‘Elf’ at Toby’s Delivers Needed Christmas Spirit

In this chaotic world we live in today, the holiday season can’t come fast enough. If nothing else, the holidays with all its inherent stress, is a pleasant and indispensable distraction. Elf The Musical, currently playing at Toby’s, The Dinner Theatre of Columbia, is providing audiences with holiday cheer and delight just when we need it.

The cast and production team excel in all facets, and Helen Hayes Award winning Director and Choreographer Mark Minnick skillfully guides them through a heart-warming, energetic, fast-paced celebration of Christmas and family.  Enjoyable music under the direction of Ross Scott Rawlings and the six-piece orchestra and well-placed humor throughout remind us how we loved to revel in Christmas as well as the other holidays of December.

Because of the schedule issues resulting from the covid pandemic, Elf The Musical had been presented by Toby’s during the sweltering summer of 2021 but did so with aplomb. We are closer to Christmas today, of course, so it has more relevance. Several of the leads reprise their roles from that production with Helen Hayes Award winner Jeffrey Shankle starring once again as Buddy.

Elf The Musical, which played on Broadway from 2010 to 2011, the West End from 2015 to 2016 and spawned several tours, was scored by Matthew Sklar and Chad Beguelin. The book by Bob Martin and Thomas Meehan was adapted from the 2003 film version, Elf, which did not contain music.

Most of the songs are largely sentimental and lighthearted with melodies that are not exceptionally memorable. Nonetheless, they effectively tie the story together and are performed proficiently by the Toby’s cast and orchestra.

The story is about a young orphan named Buddy Hobbs who accidentally crawls into Santa’s bag of toys and winds up at the North Pole where he is brought up by elves. He thought he was one of them as he became older until one blurted out he was really human.  Santa urged him to travel to New York City to find his actual father who happens to be on Santa’s naughty list because he doesn’t believe in, well, Santa and by extension, the spirit of Christmas.

Buddy learns to his chagrin that all adults do not believe in Santa Claus. He attempts to win over his newly discovered family and instill the true meaning of Christmas. Along the way, Buddy finds love that showcases some of the more touching scenes in the show.

"...Director and Choreographer Mark Minnick skillfully guides [the cast] through a heart-warming, energetic, fast-paced celebration of Christmas and family. 

In a tour de force, veteran performer Jeffrey Shankle, commands the lead role of Buddy. Playing the naive but exuberant elf/human, Mr. Shankle draws upon his comedic instincts, timing and superb vocals to reflect his unbridled enthusiasm and optimism. Mr. Shankle’s tenor voice is pitch perfect and in stellar form in such songs as “Happy All the Time,” “World’s Greatest Dad,” “Just Like Him” and in a marvelous, well-choreographed production number “Nobody Cares About Santa.”  

His duet with his love interest Jovie, played well by MaryKate Brouillet, in the tender ballad “A Christmas Song” is moving. Ms. Brouillet also showcases her crystal clear, melodic voice in the touching “Never Fall In Love (With An Elf)”. Jovie was cynical at first regarding Buddy but eventually warmed up to his eccentricities capping off a tender love story.

The supporting cast is similarly outstanding. David Bosley-Reynolds as the stern father Walter Hobbs exhibits his strong acting and comedic skills with a solid baritone voice. With his job on the line as a developer of children’s books and little time for family, Mr. Bosley-Reynolds expresses his toughness and newly revealed tenderness as the story unfolds. He performs well in the group number “In The Way.”

Janine Sunday does a fine job as Emily Hobbs, Buddy’s stepmother and devoted wife of Walter. She proficiently expresses her true love for her family while hoping her beleaguered husband spends more time with them. It was Emily who procured a DNA test to prove that Buddy is Walter’s son. Ms. Sunday’s superb vocals are on display in the numbers “In the Way” and the lovely “There is a Santa Claus” with Emily’s son Michael, played in this performance by Noah Frieman. Noah Anderson and Joey Vogel assume the role of Michael in other performances.

Noah Frieman plays an adorable and smart 12- year-old demonstrating potential as a strong performer in musical theatre. Poised on the stage and blessed with a fantastic singing voice, Noah had the opportunity to showcase his talent in those duets with Ms. Sunday. 

Anwar Thomas performs admirably as Macy’s Manager using his laudable comedic skills. He also can sing with the best of them and performs well in the production number “Happy All the Time” and in a solo “Nobody Cares (Santa Reprise)”.

Jordan B. Stockdale plays Santa in a narrator role, setting up the story, and is effective in doing so.

David James is a delight in playing the part of Walter’s boss, the cranky and demanding Mr. Greenway. He never spent Christmas with his family in 30 years to build a children’s book company and it shows. Mr. James plays the role to the hilt.

Other members of the cast and ensemble are outstanding as well. They acted, they sang, they danced, they moved set pieces, they did it all. Among them are: Asia Lige Arnold as Mrs. Claus, Brandon Bedore in multiple roles, Vince Gover as Chadwick, Spencer Teal as Sam, and Joey Ellinghaus and Patricia “Pep” Targete also in multiple roles.

A full list of the Cast and Ensemble as well as the Production Staff are listed in the Playbill.

Mark Minnick’s choreography is precise and detailed as always. Using all areas of the in-the-round stage, the performers moved about in synch and in rhythm. Such numbers as “Happy All the Time,” “In the Way,” “Sparklejollytwinklejingley” (what a title!) and “Nobody Cares About Santa” are fine examples. And the simulated Rockefeller Center skating rink with several cast members rollerblading in lieu of ice skates in the number “A Christmas Song” is a nice touch.

Brilliantly hued costumes were coordinated by Sarah King and Helen Hayes nominee Janine Sunday—from colorful elf attire to street garb to a multitude of Santas. There are countless combinations and costume changes throughout—all executed seamlessly.

Also notable are the imaginative set pieces employed. Shane Lowry designed numerous clever props and sets especially in the opening scene where the elves were riding wagons. That was awesome. The walls of the theater are decorated in Christmas trees and images of New York’s skyline. Garlands hanging from the ceiling add more to the Christmas flavor. And then there was snow!

Lynn Joslin’s lighting design is spot-on, and Mark Smedley’s sound design allowed for very clear and audible dialogue and song.

Elf The Musical is welcome Christmas present for the young and not so young. It provides much joy and fun in Santa’s bag of goodies including the tasty buffet for a laugh-filled, nostalgic escape highlighted by a talented cast and crew under expert direction.

In the immortal words of composer Jerry Herman when he penned the music for Mame, “We need a little Christmas right this very minute…we need a little Christmas now.” And Toby’s is delivering this welcome gift.

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

Elf the Musical plays through January 4, 2026, at Toby’s the Dinner Theatre, 4900 Symphony Woods Rd., Columbia, MD 21044.  Tickets may be purchased by calling the box office at 410-730-8311or visiting here.

Next up: Rock of Ages, January 9, 2026 to March 15, 2026

Photos Jeri Tidwell Photography

The Menu can be found here.

Specialty Drink: The Cotton-Headed-Ninny-Muggins

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

Patrick Gover as Tony Manero and 
Rachel Cahoon as Stephanie Mangano

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Photos: Katie Simmons-Barth

The Menu can be found here.

Specialty Drink: The Boogie Shoes (outstanding)

Breaking New Ground in Columbia

Construction begins for Howard County’s New Performing Arts Center & Artists Flats

Groundbreaking ceremony outside Toby's

The dawn of a new cultural era in Howard County, Md. is officially underway. On April 8, 2025, around 200 showed up at Toby’s Dinner Theatre in downtown Columbia to salute the beginning of construction of a new Performing Arts Center and Artists Flats with a groundbreaking ceremony. The county event featured elected officials, state and local partners, contributors, and performers from Toby’s and the Columbia Center for Theatrical Arts (CCTA) as well as other guests.

The project is part of the Downtown Columbia Plan, passed in 2010, that revitalizes Downtown with a diverse, mixed-use, physically distinctive area. The $68 million project is aimed at enhancing the arts and culture scene in the county and will house a new Toby’s Dinner Theatre alongside CCTA, and The Howard County Arts Council. The Artists Flats will feature 174 mixed-income units serving a full spectrum of household incomes. It will be the first of its kind mixed-use building in the county. 

“This is the kind of project the Housing Commission and Howard County envisioned when we talk about inclusive, forward-thinking communities,” said Jacqueline West Spencer, Chair, Howard County Housing Commission. “Artists Flats brings us closer to James Rouse’s founding vision for Columbia- a place where people of all incomes, backgrounds, and professions can live side by side in a vibrant, welcoming downtown.”

The Performing Arts Center (PAC) will be located at the site of Toby’s Dinner Theatre. For 46 years, Toby’s has been a cultural landmark, bringing award winning theatre to Columbia. Toby’s unique, cozy in-the-round theatre where no seat is located more than 30 feet from the stage is one of the few dinner theatres nationwide with a live orchestra at every performance. Toby’s is also known for its quality buffet-style cuisine to go along with the popular shows.

CCTA and Toby's performers singing "Beautiful City"

The center will contain one 340-seat dinner theater, two 200-seat black box theaters, a public art gallery and several dance studios and performance classrooms. 

The PAC will become a part of a broader network of arts organizations that have a presence in Downtown, including the Merriweather Arts & Culture Center, Inner Arbor Trust, the Lakefront, Color Burst Park and the Chrysalis. Additionally, Toby’s will become a part of the Columbia Center for the Theatrical Arts, or CCTA, a nonprofit organization which provides performing arts education to youth throughout the county. 

Inside Toby’s,  after welcoming remarks by Kelly Cimino, Director of Howard County Department of Housing & Community Development and Toby’s Associate Producer Mark Minnick, performers from CCTA and Toby’s gave a stirring performance of “Beautiful City” from Godspell, the first show to be mounted at Toby’s in 1979.

 “Today’s groundbreaking of the new Performance Arts Center has been nearly 15 years in the making,” said County Executive Dr. Calvin Ball in addressing the crowd.. “For me, this is a particularly personal milestone. I served on the Howard County Council in 2010 when the Downtown Columbia Plan passed unanimously. I am thrilled to see parts of this plan come to fruition today.”

He added, “Downtown Columbia will continue to grow and expand as a destination for the arts. We are also fulfilling our commitment to providing more diverse income housing in this highly desirable downtown area, furthering our mission to keep Columbia a truly inclusive place for all.”

County Executive Calvin Ball with Toby Orenstein

Maryland State Senator Guy Guzzone from District 13 in Columbia, proudly exclaimed, “This is Columbia,” He said the state will contribute $4.8 million to the project.

Toby’s founder and current artistic director Toby Orenstein was in attendance as just about everybody scrambled to have pictures taken with the venerable local theatre legend. Her husband Hal was with her, and their son Jeff spoke movingly about Toby’s historical work with the CCTA providing new theatrical experiences and offering young artists an opportunity to perform. “It’s a day for the arts in Howard County,” he said.

Following brief comments from other dignitaries, the ceremonial groundbreaking took place on this chilly, blustery day. A wide array of elected officials, partners and stakeholders participated in the event.

Long-time actor Robert Biedermann, who is familiar to Toby’s audiences and the one who for years makes the introductory announcements before each show, has fond memories of Toby Orenstein and Toby’s Dinner Theatre.

“When I think of Toby’s I think of ‘home’... a place where unbelievable happiness is created and shared with an audience that is better for having experienced the show,” said Biedermann.

“The same goes for the actor...I started here in 1989 and had to leave the show to be a bone marrow donor for my brother. Toby and Toby’s were waiting for me when I came ‘home’. Toby herself is the epitome of kindness...and I have been graced with that for 36 years.” 

Toby’s Associate Producer Mark Minnick is elated about this major development.

 “This project has been in the works for years and it is finally happening,” said Minnick. “We congratulate all parties involved and thank those who helped get this across the finish line. We are thrilled with the endless possibilities this project will allow. We will thrive artistically, but we will never lose the warmth, intimacy and love that has been a trademark of Toby’s and CCTA.”

Rendering of the new project

‘The Sound of Music’ Climbs the Mountain at Toby’s

Rachel Cahoon stars as Maria von Trapp and the Children

For decades The Sound of Music has enthralled audiences worldwide with its superb score and its uplifting message that the power of love can prevail against all odds during a dangerous period in our history.  It is fitting that during these precarious times, when many people today experience anxiety about the future, this classic musical is on display at Toby’s Dinner Theatre of Columbia, Md. to shine a bright beam of hope through its charming story as well as its delightful music and sterling performances.

Director and Choreographer Mark Minnick along with the technical crew, musicians and performers, successfully took on the challenge of mounting a classic musical and adapting it to the contours of the in-the-round theatre.

Scenic Designer David A. Hopkins ably utilizes all the walls, steps and balconies in the theatre displaying windows—regular and stained glass—and images, props and set pieces to capture the myriad locales in which the action takes place. And yes, the image of the distant iconic mountains is displayed on the wall throughout.  

Lynn Joslin’s imaginative lighting design amplifies these scene changes, which are executed seamlessly throughout the production. Flashes of lightening during a storm through the windows is awesome. 

Costume designers Janine Sunday and Sarah King fitted the cast with a wide variety of 1930’s style European attire that feature eclectic garb ranging from nuns' habits to chilling German Nazi soldier uniforms to the multiple outfits worn by the children in the show. The costumes are exceptional and realistic.

Mr. Minnick, a Helen Hayes Award winner, helms this production with strong attention to detail and solid pacing with a nod towards the humanity contained in the story. He affords the performers the artistic freedom to interpret their respective characters, and the results are wonderful.

The staging of this classic at Toby’s is a beauty to behold—both visually and through its superb score penned by the legendary team of Rodgers and Hammerstein. The book, written by Howard Lindsay and Russel Crouse, was based on the memoir of Maria von Trapp, The Story of the Trapp Family Singers.

Jeffrey Shankle as Captain Georg von Trapp and his children

For Oscar Hammerstein II, The Sound of Music represented his final production as he died nine months after the show debuted on Broadway in November 1959 with Mary Martin and Theodore Bikel as the leads. Having won five Tony Awards, it closed in 1963 after 1,443 performances. Several revivals both on Broadway and London followed and, of course, the immensely popular 1965 film with its five Oscars, based on the musical starring Julie Andrews and Christopher Plummer. Even a live TV production was spawned.

The Sound of Music boasts a catalogue of well-known and endearing songs including “My Favorite Things,” “Do-Re-Mi,” “Sixteen Going on Seventeen,” “So Long, Farewell,” “Climb Every Mountain,” “Edelweiss” as well as the title song. Musical Director and Conductor Ross Scott Rawlings and his six-piece band do a glorious job in delivering the wonderful music without overpowering the vocalists. Mark Smedley’s sound design brings clear audio to the dialogue and vocals.

"The staging of this classic at Toby’s is a beauty to behold—both visually and through its superb score..."

Many musicals offer a plot simply to connect the songs. In The Sound of Music, the plot is as integral as the performances to the entertainment value of the show. 

In the familiar story, the musical is set in Salzburg, Austria in 1938. The inevitability that the homeland will fall (Anschluss) to Nazi Germany forms the backdrop for the musical, while the story focuses on the improbable love between two incongruent individuals.

The story centers on a former postulant, Maria, performed brilliantly by Rachel Cahoon, who has been sent to be the governess of the seven children, ages 5 to 16, of Captain Georg von Trapp (Jeffrey Shankle), a widower and former Austro-Hungarian Navy Captain. He treats his children like military underlings, but Maria teaches them to sing and a whole new world opens up to the kids and Maria.

Rachel Cahoon as Maria

The Captain had intended to marry Elsa Schraeder (Asia-Ligé Arnold), a wealthy socialite. But differences in the way they see the imminent Anschluss—the annexation by Nazi Germany of Austria—and his growing affection for Maria doom the union.

After being shaken by the real prospect that she and Captain Georg are falling in love, she runs back to the abbey and listens to the advice of Mother Abbess (Adrienne Athanas), who belts out "Climb Ev'ry Mountain. "

Maria then returns to the von Trapps’ house to determine if there is indeed love between the Captain and her. They eventually marry.

Max Detwiler (David James), a mutual friend of Elsa and Captain Georg whom the kids refer to as Uncle Max is a pushy music promoter. Resigned to the eventual Nazi takeover, he convinces the Captain that the kids should perform at the upcoming Salzburg Music Festival.

Meanwhile Captain Georg is under intense pressure to accept a commission in the Third Reich’s Navy, who as an Austrian, is loathe doing. Leaving him no choice, the Captain decides to escape from Austria and pulls it off following the children’s performance at the festival, which took place with eight large Nazi swastika banners unfurled from the ceiling signaling ominously what was about to come and leading to a tense conclusion.

As the plucky Maria, Rachel Cahoon is a standout. Ms. Cahoon, who was magnificent as Belle in Toby’s Beauty and the Beast, brightens the stage with her shiny presence and her glorious singing voice. Radiant throughout the show, her crystal-clear soprano voice does justice to such songs as, “My Favorite Things,” Do-Re-Mi,” and “Something Good.” Ms. Cahoon’s empathy and love for the children comes off perfectly, and she displays the romantic connection to Captain Georg with eye-watering tenderness.

Veteran actor and Helen Hayes Award recipient Jeffrey Shankle is excellent as Captain von Trapp. He commands the stage with the vigor of an authoritarian father whose icy demeanor slowly melts upon meeting Maria.  There have been sterner versions of the character to be sure, but Mr. Shankle portrays the role admirably with nuance and a softer edge.  

His powerful tenor voice is on display when he joins the children in “The Sound of Music (Reprise).” And he particularly shines in the moving number “Edelweiss.”

As Max Detwiler, a mutual friend of Elsa Schraeder and the Captain whom the kids refer to as Uncle Max, David James, also a Helen Hayes Award winner, convincingly plays a pushy music promoter. He playfully injects his own campy personality into the role, providing some of the show’s comedic moments.

Then there are the adorable and talented von Trapp children who are on stage throughout most of the production. As good as the leads are, these children are fantastic and will pull at your heartstrings. 

The young performers are quite adept in their singing, dancing, acting and stage positioning.  Their voices sound so well harmonized as a group as they perform in many of the show’s numbers.  Their rendition of "So Long, Farewell" is particularly outstanding. 

Moreover, Emily Signor who is a mainstay in the cast as oldest sister Lisl von Trapp, turns in a fine duet with her love interest Rolf Gruber (Jackson Miller) in “Sixteen Going on Seventeen.”

On the evening this production was reviewed, the other von Trapp children were Lucas Rahaim as Friedrich; Ava Lamanna as Louisa; Noah Frieman as Kurt; AJ Bassett as Brigitta; Kylie Gourley as Marta; and Gwyneth Porter playing the youngest child, Gretl. (The other children who will alternately be playing these roles throughout the run as well as the other cast members are listed at the conclusion of this review.)

Every great musical has a blockbuster showstopper.  In The Sound of Music “Climb Ev’ry Mountain” is that number.  Adrienne Athanas as Mother Abbess brings that song home in a truly virtuoso performance that concludes the first act on a high note in more ways than one. The other Sisters in the abbey all sing like bells—beautiful, on pitch and resounding.

Indeed, The Sound of Music at Toby’s climbs the mountain and is sure to lift the spirits of theatergoers during this holiday season at a time when it’s needed most. Adults and children alike will be entertained by the music, the story and the artistry of the performers of this well-directed and executed theatre classic. And let me tell you, the buffet is out of this world.

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

The Sound of Music plays through January 25, 2025, at Toby’s the Dinner Theatre, 4900 Symphony Woods Rd., Columbia, MD 21044.  Tickets may be purchased by calling the box office at 410-730-8311or visiting here. Next up: 9 to 5, January 17 - March 16, 2025.

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Photos by Jeri Tidwell Photography

The Menu is shown here.

Specialty Drink: “The Favorite Thing”

The Cast & Understudies in Order of Appearance

No Wasting Away at Toby’s ‘Escape to Margaritaville’

It is summertime and you’re lying on a striped chaise lounge on a pristine Caribbean beach watching the calmness of the azure ocean. The palm trees sway softly in the light breeze and as you relax and mellow out to the tunes of one of the most popular folk storytellers of all time. There’s a tacky little bar nearby where it’s always Five O’clock.   

But you don’t need to spend a ton of bucks to head to this tropical paradise for that type of diversion. Rather, you can come to Toby’s the Dinner Theatre of Columbia to chill during its jukebox musical production of Jimmy Buffett’s Escape to Margaritaville.

You won’t find any sand.  There isn’t much of an ocean in the theatre.  And there’s certainly no lost shaker and salt. But under the meticulous direction and choreography of Helen Hayes Award winner Mark Minnick and scenic design and lighting by David A. Hopkins as well as Janine Sunday’s costume design, the atmosphere is just right. And with a volcano to boot. (Recall Mount Humongous from SpongeBob SquarePants?)

“Margaritaville,” Buffett’s most popular song of all, spawned a chain of restaurants and bars that has kept that word in the lexicon of American culture. Expectedly, it is performed in Toby’s production of Escape to Margaritaville along with other popular tunes, such as “Fins,” Five O’Clock Somewhere,” “Why Don’t We Get Drunk and Screw” (a title you won’t find anywhere else),”Changes in Lattitudes, Changes in Attitudes,” “Cheeseburger in Paradise,” “Come Monday” (as part of a medley) and a host of others.

To be sure, Jimmy Buffett is a cult-like figure and has been so for over five decades. His fans, known as Parrotheads, are as devoted to an artist as anyone can be. Yet, Buffett’s work transcends those loyal fans as his music has broad appeal in the pop-rock, country-rock, calypso and easy listening genres. His music often conveys an island escapism mindset, and that is evident in the show’s storyline. The performers’ attire as well as that of much of the audience reflects that, too.

Ross Scott Rawlings (alternates with Nathan Scavilla) ably leads the six-piece orchestra split up in two locations in the theatre in backing up the talented lead vocalists and ensemble. Mr. Minnick’s choreography, which is manifested in most of the performed songs, offers the energetic cast the opportunity to strut their stuff. A memorable tap-dance number during the song “Grapefruit, Juicy Fruit” excels. Another well-choreographed number that stands out is the amusing song “Fins.”  

Some jukebox musicals are biographical like Jersey Boys (Frankie Valli and the Four Seasons), Tina: The Tina Turner Musical and Ain’t Too Proud (The Temptations). Others use an original story as a vessel to convey an artist(s) work, such as Mamma Mia! (ABBA), and Jagged Little Pill (Alanis Morrisette). Escape to Margaritaville falls into the latter category. The 2017 musical is based on the music of Jimmy Buffett with a book by Greg Garcia and Mike O’Malley.

The plot, which brings the music to life, is light and heartwarming. It centers on Tully (Patrick Gover), a singer-musician at the bar in the Margaritaville hotel on a small Caribbean island. He performs his music at night and woos the lady vacationers during the day. When scientist Rachel (Kathleen West) joins her bestie Tammy (Anna Phillips-Brown) from Cincinnati just prior to Tammy’s wedding on a bachelorette vacation, Tully sees in Rachel something different, and after a few days of intimacy, he falls in love. But Rachel is not in love with him.

The engaged Tammy who was warned by her crummy fiancée back home Chadd (Brandon Bedore) about “land sharks” and adhering to a diet so that she loses weight before the wedding, meets Brick (Jordan B. Stocksdale), a bartender at the Margaritaville. Brick believes that Tammy is beautiful just as she is but her engagement to Chadd is a major complication.

A wild volcano eruption (why have a volcano if there isn’t an eruption?) sends the vacationers packing and the Margaritaville staff escaping. What ensues, and there is a lot, will not be divulged here so that you can enjoy the twists and turns as you are treated to some wonderful music and performances.

I will say that a bunch of words taken from Buffett’s lyrics find their way into the plot. Examples include sponge cake, tin cup or chalice, shrimp, carrot juice, porch swings. You get the picture.

As the confident and talented ladies’ man Tully, handsome Patrick Gover (Rocky, Ghost, Grease) portrays the role convincingly. Guitar-strumming virtually throughout the production, Mr. Gover’s flat abs provides eye candy for the audience and can sing up a volcano eruption. Exuding charm and passion, Mr. Gover delivers in his solo “King of Somewhere Hot” and in duets with Ms. West in “”Son of a Son of a Sailor” and “Coast of Marseilles.” He also performs in the group opening number, the vibrant “License to Chill.”

Kathleen West as Rachel demonstrates her fine acting skills during her interactions with Anna Phillips-Brown playing Tammy and with Mr. Gover. Her vocal talents shine in the aforementioned duets and in her solo “It’s My Job.” Her duet with Ms. Phillips-Brown in the popular “Changes in Latitudes, Changes in Attitudes” is very well done.

For her part, Ms. Phillips-Brown delivers a knockout performance, and in the second act she literally delivers a knockout punch. Possessing extraordinary vocals, Ms. Phillips-Brown soars in the duet with Mr. Stocksdale “Cheeseburger in Paradise.”

As the bartender Brick, Jordan B. Stocksdale is not just likeable, he is loveable. He conveys authenticity, humor and warmth that has the audience rooting for him. He appears in several group songs and excels in the tap-dance group number “Grapefruit, Juicy Fruit.”

"[Buffett's]music often conveys an island escapism mindset, and that is evident in the show’s storyline."

Veteran actor Robert Biedermann turns in a moving performance as JD, an aging one-eyed pilot who spends his days drinking at the bar (who doesn’t know someone like that?). He adds warmth and humor to the show and sings well in “Grapefruit, Juicy Fruit.” “He Went to Paris” performing with Mr. Gover and Mr. Stockdale and in other group numbers.

Brandon Bedore effectively plays Chadd, the villain of the show, as the boorish fiancée of Tammy who is obsessed by her weight. As a member of the Ensemble as well, Mr. Bedore performs in all of the group numbers and is particularly fun in “Fins.”

Marley is the owner of the Margaritaville and is played deliciously by Asia-Ligé Arnold. She brings a frozen concoction of sass, humor and playfulness to the show and appears in several group songs.

Similarly Anwar Thomas, who plays Jamal, the busboy, adds a lot of joy and energy to the production.

Other members of the cast and Ensemble include Valerie Adams Rigsbee, Joey Ellinghaus, Angelo Harrington II, David James, Amanda Kaplan-Landstrom, Shawn Kettering, Alexis Krey-Bedore, Dustin Perrott, Cassie Saunders, Jeffrey Shankle, and Patricia “Pep” Targete.

Scenic Designer David A. Hopkins and Properties Designer Shane Lowry turned the in-the-round theatre into a realistic looking tacky bar with overhead multi-colored string light and numerous set pieces and props. It added neatly to the atmosphere.

This is an enjoyable production and a wonderful escape for a few hours. Great music, an energetic and talented cast and delicous food make this a nice summer experience. Don’t miss this show. If you do, there is no one to blame, and as the song says, it’s your own damn fault.

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

Jimmy Buffett’s Escape to Margaritaville runs through August 20 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

The menu is shown here.

The specialty drink is "The Coconut Telegraph".

Patrick Gover as Tully

A Very Cool 'Grease' Rocks at Toby's

How do you not love a musical where one of the featured songs is titled “Mooning”? The popular show Grease, which is currently playing at Toby’s, the Dinner Theatre of Columbia, has many reasons for one to fall in love besides the titles of the songs.

It’s pretty safe to say that virtually all theatre-goers have heard of or seen the American classic musical Grease in some form or another. Grease had been one of Broadway’s longest running productions. It spawned several revivals on Broadway and has played all over the world in professional theatre via tours as well as in summer stock, community theatre and in schools all over the U.S. The 1978 movie with the same title starring John Travolta and Olivia Newton-John was a huge success.  And even that led to a sequel.

Grease takes you back to an era where spit curls and cigarette packs stuffed in the sleeves of tight t-shirts, and sporty cars, drive-ins, sock-hops and gossipy Pink Ladies ruled the day for teenagers. It is no wonder that this beloved 1971 musical, written and composed by Jim Jacobs and Warren Casey, found a way into the hearts of so many.  

And here it is (again). As in the past, the bouncy nostalgic 1950’s era production at Toby’s can also be characterized as a smash.

Working with an essentially fresh new cast from Toby’s iteration of four years ago, Helen Hayes Award winner Mark Minnick directed and choreographed this vibrant masterpiece with supreme skill and vision. The precise staging and period aesthetics are matched by a wonderful young and exuberant cast whose dance moves are dazzling and whose vocals are sparkling.

Musical Director Ross Scott Rawlings six-piece orchestra (conducted by Nathan Scavilla on this particular evening with Mr. Rawlings taking the baton at other performances) is in total synch with the company, never overwhelming the vocals.

Janine Sunday stayed true to the era by designing a splendid array of 1950’s costumes including black

Cassie Sauders as Sandy; Patrick Gover as Danny

jeans, black tight t-shirts and black leather jackets for the guys and cheerleading uniforms or below-the-knee pastel-colored skirts for the gals. The costumes worn during the number “Beauty School Dropout” are unforgettable.

Lynn Joslin’s lighting design is captivating and creative. And Mark Smedley’s sound design brings crystal clear audio to Toby’s in-the-round theater.

Scenic Designer David A. Hopkins did a wonderful job with the set. Lockers are on the balcony to denote what would be ordinarily seen at a high school. Projection screens are mounted around the theatre's walls that capture images of yearbook pictures and other period scenes throughout. Streamers from the ceiling are used to decorate a school dance. Awesome set pieces from diner booths to a miniature red and white hot rod dubbed “Greased Lightning” amplify the presentation so adroitly.

The plot, probably familiar to most due to the show’s prolific exposure, has undergone some tweaking in terms of score and dialogue during its course.  Yet, it continues to center on the relationships between lead characters Danny Zuko (played by charismatic Patrick Gover) and the Sandra Dee-like Sandy Dumbrowski (played well by Cassie Saunders) and among their respective working class peer cliques—the Burger Palace Boys (formerly called the T-Birds in other productions) and the Pink Ladies—at the fictional Rydell High School in 1959. 

While other characters emerge and their attempts at coupling form much of the comedic sequences, the focus remains on the ebbs and flows of the romantic relationship between Danny and Sandy.

Director Minnick steers the action with a light touch and keeps the proceedings breezy and fun throughout. Yet, embedded in the plot are such social issues as teenage pregnancy, peer pressure bordering on bullying, sexism, and gang violence amid the themes of love, friendship, teenage rebellion, sexual exploration during adolescence, and class consciousness. 

"...the bouncy nostalgic 1950’s era production at Toby’s can also be characterized as a smash."

Although those issues are legitimate in any period, Grease is all about the 50’s in terms of music, wardrobe, culture, dialogue, and gestures. Its popularity over these many years is a testament to the show’s ability to entertain audiences of all ages and in all eras.

And entertain they do.

The perfectly cast energetic and multi-talented company in the Toby’s production do the show proud.  Once the iconic production number “Summer Nights” is performed so effectively in the second scene of the first act, the tone is set and the audience is captured for the duration.

As one would expect in a musical with the pedigree of Grease, the songs are the show’s strength, and the cast delivers under the guidance of Mr. Minnick and Musical Director Rawlings.

A big dance number “Greased Lightnin” with the aforementioned hot rod rolling on the stage belonging to one of the greasers Kenickie (played strongly by Calvin Malone) is a crowd pleaser to be sure.

Other numbers with high-level, high-intensity choreography include the production numbers, “Summer Nights,” “Those Magic Changes,” “Freddie My Love,”  “We Go Together,” “Shakin’ at the High School Hop,” “Born to Hand Jive,” “You’re the One That I Want,” as well as others.

Then there is that hilarious song “Mooning” performed marvelously by Tony Lemus and Lydia Gifford.

The uniqueness of each dance number, the creativity and precision involved and the ability to perform the dances within the confines of Toby’s in-the-round stage are a testament to the guidance from Mr. Minnick and the performers’ talents.

As Danny Zuko, Patrick Gover excels as an actor and vocalist. With his matinee idol good looks, Mr. Gover does his greaser garb proud.  He has all the moves: a cocky swagger, preening and adjusting his hair frequently to make it crystal clear he is the lead greaser and attracting women is essentially a given.  Mr. Gover’s solid tenor voice excels in “Summer Nights” using falsetto at the end effectively and “Alone at the Drive-In Movie.”

Cassie Saunders plays innocent and later, not so innocent Sandy,  to the hilt. Also equipped with strong vocal prowess, Ms. Saunders performs very well in “Summer Nights” and the lovely ballad “Hopelessly Devoted to You”—a song popularized by Olivia Newton-John in the film version of Grease and later incorporated in the stage musicals. She also performs well in the reprise of “Look at Me, I’m Sandra Dee.”

As Betty Rizzo, the tough, gum-snapping, chain-smoking heavy among the Pink Ladies, Alicia Osborne does justice to her role.  She expertly performs the song “Look at Me, I’m Sandra Dee.”

Other outstanding performers include Calvin Malone as Kenickie, Tony Lemus as Roger, Brandon Bedore as Doody, Caelyn D. Williams as Marty, Joey Ellinghaus as Sonny, Emily Flack as Frenchy, Dereck Atwater as Eugene Florczyk, Lydia Gifford as Jan, Asia-Lige Arnold as Miss Lynch as well as Teen Angel whose performance of “Beauty School Dropout” is a goose-bump-producing vocal, Jeffrey Shankle as Vince Fontaine, Shane Lowry as Johnny Casino, Candace Foreman as Cha-Cha DiGregorio, and Brooke Bloomquist as Patty Simcox.

Rounding out the company are the ensemble members Angelo Harrington II, Alexis Krey-Bedore, James Mernin and Tori Weaver.

The Toby’s production stayed true to Grease’s classic rock ‘n roll core, and everybody associated with it deserves bravos. Even if you spent a summer night with Grease before, drive your hot rod over to Toby’s and catch this amazing production. Grease is the word, and is the one that you’ll want! But please avoid mooning.

Running time. Two hours and 20 minutes with an intermission

Grease runs through June 11 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 here.

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The full buffet menu is shown here, and the specialty drink is “Pink Lady.”

Photos: Jeri Tidwell Photography

‘Something Rotten!’ at Toby’s But Only the Title of the Show

The last thing you want to hear is that there is "something rotten" at a dinner theatre. But rest assured we’re not talking about the cuisine at the famously scrumptious buffet at Toby’s Dinner Theatre in Columbia, Md. What I am referring to is the hilarious musical, Something Rotten! that is currently being presented at Toby’s. The laugh-a-minute production is a spoof on Shakespeare, the Renaissance and yes, Broadway.

Unlike Toby’s buffet (the menu is shown at the conclusion of this review), Shakespeare is an acquired taste.  Many love his works, others not so much.  But how many actually HATE Shakespeare?  Well, in this zany musical there is certainly one: Nick Bottom.  He is a struggling playwright with an underachieving acting troupe who has nothing but disdain for the ultra-successful Will Shakespeare in late 16^th century England. And that’s just the beginning.

With a book by Karey Kirkpatrick and John O’Farrell and music and lyrics by Wayne Kirkpatrick and Karey Kirkpatick, Something Rotten! delivers countless “you’re killing me” situations from start to finish.  That is, if you find the likes of puritanical oppression and the black plague humorous.  Comedic moments are highlighted by well-placed double entendres and a not-too-subtle stream of gaiety, or should I say gayness, running through the production.

The Tony Award winning production irreverently takes on other Broadway musicals like no other, even more so than The Producers, The Book of Mormon, and Shrek to name a few. In fact, there are dozens of references to Broadway musicals in Something Rotten! Among them: Rent, Little Shop of Horrors, Annie, Hair, Cats and Fiddler on the Roof.

In an unusually dance-heavy production, Helen Hayes Award winning director and choreographer Mark Minnick brought his A-game, and the talented cast members (some with Helen Hayes nominations of their own from this past season) does the rest with precision and excellent timing. All sorts of intricate and vigorous dance numbers are on display including tap and high-kicking steps. And three cheers to Mr. Minnick for the show’s staging, pacing and space utilization.

Contributing to the show’s excellence is the brilliantly detailed and lavish period costuming down to the codpieces worn by the men and even omelet costumes (where else would you see those?). These costumes were designed by Gregg Barnes, who crafted the attire for the original Broadway production.

The hue-rich lighting design by Lynn Joslin aided by colorful hanging lanterns brightened up the in-the-round stage. Mark Smedley’s sound design is particularly effective in this production with solid and balanced audio.

Conductor Ross Scott Rawlings (Nathan Scavilla at other performances) leads the 6-piece orchestra who ably back up the vocals and dance numbers.

"All sorts of intricate and vigorous dance numbers are on display..."

In this musical the Kirkpatrick Brothers’ bouncy score is catchy for sure but the lyrics are stunningly clever.  Most successful Broadway musicals have a show-stopping number that elicits ovations from audiences. Something Rotten! boasts two such epochal moments.  

The elaborate number “A Musical” is performed halfway through the first act.  Its high-energy tap dancing and kick line choreography and fabulous lyrics, which include clever references to a bevy of Broadway musicals, such as Les Misérables, and A Chorus Line, drew loud cheers.  Also bringing down the house was the second act “Make an Omelette” that contains similar ingredients.

Moreover, a solid musical may present one or two scene-stealers during the course of the show. “Something Rotten!” delivers a multitude, which accounts for the prodigious amount of laughter-producing lines. While the frenzy from the first act settles down in the second act, there is ample fun to enjoy.

The insanely funny story centers on the aforementioned Nick Bottom (played superbly by Jeffrey Shankle) and his younger naïve brother Nigel Bottom (Ben Ribler) who barely can make ends meet.  Nick more than Nigel is so jealous of Shakespeare (Justin Calhoun) that he is desperate to write a successful play for a change. 

Finding a soothsayer, Thomas Nostradamus (Jordan B. Stocksdale), the nephew of THE Nostradamus, Nick is told that the wave of the future is a musical, whereby the actors break out into song and dance in the middle of their dialogue. What a concept! 

Nostradamus, who apparently did not have all his wires connected properly, looked into the future and predicted the next great play would be “Omelette,” instead of Shakespeare’s greatest hit that sounds similar.  Mr. Stocksdale is rip-roaring funny in this sequence and is one of the show’s scene stealers.

Shakespeare, meanwhile, displaying surprising insecurity, is worried that the Bottom Brothers are stealing his work.  The ensuing madness, dominated by eggs, needless to say, comprises the rest of the plot, which eventually is happily resolved.

Perfectly cast as Nick Bottom, Jeffrey Shankle puts on an amazing performance not only by his comedic timing but also his singing and dancing. Full of energy, Mr. Shankle’s character frantically tries to compete with Shakespeare and has the audience rooting for this underdog.  He sets the tone right in “God, I Hate Shakespeare” showcasing his strong tenor vocals.

Justin Calhoun performs with flair and joy as the conceited, gloating, swaggering Shakespeare fresh off his hit play “Romeo and Juliet.” He is the rock star of his time; men and women alike adore him, except, of course, Nick Bottom.  He delivers the numbers “Will Power” and “Hard to Be the Bard” with gusto.

As the sensitive romantic Nigel, Ben Ribler, successfully making his Toby’s debut, looks up to Shakespeare though he tries to work with his brother on producing the musical.  However, his love interest, a golden hair Puritan named Portia (Marina Yiannouris), convinces Nigel, a poet, that he should write from his heart. Somehow, co-writing “Omelette” doesn’t feel right to him.   

Demonstrating a smooth tenor voice, Mr. Ribler clicks in duets with Ms. Yiannouris, the ballad “We See the Light,” and with Mr. Shankle, “To Thine Own Self.”

Another of the show’s scene stealers is Janine Sunday who plays Bea, Nick’s wife. Realizing her husband’s struggles and a desire for a better life, Bea wants to help out any way she can.  That includes acting as a part of Nick’s acting troupe though it is illegal for a woman to appear on stage.  She even takes on physical jobs for men disguising herself as a man. Ms. Sunday delivers splendidly in “Right Hand Man,” a duet with Mr. Shankle.

As the strict father of Portia, Brother Jeremiah (Adam Grabau) seems to be the father of all Puritans.  Bible clinging, intolerant, set in his beliefs, Brother Jeremiah has a habit of slip-of-the-tongue oops moments revealing that perhaps he’s hiding something.  If so, he’s not hiding it too well.  Mr. Grabau deliciously plays this role to the hilt.

Another deft performance is turned in by Robert Biedermann as Shylock, the Jewish moneylender—the only job a Jew can hold during that era—who cannot legally invest in the musical.  Dropping Yiddish words during the dialogue, Mr. Biedermann is such a mensch.

Then there is David James, Toby’s master of the multiple roles, who plays Lord Clapham and the Master of the Justice with his usual relish.

Shane Lowry as the Minstrel who opens up each act with “Welcome to the Renaissance” does a fine job in setting the tone for the show and performs well as a member of The Troupe. The other talented Troupe members include Brandon Bedore, Patrick Gover, Ariel Messeca, and Vince Musgrave.

Rounding out the Ensemble are MaryKate Brouillet, Tina DeSimone, Lydia Gifford, Amanda Kaplan, and Patricia “Pep” Targete. They provide superb support for the leads with their energetic, precise dancing and strong vocals.

Sure, Something Rotten! is a silly farce. But it is a gorgeous spectacle in every respect.  The wonderful music, hilarious lyrics, zany story, well-placed satire and an amazingly talented cast and crew make this a must-see show.  As the production continues through its run, I wish all the performers well and to break an egg.

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

Something Rotten! Runs through March 19 at Toby’s Dinner Theatre, 5900 Symphony Woods Road, Columbia, MD 21044.  Tickets may be purchased by calling the Box Office 410-730-8311 or visiting Toby's website as well as Ticketmaster.

Photos: Jeri Tidwell Photography

The full Menu is shown here, and the specialty drink is “Bottoms Up.”