Curtains unfolds in a Boston theatre, where a new musical could be a smash hit, if not for the talent-free leading lady. When the hapless star dies on opening night (to the relief of the entire company!), the detective who arrives to investigate is drawn in by the irresistible lure of the theatre world he has always dreamed about. The biting lady producer convinces everyone “the show must go on!” In the classic musical style of the ’50s, you see dancing mermaids, wild-west cowboys, and solve not one, but THREE murders! Curtains was nominated for 8 Tony Awards in 2007.

After a 2008 Broadway run it was “Curtains” for the Kander & Ebb Tony Award winning musical of the same name. No professional tour, no Kennedy Center performance. As a matter of fact, its first revival is here, in Reston. The first group in the Washington D.C. area to present Curtains, RCP will present a 4 week engagement.

Kudos and Questions. Kudos to the company for undertaking a non-stop whirlwind of a show. High energy, wonderful sets and some outstanding performances make Curtains a memorable evening. Questions as to if this piece of work merits the investment of the time & talent of the Reston Community Players?

The show runs long, the plot is weak and the music less than memorable. Filled with one-liners, chorus girls and every theatrical stereotype that can be dropped , danced or dragged on stage it wallows in quintessential cliches of crass theater. The premise of a musical set against a murder mystery could be very tasty but the barrage of bad jokes, mediocre music and bump and grind choreography are (even under the pen of Kander & Ebb) hard to swallow.

RCP outstanding performances included leading man Blakeman Brophy as Lt. Frank Cioffi who added a wonderful charm, warmth and whimsical humour to the role. Absolutely stellar. The RCP had a solid musical presence in the pit and onstage with a well crafted sound from all onstage. Set in 1959 the costumes though well crafted, were nebullious and not definitive of that era. Dancing was good community theater fare and notable was the footwork of “Bambi.” Choreography included a tribute to camp in the style of Chicago with some more than suggestive dance moves as well as some tastefully done moments throughout the show.

The impact of Curtains is in the execution of the work – not the materials. The work of RCP reflects a solid community theater troupe. There is lots of talented individuals dedicated to this craft. Curtains is not running on or off Broadway for many reasons – but it is worth a four week run on Reston, VA. Check it out!

Photo Gallery

Tom Flatt as Director, Christopher Belling	Blakeman Brophy as Lt. Cioffi (Left), Tom Flatt as Christopher Belling & Katie McManus as Georgia Hendricks
Cast of Curtains – Center: Sue Pinkman as Carmen Bernstein	Jolene Vettese as Niki Harris and Blakeman Brophy as Lt. Frank Cioffi
Jolene Vettese as Niki Harris (left), Katie McManus as Georgia Hendricks & Sasha Welch as Bambi Bernet	Joshua Redford as Aaron Fox (left) and Blakeman Brophy as Lt. Frank Cioffi

Photos provided by Reston Community Players.

Disclaimer: Reston Community Players provided two complimentary media tickets to ShowBizRadio for this review. RCP also purchased an advertising banner on the ShowBizRadio web site.

Director Romans S. Gusso and Producer Henry Keegan presented a graphic production in black and white of Tim Rice’s rock musical Chess. Presented in their new home at the Heritage Center in the US Navy Memorial, the production effectively utilized minimal props and compelling graphics on a huge production screen.

Ostensibly about a world chess competition between a Russian champion (Anatoly Sergievsky) and a hotheaded American challenger (Frederick Trumper), which was inspired by the Boris Spassky-Bobby Fischer matches in Iceland in 1972, the plot uses chess as an all-encompassing metaphor for life. Chess the musical, has struggled for acceptance on and off-Broadway and the demands of a described as a “Suite of temper tantrums” are many.

Without a shade of grey, the set, costumes, and backdrops were an effective and artistic asset to the production and the work space. Mr. Gusso has a flair for dialogue and pacing which was evident in many of the scenes which were done well. Outstanding performances by Christopher Furry as the passionate Anatoly and Josh Canary as the ego-maniacal Freddie Trumper were worth the cost of admission. The outstanding musicianship, characterization of both gentleman are a huge plus. Quixotic casting however, set this game off. The largest role of Florence, played by Jennifer Gusso, was a musical misfit. A competent actress, Ms. Gusso waivered vocally in this demanding role.

Musically the show was all over the map. Beautiful vocals from all of the men – including up and coming actor Brian Hackman (The Arbiter) and Walter Gottlieb (Molokov) and consistently thin, out of tune vocals from the women of the ensemble and cast as well as the children’s ensemble and an anemic rock band dragged down many of the musical numbers. The disparity between the strength of the male cast and female cast made this production a stalemate.

Stalemate still makes a good game.

Photo Gallery

Zhenya Anderschat (Young Freddie) & Josh Canary (Freddie)	Jennifer L Gusso (Florence) & Roger MacDonald (Father)
Jennifer L Gusso (Florence) & Christopher Furry (Anatoly)	Jennifer L Gusso (Florence) & Christopher Furry (Anatoly)
Jennifer L Gusso (Florence) and Christopher Furry (Anatoly)	Jennifer L Gusso (Florence) & Arielle Granatstein Gottlieb (Young Florence)
David Deal (Walter) & Walter Gottlieb (Molokov)	Christopher Furry (Anatoly) & Walter Gottlieb (Molokov)
Christopher Furry (Anatoly) & Josh Canary (Freddie)	Christopher Furry (Anatoly), Brian Hackman (Arbiter), & Josh Canary (Freddie)

Photos provided by Stroyka Theater.

Cast

• Gregor Vassy: Denys Petrov
• Young Florence: Arielle Granatstein Gottlieb
• Freddie Trumper: Josh Canary
• Florence Vassy: Jennifer Gusso
• Anatoly Sergievsky: Christopher Furry
• Molokov: Walter Gottlieb
• Nikolai: Denys Petrov
• Young Anatoly: Simon Gusso
• Walter Anderson: David Deal
• Arbiter: Brian Hackman
• Svetlana Sergievsky Roselie Vasquez-Yetter
• Young Freddie: Zhenya Anderschat
• Father: Roger Mac Donald
• Ensemble: Erin Bricker, Greg Crowe, Christopher Dong, Adrianne DuChateau, Kiva Fecteau, Joanne Frezzo, Becky Granatastein, Morgaine Lower, Michael Nuget, Shelby Smith, Wendy Stengel, Erica Wilmore, August Yetter, Chloe Yetter

Crew

• Producer: Henry Keegan
• Director: Roman S Gusso
• Asst Director: Samuel Basa
• Stage Manager: Corey Bernstein
• Musical Director: John Marlowe
• Choreography: Roselie Vasquez-Yetter, Alcine Wiltz, Gi Buscaglio
• Lighting Design: Josh Canary
• Props: Michelle Brooks
• Costumes: Chary Izquierido
• Visuals: Roger MacDonald
• Light & Projection Operator: Adam Fischer
• Spot Operators: Leora Gottleib & Samuel Basa
• Running Crew: Michelle Brooks, Geevieve Fecteau
• House Manager: Pamela Anferschat
• Publicity: Jennifer Gussi
• Photographer: Karen Simmons
• Videographer: Ben Simmons
• Program & Poster Design: Samuel Basa

Laughing Daughter is predominantly a Country Rock Musical depicting the interwoven lives and loves of three very different couples. The principal character, Laughing Daughter, is a 19 year old Native American girl, possessing a beautiful voice but bored with performing at local shows, harbors a dream of being a star in the Nashville heavens. With her father’s reluctant blessing she leaves the reservation to seek fame.

A world Premiere musical, Laughing Daughter has received lots of well thought out publicity. The show opened last weekend at the Indian Head Black Box Theatre and plays through September 20th. As a Native American, I was very interested in seeing how this contemporary piece would present this element. It is a shame that the same creative sources who did such an innovative presentation in marketing the musical and consulting Native American experts did not edit the musical as well. While the premise and intentions behind the work are good, there are many components which make this production not up to professional standards – even for an 84 seat theater in the suburbs.

The musical numbers are simple and easy enough to listen to – especially with the fine 4 piece band under the direction of Jim Watson. However, they are not only melodically and harmonically elementary, they have no “hook,” are wordy and do not project well on stage. Musical Theater audiences have some expectations which were not met in this production. A musical built on the premise of a lead star (Laughing Daughter) who wants to make it in show business, and a principal character who becomes an overnight success (Junior) needs performers who fit the bill. They need to be able to play guitar and sing country music. This production featured lots of “air guitar” and inconsistent singing. Many of the unmiked vocals were lost in this acoustic setting.

All these elements, plus the need to find four Native American performers in suburban Indian Head can present quite a challenge. The casting process yielded a small turnout and limited the options for the production team. Perhaps choosing a venue closer to a major metropolitan area would have yielded more alternatives for casting and showcasing the characters needed for Laughing Daughter?

There are some charming ensemble moments and Director Bill Graves has done some clever staging, particularly in Act Two which has a mild power surge. The supporting characters, and particularly Jeff Barehand (Storm Heart) and Crystal Mosser (Jolene) bring a breath of fresh air to the tiny stage.

The production is a 30 year project for collaborators and authors Roger Penycate & Rick Jones and their personal story is really quite interesting. Perhaps that could be a musical? It is certainly as fresh as the loosely developed storyline of Laughing Daughter. The dialogue in the show is minimal and most of the story is moved along in an easy going, predictable finish from one ballad to the next with little or no action or character development along the way. Certainly the story is engaging enough that in the hands of a good editor it can come to life.

Can Laughing Daughter continue? Producer Roger Penycate plans to reflect and review before taking the next step with this production. Doable? Yes – but she is in need of a major makeover. Their are many elements in the show that should be retained, retrained and taken to the next stage…literally and figuratively. It is just going to take a bigger Dream Catcher.

Cast

• Storm Heart: Jeff Barehand
• Junior Johnson: Draper Carter
• Bubbalou Burns: Tom Cauler
• Sleeping Raven: Adam Curtis
• Lenny Black: Pete Farnham
• Little Bird/Laughing Daughter: KJ Jacks
• Bartender/Thug 1/Ensemble: Mike Margelos
• Jolene: Crystal Mosser
• Shell Flower: Natalie Proctor
• Ditzy Tourist/Hooker 2/Ensemble: Sarah Riggle
• Shopaholic Tourist/Hooker 1/Ensemble: Lynn Thorne

Crew

• Music by Rick Jones
• Lyrics by Rick Jones, James D. Watson and David Pierce
• Written by Roger Penycate and Rick Jones
• Additional dialogue and lyrics by James D. Watson and Bill Graves
• Directed by Bill Graves
• Choreographed by Katherine Elizabeth Kelly
• Musical arrangements and orchestrations by James D. Watson
• Makeup Design: Shemika Berry
• Lights Design: Jodie Muller
• Photography: Mary Thiedeman
• Stage Manager: Melissa Gilpin

The Arlington Players presents Follies, Stephen Sondheim and James Goldman’s beautiful, broken-hearted musical from 1971 about a showbiz reunion that ends not just in tears but also in nervous breakdowns. Multiple revivals, seven Tony awards (11 nominations) and some of the stage’s best standards, including “Broadway Baby,” “I’m Still Here,” “Too Many Mornings,” “Could I Leave You?” and “Losing My Mind” make Follies a formidable undertaking for any theater company.

Follies is set in a crumbling Broadway theatre, scheduled for demolition, during a reunion for all the past members of the Weismann’s Follies, a musical revue (based on the Ziegfeld Follies) which played in that theatre between the World Wars. Set Designer Jared Davis made good use of the space with his striking and dramatic set, which moved well in creating the landmark theater.

The large cast supports two couples who are attending the reunion. That’s the worldly, rich Manhattan businessman Ben Stone (Jimmy Payne) and his wry, elegant wife, Phyllis (Lynn Audrey Neal); and the bouncy, eager Midwestern salesman Buddy Plummer (Jack B. Stein) and his wife, Sally (Ms. Clark), a cockeyed optimist gone toxic. Sally and Phyllis were both showgirls in the Follies as were many of the other guests. Both marriages are having problems because Buddy, a traveling salesman, is having an affair with a girl on the road, Sally is still in love with Ben as she was years ago, and Ben is so self-absorbed that Phyllis feels emotionally abandoned.

TAP works admirably to produce this huge piece of work under the direction of Christopher Dykton but as the director addresses in his program notes, “Folly is everywhere” and there are some minor detractions.

Neither the costumes not the physical casting represented consistently the ages of the performers or the 1971 era. Costumes were lovely but did little to reflect the generation they represented.This talented cast had an enormous range of talent and believability but was still hard pressed to adequately cover the depth and ability needed for many of the roles, as is often the case in community theater.

Outstanding performances included Lynn Audrey Neal and Jimmy Payne as Phyllis and Ben Stone. Wonderful cameos were also presented by Judy Lewis as Solange La Fitte and Barbara Porter as Carlotta Campion and the professionalism and musicality of the pit under conductor Leah Kocsis was excellent. The Thomas Jefferson Community Theater is a lovely facility and the technical aspects of the show were top notch.

Follies is a large undertaking in any theater company. Brace yourselves for what it offers every audience. The story will twist away at your heart. The pain that surprises and seizes those who would recall even happy times — or times they thought were happy — nags at your insides long after the curtain closes.

Photographs

Decked in holiday splendor a full house of theater patrons welcomed the holiday season in with a warm reception to the Little Theater of Alexandria‘s production of Scrooge the Musical. Strong in sentiment, rich with energy and full of Dickens charm the LTA production offered a warm and endearing rendition of this thirty-year old Bricusse classic.

The well-designed set suffered a few technical tweaks that did little to detract from a clever and well paced production. The set was beautifully designed, well-dressed and highly functional. The costumes were magnificent.

Scrooge, was not only, well a scrooge but clever and a bit playful… With an enormous amount of focus, energy and talent Mike Baker brought much to the role that is often missing in other productions. With wit and focus and a keen intellect he moved through a demanding performance as an outstanding leading man.

I thoroughly enjoyed this well directed production but found little that is memorable or exceptional in the musical score and indeed, the music presented a few minor challenges. Intonation for the ensemble in the opening as well as meter changes in the finale of the production were apparent. The orchestra of a single keyboard and percussion was sparse and not as supportive as the addition of additional instruments or keyboard patches might have offered.

The cast really showcased many of LTA’s talented players. Notable performances included the Jacob Marley (Frank Pasqualino) and the ghost of Christmas Present (Kate Roehr) and newcomer Carla Crawford as Mrs. Fezziweg. The children were charming, winsome and well sung , most especially Tiny Tim (Emma Kelly) and his sister Kathy Cratchitt (Jayne Saxin Zirkle).

Scrooge the Musical presents a great opportunity to celebrate the holiday spirit- past, present and future.

Cast

• Mr. Pringle/Phantom/Fezziwig/Ghost of Christmas Future: Mark Lee Adams
• Belinda Cratchit: Nikki Amico
• Peter Cratchit: John Anderson
• Ebenezer Scrooge: Mike Baker, Jr.
• Ensemble: Maya Brettell
• Jenny/Ensemble: Emma Canfield
• Ensemble: Tori Conner
• Mrs. Fezziwig: Carla Crawford
• Isabel: Caitlin Diana Doyle
• Boy Scrooge/Turkey Boy/Ensemble: Daniel Durgavich
• Jocelyn Jollygoode/Topper/Ensemble: Stephen Edwards
• Miss Dilber/Phantom/Ensemble: Reeny Eul
• Bess/Beggar Woman/Mary/Ensemble: Jennifer Finch
• Ensemble: Evie Galvan
• Ensemble: Catherine Giddings
• Tom Jenkins: Mark Hidalgo
• Martha Cratchit: Emily Hyland
• Tiny Tim: Emma Kelly
• Mrs. Cratchit: Laura Kiefer
• Ensemble: Mattie Leibowitz
• Ensemble: Eliza Malakoff
• Bob Cratchit: Bob Maurer
• Ensemble: Meg Maurer
• Wine Merchant/School Teacher/Ensemble: Eddie Page
• Jacob Marley: Frank Pasqualino
• Ghost of Christmas Present: Kate Roehr
• Mr. Pringle/Phantom/Fezziwig/Ghost of Christmas Future: John Shackelford
• Harry/Young Scrooge: Jay R. Sigler
• Bissett the Butcher/Ensemble: Bob Suchan
• Mrs. Dilber/Helen/Ensemble: Susan Thompson
• Huge Heraty/Phantom/Dick Wilkins/Ensemble: Mike Usowski
• Mrs. Pringle/Phantom/Ensemble: Claudia Van Nostrand
• Ghost of Christmas Past: Jessica Vega
• Ensemble: Jamila Velinor
• Kathy Cratchit: Jayne Saxon Zirkle

Crew

• Producers: Rachel Alberts and Jennifer Lyman
• Assistant Producer: Bobbie Herbst
• Director: Roland Branford Gomez
• Assistant Director: Eddie Page
• Choreographer: Amanada Cane
• Dance Captain: Mark Hidalgo
• Vocal Coach (children): Linda Wells
• Vocal Coach (adults): Cathy Manley and Linda Wells
• Accompanists: Joe Gems, Donna Kepler, Elisa Rosman
• Stage Managers: Leighann Behrens and Margaret Evans-Joyce
• Assistant Stage Managers: Charles N. Dragonette and Amanda Helms
• Set Design: John Downing
• Set Construction: Dan Remmers
• Assisted By: Chris Feldman, Jack Schaeffer, Jerry Wolf, Bob King, Bob Suchan, Reeny Eul, Danielle Canfield, Anna Penniman, Eric Yahia, Josh Jackson, Bob Staiman, Teresa Redmon, Paul Nasto, Marcelino Galvin, Gail Cafardi, Lloyd Bittinger, Tiffany Delisio, Judy Kee, Orron Kee
• Set Painting: Dierdre (de) Nicholson Lamb
• Assisted By: Sandra Gehring, Bill Nicholson, Beverly Benda, Ashley Swann
• Properties: Judy Kee and Art Snow
• Assisted By: Emilie Pade, Carol Hutchinson, Janice Yeadon, Jayne Rife, bob Van Eeimeren, Margaret Snow, Roberta Henderson
• Set Dressing: Teresa Redmon
• Assisted By: Marian Holmes, Donna Reynolds, Russell M. Wyland
• Lighting Design: Justin Lang
• Master Electricians: Doug Olmsted and Alice Lee
• Assisted By: Nancy Owens, Eileen Doherty, Pam Leonowich, Richar dSchwab, Patty Zubeck Means, John Peterson, Robert Kraus, Jennifer Froetschel
• Sound Design: David Correia
• Assisted By: Alan Wray, Janice Rivera, Anna Hawkins, David Hale, Keith Bell, Heather Franklin
• Rigging: Russell M. Wyland
• Costume Design: Jean Schlichting and Kit Sibley
• Assisted By: Mary Campbell
• Wardrobe: Annie Vroom and Margaret Snow
• Assisted By: Jamie Blake, Mary Campbell, Nicole Brettell, Kim Galvan, Barbara Helsing, Ashley Johnson, Maria Leibowitz
• Makeup Design: Susan Braun
• Hair and Wig Design: Paul Morton
• Auditions: Annie Vroom, Tina Anderson, Margaret Snow, Susan Devine, John Shay
• Double Tech Dinner: Benny Robles and Ronnie Hardcastle
• Opening Night Party: Maru Hunstad, Peter O’Konski, Virginia Lacey

Veteran actor & director Dave Bayles and co-director Leslie Wanko presented an intriguing evening of Shakespeare, Star Trek and Doo-wop all integral elements to the script. The script is a treasure trove for those audience members versed in Shakespeare, classic rock and roll or Star Trek trivia. It is a little more challenging for those who are not familiar with the recurring references, puns and illustrations.

The show featured a well crafted spaceship, excellent technical effects, and outstanding costumes. The production suffered a few minor technical set backs (the cue list probably looked like that for a NASA space odessey) but offered some innovative moments.

Music Director Krys Baker kept a tight ship with her band although the doo-wop singers and the soloists were at times hard to hear. The cast offered a consistent level of musicianship and energy to the show that served the script well.

Casting, although unorthodox, showcased the outstanding talents of two actresses playing male roles. Jessany Fogle played the ingenue male role with aplomb and style and actress Jennifer Meisinger was outstanding as the male robot – Ariel. The singers were somewhat limited musically as the music was scored for male voices and was too low for both the women.

Overall, the production was entertaining and engaging. Notable performances included the energetic and charismatic Dr. Prospero (John O’Laughlin) and the well-sung Tempest (Patrick Welton). Keep an eye on this young theater company as they continue to contribute quality community theater to St. Mary’s County.

Newtowne Players performs at the Three Notch Theatre – the former Lexington Park Library. Three Notch Theatre is located at 21744 South Coral Drive, Lexington Park, MD.

Return to the Forbidden Planet performances are November 7, 8, 13, 14, 15, 20, 21, and 22, 2008 — 8:00 p.m. and November 9, 16, and 23, 2008 — 3:30 p.m.

For more information visit their website at newtowneplayers.org or call 301 737 5447.

Sunrise at Campobello is a 1958 play by American producer and writer Dore Schary based on U.S. President Franklin Delano Roosevelt’s struggle with polio. The award winning play has also been the subject of a number of additional movies and books. With 5 Tony nominations and 4 awards, it is apparent that the subject of FDR are popular dramatic material for the American public.

The setting for Sunrise at Campobello is Campobello Island was Roosevelt’s summer home in New Brunswick, Canada. Most of the play’s actions take place there, where we see Roosevelt struggle to overcome the paralysis of his legs. The play ends with the 1924 Democratic National Convention speech, which catapulted him back into politics after an absence of several years.

Sunrise at Campobello is over two hours long- in three acts. The set is believable, the costumes, wigs and makeup are excellent and the cast is quite talented- and the Roosevelt children are adorable.

The play moves along well in spite of the extensive verbiage with the charisma and warmth of the talented Mr. Dick Reed in the role of FDR. Mr. Reed did an outstanding job at claiming and portraying the vulnerability, charm and energy of this American hero. His transition from able bodied to disabled and the mental fortitude with which he served his whole self were stellar. FDR recognized the difference between a failure and a defeat – and Mr. Reed portrayed this eloquently.

Jo Rake, brought much of Eleanor Roosevelt into her portrayal; the physicality, warmth and shyness of her character as well as the chill of a marriage that was not just-quite-right.

Louis Howe, played by Neil Twohig, was a stellar supporting character and infused each of his scenes with an extra energy and authenticity which validated much of the work of director Randy Tusing in this warm and well thought out production. The supporting roles of Sara Roosevelt, played by the aloof and controlling Kitty Harger and the president’s secretary Kitty LeHand (The lovely and supportive Libby Dasbach) were also notable.

Sunrise is a beautifully written piece and the Tantallon Community Players do a lovely job capturing an era in this important historical drama. The Roosevelt politics and issues are a good reminder for us in 2008 that unless we study history it is doomed to repeat itself.

Cast:

• Franklin D. Roosevelt: Dick Reed
• Eleanor Roosevelt: Jo Rake
• Louis Howe: Neil Twohig
• Sara Roosevelt: Kitty Harger
• Missy LeHand: Libby Dasbach
• Roosevelt Children:
• Anna: Amy Bonnet
• James: Daniel Bonnet
• Elliott: Daniel Flores
• Franklin Jr.: Andrew Kivrak
• John: Stephen Bonnet
• Gov. Alfred E. Smith: Chris Robichaux
• Mr. Lassiter/Edward: Doug Graupman
• Mr. Brimmer: Steve Dasbach
• Dr. Bennett: David Weaver
• Calder/Daly: Larry Carbaugh
• Marie: Jung Weil

Hotbed Hotel revolves around a married couple Teri & Brian, who are desperate to have a prospective investor buy their rundown, one-star Florida hotel. Teri, played by Lynne O’Meara, and her staff pose as guests in an effort to create a false impression of popularity and make the hotel look like a profitable investment.

Photo Credit: Lionel Miller

The set for Hotbed Hotel is amazing-from live fish, to an amazing décor and construction detail. Hard to believe it is simply a one-star hotel. The production has a slow start and doesn’t really engage the audience until the hapless hotel owner, Brian Cody (charmingly portrayed by Doug Graupman) tries to change a light bulb. The cast of characters all have multiple agenda and issues that make the production one that successfully builds to it’s surprise conclusion. Hotbed Hotel engages in a plethora of risqué-type humor. Much of this is done successfully, such as in the scene in which Mr. Lewis becomes a surprised member of a pajama party which he never planned, and by Act Two the energy level increases dramatically- or should I say, ‘comedically.’

Among the array of characters is an eccentric retired British officer Major Ponsenby (charismatically portrayed by Darren Longley) a wealthy Arab Sheik, Abdul Alhaj, who may or may not turn out to be the major’s long-lost twin brother (also delightfully delivered by the talented Mr. Longley) and a high society nymphomaniac dubbed “the Barracuda” (the very believable and beautiful Susan Campbell). The task of keeping the ‘Barracuda’ away from the very married Sam Lewis (stuffy & fussy Keith Linville) and his ‘wife’, Ashley (The beautiful Katherine M. Reilly) proves all but impossible. Having each character thrown together in this melee provides a lethal dose of comedy that has the audience laughing throughout most of the play. In one scene, three men – all in pursuit of the Barracuda – end up instead in bed with each other.

There are some wonderful ensemble moments between many of the talented cast members. Exceptional performances were rendered by the hotel handy man ‘Hopkins’ played brilliantly by Joe Bowes and the maid Maureen portrayed by the delightfully dim Amanda Lozano.

Although there are many entertaining moments in which we see most of the cast in various states of undress as circumstances pull them in and out of various beds, absolutely nothing holds a candle to the visual assault of seeing Dorothy Lewis (Dee Bayles) in her girdle and Iron Maiden.

Neither the script nor this production deliver as masterpiece theater but Hotbed Hotel has the fundamental ingredients of good entertainment that provide charming comedic results that is well worth the cost of admission.

Producer Karyn Peterson and Director Michael Gahan (with Sarah Carlson) present Hotbed Hotel April 4 through April 20 at the Port Tobacco Players Theater in LaPlata, MD.

On the morning of August 29, 2005 Hurricane Katrina made landfall at southeast Louisiana causing severe damage along the Gulf Coast. In the aftermath of the storm, the federal flood protection system in New Orleans failed in more than fifty places and nearly every levee breached exposing a major American city unprepared to respond to the rising waters. In a series of ten stirring monologues, singer-songwriter and playwright Tom Flannery tells the stories of those forgotten by the most powerful among us.

Reality TV has come to theater- but not as you know it. Five actors, a blues man and a live feed on multiple TV’s are the premise for a stirring and all to real insight of life on the bayou…post-Katrina.

Tom Flannery’s play Colorblind: The Katrina Monologues invites the audience to a series of monologues from the dead and the living, young and old, black and white…. We are mercilessly reminded that tragedy is no respecter of color, of race, of position, of …anything. As Flannery so eloquently says in the opening of the show “Now you get to see how the other half lives…and dies too for that matter.”

DC blues musician Michael Baytop and a solid troupe of actors present a stirring insight into our human condition. There is no attempt to trivialize or embellish in the writing or production of The Katrina Monologues what is a life changing (and life taking event) for all.

Director Bob Bartlett and a talented cast rely solely on the voices and the stories and the melancholy thread of the blues to keep this piece moving – and it does. Ten monologues, a sprinkling of songs and live feed TV from Katrina present a tight 90 minute show.

There is no absence of drama in the stories but there is room for laughter and wonder and awe for this force of nature that but for the grace of God, could take anyone of us at anytime, anywhere. Nature is no respecter of persons. “But when the water came…it came like it meant to hurt people. It wasn’t just passing through, if you know what I mean. It was invading.”

One of the riveting bites from the script is that of a middle-class white woman watching the tragedy on TV. “But the beauty of our time is that you don’t have to pull a Bin Laden and crawl into a cave to get away. You need only to turn off the TV. You can become disengaged without getting off the couch.”

Kudos to a very talented cast on their outstanding and versatile performances. Jared Shamberger presented a wonderful sense of warmth, and gentle humour in contrast to the mesmerizing frailty of actress Charmain Crawford. Rhonda Carter proved versatile and engaging as both a middle class white woman and an elderly black man. Nicole Carter offered two distinctly riveting and constrasting performances while Jivon Lee Jackson – a last minute stand in- effectively captured the agony and angst of a New Orleans Police Officer.

The tragedy of this production will be the theater-goers, who just like TV watchers, choose not to engage. Tragedy, and our response to it, are building blocks not only for good drama but for good community. Support your theater. Support your community. All proceeds from the production benefit The Black Box Theatre and The American Red Cross, Southern Maryland Chapter Disaster Fund.

Colorblind: The Katrina Monologues runs from March 27 through April 6. Buy tickets now by calling 800-494-8497.

“The snow has taken it all”

October 5 through October 20 Hard Bargain Players presents Abe Polsky’s Devour the Snow Friday & Saturday nights at 8:00 p.m. Set in a wooded, outdoor amphitheater HBP are known for presenting edgy, thought provoking drama and Devour the Snow fits the bill.

A courtroom drama based on the true story of the 1846 wagon train expedition of the Donner Party the story and this performance is absolutely spell-binding. Riveting. All those words you use when you are can’t get away from something – regardless of how unsettling or disturbing it is.

Devour the Snow is much more than a courtroom drama- although it is a good one, or a historical play- and it is that, too. It is a showcase of the human drama of last resorts. The fate of the Donner Party is a macabre legend of how the west was won A wagon party of families set out from Illinois for California, stranded in the Sierra Nevada Mountains by an early snowfall, they build crude shelters of logs and hides. They then commenced to eat their animals and their shoes. Eventually, the 47 survivors (out of a party of 82) proceeded to eat their own dead.

The courtroom drama is a slander trial. Ten days after their rescue survivor, German immigrant Lewis Keseberg is accusing other members of the group of slander. Their accusations? Theft and murder. The trial is concerned with who ate whom when. Director Brian Donohue does an artful job of moving the story along. The rhetoric of one atrocity after another can be numbing- but not in this case.

Donohue has the perfect setting at Hard Bargain- the rustic setting and the set and costumes immediately place you back in 1846. The drama places you in hell. The torment of each of the survivors is unimaginable. Randy Tusing as the tortured Keseberg sculptures a portrait of hell in ice with a laser like focus and a passion that swings across the stage like an inferno. Tusing was simply brilliant. How do you feel empathy for a man who reveals he ate his own dead daughter? You would be surprised.

Stellar performances include Mike Mortensen as the heroic survivor James Reed (acting as defense counsel) and David M. Thomas as Judge John Sutter. The supporting cast offers thoughtful and introspective performances all around.

The tragedy for the Donner Party members who did not perish was not so much the events of that winter in the snow… but the memories that did not perish. Who was the mad party? Who was the murderer? Who was justified in their choices? Who was the criminal? Keseberg said in the trial, of his gruesome survival methods. “Together we conquer all things, even the snow. We were immortal.” Later, Foster spoke of Keseberg, speaking in his defense… “What you hung on that wall…that was no animal…that was my son” (Refering to the body of his own son). The plea of the Eddy, another defendant? “Set me free! We are not the same!”

Don’t miss the opportunity to ask yourself the questions raised in this beautifully crafted and though provoking drama. Criminal or victim? A mad man or a survivor? And you- given the worst of scenarios… what destiny would you embrace? Humano… humain… menschlich… human… humano…

Hard Bargain Players is located approximately 2 miles west of Indian Head Highway (Route 210) on Bryan Point Road in Accokeek, Maryland. Their website is www.hbplayers.org.

Keseberg: “We are told it’s a mortal sin to take your own life. My crime, my sin was that I did not. Time and again I was about to do it. With the gun in my mouth and my finger on the trigger. What stopped me? Others could accept Death as a friend, to welcome Him with a smile, yet I could not. The need to go on, that is my crime. My misfortune. I need to live too much.