Legally Blonde the Musical is a fun adaptation of the light-hearted Reese Witherspoon film that is filled with a catchy score and energetic good times. Riverside Dinner Theatre delivers a solid production; however, it never quite takes off to the level of “WOW.” Most of the elements are strong but stop just short of excellent.

This is especially true for the set. With detailed, beautiful set pieces, such as the Harvard books, set upon an otherwise blank stage with an unlit cyc in the back, it is like they had all the elements right and never quite figured out how to put them all together. There were several times that the set looked bare or just not quite finished, despite nice details in other areas. The lighting didn’t help to solve the issue, as it was also very simple and rarely used to build the location or the mood. Costumes were equally hit or miss. While some pieces were just perfect, ending with Elle in an ill-fitting tweed jacket over a dress that did not scream “fashionista” or even lawyer was a less than ideal choice. Also, when the line talks about Vivienne’s flat shoes, she should be wearing flats. It was, in many ways, a lack of careful attention to minor technical details that keep the production from soaring to the next level.

Julie Baird’s Elle was also almost great. Baird is a fierce dancer, a solid vocalist, and created a consistent character. She definitely reached her zenith in the number “Legally Blonde,” bringing a real depth of emotion to the apparent defeat of her character. Baird just lacked that little something extra special that makes Elle — Elle. It is that charm, that twinkle, which makes you want to watch her every move and become her best friend that is critical to the character. Baird really did everything right, but she just didn’t have that “something more.”

On the other hand, Emily Blair Powers did. Her Paulette is delightful. She is real, funny, charming, and has a beautiful voice. Paulette brought laughter and tears throughout the show. Another fantastic performance came from Emily Turner Marsland (Brooke). She, never for a single second, looked winded as she skillfully and swiftly jumped her way through “Whipped Into Shaped,” so much so that she could freeze solidly without any heavy breathing. She also managed to have excellent vocals throughout the dance and filled the rest of the show with a memorable character. Also great was Jason J. Michael’s Callahan. He was charming, wicked, and sleazy. His “Blood on the Water” was the perfect mix of beautiful vocals and slime. As Enid, Ellie Borzilleri took a smaller role and made it phenomenal. From her impressive vocals in “Harvard Variations” to perfect delivery on one-liners to priceless facial reactions to what was going on around her, Enid became the character to watch.

Supporting roles can be really pivotal. In Legally Blonde, possibly none more so than Margot, Serena, and Pilar. While it is so easy to take the importance of those characters for granted when they are played by exceptional actresses, their true necessity is unfortunately more apparent in their weakness. Martha Johnson (Margot) was not good, and she was the first person that the audience saw and heard. This started the production off needing to overcome a weakness. While Emily Carper and especially Mary Anne Furey were not bad, neither had quite the strength and presence to really make any part of the trio pop. In a few places in the second act, notably “Bend and Snap,” Furey gave glimpses of potential to be stronger with better direction or better counterparts.

Glimpses of greatness were also seen in the solid, but not spectacular, performances of David Pope (Warner), Analisa Wall (Vivienne), and James Bock (Emmett). Pope looked the part, had a beautiful voice, and almost embodied the perfect balance between cocky and charm. Wall was perfectly stiff throughout with a powerhouse voice, but she never mastered the art of showing the subtle subtext that Vivienne is a real person and not just an ice queen. Like his leading lady, Bock was doing almost everything right without ever quite reaching captivating. He also found his best moment in “Legally Blonde.”

This was a good production. The average, non-critical audience member will have a good time. This just wasn’t the flawless, Broadway in Fredericksburg quality that Riverside Dinner Theatre has made a reputation around. It was almost there in so many ways. With minor technical and artistic redirection and regrouping and maybe one recasting, it could still ascend to that level before the end of the run.

Photo Gallery

Photos provided by Riverside Dinner Theater

Disclaimer: Riverside Dinner Theater provided two complimentary media tickets to ShowBizRadio for this review.

In Buffalo, New York, a group of steel workers have been unemployed since the mill closed. Beyond the financial hardships, for each of these men, their identity has been called into question. The Full Monty really explores what makes a man. Beneath a silly, fun story about the possibility of these regular, everyday guys taking off their clothes for money is a heart-warming tale of finding and redefining yourself when the occupation that used to define you is gone. Riverside Dinner Theatre lets this real heart of the story guide, and the result is a genuine portrayal of love mixed with laughter, fun, and shenanigans.

Director Patrick A’Hearn has a clear vision that never allows anything to go over-the-top. He recognizes that keeping things real is the key to great theatre. In a day and age where so many directors take every opportunity to make things as filthy and filled with cheap laughs as possible, A’Hearn tells a story that is classy, tasteful, and filled with family values. In less-skilled hands, this is a script that could have easily been camped up and been made, for lack of a better word, dirty. Instead, the result is the beautiful and simple nuance of letting the men’s stories speak for themselves. Mature teenagers could easily be allowed in the audience, and few are likely to be offended with the way that he chooses to tell this story.

Helping to bring that vision to life is the astounding choreography of Christopher Noffke. It is alternatingly silly and sizzling as the script calls for, but it is never gratuitous. The choreography is also seamlessly highlighted with a beautiful lighting design by Phil Carlucci.

Still, all these stunning technical elements allow the story and six phenomenal performances to be the real heart of the show. At the center is Jerry Lukowski (Jeremiah Zinger). Jerry is struggling to be a father and keep his son, despite his loss of work and the loss of his marriage. Jerry is also an irresponsible schemer who tends to run and hide or take the easy way out. For Jerry, the plan to strip is originally just a get rich quick scheme. Zinger is able to alternate between obnoxious and loveable, providing the audience with a very real man. He also has a fantastic voice and brings it all together to have the audience rolling in “Big Ass Rock” and tearing up in “Breeze Off the River.”

Jerry’s best friend, Dave (Ian Lane) was probably insecure before losing his job, but he is now paralyzed by his self-concept. This leads to a hilarious moment in a bathroom and a beautiful moment in “You Rule My World” as he sings a gorgeous tenor lament to the woman that he so greatly loves and yet feels he does not deserve. Like Jerry and all the other men, Dave ultimately has to realize that he is his own worst antagonist.

The crazy plan that begins with Dave and Jerry grows to include Malcolm (James Bock), Harold (Devon Clark), Ethan (Tommy McNeal), and Horse (Jerrial Young). Each man gives a unique and outstanding performance. Bock brings heart and compassion to the initially hopeless Malcom’s journey to identity and delivers a touching vocal in “You Walk With Me.” Clark’s portrayal is so simple and effortlessly real as the former supervisor who is desperate to keep the wife and life that he loves. McNeal is absolutely hysterical in his pursuit to dance like Donald O’Connor. His character could have easily morphed into a caricature, but McNeal keeps it real and relatable with finesse. Young brings the house down in “Big Black Man” with his dynamite dance moves and infectious energy and then keeps it real as his character’s doubt also come to life. This insanely talented group of six men complement each other and work together so well that it is impossible to select any one performance that stands above the others. They each know when to step out and shine and when to be part of the ensemble.

As if this is not enough to make for an amazing evening at the theatre, enter Sally Struthers. As the, to put it mildly, eccentric pianist Jeanette, Struthers creates a character who is unforgettable. She shows the amazing gift of perfect timing with every line and movement. She is a delightful ball of energy on the stage and commands the entire room during “Jeanette’s Showbiz Number.”

The rest of the supporting cast is equally strong, and each of them takes their moment and lives it to the fullest. Emily Powers shows the deep conflict between past and future in Pam. Katharine Salsbury is full of love and spunk as Georgie. Vilma Gil comes on strong and then shows her tenderness as Vicki. Salsbury and Gil definitely do not disappoint when they reprise “You Rule My World” and show their ability to compete vocally with the men.

A great comedic bit comes in the brief appearance of Jason J. Michael as Reg. The rest of the ensemble is equally good with every line, spoken or sung, that they add to the story. This is truly professional, regional theatre that is both spectacle and subtlety in the exact right balance. You do not want to miss The Full Monty!

Photo Gallery

Photos provided by Riverside Dinner Theater

Cast

• Jerry Lukowski: Jeremiah Zinger
• Nathan Lukowski: Giuseppi Inserra
• Pam Lukowski: Emily Powers
• Teddy Slaughter: James Shimo
• Dave Bukatinsky: Ian Lane
• Georgie Bukatinsky: Katharine Salsbury
• Harold Nichols: Devon Clark
• Vicki Nichols: Vilma Gil
• Malcolm Macgregor: James Bock
• Molly Macgregor: Carol Hagy
• Ethan Girard: Tommy McNeal
• Noah (Horse) T. Simmons: Jerrial Young
• Jeanette Burmeister: Sally Struthers
• Buddy (Keno) Walsh: David Pope
• Reg Willoughby: Jason J. Michael
• Tony Giordano: Christopher Lamb
• Estelle Genovese: Brianne Boyd
• Susan Hershey: Elizabeth C. Butler
• Joanie Lish: Kimberly Knight
• Didi Mclean: Kylie Clark
• Delores Lingenfelter: Stefannie Smith

Instrumentalists

• Conductor/Keyboard I: Scott Richards
• Keyboard II/Bass: Ralph Davis
• Electric Bass: John Buck
• Trumpet: Jim Ford
• Electric Guitar: Casey Klein
• Percussion: David Long
• Percussion: Zach Ware

Technical Personnel

• Producer: Rollin E. Wehman
• Director: Patrick A’Hearn
• Musical Director: Jason J. Michael
• Choreographer: Christopher Noffke
• Scenic Design: Brian C. Barker
• Costume Design/Coordination: Gaye Law
• Technical Director/Lighting Design: Phil Carlucci
• Scenic Artist: Matthew P. Westcott
• Production Manager: Carole Shrader
• Stage Manager: Ben Feindt
• Assistant Stage Manager: Ashton Banks
• Senior Stage Technician: Steve Thompson
• Stage Technicians: Matt Brunhofer, Kevin Cleary, Geoff McPherson, Analisa Wall, Kendric Walpole, David Zimmerman
• Senior Lighting Technician: Nicky Mahon
• Lighting Technician: Kathryn Moncure
• Senior Audio Technician: Joshua Watson
• Wardrobe Supervisor: Gaye Law
• Senior Wardrobe Assistant: Teresa Cundiff
• Costume Master/Wig Stylist: Christopher Hlusko
• Costume Tech Swing: Sally Roehl
• Master Set Carpenter/Welder: Curtis Craddock
• Master Electrician: Nicky Mahon
• Head Rigger: Paul Johannes
• Master Scenic Artist: Matthew Westcott
• Scenic Painter/Set Carpenter: Maria Duke
• Properties Supervisor: Kylie Clark
• Set Dresser: Stefannie Smith

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

Based on a true story, Cheaper by the Dozen tells the story of the Gilbreth family. Their inventor father, who is well-known for bringing better efficiency to factories, keeps his family of twelve children running just as efficiently. This play is told from the point of view of two of his children reflecting on the last few months before his death. He was preparing the family for his eminent departure, but most of his children, like most of the young children in the audience, were unaware of the fact. It is an extremely funny, heart-warming, and family-friendly tale, and the tragic catharsis of the father’s death is beautiful to the adults in the audience, who can understand the euphemisms.

The children in this production were really wonderful. Nine of the Gilbreth children were featured; the other three were babies. Also, two of Anne’s dates appeared in the production. All eleven young people did an excellent job. They had great energy, were in character even when not speaking, and carried the show with professionalism. Catherine LaVally (Ernestine) and Jessica Campbell (Anne) especially stood out in their featured roles.

The adults did not quite have the same sparkle as the children. Roberta Chaves (Mrs. Gilbreth), Tracy DiiBon Coffey (Miss Brill), and Bill Byrnes (Dr. Burton) were all good and fit their characters pleasantly, but it was the children who rightfully stole the show. Bill Mullins (Mr. Gilbreth) was not as strong of an actor as role requires. He used a very artificial “sing-song” voice for his line delivery, and it really missed the mark. Luckily, this was the only major misstep in the production.

The set was beautifully crafted and really set the tone as soon as you walked in the door. The lights were simple but effective. The technical components of the production were clean and well-rehearsed. The costumes were okay for the most part. There were some incongruence with the script (ie: the girls were obviously wearing black nylons not cotton tights), but it didn’t really detract from the overall production.

All together, this was a very enjoyable piece of community theatre that is a nice treat for the whole family.

Cast

• Ernestine: Catherine LaValley
• Frank: Jude Rodriquez
• Mr. Gilbreth: Bill Mullins
• Anne: Jessica Campbell
• Martha: Rachel Mayman
• Jackie: Jack Barrett
• Dan: Arthur Browne
• Lillian: Sydney Maloney
• Fred: Julian Worth
• Bill: Stuart Orloff
• Mrs. Gilbreth: Roberta Chaves
• Mrs. Fitzgerald: Carol Watson
• Dr. Burton: Bill Byrnes
• Joe Scales: Max Sparta
• Miss Brill: Tracy DiiBon Coffey
• Larry: Ben Hyde
• Dog: Shira

Production Team

• Director: Adriana Hardy
• Producer: Jean Matich
• Assisted by: Terry Yates
• Stage Manager: Douglas F Yriart
• Assisted by: Shayne Gardner
• Set Design: John Downing
• Set Dressing: Mike Smith
• Lighting Design: Chris Hardy
• Assisted by: Rich La Valley
• Lighting Board Operator: Bob Zeigler
• Sound Design and Operation: Anna Hawkins, Zack Sanders
• Set Construction and Painting: Bob Zeigler
• Assisted by: John Downing, George Farnsworth, Dick La Porte, Bill Glikbarg, Bernie Gmiter, Shayne Gardner, Cathy Farnsworth, Terry Yates, Linda Stone
• Costume Design: Marianne Brennan
• Hair Makeup: Jean Matich, Terry Yates
• Properties Manager: Ken Kuk
• Backstage Running Crew: Emily Besuden, Mary Renschler
• Publicity: Brent and Linda Stone, Cathy Farnsworth, Tula Pendergrast, Terry Yates, Jennifer Levy
• Photographer: Traci J. Brooks
• House Manager: Columba Hoban
• Webmaster, Playbill: George Farnsworth
• Auditions: Bunny Bonnes, Columba Hoban, Beth Doyle, Summer Donaldson, George and Cathy Farnsworth, Linda Stone, Nick Stone, Tula Pendergrast, Terry Yates

Disclaimer: McLean Community Players provided two complimentary media tickets to ShowBizRadio for this review. MCP also purchased advertising on the ShowBizRadio.net web site, which did not influence this review.

Sister Julia (Child of God) made vichyssoise soup that happened to be tainted with botulism and killed fifty-two of the Sisters of Hoboken. Sister Mary Regina, the Mother Superior, managed to raise funds to bury forty-eight of them but bought a blu-ray player before burying the final four. So, how to raise the funds to get those last four nuns out of the convent freezer and into the ground? A musical fundraiser performance. And, thus, you are brought right into the audience-participatory world of Nunsense. Vienna Theatre Company did a nice of job of bringing life and joy into their production of this fourth-wall-less, interactive farce.

They did a great job of setting the ambience. The audience received separate programs for the fundraiser, and the room was decorated with signs appropriate for the Catholic school auditorium. The set was simply decorated for the school’s production of Grease. They also made use of these large bouncing balls as set pieces. I am not sure of the thought process behind their incorporation, but they were used effectively for various musical numbers. The lights and sound were really high-quality and well-run for being in a community center. The costumes were excellent as well.

All the roles are about the same size, and the five women really worked well as an ensemble in both numbers and scenes. The only issue that they had as an ensemble is that some of the songs involved them telling important or funny information while singing together rather quickly, and, in several of these incidences, the lack of enunciation muffled what seemed like they might be good lines.

The real star of the show was Darcy Geissler as Sister Mary Hubert. She created a consistent and strong character that was as evident in her reactions as in her actions, and her performance of “Holier Than Thou” was one of the best performances of a musical number, vocally and in her ability to sell it, that I have ever seen.

Colleen Sproull, as Sister Robert Anne, also had an amazing voice that was really highlighted in her number, and she had great comedic delivery that was routed in the creation of a very sympathetic character from the Bronx. Occasionally, she had a little trouble completing connecting with the audience while singing, but she gave an overall strong performance.

Jocelyn Steiner’s Sister Mary Amnesia was an excellent and believable character performance. When her vocals were on, as they were for most of her second number, she has a beautiful quality of tone to her voice. Unfortunately, she struggled with pitch, especially when transitioning into her head voice. As Sister Mary Leo, Julie Keyes gave a decent performance. She has a sweet voice and a likeable energy, but she didn’t really stand out.

The most problematic performance came from Janice Zucker as Sister Mary Regina. She pushed so hard for over-the-top for comedic effect that she missed that real comedy comes from creating a complete character. Her performance was not bad, but it was certainly artificial and lackluster compared to rest of the cast that did a much better job of embodying their identities.

Overall, it was a fun and enjoyable production that was presented with a lot more quality and class than you might expect when walking into a non-traditional theater space.

Cast

• Sister Mary Regina: Janice Zucker
• Sister Robert Anne: Colleen Sproull
• Sister Mary Leo: Julie Keyes
• Sister Mary Hubert: Darcey Geissler
• Sister Mary Amnesia: Jocelyn Steiner

Production Team

• Producer: Denise Perrino
• Director: Jessie Roberts
• Music Director: Adam Levowitz
• Stage Manager: Micheal O’Connor
• Accompanists: Scott Cartger, Larry Zimmerman
• Assistant Producer: Gerry Kadonoff
• Sound: Jon Roberts
• Lights: Jay Stein
• Costumes: Judy Whelihan
• Set Construction: John Vasko
• Props/Set Dressing: Barbara Matthews, Mike Smith

Disclaimer: Vienna Theatre Company provided two complimentary media tickets to ShowBizRadio for this review. VTC also purchased advertising on the ShowBizRadio.net web site, which did not influence this review.

Big River is the musical adaptation of Mark Twain’s “The Adventures of Huckleberry Finn” told with a rousing country, blue-grass inspired score. It is a good family musical (although some may be uncomfortable with the realistic portrayal of racist beliefs in the 1840s south) with a great message about looking beneath a person’s exterior. The Lazy Susan Dinner Theatre has created a solid production with a few extraordinary performances that make the show well-worth attending.

Lazy Susan does not have a very large staging area and didn’t seem to have quite the same set budget as some other theaters, but they did an excellent job of creating a simplistic, clean, and functional set for the production. They made really nice of use of sliding scrims. The lighting followed the same pattern of being simple but largely effective. The costumes were very appropriate; however, several of the women’s hairstyles could have used better attention to detail and period appropriateness.

One of my favorite things about Lazy Susan was the return of old-fashioned projection. The actors did not wear microphones and made themselves heard at all times in speaking and in song. It was very refreshing to see the actors fill the room with their voices alone, even when they were competing with Mother Nature creating a very loud storm outside of the theater.

The cast varied greatly in their ability. Many of the actors and actress charged with the supporting and ensemble roles were not very strong. Two notable exceptions, who did stand out in a myriad of smaller roles, were Anthony Williams and Ian David Neville.

On the other hand, most of the principals were exceptional. Stephen Hock’s Huckleberry Finn was charismatic. He had great natural instincts for comedic timing and a beautiful tenor. Kevin Wiggins’ Jim was an excellent counterpart with his beautiful gospel-style vocals and heartfelt simplicity in his character. An absolutely show-stealing performance was given by the amazing Giorgio Mazzarelli as The King. He played an over-the-top character was subtle nuance and finesse. Also, very good was Lyle Blake Smythers as The Duke. Together, the duo made a pair of very entertaining bad guys. As Tom Sawyer and Mary Jane Wilkes, Casey Fero and Dani Stoller respectively gave strong performances and vocals as well.

Overall, these standout performances by the leading actors made the production a definite success. Lazy Susan Dinner Theatre did a good job of putting on an overall entertaining production of a great show.

Cast of Characters:

• Mark Twain: Jeffrey Bryce Davidson
• Huckleberry Finn: Stephen Hock
• Widow Douglas: Cathy Kidwell
• Miss Watson: Amy Wolf
• Jim: Kevin Wiggins
• Tom Sawyer: Casey Fero
• Ben Rodgers: Anthony Williams
• Jo Harper: Ian David Neville
• Simon: Michael Shields
• Dick: Daniel Reip
• Pap Finn: Hans Bachmann/Eric Trumbull
• Judge Thatcher: James Howard
• Strange Woman: Amy Wolf
• The King: Giorgio Mazzarelli
• The Duke: Lyle Blake Smythers
• Hank: Daniel Reip
• Andi: Amanda Spellman
• Lafe: Ian David Neville
• A Young Fool: Ian David Neville
• Mary Jane Wilkes: Dani Stoller
• Susan Wilkes: Amy Wolf
• Joanna Wilkes: Amanda Spellman
• Counselor Robinson: Jeffrey Bryce Davidson
• Alice, the Wilkes’ Slave: Diane Pollock
• Alice’s Son: Michael Shields
• Sheriff Bell: Daniel Reip
• Harvey Wilkes: James Howard
• Sally Phelps: Cathy Kidwell
• Silas Phelps: James Howard
• Doctor: Jeffrey Bryce Davidson
• Hired Hands: Ian David Neville, Daniel Reip
• Male Swing: Aaron Richardson, Christopher Shaw
• Female Swing: Ann Davis, Mira Demirkan

Production Staff

• Produced by Harold E. Gates & Glenn D. Gates
• Director: Jeffrey Davis
• Stage Manager: George Rouse
• Choreographer: Kathleen McCormack
• Lighting Designer: Jeanne Forbes
• Musical Director: Rosie Dyer
• Costumers: Jennifer M. Pelath & Reggie M. Eusebio
• Set Construction: Eric Redmond, Philip Viar
• Scenic Painting/Set Dressing: Karol Kaldenbach, Linda Shaw
• Technical Staff: Aaron Forbes, Jeanne Forbes, Jesse Forbes, Gregory Lee

Disclaimer: Lazy Susan Dinner Theatre provided two complimentary media tickets to ShowBizRadio for this review.

42nd Street tells the story of a Depression-Era mounting of a new Broadway production called “Pretty Lady.” It centers on young Peggy Sawyer from Allentown, PA, who is looking for her first big break. It shows the good and bad behind the scenes. Mostly, the plot is simple, and the scenes are relatively short. The songs are cute and catchy but not the real challenge of the show. It boils down to one thing when you mount a production of 42nd Street: Tap. If the tap is extraordinary, nothing else matters. If that tap falls short, nothing else matters. Luckily for The Arlington Players (serendipitously acronymed TAP), although there are a few minor issues with other aspects of the production, the choreography and tap dancing is phenomenal, and that alone makes this show well worth seeing.

From the opening number with the scrim rising to reveal twenty-six feet tapping in perfect unison to the closing bows and more synchronized tap shoes, the choreography was brilliant. Director and Choreographer John Monnett explained in the program that he is “known for [his] work combining props and/or sets into intricate formations of dancers.” When you make bold promises in your Director’s Note, you had better be ready to back that up. Monnett certainly was. One notable example was the use of ribbons and shadows through the scrim to create incredible and also humorous choreography during “Shadow Waltz.” Another excellent example was the use of large dimes that turned into platforms during “We’re In the Money.” Those are just two examples of the amazing choreography in this show that continually found new and different ways to showcase the dancers in each number. This could also not have been done without the incredibly skilled dancers that performed every single number in perfect unison and with excellent showmanship.

Another star of the show was the sets. Rotating pieces that were wheeled in and out reconfigured into many different and beautiful backgrounds. Each set was full of color and details and was in perfect sync with the mood and choreography of the scene. Costumes and props were also period-appropriate and beautiful. Whether they actually had it or not, The Arlington Players made the entire production look like they were working with a Broadway-sized budget.

Also adding to the amazing production numbers was an absolutely incredible orchestra. When the overture started, they were so very good that I almost thought they were using canned music until I saw heads poking out from the pit. An excellent sound team also kept perfect balance between the orchestra and the performers without any feedback.

Compared to the choreography, the vocals, which were very good, were not the star of the production numbers. The acting fell a fairly distant third and was not really the strength of most of the performers, but, when you are casting this particular show, you have to cast dancers first and foremost. The performers were good enough that they were able to carry the scenes on to the next dance number. The notable exceptions were Jolene Vettese (Maggie Jones), Jack Stein (Bert Berry), and Patrick McMahan (Pat Denning) who were very strong as actors. The other principals made up for any acting deficits with great looks for the roles, strong vocals, and amazing dance ability.

The lighting was also very good, although there were a few snafus in the running. A major problem occurred when the lights were turned off before the last line in a scene. As soon as the actor started speaking the last line, lights realized their error and turned back on for the rest of the line and then back off. If the lights had remained off, the audience would have assumed that the director had intended for the line to be said in the dark. By turning back on, they let the audience in on the fact that they had made an error. In an otherwise clean and seamless production, the lights were just below the standard set by the other areas of production.

None of it really matters though. The choreography was some of the best that I have ever seen, and they had the dancers to bring it to beautiful, amazing life. This show is all about the tap, and The Arlington Player’s tap is so very, very good that everyone and anyone who can should go and see this production.

Photo Gallery

Photos by Michael deBlois

Cast

• Peggy Sawyer (young, talented & hopeful): Erin Ryan
• Dorothy Brock (a Broadway Star): Jean Cantrell
• Julian Marsh (Director, “Pretty Lady”): Harv Lester
• Billy Lawlor (Juvenile lead, “Pretty Lady”): Tim Adams
• Andy Lee (Dance Director): Duane Monahan
• Maggie Jones (Co-author, “Pretty Lady”): Jolene Vettese
• Bert Barry (Co-author, “Pretty Lady”): Jack Stein
• Pat Denning (Dorothy’s former Vaudeville partner): Patrick McMahan
• Abner Dillon (“Angel” for “Pretty Lady”): Dave Moretti
• Ann Reilly (Anytime Annie) (sub-principal, “Pretty Lady”): Marla McClure
• Phyllis Dale (a chorus girl): Reeny Eul
• Lorraine Flemming (a chorus girl): Amy Cropper
• Ensemble (the company of “Pretty Lady”): Wesley Allen, Elizabeth Appleton, Sean Cator, Grace Cunningham, Devin Dasbach, Ashleigh de la Torre, Mario Font, Mark Hidalgo, Eliza Jane, Sally Kiernan, Carmen McClaskey, Lindsey McClenathan, Danny McKay, Don Michael Mendoza, Sam Nystrom, Claire O’Brien, Cathy Oh, Maureen Reed, Karen Toth, KC Tydgat, Mike Usowski, Joseph Wilson & Erica Wisniewski

Creative and Technical Design Team

• Producer: Irene Molnar
• Director & Choreographer: John Monnett
• Music Director: John-Michael d’Haviland
• Conductor: Leah Kocsis
• Stage Manager: Terri Carnahan
• Technical Director: Scott Drew
• Set Design: Christopher Smith
• Set Painting: Russell Kopp
• Set Dressing & Properties: Kristin Visaggio
• Lighting Design: Ryan Desmond
• Sound Design: Keith Bell
• Costume Design: Kara McCall-Desmond

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

The Fantasticks, the longest-running Off-Broadway musical, tells the allegorical tale of two young neighbors in love who are separated by the wall that their fathers have built between them. Unbeknownst to them, the wall is a plot by their fathers to trick them into falling in love. The fathers proceed to hire El Gallo and his band of players to stage an abduction and rescue in order to put an end to the “feud.” Of course, that happy ending is only the end of Act One. All things considered, Rockville Musical Theatre provided a solid production.

Chad Wheeler was extremely good as El Gallo. He had excellent stage presence, just the right amount of both villain and hero, and truly incredible vocals. As the young lovers, Sarah Lasko and Carl Williams did a nice job. Lasko was delightful with her impeccable comedic timing and gorgeous voice that sailed easily between her lower and higher register. Williams came across as a little more green but with strong potential. He had a nice voice and some good delivery. The parents, played by Celia Blitzer and Gary Carl Fackenthall, were absolutely delightful. Both created very distinct characters and had very strong voices. As Henry, J. Christopher Penick was one of the best things in the show. He had a very natural way with humor. Jack P. Wassell (Mortimer), on the other hand, seemed to push a little too hard for his comedic moments. Janice Sierra did a lovely job as The Mute. She made herself a vibrant and interesting part of the ensemble without ever saying a word.

The choreography and staging were very simplistic, as is often necessary on such a small stage, and mostly effective. There were a few times when scenes or numbers became a little too static, while there were other times that the simplicity was perfect. The set and properties were very simple, as the show is traditionally done, and very effective. Care was obviously taken with each detail.

There were some real issues with lighting: characters were sometimes in the dark or there were awkward shadows. Lighting aside, The Fantasticks proved to be a very enjoyable production.

Photo Gallery

Photos by Elli Swink

The Cast

• El Gallo: Chad Wheeler
• Luisa: Sarah Lasko
• Matt: Carl Williams
• Bellomy: Celia Blitzer
• Hucklebee: Gary Carl Fackenthall
• Henry: J. Christopher Penick
• Mortimer: Jack P. Wassell
• The Mute: Janice Sierra

Artistic & Production Team

• Director/Choreographer: Alden Michels
• Producer: Jim Eustice
• Stage Manager: Rachel Styles
• Musical Director: Benjamin Young
• Vocal Director: Rachel Carlson
• Set Designer/Construction: Lauren L. Evans
• Lighting Design: Rick Swink
• Costume Design: Celia Blitzer
• Properties Team: Nancy McLaughlin, Sonia Tavitian, Christal Taylor
• Production Consultant: Toni Goldberg

Orchestra

• Piano: Benjamin Young
• Harp: Wendy E. Willis
• Percussion: Jeff Albo

Disclaimer: Rockville Musical Theatre provided two complimentary media tickets to ShowBizRadio for this review. RMT also purchased advertising on the ShowBizRadio.net web site, which did not influence this review

Believe it or not, The Best Little Whorehouse in Texas is based on actual events that occurred in the 1970s in Texas, when the television media exposed that there was a still-operating whorehouse in Texas, The Chicken Ranch. While the musical takes creative liberties, it raises the real question of whether the movement to close this ranch was actually for the better or worse. The proprietor (don’t call her a “madam”) takes good care of her employees, including health benefits; donates regularly to her community, and treats her girls and their “guests” with respect. Obviously, this production is not for everyone. There is some minimal language usage, very brief partial nudity, and a controversial subject matter. However, if you can handle a little controversy, then you should definitely make the time to see this incredible production with an incredibly catchy score (“Hard Candy Christmas” is guaranteed to be stuck in your head for days). Riverside Dinner Theater, once again, demonstrates that their high-quality, professional-caliber productions make them one of the best places to see productions in the DC Metro area.

The head of the Chicken Ranch, Miss Mona Stangley is portrayed by Kathy Halenda, and her performance is truly brilliant beyond words. This woman could take her place among the great divas of the Broadway stage. Her vocals were powerful, touching, and hauntingly beautiful. She commands the stage and every member of the cast and audience without ever over-acting or reaching to create that response. She is able to maintain a feeling of high-energy, while playing a character who is calm, cool, and gracefully strong. She has one monologue about where she was when Kennedy was assassinated that was so touching. Her timing is excellent, and she really becomes this woman. In the last scene, even when she doesn’t say much, you can tell exactly what she is thinking and feeling even in her silences. All of this leads up to her performance of “The Bus from Amarillo,” which in the last moments, shows that, just when you think she and the production couldn’t get any better, they do.

The other incredible standout performance in the production came from Sheri Hayden as Doatsey Mae. In just two scenes, she created a likeable and believable character, and her performance of “Doatsey Mae” was outstanding. She has a voice that is so sweet and warm that you are absolutely memorized. All of the other women were truly outstanding as well. In “Hard Candy Christmas,” each of the women finally gets a chance to show off her incredible voice. Each of the women also do a great job of creating her own little character throughout the piece. Especially enjoyable are Sarah Pruden as Angel, Brittnie Worley as Shy, and Andrea Kahane as Ginger. Kimberly Knight’s Jewel is very good, and she really gets to strut her stuff in “Twenty-Four Hours of Lovin’.”

The men are not quite as strong as the women, but, then again, it is really the female characters that run the show in this production. This is not to say, however, that the men are not very, very good. They are very, very good; these women just set the bar incredibly high. Sheriff Ed Earl Dodd was portrayed by Chris Gillespie. Throughout I wanted to see a little more depth from him, and there was a glimpse of that during “Good Old Girl.” Although, in the end, it may have just been that there is not much depth to Sheriff Ed Earl Dodd. He gave a solid performance and has a lovely voice. The other men also gave solid performances. The male ensemble especially wowed with their choreography during “The Aggie Song.” Robert L. Nelson was quite enjoyable as the Governor in his number “The Sidestep.”

The set and the costumes were detailed, appropriate, and professional. The lighting was actually a complete design that created moods and enhanced the choreography. Riverside does not forget the power of really using lighting as something more than making the stage visible. There was an especially neat moment when all the lights were black, and flashlights were used. The choreography was incredible. Each number had a unique style and was creative. The cast was so well-prepared that no one missed a step.

Sometimes, the best compliment you can give a Director is that his or her presence was unseen. When something doesn’t flow or work, that is when we see the Director in the cracks between the flaws. When a production is a little too over-rehearsed and mechanical, we see the Director’s too-heavy grip. However, when the Director has best done his or her job, we see something that feels so natural and spontaneous that the Director just disappears from view. Patrick A’Hearn is almost never visible in this production. The only slight critique that I have is the decision to add “I Will Always Love You” at the end. A’Hearn explained that it was because of audiences expecting to hear the song since it had been added in the movie. However, I think the script is stronger and the character of Miss Mona is consistent if she never actually says those words and “The Bus from Amarillo” remains the end. I think A’Hearn could have trusted that his production and cast were so good that the audience would forget about expecting to hear “I Will Always Love You.”

The bottom line is: “Texas Has a Whorehouse in It,” and you need to hurry and see it before time runs out.

Photo Gallery

Photos provided by Riverside Dinner Theater

Disclaimer: Riverside Dinner Theater provided two complimentary media tickets to ShowBizRadio for this review.

Company is a concept musical that revolves around Robert on his 35th birthday. He is surrounded in a very surreal scene by his closest friends: five different married couples. The rest of the show is a series of vignettes, in no particular chronological order, of Robert with his married couple friends and with three different girlfriends. This is an intensely complex script and score. To really even begin to get to the heart of what is being said by this piece takes an intense conversation reminiscent of college lit classes. It is, like most Sondheim, an extremely difficult score that calls for wide ranges and intricate harmonies. The characters are also multi-layered, and it takes a lot of picking away at those layers to decide if you even like them.

While a lot of talent and promise was indeed evident amongst the cast and production team of Colonial Players of Annapolis’ attempt at this production, it ultimately proved to be more of a challenge than they were ready to meet. The harmonies were all over the place, many of the soloists were not up to the difficult songs, most of the characters came across as caricatures that played for laughs rather than complex simulations of real people, the staging was awkward at best, and the overall look and feel of the scenic and costume design simply missed the mark. It is a shame, because the decent voices and caricatures would have worked just fine and been enjoyable in a less-complex, traditional musical comedy.

Robert was played by John Halmi. Although he did have beautiful vocals and the strongest voice in the production, his performance was lackluster. He did not convey enough heart to make his performance believable or to make the audience really care about Robert and his journey. He was not the emotional center that the piece needed.

The first of his couple friends were Harry (Rick Long) and Sarah (Emily Sergo). These two were very artificial and their scene was very rushed. While they achieved some cheap laughs, they ran over the lines that contained the real “high comedy” of the script. Long also seemed to struggle with vocals throughout the show; although, Sergo had a very trained and powerful soprano.

The next couple was Peter (Tobias Young) and Susan (Susannah Hurlburt). Hurlburt was largely unmemorable in her role. Young, on the other hand, completely missed the mark with Peter. There is a scene, which should be shocking (so I won’t reveal the spoiler here); however, Young played the character in such a way that the reveal was expected and not remotely surprising.

Couple number three was Jennie (Shannon Benil) and David (James Schwallenburg). This was the most entertaining of the scenes, and Benil and Schwallenburg came, by far, the closest to creating realistic and deep characterizations.

The fourth couple was Amy (Jamie Miller) and Paul (Trent Goldsmith). Miller managed to do a decent job of maintaining very difficult vocals in “Getting Married Today.” She is obviously excellent at playing over-the-top comedy, but it would have been nice to see a little more restraint and complexity with Amy. Goldsmith, on the other hand, came across as very real and was probably the only person in the cast who never seemed like he was “acting.”

Lastly, there was Joanne (Margaret Allman) and Larry (Vince van Joolen). Although this couple looked the parts more than any of the other performers, their performances were some of the most disappointing. The couple was very artificial. The biggest issue was that Allman does not have anywhere near the vocal chops to handle this score and her attempt at the iconic “Ladies Who Lunch” was the absolute low point of the evening.

Rounding out the cast were Robert’s three girlfriends: April (Bridget Creel), Kathy (Monica Garcia), and Marta (Laurie Lawrence). None of the women made any emotional connection with Robert or the audience, and, like most of the cast, they created caricatures and lines sounded false and forced. Vocals were not much better. Creel suffered from horrible pitch issues during “Barcelona,” and Lawrence growled her way through “Another Hundred People.” At least, Creel and Garcia looked their parts. Lawrence looked like an inappropriate “cougar” in the role of Marta.

Another big problem with the production was the staging. The director seemed to lack understanding of how to effectively stage for theater in the round. The orchestra was placed in the center of the stage. There were several times when action was completely blocked by the orchestra. For instance, from where I was seated I could not see most of Harry and Sarah’s karate battle because of the orchestra. There were also other times when I could not see most of the stage, because my view was blocked by the back side of one actor or another. Also, there were times when an actor would be facing the audience on the far side of the stage and it was difficult to still hear him or her. Much of the problems were a result of the placement of the orchestra. Instead of the cast playing from the center out to the audience, they were playing from around the edges. Theatre in the round can be very effective when mastered, but, in this production, its use was largely problematic.

What was wrong with the set and costumes was the issue that was extended into many of the characterizations. Sondheim is often quoted as explaining that Company is about “upper-middle class people with upper-middle class problems.” Nothing about the set or most of the costumes felt “upper-middle class.” The ensemble of Company is essentially intended to be the same demographic as the modern-day Sex in the City. However, there was no upper-middle class New York metropolitan opulence or sophistication represented in this production. The lighting was functional but largely unremarkable. It was not really well-utilized to create an atmosphere or mood.

There were also a few mind-boggling little issues with the production. The cake and the candles are a huge part of the symbolism of the show, and the blowing out of the candles is referenced and simulated several times. Not having candles on the cake was a hugely distracting misstep. Another weird problem was right at the beginning of the show and, in many ways, set the tone for the lack of consistent attention to detail. In the original, Robert is listening to messages on an old-fashioned answering machine. Therefore, between the messages are the tell-tale beeps. In this production, although Robert now listened to the messages on a cell phone, the beeps were still utilized. He should have either used an answering machine, albeit slightly archaic, or the beeps should have been replaced with a simulation of modern cell phone messages (“To delete this message, press 7”).

There is little doubt that there were a lot of talented people involved in this production; unfortunately, most Sondheim, Company in particular, requires a higher-level of talent than your average community theater can really pull together. This appeared to be a good community theater in general, but good community theater is not good enough for Company.

Cast

• Joanne: Margaret Allman
• Jennie: Shannon Benil
• April: Bridget Creel
• Kathy: Monica Garcia
• Paul: Trent Goldsmith
• Robert: John Halmi
• Susan: Susannah Hurlburt
• Harry: Rick Long
• Amy: Jamie Miller
• Marta: Laurie (Nettles) Lawrence
• David: James Schwallenburg
• Sarah: Emily Sergo
• Larry: Vince van Joolen
• Tobias Young: Peter

Production Staff

• Director: Joe Thompson
• Musical Director: Ryan Shookman
• Producer: Tom Stuckey
• Stage Manager: Susie Collins
• Assistant Stage Manager: Mark Schaefer
• Stage Crew: Charlie Carwile
• Choreography: Natasha Joyce
• Fight Choreography: Richard Koster
• Set Design: Edd Miller
• Lead Carpenter: Dick Whaley
• Carpenters: Lee Craft, Norm James, Jim Robinson, Ted Yablonski
• Set Painting: Edd Miller, Tom Stuckey
• Lighting Design: Harvey Hack
• Assistant Lighting Design: Jennifer Parris
• Lighting Assistants: Terry Averil, Lyndon Bray, Charlie Carwile, Joe Feibel, Mary Koster, Richard Koster, Jay Nispel, Heather Quinn, Danny Robinson, Tom Stuckey, Beverly Hill van Joolen
• Sound Design: Martin Thompson
• Lighting/Sound Technicians: Debbie Hall, Joan Hamilton, Tom Stuckey
• Costume Design: Kaelynn Miller
• Properties Design: Cornelia Watson
• Properties Assistant: Ken Watson
• Technical Director: Wed Bedsworth
• Technical Consultant: Bob Foery
• Pianist: Ryan Shookman
• Cellist: Katie Chambers
• Dance Captains: Monica Garcia, Emily Sergio
• Production Consultant: Richard Koster
• Play Consultant: Darice Clewell
• Playbill/Poster Design: Jim Gallagher
• Photography: Colburn Images
• Program Editor: Tom Stuckey
• Lobby Display: Jason Vaughan

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

If You Give a Cat a Cupcake is yet another offering of exceptional Children’s Theatre from Adventure Theatre. Once again, they take a simple, beloved children’s book and bring it to life with a great cast and production team. The audience, adults and children alike, could not stop laughing as Eddie, the cat, took Emily, his owner, on a wild adventure from the kitchen to the beach to the gym to the park to the museum. Throw in a boat ride, swinging on monkey vines, and a little bit of opera, and you have sheer magic.

The set was beautiful and simple. It turned and easily represented each of the various locales. Each locale was also filled with larger-than-life props, including over-sized cupcakes to eat, an over-sized vacuum that tried to eat Emily, and the most disgustingly awesome over-sized hairball. The only complaint with the props and staging was that there were over-sized sprinkles left on the floor after the first scene that remained even as locales changed. A few seconds to better sweep the sprinkles would have kept the more discerning eyes from being distracted by them throughout. Still, I am sure the young audience members were so captivated that they didn’t mind.

Both Branda Lock (Emily) and Eddie (Linden Tailor) were excellent. They kept their energy high and really connected with the audience. They also had ample opportunity to show off their incredible range of talents, including Lock’s stunning operatic soprano and Tailor’s nimble gymnastic skills. Tailor also did an excellent job of truly embodying a cat in his movements and mannerisms, and Lock was aptly childlike.

If you are looking for a great way to spend an afternoon with young people, you should definitely get tickets to Adventure Theater’s If You Give a Cat a Cupcake. The only disclaimer I would give is that, in the early part of the show, there was a lot of yelping and chasing, as Eddie tried to avoid hairball medicine, and several of the youngest patrons became upset and had to be taken out. So, only bring children under three if they are not easily startled by loud noises.

Cast

• Emily: Branda Lock
• Eddie: Linden Tailor

Production

• Director: Jerry Whiddon
• Playwright: Renee Calarco
• Assistant Director: Jason Schlafstein
• Costume Design: Kathleen Geldard
• Lighting Design: Jason Arnold
• Scenic Designer: Hannah J. Crowell
• Sound Designer: Neil McFadden
• Props Designer: Andrea “Dre” Moore
• Movement Coach & Choreographer: Karin Abromaitis
• Stage Manager: Ryan Maxwell
• Scenic Artist: Sasha Goldstein

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