As time goes on and years pass some wonderful hidden treasures of the stage seem to fade and disappear. Wonderful works become more ancient. As in the case in Milburn Stone’s durable production of Ira Levin’s Deathtrap. Back in the late 80’s and early 90’s Deathtrap was a staple for community and dinner theatres everywhere. But lately these little gems of twisted plots, witty, skillful and enchanting dialogue have been replaced by meaningless productions filled with profanity, sex and worthless controversial fabrications. My Hats off to Milburn Stone for trusting the script and the genre of a good old-fashioned murder mystery.

Deathtrap is essentially a play with in a play. Sydney Bruhl, (Mike Ware) an aging has-been playwright of murder mysteries is struggling to come up with his next “Smash Hit.” The money is running out just as is the patience and the romance of his wife Myra (Melanie Bishop). A fresh, sure hit masterpiece script arrives in the mail by a young aspiring playwright Clifford Anderson (Ryan Milliner) who attended and met Bruhl at one of his summer seminars. And thus Bruhl realizes since no one besides him and the young protégé has laid their eyes on the script this is a once in a lifetime opportunity to bring Bruhl back into the spotlight. The plan is simple, kill Anderson and pass the script as his own. Sound ingenious, Right? Well not really… Bruhl’s plan started a long time prior to the evening that we witness. Secrets, plots, surprises, mayhem and betrayal unfold every minute. Buhl’s plan crumbles by the second with interruptions and complications of a world-famous, eccentric, with great fashion sense self-absorbed know it all psychic Helga ten Dorp (Justine Tucker) and a surprisingly illuminating visit by his longtime friend and lawyer Porter Milgrim (Dan Tucker). As the play progresses we dive deeper and deeper with anticipation into the unexpected, astonishing, shocking, startling and alarming climax of Deathtrap.

The production stays true to its self, Levin’s words and the original vision of the script. And for that I do commend director Andrew John Mitchell. Not everything has to be re-invented, updated or manipulated to the point of obscurity. Mitchell’s staging is creative, well-balanced and imaginative yet still classic. The pace of the show has great timing rhythm and an unfolding flow as needed. Lewis’s set design is brilliant, no detail is missed, every T is crossed and every I is dotted. It is absolutely breathtaking. And his lighting design is as strong as it gets. The costumes, designed by Edwards, are simple and appropriate to the era however some flair to bring the characters’ personalities to life were absent, so much could have been added to complete the picture.

Though this production has leads and supporting roles, the show should most definitely be a collective ensemble undertaking, and here is where this Deathtrap does not quite kill. Ware is a seasoned veteran actor and that is crystal clear to see however I felt like I was watching a one-man show (and not a very good one), Ware constantly upstaged his fellow actors, pulling away their moments and important significance of their roles. Ware’s over the top flamboyant eccentricity also got old and annoying after the first 15 minutes. There was no reason to care in any way for his interpretation of Bruhl. Milliner on the other hand is a bit wet behind the ears as a leading man, but is most definitely full with potential and promise. There was no lack of focus and concentration on his part, his Clifford was genuine and real, however he never fully made a full circle and growth into Clifford’s evolution and strength. Instead of seeing a mastermind wannabe he at times came across as a youngster following his teacher. Bishop’s choices as Myra are also questionable, she come across as a prisoner of her life with Sydney rather than a woman who is unexpectedly drawn into the madness of a man who she thought was her knight in shining armor. Quirk does well with the challenging role of Helga, however she also chose to go way over the top more than necessary. As old and corny as this sounds, sometimes LESS IS MORE. The finesse, elegance and mystery of the character were lost in the grimacing facial expressions, and humor and plot got drowned with constant egregious arm and body swaying. The saving grace of the acting in this production is hands down the nuanced, down to earth, sincere, authentic performance of Dan Tucker. Talk about less is more! Tucker takes a tiny role and turns into a beautiful skilled performance.

At the end of the day, Milburn Stone has delivered an enjoyable evening of the traditional murder mystery comedy that is missing from today’s theatre’s repertoire. So head out Milburn Stone Theatre and get entombed in Deathtrap!

Cast Of Characters

• Sydney Bruhl: Mike Ware
• Myra Bruhl: Melanie Bishop
• Clifford Anderson: Ryan Milliner
• Helga ten Dorp: Justine Quirk
• Porter Milgrim: Dan Tucker

Production Staff

• Director: Andrew John Mitchell
• Stage Manager: Serenity Rowland
• Scenic and Lighting Design: S. Lee Lewis
• Costume Design: Dane Hutchinson
• Sound Design: Terry Edwards
• Properties Design: Eyvo Johnson
• Exotic Weapons and Firearms Display provided by: SFC Ralph Denton, SR USA (Ret)

Disclaimer: Milburn Stone Theatre provided two complimentary media tickets to ShowBizRadio for this review.

Making movies from books and novels is nothing new; it has been done for almost a century. Many great and beloved stories have been taken and hollywoodised. Everything from the Bible to graphic novels has been put on screen. So is that a good thing? Well it can be! It also can be a dangerous detrimental failure!

If you were born in the seventies, then when you were a blushing, impressionable teenager between 13 and 18 you can easily guess, understand, and feel me on this, when I say one of the most beloved stories/films of all-time hit the screen! The iconic “The Princes Bride.” Back in 1987 every teenage boy wanted to be the dashing Wesley or the courageous Inigo and every girl wanted to be swept away like Buttercup. The film has become one of the biggest influences of pop culture and still holds strong to this very day.

Harford Community College and the students of theatre workshop I, II, and III daringly have done the unthinkable! They have adapted this symbolic novel by William Gordon and the film directed by Rob Reiner into a full-blown full stage theatrical production, INCONCEIVABLE! And they have done it virtuously!

Under the strong, vivid and imaginitive direction of Brandon McCoy the book and film comes to life. Now I won’t insult our society by going through the plot line or the story, so if you are the only person in the existence of the universe who has not read it or seen the movie, stop reading this now! Run and go watch “The Princess Bride” or read the book, or better yet do both.

Adapted by Brandon McCoy, Rebecca Davis and the Cast after the novel and film by William Goldman. At the beginning of the show we are greeted by a stern cat lady type narrator, effectively and skillfully played by Jordan Wyandt, who enjoys a sip or a full snifter of brandy who settles in comfortably in to her lazy boy, and thus begins to read the very oversized “The Princes Bride” when she is suddenly interrupted by a young audience member 1 (Lizzie Detar) and then suddenly another audience member 2 (Jean Perrie) with an array of comments and questions. As she sternly, and quite skillfully and humorously puts them in their place the stage comes to life. And for the next two hours we are transformed and enchanted back into our childhood, back into our beloved fairy tale. Fully equipped with the beloved one liners, STELLAR!!!!!!!!! Swash-buckling fight choreography, and sound, light, video and audio special effects that make this production an Inconceivable success!

McCoy’s vision shine clearly and he executes it without fail. Creating two audience members as part of the cast was a very wise and artistic move, breaking the fourth wall allowed the audience to feel that they were really a part of the story and the show. That the narrator was talking directly to them, and that the characters on stage came right out of our imaginations.

This 14 member cast works quite well together and it is clear to see the effect this story has on all of them and the love they posses for it. Joshua Kradz with his suave and sharp vocal range and chiseled cheek bones does quite well as the (Man In Black). His interpretation of the role is a combination of the dazzling Cary Elwes and his own creative take on our dashing but at times bumbling hero. As the show advertises on the front cover this production is “An Homage” and it does deliver that, so most of the performances are a loving and respectful parody and impersonation of the actors from the film. Joanna Adams (Buttercup) was one of the few that did not base her character on Robin Wright’s performance; she made it her very own. And it shined beautify. Adams underplays her character’s dramatic moments with honesty and calmness, which gives her great strength and vulnerability. Adams is also a phenomenal Physical Performer (SURPRISE!!!) her moments of silence and intensive listening, or miming her swimming with the eels, were some of the strongest moments of the production.

Dave Panzer (Fezzik) is definitely the heart of the show. You fell in love with him from the moment he gigantically walked on stage. His honesty in the character stands out next to none. And yes he practically brought down the house with; “ANY BODY WANNA PEANUT?” Nathanial Donahue (Vizzini) is physically perfect for the low-life mastermind, his attempt to emulate Wallace Shawn mostly is successful, although at times Donahue’s lines were delivered extremely quickly, making it hard to understand, and it also lost some moments of humor.

Connor Shay (Humperdinck) is so over dramatic and so over the top that it works like a charm. Not sure how but it just does. Shay has combined Chris Sarandon with Lord Farquaad and delivered an entertaining performance. Hunter Lakota Baker (Count Rugen), is Shay’s sidekick (oh and SPOILER ALERT!!!!), he is the six-fingered man. He balances the tension and comedy well.

The rest of the actors play multiple roles do a great job and love every moment. So this brings me to Tim Torre (Inigo) who completely transforms himself into the drunken, courageous, sharp-tongued Spaniard, haunted by his father’s death and obsessively overtaken by revenge. And yes Torre emulates Mandy Patinkin but he does it superbly, and by the second act he brings so much of his own emotion and honesty and vulnerability that you just can’t take your eyes of him. Another quite impressive performance by the upcoming master of the craft.

The show closes this weekend, so do yourself a favor forget about reality for two hours and do something inconceivable, and that word does not mean what you think it means, and go experience The Princess Bride Live!

Cast

• Man in Black: Joshua Kradz
• Buttercup: Joanna Adams
• Inigo: Tim Torre
• Vizzini: Nathaniel Donahue
• Fezzik: Dave Panzer
• Humperdinck: Connor Shea
• Count Rugen: Hunter Lakota Baker
• King and Miracle Max: Brandon Molle
• Queen and Valerie: Madeline Favazza
• Narrator: Jordan Wyandt
• Buttercup’s Father, Assistant Brute, Clergyman: Byron Davis
• Audience Member 1: Lizzie Detar
• Audience Member 2: Jean Perrie
• Buttercup’s Mother, Albino, Yellin: Andie Cappelletti

Production Staff

• Producer: Ben Fisher
• Director: Brandon McCoy
• Assistant Director: Miranda Litchford
• Stage Manager: Sarah Tweed
• Literary Manager: Rebecca Davis
• Technical Director/Scenic and Props Designer: Robbie Elliot
• Lighting Designer: Baron Pugh
• Costume Designer: Kerri Younkin
• Costume Assistants: Debi Gable, Susan Yip, Sheila Siebert
• Run Crew: Johanna Brown, Aimee O’Neill, Cami Ortiz-Mesa
• Projections/Animations: Brad Davis, Students in Theatre Workshop I, II, and III and Stagecraft I

Disclaimer: HCC Actor’s Guild provided two complimentary media tickets to ShowBizRadio for this review.

It would be definitely safe to say that family musicals are not what they used to be. From the roots of Annie, Oliver, Barnum and Cats have sprung and grown a whole new generation of family entertainment for the stage. In the last two decades shows such as Beauty and the Beast, Lion King and Mary Poppins have dominated the Broadway family musical arena. With massive sets, high-tech special effects, humor and some subject matter that is quite different to what “Family Musicals” were back then. Shrek the Musical is the latest installment in this phenomenon.

Based on the Dream Works Animation motion picture and the book by William Steig Shrek tells the story of a colossal, green, sharp-tongued, big-hearted, belching, flatulent ogre named Shrek (Dickie Mahoney) who is suddenly disturbed from his hermit-like life on his swamp by every possible fairy tale character you can think of led by a frantically obsessive Pinocchio (Gannon Webb) who were exiled from their homes in the city of Duloc by the small-minded, conceited, short-tempered Lord Farquaad (Jamie Mikijanic). Determined to get his home back, Shrek reluctantly makes a deal with the half-pint Farquaad to go rescue a princess named Fiona (Shereen Ahmed) in a tower whom Farquaad only wants to marry to become king. So to get the deed to his heavenly swamp, the adventure begins. With the assistance of Shrek’s wise-cracking, witty, mile-a-minute, get on your last nerve, loving, good-hearted sidekick Donkey (Eyvo) the journey is full of twists, turns, surprises, and most definitely a great moral!

The Milburn Stone Theatre, under the direction of Artistic Director S. Lee Lewis, choreographer extraordinaire Bambi Johnson, and practically pitch-perfect musical direction from Niki Tart, bring this massive production to life beautifully, transforming the entire theater into the fantasy world of fairy tales, and sparing no expense with sets, costumes, props, and a cast of almost 60 very talented local actors of ALL ages.

The house was sold out with majority of its seats filled with families and children of all ages. And it was clear that the show was enjoyed by all, especially the children. And though some humor, dialogue, and choreography was a bit inappropriate for the younger members of the crowd, the performances and the heart of the story and its message for the most part made up for the crude jokes and over the top use of bodily functions.

To say that Mahoney was born to play the part of Shrek would be a massive understatement. Mahoney’s performance was remarkable. From the second he majestically entered the stage he had you in the palm of his hand. Mahoney skillfully grew emotionally from scene to scene. A role such as this can easily be ruined by going over the top or not knowing were to stop. Mahoney not once crossed that line. Underplaying some of the bigger moments allowing the rest of the actors to shine. And passionately with strength attacking the gentler moment of his journey to really allow us to see the ogre’s gentle and loving heart. And also the fact that his vocals could hold up to a number of actors working on Broadway today didn’t hurt either. Eyvo also delivers a tour de force performance as the iconic sidekick. Perfect comic timing, a beautiful range of emotional struggle and contemplation, pitch perfect vocals, and quite impressive dance moves all occurred in a head to toe donkey costume. Ahmed also nails the impatient, clever, humorous, and struggling with her own secrets princess Fiona. With passion, exuberant confidence, and a beautiful vocal range, Ahmed’s talent, experience and professionalism show every step of the way. Mikijanic tackles the truly difficult and physically demanding role of Farquaad quite well, definitely being the fan favorite of the audience (at least on the night that I attended) vocally achieving every note and nuance. However Farquaad is a role that also can easily be taken over the top unnecessarily. And at times Mikijanic crossed that line becoming a caricature rather than the character that for the most part he had to perfection.

In local musical theatre production a huge ensemble is usually a staple, but it’s not always a good thing. However the entire ensemble of Shrek the Musical is very notable, with singing, dancing, puppetering, and added personal touches along the way. Rebekah Latshaw is full of energy and joy as the sugar-plum fairy, and I practically crumbled laughing with her performance as Gingy. Also a standout was Barbara Walker (Mama Ogre/Bear) and Karalynn Joseph (Teen Fiona) both equipped with a great range of talent they brought something very special to their respective moments on stage. And even under the Blond/Black Wigs and dark sunglasses the energy and striking vocals of Christy Wyatt were never missed.

As I mentioned before “Family Musicals” are definitely not what they used to be. Times have changed. However Milburn Stone’s production of Shrek the Musical is well done, skillfully produced, and beautifully executed by the cast. But keep in mind that our children are not as naïve as we might think they are.

Cast Of Characters

• Shrek: Dickie Mahoney
• Fiona: Shereen Ahmed
• Donkey: Eyvo
• Lord Farquaad: Jamie Mikijanic
• Pinocchio: Gannon Webb
• Sugar Plum Fairy/Gingy: Rebekah Latshaw
• Dragon: Jayne Lewis
• Mama Ogre/Bear: Barbara Walker
• Papa Ogre/Bear: Frankie Gillette
• Baby Shrek/Bear: Ethan Taylor
• Teen Fiona: Karalynn Joseph
• Young Fiona: Sammi Flickinger
• Baby Fiona: Katie Hetzer
• Baby Donkey: Nikolas Weatherington
• King Harold: John “Doc” Mulvey
• Queen Lillian: Cindy Mulvey
• Thelonius: Matthew Cannon
• Captain Of The Guard/Bishop: Steve Flickinger
• Three Pigs: Zack Langrehr, Codey Odachowski, Nick Epps.
• Dragonettes/Blind Mice: Stephanie Mahoney, Megan Valle, Christy Wyatt
• Big Bad Wolf: Matt Peterson
• Ugly Duckling: Mary Spacht
• Wicked Witch: Nancy Denton
• Shoemakre’s Elf: Tigga Smaller
• Garden Gnome: Adam Nelson
• Fairy Godmother: Carrie Dill
• The Mad Hatter: Kelly Wolffe
• White Rabbit: Tyler Fritz
• Pied Piper: Jamie Verderamo
• Grumpy: Grant Bailey
• Maleficent: Shelby Smith
• Peter Pan: Cody Palmer
• Captain Hook: Matt Lucatamo
• Tweedle Dee: Matt Wolffe
• Tweedle Dum: Michael Maistros
• Queen Of Hearts: Alicia Downs
• Little Red Ridding Hood: Kelleigh Pangratz
• Dance Corps: Heather Bounds, Holly Ann Ciampaglio, Miranda Daviduk, Amanda Deflippis, Taylor Gallihue, Alli Graham, Steven Pritchard, Duncan Smith, Tiara Smith.
• Ensemble: Erin Bourn, Erick Copper, Delany Flickinger, Gracelynn Fritts, Lannon Frits, Kerre O’neill

Production Staff

• Director: S. Lee Lewis
• Musical Director: Niki Tart
• Choreographer: Bambi Johnson
• Lighting Design: William A. Price Iii
• Properties Design: Eyvo Johnson
• Stage Manager: Bevin Hensley
• Assistant Director: Maren Lavelle
• Assistant Stage Managers: Brandie Biddy And Bailey Woodruff
• Master Electrian: Tyler “Danger” Bristow
• Costumiere: Gay Lynn Price
• Charge Artist: Leila Briggs
• Scenic Artist: Lynne Twining
• Sound Engineer: Terry Edwards
• Loght Board Operator: Tyler “Danger” Bristow
• Follow Spot Operators: Charlie Johnson And Sondra Mckeever
• Fly Rail Operators: Ryan Sofa, Kayla Whisman
• Backstage Crew: Brandie Biddy, Bob Denton, Brandon Gorin, Hailey Joseph, Serenity Rowland, Bailey Woodruff.
• Costume Crew: Betty Angelucci, Charis Bartenslager, Kristen Hessenauer, Bambi Johnson, Alexa O’neil, Cynthia Wham, Missy Wyatt.
• Wardrobe Crew: Deb Bailey, Missy Wyatt.
• Scenic/Lighting Crew: Sheeren Ahmed, Shawn Allbright, Brandie Biddy, Tom Collins, Matt Cannon, Carrie Dill, Tyler Fritz, Marty Gorin, Tom Gorin, Bevin Hensley, Alli Graham, Great Holtackers, Matt Lucatamo, Jayne Lewis, Micheal Maistros, John Mulvey, Adam Nelson, Kerrey O’neill, Cody Palmer, Serenity Rowland, Tigga Smaller, Tiara Smith, Jamie Verderamo.

Disclaimer: Milburn Stone Theatre provided two complimentary media tickets to ShowBizRadio for this review.

In a recent interview a local writer asked Toby Orenstein about her casting process and the fact that she seems to cast a majority of the same actors for her productions. Toby replied by saying that her performers are some of the best around, but her doors are always open for new comers, however in order to make it in the door you have to be better than the best. And that is undoubtedly clear and evident in the Columbia’s staple and longest existing dinner theatre’s production of the 1987 Tony Award winning musical Les Miserables.

Based on the iconic novel by French novelist Victor Hugo, Les Miserables, which at one point was the longest running musical on Broadway, can be described in many ways. Les Miserables is set in the background of the French revolution and tells the story of one man’s journey over almost 30 years of his life, his trials and tribulations, his pain, suffering and joy. But ultimately Les Miserables is about REDEMPTION. The relationship between God and man. The ultimate Faith that one can put in the Lord God and serve, follow and obey through life and till death. Experiencing his love, mercy and grace through all stages of one’s existence.

Artistically, technically, and creatively the production is top-notch, once again utilizing the theatre in the round space to its ultimate and fullest ability. Producing larger than life set pieces, assembling a three-tier barricade that covers the entire facility, and manipulating the light design to transform us from the darkest corners of the underground sewers to bright and vibrant streets of Paris. Toby, who skillfully, masterfully, powerfully and yet gently co-directed with Steven Fleming, stays true to the heart of the story and the passion and the strength of the score. Creating new and innovative staging that is touching, thought-provoking and artistically inspired. And the six-piece pit band under the musical direction of Christopher Youstra awakens every emotional note to its fullest potential.

Daniel Felton delivers a powerful, tormented, tender performance as Valjean, with stunning vocals and dominant and controlling presence. Felton’s “Who am I” is one of the purest moments in the production and an ultimate praise and connection to God, a complete believability of physical, spiritual and emotional growth. Janine Sunday’s Fantine is most differently up to par, delivering the legendary “I Dreamed a Dream” with pitch perfect vocals and conveying heart breaking emotions in “Come to me.” However the vulnerability that was desperately needed to complete Fantine’s full journey was slightly missing. Lacking no vulnerability is David James (Thenardier) and Theresa Cunningham (Madame Thenardier) who throw themselves completely in their respective roles with such rawness and passion that every moment of their presence on stage is beautifully prevailing. Ben Lurye (Enjolras) is perfectly cast as the leader of the revolutionary young idealists. His crisp and resonating tenor voice further strengthens the declaration of this production. Jeffrey S. Shankle (Marius) is one of the show’s strongest performances. Shankle’s range comes to full fruition in every aspect. MaryKate Brouillet’s (Eponine) is tragic and compassionate. Brouillet’s “On My Own” is refreshing and extremely honest. Brouillet’s and Shankle’s chemistry is also quite mesmerizing and emotional. Katie Heidbreder’s (Cossete) brings a glorious glimpse of purity, innocence and decency into a world of sin and immorality. Jace Franco is absolutely precious and perfectly cast as Gavroche. Franco demonstrates extremely strong maturity and vocals for such a young performer. Lawrence B. Muncey (Javert) delivers the evening’s most refined, intense, skillful and vivid performance. The tragic figures struggle with loyalty to God, man, the law and himself is skillfully accomplished by Muncey’s truthful nuances and breathtaking vocals.

Les Miserables is a show that can be easily made into a musical spectacle, losing its true identity and purpose. Luckily at Toby’s Dinner Theatre it shines its true art form and glorifies the name of God!

Photo Gallery

Jean Valjean (Daniel Felton) has just been released from prison	Jean Valjean (Daniel Felton) pays the Thenardiers to take young Cosette (Ella Boodin) to raise her in a warm and loving home
The barricade built by the student revolutionaries	Javert (Lawrence B. Munsey) – center – is exposed as a police spy. Left to Right: David Bosley-Reynolds, Nick Lehan, Lawrence B. Munsey, Will Emory, John Dellaporta, Jeffrey S. Shankle
Marius (Jeffrey S. Shankle) pleads with Eponine (MaryKate Brouillet) to leave the barricade for safety and deliver a letter to Cosette	Combeferre, a rebel student, (Tobias Young) prepares to fight the army to the end
The Thenardiers crash Marius’ and Cosette’s wedding – Thenardier (David James) and Madame Thenardier (Theresa Cunningham)

Photos provided by Toby’s Dinner Theatre

Cast

• Jean Valjean: Daniel Fulton
• Javert: Lawrence B. Munsey
• The Bishop on Digne: Andrew Horn
• Fantine: Janine Sunday
• Factory Foreman: David Bosley-Reynolds
• Little Cosette: Ella Boodin or Caroline Otchet
• Thenardier: David James
• Madame Thenardier: Theresa Cunningham
• Gavroche: Jace Franco or TJ Langston
• Eponine: MaryKate Brouillet
• Cosette: Katie Heidbreder
• Students:
  • Enjolras: Ben Lurye
  • Marius: Jeffrey S. Shankle
  • Combeferre: Tobias Young
  • Feuily: Nick Lehan
  • Courfeyrac: Ben Gibson
  • Joly: John Dellaporta
  • Grantaire: Christopher Harris
  • Jean Prouvaire: Will Emory
• Female Ensemble: Heather Marie Beck, Jane C. Boyle, Coby Kay Callahan, Dayna Marie Quincy, Lara Zinn.
• The Chain Gang, Warders, Constables, Poor, Factory Workers, Sailors, Whores, Pimps, Thenardiers’s Gang, Drinkers and Wedding Guests are played by company members.
• Swings: Tina DeSimone and Darren McDonnell
• Understudies: Jean Valjean (Greg Knauf), Javert (Will Emory), Fantine (Heather Marie Beck), Thenardier and Bishop (David Bosley-Reynolds), Madame Thenardier (Jane C. Boyle), Eponine (Dayna Marie Quincy), Cosette (Lara Zinn), Marius, Enjolras (Nick Lehan)

Orchestra

• Conductor: Christopher Youstra, Douglas Lawler or Greg Knauf
• Keyboard 2: Ann Prizzi or Pamela Wilt
• Violin: Patricia Waek or Mark Ericksen
• Trumpet: Tony Neenan, Frank Gorecki or Aaron Holmes
• Reeds: Charlene McDaniel or Steve Haaser
• Trombone: Jay Ellis or Jeff Harrigan

Production Staff

• Directors: Toby Orenstein and Steven Fleming
• Musical Director: Christopher Youstra
• Scenic Designer: David A. Hopkins
• Costume Designers: David Gregory and Shannon M. Maddox
• Lighting Designer: Lynn Joslin
• Sound Designer: Drew Dedrick
• Movement Coach: Jenny Male
• Production Manager: Vickie S. Jhonson
• Production Stage Manager: Kate Wackerle
• Stage Managers: Drew Dedrick, Kate Wackerle
• Technical Director: Jimmy Engelkemier
• Master Carpenter: David A. Hopkins
• Set Construction: David A. Hopkins, Russel Sunday, Melissa Valdivia, Ian Wallace
• Properties and Set Dressing: Amy Kaplan
• Light Board Operator: Coleen M. Foley
• Sound Board Operators: Drew Dedrick, Jimmy Engelkemier

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

As the opening scene makes it clear, there is really nothing fresh and new in musical theatre on the great white way. Either musicals from movies, or musicals from books, or even musicals that came from movies that came from books. So … from the get-go because of its unique heading Title of Show does offer something original, fresh and semi unique. The plot is quite simple: Title of Show is about two guys who are writing an original musical about two guys who are writing an original musical. So … yes a little “Seinfeldish” but still well-conceived and written.

Jeff (Thomas Peter) and Hunter (Christopher Overly) are young and aspiring writer and composer, taking a leap of faith by attempting to write an all original musical for a New York theatre festival in just three weeks. Hunter the writer, whose normal daily routine is watching reality TV marathons, is laid back, a little too laid back for the liking of Jeff the neurotic composer, whose day job is web design and who is severely obsessed with Wonder Woman. But nonetheless the idea of writing something new and fresh ignites a fire under them and with the help of their friends, a Broadway chorus girl Heidi (Anastasia Sophia Herne) and Susan (Angela Sullivan), a dramatic actress who is slowly being consumed by her full-time regular job, and Mary (Laura Brady), a figment of our imagination/pianist/muse and a voice of reason, who practically begs to be allowed to speak, they set of on a journey that explores the ups and downs the trials and tribulations of art, friendship and life.

The ninety minute plus production, directed by Rachael Murray (Editor’s note: Rachael Murray was a reviewer for ShowBizRadio from 2011 to 2012), keeps true to the style and plot of the show. With a simple broken brick wall set, minimalistic props, simple costumes and very creative multimedia and light effects the production is young, fresh, creative and engaging. Unfortunately, and it saddens me to say, the two leading men are not remotely up to par for the demanding vocals and the musical range that the score calls for. Peter puts in great effort and complements his Jeff with perfect awkwardness and gentle loving humor, however vocally Peter struggles for most of the show. The score is energetic and fast-paced and is mostly written for two- to four-part harmony. Overly consistently struggled to stay on pitch going into high ungainly falsetto, attempting to harmonize with Peter which failed miserably. Overly’s acting was also one note, playing everything as an annoyed female impersonator. On the bright side Sullivan and Herne are both equipped with stellar vocals, style, elegance, and great comic timing bring life to the show. Sullivan is especially a standout with a very touching and yet funny interpretation of human struggle, devotion, and staying true to one self. Herne and Sullivan make “What Kind of Girl is She” an absolute highlight of the evening.

So if you’re looking for something fresh and light, and especially if you enjoy musical theatre, its history and its inside jokes, this show is definitely worth seeing. However if you’re looking for great performances across the board and a full cast that compliments each other and works as one, you have to keep looking.

Cast

• Mary: Laura Brady
• Hunter: Christopher Overly
• Jeff: Thomas Peter
• Heidi: Anastasia Sophia Herne
• Susan: Angela Sullivan

Production Staff

• Director: Rachael Murray
• Music Director: Laura Brady
• Stage Manager: Chelsea Adams-Cook
• Asst. Stage Manager: Meaghan Spry
• Dramaturge: Thomas Peter
• Technical Director: Matt Mitchell
• Asst Technical Directors/Sound Engineer: Dan Caughran, Scott McCormick
• Lead Technician: Dan Snyder
• Lighting Designer: Alex Doan
• Costumer: Nikki Gerbasi
• Set Designers: Rachel Murray, Matt Mitchell
• Set Construction: Matt Mitchell, Tom Cagle
• Set Artist/Painter: Lily Cumberpatch
• Marquee and Program Cover: Jim Gallagher
• Photography: Rachel Parker
• Promo Videos: Catherine Thomas
• Board Liaison: Nikki Gerbasi
• Program: Carolyn Kirby

Disclaimer: Annapolis Summer Garden Theatre provided two complimentary media tickets to ShowBizRadio for this review.

Many stories have been told about our society and its effect on our youth, the effect of our youth on society, the rebellion of children against parents, authority and the society. And the tragic and devastating consequences and outcomes that they bring. The 2007 Tony award for best musical written by Steven Sater and Duncan Sheik continues this tradition in the dark and haunting rock musical adaptation of Frank Wedekind play Spring Awakening.

Spring Awakening examines the lives, trials and tribulation of a group of adolescent German teenagers in a hard-hitting, parochial private school. The piece glorifies teenage anarchy and exalts the idea of allowing our children to carry on and express themselves with free will. Innocence is lost, lives are taken, and the reality is unbreakable.

Whether this is your cup of tea or not, Millburn Stone Theatre’s production of the pop cult phenomenon is absolutely top-notch. Director S. Lee Lewis has assembled one of the most talented and versatile casts in the area ranging from Maryland to Delaware, most of whom are under the age 21. Lee’s beautiful and imaginative blocking, staging, and direction, and Bambi Johnson’s innovative and radical choreography complement each other in very way, and also leave enough leeway for the audience to make their own assessment, judgment and conclusion. The simplicity of the costumes and the complexity of the lighting design, enhance this production even further.

Ben Walker (Melchior Gabor) is superb as the young tragic hero, equipped with an outstanding tenor voice. Walker shows his range beautifully. Seemingly progressing from emotion to emotion connecting with each character and every moment. Caroline Colino (Wendla Bergman) also shines as the sheltered youth discovering, curiosity, love, lust and tragedy. Colino’s vocals are beautiful and touching; “Whispering” was one of the highlights of the evening, though at times her connection with the rest of the cast seemed distant and isolated. Kelleigh Pangratz (Ilse Bessel) brings hope and honesty in her performance. Shane Lawry (Moritz Stiefel) tackles the most difficult and challenging role in every way, and does it flawlessly! The rest of the cast is also extremely strong and versatile, filling the story with wonderful characters, vocals, and amazing movement.

Millburn Stone is a theatre that is never afraid to take risks, whether you like them to or not!

Photo Gallery

Ben Walker as Melchior, Caroline Colino as Wendla	George Fletcher as Ernst, Shane Lowry as Moritz, Jeff Gorcyca as Hanshen

Photos by Scott Serio of the Cecil Scene

Cast Of Characters

• The Girls
  • Wendla Bergman: Caroline Colino
  • Martha Bessel: Bevin Hensley
  • Thea Neumann: Magan Valle
  • Marianna Wheelan: Sydney Hastain
  • Ilse Bessel: Kelleigh Pangratz
  • Ina Bergman: Miranda Daviduk
  • Company Girls: Alliyah Corley, Katie Obarski, Kashana Roberts, Shelby Smith
• The Boys
  • Melchior Gabor: Ben Walker
  • Moritz Stiefel: Shane Lowry
  • Hanshen Rilow: Jeff Gorcyca
  • Ernst Robel: George Fletcher Iii
  • Georg Zirschnitz: Chandler Smith
  • Otto Lammermeier: Matthew Peterson
  • Bobby Maler: Charlie Johnson
• The Adults
  • Women: Karen Decker
  • Men: Dane A. Hutchinson

The Band

• Keyboard: Marji Eldreth
• Lead Guitar: Meghan Doyle
• Guitar: Jeff Gorcyca, Chandler Smith
• Cello: Caty Butler
• Violin: Edward Rosen-Wallberg
• Viola: Matthew Peterson
• Drums/Percussion: Tyler “Danger” Bristow
• Djembe: Jeff Gorcyca

Production Staff

• Director: S. Lee Lewis
• Choreagraphy: Bambi Johnson
• Musical Director: Marji Eldreth
• Lighting Design: William A. Price Iii
• Stage Manager: Serenity Rowland
• Assistant Director: Brandon Gorin
• Back Stage Manager: Ali Graham
• Props: Eyvo Johnson
• Master Electrician: Marshal B. Garrett
• Back Stage Crew: Kelly Wolfe, Matt Wolfe
• Scenic/Lighting Crew: Tyler Bristow, Brandon Gorin, Joanne Foxx, Bevin Hensley, Charlie Johnson, Shane Lowry, Eril Williams

Disclaimer: Milburn Stone Theatre provided two complimentary media tickets to ShowBizRadio for this review.

Phoenix Festival Theater is one lucky community theater. They have an amazing space, obviously a rich and healthy financial budget, beautiful professional lighting system, and great resources in form of talent: creative technical staff and a professional cornucopia of musicians. They take all these resources and utilize them mostly well in their current running production, the award-winning musical The Best Little Whorehouse in Texas.

A country influenced score tells the story of the “Chicken Ranch” an establishment that has been appealing to the libido of men of all ages since the Civil War. Now being lovingly run by Miss Mona (Laure Starkey) and her take no-nonsense right hand Jewel (Mellissa Broy Fortson). Things couldn’t be better since the town is fully aware and almost proud of their “national landmark.” And the local sheriff Ed Earl Dodd (Mark Briner) has been a longtime friend and love interest of Miss Mona. Well not so fast! A local TV evangelist Melvin P. Thorpe (J. Jeffrey Harrison) is determined to shut it down and restore the town to a moral state. With great dance numbers, tongue in cheek songs and good ole country ballads the show is a rock and rolling hoedown that ends on a positive and moral note.

There are many wonderful aspects in director Richard Mahoney’s production. But what the show is missing, lacks and can’t be overlooked is CLASS! Mahoney’s vision is clear, however staging less pornographic choreography, and bluntly sexual innuendoes, which were quite inappropriate at times whether you’re old or young and letting the simplicity of the subject matter guide our imagination would have been a classier and bolder choice.

Mahoney’s vision also heavily influences the performance of Starkey. Starkey definitely does an admirable job with her stern portrayal of Miss Mona, vocally nailing number after number and carrying the leading role on her shoulders, however once again that Class, the lightness and the elegance of the character was nowhere in sight. The success of this show actually lies on the shoulders of the supporting cast. Jillian Victoria (Angel) and Elisa Dugan (Shy) as the two newer additions of the brothel, give touching heartfelt performances. Victoria also shines in one of the strongest numbers in the show “Hard Candy Christmas,” which was one of the few numbers simply staged and showed the true heart of the show. Harrison, Briner, and Steve Flickinger (Governor) also shine in their respective roles and musical numbers. But the performance of Dawn Stevens (Doatsey Mae) alone is worth the price of admission. Stevens takes one of the smallest roles in the show and simply creates a masterpiece. Doatsey Mae’s song was one of the most touching and real moments I ever witnessed on a stage.

The rest of the cast especially “The Girls at Miss Mona’s” and The Aggies shine throughout the show. With creative and at times difficult choreography, they make their mark on this production, which at times was hard to swallow.

Cast

• Rio Grande Band: Jeff Baker
• Miss Wulla Jean: Pat Gilbert
• Angel: Jillian Victoria
• Shy: Elisa Dugan
• Jewel: Mellissa Broy Fortson
• Mona Stangley: Laurie Starkey
• Leroy Sliney: Steve Flickinger
• Melvin P. Thorpe: J. Jeffrey Harison
• Sheriff Ed Earl Dodd: Mark Briner
• Scuggs: Dave Guy
• Mayor Rufus Poindexter: H. Ray Lawson
• Edsel Mackey: Leonard Gilbert
• Angelette Imogene Charlene: Carol Guarrieri
• Senator Wingwoah: Bob Belman

The Girls At Miss Mona’s

• Linda Lou: Natalie Knox
• Dawn: Bevin Hensley
• Ginger: Lizz Galley
• Beatrice: Carissa McCool
• Taddy Jo: Danielle Lott
• Ruby Rae: Carol Guarrieri
• Eloise: Jackie Kappus
• Durla: Kelsey Yurek

Aggies

• Ray Cook, Thomas Gardner, Derrick Goodmuth, Valentino Lagano, Brad Mascari, Brandon Molle, Matt Peterson.

Company

• Carrie Dill, Veronica Endrik, Nickolas C. Epps, Jaime Friedel, Dominic LaFrancesca, Michelle Neal.

Orchestra

• Conductor, Piano: Jeff Baker
• Guitar: Christine MacDonald
• Keyboard: Jill Apperson
• Bass: Jason Willson
• Violin: Amy Tucker
• Percussion: Lisa Wood

Production Team

• Company Manager/Producer: Larry Hensley
• Director: Richard Mahoney
• Musical Director: Jeff Baker
• Choreographer: Kim Brueggeman
• Technical Director: Jeff Kanyck
• Stage Manager: Amy Jo Smith
• Set Designer: Richard Mahoney/Jeff Kanyuck
• Costume Designer: Wendy Snow
• Props Manager: Eyvo Johnson
• Lighting Designer: Josh Fieldhouse
• Prop Firearms provided by: TRAINTECH
• Weapons Master: Ralph R. Denton, Sr.

Disclaimer: Phoenix Festival Theater provided two complimentary media tickets to ShowBizRadio for this review.

Most of the time when the names of Andrew Lloyd Webber or Tim Rice are mentioned, the topic of conversation goes to shows like Cats, Evita, Phantom of the Opera, Chess, and Aida. But after attending last night’s production of Toby’s Dinner Theatre latest gem Joseph and the Amazing Technicolor Dreamcoat, which by the way came way before the four mentioned shows, it was a quite clear reminder that it was Webber and Rice at the top of their game. For those who are not familiar with the show it is one of the first rock opera style musicals. Directly based on the bible story of Jacob and his twelve sons, the betrayal and the attempted murder of Joseph by his brothers, Joseph’s enslavement to Potiphar, his imprisonment, the ability to interpret dreams, his placement as Pharaoh’s “Chief of Staff” and finally Joseph’s forgiveness to his brothers. With absolutely no dialogue the show flows with a perfect score, influenced by a cornucopia of musical styles, ranging from a country melody, a 70s disco number, to a light-hearted calypso production. The show/production is also conceptually unique and creatively vaudevillian with an integration of biblical/modern sets and costumes, direct from the Bible quotes mixed in with pop culture reference and fun, energetic, appropriately over the top and at times touching performances by this professional, energetic and dedicated 23 member cast.

Coby Kay Callahan (Narrator) and Ben Lurye (Joseph) interpret Webber and Rice’s work with complete understanding, realism and a whole lot of fun. Callahan does exceptionally well as the story teller and the conscience of the characters and their journey. Equipped with a beautiful, trained, multi-range voice, she progresses with ease from comical, light-hearted to serious and back. Lurye makes the role his own, though at first his untraditional take on the role was questionable but as his journey as an actor and the character progressed everything absolutely fell into place. It was quite refreshing and commendable to see something that has been done so many times become refreshing and unique. With a crisp and pitch perfect voice Lurye’s rendition of “Close every door” and “Any dream will do” wrapped the entire production with a giant red bow. The rest of the cast also takes every opportunity to shine, with standout moments by Chris Rudy (Levi), Heather Marie Beck (Mrs. Potiphar), and David Bosley-Reynolds (Potiphar).

Co-directors Shawn Kettering and Tina Marie DeSimone, who also served as choreographer, and musical director Douglass Lawler once again put a professional and unique spin on an all-time classic. Last evening’s performance reminded me that if you strip down all the talent, all the flash, and all the smoke and mirrors, you’re left with a great and honest story, a positive and moral lesson, and high quality entertainment which I believe is the purpose of all great art.

The Cast

• Narrator: Coby Kay Callahan
• Jacob: Andrew Horn
• Sons of Jacob
• Reuben: Alan Hoffman
• Simeon: Will Emory
• Levi: Chris Rudy
• Nepthali: Lester Horton
• Isaachar: Matthew Greenfield
• Asher: Ian Brown-Gorrell
• Dan: Daniel McQuay
• Zebulon: Jay Garrick
• Gad: A.J. Whittenberger
• Benjamin: Matt Wetzell
• Judah: Scean A. Flowers
• Joseph: Ben Lurye
• Ishmaelites: Heather Marie Beck, Maura Hogan
• Camel: Arielle Gordon, Vicky Mahoney
• Goat: Amanda Kaplan
• Angel: Julia Lancione
• Potiphar: David Bosley-Reynolds
• Mrs. Potiphar: Heather Marie Beck
• Butler: Ian Brown-Gorrell
• Baker: Matthew Greenfield
• Pharaoh: Will Emory
• Woman’s Ensemble: Heather Marie Beck, Arielle Gordon, Vicky Mahoney, Maura Hogan, Amanda Kaplan, Julia Lancione
• Understudies
  • Narrator (Tina Marie DeSimone)
  • Joseph (Chris Rudy)
  • Reuben (Ian Brown-Gorell)
  • Levi (AJ Whittenebeger)
  • Pharaoh (Matthew Greenfield)
  • Angel (Maura Hogan)
  • Mrs. Potiphar (Tina Maire DeSimone)
  • Ben & Naphali (Scean Flowers)
• Swings: Tina Marie DeSimone & Joel DeCandio

Production Staff

• Directors: Shawn Kettering & Tina Marie DeSimone
• Musical Director: Douglas Lawler
• Choreographer: : Tina Marie DeSimone
• Scenic Designer: David A. Hopkins
• Lighting Designer: Lynn Joslin
• Costume Designer: Janine Sunday
• Sound Designer: Corey Brown
• Production Manager: Vickie Johnson
• Production Stage Manager: Heather Williams
• Master Carpenter: David A. Hopkins
• Set Construction: David A. Hopkins, Corey Brown, Russell Sunday, Sarah Splaine
• Properties: Amy Kaplan
• Stage Manager: Heather Williams
• Assistant Stage Manager: Ian Wallace
• Light Board Operator: Heateher Williams, Jeanie McAlpine
• Sound Operator: Corey Brown
• Crew: Ian Wallace, Michael Wilson

Orchestra

• Piano/Conductor: Douglas Lawler, Greg Knauf, Or Pamela Wilt
• Keyboard: Barry Hamilton, Ed Mayers, or Ann Prizzi
• Drums: Dane Krich, Tarek Mohamed, Or Tom Harold
• Trumpet (Sax): : Tony Neenan, Frank Gorecki, or Brian Butler
• Guitar: Soren Mattson, Kim Spath, or Jason Wise
• Bass: Michael Kellam, Steve Synk, Or Jason Wilson

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

Love and marriage go together like a horse and carriage! Do they? Is love enough? What are the true bonds of friendship? These questions are raised, some are answered and some are not in Donald Margulies’ Pulitzer Prize winning play Dinner with Friends. Margulies examines and evaluates marriage from two sets of couples and four different view points in this passionate, intriguing, humorous and touching play.

Gabe (Mike Ware) and Karen (Melanie Bishop) find themselves in the middle of a break up that leads to a divorce between their best friends Beth (Karen Decker) and Tom (John Mulvey) who they introduced to each other some 12 years ago. Tom has left Beth and their two adolescent children for a younger woman. As the truth unravels we begin to see the trials and tribulations of relationship and human nature. Gabe has a very hard time accepting that his best friend is a bad guy, and at first tries to come to his aid as full forced as possible. Karen immediately sides with Beth and refuses to consider that there might be two sides to every story, and that Tom might possibly be a victim in this marriage as he insists he is. The play examines the present and the past and gives us a glimpse into the future. Not only does this body of work demonstrate the sad side of a loveless deteriorating marriage, but also focuses on Gabe and Karen’s union and demonstrates the ups and downs, struggles and achievements of a marriage that’s in it for the long haul. It also brings to reality the meaning understanding and the complexity of friendship.

Director Marshal B Garret makes an overall impressive statement with this multi-layered piece of work by keeping the show simple and honest, letting the words and the actors do most of the work. Creating a simple yet stylish abstract set, (Designed by S. Lee Lewis) that starts off with the house of the hosts and slowly breaks away into smaller pieces and settings indicating and imitating the demise of love relationship and time. Tess Pohlhaus’s lighting design shines with unique and subtle moments from scene to scene. Beautiful and spot on operatic arias sung by Pavarotti and Placido Domingo are heard during the scene changes.

The cast of four work well together, understanding the material and Garret’s vision. Ware shines as the patient and loving friend and husband, delivering the role with undertoned nuances and honest emotions. Bishop slowly but surely grows in to her character letting us see the passion and the struggle of a woman who longs for happiness but at times questions it. Decker puts in many layers into her Beth and achieves most of them though sometimes her choices of growth and appropriate emotions are questionable. Mulvey who plunks himself into the role with great effort and intensity never quite reaches the meat of the character, and leaves us very unclear and uninterested whether you should hate the guy or just feel sorry for the jerk that he is.

Milburn Stone Theatre has chosen a difficult and innovative piece of theatre that other companies might shy away from. And for that I say BRAVO!

Cast

• Gabe: Mike Ware
• Karen: Melanie Bishop
• Beth: Karen Decker
• Tom: John Mulvey

Production Team

• Director: Marshal B Garrett
• Scenic Design: S. Lee Lewis
• Lighting Design: Tess Pohlhaus
• Costume Design: Jojo Siu
• Sound Design: Marshal B Garrett
• Prop Master: Eyvo Johnson
• Assistant Director: Tess Polhaus
• Master Chef: Ted Cregger
• Stage Manager: Tyler Bristow
• Crew: Cory Bristow, Brandon Gorin, Tyler Peterson, Jenn Wilson

Disclaimer: Milburn Stone Theatre provided two complimentary media tickets to ShowBizRadio for this review.

Summer is coming to an end, school has just begun, and the local community theaters are wrapping up their seasons. Phoenix Festival Theatre has decided to conclude their summer with one of the most popular and produced shows around.

We all know the story of Grease with the rowdy Burger Palace Boys, the not-as-tough-as-they- seem Pink Ladies, and the star-crossed lovers: Sandy Dumbrowski (Kyleigh Daiker) and Danny Zuko (Shane Lowery). This production, directed by Lauren Spencer-Harris, musically directed by Cedric Lyles, and beautifully and innovatively choreographed Bambi Johnson, features a cast of almost 40 local performers, mostly consisting of local teenagers. It is very clear to see that the cast is very passionate and energetic and clearly had a ball on stage.

Lowery delivers a very strong Zuko with his triple-threat talent, beautiful vocals, passionate characterization, and smoothly executed dance numbers. The rest of the Burger Palace Boys — Doody (Brady Fritz), Roger (Thomas P. Gardner), and Kenickie (Tyler Fritz) — do quite well, especially Tyler Fritz, whose Kenickie was an absolute home run: a strong, tough but loveable character and a stellar performer.

Unfortunately, the same cannot be said for Daiker. Despite great effort and strong focus, Daiker fails to interpret Sandy’s fragile but determined character. She also struggled vocally through most of the show with major pitch problems and tempo issues. Rounding out the “Pink Ladies” are Jan (Bevin Hensly), Marty (Jennifer Lutz), Betty Rizzo (Jilian Victoria), and Frenchy (Nina Cicero), who all individually bring something special to their respective roles. Lutz’s Marty is classy and sassy simultaneously. Hensly’s Jan is hysterical and sweet. Her and Gardner’s rendition of “Mooning” is one of the highlights of the show. Cicero’s Frenchy is sweet and contained; she underplays most of the comic moments which comes out honest. Victoria is by far the strongest vocal performer of the show and, through her Rizzo, painted a vivid picture of her character; her chemistry with Fritz was quite connected. Victoria delivered most of her dialogue excessively and unnecessarily loud and, sometimes, her facial expressions and physical reactions were a bit over-the-top, nonetheless, all that was forgotten and forgiven during her execution of “There Are Worse Things I Can Do.”

On the night that I attended the performance, the show was sold-out. The audience consisted of children and adults of all ages; the audience truly had a blast. Though some of the staging and song lyrics are a bit risqué and inappropriate for the younger ones, Harris stayed true to the heart of the show. And though I question some of her artistic decisions (ie: handheld microphones and especially the staging of “Alone at a Drive-in Movie”), it is just an opinion and a personal choice. The show was fun and worth seeing. So when attending the show, just remember, it is Grease, so you get what you paid for.

Photo Gallery

Photos provided by Phoenix Festival Theater

Cast

• Miss Lynch: Carrie Dill
• Patty Simcox: Laura Ebsworth
• Eugene Florczyk: Adam Nelson
• Jan: Bevin Hensley
• Marty: Jennifer Lutz
• Betty Rizzo: Jillian Victoria
• Doody: Brady Fritz
• Roger: Thomas P. Gardner
• Kenickie: Tyler Fritz
• Sonny Latierri: Benjamin Paul
• Frenchy: Nina Cicero
• Sandy Dumbrowski: Kyleigh Daiker
• Danny Zuko: Shane Lowery
• Vince Fontaine: Bill Fritz
• Johnny Casino: Bill Fritz
• Cha-Cha DiGregorio: Leslie Perry
• Teen Angel: Doug Kotula

Company

• Mackenzie Brockmeyer
• Tiffany Flaharty
• Tabby Golumbek
• Karly Horn
• Erin Huffer
• Breanna Hurley
• Campbell Kistner
• Megan Koncurat
• Dominic LaFrancesca
• Emily LaHatte
• Maggie LaHatte
• Lexi Magee
• Codey Odachowski
• Steven Prichard
• Brianna Smith
• Allison Stokes
• Monique Watson
• Madison Weinberg
• Tamera Whaley
• Rebecca Wiseman

Orchestra

• Conductor, Piano: Cedric Lyles
• Reeds: Christopher Reardon
• Bass: Daryl Stoltzfus
• Guitar: Soren Mattson
• Drums: Matthew Lampart

Production Team

• Company Manager/Producer: Larry Hensley
• Director: Lauren Spencer-Harris
• Musical Director: Cedric Lyles
• Choreographer: Bambi Johnson
• Technical Director: Jeff Kanyuck
• Stage Manager: Katie Manning
• Set Designer: Dawn Klein
• Costume Designer: Stella DiPeso
• Props Manager: Chris Rose
• Lighting Designer: Kerry Brandon
• Spotlight Operator: Charis Bartenslager, Kekkiegh Pangratz, Kayla Whisman
• Light Board Operator: Josh Fieldhouse, Trevor Winter
• Sound Board Operator: Alex Paul
• Scenic Artist: Holly Klink
• Construction Crew: Charis Bartenslager, Amber Carey, Josh Fieldhouse, Bevin Hensley, Kristin Hessenauer, Kelleigh Pangratz, Alex Paul, Kayla Whisman, Trevor Winter

Disclaimer: Phoenix Festival Theater provided two complimentary media tickets to ShowBizRadio for this review.