An Enchanting 'Beauty and the Beast' at Toby’s

Nicki Elledge at Belle and Russell Sunday as Beast
Photo: jeri Tidwell Photography

It is clear we’re in the midst of Beauty and the Beast Season.  The long-anticipated live-action remake of Disney’s animated film opened a couple of weeks ago.  

Currently, Toby’s, the Dinner Theatre of Columbia, is serving up the vaunted musical version.

And what a job they do!  Even with Toby’s already high bar of consistently churning out quality musical theatre productions over the years, this mounting of Beauty and the Beast soars to a new level.

Directed and choreographed by Helen Hayes Award winner Mark Minnick, the production clearly reflects his meticulous attention to details as well as his keen awareness of the in-the-round stage that is a hallmark of Toby’s.  It is an enchanting spectacle of superb music performed by a talented company demonstrating strong vocals and dazzling, high tempo dancing.  #hocoarts

Combine that with brilliant, extravagant period costumes designed by Lawrence B. Munsey, the imaginative set, set pieces, and props by David A. Hopkins, Lynn Joslin’s lighting design and the precise staging, Beauty and the Beast is far more beauty than beast.

Several hundred costume pieces are employed including colorful 18^th century gowns, dresses with hoopskirts, as well as attire for wolves and the beast himself.  Prosthetics and other devices are used to outfit the enchanted objects—clock, tea pot, candelabra, etc.  There are great challenges in designing such costumes but Mr. Munsey succeeds spectacularly, which fortifies the aesthetics of the show.

The musical, which opened on Broadway in 1994 was based on Oscar-nominated Disney’s 1991 animated feature film with the same name. It became the tenth longest ever running musical on Broadway.

Beauty and the Beast featured the Oscar-winning score with music by Alan Menken and lyrics by Howard Ashman, with additional songs composed by Alan Menken and lyrics by Tim Rice. The book was written by Linda Woolverton.

Photo Jeri Tidwell Photography

Show-stopping production numbers that highlight the singing and dancing talents of the ensemble are audience pleasers to be sure.  The rich score is ably presented by Ross Scott Rawlings and his six-piece orchestra.  Yet, it is the fairy tale itself that sweeps you away on an emotional and romantic journey. 

The story of a spoiled prince who had been transformed by an enchantress  into a boorish, hot-tempered, unsightly creature (Russell Sunday) until he can find love and return to his human form before petals fall off from an eternal rose given by the enchantress and a beautiful woman Belle (played by Nicki Elledge) from a provincial town is tender and endearing.  This relationship has the audience rooting hard for both. 

Also pushing hard for the couple to fall in love are various servants in the prince’s castle who were converted into enchanted household objects when the spell was cast on the prince.  They, too, have a stake in the spell being removed so they can return to being humans.

Simultaneously, the town’s egomaniacal, bicep-flexing, bully, Gaston (David Jennings), rejected by Belle to be his wife, strives to make her change her mind. 

Exquisite as Belle, Ms. Elledge, making her Toby’s debut in stunning fashion, shines throughout.  Considered “weird” by the townsfolk because of her passion for books, Belle is strong-minded, and her eventual attraction to the beast that requires his becoming more gentlemanly for starters is tearful in its sweetness.    Ms. Elledge showcases her lovely soprano voice in such the ballads “Belle,” “Home” and “Change in Me.”

For his part, Mr. Sunday as the Beast is also excellent.  He is called upon to be mean, gruff and demanding. Yet, he competently softens his demeanor as his love for Belle grows, demonstrating his acting gifts.  Mr. Sunday’s pleasant baritone is evident in the emotional numbers “How Long Must This Go On?” and “If I Can’t Love Her.”

David Jennings romps through his role as the superior, perfect-looking God’s gift to women, Gaston.  His character, though an antagonist, provides most of the comic relief throughout because of his over-the-top self-centeredness and swagger with the amusing help from Lefou, Gaston’s goofy, ever-fawning sycophant, played deliciously by Jeffrey Shankle.  Mr. Jenning’s commanding baritone in “Me,” “Gaston” and “The Mob Song” is on display.

As mentioned earlier, because of the spell, the Prince’s-then Beast’s staff had been turned into such objects as a teapot, Mrs. Potts played by Lynn Sharp-Spears.  Her rendition of the title song in the second act was performed sweetly. 

Photo: Jeri Tidwell Photography

Other characters in this group include Cogsworth, the head of the castle and who converted into a mantle clock (David James); Babette, the enchanted feather duster (Elizabeth Rayca); the suave Lumiere, the maitre d’ of the castle and enchanted candelabra (Jeremy Scott Blaustein); former opera diva Madame de la Grande Bouche, the enchanted wardrobe (Jane C. Boyle); and young Chip, the teacup and son of Mrs. Potts (Nathan Pham).  All perform brilliantly in their mostly comic roles as foils to the Beast.

Also, turning in a solid performance is the always reliable Robert John Biedermann 125 as Maurice, Belle’s inventor-father thought to be crazy by Gaston and the townsfolk.

Production numbers, such as “Gaston,” “Be Our Guest,” and “Human Again” involving the ensemble are extraordinary in their execution of Mr. Minnick’s choreography.  Precise throughout, these numbers are simply sensational. 

AJ Whittenberger, a member of the ensemble, is dazzling in his acrobatics as a carpet in “Be Our Guest.”  If this was gymnastics, he would have garnered a sterling 9.5 in the floor exercise.

Rounding out the energetic, talented ensemble are Justin Calhoun, Andrew Horn, MaryKate Brouillet, Coby Kay Callahan, Samantha McEwen Deininger, Rachel Kemp, Julia Lancione, Kyle Louviere, RJ Pavel, and DeCarlo Raspberry.

...this mounting of Beauty and the Beast soars to a new level.

With the talent overflowing and the technical crew’s skill,  Toby’s presentation of Beauty and the Best excels in all facets from direction to staging to performances.

This production proves why the musical has received such worldwide popularity. No matter our age, we can all enjoy a good fairy tale with a happy ending to brighten our lives. 

Running time. Two hours and 45 minutes with an intermission.

Beauty and the Beast runs through June 11 at Toby’s the Dinner Theatre of Columbia, 4900 Symphony Woods Rd., Columbia, MD 21044.  Tickets may be purchased by calling the box office at 410-730-8311 or visiting tobysdinnertheatre.com.

Where’s the Flamethrower?

Dems need a leader to step up to harness the anti-Trump fervor.

As President Donald Trump continues to offer evidence on a daily, sometimes hourly, basis as to why he is not fit to be president and commander-in-chief, with few exceptions, Democratic officials are perplexingly standing on the sidelines.  This window of opportunity should be seized by leaders who can galvanize the incredible energy stemming from the grass roots’ opposition to the president.   #hocopolitics

The ordinary citizens—mostly disappointed supporters of Hillary Clinton—have established a movement mainly through the use of social media to drive Trump out of office.  They are hoping this can be accomplished either through making it so uncomfortable for him that he would resign, hoping Congress would activate the impeachment process for such offenses as failure to divest from his businesses among other violations, or perhaps his connection to Russia and their efforts to disrupt and influence our democratic election process may be too much for Trump to withstand. 

Any of these possesses a low probability of achievement in having Trump “repealed and replaced” (not that Vice President Pence is a great bargain).  However, if handled properly, it could set up a favorable political environment for Democrats in 2018 and 2020.

What the Democrats need is a flamethrower in the way that Newt Gingrich was early in President Bill Clinton’s first term.  It worked.  Even if Gingrich’s personal popularity waned, Republicans gained 54 seats in the House of Representatives and 8 seats in the Senate during the 1994 midterms—a phenomenon known as the Gingrich Revolution.

Whether it be Trump’s attachment to the new health care bill, the unusually harsh (even for Republicans) budget proposal, the bizarre libelous accusation about President Obama’s “wire tapping” (in quotes) Trump and/or associates or most recently Trump’s ill-advised humiliation of German Chancellor Angela Merkel, Democratic officials have responded with a measured tone.

That is not sufficient.

Why not the outrage that these episodes and countless more during Trump’s first two nightmarish months warrant?  The only blowback seems to have come from Twitter accounts or Facebook pages that push for impeachment or resistance and from our friends at MSNBC. 

During normal times, statesmanlike responses from Chuck Schumer and Nancy Pelosi would be justified, if not welcome.  These aren’t normal times and a more fiery approach is required.

A local elected official, noting the palpable anger among Democrats, advised a gathering of Democratic partisans to pace themselves since it is so early in Trump’s term.  I disagree given the circumstances.  We must not take our foot off the gas pedal and instead, keep the pressure on. 

The “tea party” didn’t pace themselves.  They attacked Obama at every turn, and that helped wrest control of the House, the Senate and now the White House.

Earlier in Trump’s tenure there were numerous street demonstrations.  The Woman’s March was historic and had a great impact.  We need more of the same, and public officials need to get in front and lead these protests.

We also need a leader, a voice, to take this broad energy and funnel it through public platforms to make the case to all Americans.  This is one time when demagoguery is not only desirable but also essential. 

Politeness must be set aside until our country is back on the sensible path.  No need to take the high road; it only gets you to the exit ramp.  Of course, this goes against the notion of encouraging civil

Will Rep. Tim Ryan lead the anti-Trump movement?

discourse in our politics.  But these are dangerous times with an erratic, thin-skinned, unstable and dangerous president. 

Democrats need a fresh face to take this on.  Who will emerge?  Will it be Sen. Elizabeth Warren, the popular bastion of progressive principles?  Will it be Rep. Tim Ryan of Ohio, a relatively new figure, a centrist who appeals to working class Democrats?  His loss to Nancy Pelosi for House Minority Leader was a shame; the Dems needed to reboot after the debacles of 2014 and 2016.  It also could be Sen. Corey Booker, Sen. Al Franken, Gavin Newsom or someone nobody heard of or a combination of any of the above.

Regardless, the Democrats need a leader to harness this energy before it’s too late.  We need a flamethrower.

Presiding Over the Divided States of America

During the rally at Nashville, Tenn. Wednesday night, President Donald Trump continued to live out his weird and troubling fantasy that he is still campaigning.  He high-tailed out of Washington earlier in the day in an attempt to escape mounting troubling news for his presidency and himself.   Trump made a stop in Michigan and then went on to Nashville to seek the therapy he craves: adulation from his supporters.

What is noteworthy is that although he ventured to friendly terrain in Nashville, his appearance in the relatively small arena had many empty seats.  The days of filling up huge stadiums may be over for the president.

In discussing another legal defeat on his Muslim ban at the hands of the U.S. District Court in Hawaii, he managed to take yet another swipe at his defeated foe, Hillary Clinton.

Trump said, “[The judge’s decision] is, in the opinion of many, an unprecedented judicial overreach. The law and the Constitution give the president the power to suspend immigration, when he or she – fortunately, it will not be Hillary she.”

Immediately thereafter, the Trump supporters joined in the all-too-familiar chant of “lock her up” as they so often did on the campaign trail.  And the president did nothing to squelch it; instead, he strutted around much like a boxer would as his opponent is left lying on the ring while the referee is counting to ten.

What Trump has failed to grasp or accept is that the majority of voters did not vote for him.  Taking potshots at Mrs. Clinton is not helping build any kind of support.  In fact, it motivates the resistance further.  #hocopolitics

This lame and cheap shot directed towards her divides the country even more.  Ironically, he lamented this division later during his speech that he read off the teleprompter.

Remember Mr. Trump, you are not in campaign mode; you are president of all the people in the U.S. not just your supporters as well as the leader of the free world.  Try acting like one. You are making the Divided States of America even more divided. And it’s on you.

How Obama Can Unify Dems: Sue Trump

Courtesy of slate.com

The recent election for DNC Chair exposed a continued divide between establishment Democrats and progressives.  In an attempt to bring the factions together, Mr. Perez asked Rep. Ellison to be his deputy.  However, such a chasm, should it remain, will do little to alter the Democrats’ minority power in most state governments and the federal branches. #hocopolitics

Rallying against President Trump could be cathartic if not unifying. Would that alone be sufficient to win back the Senate, or House, or some of the governors’ mansions in 2017 or 2018?  The answer is no.

Aside from enunciating a rationale to unseat Republicans based on policy and connecting better with voters overall, the Democrats need to set aside their habitual in-fighting, get fired up emotionally, and increase voter turnout—something they historically have not done too well—in off-year elections. 

A catalyst for that to take place could lie in the actions taken by former President Barack Obama who remains the de facto leader of the Democratic Party and still commands enormous popularity.   

President Trump handed the Democrats a gift last Saturday when he launched a tweet storm charging without evidence that as president, Barack Obama had the phones tapped at Trump Tower prior to the election.  One tweet wasn’t enough; four were fired off saying essentially the same thing. 

Mr. Trump was said to have enjoyed how the media were consumed by these tweets rather than focusing on the increasingly sobering connections between Trump and his people have had with Russian officials.  Days later, Trump did not back down from the phone tapping charges and his aides have struggled to answer the barrage of demands for proof of these allegations.

Assuming the charges are not supportable by facts, it is quite possible that President Obama has been defamed.  Stating without equivocation that the former president engaged in a felonious act could cause damage to Mr. Obama’s reputation and degrade his ability to secure a financially beneficial post-president career. 

What Mr. Obama should do is sue Mr. Trump for libel and force the current president to back up the charges with proof.  Mr. Trump brags about the many lawsuits he has engaged in though they have largely not been successful.  He threatens everybody who gets in his way with a lawsuit (recall the women during the campaign who accused him of sexual assault).

 “[Trump is] basically stating that Mr. Obama committed crimes, and to state that somebody has committed a crime when it’s false is clearly defamatory,” said Benjamin Zipursky, who teaches defamation law at Fordham University Law School in New York.

“The question is: Is there enough evidence of serious reckless disregard to send that case to a jury?” Zipursky added. “I don't know what a court would decide on that, but there is some evidence of recklessness.”

A lawsuit for say, $50 million, could and should serve notice to the self-proclaimed billionaire that the amount of lies that Mr. Trump delivers with mind-boggling regularity would have consequences.

It would be a steep climb on several fronts.  Presidents are generally shielded from private lawsuits, but Mr. Trump’s tweet storm can be argued it was not part of the president’s official duties. 

Moreover, Mr. Obama has shown that he doesn’t have a combative temperament to launch such legal action nor would he be inclined to add more division to an already divided country.

That said, there have been reports that Mr. Obama was livid after learning of the tweets.  Keep in mind that despite the fact Mr. Trump accused Mr. Obama of not being a U.S. citizen and, therefore, disqualified from being president and calling him weak and incompetent during the recent campaign, Mr. Obama bent over backwards to help smooth the transition to the new administration.  This expression of gratitude from Mr. Trump in the form of wild, baseless accusations could be enough to piss him off to at least consider a lawsuit.

And think how Democrats would raucously cheer the former president on in such a quest.  It might even unite the Party.

Tuneful ‘Bodyguard’ Delivers at the Hippodrome

Deborah Cox stars in 'The Bodyguard' Photo: Joan Marcus

Let’s have a show of hands…who does NOT enjoy music that had been performed by Whitney Houston?  Nobody.  Just what I thought.

The Bodyguard, a musical adaptation of the Oscar-nominated 1992 film that featured Houston and Kevin Costner, has made a stop at the Hippodrome Theatre on its national tour to provide Whitney Houston fans a fulfillment of the craving to hear those many pop hits primarily from the 1980s and 1990s.  And even if you were reluctant to raise your hand and are not particularly a fan of hers, you would likely enjoy the show anyway. #hocoarts

Written by Alexander Dinelaris, the musical version opened in London’s West End in 2012 just ten months after Houston’s untimely death and captured several awards. The Bodyguard, which has not appeared on Broadway, modernizes the story from the movie and includes additional songs.  Mr. Dinelaris’ storyline is captivating with its dramatic highs and lows.   

The Bodyguard features such classics as “So Emotional,” “One Moment in Time,” “Saving All My Love,” “Run to You,” “I’m Every Woman,” “Greatest Show of All,” “I Have Nothing,” “I Wanna Dance with Somebody” (my personal favorite) and one of the biggest selling songs of all time, “ I Will Always Love You.”  In all, Houston sold an estimated 170 to 200 million records worldwide.

The story offers a mix of romance, mystery, violence, tragedy, devotion, well-placed comedy and a shocking climax. It revolves around superstar performer Rachel Marron with six Grammys and other awards in tow and her relationship with her newly hired bodyguard Frank Farmer, a former Secret Service agent who is charged to protect her from a mysterious sinister stalker.  

At first she resists Farmer’s absolute control of her movements and schedule including where she can eat.  But eventually such friction gives way to attraction and they both fall in love.  Adding to the mix is Rachel’s sister Nicki, a dive bar singer, who lives in the shadow of Rachel and who also develops feelings for Farmer.

The songs are very neatly woven through the story and are beautifully performed by multi-platinum R&B/pop recording artist and film/TV actress Deborah Cox as Rachel and Jasmin Richardson as Nikki Marron. 

Both gorgeous leading women excel in their interpretations of the familiar Houston numbers as solos or in duets or production numbers.  They do those Houston ballads justice with their sultry, silky and soulful vocals.  And each demonstrates strong acting skills especially in the tender, romantic moments.

TV performer Judson Mills does a fine job as the mainly serious and seemingly unemotional bodyguard Frank Farmer.  The funniest scene takes place in a karaoke bar where Farmer attempts to sing “I Will Always Love You” only to have a disguised Rachel perform “I Have Nothing” to an adoring crowd who took selfies.  Ms. Cox’s rendition is a show stopper.

Adorable Douglas Baldeo (alternates with Kevelin B. Jones III) is endearing as Rachel’s young son Fletcher.  He is an important ingredient in the plot, and please stick around at the show’s end and check out his performance during the Encore.  Wow!

As The Stalker, hunky Jorge Paniagua doesn’t have much of a speaking role but his menacing presence is felt throughout.  He gives a chilling performance as the show’s villain.  So effective is he as this heavy, Mr. Paniagua received boos from the audience at curtain call on the night this show was reviewed.  This odd phenomenon was not based on the quality of the performance but the role he plays.  Kudos to Mr. Paniagua.

Other notable performers include Alex Corrado as Tony Scibelli, Rachel’s personal security guard, Jarid Faubel as FBI agent Ray Court, Charles Gray as manager Bill Devaney, and Jonathan Hadley as publicist Sy Spector.

Photo: Joan Marcus

The talented and attractive ensemble adds to the entertainment with several production numbers that are choreographed deftly by Karen Bruce.  Matthew Smedal ably conducts the seven-piece orchestra that succeeds in not drowning out the stellar vocalists.

Thea Sharrock directs The Bodyguard with a skilled touch in presenting a smoothly run production. The opening explosive number gets your attention with a loud burst of sound and bright lights. Thankfully, no heart attacks were reported.  If you attend the show, be prepared.

Scene changes move fluidly throughout. Tim Hartley’s mobile set is extraordinary with its multiple locales that include Rachel’s mansion, a log cabin, bars and even the Oscars stage.  The impressive and aesthetically pleasing set piece, consisting largely of flexible panels that contract to focus on one or two actors and individual performances, is innovative and functional.  Mr. Hartley also designed the costumes highlighted by the stunning glittery gown worn by Ms. Cox near the show’s end.

Paul Hardt’s lighting design is at times exhilarating especially during concert-like performances that feature light shows.  However, the dramatic scenes could use some additional wattage to illuminate the stage more.  Duncan McLean's excellent video design added extra texture to the set.

The Bodyguard is a well-directed and performed presentation of Whitney Houston’s most popular songs.  It’s more than a concert with an edge-of-your-seat plot to surround the music.  Ms. Cox and Ms. Richardson are stellar vocalists and capture the essence of Whitney’s charisma.  It is definitely worth a visit.

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

The Bodyguard runs through March 5 at the Hippodrome Theatre at the France-Merrick Performing Arts Center, 12 N. Eutaw St, Baltimore, MD 21201.  For tickets, call Ticketmaster at 800-982-ARTS or visit ticketmaster.com or BaltimoreHippodrome.com.

Beat the Press

Trump’s war with the media is a cornerstone of his strategy

“Fake News!” “Fake News!” “Fake News!” “Dishonest Media!” “Dishonest Media!” “Dishonest Media!”  These slogans are now boilerplate in President Trump’s tweets, (still) campaign rallies and press conferences. 

His attacks on the press began in earnest during the primary debates when he slammed Megyn Kelly for asking “tough” questions.  They escalated during the general election campaign when he dangerously incited his rabid supporters by pointing to the caged-in pens reserved for media at rallies and decrying that “they are the most dishonest people on earth.”

This loathsome behavior continued throughout the month after his inauguration and as recently as this past weekend tweeting that the media “is the enemy of the American people” and continuing the assault on the press at his comfort food campaign-style rally in Melbourne, Fl.

What gratitude!  #hocopolitics

In rather simplistic terms, the media, who he assails, made Trump. Because if his different style (many would say absurd) and his willingness to go beyond normal boundaries in discourse, the media took to Trump like seagulls to a pile of trash. 

They never let him out of their sight and followed him to each and every campaign event with the expectation or hope that something outlandish would be said that would make for interesting coverage especially on TV, which would boost ratings.  Rarely were they disappointed.

The upshot of this focus on Trump was that the other primary candidates were starving for similar attention, and for the self-proclaimed billionaire, Mr. Trump received oodles of free press while his opponents had to spend.

President Trump who gets his information from “the shows” eschews mainstream media except for FOX News, the unofficial media partner of the Republican Party, and also from such places as Breitbart News, Gateway Pundit, and InfoWars.

For someone who calls the mainstream media dishonest, Trump and members of his Administration hypocritically traffics in conspiracy theories and blatant lies.  From his assertion that his crowd size at the Inauguration was much larger than observed estimates to the ranking of his Electoral College victory as the greatest since Ronald Reagan, Trump cares little about facts, truth and honesty.

The media took to Trump like seagulls to a pile of trash. 

Then there are the fabricated stories he purveys, such as some unspecified horror going on in Sweden (nothing occurred), or his counselor’s mentioning the Bowling Green Massacre (no such event), or his press secretary’s description of the terrorist attack in Atlanta (he meant Orlando since the two cities are so close—400 miles apart). 

Why has he unleashed these non-stop attacks on the integrity of the press while his own statements are so frequently false? Anytime Trump’s weaknesses or worse are described in the media, even if they are totally accurate, he angrily charges “fake news” simply because he doesn’t like it or it makes him look bad.  Discrediting Trump’s image is considered a sin that requires a strong rebuke; self-preservation is his number one priority.

There is more.  Let’s go back to the primaries.  The supreme marketer was aware that if you repeat something often enough, it will stick, especially with his base.  “Lyin’” Ted, “Little” Marco, “Low Energy” Jeb were monikers that helped destroy the candidacies of Cruz, Rubio and Bush, respectively—Trump’s chief rivals.

Come the general election, “Crooked” Hillary took over, and his campaign narrative was built around that label.  Again, it worked, though many other factors were part of the mind-boggling upset.

Bring on the press. The “failing” New York Times, “Fake News” CNN,  “Dishonest Media”—repeat, rinse, spin and repeat.  It will stick, and it is vital for Trump and his presidency to discredit the media for two reasons.

One, the media fact-checks his statements and tweets and they are often false, inaccurate or exaggerated, made-up, or out-and-out lies.  He hates to be called out though it’s the press’ duty as stated in the First Amendment to keep the three branches of government accountable to the people, and the press is that vehicle. 

Second, it is my belief that if there are any serious investigations into the Trump campaign’s relationship with Russian intelligence officers prior to the election and there are findings that Trump and/or his campaign staff were in collusion with the Russians, Trump’s presidency could be in jeopardy.  

By discrediting the media ad nauseum, if and when these revelations come to light, he will have built a safety net of sorts and deny any such findings by blaming the press for the disclosures. People will discount those reports, because he is banking that the oft-repeated charge of “fake news” will resonate and the public will see him as a victim.

That may be his best strategy because much of his base will support him and blame the “dishonest media” for having an anti-Trump agenda. Will it work?  Time will tell.

In the meanwhile, the press needs to be vigilant and hold firm against these charges.  The First Amendment’s Freedom of the Press must be protected for the sake of our country.

“If you want to preserve — I’m very serious now — if you want to preserve democracy as we know it, you have to have a free and many times adversarial press," Senator John McCain said on Meet the Press this past weekend. “And without it, I am afraid that we would lose so much of our individual liberties over time. That’s how dictators get started.”

Yes, that’s how dictators get started.

We Must Never Forget

The Trump threat is real for LGBT individuals

Don't be fooled.  His Administration is dangerous.

On a given night, hundreds would cram the city’s streets, some carrying a gay periodical, and patronize the dozens of gay bars, cafes, nightclubs, pornography shops, cabarets and bathhouses.  Adding to the crowd was an ample supply of hustlers that was visible along the dim, nighttime corridors. 

Inside the buildings, female impersonators, clad in lavish brightly colored garb, performed amidst a foggy, smoky cloud that enveloped the jammed rooms.  Toe-tapping songs were played to the resounding joy of the gay and straight audiences of the packed nightclubs and cabarets with the music drifting outside into the streets.  #hocopolitics 

In other establishments, men freely danced with men; women danced with women.  They openly embraced.  An anti-gay law on the books was seldom enforced.  Gay life was colorful, free and vibrant. Gay neighborhoods were established throughout the city.  It had the most active gay culture on the entire continent, and it was a sexual Mecca. 

_________________________________________________________________________________

Does this scene describe New York?  San Francisco?  Washington, D.C.?  Not hardly.

It happens to be Berlin, Germany, just prior to the Nazis’ rise to power.  Indeed, it was estimated that there were more gay establishments and periodicals in 1920 Berlin than in 1980 New York.  Not only was homosexuality tolerated, it flourished. 

But as the music played inside Berlin’s gay clubs, sweeping political and social change was about to unfold that would rock the world.  The patrons (and owners) of these establishments were oblivious to the new political reality; they continued to dance, seek out sex partners and lived in their own secluded, care-free world, unsuspecting of the emerging satanic forces and the horror of what was about to befall them. It sneaked up on them, and when they realized what was happening, it was too late.

As fast as a snap of a whip, there was the accession of Nazism and Hitler and the enforcement of the infamous Paragraph 175 that severely criminalized homosexual behavior. All gay clubs, hotels and other similar establishments were closed down.  Known homosexuals were ordered to appear at police stations and were pressured to identify other homosexuals. School children were asked to inform on teachers who were suspected of being homosexual, employers on employees, and vice-versa.

Their tragic journey had begun. Gay men in Germany were sought out and rounded up with most being shipped to concentration camps for imprisonment and extermination.  They were forced to wear a pink triangle for easy identification and lived in separate blocks apart from the other prisoners.  The prisoners wearing the pink triangles were brutally treated by the guards and by inmates from other categories.

Homosexuals and those supporting abortion were seen by the new government as a threat to the Nazis’ dream of world dominance.  It was as much about the lack of procreation as the lack of morality.  For gay men it was also about their lack of masculinity—it did not fit the Aryan paradigm.   They joined Jews, gypsies, criminals, political enemies, Communists, the disabled, epileptic and other outcasts that did not conform to the Third Reich’s master plan.  (And yes, Trump White House, accept it or not, Jews constituted the overwhelming majority of the victims during the Holocaust.)

Approximately 100,000 gay men were arrested, 50,000 sent to prison camps, and hundreds were castrated.  All told, an estimated 10,000 to 15,000 homosexuals, mainly those who were deemed “incurable,” were exterminated in the death camps.  Their death rate was said to have been three to four times higher than other non-Jewish categories during the Holocaust.

As you can see, apathy can be a perilous thing, and unfortunately, it is not confined to history.

The new Trump Administration is chilling.  Though no executive order has been signed yet that would allow discrimination against LGBT people under the guise of “religious freedom,” don’t be fooled.  Virtually every cabinet appointee, every advisor, every key figure in the Administration has actively pursued an anti-LGBT agenda in his or her career.  Some of these are extreme including Steve Bannon, Tom Price, Betsy DeVos, and Jeff Sessions.

While Trump may want to play good cop, bad cop by wrapping himself in a rainbow flag for show, an anti-LGBT agenda can take hold in each of these departments and various levels within the executive branch.  Homophobic and transphobic Republicans in Congress will do nothing to stop such efforts; in fact, they have been trying for decades to foster anti-LGBT policies and stood in the way of progress. 

Moreover, the Supreme Court could very possibly tilt towards in a regressive way during Trump’s term, so there may not be relief from that branch of government.

 LGBT folks must be on the alert and forcefully express their opposition to efforts to turn back the clock.  The threat is very real. 

And we don’t need to go back too far in history to understand the effects of apathy, complacency or indifference. The mantra, “We must never forget” applies now more than ever.

A Bloody Good 'Sweeney Todd' at Olney

Photo by Stan Barouh

Britain has always been given a bad rap—fairly or unfairly—for the taste of their food.  If anyone had actually eaten Mrs. Lovett’s meat pies in 19^th century London, you would see why.  The meat contained in those goodies was derived from sliced and diced humans from a killing spree by a man who was eventually called Sweeney Todd, The Demon Barber of Fleet Street.

The ultra-successful dark musical with the same name has come to the Main Stage of the Olney Theatre Center in all its gory, er, glory.  Propelled by the music and lyrics by Stephen Sondheim and a book by Hugh Wheeler that was adapted by Christopher Bond, Sweeney Todd, The Demon Barber of Fleet Street captured eight Tony Awards in 1979 including Best Musical.   #hocoarts

With the production ably helmed by Olney Theatre Center’s artistic director Jason Loewith, it is easy to see why Sweeney Todd and its numerous revivals has been a hit for decades.  Aside from the wonderful music, the production at Olney is bolstered by superb atmospherics, creative staging and top-notch performances by a talented company.

Sondheim’s rich score and, at times, hilarious lyrics are magnificent and convey the story in operetta form with little spoken dialogue.  This complex score is handled expertly by Musical Director Christopher Youstra, Conductor Doug Lawler and the nine-piece orchestra.

Songs, such as “The Ballad of Sweeney Todd,” “Poor Thing,” “Johanna,” “Pirelli’s Miracle Elixir,””Pretty Women,” “Epiphany,” the comical  “A Little Priest” and “Not While I’m Around” are highlights.

The well-known tale centers on Sweeney Todd (formerly Benjamin Barker) who was wrongfully imprisoned for 15 years by corrupt Judge Turpin. He returns to London seeking revenge on the Judge for ruining his life by separating him from his wife and child.

Todd runs into Mrs. Lovett, a baker, whose meat pies are lacking protein and aren’t selling.  The two see a mutually beneficial partnership: he slays the Judge in revenge as well as others from his barber chair; she uses the carnage to bake into the pies that are sold to unsuspecting customers.  

A love story also unfolds as Todd’s daughter, Johanna, has been taken in by the Judge and Todd’s sailor friend, Anthony, falls in love with her and goes to great lengths to get her. 

However, the story does not end well as far as the characters are concerned, but it was a lot of fun getting to the macabre conclusion thanks to an infusion of black comedy.

In the title role, veteran actor David Benoit triumphs with his commanding presence on stage and muscular baritone vocals. A sturdy actor through and through, Mr. Benoit conveys his despair over his plight and his desire to lash out at not only his antagonist but all of humanity.

He has solid performances in “The Barber and His Wife,” the duet with the Judge in “Pretty Women,” and a tremendous emotion-packed rendition of “Epiphany.”

For the role of the cheerful and garrulous Mrs. Lovett, E. Faye Butler excels.  While the temptation is there to ham up the part, Ms. Butler maintains enough restraint while allowing the comical lines to hit the mark.  Mrs. Lovett is smitten with Todd but fails to divulge an extremely important situation.   

Ms. Butler sings beautifully throughout.  Yet, her duet with Mr. Benoit, “A Little Priest,” the hilarious number that concludes the first act in which Mrs. Lovett suggests to Todd the idea of sharing the corpses of his victims to create the pies, is a showstopper.

As the evil Judge Turpin, Thomas Adrian Simpson turns in a solid performance.  The audience roots for his demise for sending Barker/Todd up the river on trumped-up charges, raping Barker’s wife and having designs on Barker’s daughter Johanna.  His excellent baritone is demonstrated in “Johanna,” and the duet with Mr. Benoit, “Pretty Women,” just prior to his exiting the barber chair down the chute, is well-done in a chilling sort of way.

Grace Jones as the lovely "yellow-haired" Johanna, the object of Anthony’s (as well as Judge Turpin’s) affections, puts her soprano voice to good use in “Green Finch and Linnet Bird.”

Jobari Parker-Namdar as Anthony exhibits a strong tenor voice in another “Johanna” number and with Ms. Jones in “Kiss Me.”

Frank Viveros plays Pirelli, a con artist who as a barber first loses a bet to Todd and then his life as he attempted to blackmail him.  Mr. Viveros plays the campy role adroitly and his rendition of “The Contest” is outstanding showcasing a strong dramatic tenor voice.

Michael J. Mainwaring does well as Tobias, the sidekick to Pirelli and eventual assistant to Mrs. Lovett.  His solid tenor is evident in “Not While I’m around,” a duet with Ms. Butler.

Rounding out the leads is Rachel Zampelli playing the male role of Beadle Bamford, the Judge’s accomplice.  She performs “Ladies and Their Sensitivities” well.  And Patricia Hurley does a sterling job as the Beggar Woman who everyone dismisses until her tragic end.

The 10-person ensemble performs ably especially with “The Ballad of Sweeney Todd.”

As noted earlier, the visuals lend reality to the time and place.  There is the industrial-themed, multi-level steel set designed by Milagros Ponce de León that provides depth and texture to the action.  Included is the notorious barber chair that is rigged so that the unsuspecting victims of Todd’s throat-slashing slide down a chute to the basement bake house.

E. Faye Butler as Mrs. Lovett & David Benoit as Sweeney Todd
Photo: Stan Barouh

Scene changes are fluid as bulky set pieces are moved in and out rapidly.  Mr. Loewith has his cast utilize the entire stage and upper levels of the set as well as the aisles in the audience for entering and exiting that expands the presentation.

Colin K. Bills’ stark lighting design contributes mightily to the atmosphere.  The stage is mostly dim with a light layer of fog to depict London as well as to represent the darkness of the plot and the ghoulish acts that are the cornerstone of Sweeney Todd.   Selective spotlights highlight key parts of the action rather than illuminating the entire stage at once.  Don’t expect lavish color here; this is not a Rodgers and Hammerstein musical.

Seth Gilbert’s costumes are spot-on period apparel adding to the authenticity.  Even the costumes are darkened to simulate the soot that existed in from the filthy air that Victorian-era Londoners had to endure.  Talk about paying attention to detail!  

The costumes reflect the clear demarcation of classes in London’s society that form the backdrop to the story—from the poor beggar woman’s natty rags to the well-heeled Judge’s aristocratic attire with the working class garb of Todd and other working “stiffs” in between.

In true Olney Theatre Center style, Sweeney Todd, the Demon Barber of Fleet Street is yet another Broadway-caliber production. Kudos to Mr. Loewith, Mr. Youstra and the enormously talented cast and crew for a splendid interpretation of this classic. 

It would be wise to purchase your tickets to this spectacle, and if nothing else, you will at least be paying more attention to what you eat.

Running time: Two hours and 45 minutes with an intermission.

Sweeney Todd, the Demon Barber of Fleet Street runs through March 5 at the Olney Theatre Center, 2001 Olney-Sandy Spring Road, Olney, MD 20832. Tickets may be purchased by calling 301-924-3400 or online .

Gritty 'Fucking A' at Iron Crow

Jessica Bennett and Kaya Vision Photo: Rob Clatterbuck

Let’s get down to it: The title of this play is a vulgar, slang expression usually reflecting triumph or joy in response to a piece of unexpected positive news.  “I won $500 million the Power Ball drawing”…Fucking A!”  “Trump’s election was overturned…Fucking A!”  I’m not sure which is the more welcome development.  #hocoarts 

Nonetheless, there’s not much joy emanating from the plot of Fucking A, Suzan-Lori Parks’ expressionistic play being performed at the Baltimore Theatre Project as Iron Crow Theatre’s first main stage drama of the current season.  So, the title isn’t derived from any celebration.  In fact, the play, in keeping with Iron Crow’s dark play theme for the current season, is bleak with no happy ending to cheer.  

Where there is joy to behold, however, it is the stunningly performed version of the compelling play directed skillfully by Stephen Nunns.  The queerness that is a hallmark of Iron Crow productions is evidenced by the cross-gendering of several roles and is done so effectively.

The “A” is a riff on Nathaniel Hawthorne’s 19^th century novel The Scarlet Letter whereby the “A” was branded on those accused of adultery.  In this play, the ‘A’ denotes abortionist, which is stamped on the chest of the main character, Hester Smith (played brilliantly by Jessica Bennett).  Similar to The Scarlet Letter the main character of Fucking A is named Hester, a strong woman with an illegitimate child. 

Fucking A ambiguously takes place in “a small town in a small county in the middle of nowhere.” The set is emblematic of the dystopian view of society that Ms. Parks conveys in her work.

The story reveals a society dominated by class, power and corruption and how various members of these classes relate to the larger society. Hester, faced with a choice of going to prison or being an abortion provider, chose the latter.  Her son Boy Smith was taken at an early age to prison 20 years ago for stealing meat, which was instigated by a “rich bitch” who eventually became The First Lady of The Mayor. 

The core of the plot is Hester’s unending love for her son and her yearning to get Boy out of prison regardless of the cost, all the while she performs abortions on rich women.    Rather than divulge the twists and tragedies that transpire, I will leave it to the audience to experience. 

The play contains superbly executed dramatic scenes that are edgy and tense.  Such drama is interrupted by brief sardonic songs in which virtually all the main characters sing about themselves and provide a bit of comic relief.

One particular scene stands out. Hester believed it was Boy who had been granted a sought after and paid for furlough picnic.  The inmate taken to Hester by the guard is a character named Jailbait, played exceptionally by Kaya Vision.  Hester was ebullient over the prospect of this reunion, but that elation drops down an elevator shaft to utter despair when during the course of the picnic, she not only discovers that Jailbait isn’t actually her son, but that he admits to killing Boy (or so we think).

As Hester, who is involved in the majority of the scenes, Jessica Bennett turns in a tour-de-force performance. It gives the impression that the role was written for her in mind.

Ms. Bennett showcases her acting skills with her timing, voice inflections, facial expressions and body language.  When emotions run high, she delivers the requisite passion.  When the temperature is dialed back some, she gives the audience the needed softness in her persona.   And when called upon to sing, Ms. Bennett displays solid vocals.

Deirdre McAllister does well as Hester’s friend Canary Mary, a prostitute.  Her repartee with Ms. Bennett offers some comedic moments.

As the character Monster, an escaped convict who is being tracked down by bounty hunters, Javier Ogando’s performance is powerful and convincing.  He has a bright future in theatre if that is his path.

The three bounty hunters—Martha Robichaud, Kelly Hutchison and Caitlin Weaver (also plays Freedom Fund Lady who accepts payment from Hester so that Boy can attend Hester’s picnic)— are portrayed as males.  They do a great job as sadists on the prowl for Monster.

The Hunters Photo: Rob Clatterbuck

Another solid performance is given by Jared Swain as Butcher, a butcher no less, who takes a liking towards Hester.  The two enjoy warm moments together and Butcher, clad in a blood-stained apron, offers valuable butchering lessons to Hester (wink).

Rounding out the cast are Cricket Arrison as the First Lady, Hester’s antagonist; Jamil Johnson as The Mayor who cheats on The First Lady with Canary Mary; and Rebecca Dreyfuss playing the roles of the Guard and Scribe.

If there is any quibble, and it’s a minor one, it concerns the device of using alternate language when the women discuss sexuality and fertility.  This is part of the play, and projections onto the stage are normally used to translate the dialogue.  In this production, a voice over is used instead, but on a few occasions, the sound originating from off-stage collides with the verbiage on the stage rendering both incomprehensible.

Designed by Logan Lynch, the set is gritty and abstract in form with the main piece being a rustic wooden wall that holds lit candles with a ledge on top where as many as five cast members sit behind as if they are appellate judges.  There are also worn pieces of furniture located at different points around the stage, such as love seats, benches and a swing plus an assortment of tables and a bed that are moved around to accommodate the many scene changes.  

For the most part, the 11-member cast remains in view in separate areas of the stage throughout the play even if they are not featured in a particular scene.  The three musicians (Josh Eid-Reis, Percussion; Dave Engwall, Mandolin; and Kevin Krause, Guitar/Banjo) stay on the stage for the duration.

Iron Crow Theatre has found its niche with these edgy, queer and dark productions.  Fucking A is the latest entry in the catalogue of well-performed and directed plays and is highly recommended.

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

Advisory: Fucking A contains sexual situations, profanity and violence and is not suitable for children under age 18.

Fucking A plays weekends through February 12 (Thursday performance on February 9) at the Baltimore Theatre Project, 45 W. Preston St., Baltimore, MD 21201.  For tickets, visit Iron Crow Theatre.   

‘Beautiful’ Nostalgia Fills the Hippodrome

Julia Knitel as Carole King Photo:Joan Marcus

Most of us who enjoy the music of the 60’s may recall how that era was dominated by the likes of the Beatles, Rolling Stones, Bob Dylan, the Beach Boys, the Motown artists and so on.  What seems to fly under the radar in many people’s memories are the works of the prolific music-composing duos of Carole King and Gerry Goffin as well as Barry Mann and Cynthia Weil who churned out a string of classic pop songs during their illustrious careers.  #hocoarts

With the jukebox musical Beautiful-The Carole King Musical now playing at the Hippodrome Theatre, we not only get to relive many of those hits and experience some surprise as to which artists covered them, we catch a glimpse into the early career and life of Carole King through the book written by Douglas McGrath.  Mann and Weil also played a part in King’s professional beginnings and are portrayed in the show as well.

It is sheer delight to reminisce about the old standards as the music dominates Beautiful. However, there is a mixture of drama, romance, infidelity, heartbreak and comedy to weave the songs together that features a talented cast and superb orchestration with Nick Williams at the helm. Mark Bruni skillfully directs this two-time Tony Award winning production, which is currently on tour.

Carole King standards “So Far Away,” “It’s Too Late,” You’ve Got a Friend” and “Beautiful” are performed with feeling by Julia Knitel in the title role.  

Yet, the songs that the Goffin-King team wrote that were covered by other artists shed light on the versatility and expanse of their catalogue that consist mostly of ballads.  In fact, King’s first ever song she composed, “Will You Love Me Tomorrow,” at the age of 17 was recorded by the girl group Shirelles in 1960 that catapulted to Number 1 on the Billboard chart.

Other hits from this duo include “Take Good Care of My Baby” for Bobby Vee, “Up on the Roof,”  and “Some Kind of Wonderful” (Drifters), “One Fine Day” (Chiffons), “The Locomotion” (Little Eva), “Pleasant Valley Sunday’ (The Monkees), “(You Make Me Feel Like) A Natural Woman” (Aretha Franklin).

Backup singers in the Ensemble Songs emulate selected numbers by Neil Sedaka, the Shirelles,  The Drifters, Little Eva, The Chiffons (referred to in the program as Janelle and the Backup Singers) and The Righteous Brothers with sparkling precision adding joy to the production. 

All are decked out in colorful 60’s era costumes designed by Alejo Vietti with the women dressed in satiny gowns similar to the original performers wore when they appeared on The Ed Sullivan Show, concerts, and the like.

The team of Barry Mann and Cynthia Weil, who emerged as friendly competitors during those early years, were no slouches either.  “You’ve Lost That Lovin’ Feeling” (Righteous Brothers), “Walking in the Rain” co-written by Phil Spector (Ronettes, and Jay and the Americans among other groups), “On Broadway” (Drifters), and “We Gotta Get Out of This Place” (The Animals).  All of these songs are included in Beautiful.

As one hit after another rolls out during the show,  Carole King’s story from an ambitious 16 year-old living in Brooklyn, NY with her mother Genie Klein (played deliciously by Suzanne Grodner) to her pregnancy and marriage as a teenager to song-writing partner Gerry Goffin (Andrew Brewer) unfolds. 

With their success mounting, Gerry, played by Andrew Brewer, feels suffocated in the marriage after the birth of their daughter and wants to have an affair with Janelle.  Hurt, Carole plods on with her career while hoping Gerry would return.  Those hopes were dashed, however, when Gerry is discovered with yet another woman and Carole ends the marriage in a dramatic high point of the show.

Ms. Knitel as Carole displays a lovely, clear singing voice throughout.  Her vocal resemblance to Carole King is strong, which enhances the reality of the show. 

Mr. Brewer also performs well in the numbers he is called upon, such as “Take Good Care of My Baby” and “Up on the Roof” and “You’ve Lost That Lovin’ Feeling.”

Ben Frankhauser sprightly plays the nerdy hypochondriac but talented Barry Mann with excellent comedic timing and body language.  His rendition of “We Gotta Get Out of This Place” is strong.

Erika Olson plays Cynthia Weil with a bouncy, sweet demeanor. Mann and Weil’s marriage was also headed in the wrong direction as their successful career proceeded but ultimately managed to straighten it out.  There are frequent comedic exchanges between the members of this couple while the interactions between Carole and Gerry are much more serious.

As Don Kirshner who launched Carole King’s stunning career, Curt Bouril does a wonderful job as the demanding record producer.

And who doesn’t love a witty Jewish mother form Brooklyn?  Sardonic and endearing, Ms. Grodner provides hilarious moments throughout the show. 

“If there’s a choice between Times Square and hell, the good people will choose hell,” she said when 16 year-old Carole wanted to venture into Manhattan to have a song she wrote,  “It Might as Well Rain Until September,” produced. 

This fine production is aided by the multi-level, colorful scenery designed by Derek McLane.  Two large towers with oblong panels that house lights appear in most of the scenes. There are also two scaffolds where performers can reach by stairs to offer a different sight line.  Drop-down scenery is also employed.  An abstract background is used to depict a recording studio.

This set is amplified by the hue-rich lighting designed by Peter Kaczorowski which makes good use of the lights embedded in the towers.

All this makes Beautiful-The Carole King Musical a sight to behold and enjoyable to hear. The audience was chomping at the bit to sing along to the familiar songs but struggled to hold back until the very end when after the curtain call, the ensemble led the spirited “I Feel the Earth Move” and everyone joined in. 

Turn back the clock and enjoy this wonderfully executed trip down memory lane.  Indeed, it’s a beautiful experience.

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

Beautiful-The Carole King Musical runs through January 29 at the Hippodrome Theatre at the France-Merrick Performing Arts Center, 12 N. Eutaw St, Baltimore, MD 21201.  For tickets, call Ticketmaster at 800-982-ARTS or visit ticketmaster.com or BaltimoreHippodrome.com.