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.

WILLIAMSBURG PLAYERS CLOSE THEIR SEASON WITH ENJOYABLE CURTAINS

Theater Babe Says:  Go for a Whimsical Musical Whodunit

Make no mistake:  to truly appreciate Curtains we need to actively engage in what Samuel Taylor Coleridge called the "willing suspension of disbelief."  This Kander and Ebb musical, not as well known as their Chicago or Cabaret, is silly fluff – but it's fun.

In the Williamsburg Players' production, director Peter Natale has assembled a cast and production team who make the most of the comparatively weak book and score.  The plot revolves around a show-within-a-show during its previews in Boston.  After the star drops dead during curtain calls and the show receives almost unanimously horrible reviews -- though not because of the demise of the leading lady which is uniformly considered to be an addition-by-subtraction -- Lt. Frank Coffi, played by Ron Campana, Jr., arrives on the scene.  Frank, a professional detective but amateur thespian, confines the cast and crew to the theater and proceeds to alternately solve the crime, suggest revisions to the ailing musical and romance the understudy, Niki, played by Rachel Marrs.  For reasons that are never entirely clear, Niki does not replace Jessica.  Instead, the show's lyricist, Georgia Hendricks, is cast in the leading role much to the consternation of her composer/partner and ex-husband, Aaron Fox, and to the delight of the leading man, her rekindled old flame, Bobby.

Mr. Campana is likeable as Coffi and maintains a credible Boston accent throughout the show.  His diction is excellent and his singing tone pleasant, better displayed in the up-tempo "Show People" than in the lyrical ballad, "Coffee Shop Nights."  Ms. Marrs is winsome in her role as the ingénue and "A Tough Act to Follow," her duet with Mr. Campana, is charming. 

As Georgia, Janesse Chapman demonstrates a lovely, strong belt particularly in "Thinking of Him."  The love triangle in which Georgia pivots between her ex-husband, Aaron, played by Mark Reid, and her former lover, Bobby, portrayed by Darrell Woods, never quite works, primarily because Mr. Woods appears so baby-faced and young that we simply do not believe that Georgia is renewing an old relationship.  Mr. Woods is a creditable dancer with a pleasing onstage demeanor and a nice singing voice, and individually Ms. Chapman and Mr. Woods each give accomplished performances.  Together, they generate no chemistry.  On the other hand, Mr. Woods' pas de deux with Chelsea Moss ("Bambi") is a memorable moment.  Ms. Moss is arguably the best dancer in the show, and the choreography by Dana Margulies Cauthen showcases their combined talents.  The chorus numbers are lively and the dances are admirably crafted to present the ensemble at its best, although there are a couple of places where the transitions are awkward while everyone just waits for the downbeat before they begin to move.  Those times are fleeting, however, and do not diminish the enjoyment of the numbers as a whole.

Mr. Reid gives a fine performance as Aaron.  He is not an overly strong singer, but the genuine emotion with which he delivers "I Miss the Music" offsets his not always perfect pitch.  Ms. Moss is appropriately annoying in her role as the pushy Bambi, though she would benefit by speaking slightly slower so that her lines would be more clear.  As the diva Jessica Crenshaw, Kathy Dean is undeniably (and intentionally) bad, but her performance is too self-conscious; by trying so hard to show how terrible she is, Ms. Dean loses the opportunity to capitalize on the comedy that is inherent when a performer who is seemingly oblivious to her apparent lack of talent insists on giving a performance her all.

The standout performances in this production are by Marsha Allen, as the producer Carmen Bernstein, and Robert Kyle as the show's director, Christopher Bellings.  It is obvious that Mr. Kyle relishes portraying the flamboyant Bellings, and his precise diction and exquisite timing generate some of the biggest laughs of the show.  Ms. Allen is brilliant as the bombastic Bernstein, and the noticeable increase in applause she received during the curtain call was well-deserved. 

This production suffers from a few endemic problems that distract from what is an otherwise delightful whole.  When singing in unison, the ensemble has a strong, pleasing sound with clear diction.  When they split into parts, however, the quality suffers; some of the notes, particularly those of the top sopranos, are just not in tune.  Additionally, Musical Director Andrew Blackmon would have benefitted from spending additional time on cleaning up the ensemble's diction in the numbers that have canons.  "He Did It" and "In The Same Boat (yet again and again and again)" could be outstanding, but because the diction is mushy and the pitch uncertain, the numbers are energetic, but not entirely successful. 

From a technical standpoint, the follow-spot operated from the stage-right side was often out of focus and wobbled, causing us to focus on the dancing light rather than the performance of the actor to whom the light was supposed to draw attention.  The Players' addition of the acoustic pads to the walls of the theatre, however, are a welcome addition and the sound in general is much better than it has been in earlier productions in their new space.  The sets, designed by Nina Costello, are an appealing and evocative homage to those of classic Westerns like Gunsmoke or Bonanza. 

Bottom line?  Curtains is both amusing and entertaining and it's worth the time and ticket price to attend.

Performances run thru June 30^th, Thursday – Saturday at 8 p.m. and Saturday at 2 p.m.

at the James-York Playhouse,
200 Hubbard Lane, Williamsburg, Virginia 23185.
Tickets are $18 for adults, $10 for students with id and can be obtained by
calling the box office at (757) 229-0431 or online at williamsburgplayers.org.

© 2012 Hampton Roads Theater Babe.  All Rights Reserved.

LITTLE THEATRE OF NORFOLK ROCKS THE FULL MONTY

Theater Babe Says:  Go (and Not Just 'Cuz They're Naked!)

Barely five minutes into the show, buff and beautiful Kelly O'Clair struts and glides across the stage as smoothly as if his joints are made of ball bearings, shedding shirt and pants with expert showmanship in a dance a la Chippendales that makes anyone with even a smidgen of estrogen sit up and pay attention.  Undivided attention.  Thus begins the Little Theatre of Norfolk's eminently entertaining production of The Full Monty.

Directed and choreographed by Shon M. Stacy, the enthusiasm and strong vocals of the cast carry the show through its uneven moments for a thoroughly enjoyable performance well-deserving of the riotous applause and cheers bestowed by the capacity crowd.

Set in present day Buffalo, New York, The Full Monty tells the tale of six men who, having suffered the indignities of long-term unemployment stemming from the closure of the local steel mill, decide to present a strip act after observing the success of a touring Chippendales troupe.  In a show that hangs upon a single visual hook, Mr. Stacy has wisely refrained from succumbing to the temptation to cast Adonis clones in the principal roles.  While Tony Brach ("Harold"), James Bryan ("Ethan"), Paul Costen ("Jerry"), AJ Friday ("Horse"), Tim Jarman ("Malcolm") and Garney Johnson ("Dave") are not at all unattractive, they simply look like ordinary guys – and that reinforces the credibility of the premise upon which the plot turns.

As Jerry, Mr. Costen displays a great tenor voice and though his dramatic scenes lack depth and intensity – we see, rather than feel, the frustration that causes him to hatch and pursue the
"Let's strip!" Plan – he gives a proficient performance in a demanding role.  That performance would be improved if he would stay in the "hot spot" of the lights; when he does not hit his mark, his face is partly shadowed to ill effect, specifically but not only in the the opening number, "Scrap." 

Mr. Costen and Mr. Johnson as Jerry's best friend, Dave, generate a credible camaraderie, and vocally they are extremely well-matched.  The Theater Babe can safely say that their rendition of "Big-Ass Rock" is one of the flat-out funniest scenes she has ever seen on stage – particularly when Mr. Johnson apparently just right that second realizes that a rope (and, later, a club) could be a purveyor of homicide -- but she cautions Mr. Costen and Mr. Johnson not to get carried away during the section of the song in which they provide backup vocals to Mr. Jarman; on Friday night, they overpowered him such that Malcom's lyrics were hard to hear.

Mr. Johnson possesses a wonderful voice, but he also tends to overshadow Mr. Brach during "You Rule My World," the duet pairing Dave with Harold.  While Mr. Johnson should probably be more cognizant of the extent to which his powerful voice may dominate those of other amateur singers, overall the music direction by Andreá Gomez is the weak link in this production.  All too frequently, the musical numbers are out of balance – sometimes because one singer is stronger than another, but more often because the electric bass challenges, rather than accompanies and supports, the vocals.  There are several moments when the instrumental introductions start too late, so the actor stands awkwardly on stage waiting to burst into song.  When the six principals sing as a chorus, such as in "Scrap," or "The Goods," they have a fabulously full sound, but there are harmonies which are discordant rather than intentionally dissonant due to pitch problems.  Because Mr. Johnson, Mr. Jarman, Mr. Friday, Mr. Costen, Mr. Bryan and Mr. Brach each individually have strong, quality voices, the flaw is not in the talent, but in the way the execution of the song has been directed and/or rehearsed.  And while the simple accompaniment to "You Walk with Me" is lovely, it is inadequately supportive; more melodic accompaniment would give Mr. Jarman and Mr. Bryan the opportunity to shine.

It is in Mr. Johnson's depiction of Dave that we most acutely feel the workers' fears of inadequacy, rejection and failure.  Reportedly, Mr. Johnson purposefully gained significant weight to play this particular role and his courageous performance is both successful and heartwarming.  We understand why Dave takes the job as a Walmart security guard, but we want him to dance.

Mr. Jarman is believably neurotic as the downtrodden Malcolm.  Mr. Bryan gives a fine, comedic performance as the Donald O'Connor-wannabe, Ethan; we applaud his persistence even as we consistently laugh at his folly.  Mr. Brach is credible as the denial-ridden Harold. Although his scenes with his wife, Vicki, portrayed here by Elizabeth Dickerson, are few and far between, in those little bits of dialogue Mr. Brach and Ms. Dickerson manage to establish a sense of unity so that we believe Harold would postpone telling his wife of his unemployed status because he doesn’t want to disappoint her and we believe that while Vicki is certainly willing to enjoy the perks of prosperity, she is not going to abandon her husband because he cannot provide them.  Ms. Dickerson's performance of "Life with Harold" is delightful. 

AJ Friday nearly stops the show with his rendition of "Big Black Man," and he is a splendid dancer even -- hilariously -- when his "arthritic" leg causes him problems in "Michael Jordan's Ball."  Nancy Bloom gives an acceptable performance as Jeanette, but she is not a brilliant singer and that flaw is noticeable because the other vocal talent in this show is first-rate.  As a result, "Jeanette's Showbiz Number" would be immeasurably improved if she were to take a Rex Harrison approach and "speak-sing" that number to emphasize the amusing lyrics and avoid her vocal shortcomings.  Alex Costen, as Jerry's son, Nathan, makes his debut in this production and does a fine job of remembering his considerable number of lines, but he would benefit from additional instruction regarding the importance of not presenting his back to the audience and the need to project at all times.

The women in The Full Monty have little stage time, but as Georgie, Dave's wife, Genevieve McBride makes the most of every second of it.  Her lead vocals in "It's a Woman's World" are outstanding, and her more intimate reprise of "You Rule My World" demonstrates a warmer, softer, yet still strong, side of her character.  In the Theater Babe's humble opinion -- and without any disrespect intended to Lauren Webre (whom the Theater Babe has not seen) who will be playing that role during the last weekend of the run -- it is a shame that all audiences will not have the opportunity to experience Ms. McBride's exceptional performance.

In the final analysis, however, The Full Monty is of course about the men displaying themselves in all their glory, and the final scene does not disappoint.  All six of the principals remain in character throughout the entirety of the show; unlike some more far-fetched portrayals of this piece, the men do not magically morph into fabulous exotic dancers.  Here, their choreography is purposefully -- and perfectly -- imperfectly executed ... they awkwardly disengage their belts ... they struggle with pulling their clothes off over their shoes -- and we cheer for them when they finally successfully disrobe.  The impressiveness of the confidence that Mr. Brach, Mr. Bryan, Mr. Costen, Mr. Friday, Mr. Jarman and especially Mr. Johnson as the so-called "fat bastard" display cannot be overstated.  In a society that prizes svelte figures, these men celebrate their less-than-perfect silhouettes and we cannot help but do the same.  When they do, at long last, present (ahem) the full monty, it is tastefully lit so the full frontal nudity is more implied than displayed – but, make no mistake, these self-assured men get their groove on for long, marvelous moments clad in little more than ... well, you should go and see for yourself. 

The set, by Jason C. Martens, is interesting but there were slight problems that were moderately distracting.  Several scenes are played on the upper level, stage left, of the two-story set, but from where the Theater Babe was sitting (three seats in from the right aisle) in those instances the most she could see was the reflection of the spotlight and an occasional gesture; for a long moment, Mr. Johnson is apparently seated on the second story, stage left, and all the Theater Babe could see was his right arm.  Harold's home is supposed to be affluent and stylish, but the frame upon which the sofa sits is noticeably scuffed and greatly in need of a coat of paint which erodes the attempt to establish a posh atmosphere.  Additionally, the crew needs to be careful to remember to adjust the curtain after the set change prior to "Big-Ass Rock" before the lights go up to ensure that the magic of the set remains a mystery to the audience.  Those little, easily remedied, things needlessly detract from the performance as a whole.

Costumer Staci Murawski did an excellent job of establishing the characters through their clothing, and the choice to use construction workers rather than the traditional policeman outfits in the final scene was a good one.

Bottom line?  The Full Monty as presented by the Little Theatre of Norfolk is big fun interspersed with some truly remarkable moments.  It is unquestionably an adult show, so if you are disinclined to listen to repeated foul-language or are offended by lewd references, gestures and/or public nudity, this is not the show for you.  The Theater Babe is not so high-minded, however, and encourages anyone similarly situated to come and enjoy the experience because it is surely worth the time and ticket price.

Performances run thru June 24th, Thursday - Saturday at 8 p.m. and Sunday at 2:30 p.m.

at the Little Theatre of Norfolk

801 Claremont Avenue, Norfolk, Virginia 23507

Tickets are $17 with discounts for students, seniors and military.

Reservations can be obtained by calling the box office at (757) 627-8551.

© 2012 Hampton Roads Theater Babe.  All Rights Reserved.

POQUOSON ISLAND PLAYERS' TALENTED CAST
PRESENTS FIRST-RATE FOLLIES

Theater Babe Says:  Go and Enjoy a Notable Production of Classic Sondheim

It is always with trepidation that the Theater Babe approaches any community theater production of a Stephen Sondheim show – any Sondheim show, really, but particularly his earlier works where he experimented with books that are driven by the characters rather than by the story, and the emotion emerges primarily from complicated, often dissonant, melodies requiring excellent pitch and lyrics that depend on the performer's crystal-clear diction.  Done well, Sondheim's music is transcendent.  Done poorly, one would be better off chained to a chair compelled to hear those proverbial nails streaking down a chalkboard.

In Poquoson Island Players' production of Follies, director Brandon Lyles and musical director Jeff Joyner have assembled a gifted cast who for the most part display all that is glorious about a Sondheim musical:  clever lyrics and diametric interlocking musical parts all tied together with sophistication, wit and a dark realism.

Follies takes place in 1971, on the stage of the Weissman Theater which for decades had been the home of the Weissman Follies. The theater is scheduled for demolition, so Dimitri Weissman (Bill Hogge) hosts a reunion for the former showgirls before the building is razed. Unfortunately, much of the set-up is presented during the long opening scene in which much of the dialogue is drowned out by the onstage instrumentalists. Although Mr. Joyner on the piano and Jason Kriner on the trumpet are both accomplished musicians and the background music is enjoyable, it too frequently takes precedence over the actors' spoken lines with the result that the exposition provided by the dialogue is lost.

Throughout the show, the party attendees are periodically shadowed by the ghosts of their younger selves. At various times, the current action triggers a memory, played on a different part of the stage by younger actors.  Mr. Lyles did an excellent job of pairing the actors playing the same character at different ages.  Where there are slight discrepancies such as a height differential, it plays wonderfully as if the "old" actor is remembering an idealized version of herself.

Nowhere is that juxtaposition more striking than in the showstopping number, "Who's That Woman?" brilliantly led by Kim Vernall as Stella. Ms. Vernall's pitch and delivery are spot on and the energy of the ensemble and the charming choreography by Rebekah Hipple that intertwines the characters with their younger selves made it one of the show's most memorable moments. 

The story focuses primarily upon two of the former showgirls, Phyllis and Sally, and their husbands, Ben and Buddy, as they reminisce and ruminate upon marriage, infidelities, and might-have-beens.  Scott Root, as Ben, possesses a marvelous, rich baritone that is displayed to advantage during his musical soliloquy, "The Road You Didn't Take." Although Mr. Root arguably has the best voice in the show, he demonstrates admirable restraint when singing with the other characters so he does not overpower them but rather creates a harmonic blend. When he sings "Waiting for the Girls Upstairs," with Buddy, played by Neil Hollands, his strong tone merges with Mr. Hollands' pleasing if weaker one to excellent effect.  "Too Many Mornings," Mr. Root's duet with Sally, played here by Tammy Gandolfo, is wistful and beautiful.

Carole-Sue Fiest is believably bitter as Ben's wife, Phyllis.  Her musical diatribe, "Could I Leave You?" is passionate, relentless and powerful.  Ms. Fiest and Mr. Root create a credibly convoluted relationship, portrayed by each as dissatisfying yet essential.  Because of that underlying connection, their ending scene is poignant and honest.

Sally's relationship with Buddy suffers by comparison.  There is little chemistry generated between Ms. Gandolfo and Mr. Hollands so Mr. Hollands is faced with the difficult chore of convincing us that he actually loves his wife enough to be jealous of her ongoing attraction to Ben.  Because we do not sense a bond between Sally and Buddy, "The God-Why-Don't-You-Love-Me Blues" does not ring true, and the frenetic choreography of that number does not help Mr. Hollands -- all too often it leaves him breathless and unable to articulately render the tongue-twisting patter. Although the script describes Buddy as "appealing, lively and outgoing," Mr. Hollands' interpretation presents the character more like a musicalized Willie Loman.  It mostly works – and the unusual interpretation makes Buddy a more introspective, if less charming, character – but it removes context from the vaudeville-like "Blues" and that disconnect prevents the number from attaining showstopper status.  Mr. Hollands has a pleasing quality to his singing voice that is best demonstrated during the lyrical parts of "The Right Girl," and the Theater Babe would welcome the opportunity to hear him perform a role that capitalizes on that strength.

As Sally, Ms. Gandolfo is both lovable and sweetly pathetic.  Ms. Gandolfo has a pretty singing voice, but it was occasionally overwhelmed by the accompaniment, particularly during her earlier numbers.  Her best moment is unquestionably her exquisitely understated rendition of "Losing My Mind" in the second act.

Jeremy Bustin as Young Ben, Stephen Maney as Young Buddy, Caitlin Burke as Young Phyllis and Sarah Friday-Wall as Young Sally are uniformly engaging and successfully capture the optimism and enthusiasm that have morphed into the cynicism and apathy of their older counterparts. Ms. Burke, Mr. Bustin, Ms. Friday-Wall and Mr. Maney each individually has a strong, melodious voice and as a quartet they have a good blend.  Mr. Bustin in particular gives a fine dramatic performance.  Initially appearing as nothing more than a happy young man content to be "Waiting for the Girls," Mr. Bustin subtly reveals the duplicity of his character, and it is in his performance as Young Ben that we most easily see the seeds of the embittered, somewhat regretful older Ben portrayed by Mr. Root.

The other young Follies girls, Amanda Colwell, Dorothy Douglas, Megan Gerth, Rebekah Hipple and Dara Sherman do an excellent job of consistently maintaining their Ziegfeld showgirl posture and mannerisms as they strut across the stage.  As Young Heidi, Ms. Sherman displays a gorgeous voice with a pure pitch that floats across the stratospheric notes of "One More Kiss."  Jane Martin is perfectly cast as Heidi.

Marcia Dadds gives a superb performance as Carlotta, and her humorous, tongue-in-cheek rendition of "I'm Still Here" is one of the show's highlights.  Other noteworthy cameo moments include Jeff Joyner leading "Beautiful Girls," and Terry Rosales Taylor's presentation of "Ah, Paris!"  Debbie Kendall and Ron Milovac as Emily and Theodore Whitman give a lively performance of the deceptively simple "Rain on the Roof."

The standout performance by an actor in a supporting role, however, belongs to Betsy Forrest's portrayal of Hattie, a perhaps-more-than-middle-aged chorus girl.  Ms. Forrest possesses a singing voice that women half her age could envy, and she takes the well-known (and some might say shopworn) "Broadway Baby" and knocks it out of the park.  Her extraordinary performance alone is worth the admission fee.  The Theater Babe is only sorry that we were not given the opportunity to reward Ms. Forrest – as well as Ms. Vernall, Ms. Sherman, Ms. Martin, Ms. Dadds, Mr. Joyner, Ms. Taylor, Ms. Kendall and Mr. Milovac – during the curtain call, since they simply bowed with the rest of the ensemble.  They deserve at least a collective step-out for their individual efforts.

Of all of the praiseworthy performances of this show, however, the single best moment was when the cast as a whole converged onstage, each singing their individual melodies in what could easily have been a cacophonous mess.  Instead, it was remarkable due to the actors' combined talents and the expert musical direction of Mr. Joyner.

The set was well-conceived by set designer Rick Hinson, and beautifully lit by Mr. Lyles who successfully used a variety of techniques to enhance mood and to distinguish the time differences.  The costumes by Julie Perkoski were period- and character-appropriate, and the showgirl outfits were dazzling.

Bottom line?  Follies is an exorbitantly difficult show to produce, and the cast, crew and production team should be justifiably proud of their successful effort that is definitely worth the time and price of the ticket.

Performances run thru June 10th, Friday - Saturday at 8 p.m. and Sunday at 2:30 p.m.

at the Mary T. Christian Auditorium at Thomas Nelson Community College

Templin Hall, 99 Thomas Nelson Drive, Hampton, Virginia.

Tickets are $15 with discounts for students, seniors and military.

Reservations can be obtained by calling the box office at (757) 881-9797.

© 2012 Hampton Roads Theater Babe.  All Rights Reserved.

LITTLE THEATRE OF VIRGINIA BEACH'S

A BAD YEAR FOR TOMATOES IS DELIGHTFUL

Theater Babe Says:  Go and Get Yourself a Giggle

Let's be clear:  A Bad Year for Tomatoes is a silly show.  But when silly material is skillfully presented as it is here in LTVB's production, what results is a thoroughly enjoyable evening full of the smiles Robin Chapman predicts in his Director's Note ("You won't come away any wiser, but you will come away smiling."), as well as few big ol' belly laughs.

The plot (such as it is) turns around the travails of Myra Marlow, a television star who retires to a small town in Vermont looking for seclusion in which to write her memoirs, only to be plagued by nosy neighbors.  Monica Wolfkill, as Myra, delivers an overall satisfactory performance that shines during her moments of physical comedy.  Ms. Wolfkill notes in her bio that this role is her largest to date, and her performance occasionally reflects that self-consciousness.  During Saturday's performance, she tripped over her words a few times – not badly, and certainly not any more than people frequently do in regular, off-stage conversation.  But each time it happened, Ms. Wolfkill tensed and lapsed into mere recitation of lines for long moments until she relaxed back into character and spoke more believably.  The Theater Babe recognizes that Myra's role indisputably carries the show and she has a ton of lines, but she encourages Ms. Wolfkill to worry less about being letter-perfect, and to focus on simply enjoying the experience and the ridiculous situations in which Myra finds herself.  For when Ms. Wolfkill is not concerned that she might flub a line, she has a lovely naturalness to her presentation that is pleasing to watch. 

Mary Lou Mahlman and Carolyn Collings are enchantingly dotty as Myra's neighbors Cora Gump and Reba Harper.  Ms. Mahlman and Ms. Collings each manage to infuse their gossipy, meddlesome characters with humor and a winsome kindness so that we completely understand why Myra refuses to just ignore them.  Steve Suskin is credible as the sheriff, although he needs to be more conscious of the three-sided stage in the LTVB's auditorium; during a long period in the second act, Mr. Suskin stands downstage right facing center stage, thereby not only presenting his back to one-third of the audience, but also completely blocking our view of Ms. Collings and Ms. Mahlman. 

Missy Hayes Mohr is a credible kook in her role as Willa Mae Wilcox, Myra's hippie neighbor.  Ms. Mohr embraces her character's eccentricities without overacting, and she's great fun to watch every time she steps on stage.  Steven Robert Wright gives a genial performance as Tom Lamont, Myra's agent and longtime friend, but his comedic timing on Saturday was just slightly off, particularly in the first scene, and lines that should've received laughs did not because of their delivery.

Part of the problem may have been the way he was dressed by costumer Kay Burcher.  Set in 1972, it seems unlikely that even on his day off a Hollywood agent would've been dressed in chinos and a Mr. Rogers-esque cardigan, and Tom's appearance creates an avuncular vibe between he and Myra rather than a flirtatious one.  His costumes in later scenes are much more consistent with his character.  Similarly, Cora and Reba's outfits do a good job of reinforcing their personas, but they are more reflective of the 1990s than the early-70s time period in which the action is supposed to be set.  By way of contrast, Willa Mae is perfectly dressed.

The standout performance of this production, however, is Brian Cebrian's unfailingly funny portrayal of Piney.  Although his lines are seldom more than two syllables long and are believably rendered in a consistent sing-song tone, Mr. Cebrian nevertheless creates an endearing character; we want Piney to prevail, even though we know his heart's desire is impossible to achieve. 

Bottom line?  Mr. Chapman and his cast have created an amusing world of quirky characters and it's worth the time and the ticket price to spend the evening with them.

Performances run thru June 10^th, Friday – Saturday at 8 p.m. and Sundays 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 and active military. 

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

© 2012 Hampton Roads Theater Babe.  All Rights Reserved.