• Godspell, September – October 2014
• Annie, November – December 2014
• The Dixie Swim Club, January – February 2015
• 1776, March 2015
• Much Ado About Nothing, May 2015

More information may be found at the Port Tobacco Players web site. Schedule is subject to change due to performance rights conflicts or other issues. Specific dates of performances and auditions are yet to be announced.

There are some sparkling moments and performances in Port Tobacco Players’ (PTP) production of Fiddler on the Roof. The fiddler himself (Jacob Traver) moves beautifully, making his part almost a dance role. Members of the male ensemble do themselves proud in the Russian dance and bottle dance. A number of character roles are done capably: Lazar Wolf (Peter K. Ullman), Yente (Katie Ludy), and the Rabbi (Rick Wathen) among them. Tevye’s dream sequence, far and away the most satisfying scene in the production, is full of energy and purposeful movement, with delightful singing and character bits by Lydia Kivrak as Grandma Tzeitel and Amy Dolan as Fruma-Sarah.

If only that energy and inventiveness had carried throughout the production. Static full cast numbers like “Sunrise, Sunset” and “Anatevka” lie inertly on the stage while suffering from a thin vocal sound. In the book scenes, actors sometimes speak line-by-line rather than getting into a smooth flow with their scene partners. There is a similar issue in the music direction: in both ensemble and individual numbers (including Perchik’s “Now I Have Everything” and Hodel’s “Far From the Home I Love”) the singers seemed to be directed to follow the beat extremely strictly — one can almost hear the measure bars — adversely affecting phrasing and limiting interpretive opportunities.

Those two numbers were otherwise among the best sung in the show. In addition to a strong tenor sound, Joshua Scott gives Perchik intelligence and zeal. The presentation of his song would have been improved by the deletion of some distracting choreography, however. As Hodel, AnnaBelle Lowe has the outstanding solo voice in the cast, and her character follows the most interesting arc, from feisty to happily in love to sad and resolute at the end. Lowe also joins Kaitlin Harbin (Chava) and Angelina O’Leary (Tzeitel) in a lively rendition of “Matchmaker,” with Lowe and Harbin doing some clever work with their mops and O’Leary spoofing Yente’s matchmaking efforts.

As Tzeitel’s intended, Motel, Zachary Bell lacks the vocal dynamism needed to nail “Miracle of Miracles” and physically portrays his character — to be sure a timid fellow at first — as more craven than necessary, cringing away from Tevye as though he were used to being beaten regularly. As Tevye’s wife, Golde, Kim Moore Bressler herds her husband and daughters with a firm, though affectionate, hand, though she sings weakly in “Do I Love You?”. One of the show’s successes is that the three older daughters portray their characters as having inherited their mother’s backbone in dealing with their men and with circumstances.

Fiddler, of course, is based on stories by Sholom Alechem, primarily one known as “Tevye and His Daughters” or “Tevye the Dairyman.” Tevye, a long-suffering inhabitant of a small village in Ukraine, dealing with disruptive social change, persecution, and ultimately the need to emigrate, is at the center of the play. The success of a Fiddler production depends largely on the emotional and comic force of its Tevye. Greg Rumpf does not make any noticeable errors, but his performance is that of a singles hitter in a role calling for home run power. To change the metaphor, Tveye should have a vibrantly colorful emotional palette: think of the stained glass work or paintings of Marc Chagall, one of which served as the source of the play’s fiddler image. Rumpf’s palette is too pale. His song delivery, including in the classic “If I Were a Rich Man,” is competent but unexciting. Rumpf did handle one unintentionally funny moment well, however. A loud feedback squawk interrupted Tevye’s opening speech in Act 2, following which Rumpf, after a brief pause, properly delivered what happened to be his next line: “Was that necessary?”

The production’s set, designed by Richard Gilpin, is dominated by a large house unit. While serving as the exterior of Tevye’s residence, especially when placed center stage, it creates a staging challenge, as members of the large cast have to work around it in numbers like “Tradition” and “Anatevka.” At such times, movement of a large number of people about a relatively restricted playing space tends to be less a matter of blocking or choreography than one of traffic management. When split open and turned to form the inside of the house, the unit works quite credibly as the family’s simple but clean home. There are some nice lighting touches in Tommy Scott’s design, including the use of varying colors on the upstage cyc and specials for Tevye and two of the young couples in parallel sequences in which Tevye assents to their marriages.

The costume design, attributed to the PTP Costume Guild, produces attractive and appropriate dresses and accessories for the female characters and striking white and black outfits, respectively, for the men in the Russian dance and bottle dance. The shining moment both for costumes and makeup comes with the intentionally outlandish look given Grandma Tzeitel and Fruma-Sara in the dream scene. The latter arrives on a tall, wheeled pedestal that swoops around the stage in a humorously scary way.

The background of Fiddler‘s story is a major pogrom — what nowadays we would call an episode of ethnic cleansing — that took place in Ukraine and other parts of the Russian empire in 1905, one of a series going back to 1881 when the assassination of Tsar Alexander II was blamed, incorrectly, on Jews. 1905 was already a tumultuous year for Russia, with the crushing loss of the Russo-Japanese war, major strikes by workers, and a revolution that presaged the larger upheaval of 1917. Jews, as always, were an available scapegoat, and the pogrom led to a mass emigration to America and other locales. The note of melancholy on which Fiddler ends extends past the diaspora portrayed in the show, a relatively mild precursor to the greater disasters of the 20th century. Some of the emigres find a place of safety, like Tevye and Golde, who despite their poverty, are able to get to America. Perchik and Hodel are the kinds of idealistic revolutionaries who disappeared 25 or 30 years later into Stalin’s gulag. Tzeitel and Motel, and Chava and Fyedka, unless they managed to acquire the funds to leave Poland first, would by 1941 be squarely in the path of the Holocaust. Sometimes resilience and humor in the face of terrible events and evil people are not enough.

A Note From the Director

What is tradition? It is a belief or behavior passed down within a group or society with symbolic meaning or the handing down of customs.

We all have our special traditions that we adhere to as a family, religion or society. Many of our practices have been around for generations and some are being created every day. Our customs mold the people we become and make us special. Growing up, I remember the special things that we did year after year in my parents’ home. The dripping of the apple in the honey to celebrate a sweet new year (Rosh Hashanah), the latkes my mother fried for Hanukkah and the matzo balls at Passover; these are such wonderful memories. When Rich and I married, we stood under the canopy and when Rich smashed on the customary glass, we delighted hearing the sound of our family and friends shouting “Mazel Tov.” On that day, we began our own special traditions to pass to our children. Many of the traditions we have in our family have nothing to do with our religious beliefs but are part of the world we live in… things like turkey on Thanksgiving, fireworks for the fourth of July and hot dogs at baseball games.

However, sometimes traditions make us reflect on what is important to us and that is what Tevye has to decide as each of his daughters come to him with plans to marry. He must decide if tradition is more important that the happiness of his family. The themes of this play are no different today as then in Tevye’s time and I am sure you can all relate to them. Please sit back and fall in love with Tevye, his family and the townspeople of Anatevka. Can find a little bit of yourself in these colorful characters and lovely traditions?

Cast

• Tevye: Greg Rumpf
• Golde: Kim Moore Bessler
• Chava: Kaitlin Harbin
• Tzeitel: Angelina O’Leary
• Hodel: AnnaBelle Lowe
• Fyedka: Brian Merritt
• Motel: Zachary Ball
• Perchik: Joshua Scott
• Yente: Katie Ludy
• Lazar Wolf: Peter K. Ullmann
• Bielke: Madelyn Mudd
• Shprintze: Chloe Park
• Avram: William Righter
• Constable: John Van Blarcom
• Fruma-Sarah: Amy Dolan
• Grandma Tzeitel: Lydia Kivrak
• Mendel: Greg Kenney, Jr.
• Mordachi: Greg Pruitt
• Shaindel: Heather Bauer
• Sasha: Carlton Silvestro
• Rabbi: Rick Wathen
• Knachum: Jonathan Johnson
• The Fiddler: Jacob Traver
• Ensemble: Kate O’Meara, Lucy Mudd, Wyatt Edwards, Hayden Edwards, Elora Edwards, Camryn Lockhart, Trey Lockhart, Jacob Traver, Tessa Silvestro, Carlton Silvestro, Amy Dolan, Greg Kenney, Jr., Kaitelyn Bauer, Kelli Harbin, William Righter, Jonathan Johnson, Lydia Kivrak, Sarah Jones

Orchestra

• Conductor: Chad Mildenstein
• Keyboard: Beth Lincoln
• Keyboard (Accordion): Brian Edwards
• French Horn: Diana Morse
• Oboe/French Horn: Will Derr
• Trumpet: Kenyon Cribbs
• Clarinet: Michelle Best
• Clarinet: Susan Sweeny
• Flute/Piccolo: Ashley Brumburg
• Violin: Sydney Christley, Allison Claggett, Sarah Koon
• Viola: Monica Katerina Eller
• Cello: Lori DeLoache
• Drums: Tim DeLoache

The Production Staff

• Producer: Liz Mildenstein
• Director: Joselle Gilpin
• Assistant Director and Assistant Stage Manager: Melissa Ball
• Music Director: Chad Mildenstein
• Choreographer: Ben Simpson
• Stage Manager: Laurie Mudd
• Set Design: Richard Gilpin
• Set Construction Lead: Richard Gilpin
• Set Construction Crew: Brian Edwards, Greg Pruitt, Amy Dolan, Ryan Mudd, Zack Ball, Chad Mildenstein, Annie Lockhart, Austin Lockhart, Camryn Lockhart, Heather Bauer, Jonathan Johnson, Chloe Lateulere, Chris Magee
• Set Painting: Ronna Johnson
• Assisted by: Tessa Silvestro, Jhonni Micki Johnson Jone, Jill Hanger, Betsy Stevens
• Set Decoration: Ronna Johnson, Kim Moore Bessler, Joselle Gilpin
• Properties: Grenda Dennis
• Assisted : Kim Moore Bessler
• Lighting Design and Operator: Tommy Scott
• Spotlight Operator: Rhonda Edwards
• Sound Design: Draper Carter
• Costume Design: The PTP Costume Guild including Melody Hansel Sciarratta, Pat Brennan, Brenda Mudd, Quentin Sagers, Lisa Magee, Pat Brennan, Madeline Sutherland
• Makeup and Hair Design: Heather and Kaitelyn Bauer
• Assisted by: Chloe Lateulere
• House Manager: Rhonda Edwards
• Logo Artist/Program: Liz Mildenstein
• Headshots: Greg Rumpf

Disclaimer: Port Tobacco Players provided two complimentary media tickets to ShowBizRadio for this review.

Schoolhouse Rock Live! brought back the good old days of Saturday morning cartoons, with a slight dose of education, but we didn’t know that then, the cartoons were just fun. We found ourselves remembering “Conjunction Junction,” “Just a Bill,” and “Interplanet Janet” as well as the multiplication tables. Some of the songs may have been new (such as “Do The Circulation” and “A Victim of Gravity”), but the old standbys were all there. The live orchestra also kept things moving throughout the evening.

The basic storyline is a first time teacher is getting ready for his first class. Then different aspects of himself arrive to help build his confidence. The six primary actors (Zach Ball, Brian Merritt, John W. Kirby, AnnaBelle Lowe, Kaitlin Harbin, and Rebecca Raymond) kept the energy up as they danced, created, and explained the great moments in history. All six had strong voices and used big expressions to get their point across. Since there were so many songs, they cleverly kept water bottles to use between songs and their one liners. If not there may have been a new song written about “Dehydration.” The troupe of six used creative choreography by Brooke L. Howells that kept the six actors and ten-member chorus constantly on the move. The Kids Chorus also kept the smiles big and the costumes by the cast and parents colorful as they danced, sang and brought out many of the props used for the show.

Director and Set Designer Amy Wathen Cooksey and John Merritt used the large space of the Port Tobacco stage to create a bedroom set full of colors, pictures, paintings that are just as eye-catching as the action happening on stage. Schoolhouse Rock Live! is a great show, well performed that brings back memories for the kids of the 70’s, and excitement for the next generation of learners that learning can be fun.

Director’s Notes

Schoolhouse Rock Live! is a little campy, a wee bit corny, kinda patriotic, but definitely A LOT of fun! This show takes me back to Saturday mornings – fighting with my brothers and sisters – trying to find something we’d all like on one of the four television channels available (4, 7, 9, 20 – you remember that, I know you do!) One thing we all could agree on was a snippet of Schoolhouse Rock. I’ve enjoyed my trip down memory lane and I hope that our production will entertain and up;ift the spirits of all who come to see it. Feel free to dance in your seat and I apologize in advance because you will not be able to get these songs out of your head!!!

– Amy Wathen Cooksey, Director

Photo Gallery

Photos by Michael Clark

Cast

• Tom: Zach Ball
• George: Brian Merritt
• Joe: John W. Kirby
• Dori: AnnaBelle Lowe
• Shulie: Kaitlin Harbin
• Dina: Rebecca Raymond
• Kids Chorus: Garrett Cooksey, Hayden Edwards, Wyatt Edwards, Emma Lisa Foraci, Chloe Lateulere, Trent McConnell, Isabella Pendleton, Madison V. Smith, Isabella Valasco, Cierra Nichole Wilson

The Orchestra

• Conductor: David C. Monk
• Flute/Clarinet/Alto Sax/Train Whistle: Cheri Monk
• Flute/Clarinet/Alto Sax: Ashley Sweeney
• Clarinet/Bass Clarinet/Baritone Sax: Michelle Bast
• Trumpet: Bill Brumberg, Nathan Krevey
• Trombone: Ridge Gilley
• Keyboard: William V. Derr, Cheryl Reckeweg
• Bass: Dave Bayles
• Percussion: Billy Klein

Production Staff

• Producers: Richard A. Pitonyak, Cheryl M. Reckeweg
• Director: Amy Wathen Cooksey
• Assistant Director: Keith Linville
• Music Director: David C. Monk
• Choreographer: Brooke L. Howells
• Stage Manager: Tessa N. Silvestro
• Stage Crew: Cori Eisele, Hannah Gilley
• Set Design: Amy Wathen Cooksey, John Merritt
• Set Construction Lead: John Merritt, Jeff Merritt
• Set Construction Crew: Randy Davis, Brian Edwards, Rhonda Edwards, Mike Merritt, Ryan Mudd, Tessa N. Silvestro
• Scenic Painting/Set Painting Lead: Tessa N. Silvestro
• Set Painting Crew: Brian Edwards, Elora Edwards, Hayden Edwards, Rhonda Edwards, Wyatt Edwards, Mike Merritt
• Set Decoration: Amy Wathen Cooksey, Tessa N. Silvestro
• Properties: Erin Hoffman, Joe Stine
• Light Design: Leslie Wanko
• Light Operator: Laurie Mudd
• Sound Design: Dave Bayles
• Sound Operator: Will Darby
• Costume Design: Amy Wathen Cooksey
• Costume Crew: Cast and Parents
• Makeup Design: AnnaBelle Lowe
• Hair Design: Deana Gilley
• Makeup and Hair Crew: Hannah Gilley, Cast
• Photography/Head Shots: Sandi Foraci
• House Manager: Sue Lateulere
• Reservations: Theresa Pickeral, Richard Reckeweg
• Program: Cheryl M. Reckeweg
• Program Printing: Quality Printers, White Plains
• T-Shirts: Positive Graphics, White Plains

Disclaimer: Port Tobacco Players allowed us to come to a tech week rehearsal.

• Fiddler on the Roof
• The Woman in Black
• A Christmas Carol
• Death by Chocolate
• The Wedding Singer
• Cyrano de Bergerac
• The Music Man

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

Brighton Beach Memoirs by Neil Simon opens this Friday at Port Tobacco Players in La Plata, Maryland. Port Tobacco allowed us to view a rehearsal this week of Neil Simon’s play. Brighton Beach Memoirs is part of Simon’s “Eugene Trilogy,” the story of Eugene Jerome from adolescence through his early writing career. The next two plays are Biloxi Blues and Broadway Bound.

Brighton Beach Memoirs focuses on the life of teenager Eugene Jerome and his life with his family in the Brighton Beach neighborhood of New York in 1937. World War II is on the horizon, his aunt and two cousins are living with the family, and his older brother is having problems at work.

The cast of seven came together believably. The family covered a range of emotions, from excitement to worry rather quickly. The moments of humor were made all the more real as the situations revealed themselves. Situations include Eugene trying to see up his cousin’s skirt, Nora trying to make it big on Broadway at 16, Laurie being told she’s an invalid, Jack losing his job, Stanley leaving home. The second act is a bit more serious as the events force major decisions to get resolved.

Eugene (R. Austin Gore) served as the ever-friendly narrator, sharing his impressions of his family as he wrote their stories in his journal. Poor Eugene seemed to get blamed for everything and the family, especially his mother Kate (Lynne O’Meara), had no qualms about using whatever was handy to take a whack at the youngest Jerome. The physicality was real and well-played. The emotions brought up between Eugene and his older brother Stanley (Benjamin Simpson) flipped quickly from caring and supportive to name-calling. Gore was effective in staying focused on the task at hand, such as when Stanley gave him a special photograph.

Kate Jerome and her sister Blanche Morton (Joanne Fuesel) have a wonderful scene late in the show where they finally let their frustrations over their situations out. Eugene’s father Jack (Peter Piazza) exhibited a world-weariness throughout the story. Piazza’s delivery at times was reminiscent of Don Rickles.

The set (Richard Gilpin) itself was gorgeous with just a few final details to flush out with the set dressing (Ronna Johnson). Priscilla Grow’s costumes were spot on. Eugene was the brightest with the suspenders, bow tie, and knickers. Blanche’s dating outfit was attractive.

Brighton Beach Memoirs is a serious comedy, and a funny drama. It does contain adult situations, so not recommended for young children.

Director’s Note

A note from the Director: I chose this show to direct because my family is the driving force in almost everything I do. It gives me the warm fuzzies all over thinking about all the times that my mother gave me a playful smack on the head because I was mouthy, or when my father would tell me how proud he was of me when I thought I had messed up. Even when I felt like my world was falling down around my ears, I could count on my sister to talk me through it and support me. I am very lucky to be so close with my family and as you probably can tell looking at the names in the program, we are able to share so many aspects of our lives with each other. I always thought I understood the influence the bonds of family have but as I discovered on January 7th, I didn’t even begin to get it. Holding my niece and Goddaughter Mia for the first time left me feeling completely gobsmacked. Here was this product of all the people I love and I found myself feeling so many things all at once. I have no idea what this world has in store for her, what ups and downs she may face as she grows up but I hope that her life is filled with playful smacks, bits of advice, and all the pride and love that I felt growing up in my big Jewish family. Enjoy the show and the walk down memory lane.

~ Melissa Gilpin Ball

A note from the Assistant Director: What is it about families that make them so interesting? We read books, watch movies and TV, go to plays all about families for entertainment. Are we comparing them to our family? Do we look normal next to them or do we realize we are all a little crazy in our own special way? Family can be so many things. This play is about a family, an extended family surviving the everyday pressures that we all face as a family. It could be set in any time period but it would still be the same. There are days when we hate to admit that we are part of a particular family but in the end you wouldn’t change a thing about any of them. I hope you find pieces of your family as you watch this production and you can laugh or cry a little when you think of them. As you read this program you will notice that this production is a family affair, mother and daughters, father, husband, son. It has been so much fun to work together to see our vision come together to what you will see tonight. But families are not just by birth we have other families as well. Our wonderful production team has become family. And I think you will find that our cast has become family as well and they will make you part of their family as well. Enjoy!

~ Joselle Gilpin

Photo Gallery

Eugene Morris Jerome (R. Austin Gore)	Jack Jerome (Peter Piazza)
Blanche Morton (Joanne Fuesel)	Kate Jerome (Lynne O’Meara) and Stanley Jerome (Benjamin Simpson)
Stanley Jerome (Benjamin Simpson) and Eugene Morris Jerome (R. Austin Gore)	The Family
Nora Morton (Rachel Nutter)	The Jerome home

Photos provided by Port Tobacco Players

Cast

• Eugene Morris Jerome: R. Austin Gore
• Jack Jerome: Peter Piazza
• Kate Jerome: Lynne O’Meara
• Stanley Jerome: Benjamin Simpson
• Blanche Morton: Joanne Fuesel
• Laurie Morton: Cierra Wilson
• Nora Morton: Rachel Nutter

The Production Staff

• Producer: Liz Mildenstein
• Director: Melissa Ball
• Assistant Director: Joselle Gilpin
• Stage Manager: Michael Margelos
• Assistant Stage Manager: Kyle Bailey
• Set Design: Richard Gilpin
• Set Construction Lead: Richard Gilpin
• Set Construction Crew: Greg Pruitt, Kate O’Meara, Hiroko Piazza, Rafael Piazza, Chad Mildenstein, Heather Bauer, Kaitelyn Bauer, Melissa Gilpin Ball, Michael Margelos, Tessa Silvestro, Ronna Johnson, Will Darby, Brooke Howells, Brian Weiser, Brian Merritt And The Cast
• Set Painting: Ronna Johnson
• Assisted By: Jhonni Jones
• Set Decoration: Ronna Johnson
• Properties: Grenda Dennis
• Lighting Design And Operator: Tommy Scott
• Sound Design: Brian Donahue
• Sound Engineer: Will Darby
• Costume Design: Priscilla Grow
• Makeup And Hair Design: Heather Bauer, Kaitlin Bauer
• Assisted By: Quentin Sagers
• House Manager: Mary Bailey

Disclaimer: Port Tobacco Players allowed us to attend a tech week rehearsal for this review.

To Kill a Mockingbird, dramatized by Christopher Sergel from the book by Harper Lee tells the story of life in rural Alabama in 1935 as seen through the eyes of a young tomboy named Scout. It’s a play about hope in an unhopeful world and about finding goodness in a town of people who see only bad. Kaitelyn Bauer plays the adult Jean Louise all grown up and able to look back on events that Summer of 1935 with more perspective.

As the narrator, Bauer was able to break that fourth wall convincingly to help the audience see what went on in the town, the courtroom, the homes as well as the neighbors’ homes. Bauer was sincere in her sharing of her thoughts and feelings. Ten year old tomboy Jean Louise, nicknamed Scout, was played by Madelyn Mudd. Mudd was a bundle of energy, standing still was not in her vocabulary as she, Dill (Cole Schubert) and older brother Jem (Jake Dodges) led active lives that summer.

While Scout, Dill and Jem hoped the summer would never end, their father Atticus, a town lawyer and supposed champion of the underdog, took life a little more in stride. Brian Donohue’s demeanor and meaningful actions revealed a man with a past he did not wish to reveal. He was easy-going and down to earth, and very likeable. Atticus held to his convictions with quiet strength. Most of the town respected Atticus. Most of the law-abiding folks that is.

To Kill a Mockingbird is also a great courtroom drama. Atticus is defending Tom Robinson, a black man, who is accused of raping a young white woman, Mayella Ewell. Robinson was played by Jeremy Hunter very simply. He was generally soft-spoken, making the audience feel sympathy for Robinson. Melissa Ball played Mayella so that you weren’t quite sure if you should feel sorry for her or not. Mayella’s father, Bob Ewell, played by Jeff Clark, showed the darker side of people. A very angry man, Clark was afraid of no one and hated everyone. The courtroom scenes had moments of levity, and a few “gotcha!” moments when the lawyers were questioning witnesses. The key scene though was Atticus’ closing argument. Standing at the edge of the stage, Donohue presented his case directly to the audience. It was a powerful scene.

The Port Tobacco Players are known for their wonderful set designs. Watching the courtroom literally unfold was amazing. The space was well-balanced and the set designers John Merritt and John Kirby created a feeling of old houses, some run down, others nicely maintained. The scene change from the home to the courtoom took a little bit of time, but the cast and crew all knew what to move, remove, or open up and all of a sudden you were in a courtroom with judge and jury all present. Some of Jean Louise’s narrations were in spotlight and Light Designer Leslie Wanko’s lighting created an intimate atmosphere as Bauer moved across the stage reliving her story.

To Kill a Mockingbird was a well-performed, insightful story about the good and evil in people.

Director’s Notes

Any young girl who was a tomboy (and many who weren’t) is familiar with this story. Seen through the eyes of Scout and her brother Jem, this is an American classic chock full of social overtones wherein any race, gender or age can find nuggets of wisdom.

I remember giving this book to my daughter Amanda as she was growing up (she absorbed books like a sponge) and wrote on the inside cover that “I wanted her to see the good in people before she had to deal with the bad.” Nothing profound, just a Dad not wanting his daughter to be dragged down by an apathetic outside world in which there are plenty of “bad things.” Critics would point out there is a plethora of “bad things” in the book. True enough. Yet we never feel there are no options or that we must succumb to the evil in the world.

As parents we provide our children plenty of cliches that are worthy of an eye roll. One of the worst is “Because that’s the way it is.” Usually that comes at the end of a longer discussion where the parent may no longer want to defend a position. Young people deserve truthful answers and I find nothing wrong with explaining an injustice regardless of the subject. Encouragement toward positive actions could be as powerful as the message. I would hope after viewing this play, all of you would think to quickly add “But it doesn’t have to be that way” to the foul clichés that rolls so blithely off our lips and reeks of capitulation.

John W. Kirby, Director

Photo Gallery

Photos provided by Port Tobacco Players

Cast

• Jean Louise: Kaitlelyn Bauer
• Scout Madelyn Mudd
• Jem: Jake Dodges
• Atticus: Brian Donohue
• Calpurnia: Heidi Spencer
• Dill: Cole Schubert
• Bob Ewell: Jeff Clark
• Mayella Ewell: Melissa Ball
• Heck Tate: Robbie Jones
• Mr. Gilmer: Mike Mortensen
• Judge Taylor: Peter Piazza
• Maudie Atkinson: Alison Dodges
• Stephanie Crawford: Kim Moore Bessler
• Mrs. Dubose: Sheila Draper
• Mrs. Dubose Understudy: Joselle Gilpin
• Walter Cunningham: Anthony Dieguez
• Reverend Sykes: Walt Neal
• Tom Robinson: Jeremy Hunter
• Helen Robinson: Sabrina Curtis
• Nathan/Boo Radley: Keith Linville
• Townspeople: Hailey Dodges, Joselle Gilpin, Taylor Latimer, Greg Pruitt, Shubert

Production Staff

• Producer: Amy Wathen Cooksey
• Assistant Producer: Emily Garcia
• Director: John Kirby
• Aassistant Director: Heather Bauer
• Stage Manager: R. Austin Gore
• Stage Crew: Savannah Hamilton, Christine Schubert, Nikki Lusk, Diane Spurgeon and the Cast
• Set Design: John Merritt and John Kirby
• Scenic Painting: Ronna Johnson
• Set Construction Lead: John Merritt
• Set Construction Crew: Tom Schubert, John Kirby, Mike Merritt, Rich Gilpin, Randy Davis, Dorothy, Cory & Alec Hart, Casey & Colin O’Mealy, Debbie, Deana, Hannah & Rachel Gilley, Jack Vizzi, Faith Spencer, Rachel Lloyd & the Cast
• Set Painting Lead: Tessa N. Silvestro
• Set Painting Crew: Set Construction Crew and The Cast
• Set Decoration: Kim Moore Bessler
• Properties: P.J Pitonyak
• Light Design: Leslie Wanko
• Light Operator: Emily Wanko
• Sound Design: Mike Mortenson
• Sound Operator: Allison Claggett
• Costume Design: Terri Fortney Beinert
• Costume Crew: Heather Bauer, Kaitlelyn Bauer, Christine Schubert, Laurie Mudd, Amy Wathen Cooksey and The Cast
• Make-Up and Hair Design: Heather Bauer
• Make-Up and Hair Crew: Zenetta Broadnax and the Cast
• Armorer: Steve Claggett
• Fight Choreographer: Craig Hower
• Dialect Coach: Christine Hirrell
• House Manager: Laurie Mudd
• Program: Amy Wathen Cooksey
• Program Printing: Quality Printers, Waldorf
• T-Shirts: Positive Graphics, White Plains

Disclaimer: Port Tobacco Players provided two complimentary media tickets to ShowBizRadio for this review.

Port Tobacco Players has pulled together a stage show that is sweet and endearing, energetic and enjoyable. The classic story of a little girl who journeys over the rainbow and ends up on a yellow brick road to find a wizard is brought to life by a dedicated and enthusiastic cast. In a packed theater in southern Maryland, they brought the house down with humor, show-stopping musical sequences and a lot of courage.

Although there were some pacing issues at the beginning that slowed things down (no one really wants to spend that much time in grey Kansas), the play hit its best moment as soon as Dorothy entered Munchkinland. When the mass of children came out as the Munchkins, the show came to life. The children’s chorus was the most animated, best rehearsed and tightest vocal grouping of the entire show. Every girl and boy in the scene was unique, interesting to watch, and confident in their lines. The audience loved it, and it really was the high point of the show.

The staging of the scenes was also good at bringing the audience into Oz. Dorothy and her adorable Yorkshire terrier traveled the yellow brick road up and down the aisles of the audience, which was good for keeping the children in the audience excited while the set changed. The set also was a highlight of the show. Scene changes were swift, choreographed and very specific, bringing you on a journey to new places in the land of Oz without overcrowding the set. A projector was used effectively not just as a backdrop for each scene, but also as a device in itself to show magic. Of particular note was the scene where Dorothy and her friends are falling asleep in the poppy field. A scene of flowers in a field was projected onto the screen behind them, but then suddenly, it seemed a hole had appeared in the screen, and Glinda could be seen behind it. This was accomplished with a very specifically timed animation on the projector screen in conjunction with a back light on a raised part of the set. The effect was worthy of scrim/projection work one would see in a professional setting, and elevated the production as well as serving the story.

Overall, the production had a lot of magical special effect moments. Some succeeded, and others were a little jarring. Many times, the witch shot flames or smoke rather fantastically, and all these were timed and executed well. The giant head of the Wizard of Oz was a large animatronic puppet, and although it might have benefited from a little more haze to hide the resemblance to a certain big-headed CG Dreamworks alien with a large mind, it served its purpose once the lights in its eyes began to glow and the larger than life voice echoed through the theater.

The effects that were a little too loud or jarring mostly just made the audience laugh. For instance, in the scene in the poppy field, snow is supposed to fall from the sky to aid Dorothy in escaping the sleep effects of the poppies. Instead of using the screen behind them to create gently falling snow, two giant rockets on either side of the stage suddenly exploded, provoking yells of alarm from an audience, and snow like confetti drifted to the stage, provoking giggles. In another scene, the witch “flew” across the stage on a zipline, but the effect was so unexpected and quick that it seemed more funny than anything else. Perhaps if the cast had all looked in the direction she was going to zip from, there might have been less of a surprise when she zoomed diagonally across the stage.

Overall, however, the audience enjoyed the show, staying engaged throughout the entire three hour performance. Some of the actors were definitely audience favorites by the end of the night. The scarecrow (played by Charles Watley) for instance had a rag-doll physicality that made him look as if he was one gust of wind from being blown over, and a real comedic timing that made the part his own. At one point the way he delivered a line after being torn apart by the flying monkeys “I can’t reach my leg!!!” was echoed by a child in the audience who evidently found it hilarious and just had to repeat it, and probably continued repeating it on the way home. Dorothy, played by Kaylin Beach, was sweet and little and endearing. Her singing range would never rival Judy Garland, and many of the notes were rewritten so she could hit them, but never once did she let the audience down in portraying the lovable heroine with a little touch of spunk that helps her get through the fairy land.

Also of note was the Cowardly Lion, played by Chad Mildenstein, another crowd favorite whose song “If I Were King of the Forest” was arguably as engaging the movie version, with a style all his own. His diction and range were fantastic, and really brought empathy for the character.

Production values for the set and costumes were fantastic, and very cohesive. Other than one misstep with an overly-poofy Glinda dress that swallowed the actress’s waist, the costumes were well implemented. All the Munchkinlanders were colorful and bright, the main cast was recognizable in their well-known togs, the Witch’s robes flowed menacingly, and the rest of the cast looked like each costume had been made exactly for them, no small feat for community theater and a cast that large.

Less than successful was the makeup, with Dorothy’s cheeks so red they looked chapped. Watley as the Scarecrow had his natural dark complexion covered in the wrong shade of yellow makeup, giving a very pallid cast to an otherwise handsome actor. The Witch, who could have used some pallor instead, was so bright as to be nearly neon green, though this perhaps was intentional to make her more cartoonish. A more blue-grey mix could have lessened the glowing effect, but might have made her more menacing. In a fantasy story, however, there will be different interpretations of how to do a fantasy land, and overall there were no makeup effects that pulled the audience out of the story or misrepresented Oz.

The children who spilled out of the theater with awe and excitement on their faces were the true test of the success of this troupe’s labors. They sat through a three-hour spectacle and enjoyed every moment of it. There may be no place like home, but for those kids, there was no place like the theater that night. In a sold out theater, where the aisles turned into the yellow brick road, and a scarecrow, lion and tin man skipped along together to find the Wizard, the audience was whirled into the world of Oz and magic was made.

Cast

• Dorothy: Kaylin Beach
• Aunt Em: Heather Bauer
• Miss Gulch/Witch: Kristin Atwell
• Glinda: Amy Wathen Cooksey
• Uncle Henry/Guard of Oz: Dan Brennan
• Zeke/Lion: Chad Mildenstein
• Hickory/Tinman: Timothy LaBelle
• Hunk/Scarecrow: Charles Watley
• Professor Marvel/Wizard of Oz: David Standish
• Crow/Jitterbug/Ensemble: Troy McConnell
• Tree/Jitterbug/Ensemble: Holly DeLoache, Deana Gilley
• Jitterbugs/Ensemble: Kaitlin Harbin, Francis Ford
• Crows/Winkies/Ensemble: Kyle Bailey, Nicholas Cantu
• Winkies: Frank Cook, Thomas Donohue, Charles Flemmings, Matt Jones, Greg Kenney
• Ensemble: Angela Alexander,Monica Eller, Katie Fischer, Greg Kenney, Sara Cauler
• Munchkins: Jahna Adams, Angela Alexander, Julia Atwell, Garrett Cooksey, Clay Crofford, Candesce Crofford, Carissa Crofford, Wyatt Edwards, Taylor-Rene Flemmings, Alexis Fraser, Trinity Fraser, Hannah Gilley, Kristen Ging, Chloe Lateulere, Jenna Leitzel, Trent McConnell, Christopher Morse, Madelyn Mudd, Molly Mudd, Kate O’Meara, Skye Taylor, Isabella Valasco
• Toto: Putter Ball

Crew

• Producers: Cheryl M. Reckeweg and Rick Pitonyak
• Director: Joe Stine
• Music Director: Will V. Derr
• Stage Manager: Kenneth L Waters Jr.
• Set Designer and Construction head: John Merritt
• Choreography: Brooke Howells
• Hair Design and Scenic Painting: Ronna Johnson
• Lighting Design: Leslie Wanko
• Properties: Melissa Ball
• Special Effects: Keith Linville
• Costumes: Pat Brennen
• Makeup: Heather and Kaitelyn Bauer
• Sound: Gerhard Straub

Disclaimer: Port Tobacco Players provided two complimentary media tickets to ShowBizRadio for this review.

Once upon a time there was an Evil Queen who wished for a son-in-law. She kvetched to her Magic Mirror, aka Yetta “Do I read you like a book, Manya?” Moscowitz, “I have everything: health, wealth, comfort and a Shrewish Princess… …everything but the son-in-law.” Said Yetta, “Vill my Monty do? Hev a piece of kugel, Darlink. I just made it. I tell you ….tell the Shrewish Princess if she dahsn’t brink you a sahn in low in tree midnights you going into the voods…to Brooklyn…to buy von.” Of course Yetta’s Monty wouldn’t do, he’s an idiot and a Brooklyn son-in-law would take away her bacon; so the Evil Queen went into the woods to find the Shrewish Princess and give her the three midnights ultimatum. The Shrewish Princess knew that the Evil Queen always got what she wished for and her will is written in pencil; so the SP went into the woods…to Fort Worth…and came upon a very smart, but solitary, Prince willing to agree to the SP’s contract terms, “I don’t work, I don’t clean and I don’t have children.” So everyone got what they wished for but no one was happy because all three, in any combination, inherited….. a second Evil Queen.

Be careful what you wish for…you might get it.

Stephen Sondheim understood wishes and that one could have everything and nothing at the same time. He worked through his lifelong complexes by partnering with James Lapine and creating a musical analysis of classic Fairy Tales called Into the Woods, the current endeavor by the well-regarded Port Tobacco Players.

Director Brooke L. Howells suffers from an embarrassment of riches as she works to get the curtain up on her show. This reviewer saw a dress rehearsal on the first night of a Tech Week full run of the show and the early indications are that this will be a wowie, zowie, elegant show. Into the Woods is not this reviewer’s favorite show, but PTP’s production is smart and pleasing.

Howells has assembled a strong cast of powerful and melodic voices who have great chemistry together as actors. They are ably supported by Music Director James D. Watson and the most competent live Community Theatre orchestra this Reviewer has heard in a long time. The set was just complete enough to see how this lovely production will play.

Your reviewer must qvell over the technical direction of this show. Tommy Scott’s lighting design and Keith Linville’s special effects promise that this show will be magic. James D. Watson’s sound design creates giants wreaking havoc where none really exist. The theatre shakes and the Giantess’ voice booms in the dark second act where the psychological pitfalls lie.

Act 1 narrates the classic Grimm’s Fairy Tales in musical form. The Narrator (Andrew Whetzel) nudges the story along and the superior vocals highlight the magnetism of the performers together. The Witch (Bridget Devlin Burke) is particularly strong and the Baker (Michael Margelos) and his wife (Kristen Page-Kirby) have great chemistry together. Little Red Riding Hood (Becky Kuhn) is a feisty girl just aching for a fight with the Wolf (Rami Essa) and Cinderella (Jenete St. Clair) is accommodating while Rapunzel (Annabelle Lowe) is nursing grievances about her upbringing. Jack’s (Alfred Lawson) only friend is his cow and his mother (Stephanie Giola-Ely) is considering a special education plan for him. Their separate tales are here woven together and the happy ending is shared by all. There are even two smarmy and charmy Princes (Benjamin Simpson, Chad Mildenstein) so that Cinderella and Rapunzel can live happily ever after in fabulous castles.

Act 2 is the part that no one likes to talk about. Everyone’s wish has come true and no one is happy. In Act 1 each character was counting on another character to secure the wish and ultimate happiness. As wishes come true the chemistry between the parties changes and each one realizes that no one can guarantee another’s happiness and the alliances among the individuals change. Even the two smarmy, charmy Princes go back into the woods to look up Snow White (Gayle Morris) and Sleeping Beauty (Amanda Wegand). Jack killed the Giant in Act 1 to fulfill his mother’s wish for wealth, but now Mrs. Giant is on a literal warpath that is threatening to level the woods and crush everyone and everything in it. Mrs. Giant wants Jack. If the Fairy Talers give her Jack then she will take her retribution out on him and go away. This is where we find out just who Jack’s friends really are.

What is a parent’s responsibility to a child and what are our responsibilities to each other? Can…or must…each one of us take on the responsibility for another’s happiness or just create the conditions under which those we love can make their own happiness. Port Tobacco Players’ Into the Woods asks these questions in song and magically succeeded in making the Very Smart Prince and his Shrewish Princess very happy.

Cast

• Narrator: Andrew Whetzel
• Cinderella: Jenete St. Clair
• Jack: Alfred Lawson
• Jack’s Mother: Stephanie Giola-Ely
• Baker: Michael Margelos
• Baker’s Wife: Kristen Page-Kirby
• Cinderella’s Stepmother: Jackie Burson
• Florinda: Monica Garza
• Lucinda: Sarah Koon
• Cinderella’s Father: Robbie Jones
• Little Red Riding Hood: Becky Kuhn
• Witch: Bridget Devlin Burke
• Cinderella’s Mother: Tracie Wiesemann
• Wolf: Rami Essa
• Granny: Renee Gaffe
• Rapunzel: Annabelle Lowe
• Cinderella’s Prince: Benjamin Simpson
• Rapunzel’s Prince: Chad Mildenstein
• Steward: Brian Merritt
• Snow White: Gayle Morris
• Sleeping Beauty: Amanda Wegand

Production Staff

• Producer: Ann Marie Watson
• Director: Brooke L. Howells
• Music Director: James D. Watson
• Choreographer: Brooke L. Howells
• Stage Manager: R. Austin Gore
• Assistant Stage Manager: Melissa Ball
• Set Design: Melissa Ball, James D. Watson
• Set Decoration: Brooke l. Howells, Ann Marie Watson
• Lighting Design: Tommy Scott
• Sound Design: James D. Watson
• Properties: Terri Beinert
• Costume Design: Melody Sciarratta
• Hair, Makeup Design: Sarah Sandy
• Special Effects: Keith Linville
• Wolf Mask: Greg Rumpf

Disclaimer: Port Tobacco Players provided two complimentary media tickets to ShowBizRadio for this review. PTP also purchased advertising on the ShowBizRadio.net web site, which did not influence this review.

• The Trip to Bountiful, October 2011 Schedule
• A Christmas Carol, November – December 2011 Schedule
• Cabaret, January – February 2012 Schedule
• Harvey, March – April 2012 Schedule
• Into the Woods, May – June 2012 Schedule
• The Wizard of Oz, July – August 2012 Schedule

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

• The Diary of Anne Frank, October 2010 Schedule
• It’s A Wonderful Life, November – December 2010 Schedule
• Assassins, January – February 2011 Schedule
• Shadowlands, March 2011 Schedule
• A Funny Thing Happened on the Way to the Forum, May 2011 Schedule
• Willie Wonka and the Chocolate Factory, July 2011 Schedule
• Duck Hunter Shoots Angel, August – September 2011 Schedule

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