Dancing Feet Abound in Beth Tfiloh’s ‘42nd Street’

Matthew Trulli and the cast of '42nd Street' Photo by Diane M. Smith

You can always count on Artistic Directors Diane M. Smith and Evan Margolis finding a challenging musical for the annual Beth Tfiloh Community Theatre summer production. In the classic musical 42^nd Street under the meticulous direction of Ms. Smith, BTCT met that challenge and then some. An energetic and talented cast from the Baltimore area performed at a high level and produced thunderous ovations from the audience throughout.

With music by Harry Warren and lyrics by Al Dubin and a book penned by Michael Stewart and Mark Bramble, 42^nd Street captured a Tony Award for Best Musical in 1980. The Broadway revival in 2001 also won the Tony for Best Musical, and for good measure the London production netted the Olivier Award for Best Musical in 1984.

Based on the 1932 novel by Bradford Ropes and the ensuing 1933 film adaptation, 42^nd Street tells the feel-good story of a young tap dancing performer from Allentown, Peggy Sawyer and her journey that began as a nobody to a becoming a star. She had to endure several obstacles enroute, not the least of which was impressing a demanding Broadway director Julian Marsh as he struggled to mount a musical called “Pretty Lady” during the Depression.

It was Peggy’s involvement in this show that launched her to stardom following a freak mishap to the show’s diva, Dorothy Brock. Despite much self-doubt and lack of confidence, her talent took over and Peggy seized upon the fortuitous opportunity.

BTCT, now in its 13 year, is adroit in mounting musicals that contain other plays or musicals within.  Man of La Mancha and Pippin come to mind. The backstage musical 42^nd Street is no exception.

Well-known songs, such as “We’re in the Money,” “Shuffle Off to Buffalo,” the iconic “Lullaby of Broadway” and the title song “42^nd Street” are nostalgic to us oldsters, but the BTCT company performed so admirably that I am certain the younger audience members appreciated these classics as well.

From the opening number “Auditions”, I knew I was in for a treat. The tap dancing throughout the show sounds impressive and looks impressive as the able hoofers are clearly in sync and on point. All members of the company participate at some juncture  in which the numbers vary with slower methodical dances in some as well as high-tempo ones in others.

There are so many amazing dance selections that the choreography responsibilities were split between two talented individuals. Rachel Miller handled “Auditions,” “Go Into Your Dance,” “We’re in the Money,” “42^nd Street” and “Act I Finale.”  James Hunnicutt choreographed “Young and Healthy,” “You’re Getting to Be a Habit with Me,” “Dames,” “Lullaby of Broadway,” “Montage” and “Shuffle Off to Buffalo.” They did a splendid job in leading the cast through their paces.

The main performers are superb, and the rest of the cast back them up proficiently. As the lead tenor Billy Lawlor in “Pretty Lady,” Matthew Trulli is a standout.  A triple threat with his acting skills, dance moves and singing voice, Mr. Trulli shines. This isn’t surprising given his extensive list of credits. But what is surprising is that he has all this experience under his belt, in key roles no less, though he is a young adult.

Mr. Trulli has a smooth tenor voice that is evident in the duet “Young and Healthy” and group numbers “Dames,” “I Know Now,” and “We’re in the Money” among others.

Hanna Elliott as Peggy Sawyer plays her role well as the enthusiastic, talented but nervous chorus girl who auditioned and secured a role in “Pretty Lady” mainly through her dancing skills. She displays her melodic soprano vocals in “Young and Healthy,” a duet with Mr. Trulli who was trying to woo her early on and “About a Quarter to Nine,” another duet with Cheryl Campo playing the diva Dorothy Brock.

As Dorothy Brock, Cheryl Campo has the primary comic role in the show. Though Dorothy Brock’s best days as a performer are behind her, she remains a star through reputation if not talent. Despite her lack of dancing ability, which is crucial in “Pretty Lady,” she was signed to the lead role principally because one of her two boyfriends, Abner Dillon (David Zisow), is a financial backer of the project.

Ms. Campo's acting skills and comedic timing are top-notch.  An accomplished performer and director in local theatre, she is on target portraying the diva Dorothy Brock. She commendably demonstrates sufficient restraint so that she does not go too far over the top in the role. But she is funny!

Ms. Campo can also sing well, and that is demonstrated in the group number “You’re Getting to Be a Habit With Me,” the duet with Mr. Zizso in “I Know Now” and the aforementioned duet with Ms. Elliott, “About a Quarter to Nine.”

Then there is Brian Singer who plays the harsh and impatient director Julian Marsh. This role was played by the late Jerry Ohrbach when 42^nd Street opened on Broadway. Mr. Singer, also demonstrating strong acting abilities that he accumulated through years of experience on stage, radio and television, is the thread that stitches the plot together. He delivers his lines in a clear, resonant voice to manifest his demanding nature and sharp demeanor. Yet, he exposes a soft side on occasion, which is endearing.

And as his name might suggest, he can sing, too. He starts off “Lullaby of Broadway” deliberately and with emotion as the rest of the Company joins in and builds to what is a blockbuster number. He also effectively wraps up the show with “Act Two Finale.”

Other notable members of the cast include Matthew Byrd, Ryann Reich, Eitan Murinson, Rachel Miller, Emily Signor, Carly Dagilis,  Ava Correlli, Ryan Holmes, Sharon Byrd, Emily Machovec, Julia Egan, Maytal Fleisher, Beau Smith, Taylor Fruhling, Quinn Holmes, Ryan Holmes, Rachel Murinson, Abby Ostrow and Tejal Schwartz.

A round of applause goes to Costume Design and Coordinator Lizzie Jaspan for decking the cast out in a wide array of colorful period costumes.

Set Designers Diane M. Smith and Evan Margolis oversaw imaginative scenery that was highlighted by a large screen reflecting the projection of scenes and images that adds depth to the stage. In addition, various scaffolds, platforms, turntable sets and a variety of props and set pieces provide additional quality to the production. Laura Miller and Dassi Cohen contributed to this effort, which made for good visuals.

Overall, from a technical standpoint, the production was solid including the Lighting Design by Tyrell Stanley on the day the show was reviewed, but there was some unevenness in the audio in spots, which hopefully will be addressed by the next performance.

BTCT’s 42^nd Street is an ambitious undertaking especially for community theatre considering the size of the cast and the skill sets needed to pull it off. With the capable Diane M. Smith at the helm, the talented cast and crew did so with aplomb. With only two performances left, you should hurry to get tickets to see this wonderful production.

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

42^nd Street plays August 3 and 4 at the H. Morton Rosen Arts Center located at Beth Tfiloh Dahan Community School, 3300 Old Court Rd., Pikesville, MD 21208. Tickets can be purchased by calling 410-413-2436 or visiting the box office.

A Polished 'Pippin' at Beth Tfiloh

The company of 'Pippin'  Photo: Evan Margolis

The Beth Tfiloh Community Theater (BTCT), in its 9^th season, has shown a recent liking for musicals that have plays within the musical.  Last year’s lively production of “Man of La Mancha” contains that feature, and the 2017 installment, Pippin, is another. #hocoarts

This is the 5^th consecutive year that I’ve reviewed BTCT productions, and I have enjoyed them all.  However, the production of Pippin is the most polished, best directed and most extravagant of them all.

 

The leading performers and ensemble are outstanding.  The members of the technical crew are on top of their game.  And Diane M. Smith, BTCT’s venerable and meticulous director, treated the material with a light touch with sufficient campiness to provide laughter throughout.

The enchanting musical captured four Tony Awards in 1973, and 40 years later the 2013 revival added four more including Best Revival of a Musical.

With music and lyrics by Stephen Schwartz and a book by Roger O. Hirson, Pippin is a fanciful tale about a young man, Pippin (played exceptionally by Samuel Boelens), who is searching for the meaning of life and in the process is seeking fulfillment.

Pippin is unique in that it features a traveling theatre troupe of circus-style performers, known as the Players.  Among them are clowns, dancers and illusionists who perform some little trick moves, hand dancing routines and pole descending.

As the son of Charlemagne (King Charles, the Emperor of the Holy Roman Empire), one would think that Pippin would have all that he needs.  In his mind he doesn’t, and his journey to be “extraordinary” is the central plotline.

As I mentioned earlier, it’s a play within the musical whereby the troupe’s leader named appropriately Leading Player is performed energetically by Nicole Smith.   She directs and produces the play as well as acts as a narrator for the audience, while maintaining an interest in Pippin.  In the original production of Pippin, that role was played by Ben Vereen, who came away with a Tony Award.

Noah Broth, Samuel Boelens * Brian Singer Photo: Evan Margolis

Ms. Smith’s high-octane energy comes across through her dancing and movements on the stage and also contributes with her vocal skills, comedic timing and commanding presence.  Her performance in the production number “Glory” and her duet with Mr. Boelens in “Right Track” showcases the talents of both.

If that isn’t enough, Ms. Smith designed the exceptional, color-laden, period costumes adding even more quality to the production.  The Players, in particular, are attired in dazzling eclectic garb.

Samuel Boelens showcases multiple talents in the title role.  On stage for most of the scenes, Mr. Boelens is poised throughout. His acting is proficient, but it’s his strong tenor voice with a wide range to include an ability to smoothly transition into falsetto that leads me to believe he has an excellent future in musical theatre should he choose that path.

Such vocal prowess is evident in the moving “Corner of the Sky” as well as “Morning Glow,” and “Extraordinary.”

Brian Singer plays the role of Pippin’s father, Charles, in a somewhat subdued manner.  Charles is the King who believes war is essential to holding the throne.  After he is killed by Pippin in an effort to seize the throne, the Leading Player resurrects him, which offers more evidence to the plot’s zaniness. 

One of the scene stealers in the show is veteran stage performer (over 100 shows!) Nancy Tarr Hart as Pippin’s hilarious free-spirited, fun-loving, dirty-minded, exiled grandmother Berthe.  Feisty and campy, Ms. Hart delivers a mighty theatrical punch in her one scene and scores with her number “No Time at All” in which she advises Pippin to stop worrying so much and live life. In that song, she orders the audience to participate with a large piece of sheet music with handwritten lyrics on a, well, sheet hanging from above the stage.

Noah Broth, already in his 5^th consecutive season at BTCT, plays the role of Lewis, Pippin’ half-brother.  Charles describes his step-son Lewis as a good soldier because “he’s strong and stupid.”

Nancy Tarr Hart singing "No Time at All"  Photo: Evan Margoilis

Mr. Broth puts on a veritable abs show in his vest rendering this reviewer jealous.  Proving I’m not really resentful, Mr. Broth does a fine job in his role especially in the vain character of Lewis.  

It’s a good carryover role for him as he had played self-centered Gaston in BTCT’s production of “Beauty and the Beast.” He also performs well as one of the Players in their many numbers.

Another cast member who turns in a solid performance is Kerry Jungwirth as Catherine, a widow who brings Pippin into her home.   Her excellent vocals soar in “Kind of Woman” and “”I Guess I’ll Miss The Man.”  This is no surprise as I recall her outstanding performance in last year’s BTCT’s production of “Man of La Mancha.”  

Another notable performances are turned in by Hannah Elliott as Fastrada, Pippin’s conniving stepmother; Sammy Jungwirth as Catherine’s sassy son Theo; and, of course, the skilled Players. 

The functional, colorful and eye-pleasing set designed is by BTCT’s artistic director Evan Margolis.  It consists of a whimsical circus tent with five multi-level curtained entrances from which the actors come and go.

Chris Rose and his orchestra ably support the excellent vocals.  James Hunnicutt’s Bob Fosse-style choreography is superb given the large company and the tightness of the stage.  

Laura Poehlman-Lavon’s vivid lighting to include abstract projections on the auditorium’s walls and Everett Simkins’ crystal clear sound design contributed to the joyful experience.

This production of “Pippin excels in every area and represents community theatre at its finest.   

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

“Pippin” plays August 22 and 23 at the Mintzes Theatre/Rosen Arts Center located at Beth Tfiloh Dahan Community School, 3300 Old Court Rd., Pikesville, MD 21208. Tickets can be purchased at the door or visit here. 

Lively 'Man of La Mancha' at Beth Tfiloh Community Theatre

Photo: Rina Goloskov

If my memory serves me correctly, and it’s been quite awhile, the Spanish Inquisition was not a pleasant period. There was an abundance of greed, cynicism, hostility, violence and yes, torture.  That era during the 16^th century serves as the backdrop for the five-time Tony Award winning musical Man of La Mancha that was first produced in 1965.  The quest to better the world against all odds is the central theme.  #hocoarts

Man of La Mancha, a favorite production among professional and community theatres alike, is making an all too brief appearance at Beth Tfiloh Community Theatre.  Through the years, Beth Tfiloh has been consistent in mounting well-performed musicals drawing on a wide swath of mainly young talent from the Baltimore area.  Under the direction of Diane M. Smith, the current production is no exception.

Noted for its popular standards, “The Impossible Dream” and “Dulcinea,” Man of La Mancha with music by Mitch Leigh, lyrics by Joe Darion and a book by Dale Wasserman, is a play within a play. 

Tax collector Miguel de Cervantes and his manservant are tossed into a dungeon “common room” awaiting trial by the Inquisition. They were charged with foreclosing on a church for not paying taxes.  Lugging all their belongings down the stairs into the room, the other prisoners ferociously seized them but Cervantes pleaded with them not to destroy a carefully wrapped package containing a manuscript. 

A mock trial is to take place where his guilt is presumed and all the possessions would be turned over.  As a defense, Cervantes proposes that he enacts a play with the help of the other prisoners.  One of them, The Governor, agrees, and that sets in motion the primary storyline.

For this play, Cervantes creates the character Alonso Quijana, an elderly man so filled with idealism he becomes a bit “mad”.  He sees himself as a knight-errant and renames himself Don Quixote. Along with his loyal sidekick Sancho Panza, Don Quixote obsessively sets out to find the good in a world filled with darkness and pessimism. 

During this journey, the delusional but well-intentioned Don Quixote mistakes a windmill for a giant and a roadside inn as a castle. There he meets a broken and bitter harlot named Aldonza whom he calls Dulcinea.  He woos her with kindness and chivalry but she is too jaded to appreciate the gestures. 

The obstacles Quixote has to navigate from cynical individuals to abusive muleteers form the core of the story with a beautiful array of songs and a dose of comedy to carry the plot to its sad ending.

As the lead, Jim Knost performs lustily and with feeling. Don Quixote is an underdog, and Mr. Knost elicits empathy for the character with his acting skills. His big number “The Impossible Dream” where he lays out to Dulcinea his dream, his mission in life, is delivered with a tuneful richness using his strong baritone voice.

Perhaps symbolic of his character’s challenges throughout the plot, Mr. Knost’s “unbeatable foe” was the flawed operation of his mic during the first half of the show and then again in the final 10 minutes.  This was an unfortunate development especially for the lead, but undoubtedly it will be remedied in the subsequent productions.

Jim Knost as Don Quixote Photo: Rina Goloskov

An outstanding performance is given by Kerry Jungwirth as Aldonza/Dulcinea, a prostitute who is abused by the local muleteers.  Her self-esteem barely exists until she meets Don Quixote.

Musically she is top rate showcasing her lovely soprano voice in “It’s All The Same,” “What Does He Want of Me,” and “Aldonza” among others.  Ms. Jungwirth’s acting prowess is quite evident as her character runs the gamut of emotions in her encounters with Quixote.  Clearly a polished performer, Ms. Jungwirth adds quality to the production.

As Sancho Panza, Carl Oppenheim plays the loyal squire effectively. He performs several solos including the cute number “I Really Like Him,” where he tries to explain to Aldonza why he doggedly follows Quixote.

A fine performance is turned in by Allie McLoughlin as Antonia, Don Quixote’s niece.  She shines in “I’m Only Thinking of Him” using her bright soprano voice.

The entire company help make this an enjoyable production with some playing multiple roles.  Among them are Anthony Case, Hillel Strutman, Dylan Margolis, Patrick Chaney, Noah Broth, Ethan Cuttler, Ian Smith, Dorian Smith, Josh Schoff, Hannah Elliott, Yehudit Varon, and Sharon Byrd.  

All are fitted in splendid, imaginative period costumes (including horses) deftly designed by Nicole Smith. The mirror shield costumes worn later in the show stand out.

The seven-piece orchestra led by Chris Rose is excellent in executing the rich score and not overwhelming the vocalists.

Evan Margolis designed the set consisting mainly of stone walls to denote the dungeon’s stark common room.  Yet, with the movement of a few props and furniture pieces and Elan Hamburger’s well designed lighting, the multiple scene changes are seamless and efficient.

The presentation of Man of La Mancha by Beth Tfiloh Community Theatre is expertly directed, well staged and performed competently by an energetic cast with some standout vocal performances. Using beautiful melodies, the story exemplifies the human spirit with one man’s quest against all odds to right the wrongs of which there were many.  It is worth a visit, but hurry, and follow that star.

Running time. One hour and 45 minutes with no intermission.

Man of La Mancha runs through August 24 at the Mintzes Theatre/Rosen Arts Center located at Beth Tfiloh Dahan Community School, 3300 Old Court Rd., Pikeville, MD 21208.  Tickets can be reserved by visiting online.  Tickets will also be available at the door.

A Good 'Catch' at Beth Tfiloh Community Theatre

I must admit that when I first saw the 2002 Steven Spielberg film Catch Me If You Can starring Tom Hanks and Leonardo DiCaprio, the last thing I suspected was that this crime drama would ever be made into a Broadway musical.  Yet in 2011, with a book by Terrence McNally and a score by Marc Shaiman and Scott Wittman, a musical, indeed, opened at Broadway’s Neil Simon Theatre.  Oh, by the way, it garnered four Tony Award nominations, winning one for Best Actor. 

Josh Schoff (L.) and Noah Broth in the lead roles Photo: Rina Goloskov

For an all-too-brief run at Beth Tfiloh’s Rosen Arts Center, the musical Catch Me If You Can scores high marks under the polished direction of Diane M. Smith.  Based largely on the mega-hit film, which, in turn, was based on the biography of Frank Abagnale, Jr., the true story centers on a New Rochelle, NY teenager (Abagnale) in the 1960s who left home and made millions of dollars by being a con artist, check forger and counterfeiter, assuming a slew of identities and professions throughout his worldwide journey before being finally caught by the dogged FBI agent Carl Hanratty.

The eyebrow-raising ruses that young Abagnale is able to pull off (airline pilot, lawyer, doctor, a Lutheran, etc. without ever finishing high school), his tender relationship with his father, his falling in love with Brenda, and his lucky near-miss evasions from the relentless Hanratty provide the essence of the plot.  #hocoarts

Noah Broth as Frank Jr. demonstrates a tremendous amount of poise for a 16 year-old performer.  His vocals are quite strong and on key in meeting the challenges of some difficult songs, such as the group opening number “Live in Living Color,” “Seven Wonders,” and especially “Goodbye.” 

Mr. Broth moves with agility and finesse around the stage in several dance routines, and his acting skills are showcased throughout.  The Abagnale character must exude confidence, swagger and charm to pull off his con games, and Mr. Broth, through facial expressions, voice inflections and body language, plays the role to the hilt.

Also performing with great skill is Josh Schoff as the determined and oft-frustrated agent Carl Hanratty.  At times intense and commanding but on other occasions allowing glimpses into Hanratty’s vulnerabilities, Mr. Schoff superbly handles the complexities of the role and does so with a bit of campiness and flair.  His powerful singing voice shines particularly in “The Man Inside the Clues.”  

Both of these young performers play off each other well in the production and both have promising futures in theatre if that’s the path they choose.

Photo: Steve Isack

Veteran Beth Tfiloh Theatre actor F. Scott Black is another outstanding addition to the cast as the elder Abagnale.  Having lost his store leading to financial hardship, refusing help from his newly “successful” son, being under pressure from the IRS, enduring the indignity of his wife leaving him, and ultimately driving himself to drink leading to his tragic demise, Frank Sr. is the character we have compassion for, and Mr. Black’s portrayal of him is robust.

Nicole Smith as Brenda Strong, a nurse whom young Frank met while pretending to be a doctor, does a fine job in her role.  Brenda lacked confidence until Frank instilled it in her.  They fell in love, planned to marry and have a family until her love got caught by Hanratty. Ms. Smith’s solo, “Fly, Fly Away,” highlights her sparkling singing voice.

As Brenda’s parents, Amanda Dickson and Carl Oppenheim provide the most laughs in the show as Brenda brings Frank home to New Orleans to meet them in a truly fun scene.

There are over a two dozen members of the company who ably support the leads with singing and dancing with many playing multiple roles.  The aforementioned Nicole Smith and Amanda Dickson along with Sharon Byrd coordinated the spot-on costumes that ranged from everyday wear to production number costumes for nurses, doctors, flight attendants and pilots uniforms.  Ms. Dickson also choreographed the well-executed dance routines.

Chris Rose leads an outstanding eight-piece orchestra whose rich sounds emanated from a multi-level platform on the stage cleverly designed by Evan Margolis.  Most of the action takes place in front of this platform bringing the performers closer to the audience.  But some performances take place on a platform between the orchestra sections, which change the eye-level and add depth to the staging.

In addition, Avi Goldman’s lighting design and Director Diane Smith’s sound design provide strong technical support to the overall production.

As a community theatre production, Beth Tfiloh’s presentation of Catch Me If You Can deserves high praise for its direction, performances and technical elements.  The problem is that it only runs for two more performances so you should definitely catch it while you can.

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

Catch Me If You Can plays August 18 and 20 at the Mintzes Theatre/Rosen Arts Center located at Beth Tfiloh Dahan Community School, 3300 Old Court Rd., Pikeville, MD 21208.  Tickets are $15 and can be reserved by calling the Beth Tfiloh Arts Department at 410- 413-2436 or online.

Laugh a Lot at Beth Tfiloh's 'Spamalot'

#hocoarts

Cast of BTCT's 'Spamalot'  Photo: Dave Stuck/Baltimore Jewish Times

For a musical to be successful, all the components must jell.  Of course, there must be a good a score and lyrics as the starting point.  But then you need a solid ensemble, good technical elements and staging and proficient direction to put it all together.  The Beth Tflioh Community Theatre’s (BTCT) professional-caliber production of Spamalot (“A new musical lovingly ripped off from the motion picture Monty Python and the Holy Grail”) under the direction of Diane M. Smith succeeded on all fronts.

The book and lyrics were by Eric Idle who also composed the music with John Du Prez.  Mike Nichols directed the original Broadway production of Spamalot in 2005 garnering three Tony Awards including Best Musical among 14 nominations.   It ran for over 1,500 performances, and the show has been seen in over a dozen countries.

For full review, visit MD Theatre Guide:

Mystery Solved: A Lively 'Drood' at Beth Tfiloh

If you ever wanted to be part of solving a murder mystery then you will have that opportunity if you attend the Beth Tfiloh Community Theatre’s production of The Mystery of Edwin Drood.  The “solve-it-yourself musical comedy” skillfully directed by Diane M. Smith, is playing through August 25 at the Mintzes Theatre/Rosen Arts Center located at Beth Tfiloh Dahan Community School.  Given the short run and the high quality of the production, you would be wise to get your tickets fast.

This five-time 1986 Tony Award-winning farce (including Best Musical) is based on the novel, The Mystery of Edwin Drood by Charles Dickens.  The well-known English author died before he could complete this work, and a variety of writers and playwrights attempted to create their own endings to resolve the unfinished mystery.   

For full review, visit MD Theatre Guide.