Some stories capture audience’s hearts from the moments they are first performed. They strike a deep chord with people either through their comedy or tragedy. And while time may show in their customs or conventions, audiences still rush to see these perennial plays. However, some shows do not hold up so well. Times change, and so with technology and cultural advancement opinions change as well. While most shows in William Shakespeare’s canon are considered pluperfect, this may not always be the case with modern audiences. Castaway Repertory Theatre’s production of The Taming of The Shrew shows the audience many flaws in the script, as well as in the overall production.

Audiences all over the world are well acquainted with the premise of The Taming of the Shrew, as it has been the basis for other dramatic works. A wealthy man, Baptista Minola, refuses to allow his beautiful daughter, Bianca, to be wed until her older sister, Kate, is married first. The problem is that the older sister is violent and disagreeable. Men who want to marry the fair sister collude to attempt to see the terrible elder sister married off. Then in the usual Shakespearean comedy style, there are disguises and mistakes. Conveniently a greedy man shows up who is willing to take the miserable woman to gain money. One of the most disturbing things about watching this play as a modern audience is the treatment of women. Far worse then the fact Kate is handed over like a piece of property is the way that she is abused and degraded in the name of comedy. This version of The Taming of the Shrew is set in a circus, but it doesn’t add anything to the ease or understanding of the characters. The carnival atmosphere and clown paint only further add to the uncomfortable objective of breaking a person’s will.

The acting performances in this show are strong, but the actors are at a disadvantage to the gimmicks. Oftentimes, there were many actors onstage, some of whom were acting and some who were performing circus tricks. There were moments where plot and character development take place with juggling and splits happening just behind those who were speaking. It was very hard to find and maintain the focus. There were also several times when actors played objects and animals such as trees and birds. The problem with this was that with their “regular” costumes visible and their interaction with characters, it was hard to tell if they were the trees, or if they were people pretending to be trees. In another scene, a woman portrayed a cat that was merely a cat. It’s very confusing when there are already people in costumes acting strangely, then putting on more costumes and acting stranger.

Nathan Clark delivered a solid performance as Baptista Minola the patriarch of the two daughters. Aimee Snow and Ian Wade as the play’s main couple of Pretuchio and Katharina were very bold and energetic with their characterizations that heightened the difficult nature of their respective characters. However, the aggression of their physical interactions was very forced and uncomfortable. Fred Lash and Joshua Jarrett also made a strong impression as suitors hoping to woo the fair Bianca. Sallie Willows and Penny McKee proved that women could do a wonderful job at playing men in Shakespeare’s work, which was an interesting twist. The character of Biondello, played by Zach Fletcher was most distracting. Whenever he was onstage, there were so many distractions swirling about from his clowning that it was difficult to remember other dialogue was happening, let alone follow it. He also delivered his lines with a very shrill singsong quality, which made him hard to understand.

The technical elements of the show were lovely in some aspects and a problem in others. The set, which consisted of a circus tent and some posters, was lovely and a nice depiction of a circus. Although it was very difficult to tell when the scene moved because such an informing piece of the set remained in place even when the scene was supposed to be at various locations. The props were adequate except for a piece of corn that made a very loud clank whenever it was thrown. For the most part the circus costumes were cute as such, but they didn’t always help understand the character. Petruchio’s lion tamer costume did visually educate about his character. But Bianca’s costume was dreadful; it was unattractive and ill fitting. It was also difficult to tell what kind of act she did in the circus- belly dancer, maybe? As she was Baptista’s beloved daughter, it’s hard to imagine that she wouldn’t have a lovely, flattering garment. The music used in the show was taken from the film Ratatouille, sounded very French and didn’t reflect the mood of an Italian circus. Something that served a huge distraction was the fact that everyone wore clown makeup. It was difficult to understand what the reason for all the cast wearing it was. For example, the makeup worn by Katharina and Bianca was very unflattering at many angles and Bianca’s makeup, with all the dots, appeared to be fish scales. When the characters step onstage and begin to speak it’s very difficult to listen to and process dialogue, which is spoken in a different version of English than is spoken today. Then, when the audience must try to process why makeup looks like pox marks or fish scales and what that is supposed to inform them of, the act of discernment becomes tedious. And then, trying to understand why the ringmaster and even businessmen are in clown makeup is more difficult still. In trying to be influenced by clowns and perhaps even Commedia dell Arte the play only succeeds in giving the audience more stimuli not more answers.

While Castaway Repertory Theatre’s version of The Taming of the Shrew gives a good effort to creating a circus like atmosphere it is often confusing. Even though several in the cast give ardent and well-shaped renderings of characters, it only adds to the confusion of understanding this outdated work. Is life a circus? Is abuse funny? The Taming of the Shrew is an occasionally charming and often bewildering take on a classic Shakespearean comedy that begs the question “is this show still relevant as a comedy?”

Photo Gallery

Kate (Aimee Snow) & Petruchio (Ian Wade)	Zona (Debra Ovall)
Cherry (Xandra Weaver)	Bianca (Mari Davis), Lucentio (Chaz Pando), Cat (Samantha Reau)

Photos by Jim Jenkins

The Players

• Lucentio: Chaz Pando
• Tranio: Joshn Bartosch
• Biondello: Zach Fletcher
• Baptista Minola: Nathan Clark
• Katharina Minola: Aimee Snow
• Bianca Minola: Mari Davis
• Gremio: Fred Lash
• Hortensio: Joshua Jarrett
• Petruchio: Ian Wade
• Grumio: Darren Marquadt
• Pendant: Sallie Willows
• Vincentio: Penny McKee
• Widow: Remeja Thompson
• Cherry/ Wedding & Party Guest/ Curtis/ Tree: Xandra Weaver
• Pinoccchio/ Priest/ Gregory/Tree : Don Wilson
• Roxie/ Cat/ Wedding Guest/ Waiter/ Tailor/ Tree: Samantha Reau
• Boots/Wedding Guest/Sugarsop/Haberdasher/Tree: Andrew Buning
• Formio/ Wedding Guest/ Nathaniel/ Tree/ Officer: Gavin Tameris
• Gerbil/ Wedding Guest/ Adam/ Tree: Kirsten Burt
• Zona/Wedding Guest/ Ralph / Tree: Debra Ovall

Production Team

• Producer, Director: Katherine Bisulca
• Assistant Director: Leslie Anne Ross
• Stage Manager: Laura Clark
• Set Design/ Construction: Scott Keller
• Set Painting: Gavin Tameris, Katherine Bisulca, Laura Clark, Leslie Anne Ross
• Costume Design/Construction: Leslie Ann Ross, Sabrina Chandler, Claudia Tameris
• Hair/Makeup Design: Shelia Hyman, Shemika Barry
• Lighting Design: Jarret Baker
• Light Board Operator: Katre Ka M. Goins-Williams
• Sound Design: Mike Clark
• Music Deisgn: Katherine Bisulca
• Sound Board Operator: Stephen Bisulca
• Props: Anna Reed, Pat Jannell
• Prop Runner: Pat Jannell, Shelia Abbot, Elizabeth Huguley
• Fight Choreography: Kevin Robertson
• Clown Training: Pat Jannell
• Publicity: Don Wilson, Troy Caver
• Cover/Flyer Art: Josh McGuin
• Programs, Flyers, Postcards: Karla Carias
• Front of House: Kathryn Sahlberg, Zina Bleck, volunteers
• Set Posters: Fran Rauch

Disclaimer: Castaway Repertory Theatre provided two complimentary media tickets to ShowBizRadio for this review. ShowBizRadio editors Mike & Laura Clark were also involved with this production, as sound designer and stage manager respectively, which did not influence this review.

Everyone who has ever taken an acting class can agree that it’s a memorable experience. Whether it’s remembered as a valuable, enlightening experience, a nightmare or even a simple annoyance, people remember it. Vienna Theatre Company’s performance of Circle Mirror Transformation tries to involve the audience, but often just gives enough information to interest not satisfy.

Circle Mirror Transformation by Annie Baker tells the story a small town community center maven and her first adult theatre class. Marty and her four pupils set forth to journey together for six weeks and learn about acting. There are several major problems with the script. Many times, small sideline stories are introduced and mentioned several times never to be resolved, or even developed. Also, many of the class days are broken up into 3 or 4 pieces separated by blackouts. It often gives the audience the feeling they are missing something crucial, only to be reintroduced and view the mundane. Another problem is the acting games. This script is littered with many acting games and exercises: counting and lying in a circle, telling someone else’s story, recreating rooms with people as objects and many others. In most cases, these games don’t lead the audience to any deeper understanding of the character. In the cases where the games do further a measure of character development, the dialogue that follows muddies the growth.

With such a difficult and unfulfilling script, the actors are at a clear disadvantage in this piece, but a couple of actors managed to make standout performances. Rebecca Lenehan is absolutely wonderful as Marty, the teacher of the class. Her energy, range and commitment make the character the most lovely and real part of the show. Camille Gilbert also turns in a good performance as the class’s youngest student, sixteen-year-old Lauren. Even though the character is weighted with typical teenage angst, Gilbert gives the part the personality to keep the audience interested. Gilbert especially shines in the moments of softness as she shares more with her classmates. Jon Roberts gave a fine a performance as James, Marty’s husband. Tom Flatt’s performance as Schultz seemed to be a little unfocused. While it was easy to understand Schultz’s basic desires, both the script and Flatt seemed to lack the development of the more sensitive and artistic sides of his character. The character that was most problematic was Theresa. Shannon Benton played her with a lot of energy but often it was too much. There was so much pacing, weight shifting, eye rolling, hair tucking, shirt pulling down, pants pulling up, tongue sticking out and other ticks that watching her was very uncomfortable. She was so jumpy and unrestrained. That quality made it seem very unlikely that she was a 35-year-old woman who had acted in New York. While not everyone who tries to become an actress succeeds, it’s certainly difficult to imagine someone, somewhere wouldn’t have tried to at least remove some of her physical ticks while performing. When the character wasn’t performing, Benton still seemed agitated.

The technical elements of the show were fine. The projector helped the audience keep track of what class it was, and understand when the shifts occurred. The music used in the preshow and intermission helped create a mood of self-reflection. The set is fine, as it does resemble an acting studio. Working with mirrors onstage is extremely difficult. While the angle of the mirrors was smartly placed, the funhouse distortion of the mirrors occasionally distracted from characters reactions. The props were excellent and believable. The costumes of the show had a few problems. Theresa’s clothes were always seemingly somewhat ill fitting with too short tops. Schultz claimed to be 48 but wore a variety of very young band t-shirts that would seem better suited to someone much younger. The garments worn by Marty, James and Lauren all seemed very believable.

Director Jessie Roberts’ production seems to suffer the most from a script perspective. The cast tries. The technical elements help the audience understand these characters and this world. Even though much effort is made by all involved in the end Circle Mirror Transformation is an unsatisfying experience.

Photo Gallery

Photos provided by Vienna Theatre Company

Cast

• Schultz: Tom Flatt
• James: Jon Roberts
• Marty : Rebecca Lenehan
• Lauren: Camille Gilbert
• Theresa: Shannon Benton

Production Staff

• Producer: Suzanne Maloney
• Asst Producer: Laura Fargotstein
• Director: Jessie Roberts
• Stage Manager: Ben Allen
• Asst Stage Manager: Laura Moody
• Set Designer: John Vasko
• Lighting Designer: Chris Hardy
• Sound Designer: Jon Roberts
• Costume Designer: Judy Whelihan
• Set Construction Crew: Ben Allen, Tom Flatt, Suzanne Maloney, Ken Perkowski, Jon Roberts, John Vasko
• Master Electrician: Tom Epps
• Light Board Operators: Iris Chan, Erin Becker, Bill Mullins, Ken Perkowski, Michael Scwandt
• Sound Board Operators: Laura Fargotstein, Jocelyn Steiner, Eric Storck
• Photographer: Harold Bonacquist

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.

The 1960’s in America is one of the most popular places to look for nostalgia. People love remembering the crazy hair and fashions. They love the pop music that made the decade shine. But the 60s were also a time of struggle. The Cold War was still going strong and racial injustice was prevalent in society. Hairspray, based on the film of the same name by John Waters, tells the story of Tracy Turnblad, an overweight Baltimore teen who dreams of dancing on television. In Tracy’s journey to be accepted for being herself she discovers that there are others who also long for the freedom to be themselves. If this all sounds too serious, rest assured that it isn’t. It’s a story told with lovely compassion, but it’s still a big, fun musical. The infectious music by March Shaiman with its humorous lyrics by Scott Wittman and Shaiman, paint a happy portrait of being a marginalized Baltimore teen in the decade of change. Signature Theatre’s production is not without flaws but does deliver a musical that is lively and very enjoyable.

Hairspray has a solid cast with several standouts and a few problems. Carolyn Cole plays the show’s protagonist Tracy Turnblad. Cole is a great dancer and handles her performance with a lovely mix of befuddled earnestness and vivacity that helps the audience instantly bond with Tracy. However, some of her vocals slide into modern pop star territory with some over-riffing and vibrato that is distracting. Patrick Thomas Cragin as Link Larkin gives a fine performance and he especially shines when paired with Cole for “It Takes Two.” Erin Driscoll was a delightfully self-involved Amber von Tussle, Tracy’s rival. Sherri L. Edelen was a perfect stage mother and manipulator as Amber’s mother Velma. Noya Y. Payton is a feisty Motormouth Maybelle and literally brings the crowd to their feet with her stunning rendition of “I Know Where I’ve Been.” Lauren Williams turns in a great performance as Tracy’s best friend Penny. Williams plays Penny’s budding personality with an adorable blend of gawkiness and hope. Stephen Gregory Smith’s turn as Corny Collins, host of one of Baltimore’s teen dance shows is very entertaining. The show’s biggest struggle from an acting perspective was that of Tracy’s parents. Harry A. Winter is competent as father Wilbur, but lacks the chemistry with Edna that makes their relationship so charming. Robert Aubry Davis’s performance as Edna is disappointing. Davis seemed to not commit strongly to a dialect as it faded in and out in the production. His portrayal also seemed to be muddy and lethargic in both his physical choices and emotional range.

The set was truly stunning with its city touches of fire escapes, signs and brickwork. It was a versatile set that was well used to suggest the many locations needed for the script. The lighting was very effectively used helping the audience to find the focus.

Costumes and hair are a big part of this show. The costumes ranged from lovely and period to very unattractive. Tracy and Penny were darling and dorky in their signature outfits. Edna’s early costumes were very well done and showed her character’s attempts at hiding out at home in loungewear, but the costumes that she wore after her transformation still seemed very dowdy. Amber and Velma had some wonderful outfits that were chic and fabulous, however Amber’s dress for the finale was really unflattering. It also didn’t seem to fit the importance of the occasion. Some of the female council member costumes also seemed to be a bit matronly at times, not what you would expect for teenage dancers on a rock n’ roll show. The men’s costumes were fine. Corny had some exceptionally well-done outfits that could have made Wink Martindale jealous, especially the gold jacket. In a show like Hairspray, it’s expected that the show would have big fabulous hair. Unfortunately, that isn’t always the case. Amber, Velma, Motormouth Maybelle and the Dynamites all had great hair. The Corny Collins dancers again seemed somewhat matronly and while Velma wouldn’t let them outshine Amber shouldn’t they be trendy? Tracy’s hairstyles were fine but somewhat subdued, especially for a girl who gets in trouble for her hair. Edna suffers the most in the hair department. Her early styles seem very appropriate while her style after the makeover is very sloppy and uneven.

The choreography of the show is truly exuberant and a joy to watch. “Good Morning Baltimore,” “Run and Tell That” and “You Can’t Stop the Beat” are especially strong in their choreography and execution. The music is wonderfully played and engaging. It’s always a treat to hear a show with great live music.

Eric Schaeffer’s direction of the piece with feels greatly focused. Too often, shows with a lot of technical and musical elements feel scattered and cluttered. Even though this show deals with a lot of set pieces moving people, it’s always easy to follow where the cast is taking the audience next. Because everything is so neatly focused, it allows the audience to fully absorb the fun that the cast has with this show. The story of Hairspray resonates with a contemporary audience because of the hopeful message of acceptance. This production, while not perfect, is certainly a celebration of talent and love.

Photo Gallery

Carolyn Cole (as Tracy Turnblad) adds just a touch of hairspray to her ‘do	Robert Aubry Davis (as Edna Turnblad) and Harry A. Winter (as Wilbur Turnblad) sing ‘You’re Timeless to Me.’
Motormouth Maybelle (Nova Y. Payton) feeling the groove and leading the ensemble with ‘I Know Where I’ve Been’	The cast

Photos by Christopher Mueller

Cast

• Tracy Turnblad: Carolyn Cole
• Corny Collins: Stephen Gregory Smith
• Penny Lou Pingleton: Lauren Williams
• Prudy Pingleton: Lynn Audrey Neal
• Edna Turnblad: Robert Aubry Davis
• Velma von Tussle: Sherri L. Edelen
• Amber Von Tussle: Erin Driscoll
• Link Larkin: Patrick Thomas Cragin
• Harriman F. Spritzer: Matt Conner
• Wilbur Turnblad: Harry A. Winter
• Lil’ Inez Stubbs: Adhana Reid
• Seaweed J. Stubbs: James Hayden Rodriguez
• Dynamites: Ashleigh King
• Brandi Knox
• Kara-Tameika Watkins
• Mr. Pinky: Matt Conner
• Gym Teacher: Lynn Audrey Neal
• Ensemble: Jennifer Cameron
• Matt Conner
• Parker Drown
• Jamie Eacker
• Nick Hovsepian
• Sean-Maurice Lynch
• Kristin Riegler
• Nicholas Vaughan
• Matthew Wojtal
• Stephen Scott Wormley
• Dance Captain: Stephen Gregory Smith

Understudies

• Tracy Turnblad: Kristin Riegler
• Corny Collins: Matthew Wojtal
• Penny Lou Pingleton: Jennifer Cameron
• Prudy Pingleton/Edna Turnblad/ Matron/ Gym Teacher: Kathryn Fuller
• Link Larkin: Parker Drown
• Wilbur Turnblad: Matt Conner
• Seaweed J. Stubbs: Sean-Maurice Lynch
• Motormouth Maybelle: Ashleigh King
• Swings: Briana Marcantoni, Jobari Parker Namdar, Gannon O’Brien, Shante Corrina Tabb

Musicians

• Conductor/Piano: Jenny Cartney
• Reed 1: Scott Van Domelen
• Reed 1: Ed Walters
• Keyboard 2: Jonathan Tuzman
• Keyboard 3: Gabriel Mangiante
• Guitar: Gerry Kunkel
• Bass: Chris Chlumsky
• Drums: Gary Tillman
• Percussion: Dave Murray

Crew

• Scenic Design: Daniel Conway
• Costume Design: Kathleen Geldard
• Lighting Design: Colin K. Bills
• Sound Design: Matt Rowe
• Production Stage Manager: Kerry Epstein
• Assistant Stage Manager: Taryn Friend
• Director of Production: Michael D. Curry
• Orchestrations: Gabriel Mangiate
• Music Direction: Jon Kalbfleisch
• Choreography by: Karma Camp & Brianne Camp
• Directed by: Eric Schaeffer

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

There are many different versions of A Christmas Carol. People have used a variety of methods to inject something fresh into the story employing everything from puppets to switching time periods. Although the show has some faults, Lazy Susan Dinner Theatre’s production of A Christmas Carol is ultimately enjoyable thanks in large part to its infusion of traditional music.

The story presented here is a very traditional version. Ebenezer Scrooge, the richest and meanest man in town, hates Christmas. Scrooge mistreats his employees, his nephew and all who come in his path proclaiming the happiness of Christmas. One night he is visited by the ghost of his departed friend and business partner, Jacob Marley. He warns Scrooge that three ghosts will visit him that night. Scrooge must decide how he’s to spend the rest of his life based on what they show and tell him. In this version, there is a very annoying device where characters echo the narrator. It’s very confusing, as it seems to not really have a purpose except to interrupt. Also the show’s Narrator will periodically stop the action on stage in the manner of “oh, it didn’t really happen this way… it happened like this.” Then the actors re-act parts of the scenes over. This became very tedious and sometimes took away from the genuine emotion of the moment. The audience is forced to wonder at many junctures is this really the way the story will stay? Also the scene where the ghost of Marley arrives was filled with too much confusion. The Nightfigures were distracting with their whispering noises and their movement.

This show features a large ensemble, which ranges in its abilities from very poor to very good. There was a major problem with the dialects in that not everyone had a dialect and not everyone who had one maintained it. Also, there were several instances where volume was a problem and some actors seemed unable to project loud enough to be heard. Lyle Smythers turned in a very nice performance as Ebenezer Scrooge. Smythers showed a good range of emotions and physicality that reflected the changes of his character. Ron Curameng was a standout as both Mr. Fezziwig and Old Joe with his animated face and boisterous energy. Holden Browne was an adorable Tiny Tim. Denise Bennett and Erika Zwiren were wonderful in their respective roles of Elder Sister and Younger Sister, providing a delightful with scene filled with humor. And Timothy Adams was a wonderful Bob Cratchit, and he handled the role with a great amount of earnestness.

The technical elements of this show were executed very well for the most part. The set was painted to look like a small English town with stone house fronts. The space was very well utilized even during scenes with lots of actors or dancing. The costumes were suggestive of the period and in most cases very lovely. The carolers looked Christmas card perfect. However, the Nightfigures were terribly outfitted with masks and costumes that were more like Halloween costumes than spirits. Some of the hairstyles seemed a little out of period. In particular, Belle’s hairstyle looked like a very modern hairpiece and nothing that suggested the period at all. The lighting design was especially lovely during the scenes where Scrooge flies with the spirits. It gave the audience a sense of flight and fantasy.

Hans Bachmann succeeded as director and adapter in creating a version of A Christmas Carol that is heartwarming and joyful at times. Scenes with the parties or holiday celebrations were very joyous and lively. The traditional music woven throughout gave the piece an engaging feeling. “God Rest Ye Merry Gentleman” is especially well used at several different points in the script. Carolers before the show and during intermission added lots of warmth and energy. It also helped the audience really get into the Christmas spirit. However, the show seems to struggle at times from the conventions that the script feels labored with. The charm of the cast with their whole-hearted energy and the pieces’ great use of music make A Christmas Carol a show that is ultimately entertaining.

Cast

• Narrator: Chris Damanda
• Ebenezer Scrooge: Lyle Smythers
• Youngest Scrooge: Forest Browne
• Young Scrooge: Casey Fero
• Jacob Marley: Jan Forbes
• Ghost of Christmas Past: Aria Curameng
• Ghost of Christmas Present: Kevin Wiggins
• Ghost of Christmas Future: Samantha Nichols
• Bob Cratchit: Timothy Adams
• Mrs. Cratchit: Amy Wolf
• Martha Cratchit: Aria Curameng
• Belinda Cratchit: Jayne Saxon Zirkle
• Peter Cratchit: Jesse Forbes
• Tiny Tim: Holden Browne
• Fezziwig: Ron Curameng
• *Mrs. Fezziwig: Tricia Jarrell/Cathy Kidwell
• Fezziwig’s Daughter: Erika Zwiren
• Fan: Katherine Lipovsky
• Dick Wilkins: George Rouse
• Belle: Rebecca Cznadel
• *Bell’s Husband: Paul Caffrey/Benjamin Horem
• Belle’s Daughter: Jayne Saxon Zirkle
• Fred: Terry Barr
• Mrs. Fred: Katherine Lipovsky
• *Topper: Paul Caffrey/Benjamin Horem
• Elder Sister Denise Bennett
• Younger Sister: Erika Zwiren
• Caroline: Tori Gowland
• Arthur: Justin Mohay
• *Charwoman: Tricia Jarrell/Cathy Kidwell
• Laundress: Denise Bennett
• Undertaker: Jan Forbes
• Old Joe: Ron Curameng
• Solicitors: Frank Bennett/GeorgeRouse
• Businessmen: Frank Bennett/Tori Gowland/Justing Mohay/George Rouse/Paul Caffrey/Benjamin Horem
• Nightfigures: Paul Caffrey/Becky Cznadel/Tori Gowland/Benjamin Horem/Samantha Nichols
• Carolers: Terry Barr/Denise Bennett/Ron Curameng/Rebbeca Cznadel/Casey Fero/*Cathy Kidwell/*Tricia Farrell/Katherine Lipovsky/Justin Mohay
• Understudies/Swings: Tori Gowland (Belle)/Heather Harris/ Melissa Person Ward? Jayne Saxon Zirkle (TinyTim)
• *The various roles portrayed by Tricia Jarrell & Cathy Kidwell, and the various roles portrayed by Paul Caffrey and Benjamin Horem will be announced on the night of each performance
• The night of the performance seen in this review the roles were played by Cathy Kidwell, Paul Caffrey and Benjamin Horem

Crew

• Directed by: Hans Bachmann
• Stage Manager George Rouse
• Lighting Designer: Jeanne Forbes
• Musical Director: John Edward Niles
• Set Construction: Nathaniel Montgomery, George Rouse, Linda Shaw
• Set Painting: Jennifer Pelath
• Lighting Design: Aaron Forbes, Jeanne Forbes
• Sound: Giorgio Mazzarelli

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

Re-inventing a classic story is not an easy thing to do. It’s a Wonderful Life is shown over and over every Christmas season. George Bailey and the town of Bedford Falls feel like a part of America’s extended family. We look forward to seeing them and sharing in their story every year. Hub Theatre’s production of Wonderful Life attempts to tell the classic story utilizing only one performer to play the parts of the whole town. While the play is not always able to stand up to the task of giving every character a full realization it is ultimately an interesting and touching piece.

Helen Pafumi and Jason Lott adapted the story of It’s a Wonderful Life into a neat and relatively short piece. Co-adaptor Jason Lott as the sole actor performed all of the characters. Wonderful Life tells the familiar story of George Bailey and his life in Bedford Falls. It chronicles the journey of his life’s sacrifices and triumphs and how they affect the man himself, as well as the town. The play is very engaging and Lott’s energy keeps the pace moving along by utilizing some very well placed moments of silence the audience finds a chance to reflect. The story, which is so familiar to audiences, wouldn’t feel right without the inclusion of certain phrases: the mentions of angels receiving wings, charming stories of the Bailey family and mention of landmarks of Bedford Falls are well represented. But the story is told in a different order that gives this work its own life. Watching Wonderful Life feels like revisiting a childhood memory through the eyes of an adult. The script does run into a few problems. Some of the women, in particular Violet and Mary, feel like types not people. Their dialogue both in the words themselves and delivery impress them as flat caricatures, not real women. So much life and detail is breathed into the male characters of the show, whether in humorous or serious scenes. It’s disappointing to lose the sweetness and humor that Mary and Violet add to the world. George’s mother Mrs. Bailey is a more positive female character especially in her later scene.

This piece finds its strongest footing when Lott delivers the male characters. George, the beloved hero, is played as strong and compassionate, tinged with a rainbow of varying emotions. His George Bailey is a calmer and more measured George than audiences may be used to, and the result is a more modern man. Lott’s portrayals of both Mr. Gower and Martini are small nuggets of wonderful acting in both vocal and physical qualities. Clarence is more childlike but still focused in his mission to help George Bailey, if sometimes a bit flat. The charming and absent-minded Uncle Billy appeared much too young in voice and body. Playing Mr. Potter, the show’s villain Lott found some of his best physicality and vocal ranges. The Mr. Potter in Wonderful Life is a more utilitarian and more personal version than audiences usually see. It’s an interesting idea that doesn’t always seem to reconcile his speeches with his actions in the play. He almost seems to be governed with a 2011 “Great Recession” mindset instead of a Great Depression/World War II era frame of mind.

The visual effects of this show were very simplistic but very effective. The small stage with its bench was used to create a variety of locations. The set also contained some wonderful signs to mark Bedford Falls Landmarks. And one surprise visual element near the end is simply breathtaking. The lighting was beautiful and suggested many moods and emotions. Lott wore a wonderfully appropriate suit that did not encumber his movement and looked just like what George Bailey would own. The sound was also very well designed and used with exception of the prayers being said for George. After listening to Lott play all the characters hearing women’s voices seemed to call attention to the fact that they were missing. The show’s lack of a strong female presence sometimes made the piece feel as though it kept you at a distance.

It’s so hard to try to retell the story of George Bailey. Wonderful Life makes a valiant and often very successful try at showing something new. But, missing out on the children’s presence entirely and limiting the women to two postures deflates the story and the world in which it exists. Whereas the traditional It’s a Wonderful Life serves as a heart-swelling nod to the value of friendship, Wonderful Life takes you on a quiet journey that reflects the prize of peace within self.

From the Artistic Director

Wonderful Life is the best kind of Christmas story. It concentrates on the most sublime parts of the season, highlighting the acts of giving that happen at this time of year. When Jason and I first started adapting this work, I thought the main theme we would find was a man’s struggle to find his self-worth. But what we’ve found is more about how the sacrifice of one man can mean the world to others. What happens when a man gives up all his hopes and dreams for the happiness of others? We tend to think of that act as altruistic. But what we see with George is while he is driven by a code of morality and goodness, giving up his own goals leaves him pining for a future he can never have. This is much more human than a fairy tale where a hero seems nonplussed by relinquishing his own needs. How many of us have done what is right while wishing we didn’t have to? The important thing is that we still do it. Perhaps the act of giving is even more poignant because we know that we are giving up a part of ourselves. And perhaps making this kind of sacrifice-one that hurts- is where the true test of our grace lies.

Photo Gallery

Mary	Harry Died
George with Tree	George Full Stage
Welcome to Bedford

Photos by John Potter

Cast

• Residents of Bedford Falls: Jason Lott

Crew

• Adapted by: Helen Pafumi and Jason Lott
• Directed by: Gregg Henry
• Scenic Designer: Brooke A. Robbins
• Lighting Designer: Kyle Grant
• Costume Designer: Maria Vetsch
• Sound Designer: Thomas Sowers
• Stage Manager: Sarah Conte
• Founding Artistic Director: Helen Pafumi
• Technical Director: Jameson Shroyer
• Running Crew: John Oakes and Jude Rodriguez
• Co-Founders: Marey Oakes, Maggie Ulmer
• Company Administrator: Scarlet Rose
• Board of Directors: Mary Oakes, President. Gay Beach, Randy Carswell, Helen Pafumi, Dina Punturi, Jeffrey Stevenson, Rick Vetsch
• Company Memmbers: Matt Bassett, Kristen Egermeier, James Flanagan, Danny Gavigan, Robbie Hayes, Kristen LePine, Shirley Serotsky, Maria Vetsch, Maggie Ulmer
• Advisory Board: Randy Baker, Michael Dove, Rick Davis, Ed Eaton, Scott Fortier, Jenny McConnell-Frederick, Claudia A. Gentile, Jeremy Skidmore, David Snider

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

Christmastime is one of the best times of the year to indulge in nostalgia. People gather with their friends and family to celebrate the holidays. And in doing all the visiting and celebrating people always share the stories of “remember when…” Who doesn’t look forward to re-watching those specials and movies that have made it into the “Christmas classics” section of our mind? Irving Berlin’s White Christmas is certainly a Christmas classic and Riverside Center Dinner Theater’s production is a nostalgic and fun trip to Christmas not so long ago.

White Christmas is a simple story of a couple of guys who meet a couple of girls. The bulk of the story takes place in the Christmas season of 1954. What happens next is all a part of the nostalgic musicals of the past. There’s some great music, a lot of dancing and plenty of romance.

Jeffrey Shankle led the cast as Bob Wallace, half of dynamic show team Wallace and Davis. Shankle crooned with a wonderful Bing Crosby quality while managing to inject enough modernity to make the song “White Christmas” feel like it was his own. Dennis Clark played the other half of the entertaining lead duo as Phil Harris with wonderful dance numbers and great delivery of witty repartee. Mary Payne played Betty Haynes, elegantly sang her songs with a wonderful and rich voice. Mary Anne Furey as Judy Haynes was a delightful dancer and standout in each of her scenes. Andrea Kahane played housekeeper Martha Watson with great energy, lobbing lines at other actors. Robert L. Nelson as General Henry Waverly had some tender moments but it was hard to discern what he was feeling as his characterization felt a little muddy at times. Annalese Fusaro was adorable as Susan, the innkeeper’s granddaughter. David Zimmernman had some terrific moments and made a great impression as Ezekiel Foster. By far, the surprise standouts were Rachel Huber and Katelynn Stillman as Rita and Rhoda, the show’s vivacious chorus girls. They made a strong impact and brought much humor and great dancing ability to the show. The large cast is rounded out with a sizeable ensemble of adults and children who added to the spectacle and warmth of the show.

White Christmas takes place in a variety of locations. Some sets such as the makeshift theater on the warfront and train car were very well done. However, a scene in Act II seemed to occur in no real place at all. One moment a song is being performed in front of a sumptuous backdrop then the dialogue continues in front of a black backdrop The show is so visually engaging that this really sticks out leaving questions as to where in the club it takes place. There was also some confusion during the song “Love and the Weather” as to why the characters picked up each other’s items when they were performing. They weren’t supposed to be able to see each other, as they were in different locations. I’m not sure if it was a cover up of a mistake as they sang back-to-back and reached for their props or if it was meant to be a whimsical “fateful” gesture.

The show is filled with choreography and large musical numbers. “Let Yourself Go” is a great number that opens with adorable period details and is filled with great dancing. However one lift in the middle appeared to be difficult and labored for the three couples executing it.

The costumes were executed well. Betty and especially Judy had some lovely pieces that were attractive and fit the period of the show. And many of the dancers and the rest of the cast sported some great costumes in the songs “Let Yourself Go” and “I Love a Piano.” Unfortunately, the suit with shorts outfits for “Blue Skies” seemed bulky and not of the era. There were also a few times when modernity was too present as the cigarette girl in the club scene in the first act didn’t look period, but like a present day girl. The traditional holiday outfits in the closing number made a strong and classic visual impact.

The director’s vision resulted in the cast creating a world of relaxing nostalgia. The show had a fresh feeling from the large amounts of energy pumped into from a tireless cast. The visual qualities of the performance transported you to a distant, happy place in the past. There are a few times when the script verges on cheesy dialogue, and some of the musical numbers seem slightly out-of-place or a little out of character. The script is different from the movie that everyone has come to know and love. It’s impossible to ever replicate a classic but this show gives you all the elements. If you want to see a Christmas musical with a smooth crooner, an elegant chanteuse and a spunky dancing couple this show fits the bill.

Director’s Notes

May I have your attention, please?

This production of Irving Berlin’s White Christmas carries a rating of NC-10. That’s “Nice and Christmas-y.” hopefully making you feel like a child of ten again. A word of caution: there is nothing new, edgy, or overly profound in White Christmas. It’s strictly boy-meets-girl, boy-loses-girl (well, I’ll stop there so as not to spoil the ending). Along the way we are introduced to a host of colorful characters, pretty girls in pretty costumes, minor misunderstandings, and lots of Irving Berlin standards that have become staples of folksy Americana out of a bygone era.

Now if it sounds like I’m being disrespectful to this stalwart holiday classic – well, think again. In the fifty-seven years since White Christmas appeared at the box office, its simplicity, grace, tunefulness, and gentle humor have charmed generations of audiences. Simultaneously, shoes same qualities have become increasingly scarce in our lives, replaced by complication, harshness of manner and musical style, and comedy that is all too often “in your face” and at someone’s expense. And dare I even mention the commercialization of Christmas or the struggle to share anything as a family anymore?

White Christmas, the new stage musical, with its hit-parade approach to Berlin’s music and its family-friendly romanticized depiction of the 1950’s, turns the clock back a moment on all of that, sweeping us into an era of post WW-II optimism, where anything was possible as long as you had love, a barn, lots of passion, and some crazy kids to follow your lead. It reminds us that we as Americans have always been dreamers and optimists, focused more on what should have been and what could be than what really is. It lets us tweak our past for a moment, wrapping it in a bit of tinsel, showmanship, and falling snow. And you know what? There’s nothing wrong with that at all. Maybe things weren’t perfect back then either. So what? Together, if we wish hard enough, right now, today, I would bet we can make these few shared moments as simple, as beautiful, and as magical as a white Christmas. And if that happens, who knows what else we can do…?

And lest I forget the true magic makers at this theatre, I just want to take a moment to thank Dennis (choreography), Gaye and Nancy (costumes), Phil (lights), Robert (audio), Kylie (props), Dave, Matt and Curtis (set), Sharon and Ben (management), and all there respective staffs. And special appreciation to the men who make it all happen _ Ron and Patrick _ for all their hard work and dedication, not only on this production but for all the theatrical magic that occurs here year round.

Happy Holiday and enjoy the show!

Jason J. Michael

Cast

• Bob Wallace: Jeffrey Shankle
• Phil Davis: Dennis Clark
• Betty Haynes: Mary Payne
• Judy Haynes: Mary Anne Furey
• General Henry Waverly: Robert L. Nelson
• Martha Watson: Andrea Kahane
• Susan Waverly: Annalese Fusaro
• Ralph Sheldrake: Zachary Rogers
• Rita: Rachel Huber
• Rhoda: Katelynn Stillman
• Ezekiel Foster: David Zimmenrman
• Mike: Chris Standridge
• Snoring Man: David Zimmerman
• Mrs Snoring Man/ Tessie/Ethel/ Seamstress: Teresa Cundiff
• Jimmy/Dance Captain: Anthony Williams
• Assistant Seamstress: Rebecca E. Law
• Train Conductor: Anthony Williams
• Ed Sullivan Announcer: Michael Colby
• Wallace-Davis Singers: Abbey Smith, Nancy M. Fury, Chris Standridge, Carl Bowman
• Ensemble of Clubgoers, Train Passengers, Inn Guests, Chorus Kids, and Regency Room Patrons: Abigayle Anderson, Adelyne Anderson, Joshua Arroyo, Kylie Baker, Taylor Boyle, Carl Bowman, Michael Colby, Sarah Crockett, Teresa Cundiff, Nancy M. Furey, Rebecca E. Law, Kendall Mostafavi, Joshua Otten, Abbey Smith, Shris Standridge, Arthure J. Whittenberger, Anthony Williams, David Zimmerman
• Understudies
  • Phil: Arthur J. Whittenberger
  • Betty/Martha-Nancy M. Furey
  • Judy- Rachel Huber
  • Susan – Abigayle Anderson
• Ensemble Swings: Sally Roehl, Alan Schlichting

Crew

• Producer: Rollin E. Wehlman
• Director: Jason J. Michael
• Musical Director: Rollin E. Whelman
• Choreographer: Dennis J. Clark
• Scenic Design: David P. Stock
• Lighting Design: Phil Carlucci
• Costume Design/Coordination: Gaye Law and Nancy M. Furey
• Scenic Artist: Matthew P. Westcott
• Production Manager: Sharon Gregory
• Stage Manager: Ben Feindt
• Associate Artistic Director for Riverside Center: Patrick A’Hearn
• Stage Manager: Ben Feindt
• Assistant Stage Manager: Ashton Banks
• Senior Stage Technician: Paul Johannes
• Senior Stage Technician: Steve Thompson
• Senior Stage Technician: Thomas Cleary
• Stage Technician: Kevin Cleary
• Stage Technician: Tommie Cox
• Stage Technician Swing: Jessie Croke
• Stage Technician Swing: Gladys Perkins
• Stage Technician Swing: Alexander Turk
• Senior Lighting Technician: Nicky Mahon
• Lighting Technician Swing: Sharon Gregory
• Senior Audio Technician: Robert Walpole
• Audio Technician: Joshua Watson
• Audio Technician: Brady Harris
• Wardrobe Supervisor: Gaye Law
• Costume Master: Christopher Hlusko
• Costume Assistant: Sarah PLanakis
• Master Set Carpenter/Welder: Curtis Craddock
• Set Carpenter: John Mahon
• Master Scenic Artist: Matthew Westcott
• Scenic Panter: Maria Duke
• Properties Supervisor: Kylie Clark

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

Farce. It’s a really funny word. It instantly transports the person reading or hearing the word to another world where dead mean dance in kick lines and no one’s life is ever boring.

Out of Order by Ray Cooney, currently being performed by Rooftop Productions in Manassas, is a fun romp through London in the 1980’s. Richard Willey is Junior Government Minister and “lap dog” for Margaret Thatcher and the Conservative Party. As the play opens he’s carefully arranging a getaway with a pretty secretary from the House of Commons. He’s set the stage for romance, there’s only one problem – a dead body in the window. The story that ensues is very engaging and classic fun farce. There’s lots of door slamming, mistaken identities, and confusion that make it a treat to watch. Opening night seemed to be slightly hampered by several timing issues with a few actors and a few sound cue problems.

The timing was much more spot on by Act Two and the sound cue glitches were handled nicely by the actors. Overall, Out of Order proved to be a very funny tale that was well performed by its cast.

Bob Cohen led the cast as Richard Willey, the Junior Minister who was the mastermind of the evening’s plans. Mr. Cohen played Willey with a lusty Prince Charles feel that really connected well with the role showing just the right balance of British propriety and lust for life. Josh Bartosch played Willey’s Primary Parliamentary Secretary, George Pidgden. Mr. Cohen and Mr. Bartosh interacted well together however there were several times when timing seemed to be an issue. Bartosch really shone in the second act with some impressive bits of physical comedy mingled with romance. Nora Zanger’s potential romantic liaison Jane Worthington was very nervous, often distractingly so with lots of fluttering in place. Ian Wade’s portrayal of waiter Harold Cromwell was stellar. Every exchange he had with another character was always interesting with a measure of either bumble or scamp. Wade made impact from his first appearance where he didn’t even speak and continued to lead the comedy dynamic throughout the show. Darren Marquardt had the most difficult part playing the Body. His physical movements were so relaxed and weighted that he truly appeared to be a corpse. Mr. Marquardt’s performance was one of the high notes of the evening due to his commitment to physicality. The actor’s dialects ranged from fairly good to spotty and some actors seemed to make no attempt at all.

The set was designed to resemble a suite in The Westminster Hotel. The space was used very smartly to give actors the needed doors and window for their hijinks. The tasteful tapestry furniture gave the stage a feeling of tradition and warmth expected in an established London hotel. The main focal point of the stage is guillotine like window, which provided the backdrop for many comedic twists. However it did seem difficult for the ladies to climb out of as they were almost always in dresses and negligees. The door that was the entrance of the suite seemed to give a little trouble closing and staying closed. The costumes for the piece were very suitably executed. The wedding suit worn by the Body was a particular standout.

Out of Order is a quick-witted comedy, which was ultimately well executed and provides a happy escape into the world of politics. The world is currently so downtrodden with economics woes that a trip across the pond with a merry band of players is a most welcome reprieve.

Cast

• Richard Willey: Bob Cohen
• Manager: Joe Bersack
• Waiter (Harold Cromwell): Ian Wade
• Jane Worthington: Nora Zanger
• Body: Darren Marquadt
• George Pigden: Josh Bartosch
• Maid: Sallie Willows
• Ronnie Worthington: Chaz Pando
• Pamela Willey: Carolyn Cameron
• Nurse Gladys Foster: Debra Ovall

Crew

• Director: Vincent Worthington
• Costumer: Katherine Williamson
• Prop Mistress/ Set Dresser: Patti Taylor
• Set Designer: Vincent Worthington
• Technical Advisor: DK Stewart
• Sound Design: Dale Wash
• Lighting Design: Jeben Marhsall
• Stage Manager: Brooke Angel
• Dialect Coach: Bob Cohen
• Set Painting: Vincent Worthington, DK Stewart, Sarah Scott, Carolyn Cameron & Randy Chapman
• Set Construction: Vincent Worthington, DK Stewart & Phil Caplinger
• Stage Crew: Debra Ovall, Carolyn Cameron & Sallie Willows
• Executive Producer: Anne Ridgway
• Assistant to the Execituve Producer: Kim Love
• Graphic Designer/Photographer: Louise Noakes

Disclaimer: Rooftop Productions provided three complimentary media tickets to ShowBizRadio for this review.