‘The Sound of Music’ Climbs the Mountain at Toby’s

Rachel Cahoon stars as Maria von Trapp and the Children

For decades The Sound of Music has enthralled audiences worldwide with its superb score and its uplifting message that the power of love can prevail against all odds during a dangerous period in our history.  It is fitting that during these precarious times, when many people today experience anxiety about the future, this classic musical is on display at Toby’s Dinner Theatre of Columbia, Md. to shine a bright beam of hope through its charming story as well as its delightful music and sterling performances.

Director and Choreographer Mark Minnick along with the technical crew, musicians and performers, successfully took on the challenge of mounting a classic musical and adapting it to the contours of the in-the-round theatre.

Scenic Designer David A. Hopkins ably utilizes all the walls, steps and balconies in the theatre displaying windows—regular and stained glass—and images, props and set pieces to capture the myriad locales in which the action takes place. And yes, the image of the distant iconic mountains is displayed on the wall throughout.  

Lynn Joslin’s imaginative lighting design amplifies these scene changes, which are executed seamlessly throughout the production. Flashes of lightening during a storm through the windows is awesome. 

Costume designers Janine Sunday and Sarah King fitted the cast with a wide variety of 1930’s style European attire that feature eclectic garb ranging from nuns' habits to chilling German Nazi soldier uniforms to the multiple outfits worn by the children in the show. The costumes are exceptional and realistic.

Mr. Minnick, a Helen Hayes Award winner, helms this production with strong attention to detail and solid pacing with a nod towards the humanity contained in the story. He affords the performers the artistic freedom to interpret their respective characters, and the results are wonderful.

The staging of this classic at Toby’s is a beauty to behold—both visually and through its superb score penned by the legendary team of Rodgers and Hammerstein. The book, written by Howard Lindsay and Russel Crouse, was based on the memoir of Maria von Trapp, The Story of the Trapp Family Singers.

Jeffrey Shankle as Captain Georg von Trapp and his children

For Oscar Hammerstein II, The Sound of Music represented his final production as he died nine months after the show debuted on Broadway in November 1959 with Mary Martin and Theodore Bikel as the leads. Having won five Tony Awards, it closed in 1963 after 1,443 performances. Several revivals both on Broadway and London followed and, of course, the immensely popular 1965 film with its five Oscars, based on the musical starring Julie Andrews and Christopher Plummer. Even a live TV production was spawned.

The Sound of Music boasts a catalogue of well-known and endearing songs including “My Favorite Things,” “Do-Re-Mi,” “Sixteen Going on Seventeen,” “So Long, Farewell,” “Climb Every Mountain,” “Edelweiss” as well as the title song. Musical Director and Conductor Ross Scott Rawlings and his six-piece band do a glorious job in delivering the wonderful music without overpowering the vocalists. Mark Smedley’s sound design brings clear audio to the dialogue and vocals.

"The staging of this classic at Toby’s is a beauty to behold—both visually and through its superb score..."

Many musicals offer a plot simply to connect the songs. In The Sound of Music, the plot is as integral as the performances to the entertainment value of the show. 

In the familiar story, the musical is set in Salzburg, Austria in 1938. The inevitability that the homeland will fall (Anschluss) to Nazi Germany forms the backdrop for the musical, while the story focuses on the improbable love between two incongruent individuals.

The story centers on a former postulant, Maria, performed brilliantly by Rachel Cahoon, who has been sent to be the governess of the seven children, ages 5 to 16, of Captain Georg von Trapp (Jeffrey Shankle), a widower and former Austro-Hungarian Navy Captain. He treats his children like military underlings, but Maria teaches them to sing and a whole new world opens up to the kids and Maria.

Rachel Cahoon as Maria

The Captain had intended to marry Elsa Schraeder (Asia-Ligé Arnold), a wealthy socialite. But differences in the way they see the imminent Anschluss—the annexation by Nazi Germany of Austria—and his growing affection for Maria doom the union.

After being shaken by the real prospect that she and Captain Georg are falling in love, she runs back to the abbey and listens to the advice of Mother Abbess (Adrienne Athanas), who belts out "Climb Ev'ry Mountain. "

Maria then returns to the von Trapps’ house to determine if there is indeed love between the Captain and her. They eventually marry.

Max Detwiler (David James), a mutual friend of Elsa and Captain Georg whom the kids refer to as Uncle Max is a pushy music promoter. He convinces the Captain that the kids should perform at the upcoming Salzburg Music Festival.

Meanwhile Captain Georg is under intense pressure to accept a commission in the Third Reich’s Navy, who as an Austrian, is loathe doing. Leaving him no choice, the Captain decides to escape from Austria and pulls it off following the children’s performance at the festival, which took place with eight large Nazi swastika banners unfurled from the ceiling signaling ominously what was about to come and leading to a tense conclusion.

As the plucky Maria, Rachel Cahoon is a standout. Ms. Cahoon, who was magnificent as Belle in Toby’s Beauty and the Beast, brightens the stage with her shiny presence and her glorious singing voice. Radiant throughout the show, her crystal-clear soprano voice does justice to such songs as, “My Favorite Things,” Do-Re-Mi,” and “Something Good.” Ms. Cahoon’s empathy and love for the children comes off perfectly, and she displays the romantic connection to Captain Georg with eye-watering tenderness.

Veteran actor and Helen Hayes Award recipient Jeffrey Shankle is excellent as Captain von Trapp. He commands the stage with the vigor of an authoritarian father whose icy demeanor slowly melts upon meeting Maria.  There have been sterner versions of the character to be sure, but Mr. Shankle portrays the role admirably with nuance and a softer edge.  

His powerful tenor voice is on display when he joins the children in “The Sound of Music (Reprise).” And he particularly shines in the moving number “Edelweiss.”

As Max Detwiler, a mutual friend of Elsa Schraeder and the Captain whom the kids refer to as Uncle Max, David James, also a Helen Hayes Award winner, convincingly plays a pushy music promoter. He playfully injects his own campy personality into the role, providing some of the show’s comedic moments.

Then there are the adorable and talented von Trapp children who are on stage throughout most of the production. As good as the leads are, these children are fantastic and will pull at your heartstrings. 

The young performers are quite adept in their singing, dancing, acting and stage positioning.  Their voices sound so well harmonized as a group as they perform in many of the show’s numbers.  Their rendition of "So Long, Farewell" is particularly outstanding. 

Moreover, Emily Signor who is a mainstay in the cast as oldest sister Lisl von Trapp, turns in a fine duet with her love interest Rolf Gruber (Jackson Miller) in “Sixteen Going on Seventeen.”

On the evening this production was reviewed, the other von Trapp children were Lucas Rahaim as Friedrich; Ava Lamanna as Louisa; Noah Frieman as Kurt; AJ Bassett as Brigitta; Kylie Gourley as Marta; and Gwyneth Porter playing the youngest child, Gretl. (The other children who will alternately be playing these roles throughout the run as well as the other cast members are listed at the conclusion of this review.)

Every great musical has a blockbuster showstopper.  In The Sound of Music “Climb Ev’ry Mountain” is that number.  Adrienne Athanas as Mother Abbess brings that song home in a truly virtuoso performance that concludes the first act on a high note in more ways than one. The other Sisters in the abbey all sing like bells—beautiful, on pitch and resounding.

Indeed, The Sound of Music at Toby’s climbs the mountain and is sure to lift the spirits of theatergoers during this holiday season at a time when it’s needed most. Adults and children alike will be entertained by the music, the story and the artistry of the performers of this well-directed and executed theatre classic. And let me tell you, the buffet is out of this world.

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

The Sound of Music plays through January 25, 2025, at Toby’s the Dinner Theatre, 4900 Symphony Woods Rd., Columbia, MD 21044.  Tickets may be purchased by calling the box office at 410-730-8311or visiting here. Next up: 9 to 5, January 17 - March 16, 2025.

_____

Photos by Jeri Tidwell Photography

The Menu is shown here.

Specialty Drink: “The Favorite Thing”

The Cast & Understudies in Order of Appearance

Disney’s ‘Frozen’ Offers a Blizzard of Talent at Olney Theatre Center

Gabriela Hernandez as Elsa and Alex De Bard as Anna

Less than two months away, winter and its likely snow will be upon us. What better way to get in the mood for the season than to see the magical spectacle Disney’s Frozen at the Olney Theatre Center.  How about some warmth from a tender story to create a thaw? 

Directed by two-time Emmy Award winner and Sesame Street veteran Alan Muraoka, Frozen is a snow-filled delight with an extraordinary cast and a stellar creative and technical team. Olney theatergoers may remember the work of Mr. Muraoka as he had helmed the splendid shows Once On This Island and South Pacific. In Frozen, Mr. Muraoka directs this well-paced musical with precision and skill as well.

Disney had authorized the Olney Center to be one of a handful of regional theatres to create the musical on its own and is the first professional theatre in the DMV to do so.

Based on the Oscar-winning 2013 animated Disney film, the musical is also magical on the stage.  With the score and lyrics by Kristen Anderson-Lopez and Robert Lopez, and book by Jennifer Lee, the story and songs, with some added from the original film, are mostly wonderful. The original Broadway production received three Tony Award nominations in 2018.

Frozen is an endearing fairy tale that the young and the not so young will enjoy. The story focuses on two orphaned sisters, Elsa and Anna, who are princesses in a Scandinavian kingdom. Their relationship is torn apart when Elsa cannot control her powers in which she can turn anything and anyone into ice. When Elsa, accidentally hurt her younger sister Anna while building a magical snowman Olaf, that’s when the problems become real.

Years later, Elsa is depressed because she cannot reign in her powers, which left the town of Arendelle in a state of eternal winter.   She remains guilt-ridden for hurting Anna and fears she has become a monster. Elsa heads to the icy mountains and builds an ice palace in order to cope with the situation. She ultimately learns that her powers can be controlled only by love.

Noah Israel as Hans and Alex De Bard as Anna

Anna, with the help of three friends, the kind-hearted Kristoff; Olaf, the adorable, crowd-pleasing
snowman (puppet) whom the sisters built when they were young children; and Sven, the equally lovable reindeer (also a puppet), go on an adventure-filled trek to find her sister to help restore summer to Arendelle.

Prior to that journey, Anna had fallen for Hans, a handsome prince, who becomes an important figure at the show’s end. But it is the love and bond between the two sisters that warms the heart enough to melt the prevalent ice.

Gabriela Hernandez excels as the adult Elsa. She demonstrates her powerful soprano vocals in conveying her burdened character. Ms. Hernandez belts out the first act finale the Oscar winning showstopper “Let It Go,” the popular girl-power anthem, to perfection. She hits it out of the park with another quality number in the dramatic song “Monster.”

Alex De Bard is wonderful as the adult Anna who is determined to find her sister and renew their love for each other. She falls in love with Hans (Noah Israel) only to be betrayed later on. Not all princes are princes apparently. Their duet in the comical “Love Is an Open Door” with its terrific choreography is one of the show’s best. Ms. De Bard and Ms. Hernandez hook up well in the emotional “I Can’t Lose You.” The chemistry between the two sisters is amazing.

As Kristoff, the ice harvester who joins Anna on her quest to find Elsa, Ricky Devon Hall is excellent. With his reindeer Sven (Alex Mills) in tow, Mr. Hall’s character finds himself increasing attracted to Anna.  He performs well in “Reindeer(s) Are Better Than People,” “Kristoff Lullaby,” and a duet with Ms. Debard in “What Do You Know About Love?”

Kennedy Kanagawa is superb as the puppeteer for the adorable snowman Olaf. Both Olaf and Sven are clear audience favorites, especially the kids in attendance, and provide much of the comical moments throughout. He performs well in the reprise of “Do You Want To Build a Snowman?”

"...Frozen is a snow-filled delight with an extraordinary cast and a stellar creative and technical team."

Noah Israel portrays the role of Hans adroitly. With his good looks featuring long flowing locks, Mr. Israel is convincing as the prince for whom Anna falls. But his dark side emerges later, leading to a dramatic conclusion. Mr. Israel possesses a strong tenor voice, and what I mean by strong, I mean Phantom of the Opera strong. It is evident in “Hans of the Southern Isles” and the aforementioned duet with Ms. De Bard in “Love Is an Open Door.” He also performs well with Ms. Hernandez and the company in “Monster.”

Additionally, superb performances are turned in by Aliza Cohen (alternates with Elise Chrappah) as Young Anna, Ruth Eloise Benson (alternates with Taylor Esguerra) as Young Elsa, Sarah Anne Sillers as Queen Iduna, Jay Frisby as King Agnarr, Tyler Dobies as Pabbie, Crystal J. Freeman as Bulda, Jared Michael Delaney as the comedic Weselton, and Jamie Smithson as another comical character Oaken.

The members of the Ensemble are also talented with their vocals and dancing abilities and provide added energy to the production. They include: Jessica Bennett, Quadry Brown, Mia Goodman, Angelo Harrington II, Stephen C. Kallas, Ariel Kraje, Robert Mintz and Haley Nachlas. Stellamaris Orellana and Walker Vlahos are the Swings.

Gabriela Hernandez as Elsa

The production features the meticulous choreography by Kelly Crandall d’Amboise, musical direction by Christopher Youstra and his nine-piece orchestra, vibrant lighting design by Christina Watanabe, clear sound design by Matthew Rowe, and brilliantly colorful costuming by Kendra Rai.

The skilled choreography of Ms. d’Amboise is on display in the various lively production numbers including in “Love Is an Open Door” and “Fixer Upper,” a high-energy romp. And there are others, which are stirringly entertaining as well.

Paige Hathaway’s scenic design is gorgeously imaginative. A glacier-like frame adorns the sides of the stage and above. Drop-down scenery and screens containing projected images of indoor and outdoor locales as designed by Patrick Lord add quality texture to the production. Along with dazzling special effects, representations of snow falling or blowing throughout much of the show form the perfect backdrop to the uniquely creative optics.   

There is no question that Frozen is geared towards children. However, there is sufficient humor, warmth, songs, dancing and dazzling scenery and costumes to entertain adults as well. And entertain it does.

I have seen over the course of many years a number of bravura productions at the Olney Theatre Center. This iteration of Disney’s Frozen takes it to a new level.

Running time. Two hours and 20 minutes with an intermission.

Disney’s Frozen runs through January 25, 2025, on the Roberts Mainstage at Olney Theatre Center, 2001 Olney-Sandy Spring Road, Olney, MD. Tickets ($45–$60) are available online here or through the box office at 301-924-3400, open from 12 p.m. – 6 p.m. Wednesdays through Saturdays. 

Discounts for teachers, active military, and first responders are available here

Performance Schedule

Wednesday through Saturday evenings at 7:00 pm.

Wednesday, Saturday, and Sunday matinees at 1:00 pm.

Select Sunday evenings at 7:00 pm.

Additional performances around Thanksgiving and Winter Break.

See the full schedule here.

Accessible Performances

Audio-Described Performance – Wednesday, November 6 at 7:00 p.m.

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

Sensory Friendly Performance – Saturday, December 7 at 1:00 p.m.

****

Photos: Teresa Castracane Photography

Impactful ‘Evita’ Rises at Silhouette Stages

 

Samantha McEwen Deininger as Eva (C), Matt Sheer as Peron (R)
and J.R. Hontz (L)

With the U.S elections right upon us, there is, as you can observe, much political drama, apprehension, divisiveness and anger. With all that, our politics is quite tame (so far) compared to other periods in our world’s history.  The political atmosphere during the 1940’s to 1950’s in Argentina, which was at times tumultuous and deadly, forms the backdrop for the award-winning musical Evita that is kicking off Columbia Maryland’s Silhouette Stages’ 20^th season.

Despite some sound snafus, particularly with the mic’s on opening night, the talented and diverse cast and crew of Evita deliver a stellar production of this musical classic. Hopefully, the sound issues will be ironed out in future performances.

Andrew Lloyd Weber’s music and Tim Rice’s lyrics powered Evita to seven Tony Awards in 1980 with the musical achieving considerable success throughout the world. The lyrics and storyline of the musical are based on Mary Main’s biography, Evita: The Woman with the Whip.

The story, told mostly through song, spans the rise to prominence of Eva Duarte from her impoverished beginnings at the age of 15 to her ascent to power by becoming Argentina’s First Lady, Eva Perón, and concluding with her early death at the age of 33. The action depicting her story takes place between 1934 and 1952.

Along the way, Eva was a radio actress who had reportedly slept around to gain advantage. She met a military colonel Juan Perón at an earthquake relief concert and eventually became his wife prior to his becoming the country’s president.

Brian Dauglash as Che

She started a charitable foundation and connected with Argentina’s women and the powerless.  However, she was reviled by the country’s wealthy elite class and the military.

While historians and authors have debated over the years the historical accuracy of Rice’s portrayal of Eva derived from Main’s work, the production at Silhouette Stages will please no matter your political persuasion.

Daniel Douek directed, and Amie Bell choreographed this adroitly performed iteration of Evita.  The direction is taut and well-paced; the choreography is precise and plentiful. The dancing in such numbers as "Buenos Aires" and "And the Money Kept Rolling In (And Out)" is outstanding.  There is much motion and activity on the stage adding to the dynamism of the show.

Lloyd Weber’s splendid score encompasses an eclectic array of music including classical, rhythmic and ballads.  “Don’t Cry For Me Argentina” sung by Samantha McEwen Deininger as Eva is the show’s popular signature song with its emotional might.  “And the Money Kept Rolling in (And Out)” is a favorite of mine not just for the musicality and clever lyrics but also for its snappy choreography. Other notable songs include the well-choreographed “Buenos Aires,” “Oh What a Circus,” “The Art of the Possible,”  “Another Suitcase in Another Hall” and “You Must Love Me.”

"...the talented and diverse cast and crew of Evita deliver a stellar production of this musical classic."

Samantha McEwen Deininger, an accomplished musical artist, plays the role of Eva with passion and nuance.  (Patti LuPone, who starred in the original Broadway production of Evita, characterized the vocal demands of the role as “a part that could only have been written by a man who hates women.”)

Ms. Deininger overcomes that challenge with her big and crystal clear soprano voice. She soars in many of the show’s numbers amid innumerable costume changes. Ms. Deininger is especially effective in the duet with Perón (Matt Sheer) in “I’d Be Surprisingly Good For You” and as a solo, the tender ballad “You Must Love Me,” a song that was actually written for the 1996 film adaptation of the musical.

Another superb performance is turned in by Brian Dauglash as Che. The name suggests that the character is the revolutionary Che Guevara who happened to have been Argentine.  No Che-related military attire and no other references to Guevara are in the show.  Instead, Che is generic and performs as the story’s “narrator” who binds the plotline together.

Matt Sheer as Perón (L), Samantha McEwen Deininger (R)

Mr. Dauglash is onstage a vast majority of the time and performs in all but a few of the show’s musical numbers including several duets with Ms. Deininger. He possesses a solid voice that because of the required workload, his vocals must stay strong throughout.  And they do.  When called on to dance, he does so very effectively.  Mr. Dauglash, with his energy and strength, commands the stage throughout the production.

Matt Sheer as Perón has a potent stage presence befitting the character and demonstrates vocal prowess particularly in “She is a Diamond.”

Henry Cyr who was superb in Silhouette Stages presentation of The Wedding Singer and is the theatre’s Artistic Director plays the role of Magaldi, Eva’s one-time flame. He performs extremely well in “On This Night of a Thousand Stars” and “Charity Concert” though he was unfortunately hampered by mic difficulties on the night this performance was reviewed.

Julie Mimms makes a brief appearance as Perón’s Mistress whom Eva dismisses and send her on her way.  Her lovely rendition of the emotional ballad “Another Suitcase in Another Hall” is rightly gentle.

On stage during most of the show is the wonderful Ensemble who symbolizes the people of Argentina.  They, too, perform in a wide variety of vocal numbers and dance routines and do so with meticulousness.

Other members of the talented Ensemble include Felicity Clark and Kenna Mayo as the Children of Argentina, Megan Barnes, Jason Britt, Libby Burgess, Judah-Isaac Canizares, Tori Farnsworth, J.R. Hontz, Jae Jones, Gillian Keirn, John Lynch, Glennyce Lynn, Erica Miller, Otega Okurume, Nathanael Quay, Katie Sheldon, Jose Reyes Teneza, Nick Thompson and Carolina Tomasi.

Scenic Designer Kateri Pelton and team erected a functional set including the iconic balcony. The stage is uncluttered allowing the performers to move freely throughout the show. Chris Uelinger as the Projection Designer, used the screen on the back of the balcony to display shots of rooms, buildings of Buenos Aires and some abstract images to convey the periods of time as the show evolves through the years. Lighting Designer Brad Ranno is also effective in amplifying the optics.

Ensemble

Costume Designers Tricia Anderson and Tara Herbert (who are also the Makeup Designers) and Tommy Malek’s Wig Design lend authenticity to the production. The period costumes including military garb is realistic, and Eva’s gowns are particularly stunning.

The U.S. is at the precipice of electing its first ever woman president. Eva Perón was poised to be Argentina’s vice-president over 70 years ago but her illness and eventual death at the age of 33 prevented that occurrence. The production of Evita is both timely in noting the significance of how women must overcome the odds to rise up and is also vastly entertaining in its presentation. It should not be missed.

Running time. Two hours and 15 minutes with an intermission.

Evita plays on weekends through November 3 at the Slayton House Theatre, 10400 Cross Fox Ln, Columbia, MD 21044. For tickets, call 410-730-3987 visit online.

Photos: Shealyn Jae Photography

At Olney Theatre, Ike Wins Again

John Rubinstein as Dwight Eisenhower Photo: Maria Baranova

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

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

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

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

Photo: Maria Baranova

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

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

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

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

Photo: Maria Baranova

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

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

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

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

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

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

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

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

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

Running time. Approximately two hours with an intermission.

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

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

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

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

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

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

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

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

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

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

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

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

She prevailed, but it wasn’t easy.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Rachel Simone Webb stars as Juliet

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

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

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

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

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

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

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

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

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

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

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

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

Photos: Mathew Murphy

Hyde & Sink

 

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

Orioles manager Brandon Hyde

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Running time. 2 hours and 45 minutes with an intermission

Advisory. Fog, haze and strobe effects

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

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

Photos by Jeri Tidwell Photography