Things are certainly “looking up” at Toby’s. They are winning over audiences with a professional, high-energy production of the family friendly Shrek. With stunning costumes, creative use of the space, detailed lighting design, and a host of stellar performances, there are many good reasons to catch this exciting production before it is too late.

As Shrek, Russell Sunday is the true emotional glue that holds the production together. He sails through his vocal numbers with a rich, strong and perfectly pitched instrument. He brings Shrek to life with laughter and tears, creating a believable and loveable hero.

Calvin McCullough makes an interesting choice with Donkey. He does not often act or sing the role in the predictable homage to Eddie Murphy (film) and Daniel Breaker (Broadway). He creates his own donkey, landing some punch lines differently and creating new vocal intonations. It was a risky decision that paid off beautifully. McCullough’s Donkey is a fresh and stunning take on the character that makes every moment fresh.

Another performance that just nails it is Jeffrey Shankle as Lord Farquaad. Shankle’s comedic timing and expression are flawless. Every moment on stage is a delightful dance of tongue-in-cheek humor with the audience. He also moves incredibly gracefully on his knees for the entire production.

The only lead who misses the mark is Coby Kay Callahan as Fiona. Callahan tries too hard to nail an impression of Sutton Foster that she comes across clownish in her performance. Rather than showing a genuine side of Fiona or achieving comedy through character, she is stifled and too much all at the same time. Additionally, the vocals are just too big for her voice, and she ends up over-singing and almost screaming to try to achieve the necessary high belt. This is in direct contrast to the brief performance of Amanda Kaplan as Teen Fiona, who shows exactly how to create comedy without trying too hard and make a difficult song look simple by nailing it effortlessly. Luckily, there is so much wonderful about the performances of Sunday, McCullough, and Shankle, that the Callahan debacle can be forgotten and overlooked in the larger context.

The entire ensemble is strong in vocals, dance, and creating interesting bit characters. One truly notable standout is Ashley Johnson who kills with her insane vocals as the Voice of the Dragon. She has a truly remarkable voice and tells infinite stories with just her voice.

This is definitely a production to be sure to see. It is family friendly and fun, and you won’t be disappointed.

Cast

• Shrek: Russell Sunday
• Princess Fiona: Coby Kay Callahan
• Donkey: Calvin McCullough
• Lord Farquaad: Jeffrey Shankle
• Mama Bear/Voice of the Dragon/Voice of the Bird/Ensemble: Ashley Johnson
• Pinocchio/Ensemble: Shane McCauley
• Queen Lillian/Sugar Plum/Gingy/Blind Mouse/Ensemble: Heather Marie Beck
• Mama Ogre/Humpty Dumpty/Ensemble: Tierra Strickland
• Papa Ogre/Papa Bear/Bishop/Ensemble: Dean Davis
• King Harold/Big Bad Wolf/Pied Piper/Ensemble: David Jennings
• Fairy Godmother/Blind Mouse/Ensemble: Tina DeSimone
• Ugly Duckling/Blind Mouse/Ensemble: MaryKate Brouillet
• Pig #1/Ensemble: Antonio Beverly
• Pig #2/Ensemble: Nurney
• Pig #3/Thelonius/Ensemble: Matt Greenfield
• Peter Pan/Ensemble: AJ Whittenberger
• Elf/Teen Fiona/Ensemble: Amanda Kaplan
• Wicked Witch/Ensemble: Jamie Ogden
• Captain/Mad Hatter/Ensemble: Ariel Messeca
• White Rabbit/Duloc Announcer/Ensemble: Ellie Borzilleri
• Young Shrek/Dwarf: Anderson Franco or Gavin Willard
• Young Fiona/Baby Bear: Caroline Otchet or Samantha Yakaitis
• Dragon Puppeteers: Ellie Borzilleri, AJ Whittenberger, & Ariel Messeca

Orchestra

• Conductor/Keyboard 1: Douglas Lawler or Pamela Witt
• Keyboard 2: Ann Prizzi or Barry Hamilton
• Drums: Tom Harold or Jack Loercher
• Trumpet: Frank Gorecki or Tony Neenan
• Bass: Jason Wilson or Linda Cote
• Woodwinds: Steve Haaser or Charlene McDaniel

Production Staff

• Co-Directors: Kevin McAllister & Lawrence B. Munsey
• Co-Musical Directors: Douglas Lawler & Pamela Witt
• Choreographer: Shalyce Hemby
• Scenic Designer: David A. Hopkins
• Costume Designers: Lawrence B. Munsey & Janine Sunday
• Dragon Puppet: Penny Lemire
• Costume Assistants: Janine Sunday, Mary Quinn, Della Lotman, Penny Lemire
• Lighting Designer: Lynn Joslin
• Sound Designer: Drew Dedrick
• Production Manager: Vickie S. Johnson
• Production Stage Manager: Kate Wackerle
• Stage Managers: Drew Dedrick, Kate Wackerle
• Technical Director: Jimmy Engelkemier
• Master Carpenter: David A. Hopkins
• Set Construction: David A. Hopkins, Russell Sunday
• Properties & Set Dressing: Amy Kaplan
• Light Board Operators: Coleen M. Foley, Heather Williams
• Sound Board Operators: Drew Dedrick, Jimmy Engelkemier
• Stage Crew: Laura Blasi, Jason Britt, Erin MacDonald, Amber Masters

Disclaimer: Toby’s Dinner Theatre provided two complimentary media tickets to ShowBizRadio for this review.

It’s the trial of the century in Fairy Tale land, and the audience in the jury. Hear the testimonies, see the evidence, and decide for yourself in two trials. This is the simple premise in Fairy Tale Courtroom, and the result is an enjoyable romp through bad — yet somehow funny — puns, silly pop culture references, and a mash-up of Brothers Grimm classics.

First, the audience meets the District Attorney, a certain Peter Pan, played with youthful exuberance by Tim Torre. As the Emcee for the evening, he spends time prior to each case, charming the audience young and old with interactive improvisation. This time may actually be what secured him two guilty verdicts on this particular evening. Aiding in the improvisation is Hans (Julian Archer), who is able to hold his own and speak volumes — even though he is literally just a pair of hands.

From there, we move into the first trial and meet B.B. Wolf, defending himself. It is hard to understand how anyone found him guilty after such an incredibly nuanced performance by Dave Panzer. Panzer creates such complete characters that it was almost impossible to realize that he appeared again as a totally different Defense Attorney in the second trial, where he represents the Wicked Witch.

Throughout there are tons of great comedic character bits as different characters take the stand. Some of the standouts include Connor Shea, as both Pig #1 and the Scarecrow, Lizzie Detar as Dorothy, Tawney Hallock-Sweet, as The Badger and Gretel, and Danielle Liggens as The Flying Monkey. The cast also remained in costume after the show to talk with the younger audience members and were very patient in answering their questions.

The real star of the show, however, was Jordan Wyandt. The costumes and especially the make-up design was absolute professional caliber. The set was also very nice, and the special effects used in making the Magic Mirror were outstanding.

Overall, the show was well-designed, well-directed, and full of entertaining performances. The only concern was that there were a few moments in the show that were questionable for the young, target audience.

Cast

• Hans: Julian Archer
• Toto: Bear
• Sleeping Beauty: Andie Cappelletti
• Dorothy: Lizzie Detar
• Boy Who Cried Wolf, The Magic Mirror: Madeleine Favazza
• Snow White: Taylor Feiss
• Bailiff: Brian Fields
• Judge: Joshua Fletcher
• The Badger, Gretel: Tawney Hallock-Sweet
• Lil’ Red Riding Hood, The Flying Monkey: Danielle Liggens
• Pig #3, Prince Charming: Devin Metz
• The Witch: Aimee O’Neill
• Defense Attorney: Dave Panzer
• Pig #1, Scarecrow: Connor Shea
• Pig #2, Hansel: Jon Spivey
• District Attorney: Tim Torre

Production Staff

• Director: Leif McCurry
• Producer: Ben Fisler
• Stage Manager: Sarah Tweed
• Technical Director/Scenic Director: Robbie Elliot
• Assistant SM/Props Mistress: Leanna Whitley
• Lighting Designer: Ryan Johnson
• Costume Designer: Cortney Sudeck
• Makeup/Hair Designer: Jordan Wyandt
• Lightboard Operator: Joanna Adams
• Backstage Crew: Joshua Kradz

Disclaimer: The Actors Guild of Harford Community College provided two complimentary media tickets to ShowBizRadio for this review.

Miracle on 34th Street is certainly one of the great Christmas classics. In the 1960’s, Meredith Wilson created the stage musical version title Here’s Love, but it has now been retitled Miracle on 34th Street and comes beautifully to life at the hands of director Shawn Kettering. The production brings to life the holiday cheer and magic with great gusto.

The scene is beautifully set around the room with New York City skyline and shopping signs. Simple set pieces and lifelike props bring the various locations to life enhanced with a stunning light design. The costumes are full of color and beautifully transport the cast back in time.

The action begins when Kris Kringle (Robert Biederman 125) arrives on the scene at Macy’s Thanksgiving Day parade. It soon becomes clear that, as far as he is concerned, he is the actual Santa Claus. Biederman gives a jovial and believable performance as the magical man. He especially brings his magic to the life of Doris Walker (Heather Marie Beck). Beck shines in the musical number and the comedic moment, but she sometimes has a hard time bringing believable depth to the more serious side of Doris.

Providing solid performances in pivotal roles are Jeffrey Shankle, who is charming and gets to show off his powerhouse tenor voice as Fred Gaily, and Lawrence B. Munsey, who is larger than life as the powerful R.H. Macy. In the comedic role of Marvin Shellhammer, Darren McDonnell is simply delightful. Will Emory also delivers in a scene-stealing turn as Mr. Sawyer. Throughout the ensemble is powerful in vocals, sharp in choreography, and transform into a variety interesting supporting characters.

The real star of the show, in this performance, was Ella Boodin as Susan Walker. She was beyond precious, brought emotional depth and sparkle to the show, and had a lovely voice. The other children in the show are also very strong and just adorable in their featured moments throughout.

So, if you are looking for pleasant holiday fare that is truly appropriate for all ages, Toby’s has an excellent professional offering worth considering in this consistent production of Miracle on 34th Street.

Cast

• Doris Walker: Heather Marie Beck
• Susan Walker: Ella Boodin or Sadie Herman
• Fred Gaily: Jeffrey Shankle
• Kris Kringle: Robert Biederman 125
• Marvin Shellhammer: Darren McDonnell
• R. H. Macy: Lawrence B. Munsey
• Mr. Sawyer, Climber: Will Emory
• Miss Crookshank, Male Shoppers Wife: Santina Maiolatesi
• Judge Martin Group, Drunk Santa, NY Governor: David Bosley-Reynolds
• Tammany O’Halloran, Troubled Clerk, Mr. Gimbel: David James
• Thomas Mara, Sr., Balloon Vendor, Male Shopper, Mayor of NY: Shawn Kettering
• Alvin, Goldilocks, Clerk, Mailman: Nick Lehan
• Whitey, Bailiff, Policeman: David Little
• Ciara, Lady Shopper: MaryKate Brouillet
• Miss Sims, Henrika’s Mother: Lara Zinn
• Sherry Finfer: Lucy Herman or Lily Ulman
• Mrs. Finfer, Mrs. Beeler: Coby Kay Callahan
• Henrika: Caroline Otchet or Samantha Yakaitis
• Tommy Mara, Jr.: Gavin Willard or Theo Yu
• Girl Scout: Amanda Kaplan
• Swings: Tina DeSimone & A.J. Whittenberger

Production Staff

• Director: Shawn Kettering
• Musical Director: Douglas Lawler
• Choreographer: Mark Minnick
• Scenic Designer: David A. Hopkins
• Costume Designer: Lawrence B. Munsey
• Lighting Designer: Lynn Joslin
• Sound Designer: Jimmy Engelkemier
• Production Manager: Vickie S. Johnson
• Production Stage Manager: Kate Wackerle
• Stage Managers: Drew Dedrick, Kate Wackerle
• Technical Director: Jimmy Engelkemier
• Master Carpenter: David A. Hopkins
• Set Construction: David A. Hopkins, Russell Sunday, Ian Wallace
• Properties & Set Dressing: Amy Kaplan
• Light Board Operators: Coleen M. Foley, Heather Williams
• Sound Board Operators: Drew Dedrick, Jimmy Engelkemier
• Stage Crew: Laura Blasi, Jason Britt, Erin MacDonald

Orchestra

• Piano/Conductor: Douglas Lawler or Pamela Witt
• Keyboard 2: Ann Prizzi or Ed Myers
• Drums: Jack Loercher or R. Scott Robinson
• Trumpet: Tony Neenan or Frank Gorecki
• Trombone: Jay Ellis or Dan Pendley
• Woodwinds: Steve Haaser or Charlene McDaniel

Disclaimer: Toby’s Dinner Theatre provided two complimentary media tickets to ShowBizRadio for this review.

In a recent interview a local writer asked Toby Orenstein about her casting process and the fact that she seems to cast a majority of the same actors for her productions. Toby replied by saying that her performers are some of the best around, but her doors are always open for new comers, however in order to make it in the door you have to be better than the best. And that is undoubtedly clear and evident in the Columbia’s staple and longest existing dinner theatre’s production of the 1987 Tony Award winning musical Les Miserables.

Based on the iconic novel by French novelist Victor Hugo, Les Miserables, which at one point was the longest running musical on Broadway, can be described in many ways. Les Miserables is set in the background of the French revolution and tells the story of one man’s journey over almost 30 years of his life, his trials and tribulations, his pain, suffering and joy. But ultimately Les Miserables is about REDEMPTION. The relationship between God and man. The ultimate Faith that one can put in the Lord God and serve, follow and obey through life and till death. Experiencing his love, mercy and grace through all stages of one’s existence.

Artistically, technically, and creatively the production is top-notch, once again utilizing the theatre in the round space to its ultimate and fullest ability. Producing larger than life set pieces, assembling a three-tier barricade that covers the entire facility, and manipulating the light design to transform us from the darkest corners of the underground sewers to bright and vibrant streets of Paris. Toby, who skillfully, masterfully, powerfully and yet gently co-directed with Steven Fleming, stays true to the heart of the story and the passion and the strength of the score. Creating new and innovative staging that is touching, thought-provoking and artistically inspired. And the six-piece pit band under the musical direction of Christopher Youstra awakens every emotional note to its fullest potential.

Daniel Felton delivers a powerful, tormented, tender performance as Valjean, with stunning vocals and dominant and controlling presence. Felton’s “Who am I” is one of the purest moments in the production and an ultimate praise and connection to God, a complete believability of physical, spiritual and emotional growth. Janine Sunday’s Fantine is most differently up to par, delivering the legendary “I Dreamed a Dream” with pitch perfect vocals and conveying heart breaking emotions in “Come to me.” However the vulnerability that was desperately needed to complete Fantine’s full journey was slightly missing. Lacking no vulnerability is David James (Thenardier) and Theresa Cunningham (Madame Thenardier) who throw themselves completely in their respective roles with such rawness and passion that every moment of their presence on stage is beautifully prevailing. Ben Lurye (Enjolras) is perfectly cast as the leader of the revolutionary young idealists. His crisp and resonating tenor voice further strengthens the declaration of this production. Jeffrey S. Shankle (Marius) is one of the show’s strongest performances. Shankle’s range comes to full fruition in every aspect. MaryKate Brouillet’s (Eponine) is tragic and compassionate. Brouillet’s “On My Own” is refreshing and extremely honest. Brouillet’s and Shankle’s chemistry is also quite mesmerizing and emotional. Katie Heidbreder’s (Cossete) brings a glorious glimpse of purity, innocence and decency into a world of sin and immorality. Jace Franco is absolutely precious and perfectly cast as Gavroche. Franco demonstrates extremely strong maturity and vocals for such a young performer. Lawrence B. Muncey (Javert) delivers the evening’s most refined, intense, skillful and vivid performance. The tragic figures struggle with loyalty to God, man, the law and himself is skillfully accomplished by Muncey’s truthful nuances and breathtaking vocals.

Les Miserables is a show that can be easily made into a musical spectacle, losing its true identity and purpose. Luckily at Toby’s Dinner Theatre it shines its true art form and glorifies the name of God!

Photo Gallery

Jean Valjean (Daniel Felton) has just been released from prison	Jean Valjean (Daniel Felton) pays the Thenardiers to take young Cosette (Ella Boodin) to raise her in a warm and loving home
The barricade built by the student revolutionaries	Javert (Lawrence B. Munsey) – center – is exposed as a police spy. Left to Right: David Bosley-Reynolds, Nick Lehan, Lawrence B. Munsey, Will Emory, John Dellaporta, Jeffrey S. Shankle
Marius (Jeffrey S. Shankle) pleads with Eponine (MaryKate Brouillet) to leave the barricade for safety and deliver a letter to Cosette	Combeferre, a rebel student, (Tobias Young) prepares to fight the army to the end
The Thenardiers crash Marius’ and Cosette’s wedding – Thenardier (David James) and Madame Thenardier (Theresa Cunningham)

Photos provided by Toby’s Dinner Theatre

Cast

• Jean Valjean: Daniel Fulton
• Javert: Lawrence B. Munsey
• The Bishop on Digne: Andrew Horn
• Fantine: Janine Sunday
• Factory Foreman: David Bosley-Reynolds
• Little Cosette: Ella Boodin or Caroline Otchet
• Thenardier: David James
• Madame Thenardier: Theresa Cunningham
• Gavroche: Jace Franco or TJ Langston
• Eponine: MaryKate Brouillet
• Cosette: Katie Heidbreder
• Students:
  • Enjolras: Ben Lurye
  • Marius: Jeffrey S. Shankle
  • Combeferre: Tobias Young
  • Feuily: Nick Lehan
  • Courfeyrac: Ben Gibson
  • Joly: John Dellaporta
  • Grantaire: Christopher Harris
  • Jean Prouvaire: Will Emory
• Female Ensemble: Heather Marie Beck, Jane C. Boyle, Coby Kay Callahan, Dayna Marie Quincy, Lara Zinn.
• The Chain Gang, Warders, Constables, Poor, Factory Workers, Sailors, Whores, Pimps, Thenardiers’s Gang, Drinkers and Wedding Guests are played by company members.
• Swings: Tina DeSimone and Darren McDonnell
• Understudies: Jean Valjean (Greg Knauf), Javert (Will Emory), Fantine (Heather Marie Beck), Thenardier and Bishop (David Bosley-Reynolds), Madame Thenardier (Jane C. Boyle), Eponine (Dayna Marie Quincy), Cosette (Lara Zinn), Marius, Enjolras (Nick Lehan)

Orchestra

• Conductor: Christopher Youstra, Douglas Lawler or Greg Knauf
• Keyboard 2: Ann Prizzi or Pamela Wilt
• Violin: Patricia Waek or Mark Ericksen
• Trumpet: Tony Neenan, Frank Gorecki or Aaron Holmes
• Reeds: Charlene McDaniel or Steve Haaser
• Trombone: Jay Ellis or Jeff Harrigan

Production Staff

• Directors: Toby Orenstein and Steven Fleming
• Musical Director: Christopher Youstra
• Scenic Designer: David A. Hopkins
• Costume Designers: David Gregory and Shannon M. Maddox
• Lighting Designer: Lynn Joslin
• Sound Designer: Drew Dedrick
• Movement Coach: Jenny Male
• Production Manager: Vickie S. Jhonson
• Production Stage Manager: Kate Wackerle
• Stage Managers: Drew Dedrick, Kate Wackerle
• Technical Director: Jimmy Engelkemier
• Master Carpenter: David A. Hopkins
• Set Construction: David A. Hopkins, Russel Sunday, Melissa Valdivia, Ian Wallace
• Properties and Set Dressing: Amy Kaplan
• Light Board Operator: Coleen M. Foley
• Sound Board Operators: Drew Dedrick, Jimmy Engelkemier

Disclaimer: Toby’s Dinner Theatre provided two complimentary media tickets to ShowBizRadio for this review.

Twelfth Night, or What You Will, one of several Shakespeare comedies revolving around deceptive gender and mistaken identity, was originally produced in the early 1600s as part of the post-Christmas revel called, unsurprisingly, Twelfth Night.

In the hands of the Rude Mechanicals, known since 1999 for their contemporary interpretations of the Bard, the play is transported to the 1980s, where gender identity becomes an open question and the excesses of the Rich and Famous are legion.

(photo by Kevin Hollenbeck) The audience, welcomed to “tonight’s concert,” Illyria-aid, is thrust headlong into the post-psychedelic rock music world of neon and metal as Duke Orsino (Donald Cook), now a rock star, launches into his melancholy anthem “If music be the food of love, play on,” as he pines for the mourning Olivia (Lauren Beward).

This intentional diversion, courtesy of director Maureen Shanahan, takes us into the ambiguous, sometimes asexual world of rock music, where gender and sexuality are already questionable, a context not unlike Shakespeare’s theatre, where men always played women because the law kept women off the stage.

Rarely do casts who have taken on the immortal Bard have so much fun with his material. Even if the performances are sometimes uneven, the Rudes have a talent for cutting away the excess, making even the thickest text accessible to modern ears.

As a rule, directors expect their audiences to suspend disbelief, and this production is no exception. In Katie Wanschura’s hands, Feste (traditionally Olivia’s jester) becomes a Cyndi Lauperesque songwriter who just wants to have fun. She leads Olivia’s merry band of fools: Sir Toby (Joe Dziekiewicz) and Sir Andrew (Joel Lorenzetti), rowdy members of Olivia’s entourage; Maria (Erica Smith), Olivia’s mohawk-crested friend; and Fabian (Josh Engel), as they take on Malvolio (Liz Armour), Olivia’s uptight and potentially malevolent band manager for a night of not-quite-harmless alcohol-driven sport.

Into this world, Viola (Tory Talbot Virchow) enters as a survivor of a road bus accident in which she believes she has lost her twin brother and fellow rock star, Sebastian. Determined to survive, Viola assumes Sebastian’s form, though not his name, and takes on a new role (in disguise) as Cesario, Orsino’s servant. Meanwhile, Olivia (Lauren Beward as a vapid and shallow stage diva), becomes struck on Cesario as s(he) works to woo Olivia on behalf of Orsino, even as the disguised Viola dotes in private on her Duke. The decidedly not-dead Sebastian (Amy Rauch) meets Antonio (Joe Kubinski), who takes the boy under his dubious wing, not far from the festival site. It doesn’t take long for the pair to drift into the vicinity, with confusing and hilarious results.

Talbot Virchow and Rauch make an excellent match in the twins who can hardly be told apart, especially when wearing the same costume.

With an imaginative use of props (the trees become stacks of roadcases, Sir Andrew’s sword a pair of drumsticks, and his duel with the hapless Cesario a battle of voices – complete with microphones), wildly topical costumes and make-up, there’s no lack of enthusiasm in this production.

The rock festival conceit mostly works, though a little unevenly. Then again, having witnessed the difference between music video perfection and actual stage performance, there is something to be said for the less-than-perfect. Some of the most entertaining asides and biggest laughs were derived from the “concert festival” setting.

Though the events of Twelfth Night occur during a midsummer’s eve, the play contains all the conceits of an Elizabethan Twelfth Night‘s revels, including role reversals and upside down events, together with the Rudes’ definitely offbeat stamp.

In all, an amusing evening, and generally decent entertainment for kids ages 8 and up.

Director’s Notes

At the core of Twelfth Night is the idea that music is the pathway to our souls. The play itself is peppered with songs (not to mention the ones we threw in for fun), and when thinking about how to make Twelfth Night relateable [sic] to a modern audience, a music festival seemed like the natural choice to make.

Most of the characters of Twelfth Night are motivated through their societal status and, in present-day United States, societal status is not usually something that will prevent marriage. However, when taken in context of the play when it was written, the lifting of Orsino’s obsession with Olivia when Viola reveals her identity makes more sense; he’s still marrying an equal. So, combined with Twelfth Night‘s musical heart-beat, it made sense to make them all stars in the music industry. Rock stars dating other rock stars is common, but dating assistants is fuel for scorn.

After that, the rest of the characters fell into place. Good Samaritans became Obsessive Fans, Ship Captains who carry news from port to port became Groupies, members of the court became Members of the Band, the Fool/Wordsmith became the Songwriter and the Steward becomes the Band Manager. I believe this setting helps to translate to a modern audience where the power lies and why the relationships grow they way they do in the original text.

The last thing to address is the choice to cast the traditionally male role of Malvolio as a woman. The 1980s were a tumultuous time for the homosexual community, where homosexual orientation was still viewed by many as a mental illness and, with the discovery and rise of AIDS, became a topic that was focused on publicly for the first time. I saw a connection between the class-based disdain for Malvolio in the play, and the discomfort people showed for alternative sexualities even 30 years ago, and wanted to see where the context of the play would lead us with casting in that direction.

Synopsis

At the Illyrian Music Festival, Orsino is heartsick for Olivia, who is in mourning and refuses to see anybody. Orsino sings broken-hearted love songs, assisted by his backup singer/dancer Curio.

The tour bus carrying Viola and Sebastian, a twin brother-sister act, crashes. Viola survives, and in her grief at the loss of her brother disguises herself as a boy named Cesario. She joins Orsino as a servant, but finds herself attracted to him.

Orsino sends her to woo Olivia in his stead, who finds herself more attracted to the boy than to the man. She turns Viola away, but then sends her uptight band manager Malvolio after “him” with a ring. The love triangle is complete: Orsino loves Olivia, who loves Viola/Cesario, who loves Orsino.

Olivia’s group is a rowdy bunch: her uncle and hanger-on Toby Belch, her drummer Andrew Aguecheek, her friend Maria, and the songwriter Feste, who party all night and sleep all day. The uptight Malvolio chews them out.

They devise a plot against Malvolio: they forge a love letter from Olivia to Malvolio and leave it where it can be found. The forgery claims Olivia wants to see Malvolio dress up silly, and when she does so, Oliva rebuffs her. She thinks Malvolio’s odd behavior is a sign of impending insanity. Malvolio is locked up, and further tormented by Feste and Toby.

Meanwhile Viola’s brother Sebastian has survived the crash, unknown to Viola. He wanders toward the festival. He is followed by his friend Antonio, who must take care as he has previously fought with Orsino.

Andrew is also in love with Olivia, and Toby pranks both him and Viola. He tells each the other wants to fight. Reluctantly, they do. It’s interrupted by Antonio, who mistakes Viola for Sebastian, and Antonio is hauled away.

They then meet the real Sebastian. They are perplexed, but figuring him to be a pushover, they challenge him (again, they think). They are promptly bested, and run away.

Sebastian encounters Olivia, who mistakes him for Cesario. Sebastian is surprised by the sudden attention and affection, but is swiftly wooed, and run off to a priest to be married.

Olivia and Orsino finally meet, and the plots unravel. Olivia, believing Viola is Sebastian, calls her “husband”. Andrew and Toby, also believing Viola to be Sebastian, accuse her of beating them up. Feste brings a letter from Malvolio to Olivia, which is angry but clearly sane. Malvolio shows the letter that she received, and Olivia recognizes that the hand is not her own. The plots are confessed, confusions are cleared up, and everybody lives happily ever after.

Cast

• Antonio: Joe Kubinski
• Curio/Valentine: Marcia Litt
• Fabian/Roadie #1: Josh Engel
• Feste: Katie Wanschura
• Maria: Erica Smith
• Malvolio: Liz Armour
• Olivia: Lauren Beward
• Orsino: Don Cook
• Priest/Groupie: Moira Parham
• Roadie #2/Security: Elise Berg/Maureen Shanahan
• Sea Captain/Groupie: Kevin Hollenbeck
• Sebastian: Amy Rauch
• Sir Andrew: Joel Lorenzetti
• Sir Toby: Joe Dzikiewicz
• Viola (aka Cesario): Tory Talbot Virchow

Production Staff

• ASM: Liana Olear
• Asst. Director: Sean Eustis
• Asst. Producer: Rebecca Hranj
• Box Office: Caitlin Williams
• Director: Maureen Shanahan
• Lights: Irene Sitoski
• Make-Up Design: Irene Sitoski
• Music Director: Katie Wanschura
• Set Design: Mel Bratz
• Stage Manager: Nell Codner-Jarashow
• Paint Charge: Adrienne Gammons
• Photography: Rebecca Hranj/Kevin Hollenbeck
• Producer: Josh Engel
• Props: Moira Parham
• Publicity: Rebecca Hranj
• Sets and Paint: Alan and Steven Duda, Moira Parham, Adrienne Gammons, Don
• Cook, Sean Eustis, Josh Engel, Elise Berg, Nell Codner-Jarashow, Maureen
• Shanahan, Katie Wanschura, Joel Lorenzetti, Amy Davis
• Costumes: The Cast and production staff
• Lights: Irene Sitoski, Josh Engel, Sean Eustis
• Sound: Katie Wanschura, Rob Perkins, Sean Eustis, Don Cook
• Props: Moira Parham, the cast, and production staff

Disclaimer: Rude Mechanicals provided two complimentary media tickets to ShowBizRadio for this review.

In the Heights is a smart show. It has modern music that sizzles with an infusion of Broadway and hip-hop, while it keeps true to everything that is the core of traditional musical theatre: family, community, romance, and happy endings. Toby’s Dinner Theatre brings together a strong cast and excellent technical elements to breathe life into this tight-knit community on one corner in Washington Heights.

Usnavi (David Gregory) owns a Bodega on the corner that was started by his parents before they passed away. Usnavi is the likeable hero with a warm heart and a gift for rhyme and is brought to life with passion and natural charisma by Gregory. Usnavi pines after Vanessa (Nadia Harika), who longs to escape Washington Heights and the trials of dealing with her alcoholic mother. Harika brilliantly shows glimpses of the sad girl beneath Vanessa’s tough and defensive exterior.

Usnavi’s friend, Benny (Marquise White) is also pining over a girl of his own. White is beyond outstanding as the sweet guy with the soulful voice who is bursting with big dreams. His performance is layered with delightful nuances. The object of his affection is Nina (Alyssa V. Gomez), the first to get out and go to college. She is now returning to tell everyone that she dropped out. Gomez brings great heart and powerful vocals to Nina’s journey throughout the show. Her parents, and Benny’s bosses, Kevin (David Bosley-Reynolds) and Camila (Tina Marie DeSimone) are believable and likeable with a few standout moments between them. The only small change warranted for Bosley-Reynolds would be to simply not use an accent if he cannot master a believable Puerto Rican accent.

At the heart of the community is Abuela Claudia. There is no one better for this role than the incomparable Crystal Freeman, who is pure heart embodied in the best voice around. Her “Paciencia y Fe” once again redefines the standard for theatrical ballads everywhere. Another stellar performance comes from Ryan Alvardo as Sonny. His comedic timing and delivery is impeccable. Another awesome vocal comes from Tobias Young as the Piragua Guy. Also fantastic is Santina Maiolatesi as Daniela. She creates a complete character and has an amazing voice.

The entire show is filled with impressive and exciting choreography. The costumes are colorful and character appropriate. The set is simple and still detailed down to the gum on the lamp posts. The lighting is excellent with several truly effective moments of switching the mood in one cue. With all the careful attention to detail and dynamite performances, In the Heights is a must-see.

Photo Gallery

Benny (Marquise White), Sonny (Ryan Alvarado), Usnavi (David Gregory)	Abuela Claudia (Crystal Freeman), Usnavi (David Gregory)
Camila (Tina Marie De Simone), Kevin (David Bosley-Reynolds), Nina (Alyssa V. Gomez)	Nina (Alyssa V. Gomez), Usnavi (David Gregory)
Camila (Tina DeSimone), Nina (Alyssa V. Gomez)

Photos by Kirstine Christiansen

Cast

• Graffiti Pete: Calvin McCullough
• Usnavi: David Gregory
• Piragua Guy: Tobias Young
• Abuela Caludia: Crystal Freeman
• Carla: Olivia Ashley Reed
• Daniela: Santina Maiolatesi
• Kevin: David Bosley-Reynolds
• Camila: Tina Marie DeSimone
• Sonny: Ryan Alvarado
• Benny: Marquise White
• Vanessa: Nadia Harika
• Nina: Alyssa V. Gomez
• Ensemble: Mili Diaz, Scean Flowers, Javi Harnly, Rachel Kemp, Erin McNerny, Jason Phillips, Moses Rodrigues, Ada Satterfield, Danny Tippett, Melissa Victor
• Swings: Ian Brown-Gorrell & Amanda Kaplan
• Understudies: Usnavi (Calvin McCullough), Nina (Mili Diaz), Benny (Jason Phillips), Vanessa (Ada Satterfield), Sonny (Moses Rodrigues), Daniela, Claudia, Abuela Claudia (Janine Sunday), Kevin (Lawrence B. Munsey), Carla (Melissa Victor), Graffiti Pete (Scean Flowers)

Production Staff

• Co-Directors/Choreographers: Toby Orenstein and Lawrence B. Munsey
• Musical Director: Cedric D. Lyles
• Choreographer: Christen Svingos
• Scenic Designer: David A. Hopkins
• Graffiti Pete Artwork: Peter Fox, David Castro
• Costume Designer: Lawrence B. Munsey
• Lighting Designer: Lynn Joslin
• Sound Designer: Drew Dedrick
• Production Manager: Vickie S. Johnson
• Production Stage Manager: Kate Wackerle
• Stage Managers: Drew Dedrick, Kate Wackerle
• Technical Director: Jimmy Engelkemier
• Dance Captain: Rachel Kemp
• Master Carpenter: David A. Hopkins
• Set Construction: David A. Hopkins, Russell Sunday, Ian Wallace
• Properties & Set Dressing: Amy Kaplan
• Light Board Operators: Coleen M. Foley, Erin MacDonald
• Sound Board Operators: Drew Dedrick, Jimmy Engelkemier
• Stage Crew: Laura Blasi, Jason Britt, Cody Cooley, Erin MacDonald

Orchestra

• Conductor: Cedric D. Lyles, Douglas Lawler, or Jonathan Tuzman
• Keyboard 2: Pamela Witt, Ann Prizzi, Ed Myers, Barry Hamilton, or Nate Scavilla
• Drums: Matt Lampart, Tarek Mohamed, Evander McLean, N. Scott Robinson, Tom Harold, or Jack Loercher
• Latin Percussionist: Orlando Cotto
• Electric Bass: Michael Kellam, Jason Wilson, Dave Frieman, Linda Cote, or Zach Branch
• Trumpet: Tony Neenan, Frank Gorecki, Chris Hutton, S. Craig Taylor, or Garrett Faccone

Disclaimer: Toby’s Dinner Theatre provided two complimentary media tickets to ShowBizRadio for this review.

“Without our traditions, our lives would be as shaky as a Fiddler on the Roof,” Tevye explains about his Jewish community in Anatevka, a fictional town that is experiencing the effects of the very real anti-Jewish pogroms during the latter part of the reign of Tzar Nicholas II. The world is changing fast around the people in the town, and we see this struggle played out through the eyes of Tevye the Milkman, as his three oldest daughters all make decisions that go against the normal course of tradition.

Toby’s production messes a little bit too much with the tradition that is Fiddler on the Roof in some places and has a few serious flaws, but, really, this is a show that is so focused around the character of Tevye that he is the only performer who can really make or break the production. In this particular case, David Bosley-Reynolds is so exceptionally loveable that nothing else really matters. His Tevye is heartfelt and larger-than-life. This performance rests entirely on his shoulders, and it is impressive how he holds it up at all times.

The production value is also top-notch. The lighting, set, and sound are flawless. Every once in a while, there is a costume piece that seems slightly off with the time period and geographic location, but overall the costumes are well-done and appropriate. The orchestra sounds amazing. The ensemble is a vocal force to be reckoned with, and there is nary a bad step in the delivery of excellent choreography. The bottle dance at the wedding is especially well-conceived and well-delivered.

It is the supporting cast that is a little uneven, and there are a few questionable casting choices. As Golde, Jane C. Boyle’s performance is solid, but it is not quite to the level of Bosley-Reynold’s Tevye. Their “Do You Love Me?” is touching, but, in many scenes, she is forgettable beside his tour-de-force performance.

The most problematic performances are Tina Marie DeSimone’s Tzeitel and David James’ Motel. It is hard to get over that they are both substantially older than two young people just beginning their lives, especially since the roles are traditionally played by a pair that is much younger. What makes it even harder is that both performers seem to be wildly over-acting in order to give the illusion of being much younger, and it unfortunately is mostly unsuccessful. They are both evidently strong performers in other ways, but they are ill-suited to these particular roles.

Debra Buonaccorsi (Hodel) is significantly better at making herself come across younger and holds up well in her role. Opposite her as Perchik, Shawn Kettering is a little intense at times, but overall it works as a contrast between his character and the others.

The strongest supporting performance comes from Katie Heidbreder, not only as Chava, but especially in her scene-stealing moment as Grandma Tzeitel. Heather Marie Beck’s Fruma-Sarah is also strong, making “The Tailor, Motel Kamzoil (The Dream)” an overall very enjoyable sequence.

As Tevye experiences, it can be hard to deal when things break with tradition. This was hard to swallow with some of the untraditional casting in the show, but, overall the exceptional quality of the production and the strong, enjoyable performance of David Bosley-Reynolds make it an overall successful production.

Photo Gallery

Photos by Kirstine Christiansen

Cast

• Tevye: David Bosley-Reynolds
• Golde: Jane C. Boyle
• Tzeitel: Tina Marie DeSimone
• Hodel: Debra Buonaccorsi
• Chava: Katie Heidbreder
• Shprintze: Arielle Gordon
• Bielke: Amanda Kaplan
• Yente: Susan Porter
• Motel: David James
• Perchick: Shawn Kettering
• Lazar Wolf: Andrew Horn
• Mordcha: Robert John Biederman 125
• Rabbi: Alan Hoffman
• Mendel: Matthew Greenfield
• Avram: Chad Wheeler
• Nachum: Will Emory
• Grandma Tzeitel: Katie Heidbreder
• Fruma-Sarah: Heather Marie Beck
• Constable: Lawrence B. Munsey
• Fyedka: Jeffrey Shankle
• Shaindel: Victoria Winter
• Ruth: Heather Marie Beck
• Leah: Melynda Burdette
• Sasha: Ian Brown-Gorrell
• The Fiddler: Ray Hatch
• Understudies: Tevye (Alan Hoffman), Golde (Melynda Burdette), Tzeitel, Fruma Sarah (Coby Kay Callahan), Yente (Victoria Winter), Lazar Wolf (Robert John Biederman 125), Hodel (Katie Heidbreder), Grandma, Chava (Arielle Gordon), Motel, Sasha (Will Emory), Perchik (Matt Greenfield), Mordcha, Rabbi, The Fiddler (Chad Wheeler), Mendel, Fyedka (Ian Brown-Gorrell)
• Swings: Coby Kay Callahan, Adalia Jimenez

Production Staff

• Co-Directors/Choreographers: Tina DeSimone and David James
• Musical Director: Douglas Lawler
• Scenic Designer: David A. Hopkins
• Costume Designer: Celia Blitzer
• Lighting Designer: Coleen M. Foley
• Sound Designer: Drew Dedrick
• Production Manager: Vickie S. Johnson
• Production Stage Manager: Kate Wackerle
• Stage Managers: Drew Dedrick, Kate Wackerle
• Technical Director: Jimmy Engelkemier
• Master Carpenter: David A. Hopkins
• Set Construction: David A. Hopkins, Russell Sunday, Ian Wallace
• Properties & Set Dressing: Amy Kaplan
• Light Board Operators: Coleen M. Foley, Erin MacDonald
• Sound Board Operators: Drew Dedrick, Jimmy Engelkemier
• Stage Crew: Laura Blasi, Jason Britt, Erin MacDonald

Orchestra

• Piano/Conductor: Douglas Lawler or Ross Scott Rawlings
• Keyboard 2: Anne Prizzi, Ed Meyers, or Pamela Wilt
• Trumpet: Tony Neenan or Frank Gorecki III
• Clarinet: Steve Haaser or Charlene McDaniel
• Percussion: Aaron Holmes, Jack Loercher, or N. Scott Robinson

Disclaimer: Toby’s Dinner Theatre provided two complimentary media tickets to ShowBizRadio for this review.

High energy, strong vocals and lots of memories were stirred up during Toby Dinner Theatre’s Sunday afternoon production of Hot Nostalgia II in Columbia, Maryland. The ten high-stepping performers sang and danced to the hits from the 30’s and 40’s such as “Minnie the Moocher” and “Boogie Woogie Bugle Boy.” The 50’s brought in Rock and Roll and the cast donned poodle skirts and swooned to the songs of Elvis Presley, the Supremes, and more. The audience (of which we were on the younger side) appeared to enjoy act one, including a spontaneous round of applause when the video monitors showed the headline “Japan Surrenders.” Video clips were shown to introduce each decade.

Act Two opened with just as much enthusiasm. The older crowd was not as excited, but the younger audience members recognized most of the songs from the 60’s and 70’s. We enjoyed covers from the Beach Boys, The Beatles. The Drifters, and a memorable Sonny and Cher. Then with the advent of Vietnam, the tone of songs began to change. The late 60’s brought songs about love, not war, the woman’s movement, songs about the need for peace and joy to the World. The singers and dancers evolved from do woppin’ and gaiety to a realization that life isn’t always peaches and cream. There was sorrow, death, and unhappiness.

Throughout the afternoon all ten actors kept the energy up as they glided, shimmied, shook, and slid across the dance floor. Costume Designer Mary Quinn used costumes that were colorful when necessary for both the men and women and period appropriate throughout the performance. The ladies’ hairdos got higher and higher as the sixties got later and later!

A few sound problems were really the only deterrent to the fun afternoon. Somehow the sound mix did not always mix well and this occasionally caused the group numbers to sound muddy over the soloist. Yet at other times the singers all blended perfectly so it was uneven. Light Designer Coleen M. Foley’s use of color through strobe lights, a disco ball, valentines and other creations set the tone for many of the songs. The orchestra under the direction of Ross Scott Rawlings kept the beat going and the rhythm on track.

Hot Nostalgia II ran a little over two hours with one intermission. It was an energetic look back at the great music from the 30’s to the 70’s.

Photo Gallery

David James and Janine Sunday	Shawn Kettering
David James	David James
Shawn Kettering	Tina DeSimone

Photos provided by Toby’s Dinner Theatre

Cast

• Heather Marie Beck
• Debra Buonaccorsi
• Tina DeSimone
• Prince Havely
• David James
• Shawn Kettering
• David Little
• Ashley Parker
• Jeffrey Shankle
• Janine Sunday
• Swings: Mary Kate Brouillet & Lawrence B. Munsey

Orchestra

• Piano/Conductors: Ross Scott Rawlings
• Trumpet: Tony Neenan, Frank Gorecki or Craig Taylor
• Reeds: Steve Haaser or Charlene McDaniel
• Bass: Linda Cote or Frank Higgins
• Percussion: Aaron Holmes or Jack Loercher

Production Staff

• Director/Choreographer: Lawrence B. Munsey
• Musical Director: Ross Scott Rawlings
• Scenic Design: David Hopkins
• Costume Design: Mary Quinn
• Lighting Design: Coleen M. Foley
• Sound Design: Drew Dedrick
• Production Manager: Vickie S. Johnson
• Production Stage Manager: Kate Wackerie
• Stage Managers: Drew Dedrick, Kate Wackerie
• Technical Director: Jimmy Engelkemier
• Master Carpenter: David A. Hopkins
• Set Construction: David A. Hopkins, Dan Sexton, Russell Sunday, Ian Wallace
• Properties & Set Dressing: Amy Kaplan
• Light Board operators: Coleen M. Foley, Ethan Knister
• Sound operators: Drew Dedrick, Jimmy Engelkemier
• Stage Crew: Laura Blasi, Jason Britt, Erin McDonald

Disclaimer: Toby’s Dinner Theatre provided two complimentary media tickets to ShowBizRadio for this review. SBR provided advertising on the ShowBizRadio web site to Toby’s.

In The Color Purple, Toby’s Dinner of Theatre of Columbia takes you back to rural Georgia not long after the beginning of the 20th Century. There we find an African-American community that is barely a generation outside of slavery and all the trials and tribulations that haunt the members that they seek to define themselves as independent individuals. Even beyond the off-stage racial conflict, there is a distinct conflict among themselves and especially as men and women work to define gender roles. Through it all, there is hope and a sense of what will eventually come to be. There is family; there is love. There are glimmers of and an ultimate promise of the deliverance of this community and the fruition of their hard work and dreams. We see the heart and the bonds, of choice not obligation, that ultimately makes the African-American community strong.

At the center of everything is Celie (Dayna Quincy). Celie journeys from a young girl to an old woman. She progresses from a damaged child abused by her stepfather to a beaten woman silenced by her husband to an independent, creative force who makes her own future. Quincy is absolute gem as Celie. Between her amazing performance and excellent costumes and make-up, she is believable at every age and stage in her life. Quincy has real heart that breaks down the audience and real fire that lifts them up.

Everything that Celie does, she does for her younger sister, Nettie, played with an innocent air of grace by Jessica Coleman. Coleman performs with perseverance even as her microphone was having issues during one of her biggest moments. Celie is separated from her sister by her controlling and abusive husband, Mister (Mark Anthony Hall). Hall is deliciously evil as a villain and then makes a remarkable transformation that makes you want to forgive him for all his sins.

Quite an opposite couple are the amiable Harpo (David Little) and the larger-than-life Sofia (Theresa Cunningham). Little sizzles in “Brown Betty” and gets to show off his sultry lower register and slick dance moves. Cunningham is dynamite. Her comedic timing and delivery is spot-on, and she breaks your heart during her rough times.

Then, there is the woman who walks in and changes everything: Shug (Shayla Simmons). Simmons may very well be the classiest woman to ever step foot on a stage. Everything about her is polished, charming, and high-class. She just exudes elegance, and it is no wonder that she has the rest of the characters awestruck.

The supporting cast and ensemble are equally strong. Ray Hatch stands out as Ol’ Mister in a serious scene that reveals a lot of Mister’s backstory. Darlene (Crystal Freeman), Doris (Tierra Strickland), and Jarene (Kelli Blackwell) provide humorous gossipy, church-lady commentary throughout in the form of an almost recitative fugue. Their little interjections are highly complex musically and yet they make it seem spontaneous at the same time as polished.

The Color Purple is a first-class production. Everything about it is done with professionalism and style. There is an intense precision and planning throughout that translates into something subtle and beautiful. Fans of the book and/or movie will not be disappointed with this new reimagining of an old classic.

Cast

• Young Celie/Celie: Dayna Quincy
• Young Nettie/Nettie: Jessica Coleman
• Church Soloist: Melissa Victor
• Darlene: Crystal Freeman
• Doris: Tierra Strickland
• Jarene: Kelli Blackwell
• Pa: Devron Young
• Preacher/Buster/Chief: Tobias Young
• Mister: Mark Anthony Hall
• Harpo: David Little
• Sofia: Theresa Cunningham
• Squeak: Ashley Johnson
• Shug: Shayla Simmons
• Ol’ Mister: Ray Hatch
• Young Adam: Antonio Beverly
• Young Olivia: Olivia Ashley Reed
• Bobby: Sayne-Khayri Lewis
• Guard: Anwar Thomas
• Grady: David Gregory
• Ensemble: Antonio Beverly, David Gregory, Sayne-Khayri Lewis, Nurney Mason, Samantha McEwen, Olivia Ashley Reed, Patricia Targete, Anwar Thomas
• Understudies: Melissa Victor (Celie/Squeak), Shayla Maddox (Shug/Darlene), David Gregory (Mister/Harpo/Pa), Tierra Strickland (Sofia), Ashley Olivia Reed (Nettie), Devron Young (Preacher/Ol’ Mister), Ashley Johnson (Church Soloist), Samantha McEwen (Jarene/Doris), Sola Fadiran (Swing)

Production Staff

• Directors: Toby Orenstein, Lawrence B. Munsey
• Musical Director: Christopher Youstra
• Choreographer: Anwar Thomas
• Scenic Designer: David A. Hopkins
• Costume Designer: Lawrence B. Munsey
• Lighting Designer: Lynn Joslin
• Sound Designer: Drew Dedrick
• Production Manager: Vickie S. Johnson
• Production Stage Manager: Kate Wackerle
• Stage Managers: Drew Dedrick, Kate Wacherle
• Technical Director: Jimmy Engelkemier
• Master Carpenter: David A. Hopkins
• Set Construction: Corey Brown, David A. Hopkins, Sarah Splaine, Russell Sunday
• Properties & Set Dressing: Amy Kaplan
• Light Board Operators: Coleen M. Foley, Erin MacDonald
• Sound Operators: Drew Dedrick, Jimmy Engelkemier
• Stage Crew: Laura Blasi, Jason Britt, Erin MacDonald

Orchestra

• Conductor/Piano: Christopher Youstra or Douglas Lawler
• Keyboard 2: Anne Prizzi or Pam Wilt
• Flute, Clarinet, Alto Sax: Charlene McDaniels or Steven Haaser
• Trumpet: Tony Neenan, S Craig Taylor, or Frank Gorecki
• Guitar: Kim Spath, Greg Land, or Will Brumbach
• Percussion: Aaron Holmes or Jack Loercher

Disclaimer: Toby’s Dinner Theatre provided two complimentary media tickets to ShowBizRadio for this review.

“Omigod You Guys!” Elle Woods is at Toby’s in Columbia right now, and you do not want to miss it! This awesome new musical version of Legally Blonde is finally debuting on the local stage, and this is one of the first places that you can see this amazing show. Toby’s does serious justice to the amazing script and score by bringing together a top-notch cast with professional costumes and sets.

The story begins with Elle’s sorority sisters, led by Serena (Mary Kate Brouillet), Margot (Julia Lancione), and Pilar (Mary Searcy). The ladies, who will also appear as a “Greek chorus” throughout the show set the stage with high energy and powerful voices. Brouillet makes an especially strong showing in her role and really stands out with her acting and vocals. The girls are excited, because Elle (Jessica Lauren Ball) is about to get engaged. We then get to meet Elle, and Ball is everything that you could want in the role. From her first entrance, she is completely entrancing, and she only gets better as the show progresses. She has spot-on, beautiful vocals, a warm, realistic likeability, and endless energy and pep that never goes overboard to become annoying.

Unfortunately, her heart is quickly broken, when Warner (Austin VanDyke Colby) makes it clear that it is time to get “Serious,” which means he needs to find a Jackie to replace his Marilyn. Colby is excellent in the role, and actually finds a way to make the self-absorbed character almost likeable. In order to win back his heart, Elle decides that she too will get serious and follow Warner to Harvard Law.

At Harvard, Elle finds strong allies in Paulette (Priscilla Cuellar) and Emmett (Jeffrey Shankle). Cuellar is complete dynamic with fantastic comedic timing and unbelievably phenomenal vocals. Shankle is warm, likeable, and really shines in his role. Elle also encounters adversaries in the form of Warner’s new girlfriend, Vivienne (Beth Rayca) and the hard to please, proud to be a shark Professor Callahan (Lawrence B. Munsey). Rayca is a definite highlight in the show with an excellent portrayal of the snarky Vivienne, and it is especially delightful towards the end of the show when you finally get to hear her beautiful voice. Munsey, unfortunately, is the one low point in the show. He performs, rather than embodying a character. His “Blood in the Water” is campy rather than full of meat and snakelike charm. His delivery is stunted and he misses the nuances of this villain. It is an unfortunate, unbelievable performance in an otherwise letter-perfect production.

The client ultimately defended by Callahan, Emmett, Elle, Warner, Vivienne, and another student is Brooke Wyndham (Heather Marie Beck). Beck showing amazing physical stamina while jump-roping and singing her way through “Whipped into Shape.” Also standing out in featured roles are Adam Grabau and Moses Rodrigues. Both men take a few different character parts and really shine. Grabau is hilarious as Kyle. Rodrigues does an amazing job with his vocals as Grandmaster Chad, and then shows off his comedic acting chops as Carlos. Overall, the ensemble is strong and makes every moment count.

The choreography is mind-blowing. The costumes and set are perfect. The sound was fairly good with just a few balance kinks to work out. The lighting design is excellent; however, there were a few transition issues that left a few moments in the dark. However, these tiny technical flaws can easily be worked out as the show moves further in its run.

Overall, there is every possible reason to hurry and see this amazing production. Legally Blonde should be at the top of anyone’s list of shows to see this summer, and Toby’s of Columbia is the place to see it!

Cast

• Elle Woods: Jessica Lauren Ball
• Emmett Forrest: Jeffrey Shankle
• Serena: Mary Kate Brouillet
• Margot: Julia Lanclone
• Pilar: Mary Searcy
• Warner: Austin VanDyke Colby
• Vivienne: Beth Rayca
• Professor Callahan: Lawrence B. Munsey
• Paulette: Priscilla Cuellar
• Brooke Wyndham: Heather Marie Beck
• Enid/Ensemble: Jennie Lutz
• Padaman/Nikos/Ensemble: David Gregory
• Pilot/Aaron/Ensemble: Danny Tippett
• Kate/Chutney/Ensemble: Katie Heidbreder
• Winthrop/Kyle/Dewey/Guard/Ensemble: Adam Grabau
• Mom/Courtney/Whitney/DA/Ensemble: Maura Hogan
• Dad/Lowell/Guard/Ensemble: David James
• Grandmaster Chad/Carlos/Ensemble: Moses Rodrigues
• Kiki/Ensemble: Neil Rushnock
• Judge/Ensemble: Patricia Targete
• Cop/Ensemble: Jordan Andre

Understudies

• Julia Lancione (Elle Woods)
• Danny Tippet (Emmett)
• Maura Hogan (Brooke, Serena, Margo, Kate)
• Patricia Targett (Pilar, Enid)
• Jordan Andre (Warner, Kyle)
• Janine Sunday (Vivienne, Paulette)
• Tom French (Professor Callahan, Kyle)
• Neil Rushnock (Padaman, Carlos, Nikos)
• Jay Gerrick (Male Swing)
• Janine Sunday (Female Swing)

Orchestra

• Conductor/Keyboards: Ross Scott Rawlings, Douglas Lawler, or Greg Knauf
• Trumpet: Tony Neenan, Frank Gorecki, or Craig Taylor
• Trombone: Jay Ellis, Griz Grifford, or Dan Pendley
• Guitar: Greg Land, Will Brumbach, Gordan Greene, or Kim Spath
• Bass: Linda Cote, Adrian Cox, or Frank Higgins
• Percussion: Aaron Holmes, Jack Loercher, or Scott Robinson

Production Staff

• Director/Choreographer: Mark Minnick
• Musical Director/Orchestration/Arrangements: Ross Scott Rawlings
• Scenic Designer: David A. Hopkins
• Costume Designer: Lawrence B. Munsey
• Lighting Designer: Coleen Foley
• Sound Designer: Drew Dedrick
• Production Manager: Vickie S. Johnson
• Production Stage Manager: Kate Wackerie
• Dance Captain/Jump Rope Consultant: David Gregory
• Stage Managers: Drew Dedrick, Kate Wackerie
• Technical Director: Jimmy Engelkemier
• Master Carpenter: David A. Hopkins
• Set Construction: Corey Brown, David A. Hopkins,
• Sarah Splaine, Russell Sunday
• Properties & Set Dressing: Amy Kaplan
• Light Board Operators: Coleen M. Foley, Erin MacDonald
• Sound Operators: Drew Dedrick, Jimmy Engelkemier
• Stage Crew: Laura Blasi, Jason Britt, Cody Cooley, Erin MacDonald, Amy Sonntag

Theatre Staff

• Artistic Director: Toby Orenstein
• Associate Artistic Directors: David A. Hopkins, Lawrence B. Munsey
• General Manager: Joel Friedman
• Assistant Manager: Patrick Albright
• Form Manager: Steve Lewis
• Chef/Kitchen Manager: Chuck Cofield
• Chef/Assistant Kitchen Manager: Anthony Beachum
• Director of Group Sales/Tour and Travel: Cheryl Clemens
• Group Sales Coordinator: Breena Hemron
• Group Sales Hosting Staff: Bob Ciborowski, Bonnie Ciborowski
• Marsha Raymond, Michele Sanders
• Director of Marketing: Nancy Michel
• Box Office Staff: Ellen Blasi, Lisa Brooks, Mary Dempsey, Katie Flaco, Lynae Harris, Estele King, Bethany Kohner, Marie Moineau, Maureen Rogers, Ben Sechrest, Ashley Taylor
• Bookkeeper: Bayna Castner
• Youth Theatre Administrator: Janine Sunday
• Theatre Photographer/Website Designer: Kirstine Christiansen
• Bar Manager: Shawn Kettering
• Maintenance Engineers: Stephen B. Harris, Mike Monahan

Disclaimer: Toby’s Dinner Theatre provided two complimentary media tickets to ShowBizRadio for this review.