Twelfth Night, or What You Will, one of several Shakespeare comedies revolving around deceptive gender and mistaken identity, was originally produced in the early 1600s as part of the post-Christmas revel called, unsurprisingly, Twelfth Night.

In the hands of the Rude Mechanicals, known since 1999 for their contemporary interpretations of the Bard, the play is transported to the 1980s, where gender identity becomes an open question and the excesses of the Rich and Famous are legion.

(photo by Kevin Hollenbeck) The audience, welcomed to “tonight’s concert,” Illyria-aid, is thrust headlong into the post-psychedelic rock music world of neon and metal as Duke Orsino (Donald Cook), now a rock star, launches into his melancholy anthem “If music be the food of love, play on,” as he pines for the mourning Olivia (Lauren Beward).

This intentional diversion, courtesy of director Maureen Shanahan, takes us into the ambiguous, sometimes asexual world of rock music, where gender and sexuality are already questionable, a context not unlike Shakespeare’s theatre, where men always played women because the law kept women off the stage.

Rarely do casts who have taken on the immortal Bard have so much fun with his material. Even if the performances are sometimes uneven, the Rudes have a talent for cutting away the excess, making even the thickest text accessible to modern ears.

As a rule, directors expect their audiences to suspend disbelief, and this production is no exception. In Katie Wanschura’s hands, Feste (traditionally Olivia’s jester) becomes a Cyndi Lauperesque songwriter who just wants to have fun. She leads Olivia’s merry band of fools: Sir Toby (Joe Dziekiewicz) and Sir Andrew (Joel Lorenzetti), rowdy members of Olivia’s entourage; Maria (Erica Smith), Olivia’s mohawk-crested friend; and Fabian (Josh Engel), as they take on Malvolio (Liz Armour), Olivia’s uptight and potentially malevolent band manager for a night of not-quite-harmless alcohol-driven sport.

Into this world, Viola (Tory Talbot Virchow) enters as a survivor of a road bus accident in which she believes she has lost her twin brother and fellow rock star, Sebastian. Determined to survive, Viola assumes Sebastian’s form, though not his name, and takes on a new role (in disguise) as Cesario, Orsino’s servant. Meanwhile, Olivia (Lauren Beward as a vapid and shallow stage diva), becomes struck on Cesario as s(he) works to woo Olivia on behalf of Orsino, even as the disguised Viola dotes in private on her Duke. The decidedly not-dead Sebastian (Amy Rauch) meets Antonio (Joe Kubinski), who takes the boy under his dubious wing, not far from the festival site. It doesn’t take long for the pair to drift into the vicinity, with confusing and hilarious results.

Talbot Virchow and Rauch make an excellent match in the twins who can hardly be told apart, especially when wearing the same costume.

With an imaginative use of props (the trees become stacks of roadcases, Sir Andrew’s sword a pair of drumsticks, and his duel with the hapless Cesario a battle of voices – complete with microphones), wildly topical costumes and make-up, there’s no lack of enthusiasm in this production.

The rock festival conceit mostly works, though a little unevenly. Then again, having witnessed the difference between music video perfection and actual stage performance, there is something to be said for the less-than-perfect. Some of the most entertaining asides and biggest laughs were derived from the “concert festival” setting.

Though the events of Twelfth Night occur during a midsummer’s eve, the play contains all the conceits of an Elizabethan Twelfth Night‘s revels, including role reversals and upside down events, together with the Rudes’ definitely offbeat stamp.

In all, an amusing evening, and generally decent entertainment for kids ages 8 and up.

Director’s Notes

At the core of Twelfth Night is the idea that music is the pathway to our souls. The play itself is peppered with songs (not to mention the ones we threw in for fun), and when thinking about how to make Twelfth Night relateable [sic] to a modern audience, a music festival seemed like the natural choice to make.

Most of the characters of Twelfth Night are motivated through their societal status and, in present-day United States, societal status is not usually something that will prevent marriage. However, when taken in context of the play when it was written, the lifting of Orsino’s obsession with Olivia when Viola reveals her identity makes more sense; he’s still marrying an equal. So, combined with Twelfth Night‘s musical heart-beat, it made sense to make them all stars in the music industry. Rock stars dating other rock stars is common, but dating assistants is fuel for scorn.

After that, the rest of the characters fell into place. Good Samaritans became Obsessive Fans, Ship Captains who carry news from port to port became Groupies, members of the court became Members of the Band, the Fool/Wordsmith became the Songwriter and the Steward becomes the Band Manager. I believe this setting helps to translate to a modern audience where the power lies and why the relationships grow they way they do in the original text.

The last thing to address is the choice to cast the traditionally male role of Malvolio as a woman. The 1980s were a tumultuous time for the homosexual community, where homosexual orientation was still viewed by many as a mental illness and, with the discovery and rise of AIDS, became a topic that was focused on publicly for the first time. I saw a connection between the class-based disdain for Malvolio in the play, and the discomfort people showed for alternative sexualities even 30 years ago, and wanted to see where the context of the play would lead us with casting in that direction.

Synopsis

At the Illyrian Music Festival, Orsino is heartsick for Olivia, who is in mourning and refuses to see anybody. Orsino sings broken-hearted love songs, assisted by his backup singer/dancer Curio.

The tour bus carrying Viola and Sebastian, a twin brother-sister act, crashes. Viola survives, and in her grief at the loss of her brother disguises herself as a boy named Cesario. She joins Orsino as a servant, but finds herself attracted to him.

Orsino sends her to woo Olivia in his stead, who finds herself more attracted to the boy than to the man. She turns Viola away, but then sends her uptight band manager Malvolio after “him” with a ring. The love triangle is complete: Orsino loves Olivia, who loves Viola/Cesario, who loves Orsino.

Olivia’s group is a rowdy bunch: her uncle and hanger-on Toby Belch, her drummer Andrew Aguecheek, her friend Maria, and the songwriter Feste, who party all night and sleep all day. The uptight Malvolio chews them out.

They devise a plot against Malvolio: they forge a love letter from Olivia to Malvolio and leave it where it can be found. The forgery claims Olivia wants to see Malvolio dress up silly, and when she does so, Oliva rebuffs her. She thinks Malvolio’s odd behavior is a sign of impending insanity. Malvolio is locked up, and further tormented by Feste and Toby.

Meanwhile Viola’s brother Sebastian has survived the crash, unknown to Viola. He wanders toward the festival. He is followed by his friend Antonio, who must take care as he has previously fought with Orsino.

Andrew is also in love with Olivia, and Toby pranks both him and Viola. He tells each the other wants to fight. Reluctantly, they do. It’s interrupted by Antonio, who mistakes Viola for Sebastian, and Antonio is hauled away.

They then meet the real Sebastian. They are perplexed, but figuring him to be a pushover, they challenge him (again, they think). They are promptly bested, and run away.

Sebastian encounters Olivia, who mistakes him for Cesario. Sebastian is surprised by the sudden attention and affection, but is swiftly wooed, and run off to a priest to be married.

Olivia and Orsino finally meet, and the plots unravel. Olivia, believing Viola is Sebastian, calls her “husband”. Andrew and Toby, also believing Viola to be Sebastian, accuse her of beating them up. Feste brings a letter from Malvolio to Olivia, which is angry but clearly sane. Malvolio shows the letter that she received, and Olivia recognizes that the hand is not her own. The plots are confessed, confusions are cleared up, and everybody lives happily ever after.

Cast

• Antonio: Joe Kubinski
• Curio/Valentine: Marcia Litt
• Fabian/Roadie #1: Josh Engel
• Feste: Katie Wanschura
• Maria: Erica Smith
• Malvolio: Liz Armour
• Olivia: Lauren Beward
• Orsino: Don Cook
• Priest/Groupie: Moira Parham
• Roadie #2/Security: Elise Berg/Maureen Shanahan
• Sea Captain/Groupie: Kevin Hollenbeck
• Sebastian: Amy Rauch
• Sir Andrew: Joel Lorenzetti
• Sir Toby: Joe Dzikiewicz
• Viola (aka Cesario): Tory Talbot Virchow

Production Staff

• ASM: Liana Olear
• Asst. Director: Sean Eustis
• Asst. Producer: Rebecca Hranj
• Box Office: Caitlin Williams
• Director: Maureen Shanahan
• Lights: Irene Sitoski
• Make-Up Design: Irene Sitoski
• Music Director: Katie Wanschura
• Set Design: Mel Bratz
• Stage Manager: Nell Codner-Jarashow
• Paint Charge: Adrienne Gammons
• Photography: Rebecca Hranj/Kevin Hollenbeck
• Producer: Josh Engel
• Props: Moira Parham
• Publicity: Rebecca Hranj
• Sets and Paint: Alan and Steven Duda, Moira Parham, Adrienne Gammons, Don
• Cook, Sean Eustis, Josh Engel, Elise Berg, Nell Codner-Jarashow, Maureen
• Shanahan, Katie Wanschura, Joel Lorenzetti, Amy Davis
• Costumes: The Cast and production staff
• Lights: Irene Sitoski, Josh Engel, Sean Eustis
• Sound: Katie Wanschura, Rob Perkins, Sean Eustis, Don Cook
• Props: Moira Parham, the cast, and production staff

Disclaimer: Rude Mechanicals provided two complimentary media tickets to ShowBizRadio for this review.

Opening

• Medea, Mobtown Players, Baltimore, MD
• Brainstorm 4, Glass Mind Theatre, Baltimore, MD

Closing

• Clybourne Park, CenterStage, Baltimore, MD
• The Comedy Pigs Improv/Sketch Troupe, Maryland Ensemble Theatre, Frederick, MD
• Beneatha’s Place, CenterStage, Baltimore, MD
• In the Heights, Toby’s Dinner Theater, Columbia, MD
• The Wiz, Toby’s Dinner Theater, Baltimore, MD
• Glengarry Glen Ross, Fells Point Corner Theatre, Baltimore, MD

Opening

• Beneatha’s Place, CenterStage, Baltimore, MD

Closing

• Topdog/Underdog, Everyman Theatre, Baltimore, MD
• In the Next Room, Or the Vibrator Play, Colonial Players, Annapolis, MD
• The Price, The Bay Theatre Company, Annapolis, MD
• Twelfth Night, The Rude Mechanicals, Ellicott City, MD
• Prelude to a Kiss, Howard Community College Student Arts Collective, Columbia, MD

In the Heights is a smart show. It has modern music that sizzles with an infusion of Broadway and hip-hop, while it keeps true to everything that is the core of traditional musical theatre: family, community, romance, and happy endings. Toby’s Dinner Theatre brings together a strong cast and excellent technical elements to breathe life into this tight-knit community on one corner in Washington Heights.

Usnavi (David Gregory) owns a Bodega on the corner that was started by his parents before they passed away. Usnavi is the likeable hero with a warm heart and a gift for rhyme and is brought to life with passion and natural charisma by Gregory. Usnavi pines after Vanessa (Nadia Harika), who longs to escape Washington Heights and the trials of dealing with her alcoholic mother. Harika brilliantly shows glimpses of the sad girl beneath Vanessa’s tough and defensive exterior.

Usnavi’s friend, Benny (Marquise White) is also pining over a girl of his own. White is beyond outstanding as the sweet guy with the soulful voice who is bursting with big dreams. His performance is layered with delightful nuances. The object of his affection is Nina (Alyssa V. Gomez), the first to get out and go to college. She is now returning to tell everyone that she dropped out. Gomez brings great heart and powerful vocals to Nina’s journey throughout the show. Her parents, and Benny’s bosses, Kevin (David Bosley-Reynolds) and Camila (Tina Marie DeSimone) are believable and likeable with a few standout moments between them. The only small change warranted for Bosley-Reynolds would be to simply not use an accent if he cannot master a believable Puerto Rican accent.

At the heart of the community is Abuela Claudia. There is no one better for this role than the incomparable Crystal Freeman, who is pure heart embodied in the best voice around. Her “Paciencia y Fe” once again redefines the standard for theatrical ballads everywhere. Another stellar performance comes from Ryan Alvardo as Sonny. His comedic timing and delivery is impeccable. Another awesome vocal comes from Tobias Young as the Piragua Guy. Also fantastic is Santina Maiolatesi as Daniela. She creates a complete character and has an amazing voice.

The entire show is filled with impressive and exciting choreography. The costumes are colorful and character appropriate. The set is simple and still detailed down to the gum on the lamp posts. The lighting is excellent with several truly effective moments of switching the mood in one cue. With all the careful attention to detail and dynamite performances, In the Heights is a must-see.

Photo Gallery

Benny (Marquise White), Sonny (Ryan Alvarado), Usnavi (David Gregory)	Abuela Claudia (Crystal Freeman), Usnavi (David Gregory)
Camila (Tina Marie De Simone), Kevin (David Bosley-Reynolds), Nina (Alyssa V. Gomez)	Nina (Alyssa V. Gomez), Usnavi (David Gregory)
Camila (Tina DeSimone), Nina (Alyssa V. Gomez)

Photos by Kirstine Christiansen

Cast

• Graffiti Pete: Calvin McCullough
• Usnavi: David Gregory
• Piragua Guy: Tobias Young
• Abuela Caludia: Crystal Freeman
• Carla: Olivia Ashley Reed
• Daniela: Santina Maiolatesi
• Kevin: David Bosley-Reynolds
• Camila: Tina Marie DeSimone
• Sonny: Ryan Alvarado
• Benny: Marquise White
• Vanessa: Nadia Harika
• Nina: Alyssa V. Gomez
• Ensemble: Mili Diaz, Scean Flowers, Javi Harnly, Rachel Kemp, Erin McNerny, Jason Phillips, Moses Rodrigues, Ada Satterfield, Danny Tippett, Melissa Victor
• Swings: Ian Brown-Gorrell & Amanda Kaplan
• Understudies: Usnavi (Calvin McCullough), Nina (Mili Diaz), Benny (Jason Phillips), Vanessa (Ada Satterfield), Sonny (Moses Rodrigues), Daniela, Claudia, Abuela Claudia (Janine Sunday), Kevin (Lawrence B. Munsey), Carla (Melissa Victor), Graffiti Pete (Scean Flowers)

Production Staff

• Co-Directors/Choreographers: Toby Orenstein and Lawrence B. Munsey
• Musical Director: Cedric D. Lyles
• Choreographer: Christen Svingos
• Scenic Designer: David A. Hopkins
• Graffiti Pete Artwork: Peter Fox, David Castro
• Costume Designer: Lawrence B. Munsey
• Lighting Designer: Lynn Joslin
• Sound Designer: Drew Dedrick
• Production Manager: Vickie S. Johnson
• Production Stage Manager: Kate Wackerle
• Stage Managers: Drew Dedrick, Kate Wackerle
• Technical Director: Jimmy Engelkemier
• Dance Captain: Rachel Kemp
• Master Carpenter: David A. Hopkins
• Set Construction: David A. Hopkins, Russell Sunday, Ian Wallace
• Properties & Set Dressing: Amy Kaplan
• Light Board Operators: Coleen M. Foley, Erin MacDonald
• Sound Board Operators: Drew Dedrick, Jimmy Engelkemier
• Stage Crew: Laura Blasi, Jason Britt, Cody Cooley, Erin MacDonald

Orchestra

• Conductor: Cedric D. Lyles, Douglas Lawler, or Jonathan Tuzman
• Keyboard 2: Pamela Witt, Ann Prizzi, Ed Myers, Barry Hamilton, or Nate Scavilla
• Drums: Matt Lampart, Tarek Mohamed, Evander McLean, N. Scott Robinson, Tom Harold, or Jack Loercher
• Latin Percussionist: Orlando Cotto
• Electric Bass: Michael Kellam, Jason Wilson, Dave Frieman, Linda Cote, or Zach Branch
• Trumpet: Tony Neenan, Frank Gorecki, Chris Hutton, S. Craig Taylor, or Garrett Faccone

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

Opening & Closing

• American Idiot, Hippodrome Theatre, Baltimore, MD

Opening

• Twelfth Night, The Rude Mechanicals, Ellicott City, MD

Closing

• Room Service, Vagabond Players, Baltimore, MD

Continuing

• In the Heights, Toby’s Dinner Theater, Columbia, MD
• The Wiz, Toby’s Dinner Theater, Baltimore, MD
• Topdog/Underdog, Everyman Theatre, Baltimore, MD
• Beneatha’s Place, CenterStage, Baltimore, MD
• In the Next Room, Or the Vibrator Play, Colonial Players, Annapolis, MD
• The Price, The Bay Theatre Company, Annapolis, MD
• Glengarry Glen Ross, Fells Point Corner Theatre, Baltimore, MD
• Do or Die Murder Mysteries, Spotlighters Theatre, Baltimore, MD
• 9 To 5, the Musical, Way Off Broadway Dinner Theatre, Frederick, MD
• Prelude to a Kiss, Howard Community College Student Arts Collective, Columbia, MD
• Cinderella, Way Off Broadway Dinner Theatre, Frederick, MD

Opening

• In the Next Room, Or the Vibrator Play, Colonial Players, Annapolis, MD
• Glengarry Glen Ross, Fells Point Corner Theatre, Baltimore, MD
• In the Heights, Toby’s Dinner Theater, Columbia, MD
• Prelude to a Kiss, Howard Community College Student Arts Collective, Columbia, MD

Closing

• Boeing Boeing, Rep Stage, Columbia, MD
• Avenue Q, Cumberland Theatre, Cumberland, MD
• Colorism, Strand Theater, Baltimore, MD
• Women of Lockerbie, StoreFrontTheatre, Perryville, MD
• Big: The Musical, Mobtown Players, Baltimore, MD
• Chess, The Musical, Dundalk Community Theatre, Baltimore, MD
• Equus, Spotlighters Theatre, Baltimore, MD
• 10X10 III, Fells Point Corner Theatre, Baltimore, MD

Opening & Closing

• Love Lies, Touring Production, Baltimore, MD

Opening

• Topdog/Underdog, Everyman Theatre, Baltimore, MD
• Women of Lockerbie, StoreFrontTheatre, Perryville, MD
• Chess, The Musical, Dundalk Community Theatre, Baltimore, MD

Closing

• Fiddler on the Roof, Toby’s Dinner Theater, Columbia, MD
• Pride and Prejudice, Annapolis Shakespeare Company, Bowie, MD

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.

Opening

• Clybourne Park, CenterStage, Baltimore, MD
• Boeing Boeing, Rep Stage, Columbia, MD
• Avenue Q, Cumberland Theatre, Cumberland, MD
• Colorism, Strand Theater, Baltimore, MD
• Big: The Musical, Mobtown Players, Baltimore, MD

Closing

• 1776, Colonial Players, Annapolis, MD
• Spring Awakening, Milburn Stone Theatre, North East, MD
• It’s a Bird! It’s a Plane! It’s Superman!, Being Revived, Frederick, MD
• The Man From Earth, Heritage Players, Catonsville, MD

Opening & Closing

• Les Miserables, Hippodrome Theatre, Baltimore, MD

Opening

• FPCT 10X10 III, Fells Point Corner Theatre, Baltimore, MD
• Room Service, Vagabond Players, Baltimore, MD
• The Price, The Bay Theatre Company, Annapolis, MD
• Spring Awakening, Milburn Stone Theatre, North East, MD
• Pride and Prejudice, Annapolis Shakespeare Company, Bowie, MD
• A Cabaret , Howard Community College Student Arts Collective, Columbia, MD
• It’s a Bird! It’s a Plane! It’s Superman!, Being Revived, Frederick, MD
• 10X10 III, Fells Point Corner Theatre, Baltimore, MD

Closing

• Mud Blue Sky, CenterStage, Baltimore, MD

Auditions

• Taking Steps, Colonial Players, Annapolis, MD
  • Monday, Apr 8th@7:00PM
  • Wednesday, Apr 10th@7:00PM – Callbacks
• Legally Blonde, The Musical, Way Off Broadway Dinner Theatre, Frederick, MD
  • Monday, Apr 8th@7:00PM