently finds her entrée into lesbianism with her partner Joan, played convincingly by Maria Maclay. Ms. McDonald is a standout in the comical song “Changing My Major.”

Ellen Quay is excellent as Bruce’s wife Helen Bechdel. Not only does she sing very well in the ballad “Days and Days” and the group number “Welcome to Our House on Maple Avenue” among others, but she also successfully conveys the complex blend of idealism and disillusionment in her marriage. She was aware of her husband’s affairs but cannot, at least immediately, accept Alison’s emerging identity.

Ryan Kieft is an energetic performer playing multiple roles, some of them were Bruce’s sexual partners. He appears in a few numbers portraying these characters and does a good job vocally and in dance. This is especially true in the group number “Raincoat of Love.”

Most of the action takes place in the Bechdel home, which is decorated with graphic artwork, books and antiques. It’s a real nice and functional set designed by Stephen Foreman and decorator Ande Kolp. Many set pieces and furniture are used giving the production much texture and visual enjoyment. Even a casket appears, which is the source of “Come to the Fun Home.” Lighting Designer Collin Griese does fine work illuminating the set.

And hats off to conductor Dave Foley and his eight-piece orchestra in the pit for giving Jeanine Tesori’s remarkable score the justice it deserves.

A complete list of the remainder of the Production Team is shown at the conclusion of the review.

Silhouette Stages deserves enormous plaudits through its direction, production team and the superb performers in delivering this powerful production, emotional rollercoaster and all.

Fun Home is not a musical with a lot of pizzazz. Yet it deftly blends humor with emotional depth through its portrayal of family dynamics and personal identity.  

At the conclusion of the show on opening night, director Stephen Foreman was seen in the lobby beaming with pride at what he just witnessed. And rightly so.

Running time. One hour and 40 minutes with no intermission.

Advisory: Fun Home contains adult content, mature language and themes, including discussions and depictions of death, violence, suicide, sexuality, and sexual content and is not recommended for children under age 13 using parental discretion.

Fun Home plays on weekends through March 22 at the Slayton House Theatre, 10400 Cross Fox Ln, Columbia, MD 21044. For tickets, call 410-730-3987 visit online.

Photos: Shealyn Jae Photography 

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