‘We’re Fighting Back’

Maryland AG Brown offers reassurances to LGBTQIA+ Community.

Maryland Attorney General Anthony Brown

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

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

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

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

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

Del. Kris Fair (l.) and Anthony Brown

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

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

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

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

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

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

Kris Fair and Anthony Brown

 

‘The Crucible’ Offers Intense Drama at Silhouette Stages

J.R. Hontz and Nathan Rosen

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Carley Brownstein and Delaney Gregg

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

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

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

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

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

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

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

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

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

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

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

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

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

Photos: Shealyn Jae Photography 

Running time. Three hours with an intermission

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

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

National Coming Out Day: A Personal Essay by Byron Macfarlane

 

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

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

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

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

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

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

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

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

Happy National Coming Out Day.

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

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

Patrick Gover as Tony Manero and 
Rachel Cahoon as Stephanie Mangano

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Photos: Katie Simmons-Barth

The Menu can be found here.

Specialty Drink: The Boogie Shoes (outstanding)

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

Danny Bertaux stars as Joseph

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

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

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

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

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

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

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

Nathan Moe as Pharaoh

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

JOSEPH Show Dates & Times:

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

June 22 & 28 at 2 p.m.

Venue:  Marriotts Ridge High School

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

 Photos: Neil Rubino

THE FULL CAST AND CREW ARE SHOWN BELOW.

‘The Little Mermaid’ Makes a Splash at Toby’s

Flounder (Nicky Kaider) and the Mersisters

I’ve heard the rumors, too. But they’re false. The visionary creative team at Toby’s did not plan to submerge the theatre in water to encapsulate the underwater environment that dominates Disney’s The Little Mermaid now playing at the famed dinner theatre of Columbia.

Sure, such conditions would allow the aquatic characters in the show to move about freely in their natural habitat. But with the luscious food at the buffet (seafood and all) getting soggy, the audience drenched if not drowning, and the cast with their mic’s affixed to them getting electrocuted, the show’s run would be limited to one performance, if that.

Rather, a more conventional approach was adopted, and it worked magic. Under the superb direction and choreography of Helen Hayes Award winner Mark Minnick, the perfectly cast, impeccably staged, ultra-colorful, splashy production is a visual spectacle to be sure. With a ton of set pieces and costume changes, the show is well-paced with scene changes occurring seamlessly.

Based on one of Hans Christian Andersen’s most adored stories and the 1989 classic animated film, Disney’s The Little Mermaid netted two Tony Award nominations in 2008. It features music by eight-time Academy Award winner, Alan Menken, lyrics by Howard Ashman and Glenn Slater and a book by Doug Wright.

The musical conveys the fairytale love story of a beautiful young mermaid (Ariel) who at first is infatuated with “human things” like a fork and other items discarded at sea and falling to the ocean floor where she resides and then smitten by a human being—a handsome prince (Eric) whom she saves from an accident at sea. Prince Eric hears her lovely voice and he, too, becomes spellbound.

What then transpires and how they ultimately “hook up” forms the essence of the plot and is a joy to behold.

The imaginative set designed by Shane Lowry eschewed filling up the theater with water and instead created a gorgeous undersea atmosphere.  A variety of items—many abstract and translucent—mounted around the walls and suspended objects including jellyfish add texture to the scenery. The use of multiple long strips of waving fabrics to depict the ocean’s surface and waves is a great touch.

Lynn Joslin’s vividly chromatic lighting design amplifies the set. The mixing of hues with a blue-green accent help to depict the underwater action.

Carter Crosby as Prince Eric and Abby Middleton as Ariel

Costume Coordinators Sarah King and Janine Sunday along with Hair and Wig Designer Jayson Kueberth helped turn the fairy tale into reality. The costumes are magnificent and vibrant beyond belief. The aquatic characters including a variety of sea life, such as a flounder, a crab, a couple of eels, other fishes, a flock of seagulls and, of course, a bevy of mermaids replete with extended tails are decked out in innovative attire that are sure to please the young children (and adults) attending the show. The costumes for the sailors above the surface, King Triton, the villainess sea witch Ursula, and the ensemble are similarly outstanding, lavish, intricate and imaginative.

Mr. Minnick’s choreography is detailed and fluid working the in-the-round stage to near perfection.  Group numbers, such as “Daughters of Triton,” the clever “Positoovity,” the hilarious “Les Poissons,” “She’s in Love” and the showstopper “Under the Sea” are expertly performed.  This is no small achievement given the bulky costumes worn by the cast members, and the precise execution avoids collisions.

More top-notch choreography is on display in “Sweet Child” and “Daddy’s Little Angel.” Here, two green-clad eels, Flotsam (Shane Lowry when he’s not designing the gorgeous set) and Jetsam (Joey Ellinghaus) who are loyal subordinates of the sea witch Ursula perform while on rollerblades.  Using synchronized strides and shifting upper body movements, both gracefully and deliberately slither around the stage in artistic, electric performances. Mr. Ellinghaus nailed the same role some seven years ago and apparently has not missed a step.

Alan Menken’s score is melodic and delivered exceptionally by Music Director Ross Scott Rawlings and his 6-piece orchestra. Catina McLagan conducts at other performances.

"...the perfectly cast, impeccably staged, ultra-colorful, splashy production is a visual spectacle..."

Abby Middleton, reprising her role as Ariel, the youngest mermaid daughter of King Triton (Adam Grabau), the ruler of an undersea country, does a laudable job in conveying her yearning for Prince Eric (Carter Crosby). Possessing a sweet melodic soprano voice, Ms. Middleton excels in one of the show’s popular songs “Part of Your World” and in other solos like “The World Above” and “If Only.”

Her onstage chemistry with Mr. Grabau as her father King Triton and Mr. Crosby’s Prince Eric offers believability to this make-believe tale.

Ariel’s love interest, dashing Prince Eric, is played outstandingly by dashing Carter Crosby.  Mr. Crosby is the prototype of a Disney prince and played the role adroitly. His movements about the stage and his demeanor throughout the production also exhibit his fine acting skills. Mr. Crosby’s romantic ballad “Her Voice” and “One Step Closer” where he teaches Ariel to dance are beautifully performed with rich, clear vocals. 

This performance was reviewed the evening following the No Kings nationwide protests.  In this case, we will make an exception with King Triton. Adam Grabau hits the mark as the widowed King Triton, the strict but caring father of his youngest daughter Ariel. Attired in a nautically themed lavish costume including a wild, eye-catching crown and carrying a lit trident, the King opposes Ariel’s ascent to the surface and her collection of human things as he views all humans as fish-eating threats to his undersea kingdom. But in the end, the king chose the love for his daughter over retaining power.

Ursula (Lynn-Sharp Spears with Jetsam (Joey Ellinghaus
and Flotsam (Shane Lowry)

Commanding on stage, Mr. Grabau’s muscular baritone is displayed in “If Only (Triton’s Lament)” and later he is featured in a quartet with Mr. Mr. Crosby, Ms. Middleton and Elijah Henderson as Sebastian in “If Only (Quartet”).

Mr. Henderson as Sebastian, a crab, is comical and campy. A veritable scene-stealer, Sebastian is a servant of King Triton and is assigned to watch over Ariel and helps Ariel charm Prince Eric.  His spot-on tenor is evident in group numbers “Under the Sea” and “Kiss the Girl.”

The aforementioned evil Ursula is played mischievously by Lynn Sharp Spears (a great name for the theme of this musical).  She lures Ariel into trading her beautiful voice for legs so she can rise to the surface and reel in Prince Eric. Ms. Spears effectively delivers the song “Poor Unfortunate Souls” and the reprise of that number towards the end in a dramatic, action-packed scene.

Jeffrey Shankle as Scuttle, a gull, does his usual strong performance in this comic role. Scuttle can’t quite get his facts or his words quite right, but Mr. Shankle sings well in the group number “Positoovity” and again in “Positaggity.”

Consistently amusing Toby’s audiences, David James portrays Grimsby, a loyalist to Eric. His mission is to see that Eric fulfills a promise made to his deceased father—a king—that he will marry a princess. Mr. James performs admirably in the group numbers “Beyond My Wildest Dreams” and “The Contest.”

Nicky Kaider, who was sensational in Toby’s presentation of Jersey Boys, energetically plays Flounder, Ursula’s companion and who accompanies her on searches for human artifacts.  With graceful movements around the stage joyful dialogue, Mr. Kaider performs proficiently with the Mersisters—Ariel’s siblings—in a wonderful song and dance number “She’s in Love.”

And then there is David Bosley-Reynolds as the comical Chef Louis. In a hilarious scene, he tries to capture Sebastian and cook him for dinner. During the action, Mr. Bosley-Reynolds sings “Les Poissons.” Mr. Bosley-Reynolds possesses a magnificent theatre voice with great projection and articulation in both song and dialogue.

Rounding out the excellent cast are the Ensemble performers Jaylen Fontaine, Patricia “Pep” Targete, Rachel Cahoon, Kiana King, Margaret Kelly, MaryKate Brouillet, Walker Vlahos, Alexix Krey-Bedore, Brandon Bedore, Vince Gover, and Benjamin Campion.

What makes Toby’s productions so consistently high quality is the ability to cast the right people into the roles involved with each musical. There are a number of factors that go into this, such as performers’ availability, talent levels, etc. But Mark Minnick and his associates have found a way to succeed over the years.

With Disney’s The Little Mermaid, under Mr. Minnick’s direction, the talent is there to make this lighthearted show enjoyable for all ages. You will love this show and buffet hook, line and sinker.

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

Disney’s The Little Mermaid runs through August 17, 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 Tobysdinnertheatre.com. Next up: Saturday Night Fever, August 22 through November 2.

Photos Jeri Tidwell Photography

The Menu can be found here.

Specialty Drink: The Dinglehopper

‘Some Like it Hot’ Turns the Hippodrome Into a Cauldron of Laughter

Drag, the art of dressing and acting in a gender-nonconforming manner, has roots in ancient theatrical traditions and evolved into a powerful form of self-expression and resistance. While most individuals who perform in drag over the centuries do so for its entertainment value, in Some Like it Hot, the superb musical comedy currently gracing the stage at Baltimore’s Hippodrome Theatre as part of a national tour, drag is used comically as a way to escape a vengeful mob boss in 1933. More poignantly, however, drag afforded an opportunity for one of the show’s leading characters to discover their true identity and live their life with love based on their self-awareness.

Under the impeccable direction and choreography by two-time Tony Award winner Casey Nicholaw of Book of Mormon fame, Some Like it Hot is a high-tempo, energetic and at times, frenetic production brimming with laughter, dazzling tap dancing, a jazz-infused score, great orchestration and soaring vocals. An abundantly talented cast and creative team bring the comedy-filled, adventure-packed and life-altering story to life. With its frenzied costume changes and door slamming, it’s like Tootsie meets Mrs. Doubtfire.

Some Like it Hot, which opened on Broadway in 2022, is based on the 1959 classic film comedy with the same title capturing 7 Tony Awards of its 13 nominations.  With music by Marc Shaiman, lyrics by Scott Wittman and Shaiman (Hairspray), and a book by Matthew López (The Inheritance) and Amber Ruffin (The Amber Ruffin Show), there are plenty of toe-tapping numbers and a few soft ballads mixed in. The film starred Jack Lemmon, Marilyn Monroe and Tony Curtis. It’s a different era to be sure.

"...a high-tempo, energetic and at times, frenetic production brimming with laughter, dazzling tap dancing, a jazz-infused score, great orchestration and soaring vocals.

Set in 1933 during Prohibition, the story follows two musicians, Joe and Jerry, who happened to have witnessed a gangland killing in a Chicago nightclub. Spats, the mob boss, seeks to eradicate them to save his own keister. In order to escape, Joe and Jerry don women’s clothing and become Josephine and Daphne, respectively.

In disguise, the duo joins an all-girls band by impressing its no-nonsense leader Sweet Sue with their tap-dancing prowess. They all take the train from Chicago to San Diego with stops in between. Josephine and Daphne try like crazy to maintain their cover but love interests and self-discovery complicate matters. What’s left is a hilarious, zany story that hits on a wide range of emotions.

Scott Pask, as he always does, designed a gorgeous set utilizing drop-down scenery and a bevy of set pieces to reflect the numerous scene changes.  The train car’s exterior followed by the view of the interior is awesome. Amusingly, the frequent use of cubicle-style closets and doors where the performers enter and exit in various scenes resemble portable toilets when they are strung together across center stage.

Tavis Kordell (L.) and Matt Loehr as Jerry and Joe

Natasha Katz’s lighting design is bright, hue-rich, and effectively augments the seamless scene changes. Gregg Barnes designed the exquisite period costumes—and there are many—with women’s ankle length dresses and gangster attire among them.

Mark Binns conducts the excellent orchestra, which deliver the outstanding score and support the performances. Charlie Rosen and Bryan Carter handled the orchestrations.

Except for a brief 5-minute pause because of a sound snafu in the first act on opening night, Brian Ronan’s sound design produced high-quality sound and ample volume.

With the sterling work of the creative and technical team setting the foundation, the cast showcases their many talents. Not only do the leads get high marks for their singing, dancing, comedy and acting skills, much credit also goes to the Ensemble who perform precise, mostly tap dance numbers with lifts and turns throughout.

Production numbers, such as “What Are You Thirsty For,” “I’m California Bound,” “Take it Up a Step,” “Some Like it Hot,” “Dance the World Away,” and “He Lied When He Said Hello,” and “Tip Tap Trouble” are examples of high-energy and skillful performances turned in by the leads and Ensemble. In the latter, the high-octane chase sequence with characters entering and exiting doors at a breakneck pace is a showstopper.

As Joe and Josephine, Matt Loehr excels. Uber-talented, Mr. Loehr conveys the charming yet narcissistic saxophonist. He doesn’t quite possess the feminine characteristics one would expect if he really wanted to convince others that he’s a woman, but that is part of the comedy in his role.

He has many “wow” moments throughout and much of that includes comedy, but his singing and dancing talents come to the fore. In a duet with Jerry (Tavis Kordell), they soar in “You Can’t Have Me (If You Don’t Have Him)” when racial prejudice was preventing Jerry’s being hired in a nightclub.

Tavis Kordell excels as Jerry and eventually Daphne. Possessing a strong singing voice and solid dance moves, tall and rangy Tavis Kordell performs well in “You Coulda Knocked Me Over With a Feather.”  They also demonstrate elite acting skills as their journey comprises the main emotive sequences in the show. Having realized that Jerry is more comfortable as Daphne and wishes to remain so following this self-discovery, Tavis Kordell brings it home with nuance and credibility.

As the bossy, ambitious and anti-vice bandleader Sweet Sue, Tarra Conner Jones sparkles and is the anchor for much of the show’s hilarity. Her spot-on timing with biting rejoinders is hilarious. Ms. Conner’s mezzo-soprano vocals are fantastic particularly in the opening number “What Are You Thirsty For?”.

Leandra Ellis-Gaston convincingly plays Sugar Kane, formerly Gertrude Mudd, who is the lead singer of the group. She is vulnerable and is the love object of Joe even when he is in disguise. That dynamic provides some of the show’s tenderness mixed in with comedy. Ms. Gaston performs ‘A Darker Shade of Blue,” “At the Old Majestic Nickel Matinee,” and “Ride Out the Storm”—all solos—with exceptional vocals.

Edward Juvier wonderfully plays Osgood, the eccentric millionaire owner of the Hotel del Coronado in San Diego, with flair and camp. He has been on a mission to find love and when he meets Daphne, he felt he struck gold. Mr. Langton performs well in the group number ‘Fly, Mariposa, Fly.”

Other notable performers include Jamie LaVerdiere as Mulligan, Devon Goffman as Spats and Devon Hadsell, who was a member of the original Broadway company, as Minnie.

Rounding out the company in alphabetical order are: Ayla Allen, Ashley Marie Arnold, Kelly Berman, Darien Crago, Drew Franklin, Tim Fuchs, Rachael Britton Hart, Devin Holloway, Bryan Thomas Hunt, Emily Kelly, Brianna Kim, Stephen Michael Langton, Jay Owens, Ranease Ryann, Nissi Shalome, Michael Skrzek, and Tommy Sutt.

The comedy is there as well as a heart, and the music and dancing should appeal to all audiences. Some Like it Hot brings all the elements of good old-fashioned musical comedy to the stage. An extremely talented and charismatic cast supported by wonderful musicians and an award-winning technical team make this a don’t-miss show.

Nobody is perfect and no show is perfect. But Some Like it Hot is pretty darn close.

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

Some Like it Hot will play through Sunday May 11. Tickets are available at the BaltimoreHippodrome.com, Ticketmaster.com or in-person at the Hippodrome Box Office (12 N Eutaw Street) Monday through Friday, 11 a.m. to 3 p.m. and show days 11 a.m. until showtime. Groups of 10 or more should contact BaltimoreGroups@BroadwayAcrossAmerica.com or call 888-451-5986.

 

Photos: Mathew Murphy