Nostalgic ‘Summer’ at the Hippodrome

Looking for some Hot Stuff?  Heaven Knows you will Stomp Your Feet after they Dim All the Lights as Bad Girls will give you Unconditional Love singing songs you already heard On the Radio, and to be sure, it won’t be the Last Dance.

These favorites and lots more associated with the “Queen of Disco” Donna Summer come to life under the disco ball of Baltimore’s Hippodrome Theatre with the touring production of Summer: The Donna Summer Musical as part of its Broadway Series.

The Hippodrome had presented several exceptional jukebox musicals in the recent past including MammaMia!, Jersey Boys, Beautiful: The Carole King Musical, Rock of Ages, and The Bodyguard.  Summer is no exception with its incredible song catalogue, outstanding performers, and brilliant lighting design and effects that enhance the production.

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

Although Summer: The Donna Summer Musical received two Tony Award and three Drama League Award nominations in 2018, it had a brief stint on Broadway in which it closed after 289 performances. The show began its tour in 2019.  As evident by the warm reaction by Hippodrome audience, there continues to be a longing for disco music especially by those who were around then. The late Donna Summer along with the Bee Gees embodied that sound as much as any from the genre. 

"...incredible song catalogue, outstanding performers, and brilliant lighting design and effects..."

To be clear, Summer: The Donna Summer Musical is not a concert though 23 of her songs are included in a tight 100-minute production under the meticulous direction of Lauren L. Sobon and the excellent five-piece band conducted by Erika R. Gamez. 

Summer’s hits are presented through a musical biography representing three stages of her life: Duckling Donna in her pre-teens, Disco Donna in her late teens and early 20’s, and climaxing with Diva Donna in her 50’s when she was on top of the proverbial disco ball. But the songs performed are not in chronological order of their release but rather tied to a particular event in Summer’s life.

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

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

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

Also superb in her vocals is Charis Gullage as Disco Donna.  As the “Donna” during the height of her career, Ms. Gullage performs in the majority of the songs. Her voice is so good that she can cut an album without any worry. “Love to Love You Baby,” “Heaven Knows,” “Dim All the Lights” and “Hot Stuff” are examples where Ms. Gullage shines.

Amahri Edwards-Jones as young Duckling Donna ably solos in “On My Honor” and participates in several group numbers.

The 3 Donnas: Charis Gullage, Brittny Smith and Amahri Edwards-Jones

All three combine effectively for the dramatic “No More Tears (Enough is Enough)” performed following a domestic violence incident experienced by Summer.

Other members of the cast include Robert Ayala, Emilee Theno, David Tanciar, Christopher Lewis, Aubrey Young (performs in “Dim All the Lights”), Francisco Risso, Porter Lee Anderson III, Meridien Terrell, Ciara Jones, Lamont Whitaker, Mia Davidson, Sy Chounchaisit, Layla Brent-Tomkins, and Lily Kren. As Summer’s husband Bruce Sudano, John Guaragna, performs well in “Heaven Knows” and “I Love You.” The talented Ensemble backs up the leads splendidly.

Adding vitality to the hue-rich production is the superb lighting designed by Russell A. Thompson, the fabulous costumes designed by Paul Tazewell and the wig and hair design by Brandon T. Miller. Also augmenting the production visuals is the neat projection screen designed by Chris McCleary containing myriad colorful images and graphics forming the backdrop to the set.

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

This is a top-notch production that should not be missed even if you are too young to have worn bell bottoms, a groovy jumpsuit, go-go boots or had danced to the vibes from Donna Summer’s music.

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

Summer: The Donna Summer Musical plays through February 20 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 visit here.

Photos: Denise Trupe

The Hippo's Grand Finale

An enthusiastic throng was amassing just prior to the 9 p.m. opening of the Club Hippo’s dance side for what was billed as “The Grand Finale Dance” on September 26.  The first dancers hit the floor almost immediately, and a half hour later, the dance floor was crammed to the sound of Rick Astley’s “Together Forever”.  At 12:40 a.m.  Donna Summer’s “Last Dance” mix played to an ear-splitting roar from the crowd with an hour still left to go.

Photo: Bob Ford

DJ Farrell Maddox, who first worked at the Hippo in the mid-1980s and then returned in 1997, explained, “I want the final moment to be energetic and exciting.  That is how I want people to remember the Hippo.” 

Maddox had myriad choices for the final song at closing; he eventually settled on The Weather Girls’ “It’s Raining Men” following a brief tribute to Hippo owner Charles “Chuck” Bowers.  



A video of that number shot by Bob Ford appears below. Describing Bowers as a good friend, Maddox was touched and honored when he chose him to deejay the grand finale event.  He saluted the venerable Hippo’s past with eclectic music spanning five decades.  At its conclusion, the patrons cheered and hugged one another.

After 43 years as a focal point of Baltimore’s LGBT community, a series of “last” events that stretched out over the Hippo’s final days—Last Bingo, Last Hip-Hop Night, Last Women’s Night, Last Dance Party and Last Drag Show—lowered the curtain on Baltimore’s largest and most iconic gay bar.  These special occasions on the dance side afforded opportunities for people to bid their final farewells.  The saloon and karaoke areas will close on October 3.  

Chuck Bowers (center) waving after tribute Photo: Bob Ford

To the dismay and disappointment of many in the community, the building is being leased to CVS Health as Bowers, 70, is retiring.  On this night, the multi-generational patrons and the employees reflected the paradoxical mood: celebratory yet somber with many either in denial or the truth hadn’t quite sunk in yet.

The Hippo, which opened on July 7, 1972 and was founded by Kenny Elbert and Don Endbinder, featured one of the largest dance floors in the state, a saloon and a video/karaoke bar.  During disco’s heyday, the Hippo flourished with packed crowds dancing to the beats of vintage and newer disco hits on its spacious, sunken, rectangular floor with an overhead disco ball, bathed in glimmering, colorful lights and fog effects. Many of the disco divas performed live throughout the eighties.

As musical tastes changed in succeeding years, so did the music and the Hippo’s deejays kept up.  DJ Rosie Hicks, who played the music on Hip Hop Night on Thursdays, said, “As a DJ at Club Hippo for eleven and a half years, I know firsthand that losing this venue is an emotional blow to many of us in the community. So many memories have been made inside those walls, and despite our gratitude to Chuck for sharing it with us for so long, we will all miss it terribly.”

For some, the Hippo was a life changer. Paul Hummel, the karaoke host from 2010 to 2012 as well as a customer, stated, “It was the happiest job I’ve ever had. It’s where I went when I first came out. It’s where I learned to be comfortable and proud to be me.  It’s where I met the love of my life. If any one place sums up my gay experience, it will always be the Hippo. That place changed my life.” 

Photo: Bob Ford

The club’s historic significance is not overlooked.  “The Hippo is the only bar in Baltimore that gave space and support events as varied as lesbian musical theatre, drag pageants, leather contests, fundraisers for LGBT organizations, AIDS service providers, Pride festivals and the Baltimore Justice Campaign’s civil rights triumphs,” said Louise Parker Kelley, author of the recently released pictorial chronicle “LGBT Baltimore”.

Indeed, Bowers, who bought the Hippo in 1978 and the building itself in 2005, had donated sizable amounts of money to LGBT non-profits, and he allowed other organizations, such as Broadway Cares/ Equity Fights AIDS, to hold fundraising events at the club.  Early in the 1980s when the AIDS crisis began, Bowers was one of the first in Baltimore to help raise money to fight the disease.

Operating under the motto, “Where Everyone is Welcome,” the Hippo’s major lure was that of a social and entertainment venue, which had been enjoyed by tens of thousands of people—gay and straight—including fans of drag and leather.  Numerous contests and pageants were held there; its closing elicits profound sadness but fond memories.

Drag performer and comedian Shawnna Alexander, who was Miss Hippo 2014 and had performed on the Hippo’s stage at various times for over 20 years, said, “I’m very sad to see it closing and very happy I wasn’t born yesterday and had missed the chance to experience being part of an era that was great in Baltimore City.”

Sue Nami, Miss Hippo 2008 and Miss Gay Maryland 2009, said, “The Hippo is where I started and growing in my career in this art form of female impersonator. I call this place my home and will always stay in my heart forever.”


'Chuck Bowers Way' Photo: Bob Ford

Paul Liller, a.k.a. Dimitria Blackwell, Miss Hippo 2015, found the Hippo to be an integral part of his life’s journey. “Never would I imagine that I would eventually become not only a Miss Hippo, but the last one ever.  As the doors close, I feel like a part of me will be left inside those walls. Fortunately, I walk away with memories that will last a lifetime and a love for a place I was lucky enough to call home.”

The leather community has been grateful for the many events that took place at the Hippo but noted the benefits were enjoyed beyond that community. “By allowing the leather community to hold events like Mr. Maryland and the 12 Day of Christmas, the Hippo had a hand in helping to raise thousands of dollars for charity,” said Greg King, Mr. Maryland Leather 2015.  “Chuck Bowers has left a legacy.”

Nearby businesses and even competitors recognize the impact the Hippo had as it was the primary destination in Mount Vernon’s “gayborhood.” Don Davis, owner of by Grand Central, which is located diagonally across from the Hippo, acknowledges that he and Bowers may have had their differences over the years.  However, he emphatically states that “we have always been there with support of each other.”

Davis praised the way Bowers ran the club. “Chuck has always operated a first class business and his heart has always been there for everyone. He has had the most loyal staff and customers; so many who have been there since the beginning.”

To honor Bowers and the Hippo, city officials recently named the intersection of Charles and Eager Streets where the Hippo is located, “Chuck Bowers Way.”

“The closing of the Hippo is like the closing of a spectacular Broadway show,” Baltimore Mayor Stephanie Rawlings-Blake said, “The performers take their last bow, the curtain comes down, and the audience departs. Thanks Chuck Bowers, staff members and patrons for making this iconic venue such a vibrant part of Baltimore’s rich history.”

In reflecting on these past decades, Bowers is gripped with much emotion. “For 37 years this has been my home, it’s been my family,” he said.  “Now that the Hippo is closing it has been an extremely emotional time for me because of all the friendships I’ve made here over these many years.  I will miss this place.”

So will many others. 

The very last event at the Hippo on Oct. 3-4, 2015 is chronicled here.

Me on that historic night