HCC Actor’s Guild has once again delivered a performance that seems well above the expectations for student theatre. In Dog Sees God, there is an ensemble of well-crafted performances delivered on a creative and clean set through interesting and appropriate blocking choices. If you have not yet paid a visit to their intimate black box, now is the time.

Dog Sees God takes the characters from “Peanuts” and reimagines them as teenagers, teenagers who deal with bullying, homosexuality, drugs, alcohol, sex, death, suicide, and a host of other real-world problems. It is a dark and tormented world that they navigate, and these young performers convey that pain and confusion with touching realism.

The male members of this cast are especially talented and really make a huge impression. As CB, Tim Torre comes out blazing and gives a very raw and intense performance. As Beethoven, Devin Michael gives a complex and nuanced performance that is intensely believable and extremely controlled. Also demonstrating amazing restraint is Connor Shea as Matt. Even though Shea’s character has a huge personality and wild fits of rage, Shea shows incredibly mature restraint in never pushing too far. Josh Marshall as Van is far less restrained and it works with his loud, goofy, comic-relief character.

While the females are a little overshadowed by their male counterparts, they are able to hold their own. Tricia Ragan has some especially strong moments as CB’s sister, and Lizzie Detar creates a very consistent character for Marcie. Andie Cappelletti’s Tricia is a little forced, but it works with her character who is a mask-wearing mean girl. As Van’s Sister, Laura Andon-Campos struggles to find the right balance between intensity and realism. As a result, she flounders in creating a clear character, but demonstrates potential for the future.

Overall, this is a definite showcase of strong acting performances in a very intense script. It is important to note that this script is filled with adult language and adult situations, so audience discretion on the topics of the script is advised. However, for fans of this kind of intense theatre, this is an excellent production.

Cast

• CB: Tim Torre
• Beethoven: Devin Michael
• Van: Josh Marshall
• Matt: Connor Shea
• Marcie: Lizzie Detar
• Tricia: Andie Cappelletti
• CB’s Sister: Tricia Ragan
• Van’s Sister: Laura Andon-Campos

Production Staff

• Director: Miranda Litchford
• Producer: Ben Fisler
• Stage Manager: Sarah Tweed
• Technical Director/Scenic and Props Designer: Robbie Elliot
• Lighting Designer: Ryan Johnson
• Costume Designer: Linda Bratcher
• Booth Operator: Leanna Wheatley

Disclaimer: HCC Actor’s Guild provided a complimentary media ticket 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.

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.

In a future or alternate reality, in some totalitarian dictatorship, a once-published storywriter has been taken into custody for questioning by two officers with little that they can’t do to get to the truth. To reveal anything more about the plot would ruin an awesome script full of twists and turns. The Pillowman teeters the line between black comedy and just blackness, and, if you don’t normally like that kind of uncomfortable darkness, you are still likely to be awed and amazed by this production.

From the moment, you enter the room, the piece really begins. There is incredibly simple and clean set that immediately places you in the interrogation room, and Katurian (Connor Shea) is already there, blindfolded, waiting for the return of the officers. The set continues to work well with some simple transitions to other locations.

Above all else, though, it is the performances that are incredibly stellar. Shea gives an excellent performance that covers a wide-range of emotions and forces him to reveal both what it is in the script and what is between the lines. He slowly shows more of his hand as the show goes on. As Tupolski, Josh Kradz is an equal match for Shea. He creates a really interesting character, who listens and reacts as intricately as he acts. There is a subtle absurdity to the role that he brings forth with careful choices in voice inflection.

Even beyond those two is the practical perfection of Tim Torre in the role of Michal. He portrays a character with a mental handicap. It is the kind of role that could easily lend itself to overacting, but Torre never crosses that line. Every moment, every nuance is completely natural. Torre has a gift that is bound to take him far, and his performance needs to be seen by anyone who can make one of the remaining performances.

While Miranda Litchford as Ariel is not quite as strong as the men she is working with, she is not bad in making the role work. She has a few strong moments and a lot of potential.

This is the show to see. Period. Find a way to get to Harford Community College and see this production.

Cast

• Katurian: Connor Shea
• Ariel: Miranda Litchford
• Tupolski: Josh Kradz
• Michal: Tim Torre
• Hunter Lakota Baker, Tawney Hallock Sweet, Dominique McKenzie, and Jon Spivey

Production Staff

• Director: Josh Fletcher
• Producer/Set Design/Fight Choreography: Ben Fisler
• Stage Manager: Sarah Tweed
• Technical Director/Lighting/Props Design: Robbie Elliot
• Costume Design: Linda Bratcher
• Assistant Stage Manager: Josh Kradz
• Sound/Projection Operations: Leanna Wheatley
• Lightboard Programming: Ryan Johnson
• Lightboard Operations: Dani Nicole
• Props Master: Brian Fields
• Production Crew: Entire Company and students in Winter “Introduction to Theatre”

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

Silver Scream has a great concept. Two young boys, Toby (Josh Kradz) and George (Vince Kalwa), along with Toby’s sister Shelly (Nicolette LeFaye) and the theatre manager Friedkin (Ben Fisler) are sucked into the movie screen and travel through B-Horror Movies of the distant and recent past. They go from silent film to Technicolor. They encounter Nosferatu, Kong, Mr. Hyde, the Wolfman, Norman Bates and his “mom,” and Leatherface to name a few. Each movie is represented by a catchy and creative song. The Antagonist is “The Count,” and amalgamation of Dracula and his portrayer, Bela Lugosi (JimmyO Burril). This particular production brings success to many of the aspects needed to make the concept work: stunning sets, lighting, and costumes and excellent staging and choreography. However, there are a few major pitfalls that prevent it from being as good as it could be. With just a few changes, this is the type of original work that could be widely, successfully produced and develop a national cult following.

One major positive of this production was most of the technical elements. The costumes were all in black-and-white prior to the move to Technicolor. The set was black-and-white, and the performers were painted black-and-white. The effect was excellent. The costumes were also unique and àpropos for each film that they represented. The set was visually stunning and intricate and worked well as a flexible setting for all the various films. The lighting was excellent and created a strong transition to Technicolor. The only technical problem was the sound. There were many issues throughout the night with microphones not working well or at all. The background music was very loud, so even though some performers really seemed to be projecting, it still did not create enough sound to understand the words to some of the songs.

Another major positive was Vince Kalwa. His George was one of the real highlights of the show. He brought a lot of genuine comedy and heart to his role. In general, the ensemble was also strong. They brought high-energy and precision to the numbers. Since the staging and choreography was interesting and strong, there was a general aesthetic to the entire visual of the show.

However, aesthetic is not everything. The perfect example of that lies in the largest downfall of the show: Nicolette LeFaye. Despite looking perfect for the role and dancing exceptionally, especially when elegantly on pointe in “Pure Evil,” she did not have the acting or vocal strength to play the role that is really the lynchpin of the performance. She seemed inauthentic in her reactions, and she was often flat and just generally had an uninteresting tone quality.

Many of the other leads were inconsistent as well. Josh Kradz was sometimes an ok straight man, but he was other times too flat or hard to understand. Ben Fisler had a nice voice and his acting was extremely over-the-top. At moments, like as Norman Bates’ mother, this worked and had a humorous B-movie effect, but most of the time, it was annoying and just too much. Fisler, Kradz, and Lefaye combined consisted of such a large portion of the story of the show that it lacked heart. It was impossible to invest in these characters or their experiences, regardless of how vocally catchy and visually beautiful the rest of the show was.

JimmyO Burril’s Count was problematic. The antagonist of the show and also the source of most of the dialogue and humor, this is a truly pivotal role. Burril has charisma and likeability, and there were moments where he really it the mark: the dialogue was witty, the moment was cute, and the delivery showed good timing. The problems, I believe, were a result of the progressive changes that have been made to the script.

I was in two productions of the show in the late 1990s and have seen it performed one other time between now and then, so I have seen that the script has been a fluid and changing progression. Originally, the show was much more family friendly and the PG-rating that it still claims to carry was more accurate. When The Count says a curse word once, it is funny, because it is out-of-place. In general, there was a lot more humor, heart, and character development in earlier incarnations of The Count. Now, with a constant stream of language and sexual innuendos, much of the wit seems lost in a constant push of the envelope. Most of the remaining, really funny moments are the clean ones.

This a visually stunning show with great songs and a great concept. It is more than worth seeing more of this show; however, it would be nice to see the script return more to its roots and to see a stronger cast of actors in the pivotal, lead roles of Shelly, Friedkin, and Toby.

Photo Gallery

Photos provided by Forbidden Pictures

Cast

• Nicolette LeFaye, JimmyO Burril, April Burril, Vince Kalwa, Josh Kradz, James Watkins, Sean Silence, Jess Langley, Farren Arendse, Andie Cappelletti, Sierra Laken, Kristin (Gaga) Dipeso, Casey Simmons, Katoe Gordon, Madeleine Favazza, Danielle Liggens, Jess Hutchinson, Lukcy Charms, Carrie Dorman, Jonathan Spivey, Josh Flemming, Kelleigh Pangratz, Ben Hill, Will Martin, Jason Edwards, Ashley Crowl, Stephanie Januskwitz, Danice Fernandez, Jackie Cast, Joanna DiPaola, Willow Burril, Lilli Burril, Nate Gordon

Production Staff

• Written by JimmyO Burril
• Original Music by James M. Taylor
• Director: JimmyO Burril
• Musical Direction and Choreography: Katie Gordon
• Producer: Ben Fisler
• Stage Management/Props/Technical Direction: Trevor Winter
• Additional Stage Management: Sarah Tweed
• Additional Direction: Sam Wiitala
• Carpentry: Christopher Townsend
• Lighting Design: Bill Price
• Light Board: Brad Mascari
• Followspot: Ryan Kicklighter and Devin Metz
• Wash Assistance: Nick Elliot
• Projection Operators: Josh Hutchinson
• Costume Design: Gaylynn Price and April Burril
• Additional Costume Design: Linda Bratcher
• Sound: Joey Russo
• Backstage Management: Lilli Burril
• Backstage Assistance: Kelsey Yurek and Pat Posadas
• Makeup: Rio Lacour, Victor Accord, Jordan Wyandt, and John Terebetsky
• Production Assistance by Students in Theatre Workshop I, II, and III

Disclaimer: Forbidden Pictures/HCC Actor’s Guild 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.

Hello, Dolly! is classic musical theater with stunning period costumes, spectacular company dance numbers, lots of laughter, and everyone falling in love and getting their “happily ever after.” Phoenix Festival Theater does not disappoint in bringing this fun and family-friendly masterpiece to life. Several standout performances and a ton of amazing choreography fill the room with joy.

Based on Thorton Wilder’s The Matchmaker, Hello, Dolly! tells the story of Mrs. Dolly Gallagher Levi (Tiffany Walker Porta), who has made a successful career and reputation out of her meddling. A widow, she is ready to move on with her life and remarry. She has the groom all picked out – he just doesn’t know it yet. Dolly knows how to get what she wants and how to get what is best for everyone else, even when they don’t see it, and she uses a little mischief and a lot of charm to get results. In this larger-than-life role, Porta is unfortunately a little inconsistent. There are times when she gets the comedic timing and/or delivery right on and it is magic, but there are other times where she misses the boat a little by rushing over her words too fast or emphasizing the wrong part of a phrase. She hovers on the cusp of a great Dolly, but she never quite gets there. It is a similar story with her vocals. There are parts of her range, and, therefore, parts of every song, where she has a great tone and maintains the pitch. However, there are also parts of each song where she ends up either going flat or screeching in tone. Porta is not bad, but she lacks the kind of amazing, show-stealing awesomeness that one would expect of such a legendary character.

As her unknowing groom-to-be, Horace Vandergelder, Bill Fritz does an excellent job of making cantankerous still likeable. It would have been nice to see a little bit of a shift to something slightly more heartfelt in the last scene, but, overall, he was charming enough to make it clear why Dolly selected this seemingly disagreeable fellow as her next husband.

It was the supporting roles, though, that really made the show. While Vandergelder is busy with Dolly’s antics, his two clerks decide to have an adventure of their own in New York City. If the program didn’t let the cat out of the bag, it would be hard to believe that Thomas Gardner is a high school student. As 33-year old chief clerk Cornelius Hackl, he absolutely shines. He has a powerful presence, excellent comedic delivery, and gorgeous vocals. He also wears his heart of his sleeve and makes everything seems real and effortless. Especially delightful are his interactions with fellow clerk Barnaby (Shane Lowry). Every time that those two gentlemen sing harmony, it is magic. Lowry also gives a great performance. He plays what is almost caricature, but, somehow, he makes that real and believable. Lowry also has a real energy and presence that shines from his face in all the dance and company numbers.

The clerks do indeed find the adventure that they were searching for in the form of Irene Molloy (Jillian Victoria) and Minnie Fay (Lindsey McCumber). Victoria exudes, as the song says, “Elegance,” which is definitely one of the strongest numbers in the show performed by this powerhouse foursome. Victoria just has a subtle, yet commanding ethos on the stage. She also has a breath-taking voice that glides easily between various parts of her range. She manages to make “Ribbons Down My Back,” which can often be a rather boring and stifling song, into something that is not only vocally beautiful, it is powerful and speaks volumes of her character’s past and future longings. Victoria is the quintessential leading lady and a true professional. McCumber, like Lowry, walks that fine line between caricature and character and manages to come out on top. Her comedic delivery is large-scale yet natural. She is simply delightful.

The ensemble, full of both adults and children, in this production is also very strong. There is a lot of energy and heart on display, and they do a great job creating little characters and moments throughout. Two specific standouts are Carrianne Cicero (Ermengarde) and Catherine Stalcup Herlinger (Ernestina). Both ladies do a fabulous job of taking tiny moments and making them shine.

The production is distinctly well-directed and well-staged by Kim Brueggemann. The entire company moves seamlessly, and the staging is realistic even when the very large cast is all on stage. The choreography by Eyvo Johnson is just phenomenal. Johnson seems to know how to keep choreography simple enough that a large ensemble of varying skill levels can all be sharp and in-step with each other, while still making the end result visual interesting and intricate. Between the pair, they create many memorable numbers, especially “Call on Dolly” and “Before the Parade Passes By.”

The icing on the cake for this production is the beautiful, colorful, and period appropriate costumes and the beautiful, layered set pieces. The careful attention to detail in these technical aspects adds a layer of polish on the entire production.

While it is a mildly disappointing that Dolly’s performance does not make itself the centerpiece of the production, as it ideally would be, there is enough wonderful to make the show more than worth watching. The incredible foursome, the fantastic choreography and staging, and the beautiful production aspects, make it easy to think that these things are actually the star of the show. Everyone should find the time to take in this enjoyable production for all ages.

Photo Gallery

Photos provided by Phoenix Festival Theater

Cast

• Mrs. Dolly Gallagher Levi: Tiffany Walker Porta
• Ernestina: Catherine Stalcup Herlinger
• Ambrose Kemper: Tyler Fritz
• Horace Vandergelder: Bill Fritz
• Ermengarde: Carrianne Cicero
• Cornelius Hackl: Thomas Gardner
• Barnaby Tucker: Shane Lowry
• Minnie Fay: Lindsey McCumber
• Irene Molloy: Jillian Victoria
• Mrs. Rose: Susan Liberati
• Rudolph Reisenweber: Allan Herlinger
• Stanley: Charlie Holt
• First Cook: Campbell Kistner
• Second Cook: Reuben Ward
• Judge: Steve Flickinger
• Policeman: Codey Odachowski
• Company: Stephanie Atha, Emily Atha, Charis Bartenslager, Bob Belman, Austin Brannan, Finn Bucci, Kyleigh Daiker, Nancy Denton, Laura Ebsworth, Sarah Ebsworth, Veronica Endrik, Steve Flickinger, Delany Flickinger, Judy Fritz, Brady Fritz, Wayne Godfrey, Matthew Hauf, Isabelle Herlinger, Natasha Herlinger, Charlie Holt, Karly Horn, Erin Huffer, Campbell Kistner, Gino Liberati, Michael Lupano, Kathleen O’Neill, Codey Odachowski, Leslie Perry, Amanda Reid, Mike Schafer, Mikey Shock, Susan Strawbridge, and Reuben Ward

Production Team

• Company Manager/Producer: Larry Hensley
• Director: Kim Brueggemann
• Musical Director: Julie Parrish
• Choreographer: Eyvo Johnson
• Technical Director: Kerry Brandon
• Stage Manager: Amy Jo Smith
• Set Designer: Shawn DeVoe
• Costume Consultants: Stella DiPeso, Susan Nicolaides, Gay Lynn Price
• Props Manager: Jessica Brockmeyer
• Lighting Designer: Ed Lake
• Spotlight Operators: Trevor Winter, Kristen Hessenauer
• Light Board Operator: Bevin Hensley
• Sound Board Operator: Alex Paul
• Scenic Artist: Melissa Shatto
• Construction Crew: Bevin Hensley, Kristen Hessenauer, Kelleigh Pangratz, Alex Paul, Trevor Winter
• Stage Hands: Kerry Brandon, Kelleigh Pangratz

Orchestra

• Conductor, Piano: Julie Parrish
• Reeds: Helen Schlaich
• Reeds: Debbie Krocheski
• Violin: Rachel Lane
• Bass: Jeff Barrett
• Trumpet: Pete Lander
• Trombone: Ted Krocheski
• Guitar: Christie Macdonald
• Drums: Lisa Wood

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

Nunsense, with book, music, and lyrics, by Dan Goggin, is the second-longest running Off-Broadway show and has even more extended life through its many sequels, spin-offs, and adaptations. Nunsense brings the audience into a fundraiser put together by the Little Sisters of Hoboken. 52 nuns have tragically died from accidental soup poisoning. Unfortunately, a recent purchase of a blueray player has left the remaining nuns short on funds to bury the last four nuns, so they are currently resting in the convent freezer. To raise the needed money, five of the 19 surviving nuns are hosting this variety show: ex-circus performer Mother Superior Mary Regina (Laurie Starkey), second-in-command Sister Mary Hubert (Kim Brueggeman), streetwise Sister Robert Anne (Lauren Spencer-Harris), ballerina-nun Sister Mary Leo (Laura Pierpont), and Sister Mary Amnesia (Jacky Walsh), who cannot remember her real identity after a crucifix fell on her head.

Pheonix Festival Theatre’s production, at the helm of director John Desmone, knocks it out of the park! Though the show is nearly 30 years old and the script is quite dated, the message isn’t lost. Some lines and pop culture references are repolished and updated. And done well. There is something about PFT that from the moment you walk into the theatre you just feel and know you’re in for a great night of community theatre.

The beautiful set, designed by Marc Smith, is perfect from the spot-on representation of Mt. St. Helen’s School’s production of Grease to the exit signs of the gym and the fire extinguisher on the wall. Perfect props from on-stage donuts to Mother Superior’s clicker (which seemed to send shivers down some audience members’ spines) were the masterful handy work of Eyvo Johnson. Costumes, traditional but on-point, were coordinated by Laura Lang. A particularly wonderful example were Robert Anne’s Keds. Lighting designer Patrick Trzeciak creates a perfect balance between the appearance of a well-lit high school gym and the incorporation of diverse and creative specials and playful spotlights.

Once again, Bambi Johnson does a fabulous job with choreography that maintains traditional aspects of the production, while innovating and updating some great numbers. Musical Director Chris Rose perfectly delivers with the performer’s vocals and many challenging harmonies. He also conducts and plays piano in the intimate four-person orchestra. Though the show sounded great and all the musicians are talented in their own right, overall the band seemed to have trouble coming as one there were some timing and rhythm issues.

The five talented, versatile, stellar, silly, whacky, triple-threat actresses work their little habits off, from the first ten minutes of warm-up and adlibs in the audience to the final, fast-paced energetic “Holier Then Thou.” Laurie Starkey as Mother Superior delivers a perfectly timed, controlled, and downright pee-your-pants performance with a just-about-perfect Irish brogue and moments of fear for recovering Catholics. “A Word from Reverend Mother” is one of the highlights of the show. My eight-year old son, who loved the show, did not get the Janet Jackson reference. However, the rest of us did. Brilliant!

Kim Brueggeman is practically the poster child for a triple threat with true and honest moments every step of the way, from her kick-butt opening to “Tackle That Temptation With A Time Step” and a knock-out rendition of “Holier Then Thou.”

Lauren Spencer-Harris as the smart, streetwise Sister Robert Anne does quite well. Equipped with a beautiful, perfectly pitched belty voice, her rendition of “I Just Want To Be A Star” is vocally perfect. However, at times, she goes way overboard with her character, movements, and expressions. The role was already written quite big and colorful, so, if it was just pulled back a bit, it would have been more real.

Laura Pierpont as Sister Mary Leo is the youngest of the sisters and the actresses, and although the rest are quite more seasoned, Laura superbly holds her own with these veterans. She does beautiful point work on “Mornings At The Convent” and a great rendition of “The Biggest Ain’t The Best.”

Jacky Walsh as Sister Mary Amnesia practically steals the show, really without trying. She has a beautiful voice with an amazing range, a perfectly developed character, and great timing. She pulls back at so many moments that you can’t help to fall in love with her character and practically cheer when she nears the end of “I Could Have Gone To Nashville.”

The synthesis of these amazing performances, beautiful voices, ingenious dancing, great sets, perfect props, lights, costumes, etc… is the work of veteran director John Desmone. A thoughtful, entertaining, creative, hysterical, touching, experienced, and well-staged production awaits you!

Cast

• Sister Mary Regina, Mother Superior: Laurie Starkey
• Sister Mary Hubert, Mistress Of Novices: Kim Brueggemann
• Sister Robert Anne: Lauren Spencer-Harris
• Sister Marry Amnesia: Jacki Walsh
• Sister Mary Leo: Laura Pierpont

Orchestra

• Conductor, Piano: Chris Rose
• Woodwinds: Helen Schlaich
• Drums And Percussion: Lisa Wood, Nick Louge

Production Team

• Company Manager/Producer: Larry Hensley
• Director: John Desmone
• Musical Director: Chris Rose
• Choreographer: Bambi Jhonson
• Technical Director: Jeff Kanyuck
• Stage Manager: Amy Jo Smith
• Set Designer: Marc Smith
• Costume Coordinator: Laura Lang
• Props Master: Eyvo Jhonson
• Lighting Designer: Patrick Trzeciak
• Sound Designer: Jeff Kanyuck
• Spotlight Operators: Kristin Hessenauer
• Light Board Operator: Patrick Trzeciak
• Sound Board Operator: Charis Bartenslager
• Construction Crew: Charis Bartenslager, Kristin Hessenauer, Kelleigh Pangratz, Patrick Trzeciak, Trevor Winter, Kayla Whisman

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

When most people think of the Civil War, they don’t readily think of Musical Theatre. In the Director’s speech prior to the show, she stressed that many people have no idea what to think and are a little hesitant about seeing a musical about the Civil War. The show is more concert than an actual musical play with a through storyline. A few of the actors had a little bit of defined background for their character, but most were simply representative of all soldiers, all wives, all nurses, and all slaves. A screen projected images and facts from the Civil War. Much of the included dialogue, which was minimal, was actual quotations from famous figures of the time: Frederick Douglass, Abraham Lincoln, Sojourner Truth, etc. Each song told a story about the tiny moments that made up the fabric of the human experience during this tumultuous time in American History.

The Civil War is an extremely ambitious production for a community theatre to tackle. The score demands vast ranges and intricate harmonies. The minimal character development in the script demands that the performers convey entire lives in the nuances and beats between notes. The cast requires a large number of men. Considering the numerous demands of the production, Tidewater Players does a good job of pulling everything together. Their production has a few bumps and missteps, but, for a small community theatre, they show that they are capable of a little more than their comparable peers.

Some of the best things about this production are the use of the projections, the lighting design, the choral strength of the male ensemble, and a few notable performances. The projections are an excellent addition to the production, providing the audience with the passage of time and key statistics that highlight the decimation caused by the war. There are also powerful images of battle. Other images are used to identify character or setting. Chad LeFleur did an excellent job in his work on the design of the projection, and Elise Starkey ran the timing of the projections perfectly. The lighting (Designed by Dickie Mahoney and ran by Will Pitcock) was another excellently designed element in setting the scenes. There was really creative use of a relatively simple light system, especially the occasional use of backlighting to create certain effects.

In general, any time that a large group sang together, there was a really powerful and beautiful sound filled with very effective harmonies. This was especially true of the male ensemble. Musical Director R. Christopher Rose and the members of the cast did an excellent job of bringing robust sound to the large group. As soloists, the talent of the cast varied along a large spectrum. This was also true of some of the smaller moments of harmony with just two or three singers. However, there were enough really strong vocalists that they balanced out many of the others who struggled.

Two of those incredible vocalists were Lauren Spencer-Harris and Rob Tucker. Both shined on their ballads in terms of excellent pitch, incredible dexterity in moving through their range, and just lovely vocal tones. Both had a few moments were they over-acted in their songs a little pulling them and the audience out of the moment, but their performances were overall solid and their vocals amazing. Another incredible vocalist was Jason Crawford, and he really showed genuine emotion in “Virginia.” Paul Meehan had a beautiful voice as well; unfortunately, he always seemed to be “performing” and was wildly over-the-top.

A few other cast members had moments and elements that stood out as well. Leanto Jones’ performance was hot and cold, but he really made his mark in “Father, How Long?” and showed what he was capable of, both vocally and as an actor. J. Jeffrey Harrison and Jenny Wassom showed some of their nuances as actors in their featured bits and as part of the ensemble but were a little less vocally ideal for the score. Wassom had a beautiful lower register, and, although she could hit the soprano notes, it lacked the same color as her low range.

One of the best performances came from the underused Mike Schafer. Every time he sang, it was warm, beautiful, and melted the room. He was also always in character every time that you looked at him and really conveyed some of the most genuine emotion in the cast. It was believable that he was living the war throughout the piece.

Schafer was only topped by the brilliance that was Hudson Imhoff. “Tell My Father” could have easily been plucked out of a Tony-award winning Broadway moment. His vocals were beautiful and haunting. His performance was heartfelt and nuanced. He transported the audience to the battlefield and into his pain. If Imhoff choses to pursue acting as a profession after high school, it would be shocking if he does not end up becoming legendary. This was one of the best, most real, most beautiful moments in theatre.

Somewhere in the middle was the set. It was simple and mostly effective, although it was a shame that the slightly tattered flag center stage was bright white and obviously clean and new before the cuts made in it. Just a little more attention to some of these tiny details would have really made the production. The sound was a little rocky at first. The microphones were turned up too much and many of the actors’ words were lost on the first two songs. After that, though, the technical crew got things fixed.

Another way in which attention to detail may have helped to strengthen the performance would have been if the actors had shown a little more of the passage of time and changes in feeling through their performances. As a whole, the production was a little static. There was not a strong enough distinction between the cast in their reaction to the various stages of the war.

The only real problem with the production was the choreography. For the most part, it just didn’t work. It was a little too “musical theatre” for such an intimate, realistic score. It was especially distracting in the numbers “Peculiar Institution,” “Someday,” and “River Jordan.” The cast also tackled the choreography in such different ways that it did not help. Some switched from soldiers to chorus boys; others tried to stay in character which made the choreography seem very stiff. It would have been better to have a clear vision of how the choreography should be delivered and convey that to the cast. It also would have been nice to see something a little more inventive with the choreography to keep it in line with the rest of the show.

Despite the flaws, it is key to remember that this is an extremely difficult piece and this is volunteer, community theatre. With that in mind, Tidewater Players really achieved something significant. This is an interesting piece with a beautiful score, sprinkled with a few incredible performances. It is especially ideal for any history buffs that are interested in anything having to do with The Civil War, as it presents the information in a new and creative way.

Cast

• Mark Briner
• Jason Crawford
• Jay Golden
• Michelle Harmon
• J. Jeffrey Harrison
• Hudson Imhoff
• Leanto Jones
• H. Ray Lawson
• Donnie Lewis
• Paul Meehan
• Mike Schafer
• Paula Diggs Smith
• Lauren Spencer-Harris
• Todd Starkey
• Amy Tucker
• Rob Tucker
• Erica Vick
• Rondy Vick
• Jenny Wassom
• Tyler Daniel as the voice in the Prologue
• Chad LeFleur as the voice of Joshua Chamberlain
• and Chuck Klausmeyer as the voice of Abraham Lincoln

Production Staff

• Director: Laurie Starkey
• Musical Director: R. Christopher Rose
• Stage Manager: Janet Dill
• Technical Director: Todd Starkey
• Lighting Design: Dickie Mahoney
• Costume Coordinator: Mark Briner
• Costumes: C & C Sutlery
• Set Design: Laurie Starkey
• Lightboard Operator: Will Pitcock
• Soundboard Operator: Ken Williamson
• Sound Mixing: Jeff Thompson
• Projections Design: Chad LaFleur
• Projections Operator: Elise Starkey
• Graphic Design: Chad LeFleur
• Set Construction/Painting: Todd Starkey, Janet Dill, Ken Williamson, H. Ray Lawson, Jay Golden, Rob Tucker, Amy Tucker, Jason Crawford, Jenny Wassom, Paula Diggs Smith, Tim Hartley, Paul Mauldin, Mark Briner

The Band

• Conductor/Keyboards: R. Christopher Rose
• Keyboards: Jake Bauer
• Guitar: Christie MacDonald
• Guitar: Jim Bowley
• Bass: Greg Bell
• Violin: Terry O’Neill
• Violin: Amy Tucker
• Percussion: Lisa Wood

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

“For it’s a fine, upstanding, patriotic, healthy, normal American” musical! Yes, they still do exist! And with Phoenix Festival’s Production of Bye Bye Birdie the proof is in the pudding. The 1960 musical hit originally titled Let’s Go Steady!, written by Michael Stewart, Charles Strouse and Lee Adams, is a treat for the entire family.

This is a solid production, executed with strong vision, conviction, and several outstanding performances. Dickie Mahoney definitely headlines the cast as Albert Peterson. Mahoney delivers a flawless, tour de force performance with impeccable timing, passion and amazing understanding of the role. And, if that wasn’t enough, just wait till you watch him dance in “Put on a Happy Face” and hear him sing “Talk to Me.” Natalie Knox has the privilege to play one of the most iconic roles in musical theatre (Rose Alvarez) which she does well. Vocally, she is stunning. The only downfall of her performance was that she did not reciprocate the same chemistry and emotion that was effortlessly delivered by Mahoney.

Elise Starkey as (Kim MacAfee) is an extremely skilled young actresses; her Kim is touching, youthful, and at times hysterical. Starkey kept her brilliantly developed character at all times seamlessly. Unfortunately, vocally, Starkey struggled on most numbers. Her young voice was not quite up to par with the demanding range of the score.

Kim Brueggemann is an absolute treat as Doris MacAfee: full of life, energy, amazing facial expressions, and man WHAT A VOICE! Steve Flickinger’s Harry MacAfee is a hoot. Though some rough spots here and there, his rendition of “Kids” is one of the major highlights of the show.

Chris Volker as Conrad Birdie is extremely physically convincing as a heart-throb rock-and-roll idol and puts great effort into the role. Although he is a bit stiff and mechanical on some of the dance numbers, the female portion of the audience did not seem to mind at all. Eleni Densmore as Mae Peterson also was an audience favorite; however, her paraphrasing of the written script resulted in the destruction of the comedic timing and the wit of the dialogue.

Tyler Fritz as Hugo Peabody is absolutely hysterical. Bravo young man! And last, but definitely not least, Bambi Johnson as Gloria Rasputin is soooooooooooo ridiculously over the top that it actually works brilliantly.

The adult ensemble is strong and effective, especially vocally. The teen ensemble knocks it out of the park; most of them are triple threats, especially Shane Lowry – it was nearly impossible to take your eyes of him when he was on stage.

The technical side the production does well. William Price designed a simple yet beautiful and effective set, which functions extremely well under the technical direction of Jeffrey Kanyuck. Costume designer Laura Lang stays true to the period and the vision of the Director. Choreographer Larry Hensley creates beautiful movements and fun and energetic dance numbers. Musical Director Terri Mathews does very well accommodating the actors’ wide range of ability. Director Roger Schulman should be commended on this production and staying true to the heart and soul of the show, its meanings and morals, and making several choices and executions and standing behind them!

Cast

• Albert Peterson: Dickie Mahoney
• Rose Alvarez: Natalie Knox
• Harvey Jhonson: Christian Washburn
• Ursula Merkle: Ceara Scanlan
• Kim MacAfee_Elise Starkey
• Doris MacAfee: Kim Brueggemann
• Harry MacAfee: Steve Flickinger
• Randolph MacAfee: (9/9, 9/10 matinee, 9/17 evening, 9/18) Nate Izzo
• Randolph MacAfee: (9/10 evening, 9/11, 9/17 matinee) Matthew Hauf
• Put on A Happy Face Dancers: Mackenzie Brockmeyer, Kyleigh Daikker, Karly Horn, Leslie Perry
• Mae Peterson: Eleni Densmore
• Reporters: Lans Alexis, Eyvo
• Conrad Birdie: Chris Volker
• Hugo Peabody: Tyler Fritz
• Kim’s Friends: Sierra Ficca, Karly Horn, Kamberlynne Washburn
• Mrs. Merkle: Catherine Washburn
• Mayor: Michael Maistros
• Mayors Wife: Debbie Martin
• Gloria Rasputin: Bambi Johnson
• Maude: Eyvo
• Teen Ensemble: Erin Bourn, Mackenzie Brockmeyer, Campbell Kistner, Kyleigh Daikker, Sierra Ficca, Brady Fritz, Karly Horn, Olivia Lang, Yasha Langer, Shane Lowry, Leslie Perry, Martha Schick, Christian Washburn, Kamberlyne Washburn
• Adult Ensemble: Lans Alexis, Jessica Brockmeyer, Paula Diggs Smith, Eyvo, Kimberly Hart, Michelle Hosier, Bambi Jhonson, Eyvo, Michael Maistros, Debbie Martin, Catherine Washburn

Production Staff

• Director: Roger Schulman
• Music Director: Terri Mathews
• Choreographer: Larry Hensley
• Technical Director: Jeffrey Kanyuck
• Stage Manager: Emily Knowles
• Set Designer: William Price
• Lighting Designer: Todd Mion
• Sound Designer: SuchSound
• Sound Board Operator: Terry Edwards
• Costume Designer: Laura Lang
• Props Master: Jessica Brockmeyer
• Technical Crew: Charis Bartenslager, Kristen Hessenauer, Patrick Trzeciak, Trevor Winter

Orchestra

• Reed 1: Sherri Domenico
• Reed 2: Crystal Rufenacht
• Trumpet: Tony Domenico
• Trombone: Lewis Blandon
• Bass/Guitar: E.J. Reilly
• Percussion: Mark Leppo
• Keyboard: Jeffrey Winfield
• Keyboard: Terri Mathews

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