A Divine ‘Sister Act’ at Toby’s

Cast performing "Take Me to Heaven"
Photo: Jeri Tidwell Photography

Many musicals contain broad societal themes or historical events as the backdrop for the production.  Sister Act is not one of them. Instead, the musical takes the audience on a jolly, at times silly, feel-good journey that demonstrates how people can change for the better if given the right environment and support.

With music by Alan Menken and lyrics by Glenn Slater and a book by Bill and Cheri Steinkellner, Sister Act is based on the successful 1992 movie of the same name that starred Whoopi Goldberg.   The musical production opened in 2009 and received five Tony Award nominations in 2011.

Under the meticulous direction of Lawrence B. Munsey (who also teamed with Mary Quinn for the glorious costumes); solid musical direction of Ross Scott Rawlings; imaginative and clever choreography of Helen Hayes Award winner Mark Minnick; and a high-energy, talented company, Sister Act, currently playing at Toby’s The Dinner Theatre of Columbia, serves up a tasty production that is matched only by its scrumptious buffet. 

There is an abundance of comedy that will keep you laughing heartily. The up-tempo songs are toe-tapping with some powerfully delivered ballads in the mix.  The influence of disco, Philly soul and gospel is evident in Mr. Menken’s score. A few of the songs are of the show-stopping variety and are performed exceptionally by skilled vocalists.  Mr. Rawlings’ six-piece orchestra is well-balanced in support of the performers without overpowering them.

Set in 1977 Philadelphia, the Whoopi Goldberg in this production is Ashley Johnson as Deloris Van Cartier, an aspiring disco diva who ends up in hiding at a convent when her married club-owning gangster boyfriend, Curtis Jackson (DeCarlo Raspberry) and three buffoon-like accomplices Joey, Pablo and TJ (talented Russell Sunday, Moses Bernal and Tobias Young, respectively) find out she’s squealed to the cops about his murdering one of his cronies.  And the quest for Curtis to find her is on.

At the convent, Deloris meets up with the rigid, no-nonsense Mother Superior (Lynn Sharp-Spears) where their backgrounds, personalities and religious values clash but mostly in a light manner laced with sarcasm.  Deloris brings to the convent her streetwise persona, plenty of sass, and an irreverent view of religion and is frustrated by the convent’s restricting rules.

She also brings a ton of singing talent to help the other sisters transform their hapless choir into one that is adding more folks to the pews and more dollars to the collection plate.  This is significant because the financially-strapped church in need of repairs is being coveted by an unseen “bachelor couple who deals with antiques and lean on each other for support.” (Well, it IS musical theatre!)

Deloris also finds the meaning of true friendship as she engages with the other sisters.  From them Deloris ultimately finds a higher purpose to her life and that they are not much different from her.

Without question, Ms. Johnson (Memphis, The Wiz, The Color Purple) as Deloris turns in a star-quality performance.  She offers the right amount of sass in her dialogue, showcases her comedic skills with spot-on timing and body language, and Lord, can she sing!

Commanding a rich soprano voice that grew stronger as the show progressed the night it was reviewed, Ms. Johnson excelled from the opening numbers “Take Me to Heaven” and “Fabulous Baby” to “Raise Your Voice” and “Sister Act.”

The romantic interest is “Sweaty Eddie” Souther, played by Hasani Allen, a dorky, klutzy (sometimes a bit too much) policeman whom she knew in high school.  Eddie is assigned to protecting her from Curtis.  His big number “I Could Be that Guy” is strong and emotional and well-delivered.  That number is enhanced by a wonderful double-breakaway costume.

Ashley Johnson singing "Raise Your Voice"
Photo: Jeri Tidwell Photography

As the deadpan Mother Superior, Ms. Sharp-Spears is the perfect foil for Deloris.  Their repartee provides many of the laughs in the show with each feeding off each other proficiently. “Here Within These Walls” and “I Haven’t Got a Prayer” ably showcase Ms. Sharp-Spears’ solid soprano voice.

Mr. Raspberry as the show’s antagonist Curtis shines in “When I Find My Baby” aided by his three aforementioned cohorts.  He repeats that number in the second act as a solo very movingly demonstrating his rich baritone vocals.

A young apostolate in the convent, Sister Mary Robert played tenderly by Teresa Danskey, takes the leap from being shy to confident thanks to her bonding with Deloris.  Her soaring performance of “The Life I Never Led” that depicts this discovery is one of the production’s highlights.

The remainder of the company supports the leads effectively in the musical numbers with their vocals and dancing.  Mr. Minnick’s creative choreography is exemplified in the revival-like finale, the reprise of “Raise Your Voice.”

Other notable performers include the comedic Robert Biedermann 125 as Monsignor O’Hara, Jeffrey Shankle as Ernie, Amy Haynes as Sister Mary Patrick, Lynne Sigler as Sister Mary Lazarus, and the always enjoyable Jane C. Boyle as Sister Mary Martin-of-Tours.

Rounding out the company are Mary Kate Brouillet, Coby Kay Callahan, Erica Clare, Andre Hinds, David Jennings, Rachel Kemp, Santina Maiolatesi, Darren McDonnell, and Elizabeth Rayca.  The swings are Tina DeSimone and A.J. Whittenberger.

David Hopkins’ set and lighting design works well in Toby’s in-the-round theater.  There are a fair amount of scene changes from bars to the convent utilizing a variety of moveable props. The staging for the scene changes is smooth and seamless.  The best set is the depiction of the church’s chapel complete with stained glass windows along the walls of the theater as well as candles and candle chandeliers.

Costumes designed by Mr. Munsey and Ms. Quinn are fabulous.  From tight disco dresses to various sets of habits for the sisters (black, white and red) and even pajamas to polyester suits, the costumes hit the mark.  #hocoarts

Sister Act is an enjoyable, uplifting musical that, praise the Lord, will surely entertain you.  Don’t miss it.

Running Time: Two hours and 40 minutes with an intermission.

Sister Act at Toby’s The Dinner Theatre of Columbia runs through November 13.  For tickets and information, call 410-730-8311 or visit online.

You’ll Flip Your Wig at Toby’s 'Hairspray'

Most of us can relate to being an underdog during points in our lives. Overcoming challenges can be fulfilling and exhilarating especially if the results are unexpected.  So when we see others do it, we cheer and cheer hard because we can relate; we’ve been there.  Who doesn’t love underdogs who triumph against the odds?  #

Photo: JeriTidwell Photography

Hairspray, which is playing at Toby’s the Dinner Theatre of Columbia for the next two months, is a vibrant feel-good musical that allows the audience to fight the fight alongside the underdogs.  Under the meticulous direction of Mark Minnick, this Broadway-caliber production blends high-quality singing, dancing, comedy, dazzling costumes, and tackles serious social issues to boot.  #hocoarts

Mr. Minnick, who is also the show’s accomplished choreographer, is blessed to work with an incredible cast who clearly enjoy themselves on Toby’s in-the-round stage as much as the audience does.  The technical crew, creative team, and the musical direction of Ross Scott Rawlings enhance the performances even more.

Hairspray with a score by Marc Shaiman, lyrics by Scott Wittman and Shaiman and a book by Mark O'Donnell and Thomas Meehan, based on the 1988 John Waters film Hairspray, copped eight Tony Awards in 2003. 

The songs from the opening iconic number “Good Morning Baltimore” to the final “You Can’t Stop the Beat” are eclectic. From 60’s-style dance music to rhythm and blues—upbeat high-tempo to soft emotional ballads—the music and lyrics are outstanding.

Nineteen sixty-two Baltimore is the backdrop for the story that centers on the main underdog, plucky Tracy Turnblad played marvelously by Christie Graham.  In most versions of Hairspray, Tracy is “pleasantly plump.”  In this production, Ms. Graham is not as rotund as other Tracy Turnblads but her level of talent overcomes that slight inconsistency and is never a detriment.  Her mother, however, Edna, a drag role played with panache by the ultra-talented Lawrence B. Munsey, is a plus size for sure.

Photo: JeriTidwell Photography

Against the odds, our heroine Tracy seeks to be a dancer on the local Corny Collins TV show and winds up being a star, successfully covets the heartthrob Link Larkin in an unlikely match, and rallies against racial segregation.

There are many clever references to the Baltimore area and culture in 1962.  On the night this production was reviewed there were an unusual number of young people in the audience.  Quips about the Gabor Sisters, Eddie Fisher and others from that era may have blown over their heads like misaimed squirts from a container of hairspray.  But for the adults who remember that time, they hit the mark.

Though Hairspray brings to life the good times of that period, nostalgic it’s not.  Baltimore was a segregated city then, and racism that is associated with that blight, becomes the main force in the show.  In the end, there are heroes galore as The Corny Collins Show is ultimately integrated led by the persistent Tracy who had been jailed for being a “rabble rouser.”

Toby’s resident performers Jeffrey Shankle as Corny Collins, Lawrence B. Munsey as homebody Edna Turnblad,  David James as Tracy’s encouraging father and Edna’s adoring husband Wilmer Turnblad, and Heather Marie Beck as one of the villains, Velma Von Tussle all reprise their roles from the production of Hairspray at Toby’s Columbia six years ago.  With much experience under their belts since then, it is no surprise they handle their roles with stunning proficiency and flair. 

Mr. Munsey, in particular, turns in a tour-de-force performance.  Mr. Shankle is perfectly cast for his role.  Darren McDonnell, playing several “authority figure” roles, also shines with the appropriate dose of campiness.

Sophie Schulman who plays a rather dim Penny Pingleton, Tracy’s closest friend, is excellent and serves up many of the comedic lines.  Penny falls in love with African-American Seaweed J. Stubbs played by Andre Hinds who has a big part in the integration effort. 

Photo: JeriTidwell Photography

Mr. Hinds, using his lithe physique, is an exceptional dancer with grace and power.  He sparkles with is jaw-dropping flips and spins during several of the dance numbers.  And he can act quite well displaying ample passion without going over the top.

Overall, the choreography directed by Mr. Minnick is exceptional, high-energy and precise.  The members of the talented ensemble execute the dance sequences superbly.  As an example, the number “The Big Dollhouse” that opens up the Second Act is sensational in its choreography.

Handsome Justin Calhoun as the heartthrob Link who is one of the protagonists, plays the role to the hilt with his swagger and occasional preening.  Possessing a solid voice as well, Mr. Calhoun shines in his duet with Ms. Graham in “It Takes Two.”

The Turnblad couple played by Mr. Munsey and Mr. James reminisce in “You’re Timeless to Me” and  is one of the show’s many highlights. The ballad is an adorable love song oozing with emotion and camp that will make you smile. These two outstanding performers nailed it.
Another highlight and probably worth the price of admission besides the scrumptious buffet is the performance by Kelli Blackwell as Motormouth Maybelle, the mother of Seaweed and Little Inez (played by cute Nowelle Robinson).  Her powerful rendition of “I Know Where I’ve Been” whereby she  recalls the fight for equality is almost guaranteed to make your eyes well up in tears.     

Another strong performance is turned in by Gabriella DeLuca as Amber Von Tussle, the reigning Teen Queen vying for the title “Miss Hairspray 1962” and Tracy’s chief rival.  #hocoarts

The Dynamites is a background singing group that adds a Motown feel to the show.  Talented vocalists Renata Hammond, Ashley Johnson and Samantha McEwen comprise the group.  I can imagine Ed Sullivan introducing them on his show: “Right here on our stage…the sensational Dynamites!”

Other talented members of the company who make this production work so well include Sean McComas, Rachel Kemp, AJ Whittenberger, Erica Clare, Joey Ellinghaus, Amanda Kaplan, Coby Kay Callahan, Solomon Parker III, and Gerald Jordon.

Mr. Munsey along with Mary Quinn designed the glorious costumes that are right on target especially that red satiny gown Mr. Munsey wears at show’s end.  With tongue and cheek, he said, “I made it myself.”  Oh, and those bountiful, big-hair wigs!  Love ‘em.

The set designed by David A. Hopkins that featured photos of Baltimore houses along the theater’s walls aided by Lynn Joslin’s lighting design and a multitude of props provide effective scene changes and texture.

 I would like to see a prototype of a TV camera used during the Corny Collins Show sequences similar to the one employed at Toby’s production of Memphis in 2014 to give it a TV studio identity.

This production of Hairspray succeeds on all fronts that entertains and delivers a powerful message.  Mr. Minnick directs these extraordinary performers with great skill and is a sure-fire crowd pleaser.  This is a must-see show without question. 

You can’t stop the beat, and why would you want to?

Running time. Approximately two hours and 30 minutes with an intermission.

Hairspray at Toby’s The Dinner Theatre of Columbia runs through September 4.  For tickets and information, call 410-730-8311 or visit tobysdinnertheatre.com or ticketmaster.com.

A Crazy 'Addams Family' Delights at Toby's

Creepy, kooky, mysterious and spooky—that surely defines that ooky Addams family.  You can add hilarious and goofy to the mix and you have the recipe for a delicious, zany production of The Addams Family currently playing at Toby’s the Dinner Theatre of Columbia.



The Addams Family cast.  Photo: Jeri Tidwell

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

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

The Addams Family opened on Broadway in March 2010 and ended its run on December 31, 2011 after over 700 performances.  The show failed to capture any of the eight Tony Award nominations in 2010, even with Nathan Lane in the lead, but did receive a Drama Desk Award for Outstanding Set Design.  Despite less than stellar reviews and the lack of accolades, The Addams Family did well financially on Broadway and spawned numerous regional and touring productions both in the U.S. and internationally.

Toby’s presentation is more similar to the touring production than the Broadway original. The storyline centers on the morbid and crazy Addams family—Gomez, Morticia, Uncle Fester, Grandma, Wednesday, Pugsley and Lurch—whose preoccupation with death and darkness provides most of the humor in the show.  They are visited by the straight-laced Beineke family from Ohio—a swing state as bellowed by Gomez—whereby the son Lucas, the beau of Wednesday, brings his parents Mal and Alice to meet the Addamses in a what-can-possibly-go-wrong scenario. 

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

 

"The Addams Family at Toby’s is led by its exceptional cast. "

Musically, Lippa’s score does not contain the tuneful melodies that will leave you humming as you exit the theater.  Nonetheless, his lyrics are potently funny, and in the manner of Sondheim, the lyrics will get your attention.  #hocoarts

Those songs that stand out include, “When You’re an Addams,” “Trapped,” “Pulled,” “One Normal Night,” “Full Disclosure,” “Crazier Than You,” and “Live Before We Die.” Ross Scott Rawlings and his six-piece orchestra do a fine job as always backing up the vocalists.

It’s not just the songs and dialogue that will keep you chuckling.  The set, designed by David A. Hopkins, is detailed to the core with 19^th century Gothic furniture and other accoutrements including gas lamps encased by spider webs and a Spanish Inquisition chair that is bound to get a response from a person sitting on it.  Even "Thing "and "Cousin Itt" make brief appearances through Mr. Hopkins’ creativity.

Credit Costume Coordinator Lawrence B. Munsey and Lighting Designer Coleen M. Foley for adding the appropriate spookiness to the production.

The Addams Family at Toby’s is led by its exceptional cast.  In such a campy production, the temptation is for the performers to go overboard, but under Mark Minnick’s guiding hand, the performers exhibit the right amount of restraint without sacrificing the comedy.

Lawrence B. Munsey turns in yet another masterful performance.  He sparkled in recent Toby’s productions playing Javert in Les Misérables and King Arthur in Spamalot, and as Gomez Addams, he continues that solid streak. 

Mr. Munsey’s commands the stage with his well-timed rejoinders, gestures and a rich baritone voice. He is particularly strong in singing “Trapped” and “Live Before We Die.”  Gomez is challenged to placate Morticia because he kept a certain secret from her (she abhors secrecy) and is one of the major plotlines. 

Morticia is played by another Toby’s veteran, the lovely Priscilla Cuellar.  Her stellar singing voice shined in Spamalot, and she brought that vocal prowess to Addams in “Secrets” and “Just Around the Corner.”  Morticia gave a lot of grief to Gomez and was convincing in doing so. Their onstage repartee is excellent.

Wednesday Addams, played by MaryKate Brouillet, did a fine job conveying her sadism towards  her younger brother Pugsley, and her desire to marry Lucas (played well with exuberance and earnestness by AJ Whittenberger). 



Gomez (Lawrence B. Munsey) kisses Morticia's (Priscilla Cuellar) hand
Photo: Jeri Tidwell

She performed nicely in a duet with Jace Franco as Pugsley for the performance reviewed in “Pulled.” (Gavin Willard also plays Pugsley in other performances.)  Ms. Brouillet possesses a powerful singing voice as does the young Mr. Franco.  The latter commands a good range and comedic instincts, which bodes well for his future in musical theatre.
Cross-gender cast as the centenarian Grandma is David James who is funny at every turn. You can laugh simply by looking at him/her.  

Rounding out the Addamses are Shawn Kettering as Uncle Fester who discovered he is in love with the moon and David Bosley-Reynolds as the near silent, methodically plodding Lurch.  Both played their respective characters to the hilt.

Darren McDonnell as Mal Beineke, Lucas’ father, excels as a control-freak whose marriage was about to collapse from deceit and other maladies.  He needed to be crazier, and where would be a better place to start other than the Addams’ mansion in the middle of Central Park?

His wife Alice, played energetically by Elizabeth Rayca, is seemingly victimized by Mel’s bland personality had turned to random rhymes for solace. The marital problems seem to work out at the end. 

The remainder of the company included ten living, dead and undecided Addams’ ancestors, and they did a splendid job of supporting the principals in song and dance.

The Addams Family at Toby’s is guaranteed to keep you laughing, and you will count your blessings that you’re not a relative of that kooky but loveable family.

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

The Addams Family runs through April 19 at Toby’s the Dinner Theatre of Columbia, 5900 Symphony Wood Rd., Columbia, MD 21044.  To purchase tickets call 410-730-8311 or visit online.

Racial Taboos, Rock and Blues at Toby’s Memphis

As was the case throughout the South during the mid-1950’s white folks in Memphis referred to African-Americans as coloreds and by the N-word.  Radio stations played either white music or black music—not both.  People dared not set foot in an establishment whose ownership and clientele were of another race. Interracial relationships were forbidden and dangerous.



Greg Twomey as Huey and Ashley Lauren Johnson as Felicia

While things have improved significantly but not entirely over the years, these conditions provide the backdrop for the hand-clapping, toe-tapping musical extravaganza, Memphis the Musical, now playing at Toby’s the Dinner Theatre of Columbia.

Under the direction of Toby Orenstein and Lawrence B. Munsey, the musical direction of Ross Scott Rawlings with choreography by Christen Svingos, the extraordinary cast more than did justice to the four-time 2010 Tony Award-winning show that included Best Musical.  With all the superb performances and technical precision, Memphis joins a growing list of elite productions at Toby’s famous in-the-round theater.

David Bryan’s music and lyrics and Joe DiPietro, who co-wrote the lyrics and penned the book, brought the message of love, ambition and race home through a score brimming with rhythmic gospel, R&B and rock numbers along with melodic ballads. 

The story revolves around Huey Calhoun (played by Greg Twomey) a rather poor good ‘ole boy ninth grade dropout who loves R&B music.  One night he saunters into an underground black dive club where he was far from welcomed.  He meets Felicia Farrell (Ashley Lauren Johnson), the sister of the owner Delray Farrell (Sayne-Kharyi Lewis). Upon hearing the young black woman sing, Huey promises to find a way to get her noticed.

Huey, a braggart and a self-promoting conniver, manages to get himself a trial audition as a DJ on a white radio station playing “race music.”  In Memphis, no one had ever attempted this before.  Huey’s unique style and personality (he uses the nonsensical “Hockadoo” as his signature word on the air) plus his playing this type of music, which was the foundation for the upstart Rock ‘n Roll genre, endeared him to the listening audience much to the chagrin of the skeptical and resistant station manager Mr. Simmons (Robert John Biedermann 125).

"Adding all the ingredients together—the story, the music, the expertly directed well-cast and -performed production of Memphis is one that should not be missed." 

Nonetheless, Huey’s popularity leads him to a local television gig whereby he can showcase Felicia’s vocal talents.  As Huey’s interest in Felicia grows, he has to overcome the defiant opposition of his racist mother Gladys Calhoun (Lynne Sigler) who clings to old-time prejudice.  Her brother Delray is not too keen on this relationship either.  Though Felicia herself understands the dangers, she moves closer to Huey but wants to do so in secrecy.

While their careers rise their relationship is challenged by personal ambition and the lack of acceptance of their relationship by the outside world.  To find out how this plays out, you should see the show.

Although the entire ensemble can sing, dance and act like it’s nobody’s business, Twomey and Johnson soared high as the leads.  It was difficult for me to believe that Twomey hadn’t performed on stage for over three years prior to being cast in the role of Huey.  His performance is so refined, so adroit in every way, one would think he is a seasoned veteran with a mantle full of trophies. 

In that regard Twomey’s acting skills demonstrated more gold than rust.  Playing the role of a fellow who is paradoxically big-hearted and self-centered, his movements on the stage, facial expressions, body language, posture and Southern drawl demonstrate he was perfectly cast as Huey.

Besides his solid acting performance, Twomey proves he can sing and he can dance.  Though there were no solos for his part, Twomey excels with his smooth, pitch perfect voice in such numbers as “Music of My Soul,” “Ain’t Nothin’ But a Kiss,” and “Tear Down the House.”

Photos by Kirstine Christansen

For her part, the lovely Ashley Lauren Johnson is also perfect for the role of Felicia.  Performing in her tenth show at Toby’s, her acting skills shine throughout, and her strong onstage chemistry with Twomey is palpable.  In addition to possessing superb vocal chops, Johnson delivers a beautiful solo rendition of “Colored Woman,”  and she hit the mark in “Love Will Stand”—an outstanding number she performs with the company.

Also notable in the cast is Lynne Sigler as Huey’s bigoted mother who eventually transforms her attitudes towards race.  Her number “Change Don’t Come Easy” is a virtual show-stopper.  Wait until you hear that final note!

Sayne-Khayri Lewis as Delray, the over-protective brother of Felicia, also turns in a fine job. His duet with Twomey, “She’s My Sister” is emotionally strong and well performed.

Tobias Young, a Helen Hayes nominated veteran of Toby’s sparkles in the role of Bobby, a janitor and a friend of Delray’s who helps the illiterate Huey to read a beer commercial.  That scene, by the way, is the funniest moment in the show.  Young’s performance of “Big Love” is joyful.

In the role of Gator, Jonathan Randle’s rendition of “Say a Prayer” is superb as it is moving.  Robert John Biedermann 125 as the cranky Mr. Simmons performs splendidly.

The talented ensemble proficiently supported the leads, performing in most of the numbers.  They sang and  danced expertly and added a high-octane presence.   Give credit to choreographer Christen Svingos for the well-designed dance numbers with some of them infused with breathtaking acrobatics.

Ross Scott Rawlings six-piece orchestra coordinated effectively with the on-stage performers, allowing their vocal talents to stand out. Set and  Light Designer David A. Hopkins and Sound by Drew Dedrick provided the technical support to keep the production glowing.

The period props are great part of the production.  They consisted of old phones, a television camera, actual vinyl records, 50’s-style kitchen furniture, microphones and radio equipment.  To go along with these, Larry B. Munsey outfitted the ensemble in representative 1950’s southern costumes including lovely robes for the church choir.

Adding all the ingredients together—the story, the music, the expertly directed well-cast and -performed production of Memphis is one that should not be missed. 

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

Advisory: The show contains profanity and is not recommended for children.

_____________       #hocoarts

Memphis

runs through November 9  at Toby’s, the Dinner Theatre of Columbia, 5900 Symphony Woods Road, Columbia, MD 21044.  Tickets can be purchased by calling 410-730-8311 or online.

'Les Misérables' at Toby’s est Magnifique



Photo by Kirstine Christiansen

If you bought a ticket simply to hear the magical tenor voice of Daniel Felton who plays Jean Valjean in the stellar production of Les Misérables currently at Toby’s, the Dinner Theatre of Columbia, it would be worth it just for that.  The same could be said for experiencing the performances of Lawrence B. Munsey as Javert or Theresa Cunningham as Madame Thenardier or the rest of the ensemble or even the scrumptious buffet.  But there is more, much more.

This version of Les Mis at Toby’s in-the-round configuration maintains the high level of brilliance expected from such a great work with its outstanding score and orchestration, magnificent individual performances, creative and efficient staging and spectacular costuming.  All these elements were overseen by co-directors Toby Orenstein and Steven Fleming who not only met the physical challenges of mounting such a complex, lavish production in this venue but exceeded it.

Les Misérables, a classic sung-through musical based on the novel by the French poet/playwright Victor Hugo, has been entertaining audiences throughout the world for decades.  The Broadway musical, whose score was written by Claude-Michel Schönberg, original French lyrics by Alain Boublil and Jean-Marc Natel, with an English-language libretto by Herbert Kretzmer, opened in March 1987 and ran until May 2003, closing after 6,680 performances. It is the fourth longest-running Broadway show in history.  Les Misérables was nominated for 12 Tony Awards and won eight, including Best Musical and Best Original Score.

The storyline with its adventure, drama, love, generosity, redemption and tragedy has many moving parts to it, but it essentially follows the life of a peasant Jean Valjean in early 19^th century France.  He had been imprisoned 19 years for stealing a loaf of bread to help his starving sister’s child.  Valjean broke parole and started his life over with the benefit of a helping hand from a kind Bishop.  He was relentlessly pursued by police inspector Javert whose sense of justice did not allow him to believe that a man could change for the better.

As a town mayor and factory owner eight years later, Valjean rescued a dying woman named Fantine from the police and promised her to care for her young daughter Cosette, whom he liberates from the abusive innkeepers-turned-street gang leaders, the Thénardiers.    

Years pass by and Valjean is still being dogged by Javert, and a student uprising begins in Paris.  One of the revolutionaries, Marius, falls in love with the grown Cosette who reciprocates, and they eventually marry.  Valjean, who rescued Marius from an injury sustained at the hands of the French military at the barricades, ultimately reveals his identity before he passes on. 

Much occurs in between as this is merely a general summary.  Since there is no dialogue, the entire plot is revealed through music, and the performances were characterized by top-notch vocals with clear enunciation of the lyrics to illuminate the story.  The six-piece orchestra led by Christopher Youstra provided the musical support to help allow the performers to excel. 

Most of the ensemble are Toby’s regulars and are accustomed to the contours of the theatre and the stage presence required of the actors.  They performed superbly led by Daniel Felton as Valjean.  Possessing a powerful voice that is pitch perfect combined with his ability to hold long notes, Mr. Felton is a standout.  “Who Am I” and “Bring Him Home” are two of the noteworthy numbers in which Mr. Fenton shines.

Toby’s mainstay Lawrence B. Munsey turned in one of his best performances yet as the intense Javert.  Not only does he burnish his vocal chops in “Stars” and “Soliloquy,” but his dynamic acting skills come into play as well.

Janine Sunday as the tragic figure Fantine also performed nicely, and her main song, “I Dreamed a Dream” was performed well.

Jeffrey S. Shankle as the student revolutionary Marius and the love interest of Cosette, though not quite as young as one would expect from the role, is excellent in both acting and vocals.  He is convincingly passionate and sings effectively in “Empty Chairs at Empty Tables” and in a duet with Mary Kate Brouillet as Eponine, the daughter of the Thénardiers (David James and Theresa Cunningham) in “A Little Fall of Rain.”

Helen Hayes award winner for her role as Sofia in The Color Purple at Toby’s, Ms. Cunningham, as Madame Thénardier, adroitly demonstrates her vocal prowess and funny facial expressions in her scenes.  The Thénardiers are a conniving couple who provide what little comedy the show offers. Mr. James, who leads my personal favorite number, “Master of the House,” was a bit understated for such a campy, energetic song.  He does it better, however, in “Beggars at the Feast.”

Another vocal standout is Ben Lurye as Enjolras, the leader of the student revolutionaries and Marius’ friend.  His rendition of “Red and Black” and “Do You Hear the People Sing” with other members of the ensemble is fantastic.

Other noteworthy mentions are young Jace Franco as the street urchin Gavroche, Katie Heibreder as Cosette, Andrew Horn as the Bishop of Digne and David Bosley-Reynolds as the Factory Foreman.  The remainder of the company, including the revolutionaries, are also strong.

Costume Designers David Gregory and Shannon M. Maddox set up the cast in magnificently accurate period attire.  Lighting Designer Lynn Joslin proficiently used lighting effects to augment the mostly dramatic scenes.

Scenic Designer David Hopkins utilizes large props and furnishings as well as the iconic barricades made of scaffolding to provide dimension to the solid production—no small feat considering the confines of the theatre.  Scene changes occur rapidly and seamlessly.

This production of Les Mis is tout simplement spectaculaire and worthy of the rollicking standing ovation it received at show’s end. 

Running time: Three hours with an intermission.

Les Misérables at Toby’s The Dinner Theatre of Columbia runs through November 10.  For tickets and information, call 410-730-8311 or visit online or Ticketmaster.

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Reaching the Heights at Toby's



The ensemble for In The Heights at Toby's Columbia

Qué espectáculo! There are 96,000 reasons to love In The Heights now playing at Toby’s The Dinner Theatre in Columbia through July 21.  But space constraints permit me to go over just a few.  Toby Orenstein and Lawrence B. Munsey ably co-directed this production and took it to new heights with outstanding orchestration, a talented likeable cast, and a superb set.

Lin-Manuel Miranda composed the music and lyrics, and Quiara Alegria Hudes wrote the book for the four-time 2008 Tony Award-winning show, which captured Best Musical among the statues.  It also won a Grammy for Best Musical Album.  Miranda wrote the first draft in 1999 as a sophomore in college, and it was an ongoing project until it moved to Broadway.

The action takes place in the gritty, largely Hispanic Washington Heights neighborhood of Upper Manhattan, near the George Washington Bridge during a typically sultry three-day period surrounding July 4.  Each character has his or her story, but they are all connected in some fashion.  A youthful, vibrant ensemble added spice to this rich mixture of contemporary urban hip-hop, Latin rhythms, family drama, economic hard times, community, love, devotion, expectations, dreams realized and those not fulfilled. 

The setting is realistically amplified by the creative design work by David A. Hopkins.  Placing a series of three dimensional panels depicting New York’s skylines around the upper walls of the theater, it allows Lighting Director Lynn Joslin to illuminate a silhouetted sky to coincide with the time of the day—a wonderful effect.  So detailed is Hopkins that he even had chewing gum stuck to the neighborhood’s light posts.

In the Heights contains many high points in the way of individual musical performances, either as solos or duets.  The main performers along with the rest of the ensemble also burnished their talents in the stirring high-energy production numbers like “96,000,” “Blackout,” and “Carnaval Del Barrio.” 

The ensemble sang and danced with dazzling energy to the music that in some instances contained a mix of Spanish and English lyrics.  However, the songs were composed in a way that one didn’t have to know Spanish to understand their messages.  While some of the numbers are not necessarily melodious, they are all solid because of the powerful and affecting lyrics as well as the amazing vocals by the cast members. 

Numbers, such as “In The Heights,” “Breathe,” “Inutil,” “No Me Diga,” “Paciencia Y Fe,”  “When You’re Home,” “Sunrise,” and “Everything I Know” stood out.  Most of the high tempo songs (and the better ones) are performed in the first act while more ballads can be heard in the second—a distinct change in mood.

Christen Svingos’ choreography presented solid, realistic urban Latino dancing to the thumping beats supplied by the magnificent orchestra led by Cedric D. Lyles.

David Gregory is remarkable in the role of Usnavi, a Dominican-born owner of a small bodega (corner store)  who is a central character throughout.  His passion and hopes are conveyed with great skill.  Most of his dialogue and songs are performed in rap, and he is quite proficient at it.

Crystal Freeman is moving as Abuela (Grandmother) Claudia who practically raised Usnavi after his parents died.  She is the neighborhood’s loveable matriarch, the moral anchor.  Her stellar voice is evident in the tender “Paciencia Y Fe” and “Hundreds of Stories.”

Nadia Harika who plays Vanessa, Unvavi’s love interest, also possesses a glorious singing voice. Her performance in “It Won’t Be Long Now” shined.

Also spectacular with her vocals is Alyssa V. Gomez as Nina.  She was the one member of the “barrio” (neighborhood) who went off to college (Stanford University) on a scholarship only to fail in her first year, deeply disappointing her parents. Her rendition of “Breathe” is memorable, and fortunately she performed in a few other selections.

Nina’s father, the overprotective Kevin and owner of the local taxicab business played by David Bosley-Reynolds, is sturdy in both acting and singing.  He brought his commanding baritone voice that audiences loved as Tevye in Toby’s recent presentation of Fiddler On The Roof  to this production, especially in his emotional solo “Inutil (Useless).”

The always reliable and talented Tina Marie DeSimone is wonderful as Nina’s strong-willed mother Camilla. Skillful in her acting, she shined in her powerful rendition of “Enough.”

Another standout is Marquise White as Benny, who is in love with Nina and an employee of Kevin’s taxi service and is the only non-Hispanic character.  Also possessing strong acting and musical ability, Mr. White was particularly effective in the duets “When You’re Home” and “When The Sun Goes Down” with Ms. Gomez.

Santina Maiolatesi as Daniela, the chatty owner of a beauty salon, was effective in that role and also demonstrated her vocal prowess in “No Me Diga.”  Her employee, Carla, was played well by Olivia Ashley Reed.

Then there is Usnavi’s cousin Sonny, who works with him at the bodega.  Played fabulously by Ryan Alvarado, the character provided most of the comedic moments in the show.  Mr. Alvarado’s timing and stage movements excelled.

Rounding out the sterling cast is Tobias Young, another strong vocalist, as the Piragua Guy and Calvin McCullough as Graffiti Pete.

This production of In The Heights at Toby’s soared thanks to the amazing work in all the theatrical elements as well as the efforts from an enthusiastic, youthful and talented ensemble.

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

In the Heights runs through July 21 at The Dinner Theatre of Columbia, 5900 Symphony Woods Rd., Columbia, MD 21044.  For tickets and information, call 410-730-8311, 1-800-88TOBYS or online.  hocoblogs@@@

Ringing in the New Year with 'Hot Nostalgia'

As we begin 2013, what better way to welcome the New Year than with a nostalgic look at the past through song and dance?  Toby’s the Dinner Theatre of Columbia brought together ten talented performers and a terrific orchestra to take the audience on a stroll, albeit a fast-paced one, down memory lane.

Conceived by Toby herself, Toby Orenstein, along with Ross Scott Rawlings and Douglas Lawler, this musical revue expressly crafted for this venue, was directed and choreographed by who else but the gifted (and busy) Lawrence B. Munsey who is also currently playing Captain Von Trapp in the Toby’s-Baltimore production of The Sound of Music.   

Hot Nostalgia lifted the audience’s spirits with impeccably performed popular music from the 1930’s through the 1970’s with a whopping 165 songs.  To be clear, most of these numbers are sung partially as one would expect from medleys.  While not all were necessarily chart-toppers, all the selections were popular during the respective era and to many of us now, quite familiar.

The ten-person cast of five guys and five gals sing in various combinations, and it seems like each one has a turn at doing a solo.  But most of the numbers were of the production type with all ten showcasing their strong vocal talents.  As a full group their pitch-perfect voices blend beautifully, and as solos or as part of smaller groups they excel as well.

What makes this show so special is that every song performed regardless of how deep it goes is accompanied by period dancing (jitterbug, lindy, disco) with a few comedic moments spread throughout that enhanced the fun.  Hot Nostalgia is not your run-of-the mill concert; this is a splashy, well-directed and choreographed stage production performed by a talented cast that is creatively costumed by Mary Quinn.

There is no shortage of toe-tapping, hand-clapping joy as the ensemble takes the audience on this magical nostalgic tour through music that began in the golden age of swing and jazz.  Memorable songs like “It Don’t Mean a Thing (If It Ain’t Got That Swing),” “My Funny Valentine” and “Walkin’ My Baby Back Home” highlighted the 30’s set.

David James and Janine Sunday in iconic pose

With World War II waging on through the first half of the 40’s a large portion of this segment contained a military theme complete with the old-style uniforms.  Popular numbers such as “This Is The Army, Mr. Jones” and the classic “Boogie Woogie Bugle Boy” are well performed.  The set concluded with the iconic Times Square kiss (pictured) when the Japanese surrendered.

The 50’s segment featured the Elvis era with songs like “Heartbreak Hotel.”  But other popular numbers such as “Lollipop” are offered too, while some selections in this set spilled into 1960 with the famous hit, “Where the Boys Are.”  Close enough. 

One of the cast members, award-winning performer David James, brought the house down with a hilarious performance as a 50’s-style nerdy character in a few of the numbers.

The 1960’s ushered in wonderful performances including some of the Beach Boys, Beatles and Motown’s huge hits.  Martha and the Vandellas, The Four Tops (five perform in this show), The Temptations, The Drifters, Mary Wells, Stevie Wonder and an utterly funny take on Sonny and Cher’s “I’ve Got You, Babe.”   Also enjoyable were the novelty songs “Itsy Bitsy Teeny Weeny Yellow Polka Dot Bikini” and the 1958 “Purple People Eater.”  Cast member Shawn Kettering’s impersonation of Mick Jagger (“Satisfaction”) is fabulous.

Transitioning into the 1970’s the set opens with “Hello Muthah, Hello Fathah” and then brings in “Joy to the World” and other hot selections.  The creative morphing of “I Am Woman” to “Macho Man” to “You’re So Vain” by different groups in the ensemble was the set’s high point.

Old TV commercials and footage of an Ed Sullivan show displayed on various screens on the walls are among the devices cleverly used to transition between decades and allow the stage to be set up in the dark.   The costumes (Quinn), set design (David A. Hopkins), lighting (Coleen M. Foley) and sound (Drew Dedrick) help make this production lively and fun.

And there were no breaks for the stellar orchestra led by Ross Scott Rawlings.  Remember, there are 165 songs. That’s quite a workload, and this group did not miss a beat.

All of the performers deserve recognition: Heather Marie Beck, Debra Buonaccorsi, Tina DeSimone, Prince Havely, Shawn Kettering, David Little, Ashley Parker, Jeffrey Shankle and Janine Sunday. Though all are excellent, Shankle and Parker are leaders of the pack.

The ensemble display powerful voices and accomplished dance moves.  It is not an easy undertaking to perform non-stop vocals with high-energy dancing and rapid costume changes and be on their game, but this group pulled it off.

The trip down memory lane is longer for some.  But no matter your age (or memory), you will have at least heard of a vast majority of these fun songs and enjoy a thoroughly professional cast and crew give your New Year a real jump-start.  Some may quibble over the songs selected and those overlooked, but regardless, Hot Nostalgia is glorious and should not be missed.

Running Time: Two hours and 10 minutes with one intermission.

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Hot Nostalgia plays through January 27 at Toby’s The Dinner Theatre of Columbia, 5900 Symphony Woods Road, Columbia, MD 21044.  For tickets call the Box Office at 410-730-8311 or online.