‘Matilda’ Rules at Silhouette Stages

What does a brilliant, fiercely moral, book loving young child do when her parents offer no love, warmth or respect and the headmistress at her school is a tyrannical bully? She not only prevails but she rules. This is the core story of Matilda The Musical, a superb production that is currently playing at Silhouette Stages, a stellar community theatre company based in Columbia, Maryland.

Under the meticulous direction of Amy Haynes Rapnicki, the fabulous cast including a sizable ensemble of talented children brings Roald Dahl’s classic 1988 novel to life in a fast-paced, almost frenetic production.  The dark comedy stage musical is adapted by Dennis Kelly, with music and lyrics by Tim Minchin. Musical director Terin Kelsey does a fine job with the backing tracks.

Being a director of such a young cast, and I mean really young, is a major challenge. She is tasked with keeping the youngsters focused and disciplined, ensuring their lines are executed, their positioning on stage, the needed facial expressions, timing, movements, singing and dancing to allow their talents shine and form a cohesive production. Ms. Rapnicki succeeds at every level and, accordingly, this is one of the best examples of directing I had seen in live theatre—community or professional. 

The roles of Matilda, her young classmates, and the terrifying Miss Trunchbull require massive vocal stamina and precise comedic timing with priceless facial expressions. Seeing local youth and adult actors tackle Minchin’s incredibly fast, at times too fast, wordy lyrics (especially in tracks like “School Song” and “Revolting Children”) is inspiring. This amazing cast delivers.

From left: Patrick Mulheron, Rosie Binnie & Ellen Quay

Dancing plays a major role in the musical, and choreographer Hunter Lubawski was more than up to the task. A wide variety of steps and movements are employed from ballroom dancing to tap with a whole lot in between. The kids are magnificent in “School Song,” a show-stopping production number “Loud,” “The Smell of Rebellion”, another showstopper, and “Revolting Children.” And they're not confined to the stage; several romps down the aisles take place.

The story follows Matilda Wormwood, played by Mary Fliehman on the night this performance was reviewed with Caroline Anderson in the role at other performances. Matilda is a precocious and intelligent child who takes refuge in books from her unsympathetic parents and is sent away to school.

There she encounters the frightening and cruel Miss Trunchbull, the headmistress, but also the kind and encouraging Miss Honey. Matilda finds the courage to confront both the cruelty of Miss Trunchbull and the shady business dealings of her father.

Brave little Matilda knows she has to stand up against the adults in her world, and in doing so, discovers her own remarkable powers. Matilda’s bravery teaches Miss Honey and her classmates an important lesson -- that even though life can be hard, “nobody but me is gonna change my story” so “sometimes you have to be a little bit naughty.”

In the title role of Matilda Wormwood, Mary Fliehman is jaw-dropping in her performance. Her ability to act and sing to effectively convey the character’s intellect, passion, empathy, and telekinetic powers to fight for justice is on display. Mary has a lot of lines to deliver as well as rapidly paced song lyrics and did so quite impressively. She shines in such songs as “Naughty” where she is doing her mischievous stuff to her father and “When I Grow Up” among others.

Miss Jennifer Honey, played by Ellen Quay, is one of the show’s protagonists. As the primary school teacher, Miss Honey is the first adult to recognize and champion Matilda’s genius. Ms. Quay adroitly conveys her caring and her inability to combat the cruelty of Miss Trunchbull. Her singing voice is superb in performing “The Little Girl,” “Pathetic” and the very moving “My House.”

Brian Sackett and Megan Mostow

Those were the good guys (plus all the kids). Now we step into darkness with the leading antagonist Miss Agatha Trunchbull played deliciously by Patrick Mulheron. (The role is typically performed by a male in most, if not all, productions.) Trunchbull, a former legendary English hammer-throwing champion, is the child-hating, ruthless, headmistress at Crunchem Hall.

Physically imposing with her broad-shouldered outfits and size, Miss Trunchbull is pure evil and views children as “maggots.” She uses weirdly cruel punishments and the children appear to be no match for her. Mr. Mulheron is excellent as he plays the role to the hilt with high energy, campiness, physical comedy and command. His pronouncement while hopping around the stage, “There’s a newt in my knickers” is a hoot.

Matilda’s father, Mr. Wormwood, brings laughter to the show, and Brian Sackett pulls it off with flair and effective comedic timing. Decked out in a garish chartreuse suit, shirt and tie combo, not to mention the green hair Matilda provided, Mr. Wormwood, a corrupt used car salesman, is sleazy, money-obsessed, anti-intellectual and treats Matilda with disdain and calls her a boy. Mr. Sackett plays that role convincingly and comically breaks “the fourth wall” prior to the second act.

Then there is Mrs. Wormwood, who at first denied her pregnancy to Matilda despite being in her ninth month, is another super-comical role. Megan Mostow is truly fantastic playing the character. As Matilda’s self-absorbed, eccentric mother, completely obsessed with competitive ballroom dancing, Mrs. Wormwood has no use for Matilda’s well-being. Ms. Mostow summons her acting experience and skills to add zest to this role. Her vocals are excellent in the song “Loud” where she values looks and noise over brains.

"...this is one of the best examples of directing I had seen in live theatre—community or professional." 

Other notable members of the cast include Patricia Anderson who plays Mrs. Phelps, the warm, rather exuberant local librarian who served as Matilda’s first adult confidante and listened to her complex stories with absolute awe and encouragement.

Ryan New, who you may have seen in Silhouette’s previous production of American Idiot, is charismatic as Rudolpho, Mrs. Wormwood’s highly dramatic, flamboyant, and intensely passionate ballroom dancing partner.

He also plays the role of the Escapologist. Shea Gardner displays her silky-smooth
dance moves as the Acrobat. Both the Escapologist and the Acrobat are characters in the tragic story Matilda invents, who later manifest as figments of her imagination before being revealed as Miss Honey’s biological parents.

Chris Binnie clearly enjoys playing Sergei, the dangerous, intimidating Bulgarian Mafia boss whom Mr. Wormwood scams, leading to the family’s ultimate flight from the country.

Speaking of things spinning out of control, there is Rosie Binnie who plays the part of Bruce Bogtrotter. You see, Bruce admitted to stealing a slice of Miss Trunchbull’s chocolate cake. As punishment, he was forced to eat an entire chocolate cake, or he would be relegated to “The Chokey.” Despite chowing down the cake as ordered, Miss Trunchbull still sent him to “The Chokey.” Bruce leads the rock anthem “Revolting Children.” Young Rosie does a fine job in this tasty role.

Ellen Quay and Mary Fliehman as Matilda

The remainder of the talented and spunky cast and ensemble contribute mightily to the success of the show. Full lists of the cast and production team are shown at the conclusion of the review.

But this production has other stars. Without the work of the stage manager Tori Davenport, Matilda would not have been as smooth and enjoyable as it was.

Sammy Jungwirth designed a creative and functional set with a lot of set pieces moved on and off the stage by the cast adding fluidity to the show’s scene changes. The background is blank enabling Atticus Cooper Boidy’s richly hued lighting design to take hold. Adding a fine touch and texture to the stage is a screen where scenic views and other imagery are projected.

Heather Bertaux nicely designed the colorful, eclectic costumes that included school uniforms for the kids and whatever odd outfits Miss Trunchbull was wearing.

Matilda is a triumph of storytelling, expertly balancing Roald Dahl’s trademark dark, wicked humor with a deeply touching story of youth empowerment. Here you can write your own story, and as the iconic lyric says, “Even if you’re little, you can do a lot / You mustn't let a little thing like ‘little’ stop you.” Matilda had received 12 Tony Award nominations in 2013, winning 4.  

This is a must-see show that features poignant messaging, superb direction, acting, music and a talented, energetic cast.  Whether I’m at Crunchem Hall or not, I grade this production at Silhouette Stages A+.

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

Matilda plays on weekends through October 25 at the Slayton House Theatre, 10400 Cross Fox Ln, Columbia, MD 21044. For tickets, call 410-730-3987 visit their website.

Photos: Shealyn Jae Photography

‘Summer’ Brings the Heat to Toby’s

L-R Gracious Ndungu, Tierra Strickland & Aniyah Serrell Lee

Looking for some Hot Stuff?  Heaven Knows you will Stomp Your Feet after they Dim All the Lights as Bad Girls will give you Unconditional Love singing songs you already heard On the Radio, and to be sure, it won’t be the Last Dance. These favorites and lots more associated with the “Queen of Disco” Donna Summer come to life at Toby’s, the Dinner Theatre of Columbia with its production of Summer: The Donna Summer Musical.

Toby’s has presented several exceptional jukebox musicals in the recent past including Mamma Mia!, Jersey Boys, Rock of Ages, among others.  Summer is no exception with its incredible song catalogue, outstanding performers, and brilliant lighting design and effects that enhance the production. Co-directors Jessica Bennett and Helen Hayes Award winner Mark Minnick lead a talent-rich cast through this stunning show.

The musical features a book by Colman Domingo, Robert Cary, and Des McAnuff and music and lyrics by Donna Summer, Giorgio Moroder, Pete Bellotte, Paul Jabara, and others. It is based on the life of Summer who was originally from Boston and began in a gospel choir before becoming arguably the most popular diva during the disco era of the seventies and early eighties. A whopping 42 of Donna Summer’s singles made it to the Billboard Hot 100 list with 14 finding its place in their Top 10. And in the period from 1975 to 1984, Summer had a Top 10 hit in each year.

Where the musical truly dominates is its score. Packed with over 20 iconic hits—including “Bad Girls,” “Hot Stuff,” “MacArthur Park,” and “Last Dance”—the music is infectious. To be clear, Summer: The Donna Summer Musical is not a concert though 23 of her songs are included in a tight production whereby many are not sung through to completion under the meticulous direction of Ms. Bennett and Mr. Minnick and the excellent five-piece orchestra conducted by Ross Scott Rawlings. Mark Smedley’s sterling sound design is a major factor in the production.

The cast of Summer: The Donna Summer Musical

Songs are cleverly woven to anchor key life events; those performed are not in chronological order of their release but rather tied to a particular event in Summer’s life. For instance, the legal battle with her exploitative record label is dynamically set to “She Works Hard for the Money.” Meanwhile, her survival of severe domestic abuse and a near-suicide attempt is balanced by the empowering, defiant architecture of “No More Tears (Enough Is Enough).”

Ms. Bennett’s choreography is imaginative and perfectly suited to the in-the-round stage at Toby’s. A wide variety of dance steps and moves used in these eclectic songs are performed by an exuberant ensemble throughout. “Stamp Your Feet” and “Hot Stuff” are first-rate examples.  

If there is a flaw it is with the pace of the book written by Domingo, Cary, and McAnuff in that the production treats Summer’s immense life like a rapid-fire montage. It touches heavily on traumatic milestones—including childhood sexual abuse, severe addiction, and her battle with lung cancer—but flashes past them so quickly that the emotional weight sometimes fails to land before the next dance beat drops.

"Co-directors Jessica Bennett and Helen Hayes Award winner Mark Minnick lead a talent-rich cast through this stunning show."

Summer’s hits are presented through a musical biography representing three stages of her life: Duckling Donna (played by Gracious Ndungu) in her pre-teens, the young, aspirational Boston girl finding her voice through gospel music; Disco Donna (Aniyah Serrell Lee) in her late teens and early 20’s, the rising superstar navigating the drug-fueled, high-stakes music industry of the 1970s; and climaxing with Diva Donna (Tierra Strickland) in her 50’s, the seasoned vocalist reflecting on her legacy, surviving trauma, and looking back at her life from her final concert tour.

Born LaDonna Adrian Gaines, Summer’s life’s story was a rollercoaster of highs and lows even with her incredible professional success.  Through dramatic dialogue and clever quips, we meet the folks who were part of that rollercoaster.

Resolved to prove herself, Donna moved from Boston to Germany to Los Angeles as her career took off with the hit single “Love to Love You Baby”.

The Donnas singing "Last Dance"

From her parents to producers, to studio execs, musicians, agents, lawyers, lovers and her husband, we get to know Donna Summer as the person behind the mic and what she endured through her journey that ended in 2012 at the age of 64 from lung cancer. Tierra Strickland, who plays Diva Donna to perfection, characterizes Summer’s life aptly by confessing, “Sometimes I feel like Judy Garland in The Wizard of Oz. Other times I just feel like Judy Garland.”

Ms. Strickland, armed with a glorious voice, and an abundance of sass, also provides some narration and commentary as the story moves from one phase of Summer’s life to another. She is particularly strong in the memorable “I Feel Love” and the production numbers “Stamp Your Feet” and “MacArthur Park” as well as in several other group numbers. Her sensational number is "Friends Unknown." 

Also superb in her vocals is Aniyah Serrell Lee as Disco Donna.  As the “Donna” during the height of her career, Ms. Lee performs in the majority of the songs. Her voice is so good that she can cut an album without any worry. “Love to Love You Baby,” “Heaven Knows,” “Dim All the Lights” and “Hot Stuff” are examples where Ms. Lee shines. But her emotion-packed rendition of “I Believe in Jesus” brought the house down.

Gracious Ndungu as young Duckling Donna is another gifted vocalist and ably solos in “On My Honor” and participates in several group numbers.

All three combine superbly for the dramatic “No More Tears (Enough is Enough)” performed following a domestic violence incident experienced by Summer. When these three actresses harmonize simultaneously in striking shades of blue, the vocal power is nothing short of spine-tingling. The production brilliantly uses this triad to frame her inner thoughts, turning simple duets or trios into deeply layered emotional moments.

Aniyah Serrell Lee and Zachary Spafford singing "Heaven Knows"

The remainder of the company is excellent in its acting, singing, dancing and stage presence with many performing multiple roles. A full listing of the cast, crew and musicians is shown at the end of the review.

Adding vitality to the hue-rich production is the superb lighting designed by Lynn Joslin. Combined with the set designed by Shane Lowry, which incorporates digital lighting panels along the theater’s walls and bright lights on the staircases, the blinking lighting effects in combination with the multiple disco balls hanging from the ceiling give off an authentic disco vibe. This was so vividly highlighted during the number “Hot Stuff.”  The set pieces were interesting as well that included among others two cars and a casket.

Sarah King and Rose Ryon effectively outfitted the cast in period attire, and the shimmering gowns worn by the leads are dazzling.

Jayson Kueberth worked hard for the money in designing all those wigs.

Folks who remember the disco era certainly will enjoy the music presented in Summer: The Donna Summer Musical. For my part, as I listened to the wonderful performers bringing back those memories of the disco era, I tried to recall where I was when I first heard the song played on the radio or where I danced to the beats. I’m sure I was not alone.

As evidenced by the enthusiastic reaction by Toby’s audience, there continues to be a longing for disco music especially by those who were around then. The late Donna Summer along with the Bee Gees embodied that sound as much as any from the genre. It is a visually spectacular, joyous feast of nostalgia that will leave you dancing at your tables, which would help work off the scrumptious buffet.

Running time. One hour and 45 minutes.

Advisory: Strobe, fog and haze effects.

Summer: The Donna Summer Musical plays through November 1 at Toby’s the Dinner Theatre, 4900 Symphony Woods Rd., Columbia, MD 21044.  Tickets may be purchased by calling the box office at 410-730-8311 or visiting Toby's website.

Photos: Jeri Tidwell Photography

The menu is shown here.

Specialty Drink: The Bad Girl

Next Up: White Christmas from November 6, 2026, to January 10, 2027.

Donna Summer’s Ups and Downs with the Queer Community

Though touched upon during the show, it is important to note Donna Summer’s complex and circuitous relationship with the LGBTQ+ community. She built up an enthusiastic fanbase within the community in her early disco years that originated in underground LGBTQ+ dance clubs. That launched her career as the “Queen of Disco.” But comments she allegedly made in 1983 during the AIDS crisis produced a vehement backlash.
She was accused of telling the audience, “God created Adam and Eve, not Adam and Steve,” and supposedly implying that AIDS was God’s punishment for homosexuality.

Crucially, no video or audio recordings exist to prove Summer ever made those comments. For the rest of her life, Summer fiercely denied the allegations, attributing them to a terrible misunderstanding or a complete fabrication.

While many in the community remained unforgiving, behind the scenes she raised funds towards AIDS research and deeply grieved the loss of her many close, queer friends to the disease. –SC 

Family Fun at Beth Tfiloh—‘Addams’ Style

Many people who fondly remember the beloved Addams Family TV show may recall creepy, kooky, mysterious and spooky as part of their finger-snapping anthem. While the musical The Addams Family currently being presented at the Beth Tfiloh Community Theatre contains those elements, the main themes are craziness, love and reconciliation.

Not many musicals include potions to provoke one’s inner dark side, torture apparatus, and de-blooming of flowers but The Addams Family has all that and more. Long-standing Director Diane Smith helms a zesty production featuring a well-cast group of performers and an excellent crew. Rachel Miller’s spot-on choreography adds to the fun and enjoyment, and Charlotte Evans’ seven-piece orchestra brings the score to life. (The members of the macabre Addams family would prefer death, however.)

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

The book utilizes a highly predictable but functional sitcom premise. The morbid and crazy Addams family—Gomez, Morticia, Uncle Fester, Grandma, Wednesday, Pugsley and the butler Lurch—relies on a preoccupation with death and darkness to provide most of the humor in the show.

A grown-up Wednesday Addams, the ultimate princess of darkness, has fallen in love with Lucas Beineke—a completely sweet, normal boy from Ohio. Wednesday invites Lucas and his strait-laced parents over for dinner begging her family for “One Normal Night”.  The core conflict ignites when Wednesday mentions to Gomez her intent to marry and demands that he keeps this romance a secret from Morticia, threatening the foundation of the couple’s passionately honest marriage.

The so-called normal Beineke family from Ohio—a swing state as bellowed by

Gomez—arrive whereby parents Mal and Alice meet the Addams’s in a what-can-possibly-go-wrong scenario. This reminds me of the madcap antics that took place in the hit comedy film, The Birdcage.

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

Andrew Lippa’s score is the true heartbeat of the show. It seamlessly blends traditional Broadway show tunes, vaudeville numbers, and vibrant Latin-pop rhythms that perfectly match Gomez’s fiery heritage. Stand out songs include, “When You’re an Addams,” “Trapped,” “Pulled,” “One Normal Night,” “Full Disclosure,” “Crazier Than You,” and the good advice song “Let’s Live Before We Die.”

The BTCT production of The Addams Family is led by its exceptional cast. As much as comedy dominates the show, the vocals and choreography are stellar. Wonderfully varied choreography is exemplified in such numbers as “When You’re an Addams,” “Just Around the Corner”— the spectacular upbeat tap number led by Morticia that finds joy in mortality, and the superb tango piece “Tango De Amor.” Choreographer Rachel Miller is meticulous and creative in these numbers, and the performers executed the steps proficiently.

On stage throughout either in its entirety or in small groups, are The Ancestors.  It is a clever spectral ensemble that serves as a Greek chorus, brought back from the crypt to ensure true love wins. They participate in the production numbers.

Ghoulish all, they are attired in chalky white costumes and wigs, with pasty white make-up. They include a wide spectrum of characters from Marie Antoinette (an ancestor really?) to a Cowboy, to a Pirate to a Naval Officer to a Caveman—14 in all.

The costuming is spectacular overall and was designed by a team whose names are included in the list along with the cast and production staff at the conclusion of the review. Morticia’s black, elegant ankle-length gown is right on brand; Wednesday dark macabre dress suits her to a tee. But clearly the Ancestors’ attire is simply magnificent.

Evan Margolis and his team crafted a wonderful set featuring a rendering of a gothic house in the background with other spooky-looking decorations along the sides. Multiple set pieces are used and are essential to the scene changes.

Thomas Gardner’s lighting design is spectacular highlighting the myriad moods of the dialogue and songs. There was such a variety of colors projected on the background scenery it appeared that a box of crayons was the blueprint.

"Long-standing Director Diane Smith helms a zesty production featuring a well-cast group of performers and an excellent crew." 

Brian Mellen is superb in portraying Gomez Addams. He commands the stage with his well-timed rejoinders, gestures and a rich baritone voice. Mr. Mellen is particularly strong in singing “Trapped,” the sweet ballad “Happy Sad,” “Not Today” and “Let’s Live Before We Die”.

His comedic skills are a big part of the show using body language, facial expressions and timing.  This is evident in his portrayal of Gomez as he is challenged to placate Morticia because he kept a certain secret from her (she abhors secrecy) and as mentioned previously, it is a key plotline.

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

Wednesday Addams, played by Bella Comotto, is believable in demonstrating her sadism towards her younger brother Pugsley and her desire to marry Lucas (played earnestly by Cormac O’Malley). She displays passion in her conflicts with her parents and Lucas and does so without going over the top.  Her powerful vocals are evident in “Pulled” -- a standout solo exploring her horrifying new urge to smile and “Crazier Than You.”

Luke DiBello plays younger brother Pugsley and commands a good range in his vocals (“What If,”) and solid comedic instincts. These traits bode well for this young man’s future in musical theatre.

Kendra Keiser plays the comedic and eccentric Grandma. Whose mother is she, nobody knows. You can laugh by merely looking at her.

Rounding out the Addams clan is Brian Singer as Uncle Fester who discovers he is in love with the moon and Bill Kohlhoff as the near silent, methodically plodding Lurch.  Both play their respective characters to the hilt. Mr. Singer performs well in his love song “The Moon and Me” and does a good job in “But Love” and “Fester’s Manifesto”. 

Alex Frasier in the role of Mal Beineke, Lucas’ father, excels as a control-freak whose marriage was about to collapse from deceit and other maladies.  He needed to be crazier, and where would be a better place to start other than the Addams’ mansion in the middle of Central Park?  Mr. Frazier’s singing voice shines in the group number “Crazier Than You.”

His wife Alice, played energetically by Kerry Jungwirth, is seemingly victimized by Mal’s bland personality. She had turned to random rhymes for solace, and their marital problems seem to work out at the end.  Ms. Jungwirth also performs well in the hilarious number “Crazier Than You.”

Lucus Beineke was well played by Cormac O'Malley. His enthusiasm is on display and moves energetically around the stage. Mr. O'Malley's connection and chemistry with Bella Comotto's Wednesday character is strong. He succeeds in singing "One Normal Night (part 2)".

The Addams Family at BTCT is totally entertaining on many levels, and you will count your blessings that you’re not a relative of that kooky but loveable family. Full disclosure: If you need a laugh or two (or a hundred), this one’s for you. How can you not love a show with the line “Lucas, get your mother off the table”?

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

The remaining productions of The Addams Family are on August 19 at 7:00 p.m. and 23 at 2:00 p.m. at the H. Morton Rosen Arts Center located at Beth Tfiloh Dahan Community School, 3300 Old Court Rd., Pikesville, MD 21208. Tickets can be purchased by visiting online. 

Photos: Kelly Williams Carlson

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‘A Gentleman’s Guide…’ at Olney is a Killer

There are different ways to climb the social ladder.  There are different ways to rise above others to get rich.  But killing your competition?  Eight of them, in fact? That’s a whole different matter.

A Gentleman’s Guide to Love and Murder, currently playing at the Olney Theatre Center, is a dazzlingly wicked and raucously funny musical comedy that stands as one of the most delightful gems of modern theatre. Winning the Tony Award for Best Musical in 2014, this fast-paced show mixes dark humor with old-school charm. It turns a story about a serial killer into a lighthearted, hilarious theatrical experience.

Director Eleanor Holdridge and Choreographer Ashleigh King guide the ultra-talented cast through this joyful romp. Olney’s superb maestro Christopher Youstra and the eight-piece orchestra bring the terrific score to life and enhance the stellar vocal talents of the cast and ensemble.

The musical features a book and lyrics by Robert L. Freedman and music and lyrics by Steven Lutvak and is based on a 1907 novel called Israel Rank: The Autobiography of a Criminal by Roy Horniman. The music sounds like a beautiful blend of traditional British music hall and Gilbert and Sullivan operetta. The songs are packed with fast, witty rhymes that will stay stuck in your head long after you exit the theater.

With tongue firmly in the cheek, the audience learns from the outset that the show could be uncomfortable if they have a “weaker constitution,” and if so, they should go.  Indeed, there is a serial killer on the loose, but with the exception of a couple of killings, there isn’t much gore, so don’t take the bait.  Stick through it and enjoy this witty laugh-a-thon.

Set in Edwardian England in 1909, we follow Monty Navarro (played impeccably by Jacob Tischler), a poor young man who just found out from a woman named Miss Shingle (played zestfully by Donna Migliaccio) that his recently deceased washerwoman mother was actually a member of the aristocratic D’Ysquith family.  She had been banished, however, when she defied the family wishes and eloped with a Castilian and worse, a musician (also deceased). 

Mom never told her son about his true ancestry, but Miss Shingle informs him that he is ninth in line to inherit the earldom of Highhurst and encourages him to take his rightful place in the family.  Unfortunately, eight obnoxious relatives stand in his way.

Realizing that his dream for wealth and a high society woman is only eight bodies away, Monty proceeds to off all those ahead of him in the line of succession in various and sundry ways.  The methods he uses are bizarre and creative and seem to fit the personality or livelihood of the victims to a tee.  For example, a bodybuilder Major Lord Bartholomew D’Ysquith perished when Monty allowed an over-weighted barbell to fall hard on the unsuspecting soul’s neck. 

A flamboyant Henry D’Ysquith who was married but is clearly enamored by men is also a beekeeper.  Monty sprays a lavender perfume on Henry’s beekeeping clothes knowing that it attracts bees—so many, in fact, that the victim dies from the overwhelming number of stings.

There are more, of course, including the most gruesome of all—the fall from a church tower by Reverend Lord Ezekial D’Ysquith—but it’s best to just leave you with these teasers.

Because the relatives are so snobby and awful, their sudden demises are treated as amusing comic vignettes rather than scary crimes. Monty writes all this in his journal while in jail two years later after he is arrested for the murder of one of the victims, which ironically was the one death for which Monty was not responsible. 

During the ensuing carnage, Monty had fallen in love with Sibella Hallward (Sumié Yotsukura), a social climbing, self-centered, beautiful woman.  He also encounters a more down-to-earth but equally pretty Phoebe D’Ysquith (Sadie Koopman), Henry D’Ysquith’s sister, who happens not to be above him in the line of succession. He is faced with a difficult choice.

This leads to the show-stopping song “I've Decided to Marry You,” a masterpiece of physical comedy. Monty tries to hide both women in separate rooms at the same time, resulting in slamming doors, complex harmonies, and breathless laughter.

A twist at the end is better left unmentioned here.

"...a dazzlingly wicked and raucously funny musical comedy..."

The musical is unique in that all of the D’Ysquith victims are played by a single actor, Tom Story, who delivers a masterful tour de force performance. The actor must sprint backstage for rapid costume changes (over a dozen are needed), shifting characters and accents in mere seconds. Not only does he cleverly take on the essence of each ill-fated character—male and female—but he deftly uses a variety of dialects and personalities to portray them.   

His muscular baritone voice shines in several fun songs like “I Don’t Understand the Poor,” “Poison in My Pocket,” “Better With a Man” (a sidesplitting duet with Mr. Tischler), and “Looking Down the Barrel of a Gun.”

As the anti-hero Monty, Jacob Tischler demonstrates his sensitivity and vulnerabilities quite proficiently.  On stage for just about the entire production, Mr. Tischler remains strong throughout with his acting skills and glorious tenor voice.  That talent is evident in such numbers as “You’re a D’Ysquith,” “Foolish to Think” and “Stop! Wait! What?!” 

And the aforementioned show-stopping number “I’ve Decided to Marry You”—a zany, high-energy song with Mr. Tischler, Sadie Koopman as Phoebe and Sumié Yotsukura as Sibella—is a dandy.

Ms. Koopman’s beautiful soprano highlights the duet with Mr. Tischler in “Inside Out.” For her part, Ms. Yotsukura’s stellar soprano soars in “I Don’t Know What I’d Do” and “Poor Monty.”

The talented Ensemble support the leads in back-up comedy lines, singing and dancing. (The names of entire cast are shown at the conclusion of the review.)

Scenic Designer John Coyne presents a totally gorgeous set reflecting the era. A beautiful proscenium arch engulfs the stage. A video screen is used for special effects especially when the murders take place. Numerous old portraits of the D’Ysquith clan are displayed all over the walls, and a D’Ysquith family tree is seen whereby the branches representing each heir falls to the floor as each one meets his or her demise.

There is a substage where much of the dialogue and songs between Monty and his two loves take place. In addition, the actors utilize the stage’s apron bringing them closer to the audience. This all lends depth and texture to the production.

Minjoo Kim’s lighting design is also exceptional with rich hues bathing the stage. Red lighting is used quite a bit for dramatic emphasis. Matthew Rowe’s sound design is flawless, which leads to clear dialogue and enabling the music fill the auditorium.

Then there are the costumes by Sarah Cubbage. Magnificent period attire is represented throughout. The splendidly colorful floor length gowns worn by the ladies are brilliant.

A Gentleman's Guide to Love and Murder succeeds because it makes the audience root for the bad guy and laugh at things that should be terrible. The well-directed production at the Olney Theatre Center is top-notch in every element. If you appreciate dry British wit, farce, and stellar acting and singing with a stunning set and costumes, this musical is a killer.

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

A Gentleman’s Guide to Love and Murder plays through August 23 at the Roberts Mainstage Olney Theatre Center, 2001 Olney-Sandy Spring Road, Olney, MD 20832

Tickets: $45 - $108 available here and 301-924-3400

 Performance Schedule: Wednesdays through Saturday evenings at 7:30 p.m. Wednesday, Saturday, and Sunday matinees at 1:30 p.m. Sunday evenings at 7:00 p.m. on August 16

Accessible Performances:

Audio-Described Performance – Wednesday, July 15 at 7:30 p.m.

ASL Interpreted Performance – Thursday, July 16, at 7:30 p.m.

 

Photos: Teresa Castracane Photography

‘Mean Girls’ Learn to Play Nice at Toby’s

I’m so far removed from high school it was only called school back in the day, and the third side of a triangle in Geometry hadn’t been discovered. There was no TikTok, Instagram or smartphones. If you wanted to talk behind someone’s back, you simply talked behind someone’s back.

It’s different today, and any meanness can be fueled by social media and even a “burn book.” This phenomenon is displayed in the rousing musical Mean Girls currently playing at Toby’s, the Dinner Theatre of Columbia.

Though it’s a challenge for me to relate to the modern-day high school culture, I enjoyed the musical Mean Girls.  Helen Hayes Award winner Mark Minnick directed the talented cast through a well-staged, high-energy production with superb attention to details. David Singleton choreographed the dance-heavy musical with precision and creativity mimicking the chaos of high school vitality. The vocals by the performers as well as the high-voltage dancing executed by the entire cast are stellar contributing to a polished production. 

Mean Girls, based on the 2004 film of the same name, entertains on all fronts. The artistic cast and the six-piece orchestra directed by Ross Scott Rawlings deliver the music by Jeff Richmond, the clever lyrics by Nell Benjamin, and a book by Tina Fey of TV fame who also wrote the film.

Richmond’s and Benjamin’s music, while not spectacular, works well in bringing the story along. Several songs are notable and spread throughout the cast so that all the leads have a turn. The lyrics feature a decent degree of wit, but Fey’s droll and biting dialogue carries the day.

Conveyed in a contemporary universe where social media can make or break someone, the plot is punchy and at times, preachy. But it is melded into a hilarious tale focusing on teenagers’ social angst and its related mission to strive for popularity seemingly at all costs.

Tobi Baisburd as Janis and Alan Gutierrez-Urista as Damian

The central character Cady Heron (played spectacularly by Rachel Cahoon) is invited into The Plastics—a three-girl clique of high schoolers.  She is there to not only spy on the group as directed by her new friend Janis Sarkisian (Tobi Baisburd) who has vengeance on her mind towards the “queen bee” Regina George (MaryKate Brouillet), but also to boost her social status and desirability. As one of the lead characters Damian Hubbard (Alan Gutierrez-Urista) aptly put it, The Plastics are called that because “they are shiny, fake and hard.”  How that relationship works out for all concerned forms the crux of the story.

Cady had moved to a Chicago suburb from Kenya where her biologist parents had home schooled her. Naïve Cady realizes that she was not even noticed let alone accepted by the kids at North Shore High School until Janis and Damian Hubbard befriend her. This duo also act as the show’s narrators breaking the 4^th wall.

In the school cafeteria they point out to Cady the school’s eclectic cliques—jocks, nerds, sex maniacs, freaks among others—and then ultimately describe The Plastics—Regina George (MaryKate Brouillet), the leader; Gretchen Wieners (Emily Flack), the second in command; and Karen Smith (Alexis Krey Bedore), not the smartest phone in the pocket.

Janis had an unpleasant history with Regina, and as a means to revenge, she encouraged Cady to accept The Plastics’ invitation to sit with them for a week in the cafeteria in order to spy on them and feed Janis with information she can use against Regina.

As the members of The Plastics revealed their own individual personalities and character, Cady using cattiness and mean tricks maneuvered to eventually oust Regina as the number one Plastic and emerge as a popular force in the school.

Along the way, she became smitten with a talented and good-looking math student Aaron Samuels (Payton O’Keefe) who liked the more innocent version of Cady as opposed to what she later became.

The Plastics had compiled a “burn book” whereby photos of classmates were pasted in with nasty and mean comments included. Totally mean. The revelation of this book provides the turning point in the plot and the road to redemption and forgiveness was paved.

As Cady, Rachel Cahoon is convincing as the once naïve student who rose to the top of the social ladder and ultimately recognizing that hurting people was not the proper means to reach that goal. She is an exceptional math student and had resisted until the end to be part of the Mathletes math team. She had been warned by The Plastics that if she joined such a group, she would experience “social suicide.” Ms. Cahoon’s mezzo-soprano vocals shine in such numbers as “Stupid with Love,” “Apex Predator” and “More is Better.”

Tobi Baisburd as Janis possesses fine acting skills in portraying her complex character. Janis’ relationship with Regina was once friendly until the latter spread rumors that Janice was a lesbian forcing her to drop out of school at one point. Recognizing the ills of The Plastics, she tried to steer Cady away from the group’s influence.

"David Singleton choreographed the dance-heavy musical with precision and creativity mimicking the chaos of high school vitality."

Ms. Baisburd has an amazingly powerful voice, which is evident in several group numbers including “Apex Predator,” “Revenge Party” and the superbly moving “I’d Rather Be Me.”

MaryKate Brouillet is adept in portraying The Plastics’ leader Regina George. Wealthy with a “cool mom” (Valerie Adams Rigsbee), Regina’s cruelty and meanness is evident throughout, and an unlikely and near fatal encounter with a school bus altered her outlook for the better.  

As she engaged in reconciliation with Cady, Regina pointed out that she was “dead” for 15 seconds and offered her spoiler alert that heaven was a large hotel in Miami.

 Ms. Brouillet sings well as she always does in “Someone Gets Hurt” and “World Burn.”

Emily Flack plays the insecure second-in-command Gretchen as a member of The Plastics. Displaying nervous charm and quick wit, she divulges Regina’s secrets to help deal with her insecurity.  Ms. Flack showcases her lovely voice in one of the few solos in the show, the touching “What’s Wrong with Me?”

 In a comedic role Alexis Krey-Bedore performs exceptionally as the third member of The Plastics, Karen Smith. Essentially vapid and dumb, Karen is loveable and easily manipulated. Ms. Krey-Bedore handles the comedic role with impeccable timing and displays her fine vocals in “Sexy.”

Rachel Cahoon as Cady and Payton O'Keefe as Aaron

My favorite character of all is fierce and sassy Damian, who is played brilliantly by Alan Gutierrez-Urista, making his debut at Toby’s. Damian is the only character in the show who seems totally comfortable in his own skin and doesn’t need to pretend to be anybody else. This is both refreshing and surprising that an openly gay high school student is not the target of bullies and seems so together.

Mr. Gutierrez-Urista is blessed to have the lion’s share of the funny quips and carries the comedic role to perfection. He is also a splendid vocalist “Where Do You Belong?” “Revenge Party” and an accomplished dancer in the rousing opening production number of the second act “Mean”. 

Other notable members of the cast include Otega Okurume as Mr. Duvall; Nico Thompson as Kevin G and who is also in the Ensemble; and Brandon Bedore, who ably steps into a variety of roles throughout. The remainder of the stellar Ensemble who sing and dance up a storm are JC Bost, Joey Ellinghaus, Jaylen Fontaine, Amanda Kaplan Landstrom, Kayla Marks, Katelyn O’Connor, Anna Phillips-Brown, Gab Ryan, and Bryan Stopak.

David Singleton’s choreography is one of the show’s best features conforming to the in-the-round stage at Toby’s.  The wonderful dancers bring this chorography to life especially in such numbers as “Sexy,” “Revenge Party,” “Whose House Is This?” and the finale “I See Stars.”

The use of images on the video screens around the theater depict high school scenes like lockers and classrooms, and when equations from a Calculus class appeared, I almost went into cardiac arrest from the memory trauma it produced. Many cool props and set pieces are used to enhance the optics.

Janine Sunday does a fabulous job with a wide array of costumes befitting modern-day high schoolers. Unexpected, to me at least, is a New York Islanders jersey worn by Payton O’Keefe as Aaron Samuels.

And, of course, there were wigs for the female students with Jayson Kueberth doing a fine job in designing them. A full listing of the Production Staff and Orchestra is shown below.

This fast-paced, well-directed production of Mean Girls featuring an extremely talented cast, several of whom are new to Toby’s audiences, exceptional choreography and singing performances makes this a must-see experience and will keep you in the pink. The ultimate message of being kind to one another no matter what era you’re from hits the mark.

And the marvelous buffet will put you in the right mood. Don’t skip Regina's BBQ ribs!

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

Mean Girls plays through August 23 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

The menu is shown here.

Specialty Drink: The Burn Book

Next up: Summer: The Donna Summer Musical August 28 to November 1

  

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 comical 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. Hilarious in all his scenes, Mr. Hochkeppel is particularly laugh-producing 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, Luke Pinsky as Mendel, his son, and Sam Bishop as Fyedka.

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 music in backing up the vocalists, effectively enhancing the singers’ robust performances. 

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