Occasionally a production of a familiar show can completely change how that it is perceived and performed. Such was Joseph Papp’s 1980 Central Park production of Gilbert and Sullivan’s The Pirates of Penzance, in which Kevin Kline reinvented the role of the Pirate King as an athletic, comic swashbuckler. Coming at a time when the venerable D’Oyly Carte company was on its last legs, artistically as well as financially (having seen some of their touring productions here in 1976 and 1978, I can testify to the former), Papp’s production reinvigorated Pirates for late 20th century audiences.

Like any innovation, however, a groundbreaking production of a show can evolve into old hat. For most of 30 years, directors of Pirates productions seemed to feel compelled to replicate the Papp production, even those parts of it — like its hyper-vaudevillian approach to the Sergeant and his policemen — that never worked well. Fortunately, with the passage of time, productions have begun to find their own footing once again. I saw a very competent traditional take on Pirates by the Madison (Wisconsin) Savoyards two summers ago, and the current Victorian Lyric Opera Company (VLOC) production in Rockville is a very lively effort both the musical and staging aspects of which succeed delightfully.

Director Felicity Ann Brown (who is also part of the choreography team, along with Helen Aberger and Amanda Jones) makes the show move fluidly. Not for this Pirates the dreaded “G&S two-step,” which has passed for movement in too many productions. The choreographic highlight is a production number version of the Pirates’ “Come friends who plow the sea” in the second act, which with its two planned encores — including brief Fiddler and Chorus Line moments and a variety of kick lines — earned the loud approval of the near-capacity Saturday night crowd.

Brown made other creative choices that worked beautifully. Among the female chorus members were four older ladies, who played chaperones to the younger women. When Frederic is singing “Oh is there not one maiden breast…,” the chaperones do their best to contain their charges’ enthusiasm, causing the maidens’ “Oh no, not one” to make the most theatrical sense that I have ever seen.

Even by standards of Gilbert’s topsy-turvy world, the Major-General’s second act number “Sighing softly to the river” makes remarkably little sense. Brown wisely upstaged the Major-General’s gyrations and uber-silly lyrics by having two tree set pieces moved about by Pirates, while befuddled policemen tried to keep pace with them. Shortly afterward, Brown tops this with a smoothly executed rope trick, in which the Pirates’ capture of the girls morphs into their capture of the police.

Musically, music director Joseph Sorge’s full orchestra performed with excellent attention to tone, dynamics, and tempi: Gwen Earle on oboe and percussionist George Hutlin had particularly nice moments. Sorge conducted a lovely rendition of the a capella “Hail poetry,” with the cast in an appropriately choral formation. The quality of the choral singing, by both the men’s and women’s ensembles, was high throughout, even in those numbers involving substantial movement.

Jeffrey Gates, as the Pirate King, was far and away the outstanding soloist. With a robust, yet subtle, baritone voice, as well as a dynamic stage presence, Gates commanded his scenes, whether in a solo number like “I am a pirate king” or playing well with others in “A paradox.” For “Poor wandering one,” a Mabel needs to have the same sort of coloratura chops as Cunegonde in Candide’s Glitter and Be Gay. Keely Borland passed that test. (Courtney Kalbacker plays this role in alternate performances.) Stevie Miller, Amanda Jones, and Rachel Ackerman nicely supported Mabel as the three female chorus leads.

In any Pirates, an important challenge faces Mabel and Frederic in the second act. Having been typically silly G&S characters throughout, their exaggerated romantic and duty-bound natures, respectively, driving their comic excess, they must suddenly and credibly handle the score’s sweetest moment, the touching duet “Ah leave me not to pine.” Borland was able to generate the requisite emotion, physically as well as vocally. As Frederic, Timothy Ziese was as fresh-faced, enthusiastic, and guilelessly dutiful as one could ask for, also contributing a pleasant tenor voice to the proceedings. He might have connected more solidly with scene partners at times. In “Ah leave me not to pine,” though, while Mabel focused on him and her relationship with him, Ziese was oriented straight out to the audience, diminishing some of the feeling the song can convey.

Wendy Stengel as Ruth and George Willis as Major General Stanley were not as strong vocally as the other principals. Stengel had a rather thin sound. G&S patter baritones are not expected to be pure singers, of course, but Willis struggled noticeably with pitch at times. While not the most graceful actor ever to assay the role, Willis had great fun with an encore to the “I am the very model of a modern major-general” that spoofed current pop music. Stengel had excellent energy and moved well in the “A paradox” scene.

Ruth is Exhibit A for Gilbert’s chronic disdain for middle-aged women (47 years old: the horror). Sometime it would be fun for a director to reimagine her as a relatively hot, toned 40-something in pursuit of a cute young thing. Think “How Stella Got Her Groove Back” visits Penzance. But that would be a different production.

Samuel is a supporting role that can often disappear. To his credit, Rick DuPuy made his character’s presence felt, and he handled his solos in “Pour, oh pour the pirate sherry” and “Come friends who plow the sea” creditably. As the Sergeant of Police, Tom Goode was vocally adequate and brought an appropriately schlumpy presence as the hapless leader of as decrepit a bunch of bobbies as one could imagine.

Denise Young’s costume deigns for the women accented the director’s contrast between the younger and older chorus women, with the younger women in variously colored pastels while the chaperones were in uniform, subdued grayish dresses with thin stripes. As the lead, Mabel wore white. Generally, the ladies’ and pirates’ costumes were colorful and flattering to the actors, with the Pirate King and Major General being in different sorts of striking red uniforms. The combination of the Major General’s 50s sitcom-style pajamas and his plumed military hat in the second act was humorously effective. Only Ruth’s costume was ill-conceived, giving her an unnecessarily awkward look. The costumes for the policemen were baggy, which, intentionally or not, suited the way they were played.

The production sported some nice prop moments. Carl and Jane Mayott provided dolls and teddy bears for the young women in the opening scene of act two and newspapers with a period look for the young women to appear to read during “How beautifully blue the sky.” My favorite, however, was a large, multi-hued parrot hand puppet that one of the pirates carried throughout, manipulated to look as if it were joining the singing. My only regret is that the bird did not get an individual bow in the curtain call.

Director Brown also designed the set, which, despite some quirks, functioned well in facilitating interesting and balanced stage pictures and movement. Among the quirks was, in act two, a model house the style of which was more Virginia colonial than Cornwall. On the stage left side of the cyc was a drawing of a large 18th century-style man-o-war, hardly the sort of ship that Victorian-era pirates (had there been such) would have chosen. The second act set included grave markers for “Porter” and “Murgatroyd.” Brown correctly gauged that G&S fans — especially of a show the libretto of which cites “that infernal nonsense Pinafore” — would find a cross-reference or two irresistible.

VLOC was the area’s second G&S-centered group to be formed, starting life in the late 1970s as a splinter group of the older Montgomery (later Washington) Savoyards. With the apparent demise of the Savoyards — a casualty not only of economic troubles but also of considerable muddle concerning its niche in the local theater scene — VLOC stands as the only local company specializing in operetta. The success of this Pirates, both artistically and in terms of drawing an audience, is a hopeful sign that VLOC can continue to prosper by maintaining its focus and quality.

Director’s Note

Earlier this year, I heard actor John Lithgow speak at The University of Maryland. He told a story of an orchestra that had been playing a particular piece in rep all season, and was getting bored with it, and it showed in their rehearsal. Just before a performance, the conductor addressed the orchestra, and told him that he understood their frustration, but he wanted them to go out and play for two specific people in the audience: The person who is hearing the piece for the very first time, and the person who is hearing it for the very last.

In directing this show, I’ve tried to keep that perspective in mind. There are those of you who were probably brought here by a friend or a parent or grandparent and are hearing Sullivan’s music and Gilbert’s jokes for the very first time today, and then those of you who have seen countless productions of Pirates in your lifetime and are bound to make comparisons between this and all of the other productions you’ve seen. My hope is that we will provide something for everyone in this audience, providing entertainment for you no matter what your level of Pirates expertise.

Pirates is the first Gilbert &Sullivan show I ever saw. I was a student at Westtown School, a Friends school in Pennsylvania, and our class was taken to see the middle school’s production. I thought it was a very fun and silly show, but I did not retain much of the plot. Still, my grandmother, upon hearing I had seen the show, impressed upon me that this was something very important. She herself had played Ruth in a production at the very same Quaker school in the 1930′s. A family legend stands that my great-grandfather had started the G&S tradition when he came there as a teacher in the 1920′s, as a way to sneak some music into the rigid curriculum at a time when Quakers were not quite sure if music and theatre were appropriate uses of student time. I’m sure that Gilbert’s cleverness with words, Sullivan’s history of writing music for the church, and the rigidness of Victorian values displayed in the G&S canon helped to grease the wheels needed for approval.

This family tradition carried on to me when I first graced the stage as a sailor, complete with stipple-brushed beard, in H.M.S. Pinafore at age twelve. I got involved with building sets for the first time, helping to hoist a giant mast and rigging on stage, I climbed up into the catwalk to focus lights, I cut off pants and glued ribbons on hats to make sailor costumes, and was fully enveloped by full range of the magic of theatre for the first time. To this day, I remain that involved, even when my primary duty is as director, because I love that feeling of creation of every little piece of the magic.

After that first production of Pinafore, the music and words were permanently engraved into my mind. I didn’t realize the significance of this until a few months later, when I was watching the cartoon Animaniacs and the segment “H.M.S. Yakko” came on and I realized I had been let in on this incredible extended inside-joke specifically for Gilbert & Sullivan fans. Sure the cartoon was goofy and full of slapstick that any child would be amused by, but I could identify all of the score as pieces of H.M.S. Pinafore and Pirates, and I understood that “I am the very model of a cartoon individual” wasn’t just something from a kids show…this was an exclusive club I had been allowed into…a shared culture of the performing arts. This membership lets people in on the G&S allusions that are seen in The Simpsons, Pretty Woman, West Wing, Family Guy, Star Trek: Insurrection, and far too many more to list. Gilbert & Sullivan is part of our cultural literacy that warrants passing on to future generations. Thank you for being here today, and keep passing it on.

Cast

• Frederic: Timothy Ziese
• The Pirate King: Jeffrey Gates
• Samuel: Rick DuPuy
• Ruth: Wendy Stengel
• Major General Stanley: George Willis
• Mabel: Keely Borland (Courtney Kalbacker in alternate performances)
• Edith: Rachel Ackerman
• Kate: Amanda Jones
• Isabel: Stevie Miller
• Sergeant of Police: Tom Goode
• Young Frederic: Gabriella Jones
• Chorus of Pirates, Police, and General Stanley’s Wards and their governesses:
• Helen Aberger, Brian Beard, Densie Cross, Kayla Cummings, Kris Devine, Tara Hockensmith, Chuck Howell, Rand Huntzinger, Ralph Johnson, Joanna Jones, Josh Katz, Erik Kreil, Lauren Lentini, Carl Maryott, Jane Maryott, Josh Milton, Rowyn Peel, Brian Polk, Bill Rogers, Kevin Schellhase, Sarah Seider, Barbara Semiatin, Ed Vilade, Maria Wilson, Kent Woods

Orchestra

• Violin 1: Steve Natrella (CM), Bonnie Barrows, Peter Mignerey, Irv Berner
• Violin 2: Martin Brown, Edwin Schneider, Cassie Conley
• Viola: Amanda Laudwein, Stephanie Cross
• Percussion: George Hutlin
• Bass: Pete Gallanis
• Flute: Jackie Miller, Louise Hill
• Oboe: Gwen Earle
• Clarinet: Laura Langbein, Laura Bornhoeft
• Bassoon: Steve Weschler, Betsy Haanes
• Horn: Joe Cross, Lora Katz, Gail Hixenbaugh
• Trumpet: Curt Anstine, Rick Pasciuto, Tom Gleason
• Trombone: Steve Ward, Frank Eliot, Al Potter
• Cello: Michael Stein, Sheryl Friedlander, Andrew Nixon

Production Staff

• Producer: Denise Young
• Director: Felicity Ann Brown
• Music Director: Joseph Sorge
• Assistant Music Director: Jenny Craley Bland
• Assistant to the Director: Helen Aberger
• Stage Manager: Douglas Maryott
• Choreography: Amanda Jones, Felicity Ann Brown, Helen Aberger
• Scenic Designer: Felicity Ann Brown
• Costume Designer: Denise Young
• Lighting Designer: Noam Lautman
• Rehearsal Pianists: Jenny Craley Bland, Joanna Jones
• Light Board Operator: Noam Lautman
• Makeup/Hair Designer: Renee Silverstone
• Master Carpenter: Devin Work
• Set Crew/Painters: Helen Aberger, Felicity Ann Brown, Rober Dennis, Kris Devine,
• Ben Dransfield, Alice Drew, Tony Dwyer, Blair Eig, Dean Fiala, Rand
• Huntzinger, William Kolodrubetz, Sarah Martin, Douglas Maryott, Anna Polk, Brian Polk, Bill Rogers, Sarah Seider, Scott Tennent, Ed Vilade, Kent Wood, Timothy Ziese
• Costume Construction: Denise Cross, Stephanie Cross, Rebecca Meyerson, Stevie
• Miller, Felicity Brown, Sarah Martin, Maria Wilson, Lauren Lentini, Kathie
• Rogers, Barbara Miller
• Props: Carl & Jane Maryott
• Photography: Harvey Lavine
• Audition Pianist: Jenny Craley Bland
• Program: Courtney Kalbacker, Denise Young
• Surtitles: Douglas Maryott, Annie Gribben
• Cover & Poster Art: Erika White Abrams
• Publicity: Courtney Kalbacker, Ed Vilade, Felicity Ann Brown
• House Management: Denise Young, Cassandra Stevens
• Set and Costume Storage: Rockville Civic Center

Disclaimer: Victorian Lyric Opera Company provided two complimentary media tickets to ShowBizRadio for this review.

Things are certainly “looking up” at Toby’s. They are winning over audiences with a professional, high-energy production of the family friendly Shrek. With stunning costumes, creative use of the space, detailed lighting design, and a host of stellar performances, there are many good reasons to catch this exciting production before it is too late.

As Shrek, Russell Sunday is the true emotional glue that holds the production together. He sails through his vocal numbers with a rich, strong and perfectly pitched instrument. He brings Shrek to life with laughter and tears, creating a believable and loveable hero.

Calvin McCullough makes an interesting choice with Donkey. He does not often act or sing the role in the predictable homage to Eddie Murphy (film) and Daniel Breaker (Broadway). He creates his own donkey, landing some punch lines differently and creating new vocal intonations. It was a risky decision that paid off beautifully. McCullough’s Donkey is a fresh and stunning take on the character that makes every moment fresh.

Another performance that just nails it is Jeffrey Shankle as Lord Farquaad. Shankle’s comedic timing and expression are flawless. Every moment on stage is a delightful dance of tongue-in-cheek humor with the audience. He also moves incredibly gracefully on his knees for the entire production.

The only lead who misses the mark is Coby Kay Callahan as Fiona. Callahan tries too hard to nail an impression of Sutton Foster that she comes across clownish in her performance. Rather than showing a genuine side of Fiona or achieving comedy through character, she is stifled and too much all at the same time. Additionally, the vocals are just too big for her voice, and she ends up over-singing and almost screaming to try to achieve the necessary high belt. This is in direct contrast to the brief performance of Amanda Kaplan as Teen Fiona, who shows exactly how to create comedy without trying too hard and make a difficult song look simple by nailing it effortlessly. Luckily, there is so much wonderful about the performances of Sunday, McCullough, and Shankle, that the Callahan debacle can be forgotten and overlooked in the larger context.

The entire ensemble is strong in vocals, dance, and creating interesting bit characters. One truly notable standout is Ashley Johnson who kills with her insane vocals as the Voice of the Dragon. She has a truly remarkable voice and tells infinite stories with just her voice.

This is definitely a production to be sure to see. It is family friendly and fun, and you won’t be disappointed.

Cast

• Shrek: Russell Sunday
• Princess Fiona: Coby Kay Callahan
• Donkey: Calvin McCullough
• Lord Farquaad: Jeffrey Shankle
• Mama Bear/Voice of the Dragon/Voice of the Bird/Ensemble: Ashley Johnson
• Pinocchio/Ensemble: Shane McCauley
• Queen Lillian/Sugar Plum/Gingy/Blind Mouse/Ensemble: Heather Marie Beck
• Mama Ogre/Humpty Dumpty/Ensemble: Tierra Strickland
• Papa Ogre/Papa Bear/Bishop/Ensemble: Dean Davis
• King Harold/Big Bad Wolf/Pied Piper/Ensemble: David Jennings
• Fairy Godmother/Blind Mouse/Ensemble: Tina DeSimone
• Ugly Duckling/Blind Mouse/Ensemble: MaryKate Brouillet
• Pig #1/Ensemble: Antonio Beverly
• Pig #2/Ensemble: Nurney
• Pig #3/Thelonius/Ensemble: Matt Greenfield
• Peter Pan/Ensemble: AJ Whittenberger
• Elf/Teen Fiona/Ensemble: Amanda Kaplan
• Wicked Witch/Ensemble: Jamie Ogden
• Captain/Mad Hatter/Ensemble: Ariel Messeca
• White Rabbit/Duloc Announcer/Ensemble: Ellie Borzilleri
• Young Shrek/Dwarf: Anderson Franco or Gavin Willard
• Young Fiona/Baby Bear: Caroline Otchet or Samantha Yakaitis
• Dragon Puppeteers: Ellie Borzilleri, AJ Whittenberger, & Ariel Messeca

Orchestra

• Conductor/Keyboard 1: Douglas Lawler or Pamela Witt
• Keyboard 2: Ann Prizzi or Barry Hamilton
• Drums: Tom Harold or Jack Loercher
• Trumpet: Frank Gorecki or Tony Neenan
• Bass: Jason Wilson or Linda Cote
• Woodwinds: Steve Haaser or Charlene McDaniel

Production Staff

• Co-Directors: Kevin McAllister & Lawrence B. Munsey
• Co-Musical Directors: Douglas Lawler & Pamela Witt
• Choreographer: Shalyce Hemby
• Scenic Designer: David A. Hopkins
• Costume Designers: Lawrence B. Munsey & Janine Sunday
• Dragon Puppet: Penny Lemire
• Costume Assistants: Janine Sunday, Mary Quinn, Della Lotman, Penny Lemire
• Lighting Designer: Lynn Joslin
• Sound Designer: Drew Dedrick
• Production Manager: Vickie S. Johnson
• Production Stage Manager: Kate Wackerle
• Stage Managers: Drew Dedrick, Kate Wackerle
• Technical Director: Jimmy Engelkemier
• Master Carpenter: David A. Hopkins
• Set Construction: David A. Hopkins, Russell Sunday
• Properties & Set Dressing: Amy Kaplan
• Light Board Operators: Coleen M. Foley, Heather Williams
• Sound Board Operators: Drew Dedrick, Jimmy Engelkemier
• Stage Crew: Laura Blasi, Jason Britt, Erin MacDonald, Amber Masters

Disclaimer: Toby’s Dinner Theatre provided two complimentary media tickets to ShowBizRadio for this review.

Singin’ in the Rain is the quintessential throwback to the early age of American movie-musicals. As a film before it was ever a stage show, it is a classic story with well-known songs and extended dance sequences. It travels back to the dawning of a new era in filmmaking — the talking picture. The story surrounds stars of the silent screen making the transition to these new movies, through a myriad of trials and a smattering of romance. Unfortunately, not all of this translates to the current production at Way Off Broadway Dinner Theatre in the way that one would hope.

There are some very nice things to say about this production. The choreography is smart. It is not overly intricate, and the ease of the movement allows the cast to execute it with exact precision. Rather than trying to go too big and ending up sloppy, it stays right where it can be very effective. The show has some great technical elements, including the awesome choice to have it actually rain on the stage. There are some strong performances in supporting and ensemble roles. Most notable is Matthew A. Mastromatteo in his turn as the Diction Coach. The ensemble is also vocally strong, and there are very nice harmonies showcased in “You Stepped Out of a Dream.”

Unfortunately, this production falters in the hands of its leading actors, and there is little that anything else can do to get past that fact. An otherwise strong triple-threat, Jordan B. Stocksdale seems uncomfortable in the skin of Don Lockwood. While he comes to life in the dance sequences and performance numbers, the rest of Don — what should be the real Don — seems confused and forced. Even his beautiful tenor voice is mismatched and rarely well showcased in this particular score. Don Lockwood is just not the right role, and Stocksdale’s stilted performance seems to indicate that he is well aware of the disconnect.

Playing opposite Stocksdale is the equally miscast Jamie Lea Kiska. While Kiska has previously shown her adroit skill in playing comedy, Kathy feels a forced joke without a punchline. As Kathy, Kiska comes across as too over-the-top and too forced. She never achieves the simple whimsy of the ingénue. Additionally, Kiska doesn’t fare well vocally in this show. It is hard to believe that the other characters are awed by her voice, as she falters on the pitch and lacks power. Making it worse is that, as Stocksdale and Kiska flounder in their roles, they are not able to develop any believable chemistry.

Jospeh Waeyaert almost hits the mark as Cosmo. He has a likeability, a decent voice, and some great physical comedy moments. Unfortunately, he doesn’t quite get big enough or distinct enough in the creation of his character.

The one principal who does shine, and, in this production, seriously outshines all the rest is Melissa Ann Martin. Her Lina Lamont is spot-on. She is absolutely hilarious and nails each comedic line and look. She is also unable to disguise her strong, beautiful vocals, even as she tries to downplay them in the hilarious treasure of a moment that is “What’s Wrong With Me?” Her performance alone almost makes all of the other missteps worth it.

Not all great performers are great in all roles. Way Off Broadway has proven time and time again to have incredibly talented performers and put on high-quality productions. This time, simple miscasting has caused them to miss the mark. Hopefully, they will be able to write this off as a lesson learned.

The Cast

• Dora Bailey: Tina M. Bruley/Megan West
• R. F. Simpson: Samn Huffer
• Roscoe Dexter: Zane L. Oberholzer, Jr.
• Cosmo Brown: Joseph Waeyaert
• Lina Lamont: Melissa Ann Martin
• Don Lockwood: Jordan B. Stocksdale
• Rod: Matthew Crawford
• Kathy Selden: Jaimie Lea Kiska
• Production Tenor: Charlie Cizek
• Sid Phillips: Phil Vannoorbeeck
• Miss Dinsmore: Tina M. Bruley/Megan West
• Diction Coach: Matthew A. Mastromatteo
• Zelda Zanders: Chelsea Bondarenko
• Ensemble: Chelsea Bondarenko, Tina M. Bruley, Mary Ellen Cameron, Charlie Cizek, Matthew Crawford, Rebecca Eastman, Kaitlyn Huffman, Matthew A. Mastromatteo, Phil Vannoorbeeck, Joseph Waeyaert
• Standbys and Swings: Jessica Billones, Megan West

Behind the Scenes

• Director: Bill Kiska
• Choreographer: Dee Buchanan
• Music Director: Jordan B. Stocksdale
• Stage Manager: Matthew A. Mastromatteo
• Orchestration and Arrangements: Bill Kiska and Jordan B. Stocksdale
• Lighting Design: Justin M. Kiska
• Light Board Operator: Trey T. Kiska
• Sound: Bill Kiska
• Set Design: Bill Kiska and Jordan B. Stocksdale
• Set Construction: Bill Kiska, Trey T. Kiska, Jordan Stocksdale
• Costumes: Samn Huffer and Bill Kiska
• Wigs: April Horn of Hair Worx Salon

Disclaimer: Way Off Broadway Dinner Theatre provided two complimentary media tickets to ShowBizRadio for this review.

Milburn Stone delivers another incredible success with their current production of Seussical the Musical. Better yet, this is a family-friendly show that is appropriate for audiences of all ages. With larger-than-life set, costumes, light, and characters, it is no wonder that audiences are already pouring in to not miss this production.

The show is nothing short of visually stunning. The set is intricately designed in a style that is pure Seuss. The costumes are colorful and exciting. The choreography is non-stop excitement. There are also some incredible special effects used throughout the production. Watch out for the fish in the black lights or the amazing use of white gloves. There is also an incredible dance sequence using shadows. There is so much to watch and see from beginning to end.

These visual spectacular are further enhanced by an incredible cast. Jamie Verderamo leads the way as the mischievous and lovable Cat in the Hat. Verderamo never runs out of energy as he dances, juggles, and dazzles his way through every scene. Keeping with Verdamo beat for beat is the incredibly talented Grant Bailey as JoJo. For such a young performer, he has the comedic nuance of a seasoned veteran.

At the delightful heart of the show, we find the unlikely romance between Horton the Elephant (Dane Hutchinson) and Gertrude McFuzz (Rebekah Latshaw). Hutchinson is sweet and simple as Horton. With gentle, melodic vocals and a naïve innocence, Hutchinson beautifully underplays Horton, making him shine. Latshaw is a hilarious contrast. She is awkwardly loud and expressive, and it works perfectly. Every moment squeezes out the most comedy possible.

There are several other standouts in the cast. Barbara Walker is brassy and bold as Mayzie La Bird. Steve Flickinger and Sarah Sickles are adorable as Mr. and Mrs. Mayor. Cody Palmer shines in his small scene as Yertle the Turtle. Heather Bounds, Emily Elborn, and Caitlyn Ponte (Bird Girls) hold the show together with their beautiful harmonies. Frankie Gillette, Alicia Downs, and Steven Prichard are hilarious and musically impressive as the Wickersham Brothers.

The only disappointment in the cast was Tigga Smaller as Sour Kangaroo. Despite a powerful sounding voice, she was often just under pitch and was almost always hard to understand due to lack of enunciation. She also seemed to really concentrating, nervous, or bored throughout rather than creating what could and should have been a great character role. There was also no clear voice or character for the Baby Kangaroo puppet.

That one misstep aside, this is still a production well worth seeing. If you want your chance, you should probably hurry and advance order those seats for next weekend!

Cast

• Cat in the Hat: Jamie Verderamo
• JoJo: Grant Bailey
• Horton the Elephant: Dane Hutchinson
• Gertrude McFuzz: Rebekah Latshaw
• Mayzie La Bird: Barbara Walker
• Sour Kangaroo: Tigga Smaller
• General Schmitz: Ed Elder
• Mr. Mayor: Steve Flickinger
• Mrs. Mayor: Sarah Sickles
• Yertle the Turtle: Cody Palmer
• Vlad Vladikoff: Gannon Webb
• The Grinch: Codey Odachowski
• Cindy Lou Who: Gracie Milanoski
• Bird Girls: Heather Bounds, Emily Elborn, Caitlyn Ponte
• Wickersham Brothers: Frankie Gillette, Alicia Downs, Steven Prichard
• Whos: Tessa Beblo, Bridgette Boyle, Lindsey Cohen, Audrey Conrad, Delany Flickinger, Charlie Johnson, Kevin Johnson, Johanna Jones, Trevor Korn, Sydney Serio, Jessica Simonson, Ned Way, Annalia Webb
• Jungle Creatures: Josie Brown, Allison Graham, Meredith Groff, Marissa Julian, Katrina Obarski
• Sea Creatures: Tessa Beblo, Heather Bounds, Bridgette Boyle, Josie Brown, Alicia Downs, Allison Graham, Frankie Gillette, Meredith Groff, Trevor Korn, Charlie Johnson, Johanna Jones, Marissa Julian, Katrina Obarski, Cody Palmer, Steven Prichard, Codey Odachowski, Jessica Simonson, Gannon Webb
• Cadets: Tessa Beblo, Lindsey Cohen, Trevor Korn, Jessica Simonson, Sydney Serio, Ned Way
• Circus Members: Tessa Beblo, Heather Bounds, Josie Brown, Allison Graham, Meredith Groff, Trevor Korn, Marissa Julian, Katrina Obarski, Cody Palmer, Codey Odachowski, Jessica Simonson, Gannon Webb
• Hunches: Heather Bounds, Josie Brown, Alicia Downs, Frankie Gillette, Allison Graham, Cody Palmer, Meredith Groff, Marissa Julian, Katrina Obarski, Steven Prichard
• Hunters: Codey Odachowski, Tessa Beblo, Trevor Korn, Jessica Simonson

Production

• Direction: Tess Pohlhaus
• Musical Direction: Niki Tart
• Choreography: Bambi Johnson
• Properties Design: Eyvo Johnson
• Sound Design: Terry Edwards
• Lighting Design: William A. Price III
• Scenic Design: Bob Denton
• Costume Design: Cynthia Wham
• Stage Manager: Bevin Hensley
• Assistant Stage Manager: Tyler Peterson
• Backstage Crew: Dann Combs
• Light Board Operator: Bevin Hensley
• Sound Engineer: Terry Edwards
• Sound Operator: Niki Tart
• Fly Rail Operator: Matthew Wolffe
• Spot Light Operators: Sondra McKeever, Kelly Wolffe
• Scenic Painter: Jessica Brockmeyer

Disclaimer: Milburn Stone Theatre provided two complimentary media tickets to ShowBizRadio for this review.

Emancipatory Politics: A Romantic Tragedy is a postmodern, wandering look at group of young people examining their lives and their purpose in the 21st Century. A mixture of scenes, monologues, songs, dance, puppets, it flows like an abstract poem. It is not always clear what is going on or what the audience is supposed to make it of it, and that might be exactly the point.

Whatever is going on, Mobtown Players and this cast tackle it with gusto. There is an interesting, representational set that takes the audience back and forth between Baltimore and Arizona. There is also some really interesting choreography.

Best of all, the ensemble cast balances each other well and work as a well-oiled machine to each play their part. There is a great blend with little focus pulled at the wrong time. Some of the most memorable moments come from the sweet and adorable Megan (Carly Donnelly), the neurotic Hollis (Rachel Verhaaren), the down-to-Earth Jesse (Robert Vary), the crazy driven Charlie (William R. McHattie), the solid and steady Starr (Vince Constantino), the visionary Heather (Xandra Ellin), and the brash outspoken Victory (Laura Holland). The absolute standout, however, is Josh Thomas as Beowulf. He has a cool, relaxed style, and he steals the show with his hilarious and vocally brilliant “I Changed My Name.”

Emancipatory Politics: A Romantic Tragedy is definitely not for younger audience. There is a lot of adult language and adult situations.

Cast

• Charlie: William R. McHattie
• Iracel: Kristine Sloan
• Heather: Xandra Ellin
• Megan: Carly Donnelly
• Becky: Katharine Vary
• Starr: Vince Constantino
• Jesse: Robert Vary
• Hollis: Rachel Verhaaren
• Tyler: Griffin Stanbro
• Victory: Laura Holland
• Anne: Serena Miller
• Joey/Eric: Patrick Gorirossi
• Alexis: Barbara Zektick
• Beowulf: Josh Thomas
• Morgan: Megan Farber

Production Staff and Crew

• Director: Brian S. Kraszewski
• Stage Manager/Board Op: Jesse Doggett
• Choreographer/Costume Design: Deb Carson
• Scenic Artist: Kristie Winther
• Lighting Design: Bill Quick
• Fight Choreography: Sarah Flash Gorman
• Fight Captain: William R. McHattie
• Property Master: Kim Stanbro
• Set Construction: Vince Constantino, Carly Donnelly, Christina Holmes, Kristine Sloan, Darcy Smith
• Dialect Consultant: Kerry S. Brady
• Lobby Artist: Janna Morton
• Poster Design: Greg Jericho
• Production Photography: Elizabeth Hanson
• Composed and Performs “Pizza for Puppets Uno” (track 3): Serena Miller
• Composed and Performs “Pizza for Puppets Duo” (track 7), “I Changed My Name,” (track 15), “And You Beside Me” (track 18): Josh Thomas
• Composed and Performs “Arizona” (track 8), “Underscore” (track 21): William R. McHattie
• Composed and Recorded “One by One” (track 11): Erica Patoka
• Vocals “One by One” (track 11): Carly Donnelly, Xandra Ellin, Megan Farber, Serena Miller, Katharine Vary, Rachel Verhaaren, Barbara Zektick
• Composed and Recorded “One Day” (track 19): Snuttock
• Producer: Brent Englar

Disclaimer: Mobtown Players provided two complimentary media tickets to ShowBizRadio for this review.

HCC Actor’s Guild has once again delivered a performance that seems well above the expectations for student theatre. In Dog Sees God, there is an ensemble of well-crafted performances delivered on a creative and clean set through interesting and appropriate blocking choices. If you have not yet paid a visit to their intimate black box, now is the time.

Dog Sees God takes the characters from “Peanuts” and reimagines them as teenagers, teenagers who deal with bullying, homosexuality, drugs, alcohol, sex, death, suicide, and a host of other real-world problems. It is a dark and tormented world that they navigate, and these young performers convey that pain and confusion with touching realism.

The male members of this cast are especially talented and really make a huge impression. As CB, Tim Torre comes out blazing and gives a very raw and intense performance. As Beethoven, Devin Michael gives a complex and nuanced performance that is intensely believable and extremely controlled. Also demonstrating amazing restraint is Connor Shea as Matt. Even though Shea’s character has a huge personality and wild fits of rage, Shea shows incredibly mature restraint in never pushing too far. Josh Marshall as Van is far less restrained and it works with his loud, goofy, comic-relief character.

While the females are a little overshadowed by their male counterparts, they are able to hold their own. Tricia Ragan has some especially strong moments as CB’s sister, and Lizzie Detar creates a very consistent character for Marcie. Andie Cappelletti’s Tricia is a little forced, but it works with her character who is a mask-wearing mean girl. As Van’s Sister, Laura Andon-Campos struggles to find the right balance between intensity and realism. As a result, she flounders in creating a clear character, but demonstrates potential for the future.

Overall, this is a definite showcase of strong acting performances in a very intense script. It is important to note that this script is filled with adult language and adult situations, so audience discretion on the topics of the script is advised. However, for fans of this kind of intense theatre, this is an excellent production.

Cast

• CB: Tim Torre
• Beethoven: Devin Michael
• Van: Josh Marshall
• Matt: Connor Shea
• Marcie: Lizzie Detar
• Tricia: Andie Cappelletti
• CB’s Sister: Tricia Ragan
• Van’s Sister: Laura Andon-Campos

Production Staff

• Director: Miranda Litchford
• Producer: Ben Fisler
• Stage Manager: Sarah Tweed
• Technical Director/Scenic and Props Designer: Robbie Elliot
• Lighting Designer: Ryan Johnson
• Costume Designer: Linda Bratcher
• Booth Operator: Leanna Wheatley

Disclaimer: HCC Actor’s Guild provided a complimentary media ticket to ShowBizRadio for this review.

Teenage youth: soulful, loving, open-hearted, emotionally confused, intellectually curious, sexually blossoming, honest, full of hope and energy, victimized. Adults: tyrannical, abusive, clueless, hypocritical, closed-minded, punitive, hard-hearted, caring more about their image in the community than their children’s lives. Such is the Manichaean world of Spring Awakening, a multiple Tony Award winner in its initial 2006 Broadway run, adapted by Steven Sater and Duncan Sheik from an 1891 play by Frank Wedekind (also famous for the Lulu plays, on which Alban Berg’s great opera was based). The musical is currently playing at the Kensington Arts Theatre (KAT).

The show’s lead character, Melchior (Ryan Alan Jones), is an intellectually precocious fellow who sees clearly through the hypocrisy of the adults he knows, religion, and his society in general. The script makes him conversant with Goethe, and, as Jacob Kresloff’s excellent dramaturg’s note points out, he is likely familiar with Nietzsche (I’d bet on his having read some of Marx as well). But of course what preoccupies him, and all his male friends, is sex. Having researched the subject thoroughly in the library, Melchior has book knowledge of male and female anatomy and how they interact, which he helpfully writes up in a paper for his sexually uninformed friend, Moritz (Harrison Smith). Not surprisingly, Melchior wants to put his hard-won knowledge to use, focusing his attention on the extremely innocent Wendla (Emily Dey), who does not know where babies come from. (Wendla’s opening song, “Momma Who Bore Me,” concerns her unsuccessful attempt to elicit this information from her mother.)

Jones captures the self-absorbed but also honest, passionate, and idealistic nature of his character. He often sits on the stage, writing in his journal as he works out his thoughts and desires. Alone of his classmates, he defends the insecure Moritz from the bullying of his teachers. Desiring Wendla, and aggressively going after what he wants, he also is able to behave lovingly toward her. Save for an occasional quaver in his head voice, Jones sings his role creditably, notably in his ballad with Wendla, “The Word of Your Body,” the uptempo “Totally Fucked,” and the elegiac “Left Behind,” the last staged in a way reminiscent of the informal memorials left by students after a classmate has been shot or killed by a drunk driver. By show’s end, Melchior has determined to move forward with his life, carrying with him the memories of his friends, but he remains a rebel without an effect.

Smith’s Moritz, bullied by his teachers and his father, less attractive than the other boys, is a marginal student troubled by sexual dreams he does not understand. Moritz is consistently overwrought, a quality portrayed by Smith in his acting and singing (for example, in “The Bitch of Living” and “And Then There Were None”) without chewing scenery. Self-dramatization is a notable part of his character, which he carries to a tragic extreme, pushing away the attempts of Ilse (Joanna Frezzo) to help him. His depressed certainty in his conversation with Ilse was sadly chilling. This scene was marred by an imbalance in amplification that left Ilse’s lyrics in the duet “Don’t Do Sad/Blue Wind” largely inaudible.

Frezzo and Catherine Callahan (Martha) have the most powerful song in the show, “The Dark I Know Well,” expressing as well as anything I have heard the feelings of girls subject to sexual abuse, in both cases by the characters’ fathers. The emotional deadening of the girls as they “lie there and breathe” is vividly portrayed in the writing of the song and the actors’ performance.

Wendla is the purest victim in the show, abused by her controlling mother’s overriding sense of shame about sex, as well as by her own sexual ignorance and Melchior’s carelessness about the consequences of his actions. Wendla’s musical material is mostly of the wistful ballad variety (“The Word of Your Body,” “Whispering”), and the clear-voiced Dey sings it in a way credible for this unformed girl who is more the subject of actions by others than someone able to even begin taking charge of her own life.

In happy contrast, Hanschen (David Tuttle) and Ernst (Riley Lopez) are able to acknowledge their attraction and act to become a couple. Their reprise of “The Word of Your Body” is the single sweetest moment in the show. One of the less heralded aspects of adolescence is the tenderness that boys (and not only those who are gay) can sometimes show to one another, and Lopez and Tuttle portray this beautifully.

One actor (Chris Gillespie) plays all the adult male roles and another (Marni Ratner Whelan) plays all the adult female roles. Gillespie specializes in the young people’s overbearing fathers and teachers, with briefer scenes as a self-righteous preacher and a back-alley abortionist. Whelan’s portfolio includes the sexually repressed and ineffectually understanding mothers, respectively, of Wendla and Melchiorp; another repressive teacher; and a randy piano instructor. As teachers gleefully planning Moritz’s academic demise, they resemble nothing so much as Sweeney Todd and Mrs. Lovett enthusing over the protein source for their next meat pie. Both differentiate their multiple roles effectively, but the overall point of having one actor play all the adult male or female roles is inescapable: adults are essentially all the same, pernicious cogs in what Melchior calls the “parentocracy.” As the 1960s slogan had it, “never trust anyone over 30.” (Wedekind was 27 when he wrote the original play.)

There is a striking dissonance between the late 19th century German setting of the play and characters — lucidly explained in Kresloff’s essay — and Sheik’s contemporary pop/rock score. While a subset of late romantic era adolescents might well have experienced the sturm und drang suffered by the story’s characters, it is extraordinarily unlikely that would have expressed themselves in — or even understood — anything like either the musical idiom or lyrics given to them by Slater and Sheik. Their sensibility would probably have been far closer to Tchaikovsky than “Totally Fucked.” The show’s underlying assumption seems to be that there is a universal experience of adolescence that finds its natural expression in today’s musical styles.

The dubious nature of this assumption does not, however, impair the quality of many of the numbers, which the actors and music director Valerie A. Higgs’ band perform with energy and sensitivity. The staging of many of the numbers — which mostly are not plot or character songs of the sort found in many musicals — is intentionally straight out to the audience, culminating in a straight line across the stage in the second act finale. Director/choreographer Emily Zickler does a particularly good job of constructing the lively movement in ensemble numbers like “Totally Fucked,” “The Bitch of Living,” and “My Junk.”

The highlight of KAT’s physical production is Ben Levine’s lighting, which is very detailed and specific, though sparing in its use of color. There is a particularly nice effect in the second act graveyard scene during which there is strong illumination of the gravesites on stage right and stage left while the central playing area, where Melchior, Moritz, and Wendla meet, is left in relative darkness. Eleanor Dicks’ costumes were period-appropriate, mostly in subdued colors.

The main features of Anna Britton’s set design are two L-shaped, translucent flat units, which actors move about the stage to suggest various scenes. The flexibility of this concept minimizes set change delays. Upstage, on fabric-covered platforms, stand a number of wintry, bare-limbed trees. This being a show with “spring” in the title, it was curious that the trees never leafed out, even during the second act finale, “The Song of Purple Summer.” Was this a matter of insufficient technical resources, or was it an artistic choice symbolizing that, in the Teutonic gloom of the story, springtime never arrives for Melchior’s generation?

Director’s Notes

In the spring of 2007, I picked up a weekend bag, hopped on a bus, and went up to New York to see Spring Awakening on Broadway. This was an exciting time for me: I was enjoying newfound independence, feeling less like a child and more like an adult, and yet I was still very aware that I was in some grey area between the two. The curtain rose on this new rock-musical and suddenly I felt something that I had never felt before in a theatre: understood.

What makes this script so very special is how it honestly portrays the life of an adolescent in turmoil. Franz Wedekind’s play, Spring’s Awakening: Tragedy of Childhood, from which this musical is derived, is a sort of parable. It brought the subjects of adolescent depression, sexual maturity, and abuse into focus with such clarity, that the text was banned in Germany for a period of time. Our modern societal norms and pressures are quite different from that of late 19th century Germany, and yet somehow the stigma surrounding these issues still exists today.

I propose that those questions of morality that Wedekind asked of his original audience in 1890 are still relevant in a modern context. Moreover, I believe that these questions are given new life by Sater’s script and Sheik’s music. The societal pressures put on adolescents in this modern world are as real as ever, but unfortunately, are rarely faced directly.

My hope is that seeing these quandaries confronted head-on on the stage may help to shed light on the seriousness of these issues and maybe, in some cases, provide a cathartic release similar to what I felt in New York back in 2007.

This project has been a labor of love: So, with an open heart, I invite you to join us, the Spring Awakening cast and crew, on our journey towards awareness and understanding.

Photo Gallery

Ryan Alan Jones, Harrison Smith	Joanna Frezzo, Harrison Smith, Emily Dey, David Tuttle, Ashley Zielinski, Mike Van Maele, Catherine Callahan, Bobby Libby, Elizabeth Gillespie, Riley Lopez, Ryan Alan Jones
Ryan Alan Jones and Emily Dey	Ryan Alan Jones, Marni Ratner Whelan, Chris Gillespie

Photos by Ernie Achenbach

Cast

• Wendla: Emily Dey
• The Adult Women: Marni Ratner Whelan
• Martha: Catherine Callahan
• Ilse: Joanna Frezzo
• Anna: Ashley Zielinski
• Thea: Elizabeth Gillespie
• The Adult Men: Chris Gillespie
• Otto: Bobby Libby
• Hanschen: David Tuttle
• Ernst: Riley Lopez
• Georg: Michael Van Maele
• Moritz: Harrison Smith
• Melchior: Ryan Alan Jones

Orchestra

• Conductor/Keyboards: Valerie A. Higgs
• Violin: Sarah Morrison
• Viola: Meagan Frame
• Cello: Joe Ichniowski
• Bass: Tony Aragon
• Guitar: Rick Peralta
• Percussion: Kevin Uleck

Production Staff

• Producer: Kevin Garrett
• Director: Emily Zickler
• Music Director: Valerie A. Higgs
• Assistant Director/Stage Manager: Katherine Offutt
• Assistant Stage Manager: Jess Walker
• Choreographer/Fight Choreographer: Emily Zickler
• Dance Captain: Elizabeth Gillespie
• Scenic Design/Set Painting Design: Anna Britton
• Master Carpenter: Joel Richon
• Assistant Master Carpenter: Mike Ricci
• Properties: Lois Britton
• Lighting Design: Ben Levine
• Light Crew: Katherine Offutt, Kevin Garrett, Dylan Stieber, Maria O’Connor
• Sound Design: Kevin Garrett
• Sound Crew: Jamie Coupar
• Costume Design: Eleanor Dicks
• Hair/Makeup Design: Eleanor Dicks
• Dramaturg: Jacob Kresloff
• Board Operators: Katherine Offutt, Kevin Garrett, Dylan Stieber
• Construction/Painting Crew: Joel Richon, Mike Ricci, Matt Karner, Ed Eggleston, Anna Britton, Lois Britton, Brian Campbell, Kevin Garrett
• Stage Crew: Jess Walker, DJ McGowan
• Program Cover/Logo Design: Ernie Achenbach
• Program Design/House Manager: Doe B. Kim

Disclaimer: Kensington Arts Theatre provided two complimentary media tickets to ShowBizRadio for this review.

Once a theatre has established a strong reputation, it can be difficult to live up to that expectation with every production. However, once in a while, a practically perfect production comes along that not only meets that expectation, it raises the bar yet again for all future productions. Milburn Stone Theatre has created just that kind of powerhouse in their current production of Young Frankenstein. Every single principal performer is strong, professionally polished, and holds his/her own. The direction is seamless, the choreography is stellar, and the sets and lighting are beautifully designed. If you do not already have tickets for next weekend, I would highly suggest making that happen as soon as possible.

Upon the death of Victor von Frankenstein, his grandson Frederick (Adam J. Wahlberg) is summoned to his home in Transylvania as his sole heir. Frederick knows that the expectation is to a build a monster in the grand family tradition, but he tries to struggle against it. Since it is Mel Brook’s comedy, many hilarious hijinks and silly satire surround Frederick as he joins the family business. This production is true to the goofiness and camp without ever over-reaching,

Much of that rests of the shoulders of Wahlberg, and that is a good place to rest a show. Wahlberg has a natural, boyish charm that keeps his character grounded and real even as he as has the audience rolling with his zany facial expressions and reactions. He has tight comedic timing and soaring tenor vocals. Things only get better once he teams up with Igor (Charles Johnson). Johnson’s timing and delivery is flawless. His Igor is hilarious, loveable, and impossible to take your eyes away from.

Also aiding Frederick is his lab assistant, Inga (Shereen Ahmed). Ahmed has a powerful and melodic belt that nails every pitch. She is able to be goofy and funny while still being sexy and somehow sincere. She is also a dynamic triple threat and shines in dance numbers. Yet another polished performance comes from Nance Webber as Frau Blucher. Her “He Vas My Boyfriend” had everyone rolling in the aisles and was a powerhouse vocal. Her performance was nuanced, skilled and delightful to watch.

As Elizabeth Benning, Kati Donovan held her own with this powerful cast. She occasionally went just a little too big, but, overall, she nailed the comedy just right. Her awesome vocals and expressive facial expressions really sold her several musical numbers. As The Monster, Ryan Wagner showcased his tap-dancing prowess and a strong ability to evince emotion and life with very few words. Standing out in a smaller role and really making the most of his moment was John Mulvey as the Hermit. It was an incredibly delightful display of comedic ability and made for one of the most entertaining scenes of the play.

Even with these fantastic acting performances, at the end of the day, the show was truly stolen by the choreography. It was creative, impressive, and executed with precision by a strong dancing cast. “Puttin’ on the Ritz” was the highlight of the show with an incredible tap sequence that was strengthened by the accompanying light and special effects design.

There were a few minor bugs to work out with the sound balance. Especially in the beginning of the show, the vocals were occasionally lost under the music. Occasionally, a costume was slightly out of period or unflattering to the performer. A few ensemble members were not quite up to the caliber of the majority of the ensemble.

However, these few nit-picky details aside, it was a delight to watch. This many professional-level performances together is not something that you get to see every day. Combining that with such amazing dance and lighting resulted in a spectacularly enjoyable production. It is, however, important to note that the show is practically one big sexual innuendo. While Director Rory Donovan was obviously careful not to allow that to be too gratuitous or go past what was necessary for the script, there is still a lot of sexually-driven humor and this would not be appropriate for children and may not be appropriate for teenagers.

Cast

• Dr. Frederick Frankenstein: Adam J. Wahlberg
• The Monster: Ryan Wagner
• Igor: Charles Johnson
• Inga: Shereen Ahmed
• Elizabeth Benning: Kati Donovan
• Frau Blucher: Nance Webber
• Inspector Kemp/Hermit: John Mulvey
• Victor von Frankenstein: Gannon Webb
• Ziggy: Christopher Woerner
• Herald: Frank Gilette
• Ensemble: Theresa Bounds, Suzette Burgess, Daniel Combs, Joanna DiPaola, Phil Hansel, Vincent Kalwa, Amy Luchey, Zachery Mease, Michael Maistros, Cindy Mulvey, Adam Nelson, Katie Obarski, Eileen Law Stewart, Megan Valle, Jamie Verderamo, Erik Williams

Production Team

• Direction: Rory Donovan
• Musical Direction: Shane Jensen
• Choreography: Jackie Kappus
• Stage Management: Katie Donovan
• Properties Design: Eyvo Johnson
• Sound Design: Terry Edwards
• Lighting Design: William A. Price III
• Scenic Design: Bob Denton
• Costume Design: Joyce Williams & Brenda Kinzinger
• Scenic Crew: Shereen Ahmed, Mike Berquist, Brandie Biddy, Tyler Bristow, Bob Denton, Rory Donovan, Frank Gillette, Brandon Gorin, Phil Hansel, Charles Johnson, Jackie Kappus, Serenity Rowland, Dan Tucker, Rebecca Volk, Raymond Von Wahide, Adam Wahlberg, Chris Woerner, Ryan Wagner, Erik Williams, Stanton Zacker
• Assistant Stage Manager: Raymond Von Wahide
• Backstage Crew: Diane Berquist, Bob Denton, Codey Odachowski
• Light Board Operator: Tyler Bristow
• Sound Engineer: Terry Edwards
• Sound Operator: Rory Donovan
• Fly Chief: Brandon Gorin
• Spot Operators: Christy Wyatt, Missy Wyatt

Disclaimer: Milburn Stone Theatre provided two complimentary media tickets to ShowBizRadio for this review.

For a very long time, Pumpkin Theatre has been producing shows for children. Seussical the Musical Jr. makes their first foray into “for children, by children.” A cast of twenty-eight young people obviously put in a lot of hard work to make the first performance a decent maiden voyage into child performers.

Seussical tells the story of Horton the Elephant (Connor Moore), who hears Whos and hatches eggs. Moore has a nice voice and a likeable sweetness to his portrayal. The tale is narrated by The Cat in the Hat (Allison Mudd) with assistance from Jo Jo (Steven Gross), a young Who who thinks many strange thinks. It is high-action with song after song. The choreography is a real hero in this production. It was kept simple but interesting in a way that all the young performers were able to dance in perfect sync.

Throughout the show, there were several standout performances. Sheridan Merrick was dynamic with a solidly developing belt as Mayzie. Ruby Kinstle was sweet with adorable comedic timing as Gertrude. Jake Miller was especially excellent as he charmed and sang beautifully in the role of the Mayor.

The downfall in using child performers, because they are simply not adult professionals, is that this was the most antsy audience I had ever seen at Pumpkin. Usually, their shows keep the 3 & 4 year-olds engaged, but, with child actors instead of adults, 5 or older would probably be recommended for the audience. So, if you have taken really little ones to Pumpkin in the past, you might want to reconsider. However, five and older are certain to enjoy watching other children their age have fun in this high-energy show.

Cast

• Bird Girls: Emily Wheeler, Madelyn Schloss, Sophie Brodinsky
• Mayzie La Bird: Sheridan Merrick
• Gertrude McFuzz: Ruby Kinstle
• Wickersham Brothers: David Polsky, Carly Dagilis, Alex Cashman, Myles Muse, & Maddie Reecer
• The Cat in the Hat: Allison Mudd
• Yertle the Turtle: Emma Moore
• Horton the Elephant: Connor Moore
• Sour Kangaroo: Eva Hellerback
• Young Kangaroo: Sadie Lange
• Vlad Vladikoff: Anthony Hobbs
• Mayor’s Wife: Maya Walsh-Little
• Whos: Sam Willen, Ruby Webb, Claire Mitchell, Nick Dimitriades, Luke Miller, Victoria Miller, Holly Miller, & Jacob Rose
• Mayor: Jake Miller
• Jo Jo: Steven Gross

Design Team & Crew

• Director: Jimi Kinstle
• Assistant Director: Erin Confair
• Musical Director: Mandee Ferrier Roberts
• Stage Manager: Allyson Haley
• Properties Designer: Ally Cribbs
• Costume Designer: Karen Saar
• Lighting Designer: Adrienne Gieszl
• Sound Designer: Nick Hood
• Set Designer: Heather M. Mork
• Technical Director: Seth Glasser

Disclaimer: Pumpkin Theatre provided two complimentary media tickets to ShowBizRadio for this review.

The Sound of Music is a timeless classic that has once again found renewed interest following the recent movie adaptation. Unlike that recent movie adaptation, Way Off Broadway’s current production does not disappoint or fall short of expectations for the show. While the production also does not bring anything especially exciting or new to the off-produced production, it does solidly deliver a predictable and enjoyable evening for fans of the classic musical.

At the center of this production is the charming Melissa Ann Martin as Maria. She has endless energy, and it is easy to see why the von Trapp children flock around her. She stands at contrast to the stern Captain von Trapp (Steve Steele). Steele has a beautiful voice, and the audience watches his character soften throughout the show.

Absolutely delightful are the von Trapp children. They have all have great stage presence and sweet voices. Especially wonderful is Josephine Patane as Liesl. Patane has an incredibly strong voice and charisma. Her performance stands out with her delightful and realistic reactions throughout the show. “Sixteen Going on Seventeen” is an especially fun number, when she pairs with the talented Charlie Cizek (Rolf).

Another standout portion of the production are the intricate multi-part harmonies of the nuns of Nonnberg Abbey. Song after song, the sisters deliver with beautifully trained vocals. Tori Weaver also stands out in her small acting scenes as Sister Berthe. As the Mother Abbess, Maria-Giulia Bruni is stunning. She has a majestic, motherly presence and a voice like an angel.

Ideally cast in their roles are Jordan B. Stocksdale as Max and Mary Ellen Cameron as Elsa Schraeder. Stocksdale walks the fine line between the self-interested persona that is Max and the real friend underneath. Cameron is class and composure, and she creates an Elsa who is all wrong for the Captain but is not unlikeable.

One of the strongest elements of the production is using the curtain and blocking in such a way that scene changes always happen while action is ongoing, so there are never any pauses in the flow of the show. This way the audience can stay invested and in the moment throughout the enjoyable production. Fans of The Sound of Music will not be disappointed and should definitely go and enjoy this production during the rest of its run.

Photo Gallery

Melissa Ann Martin as Maria and Steve Steele as Captain von Trapp	Melissa Ann Martin as Maria

Photos provided by Way Off Broadway Dinner Theatre

Cast

• Sister Margaretta: Johnna Leary
• Sister Berthe: Tori Weaver
• Mother Abbess: Maria-Giulia Bruni
• Sister Sophia: Tiara N. Whaley
• Postulant: Chelsea Bondarenko
• Maria Rainer: Melissa Ann Martin
• Captain Georg von Trapp: Steve Steele
• Franz: Matthew Crawford
• Frau Schidt: Hannah Pecoraro
• Liesl: Josephine Patane
• Friedrich: Cavin Davis/Luke Szukalski
• Louisa: Macy Armagost/Megan Jacobs
• Kurt: Abel Hart/Daniel Puckett
• Brigitta: Annie Krop/Sarah Szukalski
• Marta: Katharine Ford/Audrey Kilgore
• Gretl: Charlotte Kilgore/Serena Parrish
• Rolf: Charlie Cizek
• Elsa Schraeder: Mary Ellen Cameron
• Max Detweiler: Jordan B. Stocksdale
• Herr Zeller: Matthew Mastermatteo
• Admiral von Schrieber: Joseph Waeyaert
• Ensemble: Johnna Leary, Tori Weaver, Tiara N. Whaley, Chelsea Bondarenko, Matthew Mastermatteo, Joseph Waeyaert

Behind the Scenes

• Director: Samn Huffer
• Music Director: Jordan B. Stocksdale
• Stage Manager: Joseph Waeyaert
• Orchestrations and Arrangements: Bill Kiska and Jordan B. Stocksdale
• Lighting Design: Justin M. Kiska
• Light Board Operator: Trey T. Kiska
• Sound: Bill Kiska
• Set Design: Samn Huffer
• Set Construction: Samn Huffer, Bill Kiska, Trey T. Kiska, Jordan Stocksdale, Joseph Waeyaert
• Costumes: Samn Huffer and Bill Kiska
• Props: Justin M. Kiska and Joseph Waeyaert
• Wigs: April Horn of Hair Worx Salon

Disclaimer: Way Off Broadway Dinner Theatre provided two complimentary media tickets to ShowBizRadio for this review.