The story of the land of Oz has not only endured, it has thrived in a variety of formats and incarnations. The Wiz is one of those many successful incarnations, and it continues to endure in Toby’s current production. With top-notch technical elements and a powerhouse cast, this is a production that delights and enthralls.

The set is beautiful and brings to life the vibrant colors of this urban-themed Oz. The costumes are stunning and work to create a variety of unique characters. The lighting design is excellent and adds to every scene. The choreography is stellar and brings life to every musical number. The lighting and choreography work in tandem to create many fabulous scenes, most notably “Emerald City Ballet (Pssst).”

The cast starts blowing away audience expectations from the first number of “The Feeling We Once Had” with rich and soulful vocals from Aunt Em (Jesaira Glover). It almost seems that every cast member who appears tops the one before, right through to the end when Glinda (Crystal Freeman) soars in “A Rested Body is a Rested Mind” and the reprise of “Believe in Yourself.” It is truly possible that no one in the world sings as well as Freeman.

Carrying the performance throughout is an awesome quartet of leading performers. As Dorothy, Ashley Johnson just keeps getting better with every number. She has great innocence and likeability throughout and then brings it “Home” with a mature, nuanced vocal performance. As Scarecrow, Bryan Daniels is just the right mix of loveable and silly. He manages to keep a lot of over-the-top antics right beneath the line of too much. As Lion, Tobias Young is a fierce feline even as he humorously cowers in fear at everything.

The real “heart” of the production is Tinman. Marquise White is on fire with his jazzy, playful “Slide Some Oil To Me” and still manages to top that performance with the depth of emotion and vocal tone that he brings to “To Be Able To Feel.” His entire performance takes the material to new depth of spirit.

Jonathan Randle’s The Wiz is another excellent performance that just grows as it progresses, and he shatters the stage with his rousing and robust “Ya’ll Got It!.” Kelli Blackwell brings sultry diva to the role Evilene, despite getting a little winded during her number.

The principals are surrounded by a strong ensemble who take on a variety of roles throughout with zest and polished precision. So, there are no excuses to not “Ease On Down the Road” to Toby’s Baltimore location and check out this rocking production.

Cast

• Aunt Em: Jesaira Glover
• Dorothy: Ashley Johnson
• Uncle Henry: Jonathan Randle
• Tornado: Antonio Beverly, Bryan Daniels, Scean A. Flowers, Marcus Isaiah, Ana King, Ashleigh King, Parris Lacey, Nurney, Patricia Targete, Melissa Victor
• Munchkins: Scean A. Flowers, Jesaira Glover, Marcus Isaiah, Nurney, Tierra Strickland, Patricia Target, Melissa Victor
• Addaperle: Shayla Lowe
• Yellow Brick Road: Antonio Beverly, Ana King, Parris Lacey
• Scarecrow: Bryan Daniels
• Crows: Marcus Isaiah, Ashleigh King, Nurney
• Tinman: Maquise White
• Lion: Tobias Young
• Kalidahs: Kelli Blackwell, Scean A. Flowers, Marcus Isaiah, Tierra Strickland, Patricia Target, Melissa Victor
• Poppies: Crystal Freeman, Jesaira Glover, Ana King, Ashleigh King, Shayla Lowe, Patricia Target
• Field Mice: Antonio Beverly, Tierra Strickland, Melissa Victor
• Gatekeeper: Ashleigh King
• Emerald City Citizens: Antonio Beverly, Kelli Blackwell, Scean A. Flowers, Crystal Freeman, Jesaira Glover, Marcus Isaiah, Ana King, Ashleigh King, Parris Lacey, Shayla Lowe, Nurney, Tierra Strickland, Patricia Targete, Melissa Victor
• The Wiz: Jonathan Randle
• Evilene: Kelli Blackwell
• Lord High Underling: Scean A. Flowers
• Soldier Messenger: Antonio Beverly
• Winged Monkey: Marcus Isaiah, Parris Lacey
• Glinda: Crystal Freeman
• Understudies: Dorothy (Melissa Victor), Scarecrow (Antonio Beverly), Tinman (Scean A. Flowers), Evilene (Ashleigh King), The Wiz (Nurney), Aunt Em, Addapearle (Tierra Strickland)
• Swings: Ada Satterfield & Jason Philips

Production Staff

• Director: Kevin McAllister
• Music Director: Cedric D. Lyles
• Choreographer: Shalyce Hemby
• Assistant Choreographers: Marcus Isaiah, Parris Lacey
• Scenic & Lighting Designer: David A. Hopkins
• Costume Designer: Lawrence B. Munsey
• Sound Designer: Terry L. Edwards
• Production Manager: Vickie S. Johnson
• Production Stage Manager: Heather Williams
• Master Carpenter: David A. Hopkins
• Set Construction: David A. Hopkins, Daniel Sexton, Russell Sunday, Ian Wallace
• Properties: Amy Kaplan
• Stage Manager: Heather Williams
• Assistant Stage Manager: Ian Wallace
• Light Board Operator: Heather Williams, Jeremy Garnes
• Sound Operator: Terry L. Edwards, Jimmy Engelkemier
• Crew: Ian Wallace, Jason Sowers, Jeremy Garnes

Orchestra

• Conductors: Cedric D. Lyles, Brant Challacombe, or Darius Smith
• Keys 2: Brant Challacombe, James Ashe, Jr., or Ann Prizzi
• Bass: Michael Kellam or Morgan Turner
• Trombone: Jeff Harrigan or Jay Ellis
• Trumpet: Craig Taylor or Frank Gorecki
• Drums: Matt Lampart, Tom Harold, or Tarek Mohammed

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

Most of the time when the names of Andrew Lloyd Webber or Tim Rice are mentioned, the topic of conversation goes to shows like Cats, Evita, Phantom of the Opera, Chess, and Aida. But after attending last night’s production of Toby’s Dinner Theatre latest gem Joseph and the Amazing Technicolor Dreamcoat, which by the way came way before the four mentioned shows, it was a quite clear reminder that it was Webber and Rice at the top of their game. For those who are not familiar with the show it is one of the first rock opera style musicals. Directly based on the bible story of Jacob and his twelve sons, the betrayal and the attempted murder of Joseph by his brothers, Joseph’s enslavement to Potiphar, his imprisonment, the ability to interpret dreams, his placement as Pharaoh’s “Chief of Staff” and finally Joseph’s forgiveness to his brothers. With absolutely no dialogue the show flows with a perfect score, influenced by a cornucopia of musical styles, ranging from a country melody, a 70s disco number, to a light-hearted calypso production. The show/production is also conceptually unique and creatively vaudevillian with an integration of biblical/modern sets and costumes, direct from the Bible quotes mixed in with pop culture reference and fun, energetic, appropriately over the top and at times touching performances by this professional, energetic and dedicated 23 member cast.

Coby Kay Callahan (Narrator) and Ben Lurye (Joseph) interpret Webber and Rice’s work with complete understanding, realism and a whole lot of fun. Callahan does exceptionally well as the story teller and the conscience of the characters and their journey. Equipped with a beautiful, trained, multi-range voice, she progresses with ease from comical, light-hearted to serious and back. Lurye makes the role his own, though at first his untraditional take on the role was questionable but as his journey as an actor and the character progressed everything absolutely fell into place. It was quite refreshing and commendable to see something that has been done so many times become refreshing and unique. With a crisp and pitch perfect voice Lurye’s rendition of “Close every door” and “Any dream will do” wrapped the entire production with a giant red bow. The rest of the cast also takes every opportunity to shine, with standout moments by Chris Rudy (Levi), Heather Marie Beck (Mrs. Potiphar), and David Bosley-Reynolds (Potiphar).

Co-directors Shawn Kettering and Tina Marie DeSimone, who also served as choreographer, and musical director Douglass Lawler once again put a professional and unique spin on an all-time classic. Last evening’s performance reminded me that if you strip down all the talent, all the flash, and all the smoke and mirrors, you’re left with a great and honest story, a positive and moral lesson, and high quality entertainment which I believe is the purpose of all great art.

The Cast

• Narrator: Coby Kay Callahan
• Jacob: Andrew Horn
• Sons of Jacob
• Reuben: Alan Hoffman
• Simeon: Will Emory
• Levi: Chris Rudy
• Nepthali: Lester Horton
• Isaachar: Matthew Greenfield
• Asher: Ian Brown-Gorrell
• Dan: Daniel McQuay
• Zebulon: Jay Garrick
• Gad: A.J. Whittenberger
• Benjamin: Matt Wetzell
• Judah: Scean A. Flowers
• Joseph: Ben Lurye
• Ishmaelites: Heather Marie Beck, Maura Hogan
• Camel: Arielle Gordon, Vicky Mahoney
• Goat: Amanda Kaplan
• Angel: Julia Lancione
• Potiphar: David Bosley-Reynolds
• Mrs. Potiphar: Heather Marie Beck
• Butler: Ian Brown-Gorrell
• Baker: Matthew Greenfield
• Pharaoh: Will Emory
• Woman’s Ensemble: Heather Marie Beck, Arielle Gordon, Vicky Mahoney, Maura Hogan, Amanda Kaplan, Julia Lancione
• Understudies
  • Narrator (Tina Marie DeSimone)
  • Joseph (Chris Rudy)
  • Reuben (Ian Brown-Gorell)
  • Levi (AJ Whittenebeger)
  • Pharaoh (Matthew Greenfield)
  • Angel (Maura Hogan)
  • Mrs. Potiphar (Tina Maire DeSimone)
  • Ben & Naphali (Scean Flowers)
• Swings: Tina Marie DeSimone & Joel DeCandio

Production Staff

• Directors: Shawn Kettering & Tina Marie DeSimone
• Musical Director: Douglas Lawler
• Choreographer: : Tina Marie DeSimone
• Scenic Designer: David A. Hopkins
• Lighting Designer: Lynn Joslin
• Costume Designer: Janine Sunday
• Sound Designer: Corey Brown
• Production Manager: Vickie Johnson
• Production Stage Manager: Heather Williams
• Master Carpenter: David A. Hopkins
• Set Construction: David A. Hopkins, Corey Brown, Russell Sunday, Sarah Splaine
• Properties: Amy Kaplan
• Stage Manager: Heather Williams
• Assistant Stage Manager: Ian Wallace
• Light Board Operator: Heateher Williams, Jeanie McAlpine
• Sound Operator: Corey Brown
• Crew: Ian Wallace, Michael Wilson

Orchestra

• Piano/Conductor: Douglas Lawler, Greg Knauf, Or Pamela Wilt
• Keyboard: Barry Hamilton, Ed Mayers, or Ann Prizzi
• Drums: Dane Krich, Tarek Mohamed, Or Tom Harold
• Trumpet (Sax): : Tony Neenan, Frank Gorecki, or Brian Butler
• Guitar: Soren Mattson, Kim Spath, or Jason Wise
• Bass: Michael Kellam, Steve Synk, Or Jason Wilson

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

There could be a novel written about every element that works beautiful and seamlessly in Toby’s Dinner Theatre of Baltimore’s production of Smokey Joe’s Café. This production proves once again that Toby’s Dinner Theatre of Baltimore is one of the, if not the, best place around to see professional-quality productions. Yet again, any amazing cast is brought together under creative direction, ingenious musical direction, stunning costumes, effectively simple sets, impeccable lighting and sound, in a comfortable, relaxed, and friendly environment.

Smokey Joe’s Café is, on service, a simple musical review of the classic songs of Jerry Leiber and Mike Stoller. These are songs that most people know and love to sing along with: “Kansas City,” “Poison Ivy,” “On Broadway,” “Charlie Brown,” “Hound Dog,” “Love Potion #9,” “Jailhouse Rock,” and “Stand by Me” to name a few. There is no dialogue or through-script to connect the songs, but Director Kevin McAllister finds creative ways to give each song a back story and to connect the songs by creating characters and stories that recur throughout the songs. He expertly leads his cast in creating a storyline out of their nonverbal actions and reactions. McAllister was also able to select a cast that blended extremely well together. There were lots great mixes of chemistry, and each cast member knew when to take a back seat and support another actor in a leading moment and when to break out and really steal a moment to make his/her own. Each performer in the show had at least one of those moments to show the audience just how incredible he/she could be.

For Kelli Blackwell, her first moment came in “Dance With Me,” when she was able to highlight both her incredible comedic energy and her powerful, soulful voice. Kelli continued to dominate in many featured moments, especially her stunning duet of “Fools Fall in Love” with Mary Searcy.

For Deb Buonaccorsi, her defining moment was in her subtly sexy vocal performance in “Some Cats Know.” For Coby Kay Callahan, it was “Pearl’s A Singer,” when she got to show the full range of her powerful voice and her ability to tell a story in a song. For Mary, in addition to the duet with Kelli, she also stole the number “Trouble” with her wickedly beautiful vocals and her sensual energy. All three of these ladies also combined to do a fabulous job on the number “Don Juan.”

Bryan Daniels, David Little, Jonathon David Randle, and Marquise White were magic together. Anytime that these four men shared the stage, most notably in “Keep On Rollin’,” there was an incredible blend of energy and the most amazing four-part harmonies. Each man also had a chance to show off on his own as well. Bryan Daniels glorious comedic portrayals brought life to many numbers, notably “D.W. Washburn.” Jonathon David Randle really got to show off the glorious part of his range in his solo in “I (Who Have Nothing).” Marquise White has a beautiful baritone that added a warm bottom to many of the harmonies and was lovely on its own as well. He sizzled in his duet with Kelli on “You’re the Boss.” If any of those gentleman stood out just a little more than the others, it would have to be David Little. His smile was infectious, his dance moves seemed natural and precise, and his voice just melted the room. He came across genuine and effortless in everything he did. There was no one better to carry the song “Stand By Me.”

Derek Tatum was obviously the dancer of the group, and he sizzled in the tango during “Don Juan.” Derek also had a chance to show his vocal chops as he channeled his inner Elvis for the number “Jailhouse Rock.” Nick Lehan got have his moment in the number “There Goes My Baby,” bringing a sweet vocal together with a laugh-out-loud comedic performance.

Tremendous kudos have to go to Musical Director Cedric Lyles. For anyone who has heard the Broadway soundtrack, the show is a pleasant recording of all of these songs without a large amount of innovation. Lyles innovated. With the powerful and trained voices he had to work with, he was able to create new harmonies and arrangements that gave incredible new life to the score. Lyles’ work on this production was nothing short of excellence.

Janine Sunday’s colorful and ever-changing costumes brought beautiful life to the show. The set was very simple, but it was effective when combined with the excellent use of lighting. The end result of this focus on quality in every aspect of the production is just a plain, old amazing time at the theatre. Every moment is carefully constructed and well-executed. This is a perfect example of what every production should be striving for, even when, or maybe especially when, the material seems simple.

Cast

• Kelli Blackwell
• Deb Buonaccorsi
• Coby Kay Callahan
• Bryan Daniels
• Nick Lehan
• David Little
• Jonathon David Randle
• Mary Searcy
• Derek Tatum
• Marquise White

Production Staff

• Director: Kevin McAllister
• Musical Director: Cedric Lyles
• Choreographers: Asheigh King and Anwar Thomas
• Costume Design: Janine Sunday

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

Once again, Toby’s delivers another solid production of a classic musical that brings joy to audiences, young and old. Rodger’s and Hammerstein’s The King and I tells the story of an English widow, Anna Leonowens (Heather Marie Beck) and her young son Louis (T.J. Langston), who travel to Siam in the early 1860s so that Anna can support herself by becoming a schoolteacher for the many children and wives of The King (David Bosley-Reynolds). The result is a sometimes humorous and sometimes deeply troubling clash of the two very different worlds. With lavish costumes, a simple but elegant set, and a strong cast, Toby’s really brings the experience to life.

Beck is charming and affable as Anna with a playful, almost tomboyish quality bursting forth from under her prim British exterior. This spunk allows her to challenge the conventions of Siam, especially the treatment of women, without becoming overbearing or shrewish. Mixed with her beautiful and spirited vocals, the overall effect is delightful. Most remarkable is the incredible chemistry that she and Bosley-Reynolds share in these roles. Their spirited arguments and playful banter both sizzle with the undercurrent of a possible romantic connection. Their “Shall We Dance?” is delightfully whimsical and full of implications. Bosley-Reynolds finds a good balance in playing the side of The King who is bound to his traditions and knows of nothing else, the side of The King who is afraid of looking or, worse yet, actually being weak, and the side of The King who actually has a sense of humor and a curious, intellectual mind. He melds all these pieces together in a way that results in a fully rounded character.

Jeffrey Shankle (Lun Tha) and Julia Lancione (Tuptim) both have flawless voices that definitely capture the sound of old musicals. Their duets are gorgeous, although the two actors just can’t seem to muster the same level of chemistry as is evident between Anna and The King. Lancione gives an otherwise very strong performance in her other scenes, but the connection with Shankle just falls flat. Someone who never falls flat is Crystal Freeman (Lady Thiang). Freeman knows how to make characters, even ones that people might not normally identify with, raw and real. Her powerhouse vocals are mingled with true, incredible depth of emotion in her performance of “Something Wonderful.”

A strong supporting performance also comes from Alan Hoffman (The Kralhome). He manages to bring real depth and a sense of back story to a relatively underdeveloped character. His love for his King and his country is powerfully displayed in subtle undertones. The rest of the supporting and ensemble roles are meted out to an equally talented group of adults and youngsters. All the performances were polished, and the energy was high.

The one section of the production that truly transcended to a moment of brilliance was “The Small House of Uncle Thomas” Ballet sequence. Light design (Coleen M. Foley), Costumes (Florence Arnold), Choreography (Tina DeSimone), Musical Direction (Ross Scott Rawlings), and the cast all came together under the helm of Director Shawn Kettering to make for a visually stunning and emotionally provoking experience. The one warning is that this section may also be frightening for some younger audiences. There are horrifying dog masks that are worn under red lighting with terrifying choreography. It is beautiful in the intensity of the visual display. Lancione gets a chance to shine in her narration, and along with the chorus (Crystal Freeman, Katie Heidbreder, and Beth Rayca) provide a haunting vocal backdrop. Tegan Williams (Eliza) gets to shine in her dance feature, and Kylie Cooley (Topsy) gets to steal a few moments as well.

Toby’s The King and I is definitely worth seeing, if, for nothing else, the ballet alone. Of course, the ballet is not alone, and there are many other great moments and strong performances that carry this show from beginning to end.

Photo Gallery

Photos by Chris Christiansen

Cast

• Captain Orton: Charlie Abel
• Louis Leonowens: Holden Brettell or T.J. Langston*
• Anna Leonowens: Heather Marie Beck
• The Interpreter: Mikey Cafarelli
• The Kralhome: Alan Hoffman
• The King: David Bosley-Reynolds
• Lun Tha: Jeffrey Shankle
• Tuptim: Julia Lancione
• Lady Thiang: Crystal Freeman
• Prince Chulalongkorn: Palmer Foran or John Morrison*
• Princess Ying Yaowalak: Anna Kim, Rachel Sabenorio, or Lily Ulman
• Sir Edward Ramsey: Charlie Abel
• The King’s Wives: Katie Heidbreder, Amanda Kaplan, Elizabeth Rayca, Tegan Williams
• The King’s Guards: Charlie Abel, Mikey Cafarelli, Matthew Greenfield, Chris Rudy
• The Royal Princesses: Kylie Cooley, Erisu Jo, Cristen Hall or Adalia Jimenez, Lily Discepolo or Nabilah Kabir, Maddie Ulman or Madelyn Schloss, Sadie Herman or Natalya Jimenez
• “The Small House of Uncle Thomas” Ballet
• Narrator: Julia Lancione
• Chorus: Crystal Freeman, Katie Heidbreder, Beth Rayca
• Uncle Thomas: Amanda Kaplan
• Little Eva: Lily Discepolo or Nabilah Kabir
• Topsy: Kylie Cooley
• Eliza: Tegan Williams
• Simon of Lagree: Charlie Abel
• Rain, Mountain, Slaves, Dogs, River, Snow, Sun: Mikey Carafelli, Kylie Cooley, Palmer Foran/John Morrison, Cristen Hall/Adalia Jimenez, Matthew Greenfield, Alan Hoffman, Erisu Jo, Amanda Kaplan, Chris Rusy, Madelyn Schloss/Maddie Ulman, Jeffrey Shankle
• Swings: Antonio Beverly, Arielle Gordon, Jenna Hirsch
• Understudies: Elizabeth Rayca (Anna), Alan Hoffman (King), Katie Heidbreder (Tuptim/Lady Thiang), Matthew Greenfield (Capt. Orton/Sir Edward/Krahlahome), Chris Rudy (Lun Tha)

Production Staff

• Director: Shawn Kettering
• Musical Director: Ross Scott Rawlings
• Choreographer: Tina DeSimone
• Set Designer: David A, Hopkins
• Costume Designer: Florence Arnold
• 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: Corey Brown, Jimmy Engelkemier, David A. Hopkins, Sarah Splaine, Russell Sunday
• Properties & Set Design: Amy Kaplan
• Light Board Operators: Coleen M. Foley, Erin MacDonald
• Sound Operators: Drew Dedrick, Jimmy Engelkemier
• Stage Crew: Erin MacDonald, Jason Britt, Laura Blasi

Orchestra

• Conductor/Keys I: Ross Scott Rawlings or Douglas Lawler
• Keyboard II: Ann Prizzi or Ed Myers
• Reeds/Woodwinds: Charlene McDaniel, Steve Haaser, or Stacey Antoine
• Trumpet: Tony Neenan
• Trombone: Jay Ellis, Griz Gifford, or Dan Pendley
• Percussion: Jack Loercher or Aaron Holmes

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

It is that time of year for Christmas specials and Holiday shows, and, really, when you have seen one, you have seen them all. However, every year, young or old, there is a special place in the heart that still wants to see them all, even with the slightly cheesy acting and predictable plotlines. We know how it will end, but we love when it ends that way anyway. It is hard to describe any of the cookie-cutter Holiday classics as ground-breaking or breath-taking. Yet they warm the heart and are refreshingly moral and wholesome. Toby’s White Christmas: The Musical is no different. You get exactly what you expect, and, sometimes, that is just what you need. There are even a few elements (the costumes, the choreography, and Janine Gulisano-Sunday) that take this production to the next level.

The story begins on Christmas Eve of 1944 with Captain Bob Wallace (Lawrence B. Munsey) and Private Phil Davis (David James) showing that they are little more interested in entertaining the troops than fighting the war, and Corporal Ralph Sheldrake (Thomas Hunter Hedgepeth, Jr.) is there to announce and encourage their hijinks. General Henry Waverly (Samn Huffer) is both amused and confused and is more focused on the war and the job he has to do. He delivers an impassioned speech to his men, as he is about to return home from Germany after an injury. He wonders where they will all be on Christmas Eve 1954. Not a mystery for long, the action quickly fast forwards to just before Christmas in 1954. The now famous act of Wallace & Davis is appearing on The Ed Sullivan Show, which is produced by Sheldrake. They are about to head down to Florida for a nice sunny Christmas and a big musical revue. The one thing they are missing: a sister act. It also quickly becomes clear that both need the love of a good woman: Bob, because he guards his heart too much, and Phil, because he is a hopeless play boy. Enter the Haynes sisters: Betty (Janine Gulisano-Sunday) and Judy (Julia Lancione). They sing. They dance. They are beautiful. And they are perfect for Bob and Phil. Bob and Betty don’t see this at first and instantly start bickering. However, Phil and Judy concoct a scheme to get Bob to an inn in Vermont to spend the holidays with the Haynes sisters. Bob is about to leave when they discover that the inn is run by none other than General Waverly and is about to close down because he can’t pay the bills and no one is coming to sunny Vermont with a heat steak on. His concierge, Martha Watson (Jane C. Boyle) also happens to be a retired Broadway performer. So, soon, the cast of the Florida show is on their way to perform at the Vermont Inn instead. A few miscommunications and mishaps follow, but the end result is pleasantly predictable.

The technical elements of the production did an amazing job of setting the mood and tone for the production and seamlessly transitioning between a variety of locations. Little touches like the “On Air” signs and the signs that announce the names of various clubs really help to let the audience know where they are and what is going on. The lighting is used well to transition and set location as well. There are also great effects, like the very realistic snowfall. The set pieces are high-quality and ideal for use in the round. The train car and the way it is used in the number “Snow” really enhance the performance. The costumes are especially gorgeous. There are so many costumes changes throughout the show, and each costume is just more perfect and more beautiful than the last.

For the most part, the blocking makes excellent use of the space in the round. There were a few isolated incidents in which ensemble members were blocking more essential action from the view of some audience members, but these missteps were few and far between. The choreography was especially well-designed for the round. Paula Lynn deserves unending accolades for her work on this production. Every number was unique and interesting. She incorporated several different styles of dance and really knew how to bring that “old movie” feel to life on the modern stage. The cast also did an incredible job of doing justice to her choreography. They worked together as a well-oiled machine, a true ensemble. Both the leads and supporting cast members brought energy, skill, and joy to every musical number. In this production, the choreography and dance are really the most important element, and this cast nailed it.

The acting and singing in the production was also solid, and, sometimes, extraordinary. Munsey and James were good. They gave solid performances and had strong voices. Although they, at first, seemed slightly miscast based on look alone, both men had a likeable quality that really grows on you. They are also strong singers and excellent dancers. Sometimes, the acting scenes between the two of them were a little unbelievable. This was most likely a combination of the fact that the script is a little hokey and that the two men were also the co-directors and did not necessarily have the benefit of a real outside eye on some of those scenes.

Good, solid performances also came from Hedgepeth, Jane C. Boyle (Martha), and Jacqueline Kempa (Susan). They all had very infectious personalities, strong voices, and provided good character acting. The ensemble did well in a variety of small roles, and one real standout was Christen Svingos in the role of Rhoda.

The strongest acting moment in the show came in the form of the final monologue from Samn Huffer. He really connected to the heart of the moment and brought realistic passion to the moment.

The strongest overall performances came from Lancione and Gulisano-Sunday. Lancione had the feel and energy of a classic old movie ingénue. She had a beautiful voice and was a captivating dancer. Gulisano-Sunday was just extraordinary. Her voice had a magical quality to it, and she brought real soul and depth to each number that she performed. She was also able to make any dialogue sound believable and realistic.

So, if you are looking for a strong production of a feel-good holiday show with a few extraordinary elements to set it apart, then Toby’s White Christmas: The Musical is an excellent choice for audiences of all ages.

Cast

• Ralph Sheldrake: Thomas Hunter Hedgepeth, Jr.
• Bob Wallace: Lawrence B. Munsey
• Phil Davis: David James
• General Henry Waverly: Samn Huffer
• TV Announcer: Ray Hatch
• Rita: Jen Kohlhafer
• Rhoda: Christen Svingos
• Tessie: Jamie Ogden
• Judy Haynes: Julia Lancione
• Betty Haynes: Janine Gulisano-Sunday
• Cigarette Girl: Erin McNerny
• Jimmy: Jordan Klein
• Conductor: Frank Anthony
• Snoring Man: Thomas Hunter Hedgepeth, Jr.
• Mrs. Snoring Man: Jamie Ogdon
• Martha Watson: Jane C. Boyle
• Susan Waverly: Kaila Friedman or Jacqueline Kempa
• Ezekiel Foster: Thomas Hunter Hedgepeth, Jr. or Shawn Kettering
• Mike Nulty: Ray Hatch
• Ensemble: Frank Anthony, James Biernatowski, Arielle Gordon, David Jennings, Jordan Klein, Jen Kohlhafer, Erin McNerny, Jamie Ogden, Christen Svingos, Ryan Patrick Welsh
• Swings: Cody Cooley & Amanda Kaplan
• Understudies: Thomas Hunter Hedgepeth, Jr. (Bob Wallace), Jordan Klein (Phil Davis), Jamie Ogden (Betty Haynes), Jen Kohlhafer (Judy Haynes), Tere Fulmer (Martha Watson)

Production Staff

• Co-Directors: David James & Lawrence B. Munsey
• Musical Director: Pamela Wilt
• Choreographer: Paula Lynn
• Set Designer: David A. Hopkins
• Costume Designer: Lawrence B. Munsey
• Lighting Designer: Lynn Joslin
• Sound Designer: Drew Dedrick
• Costume Assistant: Della Lotman
• 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, Jimmy Englkemier, David A. Hopkins, Sarah Spaine, Russell Sunday
• Properties & Set Dressing: Amy Kaplan
• Light Board Operators: Coleen M. Foley, Erin MacDonald
• Sound Operators: Drew Dedrick, Jimmy Engelkemier
• Stage Crew: Erin MacDonald, Jason Britt, Laura Blasi

Orchestra

• Conductor/Sinfonia/Keyboards: Pamela Wilt or Reenie Codelka
• Trumpet: Anthony Neenan or Frank Gorecki
• Drums/Percussion: Jack Loercher or Aaron Holmes

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

There are not enough superlatives in the dictionary to describe Toby Dinner Theatre of Baltimore’s practically flawless production of Dreamgirls. Told almost entirely in song, Dreamgirls is a fictional dramatization of a Supremes-esque Motown girl group that rises to fame in the early 1970s. The group faces obstacles from the white-dominated music scene, a self-interested and sneaky manager, men who take them for granted, each other, and their own egos. Despite all of the negativity that is brought to their lives in the pursuit of fame, this is a story about rediscovering yourself on the other side. The power of this production is hinged upon the ability of the actors to make this world and this story believable, while conveying the story though song. Under the astute direction of David Gregory, the cast at Toby’s not only delivers; they surpass every possible expectation of this already iconic show.

Shayla Simmons (Deena) is beautiful, graceful, and composed. She does a wonderful job of seamlessly transitioning her character from the grounded member of the group to a lead singer filled with confidence and ego to the powerful and self-possessed woman who finally demands respect from both others and herself. She has gorgeous vocals, and she shows excellent control early on to really demonstrate the way that her character’s increasing confidence adds power to her voice.

Ashley Johnson (Lorrell) is downright likeable. She has infectious energy and great comedic timing. Her facial expressions are extremely expressive. She also does an excellent job of showing how her character goes from naïve girl to strong woman. She also has a beautiful and powerful voice that delights when she really gets to show it off in the second act.

Crystal Freeman (Effie) had me a little worried in the first part of the first act. It was not yet clear if she was going to have the power to pull off the big numbers that I knew were coming. She seemed to struggle a little to establish a clear character and identity, although I really came to see that she was actually really just making a choice to portray Ellie as a young woman struggling to find herself. The end of the first act is the well-known “(And I’m Telling You) I’m Not Going.” Especially in the last few years, this song has been sung on every talent competition and at every audience by hundreds of girls. The song was originally made legendary by Jennifer Holliday, and then made over as a new legend when Jennifer Hudson won the Oscar. It was hard to imagine that there is anything new that anyone could do with this number; it was especially hard to imagine that this was about to be the most incredible rendition of this song ever. And then it was. It was the most incredible, incredible, incredible (It can’t be said enough) performance of this number. Freeman was awe-inspiring, breath-taking, and astonishing. Not only were the vocals incredible in their power, use of dynamics, and several choices in phrasing that made the number her own, her performance was raw and real. There was a moment in which she dropped down to her knees, and that one moment in time was the worth the entire admission price. It was the most powerful and real moment I have ever seen on any stage. Freeman continued to keep this incredible transformation alive throughout the entire second act, and her portrayal of Effie should set the new standard for what makes this character legendary.

Jonathan Randle (Curtis) was another powerhouse performer. His smooth, sweet vocals and his smooth, sweet sweet-talking made it easy to understand why not one, but two of the girls, fell victim to his charms. When the women weren’t looking, Randle also did an excellent job of letting Curtis’ dark, self-interested side come through. Randle also really had the “It Factor” that made it hard to take your eyes off his charisma. David Little (C.C.) had a warm and rich voice that was a treat to listen to and made his character genuine. Ray Hatch (Jimmy) does an excellent job of making his character filled with energy and larger than life; it is a case where a little bit of deliberate overacting is used at just the right amount to effectively achieve its purpose for the character. Hatch is also extremely dynamic to watch as a dancer, so it is no surprise that he is responsible for the choreography in this production.

The choreography is definitely another highlight of this production. Hatch finds new ways to keep each number fresh with new and interesting movement, even though most of the songs have a similar vibe to them. He also excellently incorporates different props into the dances, such as feathers and suitcases. An extremely talented group of people who fill the smaller roles and the ensemble in this production bring the large numbers to life.

The set is simple and effective. The use of a scrim to often differentiate between front and back stage works well, and a few simple stair units are able to convey a myriad of different settings. Small prop pieces and set dressing are used effectively in a minimalistic approach to give each different scene an identity without ever having to pause the action for set changes. The beautiful and versatile lighting design working with the cyc at back does an excellent job of setting the scenes and the mood of those scenes. The costumes are perfection. They are beautiful, appropriate, and fit each character perfectly. There are several costumes that are designed in such a way that they lend themselves to instantaneous costume changes both on and off-stage. The characters are continually changing clothing throughout the production, but every costume has had as much careful attention to detail as the one before.

The only critique that can be made of this production is the sound. Everything was a little too loud, practically at rock-concert, ears-ringing, level. The powerful voices did not need this extensive level of projection, and, then, the band was turned up louder to match the voices. The overall effect was times when you couldn’t understand things because of the excessive volume and just a general feeling of wishing it could be turned down just a little.

However, one tiny misstep that can easily be corrected is no reason to miss out on this production. Everyone and anyone should get tickets now and make their way to Toby’s Baltimore to see Dreamgirls before it is too late.

Cast:

• Deena Jones: Shayla Simmons
• Lorrell Robinson: Ashley Johnson
• Effie Melody White: Crystal Freeman
• Curtis Taylor, Jr.: Jonathan Randle
• C.C. White: David Little
• James “Thunder” Early: Ray Hatch
• Michelle Morris: Dayna Quincy
• Marty: Anthony Conway
• Charlene/Les Styles: Mary Searcy
• Tru Tone/Dwight/Mr. Morgan: Marquise White
• Joann: Brianna Freeman
• MC/Wayne: Jason Phillips
• Tru Tone/Stage Manager: Bryan Daniels
• Tiny Joe Dixon/Piano Player: Tobias Young
• Stepp Sister/Les Styles: Shaunte Tabb
• Stepp Sister/Les Styles: Shayla Maddox
• Stepp Sister/Les Styles: Vanessa M. Buenger
• Tru Tone: Lester Holmes
• Tru Tone: Terrence Bennett
• Dave/Frank: David Bosley-Reynolds
• Ensemble/Sweetheart: Celia Blitzer
• Ensemble/Sweetheart: Katie Heidbreder

Production Staff:

• Director: David Gregory
• Music Director: Cedric Lyles
• Choreographer: Ray Hatch
• Costume Designer: Janine Sunday
• Scenic Designer: David A. Hopkins
• Lighting Designer: Lynn Joslin
• Sound Designer: Corey Brown
• Production Manager: Vickie S. Johnson
• Production Stage Manager: Kevin McAllister
• Stage Manager: Sarah Splaine
• Master Carpenter: David A. Hopkins
• Set Construction: David A. Hopkins, Corey Brown, Russell Sunday
• Properties: Amy Kaplan
• Costume Assistant: Della Lotman
• Light Board Operators: Kelly Martin, Jeanie McAlpine
• Sound Operators: Corey Brown, Jeanie McAlpine
• Stage Crew: Jason Sowers, Melvina Coker, Scean Flowers

Orchestra:

• Conductor: Cedric D. Lyles or Cynthia Saffron
• Keys 2: Ann Prizzi or Ed Meyers or Ernest Swift
• Drums: Thomas Harold
• Bass: Michael Kellam or Jason Wilson or Andrew Webb
• Trumpet: S. Craig Taylor or Kyle Anderson
• Reeds: Brian Butler or Steve Haaser or Chris Reardon

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

It might be the first taste of fall outside but baby it’s hot inside Toby’s. Chicago sizzles with all the razzle dazzle you’ve come to expect from both Fosse musicals and Toby’s Dinner Theatre productions. Billed as “A nightclub dancer…a smooth talking lawyer…and a cell block of sin. It would be a crime to miss it,” Chicago: A Musical Vaudeville (book by Fred Ebb and Bob Fosse, music by John Kander and lyrics by Fred Ebb), opened on Broadway in 1975 and ran for a little over two years. Both the original production and a pared down 1996 concert revival were nominated for (but did not receive) Tony awards. The story is based on the 1926 play Chicago by Maurine Dallas Watkins, but the Brechtian style (stark and detached) is more in line with today’s sensationalism and tabloids.

Co-directors Toby Orenstein and multi-talented Lawrence B. Munsey (co-director, costume designer and star, playing a multitude of roles) lead us through the sordid stories of Velma Kelly, Roxie Hart and their Chicago cohorts of seemingly soulless murderesses put glitz and glamour ahead of morals as they attempt to defend their fatally flawed relationships. Chicago starts off with a bang and never lets up. Chicago remains a musical revue, with all the parts introduced by Munsey in his various forms. We’re never far from the razor-sharp edge between performer and performance. Reality isn’t the point here. It’s all about fame and facade. David A Hopkins has provided a clean, simple cell block set as a backdrop for Ilona Kessell’s Fosse-esque choreography, keeping all the flash in Munsey’s fabulous costumes and Lynn Joslin’s evocative lighting.

From the moment we meet steaming hot Velma Kelly (Debra Buonaccorsi) in “All That Jazz” and ditsy vaudeville star-wannabe Roxie Hart (Carole Graham Lehan) and her simple, adoring husband Amos (David James) in “Funny Honey,” to the last spectacular number, “Nowadays,” we’re immersed in the decadence and excess of the roaring twenties. We meet the rest of the cell block residents in “Cell Block Tango,” a number just dripping with fringe benefits.

Matron Mama Morton (Jesaira Glover) makes a stunning entrance with “When You’re Good to Mama” and proves instrumental in connecting naive Roxie with slick legal-eagle Billy Flynn (Jeffrey Shankle) who develops their defense plan in “We Both Reached For The Gun.” By the time we get to “Roxie,” Lehan is channeling Cyd Charisse (aided by Munsey’s excellent costume choices). In stark contrast, James’ rendition of “Mister Cellophane” is understated, exquisitely timed and brilliant and Chris Rudy’s “Mary Sunshine” is quite simply hilarious.

It’s a grand night out, though one not really meant for young children.

Cast

• The Master of Ceremonies: Lawrence B. Munsey
• Velma Kelly: Debra Buonaccorsi
• Roxie Hart: Carole Graham Lehan
• Fred Casely: Lawrence B. Munsey
• Sergeant Fogarty: David Jennings
• Amos Hart: David James
• Liz: Heather Marie Beck
• Annie: Tina Marie DeSimone
• June: Katie Harrington
• Hunyak: Christen Svingos
• Mona: Ali Hoxie
• Martin Harrison: Ryan Patrick Welsh
• Matron: Jesaira Glover
• Billy Flynn: Jeffrey Shankle
• Mary Sunshine: Chris Rudy
• Go-to-Hell Kitty: Arielle Gordon
• Harry: Lawrence B. Munsey
• Aaron: Gabe Veneziano
• Court Clerk: Cody Cooley
• The Foreman: Lawrence B. Munsey
• Reporter: Derek Tatum
• Swing: Kate Arnold Wernick
• Understudies: Heather Marie Beck (Roxie), Ali Hoxie (Velma), Nancy
• Tarr Hart (Mama Morton), Thomas Hedgpeth (Billy & Amos), David
• Jennings (Master of Ceremonies), Ryan Patrick Welsh (Mary Sunshine)

Orchestra

• Conductor/Keyboard: Christopher Youstra, Ross Rawlings or Doug Lawler
• Violin: Patricia Wnek
• Reeds/Woodwinds: Katie Kellert, Steve Haaser or Stacey Antoine
• Trumpet: Tony Neenan or Craig Taylor
• Trombone: Jay Ellis, Griz Gifford or Dan Pendley
• Drums/Percussion: Aaron Holmes, Anders Eliasson or Jack Loercher

Production Staff

• Co-Directors: Toby Orenstein & Lawrence B. Munsey
• Musical Director: Christopher Youstra
• Choreographer: Ilona Kessell
• Set 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 Wackerle
• Technical Director: Jimmy Engelkemier
• Master Carpenter: David A. Hopkins
• Set Construction: Corey Brown, David A. Hopkins, Russell Sunday
• Properties & Set Dressing: Amy Kaplan
• Light Board Operators: Coleen M. Foley, Erin MacDonald, Cheryl Hale
• Sound Operators: Drew Dedrick, Jimmy Engelkemier
• Stage Crew: Erin MacDonald, Ashley Grant, Jason Britt

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
• Assistant Director of Group Sales / Tour and Travel: Cheryl Clemens
• Group Sales Coordinator: Beverly Ailiff
• Group Sales Hosting Staff: Heidi Berry, Bonnie Ciborowski, Marsha
• Raymond, Michelle Sanders
• Director of Marketing: Nancy Michel
• Box Office Staff: Heidi Berry, Judy Berry, Laura Blasi, Mary Dempsey,
• Lynae Harris, Breena Hebron, Estelle King, Marie Moineau
• Bookkeeper: Bayna Castner
• Youth Theatre Administrator: Janine Sunday
• Theatre Photographer / Website Developer: Kirstine Christiansen
• Bar Manager: Shawn Kettering
• Maintenance Engineers: Stephen B. Harris, Mike Monahan

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

Anything Goes, the 1962 Off-Broadway revival with music and lyrics by Cole Porter is a Tony award-winning play being performed at Toby’s Dinner Theatre in Columbia, Maryland. The story revolves around a group of passengers traveling to England aboard the S.S. American. One is an engaged couple with her mother, a singing sensation star and her starlets, a couple of gangsters, throw in a real priest and a couple of converts and you have a hilarity, music, and dancing abounding.

Toby’s is a theatre in the round style and director Toby Orenstein made positive decisions in keeping the action moving in such a way that there always seemed to have an actor or actors facing us with minimal “backs to the audience.” Even with the curtain call the rotating bows kept the audience engaged. The lighting effects were smooth and the live orchestra added to the energy. There were occasions when the mics seemed too loud. There may have been some minor rustling by the sound team, but you have so much to keep track of that these were just minor glitches that in no way detracted from an otherwise superb evening. The dancers were pretty in sync with high energy and high kicks and lots of enthusiasm!

Cathy Mundy as Reno Sweeney gave an energetic and commanding performance. Her big powerful voice rocked the rafters (although in this case it was a ship’s portholes). Her easygoing style was combined with true feelings of love towards a man engaged to someone else. This is no way deterred Reno. She saw it as a challenge. The rapscallion Billy Crocker played by Jeffrey Shankle was full of life and vitality. His over the top moves and strong voice carried throughout the stage. His devotion to Hope Harcourt was real and his desire to win her back from fiancé Evelyn Oakleigh (Lawrence B. Munsey) was true and heartwarming. Just about as heartwarming as Hope Harcourt’s (Gracie Jones) love for Billy. When she thought Billy had turned away from her she was heartbroken. Yet since this is a musical comedy so in the end everyone lives happily ever after.

Toby’s Anything Goes was a fun, high energy show.

Cast

• Reno Sweeney: Cathy Mundy
• Billy Crocker: Jeffrey Shankle
• Hope Harcourt: Gracie Jones
• Lord Evelyn Oakleigh: Lawrence B. Munsey
• Moonface Martin: David James
• Bonnie Letour: Tina DeSimone
• Elisha J. Whitney: Andrew Horn
• Mrs. Evangeline Harcourt: Victoria Winter
• Purity: Emily Madden
• Chastity: Vicky Mahoney
• Charity: Julia Lanciione
• Virtue: Debra Buonaccorsi
• Ching: Jordan Klein
• Ling Ben Gibson
• Captain: Charlie Abel
• Bishop Henry T. Dobson/Purser: Alan Hoffman
• Reporter: Ryan Patrick Welsh
• Photographer/Drunk: Nick Lehan
• Ships Crew/Passengers/Sailors/Girls: Esther Covington, Ben Gibson, David Jennings, Jordan Klein, Nick Lehan, Amy Sonntag, Ryan Patrick Welsh
• Swings: Danny Romeo & Elena Crall
• Understudies
  • Reno: Debra Buonaccorsi
  • Billy: Nick Lehan
  • Moonface: Jordan Klein
  • Sir Evelyn & Whitney: Alan Hoffman
  • Bonnie: Julia Lanciione
  • Captain: Ben Gibson
  • Purser: Ryan Patrick Welsh
  • Mrs. Harcourt: Esther Covington

Crew

• Director: Toby Orenstein
• Assistant Director: Lawrence B. Munsey
• Musical Director: Ross Scott Rawlings
• Choreographer: Tina DeSimone
• Set Designer: David A. Hopkins
• Costume Designer: Lawrence B. Munsey
• Costume Assistant: Dell Lotman
• 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/Master Electrician: Jimmy Engelkemier
• Master Carpenter: Jason Krznarich
• Set Construction: Corey Brown, Jason Krznarich, Russell Sunday
• Properties & Set Dressing: Amy Kaplan
• Light Board Operators: Cheryl Hale, Coleen M. Foley, Erin McDonald
• Sound Operators: Drew Dedrick, Jimmy Engelkemier
• Stage Crew: Erin McDonald, Ashley Grant, Jason Britt

Orchestra

• Conductor/Keyboard 1: Ross Scott Rawlings or George Knauf
• Keyboard II: Ann Prizzi or Ed Myers
• Reeds/Woodwinds: Charlene McDaniel. Katie Kellert, Steve Haaser or Stacey Antoine
• Trumpet: Tony Neenan, Craig Taylor, or Frank Gorecki
• Trombone: Jay Ellis or Griz Gifford
• Drums Percussion: Aaron Holmes, Anders Eliasson or Jack Loercher

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