Spotlighters Theatre presents Fiddler on the Roof, rich with authenticity of culture and a strong collective voice. Set in the impermanence of 1905 Anatevka, Russia, audiences are invited into the kitchens and town squares of a tight-knit Jewish community where everyone knows everyone else’s business. The village patriarch, more so even than the Rabbi, is Tevye, a powerhouse who almost always melts away his tough grimace of upheld traditions to reveal nothing but love for his five daughters and spitfire wife, Golde. Framed by Yente, the well-intentioned albeit gossipy matchmaker, Lazar Wolfe, a snubbed butcher, and the romances of three very different young couples, Fiddler on the Roof serves as an allegory about the relationship man has with God, playful doses of sarcasm in one’s expression of love, and true appreciation for all the people who crowd under one roof and call themselves a family.

What is apparent about Spotlighters particular production of Fiddler is a genuine solidarity among the cast. The household anthem “Tradition” that opens the show makes excellent use of the space as each member of the Jewish family proclaims their role with pride in wonderfully blended and impactful vocals. Not only do they produce a strong sound, they’re believable. I believe the Rabbi’s son Mendel, I believe even the youngest of Tevye and Golde’s children. The biggest accomplishment of the whole show is the unscripted banter between lines that the characters share with each other, the carefully observed heritage nuances, and the camaraderie.

On an individual level, some featured roles shine more brightly than others. Mike Galizia’s Tevye is worn-in and cozy. The authoritative brassiness can’t conceal the more important softer side that develops nicely through soliloquies and chats with the Lord. Galizia’s singing voice is a true gift, though his movement seems a tad rusty. Bottom line, no finer man could shoulder this musical. Golde, crafted by Amy Bell, is played with a sense of duty built into her very muscle memory, as she is constantly seen walking with a purpose, dish rag in hand. She reacts earnestly and there is no doubt that she wears the pants, or that she loves her Tevye. I would like to mention Avram, played by Justin McMonagle, because his flustered mutterings and finely tuned character development did not go unnoticed. When it comes to the eldest daughters and their mates, the only relationship in which I could invest myself was the most controversial one between Chava (Julia Capizzi), and Fyedka (John Aquila). Aquila’s charm and stance on equality and Capizzi’s bright spirit worked very well. Some unfortunate stumbles befell Perchik (Lucas Blake), with a struggle to reach notes and a sense of discomfort in his face that broke the fourth wall, as it were, and revealed his true identity as a player in a scene, and not a traveling scholar in love. The ever-happy Motel (Vince Vuono) also confounded me, with a lack of spark for his beloved Tzeitel and verbatim line delivery.

There were some discrepancies between the pit and the actors as several cues were missed and choreographic beats were out of sync.

Spotlighters has created an experience for its patrons. For the most part, I did feel like I was in Anatevka, privy to all the whisperings and Sabbath prayers. Fiddler on the Roof made me learn and that is what theatre is supposed to do.

Cast

• Tevye: Mike Galizia
• Golde: Amy Bell
• Tzeitel: Emily Biondi
• Hodel: Alexa Canelos
• Chava: Julia Capizzi
• Shprintze: Lillian Blank
• Bielke: Isa Guitian
• Yente: Suzanna Young
• Motel: Vince Vuono
• Perchik: Lucas Blake
• Lazar Wolfe: Larry Levinson
• Rabbi: Bon Ahrens
• Mordcha/Innkeeper: Jose Reyes Teneza
• Mendel: Matthew Feldman
• Avram: Justin McMonagle
• Nachum/Beggar: Peggy Friedman
• Villager/Grandma Tzeitel: Barbara Pinker
• Villager/Fruma: Sarah: Evangeline Ridgaway
• Constable: Mike Throne
• Fyedka: John Aquila
• Villager/Shaindel: Lisa Sharpe
• Fiddler: Sebastian Stefanovic
• Villager/Sasha/Russian Dancer: Alex Shade
• Villager/Russian Dancer: Jamil Johnson
• Villager: Isa Guitian

Creative Team

• Director: Jillian Bauersfeld
• Musical Director: Michael Tan
• Choreographer: Jillian Bauersfeld
• Stage Manager: Molly Hopkins
• Set Design: Alan Zemla
• Lighting Design: Fuzz Roark
• Set Construction: Fuzz Roark and Alan Zemla
• Scenic Art/Props: Alan Zemla. Laura Nicholson, and Fuzz Roark
• Costume Design: Laura Nicholson
• Dramaturg: Sandra Hittman
• Dance Captains: Matthew Feldman and Lisa Sharpe
• Booth Technicians: Samia Cornelius and Scott Griffith

Pit Musicians

• Pit Director/Keyboard: Michael Tan
• Violin: Sebastian Stefanovic
• Bass: Greg Bell
• Clarinette, Flute: Melissa Chalmers
• Clarinette, Flute: Larry Brown

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

There are three sides to a story of a relationship: his version, her version, and the truth. In The Last Five Years, we see a failed relationship. It is shown through the eyes of Cathy (Lauren Schein) moving backwards through the five years, and it is shown through the eyes of Jamie (Zachary Carter) moving forward through the five years. Both of them have a distinctly different perspective on the relationship through its stages.

Musically, Spotlighers’ production is a success. The orchestra is wonderful in bringing the score to life and adds little extra touches like snapping fingers when appropriate. Both of the performers have powerful voices and are on pitch for the vast majority of the very difficult score. On the sheer level of vocal concert, it is very dynamic and is a beautiful example of this awesome music.

The lighting design is really excellent as well and uses both light and shadow well to set scene and mood. The set is simple with a lovely floor design and supports the minimalist piece.

It is the minimalism that is lacking in several other aspect of the production. It seems that Director Fuzz Roark was sometimes overly resistant of just letting the piece be. Sometimes, the motivation may have been to make sure that the audience in the round saw everything equally, but it broke the moment when Cathy was walking around during a scene that took place in a car. There were also other times when the movement seemed forced to keep the scene from being static, where it could have been much powerful leaving Jamie and Cathy still but able to feel and convey the emotion in simpler ways. Sometimes, the reality of a scene, of a moment, is to stay still.

This was especially true for Carter. When he was left to sit or stand and feel a moment, there was a genuine connection to the material. However, whenever he had staged movement or choreography, you could feel his discomfort as the movement became forced. However, Carter was in general obviously nervous on this opening night, and he may have more success with the movement as he relaxes into the run of the show.

Schein, on the other hand, was much more relaxed and had a good energy throughout. Where she missed the mark a little was in lack of transformation. There was little distinct difference in the character throughout the years. She did not slowly transition to someone younger and full of hope as the show progressed. Even when her reactions to situations changed slightly, it was circumstance that was changing. The character remained static.

To her credit, this ability to really transform and follow the story through was really hindered by the fact that the two characters were often jumping time to appear in the other actor’s story. This was a big misstep on many levels. For one thing, it kept pulling the characters in and out of time, and it was not always clear what time line was meant to be represented in the current reactions. It also made it hard for each individual to stay focused on his/her core timeline.

Furthermore, a lot of the beauty of The Last Five Years is that we see his side and her side. The truth is left to audience imagination. We do not see the reactions or facial expressions of the other person. Each time line and each song in it shows that character’s perception of the events, which is never exactly the reality of the events. By making it a full scene with props, the other actor, and sometimes even extra actors, takes it away from the audience. With this script, less would have been more.

Whenever directors take a risk with a vision or concept for a show that is new and different, they take a big risk. Risk taking is an awesome quality in a theatre and, through trial and error, is likely to ultimately translate into a big win. This production is not that big win, but it is an opportunity to see a different type of experimentation in the context of what is, in this production as much as any other, a beautiful, complex, and heartfelt score.

(Editor’s note: The show is double cast, with each Jamie performing with each Catherine throughout the performance run.)

Cast

• Cathy: Norma Gomez/Lauren Schein
• Jamie: Zachary Carter/Bart Debicki

The Creative Team

• Director: Fuzz Roark
• Musical Director: Kevin Roland
• Stage Manager: Jesse Doggett
• Assistant Musical Director: Bobby McCoy
• Lighting Design: Pete Vargo
• Set Design: Alan Zemia, Fuzz Roark
• Costume Design: Laura Nicholson, Fuzz Roark
• Booth Technician: Jesse Doggett

Orchestra

• Violinist: Kristin Bakkegard
• Guitarist: Ryan Lucas
• Cellist: Jacques-Pierre Malan
• Fretless Bass Guitar: Russell Snyder
• Cellist: Lauren Weaver

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

Upon entering for The Audrey Herman Spotlighters Theatre’s production of Mame, the first thing you notice is the beautiful floor design that is painted such that it actually reflects the texture of marble. Little details like this are the things that can make a good production. This production had many of those good details combined with some overlooked details that made for a decent, but not spectacular, production.

Mame chronicles Mame Dennis (Michele Guyton) and her adventures in raising her young nephew, Patrick (Austin Brannan and then James Ruth). While the character of Mame is larger than life, Guyton does not always have the bravado to command the stage. She has a lovely voice and some touching moments, but she is often upstaged by the others that surround her. Both incarnations of Patrick are the exact opposite; they take command of every scene and song that they are in. Brannan is remarkable for someone so young. He is truly alive in every moment with realistic actions and reactions, has amazing sparkle on stage, and has a beautiful voice. The most touching moment of the show, however, belongs to the older Ruth and his heart-breaking, knot-your-insides reprise of “My Best Girl,” following the death of Mame’s husband.

The supporting cast is equally hit or miss. There is a wide spectrum of talent represented. One of the standouts is Greg Guyton as Beauregard Jackson Pickett Burnside, who has a very real and natural likeability. Another standout is Allie Dreskin as Agnes Gooch. While sometimes over-the-top and sometimes not technically polished, she brings a ton of heart and energy. She is one of the most fun members of the cast to watch and brings real heart and humor to “Gooch’s Song.” Patrick Long is likeable and interesting as Ito. Larry Pinker is appropriately stuffy and frustrated as Mr. Babcock. Barbara Pinker is excellent creating a few of the varied supporting roles. Unfortunately, an example of one of the less successful supporting roles is Eleni Densmore as Vera Charles. In the performance of her show, her stifled acting and brassy voice works for the comedic effect, but, when she brings that same unrealistic portrayal to everything else, it just doesn’t cut it. Several other supporting roles fall into similar traps. Inconsistency throughout is really what hurts that great things about the show from making the entire show great.

What is great is the set. In addition to the floor design, there are changing pictures that reflect the various stages in the lives of the character and attention to detail in the other set pieces. The lighting design is also great. The sound and band were great. The blend of ensemble voices was great. The staging was really good. However, the choreography was really not good. It was many repetitions of jazz squares and other basic steps with little innovation and inconsistent delivery by the cast. It is certainly a tough challenge to choreograph in such a small space, but it is quite possible to do better than this. Better choreography might have gone a long way to improving the overall pace of the show, which seemed to drag.

This was opening night, and it is possible, that aside from the choreography, many of the other inconsistent elements might resolve themselves throughout the several week run, as performers become less nervous or less exhausted from a long tech week. There are several positive elements that are really worth seeing in this show. With a few changes and reworks and an emphasis on consistent energy and pacing, it has distinct potential to be something great.

Photo Gallery

Mame (Michele Guyton) announces a new Holiday – MY PATRICK DAY!	Mame (Michel Guyton) and Vera (Eleni Densmore) share a toast to A NEW DAY.
Patrick (Austin Brannan) is excited to watch the events at Mame’s party.	Mame (Michele Densmore) introduces Patrick (Austin Brannan) to a new world and promises to open a new window.
Mame (Michele Guyton) challenges Mr. Babcock (Larry Pinker) as he attempts to force Patrick (Austin Brannan) into a restricted and exclusive school.	Vera Charles (Eleni Densmore) performs as a lady astronomer in Man in the Moon.

Photos by Ken Stanek Photography

Cast

• Mame Dennis: Michele Guyton
• Vera Charles: Eleni Densmore
• Lindsey Woolsey: Leonard Gilbert
• Agnes Gooch: Allie Dreskin
• Ito: Patrick Long
• Young Patrick: Austin Brannan
• Beauregard Jackson Pickett Burnside: Greg Guyton
• Older Patrick: James Ruth
• Ensemble/Junior Babcock: Lucas Blake
• Ensemble/Sally Cato: Norma Gomez
• Ensemble/Mother Burnside: Barbara Pinker
• Mr. Babcock: Larry Pinker
• Ensemble/Gloria Upson: Sara Ritmiller
• Ensemble/Mrs. Upson: Lisa Sharpe
• Ensemble/Pegeen Ryan: Angela Taylor
• Ensemble/Ralph Devine/Uncle Jeff: Vince Vuono

Production Team

• Director: Allan Herlinger
• Musical Director: Michael Tan
• Choreographer: Jillian Bauersfeld
• Assistant Director: Amanda Bennett
• Stage Manager: Molly Hopkins
• Lighting Design: Fuzz Roark
• Set Design: Alan Zemla
• Costume Design: Laura Nicholson
• Set Construction: Fuzz Roark & Alan Zemla
• Scenic Art: Fuzz Roark & Alan Zemla
• Set Painters: Alan Zemla, Fuzz Roark, Amanda Bennett, & Allan Herlinger
• Assistant Stage Manager: Jesse Doggett

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

Off-Broadway’s longest-running musical The Fantasticks is an allegorical tale that is an homage to the classic story of boy meets girls despite feuding families. However, in this case, the feud is a ruse brought on by their fathers in order to use their children’s romantic notions to enact the arranged marriage they had planned all along. To do so, they hire a famous abductor to stage an abduction to bring an end to the “feud.” The show breaks the fourth wall at times and turns the classic storyline on its head. This show is normally done very simplistically with no more set or props than can fit into one chest.

While there are many talented performers and glimpses of possibility, Spotlighter’s production struggles throughout. In order to explain some very untraditional casting and the fact that one actor is actually missing completely from the cast, Director Kristen Cooley adds an additional frame story around the musical. Her production begins with the actors walking into a rehearsal for the show and continues to run the show with breaks in the fourth wall of actors complaining, walking on stage at the wrong time, etc. What Cooley does is a commendable attempt to address the casting concerns, but the vision never fully works. Additionally, after the initial introduction of the concept, the breaks from the show are more distracting than enhancing.

It is also sometimes hard to tell when actors are actually struggling in their roles versus when they are acting like they are struggling in their roles. This is really the root of the issue. In order for a vision to work, it has to be clear at all times what is intentional and what is just a problem. Cooley seems to have the seedling of an interesting concept, but it lacks cohesive clarity throughout.

For the most part, the set that Cooley designed, along with Fuzz Roark, is visually stunning. The bright blue paint with the swirling designs sets the mood nicely. However, the decision to use an actual shower curtain instead of the usually pantomimed and imagined wall does not quite work. Again, I commend Cooley on her attempts to do something different and make her own mark on the show, but the loss of visibility really detracts from being able to enjoy the scenes. It also makes the Mute, who traditionally plays the wall, seems sort of out-of-place in scenes when she is just sitting near the shower curtain.

Cooley does manage to assemble and direct a talented cast, but many suffer from being unfortunately miscast. The root of the problem may simply be that auditions did not actually yield the ideal actors for this particular story. It seems though that Cooley does her best to try to use this to her advantage in the added bits. The effort is valiant, and it really did almost work. For the most part, the blocking is well-suited for performance in the round. A few times, however, especially when using the tree, sight is limited in certain areas of the room. Additionally, Cooley’s choreography is simple, but often very cute and effective.

The one actor who was ideally cast and was really able to shine in the production was Sherry Benedek (Louisa). She had a gorgeous voice with an incredible range and no noticeable break. She really carried the show with her vocals and her infectious portrayal of the character. Eric Ritter (Matt) was equally strong vocally and had some good acting moments, but, a lot of the time, he seemed a little new to the stage and overwhelmed. You could actually see him concentrating at times, rather than getting lost in the moment.

Bart Dibicki (El Gallo) was an excellent example of just being miscast. He had a really neat charisma and likeability, and you could really feel for Bart, the actor, as he struggled to portray El Gallo, which I think is what he was going for. His actual El Gallo had an awful, cheesy Spanish accent and lacked the dark, sinister charm normally associated with the character. He was also not vocally up for the challenge of the music. It was easy to like Bart, but it was impossible to see him as a believable El Gallo. It is hard to tell, again, what of this is intentional.

The two fathers are played by two young women; both of whom are equally as talented as Benedek in their own right and would have made fantastic Louisas. Unfortunately, the show does not call for three Louisas. While I respect that the introduction and character breaks seek to treat this knowledge with humor, Hucklebee (Amanda Kay Boundy) and Bellomy (Courtney Kalbacker) are never believable as old men. Boundy has a gorgeous soprano, and Kalbacker shows impressive range, but the father’s songs just don’t work as well in the higher octave. Boundy does not go quite far enough in trying to play an old man, and Kalbacker goes a little too far into the realm of milking lines for humorous effect. Again, it is never quite clear what of this is part of the concept and what are limits in the actress’ abilities.

Joey Krastel is delightfully miscast in his portrayal of both Old Henry and Mortimer. He is far too young to play either role, but he really jumps into the challenge with zeal. For the most part, he does an excellent job of creating a separate voice and personality for each role. He also has a chance to show off his skill for physical comedy as he leaps from one character to the other. Krastel definitely seems to be the best of example of the director’s vision really coming together. There was one part, when transitioning quickly between characters, when he used the wrong voice for one, but, overall, he did a pretty incredible job and created a few of the genuine laugh out loud moments of the production.

It was hard to tell whether Lydia West (the Mute) was not very good or just badly under-utilized. It was often hard to tell what she was doing in scenes and what her purpose was in being there.

Overall, there was a lot of talent and effort and bright spots and potential all over the place in this production. However, it never quite came all together. It was certainly a valiant experiment that seemed to be embraced by everyone involved; unfortunately, it was just not a successful one.

The Cast

• El Gallo: Bart Dibicki
• Louisa: Sherry Benedek
• Matt: Eric Ritter
• Matt/Understudy: Dan Allal
• Hucklebee: Amanda Kay Boundy
• Bellomy: Courtney Kalbacker
• Mortimer: Joey Krastel
• Old Henry: Mike Panzarotto
• The Mute: Lydia West

The Creative Team

• Director/Movement: Kristen Cooley
• Musical Director: Michael Tan
• Stage Manager: Kristen Cooley
• Production Stage Manager/Booth Tech: Dionna Fletcher
• Lighting Design: Fuzz Roark/Kristen Cooley
• Set Design: Fuzz Roark/Kristen Cooley
• Scenic Painter: Joey Krastel
• Accompanist (Keyboards): Michael Tan
• Percussion: Kristen Cooley

Photo Gallery

Courtney Kalbacker as Bellomy.	Matt’s (Eric Ritter) mind was Parch-ed.
Finally, I can reach you through the notch. Matt (Eric Ritter), Louisa (Sherry Benedek).	Hucklebee (Amanda Boundy) pruning his plants as Matt (EricRitter) daydreams.
Louisa (Sherry Benedek) falls even harder for her love.	The Mute (Lydia West) listens in carefully.

Photos by Ken Stanek – Ken Stanek Photography

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

It is probably best to look at Unraveled on the Gravel: A New Musical within the context of the Baltimore Playwrights Festival. Granted, there are three additional shows to see in the coming weeks that might change this assessment, but, as of right now, this is the best script that has been chosen for production. It still has many of the problems and pitfalls that come with an amateur script, but Kevin Kostic is distinctly more adept at writing dialogue than has been seen in the last two productions. The production itself is high-quality in terms of staging and technical aspects. The weakest aspect in this production, however, is the performers. While a few demonstrate some real potential and bright moments, it is hard to understand how others came to be cast in these roles.

This script succeeds where others failed, because it does sound like things that actual people would say. The dialogue is authentic, and each character has a unique voice. On the downside, the plot is a little predictable. When it travels into past times, it does not reveal much than what was already fairly obvious. This makes the script drag at times and seem very anticlimactic. However, it does show some real depth of pain and dealing with consequences of actions. The moving backward is a difficult plot structure even when brilliantly done, look at the often reworked and yet always unsuccessful Merrily We Roll Along. It is a great concept in theory, but it really does little to add to the show. Since there are no great surprises, it might work a little better to rework the show into a forward-moving chronology. Another difficulty is that the main character is not likeable, and the way in which he finds “peace” with his actions is very selfish. The script could be improved with a stronger resolution that makes a more powerful statement. For the most part, the songs are lyrically strong. The one exception would be in the last, because it again touches on the ages in the character’s life that were visited “28-22-18.” Since the use of the ages in script construction was not as powerful as the author hoped, neither are the lyrics of the last song. There is still, however, a lot of promise in the other lyrics that work the magic of being specific to the character’s struggle in a way that touches on the universal. Sometimes, the melodies are great, but the songs tend to lack cohesiveness in their structure. A catchy chorus might make way to a verse that just doesn’t flow or vice versa. There are moments of promise in the score as a whole, but the composer needs to work a little more on making sure each song works as a song with a real arc of movement and a genuine cohesion. This show most likely has a lot more revisions in its future, but it holds promise that something great could come of those revisions.

The production quality was top-notch. The set was a realistic and detailed beach house. The lights were used well to give the effect of a few other locales, like the highway at night, and moods, like the haunting inside Ray’s mind. The sound was well-balanced between the bands and the voices. The costumes were appropriate for the characters’ personalities and the different ages at which they appeared. It was really very well done in all technical aspects. Director Michael Tan did a nice job of bringing these elements together and using the technical pieces in conjunction with his staging to try to tell the story.

Unfortunately, several of the key performances struggled. The main character Ray was played by Josh Kemper. Kemper had a nice tenor range and, at times, hit some really great notes and showed his power. However, he often seemed like he was a little too inside of his own head, even for this character, and didn’t really bring the strength needed for the rock score. As an actor, he had some great nonverbal expressions and actions, but, when he spoke, he didn’t always make a strong acting choice. He also lacked realistic chemistry with Amber (Sarah Jachelski). Of course, that might not have been his fault. Jachelski can not sing. It is ear-splitting and often off-key. Her acting is equally as bad, and every single line sounds artificial. She has absolutely no sense of timing or nuance. It is hard to imagine how she ended up in this role.

Christopher Jones (Wriggs) seems to be very talented. He has a great voice and a big, broad personality. However, his voice sometimes didn’t fit completely with the style of the music. He also has extremely expressive and telling nonverbal reactions. On the other hand, his performance was a little too big for the small space, and he seemed much older than it would have been nice to see the character portrayed, in look and actions. While he is very good, this might not be the right stage, show, and role for him to best let his skills shine. Nick Huber (Marlon) was good at creating a very real character. He seemed like he just said the things that he said and not like they had been written for him. The only issue was that there was not much of a change in his character between time periods, although it was discussed that the character had actually changed dramatically. Huber also had a nice, solid vocal. Mike Mililo (Wayne) came across a little inexperienced on stage, but he demonstrated great heart that made you feel like he was really trying. He was able to make his character likeable even when not fully believable. Although he did not have a great tone quality and sometimes struggled a little with finding his harmony notes, when he did hit the harmony line, he and Huber blended beautifully.

There are a lot of things that need work in this production, but, in context of the Baltimore Playwrights Festival, it is the closest so far to what you would expect from a production in the actual theatre season.

Photo Gallery

Ray’s Dilemma. Amber (Sarah Jachelski-L), Ray (Josh Kemper-Ctr), and Wricks (Chris Jones-R).	Ray (Josh Kemper) tried to out-run his past.
“This isn’t what I wanted to do today” Amber (Sarah Jachelski) tells Wayne (Mike Milillo-L), Ray (Josh Kemper-Ctr), and Marlon (Nick Huber-R).	“Why can’t you just talk to me?” Amber (Sarah Jachelski), begs Ray (Josh Kemper).
“I can be there for you” Ray (Josh Kemper) comforts Amber (Sarah Jachelski).	Bad news travels fast! Marlon (Nick Huber-L), Wayne (Mike Milillo-Ctr) and Ray (Josh Kemper-R).
(L-R): Mike Milillo, Nick Huber, Kevin Kostic (playwright), Sarah Jachelski, Chris Jones, and Josh Kemper.

Photos by Ken Stanek Photography

Cast

• Ray: Josh Kemper
• Marlon: Nick Huber
• Wayne: Mike Mililo
• Wricks: Christopher Jones
• Amber: Sarah Jachelski

Production Team

• Book, Music, & Lyrics: Kevin Kostic
• Director: Michael Tan
• Musical Director: Michael Tan
• Stage Manager: Kate Kolarik
• Lighting Designer: Fuzz Roark
• Set Designer & Dresser: Debbie Bennett
• Sound Designer: Sherrionne Brown
• Costumer Designer: Tori Halperin Kuhns
• Costruction: Michael Spellman, Fuzz Roark, Andy Smith
• Scenic Art: Fuzz Roark
• Paint Crew: Sherrionne Brown, Michael Tan, Tabby Winske
• Booth Operator: Kate Kolarik
• Running Crew: Aja Morris-Smiley

Pit Band

• Pit Director/Guitar: Brennan Kuhns
• Bass: Elliott Peeples
• Percussion: Christopher “Lucky” Marino

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

A Light Night Music tells the story of the interconnected love affairs (or liaisons) between several members of an upper-class society. This is not your typical light-hearted musical comedy. The moral ramifications of the characters actions are questionable and live in the grey-area, and the score is complex, intricate, and filled with lyrics that are mostly metaphorical word puzzles. The production really requires the audience to think deeply and pay careful attention. In Audrey Herman Spotlighters Theatre’s production of this complex work, it is evident that the cast and production team have really done their homework. Every actor, every detail, every moment, and every note comes across like it was carefully planned and considered in order to undertake this challenging endeavor.

The space that is used by Spotlighter’s is a small and intimate theatre-in-the-round setting. Fuzz Roark (Director/Lighting Designer/Set Design) does a real excellent job of making the show work with the existing layout and making the audience feel like they are peeking in windows at the romantic entanglements of the cast. The set is extremely simple, but the choices of coloring and details and when to add set pieces are precise and demonstrate critical thought. Even at the times that this means that you don’t see a full front view of some action, the delicate intimacy of the staging makes it work with just the glimpses of profiles, the way actors carry themselves, or in the way their hands are touching, almost touching, or not touching the person beside them. The only problem was that, at times, it all seemed a little too rehearsed and a little too planned and precise. In the careful attention to detail, to hitting every note, to making sure all the words came out just right, a little spontaneity was lost that may have brought a little more energy, pace, and excitement to some of the slower parts of the story.

At the center of the story is Fredrik Egerman, played by Will Emory. Emory has a beautiful voice, and his every move was polished. He, however, was one who definitely sometimes seemed a little out of the skin of his character. He knew what choice to make, he basically knew why he was making that choice, but he didn’t quite transcend to the next level of really making that choice anew in the moment. Fredrik is married to the 18-year old Anne, played by Laura Kavinski. Another gorgeous voice, she had moments of both real, fresh sincerity and slightly forced play-acting. The standout in that family was Fredrik’s son Henrik, played by Jeffrey Coleman. Coleman is obviously an extremely well-trained operatic vocalist with a voice that can melt, and his awkward, subtle performance was the most real and heartfelt in the show. The Egerman’s maid, Petra, was portrayed by Coby Kay Callahan. Although she was often over-the-top, she exuded a very natural sexiness that really sizzled combined with her very original vocal quality in “The Miller’s Son.”

At the heart of the conflict is the rekindling of an old affair between Fredrik and the actress Desire Armfeldt, played by Michele Jenkins Guyton. Throughout, Guyton is one of the most inconsistent. At moments, she will be spot-on with her comedic timing or convey volumes in a simple gesture. At other times, she seems very stifled and comes across extremely forced. However, she makes up for any imperfections in the amazing moment when she connects with the song “Send in the Clowns” on such a deep, emotional level, that arm hairs stood on end, stomach fluttered, and eyes watered all across the room. The song also settles nicely on the lower, warmer part of her range. Two of the weakest spots in the ensemble came from Desire’s daughter Fredrika, Meghan Fluke, and mother Leonora, Suzanne Young. Fluke was obviously out of her element among the more seasoned performers and seemed constantly disconnected from the material. Young was very strong in her acting moments, but her performance of “Liaisons” was so uninspired and vocally flawed that it was hard to even continue to watch.

On the opposite end of the spectrum, the strongest performances in the ensemble came from Jimmy Heyworth (Count Magnus) and Angela Sullivan (Charlotte). Heyworth completely embodied his character so that it could be seen in his eyes at all moments, and Sullivan was quick, clever, and natural in her timing and delivery. You could feel her pain, while, all the time, she maintained grace and poise. Also excellent were the Liebeslieders (Edwin Perez, Kristen Zwobot, Hillary LaBonte, George Wilkerson, and Holly Gibbs). All five had really incredible voices and the professional disconnect affected by these performers was extremely appropriate for their roles.

This is definitely a production worth seeing. Guyton’s rendition of “Send in the Clowns” is alone worth the admission price. Still, it would be nice if the cast would relax a little, know that they have all the nuances down, and just have a little fun losing themselves in the world of these characters. That little bit of humanity would better help the audience to like and sympathize with the characters even when they are making choices that some among us might question.

Photo Gallery

Photos by Ken Stanek Photography

Cast

• Mr. Lindquist: Edwin Perez
• Mrs. Nordstrom: Kristen Zwobot
• Mrs. Anderson: Hillary LaBonte
• Mr. Erlanson: George Wilkerson
• Mrs. Segstrom: Holly Gibbs
• Fredrik Egerman: Will Emory
• Anne Egerman: Laura Kavinski
• Count Carl Magnus Malcolm: Jimmy Heyworth
• Countess Charlotte Malcolm: Angela Sullivan
• Henrik Egerman: Jeffrey Coleman
• Petra: Coby Kay Callahan
• Desire Armfeldt: Michele Jenkins Guyton
• Fredrika Armfeldt: Meghan Fluke
• Madame Leonora Armfeldt: Suzanne Young

Production Team:

• Director: Fuzz Roark
• Musical Director: Michael Tan
• Stage Manager: Jen Medina-Gray
• Lighting Designer: Fuzz Roark
• Costume Designer: Heather C. Jackson
• Set Design: Fuzz Roark
• Set Construction: Fuzz Roark, Michael Spellman
• Set Painting: Fuzz Roark, Molly Hopkins, Alaina Pomeroy, Garrett Pomeroy
• Scene Art/Set Dressing: Fuzz Roark

Orchestra

• Director/Keyboards: Michael Tan
• Percussion: Chris Marino
• Bass: Nick Fugate

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