My Fair Lady (Music and Lyrics by Alan Jay Lerner and Music by Frederick Loewe) is the story of a flower girl who takes speech lessons so she may sell flowers in a shop instead of on the street. Potomac Theatre Company gave a bit of an uneven performance with most of the problems coming from problematic lighting cues and some minor mic issues. The actors though gave a solid performance both with their acting and singing.

Eliza Doolittle, the flower seller was played by Mary Wakefield. She was spunky and had a nice vocal range. She and Henry Higgins (Ken Kemp) had a rough relationship. Kemp’s brusque manners and rude behavior clashed with Wakefield’s need for love and affection. In the final scene, the two did not quite hit the spark of love, but more a mutual respectability. This will come with time as neither Higgins nor Eliza tend to give in gracefully.

Col. Hugh Pickering, another linguist, is played by David Berkenbilt. While at times Berkenbilt fumbled his lines a bit, but his fondness for Eliza and honest desire to she see her taken care of we quite sincere, and showed a nice contrast to Kemp’s treatment of Eliza. For example, Berkenbilt showed genuine emotion as he nervously awaited he arrival of Eliza before the Embassy Ball. Eliza’s father Alfred P. Doolittle, the confirmed bachelor until respectability got hold of him, was played by Bob Ashby (who is also a reviewer for ShowBizRadio). Ashby seemed at ease with the dance choreography and also captured the affection of the audience playing a boorish, constantly inebriated, yet loving father to Eliza whose way he stayed out of until he needed money. Matriarchal Mrs. Higgins, played by Nan Muntzing, had her hands full with Henry as well as Eliza at first, but Eliza and Mrs. Higgins soon came to terms and a friendship developed.

The Ascot scene was well done, except that the onlookers all seemed to be looking at different places as the horses raced by. Perhaps a laser pointer or flashlight could be used to help the actors focus on the same spot while watching the race. During “With a Little Bit of Luck” the ladies were sitting in the background working on their flower arrangements, which unfortunately was a bit distracting as the men sang. Very creative touches were added to “Just You Wait.” As Eliza sang of what she wanted to do to Higgins, the lyrics were acted out by the ensemble in a very funny style.

Scenic Designer Mary Cheng’s choice of wall coloring for Higgins’ home at first seemed a bit drab, with battleship grey walls. The costumes, from Charelle’s Stage & Screen, continued the color decisions, with the upper crust of England generally in shades of grey, black and white, and the lower-class had many colors in their costumes, other than bright white shirts on the men. Eliza’s dress for the Embassy ball was a lovely green and gold. The Ascot scene was all black and white with the color coming from the hats worn by the women. The usage of the colors was subtle, but effective. A few added touches to the set would have been nice, perhaps a chair rail along the walls of Higgins’ study, and trim around the doorway.

The lighting design was a bit distracting. For example, the mood was killed 90 minutes into the first act when the house lights came up to allow Freddy (Philip McLeod) to make an entrance through the house. Unfortunately many people thought the lights were for the intermission, so they got up to head for the lobby. Yet there were still two more songs to go! Also in the second act, the house lights were incorrectly programmed into the stage lighting cues, resulting in house lights rising and falling in the middle of several scenes. The scene changes were completed fairly quickly and the orchestra under the direction of Ron Isaacson conducted well with the difficult score. There were some minor mic issues with some crackling and the mics not getting turned on or off quickly enough.

Potomac Theatre Company’s My Fair Lady had a few technical issues in this performance, but there was still magic in the actor’s performance. Hopefully the technical issues have been addressed for their final three shows on Thanksgiving weekend.

Director’s Notes

It’s always interesting to me when a show “enrolls” me. My Fair Lady was never quite my cup of tea. Henry Higgins just seemed such an irascible, misogynistic old fellow; the story stuffy and too removed from my “over the pond” sensibilities. Yet, I’v grown accustomed to this show.

I recall as a child, somehow I ended up with records (remember those?) of Mary Poppins, The Sound of Music, and My Fair Lady. I still have no idea how that happened, but I did. As Julie Andrews’ words filled my head, I happened one day to play My Fair Lady on the stereo. Yuck. Not good. I left the room.

Then, in an adjoining room, I heard a lovely lilting voice and realized that was Mary Poppins singing so “Loverly” to me. Then I heard this tune about these gruff old codgers singing about their luck. Didn’t get what the song was about, but it was fun. Over time, I finally listened to the whole thing and learned to love the music. I finally saw it and read it again, and fell in love with the show.

This is truly an amazing musical filled with wit, joy, and a wry sense of humor that anyone could love. So, sit back and let it enroll you as well.

Kevin Sockwell
Director, My Fair Lady

Cast

• Eliza Doolittle: Mary Wakefield
• Freddy Eynsford-Hill: Philip McLeod
• Mrs. Eynsford-Hill: Laura Holmes
• Col. Hugh-Pickering: David Berkenbilt
• Bystander: Rand Huntzinger
• Professor Henry Higgins: Ken Kemp
• Selsey Woman: Peggy Dennis
• Hoxton Man: Frank DeSando
• Bystander #3: Stuart Fischer
• Cockney: Frank DeSando, John Dickson
• The Quartet: Frank DeSando, John Dickson, Joshua Herstein, Rand Huntzinger
• Bartender: Stuart Fischer
• Alfred P. Doolittle: Bob Ashby
• Jamie: Joshua Herstein
• Harry: Frank Kesterman
• Angry Woman: Stevie Miller
• Angry Man: Frank DeSando
• Mrs. Pearce: Leslie Luxemburg
• Mrs. Hopkins: Laura Hubbard
• First Maid: Stevie Miller
• Second Maid: Amanda Jones
• Mrs. Higgins: Nan Muntzing
• Footman: Frank DeSando
• Sir Reginald Tarrington: Rand Huntzinger
• Lady Tarrington: Amanda Jones
• Professor Zolton Karpathy: Stuart Fischer
• Queen of Transylvania: Marilyn Shockey
• Ensemble: Peggy Dennis, Frank DeSando, John Dickson, Stuart Fischer, Joshua Herstein, Laura Holmes, Laura Hubbard, Rand Huntzinger, Amanda Jones, Frank Kesterman, Stevie Miller, Marilyn Shockey, Anne Sohn, Maria Wilson

Production Team

• Producer: Tammi T. Gardner
• Director: Kevin Sockwell
• Music Director: Ron Isaacson
• Stage Manager: Tamara A.Hunter
• Assistant Stage Manager: Will Pommerening
• Scenic Design: Mary Seng
• Technical Director: Steve Deming
• Lighting Design: Priscilla Precious Ann Porer
• Sound Design: Elliot Lanes
• Sound Consultant: David Steigerwald
• Costume Designer: Charelle’s Stage & Screen
• Makeup Designer: Renee Silverstone
• Props & Set Dressing: Kevin Sockwell, Tammi T. Gardner, Mary Seng
• Light Operator: Shoshana Mintz-Urquhart
• Sound Operator: Dave Ramsey
• Set Construction Supervisor: Tory Coleman
• Set Construction: Saela Adams, Alan Beck, Bob Dennis, Elie & Ted Cain, Raymond Durante, Tammi T. Gardner, Tony Pisarra, Mary Seng, Dawson Smith, Patrick Quibb
• Tech Crew: The Stage Craft and Lighting Classes of The University of thd District of Columbia
• Scenic Painting: Anne Martinez, Elie Cain
• Photographer: Harvey Levine
• Publicity: Colleen Healy, Nan Muntzing
• House Manager: Elie Cain
• Playbill: Marilyn Shockey

Orchestra

• Ron Isaacson: Conductor
• Doug Greer, Audrey Chang, Steve Natrella: Violi
• Beth Radovsky, Elizabeth Greene: Cello
• Ricardo Herrara: String Bass
• Lisa Fahlstrom: Flute
• James Bazen: Oboe
• Nancy Switkes, Teresa Meeks: Bassoon
• Jim Bensinger, Wendy Siegelman: Clarinet
• Len Morse, John Messinger: Trumpet
• Tobi Cisin, Allison Archer: French Horn
• Tim Malac, Steven Isaacson: Trombone
• Sandy Lederman: Piano
• Rehearsal/Audition Pianists: Sandy Lederman, Arielle Bayer, Jacob Kidde

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

The Mousetrap is a murder mystery by Agatha Christie. It was a dark and snowy night in an isolated guesthouse. A murder is committed many miles away. Most of the people stranded in the inn have an alibi or no apparent connection to the victim. But is what you see and hear really the truth?

Natalie McManus played Mollie Ralston, one of the owners and proprietors of Monkswell Manor (or rather Monkwell Manor per the poster to be displayed on the outside of the door). McManus was well cast as the somewhat harried cook, owner, welcoming committee, and complaint receiver. McManus seemed to genuinely care about the needs of her guests and making sure their stay was indeed pleasant. Mollie’s husband Giles was played by Joseph Bissex. The two were well cast, despite an occasional lack of chemistry between the newlyweds. Bissex’s short temper was balanced by McManus’s wish to please and placate to create a more harmonious environment which Bissex’s character did not always care about.

Capable Detective Sargeant Trotter was played by Tony Pisarro and the mysterious unexpected guest Mr. Paravicini played by Marc Rehr appeared on top of things all the way. The woman who seemed to take delight in complaining was Mrs. Boyle played by Mellicent Singham. Snobby with a capital “T” Singham seemed to carry a chip on her shoulder the the size of Texas. Good blocking by director Barry Hoffman allowed for Mrs. Boyle to always enter a room and be noticed. The scenes between Mrs. Ralston and Mrs. Boyle were very well performed as they would face off against each other. Karen Winokur as Miss Casewell was very effective, especially her sarcasm upon being questioned by Detective Trotter. Brian Dettling as the agreeable Major Metcalf was a bit too forgettable, a bit more grander presence would have made the character stronger and more interesting.

The most quirky character by far was Christopher Wren, played superbly by Sam Hauslohner. Overly dramatic was an understatement. His character was that of a puppy who liked to be scratched behind his ears. He was a delight to experience. All of the characters were well cast and seemed able to create the right Agatha Christie air that made for a realistic evening.

The technical aspects of the show ran smoothly. The theatre is a large space, but the vision of Set Designer John Buckley made good use of the walls with multiple cast entrances and exits. The off-stage radio announcers Lawrence Peters and Shanker Singham had their cues right on time to add more clues to keep the audience guessing. The large radio and style of dresses by the women gave it a 1954 feeling, although this mystery also has a sense of timelessness about it. Really the only thing missing was visible snowflakes falling outside the large windows.

A well performed who-done-it that will keep you guessing until the dramatic end.

Cast

• Mollie Ralston: Natalie McManus
• Giles Ralston: Joseph Bissex
• Christopher Wren: Sam Hauslohner
• Mrs. Boyle: Mellicent Singham
• Major Metcalf: Brian Dettling
• Miss Casewell: Karen Winokur
• Mr. Paravicini: Marc Rehr
• Detective Sergeant Trotter: Tony Pisarra

Crew

• Director/Producer: Barry Hoffman
• Production Stage Manager: Tammi T. Gardner
• Scenic Design: John Buckley
• Lighting Design: Joseph Wallen
• Sound Design: Jeff Kellum
• Sound Consultant: Eleanor B. Dicks
• Props & Set Dressing: Sonya Okin
• Light Operator: Chris Kondrat
• Sound Operator: Jeff Kellum
• Radio Announcers: Lawrence Peters, Shanker Singham
• Dialect Coach: Siobhan King
• “Three Blind Mice” Recording: Nan Muntzing
• Set Construction Supervisor: John Buckley
• Set Construction: John Buckley, Ray Durante, Steve Deming, Robert Boughman, Alan Beck, Bill Keysar, Jose Gonzalez, Elie & Ted Cain
• Photographer: Harvey Levine
• Publicity: Suzi Hoffman, Nan Muntzing, Marilyn Shockey
• House Manager: Elie Cain
• Playbill: Marilyn Shockey

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

Gilbert & Sullivan’s The Mikado is a farcical tale of unrequited love, romance, and lots of social commentary on the time. The story follows Nanky-Poo, the prince of Japan disguised as a traveling musician. He has fallen in love with Yum-Yum, the ward of Ko-Ko, the Lord High Executioner. Through a series of ludicrously contrived circumstances Ko-Ko consents to allow Nanky-Poo to marry Yum-Yum for a month on the condition that Nanky-Poo will allow himself to be beheaded at the end of his thirty days.

Director Guillarme Tourniaire’s interpretation of this classic musical is nice, but leaves something to be desired. The cast seemed to have fun and they kept up a good pace. But the show lacked the cohesiveness and polish that would have made this a really great show.

The visuals all lent an Asian feel to the show. All of the costumes had many layers and gave the overall impression of Japanese kimono, complete with belts and sashes, but by no means authentic. The ladies’ wigs were very hodge-podge; some of them looked very nice while others looked ratty. The set looked like something out of a Japanese garden — minimal, but beautiful?and included two rotating rice-paper flats. The set was wonderfully crafted and was definitely one of my favorite aspects of the show.

The choreography and blocking for this show was mostly very poor. I am unsure whether it is due to the simplicity of the movements that I was under awed or due to their bad execution despite being so simple.

Musically, this production was well-directed, but lacked in blending. A string and a woodwind were consistently out of tune with the rest of the orchestra. And the vast majority of the vocal talent was cast in named roles, which left slim pickings for the ensemble. Most vocalists, named role or not, were distinctly flat at one time or another.

Nanky-Poo (Joshua Rosenblum) was very charming in an adorable puppy sort of way. The character definitely lacked inner strength, adopting more of his identity from being a traveling musician than from being the son of the Mikado. This interpretation gave the entire show the consistency of marshmallow fluff.

Yum-Yum (Hillary LaBonte) was a lovely young woman, perfectly flighty and self-centered. She surprisingly provided a stronger character than Nanky-Poo. Her vocals were clear and strong, though her solo about “the sun” was difficult to interpret due to a lack of articulation of consonants.

Ko-Ko (John Perine) was more than sufficiently funny. One of the most dynamically portrayed characters in the show, he followed a comic descent from pompous to pathetic. Perine acted with his whole body and used fabulous inflection to bring his character to life.

Katisha (Jennifer Rutherford), the elderly woman in love with Nanky-Poo, was exceptionally funny. Her character was dynamic and commanded the stage at every turn, even through superbly-executed solos. She provided a fabulous counter point to Perine’s Ko-Ko and played up many of the play’s more amusing moments.

The Potomac Theater Company’s production of The Mikado is a sweet introduction to the musical. The pacing is good and the cast seems to have a lot of fun. If you are looking for a silly show, this is the one for you. Just be aware that you should like musicals, because this one goes on for a while.

Director’s Note

The setting of The Mikado has been acknowledged as not being wholly Japan, but rather a reflection of Victorian England in a sort of Japanese mirror. Still, it borrows copiously from Japanese culture in order to create a palpable facsimile of that world, presented on a sort of self-conscious and self-referential state. From the opening lines, “If you want to know who we are, we are gentlemen of Japan,” the Mikado possesses tinges of a pageant. It is not intended as a pastiche of the Japanese, but rather a spoof of ourselves.

For centuries, Japanese culture flourished in a near-vacuum of xenophobic isolationism, developing an intricate structure quite different from that of the western world. For all their commonalities in points of custom, manner and honor, oriental and occidental couldn’t e more opposed. It was a topsy-turvy reversal indeed when Japan threw open its doors in the 1860s, setting about to catch up to the rest of the world, modernizing at such a pitch that their sense of identity went all a-whirl. Our Japan is that of the delicate days before their reinvention, when perhaps a window was open on the world, but not yet a door.

By placing the setting in the exotically safe remove of what we perceive to be Japanese, we are able to turn the finger inward to poke fun at ourselves, at our own expense. Accordingly, you will hear a few modern references slipped in here ant there, in the same vein as in Gilbert & Sullivan’s day. You may even recognize a character or two – even without the help of updating – from the news media or cable TV. Simply do bear in mind that it’s all meant in good fun, so as Pish-Tush advises: “let’s thoroughly enjoy ourselves.”

Cast

• Chorus of Men: David Berkenbilt, Thomas Copas, Rand Huntzinger, John Sproston, Ed Vilade
• Nanki-Poo: Joshua Rosenblum
• Pish-Tush: Vin Kelly
• Pooh-Bah: Blair Eig
• Ko-Ko: John Perine
• Chorus of Girls: Peggy Dennis, Tuyet Gunter, Christine Mears, Lynn Ritland, Tasneem Robinson, Cameron Tabucchi, Juliette Tostain, Tricia Weiler, Lydia Whitehead
• Yum-Yum: Hillary LaBonte
• Peep-Bo: Toby Nelson
• Pitti-Sing: Katherine Latham
• Katisha: Jennifer Rutherford
• The Mikado of Japan: David Birkenbilt

Orchestra

• Conductor: Joseph Sorge
• Violin 1 (Concert Master): Steve Natrella
• Violin 1: Audrey Maxwell, Christine Anderson
• Violin 2: Marion Richter, Sharon Barnartt
• Viola: Amanda Laudwein, Matt Kupferman
• Cello: Tom Zebovitz, Michael Stein
• Bass: Pete Gallanis, Bill Bentgen
• Flute: Jackie Miller, Louise Hill
• Oboe: Gwen Earle, Mary Haaser
• Clarinet: Jim Bensinger, Laura Langbein, Laura Bornhoeft
• Bassoon: John Hoven, Steve Rennings, Paul Chasse
• Horn: Adam Watson, Michael Fantus
• Trumpet: Les Elkins, Curt Anstine
• Trombone: Steve Ward, Frank Eliot
• Percussion: Janet Thompson, George Huttlin

Production Team

• Director: Guillarme Tourniaire
• Music Director: Joseph Sorge
• Choreographer: Melanie Barber
• Assistant Director: Madeleine Smith
• Producer: Barry Hoffman
• Production Stage Manager: Tammi T. Gardner
• Scenic Design: Joseph Wallen
• Lighting Design: Steve Deming
• Sound Consultant: Savid Steigerwald
• Costume Designer: Marietta Greene
• Hair & Make-up Mistress: Renee Silverstone
• Assistant Hair & Make-up: Margie Perine, Alice Drew
• Props & Set-dressing: Sonya Okin
• Rehearsal Pianist/Vocal Coach: Nan Muntzing
• Light Operator: Steve Deming
• Sound Operator: Jeff Kellum
• Tech Crew: Jennifer Gorman
• Set Construction Supervisor: John Buckley
• Set Construction: Alan Beck, Robert Broughman, Elie Cain, Steve Deming, Joseph Wallen, Martin Flaum, Rick & Melanie Williams

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

Potomac Theatre Company’s production of Neil Simon’s comedy The Last of the Red Hot Lovers featured Ken Kemp as hapless “lover” Barney Cashman, whose attempts to create a memory to last a lifetime are thwarted by each woman he plans to bed.

Each act is focused on the woman that Cashman is trying to have an affair with. The set, by John Buckley, was fairly non-descript, simply Cashman’s mother’s small apartment. With very basic sound (designed by David Steigerwald) and light effects (designed by Steve Demind) (although the light effect at the start of the first two acts was well done), this play relies entirely on the ability of the actors to display many different levels of emotion and goals in each act. Director Norman H. Seltzer didn’t quite craft enough subtleties in the characters, so they ended up appearing mostly flat.

Carole Steel as Elaine Navaazio in the first act was the most believable and sympathetic woman for Cashman. She was very at ease on stage. Unfortunately, when the scene called for both Navazio and Cashman to get angry at one another, the emotion that was conveyed was discomfort. There’s more to anger than just a slightly louder voice.

Allison Hawley as Bobbi Michele didn’t quite ever give the audience a reason to know why Cashman was attracted to her in the park. Other than some bizarre and amusing stories that jumped from topic to topic, there really wasn’t any reason that Cashman should have been attratced to Michele at all. The entire scene felt quite contrived, never really hitting its stride.

Wendy Katzen as Jeanette Fisher was neurotic, yet mostly believable, as she showed her concern for Cashman’s wife through a series of questions and tears. Sometimes her mood changed a bit too quickly, such as when she left the room to clean herself up in the bathroom. Some lingering effects of her tears would have added verisimilitude to her performance.

Ken Kemp’s Cashman was quite believeable as the lonely husband trying to have his first affair. We didn’t learn too much about him in the last two scenes, although through the subtlety of his changing costumes (Tamitha Crosby, Marietta Green) we learn that he is starting to relax a bit. The closing minutes of the final scene were entirely believeable, and indeed were exactly how I was hoping the play would conclude.

Overall, this was an enjoyable production, despite weaknesses in the portrayals of the characters. Stronger, more nuanced performances would lead to a better production.

Director’s Notes

Neil Simon has been, for over 50 years, not only a prolific and successful playwright, but through his comedies has presented complex situation and vivid characters in intriguing plot situations. He has created a wide variety of entertaining and memorable characters who tell us much about the human condition and experience.

In Last of the Red Hot lovers, written over 40 years ago, Simon uses a protagonist, Barney Cashman, undergoing a middle-age crisis. Aware of the so-called, “sexual revolution” going on in this country, he wants have one romantic extramarital affair before moving on with the rest of his life.

In Barney’s encounters with here different women, Simon has provided not only a good deal of humor and outright laughter but also trenchant observations about contemporary life.

So, come along for the ride and enjoy!

Norman Seltzer
Director

Cast

• Barney Cashman: Ken Kemp
• Elaine Navazio: Carole Steele
• Bobbi Michele: Allison Hawley
• Jeanette Fisher: Wendy Katzen

Crew

• Director: Norman H. Seltzer
• Producer: Barry Hoffman
• Production Stage Manager: Tammi T. Gardner
• Costumes: Tamitha Crosby, Marietta Greene
• Scenic Design: John Buckley
• Lighting Design: Steve Deming
• Sound Design: David Steigerwald
• Props/Set Dressing: Sonya Okin
• Light Operator: Steve Deming
• Set Construction Supervisor: Alan Beck
• Set Construction: Alan Beck, John Buckley, Elie Cain, Ray Durante, Vin Kelly, Martin Flaum, Jeff Kelly, Jim Palumbo, D.A. Gurnsey, David Heims
• Photographer: Harvey Levine
• Playbill/Box Office: Marilyn Shockey
• House Manager/Concessions: Elie Cain

Disclaimer: ShowBizRadio attended a brush-up rehearsal for this review, so not ickets were involved.

• It’s Beginning to Look a Lot Like Christmas, November – December 2009
• Snow White and the Several Sillies, March 2010
• The Last of the Red Hot Lovers, June 2010

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

Listen to Mike and Laura Clark discuss Potomac Theatre Company’s production of Don’t Dress for Dinner. [MP3 2:40 2.4MB].

Don’t Dress For Dinner, a comedy by Marc Camoletti, adapted by Robin Howdon, is a situation comedy about double adultery and mistaken identities.

Farces can be funny. The timing is the key as well as good facial expressions that can lead to rolling in the aisle with laughter. Unfortunately, not so in this case. The show’s pace was slow and received only chuckles from the audience. The actors did not seem comfortable around each other, for example there was no spark between the married couple Bernard (Joe Kelly) and Jacqueline (Tina Segovia). The staging was also a bit awkward, with a lot of time spent facing upstage. The cast was also fairly lethargic, although one notable exception was Robert (Dan Eddy) and Jacqueline’s fight as they forced the other backwards during their verbal sparring. The theater at the Bullis School Blair Family Center for the Arts is a large stage that was too large for this show. The actors were simply too spread out. By moving the three gorgeous set pieces (designed by Steve Hambrick) closer together would have helped with the intimacy of the show.

Suzette, the cook, mistress, niece, and wife was played by Kimberly Mikec. She appeared to be the most comfortable on stage. Mikec showed lots of small touches that accented her character, such as when she was slightly tipsy. Eric Henry played Suzette’s husband George, the befuddled bystander trying to make sense of what the couples were trying to explain to him. Henry’s innocence was entirely believable, and his expression while acknowledging his wife’s cousin was a blend of confusion and recognition.

The actors used microphones to project their voices. The costumer designer (Marietta Greene) concealed the mic packs well. At times though the sound was hollow, and during a few hugs the actor’s voice boomed since they were broadcasting with two microphones.

Don’t Dress For Dinner ran two hours and ten minutes with one intermission it is playing for one more weekend, Friday and Saturday at 8 pm and a Sunday matinee at 2 pm at the Bullis School in Potomac, Maryland.

Cast

• Bernard: Joe Kelly
• Jacqueline: Tina Segovia
• Robert: Dan Eddy
• Suzette: Kimberly Mikec
• Suzanne: Laura Salisbury
• George: Eric Henry

Crew

• Director: Barry Hoffman
• Assistant Director: Tom Savoie
• Producer: Barry Hoffman
• Stage Manager: Rachel Kepnes
• Assistant Stage Manager: Tami Hunter
• Set Designer: Steve Hambrick
• Costume Designer: Marietta Greene
• Light Designer/Operator: Steve Deming
• Sound Designer/Operator: Tammi T. Gardner
• Sound Consultant: David Steigerwald
• Props/Set Dressing: Elie Cain
• Set Construction: Alan Beck, Steve Hambrick, Ray Durante, Elie & Ted Cain, Joe Kelly, Eric Henry, Steve Deming
• House Manager: Elie Cain
• Playbill: Marilyn Shockey
• Photographer: Harvey Levine
• Box Office/Reservations: Marilyn Shockey

The show will play the last two weekends in November and the first weekend in December, at the Bullis School, Falls Rd. and Democracy Blvd in Potomac, MD. Auditions are mid September. PTC provides a modest stipend for directors and perform with a live orchestra.

If you’re interested, please contact Barry Hoffman, Producing Artistic Director for Potomac Theatre Company at 301-229-7641 or shstudio -at- verizon.net.

This is the ShowBizRadio review of Scrooge, the Musical, performed by the Potomac Theatre Company in Potomac, Maryland. We saw the performance on Friday evening December 5, 2008.

Scrooge, the Musical, is a musical with book, lyrics, and music by Leslie Bricusse. It is the classic Christmas tale of grumbly old Ebeneezer Scrooge and his Christmas eve visit by three spirits in hopes to change his outlook on life. And one more added twist, it’s set to music.

This was a pretty evenly performed show, with one significant pause in the second act. The characters were pretty enthusiastic about their performance. The choreography was fairly simple, but all of the dancers were mostly together throughout the evening. This was a large cast of about 20 actors playing multiple roles. Sometimes the kids were a little too soft-spoken and the live orchestra over powered them.

The old miser Ebeneezer Scrooge was played by Vin Kelly. There were times when Kelly seemed a little flat in his reactions to the action going on around him. Bob Crachitt played by Ken Kemp also gave a nice performance. He had a touching scene at Tiny Tim’s grave that brought an audible sigh from the audience.

Jay Tilley as The Ghost of Christmas Present did a fine job of bringing the character to life. As the Ghost of Christmas Present he made the character jolly and exuberant. The Young Ebeneezer, played by Troy Knighton, had a good scene with his soon to be ex-fiancee, Isabel, played by Katie Mays. Their song was touching. Knighton did well in dismissing Isabel until it was too late and he realized he had lost her forever.

The set pieces for Scrooge were rolled on and off via casters that allowed for easy mobility. The opening scene was Scrooge’s office that was later rotated to reveal shops along the street. Scrooge’s bed was a separate piece that was rolled on and off as well. Some of the casters needed to be oiled, their squeaks and groans were very distracting. The Scenic Designer was Joseph Wallen. There were props such as glasses to toast Mr. Scrooge and later presents in the second act that were handed out to Mr. Crachitt and others. Props and Set Dressing were done by Suzi Hoffman, Sonya Okin, and Marilyn Shockey.

Scrooge, The Musical is closing this weekend. The final performances are tonight at 8 and closing on Sunday the 7th at 2 pm at the Bullis School in Potomac, Maryland. This is a fun tradition that is suitable for the whole family.

Once you’ve seen the show, please feel free to leave a comment here on our website at Show Biz Radio.net. We’d also like to invite you to join our free mailing list so you can stay informed with theater events in the DC Region.

And now, on with the show.

Cast

• Ebenezer Scrooge: Vin Kelly
• Harry, Scrooge’s Nephew: Troy Knighton
• Bob Cratchit: Ken Kemp
• Mrs. Ethel Cratchit/Bess, Apple Lady: Sandy Burns
• Kathy Cratchit: Tara Shepherd
• Tiny Tim Cratchit: Adrienne Kafka
• Martha Cratchit: Gracie Benninghoff
• Peter Cratchit: Sam Parven
• Bridget Cratchit: Josephine Moore
• Jacob Marley: Tony Pisarra
• Phantoms: Brian Boyer, Lori Carter, Tricia Weiler
• Ghost of Christmas Past/Bissett: Aetna Thompson/Glenda Henderson
• Ghost of Christmas Present/Tom Jenkins: Jay Tilley
• Ghost of Christmas Yet to Come: Tony Pisarra
• Young Man Ebenezer: Troy Knighton
• Isabel/Helen: Katie Mays
• Mr. Fezziwig/Mr. Pringle: Brian Boyer
• Mrs. Fezziwig/Miss Dilber: Marilyn Shockey
• Mary/Mrs. Dilber: Elaine Hughes
• Jocelyn Jollygoode: Tony Pisarra
• Hermione Harty: Laura Salisbury
• Beggar Woman: Tricia Weiler
• Dick Wilins/Topper/Wine Merchant/Teacher: Thomas Copas
• Young Ebby: Drew Campbell
• Young Jenny: Tara Shepherd
• Urchins: Gracie Benninghoff, Drew Campbell, Lori Carter, Adrienne Kafka, Josephine Moore, Sam Parven, Tara Shepherd, Tricia Weiler
• Boy With Sled: Josephine Moore
• Understudies for Brian Boyer: Ken Kemp (Mr. Fezziwig); Drew Campbell (Mr. Pringle)

Crew

• Director: Ron Sarro
• Music Director: Ian Stuart
• Producer: Barry Hoffman
• Stage Manager: Brian Campbell
• Scenic Design: Joseph Wallen
• Lighting Design: Joseph Wallen
• Sound Design: David Steigerwald
• Costume Designer: Eleanor B. Dicks
• Props & Set Dressing: Suzi Hoffman, Sonya Okin, Marilyn Shockey
• Light Operator: Harvey Levine
• Sound Operator: Bill Brekke
• Backstage Crew: Ja Nae’ Nicole
• Rehearsal Pianist: Nan Muntzing
• Set Construction Supervisor: Alan Beck
• Set Construction: Alan Beck, Ray Durante, Elie & Ted Cain, John Shockey, Joseph Wallen, Mike Schowalter, Tara, Pat & Jay Shepherd, Vin White, Brian CAmpbell, Anne Martinez
• Photographer: Harvey Levine
• Publicity: Ken Kemp, Marilyn Shockey, Suzi Hoffman
• House Manager: Elie Cain
• Playbill: Marilyn Shockey

• Noises Off, Langley High School, McLean, Virginia
• Scrooge, The Musical, Potomac Theatre Company, Potomac, Maryland
• Third, Silver Spring Stage, Silver Spring, Maryland
• Scrooge, The Musical, Little Theatre of Alexandria, Alexandria, Virginia

Many thanks to McCall Doyle and Lisa Kay Morton for covering some of these shows. If you’re interested in writing for ShowBizRadio, please contact us. There are many local productions that won’t be reviewed here simply because we can’t be everywhere.