The Kensington Arts Theatre brings us a cult classic for the Halloween season that does not disappoint. If you have never seen the show or movie I highly recommend you make this production your “first time.” It’s an experience like none other, because unlike any normal live production, at The Rocky Horror Show they actually encourage heckling. It’s a tradition that has been going on for years and years. They even provide the audience with a “fun pack” which includes items to be used throughout the show, such as noise makers, toilet paper and squirt guns. It costs a nominal fee of five dollars, which helps support your local arts and adds to the fun of the show.

Janet Weiss, played by Amy Baughman, and Brad Majors, played by Tim Adams, are a young and very innocent couple who just got married. They are on the road traveling to their honeymoon destination when they are run off the road and must seek shelter at an old mansion. That is where they are introduced to the strange family of scantily clad amorous “freaks.” They lead Janet and Brad into their home where they introduce them to their master, Dr. Frank N. Furter, played by John P. Loughney.

Loughney gets into his character and is a force to be reckoned with. No one better interrupt him during his solo or he will call them out and restart the song. He actually did stop the performance to tell a heckler “Hey, when I sing you listen.”

There is a lot of action and movement on such a tiny stage. It’s hard to believe they were able to have so many characters singing and dancing and carrying on in such a way and have no one trip or fall. This funny, crazy, sex-filled tale is filled with interesting characters, cross dressers and a hunky half naked creation known as Rocky, played by Michael Hammond. Rocky is supposed to become the newest “play thing” for Dr. Frank N. Furter, which causes some jealousy amongst his more loyal subjects Columbia, played by Courtney Basich, Riff Raff, played by Ryan Manning and his sister Magenta, played by Ann Davis, who have a surprise or two up their sleeves, or G-string depending on which character it is. The show pays tribute to the absolute ridiculousness of early science fiction shows, it has a little bit of everything to make you laugh and maybe gag a little too.

If you want to get the best view possible show up early. It can be hard to see, especially in the back. Sit up in the front if you can, you may end up getting a little wet and have some toilet paper thrown at you, but it’s worth it to experience the cross dressing beauty that is The Rocky Horror Show.

Disclaimer: Kensington Arts Theatre provided two complimentary media tickets to ShowBizRadio for this review.

Everyone knows the age old tale of Dracula. He is the original vampire, the mysterious, dangerous unstoppable force that feeds on the blood of the living. The Synetic Theatre does a unique interpretation of the story. The show consists of small bits of dialogue to move the story along and is then followed by long dance numbers most of which are either very action packed lively pieces with dramatic and spooky music, right out of a horror movie sound track, or very seductive dances mainly preformed by Dracula’s three wives, Stacey Jackson, Irina Koval, and Catalina Lavalle, who seduce their victims before feasting.

Dracula, played by Dan Istrate, creates a powerful and forceful character, with just a hint of humor. For the most part I will say that the characters themselves were not well developed, but what they lacked in back story and dialogue they made up for in their movement. Every character had a visual voice. Dracula had a way of gliding across the stage that made him seem as if he was lifted several inches off the ground whenever he moved, but at the same time had the power to lift his victim with one hand without even showing the slightest inkling of difficulty.

The actual story mainly revolves around the diary and various letters from the character Jonathan Harker, a salesmen sent by his company in London to Count Dracula’s home in Transylvania. Unfortunately I didn’t feel that there was enough of the story told about the relationship between Harker, played by Alex Mills, and Dracula. There is some telling of his diary entries as well as very slight dialogue between the Dracula and Harker, but not enough to truly feel invested in the outcome of the actual character and the sort of cat and mouse games that Dracula plays with Harkes’ mind during his stay, However the various dances interpreting Harkes’ nightmares, while he stays at the Count’s Castle will create a lasting impression.

The play was very imaginative, scary and beautiful all at the same time, with its use of human bodies to create swaying furniture, or moving caskets, all slowly driving Mr. Harker insane.

Dracula truly shows what he’s made of when he begins to hunt the friends and family of Mr. Harker, such as his fiance Mina, played by Natalie Berk, and her childhood friend, Lucy, played by Mary Werntz. Things become dangerous and people are dying. That’s when the friends of the young ladies call in Van Helsing, played by Roger Payano, for advice on how to stop the Vampire. There is only the slight information about Dracula gained by a hysteric patient who is being kept in an insane asylum and by one of the dear friends of Lucy, Dr. Seward, played by Ben Russo. The Hysteric, known as Renfield, played by Irakli Kavasadze, tries to warn them all about what is coming. Renfield’s character was one of the most developed and most interesting. He had a craving for blood but was not the undead, he wants to be evil, but has a change of heart when he meets the fair Mina, which ultimately leads to his betrayal of Dracula.

The final battle truly is the grand finale, filled with stage fighting, contortions, and the creation of a huge dark force taking over everything. It’s something you just can’t take your eyes off of, and then just like that, it’s over.

This show does a terrific job at being visually entertaining, but leaves much to be desired in the characters and overall plot. I would almost not even call it a play as much as a theatrical dance revue, very entertaining and beautiful and well as creepy and dark. The special effects and music (Konstantine Lortkipanidze), and costumes (Anastasia Ryurikov Simes) were amazing and the use of human props were very creative. If you enjoy a visually stunning show I highly recommend it.

Director’s Notes Dracula

We have been very excited by the opportunity to bring back Dracula in a new , updated form to join the other plays in our season. It comes as no surprise that we have dubbed this, our 8th season, the “Season of Dreams and Nightmares.”

I’ve always been fascinated by the power of dreams. I’ll even admit to having drawn on my own to help create shows before. The unconscious is a vast, powerful thing that, by nature, avoids our understanding in day-to-day life. When it is brought to life, amazing things happen. The problem that one day stymies our endeavors is slept on, and we awake to find the answer as clear as day. The actor who calms down and is freed of over-thought suddenly discovers the spine of their new character.

The unconscious can terrify as well, of course. Not only in our nightmares, but in our day-to-day life as well – too much stress, too many worries, and our unconscious seems to force our thoughts in negative directions, spiraling us into anger or depression. The power of dreams holds a quiet sway over our lives that still puzzles and fascinates the best and brightest of our scientists, leaders, and philosophers.

So it is within our plays. Dracula’s three wives represent both a Victorian male’s dream, and nightmare: the unbridled sexuality of the female. Their voluptuousness opposes the Victorian ideal so completely that it leaves the men of the story bewildered and fearful – seductive in the same way that their powerful, violent master is to everyone in the story. Dracula himself can be a perverted male ideal – the dream of the physically vulnerable, immortal, hyper-sexual man, though his own power and endlessness is in itself a nightmare for the count.

As we begin our season, I want to welcome to Synetic’s world of dreams and nightmares. We will continue our journey that weaves between the worlds of the ancient and the modern, between the visceral and the psychological. As always, my thanks to you, the audience, to our donors who made all of this possible, and to our actors, whose tireless efforts bring these dreams to life.

Best wishes, Paata Tsikurishvili

Photo Galleries

Dan Istrate	Roger Payano and Mary Werntz
Dan Istrate and Natalie Berk

Photos by Graeme B. Shaw for the Synetic Theater

Cast

• Dracula: Dan Istrate
• Mina Harker: Natalie Berk
• Jonathan Harker: Alex Mills
• Lucy Westenra: Mary Werntz
• Dr. Seward: Ben Russo
• Arthur Holmwood: Philip Fletcher
• Quincey Morris, Demon: Ryan Sellers
• Dr. Van Helsing: Roger Payano
• Renfield: Irakli Kavsadze
• Wives of Dracula: Stacey Jackson, Irina Koval, Catalina Lavalle
• Captain of the Demeter: Vato Tsikurishvilli
• Villager: Chris Galindo
• Understudies: Karen Morales-Chacana, Sarah Olmsted Thomas, Matthew Ward

Crew

• Directed by: Paata Tsikurishvili
• Choreographed by: Irina Tsikurishvili
• Original music and Special Effects by: Konstantine Lortkipanidze
• Set, Costume, and properties designed by: Anastasia Ryurikov Simes
• Lighting designed by: Andrew F. Griffin
• Sound Designed by: Paata Tsikurishvili and Irakli Kavsadze
• Fight Choreographed by: Ben Cunis
• Assistant Director and Music Direction by: Irakli Kavsadze
• Assistant Lighting Designed by: Brahim Pettis
• Stage Management by: Megan Allen

Disclaimer: Synetic Theater provided two complimentary media tickets to ShowBizRadio for this review. Also, ShowBizRadio editor Michael Clark worked as a paid member of the load-in crew.

If you are looking for something that will make you laugh, cry and leave the theatre with a new understanding of psychology go see Hysteria. It’s the kind of show that even though there are some parts you want to look away from you just cant do it, and other times you will find yourself leaning in closer.

Hysteria revolves around the ever crumbling world and sanity of a dieing Sigmund Freud. The show is thought provoking, funny and at times a little scary. We follow Freud, played by Jeff Baker, in his final days dealing with extremely painful jaw cancer. He is about to publish his last works which tries to question religion and the and mythology surrounding Moses. His dear friend and personal Doctor Abraham Yahuda, played by Conrad Feininger, tries to discourage him from publishing the works. For much of Freud’s life he was never questioned, but in his final hours he his visited by some strange guests. A young woman, Jessica, played by Marni Penning, is angry and wanting answers about his most famous patient Rebecca. He is also visited by a very comical and self centered Salvador Dali, played by Bruce R. Nelson.

The characters are all very well constructed, full of life and personality leaving the audience completely vulnerable to their actions. When they are happy, you are happy. When they are sad, you are sad. Dali’s character is the comedian. He is blissfully unaware of his peer’s negative critiques and refers to himself in the third person. He and Jessica have a great chemistry on stage and together add a child like spunk and physical comedy. There is some silliness between Yahuda and Freud as Freud tries desperately to hide this mysterious girl who demands answers about Rebecca. There is also the appearance of Freud’s Daughter Anna, played by Elizabeth Simmons, and another mysterious woman, which turns out to be one of Freud’s dark secrets.

There is so much that happens in this play, it makes it go by so quickly, almost too quickly. In the end you are left alone with your thoughts. Not just about the show itself, but about the real people that were in the play. The show does not claim to be truthful, but it makes one think about the so called “hysteric” and if someone would be diagnosed it today. The show questions Freud’s theory and opens the doors to his own hidden secrets. A farce and a drama all in one, Hysteria is playing at the Rep Stage, housed in the beautiful theatre department of Howard Community College. Be aware that this show contains nudity and simulated hallucinations. It is a little too dark for a date show or a family show.

Cast

• Sigmund Freud: Jeff Baker
• Abraham Yahuda: Conrad Feininger
• Salvador Dali: Bruce R. Nelson
• Jessica: Mari Penning
• Anna/The Woman: Elzabeth Simmons

Crew

• Director: Steven Carpenter
• Scenic Design: Klyph Stanford
• Lighting Design: Dan Covey
• Costume Design: Yvette Ryan
• Production Stage Manager: Emily Carter Watson
• Properties Design: Andrea “Dre” Moore
• Sound Design: Chas Marsh
• Dialect Coach: BettyAnn Leeseberg-Lange
• Dramaturg: Lisa A. Wilde

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

The Providence Players of Fairfax gives the audience the complete package with Harvey. The cast does a great job at giving their interpreting of the classic farce. Truly a timeless piece that, when done well, will make you cheer for the big white rabbit.

Harvey, is the mysterious star of the show and the best friend of Elwood P. Dowd, played by Mike Matthiesen. If you have ever seen the film Harvey, you will immediately understand why Matthiesen was perfect for this part. He has a striking resemblance to James Stewart from looks to mannerism to voice. Mr. Dowd is the lovable, yet delusional brother of Mrs. Veta Louise Simmons, played by Beth Hughes-Brown. Veta, who lives in the home of her brother, is desperately trying to make an in with a good social circle so that her daughter, Mrs. Myrtle Mae Simmons, played by Liz Smith, can be introduced to a proper boyfriend. This has proven to be very difficult for Veta, because whenever she invited guests over to the house things are always ruined by her brother Elwood and his friend Harvey. Harvey is a Pooka. What is a Pooka? In this case it’s a six foot tall white rabbit, that only Elwood can see and hear, but he claims he is all too real. Veta eventually grows tired of Elwood’s behavior and decides to try and have him committed, emphasis on tries.

Brown proves to be a great one of the main attractions on stage, her constant erratic behavior mixed with her pompous exterior of growing up a socialite will make you love to watch her scream and carry on at every little thing.

Nurse Kelly, played by Mary Frances Dini, and Doctor Sanderson, played by Steve Smith, create fun and sassy chemistry on stage between each other leaving the audience guessing if they will end up together, or biting each others heads off. Dr. Chumley, played by Matt Ames, is pompous, uptight and extremely full of himself. Ames creates an air about himself that resonates throughout the theatre, which makes it even more delightful to see him get squirmy and twitchy when Harvey is mentioned. Accompanied by his orderly, Duane Wilson, played by Craig Geoffrion, who thinks with his fists, they go off to find Mr. Dowd in search of answers, but wind up with more than they bargain for.

Something that deserves pointing out is the set. The set consists of only two backgrounds, the sitting room and the hospital lobby. Both were beautifully done and looked like a professional set. Never in my life have I seen people clap and cheer for a scene change, but this crew deserved it. When turning the scene from Dowd’s home into the lobby of the “Chumly institute” it almost looked choreographed alongside a simple piano tune from the era. Something so small and simple, proved to be an intricate detail in the making of this production that had the audience all impressed. For anyone who has never heard of Harvey I highly recommend seeing the show. It is one of those little gems created a long time ago that will remain funny forever no matter the change in language and slang. It is perfect for young and old.

Be aware that lighted tobacco products are used briefly on the stage throughout the production. If you have any issues with this I recommend sitting in the back. If you have never been to a Providence Players production before, the show itself is in a local community center. Don’t go looking for a theatre. There are tiny signs giving indication to where it is, but if you are not keeping your eyes peeled and don’t know it’s in the community center, you would never find it.

For those of you interested in seeing a show involving a dash of scandal, a pinch of cooking and a heaping helping of puns and silly antics, Kitchen Witches is right up your alley. It’s a show based around two older women, one retired and one about to be retired, from their greatest passion, a public access TV cooking show. These two lovely ladies are brutal enemies who have been competing for years. Thing heat up with a final cat fight on the very last episode of Dolly Biddles show “Baking with Babca.” After the show Ms. Dolly Biddle and Ms. Isobel Lomax are offered a new shot at their life long passion by teaming up to create a brand new kind of cooking show involving a little cooking and lots of catty banter. The show is cleverly named “The Kitchen Witches.”

The best way to describe the show as a whole is “cute.” Most of the humor revolves around clever puns and the almost cartoon-like antics from the two stars. Dolly Biddle, played by Sharon Zelefsky, is wacky and full of fun accents. She loves to take a few bites of whatever she’s cooking, which is usually fattening, and a swig from her trusty flask when her fidgety uptight producer/son isn’t looking. Isobel Lomax, played by Debbi Samek, is an uppity showoff who is the essence of an antagonist. So much so that I fear I didn’t invest much of an interest in her until the second half of the show when a secret is dropped on live T.V. Sorry folks, I got kind of excited about all the puns in the show I just couldn’t resist. Not only is the show filled with wit and catty fighting, there’s food! And when you mix two angry ladies together with fun items such as whipped cream, chocolate sauce and flour there’s bound to be a food fight in there somewhere. I won’t give any juicy details, but I left satisfied.

One thing that unfortunately took away from the comedic experience was the constant distractions on stage. The show is based around a single T.V studio, with the camera man (Gary Small), the producer (Scott Beadle) and the stage hand (Patricia Greenwell). The stage hand, Robin, was constantly walking through the set adjusting things, even when the supposed show was going on. At one point there is a wonderful comedic bit involving Isobel Lomax coming out of her dressing room to reveal a sight gag, but I couldn’t see it because Stage hand Robin was in the way bending over to play with the trash can. I wouldn’t have minded it if it happened only once, but it happened at least four times, all during important parts of the show. These characters are meant to add ambiance to the background, not to try and be the starring role.

All in all I enjoyed the show and the two main ladies were hilarious. The Kitchen Witches is definitely worth checking out, especially if you’re in the area. The crowd consisted mainly of older ladies and gentlemen, and a few families with children over 12. That’s probably the best audience for the show. Cute, not overly hilarious, or deep and thought provoking. So for the artsy U street crowed or that downtown Rockville happy hour bunch looking for a change, this may not be for you.

If you are planning on making a date of it, don’t dress up for the show. They incorporate audience participation. There is a chance you may wind up on stage, and things do get messy. So don’t go wearing that new silk dress or cashmere sweater. Don’t worry no one walked away wearing food. But be careful, and if you’re really worried, don’t put your name in the bin outside in the lobby and you will be just fine.

And be aware this place is not easy to find. Don’t be confused with the Bowie Center for the Performing Arts. It’s actually part of a larger community center. Pull into the driveway and you will pass by a fitness center, keep going and you will find the appropriate parking by the football field. Then walk down a long wooded path where, at any moment you fear Jason is going to appear with his chain saw, but then the theater appears and once you are inside you are greeted by the friendly staff.

Director’s Notes

BCT is proud to be the first community theatre in the area to present The Kitchen Witches to the public. I have been many times blessed by being allowed to direct plays that I truly love. This play, The Kitchen Witches, is no exception. I lvoe these two aldies as I hope you will, too. Bringing them to life has been a joy. This witty play surrounds two women who have deep rooted, complex, and multifaceted connections to each other. The audience is given the opportunity to witness, with great laughter, these connections. We so enjoyed producing this and so enjoy having the opportunity to present it to you. Thank you Janice, and the BCT Board for allowing this new endeavor to flourish. Now, sit back, hold on, you’re about to enter the rollercoaster world of Dolly and Izzy or is that Izzy and Dolly…

Note from the Producer

Volunteers are hard to find. So it should be no surprise that you see the same people in the program wearing many different hats in this production. I am one of those people. As President, Producer, Props Person, Advertising EPrson, and at the last minute, Co-Stage Manager, I find myself saying, “We can’t do this without more volunteers to help.” It takes a village to put on a community production. If you enjoy seeing these shows, then consider volunteering so we can continue to bring you this quality entertainment. You can usher, work box office, paint sets or help find costumes or props. To volunteer for our next show, call our hotline at 301-805-0219 or visit the website.

Cast

• Steven Biddle (producer of Kitchen Witches): Scott Beadle
• Robin (Stage Manager): Patricia Greenwell
• Cameraman: Gary Small
• Dolly Biddle: Sharon Zelefsky
• Isobel Lomax: Debbi Samek

Production Staff

• Producer: Janice Coffey
• Director: Estelle Miller
• Stage Manager: Cynthia Bentley
• Assistant Stage Managers: Rae Wein, Janice Coffey
• Original music: Anne Alpert
• Set Designer: Estelle Miller, Garrett Hyde
• Set Construction Manager: Cynthia Bentley
• Set Construction: Cynthia Bentley, Rob Whetzel, Duane Rouch
• Set Painter: Cynthia Bentley
• Set Dressing: Cynthia Bentley, Janice Coffey
• Properties: Janice Coffey, Rae Wein
• Light Designer: Garrett Hyde
• Sound Designer: Garrett Hyde
• Costumer: Jane Lecher
• Costume Consultants: Karen Spitzer, Janice Coffey
• Theater Technicians: Garrett Hyde, Al Choppey, Pete Dursin
• Interpreter: Cindy Garmore
• Production Assistant: Mike Dunlop
• Mailing ADministration: Galen Menne
• Photographer: Connie Carter
• Videographer: Dove Video
• Graphic/Program Designer: Debbie Samek
• Advertising/Publicity: Janice Coffey
• Webmaster: Myron Cramer
• House Manager Joanne Bauer
• Lobby Designer: Janice Coffey

I think one of the hardest things to do in the world of theatre is put up a successful kids show. Kids are brutally honest. They don’t have the patience to hang around and watch something that is boring them. So when someone achieves a successful show that keeps kids engaged and entertained it is not only a job well done, it is rewarding for everyone.

I sat in an audience filled with restless sugar filled toddlers who had not received their naps yet. All eager and curious to see what this Seussical was all about. The lights went down. And out came the character Jo Jo, a young boy, played by 11 year old Kaycie Goral, who is actually a young girl. As soon as Jo Jo came out all the kids went quiet.

Soon after, the famous Cat In The Hat, played by Ken Kemp, joined Jo Jo in a song. It was just them onstage. Then an explosion of colors, voices, and characters spring out from backstage. For such a small theatre they were able to fit in plenty of movement and dancing that made even the most restless audience member lean a little closer in wonder.

The show revolves around Horton the elephant, played by Kevin Ray Johnson, who does a great job at creating a dopy, goofy and loveable character. He and his new found friends, the “who’s,” go on an adventure trying to prove that “who’s” although small are still big thinkers, especially Jo Jo who teaches kids that thinking outside the box is a good thing. There is also some sassy singing and dancing from the colorful birds Ms. Amazing Mayzie played by Cara Marie Pellegrino and Horton’s shy love struck neighbor Gertrude McFuzz Played by Katie Mays Reedy.

The show is fun and entertaining for the older audience members as well. Beware of slow songs, especially with a pre nap audience, but luckily this show has very few and they are spread out between lively energetic songs that keep the kids engaged. Somehow the show manages to pack twenty musical numbers in with dancing and acrobatics from the mischievous Wickersham Brothers, played by Will Givens, Xiomara Mercado, and JR Russ.

Photo Gallery

Kevin Ray Johnson as Horton, Kaycie Goral as JoJo and Ken Kemp as The Cat in the Hat	Gertrude (Katie Mays Reedy)
Cara Pellegrino as Mayzie with Jessica Berg, Rachel Meloan, Anna Zimmerman as the Bird Girls	Wickersham Brothers (Will Givens, Xiomara Mercado, Nathaniel Russ, Jr.)
Ivana Alexander as the Sour Kangaroo and Cara Pellegrino as Mayzie

Cast

• Horton: Kevin Ray Johnson
• Cat in the Hat: Ken Kemp
• JoJo: Kaycie Goral
• Gertrude: Katie Mays Reedy
• Mayzie: Cara Pellegrino
• Sour Kangaroo: Ivana Alexander
• Mr. Mayor: Will Givens
• Mrs. Mayor: Gayle Gillespie
• The Bird Girls: Jessica Berg, Rachel Meloan, Anna Zimmerman
• The Wickersham Brothers: Will Givens, Xiomara Mercado, JR Russ

Crew

• Director: Heather Latiri
• Assistant Director: Nancy Ostroth
• Music Director: Omar Latiri
• Producer: Donna Jean Garrett
• Choreographer: Vanessa Terzaghi
• Lighting Designer/Execution: Frank Desando
• Sound Designer/Execution: Patrick Hughes
• Set Designer: Jennifer Andrews
• Costume Designer: Meg Williams
• Hair and Makeup Designer: Concetta Griffo
• Assistant Hair and Makeup Designer: Erin Hill
• Master Carpenter: Doe B. Kim
• Set Construction: Heather Latiri, Donna Jean Garrett, Jennifer Andrews, Doe B. Kim, Nancy Ostroth