Whether you’ve done Fringe before, or you’ve never seen a Fringe show, you’ll find some rock solid performances and some shows that try really hard to please but somehow fall short of their goals.

You can use the Fringe Guide (online at capitalfringe.org ) to choose your own adventure, kick back and relax, or delve deep into the human psyche. Over the course of the 18-day festival, there will be dance, drama, performance art – original works, new twists on staid classics, forgotten or rarely performed works, Shakespeare, burlesque, humor, music, storytelling and more.

During the Friday night’s preview, only 21 of the 130 events received an opportunity to give four-minute highlights of their shows. At center stage, founding artistic director Julianne Brienza beat a metaphoric and also very real drum, offering strips of paper gold to each group or performer, and spreading gold glitter over the course of the evening.

Brienza’s message to Fringe fans and patrons is here, a testament to the open-arms policy of Capital Fringe Festivals past, present and future:

Our city, Washington, DC is full of committees, institutions, special event promoters and politically appointed individuals who curate and filter the performing arts. They determine ‘artistic value’ for Audiences, and often communicate to many Artists that their story/work does not have a place. We are leaving these decisions up to the people. We believe in you, the Audience and in you, the Artist. We believe in the power of artistic natural selection and we invite you to create, explore, fall short, and succeed with us. To risk. We approach our work and our mission as an organic process: things ebb and flow and we respond to energy taking its natural course. We advise you to approach the Festival in very much the same way – be adventurous! Follow your instincts and go see something you never thought you’d like – instead of being frozen in indecision for two hours. If indecision is your thing however, then come nurse a cold beverage at the Baldacchino Gypsy Tent Bar. There are many Artist and Audience folk at the Baldacchino that can give you an earful on what shows to not miss.

In my opinion, of the 21 preview performances, these 14 shows are the highlights. They represent both new and returning artists, artists with lots of Fringe experience or none at all. That’s not to say these performers are inexperienced. On the contrary, these are some of the best performers this area has to offer and it’s a treat and privilege to watch them work.

Look for these shows to sell out faster than the others, based on production values and casting, not to mention the buzz. With 130 separate events, there’s plenty to choose from during the festival, so if these don’t do it for you or they’re sold out by the time you’re ready to go, you’ll have plenty of other options.

Everything you need to know, from performance dates to ticket passes is available on the Fringe website, which includes shows sorted by genre, performance space, day or a combination of all three.

Multi-ticket passes are a great idea, but Fringe buttons are mandatory! You can’t get in the venue without one. At $7 each, they’re expensive, so don’t lose yours once you have it. The income from button sales money is divided between all the artists and discounts are offered for button holders throughout the year, at Ft. Fringe, for Clown Cabaret (a regular event at the Fort) and at retailers and food establishments in and around DC.

To truly enjoy the Fringe experience, you need to know the following:

1. Have an umbrella handy if the weather’s looking chancy. Also weather-resistant shoes. Parking is tricky, especially during the week. Read the street signs very carefully, or take advantage of Metro when possible.
2. Be EARLY. There is NO late admission to Fringe shows. No mercy, no exchanges. Just don’t be late. You’ve been warned.
3. All tickets start at $17 (Multi-passes save you money on per-ticket costs, and come with a button). Tickets go to at-door sales within two hours of performance time, but you can use your pass to purchase tickets in advance. I recommend advance purchasing, especially for shows that are likely to sell out.
4. If you’re like me and you want to maximize your Fringe time on a couple of days, you can pick a venue or an area and check out what’s playing that day.
5. Pick up a print copy of the Capital Fringe Festival Guide. This 70+ page book is your bible. It contains the shows by genre, with cross-referencing by venue, date and time, and title.

NOTE: If the title starts with “A” you will find it in the As. If the title starts with “The” you will find it in the Ts. All words in the title are important.

My Picks of the Previews (in Alphabetical Order)

A Guide to Dancing Naked

Turn the world into your dance floor! Join Brynn Tucker for an irreverent pop-movement confessional, set to this summer’s spunkiest mixtape. On the road to self-acceptance, all you need is a mirror, music, and your naked self! Audiences are encouraged to stick around for a post-show dance party.

My Take: Brynn is having a blast and she’s gonna take you with her one way or the other. She’s a talented performer and the show looks like a terrific way to spend an hour.

A Guide to Dancing Naked Details

Bayou Blues

Taunted because of the color of her skin and faced with a family that hits her heart like a hurricane, this young girl must reach inside herself to overcome life’s storms. An experience inspiring us to never stop dreaming! The poetic journey of a young girl faced with discrimination because of her dark skin must learn to conquer the many storms that enter her life. Will she sink or swim? A story of inspiration for us all.

My Take: Focused, riveting Beat poetry with a Cajun flair and an ability to bring the audience with her, Shaina will keep you connected to the energy within.

Bayou Blues Details

Body Armor Presented by Unstrung Harpist Productions

Three soldiers, wounded and trapped in the belly of a downed plane in Afghanistan, are cut off from any hope of rescue, their only tie to the outside world a mysterious woman on the radio. As they examine the decisions that led them to face death on foreign soil, the line between insurgent and peacekeeper blurs. Body Armor explores the themes of misguided patriotism, military overreach and corruption, and the fallen ideals of a country that has decided it is the world’s army.

My Take: Dark psychodrama that brings military service under sharp scrutiny. Tough to watch but looks ultimately rewarding.

Body Armor Details

Dark House Presented by Tarpley Long

Absalom, Absalom! lives. Faulkner’s ruthless Colonel Sutpen is re-imagined as a DC land developer in the 1960s. Classism, racism, sexism, miscegenation, incest, murder, suicide and the twists and turns of love imperil a family living in a Logan Circle mansion. Tarpley Long, a psychoanalyst and actor, received permission from the Literary Estate of William Faulkner to use Faulkner’s language from Absalom, Absalom! in her adaptation of the novel to the stage. The dialogue is Shakespearean; the plot, a Greek tragedy. Her mission is to bring Faulkner’s timeless and compelling stories to a new generation of readers.

My Take: Dark and tragic. Looks very well done from the short taste in previews. If you love classic American literature, this is probably for you.

Dark House Details

Detective Pimbley and the Case of the Rich Dead Lady Presented by The Impressionable Players

In a world of dark and stormy nights, Detective Pimbley prefers dark and stormy cocktails, but when a rich lady is found very dead, Pimbley is caught between a ruthless adulterer, a conniving femme fatale and, most dangerously, his ex-girlfriend. Detective Pimbley and the Case of the Rich Dead Lady is a world première.

My Take: Slick send-up of Noir-style detective flicks and Washington elite all at the same time, with sharp writing and tight caricatures that will make (or break) this parody. This group has an impeccable track record. Get your tickets early for this one.

Detective Pimbley and the Case of the Rich Dead Lady Details

Double Freakquency – an interactive headphone production. Presented by AVAdventure Productions

Two channels, one room. Audio is delivered through wireless two-channel headphones. Dialogue, sound effects, music – you choose what you want to hear. And get ready to debrief with your friends: No two individual show experiences are the same.

My Take: Fascinating use of technology. One channel has one set of dialogue, the other channel has the other. You get to choose which conversation to follow, moment by moment. Wish there were enough headsets to go around during previews.

Double Freakquency Details

Fish Outta Water

Fish Outta Water is the “prequel” to DC Trash the musical, satirical one-man show that was the hit of the 2012 Capital Fringe Festival. Before Ron finds his way home to DC and his niche driving that trash truck, he lived lives in DC, New York City, LA and . . . LaCrosse, Wisconsin. Just how did a trash-talking, judgmental, opinionated, know-it-all city slicker make his way in The Heartland? Not without some singin’ and dancin’ and a whole lotta laughs.

My Take: A Rap-fueled ode to guns, with fur-lined hat, grenades and waders, hilarious? You better believe it. Riotous laughter and thunderous applause – this was one of the best-received previews in the whole show. Don’t miss it!

Fish Outta Water Details

Four Women Presented by Wild Women Theatre

When singer Nina Simone created Four Women she probably didn’t imagine it portrayed through movement, storytelling and laughter, but we did! Four Women goes beyond the lyrics, exploring black womanhood and its many dimensions. Not a performance, a journey.

My Take: Soul sisters, biting wit and fabulous singing: These four women tell the gospel like it is, about life, love and living. See it if you can.

Four Women Details

Godiva Dates & One Night Stands

Regie Cabico’s latest spoken word play, Godiva Dates & One Night Stands chronicles his encounters with poet stalkers, Canadian Thanksgiving, sextings and astrological whimsy. Trying not to have his life turn into a Barbara Streisand movie, Regie is on an eternal mission to get his groove back. Godiva Dates & One Night Stands is a tour de force of poetic virtuosity & comic gold performed by the fairy godmother of DC spoken word.

My Take: No question. If you have a ticket to this show, you’re going to laugh. I guarantee it. Regie’s comic timing and delivery will guarantee an hour well-spent.

Godiva Dates & One Night Stands Details

Mirabilia Presented by Eclectic Mayhem Productions

Two friends, separated in a storm, journey in search of each other and write letters describing their odd, magical and often comic encounters. Through props, movement and variety performance, the cast brings to life these tales of a fantastic world.

My Take: Light, fluffy storytelling midst a good deal of fare for older kids or adults.

Mirabilia Details

One Night in New York! Presented by Belle Époque Productions and the New Musical Foundation

Michael is 23, gay and looking for his first hookup. Aided by a fabulous fairy godmother, he searches New York for a hottie and finds much more. Singing, dancing and maybe even a Grindr production number! This story was inspired by classic Broadway musicals such as On The Town, as well as recent LGBT genre films like Trick. One Night in New York! may be set in present day, but will look and feel like an old-fashioned Broadway musical. The production features twelve singing and dancing men and a show stopping Grindr-themed number – fairies, bear cubs and twinks…oh my!

My Take: A fabulous trip through the wild streets of New York City and a whole bunch of talent is going to make this a must-see show.

One Night in New York! Details

The Shirt of Happiness Presented by InterAct Story Theatre

Prince Parsley has lost his spice — he’s just flat and sour all the time. Then a mysterious jester sends him on a quest: If you want to be happy, find a truly happy person, and ask for his shirt! But how will he find a truly happy person? Where do you look for happiness? Based on Armenian and Italian folktales, The Shirt of Happiness follows a young prince’s search for true happiness The play is performed by two zany actors onstage with the help of everyone in the audience, who become part of the show right from their seats! Suitable for children and adults ages 3 and up.

My Take: Looks like high-energy, quality family fun with storytelling and audience participation.

The Shirt of Happiness Details

The Snuff Musical Presented by Muse Theatre Co. and Jay Lavely

An unhinged theatre composer and his out-of-work director friend set out to turn a notorious snuff film into a Broadway musical, but then the shadowy man who made the film shows up to take over – and ruin their lives.

My Take: Over the top metatheatre with a murderous twist and some seriously decent music. I don’t know whether it will be good or not, but the singing will be worth it and they’ll have a great time performing, from the looks of things.

The Snuff Musical Details

To Know a Veil Presented by Emma Crane Jaster

From the desert of Morocco to the centerfold of Vogue. Why do women veil and reveal themselves? This intercultural show melds interviews, dance, installation, stunning imagery, and party games. Inspired by her travels and personal encounters with women in all walks of life, Jaster creates a powerful yet touchingly immersive event, exploring the question: Why do women veil and reveal themselves? To Know a Veil has evolved over several workshop performances, two of them for the Soapbox performing arts series at Hillyer Art Space in Washington, DC in early 2013. Try on a burka, take off your shoes. A-veil yourself of an intimate evening.

My Take: Multimedia dance, performance art, exploration of assumptions and expectations. Leave your preconceived notions of sex and attraction at the door.

To Know a Veil Details

Ken Ludwig’s rollicking adaptation of Ben Hecht and Charles MacArthur’s comedy, Twentieth Century, directed by Roland Branford Gomez and produced by Jim Howard and Robert Kraus, has the audience laughing, out loud and often, at Little Theatre of Alexandria. Originally inspired by Charles B. Millholland experience working with the eccentric Broadway impresario David Belasco, the plot, set in 1938, revolves around properly bombastic theatrical impresario Oscar Jaffe (David James), who’s experiencing a bad patch…just short of the skids, really. His assistants, Ida Webb (Kathy Fannon) and Owen O’Malley (James McDaniel), discover his protegé, hilariously over the top and newly minted Oscar award-winning actress Lily Garland (Margaret Bush) is on the train, also bound for New York, and they collude to get Lily to sign a contract for a sure-fire hit to make up for the last big flop, snatching her out of the clutches of hopeful competitor Max Jacobs (Bob Cohen) and her boy-toy/manager George (Timothy Rowe). Add in Gary Cramer as a wacky religion-happy mental hospital escapee with a checkbook who’s loose on board (and steals every scene he’s in with characterization from opening curtain to close) and you have the makings for classic comedy.

LTA doesn’t disappoint. The show isn’t precisely laugh-a-minute, but there’s plenty of satisfyingly hilarious moments to make the hefty 80-minute first act fly by. Just when you think the story can’t get any crazier, it does, as it should.

Huge kudos to the design team as a whole for an absolutely fabulous, cohesive look with dead-on classic Art Deco styling, including John Downing and Bill Glikbarg for scenery, Ken and Patti Crowley for exceptional lighting design, from show curtain to closing scene, Jean Schlichting and Kit Sibley for exquisite costuming, Heather Norcross and Robin Havens-Parker for impeccable hair and Emma Baskir’s classically styled make-up.

In all an excellent production and a very pleasant way to spend a summer evening. See it while you still have a chance!

Director’s Notes

When the play selection committee scheduled Twentieth Century, I applied to direct it, and I am so thankful that I was selected. This show means a lot to me–it has brought back wonderful memories.

First, when I was a child, age 6 through 11, I was an actor on WJZ (now WABC) on a show called “Coast to Coast on a Bus” with Milton Cross. (Nancy Walker and her sister, Betty Lou Barto, were in the chorus.)

At the same time, my agent got me a job on the well-known Saturday children’s program “Let’s Pretend.” I performed on this show four times, and the producers issued tickets for me to travel from New York’s Grand Central Station to Chicago on the Twentieth Century with my mother and my aunt in a lovely drawing room. (And how well I remember that fabulous train.)

Secondly, during that time I also studied tap dancing in a studio in the Carnegie Hall building. One of my dear little friends was called Mary, and we were very close. I would even be invited to parties at her home in Nyack, N.Y. Her mother always brought her, but occasionally her father would pick her up and take us to lunch. His name was Charles MacArthur, one of the playwrights of this wonderful crazy comedy. Her mother would often take us to matinees when there was a show that appealed to children our age, and to a lovely lunch at the Plaza before the matinee. Her mother was Helen Hayes. Mary, sadly, died at 11 years old. She was one of my first close friends, and I will never forget her.

Thank you to my wonderful cast and crew for helping my dreams come true with this show. And thank you, my wonderful audiences, for coming to our charming Little Theatre of Alexandria and offering us your support! I have loved this theatre since 1968.

Photo Gallery

Heather Norcross (Anita Highland), Michael Gerwin (Dr. Grover Lockwood), and Ben Norcross (Porter)	Cal Whitehurst (Conductor) and James McDaniel (Owen O’Malley)
Gary Cramer (Matthew Clark), Heather Norcross (Anita Highland), James McDaniel (Owen O’Malley), and Kathy Fannon (Ida Webb)	Cal Whitehurst (Conductor) and Kathy Fannon (Ida Webb)
David James (Oscar Jaffe) and Cal Whitehurst (Conductor)	Kathy Fannon (Ida Webb), David James (Oscar Jaffe), Margaret Bush (Lily Garland), and James McDaniel (Owen O’Malley)

Photos by Doug Olmsted

Cast

• Oscar Jaffe: David James
• Lily Garland: Margaret Bush
• Ida Webb: Kathy Fannon
• Owen O’Malley: James McDaniel
• Conductor: Cal Whitehurst
• Matthew Clark: Gary Cramer
• Dr. Grover Lockwood: Michael Gerwin
• Anita Highland: Heather Norcross
• George Smith: Timothy Rowe
• Max Jacobs/ Detective: Bob Cohen
• Beard and Reporter: Paul Tamney
• Porter: Ben Norcross

The Crew

• Producers: Jim Howard, Robert Kraus
• Director: Roland Branford Gomez
• Assistant to the Producers: Susan Barrett
• Production Assistant: Ben Norcross
• Assistant to the Director: Eddy Roger Parker
• Stage Managers: Charles Dragonette, Rebecca Patton
• Assistant Stage Managers: Casey Brusnahan, Richard Isaacs, Eddy Roger Parker, Jon Poole
• Set Design and Construction: John Downing, Bill Glikbarg
• Assisted by: William Ansel, David Doll, Jeff Gathers, Sandra Gehring, Jim Hutzler, Roger Pratt, Jack Rollins, Alyssa Settles
• Lighting Designers: Ken and Patti Crowley
• Costume Designers: Jean Schlichting, Kit Sibley
• Assisted by: Kathleen Kolacz, Martha Raymond
• Sound Design: David Correia
• Assisted by: Anna Hawkins, Keith Bell, Bill Rinehuls, Alan Wray
• Set Painting: Leslie Reed
• Assisted by: Bobbie Herbst, Joanna Henry, Mary Hutzler, Patty Lord
• Set Decoration: Susie Poole
• Assisted by: Donna Reynolds
• Master Electrician: Nancy Owens
• Assisted by: Kimberly Crago, Eileen Doherty, Pam Leonowich, Doug Olmsted
• Property Designers: Sherry Clarke, Bobbie Herbst
• Assisted by: Rachel Alberts, Leslie Reed, Donna Reynolds, Jayn Rife, Liz Tipton
• Wardrobe: Margaret Snow
• Assisted by: Alisa Beyninson, Jamie Blake, Patti Greksouk, Barbara Helsing, Nicole Zuchetto
• Hair and Wig Designers: Heather Norcross, Robin Havens-Parker
• Makeup Design: Emma Baskir
• Rigging: Russell Wyland
• Photographer: Doug Olmsted
• Audition Table: Maria Ciarrocchi
• Assisted by: Sherry Clarke, Jay Cohen, Barbara Helsing, Bobbie Herbst, Leslie Reed, Sherry Singer
• Double Tech Dinner: Larry Grey
• Opening Night Party: Susan Barrett
• Assisted by: Lloyd Bitlinger, Shirley Lord Cooper, Ronnie Hardcastle, Robert Kraus, Eddy Roger Parker, William Pope, Benny Robles, Sherry Singer

Disclaimer: Little Theatre of Alexandria provided two complimentary media tickets to ShowBizRadio for this review.

This exquisitely complex production is what theatre should be: Spectacle that also tells a story and conveys a sense of wonder. At the Shakespeare Theatre Company’s Lansburgh Theatre, Director Rebecca Talchman, with her design team and a uniformly superb cast, has achieved this goal, with moments humorous, chilling and touching, that transcend everyday life.

Entering the theatre, we are presented with a simply elegant red velvet curtain. The proscenium frames the stage with a lit marquee, a cluster of small pendant lamps above, and nine black Queen Anne style chairs upholstered in black and gray striped fabric below.

The design is perfect for one of Shakespeare’s most challenging and infrequently performed stories. Talchman has intentionally double cast the play, to experiment in part with the original Shakespearean staging, and in part to explore the varying sides of the human soul. This choice creates an effective opportunity to work with the transitions between Sicilia, represented by Christine Jones’ monochromatic Greek Revival architecture and stark white walls, and the riot of color and light that illustrate Bohemia using those same white walls.

The set becomes a blank canvas on which Leontes, King of Sicilia (Mark Harelik), floods his insanely jealous and entirely misplaced rage against his wife, Hermione (Hannah Yellan), much abused target and ultimately the literal centerpiece of the play and his boyhood friend Polixenes, King of Bohemia (Sean Arbuckle). When Paulina (Nancy Robinette) tries to break his spiral of anger, Leontes’ detestable fit become homicidal and his wife and children, Mamillius and Perdita (both played by Heather Wood), pay the price.

It would be a disservice to describe the magical translation from Sicilia to Bohemia and back again. Words fail. Christopher Akerlind’s truly effective use of both lighting and projection paints the Bohemian countryside in shades of bright orange, blue and green, and those same stark chairs, upended and distributed across the stage to show their bright green undersides become tall grass in the sheep meadows, providing a backdrop for comic relief, partnered by Ted Van Griethuysen as the Old Shepherd and Tom Story as the Young Shepherd, who meet the rogue Autolycus (Mark Harelik).

Camillo (Brent Carver), forced out of the Sicilian court, becomes Polixenes’ aide. Just as Perdita falls for Polixenes’ son, Florizel (Todd Bartels), the young lovers are thrust into Sicilia to escape Polixenes’ fury. We watch the color fade again, as Mark Harelik makes his slow, deliberate transformation back to a much-changed Leontes.

From there we return to the start of the play, back to the red curtains, black chairs and pendant lamps, which open to reveal Hermione’s statue, framed in repeated lit marquees and countless pendants. It is here that we see the ultimate, simplest stage magic and the purest theatrical form — actors in costume playing their parts — on which Shakespeare’s plays were founded. Scenery essentially gone, we clear away the distractions and we get to the heart of the play’s conclusion.

In retrospect, the monochromatic themes of Sicilia leave the viewer with the sense of having visited a bizarre nightmare. The riot of Bohemia feels far more fanciful in contrast. The double casting works phenomenally well, straddling the line between structure and nature.

Music Director Stephen Feigenbaum’s ethereal music, David Zinn’s impeccable costumes tie the story together, to make for a stunningly dramatic production.

Photo Gallery

Brent Carver as Camillo and Sean Arbuckle as Polixenes	Heather Wood as Perdita, Mark Harelik as Leontes, Hannah Yelland as Hermione and Todd Bartels as Florizel (background)
Tom Story as Young Shepherd (Clown) and the cast	Mark Harelik as Autolycus
Todd Bartels as Florizel and Heather Wood as Perdita	Tom Story as Young Shepherd (Clown) and Ted van Griethuysen as Old Shepherd
Hannah Yelland as Hermione	Mark Harelik as Leontes, Ted van Griethuysen as Antigonus and Nancy Robinette as Paulina

Photos by T. Charles Erickson

Cast

• Polixenes: Sean Arbuckle
• Dion/Florizel: Todd Bartels
• Camillo: Brent Carver
• Leontes/Autolycus: Mark Harelik
• Paulina/Bohemian Townsperson: Nancy Robinette
• Cleomenes/Young Shepherd (Clown): Tom Story
• Antigonus/Old Shepherd: Ted van Griethuysen
• Mamillius/Time/Perdita: Heather Wood
• Hermione: Hannah Yelland

Direction And Design

• Director: Rebecca Taichman
• Set Designer: Christine Jones
• Costume Designer: David Zinn
• Lighting Designer: Christopher Akerlind
• Composer : Nico Muhly
• Sound Designer: Matt Tierney
• Music Director: Stephen Feigenbaum
• Choreographer: Camille A. Brown
• Vocal Coach: Gillian Lane-Plescia
• Head of Voice and Text: Ellen O’Brien
• Casting Director: Laura Stanczyk, CSA
• Resident Casting Director: Daniel Neville-Rehbehn
• Production Dramaturgs: Carrie Hughes and Drew Lichtenberg
• Assistant Director: Jenny Lord
• Production Stage Manager : Alison Cote
• Assistant Stage Manager: Elizabeth Clewley

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

Cabaret is a musical based on John Van Druten’s 1951 play I Am a Camera, which in turn was adapted from the 1939 short novel Goodbye to Berlin by Christopher Isherwood. The book is by Joe Masteroff, music by John Kander and lyrics by Fred Ebb.

History, art and theatre are all about context. Unsurprisingly, over the course of the 47 years since Joel Grey first stepped out to a drum roll and cymbal crash, welcoming the audience to the Kit Kat Klub, a seedy nightclub in early Nazi-era Berlin, Cabaret has seen its share of changes. Several songs have made the transition from the 1972 film directed by Bob Fosse and Sam Mendes’ subsequent London stage revival. Some changes are more substantial than others. All these adjustments to the music and book are positive steps toward better understanding of the harsh reality of life in Germany between the wars, and the effect of a struggling economy on people – issues relevant in today’s world as they were in late 1966 when Cabaret first opened, with the US squarely in the middle of the Vietnam War. Rick Hayes’ production, playing through May 19th at St. Mark’s Church, is no exception. Some of his adjustments to the play are absolutely inspired in their ultimate impact. Thanks to Meghan Winch’s dramaturgical efforts (reproduced below), St. Mark’s Players provide plenty of historical background for an exceptionally difficult subject.

From David McMullin’s entrance, as the unctuous and morally ambiguous Emcee, to the very end, his presence and voice serve as powerful, ever-present reminders of the constant threat, even as he implores us to forget our troubles and enjoy what he and his Kit Kat girls have to offer.

Jarring real-world reality clashes with devil-may-care decadence and bohemia as American would-be author Cliff Bradshaw (David Wilder, in a performance reminiscent of Jimmy Stewart’s wild-eyed optimism), steps off the train in Berlin just at the turn of the year. He is enthusiastic and idealistic, clearly a fish out of water as he eventually comes to understand his environment.

Fräulein Schneider (Mary Ayala-Bush, with a voice warmly reminiscent of Lotte Lenya’s) provides us with a quick introduction to desperation and dashed hopes as a woman who survived World War I and has learned to make do. Ayala-Bush imbues her character with the virtues of a disillusioned youth and pragmatism in “So What?” while welcoming Cliff as a source of hope and income, however small.

The chemistry between Cliff and Sally Bowles works well, as they hook up in “Perfectly Marvelous” (with kudos to Ashley Zielinski for her flawless British accent); however, it is the relationship between Fräulein Schneider and Herr Schultz, an amiable and sincerely mystified elderly Jewish fruit vendor and boarding house resident (played by Stephen Yednock), especially in their several charming numbers together, that shed the most light on the plights of the older population who lived for so long in the shadow of endless wars. Schultz’s plaintive “I’m German” speaks volumes about those who met their ends with Hitler’s Final Solution.

The despicable pair, Fräulein Kost (Jill Vohr) and Ernst Ludwig (Mark Allen), ultimately draw these two couples into the horror of World War II’s nationalism and insanity.

Elijah Henry Lawrence’s rendition of “Tomorrow Belongs to Me,” a spectacularly beautiful anthem to German self-determination that devolves to a Nazi march, is just as chilling as it was when I worked on the show in college, some 30 years ago. The song contains all the fearsome power the Third Reich brought to bear on the German people. Lawrence’s pristine voice continues to raise goose bumps days after the show’s end.

By the time we reach Sally’s bittersweet swan song, “Cabaret,” into which Zielinski pours all her anger and fear, it’s clear this is a last desperate grasp at decadence before Germany finally succumbs to the power of Hitler and WWII.

If overt themes of sexuality and racism are the pivot point on which the second act revolves, especially in the way each character reacts to the trap of life in pre-Nazi Berlin, the conclusion is shockingly powerful in its simplicity, it is a natural, horrific conclusion to a story that continues to draw audiences for its music and story, almost fifty years after its première.

Rikki Howie’s ambitious choreography shines best in the lively “Money Song/Sitting Pretty,” a winning combination of the original Broadway version and the movie song that replaced it in some later productions.

Ceci Albert and Lisa Brownsword have made some interesting costume choices, in particular in the dress of the party-goers at the end of the first act, but in general the costumes work to enhance the story, and their interpretation of “Sitting Pretty” is just plain fun. Jerry M. Dale, Jr.’s lighting design marks the differences between nightclub and real world, and is most effective during the large production numbers.

Most disappointing are serious sound issues relating to poorly connected body microphones (not the first time I’ve noted problems with SMP’s sound system). Depending on flawed wiring has the unfortunate effect of tearing the audience out of the moment because we are unable to understand all the words to the songs or dialogue.

Cabaret was the production that launched my theatre career and this is the third version I’ve seen, in addition to the movie. While I know the show, my companion did not, and she was lost several times during the performance we saw. It’s a shame to see such hard work damaged by failed technology. Music Director J.N. Wickert, III is to be commended for keeping his “Beautiful” orchestra from taking over the space, especially in light of the sound system.

Bravo to the cast and crew in general for a performance well done, in spite of the sound’s considerable flaws.

Director’s Note

Approaching such a well know show as Cabaret can be problematic because the Fosse movie is so well-known, as is Liza Minnelli’s performance. But the movie, as is often the case, is not the original stage musical. Many changes were made for the film and plot lines dropped, so if you are seeing the stage musical for the first time, be prepared to be surprised.

I approached Cabaret as more of a serious piece of theater set in a decadent, troubling time for Germany and the world. You will walk out humming the songs but hopefully you will also walk out with a sense of sadness at the loss of innocent lives and a cultural heritage that left us with people who disappeared from physical existence but not from our hearts and minds.

-Rick Hayes

Dramaturg’s Notes

Historical Context

“And there was a city called Berlin in a country called Germany, and it was the end of the world.”

A scant 10 years before the start of Cabaret, Germany was in shambles; WWI was lost, and reparations in the billions were breaking the country’s economic back. In April of 1919, 1 US dollar was worth 12 marks. By December of 1923, 1 US dollar was worth approximately 4 trillion marks. A huge portion of the male population of working age were dead or injured from the fighting, and many of the women left behind were turning to prostitution in the city streets to keep themselves and their families from starving.

In an effort to appease the victors and ease the harsh terms of the Treaty of Versailles, the German political system was heavily altered and liberalized. The new Weim[a]r Republic, so named for a German town that had managed to retain relative peace throughout the Great War, was a strongly democratic system, with suffrage at 20 and a political system designed to keep any one faction from controlling the government. This was a major shift in German society, and the resulting confusion and extremism birthed more than 20 separate coalitions from all across the political spectrum.

By 1923, however, Germany’s prospects were brightening. Gustav Stresemann was chancellor for 100 days, and remained foreign minister until his death. He was instrumental in Germany’s recovery, managing to work with Britain and France to bring down the crushing reparations bill, halting the steep inflation with the introduction of a new currency, and raising $800 million in loans, mostly from America. For the next several years, relative prosperity reigned.

This new, more permissive social structure coupled with the sudden infusion of cash made Berlin a cultural epicenter. Art, music, theater and science all experienced major booms, and Germans and tourists alike flocked to the city to experience the cultural renaissance. The explosion of creativity coupled with the more relaxed views of sex brought on in part by the widespread prostitution also made Berlin a major site for erotic entertainment. There were an estimated 500 establishments devoted to sexual expression, including several clubs catering to the homosexual population.

When the stock market crashed in 1929, just three months before the opening scene of Cabaret, it was disastrous for the tenuous hold Germany had on prosperity. All of the American loans that were keeping Germany’s economy afloat were called in at once, and the country was plunged once again into poverty. The freewheeling parties and sexual freedom, which had been a kind of celebration of good fortune, now became a desperate clinging to a life that reality could no longer support.

The world of Cabaret is filled with severe disappointment, and it is in that terrible disillusionment with a system that held so much promise that the Nazis were able to seize power.

Come to us, they said. The republic couldn’t take care of you. We will.

-Meghan Winch

Cast (In Order of Appearance)

• Emcee: David McMullin
• Anika: Rosemary Lane
• Api Von Schnitzel: Nila Kay
• Cece: Heather Nadolny
• Greta: Nikki Gerber
• Helga: Meg Glassco
• Hazel: Cassandra Prickett
• Kizzy: KJ Jacks
• Lana: Toby Nelson
• Yummy/Fraulein Kost: Jill Vohr
• Waiter/Conductor/Bobby/Guard: Elijah Lawrence
• Maitre D/RudylVictor/Taxi Man/Coco: Rudy Schreiber Jr.
• Sally Bowles: Ashley Zielinski
• Cliff Bradshaw: David Wilder
• Ernst Ludwig: Mark Allen
• Fraulein Schneider: Mary Ayala-Bush
• Herr Schultz: Stephen Yednock
• Max: Rick Warfield

Orchestra

• Piano: Valerie A. Higgs
• Keyboard: Jeff Kempskie
• Reeds: Katrina Ambrose, Renae Smith, Gwyn Jones, Mitch Bassman, Chris Epinger, Jeff Kahan, Bryan Cook, Miles Smith
• Violin: Kirby Lee, Devon Oviedo
• Cello: Tom Zebovitz
• Trumpet: Paul Weiss, Jose Oviedo
• Trombone: Rick Schultz
• Percussion: Manny Arciniega
• Audition Pianists: Matt Jeffrey, Amy Conley
• Rehearsal Pianists: Matt Jeffrey, Amy Conley, Jeff Kempskie

Production Team

• Director: Rick Hayes
• Music Director: J.N. Wickert III
• Choreographer: Rikki Howie
• Stage Manager: Madison Hartke-Weber
• Technical Director: RC Bates
• Producer: Meghan Winch
• Accompanist: Valerie A. Higgs
• Dance Captain: Rosslyn R. Fernandez
• Sound Board Operator: Josh Canary
• Lighting Design: Jerry M Dale, Jr
• Master Electrician: Jerry M Dale, Jr
• Light Board Operator: Roger Munter
• Properties Design: Heather Cipu, Cameron Lane
• Set Design: Rick Hayes
• Set Construction: RC Bates
• Costume Design: Ceci Albert, Lisa Brownsword
• Make-Up Consultant: Rick Hayes
• Box Office Manager: Colin Redick
• House Managers: Sarah Reed, Rachel McConnell
• Photography: Chuck Divine, Colin Redick
• Poster/Cover Art: Jennifer Reitz

Disclaimer: St. Mark’s Players provided two complimentary media tickets to ShowBizRadio for this review.

Kenneth Grahame’s classic book, The Wind in the Willows, takes place in early 20th century Edwardian England, just as the motorcar is becoming available. Richard Hellesen’s musical adaptation, with music and lyrics by Michael Silversher, is the eighth such stage version, premiered in 2004 at the South Coast Repertory in California. The story, set along a quiet rural area of the Thames River, follows timid Mole (Christopher Wilson) as he decides to leave spring-cleaning behind and venture forth into the world above. There, he meets relaxed and carefree Ratty (Vaughn Irving), the unflappable and gruff but kind Mr. Badger (Doug Wilder) and the infamous and seemingly unstoppable Mr. Toad (Sasha Olinick). We see their friendship develop over the course of this utterly charming and magical production for children and adults alike.

A supporting ensemble Maya Jackson, Phillip Reid, Matthew Schleigh and Tia Shearer brings the river and other creatures (Rabbit, Weasels, Stoats and more) inhabiting this magical forest to life with Krissie Marty’s combination of gently choreographed dance-pantomime-puppetry and the actors’ highly stylized characterizations. The talented, tightly knit cast of eight breathes life into the tale, giving wings to artistic director Janet Stanford’s delightfully luscious production.

These charming and sometimes raucous adventures are set against a lovely backdrop of fanciful willow branches and enormous cattails evocative of the unspoiled countryside with which Grahame was familiar, designed by Ethan Sinnott. Andrew F. Griffin’s lighting designs take us from Mole’s home underground to the forest to Toad Hall and eventually to jail.

Costume designer Katie Touart’s representative costumes identify each character as both animal and human, using hints of the animal nature by snippets of fur, choices of fabric or hints of decoration, not limited to Toad’s duster jacket covered in tire tracks. Badger’s hat, Toad’s suit, Mole’s goggles – each of these elements suggests the true nature of the creatures in the story.

The actors make full use of Imagination Stage’s theatre space, with little or no separation between the stage and the house. In essence we are more participants than observers in this cautionary tale of what happens when Toad’s self control is abandoned to the glorious quest after technology and how he must find his way back to his home and friends.

An ensemble of gently rolling gloves and pantomime motion illustrates the River, so central to the plot of the story, with puppet boats providing the simultaneous foreground to illustrate our friends as they travel to visit Badger and Toad. Puppet cars are stand-in representations of the real things, as Toad drives them to their various disastrous fates, also by pantomime, with lights and sound effects providing the rest.

The Wind in the Willows will entertain children and adults alike. Even the jaded Tween in our party was so enthusiastic about the production that she was inspired to suggest giving a copy of the book to her younger cousin. Imagination Stage’s production is suitable for ages four and up, though there were some in the audience who were considerably younger. And – best of all – there isn’t a bad seat in the house!

Director’s Note

Kenneth Grahame belonged to that group of late 19th century British writers who deplored industrialization, the rise of the middle class, the loss of the time-honored ways of the gentry, the unspoiled English countryside and what he saw as the simple, pastoral loveliness and proper values of the past.

Grahame made his name as an essayist writing a thinly veiled autobiography about his own childhood. Farmed out after the death of his parents to an old aunt in Berkshire and growing up with his brothers and sisters largely unsupervised, Grahame cherished the child’s imaginative freedom. He dubbed all adults “Olympians” whom he viewed as wielding power over the young, forcing them ultimately into boring lives of drudgery and responsibility.

He began The Wind in the Willows as a story about the adventures of Mr. Toad for his one and only son, Alistair “Mouse” Grahame. The character of Toad has been interpreted as inspired by the young Mouse himself-willful, changeable and impulsive-yet loved and indulged by his doting parents. The character of Badger echoes what might have been Grahame’s mantra with the dictum: “Honor, gentlemen-duty to a friend.” In the author’s mind, I have no doubt that the ending of The Wind in the Willows represents a triumphant return to the status quo.

However, unlike Grahame, we now see the story through the lens of the last century and through the greatest tragedy of Grahame’s own life-Mouse’s untimely death at the age of 20. The tide of modernism that Grahame so wished to hold back engulfed the 20th century. Britain survived two World Wars but lost its colonies across the world. The dreaded motor cars now clog up cities and highways across England such that you would be hard pressed to find an un-peopled picnic spot along the Thames like the one that Mole and Rat enjoy. The glory days that Grahame so cherished are probably no longer a realistic wish for the future; however, the values of loyalty and friendship, and of the renewable inspiration of nature, are timeless ideals to which this beautiful story reminds us to cleave.

Cast (in alphabetical order)

• Rat: Vaughn Irving
• Ensemble: Maya Jackson
• Toad: Sasha Olinick
• Weasel: Phillip Reid
• Chief Weasel: Matthew Schleigh
• Barge Woman: Tia Shearer
• Badger: Doug Wilder
• Mole: Christopher Wilson

Crew

• Director: Janet Stanford
• Musical Director: Darius Smith
• Assistant Director: Sasha Brätt
• Choreographer: Krissie Marty
• Scenic Designer: Ethan Sinnott
• Lighting Designer: Andrew F. Griffin
• Costume Designer: Katie Touart
• Sound Designer: Christopher Baine
• Stage Manager: Kristen J. Bishel
• Sound Board Operator: Lauren Evans
• Deck Captain: Karen Bilotti

Disclaimer: Imagination Stage provided two complimentary media tickets to ShowBizRadio for this review.

Shakespeare’s play Twelfth Night; or, What You Will, dates back to the turn of the 17th Century, a Twelfth Night amusement for Epiphany, traditionally a time of festivity, upturning of traditional roles and celebration to end the Christmas season. Its plot – mistaken identity, love and loss are to be found in several of Shakespeare’s comedies, most notably A Comedy of Errors (two sets of identical twins mistaken for each other), As You Like It (woman passing for man) and A Midsummer Night’s Dream (lovers’ triangle), but the language and festivity are unique to this play about a brother and sister so alike as to be mistaken for each other.

Viola (Helen Gorman), recently rescued from a shipwreck, fears her much beloved twin brother has died in the same wreck and finds herself on the shores of Illyria and in need of a benefactor. With the help of the sailors who rescued her, she decides to dress herself as a boy and serve Orsino, the Duke of Illyria (Gary Muggleton Small, assisted by Jeanette Brown, his sign language interpreter). Orsino asks Viola, now known as Cesario, to become his messenger of love to Olivia (played for our performance by Leeza Malachevsky), recently bereaved of both her father and brother and in no mood to be wooed by anyone. Olivia, charmed by Cesario’s manner and face, falls for “him” instead of the Duke, setting the wheels in motion for confusion and hilarity as Viola tries to come to terms with her own feelings for the Duke.

Also residing in Olivia’s household, Malvolio, Olivia’s dour, humorless steward (Andrew Rayo), Sir Toby Belch, her dissipated and portly uncle, (one of my all-time favorite comic Shakespearean characters, played by Chaz Atkinson), Sir Andrew Aguecheek, his silly sidekick full of puff and bluster (Jackson Sanchez), Maria, Olivia’s sly and revengeful Lady in waiting (Rebecca Jonas) and Fabian, a clever servant (Christina O’Brien) in cahoots with the other three who are determined to retaliate when Malvolio threatens to kick Sir Toby and Sir Andrew out for enjoying their evening celebrations rather more exuberantly than they should so late at night. Feste (Sofia Cabrales), is the charmingly talented fool who brings the separate plotlines of this fun comedy to a proper close with delightful song and words that prove she’s the wisest of fools presented in the story.

When Sebastian (Jacob Rocco) enters the scene with his own savior, the “pirate” Antonio (Julie Rogers), it takes some suspension of disbelief to accept that he could be mistaken for Viola and vice versa, but this is a teen production and casting choices ought to be accepted and applauded. If you’ve seen Twelfth Night, it’s worth seeing again for the interpretations Gorman, Rayo, Cabrales, Atkinson, Jonas and O’Brien give their characters. Aside from supporting our latest generation of actors, these kids make it worth the effort.

In all, a cast of as many as 22 performers bring Twelfth Night to life at the Laurel Mill Playhouse, with the help of director, sound and lighting designer Michael V. Hartsfield, producer Maureen C. Rogers and dramaturge Dan Staicer.

Kim Delk and James Raymond designed the costumes (including the cleverest use of curtains I’ve seen, in Olivia’s second gown), and Raymond is responsible for the attractive set (most notably in the tiny but very practical and nicely designed revolving platform “door” and pivoting arches). Raymond has made the tiny playhouse a suitable and easily changed space for its large cast and quick scene changes.

This show is suitable for theatergoers as young as seven as well as adults. It’s a great family option for an afternoon or evening’s entertainment.

Cast

• ORSINO, Duke of lIIyria: Gary Muggleton Small
• DUKE’S INTERPRETER: Jeanette Brown
• CURIO, Gentleman attending the Duke: Alexis Thompson
• VALENTINE, Gentleman attending the Duke: Jordan Budzinski
• VIOLA, Sister to Sebastian: Helen Gorman
• A SEA CAPTAIN and Friend to Viola, Ensemble and Olivia’s Understudy (7/1, 7/8, 7/10, 7/17): Leeza Malachevsky
• FESTE, a Clown and Servant to Olivia: Sofia Cabrales
• OLIVIA, a rich Countess: Mariah Kuhn
• MALVOLIO, Steward to Olivia: Andrew Rayo
• ANTONIO, a Sea Captain and Friend to Sebastian: Julie Rogers
• SEBASTIAN, Brother to Viola: Jacob Rocco
• FABIAN, Servant to Olivia: Christina O’Brien
• A SERVANT TO OLIVIA and Ensemble: Allison Thompson
• FIRST OFFICER and Ensemble: Juliet Beach
• SECOND OFFICER and Ensemble: Justyce Bennett
• PRIEST and Ensemble: Morgan Delk
• ENSEMBLE and Second Officer Understudy (7/9, 7/17): Emily Bruun
• ENSEMBLE: Katie Grebenstein
• ENSEMBLE and A Sea Captain Understudy (7/1, 7/8, 7/10, 7/17): Mary Elizabeth Hommel

Crew

• Director: Michael V. Hartsfield
• Producer: Maureen C. Rogers
• Dramaturge: Dan Staicer
• Stage Manager: Michael V. Hartsfield, Volunteers
• Set Designer: James Raymond
• Set Construction: James Raymond, Lynda Atkinson, Jamie Fine, John Lee, Matt Thompson
• Set Painting: James Raymond, Lynda Atkinson, Jamie Fine
• Set Dressing: James Raymond
• Costume Designers: Kim Delk, James Raymond
• Costume Construction Crew: Kim Delk, James Raymond, Lynda Atkinson, Jeano Binney, Kathy Cox, Jamie Fine, Nancy Mullis, Debbie Thompson
• Lighting/Sound Design: Michael V. Hartsfield
• Properties: Kim Delk, Michael V. Hartsfield, James Raymond
• Tech Crew: Calvin DaSilva, Michael V. Hartsfield, Volunteers
• Hair/Make-Up: Cast
• Program, Poster, Publicity: Maureen Rogers
• Box Office: Lori Bruun, Steve Bruun, Maureen Rogers, Nicole Woody, Patrice Woody
• Concessions/Candy Grams: Ginny Brown, Debbie Thompson
• Head Shots: Brian Binney
• Website: John Cholod

Disclaimer: Laurel Mill Playhouse provided two complimentary media tickets to ShowBizRadio for this review.

Of all the fairy tales out there, none has attracted more attention than the Cinderella story. The lost slipper and the royal search for the girl who owns it dates as far back as ancient Egypt. The unwanted stepchild and her loathsome stepmother and ugly stepsisters have been the subjects of every sort of media representation, including opera, ballet, movie, book and theatrical presentation.

In 1957, the team of Richard Rodgers and Oscar Hammerstein, II brought the story to television with Julie Andrews in the title role. The color broadcast was captured in black and white kinescope and is the only remaining representation of this first version of the musical. It is this version of the musical that Jane B. Wingard (Director), Joe Biddle (Musical Director) and 2nd Star Productions have selected to bring to the Bowie Playhouse stage. And as much as I love the Leslie Ann Warren version that I watched growing up, this has to be my favorite.

Wingard’s impressive scenic design sets the stage for this ambitious production, with 20 dancing, singing chorus members and a core of talented performers including Pam Shilling as the lovely but put-upon Cinderella, the girl who’s not what she appears to be and John Scheeler as the Prince who isn’t ready to settle down just yet. It’s as much a pleasure listening to their enchanting songs as it is watching their comic timing and the way they interact with their respective families.

Linda Swann (more commonly behind the scenes, which is a shame) is the Prince’s long-suffering mother and Queen, as well as costumer for this extravaganza of organza, satin and lace. Wendell Holland is the Prince’s understanding, sympathetic, father and King, long-suffering foil to his wife’s grand plans for marrying their son off as soon as possible.

On the other side, Heidi Toll is the hypercritical Step Mother who only wants the best for her “Real” daughters, Joy (the green-clad and joyless, but nevertheless funny Lisa Gregg) and Portia (frothy pink and ditzy Malarie Novotny), and that includes riding Cinderella hard while treating her own family to all the rest and relaxation they can handle.

Between these two hilariously dysfunctional families comes Debe Tighe, surprisingly down-to-earth Godmother with a gift for making things sparkle and an ability to show Cinderella that she already has everything she needs to make her own way.

What the generally young cast sometimes lacks in precision they more than make up for with enthusiasm. Vicki Smith’s elaborate choreography is quite elegant and recognizes the strengths and abilities of her dancers. Together with Wingard’s able and often humorous direction and Joe Biddle’s musical guidance, they bring out the best in the entire cast. Swann’s costumes are delightful, even hideously perfect and Garrett R. Hyde’s lighting and special effects ice the cake.

Worthy of special mention: The three white mice (Creedence Jackson, Cecelia (CeCe) Shilling and Noah Wingard) are charming little scene stealers.

This is a family event, though perhaps just a smidge long for the very youngest in the crowd. My 7 and 10 year-old girls, both seasoned theatre critics, enjoyed the show very much and were bouncing back to the car at the end, as late as it was. Well done!

Director’s Notes

It is part of 2nd Star’s mission to present, at least most of the time, family friendly theater. What is more appropriate than CINDERELLA! It is truly a musical for all ages. As theater folks, we think that it is critical to introduce young and old to live productions in a world where technology is claiming a larger and larger market share of our lives at the expense of human interaction. Hearing a live character perform a soaring solo or a cast a magnificent chorus may enchant a youngster, opening the door to a lifelong appreciation for the live performance. That’s our hope and goal–bringing in the next generation as performers and patrons.

Why involve the kids? Besides raising your own actors, it has long been established through educational studies that students involved in the arts score higher on standardized tests. This is often discarded as school budgets are cut. Music, art and theater programs are usually first on the chopping block. As a retired art and theater teacher, I can assure you that participation in the arts exercises a part of the brain not often used by regular classes. Creative problem solving broadens the range of thought processes one can employ and apply to everyday life. One of the most delightful days I spent during a partnering exercise between our school and IBM was teaching a workshop to IBM executives on learning to draw and expanding thought processes into the right side of the brain. By using some quick exercises as an introduction to right brain thinking, many of them made the leap and were drawing in one day. Just imagine how smart a lifetime of involvement with the arts could make us! Those of us involved at 2nd Star cross all professions. You have seen stay at home moms/dads, rocket scientists, teachers, construction workers, office personnel, doctors, engineers and many others, but most gratefully, students perform on our stage. Solving the logistics of the production and dynamics of the group is a common concern. It’s a magical life. One of 2nd Star’s first logos was a sandbox, a place where you can come and play, bringing your own toys or building what you need when you get there. It’s a place where we build our magnificent sand castles together.

A production takes a lot of work and talent both on the stage and behind the scenes. Magic only appears to happen. If you have a hankering to help it along, let us know. Remember to keep the kids involved at their level and that patrons are a vital part of the process. It is, of course, live theater!

–Jane B. Wingard

Photo Gallery

Wendell Holland as the King, Linda Swann as the Queen, John Scheeler as the Prince, and Pam Schilling as Cinderella	Lisa Gregg as Joy, Pam Shilling as Cinderella, and Malarie Novotny as Portia

Photos provided by 2nd Star Productions

Cast

• Cinderella: Pam Shilling
• Prince: John Scheeler
• Joy: Lisa Gregg
• Portia: Malarie Novotny
• Step Mother: Heidi Toll
• King: Wendell Holland
• Queen: Linda Swann
• Fairy Godmother: Debe Tighe
• Herald: Zac Fadler
• Herald: Michael Mathes
• Footman: Todd Cunningham
• Chorus: Angeleaza Anderson, Robyn Birch, Nick Brice, Victoria Brown, Genevieve Ethridge, Emily Freeman, Yolanda Haywood, Amy Homewood, Cheramie Jackson, Creedence Jackson, Bridget Kane, Erin Lorenz, Stevie Mangum, Jonathon Moss, Shenna Ross, Cecelia (CeCe) Shilling, Janice Taylor, Jeffrey Thompson, Noah Wingard, Vivian Wingard.

Orchestra:

• Musical Director/Conductor: Joe Biddle
• Flute: Steve Haaser, Mari Hill, Shannyn Peterson
• Oboe/English Horn: Mary Haaser
• Clarinet: Mike Monda
• Trumpet: Tim Spencer, Alexander Edwards
• French Horn: Andrew Seacord
• Drums: Brian Yost, Jim Hoffman
• Percussion: Zachary Konick
• Midi Sequencing and Performance: Steve Hudgins

Production Crew:

• Director/Producer/Set Designer: Jane B. Wingard
• Music Director: Joe Biddle
• Assistant Music Director: Steve Hudgins
• Choreographer: Vicki Smith
• Dance Captain: Vivian Wingard
• Rehearsal Piano Tracks: Elisa Poole
• Stage Manager/Properties: Joanne D. Wilson
• Scenic Artists: Bill Bagaria, Gail Bagaria
• Set Construction: Steve Andrews, Joanne D. Wilson, Jane B. Wingard
• Lighting/Sound Design: Garrett R. Hyde
• Lighting/Sound Technician: Pete Dursin, Al Chopey, Walter Kleinfelder
• Costume Coordinator: Linda Swann
• Load In Crew: Garrett R. Hyde, Pete Dursin, Al Chopey, Duane Rouch, Jane B. Wingard, Joanne D. Wilson, Steve Andrews, Matt Andrews, Bill Davis, Stevie Mangum, Dick Russell, Marty Hayes, Gail Bagaria, Bill Bagaria
• Publicity: Debe Tighe, Beth Schultz, Jane B. Wingard
• Webmaster: Lynne Wilson
• House Manager: Gail Bagaria
• Usher Coordinator: Gail Bagaria
• Reservations: Patti Mangum, Adele Degnan, Jane B. Wingard
• Box Office: Gail Bagaria
• Photography: Debe Tighe, Pete Freimayer
• Program: Lynne Wilson

Disclaimer: 2nd Star Productions provided two complimentary media tickets to ShowBizRadio for this review.

I have been dying to review [title of show] since I first saw it at the Vinyard Theatre in NYC in August of 2006, just prior to its second closing off-Broadway. This meta-musical can’t get much more theatre-about-theatre. The premise: Two guys decide to write a musical for the New York Musical Theatre Festival with a scant three weeks to deadline. They decide to write their musical about two guys writing a musical about two guys writing a musical. Confused yet? By the end of [title of show] you won’t be.

[title of show] is a love letter from Jeff Bowen (music and lyrics) and Hunter Bell (book) to every artist in every field, and to people who aren’t considered artists at all but who create nevertheless. From the very first song to the very last note, the show describes the collaborative process of creativity, its flaws and pitfalls and just how hard it is to be original and to be willing to put it out there for everyone to see. The show is an enormous leap of faith, coupled with shrewd marketing and a certainty that the theme speaks to everyone who sees it, which it should. Creativity isn’t limited to art alone.

Die-hard fans of the show have snatched up copies of the CD (available through Amazon.com) and know the songs by heart. If you’re one of those, you might be surprised to notice some differences between what you hear on the CD and what you’ll see onstage. That’s because the show (unsurprisingly) has gone through some changes since the CD was created in 2006. These changes were necessary to carry on the premise of the show, that everything happening to these playwrights will also happen in the script, as it moves from its origins at the festival to its run at the Vineyard all the way through to the opening of its all-too-brief stay on Broadway. Since becoming a Rodgers and Hammerstein property, the show has seen near monthly openings throughout the country by both professional and community theatres alike.

One of the interesting (and possibly disturbing) aspects of seeing this show in its current incarnation is witnessing the transition from the original (and self-named) cast to actors who must interpret the roles of Jeff, Hunter, Susan and Heidi. And here’s the awesome part of Little Theatre of Alexandria’s production: Michael Kharfen (Director), Francine Krasowska (Musical Director), Catherine Oh (Choreographer), Scott Harrison (Jeff), Josh Goldman (Hunter), Anne Marie Pinto (Susan) and Sharon Grant (Heidi) get it. All of it, from opening curtain to final note. More than that, they manage in the course of the 90-minute show to take the show and make it theirs.

In “An Original Musical” (by far the raunchiest song in the show) Hunter and Jeff take on originality and the pitfalls of avoiding duplication even when starting from scratch. “Monkeys and Playbills” is a dream-sequence homage to the musicals that have gone before. “Die Vampire Die” is Susan’s gift to every aspiring creator who doubts his or her creation. In it she implores us to drown out the voices that criticize or denigrate creativity. “Change It, Don’t Change It” takes both these themes and gives you a clear picture of how easily the vampires can get you to doubt your work, even when you know you should ignore them. Heidi’s “A Way Back to Then” becomes a bittersweet reminder of how the show got off the ground in the first place and why it is so important to stick to the dream. The whole cast’s “Nine People’s Favorite Thing” is an echo of the marketing effort that saw the show to its eventual Broadway opening, and a part of why I’m writing this review. I’m certainly one of the “nine.”

Ken Crowley’s set seems deceptively simple, with four mismatched chairs, a keyboard (for Krasowska) and a couple of rolling flats. Ken and Patti Crowley’s lighting design and Alan Wray’s sound design enhance the mood admirably. Jean Schlichting and Kit Sibley’s costume designs are contemporary and appropriate.

Of note: [title of show] pulls no punches in its frank language. The show portrays professional actors in contemporary New York City and this is pretty much how they talk up there. Hunter and Bell are openly gay characters and the “f-bomb” is dropped a lot. Directors sometimes struggle with scripts like these because they worry about offending their audiences. It becomes clear during the telling of the story that removing or softening the language guts the characters, and so better to be forewarned and see the show for what it is: an extraordinary window into the struggle for creativity, warts and all. [title of show] is fine (and ought to be required viewing) for theatre-aspiring teens, and is also okay for older kids, but may be inappropriate for younger audiences. There is a brief use of a strobe light during the performance.

Director’s Notes

Simply put, [title of show] is about two guys writing a musical about two guys writing a musical. But it’s also more. It’s about the challenge of making art, molding and sometimes compromising an artistic vision, maintaining friendships and holding on to dreams. Written with intelligence, humor and heart, [title of show] portrays four slightly neurotic theater people on a journey from idea to inspiration as they try to reach that pinnacle of theater: Broadway. [title of show] embodied the Babes in Arms line “let’s put on a show” as the little show that could.

In an age of musical theater where bigger is better, a show with four people and four chairs seemed like a long shot for success when Hunter Bell and Jeff Bowen started writing in 2004. But this little show has a lot going for it. It is a joyous celebration of musical theater-not only the hits, but the flops as well: Look around the theater and the lobby and you’ll see posters and playbills from many of the shows, some obscure with only a single performance, mentioned in [title of show]. It celebrates collaboration with all its ups and downs. Writing, painting and composing music can all be done by oneself, but theater requires a community to create it. It is a character piece in the true meaning of that phrase. These four people overcome barriers and detours and achieve break-throughs with joy, frustration, hope, anger and laughter-in other words, the human spirit. And we all can find ourselves and have fun in that journey.

I thank the board members of the Little Theatre of Alexandria for their support and the opportunity to direct here. I am deeply grateful for the commitment of so many people without whom this production would not have been possible: a fabulous, spectacularly gifted foursome of Anne Marie, Josh, Scott and Sharon, who make acting, singing and shmancing effortless and so much fun; and an exceptionally talented creative team: Ken and Patti’s spot-on lighting, Alan’s inventive sound, Jean and Kit’s fashion-forward costumes, Andrea and Rebecca’s delightful collection of props and set dressing, Ken’s clever set, Chris for building it nearly singlehandedly, Mary’s graceful painting, and Russ’s ingenious engineering. For every performance, I greatly appreciate all the crew for their hard work. I also thank my brother Stephen for his help researching those obscure play-bills. I was so fortunate to have a dream team to make all the pieces fit together: Leighann and Marg, stage managers extraordinaire, the beautiful Cathy for her wonderful shmancing and support, the maestro Francine for her impeccable ear and generous smile, and Mary Beth and Pat for their tireless dedication and excellence.

–Michael Kharfen Director

Photo Gallery

Sharon Grant (Heidi), Josh Goldman (Hunter), Scott Harrison (Jeff), and Anne Marie Pinto (Susan)	Sharon Grant (Heidi), Josh Goldman (Hunter), Scott Harrison (Jeff), and Anne Marie Pinto (Susan)
Scott Harrison (Jeff) and Josh Goldman (Hunter)	Josh Goldman (Hunter), Anne Marie Pinto (Susan), Scott Harrison (Jeff), Sharon Grant (Heidi), and Francine Krasowska (Pianist)
Sharon Grant (Heidi), Anne Marie Pinto (Susan), Josh Goldman (Hunter), Scott Harrison (Jeff), and Francine Krasowska (Pianist)

Photos by Shane Canfield

Cast (in order of appearance)

• Jeff: Scott Harrison
• Hunter: Josh Goldman
• Susan: Anne Marie Pinto
• Heidi: Sharon Grant
• Musical Director/Pianist: Francine Krasowska

Production Crew

• Producer: Mary Beth Smith-Toomey
• Assistant Producer: Patricia Bradford
• Director: Michael Kharfen
• MusicaI Director: Francine Krasowska
• Choreographer: Catherine Oh
• Stage Managers: Leighann Behrens, Margaret Sooros, assisted by Charlie Dragonette, Marshall Smith
• Set Design: Ken Crowley
• Lighting Design: Ken and Patti Crowley
• Costume Design and Construction: Jean Schlichting and Kit Sibley
• Sound Design: Alan Wray, assisted by David Correia, David Hale, Anna Hawkins, Bill Rinehuls
• Set Construction: Chris Feldmann, assisted by Jim Hutzler, Clarence Parrish
• Set Painting: Mary Hutzler, assisted by Luana Bossolo, Bobbie Herbst, Jim Hutzler, Jayn Rife
• Set Decoration: Rebecca and John Johnson
• Master Electrician: Eileen Doherty, assisted by Jim Hartz, Elizabeth Herbst, Rachel Lau, Pam Leonowich, Doug Olmsted, Nancy Owens, Richard Schwab
• Properties: Andrea Berting, assisted by Luana Bossolo, Patricia Greksouk, Claire Rhode, Margaret Snow
• Wardrobe: Nicole Zuchetto, assisted by Rachel Alberts, Barbara Helsing, Bobbie Herbst, Margaret Snow
• Makeup and Hair: Andrea Berting
• Rigging: Russell Wyland
• Photographer: Shane Canfield, assisted by Bobbie Herbst
• Audition Table: Andrea Berting, Joanna Henry, Sandy Kozel, Katherine Ward
• Double-Tech Dinner: Frank D. Shutts II, assisted by: Joanna Henry, Michael Toomey
• Opening Night Party: Michael Toomey, Russell Wyland, assisted by Lloyd Bittinger, Lesley Buckles, Kath Dillaber, Marian Holmes, MYKE, Frank D. Shutts II
• Business Manager: Virginia Lacey
• Box Office Manager: Tina Barry
• Legal Counsel: Brian T. Goldstein, Esq.

Disclaimer: Little Theatre of Alexandria provided two complimentary media tickets to ShowBizRadio for this review.

Happy Days (the television show) was one of the best-known TV sitcoms of the ’70s and ’80s, reaching #1 in its fourth season and staying in the top five for three years. The series was one of the first to be shown during daily reruns and was on every day during my junior high years.

For the uninitiated, the series centered mainly on the Cunningham family of Milwaukee, including Howard (Shawn Kettering, playing the dual roles of Plumbing store owner and the show’s co-director), Marion (Esther Covington, wryly funny as she points out the humorous differences between late ’50s suburbia and our modern society), and their children Richie (Jamie Boyle, red-headed narrator of this nostalgic trip down memory lane) and Joanie (Amy Sonntag, a bundle of energy and feisty younger sister), together with the denizens of Arnold’s Malt Shop and (most importantly) Arthur “The Fonz/Fonzie” Fonzarelli (Greg Twomey, with a hauntingly familiar resemblance to Henry Winkler’s voice), a James Dean-esque motorcycle-riding mechanic with a talent for commanding even inanimate object to bow to his will, and who defined the word “cool” for a generation of fans, and made “Ayyyy” and “Whoa” household words.

Happy Days: The New Musical, written by the TV series’ creator, Garry Marshall, proves to be a tongue-in-cheek homage to this once popular show. With catchy tunes by Paul Williams (Bugsy Malone, The Muppet Movie and Phantom of the Paradise among others), the musical, originally directed and produced by Marshall, debuted quite appropriately in Burbank, CA, before a live studio audience. Although it never made a debut on Broadway, the musical was subsequently produced by the Goodspeed Opera House and Papermill Playhouse, and had a two-year national tour in 2009-2010.

The plot centers on Arnold’s, the local diner, which is being threatened with demolition by a local developer who has sold the property to make way for a mall. Arnold (played by the ever-elastic, exceptionally talented David James) thinks his days at the fountain are numbered, but Fonzie swears he will stop the bulldozers, with help from the gang.

At Arnold’s, Ralph (Dan McQuay), Potsie (Dan Sonntag) and Chachi (Chris Rudy) rehearse as doo-wop group “The Dial Tones” for the end of year talent show. Together they hatch a plan to hold a dance contest to raise money. With Fonzie’s former sweetheart and all-around amazing boy-magnet, Pinky Tuscadero (Jessica Lauren Ball in a sassy, show-stopping change from her earlier song-bird appearances at Toby’s), just passing through town on her motorcycle tour, as the contest’s judge, they’re certain to rake in a mint!

Independently, the members of the Leopard Lodge, led by Howard, come up with their own plan: A wrestling match between the Malachi Brothers (Chad Fornwalt and Conrad Buck as the hissably inept bullies) and The Fonz.

The resulting mash-up of fundraisers gives ample time for our favorite characters to sing and dance their way through the plot, from swinging numbers like “The Pink’s Back in Town” and “Message in the Music” to a sweet duet between mother and daughter in “What I Dreamed Last Night” to some downright surreal fantasy numbers with Fonzie at the center (“Snap,” “Heartbeat” – which really captures Rudy’s impressive vocal range – “Aaaymless” and “Guys Like Us” in particular).

This is definitely not Pulitzer Prize-winning material (as with the TV series), but there’s plenty of fun and lots of exuberance from the cast. There are some funny in-jokes, too, for folks who know the series or the era and are paying attention.

The show reflects Toby’s gift for quality productions. Happy Days is directed and staged by Toby Orenstein and Shawn Kettering, with musical direction from Ross Scott Rawlings and fun fight choreography by Grey May. Janine Sunday’s excellent costume design, sets by David A. Hopkins and lighting by Lynn Joslin complete our trip back to 1959. Staging is fast paced and delays between changes simply non-existent, a spectacular feat for a musical without a show curtain.

Happy Days: The New Musical is definitely for the whole family and a great way to introduce a whole new generation to an icon of modern television history.

Program Notes

Based on the hit Paramount Pictures television series, Happy Days, A New Musical reintroduces, Potsie, Ralph Malph and the unforgettable ‘King of Cool'” Arthur “The Fonz” Fonzarelli, and one of television’s most loved families – the Cunninghams: Howard, Marion, Richie, and Joanie. The famed drive-in malt shop and number one hangout, Arnold’s, is in danger of demolition, so the gang teams up to save it with a dance contest and a TV-worthy wrestling match. Even Pinky Tuscadero – Fonzie’s childhood sweetheart, returns to help and – lo and behold! – their old flame is rekindled. Happy Days, A New Musical, has a rockin’ and toe-tappin’ and finger snappin’ score from Oscar-winner Paul Williams (“Evergreen” from ‘The Way We Were’), and a funny book by the TV series’ original creator Garry Marshall. Return to the days of 1959 Milwaukee complete with varsity sweaters, hula hoops and jukebox sock-hoppin’ fun. This perfectly family friendly musical will have you rockin’ and rollin’ all week long! And now the joy of Happy Days will be introduced to the new generation, so bring the kids and grand kids and sit back and enjoy some of the wonderful memories we shared with The Cunninghams with them! ‘Goodbye gray skies, hello blue! Happy days are here again!’

Photo Gallery

Photos by Kirstine Christiansen.

The Cast

• Arthur “The Fonz” Fonzarelli: Greg Twomey
• Richie Cunningham: Jamie Boyle
• Pinky Tuscadero: Jessica Ball
• Howard Cunningham: Shawn Kettering
• Marion Cunningham: Esther Covington
• Joanie Cunningham: Amy Sonntag
• Charles “Chachi” Arcola: Chris Rudy
• Ralph Malph: Dan McQuay
• Warren “Potsie” Webber: Dan Sonntag
• Myron “Count” Malachi/Elvis/Leopard: Chad W. Fornwalt
• Jumpy Malachi/James Dean/Leopard: Conrad Buck
• Arnold Delvecchio: David James
• Lori Beth Allen: Arielle Gordon
• Pinkette Lola: Shayla Simmons
• Pinkette Tina: Ali Hoxie
• Principal, Leopard Manny Moon: Alan Hoffman Mark Cohen: Nick Lehan
• Ensemble: Frank Anthony, Elena Crall, Lance Hayes, Christine Nelson
• Swings: Matt Greenfield, Heather Marie Beck
• Understudies
  • Chad W. Fornwalt (The Fonz), Chris Rudy (Richie Cunningham), Heather
  • Marie Beck (Pinky Tuscadero/Pinkette Tina), Alan Hoffman (Howard
  • Cunningham/Arnold/Count Malachi), Janine Sunday (Marion
  • Cunningham/Pinkette Lola), Christine Nelson (Joanie Cunningham),
  • Conrad Buck (Chachi), Matt Greenfield (Ralph/Potsie), Elena Crall
  • (Lori Beth Allen)

Orchestra

• Conductor/Keyboard I: Ross Scott Rawlings or Reenie Codelka
• Keyboard II: Ann Prizzi or Ed Myers
• Reeds/Woodwinds: Charlene McDaniel, Katie Kellert, Steve Haaser or
• Stacey Antoine
• Trumpet: Tony Neenan
• Trombone: Jay Ellis, Jeff Harrington or Griz Gifford
• Drums/Percussion: Aaron Holmes, Anders Eliasson or Jack Loercher

Production Staff

• Directors I Staging: Toby Orenstein, Shawn Kettering
• Additional Staging: Tina DeSimone, Lawrence B. Munsey
• Fight Choreography: Greg May
• Musical Director: Ross Scott Rawlings
• Set Designer: David A. Hopkins
• Costume Designer: Janine Sunday
• Lighting Designer: Lynn Joslin
• Sound Designer: Drew Dedrick
• Motorcycle Team: Kate, Sam & Tony Wackerle
• Production Manager: Vickie S. Johnson
• Production Stage Manager: Kate Wackerle
• Stage Managers: Drew Dedrick, Kate Wackerle
• Technical Director: Jimmy Engelkemier
• Master Carpenter: Jason Krznarich
• Set Construction: Corey Brown, Jason Krznarich, Russell Sunday, Dylan Schmidt, Tim McCormack
• Properties & Set Dressing: Amy Kaplan
• Light Board Operators: Cheryl Hale, Coleen M. Foley, Erin MacDonald
• Sound Operators: Drew Dedrick, Corey Brown
• Stage Crew: Erin MacDonald, Ashley Grant, Nicole Smith, Jason Britt

Theatre Staff

• Artistic Director: Toby Orenstein
• Associate Artistic Directors: David A. Hopkins, Lawrence B. Munsey
• General Manager: Joel Friedman
• Assistant Manager: Patrick Albright
• Form Manager: Steve Lewis
• Chef / Kitchen Manager: Chuck Cofield
• Chef / Assistant Kitchen Manager: Anthony Beachum
• Director of Group Sales / Tour and Travel: Cheryl Clemens
• Assistant Director of Group Sales / Tour and Travel: Audrey Kyle
• Group Sales Hosting Staff: Heidi Berry, Bonnie Ciborowski, Danny Ciborowski, Paula Jones, Marsha Raymond
• Director of Marketing: Nancy Michel
• Box Office Manager: Judy Abrams
• Box Office Staff: Heidi Berry, Judy Berry, Laura Blasi, Mary Dempsey, Lynae Harris, Breena Hebron, Estelle King, Marie Moineau
• Bookkeeper: Bayna Castner
• Youth Theatre Administrator: Toba Barth
• Theatre Photographer / Website Developer: Kirstine Christiansen
• Bar Manager: Shawn Kettering
• Maintenance Engineers: Stephen B. Harris, Mike Monahan

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

To have great comedy, it’s not enough to have a funny script. Finding the right talent is essential, and 2nd Star Productions’ Charles W. Maloney has done a spectacular job with the delightful Be My Baby, now playing at the Bowie Playhouse.

From Ken Ludwig’s web site: “The play tells the story of an irascible Scotsman and an uptight English woman, John and Maude, both in their late 50s, who are unexpectedly thrown together on the journey of a lifetime. John and Maude are brought together when his ward marries her niece. Then, when the young couple decides to adopt a new born baby, the older couple has to travel 6,000 miles to California to pick up the child and bring her safely home to Scotland. The problem is, John and Maude despise each other. To make matters worse, they get stranded in San Francisco for several weeks and are expected to jointly care for the helpless newborn. There they form a new partnership and learn some startling lessons about life and love.”

Maloney’s two leads are blessed with the gifts of impeccable timing and onstage chemistry that make this hilarious show a pleasure to watch. Fred Nelson plays John Campbell, a blustery country Scotsman with a heart of pure marshmallow. Nelson has served as King Henry VIII at the Maryland Renaissance Festival for the last 10 years, one of his best known (but by no means only) roles in the region.

Heather Tuckfield plays London-sophisticate Maud Kinch, a perfect foil to Nelson’s down to earth. Together on stage, these two give off more sparks than a Disneyland fireworks display.

With the support of Natalia Esteve as Maud’s sex-starved niece Gloria and Eric Small as John’s hapless ward Christy, and ample laughs from ensemble members James McDaniel (whose very appearance, by the end of the show, caused laughter before he opened his mouth), Janice Coffey (especially as the Nurse), Shenna Ross, Kate Baldwin, Marty Hayes and Phil Penne (bag piper who speaks volumes without saying a word), the entire cast made it worth sitting through all 27 (!) of the scene changes dictated by the script enhanced (for the most part) by the multi-talented Fred Nelson’s apt sound design.

The delightful scenery and costumes exquisitely designed and executed by Jane B. Wingard and her assistants made the show a real treat. There were a few pregnant pauses while the scene changed, but that was really the only issue (and a minor one at that), and the overall production more than made up for those few instances.

On the whole, an enjoyable evening and well worth the trip to Bowie White Marsh Park.

Director’s Notes

There are actually two contemporary plays named “Be My Baby”. A laboriously serious one written in the late nineties, about an unwed young girl from a religious family, who is forced to give up her baby. I can only imagine that one to be a trying evening in the theatre for actor and audience. There have been several songs titled “Be My Baby”, the most famous, of course, being the 1963 hit by The Ronettes. Which brings us to this gem by Ken Ludwig, the author of Moon Over Buffalo, and Lend Me A Tenor, among many others. This is an endearing love story for those pushing Social Security, and with its 27 scene changes, plays like a TV sitcom. Ludwig says, “My plays generally unfold in one location, a green room, or hotel room. So writing in this form was a challenge, akin to writing a screen play.” Directing it was somewhat akin to that as well! This play is also a tribute to children, and how having a child in your life makes you look at your esprit, and all your relationships differently. The script specifically calls for a lot of music from “The King.” I was never an Elvis aficionado. Sacrilege, I know, but for me, he reached his height at the ’68 Comeback Special, and was pretty much disappointing thereafter. At one point in the play, John comes back from a shopping special, and says, “I like this America. It frees you up!” A great representation of the feeling of that time in America. Elvis freed us up.

My thanks to the cast, not only for their delightful performances, but for their triple and quadruple duties as stage crew. Believe me, it’s like A Night At The Opera back there. Also, thanks to the Bowie Playhouse staff, Garrett, Pete, and Al, and to Joanne, without whom none of this would happen.

Charlie Maloney, Director

Cast

• John Campbell: Fred Nelson
• Maud Kinch: Heather Tuckfield
• Gloria Nance: Natalia Esteve
• Christy McCall: Eric Small
• Judge Weems: James McDaniel
• Parson McNair: Marty Hayes
• Mrs. Adams: Kate Baldwin
• Nancy Brenneman: Shenna Ross
• Stewardess: Janice Coffey
• Bagpiper: Phil Penne
• Dimitri: James McDaniel
• Doctor: James McDaniel
• Trendy Waiter: James McDaniel
• Gardener: Marty Hayes
• Maitre D’: Marty Hayes
• Beverly Merchant: Kate Baldwin
• Waitress: Shenna Ross
• Passenger: Shenna Ross
• Nurse: Janice Coffey

Production Staff

• Director: Charles W. Maloney
• Producer: Jane B. Wingard
• Stage Manager/Properties: Joanne D. Wilson
• Set Designer/Scenic Artist: Jane B. Wingard
• Scenic Assistants: Bill Bagaria, Gail Bagaria, John Davis, Kurt Gallagher
• Lighting Design: Garrett R. Hyde
• Sound Design: Fred Nelson
• Lighting/Sound Technician: Pete Dursin, Al Chopey, Walter Kleinfelder
• Costume. Coordinator: Jane B. Wingard
• Costume Assistants: Linda Swann, Mary George
• Dresser: Malarie Novotny
• Stage Crew: Cynthia Bentley
• Load In Crew: Garrett Hyde, Pete Dursin, Al Chopey, Walter
• Kleinfelder, Jane Wingard, Joanne Wilson, Duane Rouch, Steve Andrews,
• Bill Davis, Stevie Mangum, Dick Russell, Marty Hayes, Gail Bagaria,
• Bill Bagaria, John Davis, Kurt Gallagher, Cindy Bentley, Fred Bentley
• Publicity: Lynne Wilson, Beth Schultz, Jane Wingard
• Advertising: Debe Tighe, Lynne Wilson
• Webmaster: Lynne Wilson
• House & Box Office Manager: Jane B. Wingard
• Usher Coordinator: Jane B. Wingard
• Reservations: Jane B. Wingard
• Reservations Assistants : Gerry Verrier, Patti Mangum
• Photography: Debe Tighe
• Program: Lynne Wilson

Disclaimer: 2nd Star Productions provided two complimentary media tickets to ShowBizRadio for this review.