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

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

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

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

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

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

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

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

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

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

Program Notes

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

Photo Gallery

Photos by Kirstine Christiansen.

The Cast

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

Orchestra

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

Production Staff

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

Theatre Staff

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

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

• 23 different companies received nominations.
• Shakespeare Theatre Company and the Kennedy Center each had six different productions nominated.
• Arena Stage received 23 total nominations, STC 22, Folger 19, and Kennedy Center 18
• The most nominated show was Candide, by the Shakespeare Theatre Company, with 12 nominations.

View the nominations by category or by company.

Nominations Listed by Category

Outstanding Choreography, Resident Production

• Diane Coburn Bruning, Improbable Frequency, Solas Nua
• Ben Cunis, King Arthur, Synetic Theater
• Parker Esse, Oklahoma!, Arena Stage
• Maurice Hines, Duke Ellington’s Sophisticated Ladies, Arena Stage
• Irina Tsikurishvili, King Arthur, Synetic Theater
• Irina Tsikurishvili, Othello, Synetic Theater

Outstanding Costume Design, Resident Production

• Mara Blumenfeld, Candide, Shakespeare Theatre Company
• Murell Horton, The Liar, Shakespeare Theatre Company
• William Ivey Long, Henry VIII, Folger Theatre
• Reggie Ray, Duke Ellington’s Sophisticated Ladies, Arena Stage
• Anastasia Ryurikov Simes, Othello, Synetic Theater

Outstanding Director, Resident Musical

• Toby Orenstein, Hairspray, Toby’s Dinner Theatre
• Eric Schaeffer, Chess, Signature Theatre
• Molly Smith, Oklahoma!, Arena Stage
• Molly Smith, The Light in the Piazza, Arena Stage
• Mary Zimmerman, Candide, Shakespeare Theatre Company

Outstanding Director, Resident Play

• Kasi Campbell, Travels With My Aunt, Rep Stage
• Joseph Haj, Hamlet, Folger Theatre
• Robert Richmond, Henry VIII, Folger Theatre
• Howard Shalwitz, Clybourne Park, Woolly Mammoth Theatre Company
• Paata Tsikurishvili, Othello, Synetic Theater
• Paata Tsikurishvili, The Master and Margarita, Synetic Theater

Outstanding Lead Actor, Non-Resident Production

• Steel Burkhardt, Hair, The Kennedy Center
• Brent Michael DiRoma, Avenue Q, The Broadway Musical, Shakespeare Theatre Company
• Laurence Fishburne, Thurgood, The Kennedy Center
• Gavin Lee, Mary Poppins, The Kennedy Center
• David Pittsinger, South Pacific, The Kennedy Center

Outstanding Lead Actor, Resident Musical

• Maurice Hines, Duke Ellington’s Sophisticated Ladies, Arena Stage
• Marc Kudisch, Sycamore Trees, Signature Theatre
• Geoff Packard, Candide, Shakespeare Theatre Company
• Nicholas Rodriguez, Oklahoma!, Arena Stage
• Bobby Smith, Annie, Olney Theatre Center
• Cody Williams, Oklahoma!, Arena Stage

Outstanding Lead Actress, Non-Resident Production

• Carmen Cusack, South Pacific, The Kennedy Center
• Jaqueline Grabois, Avenue Q, The Broadway Musical, Shakespeare Theatre Company
• Caroline Sheen, Mary Poppins, The Kennedy Center
• Kacie Sheik, Hair, The Kennedy Center
• Caren Lyn Tackett, Hair, The Kennedy Center

Outstanding Lead Actress, Resident Musical

• E. Faye Butler, Oklahoma!, Arena Stage
• Eleasha Gamble, Oklahoma!, Arena Stage
• Carrie A. Johnson, Annie, Olney Theatre Center
• Lauren Molina, Candide, Shakespeare Theatre Company
• Jill Paice, Chess, Signature Theatre
• Hollis Resnik, The Light in the Piazza, Arena Stage

Outstanding Lead Actress, Resident Play

• Lise Bruneau, Mikveh, Theater J
• Naomi Jacobson, Henry VIII, Folger Theatre
• Sarah Marshall, Mikveh, Theater J
• Jennifer Mendenhall, Clybourne Park, Woolly Mammoth Theatre Company
• Erika Rose, In Darfur, Theater J
• Holly Twyford, Orestes, A Tragic Romp, Folger Theatre

Outstanding Lighting Design, Resident Production

• Colin K. Bills, Antony and Cleopatra, Synetic Theater
• Colin K. Bills, The Master and Margarita, Synetic Theater
• Dan Covey, On the Verge or The Geography of Yearning, Rep Stage
• T.J. Gerckens, Candide, Shakespeare Theatre Company
• Klyph Stanford, Henry VIII, Folger Theatre
• Justin Townsend, Hamlet, Folger Theatre

Outstanding Musical Direction, Resident Production

• George Fulginiti-Shakar, Oklahoma!, Arena Stage
• Jon Kalbfleisch, Sunset Boulevard, Signature Theatre
• Daniel Kluger, Orestes, A Tragic Romp, Folger Theatre
• Fred Lassen, Sycamore Trees, Signature Theatre
• Konstantine Lortkipandze, Othello, Synetic Theater
• Doug Peck, Candide, Shakespeare Theatre Company
• Paul Sportelli, The Light in the Piazza, Arena Stage
• James Sugg, Orestes, A Tragic Romp, Folger Theatre

Outstanding Set Design, Resident Production

• Tony Cisek, Henry VIII, Folger Theatre
• Simon Higlett, Mrs. Warren’s Profession, Shakespeare Theatre Company
• James Kronzer, Clybourne Park, Woolly Mammoth Theatre Company
• Eugene Lee, Oklahoma!, Arena Stage
• Derek McLane, The Lisbon Traviata, The Kennedy Center
• Daniel Ostling, Candide, Shakespeare Theatre Company

Outstanding Sound Design, Resident Production

• Anthony Cochrane, Henry VIII, Folger Theatre
• Jack Herrick, Hamlet, Folger Theatre
• Irakli Kavsadze, Othello, Synetic Theater
• Konstantine Lortkipandze, Othello, Synetic Theater
• Matthew M. Nielson, Hamlet, Folger Theatre
• Matt Otto, Johnny Meister and the Stitch, Solas Nua
• Michael Rasbury, Henry VIII, Folger Theatre
• Tom Teasley, The Ramayana, Constellation Theatre Company

Outstanding Supporting Actor, Resident Musical

• Ed Dixon, Sunset Boulevard, Signature Theatre
• James Konicek, Annie, Olney Theatre Center
• Jeremy Kushnier, Chess, Signature Theatre
• John Manzari, Duke Ellington’s Sophisticated Ladies, Arena Stage
• Leo Manzari, Duke Ellington’s Sophisticated Ladies, Arena Stage
• Jesse J. Perez, Candide, Shakespeare Theatre Company
• Larry Yando, Candide, Shakespeare Theatre Company

Outstanding Supporting Actor, Resident Play

• Louis Butelli, Henry VIII, Folger Theatre
• Adam Green, The Liar, Shakespeare Theatre Company
• Michael Tolaydo, New Jerusalem: The Interrogation of Baruch De Spinoza, Theater J
• Ted van Griethuysen, All’s Well That Ends Well, Shakespeare Theatre Company
• Paxton Whitehead, All’s Well That Ends Well, Shakespeare Theatre Company

Outstanding Supporting Actress, Resident Musical

• MaryLee Adams, Hairspray, Toby’s Dinner Theatre
• Lauren ‘Coco’ Cohn, Glimpses of the Moon, MetroStage
• Jesaira Glover, Hairspray, Toby’s Dinner Theatre
• Marva Hicks, Duke Ellington’s Sophisticated Ladies, Arena Stage
• Hollis Resnik, Candide, Shakespeare Theatre Company
• Jenna Sokolowski, Annie, Olney Theatre Center

Outstanding Supporting Actress, Resident Play

• Colleen Delany, Pirates! A Boy at Sea, Imagination Stage
• Naomi Jacobson, Richard II, Shakespeare Theatre Company
• MacKenzie Meehan, Circle Mirror Transformation, The Studio Theatre
• Phylicia Rashad, every tongue confess, Arena Stage
• Dawn Ursula, Clybourne Park, Woolly Mammoth Theatre Company

Outstanding Supporting Performer, Non-Resident Production

• Ellen Harvey, Mary Poppins, The Kennedy Center
• Jodi Kimura, South Pacific, The Kennedy Center
• Marc Kudisch, Golden Age, The Kennedy Center
• Josh Lamon, Hair, The Kennedy Center
• Hoon Lee, Golden Age, The Kennedy Center

The Charles MacArthur Award for Outstanding New Play or Musical

• every tongue confess, Marcus Gardley, Arena Stage
• Snow White, Rose Red (and Fred), music by Zina Goldrich, The Kennedy Center Family Theater
• Sycamore Trees, book, music & lyrics by Ricky Ian Gordon, Signature Theatre
• Snow White, Rose Red (and Fred), book & lyrics by Marcy Heisler, The Kennedy Center Family Theater
• The Liar, David Ives, Shakespeare Theatre Company
• Knuffle Bunny: A Cautionary Musical, musical arrangements by Deborah Wicks La Puma, The Kennedy Center Family Theater
• Sycamore Trees, book by Nina Mankin, Signature Theatre
• Knuffle Bunny: A Cautionary Musical, music by Michael Silversher, The Kennedy Center Family Theater
• Pirates! A Boy at Sea, Charles Way, Imagination Stage
• Knuffle Bunny: A Cautionary Musical, script & lyrics by Mo Willems, The Kennedy Center Family Theater

The Robert Prosky Award for Outstanding Lead Actor, Resident Play

• Philip Fletcher, Othello, Synetic Theater
• John Glover, The Lisbon Traviata, The Kennedy Center
• Graham Michael Hamilton, Hamlet, Folger Theatre
• Mitchell Hébert, Clybourne Park, Woolly Mammoth Theatre Company
• Bill Largess, The Foreigner, The Bay Theatre Company, Inc.
• Alex Mills, Othello, Synetic Theater
• Cody Nickell, Clybourne Park, Woolly Mammoth Theatre Company
• Ian Merrill Peakes, Henry VIII, Folger Theatre
• Johnny Ramey, Superior Donuts, The Studio Theatre
• Alexander Strain, New Jerusalem: The Interrogation of Baruch De Spinoza, Theater J

Outstanding Ensemble, Resident Musical

• Candide, Shakespeare Theatre Company
• Hairspray, Toby’s Dinner Theatre
• If You Give a Pig a Pancake, Adventure Theatre
• Oklahoma!, Arena Stage
• Snow White, Rose Red (and Fred), The Kennedy Center Family Theater
• Sycamore Trees, Signature Theatre

Outstanding Ensemble, Resident Play

• American Buffalo, The Studio Theatre
• Clybourne Park, Woolly Mammoth Theatre Company
• Henry VIII, Folger Theatre
• Orestes, A Tragic Romp, Folger Theatre
• Othello, Synetic Theater
• Travels With My Aunt, Rep Stage

Outstanding Non-Resident Production

• Avenue Q, The Broadway Musical, Shakespeare Theatre Company
• The Last Cargo Cult, Woolly Mammoth Theatre Company
• Mary Poppins, The Kennedy Center
• South Pacific, The Kennedy Center
• Thurgood, The Kennedy Center

Outstanding Production, Theatre for Young Audiences

• If You Give a Pig a Pancake, Adventure Theatre
• Knuffle Bunny: A Cautionary Musical, The Kennedy Center Family Theater
• The Nutcracker, The Puppet Co.
• Pirates! A Boy at Sea, Imagination Stage
• Snow White, Rose Red (and Fred), The Kennedy Center Family Theater
• The Red Balloon, Adventure Theatre

Outstanding Resident Musical

• Annie, Olney Theatre Center
• Candide, Shakespeare Theatre Company
• Duke Ellington’s Sophisticated Ladies, Arena Stage
• Hairspray, Toby’s Dinner Theatre
• The Light in the Piazza, Arena Stage
• Little Shop of Horrors, Ford’s Theatre
• Oklahoma!, Arena Stage
• Sweeney Todd, Signature Theatre

Outstanding Resident Play

• Clybourne Park, Woolly Mammoth Theatre Company
• Hamlet, Folger Theatre
• Henry VIII, Folger Theatre
• The Master and Margarita, Synetic Theater
• New Jerusalem: The Interrogation of Baruch De Spinoza, Theater J
• Orestes, A Tragic Romp, Folger Theatre
• Othello, Synetic Theater
• Superior Donuts, The Studio Theatre

The John Aniello Award for Outstanding Emerging Theatre Company

• No Rules Theatre Company
• Factory 449: a theatre collective

Nominations listed By Company Name

Adventure Theatre

• If You Give a Pig a Pancake
  • Outstanding Ensemble, Resident Musical
  • Outstanding Production, Theatre for Young Audiences
• The Red Balloon
  • Outstanding Production, Theatre for Young Audiences

Arena Stage

• Oklahoma!
  • Outstanding Choreography, Resident Production, Parker Esse
  • Outstanding Director, Resident Musical, Molly Smith
  • Outstanding Lead Actor, Resident Musical, Nicholas Rodriguez
  • Outstanding Lead Actor, Resident Musical, Cody Williams
  • Outstanding Lead Actress, Resident Musical, E. Faye Butler
  • Outstanding Lead Actress, Resident Musical, Eleasha Gamble
  • Outstanding Musical Direction, Resident Production, George Fulginiti-Shakar
  • Outstanding Set Design, Resident Production, Eugene Lee
  • Outstanding Ensemble, Resident Musical
  • Outstanding Resident Musical
• Duke Ellington’s Sophisticated Ladies
  • Outstanding Choreography, Resident Production, Maurice Hines
  • Outstanding Costume Design, Resident Production, Reggie Ray
  • Outstanding Lead Actor, Resident Musical, Maurice Hines
  • Outstanding Supporting Actor, Resident Musical, John Manzari
  • Outstanding Supporting Actor, Resident Musical, Leo Manzari
  • Outstanding Supporting Actress, Resident Musical, Marva Hicks
  • Outstanding Resident Musical
• The Light in the Piazza
  • Outstanding Director, Resident Musical, Molly Smith
  • Outstanding Lead Actress, Resident Musical, Hollis Resnik
  • Outstanding Musical Direction, Resident Production, Paul Sportelli
  • Outstanding Resident Musical
• every tongue confess
  • Outstanding Supporting Actress, Resident Play, Phylicia Rashad
  • The Charles MacArthur Award for Outstanding New Play or Musical, Marcus Gardley

The Bay Theatre Company, Inc.

• The Foreigner
  • The Robert Prosky Award for Outstanding Lead Actor, Resident Play, Bill Largess

Constellation Theatre Company

• The Ramayana
  • Outstanding Sound Design, Resident Production, Tom Teasley

Factory 449: a theatre collective

• The John Aniello Award for Outstanding Emerging Theatre Company

Folger Theatre

• Henry VIII
  • Outstanding Costume Design, Resident Production, William Ivey Long
  • Outstanding Director, Resident Play, Robert Richmond
  • Outstanding Lead Actress, Resident Play, Naomi Jacobson
  • Outstanding Lighting Design, Resident Production, Klyph Stanford
  • Outstanding Set Design, Resident Production, Tony Cisek
  • Outstanding Sound Design, Resident Production, Anthony Cochrane
  • Outstanding Supporting Actor, Resident Play, Louis Butelli
  • The Robert Prosky Award for Outstanding Lead Actor, Resident Play, Ian Merrill Peakes
  • Outstanding Ensemble, Resident Play
  • Outstanding Resident Play
• Hamlet
  • Outstanding Director, Resident Play, Joseph Haj
  • Outstanding Lighting Design, Resident Production, Justin Townsend
  • Outstanding Sound Design, Resident Production, Matthew M. Nielson
  • The Robert Prosky Award for Outstanding Lead Actor, Resident Play, Graham Michael Hamilton
  • Outstanding Resident Play
• Orestes, A Tragic Romp
  • Outstanding Lead Actress, Resident Play, Holly Twyford
  • Outstanding Musical Direction, Resident Production, James Sugg
  • Outstanding Ensemble, Resident Play
  • Outstanding Resident Play

Ford’s Theatre

• Little Shop of Horrors
  • Outstanding Resident Musical

Imagination Stage

• Pirates! A Boy at Sea
  • Outstanding Supporting Actress, Resident Play, Colleen Delany
  • The Charles MacArthur Award for Outstanding New Play or Musical, Charles Way
  • Outstanding Production, Theatre for Young Audiences

The Kennedy Center

• Hair
  • Outstanding Lead Actor, Non-Resident Production, Steel Burkhardt
  • Outstanding Lead Actress, Non-Resident Production, Kacie Sheik
  • Outstanding Lead Actress, Non-Resident Production, Caren Lyn Tackett
  • Outstanding Supporting Performer, Non-Resident Production, Josh Lamon
• Thurgood
  • Outstanding Lead Actor, Non-Resident Production, Laurence Fishburne
  • Outstanding Non-Resident Production
• Mary Poppins
  • Outstanding Lead Actor, Non-Resident Production, Gavin Lee
  • Outstanding Lead Actress, Non-Resident Production, Caroline Sheen
  • Outstanding Supporting Performer, Non-Resident Production, Ellen Harvey
  • Outstanding Non-Resident Production
• South Pacific
  • Outstanding Lead Actor, Non-Resident Production, David Pittsinger
  • Outstanding Lead Actress, Non-Resident Production, Carmen Cusack
  • Outstanding Supporting Performer, Non-Resident Production, Jodi Kimura
  • Outstanding Non-Resident Production
• The Lisbon Traviata
  • Outstanding Set Design, Resident Production, Derek McLane
  • The Robert Prosky Award for Outstanding Lead Actor, Resident Play, John Glover
• Golden Age
  • Outstanding Supporting Performer, Non-Resident Production, Marc Kudisch
  • Outstanding Supporting Performer, Non-Resident Production, Hoon Lee

The Kennedy Center Family Theater

• Snow White, Rose Red (and Fred)
  • The Charles MacArthur Award for Outstanding New Play or Musical, music by Zina Goldrich
  • The Charles MacArthur Award for Outstanding New Play or Musical, book & lyrics by Marcy Heisler
  • Outstanding Ensemble, Resident Musical
  • Outstanding Production, Theatre for Young Audiences
• Knuffle Bunny: A Cautionary Musical
  • The Charles MacArthur Award for Outstanding New Play or Musical, music by Michael Silversher
  • The Charles MacArthur Award for Outstanding New Play or Musical, script & lyrics by Mo Willems
  • The Charles MacArthur Award for Outstanding New Play or Musical, musical arrangements by Deborah Wicks La Puma
  • Outstanding Production, Theatre for Young Audiences

MetroStage

• Glimpses of the Moon
  • Outstanding Supporting Actress, Resident Musical, Lauren ‘Coco’ Cohn

No Rules Theatre Company

• The John Aniello Award for Outstanding Emerging Theatre Company

Olney Theatre Center

• Annie
  • Outstanding Lead Actor, Resident Musical, Bobby Smith
  • Outstanding Lead Actress, Resident Musical, Carrie A. Johnson
  • Outstanding Supporting Actor, Resident Musical, James Konicek
  • Outstanding Supporting Actress, Resident Musical, Jenna Sokolowski
  • Outstanding Resident Musical

The Puppet Co.

• The Nutcracker
  • Outstanding Production, Theatre for Young Audiences

Rep Stage

• Travels With My Aunt
  • Outstanding Director, Resident Play, Kasi Campbell
  • Outstanding Ensemble, Resident Play
• On the Verge or The Geography of Yearning
  • Outstanding Lighting Design, Resident Production, Dan Covey

Shakespeare Theatre Company

• Candide
  • Outstanding Costume Design, Resident Production, Mara Blumenfeld
  • Outstanding Director, Resident Musical, Mary Zimmerman
  • Outstanding Lead Actor, Resident Musical, Geoff Packard
  • Outstanding Lead Actress, Resident Musical, Lauren Molina
  • Outstanding Lighting Design, Resident Production, T.J. Gerckens
  • Outstanding Musical Direction, Resident Production, Doug Peck
  • Outstanding Set Design, Resident Production, Daniel Ostling
  • Outstanding Supporting Actor, Resident Musical, Jesse J. Perez
  • Outstanding Supporting Actor, Resident Musical, Larry Yando
  • Outstanding Supporting Actress, Resident Musical, Hollis Resnik
  • Outstanding Ensemble, Resident Musical
  • Outstanding Resident Musical
• The Liar
  • Outstanding Costume Design, Resident Production, Murell Horton
  • Outstanding Supporting Actor, Resident Play, Adam Green
  • The Charles MacArthur Award for Outstanding New Play or Musical, David Ives
• Avenue Q, The Broadway Musical
  • Outstanding Lead Actor, Non-Resident Production, Brent Michael DiRoma
  • Outstanding Lead Actress, Non-Resident Production, Jaqueline Grabois
  • Outstanding Non-Resident Production
• Mrs. Warren’s Profession
  • Outstanding Set Design, Resident Production, Simon Higlett
• All’s Well That Ends Well
  • Outstanding Supporting Actor, Resident Play, Ted van Griethuysen
  • Outstanding Supporting Actor, Resident Play, Paxton Whitehead
• Richard II
  • Outstanding Supporting Actress, Resident Play, Naomi Jacobson

Signature Theatre

• Chess
  • Outstanding Director, Resident Musical, Eric Schaeffer
  • Outstanding Lead Actress, Resident Musical, Jill Paice
  • Outstanding Supporting Actor, Resident Musical, Jeremy Kushnier
• Sycamore Trees
  • Outstanding Lead Actor, Resident Musical, Marc Kudisch
  • Outstanding Musical Direction, Resident Production, Fred Lassen
  • The Charles MacArthur Award for Outstanding New Play or Musical, book, music & lyrics by Ricky Ian Gordon
  • The Charles MacArthur Award for Outstanding New Play or Musical, book by Nina Mankin
  • Outstanding Ensemble, Resident Musical
• Sunset Boulevard
  • Outstanding Musical Direction, Resident Production, Jon Kalbfleisch
  • Outstanding Supporting Actor, Resident Musical, Ed Dixon
• Sweeney Todd
  • Outstanding Resident Musical

Solas Nua

• Improbable Frequency
  • Outstanding Choreography, Resident Production, Diane Coburn Bruning
• Johnny Meister and the Stitch
  • Outstanding Sound Design, Resident Production, Matt Otto

The Studio Theatre

• Circle Mirror Transformation
  • Outstanding Supporting Actress, Resident Play, MacKenzie Meehan
• Superior Donuts
  • The Robert Prosky Award for Outstanding Lead Actor, Resident Play, Johnny Ramey
  • Outstanding Resident Play
• American Buffalo
  • Outstanding Ensemble, Resident Play

Synetic Theater

• King Arthur
  • Outstanding Choreography, Resident Production, Irina Tsikurishvili
• Othello
  • Outstanding Choreography, Resident Production, Irina Tsikurishvili
  • Outstanding Costume Design, Resident Production, Anastasia Ryurikov Simes
  • Outstanding Director, Resident Play, Paata Tsikurishvili
  • Outstanding Musical Direction, Resident Production, Konstantine Lortkipandze
  • Outstanding Sound Design, Resident Production, Irakli Kavsadze
  • Outstanding Sound Design, Resident Production, Konstantine Lortkipandze
  • The Robert Prosky Award for Outstanding Lead Actor, Resident Play, Philip Fletcher
  • The Robert Prosky Award for Outstanding Lead Actor, Resident Play, Alex Mills
  • Outstanding Ensemble, Resident Play
  • Outstanding Resident Play
• The Master and Margarita
  • Outstanding Director, Resident Play, Paata Tsikurishvili
  • Outstanding Lighting Design, Resident Production, Colin K. Bills
  • Outstanding Resident Play
• Antony and Cleopatra
  • Outstanding Lighting Design, Resident Production, Colin K. Bills

Theater J

• Mikveh
  • Outstanding Lead Actress, Resident Play, Lise Bruneau
  • Outstanding Lead Actress, Resident Play, Sarah Marshall
• In Darfur
  • Outstanding Lead Actress, Resident Play, Erika Rose
• New Jerusalem: The Interrogation of Baruch De Spinoza
  • Outstanding Supporting Actor, Resident Play, Michael Tolaydo
  • The Robert Prosky Award for Outstanding Lead Actor, Resident Play, Alexander Strain
  • Outstanding Resident Play

Toby’s Dinner Theatre

• Hairspray
  • Outstanding Director, Resident Musical, Toby Orenstein
  • Outstanding Supporting Actress, Resident Musical, MaryLee Adams
  • Outstanding Supporting Actress, Resident Musical, Jesaira Glover
  • Outstanding Ensemble, Resident Musical
  • Outstanding Resident Musical

Woolly Mammoth Theatre Company

• Clybourne Park
  • Outstanding Director, Resident Play, Howard Shalwitz
  • Outstanding Lead Actress, Resident Play, Jennifer Mendenhall
  • Outstanding Supporting Actress, Resident Play, Dawn Ursula
  • The Robert Prosky Award for Outstanding Lead Actor, Resident Play, Mitchell Hébert
  • The Robert Prosky Award for Outstanding Lead Actor, Resident Play, Cody Nickell
  • Outstanding Set Design, Resident Production, James Kronzer
  • Outstanding Ensemble, Resident Play
  • Outstanding Resident Play
• The Last Cargo Cult
  • Outstanding Non-Resident Production

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

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

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

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

Cast:

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

Production Team:

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

Orchestra:

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

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

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

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

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

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

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

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

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

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

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

Program Notes

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

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

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

Photo Gallery

Photos by Kirstine Christiansen.

The Cast (in Order Of Appearance)

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

Orchestra

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

Production Staff

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

Theatre Staff

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

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

Hairspray is the multi-award-winning musical treatment of John Waters’ popular movie of the same name. This tribute to the early ’60s presents a teenager’s awakening to the issues surrounding the civil rights movement and interracial equality presented against the backdrop of the Corny Collins Show, (a Baltimore TV dance show based on the real-life Buddy Deane Show). I saw this show without any preconceived notions, having missed both movies and any previous stage version of the show. I found it to be a marvelous combination of entertaining music and thoughtful story, wrapped up in the glitter and glamor of the 60s. In this age of political correctness and progressive politics (just have a look at the leaders of our country), it’s relatively easy to forget how close we are to that time. And it’s refreshing to see such a positive spin on such a politically charged time.

Tracy Turnblad, (played by an effervescent Celia Blitzer), is a teenager gifted with the ability to see beyond color and stereotype to the hearts of her friends. She crosses and then blurs the lines between black and white, with an eternally optimistic attitude and a song in her heart.

Tracy’s not alone in her crusade to see justice in her small corner of the world. Her best friend (Penny Pingleton, played by MaryLee Adams in a star-quality performance), parents (Edna, portrayed hysterically by Lawrence B. Munsey, who also provided the fabulous costumes) and Wilbur (David James at his absolute campiest), support her completely, leading to some of the funniest and most sobering scenes in the show.

The bad guys include Velma Von Tussle (Heather Marie Beck), producer of the Corny Collins show, a poisonous, self-serving mother whose daughter, Amber (Jamie Eacker), is as attractive as she is vile-tempered and ambitious. Caught in the middle are Corny Collins (Jeffrey Shankle), who knows the right thing but doesn’t quite have the guts to follow through, Link Larkin (David Jennings), the heart-throb whose been paired with Amber but sees the real thing in Tracy. Standing up for the other side are Motormouth Maybelle (Jesaira Glover) the mama with attitude who knows where she’s been and where she should be going, Seaweed J. Stubbs (Frank Anthony), wise-cracking dancer and Little Inez (Melissa Victor), dance-Council wannabe who’s just that much too young to participate, even though she’s got the chops. Rounding out the cast is an array of exceptionally talented folk playing the ensemble, who cover all the remaining parts, and Shawn Kettering, whose various cameo roles earn increasingly large laughs whenever he shows up on stage.

Of particular note are The Dynamites, whose spectacular rendition of “Welcome To The 60s” just about brings down the house, “The Big Dollhouse,” a Chicago-esque prison number with terrific choreography and the best use of jail bars I’ve ever seen in an arena setting, and “I Know Where I’ve Been” Motormouth Maybelle’s exceptionally moving plea for progress for the sake of her children is simply amazing. In general, the songs are catchy, thoughtful and very often flat out funny. These are just a few of the highlights in this overall exceptionally entertaining evening of theatre.

Toby Orenstein’s sure direction, Mark Minnick’s excellent choreography and Brant Challacombe’s music direction shine in this production. The costumes – oh, the costumes – are worth mentioning all on their own. Lighting designer Lynn Joslin and Set designer David A. Hopkins do an admirable job taking us from the Corny Collins studio to the Turnblad home, to a rhythm and blues record shop and more. It’s a terrific evening of entertainment.

Program Notes

Follow this story of a young girl’s dreams of popularity, told through hair-dos, dance steps and heartthrobs. You’ll be waking up and singing “Good Morning Baltimore!” So spray up those beehives and join us for a deliciously entertaining evening, hon!

In Hairspray, it’s 1962, the ’50s are out and change is in the air. Baltimore’s Tracy Turnblad, a big girl with big hair and an even bigger heart, has only one passion – to dance. She wins a spot on the local TV dance program, “The Corny Collins Show” and, overnight, is transformed from outsider to irrepressible teen celebrity. But can a trendsetter in dance and fashion vanquish the program’s reigning princess, win the heart of heartthrob Link Larkin, and integrate a television show without denting her ‘do? Only in Hairspray! Welcome to the ’60s!

The Cast (in order of appearance)

• Tracy Turnblad: Celia Blitzer
• Corny Collins: Jeffrey Shankle
• Edna Turnblad: Lawrence B. Munsey
• Penny Pingleton: MaryLee Adams
• Velma Von Tussle: Heather Marie Beck
• Amber Von Tussle: Jamie Eacker
• Link Larkin: David Jennings
• Seaweed J. Stubbs: Frank Anthony
• Little Inez: Melissa Victor
• Motormouth Maybelle: Jesaira Glover
• Wilbur Turnblad: David James
• Prudy Pingleton, Gym Teacher, Matron: Debra Buonaccorsi
• Harriman F. Spritzer, Mr. Pinky, Guard: Shawn Kettering
• Council Members:
• Tammy: Jen Kohlhafer
• Fender: Parker Drown
• Brenda/Shelley: Katie Harrington
• Sketch: Shane McCauley
• IQ: Randy Snight
• Lou Ann: Christen Svingos
• The Dynamites:
  • Pearl/Judine: Mary Searcy
  • Peaches/Lorraine: Jessica Coleman
  • Cindy Watkins/Shayna: Ashleigh King
• Gilbert: Scean A. Flowers
• Duane: Bryan Daniels
• Understudies/Alternates:
  • Tracy Turnblad: Ariel Vinitsky
  • Edna/Wilbur: Shawn Kettering
  • Velma Von Tussle/Penny Pingleton: Debra Buonaccorsi
  • Corny Collins: Dan Sonntag
  • Amber Von Tussle/Prudy Pingleton Maria Rizzo
  • Link Larkin: Parker Drown
  • Seaweed J. Stubbs: Bryan Daniels
  • Motormouth Maybelle: Ashleigh King
  • Dynamites: Melissa Victor
  • Harriman Spritzer / Mr. Pinky / Guard: Charlie Abel
• Swings: Antonio Beverly, Emily Madden, Maria Rizzo, Ryan Patrick Welsh, Jason Wiggins

Orchestra:

• Piano / Conductor: Brant D. Challacombe, Cedric Lyles, Alan Hart
• Drums: Anders Elliason, Tom Harold, Aaron Holmes
• Guitar: Soren Mattson, Kim Spath, Keith Adams, Jason Weiss
• Bass: Andrew Webb, Linda Cote, Jason Wilson
• Reeds: Katie Kellert, Kris Sanz, Charlene McDaniels
• Keyboards: Ann Prizzi, Ed Myers

Production Staff

• Director: Toby Orenstein
• Choreographer: Mark Minnick
• Musical Director: Brant Challacombe
• Set Designer: David A. Hopkins
• Costume Designer: Lawrence B. Munsey
• Assistant Costume Designer: Della Lottman
• Costume Assistants: Samn Huffer, Janine Sunday, Randy Snight, Rose
• Woolford, Claire Cantwell
• Lighting Designer: Lynn Joslin
• Sound Designer: Drew Dedrick
• Production Manager: Vickie S. Johnson
• Production Assistant: Tina Marie DeSimone
• Production Intern: Danny Clemens
• Production Stage Manager: Kate Wackerle
• Stage Managers: Kate Wackerle, Drew Dedrick
• Dance Captain: Jason Wiggins
• Master Carpenter: Jason Krznarich
• Set Construction: Russell Sunday, Jason Krznarich, Corey Brown
• Properties and Set Dressing: Amy Kaplan
• Light Board Operators: Coleen M. Foley, Erin MacDonald
• 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
• Technical Director: Jimmy Engelkemier
• Technical Supervisor: Dave Beahm
• 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: Denise Steadman, Paula Jones, Laura
• Ciborowski, Bonnie Ciborowski
• Maintenance Engineers: Stephen B. Harris, Mike Monahan

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

Sweeney Todd, The Demon Barber of Fleet Street, is a musical thriller based on the 1973 play Sweeney Todd, the Demon Barber of Fleet Street by Christopher Bond, which, in turn, has its roots based in early Victorian melodrama and, in particular, a “penny dreadful” serial (precursor to the “pulp fiction” novel), entitled The String of Pearls (1846-1847) and in similar works of fiction that can be traced as far back as the 17th century.

The musical, which made its first appearance in 1979, originally starred Angela Lansbury and Len Cariou in the lead roles and ran for 557 performances on Broadway. It was revived and restaged in 2005, with Patti LuPone and Michael Cerveris in the roles and a much sparer score. There are not enough superlatives to describe Toby Orenstein‘s version, which hearkens back to the original, richer production, now playing at Toby’s Dinner Theatre in Columbia.

Famous for his highly intricate and extraordinarily difficult scores, Sondheim’s music is haunting and sophisticated, amazingly complex and surprisingly witty, never failing to surprise, from the opening note to the last scene. Toby’s cast tackles this classic tale of madness and revenge with razor-sharp, impeccable timing and a flair for the drama and comedy inherent in Hugh Wheeler’s book.

Ms. Orenstein makes clever and complete use of the arena space, fine-tuned to ensure that no-one is left watching the actors’ backs. Her deft touch brings this show to life. The Broadway-caliber singing is better that some professional productions I’ve seen in the recent past. Christopher Youstra‘s music direction is spot on and fully realized, with nothing held back.

Her staging is exceptional, especially considering the limitations of the space and the special requirements of the script. To give specifics would be giving too much away, especially if you’ve never seen the stage version before. Don’t let Tim Burton’s recent film treatment stop you. The movie bears a passing resemblance, but there’s no comparison between the two. This is far and away the better production.

From start to finish, the show is staged so exquisitely that only Russell Sunday‘s lack of an English accent can be considered a defect, and it’s a minuscule one at that. In all other ways he is Sweeney Todd. Lynne Sigler channels Angela Lansbury but makes the part her own, with comic timing and expression that enhances her role as Mrs. Lovett.

Jamison Foreman, is impressively talented as simple-minded Tobias. April Blandin is gifted as The Beggar Woman, every bit as demented as she should be and always in motion. Their pivotal roles in the mayhem make the second act.

Shout-outs also go to the following: Jessica Ball, as Johanna, implores the birds to teach her how to sing. No need. She already sings like a nightingale. Jeffrey Shankle, as Anthony, gives the lovesick sailor his charm, making the role that much more poignant. David Reynolds as Judge Turpin and Andrew Horn as Beadle Bamford make a delightfully sleazy pair as the morally bankrupt civil servants they are.

Of special note: The aforementioned movie strips out “The Ballad of Sweeney Todd,” reducing it to a voiceless opening number. In this production the Greek chorus is presented with glorious power and darkness. “Pirelli’s Miracle Elixir,” “The Contest,” “God, That’s Good,” and “City on Fire” are phenomenal ensemble pieces. “A Little Priest” is delivered here as the most wonderfully sick vaudeville-style routine, a new low in low comedy. You can’t help laughing even as you watch the madness take these people straight into Hell.

Set designer David A. Hopkins is to be congratulated for finding the perfect gimmick for creating levels and for moving bodies off stage. It’s a slick solution to a tricky problem in a stage space with no clearance or pit. Sound Designer Drew Dedrick and lighting designer Lynn Joslin give us the perfect atmosphere. Lawrence B. Munsey (multi-talented as both Pirelli and the show’s costume designer) provides the grit and finery we need to be transported to late 19th century London.

A word to the wise: This production is not for children. Use your judgment when selecting family fare. For the rest, don’t miss this show!

The performance runs just under three hours with a 20-minute intermission.

Director’s Notes

The rare instance of a musical thriller — Stephen Sondheim and Hugh Wheeler’s chilling, suspenseful, heart-pounding masterpiece of murderous barbarism and culinary crime tells the infamous tale of the unjustly exiled barber (Sweeney Todd played by Russell Sunday) who returns to 19th century London seeking revenge against the lecherous judge who framed him and ravaged his young wife. His thirst for blood soon expands to include his unfortunate customers, and the resourceful proprietress (Mrs. Lovett played by Lynne Sigler) of the pie shop downstairs soon has the people of London lining up in droves with her mysterious new meat pie recipe.

Sophisticated, macabre, visceral and uncompromising, “Sweeney Todd” nevertheless has a great sense of fun, mixing intense drama with howlingly funny moments of dark humor: audiences find themselves laughing hysterically one moment and gasping in surprise the next.

Cast

• Sweeney Todd: Russell Sunday
• Anthony: Jeffrey Shankle
• Beggar Woman: April Blandin
• Mrs. Lovett: Lynne Sigler
• Johanna: Jessica Ball
• Judge Turpin: David Reynolds
• Beadle Bamford: Andrew Horn
• Tobias: Jamison Foreman
• Pirelli: Lawrence B. Munsey
• Phineas Fogg: Alan Hoffman
• Bird Seller: Jeff Higgins
• Ensemble: Heather Marie Beck; Debra Buonaccorsi, Melynda Burdette, Maria Egler, Byron Fenstermaker, David Frankenberger, Crystal Freeman, Adam Grabau, Dan Sonntag

Understudies:

• Sweeney Todd: Adam Grabau
• Mrs. Lovett: Heather Marie Beck
• Anthony: David Frankenberger
• Beggar Women: Debra Buonaccorsi
• Johanna: Erin Donovan
• Judge Turpin: Alan Hoffman
• Beadle Bamford: Byron Fenstermaker
• Tobias: Conrad Buck
• Pirelli: Dan Sonntag
• Swings: Erin Donovan & Conrad Buck

Orchestra

• Piano / Conductor: Chris Youstra, Greg Knauf or Brant Challacombe
• Keyboards: Ann Prizzi or Pamela Wilt
• Trumpet: S. Craig Taylor, Brandon Almagro or Tony Neenan
• Trombone: Nick Mazziot or Jay Ellis
• Reed: Steven Haaser or Katie Kellert
• Percussion: Jack Loercher, Aaron Holmes or Robby Burns

Production Staff

• Director: Toby Orenstein
• Additional Staging: Lawrence B. Munsey
• Musical Director: Christopher Youstra
• Set Designer: David A. Hopkins
• Costume Designer: Lawrence B. Munsey
• Lighting Designer, Sweeney Todd: Lynn Joslin
• Sound Designer: Drew Dedrick
• Production Stage Manager: Vickie S. Johnson
• Production Assistant: Michael Nesvold
• Stage Managers: Drew Dedrick, Terrence Sweeney
• Master Carpenter: David A. Hopkins
• Set Construction: Russell Sunday, Jason Krznarich, Sarah Splaine, Dan McQuay, Corey Brown
• Properties and Set Dressing: Amy Kaplan
• Light Board Operators: Coleen M. Foley, Erin MacDonald
• Sound Operators: Drew Dedrick, Jimmy Engelkemier, Melvina Coker, Josh Seifert
• Stage Crew: Erin MacDonald, Heather McNeal

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: Jimmy Engelkemier
• 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