BRANDON MONAHAN MAKES COMMENDABLE
DIRECTORIAL DEBUT IN LTVB'S GYPSY

Theater Babe Says:  Go ... and Let Them Entertain You

Not every actor can transition smoothly from performing to directing, but in the Little Theatre of Virginia Beach's summer show, Gypsy, Brandon Monahan demonstrates that his skills extend beyond the footlights. 

Gypsy tells the tale of the penultimate stage mother, Rose, who through brazen determination crams her daughters, June and Louise, into show business during the depression era.  The first and foremost task of any director is finding the right actors to breathe life into the characters, and here Mr. Monahan assembled a uniformly talented cast, many of whom are new to the LTVB stage, and combined their talents with his vision and blocking skills to create a thoroughly enjoyable performance.

Leading the way is Carissa Robertson as Mama Rose.  While the role may be best known for Ethel Merman bellowing "Everything's Coming Up Roses," Ms. Robertson's interpretation is a satisfying blend of bombast and vulnerability, combined with a stunningly rich and beautiful singing voice.  Ms. Robertson is perhaps a tad young for the role, but her strong performance leaves no doubt as to why she was cast.  The Theater Babe suggests only that later in the show subtle facial lines might be added to her makeup and a touch of powder to her hair so that her character ages in accordance with the passage of time.

Steve Suskin is a perfect foil for Ms. Robertson as Herbie, Rose's persistent beau.  Mr. Suskin displays a nice singing voice, but perhaps more importantly we believe that he genuinely loves the often unlovable Rose.  Mr. Suskin's Herbie is patient and understanding without being weak, and the moment when he decides he must leave is powerful and compelling though Mr. Suskin doesn't utter a sound.

As Dainty June, Alyssa Halter is perfectly perky and believably frustrated with Rose's obdurate insistence on starring her in perennially childish acts.  As Louise, Christine Gnieski is at her best when portraying the sensitive peacemaker; her strip routine, while well-choreographed, could use additional energy and pizzazz by Ms. Gnieski.  Both Ms. Halter and Ms. Gnieski have lovely voices, and their comedic duet, "If Mama Was Married," is one of the show's best moments.

Another notable number is Benjamin Wolfred's performance of "All I Need is the Girl."  His pleasing voice is well-suited to the song, and Mr. Wolfred creditably executes the accompanying soft-shoe.  Throughout the show, choreographer Jane Springstead's dances are well-crafted and ably performed, and although this is apparently Ms. Springstead's first foray into choreographing for community theatre, the Theater Babe sincerely hopes it will not be her last.

While their scenes are limited, the performances by London Myers as Baby June and Morgan Wilson as Young Louise are memorable.  Miss Myers has a dominant stage presence that belies her youth and Miss Wilson successfully undertakes the difficult task of correctly performing incorrectly – she is credibly just a little behind the beat, or starts to turn in the wrong direction rather than conspicuously showcasing her so-called lack of talent.  The Theater Babe applauds the efforts of these young actors and looks forward to seeing them in future productions.

Missy Bernstein ("Mazeppa"), Vonnie Henry ("Electra") and Tanya Marten ("Tessie Tura") are outstanding in the showstopping, "You Gotta Get a Gimmick," a musical description of the need for burlesque performers to have a signature move or stunt to distinguish them from the rest.  Despite the underlying irony in the lyrics ("take a look how different we are") that describe what are, after all, slight variations on a bump-and-grind, Ms. Bernstein, Ms. Henry and Ms. Marten are distinctive – not to mention hilarious – and they well deserve the riotous applause they receive.  Their costumes, designed by Kathy Hinson, are suggestive without being raunchy, and the performers take advantage of their fun and unique outfits as they strut, preen and, yes, bump their way across the stage in what may be the best number in the show.

The vocal musical direction by Shelley Cady and her performance on the piano are successful.  Percussionist Tom Ullom is outstanding and faultlessly augments the score, particularly during the burlesque numbers.  Many of the other instruments, however, are disappointing.  The trumpets are often not in tune, noticeably sliding under pitch, and the violins have an unfortunate tendency to screetch.  It is exceedingly difficult to accompany a performance from backstage where the action is not visible to the instrumentalists, and here almost every blackout ended with a random misplaced note by one of the brass, one of the strings, or both.  While the Theater Babe appreciates the attempt at having a full, orchestral sound, here the overall result distracts from rather than enhances the vocals and prevents the instrumental overture and entr'acte from being as successful as they otherwise could have been.

The set design by Jennifer Murphy is an agreeable mishmash of typical backstage accoutrements and silently reinforces the theme that these people are "gypsies" – theatre folk who travel from place to place.  The lighting by Jeff Brangan is well done, particularly during the soft and thoughtful "Little Lamb" in the first act.

Bottom line?  Mr. Monahan and his talented cast and production team present a pleasurable performance that is worth the time and the ticket price and does indeed entertain you.

Performances run thru August 5th, Friday - Saturday at 8 p.m. and Sunday at 2:30 p.m.

at the Little Theatre of Virginia Beach,

550 Barberton Drive, Virginia Beach, Virginia 23451.

Tickets are $17 ($14 for matinees) with discounts for seniors, students and military.

Reservations can be obtained by calling the box office at (757) 428-9233.

© 2012 Hampton Roads Theater Babe.  All Rights Reserved.

THEATRIX GIVES TIMELESS 1776

Theater Babe Says:  Go and experience the human drama behind the Declaration

Especially to American audiences, the outcome of the drama central to 1776 is not in doubt:  we know that Jefferson wrote the Declaration of Independence ... we know it was adopted ... and we know that, with help from our French allies, Washington and his ragged militia ultimately booted the British back across the pond. 

But what we know fades into insignificance as we become immersed in Theatrix's fine production of 1776.  Director Rocco Wilson ably leads his cast into the nuances of the 18^th century with few missteps, and they so embrace the dignity and formality of the period that we are enveloped in an era when the term "gentleman" was a moniker of respect, and the concept of "sacred honor" was more than mere words on a page.  The cast almost uniformly maintains that underlying sense of decorum throughout the show so that we believe they are reflections of the past, rather than just 21^st century actors in wigs and short pants.  Because the period of the piece is so firmly established in this production, we become involved their tension and uncertainty and almost forget we know how it ends.

Matthew Friedman gives a believable and layered performance as John Adams.  His frustration alternately seethes and bubbles over, but is tinged with just the slightest bit of vulnerability; he is brilliant and committed to the cause, but can't quite understand why he's "obnoxious and disliked" or why his iron-fist-in-an-iron-glove approach is ineffective.  We feel his desperation and confusion, as well as the determination with which he pushes both aside to strategize and force his vision through what he views as an unreasonable, short-sighted Congress.  Mr. Friedman has a beautiful singing voice, shown to advantage in "Is Anybody There?"  The Theater Babe only wishes that he would hold his ending pose – and that Dave Zilber, as Dr. Lyman Hall, would delay his entrance just slightly – so that we might reward Mr. Friedman's musical monologue.

As Thomas Jefferson, Matthew Winning is cerebral and convincing.  When South Carolina delegate Mr. Rutledge, commendably played here by Andrew ("AJ") Lease, challenges Jefferson's written condemnation of slavery, Mr. Winning skillfully demonstrates the internal conflict that issue apparently caused the historic Jefferson.  Garry Manasco gives a pleasing performance as Benjamin Franklin, and displays a rich singing voice.

Mr. Lease's portrayal of Edward Rutledge is charismatic and powerful.  We believe that despite his status as the youngest member of the Continental Congress he is dominant enough to command the respect and deference of his older colleagues, and his courtly manners do not disguise the threat his position poses to the fate of the fledgling nation.  His "Molasses to Rum" is thought-provoking and ruminative and an unusual interpretation of a song that is typically delivered in a more aggressive style.

Stan Eure lights up the stage in his portrayal of Richard Henry Lee during "The Lees of Old Virginia."  Mr. Eure is engaging, his grin infectious and his song is one of the show's highlights.  One of the few jarring notes of this production's depiction of the appropriate time period, however, is when Mr. Eure chose to refer to "Kathy Lee" in the musical recitation of his character's lineage.  It receives a laugh, but the Theater Babe is unconvinced that the quick giggle is worth the disruption to the whole mood of the piece that the cast in general works so hard to generate. 

Similarly (if you'll pardon the pun), Joseph Blessing in his performance as Connecticut delegate Roger Sherman breaks character for a brief moment during the otherwise enjoyable "But, Mr. Adams," when he flashes one of his colleagues an all-too-modern "thumbs-up."  It is a quick moment, to be sure, but it pulls us out of the atmosphere and merely serves as a distraction to what is otherwise a homogenous whole.  Mr. Blessing has a wonderful round, full sound in both his speaking and singing voice, which would benefit from a little more volume.

Other notable performances are found in William Armstrong's portrayal of Col. Thomas McKean, with his fiery disposition and consistent brogue, Marc Dyer's portrayal of cool, collected John Dickinson, and Glenn Stultz as the phlegmatic but amiable Samuel Chase.  Rob Fortner gives a creditable performance as Congressional President John Hancock.  Though his diction is at times a tad fast, he convincingly demonstrates the difficulties inherent in fairly balancing fervid opinions, particularly when he is called to cast the tie-breaking vote on different issues.  Bob Sauls' portrayal of Congressional Secretary Charles Thomson is precise and plausible, and he provides a perfect set-up to Adams' "Is Anybody There?" while displaying a quality singing voice in his own right.

The heart of the show is presented by Laura Oliver's charming depiction of Abigail Adams.  Feisty, but not shrewish, and warm without being cloying, Ms. Oliver captures the intelligence Mrs. Adams revealed in her correspondence and leaves us in no doubt that she supports and loves her husband without being blind to his faults.  In their brief scenes together, Mr. Friedman and Ms. Oliver create a credible chemistry and we are convinced of the united front they present.  Ms. Oliver has a lovely singing voice, and the blend that she and Mr. Friedman display in their duets is superb.

Mr. Wilson, who is also credited for Technical and Set Design, wisely chose to utilize a set that permits the actors to move about freely, and his blocking is subtle yet effective.  Throughout the show, the delegates engage in various subtle tasks – they sip from mugs, look out the windows, write letters – that add to the believability of the whole.  The costumes by Jolene Swezey, are uneven; although they all suggest the 18^th century, some would benefit from tailoring while others fit like the proverbial glove.

The keyboardist, Debbie Garrick, who also served as assistant music director, subtly provides beneficial support in the accompaniment where needed, and Tyler James on the cello is exceptional.

Bottom line?  Theatrix has done a splendid job of recreating the spirit of 1776, and it is well worth the time and the ticket price to attend.

Remaining performances are at 7 p.m. on July 6th and at 2 p.m. & 7 p.m. on July 7th & 8th

at the Barry Robinson Theatre and Fine Arts Center

Bishop Sullivan Catholic High School

4552 Princess Anne Road, Virginia Beach, Virginia 23462.

Tickets are $17.76, with discounts for children, seniors and military

and can be obtained online at www.theatrixproductions.com

or by calling (757) 523-0876.

© 2012 Hampton Roads Theater Babe.  All Rights Reserved.

SHOWSTOPPERS' 1776 TAKES ADVANTAGE OF ATMOSPHERE AND DELIVERS PATRIOTIC PERFORMANCE

Theater Babe Says:  Go ... and remember July 4^th is about more than cookouts and fireworks

It is thrilling to walk along Colonial Williamsburg's main drag, to enter Colonial Williamsburg's theatre, to be greeted by a perfectly coiffed and ever-genteel "Martha Washington," and, on the eve of the Independence Day holiday, enter into the world of our founding fathers.  In their performance of 1776, ShowStoppers Productions capitalizes on the ambiance of their locale and presents a respectable replica of the drama that surrounded the Colonies' internal political battle for independence.

The Tony-award winning musical, with music and lyrics by Sherman Edwards and book by Peter Stone, takes a few "literary licenses" with the past – for example, Martha Jefferson suffered a miscarriage during the summer of 1776 and never visited her husband in Philadelphia – but by drawing from letters and other historical documentation it creates an accurate microcosm not only of the age, but of the men who shaped it.  Here, director Ann Morrill Efimetz has assembled a cast of varied age and experience to reconstruct this memorable period, and she should be commended for requiring such perfect diction from each and every actor – vital in a show that relies almost exclusively on dialogue to create the drama. 

David B. Springstead, Sr., as Benjamin Franklin, is the rudder that steers this theatrical ship through its sometimes rough waters.  A veteran of several national tours, including the 30^th Anniversary production of 1776 where he also played Franklin, Mr. Springstead brings his considerable expertise to this amateur presentation with admirable restraint so that he does not overwhelm his less experienced compatriots.  His Franklin is witty, charming, wickedly smart, humorous but with an underlying formidable strength that Mr. Springstead displays at key moments.  Even when he is not speaking, Mr. Springstead commands our attention – he is Franklin, in or out of the spotlight, and the moment when he loses his temper only to painstakingly regain his equanimity is mesmerizing.

As John Adams, Jeffrey T. Nicoloff gives an overtly passionate performance in an interpretation that often loses the deliberateness of the determination that was so characteristic of the historic figure.  He captures Adams' almost palpable frustration with what he views to be the indecisive Continental Congress, particularly during his "Piddle Twiddle" in the opening scene, but his frenetic pace throughout the show undermines the zeal and the vision that should be most prominently revealed in his musical soliloquy, "Is Anybody There?"  Mr. Nicoloff possesses a strong, quality singing voice that is well-suited to the role.

Sam Miller is genial as the mild-mannered but eloquent Thomas Jefferson, though the Theater Babe wishes he would cheat outward slightly to the audience when he first states the purpose for a written declaration so that we can see, as well as hear, his precise summation of the argument.  Katharine McEnery is endearing as Jefferson's wife, Martha, and her lovely singing voice and graceful appeal enchant us every bit as much as she beguiles Franklin and Adams during "He Plays the Violin."

Christopher K. Hull provides a compelling performance as the resolute loyalist John Dickinson.  As the dominant naysayer in the quest for American independence, Mr. Hull's portrayal is believably complacent as he argues for maintenance of the status quo, and he demonstrates a pleasing singing voice in "Cool, Cool Considerate Men."

The most forceful opposition to the Declaration, however, is found in Geoffrey Klein's portrayal of South Carolina delegate, Edward Rutledge.  Although during his spoken lines Mr. Klein's performance is not so nuanced that we recognize the inherent menace lurking beneath the delegate's cultivated manners, Mr. Klein's "Molasses to Rum," a virulent musical denunciation of the role the Northern Colonies played in the slave trade, is powerful and chilling.

Larry Shaw gives a crowd-pleasing performance as Richard Henry Lee, though his pitch during the beginning of his song, "The Lees of Old Virginia," would be immeasurably improved by a more melodic accompaniment.  Frank Connelly makes the most of his relatively minor role as the sycophantic North Carolina delegate, Joseph Hewes, and is consistently amusing without succumbing to the temptation to overact.  As Judge James Wilson, Ron Morgan demonstrates excellent comedic timing, but his portrayal is somewhat at odds with the description of Judge Wilson's personality provided by other characters throughout the show.  As a result of Mr. Morgan's interpretation of Judge Wilson, Mr. Hull's perfectly-delivered line regarding the birth of new nations lacks the impact that it would have had Judge Wilson's character been more reserved.  This production notably welcomed several less experienced actors to the cast in the more minor roles, but they would have benefitted from more direction regarding the importance of engaging in "stage business" even when they had no lines, and the need to react to all of the action that occurs – not just to the lines where a reaction was obviously choreographed.

Perhaps the most profound moment of the show is in Jeremy Bustin's performance as the nameless character known only as the "Courier."  In a dramatic contrast to the philosophical debate about rights and freedom that drives the majority of the show, the Courier sings, "Mama, Look Sharp," a description of the harsh realities of war and a reminder that theoretical ideals can be won only at the cost of individual human sacrifice.  Mr. Bustin's rendition is purposefully simple and breathtaking, displaying his voice to full advantage and evoking such emotion that we cannot help but be moved by the losses he poignantly describes. 

The set, which ShowStoppers obtained from the Ford's Theatre, is gorgeous – and large.  Maybe because it was designed for a bigger space, the set dwarfs the Kimball Theatre stage and gives the impression that the delegates' seats and tables are congested.  It limits the space available to the actors to move about, primarily constraining them to the small area around their designated seat.

Certain other technical difficulties are unnecessarily distracting in what is generally an enjoyable performance.  Most of the scenes slide into each other without blackouts, permitting us to view the addition and removal of various pieces of furniture.  That's fine when costumed cast members are doing the change, but several times a stagehand moves about, dressed in an obviously modern outfit of a black shirt and khaki shorts, jarring us out of the Colonial atmosphere.  The costumes, on loan from Colonial Williamsburg, are authentic and attractive, but it appears as if the characters wear whatever costume fit best, rather than what outfit most suits the character.  For example, while the other delegates are clad for the most part in dark or earthen tones, Lewis Morris, a delegate from New York with comparatively few lines, wears a fire-engine red coat that drags our attention away from what should be the focus of the scene every time he so much as shifts in his seat.

Offstage, the Saturday night performance would have benefitted from a staff member prohibiting latecomers from taking their seats until a break in the production.  In both acts, we were disturbed by several rude theatergoers who insisted on taking their seats – frequently in the middle of a row – well after the performance started, disrupting the enjoyment of those who had the courtesy to arrive in a timely manner.  The Theater Babe was similarly shocked at the command she received from an usher to share a single program with her three companions.  At $22.00 per ticket – almost 25% more than the cost of comparable regional community theatre productions – each attendee is entitled to receive a program. 

Bottom line?  1776 is a difficult show for a community theatre to produce because it requires so very many talented men of a certain age.  The ambiance of the setting -- inside and out -- and the captivating performances of particularly Mr. Springstead, Mr. Bustin, Mr. Klein and Ms. McEnery make this a noteworthy production that is worth the time and the ticket price.

Remaining performances are July 1st at 8:00 p.m. and July 3rd at 7:30 p.m.

at the Kimball Theatre, 4242 West Duke of Gloucester Street,

Merchants Square, Williamsburg, Virginia.

General admission is $22, and tickets can be obtained

by calling 1-800-HISTORY.

© 2012 Hampton Roads Theater Babe.  All Rights Reserved.