Green Day’s ‘American Idiot’ Rocks Silhouette Stages

Silhouette Stages continues its 21^st season, which is themed “Coming of Age!” with an ambitious production of Green Day’s American Idiot. Director Henry Cyr excels in guiding an energetic and youthful cast through the sung-through punk rock opera with some excellent vocal performances, clever choreography by Maddie Ervin and stellar staging keeping the production lively throughout. Costume Designers Zen Tabligan and Jaylyn Hess appropriately fitted the cast with grunge-style attire that contributes splendidly to the vibe. Sammy Jungwirth’s lighting design enhances the rock show environment.

What also makes the production work is the wonderful live six-piece orchestra assembled on stage led by conductor Virginia Moses who is also on keys. For nearly 90 minutes straight, the musicians did Green Day’s score justice and then some. All members of the talented orchestra will be listed in the Production Team at the conclusion of this review.

With the stage basically cluttered with numerous set pieces wheeled in and out and with the orchestra stationed upstage, it is a testament to Mr.  Cyr and the crew to allow the leads and Ensemble to adroitly navigate through those obstacles symbolizing the chaos that’s associated with the story. A screen upstage contains images as the show progresses but are not truly clear. Prior to the show there are videos that depict lowlights of 21^st century events from 9/11 to covid to the current mess in our country that set the mood.

American Idiot is based on the punk rock group Green Day’s 2004 concept album of the same name and incorporates songs from another Green Day album, 21^st Century Breakdown from 2009. Both albums won the Grammy Award for Best Rock Album in their respective years. Lyrics were by Billie Joe Armstrong, and the book was penned by Armstrong and Michael Mayer. The 2010 Broadway show captured two Tony awards.

Some of the memorable songs include “American Idiot,” “Give Me Novacaine,” “Wake Me Up When September Ends,” and the finale “Good Riddance (Time of Your Life)”.  There’s an abundance of angst and teenage rebellion throughout, and many of the songs are laced with profanity.

The musical follows three disaffected friends from the suburbs in post-9/11 suburbia—Johnny, Tunny and Will—who are about to set off from their empty lives to look for fulfillment. To that end, Johnny and Tunny head to the big city. Will remains, however, when he learns his girlfriend is pregnant and goes into a drug and alcohol tailspin. Johnny is seduced by women and drugs while Tunny enlists and marches off to war where he is seriously injured.

Maxwell Wolf turns in a superb performance as Johnny, the musical’s protagonist.  His journey takes him to lost love to drug abuse as he conjures up St. Jimmy, a fast-living, drug-dealing, chaotic manifestation of everything Jimmy wishes he could be. St. Jimmy is played exuberantly by Tyler White.  

Mr. Wolf’s acting skills shine as his emotions range from depressed to even more depressed. Yet, his movements are animated and often packed with high energy.  You can feel how overwrought he is with emotion, and he conveys it convincingly. Mr. Wolf’s vocals in the numerous songs he is called on to perform are strong. His singing versatility are demonstrated by the many high velocity numbers to the tender ballad “Wake Me Up When September Ends”.  On a couple of occasions, he strums a guitar to accompany the songs.

Terin Kelsey adroitly plays Johnny’s friend Tunny. He accompanies Johnny to the big city but is enticed by advertisements to join the military. In a chilling scene, Mr. Kelsey and members of the ensemble, clad in military fatigues, slowly march across the stage as they head to war, presumably Iraq. There Tunny is seriously injured and is sent to rehab. He meets his nurse “Extraordinary Girl,” played by Lily Arbaugh, and they fall in love. Both Mr. Kelsey and Ms. Arbaugh display fine vocals.

The friend who remained in suburbia, Will, is played well by Ryan New. Will yearns for freedom but is trapped by reality as he learns his girlfriend Heather (played by Domenica “Minnie” Gregorini) is pregnant. His devotion to alcohol and drugs was too much for Heather. She decides to leave him, baby in tow.

Other key members of the cast include Geneva Croteau who plays Whatsername, the woman Johnny longed for and dragged into the world of drugs; Tyler White who excels as the frenetic St. Jimmy, the drug pushing id of Johnny with abundant singing talent; Ross Bollinger, who plays Favorite Son, the TV model who got Tunny’s attention that led to his enlistment; and Scott Armiger as Heather's Rock N Roll Boyfriend.

The Ensemble is excellent. They participate in virtually every number in backup singing roles and dancing. Their movements around the compact stage are precise and add tons of energy and enthusiasm. All cast members are named at the conclusion of the review.

By no means, is this show uplifting and joyous; it contains some rather unlikeable characters who struggle to find the happiness they crave. 

American Idiot works best if you view it not as a conventional book musical, but as a theatricalized punk rock concert. If you are a Green Day fan or love high-energy, unconventional theatre, it is a thrilling experience. However, if you require deep character development and a linear, dialogue-driven story, the show may leave you somewhat confused by the fragmented plot with the music valued over nuanced storytelling. Regardless, the stage presentation, the talents exhibited by the cast, and the fine direction make for an entertaining 90 minutes.

Advisory: The production contains mature themes including drugs, sexual situations, violence and profanity and is not recommended for young children.

Running time. One hour and 30 minutes with no intermission.

American Idiot plays on weekends through June 28 at the Slayton House Theatre, 10400 Cross Fox Ln, Columbia, MD 21044. For tickets, call 410-730-3987 visit online.

Photos: Shealyn Jae Photography

 

 

Silhouette Stages Offers an Emotional Rollercoaster in ‘Fun Home’

As the queer community continues to experience relentless attacks on its rights by the Trump administration, it is refreshing and timely that Silhouettes Stages is presenting the musical Fun Home this month. The groundbreaking show, which opened on Broadway in 2015 and captured 5 Tony Awards among its 12 nominations including Best Musical, Best Book and Best Score, is perhaps the first Broadway musical production to feature a lesbian protagonist. The story is potent and heartfelt with two queer characters traveling on a road where one has discovered the joys of her identity and living proudly and openly while the other is joyless in that respect and resides in the closet.

Award winning director Stephen Foreman deftly guides the talented cast through a structure that entwines three storylines revolving around a single character.  Within this framework, Mr. Foreman allows the performers to exhibit a wide range of emotions with clarity and precision. The pacing of the production is rapid but still leaving sufficient time to reflect on and appreciate what transpired in each scene. There are complexities and challenges, to be sure, such as, conveying conversations between the living and the dead, but Mr. Foreman and the cast adroitly pull it off.

Kaylee McDonald as Medium Alison,
Katie Cashin as Alison and Caroline Anderson
as Small Alison

Based on the graphic memoir by Alison Bechdel, Fun Home is a deeply intimate and quietly revolutionary musical that redefines what Broadway storytelling should look like. With music by Jeanine Tesori and a book and lyrics by Lisa Kron, the show transforms Bechdel’s coming-of-age story into a moving exploration of memory, identity, and family secrets.

Set in a small-town in Pennsylvania during the 1970’s, the story unfolds across three timelines, following Alison as a child (Small Alison), a college student (Medium Alison) discovering her sexuality, and a middle-aged cartoonist (Alison) reflecting on her father’s life and death as she attempts to pen captions to her work.

Alison, played deftly by Katie Cashin, is a fixture onstage throughout the show. She serves as the narrator, often at the side of the stage or upstage observing and commenting as she conjures up memories of her childhood and her relationship with her father Bruce, played exceptionally by Michael McGovern.

Bruce is the owner of the Bechdel Funeral Home (‘fun home” as it’s known to young Alison and her brothers John and Christian) and is a teacher. At times an overbearing father, Bruce is concerned or even obsessed with how Alison’s attire (dresses as opposed to jeans) and other facets are perceived by others. With an abundance of confidence and perkiness, Small Alison, sprightly played by Caroline Anderson on the evening of the reviewed performance (alternates with Jules Kanarek) seems to be the focus of Bruce’s parenting.

Significantly, Bruce is a closeted gay man trapped by societal expectations. He has trysts in secret with young men he meets.  His self-loathing and subsequent self-destruction are chronicled throughout with episodes of reckless behavior amid the secrecy. 

As Medium Alison (Kaylee McDonald) attends Oberlin College, she discovers her own identity and ultimately embraces it. She finds love with Joan (Maria Maclay) and eventually sends a letter to Bruce and her mother Helen (Ellen Quay) proclaiming she’s a lesbian. After not receiving a response, she returns home to confront her parents as to why they avoid a conversation on the subject.

Bruce’s death was revealed earlier in the show, so there is no surprise ending on that front. It appeared to be a suicide by standing in front of a truck or perhaps an accident. But Alison believes it was a suicide given the pressures and pitfalls her father had been experiencing.

"...Mr. Foreman allows the performers to exhibit a wide range of emotions with clarity and precision."

Sadly, we have seen too often in the entertainment media that a queer person feels compelled to take their own life. Alison submerges deeper into her memories and ultimately enters into them but is unable to reverse her father’s demise.

Tesori’s score is intricate and character-driven, blending folk, classical, and contemporary Broadway influences. Kron’s lyrics are intelligent and naturalistic, often feeling more like thought than performance. Together, they create a work that feels personal rather than performative. Numbers like “Ring of Keys” and “Telephone Wire” are low-key yet devastating, capturing both the elation of self-recognition and the agony of unanswered connection.

The comical and energetic song “Come to the Fun Home” is a crowd pleaser highlighting the antics of the young siblings as they were recording a possible commercial for the funeral home, and “Changing My Major” also adds a lighter touch. However, a deeply moving “Days and Days” exemplifies the eclectic catalogue. Overall, there are 27 musical numbers in the show.

In a tour-de-force, Michael McGovern shines as Bruce. Spirited throughout, Mr. McGovern commands the stage and employs his powerful voice in his acting and in song. He conveys his torment in a genuine manner.  Bruce is not only focused on Small Alison’s appearance, but he also obsesses about restoring the house. And when he is given to violent outbursts, Mr. McGovern rocks the auditorium.

Playing the character during the period from Small Alison to the current iteration, Mr. McGovern must undertake numerous costume changes, which is a challenge in itself. Credit costume designer Debbie Mobley for fitting the cast in realistic period attire.

As Alison, Katie Cashin delivers a rather subdued and effective performance. As her memories advance through her mind, her soft-spoken monologue and body language reflect the angst she had experienced as a youngster but is satisfied with the way her true identity emerged. Her regret is the way things turned out with her father. Ms. Cashin possesses solid vocals, which are evident in several group and solo numbers.

Caroline Anderson played Small Alison on the evening the show was reviewed. She and her siblings Christian, played by Noah Anderson and John, played by Cooper Johnsen, are bright stars in the production and provide much of the comic relief. They truly appear to enjoy themselves with their playfulness and quips, but Small Alison’s interactions with her father are poignant and gets your attention. The tension is manifested through her own ways of gender expression, which goes against her father’s viewpoint. Young Caroline does a wonderful job in those situations.

Medium Alison, the college student, is played well by Kaylee McDonald. It is while in college she accidently finds her entrée into lesbianism with her partner Joan, played convincingly by Maria Maclay. Ms. McDonald is a standout in the comical song “Changing My Major.”

Ellen Quay is excellent as Bruce’s wife Helen Bechdel. Not only does she sing very well in the ballad “Days and Days” and the group number “Welcome to Our House on Maple Avenue” among others, but she also successfully conveys the complex blend of idealism and disillusionment in her marriage. She was aware of her husband’s affairs but cannot, at least immediately, accept Alison’s emerging identity.

Ryan Kieft is an energetic performer playing multiple roles, some of them were Bruce’s sexual partners. He appears in a few numbers portraying these characters and does a good job vocally and in dance. This is especially true in the group number “Raincoat of Love.”

Most of the action takes place in the Bechdel home, which is decorated with graphic artwork, books and antiques. It’s a real nice and functional set designed by Stephen Foreman and decorator Ande Kolp. Many set pieces and furniture are used giving the production much texture and visual enjoyment. Even a casket appears, which is the source of “Come to the Fun Home.” Lighting Designer Collin Griese does fine work illuminating the set.

And hats off to conductor Dave Foley and his eight-piece orchestra in the pit for giving Jeanine Tesori’s remarkable score the justice it deserves.

A complete list of the remainder of the Production Team is shown at the conclusion of the review.

Silhouette Stages deserves enormous plaudits through its direction, production team and the superb performers in delivering this powerful production, emotional rollercoaster and all.

Fun Home is not a musical with a lot of pizzazz. Yet it deftly blends humor with emotional depth through its portrayal of family dynamics and personal identity.  

At the conclusion of the show on opening night, director Stephen Foreman was seen in the lobby beaming with pride at what he just witnessed. And rightly so.

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

Advisory: Fun Home contains adult content, mature language and themes, including discussions and depictions of death, violence, suicide, sexuality, and sexual content and is not recommended for children under age 13 using parental discretion.

Fun Home plays on weekends through March 22 at the Slayton House Theatre, 10400 Cross Fox Ln, Columbia, MD 21044. For tickets, call 410-730-3987 visit online.

Photos: Shealyn Jae Photography 

‘The Crucible’ Offers Intense Drama at Silhouette Stages

J.R. Hontz and Nathan Rosen

Over the past eight years, we’ve been subject to the incessant accusations of “witch hunt” or “hoax” in the political arena.   There were, however, unquestioned witch hunts in our history, such as the McCarthy accusations of Communism against those within the State Department and beyond, and until the repeal of “Don’t Ask, Don’t Tell, the expulsion of gays and lesbians from the military. 

In Arthur Miller’s intense classic, The Crucible, currently being presented at Silhouette Stages, an actual witch hunt is portrayed.  Loosely based on historical facts, Miller had penned a four-act play (consolidated into two in this production) depicting the infamous Salem witch trials of 1692 in the Massachusetts Bay Colony.  He had written this play as an allegory to the aforementioned McCarthy era of the early 1950’s, and it captured a Tony Award for Best Play in 1953.

Though the setting for The Crucible occurred centuries ago, today’s culture can be examined through the lens of the play. Baseless suspicion and the spreading of rumors and misinformation on social media, for example, can have devastating consequences. 

Miller captures the horrors of that period in a Puritanical society where the Christian Bible and state laws were one of the same.  Paranoia and hysteria were prevalent.  Grudges were commonplace and seemingly irreconcilable. Morality ruled the day and everyone’s religious activities were under intense scrutiny. There was no tolerance for anyone deviating from moral laws.  And many in Salem were fearful of guilt by association, which could damage their reputation—a major theme throughout. 

Then there is the absolute necessity for self-preservation where people would say anything and fabricate stories to protect their own interests.  In other words, throwing people under the bus to save their own hide was a way of life, which directly led to the tragic imprisonment and executions that was the outcome of the witch trials.

For Silhouette Stages, The Crucible is most likely the first true dramatic play the theatre had produced in its 20 seasons.  Under Henry Cyr’s meticulous, first-rate direction, the ensemble cast of 21 talented actors leaves nothing on the stage, and they perform like it was the last thing they were ever going to do.

With enormous levels of energy and passion, the acting displayed is eye-popping and at times, ear-popping. The amazing actors through Mr. Cyr’s direction make the audience feel like they are right there on stage while the chilling drama unfolds. These actors are clearly invested emotionally in their roles. 

The plot is a labyrinth of moving parts with twists galore, and it’s purely frightening at times.  Accordingly, I will not reveal much to detract from the dramatic effect for those who are fortunate enough to see this presentation. And I certainly will not divulge the ending.

"The amazing actors through Mr. Cyr’s direction make the audience feel like they are right there on stage while the chilling drama unfolds."

It all starts when the Reverend Samuel Parris, played forcefully by Nick Cherone, is tending to his 10-year-old daughter, Betty (Shannon Monroe), lying lifeless in her bed.  Earlier he had discovered Betty and a bunch of girls performing some suspicious ritual in a nearby forest though the ringleader, Abigail Williams (played by Carly Brownstein), maintain they were merely dancing.  They fall ill with no ostensible explanation.  The hysteria among the townspeople develops whereby many are convinced witchcraft has enveloped the town and the arrests, trials and punishment of those suspected ensue.

Matt Scheer is exceptional in the role of the main protagonist, John Proctor, a farmer.  It was John’s affair with Abigail prior to when the play begins that led to Abigail’s jealousy of his wife, Elizabeth Proctor (Glennyce Lynn). Elizabeth fired Abigail as the family servant once she discovered the affair.  Mr. Scheer’s final dramatic scene is superb and is convincing with an expansive range of emotions.

Abigail, a principal villain in the play, uses this jealousy as a trigger that sets in motion the hysterical witch hunt with her lies and ability to manipulate people. Ms. Brownstein is truly effective in this role. 

As virtuous Elizabeth Proctor, Ms. Lynn conveys an earnest down-to-earth quality.   Her poignant interactions with Mr. Scheer at various points in the play represent one of the play’s highlights.

Maxwell Wolf is compelling in playing the role of young Reverend John Hale from Beverly, Massachusetts.  An intelligent man, Hale was considered an expert on witchcraft. His determinations resulted in the prosecutions of many suspected witches.  Later, he regretted his actions and tried to save the lives of the suspects by persuading them to confess.

Carley Brownstein and Delaney Gregg

Suzi Eldridge does an excellent job portraying Rebecca Nurse, an elderly respected woman who was sentenced to death after being accused of witchcraft by the wealthy Thomas Putnam (Michael McDonald) and his wife, Ann Putnam (Rebecca Hanauer) and refused to confess.

Veteran performer J.R. Hontz exhibits jaw-dropping acting talent as Deputy Governor Danforth—another of the play’s villains.  He doesn’t appear until later on but his impact on the overall production cannot be overstated.

Danforth is the presiding judge at the witch trials and is commanding and inflexible in his beliefs.  Mr. Hontz’s tour de force performance is something to behold.

Wendy Messick as Tituba, an enslaved Black woman from Barbados belonging to the Parris family, is convincing, displaying anguish towards those who framed her.  She was the first person accused of witchcraft when she admitted to creating love potions for Abigail and her friends. Tituba was sentenced to prison with harsh conditions along with Sarah Good (Kaylee McDonald). Those conditions led Tituba to become insane.

Other notable performances include Delaney Gregg as Mary Warren, a Proctor family servant and one of Abigail’s friends, and Nathan Rosen as Giles Corey, an elderly farmer and close friend of Proctor whose wife was accused of witchcraft and sentenced to death. He was sentenced to death as well for his refusal to cooperate.  Mr. Corey provided some of the few opportunities for comic relief.  However, the entire cast worked together flawlessly thanks to the guiding hand of Director Cyr.

Rounding out the cast are: Elena Powell as Susanna Walcott, Rose Gerson as Mercy Lewis, Brian Doctrow as Francis Nurse, Judah Isaac Canizares as Ezekiel Cheever, Brian Sackett as John Willard, John Sheldon as Judge Hawthorne, and Megan Mostow Kaiser as Martha Corey.

The simple set designed by Sammy Jungwirth features clusters of wooden boards in random crisscross formations that framed the stage from the sides and above. Embedded within the pattern were several crosses, a symbolic touch.

Mr. Jungwirth is also the lighting designer, which was quite effective until midway through the first act on the night this performance was reviewed. The lighting board in the auditorium conked out, and the remainder of the play had to be performed with stage lights only, thus limiting the desired dramatic effects of the planned design, which would have highlighted the anxiety and fear permeating throughout the production.

To his credit, Director Henry Cyr, who is also the theatre’s artistic director, addressed the audience prior to the second act to explain the situation. Kudos to the cast and crew for plowing through with their performances so remarkably. Hopefully, this was a one-time occurrence.

Mr. Cyr is also the sound designer. He ensured that all dialogue was heard clearly. There are numerous instances of high-volume interactions among the cast including screaming, so be prepared.

A special nod goes to costume designer Zen Tabligan, who fitted the cast in authentic, colonial attire, lending even more reality in depicting 1692 Salem.

The Crucible is by no means a feel-good play.  It’s serious to the core with a few clever chuckles sprinkled among the dialogue. Though not entirely historically accurate as far as individual characters’ ages and other details are concerned, it still presents a grim portrait of this shameful period in history and alarmingly shows that human foibles of that era exist even today.

This American classic that denotes an actual witch hunt is recommended for the historical benefit of the story and especially to witness an extraordinary cast giving it their all. Silhouette Stages does a splendid job in bringing life to the story.

Photos: Shealyn Jae Photography 

Running time. Three hours with an intermission

Advisory: The Crucible contains adult themes and is not recommended for children under age 13.

 The Crucible plays on weekends through October 26 at the Slayton House Theatre, 10400 Cross Fox Ln, Columbia, MD 21044. For tickets, call 410-730-3987 visit here.

Sturdy ‘Kinky Boots’ Inspires at Silhouette Stages

Joshua Franklin as Lola and Xander Conte as Charlie

The production of Kinky Boots at Silhouette Stages in Columbia, Md. could not have come at a better time. Relentless withering attacks by the Trump Administration against the LGBTQ+ communities, especially the transgender population, has caused fear and anxiety among these folks and allies nationwide.

“Kinky Boots is a show about just being yourself and never letting anyone tell you who you ought to be,” Silhouette Stages explained in an email statement. “We welcome you to come to the theater dressed however you feel comfortable, whether that means in drag, casual clothing, pajamas, pride gear, wigs, and anything in between!”

This display of affirmation of the LGBTQ+ communities is aimed particularly at youth who may be struggling with their sexual orientation or gender identity. The good people associated with Silhouette Stages, which is celebrating its 20^th anniversary season, should be commended for their support, and in doing do, they are offering a musical with an abundance of heart and elite-level performances.

Under the direction of Jeremy Goldman, the cast and crew deliver an astounding presentation that is both cohesive and beautiful. Profoundly superb staging, costuming, sound, lighting, and musical direction are blended with near perfection to augment the performances from the talented cast. The production features the jaw-dropping theatrical debut of Joshua Franklin as Lola/Simon and the wide range of talent displayed by Xander Conte as Charlie. They are the focus of the plot.

In Kinky Boots there are poignant and inspirational moments that go right to your heart, and one cannot help reflecting on current events. But there are also instances where you will laugh until your shoes fall off.

"...a musical with an abundance of heart and elite-level performances."

The set designed by Sammy Jungwirth is functional, eye-catching and captures the essence of a working-class British shoe factory. Plenty of lumber is used to create warehouse-type shelving and other pieces of furniture and props used in the manufacture of the product. Kudos to the members of the construction team for their efforts in this regard.

This sturdy set is the centerpiece for the show, and because of its magnitude, the already cozy stage
must be efficiently used. Jeremy A. McShan’s imaginative and precise choreography is particularly commendable given the relatively small space the performers are asked to move about.  And some of these moves consisted of cartwheels! Big splashy production numbers with many adorning eye-popping costumes, make-up and wigs add fire power to an already electric production.

Kinky Boots with music and lyrics by pop music icon Cyndi Lauper and book by Harvey Fierstein topped the 2013 field by receiving 6 Tony Awards including Best Musical among 13 nominations.  Lauper’s “Sex is in the Heel” in the first act is a showstopper in its own right; “Everybody Say Yeah,” a stirring song that brings down the act’s curtain, matches it.  The second act’s “In This Corner,” a well-staged boxing scene and a pivotal part of the storyline, also shines. And the musical’s rousing finale “Raise You Up/Just Be” hits the emotional and inspirational target.

Xander Conte as Charlie and the Ensemble

Based on the 2005 film Kinky Boots, which was inspired by a true story, the musical tells of a near-bankrupt British shoe factory’s owner, Charlie Price (Xander Conte) who had inherited the business from his father.  He forms an unlikely partnership with a drag queen named Lola whose actual name is Simon (Joshua Franklin) to save the business. Charlie develops a plan to address the “underserved niche market” by producing custom footwear for drag queens to support a man’s weight, rather than the men’s dress shoes that his firm is known for. In the process, he and Lola bond and discover that they have a lot more in common than originally thought.

Mr. Fierstein, in penning the book, brings to the fore an impressive body of work where he has written about or performed as a drag queen (Torch Song Trilogy, La Cage Aux Folles, Hairspray).  And like these others, Kinky Boots excels in its touching, uplifting message with a strong infusion of humanity. Its overarching themes, such as “Just Be,” center on parental expectations, battling prejudice and stereotypes, and the need for open-mindedness.

With the setting in an economically struggling British factory town, Kinky Boots is similar to other Broadway musicals like Billy Elliot the Musical and The Full Monty.

Versatile Xander Conte, who was the exceptional lead in Silhouette Stages’ production of The Wedding Singer two years ago turns in another scintillating performance as Charlie who clumsily attempts to save the factory, manages his skeptical workers, balancing his desire to save the factory with his romantic life and overcoming his initial resistance to Lola’s world to eventually see the light.

This is a demanding role, and Mr. Conte rises to the occasion by displaying outstanding acting skills and vocal prowess as well as physicality.  These attributes are on display in the snappy song “Step One”—whereby Charlie invites Lola to the factory to design a boot for a “niche market”—and in particular, the moving “Soul of a Man” as he copes with the legacy of his father. He hits those challenging big notes out of the park.

In a tour de force, Joshua Franklin sparkles as the drag queen headliner Lola. It is inconceivable that Mr. Franklin had never performed in theatre before as he is so poised and polished.

Summoning up potent acting skills, Mr. Franklin convincingly displays a wide range of emotions from high camp to melancholy with the right amount of sass and attitude. His powerful voice does justice to the beautiful score in “The Land of Lola” where he performs with his excellent backup troupe of drag dancers, the Angels, and the tender ballad “Hold Me in Your Heart,” which he sings to his wheelchair-bound father, Simon, Sr. (Elijah Davis), who did not approve of his son’s world.

But the most moving of all, “Not My Father’s Son,” in which Mr. Franklin ultimately forms a duet with Mr. Conte is my favorite.  Though they tried to be like their fathers, Simon and Charlie felt the sting from their falling short of their fathers’ expectations. That formed the bonding of the two disparate men.  The stunningly emotional lyrics resonate with all those who felt they let their parents down in some way but were determined to live their lives for themselves:

“So I jumped in my dreams and found an escape
maybe I went to extremes of leather and lace,
but the world seems brighter six inches off the ground
and the air seemed lighter
I was profound and I felt so proud
just to live out loud.”

Joshua Frankin as Lola; The Angels
 (Seth Fallon, Leon Nguyen, Julie Mimms
and Thomas Allen)

The entire ensemble is excellent in support of the leads.  Most notable among them include Chris Riehl as factory worker Don, a boorish, testosterone-oozing antagonist to Lola and Cera Baker as Lauren, also a factory worker and potential love interest for Charlie. (Maddie Ervin will play the role March 14, 15 and 16).  If anyone may have forgotten that Cyndi Lauper had written the score, Ms. Baker’s well executed performance in “The History of Wrong Guys” complete with the snarl facial expression would be a good reminder.

Erica Miller as Nicola, Charlie’s girlfriend who dumped him, played the role well. Amy Haynes Rapnicki as Pat, Tricia Anderson as Trish, Henry Cyr as Harry/Richard Bailey and MarQuis Fair as George also shine.

The other members of the cast not previously mentioned include Keith Field, Will Hertz, McKenley Barnes, Angie Townsend and Neal Townsend. Playing in the Ensemble as factory workers are Dance Captain Maddie Ervin, Coby Kay Callahan, Madison Clay, Chris Draghi, Alex Gubler, Terin Kelsey and Zen Tabligan.

Then there are The Angels. Donning brilliant attire, their singing talents and wonderfully energetic dancing add much flair to the production. Applause goes to Seth Fallon, Leon Nguyen, Thomas Allen and Julie Mimms.

Costume designers Jeremy Goldman, Ande Kolp and Debbie Mobley fit the non-drag cast in basic working-class attire. Joshua Franklin (Lola) and Seth Fallon, Leon Nguyen, Thomas Allen and Julie Mimms (the aforementioned Angels) designed the colorful satiny gowns for Lola and The Angels in a variety of bright colorful costumes highlighted by those gorgeous boots! And for good measure, they all designed their own vivid make-up.

You will get a kick out of Kinky Boots.  The score, the storyline, and the uplifting message provide persuasive reasons alone to buy tickets to the show and deserving of the raucous standing ovation at the final curtain. You will also experience the debut of an emerging star in Joshua Franklin and the solid performances of Xander Conte and the rest of the talented and enthusiastic cast to boot. This is community theatre at its best.

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

Kinky Boots plays through March 23 on weekends with matinees at 2:00 p.m. and evening performances at 8:00 p.m. at the Slayton House Theatre, 10400 Cross Fox Ln., Columbia, MD 21044. For tickets, call 410-730-3987 visit online.

Photos: Shealyn Jae Photography

***

Silhouette Stages has partnered with Soles4Souls  - an organization that resells your gently used shoes creating jobs and helping people start and grow businesses. Together they are helping turn your old shoes into opportunities for everyone regardless of gender, race, ethnicity or nationality to ensure they have access to a better life. There will be a donation box in the lobby at all performances.

Impactful ‘Evita’ Rises at Silhouette Stages

 

Samantha McEwen Deininger as Eva (C), Matt Sheer as Peron (R)
and J.R. Hontz (L)

With the U.S elections right upon us, there is, as you can observe, much political drama, apprehension, divisiveness and anger. With all that, our politics is quite tame (so far) compared to other periods in our world’s history.  The political atmosphere during the 1940’s to 1950’s in Argentina, which was at times tumultuous and deadly, forms the backdrop for the award-winning musical Evita that is kicking off Columbia Maryland’s Silhouette Stages’ 20^th season.

Despite some sound snafus, particularly with the mic’s on opening night, the talented and diverse cast and crew of Evita deliver a stellar production of this musical classic. Hopefully, the sound issues will be ironed out in future performances.

Andrew Lloyd Weber’s music and Tim Rice’s lyrics powered Evita to seven Tony Awards in 1980 with the musical achieving considerable success throughout the world. The lyrics and storyline of the musical are based on Mary Main’s biography, Evita: The Woman with the Whip.

The story, told mostly through song, spans the rise to prominence of Eva Duarte from her impoverished beginnings at the age of 15 to her ascent to power by becoming Argentina’s First Lady, Eva Perón, and concluding with her early death at the age of 33. The action depicting her story takes place between 1934 and 1952.

Along the way, Eva was a radio actress who had reportedly slept around to gain advantage. She met a military colonel Juan Perón at an earthquake relief concert and eventually became his wife prior to his becoming the country’s president.

Brian Dauglash as Che

She started a charitable foundation and connected with Argentina’s women and the powerless.  However, she was reviled by the country’s wealthy elite class and the military.

While historians and authors have debated over the years the historical accuracy of Rice’s portrayal of Eva derived from Main’s work, the production at Silhouette Stages will please no matter your political persuasion.

Daniel Douek directed, and Amie Bell choreographed this adroitly performed iteration of Evita.  The direction is taut and well-paced; the choreography is precise and plentiful. The dancing in such numbers as "Buenos Aires" and "And the Money Kept Rolling In (And Out)" is outstanding.  There is much motion and activity on the stage adding to the dynamism of the show.

Lloyd Weber’s splendid score encompasses an eclectic array of music including classical, rhythmic and ballads.  “Don’t Cry For Me Argentina” sung by Samantha McEwen Deininger as Eva is the show’s popular signature song with its emotional might.  “And the Money Kept Rolling in (And Out)” is a favorite of mine not just for the musicality and clever lyrics but also for its snappy choreography. Other notable songs include the well-choreographed “Buenos Aires,” “Oh What a Circus,” “The Art of the Possible,”  “Another Suitcase in Another Hall” and “You Must Love Me.”

"...the talented and diverse cast and crew of Evita deliver a stellar production of this musical classic."

Samantha McEwen Deininger, an accomplished musical artist, plays the role of Eva with passion and nuance.  (Patti LuPone, who starred in the original Broadway production of Evita, characterized the vocal demands of the role as “a part that could only have been written by a man who hates women.”)

Ms. Deininger overcomes that challenge with her big and crystal clear soprano voice. She soars in many of the show’s numbers amid innumerable costume changes. Ms. Deininger is especially effective in the duet with Perón (Matt Sheer) in “I’d Be Surprisingly Good For You” and as a solo, the tender ballad “You Must Love Me,” a song that was actually written for the 1996 film adaptation of the musical.

Another superb performance is turned in by Brian Dauglash as Che. The name suggests that the character is the revolutionary Che Guevara who happened to have been Argentine.  No Che-related military attire and no other references to Guevara are in the show.  Instead, Che is generic and performs as the story’s “narrator” who binds the plotline together.

Matt Sheer as Perón (L), Samantha McEwen Deininger (R)

Mr. Dauglash is onstage a vast majority of the time and performs in all but a few of the show’s musical numbers including several duets with Ms. Deininger. He possesses a solid voice that because of the required workload, his vocals must stay strong throughout.  And they do.  When called on to dance, he does so very effectively.  Mr. Dauglash, with his energy and strength, commands the stage throughout the production.

Matt Sheer as Perón has a potent stage presence befitting the character and demonstrates vocal prowess particularly in “She is a Diamond.”

Henry Cyr who was superb in Silhouette Stages presentation of The Wedding Singer and is the theatre’s Artistic Director plays the role of Magaldi, Eva’s one-time flame. He performs extremely well in “On This Night of a Thousand Stars” and “Charity Concert” though he was unfortunately hampered by mic difficulties on the night this performance was reviewed.

Julie Mimms makes a brief appearance as Perón’s Mistress whom Eva dismisses and send her on her way.  Her lovely rendition of the emotional ballad “Another Suitcase in Another Hall” is rightly gentle.

On stage during most of the show is the wonderful Ensemble who symbolizes the people of Argentina.  They, too, perform in a wide variety of vocal numbers and dance routines and do so with meticulousness.

Other members of the talented Ensemble include Felicity Clark and Kenna Mayo as the Children of Argentina, Megan Barnes, Jason Britt, Libby Burgess, Judah-Isaac Canizares, Tori Farnsworth, J.R. Hontz, Jae Jones, Gillian Keirn, John Lynch, Glennyce Lynn, Erica Miller, Otega Okurume, Nathanael Quay, Katie Sheldon, Jose Reyes Teneza, Nick Thompson and Carolina Tomasi.

Scenic Designer Kateri Pelton and team erected a functional set including the iconic balcony. The stage is uncluttered allowing the performers to move freely throughout the show. Chris Uelinger as the Projection Designer, used the screen on the back of the balcony to display shots of rooms, buildings of Buenos Aires and some abstract images to convey the periods of time as the show evolves through the years. Lighting Designer Brad Ranno is also effective in amplifying the optics.

Ensemble

Costume Designers Tricia Anderson and Tara Herbert (who are also the Makeup Designers) and Tommy Malek’s Wig Design lend authenticity to the production. The period costumes including military garb is realistic, and Eva’s gowns are particularly stunning.

The U.S. is at the precipice of electing its first ever woman president. Eva Perón was poised to be Argentina’s vice-president over 70 years ago but her illness and eventual death at the age of 33 prevented that occurrence. The production of Evita is both timely in noting the significance of how women must overcome the odds to rise up and is also vastly entertaining in its presentation. It should not be missed.

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

Evita plays on weekends through November 3 at the Slayton House Theatre, 10400 Cross Fox Ln, Columbia, MD 21044. For tickets, call 410-730-3987 visit online.

Photos: Shealyn Jae Photography

‘The Wedding Singer’ is Pitch Perfect at Silhouette Stages

L to R: Seth Fallon as George, Xander Conte as Robbie Hart,
Henry Cyr as Sammy

When Jeremy Goldman, the President of the Board of Directors of Silhouette Stages, one of Howard County’s venerable community theatres, decided to step away from his over 30 years of performing on stage and tried his hand at directing, he could not have picked a better show in The Wedding Singer to make his directing debut. He also couldn’t have chosen a better cast and crew—all volunteers—to make it work. And did it ever!

At the helm, Mr. Goldman ably stitches all the moving parts into a cohesive, intricately staged, high-tempo tapestry of laughter and nostalgia. The talented cast is brimming with enthusiasm and energy, and under the precise choreography by Jeremy A. McShan, can dance up a storm.

Let me point out that the stage in the Slayton House Theater where this production takes place is rather compact and does not have the expanse of say, Radio City Music Hall. To choreograph the snappy numbers so adroitly in limited space is a tribute to Mr. McShan’s imagining of the dance steps and the abilities of the performers in the show led by dance captain Brandon Goldman to execute them.

With music by Matthew Sklar, lyrics by Chad Beguelin, and a book by Beguelin and Tim Herlihy, The Wedding Singer is based on the popular 1998 film of the same name that propelled Adam Sandler’s cinema career. The show garnered 5 Tony Award nominations in 2006 including Best Musical, Best Score and Best Choreography. I never saw the movie; I was wayyyy too young. However, I am delighted to have experienced the laugh-a-minute production at Silhouette Stages.

Even before the proverbial curtain rises, the sounds of the 1980’s are piped into the audience. The likes of Bon Jovi and other popular artists of the era signal that the setting is 1985 New Jersey, not far from Exit 16. Already it’s funny. And the never-ending, hilarious one-liners and goofy song lyrics keep the audience in stitches from soup to nuts.

From the opening number, “It’s Your Wedding Day” where the cast scampers up the aisles and onto the stage, the burst of energy never wanes.

Yes, there is plenty of nostalgia to go around and enough corn to blanket Iowa. A Back to the Future vibe permeates throughout with an appearance of a Delorean on the stage, the prediction that coffee could never ever cost $3, and a cellular phone that must be attached to a battery the size of a car’s are just a sample of what you can expect. And when the scene shifts to Las Vegas, you get to enjoy impersonators of Billy Idol, Mr. T, Imelda Marcos, Cyndi Lauper, Ronald Reagan and Tina Turner.

Costume Designer Deanna Cruz-Conner’s colorful period attire is on point and adds another dimension to the spectacle. Then there are those mullets! Wig designer Tommy Malik deserves co-star status for the spectacular job in adorning cast members with those Richard Marx do’s. (Tommy, I need to speak with you.)

The story centers on Robbie Hart (played exceptionally by Xander Conte), a rock star wannabe and now a famous wedding singer who was jilted at the altar by Linda (Megan Mostow Kaiser), a trashy woman who could not at the last moment bring herself to marry a wedding singer.

Crushed by this disappointment and despite the encouragement he receives from his bandmates Sammy (Henry Cyr) and George (Seth Fallon) as well as a waitress at one of the halls he performed Julia (Maddie Bohrer), Robbie flies off the handle at the next wedding gig and angers the guests with his self-pity and ruminations about love. He gets dumped again, but this time literally in a dumpster.

With more encouragement from Julia and his bandmates as well as his nutty Grandma Rosie (Debbie Mobley) he tries to bounce back but will only perform at Bar Mitzvahs now rather than exposing his fragile emotions at weddings. Along the way, he develops a connection with Julia and becomes attracted to her.

"...a cohesive, intricately staged, high-tempo tapestry of laughter and nostalgia.

The problem is she is dating and is ultimately engaged to Glen Gulia (Chris Riehl), a wealthy, pompous Wall Streeter. It doesn’t look like a comfortable match from the outset but regardless, Julia wants to be married and have the perfect wedding song performed at her nuptials. She does imagine being Julia Gulia, an odd name that is not lost on her.

Following a practice kiss with Robbie at the urging of Julia’s cousin and friend Holly (Bailey Wolf), sparks begin to fly. Realizing that Julia is going to marry Glen because of security and money, he tries to change his lot by getting a job at Glen’s Wall Street firm where the almighty dollar is worshipped at any cost.

An ill-timed visit by Linda at Robbie’s basement apartment in the house owned by Rosie, some communication missteps and further misunderstandings seem to set back Robbie’s quest for true love. The feelings between Julia and Robbie remain, however.

How Robbie and Julia navigate this dilemma forms the remainder of the plot and we’ll leave it there.

Though this is a community theatrical production, the direction, performances and staging are professional caliber.  In a demanding role and in a tour de force, Xander Conte brings an abundance of personality and talent in portraying the lead character Robbie. Likeable for sure, you can't help but root for Robbie. 

Mr. Conte sings, he dances, he impeccably delivers comedic lines, he acts, he performs physical comedy, he strums the guitar, and he possesses an inventory of facial expressions that is limitless.

Mr. Conte’s emotional rendition of “Somebody Kill Me” and duets with Ms. Bohrer in “Awesome,” “Come Out of the Dumpster” (not many songs with that title), “If I Told You” and “Grow Old With You” are particularly well done.

A group number in which Mr. Conte participates, “Casualty of Love” is among several songs with excellent choreography by the energetic cast and Ensemble. This number and the Act One finale “Saturday Night in the City” stand out. But others are quite good as well.

Maddie Bohrer does a fine job of conveying the likable and conflicted Julie. Possessing a sweet singing voice, she performs well in her solo “Someday” and the aforementioned duets with Mr. Conte.

Debbie Mobley as Robbie’s feisty grandmother Rosie should be apprehended for scene-stealing. She boasts that she had been with 8 or 9 men prior to marrying her (unseen) husband of nearly 50 years, and if adjusted to inflation that amounts to about 200 men in 1985.

Robbie lives in her basement and as a present for his wedding that was ultimately doomed, she bought him a new bed. However, with this bed, you put a quarter in the slot, and it vibrates as in the case of those beds of yesteryear with magic fingers. Judging how Robbie reacted when he tried it out, only the middle one worked.

Xander Conte as Robbie Hart, Maddie Bohrer as Julia

Towards the end of the show, the hilariously zany number “Move That Thang” in which Ms. Mobley performs with Seth Fallon as George and the Company is a bona fide showstopper.

Chris Riehl ably plays the role of Glen, the one who was to marry Julia. He trades in junk bonds at work and other illegal activities where making money at any cost is the goal. To that end, Mr. Riehl joins Mr. Conte and the Company in the high-tempo dance number “All About the Green.”

Glen has a wandering eye and lies and shows a violent streak to go with his full-of-himself demeanor. He is a polar opposite of Julia.

Robbie’s bandmate and good friend Sammy, played very well by Henry Cyr, is also a comical figure. His relationships with women aren’t the nicest but he counsels Robbie to help him recover from his depression following Robbie’s break-up with Linda.

He joins George (Seth Fallon) and Robbie in the enjoyable dance number, “Today You’re a Man” at the Bar Mitzvah where they performed and later in a duet with Bailey Wolf as Holly in “Right In Front Of Your Eyes.”

The other member of the band, George, played deliciously by Seth Fallon is a campy, flamboyant character. Sammy is oblivious to George’s sexual orientation, and that lack of awareness provides some good laughs. Mr. Fallon, as stated before, is part of the showstopper “Move That Thang.”

Ms. Wolf is excellent as the flirty, promiscuous Holly. She helps Julia realize that she has fallen for Robbie after trying to latch onto Robbie herself.  

Linda, who broke up with Robbie on the day were to marry and then returned later on to selfishly try to get back in Robbie’s life, is played well by Megan Mostow Kaiser. During that attempt, Ms. Kaiser demonstrates her powerful vocals in “Let Me Come Home.”

The remainder of the talented cast does justice to the production and includes Beth Cohen, Dean Davis, Nick Thompson, Johnny Dunkerly, Rowena Winkler, Patricia Anderson, Julia L. Williams and Erin Branigan. The Ensemble consists of Brandon Goldman, Patrick Gray, Devin Holsey and Geraden Ward.

Aside from the wonderful performances, the atmospherics are excellent. Set Designer Ryan Geiger and Scene Designer Jessie Krupkin plus the set construction and painting crew have done a masterful job in providing the colorful and functional sets. Large set pieces are used throughout that include the Delorean car, a bar, a dumpster, even bathroom stalls. Despite such bulky items, the scenes change with precision and efficiency that maintains the rapid tempo of the show.

Light Designer Thomas P. Gardner and Lighting Board Operator Erin Ardanuy bathe the stage in brilliant hues and change the intensity according to the scene.  

All the elements of Silhouette Stages’ The Wedding Singer blend beautifully under the direction of Jeremy Goldman, his team and the amazing performers. You’re taken back to the 1980’s with all its quirks and you will laugh throughout.  As they would say back then, it’s a bitchin’ show and one that should not be missed.

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

The Wedding Singer plays on weekends through April 2 at the Slayton House Theatre, 10400 Cross Fox Ln, Columbia, MD 21044. For tickets, call 410-730-3987 visit online. Performances are Friday and Saturday at 8:00 p.m. and Sunday at 3:00 p.m.

Photos: Stasia Steuart Photography