‘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

‘Shucked’ Delivers a Harvest Full of Corn at the Hippodrome

 

Why did the corn join a band? It had a great ear for music.

Pretty punny, huh?  You will hear barrels of much better puns, and I might say, corny jokes in Shucked, a nine-time Tony Award-nominated musical, making a stop in Baltimore’s Hippodrome Theatre as part of its first national tour.

To be sure, corn is the central commodity of Shucked’s whacky plot. It is tempting to lace this review with corn references and corn jokes and fritter away an opportunity to describe the show, but I will do my best to resist. I’m only human, after all.

While most of the corn jokes appear in the first act, other such puns and jokes dominate the dialogue throughout with mostly hilarious results. The funnier lines, to no surprise, contain sexual innuendos, and leave the audience howling with laughter. Yet, it’s the talented performers who deliver these lines with well-timed, snappy rejoinders, facial expressions and body language that enhance the comedy.

The 2022 musical with music and lyrics by Nashville music superstars Brandy Clark and Shane McAnally, and a book by Robert Horn (TV’s Designing Women) is a laugh-a-minute experience with all those puns—some of which are silly and cringe-worthy—but land nonetheless. Indeed, Horn, a Tony nominee, admitted in an interview for Encore, the theatre’s program guide, “My mind works in puns. For me it is more about editing them than creating them, because I’ll sit down and write way too many, and it’s about what works.”

Jake Odmark as Beau and Danielle Wade as Maizy

Under the direction of Lifetime Achievement Tony Award recipient Jack O’Brien, Shucked is a warm, funny,
vibrant, colorful production with excellent songs, stellar choreography and vocal performances that are pleasing to the ears. The plot is cute in an odd way and is the vessel for the comedic lines and melodious songs.

Multiple Tony Award winner Scott Pask designed a gorgeous set depicting a dilapidated large barn with cornfields around. Numerous set pieces and effective lighting design my Japhy Weidman augment the stationary scenery.

The setting for the story is Cob County (where else?) in what appears to be a southern farm that seems isolated from the world. The corn is dying, and Cob native Maizy who was about to marry her beau, Beau, also a local, decides to leave the farm to remedy the crop problem before they have their nuptials.

 Maizy ventures to Tampa of all places to seek help and meets up with a “corn doctor,” a podiatrist named Gordy. He happens to be a second-rate corn man, oops, con man who is up to his ears in debt to the mob. He successfully woos Maizy and, in the process, convinces her that the stones in her bracelet can fix the corn issue back home. In reality, Gordy believes the stones are valuable and can be the key to relieving his debt.

Gordy, in simultaneous phone conversations with a mob person and a jeweler where misunderstandings abound because of poor cell service, offers one of the funnier bits in the show. The jeweler tries to tell Gordy the stones are worthless, but he didn’t get that; he still thinks they are valuable.

To Beau’s chagrin, Maizy brings Gordy back to Cob and tells the good folks there that the stones are the problem and are preventing the corn from growing. He urges the community to give up their stones to make the corn grow. He wants to keep them for himself.

Meanwhile, a disgusted Beau finds intimate comfort with Maizy’s cousin Lulu as the chowder thickens. I will leave it there because there are twists and turns like a maze leading to a surprise conclusion.

Costumes designed by Tilly Grimes and Mia Meal’s wig design adds the right amount of country flavor to the corn meal.

As mentioned previously, Clark and McAnally put together some really enjoyable songs. “Walls,” “Woman of the World,” and “Best Man Wins” are among them. The song “Holy Shit” is interesting in that I’m sure there are some composers who wanted to name one of their songs like that but couldn’t pull the trigger. The music and lyrics of the numbers are quite enjoyable and are sung with the appropriate country vocal inflections performed by skilled vocalists.

"...a warm, vibrant, funny, colorful production with excellent songs, stellar choreography and vocal performances that are pleasing to the ears."

Jason Howland’s music supervision, orchestrations and arrangements do justice to the excellent score.  Sarah O’Gleby’s choreography is precise, and as performed by the Ensemble and leads, mightily enhance the production. And the sound design by John Shivers is top-notch with its appropriate volume and clarity.

The story is narrated by two superb, highly energetic performers Maya Lagerstam and Tyler Joseph Ellis. As Storytellers 1 and 2, respectively, they not only playfully narrate the happenings with wit and warmth but also provide much of the comedy in a light-hearted jovial manner. They sing, they dance, they do jokes and puns and play multiple roles, such as members of the mob and jewelers. And they are really good at it.

Storytellers Maya Lagerstam and Tyler Joseph Ellis

Danielle Wade plays the role of the confident and optimistic Maizy to the hilt. Her voice shines in “Walls,” “Travelin’ Song,” “Woman of the World,” “Maybe Love,” and in particular, the tender ballad “ Friends” in a duet with Lulu played by Miki Abraham.  Ms. Wade can deliver a punchline, too. When asked what her mother would say if she were alive today, she responded, “Get me out of this box!”

Jake Odmark convincingly plays the stubborn but big-hearted farmer Beau. His acting is spot-on as his onstage chemistry with Ms. Wade and Miki Abraham is strong. Mr. Odmark displays his muscular tenor voice in his rendition of “Somebody Will,” which is one of the show’s highlights.

Maizy’s cousin Lulu is a trip. Played exceptionally by Miki Abraham, they deliver sassy and sexy comedic lines with aplomb. Lulu, a whiskey distillery owner and a romantic, never fails to offer an opinion no matter the subject. Their performance in “Independently Owned” is remarkable as well as in the duet with Ms. Wade in “Friends.”

The good-looking and fast-talking con artist Gordy is played well by Quinn VanAntwerp. Also, comedic in his delivery of lines, Mr. VanAntwerp shines in his number “Bad.”

Mike Nappi plays the role of Peanut, Beau’s brother, with campiness and flair. He provides steady counsel to Beau, and as the town prophet he offers his views on any subject telling all what he thinks. In rapid-fire lines, Mr. Nappi snaps out one pun after another, to the audience’s delight.

In another comedic role, Erick Pinnick plays the role of Grandpa well with a few funny lines. Mr. Pinnick brings a local connection to the show as he is a Mount Hebron H.S. graduate in Howard County (Md.).

A big chowder-out goes to the entire cast and production team.

You may be up to your ears in puns, but Shucked is a much-needed respite from the chaos in the world today.  There’s more than a kernel of truth to that.

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

Shucked will play through Sunday April 6. Tickets will be available at BaltimoreHippodrome.com,Ticketmaster.com or in-person at the Hippodrome Box Office (12 N Eutaw Street).

Photos: Mathew Murphy & Evan Zimmerman

‘The Lion King’ Brings Disney’s Magic to the Hippodrome

Photo: Matthew Murphy

Adapted to the stage from the hit 1994 Disney animated film with the same title, The Lion King, makes its way to Baltimore for a 3-week run as part of its long-running national tour. With imaginative costumes and masks, sterling puppetry and artistry, powerful and soaring choreography, dazzling lighting and special effects, and a superbly talented cast, the production can only be described as spectacular.

From the iconic opening number “Circle of Life” whereby a new lion cub Simba is introduced to the other animals in Africa’s Pride Lands and until the very end of the show, the presentation is jaw-dropping. Key to the story, which is loosely based on William Shakespeare’s Hamlet, the circle of life represents an ordered sequence of life events that comes full circle and repeats itself.

In that number, performers are magnificently costumed or are operating puppets with masks, ropes, rods wires and stilts representing a menagerie of African animals in a parade down the theater’s aisles to the stage. The elephant alone, operated by four humans, could be the size of Oriole Park. All these animals and more embody the show’s characters. Even birds and fish are depicted.

Produced by Disney Theatrical Group, The Lion King is one of the most popular stage musicals in the world. Since its premiere on November 13, 1997, 28 global productions have been seen by over 112 million people. The show garnered 6 Tony awards in 1998 including Best Musical. It is Broadway’s third longest running show in history and the all-time highest grossing Broadway production.

The score features Elton John and Tim Rice’s songs from the animated film along with three new songs by John and Rice; additional musical material by South African Lebo M, Mark Mancina, Jay Rifkin, Julie Taymor and Hans Zimmer.  There is an infusion of African words in the songs and in the dialogue. The book was penned by Roger Allers and Irene Mecchi. Featured are two of John’s more popular songs, “The Circle of Life” and “Can You Feel the Love Tonight”. Other notable songs include “I Just Can’t Wait to Be King,” “Be Prepared” with extraordinary choreography, and the first act finale, the peppy “Hakuna Matata”.

Photo: Deen Van Meer

On the night of this performance, Kyle Shymanovitz was the conductor of the orchestra that did a fine job in presenting the music with its significant African influence. In that vein, percussion musicians are situated on the theater’s side balconies to produce those drumbeats.

Director Julie Taymor imaginatively translated the film to the stage. Not only did she helm the show, where she won a Tony Award, she also designed the amazing and extraordinarily detailed costumes, masks and puppets herself. In collaboration with her scenic designer Richard Hudson, lighting designer Donald Holder, and hair and makeup designer Michael Ward, Taymor created a uniquely lavish spectacle.

The story follows the life lessons of Simba, a young, curious and energetic cub (played by a charismatic Bryce Christian Thompson on the evening this performance was reviewed). His father Mufasa (played strongly by Darnell Abraham) who is king of the Pride Lands in Africa’s beautifully rich savanna region, offers life’s lessons to young Simba.

When he warns the young cub to avoid leaving the Pride Lands, Simba, egged on by Mufasa’s brother and Simba’s uncle Scar, leaves the acceptable boundaries and visit the forbidden elephant graveyard. Scar, played convincingly and with a dose of campiness by Peter Hargrave, is the antagonist in the story in that he sees Simba’s presence as getting in the way of his ambition to be the king.

Photo: Joan Marcus

(Scar is an interesting and seemingly familiar character. He desperately wants to be king. He will use any means to attain that title and hold on to power when he eventually seizes it. His mind is unstable, deteriorating, and he is weak. He is narcissistic. He lies, he cheats, and he makes bold promises (to hyenas) but doesn’t keep them but uses them as tools to further his aims. And he is hated. Hmm.)

Back to the story. With his female cub friend Nala (Jaxyn Damasco for this performance) in tow, Simba heads for the graveyard where he is threatened by three hyenas, Shenzi, Banzai and Ed (played by Brinie Wallace for this performance, Forest Vandyke and Sam Linda, respectively. Mufasa rescues them but he admonishes Simba and reminds him that bravery and bravado are two different things, and he will be guided by the great kings of the past.

"...the production can only be described as spectacular."

Meanwhile, Scar conspires with the hyenas to kill Mufasa and then Simba so he can ascend to the throne. Scar starts a wildebeest stampede and tells his brother that Simba is caught in it. Mufasa saves him but Scar pushes his brother back into the stampede and kills him. Scar falsely tells the young cub that it is Simba’s fault his father is dead and urges him to run away. He sends the hyenas to kill Simba with the hyenas telling him that he is dead and returns to Pride Rock to take the throne.

Simba escapes but collapses from heat exhaustion in the desert. As vultures circle overhead, Simba is rescued by Timon the meerkat (Nick Cordileone) and Pumbaa the warthog (Danny Grumich). They take him to their home in the jungle where there are no rules or responsibilities and plenty of bugs to eat. These two have largely comedic roles and are wonderful in their playfulness. 

Simba grows up to be a strapping, defined and muscular, er, lion (played marvelously by Erick D. Patrick). Under Scar’s reign, the Pride Lands deteriorated into a drought-stricken wasteland. The hyenas are outraged over the lack of food. After Scar’s desire to make now grown-up Nala (Thembelihle Cele) his queen, she rejects him and searches for help.

Photo: Matthew Murphy

Timon needs to be rescued from a waterfall but Simba freezes in fear. In singing “Endless Night” Simba is inspired by the spirit of his dead father who is watching over him and saves Timon. Pumbaa is being chased by a lioness, and again Simba does the rescuing. He recognizes her as Nala. She implores Simba to return to the Pride Lands and restore the circle of life.

Raifki (Mukelisiwe Goba), a spiritual and quirky baboon or mandrill and a trusted associate of Mufasa urges Simba to return home and the spirit of Mufasa does the same. Upon Simba’s return, he confronts Scar, and during an altercation the villain tumbles off Pride Rock to a waiting pack of hungry hyenas.

Simba assumes his rightful place as king and he and Nala produce a cub of their own, thus completing the circle of life.

The entire cast and Ensemble display excellent vocals and dancing ability. As dancers, they showcase their athleticism, timing and grace executing the powerful African-influenced choreography by Garth Fagan.

The Lion King is a remarkable production with all the elements in place to justify its reputation for excellence. The majesty, artistry and performances are unique and breathtaking.  The opening number is worth the price of admission alone. But do stay for the remainder of the show and enjoy how the circle of life endures despite its many challenges with eye-popping imagery.

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

Disney’s The Lion King will play through Sunday March 2 Tuesdays through Thursdays at 7:30 p.m., Fridays at 8 p.m., Saturdays at 2 p.m. and 8 p.m. and Sundays at 1:30 p.m. and 6:30 p.m. Tickets will be available here, Ticketmaster. or in-person at the Hippodrome Box Office (12 N Eutaw Street) Monday through Friday, 11 a.m.to3 p.m. and show days 11 a.m. until show time. Groups of 10or more should contact BaltimoreGroups@BroadwayAcrossAmerica.com or by calling (888) 451-5986,

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

Mystery Solved: ‘Clue’ Kills It at the Hippodrome

I confess not being a player of the old Hasbro board game Clue as a kid. I was more of a Monopoly kind of guy, whose experience was invaluable in helping me buy up beachfront property in Atlantic City and to get out of jail free so many times (j/k). However, you did not have to play Clue to enjoy the laugh-a-minute Clue: A New Comedy murder mystery as it is appearing at Baltimore’s Hippodrome Theatre as part of a national tour.

Written by Sandy Rustin based on the screenplay by Jonathan Lynn with additional material by Hunter Foster and Eric Price, Clue: A New Comedy is inspired by the classic board game and the 1985 cult film with the same title. 

Veteran director Casey Hushion helms this rapid-fire, tight, well-paced slapstick comedy in a 75 minute window with an abundance of physical humor and quick sarcastic rejoinders. A talented ensemble cast executes the madcap zaniness with aplomb.

A gothic deserted New England mansion—Boddy Manor—is the scene of a dinner party on this dark and stormy night in 1954. (Come to think of it, when is a night not dark?)  The six mysterious invited guests are given aliases—Colonel Mustard, Mrs. White, Mr. Green, Mrs. Peacock, Professor Plum, and Miss Scarlet. They all have their own individual skeletons to hide but the one thing they have in common is that they are being blackmailed by the host.

In keeping with the board game, each guest is handed a weapon: a revolver, a rope, a lead pipe, a wrench, a candlestick and a dagger. Soon the host is murdered, then a visitor to the mansion is killed and is followed by others.

"...an abundance of physical humor and quick sarcastic rejoinders."

Bodies are turning up at Boddy Manor and given the secrets the guests hold and the fear of exposure by the blackmailer, the motives are ever-present with each guest and the butler suspecting another amid the mayhem. And some of this fear can be traced to McCarthyism that was frightening during the time, fostering even more paranoia about their lives.

Because Clue is a whodunit with dizzying twists and turns, I will not divulge the solution to the madness since every performance contains the same conclusion. So, no spoilers here.

The ensemble cast of Clue consists of in alphabetical order: Mariah Burks as the Cook, John Treacy Egan as Colonel Mustard, Michelle Elaine as Miss Scarlet, Joanna Glushak as Mrs. Peacock, Tari Kelly as Mrs. White, Mark Price as Wadsworth, John Shartzer as Mr. Green, Jonathan Spivey as Professor Plum, Alex Syiek as Mr. Boddy, Teddy Trice as the Cop, and Elisabeth Yancey as Yvette. 

All of these actors possess strong comedic timing and solid physical humor. As Mr. Green, John Shartzer particularly stands out with his physical comedy and antics. Other standouts include Michelle Elaine as Miss Scarlet and Mark Price as Wadsworth.

The cast has their individual moments to shine using their accents, acting-comedic skills and body language, but they also jell in perfect harmony with one another. From my standpoint, the entire cast excels in this work.

Another star is the accomplished scenic designer, Lee Savage. The Boddy Manor is elegant, sophisticated and detailed. The main room with its high ceilings, dark wood-paneled walls and two large chandeliers provide a perfect contrast to the zaniness unfolding on stage. Other rooms, such as the billiards room, the library, the kitchen, etc. open up at the sides flawlessly via turntables making for smooth transitions. Hushion’s direction is precise.

Also, lighting designer Ryan O’Gara does an excellent job employing lighting effects to accent the numerous dramatic moments and punch lines and illuminating the never-ending thunderstorm that night.

Jen Caprio’s costume design is effective in taking us back to the 50’s with style.

What music exists it serves as background similar to what you would hear in a thirties movie. As the main cast shuffles in well-choreographed movements from room to room as a group in search of clues, they do so comically to the background music.

Clue is a darkly funny, sometimes silly, high-energy, well-directed and performed play with most lines landing on the target. But these lines do come quickly so be prepared for that; it could seem like a whirlwind.  

This is a unique experience, and why would anyone want to miss this fine body of work? I don’t have a clue.

Running time. One hour and 15 minutes with no intermission.

Clue: A New Comedy runs through May 12 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 by Evan Zimmerman

The actual Clue board
courtesy of Wikipedia

‘Peter Pan’ Lets Your Imagination Take Flight at the Hippodrome

Spoiler alert: Peter Pan is not a true story. In fact, it is one of the most make believe-fantasies to ever grace the stage. With its sparkling production, technical excellence and a talented, multi-cultural young cast, Baltimore’s Hippodrome Theatre is the venue for the national tour launch of this re-imagined and newly adapted musical version of the classic story.

I’m almost embarrassed to admit my first encounter with Peter Pan was, as a little kid, watching the fairy tale on my family’s black and white console TV (it was televised in color, however) back when there were only four known planets. My recollection of that experience besides the fun songs and exciting story was my confusion as to why the character Peter Pan was played by a woman, Mary Martin.

Ms. Martin also starred in the 1954 Broadway production and received a Tony Award for her performance as Peter. She was succeeded in revivals by Sandy Duncan and Cathy Rigby as well as other women on a number of tours. Alas, my parents were unable to offer clarity to a situation where gender roles had been so clearly defined back then and why Ms. Martin played Peter.

However, this dazzling touring production debuts a bright and talented young man Nolan Almeida, 17, as Peter Pan. He handles the physically demanding role with aplomb and tons of enthusiasm. The charismatic Mr. Almeida is an excellent vocalist, dances proficiently including tap dancing with gracefulness not ordinarily seen in a teenager and excels in the superb flying sequences with somersault flips.

The musical is based on J.M. Barrie’s 1904 play Peter Pan and his 1911 novelization of it, Peter and Wendy, whose main storyline depicts Peter Pan as a boy who never wants to grow up. The music is mostly by Moose Charlap, with additional music by Jule Styne, and most of the lyrics were written by Carolyn Leigh, with additional lyrics by the potent duo Betty Comden and Adolph Green.

The additional book was penned by Tony Award winning playwright Larissa FastHorse, who,
importantly, scrubbed the original material of the offensive stereotypical portrayal of Indigenous people and women. She is the first Native American female playwright whose work had been produced on Broadway. With her influence, several characters including Tiger Lily are played by Indigenous peoples in the production.

Still, under the direction of Emmy Award winner Lonny Price and choreography by Lorin Lotarro, Peter Pan stays true to the widely familiar story and pleasing music. Familiar favorites, such as “I Gotta Crow,” "Neverland,” “I’m Flying,” which is an incredibly striking and well-choreographed aerial number with sterling special effects, the iconic “I Won’t Grow Up,” the main theme of the story, “Hook’s Tango,” the moving “When I Went Home,” and the gentle “Tender Shepherd” highlight the musical. The excellent orchestra was conducted by Jonathan Marro for this reviewed performance.

For those not familiar, Peter Pan along with his mischievous fairy sidekick Tinker Bell enters the bedroom of Wendy, Michael and John Darling in search of his lost shadow. Wendy helps to sew it back on him, and the smaller boys awaken to the visitor’s presence. He tells of Neverland, an island where he is from and where there are “Lost Boys” who are in need of stories to hear and also in need of a mother.

Peter demonstrates his flying prowess and immediately teaches the children how to fly as long as they think lovely thoughts. A sprinkle of fairy dust dropped on them by Peter completes the task. With absolutely jaw-dropping technical effects, brilliant projections, imaginative lighting and theatre magic, Peter and the Darling children embark on an adventurous journey to Neverland. There they encounter a tribe of Indigenous people representing cultures from around the world led by Tiger Lily. The “Lost Boys” are there, of course, and there is also the evil Captain Hook and his pirate crew.

Amid sword fights, flying sequences, and clever maneuvering, Peter Pan and the Darling children, team up with Tiger Lily and her tribe to eventually vanquish Captain Hook.

Through these adventures, the Darling children are taught valuable lessons and appear to grow up. But Peter is loath to growing up. However, years down the road, Wendy’s young daughter Jane will join Peter in a trek back to Neverland.

As mentioned before, Nolan Almeida soars as Peter Pan, literally and figuratively. Perfectly cast for the role, Mr. Almeida showcases is abundance of talent in dancing, singing and acting. His vocals shine in such varied numbers as “I Gotta Crow,” “Neverland,” the sensational group number with the Darling children “I’m Flying” as well as “When I Went Home.” Unquestionably, Mr. Almeida has a bright future in theatre. His present isn’t so bad either.

Hawa Kamara is making her professional debut in playing the part of Wendy Darling. Her acting skills are excellent with her timing, use of facial expressions and body language. Mature and caring, Wendy is as likeable as one can be, and Ms. Kamara’s performance, especially her exchanges with Peter at the outset, brings that to the fore.

On the night this performance was reviewed, William Foon and Reed Epley were wonderful as John and Michael Darling, respectively. They, too, sing and dance well and can handle a sword when called upon.

The villain is Captain Hook, and that role is adeptly played by Cody Garcia. Evil and sadistic, Captain Hook can be seen as comical by adults but frightening by children. Cody (who also plays Mr. Darling) has that stereotypical pirate look of being tall, slender, mustachioed and swashbuckling.  Cody carries it off perfectly with the right amount of flair, and sings well in “Hook’s Tango,” “Hook’s Tarantella” and Hook’s Waltz.”

Captain Hook’s flamboyant devoted sidekick Smee, played deliciously by Kurt Perry, provides much of the comedy in the show with his campy rejoinders. Mr. Perry hits it out of the park.

As the generous but commanding Tiger Lily, Raye Zaragoza turns in a splendid performance. Her strong vocals are on display in the group number “Friends Forever,” which features glorious dancing from the entire Company including a fast-paced tap segment to close out the first act.

The remainder of the cast including the Pirates, Lost Boys and the Tribe all contribute to this fantastic production.

[a]"sparkling production, technical excellence and a talented, multi-cultural young cast..."

Anna Louizos’ brilliantly designed set adds much beauty to the production. The scenes at Neverland with its lush flora that serve as a hideout for the “Lost Boys” are gorgeous.

David Bengali’s projections are eye-popping and nothing short of spectacular. The “I’m Flying” number midway through the first act is breathtaking and is alone worth the price of admission. And a spotlight should shine on Paul Kieve for the creative “Tinker Bell” design, which is exceptional.

Amith Chandrashaker is on point with his rich and effective lighting design. Kai Harada should get applause not only for the quality of the sound but the impressive sound effects throughout the production.

The astonishing fight scenes are directed by Rick Sordelet and Christian Kelly-Sordelet with music and dance arrangements by David Dabbon.

And Sarafina Bush’s stunning costume design makes it a lot easier to imagine what went on in Neverland.

Peter Pan is a high-flying musical that melds a wealth of talent, a solid score and creativity. I, for one, never wanted to grow up and didn’t. This is a must-see show for all ages whether you have grown up or not.

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

Peter Pan runs through February 25 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: Matthew Murphy

‘Mrs. Doubtfire’ is Sure-fire Hilarity at the Hippodrome

Rob McClure as Daniel Hillard/Mrs. Doubtfire

Right on the heels of a shockingly disappointing loss by the hometown football team, the Ravens, the North America touring production of Mrs. Doubtfire has rolled into Baltimore to bring some needed cheer while we lick our wounds. The musical now playing at the iconic Hippodrome Theatre is a heartwarming, tender story but with high octane comedy that is sure to keep you cracking up.

Four-time Tony Award winner Jerry Zaks adroitly directs this zany, well-staged musical with precision, which is based on the 1993 film Mrs. Doubtfire that starred Robin Williams. Lorin Latarro deftly handles the lively choreography, and Ethan Popp is the music supervisor.

The central plot consists of a divorced man with no custody of his children because he is unemployed and lives with his brother. He transforms into a female Scottish nanny named Mrs. Doubtfire in an effort to be close to his children. How he navigates this ruse is the core of the laugh-a-minute tale.

With some shows the plot is a vessel to carry the music, which is common among jukebox musicals, such as Mamma Mia!, Jagged Little Pill, Rock of Ages and many others. In Mrs. Doubtfire, the music by Karey and Wayne Kirkpatrick (the Tony Award nominated team behind Something Rotten!) is the vehicle to move the story along, and it’s well done. The book was penned by Karey Kirkpatrick and John O'Farrell.

The music in Mrs. Doubtfire will not likely appear on many folks’ playlists; however, the score with its eclectic styles and comedic lyrics perform a key function and service the story pleasingly. Some of the numbers are extraordinary with their lyrics and the manner in how they are performed.

“Easy Peasy” is a standout well-choreographed spectacle that brings laughter and joy with its zany antics. “Welcome to La Rosa” is another where everything in the plot unravels—literally. And that is followed up by the equally funny “He Lied to Me.”

Nik Alexander, Aaron Kaburick, Romelda Teron Benjamin
and Rob McClure

Rob McClure reprises his Tony-nominated Broadway role as Daniel Hillard, the out-of-work impressionist in San Francisco who loses custody of his three children after a messy divorce from his wife Miranda (played superbly by Maggie Lakis who happens to be Mr. McClure’s real wife). As stated previously, Daniel transforms into a Scottish nanny named Mrs. Doubtfire, who is hired by Miranda unaware of the true identity. This takes place after Daniel uses his voice impression skills, in a hilarious sequence, to sabotage Miranda’s efforts to find a regular nanny. Mrs. Doubtfire is anything but regular.

No one would expect an actor to replicate the comic genius of the late, great Robin Williams. But Mr. McClure comes darn close. In a tour-de-force, Mr. McClure is exceptional in a  physically demanding and strenuous role that includes well over a dozen costume changes in rapid fashion that must be accomplished on a dime to keep up with the fast pace of the show.

In possessing  natural comedic gifts, Mr. McClure scores big in every scene. Yet, his acting abilities come to the fore when he longs to be with his children and is desperate to do so. His ability to convey tenderness in these scenes while performing slapstick comedy in others is a tribute to his talent. Everybody roots for him.

"... a heartwarming, tender story but with high octane comedy that is sure to keep you cracking up."

Oh, by the way, he can sing well, too, as he is featured in over half the show's numbers. The moving solo “I Want to Be There” where Daniel fights for custody of his children in front of a judge is beautifully delivered. In another style, the comedic “Make Me a Woman” with his brother and his brother’s husband is beyond hilarious. Mr. McClure also excels while in the Mrs. Doubtfire character in the insanely funny “Easy Peasy”—a group number with the talented Ensemble where he desperately tries to brandish his cooking skills. There are many others. And yes, he can dance real well, even tap. What can’t he do?

For her part, Maggie Lakis as the strong-willed and business-savvy mother Miranda Hillard, performs well. Miranda clearly has no more interest in reconciling with Daniel and tries everything to keep him away from the children only to be infiltrated by Mrs. Doubtfire whom she adores especially because of the influence she has on her kids. Her one solo “Let Go” that showcases a powerful alto voice is glorious. In the end, after the jolting discovery that Mrs. Doubtfire was actually her husband, she comes to the realization that things are better when Daniel is around the children. It leads to an emotional conclusion. 

Giselle Gutierrez as Lydia Hillard, the oldest daughter and on the cusp of young adulthood, and for the reviewed performance Cody Braverman as her brother Christopher and Emerson Mae Chan as the youngest sister Natalie are bona fide scene stealers. Their acting skills are spot-on though Christopher performs most of the comedic lines and does so with aplomb. He alternates with Bernard Rimmele while Emerson alternates with Kennedy Pitney.

The three kids perform in the hilarious number “What the Hell”—yes they do, and Ms. Gutierrez shines in the emotional duet near show’s end with Mr. McClure in “Just Pretend.”

Now recall that the movie was released in 1993 and this musical production had made adjustments to modernize. The use of smart phones, internet and Siri are among the technical updates to the show’s plot.

What’s not updated is that the creative team retained the stereotypical gay characters for the musical. Indeed, sensibilities and attitudes have changed regarding LGBTQ+ individuals over the years.  One of the characters is Daniel’s flamboyant brother Frank (played by Aaron Kaburick) who is a make-up artist, no less and his even more flamboyant husband Andre (played by Nik Alexander).

Though their antics are over-the-top and at times cringe-worthy, they are fabulous and provide many comical moments during the course of the show. Advice: Don’t ever say anything negative about Donna Summer in front of Andre!

The couple assists Daniel with the prosthetics and wardrobe needed to pull off the Mrs. Doubtfire persona. And musically, the trio is outstanding in the funny “Make Me a Woman.”

Leo Roberts and Rob McClure

Also performing splendidly is Romelda Teron Benjamin as Wanda Sellner, the stern, all-business court liaison overseeing the progress made by Daniel to get a job, earn enough money and provide suitable housing for the children in advance of the court’s review of the custody ruling. In this process, the exchanges between her and Daniel, Frank and Andre are side-splitting funny. She also displays a powerful soprano. In the end, Daniel does find a job using his impression skills to land a TV kids show gig and manages to find a nice abode.

Leo Roberts plays Stuart Dunmore, Miranda’s brand-new love interest almost immediately following the divorce. Good-looking and muscular, Mr. Roberts portrays the rich British character well as he is the chief rival to Daniel. Whether by design or not, there is no chemistry between him and the children. Mr. Roberts also has a solid tenor singing voice.

The remainder of the talented cast and Ensemble supports the leads exceptionally particularly in vocals and dancing.

Though the set is not intricate or highly technical, it is attractive and services the plot effectively. Scenic Designer David Korins makes use of dropdown curtains and screens for scene changes with images of San Francisco in the background.  Costume Designer Catherine Zuber is very creative in outfitting the cast in colorful garb and, of course, the costumes for Mrs. Doubtfire. Phillip S. Rosenberg’s brilliant lighting design adds to the visual excellence of the show.

Truthfully, going in, I had my doubts about Mrs. Doubtfire and its conversion from screen to stage as a musical. No more doubts. It’s a perfect blend of love and laughs, and it’s fantastic.

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

Mrs. Doubtfire runs through February 4 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 or the Hippodrome Theatre online.

Photos: Joan Marcus

The 2024-2025 season recently announced:

5-6-7-8 'A Chorus Line' at Toby’s Will Surely Captivate

It may have been 1975 with the birth years of the dancers auditioning for a fictional Broadway musical ranging from 1942 to 1955, but the competition for such chosen roles by these show dancers is as fierce today as it was then.  An abundance of talented performers; needed jobs; few openings are available. That hasn’t changed over the years. 

Toby’s Dinner Theatre triumphs with its entertaining re-creation of the classic hit musical A Chorus Line, which humanizes these seemingly anonymous dancers. Each brings a story of struggle or dreams, of triumphs or failures, of family support or abandonment.

I was curious to see how Toby’s in-the-round configuration could adapt to a linear production, such as this. Under the imaginative direction of Helen Hayes Award winner Mark Minnick, who has been nominated for two more such awards for his work last year with Something Rotten! and Escape to Margaritaville along with choreographer Vincent Musgrave making his Toby’s choreography debut, the production team met the daunting challenge.

Rather than stringing the auditioning dancers in a single line across the stage as depicted in other productions, the performers are clustered at the stage’s three entrances as well as forming double lines across the stage. It’s very effective.

A Chorus Line features music by Marvin Hamlisch, lyrics by Edward Kleban, a book by James Kirkwood, Jr. and Nicholas Dante and originally choreographed by Michael Bennett.  In doing so, Mr. Minnick helms a tight production on a mostly bare stage that boasts a diverse array of talented dancers, singers and actors that perform some of the best-known songs on Broadway.

Paul played by Brian Dauglash

Songs, such as “I Hope I Get It;” “Hello Twelve, Hello Thirteen, Hello Love,” a brilliantly staged production number; “Dance: Ten, Looks: Three;” the gorgeous ballad “What I Did for Love;” and “One,” a singular sensation of a song, highlight the catalog. Honestly, you will have a hard time getting that song out of your head.

The eight-piece orchestra under the musical direction of conductor Ross Scott Rawlings (Nathan Scavilla conducts in other performances) provides sturdy melodic support for the singers and dancers. Lynn Joslin’s superb lighting design vividly amplifies the dramatic sequences with Mark Smedley’s sound design enabling the musical performances and dialogue to be clearly audible.

The original version of A Chorus Line ran for 6,137 performances and is the sixth longest-running Broadway show ever.  It spawned numerous touring productions and revivals, captured 12 Tony Award nominations and won 9 of them, in addition to the 1976 Pulitzer Prize for Drama. 

The musical is dance-heavy, and chorographer Musgrave and the performers are clearly up to the task. A variety of precisely arranged moves are deployed making excellent use of the stage. They include lifts and tap dancing among others, which are on display in solo and group numbers.

The quality of the music, dancing and dialogue (largely monologue) makes the show endearing and timeless and explains its enormous popularity.  Each of the 17 dancers is called upon to not only flaunt their moves individually and in groups in a strenuous audition but are also asked (um, told) to describe their life’s experiences to the authoritative director and choreographer, Zach (played commandingly by Jeffrey Shankle).

Mr. Shankle mostly sits above one of the theater’s balconies to simulate being in the rear of a theater’s auditorium. Zach’s assistant Larry, played well by Andrew Gordon, is a standout dancer when he joins in group numbers.

Never for once imagining they would be required to reveal their inner secrets, confessions and self-doubts to the director, much less to their fellow competitors, to vie for the limited number of openings (4 boys and 4 girls), the dancers opened their souls with remarkable candor.  I mean, how many performers attend an audition and admit they can’t sing?  One did here.

"Toby’s Dinner Theatre triumphs with its entertaining re-creation of the classic hit musical A Chorus Line..."

Talking straight ahead to Zach and responding to his questions bellowed from a microphone, these dancers tell their stories amidst a series of musical numbers including a montage.  Though some of the soliloquies slow the pace down in spots, they are mostly fun and unique and an integral part of the show. 

There are too many to name here, but these are some examples. Don, the married man who worked in a strip club (Brandon Bedore); Connie (Kiana King), a petite older Asian-American who still believes in eternal youth; Greg (Ariel Messeca), an impish Jewish gay man who describes his first experience with a woman; Sheila (Jessica Barraclough), a sassy, aging and sexy dancer who describes her unhappy childhood; and Mark (Angelo Harrington II), the youngest at age 20 who hilariously told his priest he thought he had gonorrhea when instead it was...

Paul (Brian Dauglash) presented one of the more emotional stories.  The Puerto Rican tells of his earlier experiences growing up gay and his involvement in a drag act. He was forced to drop out of school, and when his parents learned of his orientation, his relating their reaction was a particularly poignant part of the show.  Paul breaks down and Zach goes on stage to comfort him.  Mr. Daughlash is exceptional in sharing Paul’s experience.

Then there is Diana (Leela Dawson), also Puerto Rican who delivers the knockout number “Nothing” and later the classic “What I Did for Love.”  The latter follows a mishap to Paul, who injured a knee during a tap dance number, and the other dancers on the line experienced the sudden horror that their career could also end in a flash.  Few had alternative plans. 

Cassie played by Lydia Gifford

Cassie, one of the significant characters in the production, is played convincingly by Lydia Gifford.  She and director Zach once had a romantic relationship, and when Zach became more involved with theatre than with her, they split.  Zach believes that Cassie, who was once a successful solo dancer, is a feature-caliber performer, not merely a member of the chorus. But Cassie wants to be a part of the chorus and respects all those trying to make it.  

Ms. Gifford also elegantly performs a solo dance (“The Music and the Mirror”) as an angled mirror presents images of her dancing smoothly around the stage in a variety of moves donned in a sleek red dress.

Val, a fun character played by Alexis Krey Bedore, does a splendid job as a potty-mouthed dancer who needed plastic surgery to “enhance” her looks to get dancing jobs.  Her rendition of “Dance: 10; Looks: Three” is performed admirably.

The ensemble, in the meantime, learn the steps and lyrics to “One,” arguably the most iconic of the show’s numbers.  The final eight chosen dancers are announced, and those failing to make the cut exit the stage deflated. 

For the show’s finale all the dancers, including those cut, are decked out in glistening gold formal costumes (designed by Kansas City Costumes and coordinated by Janine Sunday) blending as a singular mass, absent individual identity, wonderfully performing the catchy reprise of “One.”   

Rounding out the talented cast are in alphabetical order: Dereck Atwater (Frank), Quadry Brown (Richie), Justin Calhoun (Butch), Aria Renee Curameng (Vicki), Emily Flack (Maggie), Nicky Kaider (Mike), Amanda Kaplan Landstrom (Kristine), Ryan Sellers (Al), Adam Shank (Roy), David Singletoen (Bobby), Patricia “Pep” Targete (Bebe), Danielle Tuomey (Trish), and Julia Williams (Judy).

Toby's production of A Chorus Line features a very diverse, attractive and talented bunch of dancers, singers and actors. They powerfully and gracefully glide and swerve in precise movements and none deserve to be cut.  But in the end, somebody has to go.  

Through this show, which was inspired by a number of stories from actual dancers, we’re taken back almost five decades. Indeed, some of the topics, such as homosexuality and breast implants were groundbreaking back in the day.  But truth be told, aside from the costumes, hairstyles, and cultural references of yore, it is all so contemporary and a must-see.

Advisory: The show contains adult themes and language and is not recommended for young children.

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

A Chorus Line runs through March 10, 2024, at Toby’s the Dinner Theatre of Columbia, 4900 Symphony Woods Rd., Columbia, MD 21044.  Tickets may be purchased by calling the box office at 410-730-8311or visiting online.

Photos: Jeri Tidwell Photography

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