Cockpit in Court presents Me and My Girl, a comedy in the British tradition that follows the self-important Hereford family on their quest to reform their rightful heir, to be named the new Lord Hereford, after he arrives at the austere family homestead by way of Lambeth, London, (a less than reputable place where broads lurk about seeking company, but cops are, parish the thought, pleasant.) William, this unlikely heir, learns of his late father’s status and his own subsequent class leap in rollicking fashion as he playfully snubs his nose at things that are serious and proper. The Herefords are in for more than just a pickpocketing, cockney wielding man-boy, but also his girl, Sally. She is a strong character who has tough decisions to make throughout as she gauges how best to love her eccentric charmer whose status may have outgrown her. Flanked by a cast of colorful and conniving supporting and featured roles, propriety is stricken with a case of lower-middle class brashness that challenges the status quo and may or may not beat a few jokes senseless.

William, affectionately called Bill, is squirmy but independent as he stands firmly in his sense of self, played with near perfect comedic timing by Kevin Connell Muth. Muth brings a light and somehow downplayed ease to a character written to be over the top and caricature-like to fit the “wink, nudge” style of humor of which the musical has an abundance. Several bits jump out like his mimed introduction to a woman he imagines to be about two inches high, and a gag where he melts wicked witch-style in a grandiose ermine-trimmed cape. His feisty counterpart Sally is played by Julie Parrish, a gal who consistently shares with her audience a lovely voice, a very believable accent, and a top-notch radar for the inevitable shortcomings of live community theatre. The relationship between Bill and Sally is truly one to root for because of the life charged into what could have easily been flat stereotypes.

Exceptional performances belong to Judi Milgram’s Duchess Maria, a headstrong but not close-minded powerhouse whose quips can put anybody in what she deems to be his or her place; and Gerald, Patrick Martyn, an emasculated follower of the terribly desperate gold digger Jackie, who comes packed with awkward mannerisms and a rampant putting-on of unearned airs.

The set however, frankly takes away from the world of the production. Props and set pieces look hastily painted and assembled. Another factor taking away from this developing world is an odd time period discrepancy in the costume design. Several dresses scream “2002 High School Dance” which is distracting. Plot holes and unrealized growth potential for many stagnant players is an unfortunate hurdle, as those issues lie in the script and not necessary in the hands of the actors or director. Moments of spontaneous tap or waltz to seemingly buy time for quick changes and backdrop swaps leaves the story a little cheated, for the time comes when breaking the fourth wall no longer works in the cast’s favor.

The company and crew of Me and My Girl are rewarded with an appreciative and sharp-eared audience who allows bright and comical strangers to lead them to a place where Duchess Maria is wrong in stating that “Love is for the middle class.”

The Company

• Bill Snibson: Kevin Connell Muth
• Sally Smith: Julie Parrish
• Duchess Maria, Matriarch of the Hereford Family: Judi Milgram
• Sir John Tremayne: James Hunnicutt
• Lady Jacqueline Carstone: Amy Agnese
• Gerald Bolingbroke: Patrick Martyn
• Herbert Parchester, The Family Solicitor: Jeff Burch
• Lord Battersby: Chip Meister
• Lady Battersby: Kristen Cooley
• Sir Jasper Tring, the oldest living Hereford: Will Poxon
• Hethersett, he Butler: Lou Ghitman
• Mrs. Hughes, the Head Housekeeper: Paula Montrie
• The Major Domo: Jim Knost
• Lady Damming: Jennifer Viets
• Mrs. Celia Worthington-Worthington: Jackie Duff
• Lady Diss: Paula Montrie
• May Miles, Lady Diss’ daughter: Amanda Dickson
• Lady Brighton: Ashlyn Thompson
• The Pearly King and Queen: Quae Simpson and Lauren Everd
• Cockney Dancers: Laura Donnelly and Julie Foley
• Mrs. Brown, landlady in Lambeth: Jackie Duff
• Telegraph Boy: Ricky Blaha
• Bob Barking: Jake Stuart
• Lambeth Working Girl: Amy Greco
• Constable: Will Poxon
• Guests, Servants, Dancers, Ancestors, Ensemble: Ricky Blaha, Kristen Cooley, Amanda Dickson, Laura Donnelly, Jackie Duff, Lauren Everd, Julie Foley, Thomas Gardner, Jim Gerhardt, Lou Ghitman, Amy Greco, Jim Knost, Emily Morgan, Paula Montrie, Will Poxon, Katie Procell, James Ruth, Quae Simpson, Jake Stuart, Ashlyn Thompson, Jennifer Viets

Orchestra

• Conductor: Nathan Scavilla
• Piano: Patty DeLisle
• Bass: Robert DeLisle
• Percussion: Lisa Wood
• Violin: Rachel Lane
• Reeds: Helen Schlaich
• Trumpet: Stephen O’Connor
• Trombone: Megan Zontek
• French Horn: Jeff Baker

Production Team

• Director/Choreographer: Tom Wyatt
• Musical Director: Tom Wyatt
• Conductor: Nathan Scaville
• Stage Manager: Meghan Hughes
• Technical Director: G. Maurice “Moe” Conn
• Set Design: G. Maurice “Moe” Conn
• Set Construction Crew: Emily Andrews, Nichole Chaney, Devin McKay, Hayden Muller, Matt Norton, Sarah Senior, Marc Smith, Tony Steiner, Patrick Youells
• Scenic Artist: Sarah Senior
• Sound Designer/ Operator: Terry Edwards
• Sound Intern: Edwin Stagmeyer
• Costume Coordinator: Tom Wyatt
• Costume Construction: Della Lotman
• Men’s Formal Wear provided by: Tuxedo House
• Specialty Costumes provided by: Costume Holiday House of Fremont, Columbus, Toledo, Ohio
• Lighting Designer: Nathan Best
• Light Board Operator: Kanwal Rehman
• Spotlight Operators: Emily Andrews, Lisa Delss
• Shift Crew: Hayden Muller, Sara Piaskowski, Tony Steiner, Patrick Youells
• Deck Chief: Nicolle Walker

Disclaimer: Cockpit in Court Summer Theatre provided two complimentary media tickets to ShowBizRadio for this review.

In their 1959 hit Gypsy, Jule Styne and Stephen Sondheim wrote the saddest up-tempo, optimistic song in the classic Broadway musical canon. It’s also the best-known song in the show, “Everything’s Coming Up Roses,” and in Baltimore County’s Cockpit in Court Summer Theater production, Shannon Wollman as Mama Rose sings it flawlessly. Better than flawlessly, really: nowhere else in the production is Rose’s near-sociopathic inability to empathize with others and her detachment from reality made so starkly clear. But what gives the scene its heartbreaking dramatic impact is the almost wordless reaction of her daughter Louise (Laura Donnelly). Their vaudeville act has fallen apart. It’s time for Rose, her longtime lover Herbie (Roger Schulman), and Louise to go home and have a normal life, which Louise craves with every fiber of her being. Rose just won’t have it. The show must and will go on. Upstage of the spotlight focused on Rose as she sings, Louise’s body stiffens, her face crumples, she backs away from her mother like an uncomprehending wounded animal, she seeks comfort in Herbie’s arms, knowing that this well-meaning but weak man cannot protect her. It is a moment for the crushing of a vulnerable soul, and Donnelly’s performance captures that moment as well as I have ever seen it.

Rose is one of the greatest female roles in musical theater, played over the years by an all-star list of performers beginning with Ethel Merman and including, among others, Tyne Daly, Angela Lansbury, Bernadette Peters, Patti LuPone, Betty Buckley, and (on film) Rosalind Russell and Bette Midler. While always grounded in Rose’s overwhelming determination, energy, and will, it is a great role in large part because of the wide scope of interpretive possibilities it offers. For the most part, Wollman’s interpretation emphasizes the charming and charismatic nature of the character, as when in “Together Wherever We Go” she once more pulls Herbie and Louise (who by this time know better) into her vision of their performing future.

Rose’s climactic soliloquy “Rose’s Turn” (a classic “11 O’clock Number” if ever there was) becomes a matter of her finally achieving a measure self-awareness, thereby hinting at a more hopeful future for the character. (This production retains the original version’s reconciliation between mother and daughter at the end of the show, as opposed to bleaker endings in some of the revivals.) Wollman’s take is not as sexy and crazy as some interpretations of the number — I would like to have seen a little more craziness, physically and vocally, though this is a matter of choices among valid options — but captures beautifully the roots of her character in a never-resolved sense of loss from her own mother’s abandonment of her. Wollman is a fine singer, with more of a lyric quality to her voice than the belt associated with the role ever since Merman originated it. In appearance more youthful than many Roses, she appears to age not a day while three different girls and women play Louise at different stages of her life. Make-up and a few subtle physical acting choices might have shown changes in her over the years covered by the play.

In addition to her superb reactions during “Everything’s Coming Up Roses,” Donnelly sings the wistful “Little Lamb” sweetly. She grows from an ugly duckling, very much under her mother’s command, into an assertive person who becomes her own woman, and Donnelly makes the gradual progress of her transformation very clear to the audience. Getting the same actress to portray effectively both the adolescent Louise and the grown Gypsy Rose Lee is a chronic challenge in all productions of this show, and Donnelly is less persuasive as the adult burlesque queen than as her younger incarnation. This is particularly the case in her late second act confrontation with Rose, in which Louise comes off more as a still-hurting child than a proud, self-assured star. She carries off the glamour of her adult performing persona, somewhat less so its sexual allure.

Donnelly and Dainty June (Anna Holmes) pair nicely in the very funny and wryly resentful “If Momma Were Married.” Homes gives a stronger, more aggressive and egotistical edge to June (as does her younger version, played by Katerina Lomis) than I have seen in other productions. The historical June grew up to be June Havoc, a very successful actress who reportedly was very unhappy with her portrayal in Gypsy. Havoc might have been even more displeased with the interpretation of the character based on her in this production; that, however, is to the credit of Holmes, Lomis, and director John Desmone, who succeed in making June considerably more interesting than usual.

Another nice touch by Desmone involved the developing relationship between June and one of the boys in the act, Tulsa (Shane Lowry), with whom she ultimately runs off. The script only mentions the relationship after the two have left. In earlier first act scenes, Desmone has Tulsa nonverbally interacting with June in a way that prefigures their connection (e.g., familiarly touching her shoulders in the “Mr. Goldstone” scene). Lowry also has an athletic, showy solo dance turn in “All I Need Now Is the Girl” in the latter part of the first act.

Herbie is one of those thankless roles of a man with kind instincts but an absence of spine, dominated by a stronger woman, the sort of nice guy who Leo Durocher is supposed to have said finishes last (musical theater cousins include Amos Hart from Chicago and Johnny Brown from The Unsinkable Molly Brown). Schulman, with his large, somewhat shambling presence, gets more dignity into the role than is the norm, particularly in his final scene with Rose in which he tells her passionately of his reasons for leaving.

This production involves a very large cast, one of the largest I have seen in a community theater production. To the credit of the Cockpit group and its actor base, there are no weak spots apparent, even in the smallest roles. Among the smaller roles that deserve mention are Tessi Tura (Laura May), the leader of the trio of three strippers in the always funny “You Gotta Get a Gimmick” number and Miss Cratchitt (Nadine Wellington), the seen-it-all secretary for a vaudeville producer for whom Rose’s act is auditioning.

Cockpit’s production style evokes the way the Gypsy might well have been mounted in 1959. The set — rented or borrowed from a professional company in Long island — uses flown-in two-dimensional backdrops augmented by smaller set-pieces (e.g., for Rose’s grandfather’s house, a boarding house where the vaudeville troupe lives on the road) rolled on in front of the drops. In the days before mechanized and computerized set changes, it was commonplace to write scenes to be played in front of the proscenium curtain while set changes were made behind it. The Cockpit production includes more of these front-of-curtain scenes than I have seen in decades, avoiding awkward pauses in the action but at some cost in visual depth and realism. But this now-archaic production style worked for audiences throughout the belle epoque of the Broadway musical, and it still works here.

The costumes, coordinated by James J. Fasching and Mark Briner, were varied, colorful, and period-appropriate. Given the size of the cast, the costume people had quite a logistical task, and they were up to it. Miss Cratchitt’s dress was a particular favorite of mine, and the various intentionally silly outfits work by members of Rose’s vaudeville act were consistently amusing. The rapid costume changes for Gypsy’s ascent from rookie stripper to stardom were handled with dispatch, with each costume becoming more glamorous than the last (her final gold gown in the series was particularly pretty).

Tim Viet’s 10-piece band accompanied the action effectively, though the thinness of the reduced orchestration was sometimes noticeable (scores of the era in which Gypsy opened were orchestrated for considerably larger ensembles). Tempi did not lag, and the sound design and operation (Terry Edwards) kept a balance between the band and the singers. At times, the volume of the amplification was as overwhelming as Rose’s personality, and many of the microphones worn by the actors were not visually subtle.

This Gypsy is a first-rate production, on a level with the best community theater work I’ve seen in other parts of the region. It’s well worth seeing, even if for those of us closer to DC than Baltimore you have to drive a bit to get to it.

Photo Gallery

Photos provided by Cockpit in Court Summer Theatre

Cast

• Uncle Jocko: Henry Reisinger, Jr.
• Georgie: Lou Otero
• Kid Auditioners:
• Balloon Girl: Clara Guston
• Victor the Violin Virtuoso: Wesley Brown
• Ballerina Baby: Maia Vong
• Betty the Baton Twirler: Angela-Marie J. Boeren
• Juggling Jimmy: Andrew J. Boeren
• Kid Auditioners’ Mothers: Cheryl J. Campo, Sabrina Einolf, Mary Gorman, Tara Herbert
• Baby June: Katerina Lomis
• Baby Louise: Sophia DeVito
• Rose: Shannon Wollman
• Pop: Dave Guy
• Weber: H. Ray Lawson
• Herbie: Roger Schulman
• Newsboys:
• Tulsa: Andrew J. Boeren
• Yonkers: Mattias Hanchard
• L.A.: Angela-Marie J. Boeren
• Dainty June: Anna Holmes
• Louise: Laura Donnelly
• Farmboys
• Tulsa: Shane Lowry
• Yonkers: Tyrell Stanley
• L.A.: James Ruth
• Angie: Josh Schoff
• Waitress: Cheryl J. Campo
• Kringelein: Wayne Ivusich
• Gladys: Sabrina Einolf
• Boarders: Rick Arnold, Wesley Brown, Cheryl J. Campo, Sabrina Einolf Mary Gorman, Amy Greco, Tara Herbert, Jennifer Otero, Maia Vong
• Mr. Goldstone: Bill Pheil
• Miss Cratchitt: Nadine Wellington
• Hollywood Blondes:
• Agnes/Amanda: Amy Greco
• Dolores: Rachel Verhaaren
• Edna: Amanda Dickson
• Gayle: Jennifer Otero
• Marjorie May: Lindsay Deitrich
• Thelma: Zoe Feldman
• Cigar: Rick Arnold
• Pastey: Lans Alexis
• Tessie Tura: Laura May
• Mazeppa: Lisa Pastella-Young
• Electra: Sarah Ford Gorman
• Showgirls: Lindsay Deitrich, Amanda Dickson, Zoe Feldman Amy Greco, Jennifer Otero, Rachel Verhaaren
• Renee: Jennifer Otero
• Phil: Gary Dieter
• Bourgeron-Cochon: Alan M. Berlett
• Cow (Act 2): Lou Otero, Josh Schoff
• David Kahn: Greg Guyton
• Barbara Kahn: Jennifer Skarzinski
• Trudy Heyman: Regina Rose
• Martin Heyman: Thom Peters
• Sophie Greengrass: Marge Ricci
• Maurice Koenig: John Rowe

Orchestra

• Conductor: Tim Viets
• Piano: Sally Tarr, Michael DeVito
• Bass: Robert DeLisle
• Percussion: Saul Green
• Reed I: Steven Haaser
• Reed II: Helen Schlaich
• Trumpet: Tony Neenan
• Trumpet: Chris Shiley
• Trombone: Jeff Harrigan
• Trombone: Jay Ellis
• Trombone: Peter Francis

Production Staff

• Director/Choreographer: Albert J. Boeren
• Musical Director: Sally Tarr
• Orchestra Manager/Conductor: Tim Viets
• Stage Manager: Molly Hopkins
• Choreographer: Bambi Johnson
• Technical Director: G. Maurice “Moe” Conn
• Sound Designer/Operator: Terry Edwards
• Sound Designer: Albert J. Boeren
• Sound Intern: Edwin Stagmeyer
• Costume Coordinators: James J. Faschingl, Mark Briner
• Costume Assistants: Bill Lunner, Lindsay Franks
• Shannon Wollman’s Dresser: Brian Kane
• Lighting Designer: Michael Rasinski, Nathan Best
• Light Board Operator: Devin McKay
• Lighting Crew: Emily Andrews, Nichole Chaney, Devin McKay, Matt Norton
• Spotlight Operators: Lisa Deiss, Tony Steiner
• Scenery provided by: Gateway Playhouse, Bellport, NY
• Gateway Playhouse Technicians: Dennis Berfield, Charlie Bell
• Deck Chief: Nicolle Walker
• Load-in/Build Crew: Emily Andrews, Nichole Chaney, Devin McKay, Matt Norton, Sarah Senior, Tony Steiner, Patrick Youells

Disclaimer: Cockpit in Court Summer Theatre provided two complimentary media tickets to ShowBizRadio for this review.

Social Security is a slightly risqué (ie: there were times I felt embarrassed watching with my teenage step-daughter but I never actually made her leave the room), situational comedy. The show was well-directed and well-paced so that it was never boring, but it was only once or twice actually laugh out loud hilarious. The one-room set and lighting are simple yet effective. There are a few excellent additions to the design like a wonderful painting which appears in Act II. Most notable, however, is that Cockpit in Court’s production is filled with stellar performances from the cast.

The show opens by introducing us to David Kahn (Greg Guyton) and his wife Barbara (Jennifer Skarzinski). David (Greg Guyton) and Barbara (Jennifer Skarzinski) are childless, city-dwellers; they are dreading a surprise visit from Barbara’s sister and her husband. Guyton brings life to the extroverted and charismatic David; while Skarzinski creates a slow build with the sometimes neurotic and always very real and transparent Barbara. The pair have excellent chemistry and a great timing and banter.

Barbara’s sister Trudy (Regina Rose) and brother-in-law Martin (Thom Peters) arrive, and they are very different than the Kahns. Rose is delightful in her curt portrayal of the eternally repressed Trudy, and Peters creates an entertainingly awkward Martin. The pair have travelled into the city on their way to Buffalo to save their daughter from trouble she has gotten into at college … and to, without any warning, drop off Barbara and Trudy’s mother, Sophie (Marge Ricci) to stay.

Ricci’s performance is just stunning. She is an incredibly nuanced actress, who actually makes the over-the-top Sophie so hilarious through subtle downplaying. There is one particular segment involving a house coat that is subtle physical comedy at its absolute best. Her character also changes and transforms in a very natural way. That transformation is the result of meeting Maurice Koenig (John Rowe). Rowe is charming in his part, and it is easy to see how he turns Sophie’s world around.

Cockpit in Court’s Social Security is an enjoyable evening filled with five memorable performances.

Photo Gallery

Photos provided by Cockpit in Court Summer Theatre

Cast

• David Kahn: Greg Guyton
• Barbara Kahn: Jennifer Skarzinski
• Trudy Heyman: Regina Rose
• Martin Heyman: Thom Peters
• Sophie Greengrass: Marge Ricci
• Maurice Koenig: John Rowe

Production Team

• Director: Albert J. Boeren
• Technical Director: Kate Gage
• Lighting Designer: Michael Rasinski
• Light/Sound Board Operator: Lisa L. Boeren
• Sound Designer: Albert J. Boeren
• Costume Designer: James J. Fasching
• Set Designer/Scenic Artist: Michael Rasinski
• Stage Manager: Lisa L. Boeren
• Build/Lighting Crew: Emily Andrews, Nichole Chaney, Devin McKay, Matt Norton, Sarah Senior, Joe Sigai, Tony Steiner, Patrick Youells

Disclaimer: Cockpit in Court Summer Theatre provided two complimentary media tickets to ShowBizRadio for this review.

An old, Hollywood camera stands alone on stage, under a majestic and ghostly spotlight. The lights fade, a warm but disturbing fade of lights appear upstage and reveals a corpse on a gurney wheeled off, spotlight hits, and we meet Joe Gillis (Tom Burns), a down-on-his-luck screen writer who takes us six months back into the past, and proceeds to tell us the story of the tragic 1995 Andrew Lloyd Weber’s Tony Award Winning Musical, Sunset Boulevard. As we’re transported back in time, we find Joe on the back lot of Paramount studios, desperately looking for work, evading two determined car-repo men, borrowing money from his best friend, Artie (Darren McDonnell), and bumping in and being rescued by Artie’s fiancé and an aspiring screen writer, Betty Schaefer (Kelsey Lake). As Joe gets away, his car breaks down by an old faded, mysterious, Hollywood mansion. As Joe enters this daunting den, he encounters Norma Desmond “Greatest Star of All” (Nadine Haas Wellington) from the silent film era who never made a transition to sound movies. Norma has been reclusively hibernating in her mansion for 20 years, only to be accompanied by her faithful, loving butler, a one-time prominent movie director, as well as her ex-husband, Max (John Amato). Norma proceeds to transport Joe into her world by having her assist and rewrite her big comeback script of Selome. Joe reluctantly agrees, and as time goes by he is fully and helplessly submerged into Norma’s world, dominated by her passion, expensive gifts, eccentricity, and a need for love and attention. At the same time Joe’s and Betty’s relationship grows from screen writing partners, and develops into a blossoming romance which is quickly shattered and destroyed by Norma’s jealousy and rage. As the final moments of the last half a year come to an end, Joe tells Norma that he is leaving her and that Paramount has no intentions of making her film, nor do they have any interest in her. A distraught Norma reaches for a pistol and shoots Joe. As the press and the police arrive, completely fallen into insanity, Norma mistakes them for studio personnel and her beloved fans, she descends down the staircase, and utters the iconic phrase “Mr. DeMille, I’m ready for my close-up.”

Cockpit in Court’s production under the masterful helm of Director Eric J. Potter is mind-blowing. The brilliant, grandiose, and breath-taking set by G. Maurice “Moe” Conn is not only worth the price of admission alone, but is one of the greatest sets a community theatre has ever produced. The nostalgic, elegant, cornucopia of costumes is brilliantly designed by Wil E. Crowther, and the Broadway quality, haunting lighting, is the imaginative result of lighting designer Ed Lake.

Burn delivers a stellar performance, never missing a beat or a note, making the audience hang on his every word. With a beautiful tenor voice, Burn paints a passionate yet painful portrayal of a man torn. Skillfully, Amato quietly yet impressively gives a performance of the heart torn, yet irreplaceable support to Norma’s demise. Watching Amato plainly breaks your heart. His most effectively touching scenes are the moments of silence and observation. Lake is perfectly cast as Betty, providing the positive side of the story with hope and love and the lighter moments of the show, with a stunning performance and flawless vocals, Lake makes a firm mark on this elegant production.

A string of legendary granddames have portrayed the role of Norma from West End to Broadway. Wellington makes it her absolute own, tackling one the most difficult roles in musical theatre with passion, determination, and care, with full and unbreakable understanding of this fragile figure. Tackling the demanding vocals head on, and full force, her rendition of “As if We Never said Goodbye,” is a display of talent, professionalism, maturity, and heart.

As Cockpit in Court’s 40th season comes to an end this weekend, their production of Sunset Boulevard goes down in history as one of their best, makes us look forward to what’s coming in the future and teaches us that there is always “New Ways to Dream.”

The Cast

• Norma Desmond: Nadine Haas Wellington
• Joe Gillis: Tom Burns
• Max Von Mayerling: John Amato
• Betty Schaefer: Kelsey Lake
• Cecil B. DeMille: Jerry Geitka
• Artie Green: Darren McDonnell
• Sheldrake: Albert J. Boeren
• Manfred: Thomas P. Gardner

Ensemble

• Albert J. Boeren
• Neena Boyle
• Thomas P. Gardner
• Amy Greco
• Dave Guy
• Emily Morgan
• Bill Pheil
• Sara Ritmiller
• Shawn Rockel
• Dana Romeo
• Abbey Sierakowski
• Courtney Yates
• Jaimie Yates
• Ralph Walsh

Orchestra

• Conductor: Terri Mathews
• Keyboards: Jeffrey Winfield, Julie Parrish
• R. Christopher Rose
• Bass: E.J. Riley
• Percussion: Mark Leppo
• Reeds: Rick Hauf, Richard Spittel
• John Wojciechowski
• French Horns: Dawn Zipay
• Trumpet: Karl Tracy
• Trombone: Lewis Blandon

Production Team

• Director: Eric J. Potter
• Musical Director: Terri Mathews
• Rehearsal Pianist: R. Christopher Rose
• Stage Manager: Margie Lake
• Technical Director: G. Maurice “Moe” Conn
• Choreographer: Julie Foley
• Sound Designer/Operator: Julie Foley
• Costume Designer: Wil E. Crowther
• Wardrobe Assistant: Brian Kane
• Lighting Designer/Operator: Ed Lake
• Spotlight Operators: Tony Steiner, Calvin Grove
• Set Designer: G. Maurice “Moe” Conn
• Construction Crew: Joe Sigai, Matt Norton, Sarah Senior
• Deanna Gilmore, Zack Lukowski, Marc Smith,
• Nathan Davis, Andrew Wilkin, Nichole Chaney,
• Tony Steiner, Calvin Grove
• Deck Chief: Nicolle Walker
• Lead Flyman: Nathan Davis
• Running Crew: Jeremy Griffith, Zach Lukowski, Carol Braly
• Properties Manager: Deborah Jennys

Disclaimer: Cockpit in Court Summer Theatre provided two complimentary media tickets to ShowBizRadio for this review.

It is always good to see when children’s theatre goes to their roots, and does something classic, fun, appropriate, and family friendly. Such is the case with Cockpit in Court’s summer production of Dr. Dolittle. Based on the legendary “Dr. Dolittle” stories by Hugh Lofting, the 20th Century Fox film whose book, music, and lyrics were written by Leslie Bricusse comes to life in this production. The 25 multi-talented, full of energy cast which consist of ages 5 through 18 does a fine job with this full-length production.

The show is full of beautiful songs, all time favorite melodies such as “Talk to the Animals” and “Fabulous Places,” simple but fun dance numbers, a display of individual talents from the cast, and an over-all fun evening. The sets are simple, yet clever. The backdrops are beautiful and set the perfect mood for the scenes. The costumes were fun and innovative, and the two-piece orchestra consisting of piano/synthesizer and percussion made it sound like a full-fledged band.

Matthew Demetrides (Dr. John Dolittle) tackles the heavily dialogued leading role beautifully, consistently keeping up a British accent, delivering passionate renditions of the songs, and hilariously speaking a cornucopia of animal dialects. Hunter Lubawski (Polynesia) is perfectly cast as Dr. Doolittle’s 200-year old, know-it-all, right hand parrot with energy that doesn’t seem to stop, and the hilarious delivery on practically every line. Josh Schoff (Matthew Mugg), Alec Munk (Tommy Stubbins), Zach Miller (General Bellows), Kelsey Feeney (Jip the Dog), and Maddie Howard (Emma Fairfax) round out the supporting roles with each doing an outstanding job and making their characters believable and real. Although sometimes struggling a bit vocally, Howard does a beautiful job with her rendition of “At the Crossroads.” The rest of the ensemble juggles many different roles and responsibilities alternating between a plethora of animals and other characters. Some standouts of the ensemble are Valerie Stine, Lizzy Dixon, Rachel Miller, Wesley Brown, and Ava Winner.

The audience was filled with children and adults practically of all ages. It was fun and entertaining for the entire family so take a drive down to Essex, Maryland, catch the show on its closing week, and come “Talk to the Animals.”

Disclaimer: Cockpit in Court Summer Theatre provided two complimentary media tickets to ShowBizRadio for this review.

There was a frightening moment during the overture, when the unsteady light shaped like a boat made a very shaky and cheesy journey across the large drop of a world map. If this moment was to set the tone for the whole production, then we were in trouble. Luckily, the moment passed, and the curtain rose for Cockpit in Court’s The King and I, and the audience was transported to a boat docking in Siam and the beginning of a mostly delightful production.

On that boat, we found newly widowed Anna (Nancy Parrish Assendorf) and her young son, Louis (Julian Baron) on their way to live in Siam, where she would work as the school teacher in the royal palace. In Anna, we found a perfectly polished leading lady. Assendorf had unending charm. She was fun and playful in “Getting to Know You.” She also had incredible strength, first glimpsed in “I Whistle A Happy Tune.” She showed both pain and joy in remembering her lost husband in “Hello, Young Lovers.” She brilliantly displayed conflicting emotions in “Shall I Tell You What I Think of You?” Her performance was a spot-on journey from the moment she walked off the boat to the last, bittersweet moments in the King’s chambers. Her vocals were equally as ideal, and it was a delight each time that she sang.

Arriving in Siam, Anna first meets The Kralahome, played with excellent restraint by Jim Knost. She then meets her new boss, The King (James Handakas). Handakas seems to be miscast in the role of the King. He lacks neither the physical or emotional power, strength, and charisma required for the role. Instead, he plays the role in a way to try and play up the laughter. Unfortunately, many of The King’s lines are actually funny because of the seriousness with which they are delivered by him. With Handakas in the role, this does not happen. Handakas has a decent voice, but this is not really a heavy singing role nor is his voice so amazing to understand the casting decision. He misses the boat entirely on this one. His stance in wrong, constantly sticking his stomach out. His accent is wrong, a mix of very stereotyped bad Asain and a little Hispanic. His delivery is unrealistic and over-exaggerated. With a different King, this production would have been at an entirely different level. Unfortunately, he brings your mind continually back to the shaky, cheesy boat.

Luckily, among the wives and children that Anna comes to teach, there is a ton of talent to be seen. As an ensemble, the group makes for several entertaining scenes and numbers. The wives are especially able to show their ability, with vocals and dance, in “Small House of Uncle Thomas.” Chief among the wives is Lady Thiang (Eileen Keenan Aubele). Aubele demonstrates her vocal power in “Something Wonderful,” but is forced slightly out of her range in “Western People Funny.” Aubele has really heartfelt moments. Although she sometimes seems a little too small on such a big stage in such a big show, her performance is overall good. As her son, Prince Chulalongkorn, Mattias Hanchard makes a big impression and really delivers the heart of the show with poise in the final scene.

At the same time as Anna’s arrival, The King has received Tuptim (Molly Doyle) as a gift from the Prince of Burma. Unfortunately, her heart belongs to Lun Tha (Kevin James Logan). Fortunately, for the audience, Doyle and Logan give performances that are nothing short of stunning. Doyle has a stellar first soprano, and Logan’s tenor gives goosebumps. “We Kiss in A Shadow” is especially haunting and beautiful. Doyle has endless class and composure, then beautifully crumbles in a tragic ending. Logan is ever-optimistic and strong. They are the perfect pair and bring real chemistry and romance to the stage.

The technical aspects of the show are definitely top-notch. The costumes are intricate and gorgeous. Anna has one beautiful dress after another. The European dresses fashioned from the Asian materials are especially nice. The costumes during “Small House of Uncle Thomas” are simply breathtaking. The set is beautiful and sets each scene beautifully. The lighting, after the initial light-boat fiasco is seamless in transitions. The gorgeous cyc at the back of the stage is almost always visible and well-utilized for setting the tone with lighting.

Overall, there are a million reasons to see The King and I. If only The King had been at the same level of everyone else, it would have been practically flawless. However, even with this major deficit, it still worth it to see the dynamic performances by Assendorf, Doyle, and Logan.

Cast

• Captain Orton: J. R. Lyston
• Louis Leonowens: Julian Baron
• Anna Leonowens: Nancy Parrish Assendorf
• The Kralahome: Jim Knost
• The King: James Handakas
• Interpreter/Phra Alack: Bill Pheil
• Lun Tha: Kevin James Logan
• Tuptim: Molly Doyle
• Lady Thiang: Eileen Keenan Aubele
• Prince Chulalongkorn: Mattias Hanchard
• Princess Ying Yaowalak: Maia Vong
• Sir Edward Ramsey: Darren McDonnell
• “Small House of Uncle Thomas”
  • Eliza: Polly Hurlburt
  • Uncle Thomas: Zoe Feldman
  • Eva: Monica Fafaul
  • Topsy: Amy Greco
  • Simon of Legree: Lauren Appel
  • Angel/George: Priscilla Simmont
  • Royal Dancers: Kara and Katie Procell
• The Royal Princes and Princesses: Olivia Aubele, Gracie Aubele, Andrew J. Boeren, Angela-Marie J. Boeren, Madison Cote, William Macsherry, Naomi Naka, Alana Parker, Layla Sartipy, Katherine Shock, Elizabeth Volpe, Grace Volpe, Maia Vong
• The Royal Wives: Ruth Hirsch, Claire Iverson, Emily Morgan, Amy Greco, Dana Romeo
• Priests: Bill Pheil, Matthew Reeds, Josh Schoff

Production Team

• Director/Choreographer: Todd Pearthree
• Musical Director: Glenette Rohner Shumacker
• Children’s Musical Director: Alyson Moore Shirk
• Orchestra Manager: Tim Viets
• Stage Manager: Meg Hughes
• Technical Director: G. Maurice “Moe” Conn
• Sound Designer/Operator: Terry Edwards
• Costumes: A. T. Jones
• Costume Assistant: Eva Grove
• Lighting Designer: Doug Nelson
• Light Board Operator: Jeremy Griffith
• Lighting Crew: Joe Sigai, Deanna Gilmore
• Spotlight Operator: Sarah Senior
• Set Designer: Ryan Haase
• Scenic Artist: Ryan Haase
• Construction Crew: Joe Sigai, Matt Norton, Sarah Senior, Deanna Gilmore, Zack Lukowski, Marc Smith, Nathan Davis, Andrew Wilkin, Nicole Chaney
• Deck Chief: Nicolle Walker
• Running Crew: Nathan Davis, Calvin Grove, Tony Steiner, Carol Braly

Orchestra

• Conductor: Glenette Rohner Shumacker
• Keyboard/Rehearsal Pianist: Chris Rose
• Woodwinds: Richard Spittel, Laura Weatherington
• Trumpet: Leonard Maxey
• Bass: Robert DeLisle
• French Horn: Amanda Collins
• Percussion: Andrew Bilbrey, Bill Watson, Lisa Wood

Disclaimer: Cockpit in Court Summer Theatre provided two complimentary media tickets to ShowBizRadio for this review.

There is nothing like a well-constructed mystery that keeps you spinning theories in your head from beginning to end. The Edge of Darkness does exactly that, and, in the very capable hands of Cockpit in Court Summer Theatre, this production is well worth seeing. It is best that you know as little about the plot of the show as possible to keep you on the edge of your seat as intended. Strong performances, excellent pacing, and a beautiful set design bring this piece to life with deep emotional content and a touch of class. There are a few minor missteps, but the overall production far outshines the imperfections.

Susan Liberati (Laura Cranwell) gives one of the most beautiful and nuanced performances. Her character is so well-crafted that the different layers of Laura’s personality, secrets, and pain roll out in a hauntingly natural way. It was an actual perfect performance that gave the entire piece a deep core from which to begin. Thom Peters (Max Cranwell) was also quite good. He has a great charm about him, but he was also able to switch and show the other sides of his character. Ashley Fain (Emma) was another excellent performance. She could convey complex and often contradictory emotions all at the same time. All three actors just seemed to really embody their characters, and that investment led to audience investment which just furthered the connection to the story.

Neena Boyle (Penny) was a comedic gem. A few times, she went a little over the top, but, for the most part, she continued to provide high-energy comic relief in a believable manner. She, like the three mentioned above, also perfected an appropriate British accent. Boyle’s accent was also appropriately more lower-class than that of the Cranwells.

On the other hand, Ted Burke (Livago) really struggled with his Russian accent. The accent combined with his very large acting really made his character more of a caricature, especially when contrasted with the subtlety of the others on stage. It worked out, because of the nature of his character and was not hugely distracting, but the role could have had more depth and believability even within the short scene.

However, the real weakness in the cast was Bobby Romadka, III (Hardy). Although he had an excellent look for the role, he was extremely flat and forced and just generally inauthentic. He also could not get an English accent. A few times, he seemed to attempt one without much success. Sometimes, parts came out as Southern or even New York Bronx. Luckily, the other principals were so strong that he did not lessen the power of their performances.

The set was simple and beautiful with lots of realistic details and touches. The blocking was well-suited for theatre in the round. The costumes, for the most part, were period-appropriate, beautiful, and well-fitting. The lights and sounds were a bit of overkill many times, however. Not every show benefits from the attempt to have a more intricate lighting and sound design, and the simplicity of this show was occasionally cheapened by the attempt to use lights and sounds where they were not needed. The use of red lighting, many times, at the end of a scene to try and highlight the person who sounded guilty at the end of that scene came across as corny and just too much. The story was so clear that it did not benefit from lighting that was trying to say how to feel or what to think. There was several times too when music started playing in the background of a scene with no real significant beginning or ending point. It was so quiet that you almost had to wonder if it was real or if you were hearing things. This made it seem like a gnat in the room, and it served no purpose. If anything, it had a soap opera-esque quality to it that was really incongruent with the otherwise classy tone and mood of the piece and the performance. The sound and light could have both been really toned down.

Nitpicking aside, it was a great piece with a mostly great cast that is really worth seeing.

Cast

• Penny: Neena Boyle
• Hardy: Bobby Romadka, III
• Emma: Ashley Fain
• Max Cranwell: Thom Peters
• Laura Cranwell: Susan Liberati
• Livago: Ted Burke

Production Team

• Director: Linda Chambers
• Technical Director: Nathan Best
• Set Designer: G. Maurice “Moe” Conn
• Scenic Artist: Michael Rasinski
• Lighting Designer: Brad J. Ranno
• Light/Sound Board Operator: Patricia Sarah Geiger
• Sound Designer: Brad J. Ranno
• Costume Designer: James J. Fasching
• Stage Manager: Patricia Sarah Geiger
• Set Construction: Nathan Davis, Nathan Best, Hank Meyer, Alicia Secada-Lovio, Deanna Gilmore, Joe Sigal, John Schneider, Matt Norton

Disclaimer: Cockpit in Court Summer Theatre provided two complimentary media tickets to ShowBizRadio for this review.

By now, unless you have been living under a rock, you probably know the story of Hairspray. Plucky, overweight, teen dance sensation Tracy Turnblad turns Baltimore upside down and makes a major stride for racial integration in the 1960s. It is a fun, funny, toe-tapping extravaganza whether you see it for the first time or the five hundredth. The Cockpit in Court Summer Theatre production will especially appeal to those that have never seen the show and have few preconceived notions about the characters. For those with preconceived notions, leave them at the door.

Director John Desmone really puts his own spin on the material with his vision. It is closer to the original film than the different musical adaptations. It is pure camp with a lot of shtick. The characters are way over the top and play to the audience a decent amount. It is anything but subtle. However, since the entire show (actors, set, costumes, lights, etc.) are consistent with this vision, it works, and it works well.

Sarah Ford Gorman is a little physically small for Tracy, but her performance is huge. She has powerhouse vocals and does a great job of leading the vision of over-exaggerated personalities. As her best friend Penny, Anna Holmes is an absolute ball of energy with really gorgeous vocals. Shane Lowry is slightly less strong as Link Larkin and lacks that “something extra” that makes a teen heart-throb but has a nice voice and mellow likeability. J Hargrove as Seaweed is another example of putting preconceived visions aside. Although he looks nothing like you would expect the character to look, he can dance and sing with such ease and skill that it never matters.

The absolute best thing in the show is John W. Ford as Edna. Even following in the huge footsteps that mark the tradition for that role, he finds a way to make it his own and absolutely shines. Gary Dieter’s Wilbur is very cartoonish, but he remains consistent in that choice and shows his skill as a song-and-dance man in the number “Timeless to Me.”

As Motormouth Maybelle, Eleanor Lawrence Wyche definitely has the vocal chops but does not seem to be experienced as an actress. She seems like she is used to having a microphone in her hand and not trying to embody a character. She seems out-of-place on the acting stage and often wanders or turns her back from the audience. It is also hard to believe her performance of “Big, Blonde, and Beautiful,” because she is neither big nor blonde. There are no attempts to pad her either, though she is far from plus-sized. On the other hand, Nancy Parrish Assendorf as Velma Von Tussle seems like she was born on stage. She is extremely comfortable, and her searing vocals are just the icing on the cake. As her daughter Amber, Elisabeth Johnson creates a great spoiled character. Christopher Council’s Corny Collins is not one of the brightest spots. He has good vocals but remains one-dimensional in the role and becomes largely forgettable.

The ensemble was overall strong. They were precise in their dance moves, had great energy, and brought life to the smaller characters. A few of the small roles fell a little flat, but most were well-played. Tiara N. Whaley really stood out as Little Inez with easily the best voice in the cast. Tammy Crisp put her own wildly memorable twist on Prudy Pingleton. The excellent choreography by Bambi Johnson really helped the ensemble shine as well.

The set was gorgeous. The Baltimore row houses were realistic and detailed. Locations changed quickly and seamlessly. Every piece was intricately designed and full of life and color. The lighting was really well-utilized throughout to show changes in location and mood. The cues were impeccable in their timing. The costumes were beautiful, well-designed, and period appropriate. The sound balance was, for the most part, well maintained, although the vocals at the end of “I Know Where I’ve Been” were a little too overpowering.

All in all, it is a production worth seeing, especially if you have not yet had the chance to see this show. If you are a fan, just make sure you leave your expectations at home.

Cast

• Tracy Turnblad: Sarah Ford Gorman
• Corny Collins: Christopher Council
• Edna Turnblad: John W. Ford
• Prudy Pingleton: Tammy Crisp
• Penny Pingleton: Anna Holmes
• Velma Von Tussle: Nancy Parrish Assendorf/Michele Guyton (August 6th & 7th)
• Amber Von Tussle: Elisabeth Johnson
• Link Larkin: Shane Lowry
• Tammy: Jennifer Lutz
• Brenda: Natalie Knox
• Shelley: Laura Pierpont
• Lou Ann: Kyleigh Daiker
• Brad: Ben Getz
• Sketch: Matt Feldman
• IQ: Ryan DeVoe
• Fender: Conor DeVoe
• Harriman F. Spritzer: Rick Arnold
• Wilbur Turnblad: Gary Dieter
• Little Inez: Tiara N. Whaley
• Seaweed J. Stubbs: J Hargrove
• Duane: Brandon Shaw
• Stooie: Jamil Johnson
• Gilbert: Seth Johnson
• Thad: Matthew Henson
• Lorraine: Nikita Chaudhry
• Cindy: Tigga Smaller
• Principal: Drew Gaver
• The Dynamites: Shereen Ahmed, Katie Nickerson, Kris Sharpe, Monique Lorraine Watson
• Mr. Pinky: Albert J. Boeren
• Fan: Maria Starcher
• Gym Teacher: Jessica Brockmeyer
• Motormouth Maybelle: Eleanor Lawrence Wyche
• Matron: Liz Boyer Hunnicutt
• Guard: John Wesley Hughes
• Denizens of Baltimore: Shereen Ahmed, Rick Arnold, Albert J. Boeren, Jessica Brockmeyer, Nikita Chaudhry, Tammy Crisp, Kyleigh Daiker, Conor DeVoe, Ryan DeVoe, Matt Feldman, Drew Gaver, Ben Getz, Matthew Henson, John Wesley Hughes, Jamil Johnson, Seth Johnson, Katie Nickerson, Kris Sharpe, Brandon Shaw, Tigga Smaller, Maria Starcher, Monique Lorraine Watson

Production Team

• Director: John Desmone
• Musical Director: Tiffany Underwood-Holmes
• Choreographer: Bambi Johnson
• Dance Captains: Ryan DeVoe, Natalie Knox
• Technical Director: G. Maurice “Moe” Conn
• Stage Manager: Molly Hopkins
• Set Designer: Marc W. Smith
• Baltimore Wall Designer: Jennifer Steams
• Lighting Designer: Terri Raulie
• Assistant Lighting Designer: Hank Meyer
• Light Board Operator: Nicholas Logue
• Spotlight Operators: Deanna Gilmore, Jeremy Griffith
• Sound Designer: John Suchy
• Sound Board Operator: Terry Edwards
• Costumer Designer: Tracy Bird
• Master Electrician: Hank Meyer
• Scenic Artist: Marc W. Smith
• Construction Crew: Nathan Davis, Nathan Best, Hank Meyer, Alicia Secada-Lovio, Deanna Gilmore, Joe Sigai, John Schneider, Matt Norton, Timothy Manning
• Running Crew: Nathan Davis, Michael Delaney, Nick Kanellopulos, Tony Steiner, Joshua Wolf

Orchestra

• Conductor/Keyboard I: Tiffany Underwood-Holmes
• Keyboard II: Michael Hopkins-Gros
• Guitar: Joe Napollilo
• Reed I: Stacey Antoine
• Reed II: Brian Butler
• Trumpet: Frank Gorecki
• Drums: Chris Marino
• Cello: Jonathan Chandler

Disclaimer: Cockpit in Court Summer Theatre provided two complimentary media tickets to ShowBizRadio for this review.

The Secret Garden is the heart-warming tale of a young girl who lost her parents, a man who is still grieving over his dead wife, and a young boy who lives every moment waiting for his death. Both in spite of and because of the ghosts that surround their lives, the discovery of a garden and bringing it back to life, with the help of a few friends, brings this family back to life as well. Cockpit in the Court Summer Theatre does a truly exquisite job of bringing life to this script with believable and complex characters, haunting and intricate vocals, and an incredible vision of movement and design.

The blocking, movement, and choreography of this production was flawless. Tom Wyatt found a way to make perfect pictures with every scene without making any of the formation of those pictures look forced. His cast was solid in their rehearsal and knowledge and executed every move with precision and grace. Even the scene changes were quick and unobtrusive. At times, the grips were so unnoticeable that it seemed like the pieces were moving and changing on their own.

The set was beautiful and perfectly appropriate. The house was stark and gloomy in direct contrast to the beautiful, blossoming garden. The lighting was used expertly to indicate the changes in place, time, and mood. The costumes were incredible. They were beautiful, well-fitting, and period-appropriate. All of the ghosts also had double costumes: one in full color and one in white. The change in costumes worked to indicate the level to which the ghost was alive at that moment in the show. It really helped the audience understand what can be a little confusing about the role of the ghosts in the plot of the story. The blocking helped with this as well. The ghosts could never quite touch their living loved ones until the actual touching happened in one scene to result in a real emotional payoff. Throughout, set, lighting, movement, and effects (like smoke) would align perfectly to create these moments of sheer artistic brilliance that could just take your breath away. The overall direction and vision of this production was professional-quality. The beauty was further enhanced by the amazing vocal nuances and harmonies of every member of the cast. Even the ensemble would often sing in pairs or small groups and get a chance to show off each of their abilities to make difficult music soar. This was a real triumph on the part of Musical Director Elizabeth Fink.

The cast was headed by an absolute young star: Caitlin Deerin (Mary). Not only does she never cease to amaze with her incredible pitch and ability to harmonize at such a young age, she has a kind of warmth and maturity that just radiates. She is able to make believable every complex mood change and emotion that Mary struggles with throughout the musical. Playing her tormented Uncle Archibald, Steve Antonsen displays one of the most beautiful tenor voices. Those that are used to the Mandy Patinkin recording will not be disappointed; Antonsen has a similar ability to go into a haunting and rich, melodic falsetto. His acting performance was equally strong, and he did it all from a wheel chair.

The rest of the leads demonstrated the same mastery of bringing humanity to these complex characters and rich life to the score. Sherry Benedek (Lily) has a beautiful soprano and was graceful and dignified. Carol Anne Drescher (Rose) and Kevin James Logan (Albert) were both wonderful in creating a whole story for their two characters in a few interspersed scenes. Joey Hellman (Neville) was a sympathetic villain. He made his pain visible yet still just below the surface demonstrating nuance in his performance. Robyn Bloom (Martha) was a delightful ball of energy and powerful belter, and Kevin Connell Muth (Dickon) was charming; there was no doubt how the pair helped inspire the other characters. Matthew Liam Demetrides (Colin) was able to show the character’s misbehavior as a result of pain and still keep the character likable, all the while showing his growth to a happy and healthy young man. In theory, all of these characters could have been very difficult, but this cast made it look natural.

There was only one thing wrong with the entire production, and I am not sure why the director allowed this in a production that was otherwise beyond reproach. It was a serious, negative example of an actor putting his/her own needs ahead of the needs of the show. The production, script, and vision were all taken seriously. It was not over-the-top acting like you might see in a more classic Broadway musical comedy. It was real characters with real depth, and the times that the show was funny or light, it came out of the very realness of the performances. However, Kristen Cooley (Mrs. Winthrop) completely broke the mood of the show with her short scene. It appeared that the actress wanted to make her few lines stand out and bring laughter. So, she chose to play the character in a completely over-the-top, ridiculous, and unbelievable manner. She used a vocal quality and cadence that is unlike the way anyone speaks unless they are “acting,” and she worked to force a laugh rather than allow the humor of the scene to play in a natural way. It worked, the laughs that she solicited came. Some audience members even applauded when she left the stage. She was able to solicit the response that she wanted with her schtick, but it completely pulled the production out of the moment for her scene. It definitely cheapened the otherwise classy production in that one scene.

One glaring misstep, however, should not be enough to discourage audience members from checking out this otherwise truly impressive production.

Cast

• Mary Lennox: Caitlin Deerin
• Lily Craven: Sherry Benedek
• Rose Lennox: Carol Anne Drescher
• Albert Lennox: Kevin James Logan
• Ayah: Sara Simpkins
• Fakir: Will Poxon
• Lt. Wright: James Ruth
• Major Holmes: Kevin Connell Muth
• Mrs. Holmes: Hillary Deweese
• Archibald Craven: Steve Antonsen
• Dr. Neville Craven: Joey Hellman
• Mrs. Medlock: Judith Milgram
• Martha: Robyn Bloom
• Dickon: Kevin Connell Muth
• Colin Craven: Matthew Liam Demetrides
• William: Alex Meyer-Stokes
• Jane: Paula Montrie
• Mrs. Winthrop: Kristen Cooley
• Mary Lennox (understudy): Isabel Gordon
• Ensemble: Kristen Cooley, Hillary Deweese, Lauren Everd, Elizabeth Higbee, Madeline Meister, Alex Meyer-Stokes, Paula Montrie, & James Ruth

Production Team

• Director and Choreographer: Tom Wyatt
• Musical Director: Elizabeth Fink
• Costume Design: James J. Fasching
• Lighting Design: Kacey Coffin
• Sound Design: John Suchy
• Stage Manager: Mallory Pente
• Technical Director/Set Design: G. Maurice “Moe” Conn

Disclaimer: Cockpit in Court Summer Theatre provided two complimentary media tickets to ShowBizRadio for this review.