Some things are timelessly funny. Mary Chase’s tale of a man and his 6 foot, 8 1/2 inch tall rabbit named Harvey is as funny and relevant today as it was in the 1940s. The current production at The Vagabond Players is no exception. While a few of the performers occasionally go a little over the top rather than trusting the inherent humor of the script, many others stay subtle and let the script speak for itself. Despite any unevenness, the script wins out, and the end result is a light-hearted and enjoyable evening that flies by in a flurry of laughter.

The evening begins in the old Dowd family mansion, as we meet Veta Louise Simmons (Joan Crooks) and her daughter Myrtle Mae (Karina Ferry). Possibly due to opening night jitters or slight overplaying of the scene, the opening seems a little frantic and takes a little while to find its pace. Once Crooks finds her rhythm and pace, she is delightfully overwhelmed, manipulative, and yet sympathetic throughout the rest of the production. Ferry, on the other hand, teeters on the line between over-the-top and landing just right.

The show starts to really come alive as Elwood P. Dowd (Roy Hammond) enters, along with Harvey, the Pooka that only he can see. Hammond creates a charming and engaging Dowd, who walks the finely crafted line between sane and insane.

As the scene shifts to Chumley’s Rest, we meet another major star of the show: the beautifully designed set. The audience actually applauded as the beautiful library opened up to reveal the second set. Both locations were filled with little details that made the scenery come alive and feel realistic.

At Chumley’s Rest, we first meet Ruth Kelly (Amy McQuin). McQuin delivers one of the best performances in the production with flawless timing and intricate facial expressions and reactions. It is easy to root for Kelly and to see her charm, even when it is not always clear what she sees in the seemingly self-absorbed Dr. Lyman Sanderson (Chris Cotterman). Cotterman’s performance is mostly solid and, even when slightly inauthentic, works with the character.

Also, working at Chumley’s Rest is Duane Wilson (Colin Holmes) and Dr. William R. Chumley (Phil Gallagher), who provide two distinctly contrasting performances. Holmes fails to find a believable character, and, while his “class clown” behavior draws laughter, it feels like scene-stealing. His ham-like behavior feels like it as at the expense of the rest of the cast and the story rather than part of the production. Gallagher does the exact opposite, by grounding himself in making the character believable, the humor that comes forth from his character’s over-the-top mania is genuine and creates many of the best moments in the show.

The combined performances of Crooks, Hammond, McQuin, Gallagher, and, at times, Cotterman make this show well worth watching. While more consistency and grounding on the part of some of the other performers may have taken the production to another level, this is still a quality production. With a great script, a truly impressive set, and a few stellar performances, an enjoyable evening is a certain result.

Elwood P. Dowd (Roy Hammond). Photo by Ken Stanek

Cast

• Myrtle Mae Simmons: Karina Ferry*/Stephanie Ranno
• Veta Louise Simmons: Joan Crooks
• Elwood P. Dowd: Roy Hammond
• Miss Johnson: Regina D’Alessandro
• Mrs. Ethel Chauvenet: Amy Bell
• Ruth Kelly, R. N.: Amy McQuin
• Duane Wilson: Colin Holmes
• Lyman Sanderson, M.D.: Chris Cotterman
• William R. Chumley, M.D.: Phil Gallagher
• Betty Chumley: Amy Bell
• Judge Omar Gaffney: Marc Rehr
• E. J. Lofgren: Mark Wible

Production Team

• Director: Sherrionne Brown
• Stage Manager/Booth Tech: Stephy Miller
• Backstage Crew: Regina D’Alessandro, Becky Miller, Dennis Crooks, Ed Makowski
• Lighting Design: Charles W. Danforth, III
• Sound Design: Sherrionne Brown
• Set Design: Sherrionne Brown, Roy Hammond
• Set Dressing/Painting: Sherrionne Brown
• Set Construction: Moe Conn, Jay Demarco
• Portrait: Maureen Feeey
• Props: Central Avenue Props, Sherrionne Brown
• Photography: Ken Stanek
• Production Photos: Fred Mainolfi
• Poster: Sherrionne Brown
• Program: Barb Gehring
• Box Office: Apryl Bancroft, Pat David
• For the Vags: Tim Evans, Marylee Barnes

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

Stephen Sondheim and George Furth’s groundbreaking musical comedy, Company, is a meditation on marriage, commitment, isolation, and compromise. Even now, over forty years after the musical debuted on Broadway, the show is still searing and relevant, and the legendary music and lyrics still impress. Truly, it would be difficult to present a production of Company that was not entertaining, given the quick-edit scenes and wide range of emotions, characters, and musical styles, and The Vagabond Players do not disappoint. Their Company features a cohesive ensemble of excellent singers who clearly relish the opportunity to sing these magnificent songs.

The audience learns about the characters through the eyes of Robert, who is celebrating his 35th birthday by excavating the relationships of his married friends and examining his past and current love interests in hopes of finding real meaning. Along with the rest of the cast, Tom Burns, as Robert, began the show on shaky ground, with sometimes tentative and sometimes forced vocals and awkward pacing in the first couple of scenes. Some of the performances felt stilted and tense, and the lighting, costumes, and set combined to give a very heavy, dark feel to the beginning of the show. However, the production recovered admirably, and by the end of the first act, not only had the ensemble created a believable chemistry of friends and lovers, but Burns had constructed an appealingly ambivalent Robert in whom the audience could invest.

The second act, by contrast, was a knock-out from start to finish. It began with a charming, joyful “Side by Side” featuring grin-inducing choreography by Ernie Ritchey (whose adorable staging of “You Could Drive a Person Crazy” was a first act highlight) and spot on vocals under Douglas Lawler’s musical direction. The show then moved to a brilliant marriage of staging, singing, and acting during “Poor Baby” and “Barcelona.” These songs, set during a date between Robert and flight attendant April (Amy Greco), showed the contrast between Robert’s private life as imagined by his friends and as it really existed. Burns and Greco had a sexy allure with one another while also managing to be very funny. Director Eric J. Potter staged this scene wonderfully well, seamlessly integrating the many different elements and creating humor and heartbreak in the same moments.

The act continued with Shannon Wollman’s blistering rendition of “Ladies Who Lunch.” Her voice was perfectly suited to the song, and she masterfully built it to its apex. In addition, Wollman, Joey Hellman (playing her husband), and Burns created fully formed relationships and palpable tension in the brief scene that surrounds the song. Finally, Burns had his finest moments in “Being Alive,” as Robert’s dawning understanding and insight take center stage. Without overacting, Burns took the audience on Robert’s powerful journey, while leaving traces of his ambivalence to prevent a pat conclusion.

Company is famous for being one of the very first “concept” plays with a non-linear plot. In keeping with the scattershot structure of the show, a few closing scattershot thoughts: Jennifer Viets’ solo in “Getting Married Today” was gorgeous, as was Jim Baxter’s hurt and disappointment in the same song. The neon sign and large New York skyline in Moe Conn’s set design was visually arresting. Shawn Doyle’s “Sorry-Grateful,” although started in a jarring manner, was touching and tender. Great songs, an interesting book, a charming and supportive ensemble, rich and beautiful voices, and very talented musicians made for lovely Company for the evening.

Photo Gallery

‘Bobby and girlfriends’: Lauren Everd, Tom Burns, Sarah Ford Gorman	‘The guys’:Jim Baxter, Tom Burns, David Minges, Troy Hopper
Bobby, a very popular bachelor, with the wives of his friends

Photos by Ken Stanek

Cast

• Robert: Tom Burns
• Sarah: Rikki Howie
• Harry: Shawn Doyle
• Susan: Dianna Waller
• Peter: David Minges
• Jenny: Jennifer Viets
• David: Troy Hopper
• Amy: Molly Doyle
• Paul: Jim Baxter
• Joanne: Shannon Wollman
• Larry: Roger Schulman (Joey Hellman on Oct. 18)
• Marta: Sarah Ford Gorman
• Kathy: Lauren Everd
• April: Amy Greco
• Conductor/Keyboard: Douglas Lawler; Michael DeVito
• Percussion: Lisa Wood, Bill Watson

Production Team

• Director: Eric. J. Potter
• Musical Director: Douglas Lawler
• Choreographer: Ernie Ritchey
• Stage Manager: Margie Lake
• Backstage Crew: Peggy Witowski
• Lighting Design: Ed Lake
• Set Design: G. Maurice “Moe” Conn
• Set Construction: Moe Conn, Jay Demarco
• Costume Design: Wil E. Crowther
• Follow Spot Operator: Dennis Witowski
• Photography: Tom Lauer
• Production Photos: Ferd Mainolfi
• Poster: Sherrionne Brown
• Program: Barb Gehring
• Box Office: Apryl Bancroft, Pat David
• For the Vags: Carol Evans, Ann Mainolfi

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

• Wait Until Dark, September 2011
• Godspell, October – November 2011
• Arsenic and Old Lace, January – February 2012
• California Suite, February – March 2012
• Frost/Nixon, April – May 2012
• Souvenir: A Fantasia in the Life of Florence Foster Jenkins, June – July 2012

Schedule is subject to change due to performance rights conflicts or other issues. Specific dates of auditions are yet to be announced.

Abducting Diana is part political satire, part drawing-room comedy, and part absurdist comedy. It tells the story of what happens when a woman, possibly a DC publishing mogul or possibly her body double, is kidnapped. The production blends comedy of errors and fourth-wall breaking commentary with a piece that is actually examining the way that the media and capitalism are at work in American society.

The Vagabond Players, under the helm of Michael Spellman, do a good job of bringing this production to life. The blocking and physical comedy are right in line with the script. The lights and sound are effective. The set is an excellent representation of the backroom of an ice cream shop, with graffiti and a realistic walk-in fridge.

The highlights of the cast are the three kidnappers: Brian Douglas, Tim Craighead, and Frank Vince. All three men have strong stage presence and charisma, and create a gang of entertaining amateur kidnappers. Lucy Poirier (Mother) and Daniel Douek (Priest) also do excellent jobs in their small character bits in the second act. Mike Rosscoe is obviously a little “green,” but it works well for his character for most of the script. Andrea Bush is not bad when she is showing the commanding and dominant side of her character’s personality, but she lacks depth and believability in the more emotional moments and does not demonstrate a lot of levels or nuance to her performance.

Viewers should be warned that the production contains strong language, violence, and sexual situations.

Cast:

• Woman: Andrea Bush
• Young Man: Mike Rosscoe
• Chief Kidnapper: Brian Douglas
• Kidnapper #2: Tim Craighead
• Kidnapper #3: Frank Vince
• Mother: Lucy Poirier
• Priest: Daniel Douek

Production Staff

• Director: Michael Spellman
• Stage Manager: Barbara Pinkner
• Assistant Stage Manager: Tavon Vinson
• Fight Choreography: Rita Kidolis
• Lighting Design: Bob Dover
• Sound Design: Michael Spellman
• Costumer: Diane Jackson
• Set Design: Tony Colavito
• Set Construction: Tony Colavito, Jay Demarco
• Box Office: Pat David
• Photography: Ken Stanek
• Poster Art: Erika Meriaux
• Poster/Program: Barb Gehring
• For the Vagabonds: Karin Crighton, Ann Mainolfi

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