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.

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.

Just in time for Valentine’s Day, Toby’s Dinner Theatre presents I Love You, You’re Perfect, Now Change, a realistic and very funny tribute to the eternal quest for a mate, with all the humor and terror of dating, the long term effects of relationships, the challenges of the modern marriage and parenthood, and more. It was nominated for the Outer Critics Circle Award as Outstanding Off-Broadway musical in 1997 and holds the record as second longest running Off Broadway musical, closing in 2008 after 5,003 performances in a 12-year run.

Shawn Kettering and Douglas Lawler (the same team behind Toby’s successful production of Annie this season) present the fast-paced vignettes with laugh-out-loud moments to which we all seem to relate somehow.

Kettering is also a part of the ensemble of four, including David James, Debra Buonaccorsi, Janine Gulisano-Sunday. It’s tricky directing one’s self, but this production works fabulously well. There are standout moments for everyone here. Highlights include: A Stud and a Babe (David and Debra), the howlingly funny Tear Jerk (Shawn and Janine), “Satisfaction Guaranteed” (Ensemble), “The Family that Drives Together…” (Ensemble), “Sex and the Married Couple” (Shawn and Janine) and the stunningly touching “Funerals are for Dating (David and Janine).” There’s excellent material and plenty to relate to on both sides of the aisle here.

Special mention goes to Gulisano-Sunday (who also designed the costumes) for “Always a Bridesmaid,” part of a pastiche of scenes that tie Acts 1 and 2 together. She wears what is possibly the worst bridesmaid dress I have ever seen, which is simply perfect for this scene. In fact, the costumes are just right throughout the production. David A. Hopkins’ deceptively simple set, Colleen M. Foley’s very effective lighting and Drew Dedrick’s sound design complete the picture.

Aside from a notable failure to mention alternate lifestyles, which might have made this a truly all-encompassing search for happiness amid the stress of dating and relationships, the biblical conceit (Prologue and Epilogue) that’s meant to tie the individual scenes together doesn’t quite work, for which I blame DiPietro and Roberts. The Epilogue, in particular, falls just a bit flat in comparison to the richly imagined snapshots of life in the love and relationships game. Kettering, Lawler and the cast have worked hard to rise above the flawed material, though, and they accomplish it with excellent performances and impeccable comic timing culminating in an enjoyable event overall.

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

Program Notes

This hilarious show is a tribute to those who have loved and lost and to those who have dared to ask “What are you doing Saturday night?”

I Love You, You’re Perfect, NOW CHANGE is presented in the form of a series of vignettes connected by the central theme of love and relationships. The play’s tagline is “Everything you have ever secretly thought about dating, romance, marriage, lovers, husbands, wives and in-laws, but were afraid to admit.” With few exceptions, the scenes stand independent of the others, but progress in a fashion designed to suggest an overall arc to relationships throughout the course of one’s life. A first date, for example, comes before scenes dealing with marriage, and scenes dealing with marriage come before those dealing with child rearing.

The musical premiered at the off-Broadway Westside Theatre, New York City, on August 1, 1996 and closed on July 27, 2008, after 5,003 performances. Directed by Joel Bishoff.

Photo Gallery

Photos by Toby’s Dinner Theater

The Cast

• David: David James
• Debra: Debra Buonaccorsi
• Janine: Janine Gulisano-Sunday
• Shawn: Shawn Kettering

Understudies:

• David: Dan Sontag
• Shawn: David Bosley-Reynolds
• Debra & Janine: Heather Marie Beck

Orchestra:

• Piano / Conductor: Douglas Lawler or Greg Knauf
• Bass: Frank Higgins or Mary Scott

Production Staff

• Director: Shawn Kettering
• Musical Director: Douglas Lawler
• Set Designer: David A. Hopkins
• Costume Designer: Janine Sunday
• Lighting Designer: Coleen M. Foley
• Sound Designer: Drew Dedrick
• Production Stage Manager: Kate Wackerle
• Stage Managers: Drew Dedrick, Kate Wackerle
• Master Carpenter: Jason Krznarich
• Set Construction: Russell Sunday, Jason Krznarich, Corey Brown
• Properties and Set Dressing: Amy Kaplan
• Light Board Operators: Coleen M. Foley, Jimmy Engelkemier
• Sound Operators: Drew Dedrick, Jimmy Engelkemier
• Stage Crew: Erin MacDonald, Jeanie McAlpine, Danny Clemens

Theatre Staff

• Artistic Director: Toby Orenstein
• 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
• Director of Marketing: Nancy Michel
• Bookkeeper: Bayna Castner
• Box Office Manager: Judy Abrams
• Associate Artistic Directors: David A. Hopkins, Lawrence B. Munsey
• Production Manager: Vickie S. Johnson
• Production Intern: Daniel Clemens
• Technical Director: Dave Beahm
• Assistant Technical Director: Jimmy Engelkemier
• Theatre Photography / Website Developer: Kirstine Christiansen
• Youth Theatre Administrator: Toba Barth
• Bar Manager: Shawn Kettering
• Box Office Staff: Judy Berry, Laura Blasi, Mary Dempsey, Lynae Harris, Breena Hebron, Estelle King, Clare Krasnick, Marie Moineau, Pat Wright
• Group Sales Hosting Staff: Paula Jones, Denise Steadman, Bonnie Ciborowski,
• Sandy Ciborowski, Heidi Berry, Marsha Raymond
• Maintenance Engineers: Stephen B. Harris, Mike Monahan

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

Annie (music by Charles Strouse, lyrics by Martin Charnin and book by Thomas Meehan) is based on the popular Harold Gray comic strip Little Orphan Annie (still running in some newspapers).

Leapin’ lizards, but it’s good! Set in the Great Depression, the book and lyrics are surprisingly timely, while the music is solidly reminiscent of the period. Choreography is complex and very rich – everyone here is putting in 110% and it shows in the high quality production numbers and the audience’s enthusiastic reaction.

From the first two songs – Maybe (Annie’s wistful love letter to her missing parents) and It’s a Hard Knock Life (sung by Annie’s “Kids”) – it’s clear this show has a winning combination of strong direction (Shawn Kettering), music direction (Douglas Lawler), and choreography (Mark Minnick). These numbers start the show off with a bang, highlighting the considerable and blossoming talents of the seven young actresses I saw: Annie (Adalia Jimenez) has the chops to hold her own with the rest of the big folks, and the orphans (Susanna Hoffman as Molly, Maddie Ulman as Kate, Nia Smith as Tessie, Alyssa Tschirgi as Pepper, Bailey [Lehfeldt] as July, and Jazzy Williams as Duffy) steal every scene they’re in. (Note: each of the orphans is double-cast, so it is possible you will see a different combination of girls when you see the show.)

David Bosley-Reynolds is Daddy Warbucks. His comic timing and characterization are both impeccable and exactly right for the part. A.K. Brink (Grace Farrell) is a pleasure to watch every time she appears on stage. Tina DeSimone (Miss Hannigan) earns every stomped instep she receives throughout the show, but it’s the all-out evil of Easy Street that really shows her talents, together with David Frankenberger as the sleazy Rooster and Debra Buonaccorsi as his floozy girlfriend Lilly.

All the big production numbers are hugely entertaining, though I will say Hooverville hits especially close to home for this reviewer and resident of Greenbelt, MD as we work our way through the current Great Depression.

As showstoppers go, you simply can’t miss with the ubiquitous Tomorrow (marking Sandy the dog’s first appearance on-stage, played with enthusiasm by Belle Sunday), but it’s the first reprise of the song that brings about one of the funniest scenes in the show, as Annie takes on FDR and his cabinet. Watch for Alan Hoffman, whose FDR impersonation is simply awesome.

I love the scenic design and lighting, too. I wondered how we’d get to NYC in the round, but David A. Hopkins and Coleen M. Foley have done a fabulous job, and Samn Huffer‘s costumes hit the spot dead on. You can believe, between all the elements of stage magic, that Oliver Warbucks has walked the whole 45 blocks to the Roxy with Grace and Annie, and all of it without the benefit of a revolving stage.

This is excellent holiday fare – no worries about bringing the whole family. It just can’t be beat! Make a point to fit this show into your holiday schedule.

Annie runs through January 24, 2010, alternating with an encore production of My Way: A Tribute to Frank Sinatra, so be sure to check Toby’s schedule and make your reservations soon!

Program Notes

Leapin’ Lizards! The popular comic strip heroine takes centerstage in one of the world’s best-loved musicals, Annie.

“Annie” is a spunky Depression-era orphan determined to find her parents, who abandoned her years ago on the doorstep of a New York City Orphanage run by the cruel, embittered Miss Hannigan. In adventure after fun-filled adventure, Annie foils Miss Hannigan’s evil machinations, befriends President Franklin Delano Roosevelt and finds a new family and home in billionaire Oliver Warbucks, his personal secretary, Grace Farrell and a loveable mutt named Sandy. Hard Knock Life and the unforgettable Tomorrow are two of the great Broadway tunes in Annie.

Photo Gallery

Photos by Kirstine Christiansen for Toby’s Dinner Theatre.

The Cast

• Annie: Caitlin Deerin or Adalia Jimenez
• Warbucks: David Bosley-Reynolds
• Grace Farrell: A.K. Brink
• Molly: Susanna Hoffman or Megan Tavares
• Kate: Lily Discopolo or Maddie Ulman
• Tessie: Nia Smith or Harlie Heisenman
• Pepper: Kylie Cooley or Alyssa Tschirgi
• July: Bailey Gabrish or Bailey Lehfeldt
• Duffy: Amanda Yuan or Jazzy Williams
• Drake: Andrew Horn
• Mrs. Pugh: Victoria Winter
• Miss Hannigan: Tina DeSimone
• Rooster: David Frankenberger
• Lilly: Debra Buonaccorsi
• Bert Healy: Jeffrey Shankle
• Boylan Sisters: Jessica Bell, Heather Marie Beck, Elizabeth Rayca
• FDR: Alan Hoffman
• Ensemble: Jessica Ball, Heather Marie Beck, Elizabeth Rayca, Matthew Schleigh, Dan Sonntag, Russell Sunday
• Understudies:
  • Warbucks: Alan Hoffman, Miss Hannigan: Heather Marie Beck, Grace Farrell: Jessica Ball, Lilly: Elizabeth Rayca, FDR: Russell Sunday, Rooster: Matthew Schleigh
  • Swing: Erin Donovan

Orchestra

• Piano / Conductor: Douglas Lawler or Cedric Lyles
• Clarinet / Saxophone: Charlene McDaniel or Katie Kellert

Production Staff

• Director: Shawn Kettering
• Musical Director: Douglas Lawler
• Choreographer: Mark Minnick
• Set Designer: David A. Hopkins
• Costume Designer: Samn Huffer
• Lighting Designer: Coleen M. Foley
• Sound Designer: Jimmy Engelkemier
• Production Manager: Vickie S. Johnson
• Production Stage Manager: Terrence Sweeney
• Stage Managers: Drew Dedrick, Kate Wackerle
• Master Carpenter: Jason Krznarich
• Set Construction: Russell Sunday, Jason Krznarich, Sarah Splaine, Corey Brown
• Properties and Set Dressing: Amy Kaplan
• Light Board Operators: Coleen M. Foley, Erin MacDonald, Cheryl Hale, Ann Prizzi
• Sound Operators: Drew Dedrick, Jimmy Engelkemier
• Stage Crew: Erin MacDonald, Jeanie McAlpine

Theatre Staff

• Artistic Director: Toby Orenstein
• 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
• Director of Marketing: Nancy Michel
• Bookkeeper: Bayna Castner
• Box Office Manager: Judy Abrams
• Associate Artistic Directors: David A. Hopkins, Lawrence B. Munsey
• Technical Director: Dave Beahm
• Assistant Technical Director: Jimmy Engelkemier
• Production Manager: Vickie S. Johnson
• Theatre Photography / Website Developer: Kirstine Christiansen
• Youth Theatre Administrator: Toba Barth
• Bar Manager: Shawn Kettering
• Box Office Staff: Gina Allen, Judy Berry, Laura Blasi, Mary Dempsey, Lynae Harris, Breena Hebron, Estelle King, Clare Krasnick, Marie Moineau, Pat Wright
• Group Sales Hosting Staff: Denise Steadman, Paula Jones, Laura Ciborowski
• Maintenance Engineers: Chris Barry, Stephen B. Harris, Mike Monahan

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

When I heard I’d have the opportunity to visit Toby’s Dinner Theatre in Columbia, MD, for the first time, I jumped at the chance. I wasn’t just interested in seeing Oklahoma!, a show I’ve seen and loved on both stage and screen, but I also wanted to see what they’re doing right.

The cast on the whole is exceptionally talented – a treat, especially for this high energy production. Stellar performances include Jake Odmark as Curly, Jessica Lauren Ball as Laurey, clearly capable of conveying the emotions and charm of their roles. Standout performances also include Elizabeth Rayca as Ado Annie, Jeffrey Shankle as Will Parker and Kate Williams as Gertie (whose laugh is unmistakably perfect for her part). Mark Minnick‘s direction and choreography is right on the money here, as is Reenie Codelka‘s music direction, exactly right for the arena theatre space.

If you’re more familiar with the movie than the original stage version you will be pleasantly surprised by two additional numbers, “It’s a Scandal! It’s an Outrage!” and “Lonely Room.” The former is a terrific showcase for the comic abilities of Vishal Valdya as Ali Hakim, while the latter really highlights the talents of Adam Grau as Jud Fry. Also worthy of mention are Susan Thornton as Aunt Eller and Andrew Horn as Andrew Carnes, who also serves as the Master of Ceremonies for the evening’s events.

In this tough economic climate, the dinner theatre experience is becoming a rare commodity. In this region both Harlequin in Rockville and Burn Brae in the Burtonsville area failed where Toby’s succeeds. It’s fairly easy to see why. The food is good and plentiful, the service prompt and courteous, and the social aspect can’t be beat.

Getting there right as the doors opened, I made the mistake of filling my plate to overflowing on the first round. You should plan to relax and enjoy. Last call is at an hour and a half after the service opens, plenty of time to go back for seconds while still getting dessert. Everything is included in the ticket cost except specialty drinks (alcoholic and not), ranging from $3.99 for a glass of wine to $7.95 for the fancier cocktails.

In some ways, the dinner theatre is the closest in form to ancient theatre. It’s commonly believed that Greek and Roman theatre events were all-day affairs, with picnics and socializing as key to the overall experience. While many people choose to celebrate birthdays, anniversaries or other special events, you shouldn’t feel you have to wait for that special event in your schedule to see this show. You’re guaranteed a good time regardless of the occasion.

This is definitely family fare at its best, but be forewarned that this show has a few surprisingly darker aspects and some loud bangs that might frighten the youngest children.

Run time: A little over 2 hours, thirty minutes, with a 20-minute intermission. Dinner (starts two hours before curtain) is included (specialty / alcoholic drinks extra).

In short, I had a fabulous time and am really looking forward to the next opportunity to see a show at Toby’s!

Photo Gallery

Cast

• Aunt Eller: Susan Thornton
• Curly: Jake Odmark
• Laurey: Jessica Lauren Ball
• Ike Skidmore: Shawn Kettering
• Fred: Joel Adam Gerlach
• Slim: Parker Drown
• Will Parker: Jeffrey Shankle
• Jud Fry: Adam Grabau
• Ado Annie Carnes: Elizabeth Rayca
• Ali Hakim: Vishal Vaidya
• Gertie Cummings: Kate Williams
• Andrew Carnes: Andrew Horn
• Cord Elam: Darren McDonnell
• Joe: Frank Anthony
• Sam: Chris Jehnert
• Dream Laurey: Rachel Schur
• Townspeople: MaryLee Adams, Trish Baker, Katie Keyser, Julia
• Lancione, Christen Svingos

Crew:

• Director/Choreographer: Mark Minnick
• Musical Director: Reenie Codelka
• Set Designer: David A. Hopkins
• Costume Designer: Samn Huffner
• Lighting Designer: Lynn Joslin
• Sound Designer: Drew Dedrick
• Production Coordinator: Vickie S. Johnson
• Production Stage Manager: Shawn Kettering
• Stage Manager: Drew Dedrick, Terrence Sweeney
• Dance Captain: Jen Kohlhafer
• Master Carpenter: David A. Hopkins
• Set Construction: Jason Cabrera, Jimmy Engelkemier, Dan McQuay,
• Jason Krznarich, Russell Sunday, Cory Brown
• Properties and Set Dressing: Amy Kaplan
• Light Board Operators: Coleen M. Foley, Erin MacDonald, Jimmy Engelkemier
• Sound Operators: Jimmy Engelkemier, Drew Dedrick, Melvina Coker
• Stage Crew: Erin MacDonald, Paul Engelkemier

Orchestra:

• Piano / Conductor: Reenie Codelka, Brant Challacombe
• Keyboard 2: Ann Prizzi, Ed Myers
• Trumpet: David Kellert, Aaron Holmes, Tony Neenan
• Reed: Katie Kellert, Stever Haaser, Jean Gould
• Drums: Dane Krich, Aaron Holmes, Anders Eliasson