Singin’ in the Rain is the quintessential throwback to the early age of American movie-musicals. As a film before it was ever a stage show, it is a classic story with well-known songs and extended dance sequences. It travels back to the dawning of a new era in filmmaking — the talking picture. The story surrounds stars of the silent screen making the transition to these new movies, through a myriad of trials and a smattering of romance. Unfortunately, not all of this translates to the current production at Way Off Broadway Dinner Theatre in the way that one would hope.

There are some very nice things to say about this production. The choreography is smart. It is not overly intricate, and the ease of the movement allows the cast to execute it with exact precision. Rather than trying to go too big and ending up sloppy, it stays right where it can be very effective. The show has some great technical elements, including the awesome choice to have it actually rain on the stage. There are some strong performances in supporting and ensemble roles. Most notable is Matthew A. Mastromatteo in his turn as the Diction Coach. The ensemble is also vocally strong, and there are very nice harmonies showcased in “You Stepped Out of a Dream.”

Unfortunately, this production falters in the hands of its leading actors, and there is little that anything else can do to get past that fact. An otherwise strong triple-threat, Jordan B. Stocksdale seems uncomfortable in the skin of Don Lockwood. While he comes to life in the dance sequences and performance numbers, the rest of Don — what should be the real Don — seems confused and forced. Even his beautiful tenor voice is mismatched and rarely well showcased in this particular score. Don Lockwood is just not the right role, and Stocksdale’s stilted performance seems to indicate that he is well aware of the disconnect.

Playing opposite Stocksdale is the equally miscast Jamie Lea Kiska. While Kiska has previously shown her adroit skill in playing comedy, Kathy feels a forced joke without a punchline. As Kathy, Kiska comes across as too over-the-top and too forced. She never achieves the simple whimsy of the ingénue. Additionally, Kiska doesn’t fare well vocally in this show. It is hard to believe that the other characters are awed by her voice, as she falters on the pitch and lacks power. Making it worse is that, as Stocksdale and Kiska flounder in their roles, they are not able to develop any believable chemistry.

Jospeh Waeyaert almost hits the mark as Cosmo. He has a likeability, a decent voice, and some great physical comedy moments. Unfortunately, he doesn’t quite get big enough or distinct enough in the creation of his character.

The one principal who does shine, and, in this production, seriously outshines all the rest is Melissa Ann Martin. Her Lina Lamont is spot-on. She is absolutely hilarious and nails each comedic line and look. She is also unable to disguise her strong, beautiful vocals, even as she tries to downplay them in the hilarious treasure of a moment that is “What’s Wrong With Me?” Her performance alone almost makes all of the other missteps worth it.

Not all great performers are great in all roles. Way Off Broadway has proven time and time again to have incredibly talented performers and put on high-quality productions. This time, simple miscasting has caused them to miss the mark. Hopefully, they will be able to write this off as a lesson learned.

The Cast

• Dora Bailey: Tina M. Bruley/Megan West
• R. F. Simpson: Samn Huffer
• Roscoe Dexter: Zane L. Oberholzer, Jr.
• Cosmo Brown: Joseph Waeyaert
• Lina Lamont: Melissa Ann Martin
• Don Lockwood: Jordan B. Stocksdale
• Rod: Matthew Crawford
• Kathy Selden: Jaimie Lea Kiska
• Production Tenor: Charlie Cizek
• Sid Phillips: Phil Vannoorbeeck
• Miss Dinsmore: Tina M. Bruley/Megan West
• Diction Coach: Matthew A. Mastromatteo
• Zelda Zanders: Chelsea Bondarenko
• Ensemble: Chelsea Bondarenko, Tina M. Bruley, Mary Ellen Cameron, Charlie Cizek, Matthew Crawford, Rebecca Eastman, Kaitlyn Huffman, Matthew A. Mastromatteo, Phil Vannoorbeeck, Joseph Waeyaert
• Standbys and Swings: Jessica Billones, Megan West

Behind the Scenes

• Director: Bill Kiska
• Choreographer: Dee Buchanan
• Music Director: Jordan B. Stocksdale
• Stage Manager: Matthew A. Mastromatteo
• Orchestration and Arrangements: Bill Kiska and Jordan B. Stocksdale
• Lighting Design: Justin M. Kiska
• Light Board Operator: Trey T. Kiska
• Sound: Bill Kiska
• Set Design: Bill Kiska and Jordan B. Stocksdale
• Set Construction: Bill Kiska, Trey T. Kiska, Jordan Stocksdale
• Costumes: Samn Huffer and Bill Kiska
• Wigs: April Horn of Hair Worx Salon

Disclaimer: Way Off Broadway Dinner Theatre provided two complimentary media tickets to ShowBizRadio for this review.

The Sound of Music is a timeless classic that has once again found renewed interest following the recent movie adaptation. Unlike that recent movie adaptation, Way Off Broadway’s current production does not disappoint or fall short of expectations for the show. While the production also does not bring anything especially exciting or new to the off-produced production, it does solidly deliver a predictable and enjoyable evening for fans of the classic musical.

At the center of this production is the charming Melissa Ann Martin as Maria. She has endless energy, and it is easy to see why the von Trapp children flock around her. She stands at contrast to the stern Captain von Trapp (Steve Steele). Steele has a beautiful voice, and the audience watches his character soften throughout the show.

Absolutely delightful are the von Trapp children. They have all have great stage presence and sweet voices. Especially wonderful is Josephine Patane as Liesl. Patane has an incredibly strong voice and charisma. Her performance stands out with her delightful and realistic reactions throughout the show. “Sixteen Going on Seventeen” is an especially fun number, when she pairs with the talented Charlie Cizek (Rolf).

Another standout portion of the production are the intricate multi-part harmonies of the nuns of Nonnberg Abbey. Song after song, the sisters deliver with beautifully trained vocals. Tori Weaver also stands out in her small acting scenes as Sister Berthe. As the Mother Abbess, Maria-Giulia Bruni is stunning. She has a majestic, motherly presence and a voice like an angel.

Ideally cast in their roles are Jordan B. Stocksdale as Max and Mary Ellen Cameron as Elsa Schraeder. Stocksdale walks the fine line between the self-interested persona that is Max and the real friend underneath. Cameron is class and composure, and she creates an Elsa who is all wrong for the Captain but is not unlikeable.

One of the strongest elements of the production is using the curtain and blocking in such a way that scene changes always happen while action is ongoing, so there are never any pauses in the flow of the show. This way the audience can stay invested and in the moment throughout the enjoyable production. Fans of The Sound of Music will not be disappointed and should definitely go and enjoy this production during the rest of its run.

Photo Gallery

Melissa Ann Martin as Maria and Steve Steele as Captain von Trapp	Melissa Ann Martin as Maria

Photos provided by Way Off Broadway Dinner Theatre

Cast

• Sister Margaretta: Johnna Leary
• Sister Berthe: Tori Weaver
• Mother Abbess: Maria-Giulia Bruni
• Sister Sophia: Tiara N. Whaley
• Postulant: Chelsea Bondarenko
• Maria Rainer: Melissa Ann Martin
• Captain Georg von Trapp: Steve Steele
• Franz: Matthew Crawford
• Frau Schidt: Hannah Pecoraro
• Liesl: Josephine Patane
• Friedrich: Cavin Davis/Luke Szukalski
• Louisa: Macy Armagost/Megan Jacobs
• Kurt: Abel Hart/Daniel Puckett
• Brigitta: Annie Krop/Sarah Szukalski
• Marta: Katharine Ford/Audrey Kilgore
• Gretl: Charlotte Kilgore/Serena Parrish
• Rolf: Charlie Cizek
• Elsa Schraeder: Mary Ellen Cameron
• Max Detweiler: Jordan B. Stocksdale
• Herr Zeller: Matthew Mastermatteo
• Admiral von Schrieber: Joseph Waeyaert
• Ensemble: Johnna Leary, Tori Weaver, Tiara N. Whaley, Chelsea Bondarenko, Matthew Mastermatteo, Joseph Waeyaert

Behind the Scenes

• Director: Samn Huffer
• Music Director: Jordan B. Stocksdale
• Stage Manager: Joseph Waeyaert
• Orchestrations and Arrangements: Bill Kiska and Jordan B. Stocksdale
• Lighting Design: Justin M. Kiska
• Light Board Operator: Trey T. Kiska
• Sound: Bill Kiska
• Set Design: Samn Huffer
• Set Construction: Samn Huffer, Bill Kiska, Trey T. Kiska, Jordan Stocksdale, Joseph Waeyaert
• Costumes: Samn Huffer and Bill Kiska
• Props: Justin M. Kiska and Joseph Waeyaert
• Wigs: April Horn of Hair Worx Salon

Disclaimer: Way Off Broadway Dinner Theatre provided two complimentary media tickets to ShowBizRadio for this review.

A recently deceased monkey being laid to rest in a child’s coffin as an aging, silent-film star shakes with sobs of grief. A creepy butler watching it all. The ominous sense that there is no escape. It is clear from the beginning that nothing good is going to come from Joe Gillis (Jordan B. Stockdale) finding himself in the living room of Norma Desmond. The good thing that does come from it is the Way Off Broadway’s production of Sunset Blvd., which culminates in a few outstanding moments in the second act as the tragic tale rushes towards its conclusion.

Bill Kiska and Jordan B. Stocksdale nicely create a simple set that provides the illusion of excess and opulence. There are nice details like the pictures on the wall that actually look like they could be a young Jeanine Collins. The stairs sometimes appeared to not be properly attached to the rest of the set, but it was an overall very nice effect. The scene changes were seamless for the most part, although there was one time when the movement of set pieces behind the curtains was distracting.

The story begins with Joe Gillis, a struggling screen writer. Stocksdale takes a little time to settle into the role, but, by the opening of Act II and the number “Sunset Boulevard,” he truly finds his stride. His power note at the end of the song was striking. Similarly, Collins almost goes a little overboard in the first act, but she finds Norma’s heart beautifully in “As If We Never Said Goodbye” and exquisitely lays open her broken soul in her final monologue.

The leads are evenly matched with the solid supporting performances from Zane L. Oberholzer, Jr. as Max Von Mayerling and Joey Banigan as Betty Schaefer. Oberholzer has a gorgeous voice and there are moments were you can see the intensity of emotion that he keeps restrained. Banigan was a charming ingénue, and she appears to have a lovely voice, although she seemed to be losing it some during this particular performances. You could hear the control that she used to sing through as best as possible.

The only major tweak for this production would be the sound mix. At times, the music swelled over the voices, when the voices should have swelled over the music. Occasionally, the climax of a song was swallowed by the background tracks. The closer an actor was to the front of the stage, the better the mix that was achieved.

Overall, if you travel to Way Off Broadway to see Sunset Blvd, you will not be disappointed. It was an enjoyable evening, and it is especially a treat if you are unfamiliar with the show and get to experience the plot twists and turns for the first time.

Cast

• Norma Desmond: Jeanine Collins
• Joe Gillis: Jordan B. Stocksdale
• Max Von Mayerling: Zane L. Oberholzer, Jr.
• Betty Schaefer: Joey Banigan
• Artie Green: Danny Bertaux
• Cecil B. DeMille: Samn Huffer
• Sheldrake: Steve Steele
• Manfred: Ariel Messeca
• Salesmen: Danny Bertaux, Nate Howard, Steve Steele, Joe Waeyaert
• Astrologer: Melissa Ann Martin
• Masseur: Megan West
• Beautician: Lauren Ebbin
• Doctor: Jessica Billones
• Ensemble: Danny Bertaux, Jessica Billones, Lauren Ebbin, Nate Howard, Samn Huffer, Melissa Ann Martin, Ariel Messeca, Steve Steele, Joseph Waeyaert, Megan West

Behind the Scenes

• Director: Bill Kiska
• Music Director: Jordan B. Stocksdale
• Orchestrations and Arrangements: Bill Kiska and Jordan B. Stocksdale
• Additional and Incidental Orchestra Recording: Joseph Baker
• Lighting Design: Justin M. Kiska
• Light Board Operator: Matthew Maestromatteo
• Sound: Bill Kiska
• Set Design/Construction: Bill Kiska, Jordan B. Stocksdale
• Costumes: Bill Kiska
• Wigs: April Horn of Hair Worx Salon

Disclaimer: Way Off Broadway Dinner Theatre provided two complimentary media tickets to ShowBizRadio for this review.

Right after the rights for a show become available, it is highly likely that one production after another will rotate throughout the entire area. Even when a show has a fantastic script and score, like Legally Blonde, it can start to become tedious and the various productions can start to meld together. There is rarely little left to be excited about in each new production; there are few performances left that could possibly be topped. This, combined with some word of mouth and previous reviews that left much to be desired, might keep audiences away from the current production at The Way Off Broadway Dinner Theatre. That would be a real shame. This production is, without a doubt, fresh, flawless, and filled with scads of phenomenal performances.

The Way Off Broadway Dinner Theatre manages to get absolutely everything right. This begins with sets that change quickly into various locations and fill the stage with bright colors and exact details. The excellence continues with a seamless lighting design and top-notch costumes. The excellence reaches a zenith in the creative and fun staging of Director Bill Kiska and the awesome choreography by Dee Buchanan. A perfect example of movement, character, and facial expressions coming together is the number “There! Right There!.” Every little gesture and minute detail comes together for maximum hilarity.

Then, there are the performances. It all begins with Elle (Leah Bebee), that not-so-dumb blonde with a heart of gold. Bebee is sheer perfection, and she absolutely nails this difficult role. She is a complete triple threat, and sings, dances, and acts her way to a believable, loveable, and humorous Elle. Her performance is further enhanced through the amazing chemistry with Emmett (Jordan B. Stocksdale). Stocksdale is sweet yet driven as Emmett. Enhancing the complete character that he creates are his amazingly beautiful vocals. The last few lines of “Chip On My Shoulder” are especially delightful, resting in the sweet spot of Stocksdale’s already gorgeous voice.

In the pivotal role of Paulette, Jaimie Lea Kiska is absolutely delightful. Her comedic timing and facial expressions are without match. She finds just the right moment and delivery for every line. Also unbelievable are the “Greek Chorus” of Margot (Chelsea Bondarenko), Serena (Sarah Biggs), and Pilar (Joey Banigan). Each member of the trio creates a unique and memorable character, and all three ladies have stellar vocals. Another powerhouse performer in this amazing cast is Melissa Ann Martin as Brooke Wyndham. She has an amazing voice, and she finds a real humor and lightness in Brooke that really works. She also manages to hold her own in the massive workout that the role requires.

There are so many standouts in this company. Zane L. Oberholzer, Jr. is sleazy, slimy, and perfectly on pitch as Professor Callahan. Matthew Crawford takes the role of Aaron Shultz and a few other bit parts and makes them truly memorable. Trey T. Kiska has excellent presence and comedic reactions. Megan West is strong and just the right amount of over-the-top as Enid. Zachary Norton is believable as the self-absorbed Warner, and Emily L. Sergo creates a realistic transition as snarky melts away to strong as Vivienne. Laura Walling, Ahjah Prom, and Erica Clare all take moments throughout the show to shine. The entire ensemble works well together, carries out choreography in stunning unison, and creates varied and interesting characters throughout the show.

If I was you, I would do whatever I had to do to “Find My Way” to The Way Off Broadway Dinner Theatre to see Legally Blonde.

Cast

• Margot: Chelsea Bondarenko
• Serena: Sarah Biggs
• Pilar: Joey Banigan
• Bruiser: Lana (Hoover-Kiska)
• Elle Woods: Leah Bebee
• Saleswoman: Melissa Ann Martin
• Store Manager: Laura Walling
• Warner Huntington, III: Zachary Norton
• Kate: Emily Lentz (Morgan Lash in performance that was reviewed)
• Elle’s Dad: Samn Huffer
• Elle’s Mom: Laura Walling
• Grandmaster Chad: Trey T. Kiska
• Winthrop: Samn Huffer
• Lowell: Matthew Crawford
• Phorzheimer: James Tarrant
• Emmett: Jordan B. Stocksdale
• Aaron Shultz: Matthew Crawford
• Sundeep Padamadan: Joseph Waeyaert
• Enid Hoopes: Megan West
• Vivienne Kensington: Emily L. Sergo
• Professor Callahan: Zane L. Oberholzer, Jr.
• Paulette Buonofuonte: Jaimie Lea Kiska
• Dewey: Trey T. Kiska
• Rufus: Igby (Stocksdale)
• Brooke Wyndham: Melissa Ann Martin
• Kyle: Trey T. Kiska
• The Judge: Ahjah Prom
• D.A. Joyce Riley: Erica Clare
• Nikos: Matthew Crawford
• Carlos: Danny Bertraux
• Chutney: Laura Walling
• Ensemble: Joey Baningan, Danny Bertraux, Sarah Biggs, Chelsea Bondarenko, Erica Clare, Matthew Crawford, Samn Huffer, Jaimie Lea Kiska, Emily Lentz, Zachary Norton, Ahjah Prom, James Tarrant, Joseph Waeyaert, Laura Walling, Megan West

Production

• Director: Bill Kiska
• Choreographer: Dee Buchanan
• Music Director: Jordan B. Stocksdale
• Orchestra Recording: Stage Stars Records
• Additional and Incidental Orchestra Recording: Joseph Baker
• Lighting Design: Justin M. Kiska
• Light Board Operator: Matthew Maestromatteo
• Sound: Bill Kiska
• Set Design/Construction: Bill Kiska, Jordan B. Stocksdale
• Costumes: Bill Kiska
• Wigs: April Horn of Hair Worx Salon

Disclaimer: The Way Off Broadway Dinner Theatre provided two complimentary media tickets to ShowBizRadio for this review.

Making musicals out of movies is a tradition that started long ago. From Miracle on 34th Street to The Full Monty, this genre never seems to have any limits. In the mid 1980s, Hollywood released a box office smash hit Footloose starring Kevin Bacon. For those who were in their early or mid teens then, that movie will always have a very special place in their hearts. In the late 90s, Footloose was brought alive into a full-blown song and heavy dance stage production. Since then, it became one of the most popular produced shows for the community/high school/and dinner theatre.

The plot hasn’t changed much. A divorced mom named Ethel (Jessica Billones) and her teenage son, Ren (Patrick J. Prebula) leave the inner city of Chicago and move to a small, rural, God-loving town of Bomont, Texas. The town is controlled by Reverend Shaw Moore (Jordan B. Stocksdale), a preacher with a submissively loving wife, Vi (Alexandra Garcia Guyker), and a teenage rebellious daughter Ariel (Leah Bebee), who’s looking to find herself and the acceptance and love of her father. As we soon find out, the town has a dark past and many secrets, strict rules and laws, and an ordinance for absolutely no dancing anywhere at any time. Obviously young Ren clashes heads with the Reverend and the elders of the community, but by gaining trust, admiration, and respect by his friend Willard (Jason Harding Beall), Ariel’s friends, Rusty (Kedren Spencer), Urleen (Natalie Stephenson), Wendy Jo (Morgan Lash) and the rest of the teenage population, they overcome the bigotry and the narrow-mindedness of the elders. They restore the town to heal its wounds and journey on to the future with a stronger outlook on life.

Way Off Broadway’s production of Footloose is anything but. As a matter of fact, the production has two left feet. For the exception of Stockdale’s touching and simple portrayal of a man in pain, beautiful vocal delivery at all times, Beal’s energetic, spot on vocals, and comic performance, and the decent performance from Spencer, Stephenson, and Lash, the rest of the production and cast is quite weak, mediocre, and unmemorable. Though Prebula tries quite hard, he is vocally unfit, physically miscast, and he spends most of the show trying to get from one line to another without evoking any emotions or understanding of the script. Bebee’s portrayal of Ariel is misinterpreted, over the top, and confusing. Instead of portraying a teenager lost, she comes across as a hardcore, unsympathetic rebel. Vocally she does okay, but misses the beauty and understanding of the lyrics and music.

The staging seemed cluttered and unorganized; the choreography was very amateurish and not executed well. The sets, costumes, and props were what you’d expect to find at a second-rate high school production. I wish that something more positive could be said about the dinner portion of the afternoon, but unfortunately, the minimal school cafeteria style buffet that consisted of such things as dry chicken, soggy caeser salad, and bland sides did not live up to the almost $50 per head admission to its theatre goers. Also, the buffet was cleared, unannounced with half of the audience not being able to get seconds, that is if you like dry chicken.

So after spending my afternoon in Frederick, Maryland; the only I could say was “Heaven Help Me.”

Photo Gallery

Can’t Stand Still	Cast
Mama Says	Ren & Shaw
Vi & Shaw

Photos provided by Way Off Broadway Dinner Theatre

The Cast

• (In order of Appearance)
• Ren McCormack: Patrick J. Prebula
• Ethel McCormack: Jessica Billones
• Reverend Shaw Moore: Jordan B. Stocksdale
• Vi Moore: Alexandra Garcia Guyker
• Ariel Moore: Leah Bebee
• Lulu Warnicker: Sheila Cunningam
• Wes Warnicker: Anthony Marchese
• Coach Dunbar: Michael Lacone
• Rusty: Kedren Spencer
• Urleen: Natalie Stephenson
• Wendy Jo: Morgan Lash
• Chuck Cranston: Matthew Crawford
• Lyle: Jordan C. Allen
• Travis: Anthony Marchese
• Betty Blast: Jessica Billones
• Willard Hewitt: Jason Harding Beall
• Jeter: Tommy Evich
• Bickle: Joseph Waeyaert
• Irene: Sarah Biggs
• Cowboy Bob: Michael Iacone
• Ensemble: Jordan C. Allen, Sarah Biggs, Matthew Crawford, Sheila Cunningham, Tommy Evich, Michael Iacone, Anthony Marchese, Joseph Waeyaert
• At this performance, the role of Lulu Warnicker, usually played by Sheila Cunningham, was played by Shannon Wells

Behind the Scences

• Director: Bill Kiska
• Choreographer: Amanda Patten
• Music Director: Jordan B. Stocksdale
• Assistant Director: Genevieve Williams
• Stage Manager: Jessica Billones
• Orchestra Recording: Custom Broadway Mimi
• Lighting Design: Justin M. Kiska
• Light Board Operator: Trey T. Kiska
• Sound Operator: Laura Walling
• Set Design: Bill Kiska, Jordan B. Stocksdale
• Set ConstructionBill Kiska, Trey T. Kiska, Jordan B. Stocksdale
• Costumes: Bill Kiska, Jessica Billones
• Wigs: April Horn of Hair Worx Salon

Disclaimer: Way Off Broadway Dinner Theatre provided two complimentary media tickets to ShowBizRadio for this review.