The Odd Couple is a classic play featuring mismatched friends living together after marital problems. Oscar, a messy sportswriter, invites Felix, a fussy newswriter, to move in with him while deciding what to do when Felix’s wife tells him she wants a divorce. Their differing styles and approaches to life cause mayhem as they learn how to be roommates.

The Odd Couple was a very funny production, with excellent support by the poker buddies and the Pigeon sisters. But this production was owned by the antics of Jay Tilley as the slob Oscar and Tom Cohen as the proper Felix. Tilley let loose from his first entrance, “pouring” beers for his buddies and “serving” chips. And he never let up, through all his dealings with Felix’s problems, mannerisms and habits. Watching his reaction bringing in the drinks at the dinner party was priceless. Cohen made his own scenes just as memorable, never making Felix into a pathetic washout, but instead allowing him to be simply human, and a bit overwhelmed with his new life. His time alone with the Pigeon sisters (Erika Jarecki and Jackie Davis) was wonderful, their reactions to his photos weren’t over the top. One problem with that scene was the flowers on the coffee table blocked the three actors faces. The poker buddies (Patrick Schrader, Jim Johnson, Kevin J. Kellenberger and Tim Voit) all made their characters interesting to watch, with different mannerisms and attitudes.

There were a couple of odd choices that director Brian Garrison made. The pre-show announcement was a long video featuring Tilly and Cohen explaining in detail the rules of the theater. At the end of the video, the poker buddies moved into their places and proceeded to break the fourth wall by berating the sound crew for not getting their sound cues right. We heard several themes from a few TV shows (M*A*S*H, Happy Days , then finally The Odd Couple). At the end of the intermission we were treated to six minutes of retro commercials. Some of the commericals were filmed recently, and others appeared to be vintage. The commercials were amusing, but it would have been better had the commercials been split up and played during the two long scene changes, one in each act. Instead we got to watch the stage crew prepare the stage for the upcoming scene.

Overall, this was a fun-filled production of a classic play. If you have the time, take the opportunity to see the Female version this weekend as well, so you can see the differences in the two plays.

Notes From the Director

I wasn’t born in the sixties and what little I knew of that time growing up I learned from my parents, in History class, or watching old PBS specials. I never really had a sense of the underlying pulse or empathetic understanding of what this nation and its citizens were feeling at the time. It wasn’t from lack of caring; I think it’s more that the kind of understanding required can be difficult if you never lived through it. The Sixties are so much more fascinating to me know through the TV show called Mad Men; and that has been the biggest draw for directing The Odd Couple. The interesting thing is this play never breathes a word about anything happening socially, politically, or culturally outside of Oscar and Felix’s apartment — which makes Neil Simon’s comedy so remarkably insulated from the 1965 in which it was originally staged. Perhaps that is part of the play’s brilliance: a comedy that offers its audiences the opportunity, in a decade of turmoil, to forget about their lives for two hours and just laugh at the inane troubles of two middle-aged men. So forty-seven years later, I invite you to do the same.

Brian Garrison, Director of The Odd Couple, Male Version

Photo Gallery

Roy (Kevin Kellenberger), Speed (Patrick Schrader), Oscar (Jay Tilley), Murray (Jim Johnson), Vinnie (Tim Voit)	Speed (Patrick Schrader), Vinnie (Tim Voit). Seated Gwendolyn (Jackie Davis), Cecily (Erika Jareki).

Photos by Paul Gernhardt

Male Version

• Oscar: Jay Tilley
• Felix: Tom Cohen
• Speed: Patrick Schrader
• Murray: Jim Johnson
• Roy: Kevin J. Kellenberger
• Vinnie: Tim Voit
• Cecily: Erika Jarecki
• Gwendolyn: Jackie Davis

Production Staff

• Producer: Lora Buckman
• Director (Male version): Brian Garrison
• Assistant Producer: Joe Campanella
• Assistant Director (Male Version): Mary Speed
• Production Stage Manager: Laura Moody
• Technical Director: Scott Rueg
• Stage Manager: Carol Frysinger
• Assistant Stage Manager: Amanda Carter
• Runner: Katie Buckman
• Lighting Technician: Bill Fry, Herb Fuller
• Sound Technician: Rick Dulik
• Set Design: Terry DiMurro
• Scenic Painter: Mary Speed
• Master Carpenter: Scott Ruegg
• Costume Consultant: Beth Howard
• Properties Mistress/Set Decoration: Maria Bissex
• Properties Crew/Set Decoration: Diana Knollman, Laura Garofolo, Peggy Darr
• Makeup: Terry DiMurro
• Publicity Director: Anna Dulik
• Photographers: Paul Gernhardt, Brian Garrison
• Cinematographer: Patrick Schrader
• House Manager: Mary Crowe
• Publicity Advertising Manager: Angela Hepola
• Ushers: Kathy Bleutge, John Bleutge
• Box Office Manager: Emilie Pugh
• Box Office Staff: Doris Argall, Burgan Pugh
• Online Box Office Manager: Tim Silk
• Set Construction: Alex Bhargava, April Bridgeman, Lora Buckman, Joe Campanella, Tom Cohen, Jackie Davis, Jim Davis, Mark Davis, Terry DiMurro, Bill Fry, Carol Frysinger, Brian Garrison, Takashi Iwasawa,, Jim Johnson, Sonya Kalian, Kevin J. kellenberger, Don O’Brien, Beverly Pruzina, Bob Rosenberg, Vicki Sanders-Johnson, Annie V. Scanlon, Patrick Schrader, Janet Devine Smith, Jim Smith, Meredith Solano, Mary Speed, Jay Tilley, Adrian Vigil, Tim Volt
• Bulk Mail Chairman: Joe Campanella
• Bulk Mail Crew: Hosson Abu-Ghannam, Tom Cohen, Mary Crowe, Anna Dulik, Kim Fry, Carol Frysinger, Jim Johnson, Jay Tilley
• Graphic Design: Angie Allison
• Audition Staff: Mary Crowe, Doris Argall, Laura Garofolo
• Program Design: Angie Allison, Joe Campanella

Disclaimer: Sterling Playmakers provided a complimentary media ticket to ShowBizRadio for this review.

The Odd Couple is a classic play featuring mismatched friends living together after marital problems. The Female Odd Couple was written and set in 1985, with a similar premised as the 1965 play, except involving two mismatched women having to live together. Olive, a messy sportswriter, invites Flo, a fussy writer, to move in with her while deciding what to do when Flo’s husband tells her he wants a divorce. Their differing styles and approaches to life cause mayhem as they learn how to be roommates.

This was an amusing production. It never quite hit the antics that were possible in the interactions between Olive and Flo. Possibly I simply don’t understand how women react to stressful situations. But Olive (Vicki Sanders-Johnson) and Flo (Beverly Pruzina) did have a nice spark between them as their personalities clashed. There was a nicely performed scene when Flo was treating Olive as the husband (“You didn’t call to say you were going to be late!”). The double date with Jesus (Adrian Vigil) and Manolo (Alex Bhargava) was entertaining. It did rely a bit much on language problems, but Pruzina excelled at showing her discomfort being alone with the brothers. Sanders-Johnson definitely created an air of excitement in her wake. As she was packing Flo’s bags, you could feel her being on the edge of sanity.

The “Trivial Pursuit” gang (Annie V. Scanlon, Janet Devine Smith, Meg Roosma, Sonya Kalian) was a fun group. Most played non-specific parts, but each had a unique personality that made the group overall feel very realistic. There was a chase scene in the final scene that felt a bit too short, maybe it could have carried on a short while longer with more of a definite ending instead of ending abruptly. The preshow and intermission music was from the 1980s, with Huey Lewis and Rick Astley featuring prominently.

Overall, this was a humorous production. If you have the time, take the opportunity to see the Male version this weekend as well, so you can see the differences in the two plays. They definitely stand alone, but seeing how the other half lives is interesting.

Notes From the Director

Neil Simon revamped his 1965 hit The Odd Couple, changing all the genders, to debut in 1985 as The Female Odd Couple. Practically everyone knows the male version, but fewer know the female version — which is one reason I chose to direct it! Another reason is that women fascinate me, so I was eager to see the difference in tone that could be achieved with a feminine approach. (Thanks for your input, dear cast!) While Simon’s story line parallels the male version to a large extent, succeeds in infusing it with a woman’s point of view — and in particular, that of the liberated woman. The (sometimes crazy) friendship of these ladies, combined with the continental charm of the Costazuela brothers makes for a touching and very funny play!

Bob Rosenberg, Director of The Odd Couple, Female Version

Photo Gallery

Jesus Costazvela (Adrian Vigil) lays on the charm for Olive (Vicki Sanders) and her roommate Flo (Beverly Pruzina)	Rene (Meg Roosma), Olive (Vicki Sanders), Mickey (Janet Devine Smith), Vera (Sonya Kalian), Flo (Beverly Pruzina) and Sylvie (Annie Scanlon)

Photos by Paul Gernhardt

Cast

• Olive: Vicki Sanders-Johnson
• Flo: Beverly Pruzina
• Sylvie: Annie V. Scanlon
• Mickey: Janet Devine Smith
• Rene: Meg Roosma
• Vera: Sonya Kalian
• Jesus: Adrian Vigil
• Manolo: Alex Bhargava

Production Staff

• Producer: Lora Buckman
• Director (Female Version): Bob Rosenberg
• Assistant Producer: Joe Campanella
• Assistant Director (Female Version): Meredith Solano
• Production Stage Manager: Laura Moody
• Technical Director: Scott Rueg
• Stage Manager: Carol Frysinger
• Assistant Stage Manager: Amanda Carter
• Runner: Katie Buckman
• Lighting Technician: Bill Fry, Herb Fuller
• Sound Technician: Rick Dulik
• Set Design: Terry DiMurro
• Scenic Painter: Mary Speed
• Master Carpenter: Scott Ruegg
• Costume Consultant: Beth Howard
• Properties Mistress/Set Decoration: Maria Bissex
• Properties Crew/Set Decoration: Diana Knollman, Laura Garofolo, Peggy Darr
• Makeup: Terry DiMurro
• Publicity Director: Anna Dulik
• Photographers: Paul Gernhardt, Brian Garrison
• Cinematographer: Patrick Schrader
• House Manager: Mary Crowe
• Publicity Advertising Manager: Angela Hepola
• Ushers: Kathy Bleutge, John Bleutge
• Box Office Manager: Emilie Pugh
• Box Office Staff: Doris Argall, Burgan Pugh
• Online Box Office Manager: Tim Silk
• Set Construction: Alex Bhargava, April Bridgeman, Lora Buckman, Joe Campanella, Tom Cohen, Jackie Davis, Jim Davis, Mark Davis, Terry DiMurro, Bill Fry, Carol Frysinger, Brian Garrison, Takashi Iwasawa,, Jim Johnson, Sonya Kalian, Kevin J. kellenberger, Don O’Brien, Beverly Pruzina, Bob Rosenberg, Vicki Sanders-Johnson, Annie V. Scanlon, Patrick Schrader, Janet Devine Smith, Jim Smith, Meredith Solano, Mary Speed, Jay Tilley, Adrian Vigil, Tim Volt
• Bulk Mail Chairman: Joe Campanella
• Bulk Mail Crew: Hosson Abu-Ghannam, Tom Cohen, Mary Crowe, Anna Dulik, Kim Fry, Carol Frysinger, Jim Johnson, Jay Tilley
• Graphic Design: Angie Allison
• Audition Staff: Mary Crowe, Doris Argall, Laura Garofolo
• Program Design: Angie Allison, Joe Campanella

Disclaimer: Sterling Playmakers provided a complimentary media ticket to ShowBizRadio for this review.

• finding caterer
• Acting as point of contact for the performance sites
• Handling the money and working with treasurer

The murder is low tech and does not require a full staff. The producer can have as many assistants as they might want or need. Interested? Please contact Terry DiMurro at terrypuppet -at- att.net.

• The War of the Worlds, October 2011
• Miracle on 34th Street, December 2011
• Murder Mystery TBD, February 2012
• The Odd Couple, April 2012
• Hello, Dolly!, July – August 2012

Schedule is subject to change due to performance rights conflicts or other issues. Specific dates of auditions and venue locations are yet to be announced.

Plaza Suite is a comedy in three acts by Neil Simon. Three different stories with the common denominator of all taking place in suite # 719 of the Plaza Hotel in New York City. These three stories shows the ups and downs of life in the late 1960’s.

Each act was directed by a different set of directors, and had a different set of actors. While overall this worked well, and allowed for more people to be involved with the production, it did result in each act having a slightly different feel. Act one, Visitor From Mamaroneck, introduces us to Sam and Karen Nash who have come to the Plaza suite to celebrate their 23rd (or 24th) wedding anniversary (which anniversary it is depends on who you ask.) Susan Nash, played by Susan Kronenberg, comes across as good-hearted, and a bit ditzy. Eager to please her husband she is willing to overlook his nature. Sam Nash, played by Dell Pendergrast, is rude, uptight and seems to be in a great hurry to get to the office which confuses Karen until his efficient and attractive secretary Jean McCormack (Kara Succolosky) shows up and the you-know-what hits the fan. The tension is heavy as reality sets in and then the sparks fly. Both Pendergrast and Kronenberg kept the emotion going throughout the evening.

Act Two is called Visitor From Hollywood and shows a big Hollywood producer who invites his former high school girlfriend to visit him in trying to rekindle old feelings. This second story was a bit too slow and seemed to lack energy. The Producer Jesse Kiplinger was played by David Chappell. Alone Chappell was able to strut his stuff impress people. Muriel Tate played by Jackie Davis played the role of old flame who grew up, got married and moved on yet was flattered by Jesse’s interest in her. However you put the two of them together and there was simply no chemistry. Together they were stiff and awkward. There needed to be more trust between the two of them. It just did not seem to be there.

The Act Three story, Visitor From Forest Hills, tells the story of a family about give their daughter away when the realities of marriage hit home and the bride gets cold feet. The story centers around the husband and wife and how they deal with the situation. Norma and Roy Hubley are excited about the day. Norma played by Sonya Kalian is anxious to make sure everything runs smoothly and that she looks good to impress all her friends. To say the least having her daughter lock herself in the bathroom five minutes before the wedding totally puts a kink in her pantyhose. Kalian is highly flustered and upset. Add to the tension her husband Roy, played by Tim Griffin, is angry and solves most problems by yelling. The physical comedy of this act was well done and added to the mounting hysteria by Norma and the apoplexy Roy was about to have. The two were used to each other and had a good rapport on stage.

The set by set designer Terry Nelson DiMurro was detailed and well spaced on stage. It did not look crowded, although the use of taped lines to represent the wall between the suite’s two rooms did result in several occasions where the actors would look “through” the wall to interact while in different rooms instead of moving towards the doorway to “see” the other person. There were also two large gaps along the side walls, the breaks served no purpose and while not distracting, did look odd. The show’s opening announcements by Scott Ruegg were humorous and funny. The stage crew did an efficient job of changing the set each act, although their chatter in character as hotel staff was a bit distracting, and lengthened the scene changes. Beth Howard’s costumes were attractive.

A funny, more or less truthful look at marriage and its ups and downs. If you enjoy Neil Simon’s work, you’ll enjoy this production.

Act One Cast

• Sam Nash: Dell Pendergrast
• Karen Nash: Susan Kronenberg
• Jean McCormack: Kara Succolsky
• Waiter: Herb Fuller
• Bellhop: Ben Zook

Act One Director: Bob Rosenberg
Act One Assistant Director: Meredith Solano

Act One Director’s Notes

I have thoroughly enjoyed occupying the director’s chair once again. This is my first time working with the wit and wisdom of Neil Simon, and I was fortunate to have such marvelous actors to bring Simon’s vision to life. “Visitor from Mamaroneck” is a bittersweet look at the joys and challenges of matrimony. I think every wedded woman will see a bit of herself in Karen; and every married man, some of himself in Sam. So sit back and enjoy helping this colorful couple celebrate their anniversary! – Bob Rosenberg

Act Two Cast

• Jesse Kiplinger: David Chappell
• Muriel Tate: Jackie Davis
• Maid: Joni Carluzzo

Act Two Director: Beth Howard
Act Two Assistant Director: Annelise Lohmeyer

Act Two Director’s Notes

This has been a wonderful experience to work with such talented folks. I would like to thank the Board and Terri DiMurro for this opportunity. I would especially like to thank my Assistant Director Annelise Lohmeyer. As a first time AD, she has given generously of her ideas, time and energy. I can’t wat to see what she directs! I would like to thank the actors for their hard work and willingness to become Jesse, Muriel, and Casey – great job! I would also like to thank my mom for her support through challenges and her constant belief in my ideas. And finaly I would like to thank our producer, Jerri, and the crew for the behind the scenes support and hard work. It’s been a great ride, and by the way – do you know Frank Sinatra?? – Beth Howard

Act Three Cast

• Norma Hubley: Sonya Kalian
• Roy Hubley: Tim Griffin
• Borden Eisler: Dan Clark
• Mimsey Hubley: Leandra Lynn

Act Three Director: Kelly Gray

Act Three Director’s Notes

Neil Simon has always been one of my favorite playwrights – how could he not be? So I jumped at the chance to make my directorial debut with Act III of Plaza Suite, because it is rife with physical humor, larger than life characters, and lots and lots of laughter. I would like to thank my wonderful cast for their hard work and enthusiasm – and for putting up with my obsessive attention to detail. I think it is safe to say that we all had a wonderful time during this process. It is my hope that you will have fun as much fun watching it as we have had creating it. So sit back, relax, and, “Wait ’til you hear what goes on tonight!” – Kelly Gray

Photo Gallery

Herb Fuller, Dell Pendergast, Susan Kronenberg, Kara Succolosky, Jackie Davis, Dave Chappell, Sonya Kalian, Tim Griffin, Joni Carluzzo	Movie producer Jesse (Dave Chappell) tries to rekindle his old flame Muriel (Jackie Davis)
Karen Nash (Susan Kronenberg) looks over her husband’s secretary (Kara Succolosky) — literally!	Norma (Sonya Kalian) attempts to control her husband (Tim Griffin) when their daughter locks herself in the bathroom to avoid her wedding.

Photos by Paul Gernhardt

Crew

• Opening Announcements: Scott Reugg
• Producer: Jerri Wiseman
• Coordinator: Terry Nelson DiMurro
• Production Stage Manager: Helen Gernhardt
• Technical Director: Scott Ruegg

Production Staff

• Stage Manager: Kathleen Donovan
• Stage Crew: Mary Burnett, Joni Carluzzo, Dan Clark, Herbert Duvall, LeandraLynn
• Lighting designer: Terry Nelson DiMurro
• Set Construction crew: Joe Campanella, Joni Carluzzo, David Chappell, Dan Clark, Kevin Daly, Lori Daly, Jackie Davis, Terry Nelson DiMurro, Bill Fry, Helen Gernhardt, Chris Gray, Kelly Gray, Tim Griffin, Beth Howard, Sonya Kalian, Anneliese Lohmeyer, Leandra Lynn, Bob Rosenberg, Scott Reugg, Meredith Solano, Jerri Wiseman, Ben Zook
• Costume Designer: Beth Howard
• Properties Coordinator: Maria Bissex
• Properties Crew: Jeannie DeLisi
• Makeup Director: Anneliese Lohmyer
• Publicity: Joe Campanella
• Photographer: Paul Gernhardt
• Advertising: Kathy Blueutge, Angela Hepola, Jerri Wiseman
• House Managers: Lora Buckman, Barbara Gillen
• Ushers: Lisa Alford, Georgia Belle, John Bleutge, Kathy Bleutge, Katie Buckman, Joe Campanella, Lee Dunay, Laura Garofolo, Louise Gillen, Chris Gray, Kathy Howard, Mark Humphrey, Jordan Lohmeyer, Elise Smith, Frank Smith
• Lobby Pianist: Abby Gray
• Box Office Manager: Emilie Pugh
• Box Office Staff: Doris Argall, Judith Bartow
• Bulk Mail Chairman: Joe Campanella
• Bulk Mail crew: Maria Bissex, David Chappell, Bill Fry, Karen Fry, Kimberely Fry, Helen Gernhardt, Sonya Kalian, Anneliese Lohmeyer, Jerri Wiseman
• Graphic Artist: Kevin G. Summers
• Audition Staff: Lora Buckman, Laura Garofolo, Barbara Gillen

Disclaimer: Sterling Playmakers provided two complimentary media tickets to ShowBizRadio for this review.

The Sterling Playmakers has assembled a huge cast, a wonderful orchestra, delightful choreography, colorful sets and costumes to create the spectacle of Lerner and Lowe’s Brigadoon.

Brigadoon is a musical about a Scottish village that appears only once every 100 years, though to the villagers it is only the passing of one night. In Brigadoon, it is still 1746 when two modern hunters stumble on the village just as the wedding of Charlie (Bennett Layman) and Jean (Meg Boyle) is about to be celebrated. Brigadoon is full of lively characters including Meg (Jeanie deLisi) who is looking for the real love of her life. One of the hunters, Tommy (Chris Gray), falls in love with a village lass, Fiona (Nancy Tanner). He decides to stay, even after learning of their secret, and knowing he would never be able to leave again. However, Tommy changes his mind when a disgruntled villager, Harry Beaton (Nathan Trexler) tries to leave, but is stopped before he could cause the village to disappear forever. Sadly, he watches Brigadoon disappear in the mist for another 100 years. Back in New York City, Tommy painfully regrets his decision. With his friend Jeff (David Chappell), he goes back to Scotland to find Brigadoon, even though he knows it won’t be there.

Overall, I found Brigadoon to be an enoyable experience. Takashi Iwasawa and Shelah Novak’s choreography was well executed by the huge cast, although during a few of large dance numbers the cast was cramped on the stage. It also seemed that during a few of the dances townspeople in the background were distracting from the dancing by not being at all animated. Some people on the extreme upstage edge of the crowd were actually doing appropriate activities for the town, but many people seemed to just be standing around. The sword dance at the end of the first act was well performed, although a little difficult to see. I was also expecting a larger number of group of swords to be laid out across the stage.

Chris Gray and David Chappell as the Americans who discover Brigadoon were creditable as their confusion mounted as they learned more about the small town. Gray’s interactions with Nancy Tanner (Fiona) were quite believable as it was apparent they were smitten with each other immediately. Gray seemed to be uneasy on stage though, he simply held his arms stiffly next to his body for many scenes. However Tanner exuded warmth for both family and friends and the strangers. Philip Baedecker as Mr. Lundie, the genteel schoolmaster, was warm and welcoming. Meg was played zestfully by Jeannie DeLisi. Her frustration while trying to seduce Jeff was palpable.

Singing throughout the show was well executed, although at times the large orchestra, under the direction of Muriel Nanninga, overwhelmed the voices from the stage. There was an odd dark spot on downstage left area. I’m not sure if there was some kind of technical issue, but it was quite distracting watching the cast move through the shadow. The set, designed by Glen Bartram, was made up of a very colorful backdrop and a few platforms to create different levels and several wall pieces to form the various homes and buildings. Scene changes were executed a bit slowly at times, which should improve as the run continues. Beth Howard’s costumes were very colorful, emphasizing the difference between the people of Brigadoon and the visitors from New York.

Brigadoon has been brought to life by the Sterling Playmakers. Catch it while you can. Just stay out of the aisles at the beginning of the second act.

Director’s Notes

Brigadoon is all about believing in miracles, and I certainly do believe in them. This show is an example of one. I guess my belief is obvious because besides Brigadoon I directed The Miracle Worker and will be directing Miracle on 34th Street in December 2011! I have been in love with this play since I first saw the movie version at age 13. My favorite quote from Brigadoon is “If ye love someone enough, anything is possible, even miracles.” The miracle of our production’s success has come about through the love and hard work of many people to whom I am most grateful. First Emilie, veteran of many shows, has once again worked miracles by keeping us on budget and doing the many thankless tasks as a producer has to do on a show, assisted by Doris. I couldn’t have done it without them. The musical trio of Wyndy, Muriel, and Joe demonstrated their love of the show by giving us wonderful eight-part harmonies and playing the beautiful Lerner and Loewe music. The authentic Scottish dances, including the challenging sword dance were expertly choreographed by Takashi, himself a Scottish dance competitor. The other lovely dances were miraculously choreographed by Shelah. My assistant director, April, was a special gift of support and help. I don’t have the space her to thank everyone, but our technical staff deserves special mention, since I left them for two weeks while they built the set, painted, focused lights, built costumes, assembled props, designed makeup, worked on publicity, and got us ready for rehearsals on my return. Thanks to all of you, especially Scott, Terry, Beth, Helen, Diana, Angela, Annelise, and both Davids. Finally our wonderful cast were themselves a miracle. “Amateur” means we do this all for love, rather than money. It does not mean that we are not equal to professionals in quality. You are all “pros!” As Brigadoon disappears once more in the mists, I know it is “there my heart forever lies.” Thanks again to all, and to the Playmakers’ Board for entrusting me with this miracle!

Kathy Bleutge

Cast

• Tommy: Chris Gray
• Jeff: David Chappell
• Sandy Dean: Michael Bleutge
• Hamish MacGregor: Luis Mora
• Stuart Dalrymple: Tim Griffin
• Angus MacGuffie: Scott Tousley
• Meg Brockie: Jeannie DeLisi
• Archie Beaton: Bryan Layman
• Harry Beaton: Nathan Trexler
• Andrew MacLaren: Ted Fredrick
• Fiona MacLaren: Nancy Noel
• Jean MacLaren: Meg Boyle
• Charlie Dalrymple: Bennett Layman
• Maggie Anderson: Jordan Lohmeyer
• Kate (Jean’s Friend): Heather Reed
• Mr. Lundie: Philip Baedecker
• Frank (Bartender): Jack Tenshaw
• Jane Ashton: Beth Howard
• Featured Dancer/Villager: Kelly Gray
• Featured Dancer/Villager: Scott Ruegg
• Sword Dancers: Nathan Treler, Bennett Layman, Nguyen Nguyen
• Bagpiper: Jamie Fountain
• Charlie’s Lads: Ramon Antonio, Keaton Crowe, Imran Malik, Nguyen Nguyen, Pery Salyer, Chris Sanderson
• Jean’s Lassies: Jessica Ashworth, Katie Buckman, Courtney Garofolo, Abby Gray, Helena Hamilton, Susanna Jacobson, Katy Layman, Sarah Reed, Alli Roaquin, Marion Smedberg, Ashley Tenshaw, Samantha Wooley
• Villag Ladies: Katie andeerson, Anita Ault Maria Bissex, Lori Brooks, Joni Carluzzo, Sally Ann Flores, Angela Hepola, Elaine Layman, Amy Lindsay Litteral, Annelisse Lohmeyer, Susan Mosley, Francine Orr, Elizabeth Pittman, Edith Reed, Carolyn Tousley
• Village Gentlemen: Dan Clrk, keith Flore, Hrb Fuller, Dvid H. Hopkins, John Hur, Craig McKee, Nathaniel Adams Redden, jack Tenshaw
• Village Bairns: Beth Bleutge, Demetrio DuPlissey, Melody Flores, Jen Garofolo, Daniel Hur, Abby Irons, Logan Langtry, Abby Lohmeyer, Sydney Maloney, Joanie Marshall, Caitlin orr, Leecy Silk, Lindsey Silk, Abigail Tenshaw, Kristen Waagner, Zack Wold
• Brigadoon Choir: Heather Reed, Amy Lindsay Litteral, Maria Bissex*, Carolyn Tousley, Susanna Jacobson, Alli Roaquin*, Joni Carluzzo, Lora Brooks, Abby Gray, Kelly Gray, Elaine La yman, Sarah Reed*, Imran Malik, Pery Salyer, Scott Tousley, Kieth Flores, Tim Griffin, David H. Hopkins, Ted Frederick, Nathaniel Adam Redden. (*Alternate)
• Understudies: Tommy: Kieth Flores
• Jeff: Dan Clark
• Stuart Dalrymple: Kieth Flores
• Meg Brockie: Katie Anderson
• Harry Beaton: Nguyen Nguyen
• Fiona MacLaren: Maria Bissex
• Jean MacLaren: Ashley Tenshaw
• Charlie Dalrymple: Imran Mlik
• Jane Ashton: Kelly Gray
• Sword Dancer: Scott Ruegg

Orchestra

• Conductor: Muriel Nanninga
• Violin: Meagan Frame, Celaya Kirchner, Carson Kirchner
• Viola: Betty Brody
• Cello: Meredith Farnam
• Flute/Piccolo: Diana Larson
• Clarinet: Audrey Reale, Brett Tackas
• Oboe: Jane Hughes
• Bassoon: Richard Sargeant
• French Horn: Ako Shiffer
• Trumpet: John Friedman, John Paganelli
• Percussion: Andrew Coyle
• Piano: Joe Faber

Crew

• Producer: Emilie Pugh
• Director: Katheen Bleutge
• Musical Director: Muriel Nanninga
• Choral Director: Wyndy Fredrick
• Choreographers: Takashi Iwasawa, Shelah Novak
• Assistant Producer: Doris Argall
• Assistant Director: April Bridgeman
• Technical Director: Scott Ruegg
• Production Stage Manager: Helen Gernhardt
• Stage Manager: David Reed
• Assistant Stage Managers: Megan Collins, Kelsey Hancher
• Rehearsal/Show Pianist: Joe Faber
• Alternate Pianists: Abby Gray, Margaret Lin Waagner
• Fight Consultant: Terry Smith
• Dialect consultant: Philip Baedecker
• Set Designer: Glen Bartram
• Costume Designer: Beth Howard
• Costume Construction: Beth Howard, Lily Dehghan, Jeannie DeLisi, Karen Fry, Helen Gernhardt, Abby Gray, Kelly Gray, Francine Orr, Meg Roosma, Scott Ruegg, Margaret Lin Waagner, jenny Wood
• Lighting Designer/Tecnician: Terry Nelson DiMurro
• Lighting Crew: David Chappell, Bill Fry, Chris Gray, David Reed
• Sound Designers: John Paganelli, Brett Takas
• Sound Technician: Meghan Voyack
• Props Mistress: Diana Knollman
• Props Crew: Lora Buckman, Peggy Darr, Barbara Gillen, Annabel Johson
• Running Crew Chief/Special Effects: Steven L. Barker
• Running Crew: Johnathan Darr, Morgan Ferrari, Lori Sonderegger, Julie Tousley
• Runner: Leandra Lynn
• Make-up Designer: Annelisse Lohmeyer
• Make-up Crew: Jordan Lohmeyer, Keely Mitchell, Jerri Wiseman
• Publicity Manager: Angela Hepola
• Sign Board: Angela Hepola
• Graphics Designer: Kevin G. Summers
• Photographer: Paul Gernhardt
• Photographer Assistant: Paula Towry
• Box Office On-line Sales: Tim Silk
• Box office Staff: Courtney Korb, Mary Beth Pittman, Burgan Pugh, Roseann Vecchio, Tom Vecchio
• House Managers: Susan Bleutge, Laura Garogolo
• Ushers: Sandy Argall, Georgia Belle, John Bleutge, Stephanie Bleutge, Kent Bommer, Joe Campanella, Mark Humphrey, Delany Knollman, Maddy Layman, Tyler Lohmeyer, Andrew Messina, Molly Morales, Erin Morgan, Ryan Orr, Katie Reilly
• Bulk Mail Manager: Joe Campanella
• Bulk Mail Crew: Doris Argall, Anita Ault, Philip Baedecker, April Bridgeman, Kimberely Fry, Laura Garofolo, Tim Griffin, Takashi Iwasawa, Susn Mosley, Emilie Pugh, Joseph Salyer, Linda Salyer
• Audition Assistants: Lra Buckman, Joe Campanella, Megan Collins, Laura Garofolo, Barbara Gillen, Annelisse Lohmeyer, Burgan Pugh, David Reed
• Dance Workshop Instructor: Takashi Iawsawa
• Workshop Assistant: Robin Drake
• Workshop Welcome Assistants: Doris Argall, Beth Bleutge
• Move-in Crew: David Chappell, Katie Chppell, Dan Clark, Jeannie DeLisi, Terry DiMurro, Kieth Flores, Sally Ann Flores, Chris Gray, Tim Griffin, Bryan Layman, Craig McKee, Francine Orr, Emilie Pugh, Adam edden, Scott Ruegg, Scott tousley, Meghan Voyack
• Set Construction: Katie Anderson, Ramon Antonio, Jessica Ashworth, Andrew Beichler, Meg Boyle, April Bridgeman, Lori Brooks, Joni Carluzzo, David Chappell, Katie Chappell, Dan Clark, Megan Collins, Keaton Crowe, Johnathan Darr, Jeanni DeLisi, Terry DiMurro, Robin Drake, Kieth Flores, Sally Ann Flores, Ted Fredrick, Courtney Garafolo, Laura Garafolo, Abby Gray, Chris Gray, Kelly Gray, Tim Griffin, Alex Hall, Max Hall, Angela Hopkins, Angela Hepola, Daniel Hur, John Hur, Courtney korb, Bennett Lyman, Bryan Layman, Elaine Layman, Katie Layman, Celia Lechtman, Amy Limdsay Litteral, Leandra Lynn, Imran Mlik, Joe Maloney, Craig McKee, Susan Mosley, Denali Neidig, Marylou Neidig, Harry Neidig, Harry Neidig IV, Jacob Neidig, Nguyen Nguyen, Nancy Noel, Francine Orr, Karen Parcelli, Katie Parcelli, Kristi parcelli, Adam Redden, David Reed, Scott Ruegg, Jordan Sanderegger, Chris Sanderson, Marion Smedberg, liz Smith. Ashley Tenshaw, Carolyn Tousley, Scott Tousley, Nathan Trexlr, Meghan Voyack, Jim Whitmore, Travis Wilt, Zack Wold

Disclaimer: Sterling Playmakers allowed ShowBizRadio to attend their final dress rehearsal for this review.

Sterling Playmakers is seeking a violinist and bass guitar player to play in a small jazz band for its summer production of Thoroughly Modern Millie. An honorarium will be provided. Performance dates are July 31, August 1, 2, 7-9, 14-16 at Potomac Falls High School in Sterling, VA. Please visit http://www.sterlingplaymakers.com/ for information about Thoroughly Modern Millie and the Sterling Playmakers. For more information about this position and please email “Millie -at- sterlingplaymakers.com.”

]]> /2009/05/sterling-playmakers-releases-2009-2010-season/ Thu, 07 May 2009 12:05:02 +0000 http://www.showbizradio.net/?p=3784 Sterling Playmakers has released their planned 2009-2010 season:

• Twelfth Night, November 2009
• Harvey, April 2010
• Brigadoon, July – August 2010
• Fall Cabaret, Fall 2010
• The Elf Who Came for Christmas, December 2010

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

]]> /2009/04/review-sp-the-musical-comedy-murders-of-1940/ /2009/04/review-sp-the-musical-comedy-murders-of-1940/#comments Tue, 21 Apr 2009 03:47:50 +0000 http://www.showbizradio.net/?p=3710 Sterling Playmakers' production of The Musical Comedy Murders of 1940.]]> The Musical Comedy Murders of 1940
Sterling Playmakers
Sterling Middle School, Sterling, VA
$12
Playing through April 26th
Reviewed April 17th, 2009

The Musical Comedy Murders of 1940 is a comedy styled after (or rather, spoofing) the murder mystery movies of the forties, with more than its share of plot twists, intrigue and character cliques. The play takes place in the upstate mansion of an eccentric heiress who agrees to work with the New York police to solve a series of murders. She invites a number of guests to her home on the pretense of holding a backer’s audition for a new musical. It is soon revealed that the creative team for this new project had been involved in Manhattan Musical, a production that closed when three of its showgirls were mysteriously and brutally murdered. From the first scene and throughout the play, inhabitants and guests of the mansion are picked off, often by a mysterious masked individual, and the survivors are left to frantically solve the murders before they become the next victims.

The Sterling Playmakers did an excellent job of transporting the audience to the 1940s and providing a number of laughs in its rendition of Musical Comedy Murders, although the show could benefit from slightly faster pacing, especially in the first act.

Even before discussion of the onstage action, praise must be given to the set, props, costume and sound designers and crew. Often the unsung heroes of a stage production (and often only acknowledged when something goes wrong) the technical crew of Musical Comedy Murders did a fantastic job of creating a forties ambience. The intricate box set depicts the library of an opulent but mysterious mansion, fashionably decorated (set designer Glen Bartram and his crew must be geniuses at scouting flee markets) and filled with secret passages. The costumes, properties, even the slightly tinny radio music was very authentic to the period.

The action on stage, especially the exposition of the first act, dragged just a bit and a few lines were noticeably flubbed. However, as additional, colorful characters arrive on-scene, the plot develops and the audience becomes more intrigued by the action. Stand-out performances include Barbara D. Carpenter as the alcoholic and easily petrified lyricist, Bernice. Carpenter had the best comedic timing of the cast, delivering her lines with just a dash of sincerity, which is all one needs when embodying a cliqued role. Sophia Malakooti, as the overly complimentary, overly excited and just plain overly-over-the-top producer Marjorie, brings most of the comic relief in the first act, borrowing shamelessly, and successfully, from the frighteningly intense Norma Desmond (of Sunset Boulevard).

Marie Ann Garcia, as Nikki, has a lovely, bell-like voice. She credibly acts the role of an “innocent” ingénue with a secret and looks the part from head-to-toe. Glen Bartram, as Patrick O’Reilly, the Irish tenor (turned Italian police officer, turned German Gestapo agent), and Susan Kronenberg, as Helsa, the German maid who is “offed” in the first scene only to reappear with totally different personality, successfully portray the sinister villains of the show, and, it is worth noting, speak with rather convincing accents.

The other actors all committed well to their roles, although they could have played up even more the unique eccentricities of their respective characters. And almost all of the performers could have been more on top of their delivery at some point throughout the play.

On balance, Musical Comedy Murders is a show worth seeing, to admire the beautiful set, props and costumes and to have a laugh at the designedly ridiculous plot and characters.

Director’s Notes

Directing a show is no small task; however, directing a comedy, such as this one can be a huge , hysterically fun experience and well worth the laugh throughout the process. I am honored to be able to have been involved with this one. To have been able to work with such a creative crew; did you see the set? WOW! And actors full of zany entertaining charcters for all to enjoy-VIVOON! As a fan of the old comedy movies of long ago, likes Abbott & Costello and Marx Brothers (yes, I own their box sets), I am reminded how simple gags and goofy accents can allow you to escape from any of today’s woes- if only for two hours. I hope you are able to escape with us as we take you back to days gone by when musicals were popular, clothes had flair, mysterious houses had hidden doors, so no one knew who the real murderer was, and the hero got the girl!

Enjoy!

Cast

• Helsa Wenzel: Susan Kronenberg
• Elsa Von Grossenknueten: Kathleen Donovan
• Michael Kelly: Herb Fuller
• Patrick O’Reilly: Glen Bartram
• Ken De La Maize: David Grimm
• Nikki Crandall: Marie Ann Garcia
• Eddie McCuen: Grant Hildebrandt
• Marjorie Baverstock: Sophia Malakooti
• Roger Hopewell: Joe Bates
• Bernice Roth: Barbara Carpenter

Crew

• Producer: Deb Bartram
• Director: Liz Smith and J. Glenn Sartori
• Assistant Director: Jim Johnson
• Production Stage Manager: April Bridgeman
• Stage Manager: Andi Johnson
• Technical Director: Glen Bartram
• Set Design and Master Carpenter: Glen Bartram
• Light Design and Manager: Bill Fry
• Sound Design and Manager: Doug Pascale
• Composer: Joe Campanella
• Pianist: Margaret Waagner
• Dialect Coach: Rahel Ratze
• Costume Design: Susan Devine and Donna Naybor
• Makeup Design: Tosia Shall
• Running Crew: Andi Johnson, Helen Gernhardt
• Publicity Manager: Liz Smith
• Graphics: Tim Silk and Liz Smith
• Lobby Display: Diana Knollman
• Advertising: Angela Hepola
• Properties Mistress: Diana knollman and Lisa Alford
• Set Dresser: Michael Smith
• House Manager: Barbara Gillen
• Box Office Manager: Emille pugh
• Online Box Office Manager: Emille Pugh
• Box Office Staff: Roseann Vecchio, Tom Vecchio, Doris Argall
• Makeup Crew: Danica Shook
• Set Construction: Lisa Alford, Deb Bartram, Glen Bartram, Joe Bates, Theresa Bender, April Bridgeman, John Coscia, Joe Campanella, Barbara Carpenter, Bill Fry, Herb Fuller, Marie Ann Garcia, Helen Gernhardt, Chip Gertzog, David Grimm, Kelsey Hancher, Andi Johnson, Jim Johnson, Susan Kronenberg, Wendy Kronenberg, Sophia Malakooti, Doug Pascale, Scott Ruegg, Liz Smith, Steve Smith
• Bulk Mail: Kathy Bleutge, Joe Campanella, Anna Dulin, Corinne Fox, Justin Fox, kim Fry, Barb Gillen, Emille Pugh, Liz Smith, Steve Smith
• Ushers: Georgia Bell, Kathy Bleutge, John Bleutge, Lora Buckman, Katie Buckman, Peggy Darr, Lee Duney, Joe Campenella, Louise Gillen, Angela Hepola, mark Humphrey, Annabelle Johnson

]]> /2009/04/review-sp-the-musical-comedy-murders-of-1940/feed/ 1 /2009/03/sterling-playmakers-needs-music-director-for-thoroughly-modern-millie/ Sun, 08 Mar 2009 02:59:35 +0000 http://www.showbizradio.net/?p=3587 Sterling Playmakers has an immediate opening for a music director to direct a small jazz band for its summer production of Thoroughly Modern Millie.  Millie auditions will be held May 1 and 2 at the Senior Center at Cascades. Performance dates are July 31, August 1, 2, 7-9, 14-16 at Potomac Falls High School. Note the Sterling Playmakers is a volunteer organization and all positions are non-paid. Please visit http://www.sterlingplaymakers.com/ for information about Thoroughly Modern Millie and the Sterling Playmakers. For more information, please email Millie@sterlingplaymakers.com.

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