The Shakespeare Theatre presents The Government Inspector by Nikolai Gogol and Adapted by Jeffrey Hatcher at the Lansburgh Theatre. This is “… the first Russian play to grace the Company’s stages.” And a fabulous production it is too.

This satire of “…corruption and self-deception” is written about at length at the STC Asides blog in Putting Russia On Stage: Gogol’s National Comedy. It is encouraged that you read about the history of the play and times of this play’s origins.

To begin is the direction by Shakespeare Theatre Company’s Artistic Director Michael Kahn. He has cast this show with many STC members and Affiliate Artists. This seasoned cast performs Mr. Kahn’s vision with enormous energy and aplomb. A true joy to listen, watch and laugh.

Costume Designer Murell Horton created costumes that will remind you of the animated home of Dr. Suess’s Whoville in “Horton Hears a Who.” They were brilliant in color and fantastic in aplomb, adding to the satirical play.

This stellar cast will give you the kind of performance we all have become accustomed to here at the Shakespeare Theatre Company, as in most Michael Kahn’s productions they do not disappoint. The comic genius of Derek Smith playing the role of Ivan Alexandreyevich Hlestakov carries the show along with the equally talented acting prowess of Rick Foucheux playing The Mayor, Anton Antonovich. Both are a pleasure to enjoy.

You will also love the enormous talents of Nancy Robinette in the role of Anna Andreyevna, The Mayor’s Wife. Claire Brownell was riveting in her hilarious portrayal of Marya Antonovna, The Mayor’s Daughter. Following in this cast are the usually expert comic talents of Floyd King playing The Postmaster, David Sabin as The Judge, Craig Wallace as The School Principle, Lawrence Redmond as The Hospital Director and Harry A. Winter with Hugh Nees portraying the twin like Dobchinsky & Bobchinsky respectively. Also the very funny Tom Story is The Doctor.

Far from the usual offerings at The Shakespeare Company, Mr. Kahn’s The Government Inspector has given us a very light-hearted and very comical outing. You will love this show.

Photo Gallery

Lawrence Redmond as the Hospital Director and Rick Foucheux as the Mayor	Hugh Nees as Bobchinsky and Harry A. Winter as Dobchinsky
Liam Craig as Osip and Derek Smith as Hlestakov	The cast

Photos by Scott Suchman

Cast

• Pentelaeyev/Imperial Messenger: Travis Blumer
• Marya: Claire Brownell
• Osip: Liam Craig
• Mayor: Rick Foucheux
• Postmaster: Floyd King
• Grusha/Innkeeper’s Wife/Corporal’s Widow: Sarah Marshall
• Bobchinsky: Hugh Nees
• Hospital Director/Chernyaeyev: Lawrence Redmond
• Anna: Nancy Robinette
• Judge: David Sabin
• Hlestakov: Derek Smith
• Doctor: Tom Story
• School Principal/Abdullin: Craig Wallace
• Dobchinsky: Harry A. Winter

Direction and Design

• Adapter: Jeffrey Hatcher
• Director: Michael Kahn
• Set Designer: James Noone
• Costume Designer: Murell Horton
• Lighting Designer: Philip S. Rosenberg
• Composer: Adam Wernick
• Sound Designer: Veronika Vorel
• Casting: Binder Casting; Jay Binder, CSA/Jack Bowdan, CSA
• Resident Casting Director: Daniel Neville-Rehbehn
• Voice and Text Coach: Ellen O’Brien
• Literary Associate: Drew Lichtenberg
• Associate Director: Gus Heagerty
• Wig Designer: Anne Nesmith
• Production Stage Manager: Joseph Smelser
• Stage Manager: Claire E. Zawa
• Assistant Stage Manager: Elizabeth Clewley

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

J.B. is a play by Archibald MacLeish. This play won the Tony Award and the Pulitzer Prize in the late 1950’s. It was written in a time when the theatre goers were more tolerant of the verse presentation of this production. (You can read about the play and the director’s vision of the play in the notes below.) The Director, Rip Claassen, manages to effectively have his cast deliver this show with a more realistic touch. Even with the circus atmosphere and costumes, this production delivers MacLeish’s message.

The story of Job is one which we all need to reflect on in our own lives. Especially during hard times we all begin to question our beliefs. This is when they are most strongly tested. American Century Theater has put on a very a successful production.

What makes this show a success rests on the direction of Rip Claassen, the powerful acting of Bruce Alan Rauscher (Nickles) who has a full grasp of the nuance of his character and his character’s message and its delivery. Steve Lebens (Mr. Zuss) is strong and founded in his portrayal of the character. John Tweel in the title role (J.B.) pushes his character’s emotional requirements to the edge without allowing himself to go overboard. No easy task, indeed, but he carries it off professionally. These three actors carry the message with a complete professional delivery.

Along with these actors, American Century Theater has employed the artistic talents of Lorraine Slattery. As the Costume Designer Ms. Slatttery has filled the black box theatre joyously into a colorful and vibrant circus as well as charred costumes of the tested J.B. & Sarah. Many costumes are required and she has met each with her own touch. This show is a great display of what costuming can do to add to MacLeish’s play or any other play, the director’s vision as well as her own.

The set design is by Trena Weiss-Null. This simple yet complicated set is quite effective. The choreography of the set changes are a wonderful addition to the flow of the story. Lighting design by Zachary A. Dalton is also a strong piece to the puzzle of this production. Very effective use of your lighting design. Properties design make this production fun and effective. This was playfully carried out by the work of Michelle Hitchcock. Sound Design by Ed Moser is quite effective.

Other notable performances are the talents of Julie Roundtree (Sarah). Although she looks a tad young for the role, she portrays her character with physical faculty and ability of a seasoned pro. Also, Joshua Dick and Joshua Aaron Rosenblum are playing the roles of (First & Second Roustabout/Soldier/Reporter/Police Officer/Firefighter) and play each of their characters well. Mr. Rosenblum carried off his soldier with a wonderful portrayal of what he was attempting to convey. Mr. Dick’s intensity can be a tad loud but overall his performance was exemplary.

Special mention goes to ensemble cast of this show. Often forgotten in productions, this ensemble not only helps carry the story along, but also had each actor’s moments quite effectively. The circus characters were fun. In the various roles this ensemble was called upon to perform, a job well done. There were times, however, when the projection was low. This made some of the lines very hard to hear. I’m sure this can be corrected easily enough.

artistic Director’s Notes

J.B. (1958) by Archibald MacLeish

How is J.B. like a passenger pigeon?

Like one of the large, gray, tasty game birds that once were so abundant in this country that flocks of them literally could blot out the sun, Archibald MacLeish’s masterpiece is a member of an extinct species, or nearly so. The species is verse drama, an ancient form that once was dominant in stage art and is now scorned and forgotten, except when impressive theatrical fossils and beautiful preserved specimens are on display.

J.B. was like a lone survivor even when it premiered in 1958. The verse drama had been slowly dying since the seventeenth century, and its fatal disease was realism. Once William Shakespeare started writing some of his plays’ comic scenes in prose, the deadly virus was loose: the Bard recognized that prose was the tool of the realist, while verse was the method of the romantic, the dream-weaver, the troubadour, and, for a few more centuries at least, the tragedian.

But by the 1820s, the writing was on the wall as well as the stage. The French writer Stendhal insisted that prose was the only possible medium for an effective tragedy. Henrik Ibsen abandoned verse as a medium after Peer Gynt in 1867, believing that poetry made drama dealing with contemporary issues less immediate and involving. He wrote:

Verse has been most injurious to the art of drama . . . . It is improbable that verse will be employed to any extent worth mentioning in the drama of the immediate future since the aims of the dramatists of the future are almost certain to be incompatible with it.

The writer of A Doll’s House was largely correct, but this dying species proved hardier than most. Even in America, where everything is always modern, talented playwrights periodically employed the power of verse long after Martha, the last passenger pigeon, died alone in 1914. There was MacLeish, of course, who was a poet who wrote plays rather than a playwright who used poetry, and Maxwell Anderson, who had consistent Broadway success with his plays in the Thirties and Forties written in blank verse: The Wingless Victory, High Tor, Winterset, Mary of Scotland, Elizabeth the Queen, Key Largo, and Anne of the Thousand Days. (Meanwhile, poet T.S. Eliot was holding down the verse drama fort in England, with plays like The Cocktail Party.) MacLeish’s J.B., appearing in 1958, was a late and vigorous example of the rare breed, as was William Alfred’s Hogan’s Goat, an Off-Broadway historical drama that was named the Best Play of the 1965–1966 Season.

Since then, the species has been the victim of deadly predators. TV has embedded realism in the public’s consciousness so firmly that so-called reality shows seem more like drama than High Tor, and the use of poetry on stage has retreated almost solely to musicals, which aren’t exactly thriving either (the movie variety has pretty much vanished).

Nonetheless, the best of verse drama, when a theater company has the courage to produce it, is still capable of showing how beautiful and high-flying this exotic species could be in its prime.

Somewhere, Martha is cooing.

–Jack Marshall, Artistic Director

Director’s Notes

More than half a century after this play was written, society finds itself coping with the same problems, but on an even larger scale. MacLeish’s comforters–representing Religion, History, and Science–are still with us, and still as useless as he depicted them. Like many in our society, they listen only to themselves and refuse to reach out for common ground. In truth, the three must be understood in harmony for real understanding to come.

As long as our leaders refuse to listen to others’ facts and theories, we are doomed to not understand the world around us. “A scientist, a clergyman, and a historian walk into a . . . .” Unfortunately, the joke is on us. Only when viewed in combination can science, faith, and history inform one another and lead humanity to possible answers. When people are convinced the End Times are coming, or conversely that there are no mysteries that science cannot answer, then we have a problem.

MacLeish saw the horrors of the two world wars and wrote in response to them. I chose to undertake this play because I have seen 9/11, the Oklahoma bombing, the Family Research Council, Reverend Phelps, and other horrors committed in the names of the Comforters, and I realize Mr. MacLeish’s lesson has not been learned.

–Rip Claassen, Director

Photo Gallery

Allison Turkel and Kecia Campbell	George Tamerlani and Allison Turkel
Steve Lebens and Bruce Alan Rauscher	Steve Lebens and Bruce Alan Rauscher
Julie Roundtree and John Tweel	John Tweel, Loren Bray and Kathryn Browning

Photos by Dennis Deloria

Cast

• J.B: John Tweel
• Sarah: Julie Roundtree
• Mr. Zuss: Steve Lebens
• Nickles: Bruce Allen Rauscher
• Mrs. Adams: Allison Turkel
• Mrs. Botticelli: Kecia A. Campbell
• Mrs. Lesurs: Kathryn Browning
• Mrs. Murphy: Jennifer Brown
• Jolly/Girl: Loren Bray
• Miss Mabel/Mary: Chanukah Jane Lilburne
• David: Zak Gordon, Jakob Sudberry
• Jonathan/Boy: Sam Landa
• Rebecca: Caroline Frias
• Ruth: Kaiya Gordon
• First Roustabout/Soldier/Reporter/Police Officer/Firefighter: Joshua Dick
• Second Roustabout/Soldier/Reporter/Police Officer/Firefighter: Josua Aaron Rosenblum
• Bildad: Robert Heinly
• Eliphaz: Evan crump
• Zophar: George Timberlani
• Distant Voice: John Dooley

Production Staff

• Director: Rip Claassen
• Stage Manager: Kathryn Dooley
• Assistant Stage Manager: Joanna Schoenborn
• Scenic Design: Trena Weiss-Null
• Lighting Design: Zachary A. Dalton
• Master Electrician: Jeffrey D. Porter
• Sound Design: Ed Moser
• Costume Design: Lorraine Slattery
• Properties Design: Michelle Hitchcock
• Wardrobe Handler/Child Monitor/Animal Wrangler: Lindsey E. Moore
• Publicist: Emily Morrison
• Photography: Dennis Deloria, Johannes Markus
• Program Design: Michael Sherman
• House Manager: Joli Provost

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

Almost, Maine storms its way onto 1st Stage in Tysons.

This work is not part of the mainstream consciousness of our theatre world, but this production has exploded into the Metro area with a fabulous production. Michael Chamberlin directs his cast as a fine artist would draw or paint a masterpiece. His cast is directed as mere colors off his pallet as his show lays down the foundation. Then he has his actors brush in shades of all the nuances of love with all the vibrancy or subtleness he wishes. A truly excellent work is Almost, Maine. I recommend this play to all.

Steven Royal designed an intimate set. I loved it! Steven and Michael created an acting area small and intimate, allowing the audience to seemingly be a part of the play. A very nice use of snow was used here as well. The costumes, by Levonne Lindsay were perfect for each of the characters and the actors quick changes worked very well. I had no issues with who the characters were. Lighting was designed by Brian S. Allard. Brian created some bright and darker moments and moods with his lighting. The Northern Lights were very, very well done.

Performing in Mr. Chamberlin’s masterpiece are: Jessica Shearer, Elliott Kashner, Jonathan Lee Taylor and Megan Dominy. I would like to state that it’s hard to point out any one of this cast as being the lead or supporting. This is truly a play with four leads, four supporting cast members and four featured actors. No cameos though. These groups of four are truly gifted craftsmen and craftswomen in the art of performance. I found myself totally in their control as they quickly developed each of their characters and I could see the enjoyment they were having playing them. I thank you all for your hard work and personally would love to work with you at some time in the future.

Having given all these accolades, I would like to say I wouldn’t turn my back on someone who just told me she killed her husband. Nor would I leave out the excitement of coming back to the person I should never have left. Maybe I’d make sure the audience knew whether I fell down on purpose or if it truly was falling “in love” and it was a surprise to me as well. Also, I might explore the escalation of anger in the breakup on ice as well, but not too much.

Almost, Maine is a true delightful story. Performed and directed with love, talent and with a complete sense of theatre in the round. I was so very entertained. Thank you 1st Stage of Tysons for selecting this play. I also love the chocolate raisins at intermission!

The show runs about 2 hours, but you’ll want to go on and on.

Photo Gallery

Clockwise from center, Jonathan Lee Taylor, Jessica Shearer, Megan Dominy and Elliot Kashner	Gayle (Megan Dominy) examines her relationship
Chad (Elliott Kashner) and Randy (Jonathan Lee Taylor) enjoy ice fishing	Dave (Jonathan Lee Taylor) and Rhonda (Megan Dominy) clash over their feelings for each other
Pete (Elliot Kashner) and Ginette (Jessica Shearer) embrace

Photos by Deb Crerie

Cast

• Ginette, Sandrine, Marvalyn, Phil, Hope: Jessica Shearer
• Pete, Jimmy, Lendall, Chad, The Man: Elliott Kashner
• Easton, Steve, Randy, Dave: Jonathan Lee Taylor
• Glory, Waitress, Gayle, Marci, Rhonda: Megan Dominy

Crew

• Director: Michael Chamberlain
• Setting: Steve Royal
• Costumes: Levonne Lindsay
• Lighting: Brian S. Allard
• Sound Design: Derek Knoderer
• Stage Manager: Keta Newborn
• Props: Debra Crerie, Kay Rzasa
• Assistant Director: Emily Ann Jablonski
• Fight Choreography/Movement Coach: Monalisa Arias
• Program: Marty McGran, Lynne Silverstein

Disclaimer: 1st Stage provided two complimentary media tickets to ShowBizRadio for this review.

Man of La Mancha boldly goes where no production has gone before.

Since the departure of The Washington Post from reviewing Community Theatre there has been such a meteoric rise of ShowBiz Radio, DC Theatre Scene and the new MD Theatre Guide as well as The Connection and Gazette papers. Filling this void has been a task in which the writers have emerged from all walks of the theatrical background spectrum. Some are new to writing reviews and some have vast experiences in theatre. Some are actors, some are directors and some are theatre enthusiasts but whatever the background, we have all strived to give our best at reviewing the shows we’ve been assigned. The guidelines for us are to be as critical as we wish but always to remember the kind of theatre and what the audience is looking for in reading the review. Ok. This is the standard to which I write the review of Man of La Mancha presented by the McLean Community Players at the Alden Theatre in McLean, Virginia.

It is clear to observe from the start of the show that a lot of attention was paid to the music and vocals. The 12 piece orchestra is wonderful. Under the Music Director Walter McCoy this orchestra really gives you the feeling of a full orchestra. From the overture to finale, you will be very pleased. Many from the audience remained in the audience to hear the finale and gave them their just reward with a big ovation.

The cast, save a few, are well-trained and coached by Vocal Director Rosemary Dyer. She has done a wonderful job in working with Music Director Walter McCoy. I have had the pleasure to either watch as a theatre patron or as a reviewer most of the actors in the W.A.T.C.H. area and was quite simply amazed at how Ms. Dyer was able to get such richness and not before heard color to voices of these actors. Very well done Rosemary.

I could tell right away the stage was lit by the Lighting Designer team of Ken and Patti Crowley. Thank you for adding the visual tones to the emotions of each of the scenes. The lighting of the single back wall transported us from one location to the next as the play unfolded. Your lighting was a pleasure for me to experience.

The set was designed by Bill Brown. It’s a very simple set but did give the feeling of an open space. It did not feel, however, the least bit like a dungeon. More like an open courtyard. The lack of a drawbridge made me feel like this production may have had problems with construction. But when the entire back wall was hoisted at the end of the play to reveal the orchestra, I wondered (and still do) why he never designed this staple feature of this play.

The Costumes for this play were ok, but lacked any signs of the filth and grunge of the peasantry. The facial hair and wig of Don Quixote was all white which seemed to completely cover the actors face. I felt a little robbed when the actor put on a single sided, plastic chest armor plate with a strap around the back and a matching helmet. (must have come from a Halloween costume shop).

In this production, it is clear to see that the emphasis was on the singing. In this regard I will gladly say this cast deserves an A+. Wonderful singing of every vocal note was given by every member of the cast. I especially like the melding voices of “I’m Only Thinking of Him” by Antonia played by Marissa Chapman, Padre played by Rob Vogel and Housekeeper played by Linda Wells. This was my favorite number in this show.

The direction of Man of La Mancha came from Don Petersen. I’m not sure I can state just where he was going with this show. I have seen many renditions of staple stage productions, i.e, putting Shakespeare plays in the Appellation south of America, or modernizing a dated play to fit the culture of a different era, but the direction here didn’t go that way. This direction seemed to be all presentational with a mix of the operatic. Most of the actors just sat on benches, which were all along the walls and when their turn came the actors would jump up to play their scene, and then return to their respective bench. It felt like a high school gym with students waiting for their turn to play hoops.

There was also an apparent push for the comedy in this show. Unfortunately, the comedy at times upstaged characters and at times even upstaged the songs. Having Sancho Panza, played by Nathan Totro play the “director of an orchestra,” robbed the title character of showing his continuing fight for the right. Also, having both of his lead characters talk in soft normal voices, when not singing, made it extremely hard for the audience to hear them speak at all. The final number where Aldonza sings “The Impossible Dream” to the audience and NOT to Cervantes was a very strange directorial choice to me.

After I realized the focus of this production was more for the vocals, I sat back and relaxed and took my critical eye away from the actions and on the stage lighting (which is very cool)and let my mind fulfill that which the director neglected. No drawbridge, presentational directing coupled with too much ‘send-up’ comedy, a fight scene without a real fight? It looked like a scene in Star Wars with a bunch of Wookies fighting R2D2 and C3PO.

With all the problems I had with the directing, I must add the notable acting performances which save this production. Mike Baker in the title role did a great job. I believe he could’ve added more depth to the physicality of Don Quixote, but his nuance and interpretation of his character was spot on. His singing voice was more rich and full than I have ever heard from his past performances, which are way too many to list. Janice Rivera plays Aldonza with zest and her singing is wonderful. I wanted to see more of the “…scum of the earth” of her character, but she was truly a pleasure to watch. Jay Tilley playing the roles Governor, Innkeeper, Moor was a delight. I wished his Governor was more visibly overseeing the proceedings though. Hard to do when you have to play the Moor, but he still needed to have a presence throughout the show. Nathan Tatro plays Sancho Panza with a very comedic flair. His uses of facial expressions get in the way sometimes and he should be careful of upstaging, but his performance was notable.

Photo Gallery

Mike Baker, Jr transforms himself from Cervantes to Quixote	Celina Gomez as Sancho’s horse, Mike Baker, Jr. as Don Quixote, Chris Gallegos as Quixote’s horse, Nathan Tatro as Sancho Panza
Celina Gomez as Sancho’s horse, Janice Rivera as Aldonza, Chris Gallegos as Quixote’s horse, Nathan Tatro as Sancho Panza	Featuring Janice Rivera as Aldonza, Nathan Tatro as Sancho Panza and Jay Tilley as the Innkeeper

Photos by Traci J. Brooks Photography

Cast

• Cervantes, Don Quixote: Mike Baker, Jr.
• Sancho Panza: Nathan Tatro
• Aldonza: Janice Rivera
• Duke, Dr. Carrasco, Knight of the Mirrors: Lance Adell
• Governor, Innkeeper. Moor: Jay Tilley
• Innkeeper’s Wife, -Maria: Mary Ayala-Bush
• Housekeper: Linda Wells
• Antonia: Marissa Chapman
• Fermina: Emily Baden
• Muleteer Pedro: Peter Halverston
• Padrre: Rob Vogel
• Muleteer Anselmo: Brannon Smith
• Don Quixote’s Horse, Barber: Chris Gallegos
• Sanchos Horse: Celina Gomez
• Moorish Dancer: Michelle Jacobeen
• Muleteer Paco: Nate whiting
• Muleteer Juan: Jerry Hoffman
• Muleteer Quinto: Neo Libut, Jr.
• Muleteer Tenorio: R. Keith Flores
• Captain of the Inquisition, Muleteer Jose: Tim Voit
• Prisoners: Lori Roddy, Melissa Jo York-Tilley

Production Team

• Director: Don Petersen
• Producers: Kathy and George Farnsworth, Linda Stone
• Music Director: Walter McCoy
• Vocal Director: Rosemary Dyer
• Choreographer: Kayce Allison Schaffer
• Stage Manager: Annie O’Neil
• Music Coordinator: Lori Roddy
• Set Designer: Bill Brown
• Technical Director: Bob Zeigler
• Lighting Designers: Ken and Patti Crowley
• Master Electrician: Nathan Devonshyre
• Sound Design/Audio Engineers: Bernie Gmiter and Zack Sanders
• Costume Designer: Kathy Dunlop
• Fight Choreographer: Carl Brandt Long
• Media Relations: Brendt Stone, Laura Dailey
• Publicity Team: Tula and Dell Pendergrast, Jenny Levy, Kathy Farnworth, Patti Green-Roth, Columba Hoban, Terry Yates
• Hair& Makeup Design: Laura Fontaine
• Props and Set Dressing: Lynne Lawhead, Molly Pruett, Linda Stone, Nancy Perry and Terry Yates
• Lighting Operator: Richard Hildebrand
• Backstage Crew: Shayne Gardner, Thomas Graham, Gregory Lee,Kate Miller, Candice Newman, Sherry Singer, Adrian Steele
• Rehearsal Pianists: Matt Jeffrey, Lori Roddy
• Set Painting Design: Dick La Porte
• Master Carpenters: George Farnsworth, Bill Glikbarg, Bernie Gmiter
• Set Construction and Painting: Kathy Farnsworth, Bernie Gmiter, Bob Schroth, Bob Zeigler
• Auditions: Bunny Bonnes, Patti Green-Roth, Columba Hoban, Lynne Lawhead, Tula Pendergrast, Sherry Singer, Linda Stone, 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.

Jersey Boys, ‘Oh What A Night,’ at The National Theatre! Jersey Boys is not only a delightful play; it’s a spectacular journey into the world of a small group of men from New Jersey and the women in their lives. One cannot help but fall in love with them, their music and their warm-hearted story of life in the tough and rugged world of the music industry. Jersey Boys will bring you behind the lights and into the world of each of them, especially their main vocal Frankie Valli. If you want a great night of theatrical fun and excitement, this is a show for you.

The production values for Jersey Boys are quite remarkable and will not skip a beat. From one musical number to another as the story takes you through their lives, every set and costume change was flawlessly carried out. Flawless! Quite a marvel of technical accomplishment for the Scenic Designer, Klara Zieglerova; the fabulous costumes by Costume Designer, Jess Goldstein; the Lighting Designer, Howell Binkley; the Sound Designer, Steve Canyon Kennedy; The Projection Designer, Michael Clark; Wig and Hair Design by Charles LaPointe; Fighter Director, Steve Rankin and Production Supervisor, Richard Hester. All of this design crew brought together a very special show and you will just love what they’ve created for you.

Very rarely does a show like this capture you, but Jersey Boys grabs you from the start and won’t let you go until the final curtain. By the way, the entire audience leapt to their feet and sang along during the curtain call. All too often touring shows come to town with a truncated version of the original, but Jersey Boys far surpasses any version you may have seen or will see. A truly wonderful night at the theatre is Jersey Boys.

The cast of Jersey Boys is fantasic! The Boys: Bob Gaudio played by Preston Truman Boyd, Frankie Valli played by Joseph Leo Bwarie, Tommy DeVito played by John Gardiner and Nick Massi played by Michael Lomenda. These men have such a wonderful sound, in my opinion as good as the original. The women in this cast are truly some of the most versatile and talented actresses I’ve seen in quite some time. The women are: Denise Payne playing the roles Frankie’s Mother, Nick’s Date, Miss Friankie Nolan, Bob’s Party Girl, Angel, Francine (and others); Lauren Decierdo playing the roles Church Lady, Angel, Lorraine (and others); Kara Tremel playing the roles Mary Delgado, Angel (and others). Yes, these three women play all the women in the Four Season’s lives. Wonderful and diverse performances are given by each female in the cast.

Some other standouts were Joseph Siravo playing Gyp DeCarlo (and others), as well as Jonathan Hadley playing Bob Crew (and others). Just a great performance by the entire cast.

Mr. Joseph Leo Bwarie deserves a truly special note of praise. He captured the voice of Frankie Valli with such apparent ease, such exactitude that it’s uncanny. He will truly become a star in his own right. Don’t forget the name Joseph Leo Bwarie. He’s a talent not to be missed.

The director, Des McAnuff has surrounded himself with a fabulous crew and cast and crew. He’s given each character a true sense of the lives of their characters and taken his production from the realm of a concert to a truly magical theatrical experience. His Choreographer Sergio Trujillo worked the cast to perfection and had all the moves and dances of each time period down to a “T.” Also, Steve Orich’s orchestrations were fantastic.

Don’t miss this show. You will love this show. I guarantee it.

Photo Gallery

Can’t Take My Eyes Off You – Joseph Leo Bwarie	Walk Like a Man
Finale-Preston Truman Boyd, Joseph Leo Bwarie, John Gardiner, Michael Lomenda, and the Company	Recording Studio-Michael Lomenda, Joseph Leo Bwarie, Preston Truman Boyd, and John Gardiner
Sherry	My Eyes Adored You
The Handshake – Joseph Leo Bwarie and Preston Truman Boyd

Photos by Joan Marcus

Video Preview

Cast

• Bob Gaudio: Preston Truman Boyd
• Frankie Valli: Joseph Leo Bwarie
• Frankie Valli: (Wed Mats, Sun Eves, 11/17, 11/22, 11/23, 11/29)
• Church Lady, Angel, Lorraine (and others): Lauren Decierdo
• Joey, Recording Studi Engineer (and others): Frankie J. Galasso
• Tommy DeVito: John Gardiner
• Bob Crewe (and others): Jonathan Hadley
• Nick DeVito, Stosh, Norman Waxman, Charlie Calello (and others): Buck Hujabre
• Nick Massi: Michael Lomenda
• Frankie’s Mother, Nick’s Date, Miss Frankie Nolan, Bob’s Parrty Girl, Angel, Francine (and others): Denise Payne
• Detective Two, Billy Dixon (and others): Timothy Quinlan
• Gyp DeCarlo (and others): Joseph Siravo
• Mary Delagado, Angel (and others): Kara Tremel
• French Rap Star, Detective One, Hal Miller, Barry Belson, Police Officer, Davis (and others): Donald Webber, Jr.
• Officer Petrillo, Hank Majewski, Crewe’s PA, Accountant, Joe Long (and others): Kevin Worley
• Thugs: Brian Silverman, Mark Verdino
• Understudies
• Understudies never substitute for listed performers unless a specific announcement is made at the time of the performance.
• For Frankie Valli: Frankie J. Galasso, Mauricio Perez
• For Tommy DeVito: Timothy Quinlan, Adam Zelasko
• For Bob Gaudio: Buck Hujabre, Kevin Worley
• For Nick Massi: Christopher DeAngelis, Adam Zelasko
• For Gyp DeCarlo: Christopher DeAngelis, Timothy Quinlan
• For Bob Crewe: Christopher DeAngelis, Timothy Quinlan
• Swings: Christopher DeAngelis, Mauricio Perez, Kyli Rae, Adam Zelasko
• Dance Captain: Kara Tremel
• Assistant Dance Captain/Fight Captain: Christopher DeAngelis

Designers/Crew

• Scenic Design: Klara Ziegelerova
• Costume Design: Jess Goldstein
• Lighting Design: Howell Binkley
• Sound Design: Steve Canyon Kennedy
• Projection Design: Michael Clark
• Wig and Hair Design: Charles LaPointe
• Fight Director: Steve Rankin
• Production Supervisor: Richard Hester
• Orchestrations: Steve Orich
• Music Coordinator: John Miller
• Conductor: John Samorian
• Technical Supervisor: Peter Fulbright
• Casting: Tara Rubin Casting
• Company Manager: R. Doug Rodgers
• Production Stage Manager: Larry Baker
• Associate Producer: Lauren Mitchell
• Executive Producer: Sally Campbell Morse
• Tour Booking & Marketing: Broadway Booking Office NYC
• Music Direction, Vocal Arrangements & Incidental Music: Ron Melrose
• Choreography: Sergio Trujillo
• Directed by: Des McAnuff

Jersey Boys Orchestra

• Conductor: John Samorian
• Associate Conductor: Ben Hartman
• Keyboards: Caren Cole, Ben Hartman, John Samorian
• Guitar: Brian Silverman
• Bass: Mark Verdino
• Drums: Mark papazian
• Reeds: Terry Cook, Christopher Miele
• Trumpet: Michael Robb
• Musician Standby: Nick Dickerson
• Music Coordinator: John Miller

Disclaimer: ShowBizRadio was provided two complimentary media tickets for this review.

Witness for the Prosecution is now playing at Olney Theatre Center. I, for one, will not waste your time with an expository of the story. I remember, in a different time, watching The Mousetrap in London and being asked not to give the story away to others who may not have seen the play yet. This holds true with Witness for the Prosecution. It should be sufficient enough to know that this is an Agatha Christie masterpiece. Full with twists and turns and surprises as this play is, Agatha Christie takes you down many paths.

I will tell you that Olney is and has been an Actors Equity Theatre and as such should be held to as high of a standard as any Actors Equity Theatre. The cast in this play is resplendent both in stature as well as in resume. In fact, most of the cast are members of this prestigious Union of Stage Actors. This being said, I couldn’t help but wonder where the life in this play was. Where was the suspense? Where was the air of tension? Where was the nervous laughter? Where were all these ingredients, usually found in this great Agatha Christie play? The answer may be in cutting the cast down to its bare minimum to accurately tell the story. Maybe it was in staging the accused so far stage left that it took him out of the story. Or maybe it was having the two courtroom combatants sitting side by side as if on the same team. Whatever it was I found the courtroom scenes void of life. Directed by John Going, this play is filled not with the drama or thrill, but rather with the air of the “Ho-Hum, What do we have here?” Maybe this murder trial is more common place in the mind of the director, but it seems to me the play does mention how this murder story made the front pages in the newspapers. Ok, they did capture the decorum of an English courtroom. The sets, designed by James Wolk are wonderful, even if the one made me feel like more of a library in an expansive English Country Home than a London flat. Or it could’ve been the expanse of space in the courtroom itself, or the stenographer who didn’t move at all save for her shiny silver pen which reflected beams of light into the audience’s eyes, seemingly able to write down all the transcripts from the courtroom on a few lines of the paper and never once moving her head. Maybe there was just no excitement from the performances, save for a few.

Andrea Cirie, playing the role of Romaine is fabulous. It took her first entrance for a spark to come onstage. She was engaging and charismatic from her first entrance to the end of the play. Bob Ari in the role of Sir Wilfred Robarts certainly has the talent required for the role and he’s very very talented, but I must say his (or the director’s) decisions to have him start off as the “Played Victim” without any transition from the position of the “Master Player” of the courts is baffling to me. This left Sir Robarts bereft throughout the play rather than having the ability to be caught in amazement once his character realized he (of all people) had been made a pawn. His adversary, Mr. Myers played by Alan Wade is very credible in his role. I questioned his apparent decisions on his character’s grunting. Yes, it’s called for in the play, but his grunt sounded more of an exasperation of frustration than a mannerism used by his character to gain attention.

Other notable performances come from Jeffries Thaiss as Leonard Vole, Paul Morella as Inspector Hearne, Jim Scopeletis as Mr. Justice Wainwright, Joe Palka as Dr. Wyatt and Monica Lijewski as Janet Mackenzie. Special performance was turned in by James Slaughter in the role of Mr. Mayhew. Very well done! It’s these performances that make this play worth sitting through. The set changes were absolutely the best. Maybe these changes with members in the courtroom scurrying about and showing life and purpose could have been carried throughout the scenes. It felt like once the first line was spoken, everyone else turned into manikins. The Lighting, designed by Dennis Paichy, was superb throughout the show. Costumes were very well done, but Mr. Robarts and Mr. Myers robes seemed to be too light and seemed to fly about with a mind of their own.

Photo Gallery

James Slaughter as Mr. Mayhaw, Jeffries Thaiss as Leonard Vole and Bob Ari as Sir Wilfrid Robarts	Bob Ari as Sir Wilfrid Robarts, James Slaughter as Mr. Mayhaw and Jeffries Thaiss as Leonard Vole
James Slaughter as Mr. Mayhaw, Jeffries Thaiss as Leonard Vole and Greg Twomey as Warder	James Slaughter as Mr. Mayhaw and Andrea Cirie as Romaine
Bob Ari as Sir Wilfrid Robarts and Andrea Cirie as Romaine

Photos by Stan Barouh

Cast

• Greta: Carolyn Myers
• Carter: R. Scott Williams
• Mr. Mayhew: James Slaughter
• Leonard Vole: Jeffries Thaiss
• Sir Wilifrid Roberts: Bob Ari
• Inspector Hearne: Paul Morella
• Policeman: DC Cathro
• Clerk of the Court: Alan Hoffman
• Stenographer: Carolyn Myers
• Mr. Justice Wainwright: Jim Scopeletis
• Mr. Myers: Alan Wade
• Barrister: Ron Sarro
• Barrister: R. Scott Williams
• Warder: Greg Twomey
• Dr. Wyatt: Joe palka
• Janet Mackenzie: Monica Lijewski
• Mr. Clegg: Drew kopas
• The Other Woman: Jenny Donovan

Crew

• Scenic Designer: James Wolk
• Costume Designer: Liz Covey
• Lighting Designer: Dennis Parichy
• Stage Manager: Josiane M. Lemieux
• Wig Designer: Anne Nesmith
• Dialect Coach: Nancy krebs
• Sound designer: Jeffrey Dorfman
• Producing Director: Brad Watkins
• Technical Director: Eric knauss
• Company Manager: MacKenzie Douglas
• Costume Shop Manager: Jeanne Bland
• Director: John Going

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

The Boy Detective Fails to bring this World Premiere musical to its potential. Yes the top-notch professional actors were brought in to thrill you with their vocals and acting prowess, but apart from a few moments, this 2 hour 20 minute musical couldn’t reach the heights it was intended to. There are moments of sheer brilliance from the actors on stage, mostly by the chemistry the Director, Joe Calarco was able to bring out in his characters Billy and Penny Maple as well as with Billy and Caroline. There was comedy and the actors were definitely having fun in doing this show, but the audience never reached that same level of fun or excitement as they seemed to. The songs are sung so very well, as most Signature productions are, but the music and lyrics never grab your soul.

The set Design by Derek McLane was clever. Having the entire town miniaturized was cute and added to the lightness of this play. It also served to open up the stage for the actors to take full stage. The Costumes, by Kathleen Geldard are of a time seemingly in 1960’s or earlier. The costumes fit the mood of the play well. Choreography by Karma Camp was light and fun. The Music and Lyrics by Adam Gwon told the story in an upbeat fun way but didn’t seem to match up with the characters. The Book by Joe Meno told a story in-depth but left the main character and the audience without resolve. Maybe that was his intent, but the audience needn’t left out of the world of uncertainty as his main character.

The performers, which are the backbone of this play, are at the top of their game. Leading the way is the main character Billy Argo, played by Stephen Gregory Smith. Stephen plays Billy Argo with energy and zeal. His vocals are wonderful and believable, but he was left short of true transition from the pain and anguish of a traumatic moment to the psychotic world this trauma plunged him into.

Some of the bright lights in this play come from the supporting performers. Margo Seibert, playing Caroline Argo was, James Gardiner playing Fenton, Thomas Adrian Simpson playing Professor Von Golum, Evan Casey playing Killer Kowalzavich and many other roles within the story and Harry A. Winter as Larry.

The brightest light comes from the portrayal of Penny Maple by Anika Larsen. Anika fleshes out every nuance and quirk of her character. Her vocals are wonderful and fun as well as endearing. The entire stage illuminates while she’s on stage.

This musical production is part of the American Musical Voices Project (AMVP). It is the largest single musical theatre commissioning and producing initiative of any U.S. theatre.

The greatest asset in any show produced at Signature is their performers. Their actors with beautiful vocals are some of the best anywhere. Going to see a production, at any time at Signature, you will not be disappointed with the performances.

Photo Gallery

Opening tableau	Caroline (Margo Seibert) and brother Billy (Stephen Gregory Smith) come up with their own secret word
Billy Argo (Stephen Gregory Smith) looks through an old diary as crime partners Fenton (James Gardiner) and Caroline (Margo Seibert) look on.	Anika Larsen (as Penny Maple) enjoys a moment alone at the office, singing ‘As Long As You Are Here’/small>
Penny Maple (Anika Larsen) and Billy Argo (Stephen Gregory Smith) make a connection	Professor Von Golum (Thomas Adrian Simpson) commiserates with his old nemesis, Billy Argo (Stephen Gregory Smith)
Professor Von Golum (Thomas Adrian Simpson) coaxes Billy Argo (Stephen Gregory Smith) into helping him solve a riddle	Stephen Gregory Smith (as Billy Argo, The Boy Detective) searches for another revealing clue

Photos by Scott Suchman

• Killer Kowalzavich/Dle Hardy/Ensemble: Evan Casey
• Therapist/Ensemble: Sherri L. Edelen
• Fenton: James Gardiner
• Penny Maple/Ensemble: Anika Larsen
• Violet Dew/Nurse/Ensemble: Tracy Lynn Olivera
• Caroline Argo: Margo Seibert
• Professor Von Golum: Thomas Adrian Simpson
• Billy Argo: Stephen Gregory Smith
• Detective Brown/Ensemble: Russell Sunday
• Larry/Ensemble: Harry A. Winter

Understudies

• Caroline Argo: Madeline Botteri
• Larry/Ensemble: Cory Cunningham
• Professor Von Golum: Christopher Mueller
• Billy Argo: Stephen Russell Murray
• Fenton: Glen North
• Penny Maple/Violet Dew/Nurse: Kristin Reigler
• Killer Kowalzavich/Dale Hardy/Ensemble: Tim Rogan
• Therapist/Ensemble: Weslie Woodley

Crew

• Scenic Design: Derek McLane
• Costume Design: Kathleen Geldard
• Lighting Design: Chris Lee
• Sound Design: Matt Rowe
• Production Stage Manager: Julie Meyer
• Assistant Stage Manager: Jeremiah Mullane
• Director of Production: Michael D. Curry
• Orchestrations: Andy Einhorn
• Music Direction: Gabriel Mangiante
• Choreography: Karma Camp
• Directed by: Joe Calarco

Musicians

• Piano/Conductor: Gabriel Mangiante
• Woodwinds: Lee Lachman
• Violin: Andrea Vercoe
• Cello: Aron Rider
• Keyboard: Jacob Kidder
• Percussion: Gary Tilman

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

Art comes to Signature. This play is about an expensive painting. The cost is a 15 year friendship. Written by Yasmina Reza this play shows us all how our friendships are always tested, how they have a life of their own and how they can take different paths based solely on a single fork in the road. A very enjoyable path is waiting for you here at Signature Theatre.

The cast is local, part of Signature’s goals of showcasing our local talent. This is a worthy goal and one which needs to be held closer to the heart of Signature. These three actors, Mitchell Hebert (Marc), John Lescault (Serge) and Michael Russotto (Yvan) are at the top of their game in this production. Each giving their all to their characters, but there was emptiness in the relationships. Except with Michael Russotto (Yvan) who tried to reach out to Marc and Serge, to connect on a deeper level of friendship, all we got was a fast paced pseudo intellectual tennis match of wit and blah.

The set, by James Kronzer was not without thought, but lacked an upscale income that Serge’s character would obviously have, especially having purchased an expensive painting. Kathleen Geldard’s costumes are very nicely conceived. Makes you wish Serge’s apartment was as nicely conceived. Yvan’s disheveled costume was perfect for him.

Now the good about Art is the pacing of this show. There are no words left to hang slowly and pointedly. The punch lines are delivered expertly, maybe too quickly, but that’s ok for this fast paced of a show. Too many productions of this play are drawn out and agonizingly slow. Matthew Gardiner made sure the pacing was crisp and paced at a high tempo. I just wish his characters could’ve shown more warmth for each other. When Marc reveals his true pain and anguish, he was placed up stage right and he was obscured in part. Pathos was lost along with his apparent friendship. OK, back to the acting. It’s wonderful to see true talent and skill in concert. The acting was a pleasure to watch and enjoy. For the acting alone, you will enjoy this production.

Photo Gallery

Three close friends John Lescault (left, as Serge), Michael Russotto (center, as Yvan) and Mitchell Hébert (as Marc) talk things over	Michael Russotto (center, as Yvan) looks on as John Lescault (left, as Serge) and Mitchell Hébert (right, as Marc) go at it.
John Lescault (as Serge) and Mitchell Hébert (as Marc) gaze at the white canvas	John Lescault (as Serge) and Michael Russotto (as Yvan) share a laugh

Photos by Scott Suchman.

Cast

• Marc: Mitchell Hebert
• Serge: John Lescault
• Yvan: Michael Russotto

Crew

• Scenic Design: James Kronzer
• Costume Design: Kathleen Geldard
• Lighting Design: Mark Links
• Sound Design: Matt Rowe
• Original Musical Works By: Peter Lerman
• Production Stage Manager: Julie Meyer
• Production Manager: Timothy H. O’Connell
• Directed By: Matthew Gardiner

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

The Shadow Box at Providence Players delivers a powerful message to us all. Even though this show was originally produced in 1977, the reality of its message is even stronger today. More than likely this is in part due to the ever growing segment of our population entering their senior years of life. Not that this play only deals with the elderly, not in the least. It deals with what we all will ultimately have to face one day. We can’t avoid it, unless it’s taken from us. The end of what we know.

This production has some of the strongest performances I’ve seen in community theatre in our Metro Area. Many of the actors we all know and love to watch as they attack a new role. This play provides the richness and depth of character an actor loves to tackle. These performers did not disappoint.

I must say that I don’t cry at plays. Sure I feel the emotions as most of us do, but while sitting in the audience, the emotions are usually kept in check. John Coscia playing Joe and Jayne Victor playing Maggie are two excellent actors. They have totally fleshed out their characters and captured every moment. They will effortlessly rip your heart out and dance on it. All I can say is, “Wow!” what a wonderful theatrical experience. Thank you both. You had me at “Hello!”

Leta Hall in the role of Agnes and Mona Kay Helper in the role of Felicity are yet another tour-de-force actors within our midst. They both quietly present their characters in a way that we all feel as if we’ve known them in our lives. Leta’s characters moments of realization and discoveries with her characters subsequent anguish of responsibilities will tug heartily at your heartstrings. I expected this kind of performance from Leta and she did a fabulous job. In turn, so did Mona Kay Helper. A wonderful job of understanding of her characters life.

Sara Bennett plays Beverly. Her character, on the surface, may seem like an easy role to play. She’s cast in a role where she has to be drunk. We all know what this kind of person looks like, but the ability to pull it off onstage is one of the hardest tasks an actress can be given. Sara, you had me wondering if you weren’t taking a few nips before the show. You were that good. It’s so important too, as your character sets herself up for her final scenes. Brilliant work.

David James and Andrew Scallion are very strong in the roles of Brian & Mark respectively. Each has to face the ultimate with fear and dignity as they approach the unknown. Well done to you both.

Ari Post rounds out the cast with a wonderful cameo that has a touching song at the end of the play. A great job, as always, Ari.

This play has a powerful message and Providence Players has put together a powerful cast to bring it to you.

Director’s Note

We had a play reading of The Shadow Box several years go and I fell in love with the story, the language, the characters, and the idea of seeing the play performed by Providence Players. We wanted to find a way to bring it to our theater audience and for all of us to experience together what I felt when I first read the play. In some ways, The Shadow Box was hardly a controversial choice, as the Michael Cristofer play won both the Pulitzer Prize and the Tony Award in 1977, and is well known for its excellent roles for actors for being a moving theatrical experience.

However, The Shadow Box was also an odd kind of play with which to fall in love considering that its primary plot line is about one day in the lives of three terminally ill patients and their families and caregivers, living in three separate cottages on the grounds of a hospital, none of whom are having a particularly good day. In addition, while one can strongly relate to a few characters, they are all rather flawed, a few are downright unlikeable, and profane, to boot!

And yet, despite the plot line, it is hoped that you will find the play funny, moving, and oddly uplifting, with a renewed belief in the redemptive power of the connection between ourselves, family and friends.

The Shadow Box also reaffirms the best of theater in so many ways: the characters and their relationships to each other have been a challenge, an exploration, and collaboration between the actors and the director, between players and production elements that represent the best of the theatrical experience. Now the missing element, the audience, will also participate with cast and crew by experiencing the unique situations and universal themes expressed in this play. We hope that you will enjoy the show as much as we have enjoyed the process of bringing this show to life for you.

Barbara Gertzog, Director

Cast

• Interviewer: Chip Gertzog
• Joe: John Coscia
• Steve: Ari Post
• Maggie: Jayne Victor
• Brian: David James
• Mark: Andrew Scallion
• Beverly: Sara Bennett
• Agnes: Leta Hall
• Felicity: Mona Kay Helper

Crew

• Director: Barbara Gertzog
• Producer: Robbie B. Snow
• Technical Director: Jimmy Gertzog
• Lighting an Sound Design: Jimmy Gertzog
• Technical Crew: Audrey Suarez and Chip Gertzog
• Stage Manager: Beth Harrison
• Assistant Stage Manager: Amanda Ranowsky
• Set Design: Chip Gertzog and John Coscia
• Set Construction: John Coscia and Chip Gertzog
• Set Construction Crew: Janet Bartelmay, Sara Bennett, John Coscia, Tom Coscia, Patrick David, Christian Faulkner, Andrew Garling, Barbara Gertzog, Chip Gertzog, Leta Hall, Kevin Harnisch, Beth Harrison, Tonia Hossain, David James, Elizabeth McDaniel,Beckie McNair, Cathy Moskowitz, Cindy Paska, Ari Post, Amanda Ranowsky, Audrey Riley, Andrew Scallion, David Schwartz, Grace Starbird, Audrey Suarez, Sue Winfield
• Set Decoration: Chip Gertzog, Barbara Gerrtzog, Sue Winfield, Beckie McNair
• Set Painting: Chip Gertzog and Audrey Suarez
• Costume Design: Robbie B. Snow
• Costume Assistant: Christian Faulkner
• Hair and Makeup Design: Beth Harrison and Robbie B. Snow
• Properties: Sue Winfield and Beckie McNair
• Props Crew: Elizabeth McDaniel
• Stage Combat Choreography: Beth Giles Whitehead
• House & Box Office Management: Mike Daze and Beverly Baughman
• Playbill Design: Ellen Burns
• Playbill Advertising: Jayne Victor and David P. Whitehead
• Photographer: Chip Gertzog
• Publicity: Chip Gertzog

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

Nestled in a Herndon industrial park you will find The Elden Street Players. The theatre is a small black-box theatre with studio seating. The seating is great for the audience, no matter where they are seated, to have a great view of the entire set and show. Elden Street, despite its size, has put on very big shows as well as smaller, quainter productions. Frozen is a show more akin to the latter, but it’s a huge show in terms of making us think and question the human condition.

As you enter the small yet warm and friendly lobby of the theatre, you know right away of the limits of its size, and it’s there that you begin the journey of this night’s performance. You can’t wait to get into the theatre as the House Manager opens the curtains to the theatre seating. Once you’re seated you’ll see the multi-level platforms all in dark cave like colors teasing you with a feeling of an ominous cold atmosphere. A podium at center stage waits its moment of proclamation and the show’s title is illuminated on the back wall. You may feel a cold breeze wafting through the entrance to the theatre adding to the firestorm of emotions you will soon be witness to. I truly love the idea of evoking as many of the senses as possible in a theatre experience. Whether by design or the circumstance of the season, Elden Street strikes a glorious chord with this production.

Director Carla Scopeletis has cast a powerhouse set of actors for her play. Cassandra Hodziewich, in the role of Agnetha, Rebecca Lenehan as Nancy Shirley and Adam Downs as Ralph. The play unfolds as a counterpoint of three voices. Agnetha (Ms. Hodziewich) is an American in London to research her thesis, titled ”Serial Killing: A Forgivable Act?” Nancy (Ms. Lenehan) is the mother of Rhona, a 10-year-old girl who disappears on her way to her grandmother’s house nearby in a British suburb. Ralph (Mr. Downs) is a tattooed drifter who becomes a dominant figure in both women’s lives.

You are taken from an apartment in NY to the English countryside, prison and university lecture hall. To prevent you from getting lost, each scene local is displayed on the back wall as the actors take place on the platform level of the current scene. (A very nice touch and a necessary one for the audience).

The acting in this production is superb. Each has an extensive resume and it shows in their performances. Rebecca Lenehan in the role of Nancy Shirley has the foreboding task of taking an emotional journey of a womans grief of losing a child. A brilliant, tear jerking performance awaits you. Ms. Lenehan has exemplified the mother we all know. Warm and loving with that sense of unconditional love we all know and expect in such a role. Her ability to take us through the wrenching pain of the human condition of losing a child to murder brought tears to my eyes. She will grab you upon her first entrance to curtain. Excellent portrayal Ms. Lenehan!

In the role of Agnetha is Cassandra Hodziewich. Cassandra attacks her role with the resolve of a character with an emotional outcry at the start to a firm and stoic hand of a researcher to an inevitable human soul of a love lost with her own demons to fight. I felt her character’s defensiveness could’ve been bolstered by a stronger control as she dove into the role as a researcher. She had some very nice moments with both Ms. Lenehan and Mr. Downs. A wonderful job.

Playing Ralph is Adam Downs. Adam commands his character like a seasoned professional would. He captures you from the beginning of the play and enthralls you with his complete and total mastery of his character. To answer the woman sitting behind me in the audience who, at intermission asked, “Is he acting or is he always like that?” I say, “Really? I mean REALLY?” Mr. Downs is truly amazing with his portrayal here. He has turned in a performance you will not likely see the likes of in a long time.

Director Carla Scopeletis does a wonderful job at creating each scene with the right mood and tenor. Set Design by Al Fetske, Lighting Design by Chris Hardy, Projection Design by Les Zidel, Vocal coach by Jane Waldrop.

Frozen is truly a wonderful show to see.

Director’s Notes

Several years ago I saw an excellent production of Frozen at Studio Theatre in Washington, D.C. during the performance (the play garnered a Helen Hayes award for Best Actor that season), I experienced a wide range of conflicting thoughts and emotions: I recall feeling sadness and, at other times, anger; I was forced again to confront the age-old conundrum of why bad things happen to good people; I questioned whether real people could be both heroes and villains at the same time; and I marveled anew at man’s ability to rationalize and even glory in his own or other’s violent acts. The opportunity to direct Frozen brought all of these back to me in an instant. I had to answer the question: Did I truly want to direct such a play, a contemporary play addressing both an unspeakable crime and a grave societal taboo? For me, the answer was “yes.” I recalled the words of Arthur Miller –some years back I had directed his beautiful and compelling play All My Sons-who wrote that a moral world is such “…because men cannot walk away from certain of their deeds.” I feel that Frozen explores just such a morality, linking together three individuals who are neither larger-than-life nor villains. And it spotlights the power of memory and love to heal, as well as the need for forgiveness in this sometimes dark world in which we live.

Cast

• Nancy Shirley: Rebecca Lenhart
• Agnetha: Cassandra Hodziewich
• Ralph: Adam Downs

Crew

• Producer: Jeff Boatright
• Director: Carla Scopeletis
• Assistant Producer: Les Zidel
• Co-Stage Managers: Jamie Blake, Laura Moody
• Assisted by: Trey Ransbotham
• Set Designer: Al Fetske
• Master Carpenter: Marty Sullivan
• Set Construction: Skip Gresko, Bill Behan, Theresa Bender, Jeff Boatright, Jay Vasko, Mike Schlabach, Evan Hoffman, Michael Clendenin, Amy Skiavo, Richard Durkin, Marty Sullivan
• Set Painting: Les Zidel
• Painting Assisted by: Mike Cantwell
• Vocal Coach: Jane Waldrop
• Set Dressing/Props: Jesse Roberts
• Lighting Design: Chris Hardy
• Sound Design: Jon Roberts, Jim Scopeletis
• Projection Design: Les Zidel
• Tattoo Design: Laura Moody, Melissa Bailey
• Costume Design: Judy Whelihan
• Running Crew: Trey Ransbotham, Richard Durkin
• House Management: Dave Sinclair
• Box Office Management: Richard Durkin
• Publicity: Rich Klare, Ginger Kohles
• Cover Graphic & Playbill: Ginger Kohles
• Photographer: Laura Moody

Disclaimer: Elden Street Players provided two complimentary media tickets to ShowBizRadio for this review. ESP also purchased advertising on the ShowBizRadio.net web site, which did not influence the opinions expressed in this review.