Iron Crow Delivers a Naughty ‘Rocky Horror Show’

Photo: Rob Clatterbuck

No man or woman is safe from the antics of the zany characters performing in Iron Crow Theatre’s production of The Rocky Horror Show-The Musical.  As the second installment in the 2017-2018 Season of Identity, Director Sean Elias who is the Artistic Director and CEO of Iron Crow Theatre, must have had a gay ‘ole time helming this version of the cult favorite.  #hocoarts

With music, lyrics and book by Richard O'Brien, The Rocky Horror Show was adapted into the 1975 film The Rocky Horror Picture Show.  The campy rock musical spoofs the science fiction and B movies of the 1940’s and beyond while integrating the sexual revolution of the 1960’s and 1970’s.

Mr. Elias guides a somewhat different version of the musical with a deft hand bringing in a talented, high-energy, mischievous cast to lead the audience to witness a sexually fluid debauchery like no other on the stage. 

To add to the flavor, Costume Designer Danielle Harrow sprung opened the closets and brought out stilettos, fishnets and tight satin shorts, and that was just for the guys. The female cast members were attired in skimpy suggestive garb as well.

The dissolute mood is set when you first enter the intimate theater at the Motor House. Scantily clad “Usherettes” and “Phantoms” guide you to your seats with each patron toting a prop bag filled with an assortment of weird goodies to hurl around the theater.  A callout script prompts the audience to shout out a word or an epithet or take action to toss toilet paper, confetti or rice.  Also, included in the bag was a page from a newspaper, a rubber glove, glow stick, a party hat, a water pistol (no water in mine), a condom and a playing card.

If that isn’t enough, prior to the show the acerbic, slightly sadistic emcee appears (Eduard Van Osterom) and devilishly lures “virgin” audience members onto the stage to participate in a couple of “games.” One of those was a group of virgins laying on the floor whereby a person was told to eat a red velvet pastry off of the butt of another individual lying on the floor in front of him or her.  Another contest determined who made the best orgasm sounds.  I think you get the drift.

So, even for first time attendees of The Rocky Horror Show or “virgins,” the decadent atmosphere is already baked into the show by dint of the preludes and nothing should surprise, right?

The story revolves around Janet, played by Allison Bradbury, and her fiancé Brad, played by Nick Fruit, who enter a mysterious castle after their car blew out a tire on a stormy night.  The couple, innocent and naïve to the bone, merely wanted to make a phone call for help.  If that had happened, there would be no musical; Mr. O’Brien had other ideas.

The castle is filled with an assortment of odd souls who are servants of some sort to the master (or mistress) of the abode, Dr. Frank ‘N’ Furter, played by Nicholas Miles, who claims he is a transvestite scientist from Transsexual, Transylvania.

He was determined to create the perfect male specimen—muscular—and he succeeds. But this was no Frankenstein monster with a severe scar on his forehead or a bolt across his neck. 

Let me introduce you to his creation, Rocky, played by Terrance Fleming.  Flexing his biceps repeatedly as if that was needed to showcase an impressively perfect physique, Mr. Fleming was perfectly cast in the role.  Ripped all over and rocking tightly contoured gold satin shorts, Mr. Fleming may have a body fat composition of zero or less and a muscle composition of 90 percent or more. Perfect indeed.  And he sings, too.  Mr. Fleming performs movingly in “The Sword of Damocles.”

Meanwhile Janet and Brad encounter these characters and interact with Frank ‘N’ Furter in ways they did not expect.  The couple discovered their inner selves with their bad-girl and bad-boy persona lying beneath the surface, and they were liberated by the insatiable libido of Frank ‘N’ Furter. The wacky story goes on but with all the surprises still to come, it’s best to leave it there.

Photo: Rob Clatterbuck

Allison Bradbury as Janet is excellent displaying a wide range of emotions from a frightened innocent young girl to one who had “enjoyed” an unexpected sexual experience. It is amazing that her strong voice holds up given the amount of screaming she is asked to do especially in the early encounters in the castle.  Ms. Bradbury’s duet with Nick Fruit with backup from the Phantoms in “Damn It Janet” is one of the show’s best.

As dorky, bespectacled Brad, Nick (my favorite) Fruit also transforms into a wild and crazy guy.   Don’t believe me?  Catch his show-stopping performance in the second act. Besides his athletic body, his proficient vocals are also on display in the aforementioned “Damn It Janet” and in the solo “Once in a While.”

Nicholas Miles as Frank ‘N’ Furter delivers a tour-de-force performance.  Commanding onstage, Mr. Miles delivers the goods in more ways than one.  His vocals are powerful and is highlighted by his rendition of  “Sweet Transvestite”  and also in “I Can Make You a Man” and “Planet Schmanet/Wise Up Janet Weiss.”

Nancy Linden as the Narrator, Christian Gonzalez as Riff Raff, Danielle Harrow as Magenta, spunky Caitlin Weaver as Columbia, and Meghan Taylor as Eddie/Dr. Scott perform their roles with skill and talent.

The Phantoms include Monica Albizo (also plays as one of the Usherettes), Alyssa Bell, Robert Corona, Roxanne Daneman (an Usherette), Justin Johnson, Cassandra Miller, Eduard Van Osterom, and Mark Quackenbush.  Other Usherettes include Danielle Harrow and Caitlin  Weaver.

  

These folks perform exceptionally—singing, dancing and comedic antics—throughout the production.  They also sit among the audience and lead the callouts adding to the loony atmosphere.

Quae Simpson skillfully choreographed the show.  The company dances in synch throughout and is especially enjoyable during the show’s iconic number “Time Warp.”

Mandee Ferrier Roberts ably conducts the five-piece orchestra that includes Chris Spagnolo, Jarrett Rettman, Tanner Selby and Garrett Fields.

Under the solid direction of Sean Elias, The Rocky Horror Show-The Musical is a well-staged, seductive, sexy, sassy and satirical spectacle.  With only until October 31 to view it, you should rush to get tickets. It is Iron Crow Theatre's annual fundraiser for both itself and Baltimore's Moveable Feast. If you can’t make it in time to see this production, it will likely appear next year. Either way, you should see it.

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

Advisory: The Rocky Horror Show-The Musical contains sexual situations, profanity and adult situations and is not recommended for children under age 18.

The Rocky Horror Show-The Musical runs through October 21 at the Motor House, 120 West North Avenue, Baltimore, MD 21201. For tickets, click here. 

Timeless ‘Cradle’ Rocks at Iron Crow Theatre

Cast of  'The Cradle Will Rock'   Photo by Rob Clattwerbuck

Sometimes history has a way of repeating itself.  Imagine a musical from 80 years ago having relevancy in the present.  That is the focus of Iron Crow Theatre’s presentation of The Cradle Will Rock kicking off their 2017-2018 season themed “Season of Identity” at the Baltimore Theatre Project.

The Cradle Will Rock is a pioneering work with book, music and lyrics by Marc Blitzstein. Brechtian in style, the musical takes a swipe at wealth, corruption, capitalism and the political power they bring while poor people struggle to get by.  @hocoarts 

Ably directed by Tony Award-nominated Sean Elias, Iron Crow’s Artistic Director, and assisted by Robert Corona, this tight, well-paced production moves Iron Crow another step forward in exploring issues of identity, class and power and the inevitable conflicts they produce. 

A sizable, spirited ensemble and an imaginative and functional set designed by Chris Miller are effective under Mr. Elias’ guiding hand in bridging the issues confronting the nation decades ago with the current state of affairs.

The Cradle Will Rock perhaps will be remembered mostly as the first show ever to be shut down by the federal government.  In 1937, the federal agency Works Progress Administration (WPA) oversaw the Federal Theatre production, which had been in rehearsal for weeks.

The WPA hurriedly canceled the production at the Maxine Elliott Theatre under the guise of budget cuts and sent armed guards to keep any costumes or sets from being removed from the theater. Many believed that the musical had been censored because the pro-union plot was “too radical.”  Moreover, Actors’ Equity barred cast members from performing the show onstage.

Undaunted, Mr. Blitzstein, Producer John Houseman, and Director Orson Welles found the Venice Theatre and a battered upright piano.  They along with the cast and hundreds of onlookers marched 21 blocks uptown to the theater garnering a bonanza in publicity. As Mr. Blitzstein launched into the introduction, Olive Stanton, who played the character Moll, stood up in her seat and sang the opening number from the audience. The rest of the cast followed suit.

While it is doubtful the federal government would try to stop Iron Crow from presenting this musical, Mr. Elias strives to connect this piece with the corruption and bullying tactics of our president and his administration and the income inequality that exists in our society.

"The Cradle Will Rock is a direct response to and protest against the current administration, the evils of unregulated capitalism and the dangers of an imperial presidency,” says Mr. Elias in a statement.

Indeed, there are similarities, and the use of ephemeral projected images of President Trump, Department of Education Secretary Betsy DeVos and others on four small screens at the rear of the stage visually fosters that connection.

Eduard Van Osterom (L.) and Patrick Gorirossi
Photo: Rob Clatterbuck

The ten-scene, single act musical is narrated both musically and verbally (announcing scenes) by the sole musician, pianist Mandee Ferrier Roberts, who expertly performs virtually throughout the show. The piano, which includes a repository for props next to it, is moved about the stage for the various scenes and the back of it is used at times as a bar or a judge’s desk in the courtroom.

Though the score is not all that melodious, the lyrics are the vessel for the story as little dialogue transpires.  A few numbers stand out but mostly for their comedic qualities.  Others are moving and well performed. However, at times, the piano drowns out some vocals and dialogue, which could be remedied if the principals are mic’d.  The problem is not noticeable in group numbers,

The Cradle Will Rock is set in the fictional town Steeltown, USA during 1937 while the Depression was still in high gear.  The story centers on Larry Foreman (played powerfully by Terrance Fleming whose rendition of the title song is superb) and his attempts against the odds to unionize Steeltown’s workers. 

He must contend with the town bully, greedy, authoritative, anti-union Mr. Mister (not to be confused with the 80’s pop rock band of “Broken Wings” fame) who controls institutions including the factory, the newspaper, the clergy, the arts, the university, even a physician.  His role is portrayed smoothly by theatre veteran Greg Grenier, though I would like to see him, as the antagonist in the story, come off a little meaner.

Most of the characters in this ensemble production are either victims of Mr. Mister, such as Harry Druggist (played emotively by Jonathan Jacobs) who have sold out to Mr. Mister one way or the other, or members of the Mister family including Mrs. Mister (I love that name) played by Allison Bradbury and their son Junior Mister (effectively played by Mark Quackenbush). He’s an incompetent Eric Trump-like figure who, as a result of the reluctant compliance of the newspaper’s editor to Mr. Mister’s demand, is deposed to Honolulu as a correspondent.

Editor Daily, the aforementioned editor, is also coerced by Mr. Mister into writing damaging pieces against the union and Larry Foreman.  Justin Johnson does a splendid job showcasing his strong acting skills and vocals in that role particularly in the song “The Freedom of the Press.”

Reverend Salvation (played by Brandon Love) delivers sermons paid for by Mrs. Mister to advance her husband’s interests.  He performs well in “Hard Times/The Sermon.”

Photo: Rob Clatterbuck

Patrick Gorirossi as the musician Yasha and Eduard Van Osterom as the painter Dauber, click well in the campy numbers “Don’t Let Me Keep You,” “Ask Us Again” (with Ms. Bradberry) and “Art For Art’s Sake.”  These songs, which take place in one scene in a hotel lobby, provide the most laughs in the production. There should be a video made of this duo performing in “Don’t Let Me Keep You.”

Matt Winer passionately and energetically plays Stevie, the son of Harry Druggist, who gets killed in a car bombing intended to murder Gus Polock, the newly elected member of the union (Mark Quackenbush) and his wife, Sadie (Monica Albizo who also plays the role of Sister Mister).

Caitlin Weaver is wonderful as Moll, a prostitute arrested for not succumbing to the demands of a corrupt detective, Dick (competently played by Matthew Lindsey Payne), and who hears the story of Mr. Mister’s antics from Harry Druggist.  Her voice is in fine form in “Moll’s Song” and “Nickel Under the Foot.”

Ian Andrews as Virgil, a clumsy-ish policeman, is comical with his Keystone Kops movements.

Felicia Akunwafor as Ella Hammer, the sister of a killed steelworker, performs the show-stopper number “Joe Worker.” In this emotional song she futilely pleads with Dr. Specialist (Roxanne Daneman) not to state that her brother was drunk causing his accident as pushed by Mr. Mister but in fact he was murdered.

Rounding out the cast are Barbara Madison Hauck as President Prexy, Chelsea Paradiso as Professor Mamie, and Meghan Taylor as Professor Trixie.

Chris Miller’s set has been touted as Iron Crow's largest ever.  It has an industrial feel to it given the locale is Steeltown.  It includes a scaffold with three sets of stairs leading from the stage and sets of industrial looking lights on the sides and rear.  

As mentioned earlier, four small projection screens are mounted on the back, and a few chairs are also in the rear where performers not featured in a particular scene are situated.  The omnipresent piano shifts positions depending on the scene.

Janine Vreatt’s lighting design is outstanding and works cohesively with the set and the music.  And Matthew Smith’s costumes accurately portray the attire from the period.

At a time when a large segment of our country is railing against the disproportional power the top one percent of income earners accrue at the expense of the working class and when a significant part of the country currently sees our president to be dictatorial and unfit for office, the historic The Cradle Will Rock provides frightening similarities.

A talented and enthusiastic ensemble under the solid direction of Sean Elias gives Iron Crow Theatre a welcome boost as it launches its new season.

Running time: One hour and thirty minutes with no intermission.

Advisory: The Cradle Will Rock contains mature themes, adult language, sexual content and violence and is not suitable for patrons under age 18.

The Cradle Will Rock” runs through October 8 at The Baltimore Theatre Project, Baltimore Theatre Project, 45 W. Preston St., Baltimore, MD 21201.  For tickets, visit online .

‘Edith’ Hits the Mark at Iron Crow

Photo: Rob Clatterbuck

“What’s the matter with kids today?”  That was the question famously posed by Paul Lynde in the classic 60’s musical Bye Bye Birdie.  In Iron Crow’s presentation of Edith Can Shoot Things and Hit Them, the question could easily be reversed: what’s the matter with adults?

That question is answered in an engaging play written by A. Rey Pamatmat.  Well directed by Sean Elias and Assistant Directed by Robert Corona, Edith hits the mark thanks to strong acting by the three-person cast who are young adults portraying adolescents. All are making their Iron Crow Theatre debuts. 

 #hocoarts

 Edith Can Shoot Things and Hit Them tells the story of a 12 year-old girl Edith, played by Pimmie Juntranggur and her 16 year-old brother Kenny (Mohammad R. Suaidi) who are left to virtually fend for themselves in a middle America farmhouse during say, the 1990’s.  

For the full review, visit MD Theatre Guide

Strong Acting Highlights The Zero Hour at Iron Crow

Rebecca Tucker (L.) as Rebecca and Rena Marie as O
Photo: Rob Clatterbuck

“Imagine having to take the 7 train to the ballpark, looking like you’re riding through Beirut next to some kid with purple hair next to some queer with AIDS right next to some dude who just got out of jail for the fourth time right next to some 20-year-old mom with four kids. It’s depressing.” 

These stereotypical, hateful comments were made by ex-Major League Baseball pitcher John Rocker in 1999, which undermined his career following his suspension.   #hocoarts

Yes, the infamous 7 train a.k.a. the Flushing Line in NYC that extends from Flushing, Queens to western Manhattan. (A personal note: I used to ride that line daily for years and found the passengers to be as normal as any New Yorkers.)

What Rocker didn’t imagine encountering on this subway train were World War II-era Nazis, and neither did I, or at least I didn’t think so.  In The Zero Hour, a compelling 2010 work by Madeleine George, which debuts in Iron Crow Theatre’s first ever SecondStage season, Nazis, including those on the train, play a significant role in the play’s subplot.

In keeping with Iron Crow’s tradition of presenting offbeat plays with a darker hue tinged with sexuality that extend beyond the norms, The Zero Hour under the meticulous direction of Ann Turiano, is a provocative examination of relationships that is carried out by brilliant actors.  George manages to blur reality with mind games (and I do mean blur) and how these concepts intersect using emotionally-charged drama with the appropriate amount of humor throughoutt.

The story centers on two women in a relationship living in a rundown walkup in Queens just near the elevated section of the 7 train.  Rebecca, played exceptionally by Rebecca Tucker, a late-twenties Jewish femme, is writing a textbook on the Holocaust for seventh graders—an effort that spills into her personal life and psyche. 



Rebecca Tucker (L.) as Rebecca and Rena Marie as O
Photo: Rob Clatterbuck

Her lover O, superbly portrayed by Rena Marie, is a slightly younger butch woman who is unemployed and is destined to remain so if she has anything to do with it.  They seem to have little in common except for having mother issues.

Rebecca carps on O’s lack of a job; O rails against Rebecca’s insistence on remaining in the closet particularly when it comes to her mother who supposedly is unaware of the relationship.  Rebecca doesn’t quite accept the fact she is actually a lesbian despite the torrid sex between the two.   

O’s mother recently died but never approved of her O’s choices.  The strains in their fragile relationship begin to take its toll as the play progresses and ends with an unusual twist that leaves more questions than answers.

Both actors play multiple characters: Ms. Marie, in addition to her role of O, effectively plays a therapist and three different Nazis on the train employing different outfits and accents; Ms. Tucker plays both mothers (one appearing as a figment of the imagination).

As intended by the playwright, the actors change into the other characters in full visibility to the audience by removing then replacing articles of clothing, hats, footwear and adjustments made to hair-dos. They perform these tasks frenetically and with precision but would do well to eliminate the exchanges in shoes, for example, to shorten the delays between scenes. 

This process causes the play to be choppy at times as the audience anxiously anticipates the next scene to begin while leaving the actors occasionally out of breath as they initiate the subsequent dialogue. One cannot fault the actors involved, however; that’s how The Zero Hour was written.  

Aside from that quibble, the performances under Ms. Turiano’s direction by the two principal actors make this a top-notch theatrical experience.  Ms. Tucker is spot-on as the neurotic and conflicted Rebecca.  Where there is temptation to overact, Ms. Tucker refrains from doing so but exudes sufficient exasperation to be believable.  In addition to the interactions with O and the Nazis on the train, she does very well delivering several monologues that recite the lessons of the Holocaust in her textbook.



Nick Fruit (L.) as Doug and Rebecca Tucker as Rebecca
Photo: Rob Clatterbuck

For her part, Ms. Marie realistically carries out her role of the unemployed, rather irresponsible butch lesbian trying desperately to make things work in the relationship.  The chemistry between the two is dynamic evolving into genuinely portrayed confrontations.  Her other side roles are also performed well demonstrating her acting versatility.

A third actor, Nick Fruit, joins the performance near the end.  He plays Doug, a guy on the prowl at a local bar whose pray happens to be Rebecca who is there following a difficult day. Could Doug be yet another Nazi?

Mr. Fruit is wonderful in conveying this charming guy who, unfortunately for him, barked up the wrong tree. Yet, one cannot help but root for him. It is here whereby Rebecca finally acknowledged she was a lesbian—an identity she has struggled to admit heretofore.

This turned out to be among my favorite scenes with the witty repartee exchanged between the two as totally enjoyable.  The encounters with the Nazi train passengers rank high as well.

Director Turiano, who is assisted by Panna Adorjáni, brings all the elements together in this thought-provoking work.  Excellent lighting design by Chris Flint who doubled as the set designer enhances the mood and scene changes effectively.

The sound design team consisting of Alex Duncker, Philip Rodgers and Iron Crow Artistic Director Sean Elias does well in providing sound effects, such as a dripping leak from the ceiling of the apartment into a bucket to the sounds of that 7 train nearby.

Unfortunately, The Zero Hour has a short run at Iron Crow so you must hurry if you wish to see an interesting play performed by an extraordinary cast.

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

Advisory: Contains sexual situations and profanity and is not recommended for children under age 18.

The Zero Hour’s remaining performances December 4 (2 p.m. and 7 p.m.) at the Baltimore Theatre Project, 45 W. Preston St., Baltimore, MD 21201.  For tickets, visit online. http://www.ironcrowtheatre.org/zerohour/

There’s a ‘Party’ Going On With Iron Crow

Cast of The Wild Party   Photo: Rob Clatterbuck

I’ve attended some wild parties in my day, but The Wild Party currently being presented by Iron Crow Theatre at their venue at the Baltimore Theatre Project takes the cake.  Decadence rife with minimal clothing worn by some of the guests, abundant booze, love making, sexual ambiguity, a developing dangerous love triangle, jealousy and violence would certainly count as wild.  I bet the chips and dip were spicy, too.  And it’s mostly done to song!

Sean Elias, the new artistic director and CEO for Iron Crow, directs a young talented company in this eccentric musical, which is only the second one since Iron Crow’s inception in 2009 (Hedwig and the Angry Inch).  #hocoarts

Iron Crow, Baltimore’s only queer theatre, prides itself on being edgy and mysterious, dark and unconventional with a strong infusion of queerness.  Kicking off its 2016-17 Season, The Wild Party encompasses these characteristics for sure, and with the level of talent displayed and remarkably creative burlesque-like costuming by Aaron Barlow a.k.a. Betty O’Hellno, it is one of their more entertaining productions. 

The Wild Party is adapted from Joseph Moncure March’s 1928 poem of the same name.  The show in which Andrew Lippa, wrote the book, music and lyrics, opened Off-Broadway in 2000 and received the Drama Desk Award for Outstanding Music and the the Outer Critics Circle Award for Outstanding Off-Broadway Musical.

Though other characters play significant roles, the principal story takes place in the 1920’s and centers on Queenie and Burrs—her abusive and violent lover. They decide to hold this epic party in the hope of escaping, albeit briefly, their own problematic relationship.  Queenie decides to make Burrs jealous, and when Kate shows up with a mysterious man named Mr. Black, trouble brews, a love triangle drama unfolds, and we’ll leave it at that.

The colorfully odd guests are attired in an eclectic array of costumes that challenge gender norms including young men wearing red stilettos.  Some guests are barely dressed at all.  What a party!

From the entrance in the rear of the stage, they descend down the four steps into a lower level—a metaphor for the debauchery that awaits them. Ryan Haase’s clever set is a bit off center, and I’m sure purposely so, to offer the audience yet another metaphor. Lighting Designer Janine Vreatt’s effective use of dim illumination that creates a foggy, dreamlike quality, underscores the mood.

Though there is some dialogue, most of the plot is carried out by music—a strong attribute given the quality of some of the songs and the vocal prowess by the cast.  Unfortunately, there had been opening night issues concerning evenness with the sound and mics, and hopefully this will be resolved in subsequent performances.

Mr. Elias keeps the action hopping (it is a wild party) and effectively ensures that the actors not featured in a particular scene are still engaging in some form of activity in the background though not distracting.  This adds to the quality of the production.

A few of the songs don’t possess the kind of memorable melodies that one would hum exiting the theater.  But the lyrics from most are quite effective in weaving the story together.  Among the better numbers are, “Raise the Roof,” “Out of the Blue,” “Poor Child,” “A Wild, Wild Party,” “Of All the Luck,” “What is it About Her,” “I’ll Be Here” and “Come With Me.”

Ben Shaver ably conducts the five-piece orchestra situated in the rear of the theater.

There is some dancing under Robert Mintz’s choreography.  However, the relatively small stage containing a number of props and furnishings as well as a sizable cast does not allow for extravagantly free-wheeling moves.

As the tormented Queenie, Allison Bradbury is riveting.  She acts and sings with proficiency and is called on to perform in most of the show’s ballads as a solo or in groups with her sultry soprano voice holding up well by the end.  Her moving song, “Maybe I Like it This Way,” is excellently performed as she reflects on why she puts up with Burrs.

Justin Mazzella turns in a stunning performance and is convincing as the violently passionate Burrs. He displays solid acting skills and range as well as strong vocals in portraying this demanding role.  He performs particularly well with Ms. Bradbury in "Out of the Blue."

The vibrant Kate, who mightily attempts to seduce Burrs, is played effectively by Jessica Bennett.  She performs well in her solos “Look at Me Now,” “The Life of the Party” and the group number “Poor Child.”   

As Black, the man who falls for Queenie, Sylvern Groomes, Jr. does well and is particularly strong in the smooth ballad “I’ll Be Here.”

Valerie Holt plays the lesbian Madeline True, one of the guests, who is searching for love at the party. Her solo “An Old-Fashioned Love Story” was unfortunately marred by audio problems caused by either having a defective mic or she was not mic’d at all.  From what was heard, Ms. Holt has a nice voice.

Allison Bradbury as Queenie and Justin Mazzella as Burrs
Photo: Rob Clatterbuck

Another guest, Eddie, is played energetically by Jesse Marciniak.  He enjoys pugilism and is not shy about flexing, adding an amusing touch.

The lover-brothers Oscar D’Armano (Adam Cooley) and Phil D’Armano (Brice Guerriere) with their flower-laden wigs also add comedy to the already intense party. Appropriately, they perform well in the fun number, “A Wild, Wild Party.”  

Other fine cast members include Emily Small as Delores, Katheryne Daniels as Mae, and Fred Fletcher-Jackson as Sam.

And then there are Terrance Fleming as Eddie and Nick Fruit as Max who look impressively athletic in their um, skimpy costumes.  I told you this is a wild party.

Not all wild parties end well, and this is no exception.  However, it would be wise to get a ticket and attend this party.  You have to provide your own costume though.

Iron Crow’s 2016-17 Season is off to a good start with this well-directed and well-performed production.  It should give all involved something to crow about.

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

Advisory: Contains sexual situations, partial nudity and profanity and is not recommended for children.

The Wild Party plays weekends through October 9 at the Baltimore Theatre Project, 45 W. Preston St., Baltimore, MD 21201.  For tickets, visit online.