‘Mean Girls’ Learn to Play Nice at Toby’s

I’m so far removed from high school it was only called school back in the day, and the third side of a triangle in Geometry hadn’t been discovered. There was no TikTok, Instagram or smartphones. If you wanted to talk behind someone’s back, you simply talked behind someone’s back.

It’s different today, and any meanness can be fueled by social media and even a “burn book.” This phenomenon is displayed in the rousing musical Mean Girls currently playing at Toby’s, the Dinner Theatre of Columbia.

Though it’s a challenge for me to relate to the modern-day high school culture, I enjoyed the musical Mean Girls.  Helen Hayes Award winner Mark Minnick directed the talented cast through a well-staged, high-energy production with superb attention to details. David Singleton choreographed the dance-heavy musical with precision and creativity mimicking the chaos of high school vitality. The vocals by the performers as well as the high-voltage dancing executed by the entire cast are stellar contributing to a polished production. 

Mean Girls, based on the 2004 film of the same name, entertains on all fronts. The artistic cast and the six-piece orchestra directed by Ross Scott Rawlings deliver the music by Jeff Richmond, the clever lyrics by Nell Benjamin, and a book by Tina Fey of TV fame who also wrote the film.

Richmond’s and Benjamin’s music, while not spectacular, works well in bringing the story along. Several songs are notable and spread throughout the cast so that all the leads have a turn. The lyrics feature a decent degree of wit, but Fey’s droll and biting dialogue carries the day.

Conveyed in a contemporary universe where social media can make or break someone, the plot is punchy and at times, preachy. But it is melded into a hilarious tale focusing on teenagers’ social angst and its related mission to strive for popularity seemingly at all costs.

Tobi Baisburd as Janis and Alan Gutierrez-Urista as Damian

The central character Cady Heron (played spectacularly by Rachel Cahoon) is invited into The Plastics—a three-girl clique of high schoolers.  She is there to not only spy on the group as directed by her new friend Janis Sarkisian (Tobi Baisburd) who has vengeance on her mind towards the “queen bee” Regina George (MaryKate Brouillet), but also to boost her social status and desirability. As one of the lead characters Damian Hubbard (Alan Gutierrez-Urista) aptly put it, The Plastics are called that because “they are shiny, fake and hard.”  How that relationship works out for all concerned forms the crux of the story.

Cady had moved to a Chicago suburb from Kenya where her biologist parents had home schooled her. Naïve Cady realizes that she was not even noticed let alone accepted by the kids at North Shore High School until Janis and Damian Hubbard befriend her. This duo also act as the show’s narrators breaking the 4^th wall.

In the school cafeteria they point out to Cady the school’s eclectic cliques—jocks, nerds, sex maniacs, freaks among others—and then ultimately describe The Plastics—Regina George (MaryKate Brouillet), the leader; Gretchen Wieners (Emily Flack), the second in command; and Karen Smith (Alexis Krey Bedore), not the smartest phone in the pocket.

Janis had an unpleasant history with Regina, and as a means to revenge, she encouraged Cady to accept The Plastics’ invitation to sit with them for a week in the cafeteria in order to spy on them and feed Janis with information she can use against Regina.

As the members of The Plastics revealed their own individual personalities and character, Cady using cattiness and mean tricks maneuvered to eventually oust Regina as the number one Plastic and emerge as a popular force in the school.

Along the way, she became smitten with a talented and good-looking math student Aaron Samuels (Payton O’Keefe) who liked the more innocent version of Cady as opposed to what she later became.

The Plastics had compiled a “burn book” whereby photos of classmates were pasted in with nasty and mean comments included. Totally mean. The revelation of this book provides the turning point in the plot and the road to redemption and forgiveness was paved.

As Cady, Rachel Cahoon is convincing as the once naïve student who rose to the top of the social ladder and ultimately recognizing that hurting people was not the proper means to reach that goal. She is an exceptional math student and had resisted until the end to be part of the Mathletes math team. She had been warned by The Plastics that if she joined such a group, she would experience “social suicide.” Ms. Cahoon’s mezzo-soprano vocals shine in such numbers as “Stupid with Love,” “Apex Predator” and “More is Better.”

Tobi Baisburd as Janis possesses fine acting skills in portraying her complex character. Janis’ relationship with Regina was once friendly until the latter spread rumors that Janice was a lesbian forcing her to drop out of school at one point. Recognizing the ills of The Plastics, she tried to steer Cady away from the group’s influence.

"David Singleton choreographed the dance-heavy musical with precision and creativity mimicking the chaos of high school vitality."

Ms. Baisburd has an amazingly powerful voice, which is evident in several group numbers including “Apex Predator,” “Revenge Party” and the superbly moving “I’d Rather Be Me.”

MaryKate Brouillet is adept in portraying The Plastics’ leader Regina George. Wealthy with a “cool mom” (Valerie Adams Rigsbee), Regina’s cruelty and meanness is evident throughout, and an unlikely and near fatal encounter with a school bus altered her outlook for the better.  

As she engaged in reconciliation with Cady, Regina pointed out that she was “dead” for 15 seconds and offered her spoiler alert that heaven was a large hotel in Miami.

 Ms. Brouillet sings well as she always does in “Someone Gets Hurt” and “World Burn.”

Emily Flack plays the insecure second-in-command Gretchen as a member of The Plastics. Displaying nervous charm and quick wit, she divulges Regina’s secrets to help deal with her insecurity.  Ms. Flack showcases her lovely voice in one of the few solos in the show, the touching “What’s Wrong with Me?”

 In a comedic role Alexis Krey-Bedore performs exceptionally as the third member of The Plastics, Karen Smith. Essentially vapid and dumb, Karen is loveable and easily manipulated. Ms. Krey-Bedore handles the comedic role with impeccable timing and displays her fine vocals in “Sexy.”

Rachel Cahoon as Cady and Payton O'Keefe as Aaron

My favorite character of all is fierce and sassy Damian, who is played brilliantly by Alan Gutierrez-Urista, making his debut at Toby’s. Damian is the only character in the show who seems totally comfortable in his own skin and doesn’t need to pretend to be anybody else. This is both refreshing and surprising that an openly gay high school student is not the target of bullies and seems so together.

Mr. Gutierrez-Urista is blessed to have the lion’s share of the funny quips and carries the comedic role to perfection. He is also a splendid vocalist “Where Do You Belong?” “Revenge Party” and an accomplished dancer in the rousing opening production number of the second act “Mean”. 

Other notable members of the cast include Otega Okurume as Mr. Duvall; Nico Thompson as Kevin G and who is also in the Ensemble; and Brandon Bedore, who ably steps into a variety of roles throughout. The remainder of the stellar Ensemble who sing and dance up a storm are JC Bost, Joey Ellinghaus, Jaylen Fontaine, Amanda Kaplan Landstrom, Kayla Marks, Katelyn O’Connor, Anna Phillips-Brown, Gab Ryan, and Bryan Stopak.

David Singleton’s choreography is one of the show’s best features conforming to the in-the-round stage at Toby’s.  The wonderful dancers bring this chorography to life especially in such numbers as “Sexy,” “Revenge Party,” “Whose House Is This?” and the finale “I See Stars.”

The use of images on the video screens around the theater depict high school scenes like lockers and classrooms, and when equations from a Calculus class appeared, I almost went into cardiac arrest from the memory trauma it produced. Many cool props and set pieces are used to enhance the optics.

Janine Sunday does a fabulous job with a wide array of costumes befitting modern-day high schoolers. Unexpected, to me at least, is a New York Islanders jersey worn by Payton O’Keefe as Aaron Samuels.

And, of course, there were wigs for the female students with Jayson Kueberth doing a fine job in designing them. A full listing of the Production Staff and Orchestra is shown below.

This fast-paced, well-directed production of Mean Girls featuring an extremely talented cast, several of whom are new to Toby’s audiences, exceptional choreography and singing performances makes this a must-see experience and will keep you in the pink. The ultimate message of being kind to one another no matter what era you’re from hits the mark.

And the marvelous buffet will put you in the right mood. Don’t skip Regina's BBQ ribs!

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

Mean Girls plays through August 23 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.

Photos: Jeri Tidwell Photography

The menu is shown here.

Specialty Drink: The Burn Book

Next up: Summer: The Donna Summer Musical August 28 to November 1

  

‘The Wizard of Oz’ at Toby’s is Over the Rainbow

I would be hard pressed to find someone who had not seen the cherished and classic film The Wizard of Oz. Perhaps younger children hadn’t seen it yet, but they are likely aware of the famous characters and story derived from other sources. Characters like the Scarecrow, the Tin Man, the Cowardly Lion and, of course, Dorothy are as well-known as any in cinema and stage.  Movies and musicals, such as The Wiz and Wicked further bring the characters to audiences worldwide.

Personally, I can relate to these characters. I definitely don’t have courage. I clearly lack a brain. And as I learned from Damn Yankees that I gotta have heart, I do have miles and miles and miles of heart! And so does the show.

As the beloved film is filled with magic, emotion and fantasy, the stage adaptation at Toby’s, the Dinner Theatre of Columbia, manages to take everything familiar and heighten it with the vibrant energy of live theatre, especially using the intimate in-the-round environment.

"The show is perfect for all ages and a splendid introduction to theatre for the youngsters."

The Wizard of Oz is based on the 1939 film of the same name and in turn is based on L. Frank Baum’s novel The Wonderful Wizard of Oz. The show hews closely to the film and uses music and lyrics by Harold Arlen and E. Y. Harburg from the film with background music by Herbert Stothart.

Songs that have endured over these many decades highlight the production, such as the iconic “Over the Rainbow” (the only solo performance), “Yellow Brick Road,” “We’re Off to See the Wizard,” and “Ding Dong! The Witch is Dead” among others.

Under the meticulous direction and choreography of Helen Hayes award winner Mark Minnick, the show is a triumph, capturing the familiarity of the film and its score and performed by a highly enthusiastic, talented cast and group of musicians. The pace of the show is energetic with scene changes taking place seamlessly. Mr. Minnick gives the performers the latitude needed to be campy and playful without going over the top.

Imaginative and high-tempo choreography appears throughout the show. Each
number reflects a unique style and brings flourish and tons of energy to the production by the skilled performers. Mr. Minnick is well-known for his attention to detail, and that trait is reflected during these numbers. The choreography in “Jitterbug,” for example, is eye-popping to say the least.

Ross Scott Rawlings and his 6-piece orchestra as well as the magnificent vocals by the leads and Ensemble bring the score to life. The dazzling, fanciful costumes coordinated by Janine Sunday and Sarah King are simply breathtaking. How the Munchkins are portrayed is a sight to behold and one of the show’s highlights combining artistic, innovative costuming and choreography.

Set designer Shane Lowry uses screens around the theater for projected imagery, and Lynn Joslin’s lighting design add texture to the optics. Numerous set pieces are employed including a Wizard of Oz puppet that will appeal to the younger members of the audience. If you wonder how a tornado is portrayed in the cozy in-the-round stage at Toby’s, you should attend to find out. Hint: excellent costuming, choreography and lighting techniques make it work without too much damaging wind. Note that haze, fog and smoke appear at various times in the show.

During the aforementioned twister young Dorothy, with her dog Toto in hand, is hurled from the Kansas farm she lives on to a land far enough away so she couldn’t easily return. She travels to the Emerald City to ask the Wizard for help in getting back to Kansas, following the Yellow Brick Road to avoid the Wicked Witch of the West, who seeks vengeance for the accidental killing of her sister.

Along the way, she befriends the Scarecrow (seeking a brain), the Tin Man (seeking a heart), and the Cowardly Lion (seeking courage). The Wicked Witch attempts to steal the magical ruby slippers that had been worn by the witch’s sister and given to Dorothy by Glinda, the Good Witch, while the group overcomes obstacles like a field of poisonous poppies and other adventures.

After defeating the Wicked Witch by melting her with water, the group discovers the Wizard is a “humbug” (a fraud). However, he grants the friends’ wishes, and Glinda the Good Witch teaches Dorothy that she had the power to return home all along, ending with the famous lesson: “There’s no place like home”. 

Most of the large Company consist of audience favorites from previous Toby’s productions. And they do not disappoint.

Fresh off of her Helen Hayes Award nomination from her performance in The Sound of Music at Toby’s, Emily Signor stars as Dorothy. While her vocals are beautiful as evidenced by her rendition of “Over the Rainbow” as well as in several other numbers, her acting skills shine.

Seemingly in a perpetual state of anguish from her fervent desire to return home and her concern over the safety and, at times, whereabouts of Toto, the petite Ms. Signor comes up large. She embodies the perfect mixture of vulnerability and strength and adds spunk to the Judy Garland portrayal of Dorothy from the film.

The Scarecrow, played by Helen Hayes Award winner David James; the Tin Man, played by Helen Hayes Award winner Jeffrey Shankle; and the Lion, played by Jordan B. Stocksdale are frequent scene stealers with their physical comedy and endearing performances. All are campy—the proper attribute for this trio—and all do it with flair.

The reliably funny David James as the brainless Scarecrow is more than amusing during the number “If I Only Had a Brain” along with Dorothy and Crows-- Brandon Bedore, Patrick Gover and Shawn Kettering. Oh, those costumes!

Jeffrey Shankle playing the heart-missing Tin Man is also comedic in his role. In “If I Only Had a Heart” he displays his vocal prowess as he is joined in the number by Scarecrow, Dorothy and Apple Trees-- Amanda Kaplan Landstrom, Carolina Tomasi and Tori Weaver.

Jordan B. Stocksdale, playing the Cowardly Lion, does so with aplomb. He performs “If I Only Had the Nerve” with Dorothy and his cohorts, and his performance in “If I Were King of the Forest” reveals his superb baritone vocals.

Tina Marie DeSimone as the Wicked Witch shines. She’s loud, menacing and campy all at the same time. And very entertaining indeed. Children should be fascinated by her character. Ms. DeSimone brings it.

The lovely MaryKate Brouillet is perfectly cast as Glinda the Good Witch. She is the embodiment of “good,” and her vocal talents shine during the “Munchkin Land Sequence (Ding Dong! The Witch is Dead).

Then there is veteran actor Robert Biedermann as the title character. Bringing his 46 years of acting experience to the role, Mr. Biedermann elicits jubilation then disappointment and ultimately joy to the four travelers. He does it smoothly and proficiently with nuance.

Also, contributing is the Lullaby Guild consisting of JC Bost, Patricia “Pep” Targete, and Carolina Tomasi. And there is the Lollypop Guild featuring Helen Hayes Award winner Joey Ellinghaus, the mustachioed Patrick Gover and Walker Vlahos.

The entire cast and Ensemble demonstrate their talents throughout this wonderful production. A full listing of the performers, musicians and technical crew is shown at the conclusion of the review.

If you are looking for a magical, nostalgic trip down the Yellow Brick Road, this high-quality live production of The Wizard of Oz is an enjoyable experience that captures the heart of the original saga. The show is perfect for all ages and a splendid introduction to theatre for the youngsters. The Wizard of Oz is an “over the rainbow” experience and a must-see show. And, as always, Toby’s famous buffet is outstanding.

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

The Wizard of Oz plays through June 7 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. The best options to attend the show are Tuesdays and Wednesdays.

Photos: Jeri Tidwell Photography

The menu is shown here.

Specialty Drink: The Flying Monkey

Next up: Mean Girls June 12 – August 23.

A Rock Show for the Ages Rocks Toby’s

Oscar Salvador, Jr. as Stacee Jaxx

It may as well have been a 1980’s rock concert sans illegal substances: mind-blowing, hand-clapping rock music with an infusion of metal; multi-hued lighting; fog effects; and an audience totally into it and eager to sing along to the music.  That’s what occurs during the superb production of Rock of Ages, now gracing the in-the-round stage at Toby’s, the Dinner Theatre of Columbia. The heat generated by the non-stop energy will hopefully melt the frigid snowpack outside that has stubbornly persisted when this performance was reviewed.

There have been dozens of popular jukebox musicals—Mamma Mia!, Jersey Boys, Escape to Margaritaville, On Your Feet, to name a few—that showcase a particular individual or group. In the five-time Tony Award-nominated Rock of Ages, another jukebox musical, you have a show which focuses on multiple acts and performers, but in particular, an era and genre—the rocking 1980’s.

Mark Minnick, a Helen Hayes Award winning director, helms the show with precision, solid pacing and crisp tempo, guiding the hard-working and talented cast. Several faces new to Toby’s regular patrons appear in this production, and they did not disappoint.

Mr. Minnick also co-choreographed the production with Julia L. Williams where the high-octane dancing is rhythmic and creative utilizing the round stage with aplomb. All the dancers excel during the numerous production numbers.

Lynn Joslin’s stunning lighting design and Mark Smedley’s effective sound design augment the atmospherics.  Eighties-period rocker costumes designed by Heather C. Jackson with a grunge vibe are spot on. Jason Kueberth, who was kept busy designing the hair and wigs, did a splendid job in topping off the company with a distinct 80’s look including long hair and mullets for the guys.

Musical director Ross Scott Rawlings, who conducted the absolutely fantastic 5-piece orchestra, was clearly on his game the night this production was reviewed. The orchestra, not concealed behind a balcony partition as they normally are during Toby’s productions, gave the rock score including ballads, the treatment they deserved. Ethan Popp is credited for the arrangements and orchestrations from the original Broadway musical.

A visually pleasing set designed by Shane Lowry with the use of creative set pieces and props augment the visuals.  Mr. Lowry is the master of 3-dimensional wall decorations, and his reputation for excellence continues with this production. Creating a bar/club ambiance with period artifacts, musical instruments, neon beer signs and other objects on the walls surrounding the stage hit the mark. You know we are going back several decades in time when a sign displayed the price of gas at 86 cents per gallon.

The cute but convoluted love story that unwinds and the often-hilarious subplots from a book by Chris D’Arienzo are embedded in a catalogue of classic rock ‘n roll and glam metal songs.  Music from Journey, Styx, Whitesnake, Bon Jovi, REO Speedwagon, Foreigner, Starship, Pat Benatar, Twisted Sister and many others tie in neatly to the story. Many of these songs are popular, and likely will be familiar to the audience with some of the numbers truncated; that is, only snippets of the songs are performed, to keep the plot moving along.

"Mark Minnick, a Helen Hayes Award winning director, helms the show with precision, solid pacing and crisp tempo..."

Set in 1987, Noah Mutterperl plays Drew Boley, a barback in the Bourbon Room, a bar on Hollywood’s Sunset Strip, who falls for an innocent girl from Kansas named Sherrie Christian played by Rachel Cahoon.  (You just know that the Steve Perry song “Oh Sherrie” will surface at some point.)  Their desire and pursuit of a romantic relationship form the central plot but there are other humorous storylines with a lot of moving parts going on that supplement it.

Mr. Mutterperl is exceptional as the vulnerable good-guy Drew with dreams of making it as a rock star.  His powerful tenor voice with an enormously wide range is magnificent. Such numbers as “I Wanna Rock,” “High Enough,” the superb duet with Ms. Cahoon “Waiting for a Girl Like You” and yes, “Oh Sherrie” showcase his amazing vocal talents. Yet, it is during “The Search is Over,” the romantic ballad made famous by REO Speedwagon, that Mr. Mutterperl demonstrates why he is an elite vocal talent.

As Sherrie, Ms. Cahoon, a tremendous talent with spot-on acting skills, is also dreaming of being a star.  At a picnic on a hill overlooking Los Angeles, Drew drops the f-word—friends—and that was that.  She mistook his desire to be simply friends and not looking for a serious relationship. Sherrie was so disappointed she pursues other options.  This innocent young lady winds up becoming a performer in the Venus Club—a strip joint, er, gentleman’s club, as many aspiring stars wind up doing.

Rachel Cahoon as Sherrie and Noah Mutterperl as Drew

Rachel Cahoon possesses a strong rock belt voice and excels in several group numbers. They include “More Than Words/To Be with You/Heaven IV,” “Wanted Dead or Alive,” “I Want to Know What Love Is” and “Here I Go Again” among others. Her duets with Noah Mutterperl give goosebumps, and it wouldn’t be a stretch to describe them as Broadway caliber.

Justin Colombo plays Lonny Barnett, who also works at the Bourbon Room and serves as the show’s narrator whereby he immediately endears himself to the enthusiastic audience. Charming and comedic, mischievous and fun-loving, energetic and whimsical, Mr. Colombo plays the role to the hilt. He is literally a scene stealer as he comically inserts himself into many scenes. His clowning is manifested not only by his spoken words but also his physical comedy, of which there is an ample amount.

Mr. Colombo’s singing talent and strong tenor voice are on display in a few numbers highlighted by a loveable and amusing duet “Can’t Fight This Feeling” with Matthew D. Burns as Dennis Dupree. The owner of the Bourbon Room.

One of several performers making their Toby’s debut, Mr. Burns’ laid-back portrayal of Dennis is excellent and a perfect complement to the hyper Lonny character. His facial expressions are priceless and well-timed by the veteran actor.  Together they perform nicely in “Just Like Paradise/Nothin’ But a Good Time” that opens the show as well as the aforementioned duet that shines as one of the production’s show-stopping numbers.

In the role of cocky bad boy Stacee Jaxx, a biceps-flexing rock star who decides to leave his successful metal-rock band Arsenal to try it solo, Oscar Salvador, Jr.  performs quite effectively with an abundance of flair. Stacee is one of the story’s villains who does some naughty things, with Mr.  Salvador’s comedic and acting skills being on target.

His vocals are superb in “Wanted Dead or Alive” and “Here I Go Again.” But it is his performance in “I Want to Know What Love Is” that highlights another memorable scene.

Jordan B. Stocksdale plays Hertz Klinemann, a cold-hearted German developer who is trying to buy up the Sunset Strip to eliminate the sex, drugs and rock ‘n roll lifestyle and bring in what he calls “clean living” to the area. Of course, the Bourbon Room is a target.  Mr. Stockdale is charming in one of the musical’s rare solos, “Keep On Loving You” showcasing his excellent tenor vocals.

His flamboyant son Franz is played deliciously by Jeremy Crawford. Campy Franz wishes to open his own candy store in Germany but is intimidated by his strong father until things change over the course of the show. One of his funny lines, “I’m not gay… I’m German” is uproarious in its delivery.

Proficient vocalists, they appear together in several numbers, such as “We Built This City/Too Much Time on My Hands.” They excel in the group number “Hit Me with Your Best Shot” when Franz finally stands up to his father.

An excellent performance is turned in by Tobi Baisburd as Regina (rhymes with Carolina) Koontz as the mayor’s assistant who is fighting to save the Strip.  She and the ensemble heartily deliver “We’re Not Gonna Take It” and “The Final Countdown.”

Also performing well is Kadejah Oné as Justice, the owner of the Venus Club.  A former performer, Justice provides soothing advice to Sherrie and demonstrates solid acting abilities in the process.  Possessing a sterling singing voice, Ms. Oné excels in “Shadows of the Night,” “Here I Go Again and “Every Rose Has Its Thorn.”

Terrell Chambers is wonderful in playing multiple comedic roles, especially the Mayor.

The remainder of the cast and musicians support the leads exceptionally. They include Patricia “Pep” Targete, Alexis Krey-Bedore, Kiana King, Shane Lowry, and Carter Crosby.  Those in the talented and energetic Ensemble not named above are Justin Diaz, MaryKate Brouillet and Nadja Tomaszewski.

For full list of the cast, musicians and technical crew, visit here.

With Rock of Ages, you will experience a well-directed lively, nostalgic, highly entertaining production performed by a rock-solid company. The journey takes you back in time, and it’s time well spent to get out from the chill. The finale is electric and perfect. And while you’re at it, enjoy Toby’s famously delicious buffet. The Menu is shown here. Rock on!

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

Advisory. Rock of Ages contains adult language and adult situations and is not recommended for young children.

Rock of Ages plays through March 15 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.

Photos: Jeri Tidwell Photography

Specialty Drink: The Bourbon Room (Jack Daniels and lemonade, but a non-alcoholic version is available).

Next up: The Wizard of Oz, March 20 through June 7.

‘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

‘The Little Mermaid’ Makes a Splash at Toby’s

Flounder (Nicky Kaider) and the Mersisters

I’ve heard the rumors, too. But they’re false. The visionary creative team at Toby’s did not plan to submerge the theatre in water to encapsulate the underwater environment that dominates Disney’s The Little Mermaid now playing at the famed dinner theatre of Columbia.

Sure, such conditions would allow the aquatic characters in the show to move about freely in their natural habitat. But with the luscious food at the buffet (seafood and all) getting soggy, the audience drenched if not drowning, and the cast with their mic’s affixed to them getting electrocuted, the show’s run would be limited to one performance, if that.

Rather, a more conventional approach was adopted, and it worked magic. Under the superb direction and choreography of Helen Hayes Award winner Mark Minnick, the perfectly cast, impeccably staged, ultra-colorful, splashy production is a visual spectacle to be sure. With a ton of set pieces and costume changes, the show is well-paced with scene changes occurring seamlessly.

Based on one of Hans Christian Andersen’s most adored stories and the 1989 classic animated film, Disney’s The Little Mermaid netted two Tony Award nominations in 2008. It features music by eight-time Academy Award winner, Alan Menken, lyrics by Howard Ashman and Glenn Slater and a book by Doug Wright.

The musical conveys the fairytale love story of a beautiful young mermaid (Ariel) who at first is infatuated with “human things” like a fork and other items discarded at sea and falling to the ocean floor where she resides and then smitten by a human being—a handsome prince (Eric) whom she saves from an accident at sea. Prince Eric hears her lovely voice and he, too, becomes spellbound.

What then transpires and how they ultimately “hook up” forms the essence of the plot and is a joy to behold.

The imaginative set designed by Shane Lowry eschewed filling up the theater with water and instead created a gorgeous undersea atmosphere.  A variety of items—many abstract and translucent—mounted around the walls and suspended objects including jellyfish add texture to the scenery. The use of multiple long strips of waving fabrics to depict the ocean’s surface and waves is a great touch.

Lynn Joslin’s vividly chromatic lighting design amplifies the set. The mixing of hues with a blue-green accent help to depict the underwater action.

Carter Crosby as Prince Eric and Abby Middleton as Ariel

Costume Coordinators Sarah King and Janine Sunday along with Hair and Wig Designer Jayson Kueberth helped turn the fairy tale into reality. The costumes are magnificent and vibrant beyond belief. The aquatic characters including a variety of sea life, such as a flounder, a crab, a couple of eels, other fishes, a flock of seagulls and, of course, a bevy of mermaids replete with extended tails are decked out in innovative attire that are sure to please the young children (and adults) attending the show. The costumes for the sailors above the surface, King Triton, the villainess sea witch Ursula, and the ensemble are similarly outstanding, lavish, intricate and imaginative.

Mr. Minnick’s choreography is detailed and fluid working the in-the-round stage to near perfection.  Group numbers, such as “Daughters of Triton,” the clever “Positoovity,” the hilarious “Les Poissons,” “She’s in Love” and the showstopper “Under the Sea” are expertly performed.  This is no small achievement given the bulky costumes worn by the cast members, and the precise execution avoids collisions.

More top-notch choreography is on display in “Sweet Child” and “Daddy’s Little Angel.” Here, two green-clad eels, Flotsam (Shane Lowry when he’s not designing the gorgeous set) and Jetsam (Joey Ellinghaus) who are loyal subordinates of the sea witch Ursula perform while on rollerblades.  Using synchronized strides and shifting upper body movements, both gracefully and deliberately slither around the stage in artistic, electric performances. Mr. Ellinghaus nailed the same role some seven years ago and apparently has not missed a step.

Alan Menken’s score is melodic and delivered exceptionally by Music Director Ross Scott Rawlings and his 6-piece orchestra. Catina McLagan conducts at other performances.

"...the perfectly cast, impeccably staged, ultra-colorful, splashy production is a visual spectacle..."

Abby Middleton, reprising her role as Ariel, the youngest mermaid daughter of King Triton (Adam Grabau), the ruler of an undersea country, does a laudable job in conveying her yearning for Prince Eric (Carter Crosby). Possessing a sweet melodic soprano voice, Ms. Middleton excels in one of the show’s popular songs “Part of Your World” and in other solos like “The World Above” and “If Only.”

Her onstage chemistry with Mr. Grabau as her father King Triton and Mr. Crosby’s Prince Eric offers believability to this make-believe tale.

Ariel’s love interest, dashing Prince Eric, is played outstandingly by dashing Carter Crosby.  Mr. Crosby is the prototype of a Disney prince and played the role adroitly. His movements about the stage and his demeanor throughout the production also exhibit his fine acting skills. Mr. Crosby’s romantic ballad “Her Voice” and “One Step Closer” where he teaches Ariel to dance are beautifully performed with rich, clear vocals. 

This performance was reviewed the evening following the No Kings nationwide protests.  In this case, we will make an exception with King Triton. Adam Grabau hits the mark as the widowed King Triton, the strict but caring father of his youngest daughter Ariel. Attired in a nautically themed lavish costume including a wild, eye-catching crown and carrying a lit trident, the King opposes Ariel’s ascent to the surface and her collection of human things as he views all humans as fish-eating threats to his undersea kingdom. But in the end, the king chose the love for his daughter over retaining power.

Ursula (Lynn-Sharp Spears with Jetsam (Joey Ellinghaus
and Flotsam (Shane Lowry)

Commanding on stage, Mr. Grabau’s muscular baritone is displayed in “If Only (Triton’s Lament)” and later he is featured in a quartet with Mr. Mr. Crosby, Ms. Middleton and Elijah Henderson as Sebastian in “If Only (Quartet”).

Mr. Henderson as Sebastian, a crab, is comical and campy. A veritable scene-stealer, Sebastian is a servant of King Triton and is assigned to watch over Ariel and helps Ariel charm Prince Eric.  His spot-on tenor is evident in group numbers “Under the Sea” and “Kiss the Girl.”

The aforementioned evil Ursula is played mischievously by Lynn Sharp Spears (a great name for the theme of this musical).  She lures Ariel into trading her beautiful voice for legs so she can rise to the surface and reel in Prince Eric. Ms. Spears effectively delivers the song “Poor Unfortunate Souls” and the reprise of that number towards the end in a dramatic, action-packed scene.

Jeffrey Shankle as Scuttle, a gull, does his usual strong performance in this comic role. Scuttle can’t quite get his facts or his words quite right, but Mr. Shankle sings well in the group number “Positoovity” and again in “Positaggity.”

Consistently amusing Toby’s audiences, David James portrays Grimsby, a loyalist to Eric. His mission is to see that Eric fulfills a promise made to his deceased father—a king—that he will marry a princess. Mr. James performs admirably in the group numbers “Beyond My Wildest Dreams” and “The Contest.”

Nicky Kaider, who was sensational in Toby’s presentation of Jersey Boys, energetically plays Flounder, Ursula’s companion and who accompanies her on searches for human artifacts.  With graceful movements around the stage joyful dialogue, Mr. Kaider performs proficiently with the Mersisters—Ariel’s siblings—in a wonderful song and dance number “She’s in Love.”

And then there is David Bosley-Reynolds as the comical Chef Louis. In a hilarious scene, he tries to capture Sebastian and cook him for dinner. During the action, Mr. Bosley-Reynolds sings “Les Poissons.” Mr. Bosley-Reynolds possesses a magnificent theatre voice with great projection and articulation in both song and dialogue.

Rounding out the excellent cast are the Ensemble performers Jaylen Fontaine, Patricia “Pep” Targete, Rachel Cahoon, Kiana King, Margaret Kelly, MaryKate Brouillet, Walker Vlahos, Alexix Krey-Bedore, Brandon Bedore, Vince Gover, and Benjamin Campion.

What makes Toby’s productions so consistently high quality is the ability to cast the right people into the roles involved with each musical. There are a number of factors that go into this, such as performers’ availability, talent levels, etc. But Mark Minnick and his associates have found a way to succeed over the years.

With Disney’s The Little Mermaid, under Mr. Minnick’s direction, the talent is there to make this lighthearted show enjoyable for all ages. You will love this show and buffet hook, line and sinker.

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

Disney’s The Little Mermaid runs through August 17, 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 Tobysdinnertheatre.com. Next up: Saturday Night Fever, August 22 through November 2.

Photos Jeri Tidwell Photography

The Menu can be found here.

Specialty Drink: The Dinglehopper

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 Music Man’ Comes Thundering Into Toby’s

Jeffrey Shankle stars in Toby's production of The Music Man

While we are currently dealing with a con man of epic proportions in our lives, another one disembarks from the train station in River City, Iowa by way of The Music Man at Toby’s Dinner Theatre of Columbia. It is always heartwarming when Toby’s features a Broadway classic, such as The Music Man, and the production does this elite musical justice.

Directed and choreographed by Helen Hayes Award winner Mark Minnick, the talented cast and crew jell in making this a top-notch presentation and a much-needed entertaining escape.

With a book, music and lyrics by Meredith Willson, The Music Man gives a delightful glimpse of the American-as-apple-pie culture and values in early 20^th century River City. That fictional town is based on Willson’s birthplace Mason City, Iowa. The original Broadway musical received 5 Tony Awards in 1958 including Best Musical, beating out the iconic West Side Story.

Despite the confines of the cozy in-the round stage, Mr. Minnick does a craftsman-like job in helming a splashy extravaganza put on by an amazing cast and bolstered by colorful scenery designed by Shane Lowry, exquisite period costumes designed by Sarah King and Janine Sunday, wigs designed by Jayson Kueberth, and the expert lighting and sound design by Lynn Joslin and Mark Smedley, respectively.

Catina McLagan conducted the six-piece orchestra with aplomb, delivering Willson’s superb score and ably backing up the performers. Ross Scott Rawlings takes the baton in other performances.

The ingenious music combines the marching band pomp with clever numbers as well as a classic love song. Beloved songs, such as “Ya Got Trouble,” “Seventy-Six Trombones,” “Pick-a-Little, Talk-a-Little & Goodnight Ladies,” “Shipoopi,” and the elegant love song “Till There Was You” are highlights to be sure.

But the show’s opener “Rock Island” sets the tone with witty clickety-clack rhythmic dialogue by traveling salesmen crammed in a train carriage. After that number, you just know you are in for a treat. And the show’s heart-pumping finale with an endless line of brass band members marching out on the stage is the exclamation point to a magnificent show.

The Music Man centers on the exploits of a slick con man Harold Hill, played brilliantly by Jeffrey Shankle, as he disembarks from that train and views the close-knit people of River City in 1912 as his next mark. He starts to win them over by lamenting the arrival of a pool table at the town’s billiard hall, which previously did not have one and its accompanying decline of morality. The famous song “Ya Got Trouble,” delivered with gusto by Mr. Shankle, speaks to that.  

Jeffrey Shankle, Janine Sunday and cast

Harold’s scheme was to sell musical instruments, instructions and uniforms for a kids’ band and would abscond with the money. His problem is that he knows nothing about music and fictionalizes his credentials.

Harold encounters the town’s stern librarian and piano teacher Marian Paroo (played sensationally by Janine Sunday) who has a shy, unconfident younger brother Winthrop played well by Elijah Doxtater. Marian also has a mother who is a spunky Irish widow, played by Jane C. Boyle, who would love for Marian to settle down.

Marian is suspicious of Harold as is Mayor Shinn (played robustly by Alan Hoffman) as are the other townsfolk. The mayor’s quest for credentials and other tight spots that Harold finds himself in are met with his mastery of deflection, distraction and evasion.

A complication sets in when Marian starts to fall for Harold after Winthrop receives a cornet and is so happy that he loses his shyness and becomes more confident. Harold then acknowledges he has fallen in love with Marian while the good people of River City realize they have experienced a positive change since Harold’s arrival despite Mayor Shinn’s best efforts. Spoiler alert: there is a happy ending.

Throughout the show, Mr. Minnick’s dazzling choreography that is well executed by a truly talented cast and ensemble adds vibrancy to the production. The choreography, which is eye-popping considering large numbers of performers must navigate the tight area of the stage without bumping into one another, is exemplified in such numbers as “Iowa Stubborn,” “Ya Got Trouble,” “Seventy-Six Trombones,” the jubilant “Marian the Librarian,” and “Shipoopi” among others.

"...the talented cast and crew jell in making this a top-notch presentation..."

Helen Hayes Award winner Jeffrey Shankle, as he always does, brings his A-game as the lead. Playing the smooth-talking, roguish and charming con man Harold, Mr. Shankle showcases his expansive acting skills. From his passionate moments of persuasion to his tender moments with Marian, Mr. Shankle comes through with flying colors. His excellent vocals are on display in the aforementioned “Ya Got Trouble” and “Marian the Librarian.”

For her part, Janine Sunday excels as Marian. As an actress she convincingly plays the role that spans her distrust and revulsion to Harold to her eventual falling in love. Along with that, her soprano voice is astonishing. Ms. Sunday reaches notes that have probably never been discovered. “If You Don’t Mind Saying So,” Good Night, My Someone,” and “My White Knight” are examples of her superb vocals. But it is her gorgeous love song with Mr. Shankle “Till There Was You” that is one of the show’s high-water marks.

Shawn Kettering plays Harold’s old friend and former shill Marcellus Washburn with vigor. He is the lead in the number “Shipoopi” with the Townspeople. Young Elijah Doxtater who plays Winthrop is commendable. He alternates with Colton Roberts in other performances. Elijah does a wonderful job singing along with Ms. Sunday and Jane C. Boyle in “Gary, Indiana.” A consistently fine actress and vocalist, Ms. Boyle is endearing in the role of Mrs. Paroo.

Other exceptional members of the cast include David James as the gossipy Charlie Cowell, an anvil salesman who tries to expose Harold as a fraud and insists “he doesn’t know the territory.” Mr. James plays the role with his patented flair.

Dereck Atwater plays the part of Tommy Djilas, the town’s troublemaker, with much enthusiasm. He is secretly dating Zaneeta (Julia Williams) the daughter of pompous Mayor Shinn to his chagrin.  

Other notable cast members include Shawn Kettering as the Conductor, Lynn Sharp-Spears as the Mayor's manipulative wife Eulalie Mackecknie Shinn, Kiana King as Gracie Shinn, Valerie Adams Rigsbee as Alma Hix, Heather Narie Beck as Maud Dunlop, Amanda Kaplan Landstrom as Ethel Toffelmier, and Melynda Burdette as Mrs. Squires. Hats off as well to Joey Ellinghaus, Jaylen Fontaine, Kiana King and Patricia “Pep” Targete.

Then there is the school board-turned-barbershop quartet transformed with the help of Harold. Ewart Dunlop (played by Carter Crosby), Oliver Hix (Vince Gover), Jacey Squires (Alec Brashear) and Olin Britt (David Bosley-Reynolds) comprise the group, and their harmonizing vocals are outstanding. They shine on like the harvest moon in “Ice Cream/Sincere,” “It’s You” and the reprise of Lida Rose.”

The Quartet: Alec Brashear, Vince Gover
David Bosley-Reynolds and Carter Crosby

For the performance reviewed, Amaryllis, a young piano student, is played well by Julia Ballenger. She alternates with Lily Martin and Ellie May Sennett.

A complete listing of the talented cast is shown below.

It’s difficult to portray the scope of a town in an intimate theater. But Shane Lowry cleverly created various signs along the walls of the theater depicting a hospital, livery, hardware store, post office, bank, barber shop and other edifices. A balcony was used to convey the outside of Marian and Mrs. Paroo’s home. Another balcony depicts shelves in a library.

Janine Sunday and Sarah King fitted the cast in spectacular costumes highlighted by early 20^th century pastel dresses and gowns with feathered hats for the ladies. The marching band’s costumes are striking as well.

All the elements of a hit show come together with Toby’s presentation of The Music Man. Great cast and crew, spot-on direction and choreography and wonderful musicians performing revered and beloved music make this a must-see event. And you will enjoy a delicious buffet as well.

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

The Music Man runs through May 18, 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 tobysdinnertheatre.com. Next up: The Little Mermaid, May 23 through August 17.

Photos Jeri Tidwell Photography

The menu is shown here.

Specialty Drink: The Shipoopi