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

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

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

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

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

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

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

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

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

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

Program Notes

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

Photo Gallery

Photos by Kirstine Christiansen.

The Cast

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

Orchestra

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

Production Staff

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

Theatre Staff

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

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

I Left My Heart is basically a concert version of many of the famous songs from the Tony Bennett songbook that are linked together in medleys and with a few interchanges between the actors including a few comical moments. Overall, it is an enjoyable little cabaret, but it is not nearly worth the same billing or cost as an actual two-act book musical. Unlike some jukebox musicals, this production does not attempt to be more than a simple cabaret experience. It is significantly shorter than a regular musical and lacks the full experience of having a rich plotline. The best way for Toby’s to have expanded this production and made it more interesting and engaging would have been to add background dancers and choreography to give a little more spectacle to the performance.

The three gentlemen in the production were very good. Chris Rudy was the most impressive of the trio. He came across as likeable and warm, and he had a unique and yet crooner-appropriate tone quality to his beautiful vocals. Kevin McAllister was cool and confident with warm, soulful vocals and a great jazz riff. Lawrence B. Munsey had a good and powerful voice but tended to come across cocky and arrogant and was not nearly as appealing as the other two gentlemen.

The orchestra was very impressive. There was really no set beside one platform, but the lack of set was appropriate to the cabaret-style of the show. An excellent addition was the use of screens to project images of Tony Bennett and his career. The lighting design was good. Different colors and specials were used to light different portions of the staging area and to set the mood. The costumes were also nice. The three men continually looked sharp in their matching progression of suits.

Overall, this was well-done, but there was nothing about it that was really incredible or that blew away the audience. It was just not quite the level of the “wow” that one expects to see when going out for the dinner theatre experience.

Cast:

• Kevin McAllister
• Lawrence B. Munsey
• Chris Rudy
• Swings: Conrad Buck and Chad Fornwalt

Production Team:

• Director/Choreographer: Debra Buonaccorsi
• Musical Director: Douglas Lawler
• Set Designer: David A. Hopkins
• Costume Designer: Samn Huffer
• Lighting Designer: Coleen M. Foley
• Sound Designer: Drew Dedrick
• Production Manager: Vickie S. Johnson
• Production Stage Manager: Kate Wackerle
• Stage Managers: Drew Dedrick, Kate Wackerle
• Technical Director/Master Electrician: Jimmy Engelkemier
• Master Carpenter: Jason Krznarich
• Set Construction: Corey Brown, Jason Krznarich, Russell Sunday
• Properties & Set Dressing: Amy Kaplan, Kate Wackerle
• Light Board Operators: Cheryl Hale, Coleen M. Foley, Erin MacDonald
• Sound Operators: Corey Brown, Drew Dedrick

Orchestra:

• Conductor/Keyboard I: Douglas Lawler
• Bass: Frank Higgins
• Drums: Tom Harold
• Trumpet: Tony Neenan

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

Music by Richard Rodgers, book and lyrics by Oscar Hammerstein II, adapted for the stage by Tom Briggs, from the teleplay by Robert L. Freedman. Rodgers and Hammerstein’s Cinderella is the only musical R&H wrote for television. To some of us in the Boomer generation, the Leslie Ann Warren version was the definitive, an annual staple of television. It was broadcast nine times from its premiere in 1965 to its last airing in 1974. In 1997, Whitney Houston produced the most recent version, based in part on the original 1957 broadcast, which starred Julie Andrews and predated video tape. In 2004, through the wonders of modern technology, this original was released on DVD. I was fascinated by the changes from version to version, not just in costume but in musical content and flavor.

It was with intense curiosity that I asked to review Toby’s production, directed with a lighthearted touch by Lawrence B. Munsey, with musical direction by Ross Scott Rawlings, a simply beautiful set design by David A. Hopkins, lively choreography by Ilona Kessell, flawless lighting design by Lynn Joslin, and spot on sound design by Drew Dedrick. Making the production fresh and new is hard to do but Munsey’s team is clearly up to the challenge. This production, the first I’ve seen on stage, is a surprising combination of the three, with elements that are unique and welcome.

The story of the girl, the prince and the slipper dates back centuries. His version most closely resembles the 1997 “Brandy” version, but it has an up to date feel, a fresh and sometimes wacky take on the original. Flamboyant and sumptuous, fanciful and and sophisticated, from the opening moments to the final happily ever after, Toby’s Cinderella has its own special place.

Mary Searcy is an absolute knock-out as Cinderella’s Fairy Godmother, in personality and voice. Jessica Lauren Ball is the much-abused but always good natured Cinderella. She carries her role with elegance and irrepressible charm. Matthew Schleigh as Prince Christopher is not so much Prince Charming as he is a real young man with serious concerns about how his parents are taking away his control of his destiny. These three, when singing together or separately, are a joy to hear.

Heather Marie Beck as the Stepmother, David James as Grace and Darren McDonnell as Joy, the gender bending Stepsisters, all turn in undeniably hilarious over-the-top performances in every conceivable way, from costumes and make-up to their individual “flaws” and mutual loathing for the beautiful Cinderella. “The Stepsister’s Lament” is flat out hysterical.

Dan Sonntag is perfect as the harried steward, walking the fine line between pleasing Prince Chris’ parents, played wisely and regally by Tina DeSimone and Andrew Horn, and helping his prince who wants badly to avoid his destiny in a loveless arranged marriage.

A lively ensemble, including puppets, help round out the cast. There’s also quite a bit of stage magic I won’t give away, but trust me, it’s awesome to watch.

In all, this is a fun, extremely family-friendly show, and a lovely way to celebrate the holiday season! And if you do bring the kids, note that there’s an additional after-show surprise. You can’t photograph the show, but you’ll want it afterward.

Please note that Smoke and strobe lights are used during the performance.

Program Notes

The classic tale of Cinderella, the girl left to the devices of her evil stepmother and two evil stepsisters, who manages to rise above adversity with the help of her Fairy Godmother and is transported to the miraculous kingdom of dreams-come-true.

The timeless enchantment of a magical fairy tale is reborn with the Rogers & Hammerstein hallmarks of originality, charm and elegance. Originally presented on television in 1957 starring Julie Andrews, Rodgers & Hammerstein’s Cinderella was the most widely viewed program in the history of the medium. Its recreation in 1965 starring Lesley Ann Warren was no less successful in transporting a new generation to the miraculous kingdom of dreams-come-true, and was so was a second remake in 1997, which starred Brandy as Cinderella and Whitney Houston as her Fairy Godmother. As adapted for the stage, with great warmth and more than a touch of hilarity, the hearts of children and adults alike still soar when the slipper fits. This Enchanted Edition is based on the 1997 teleplay.

There are evening and matinee performances at Toby’s. The doors open at 6pm for evening shows (5pm on Sundays) and 10:30am for matinees. Reservations are required. Group rates, custom and children’s gift certificates are available all year. Major credit cards are honored. 2010 Season Subscriptions, holiday gift certificates and custom gift certificates are now on sale.

Photo Gallery

Photos by Kirstine Christiansen.

The Cast (in Order Of Appearance)

• Cinderella: Jessica Lauren Ball
• Fairy Godmother: Mary Searcy
• Stepmother: Heather Marie Beck
• Grace: David James
• Joy: Darren McDonnell
• Prince Christopher: Matthew Schleigh
• Lionel: Dan Sonntag
• Queen Constantina: Tina DeSimone
• King Maximillian: Andrew Horn
• Puppeteers: David Gregory, Lance Hayes, David Jennings, Jennie Lutz,
• Maria Rizzo and Jason Wiggins
• Ensemble: David Gregory (Lionel/Joy u/s), Katie Harrington, Lance Hayes, David Jennings, Nick Lehan (Prince/Grace u/s), Jennie Lutz (Queen/Stepmother u/s), Maria Rizzo, Alan Wiggins, Jason Wiggins, Lara Zinn (Cinderella u/s)
• Swings: Jordan Andre, Lawrence B. Munsey (King u/s), Janine Sunday (Fairy Godmother u/s)

Orchestra

• Conductor/Keyboard I: Ross Scott Rawlings or Pamela Wilt
• Keyboard II: Ann Prizzi, Ed Myers or Barbara Irvine
• Reeds: Charlene McDaniels, Katie Kellert or Steve Haaser

Production Staff

• Directors: Lawrence B. Munsey
• Musical Director: Ross Scott Rawlings
• Choreographer: Ilona Kessell
• Set Designer: David A. Hopkins
• Scenic Artists: Peter Fox, Amy Kaplan
• Costume Designer: Lawrence B. Munsey
• Lighting Designer: Lynn Joslin
• Sound Designer: Drew Dedrick
• Puppets: Kate Wackerle, Tony Wackerle
• Production Manager: Vickie S. Johnson
• Production Stage Manager: Kate Wackerle
• Stage Managers: Drew Dedrick, Kate Wackerle
• Master Carpenter: Jason Krznarich
• Set Construction: Corey Brown, David A. Hopkins, Jason Krznarich, Russell Sunday
• Properties and Set Dressing: Amy Kaplan
• Light Board Operators: Coleen M. Foley, Erin MacDonald
• Sound Operators: Drew Dedrick, Jimmy Engelkemier, Corey Brown
• Stage Crew: Danny Clemens, Ashley Grant, Erin MacDonald

Theatre Staff

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

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

Jonathan Larson’s magnum opus rock musical, Rent, is a semi-autobiographical tribute to starving artists living with the specters of HIV/AIDS and drugs. Based on Giacomo Puccini’s opera La Bohème, the musical tells the story of a group of impoverished young artists and musicians struggling to survive and create in the thriving days of Bohemian Alphabet City, a neighborhood located within the Lower East Side and East Village of Manhattan.

Rent was so popular, before the end of the year it moved to Broadway and was the recipient of a multitude of awards including four Tonys, six Drama Desk and three Obie awards, not to mention the 1996 Pulitzer Prize for Drama. The show, eighth-longest on Broadway, has the distinction of being the first since Hair to bring young audiences to the Great White Way, and bears more than a passing resemblance to Hair in its presentation of the contemporary youth counterculture and its expressions of joy and pain. Rent‘s popularity eventually brought almost the entire original cast from the Broadway show to recreate their roles for the big screen.

It’s stunningly ironic that Larson never saw the phenomenon he achieved. At the age of 35 Larson died of an aortic aneurysm, the morning of his show’s first off Broadway preview performance, making his song Seasons of Love, about love and loss in the course of a year, especially poignant.

There are some distinct similarities between the opera and this gritty, urban update, including a reworking of Musetta’s Waltz, which figures heavily during the first part of the show, and the candle scene that introduces Mimi (MaryLee Adams). A strip club dancer and addict, Mimi’s passionate desire for Roger eventually overcomes his inability to connect with life.

Impeccable performances by Mark (Nick Lehan), artisan filmmaker and Roger (Greg Twomey), fallen rock star and former junkie, Collins (Kevin McAllister) modern age philosopher and anarchist, and Benny (David Gregory) their former roommate, now a sell-out real estate developer, lead to the title song and starting this show off with a bang.

Angel (Bryan Daniels), a street-wise plastic can drummer with a penchant for high fashion, higher heels and a heart of gold does a terrific job of keeping everyone together until the AIDS virus takes hold.

Heather Marie Beck gives as good as she gets with her take on Joanne, a lawyer entangled in this group by her relationship with Maureen. Beck’s work is hot enough working with Lehan in “Tango Maureen” but she sizzles when combined with Mary Searcy, playing performance artist Maureen (the role that launched Idina Menzel’s career). Searcy makes the role entirely her own.

You may recognize a few of these faces if you’ve seen other productions at Toby’s. There are also some familiar faces for folks who saw Keegan Theatre’s award-winning 2009 production of Rent. In general, the ensemble is superb, top-notch, as I’ve come to expect from Toby’s productions. The production is co-directed by Toby Orenstein and Kevin McAllister, with musical direction from Christopher Youstra and choreography by Kurt Boehm.

David A. Hopkins’ set, scaffolding platforms reconfigured as needed, and Coleen M. Foley’s rock-show lighting make for a clean, spare, design gives the audience the sense of humanity trapped in a cage. Costumes look just right for the late ‘80s, the period when Larson first started working on the show, just at the start of the HIV/AIDS epidemic.

The only flaw in this spectacularly performed production has to do with Toby’s sound system. In what should have been a sizzling hot first connection between Mimi and Roger during Light My Candle, Adams’ microphone failed and we lost virtually all of Mimi’s song. Her mic was fixed before her next number, but the band remained a bit too loud to hear and understand all the lyrics throughout the show.

I know the music well enough that it was nearly impossible for me to resist singing along with the rest of the cast, but folks who haven’t seen it yet might want to do a bit of research on the show before seeing it. Hopefully, the sound problem was an opening night issue and that all the remaining performances will have much better sound balance between the musicians and the actors.

A caution to parents: This production includes strong adult language and situations and is not recommended for children.

Program Notes

Jonathan Larson’s rock musical, Rent is the eighth-longest-running Broadway show in history. Rent is based on Giacomo Puccini’s opera La Boheme. It tells a story of a group of impoverished young artists and musicians struggling to survive and create in New York’s Lower East Side in the thriving days of Bohemian Alphabet City, under the shadow of HIV/AIDS.

Rent is also a somewhat autobiographical work, as Larson incorporated many elements of his life into his show. Larson lived in New York for many years as a starving artist with an uncertain future. He sacrificed a life of stability for his art, and shared many of the same hopes and fears as his characters. Part of the motivation behind the storyline in which Maureen leaves Mark for a woman (Joanne) is based on the fact that Larson’s own girlfriend left him for another woman.

But the length of its run is not nearly as significant as the kind of show it is. Rent brought a youthful energy – and young theatergoers – to Broadway, to a degree not seen since Hair. It also brought with it a real-life story so affecting that it would have overwhelmed the musical itself had the substance of the musical not been so intertwined with the story of its creation.

On the night of the final dress rehearsal at the New York Theater Workshop, the nonprofit theater in the East Village where the musical began, Jonathan Larson, the 35-year-old composer and librettist, died of an aortic aneurysm. He had been working for seven years on the musical, which includes portraits of his friends and the artists and addicts in his neighborhood, young people on the edge of poverty and in the shadow of AIDS, battling the coming wave of gentrification in the name of “La Vie Boheme.” The signature song, “Seasons of Love” is often associated with World AIDS Day and AIDS awareness because four of the lead characters of Rent have HIV or AIDS.

It went on to win four Tony Awards, including best musical, and the Pulitzer Prize.

The Cast (in Order Of Appearance)

• Mark Cohen: Nick Lehan
• Roger Davis: Greg Twomey
• Tom Collins: Kevin McAllister
• Benjamin Coffin III: David Gregory
• Joanne Jefferson: Heather Marie Beck
• Angel Dumott Schunard: Bryan Daniels
• Mimi Marquez: MaryLee Adams
• Maureen Johnson: Mary Searcy
• Ensemble:
• Kelli Blackwell (Joanne U/S), Katie Brobst (Mimi U/S), Conrad Buck, Chad Fornwalt (Roger U/S), Crystal Freeman, Deborah Lubega, Jennie Lutz (Maureen U/S), Michael Robinson (Collins U/S), Dan Sonntag, Vishal Vaidya (Benny U/S), Matthew Wojtal (Mark & Angel U/S)

Orchestra

• Conductor/Piano: Christopher Youstra or Cedric Lyles
• Keyboard: Ann Prizzi or Ed Myers
• Guitar: Kim Spath or Jason Wise
• Bass: Linda Cote, Frank Higgins or Andrew Webb
• Drums: Aaron Holmes, Tom Harold or Anders Eliasson

Production Staff

• Directors: Toby Orenstein/Kevin McAllister
• Musical Director: Christopher Youstra
• Set Designer: David A. Hopkins
• Costume Designer: Janine Sunday
• Lighting Designer: Coleen M. Foley
• Sound Designer: Drew Dedrick
• Choreographer: Kurt Boehm
• Film: Kate Wackerle, Sam Wackerle
• Production Manager: Vickie S. Johnson
• Production Stage Manager: Kate Wackerle
• Stage Managers: Drew Dedrick, Kate Wackerle
• Dance Captain: MaryLee Adams
• Technical Director/Master Electrician: Jimmy Engelkemier
• Master Carpenter: Jason Krznarich
• Set Construction: Corey Brown, Jason Krznarich, Russell Sunday
• Properties and Set Dressing: Amy Kaplan
• Light Board Operators: Cheryl Hale, Coleen M. Foley, Erin MacDonald
• Sound Board Operators: Drew Dedrick, Jimmy Engelkemier
• Stage Crew: Danny Clemens, Ashley Grant, Erin MacDonald

Theatre Staff

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

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

• Travels With My Aunt, August – September 2010 Schedule
• Two By J.M. Barrie: The New Word and The Old Lady Shows Her Medals, October 2010 Schedule
• An Almost Holy Picture, February 2011 Schedule
• Speech & Debate, April – May 2011 Schedule

Schedule is subject to change due to performance rights conflicts or other issues.

Travels With My Aunt is a play by Graham Greene with stage adaptation by Giles Havergal. Henry Pulling is a 55 year old retired banker looking to find himself at his mother’s funeral he meets his 70 year old Aunt and the two of them strike up a friendship that takes them around the world. Aunt Augustus has led a colorful life and Henry Pulling isn’t sure he is always up to the chase.

Travels With My Aunt was an interesting, fast paced show which was sometimes hard to keep up. Four men played a total of almost 30 different characters. Having just seen Greater Tuna, I was expecting each actor to make lots of costume changes, and the overall feel of the show to be more like slapstick. Instead it was fairly sophisticated, with each actor showing their roles through the nuance of accent, mannerisms, and dialect without major costume changes.

Although all four men played the lead character of Henry Pulling at different times, Bill Largess was the primary Henry throughout the performance. Largess played Pulling with the calm humor and demeanor of the British. The only time he seemed to become ruffled was when he played a wolf. Then he played his part with enthusiasm and believability.

Nigel Reed had the distinction of playing the ever lovable Aunt Augustus. Reed carried the walk and mannerisms so smoothly you forgot you were looking at a man even though he wore a suit the entire evening. His sincerity and feeling were quite touching.

Finishing out the quartet were Lawrence Redmond and Michael Russotto. Redmond’s two most notable characters were Wordsworth, Aunt Augustus’ butler/lover and Mr. Visconti, the real lover of Aunt Augustus. Redmond managed to play each role with enough differences that they were seen as two separate people. Redmond played one with a lot of emotion and grand gestures, while the other was smooth and suave. Michael Russotto played both James O’Toole, an FBI Agent from Philadelphia and his daughter Tooley. Again Russotto had to change mannerisms, accent, speech and pitch to make himself believed by the audience. He did it and did it well.

Besides all the different characters another aspect that really made the show stand out were the scene changes and lighting effects. Every man had his task and at the end of the scene carried something on or off with the choreography of a ballet. The lighting (designed by Dan Covey) was excellent, with many subtle hues and imaginative transitions to set the different moods and tones of the show. James Fouchard’s set was gorgeous, made up of circles, lines, and multiple levels and lots of depth to make for an interesting place to travel.

Director’s Notes

In Search of “Lifegivers”
“As I went upstairs to bed I felt myself to be a ghost returning home, transparent as water…I was almost surprised to see that my image was visible in the glass.”-Henry Pulling in the novel, Travels with My Aunt

How does one keep from fading to invisible when existence is painted in shades of monotonous grey routine, in a world that discards your life and work in its reach for the newest shiny object? Maybe we borrow the colors from other people’s memories of us. Perhaps we assume the substance when a storyteller makes us a character in their act of creation. If fortune finds us, we might come under a “Lifegiver’s” wing, and learn to color our own existence through the prism of their brilliant light. The act of living can be a spontaneous art form in the company of these bewitching mediums. The power of their narrative and endlessly evocative opinions challenges us-makes us run to keep up with them. Life never feels second hand in their extemporary existence. A lovely parallel occurs in the theatre when the transformative gift of the actor and the strength of the writer’s storytelling work a kindred magic, and we surrender to their seductive charms.

However beguiling the peripatetic Aunt Augustus’s presence may be, there’s no denying she operates in an amoral arena of chicanery and intrigue, even while simultaneously posing questions of real moral weight to her repressed nephew. One can almoszt see Graham Greene winking at us as we try to balance the vitality of Aunt Augusta’s illegal hi-jinks against lifeless respectability of Henry’s circumspect retirement. But just as Aunt Augusta initiates Henry into the glamour and passion of life, so must she reveal to him the existence of life’s shadows and risks. Then again, anything made visible with imaginative color and substance will most likely cast a shadow if it is capable of reflecting joy.

-Kasi Campbell

Cast

• Henry Pulling, Italian Girl, Wolf: Bill Largess
• Henry Pulling, Richard Pulling, Taxi Driver, Wordworth, Sargeant Sparrow’s Colleague, Hatty, Uncle Jo, Colonel Hakim, Misss Patterson, Spanish Palm Reader, Bodyguard, Mr. Visconti: Lawrence Redmond
• Henry Pulling, Aunt Augustus, Policeman, Bartender: Nigel Reed
• Henry pulling, Vicar, Girl in Jodhpurs, Miss Keene, Detective Sargeant Sparrow, Tooley, Frau Genersl Schmidt, Turkish Receptionist, James O’Toole, Turkish Policeman, Yolanda: Michael Russotto

Crew

• Director: Kasi Campbell
• Scenic Designer: James Fouchard
• Lighting Designer: Dan Covey
• Costume Designer: Melanie Clark
• Sound Designer: Neil McFadden
• Properties Designer: Liza Davies
• Dialect Consultant: Elizabeth van den Berg
• Producing Artistic Director: Michael Stebbins
• Managing director: Nancy Tarr Hart
• Founding Artistic Director: Valerie Lash
• Production Stage Manager: Emily Carter Watson
• Production Manager: Lisa Miion
• Production Assistants: Kiirstn Pagan
• Literary Manager/Dramaturg: Lisa A. Wilde
• Communications and Group Sales Manager: Yvonne Erickson
• Photography: Stan Barouh
• Videographer: Tony Hoos
• Program Cover Artwork: Barbara VanRossum
• Carpentry: Josh Cookson, Jamie Driskill, Keilyn D. Jones, Brian Mandel
• Paint: Marmi Blachowicz, Lian French, j. R. Fitsch, Kiirstn Pagan
• Master Electrician: Eric Moore
• Electrics: James Engelkeimier, Josh Jarboe

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

The Order of the Little Sisters of Scaggsville have a hit on their hands, and so does Toby’s. This laugh-out-loud spree begins as we are treated to a brief but hilarious explanation of the reason for the show.

Unfortunately, Sister Julia, Child of God’s tainted vichyssoise has accidentally killed 52 members of the convent. Sadly, they had just enough money to bury 48 of the sisters. They need just a bit more to cover the rem… pay for the other four burials, and fast!

We are told that this fundraiser is being held at Toby’s during the “changeover” between shows and we are thus treated to a preview of Toby’s upcoming musical “Rent” (which leads to one of many running gags and sets the tone in this show full of humor and fun). Who knew you could have so much color in a show where all the costumes are black and white!

We meet Sister Mary Hubert (Jesaira Glover), Mistress of Novices and sweet “soul sista” of the group, hilariously streetwise Brooklyn-born Sister Robert Anne (Heather Beck), the wonderfully daffy Sister Mary Amnesia (Jessica Ball), Novice Sister Mary Leo (MaryLee Adams), who aspires to be the first ballerina nun, and the Reverend Mother, Sister Mary Regina (Jane C. Boyle), a former tightrope star and leader of this three-ring circus. Each of these supremely talented women have their time in the spotlight, with terrific choreography and direction by Mark Minnick.

Expect audience participation, be prepared to answer quizzes and don’t look for a lot of insight or heavy messages. No need to bone up on your catechisms. From the pre-show organ music to the last note, this show’s a cotton candy treat.

And just a hint: I always read the bios in theatre programs out of habit. Ahem. Be sure to get out your reading glasses and read yours. It’s worth the time!

Program Notes

Nunsense…is a madcap revue that satirizes convent life with a hysterical anything-goes sense of fun. The show’s very premise is outrageous.

A bit of background information:

The Order of the Little Sisters of Scaggsville was founded in the seventh century by Saint Wilfred, a bishop of England. He established the first convent and school known as the Wilfred Academy. His motto was “We don’t teach beauty – we radiate it!” Many years later a small group of pioneering sisters set out for America to establish a motherhouse in Cleveland. But they got off the plane at BWI by mistake. The order was “found” by BWI Airport Security and the new motherhouse was established up the road in Scaggsville, Maryland. It was at that time that the Order of St. Wilfred elected to change the name to the Little Sisters of Scaggsville. It was from this convent that Sister Mary Regina, Sister Mary Hubert and Sister Robert Anne set sail for the Mediterranean to establish their leper colony. Today the order has both nuns and brothers as members – all doing various good works in the Archdiocese of Baltimore, Maryland. They also operate Mount Saint Helen’s School in Scaggsville.

The Cast

• Sister Mary Regina (Reverend Mother): Jane C. Boyle
• Sister Mary Hubert: Jesaira Glover
• Sister Robert Anne: Heather Beck
• Sister Mary Amnesia: Jessica Ball
• Sister Mary Leo: MaryLee Adams
• Understudies:
  • Sr. Robert Anne, Sr. Amnesia, Sr. Hubert: Celia Blitzer
  • Sr. Leo: Maria Rizzo
  • Rev. Mother: Susan Thornton

Orchestra

• Conductor / Keyboard: Ross Scott Rawlings, Cedric Lyles
• Keyboard 2: Reenie Codelka, Ed Myers,Ann Prizzi
• Reeds / Woodwinds: Steven Haaser, Katie Kellert, Charles McDaniel
• Percussion: Anders Eliasson, Thomas Harold, Aaron Holmes

Production Staff

• Director/Choreographer: Mark Minnick
• Musical Director: Ross Scott Rawlings
• Set Designer: David A. Hopkins
• Costume Designer: Lawrence B. Munsey
• Lighting Designer: Coleen M. Foley
• Sound Designer: Drew Dedrick
• Production Manager: Vickie S. Johnson
• Production Stage Manager: Kate Wackerle
• Stage Managers: Drew Dedrick, Kate Wackerle
• Technical Director/Master Electrician: Jimmy Engelkemier
• Master Carpenter: Jason Krznarich
• Set Construction: Corey Brown, Jason Krznarich, Russell Sunday
• Properties and Set Dressing: Amy Kaplan
• Light Board Operators: Cheryl Hale, Coleen M. Foley, Erin MacDonald
• Sound Operators: Drew Dedrick, Jimmy Engelkemier
• Stage Crew: Danny Clemens, Ashley Grant, Erin MacDonald

Theatre Staff

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

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