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Arts and Culture (All)

Can two old geezers find a future past resentment?

For Neil Simon’s The Sunshine Boys, Twin Beach Players reunites the biggest comedy team in Vaudeville for a nostalgic performance of their once-famous Doctor sketch.
    Willie Clark (Jeff Larsen) and Al Lewis (Tom Wines) were the act to catch for 43 years. But 11 years ago, Al walked out, leaving Willie to hold the bag of gags.
    Now, in their golden years, CBS asks them to reunite in a show that pays reverence to the great comic stars through the years. It’s a second chance in a lifetime, but resentment — and tension — get in the way. Clark’s nephew and agent (Tom Weaver) has to figure out a way to get the two geezers to bury the hatchet and pull off the television show.
    Mayhem ensues when Clark ­nearly dies trying. His heart attack keeps the double-trouble duo out of the television show.
    Fate has another plan for them: living together in relative peace and performing their acts in a retired actors’ home.
    Opening night brought not only the old boys but also new comfort to the theater’s small venue at North Beach Boys and Girls Club. Thanks to Twin Beach master carpenter Justyn Christofel, the audience looks down on the action from moveable-bleachers.
    But play-goers didn’t fill the bleachers or help keep the Sunshine Boys’ uptempo.
    Highlights — like the Doctor sketch rehearsal for a CBS television show and the scene where the boys threaten each other with dagger and cane — bring comic relief to a play slow to take off in Act 1. Act 2 regains momentum as the old boys regain their old timing.

Aidan Davis as Eddie; Staci Most as Vaudeville Nurse; Samantha Wadsworth as Nurse. Director and production designer: Sid Curl. Assistant director and stage manager: Donna Bennett. Costume designer: Dawn Denison. Music designer: Bob Snider. Setting and make-up designer: Wendy Cranford. Lighting tech assistant: Katherine Willham. Lighting and sound board operator: Camden Raines. Audience design: Richard Keefe Jr. Promotions and advertising: Viv Petersen and Philomena Gorenflo. House management: Lynda Collins and Viv Petersen.
Playing FSa 8pm; Su 3pm thru April 13 at North Beach Boys and Girls Club, North Beach. $12 w/discounts: 410-286-1890; www.twinbeachplayers.com.

See it, and Shakespeare lives

Shakespeare’s plays are still being performed 400 years after they were created because they were brilliantly written but also because their themes are timeless.
    Not every theater company that takes on Shakespeare can live up to the Bard’s talent and intent, moving beyond the page to vitalize his characters, prose and situations. But when Shakespeare is done well, his stories jump off the page and into our consciousness, demanding our attention and forcing us not just to understand but also to feel what his characters are feeling, and why.
    So it is with Annapolis Shakespeare Company’s Hamlet. Beautifully realized, stylistically and brilliantly transposed into the current day, this Hamlet is a tour de force, a masterwork for the company. Director and set and sound designer Sally Boyett, the company’s producing artistic director, has earned a reputation for her economical yet transformative use of the Bowie Playhouse stage. This production furthers that reputation. From the huge gilded frames that hang from a dark sky to the sacrifice of a few house seats in favor of a platform that thrusts the actors almost halfway into the audience, this is an impressively aesthetic production.
    Boyett’s haunting and ethereal sound and Paul Collins’ often eerie lighting accompany our journey through Hamlet’s madness and his thirst for revenge. Maggie Cason’s costumes, mostly muted grays but with a touch of blood-red seemingly everywhere, remind us that madness, revenge and betrayal are not only to be found in Shakespeare’s time.
    Of course, none of this matters if the acting and direction do not achieve the same standards, and here both are surpassing. Every one of our community theater actors and directors would benefit from attending at least one of Annapolis Shakespeare’s productions, especially this one, because the dedication and commitment to character, to dialect, to pacing and to clarity are unsurpassed.
    Manu Kumasi’s Hamlet is stellar, the fire and humor coming not just from the staccato delivery of his lines but blasting from his every pore. His physicality seems to envelop the theater, especially when he ascends to the end of that aforementioned platform and with sheer passion imposes his world onto ours, his fiery eyes just feet away from ours, boring directly into us and gripping us with his madness.
    Likewise, Audrey Bertaux brings us an Ophelia whose own tragic fall into madness could have been over the top in less capable hands. Instead, we are drawn into the character’s decline and feel pity for the way Hamlet projects his anger toward his mother onto her.
    Nafeesa Monroe as Gertrude and Paul Edward Hope as Claudius lead the rest of the company, several of whom very effectively play multiple roles. From Rosencrantz and Guildenstern to Horatio to Polonius and all the rest you read about in school, this is Shakespeare at his best, flying off the pages and brought to life in a production whose superlative whole is far greater than the sum of its very excellent parts.

Producer: Kristen Clippard. Stage manager: Monica Jones. Dialect coach: Nancy Krebs.
Playing thru April 13. Th 7pm, F 8pm, Sa 2pm & 8pm, Su 3pm at the Bowie Playhouse, White Marsh Park Park. $24/$20: 410-415-3513; www.annapolisshakespeare.org.

A delightfully demented tale of murder, theft and the service industry

As the concierge of The Grand Budapest Hotel, M. Gustave (Ralph Fiennes: The Invisible Woman) believes in offering his guests the best service. In the case of wealthy older women, Gustave’s services include wine, candlelight dinners and himself. The women get a boost in confidence; Gustave gets cash and returning customers.
    Among the hotel staff, Gustave is a legend. Suave, mysterious and unflappable, he runs the hotel with an uncompromising commitment to its patrons. He recites romantic poetry at staff dinners, insists on high standards of conduct for his subordinates, bathes in his favorite cologne and is involved in even the minute details of daily life at the Grand Budapest. This dashing figure enchants Zero (Tony Revolori: Shameless), the hotel’s newest lobby boy. Never one to turn down a fawning admirer, Gustave takes Zero under his wing.
    When one of Gustave’s regular paramours, octogenarian Duchess, drops dead, Gustave and Zero travel to the funeral to pay respects. Hoping for a few thousand dollars from the will, Gustave instead is awarded a priceless painting. Her family is not pleased.
    Police are called, accusations are thrown and the Duchess is eventually discovered to have been poisoned. Son Dmitri (Adrien Brody: Third Person) frames Gustave and sends his henchman (Willem Dafoe: Out of the Furnace) for the painting.
    The Grand Budapest Hotel is a madcap comedy fusing dark violent themes with light quirky sensibilities. In director Wes Anderson’s (Moonrise Kingdom) quirky aesthetic, characters are notoriously nonplussed by the whirlwind of crazy events around them. A severed head is usually a gruesome sight. Put that head in a wicker picnic basket with a ribbon and some festive tissue paper, as Anderson does, and it becomes a macabre joke. Anderson’s sensibility isn’t for everyone, but his world of stylish lunacy is a refreshing change from typical fare.
    As the center of the film’s twisting narrative, Fiennes is a wonder to behold. Dapper even in prison rags and suave to a fault, he’s the Cary Grant of concierges. His manic energy is fascinating as he wrings every bit of charm out of a role that makes him a lecherous jerk.
    Supporting Fiennes is Anderson’s typical cast of character actors, including Bill Murray, Edward Norton, Jason Schwartzman and Adrian Brody. In small parts, each contributes to the controlled chaos. The standout is Dafoe, who manages to be utterly terrifying and hilarious as he murders his way through the movie.
    Funny, slightly gruesome but always entertaining, The Grand Budapest Hotel is a decadent treat.

Great Dramedy • R • 100 mins.

It’s like watching a car crash in slow motion

Based on the popular but story-bare video game series, Need for Speed follows racer and mechanic Tobey Marshall (Aaron Paul: Breaking Bad). A small-town racer trying to keep his father’s auto shop afloat in a tough economy, Tobey scrapes by winning local street racing competitions. But his monetary problems need a long-term solution.
    Along comes Dino Brewster (Dominic Cooper: Fleming), the small-town rich kid who made good. We know Dino is evil because he wears black and sneers at everybody.
    Dino challenges Tobey to a street race using supercars that aren’t street legal. When the race goes south, a friend is barbequed in a crash. Tobey tries to save his friend while Dino, who caused the accident, frames Tobey.
    After two years in prison, Tobey is back. How will he exact vengeance on the man who sent him to prison and caused a car wreck that killed his best friend? By racing him in another illegal street competition.
    Again, you don’t need to be smart to star in your own street-racing movie.
    Need for Speed is guilty of the cardinal action-movie sin: It’s boring. Races are dull, acting uninspired and story pathetic. It’s a failure on every possible level. Director Scott Waugh (Act of Valor) has a terrible sense of editing, and his rapid cuts drag out action sequence into mind-numbing eternity.
    A toddler with a set of Matchbox cars could have devised a more complex, plausible and compelling story than writers George and John Gatins.
    Paul emerged from Breaking Bad as one of television’s most promising actors. Here, he gives a performance worthy of a thesaurus of pejorative descriptors. If this performance is indicative of what he’s capable of on the big screen, he had better go running back to LA before pilot season ends.
    You don’t buy a ticket for a movie titled Need for Speed expecting tight plotting or even amazing acting. At best, you’re paying to see some exciting car chases, flashy cars and attractive actors. This one stalls at the gate, delivering boring race footage, terrible acting and a cast who seem to be counting the seconds until Waugh calls cut and puts them out of their misery. Mine continued for two hours and 12 minutes.

Abysmal Action • PG-13 • 132 mins.

Fired by the kind of love that transcends reason and leaves you weak in the knees.

From the thunderclap of their meeting to their untimely deaths, the power of Romeo and Juliet’s love for each other resonates throughout the play, and throughout history.
    So promises Compass Rose Theater in program notes to the youthful production of William Shakespeare’s classic. Yet the thunderclap failed to sound at the play’s pre-opening pay-what-you-can matinee. Blame it on a delayed opening due to technical problems, non-traditional casting or inexperience. Whatever the reason, there was no passion. Passionate debate and sword fights, yes, but passionate kisses, alas, no.
     Seventeen-year-old Ely Pendry, a Compass Rose alum dating back three years to Lost in Yonkers, is the best Romeo I have ever seen. He is fired by the kind of love that transcends reason and leaves you weak in the knees.
    Fourteen-year-old Sydney Maloney as the child-bride Juliet, however, does not yet have the depth of understanding to transcend emotions beyond coquetry, fear and tantrums. Similarly, this promising production feels immature. From the previous show’s recycled set to Friar John’s (Kyle Lynch) forgotten opening monologue and a conspicuous lack of equity players central to the theater’s mission, it left me unmoved. This despite many fine performances.
     In brief: Family tension is palpable from the opening clash in which the Prince of Verona (Brenna Horner) orders Romeo Montague’s father (Lynch) and Juliet Capulet’s father (Dan Reno) to rein in their feud. Romeo and his friends Benvolio (Shaina Higgins) and Mercutio (Emily Kaye Lynn) recklessly crash the Capulets’ party — and the lovers first meet.
    Juliet’s nurse (Renata Plecha), sympathetic in the extreme, arranges for the lovers’ secret marriage. Then Juliet’s kinsman Tybalt (Michael Robinson) kills Mercutio in a duel and is subsequently killed in like fashion by a reluctant Romeo who is banished from Verona, leaving Juliet inconsolable.
    Capulet and Lady Capulet (Maggie Robertson) arrange for her speedy betrothal to the haughty Count Paris (Matt Miller), an elder suitor whom she despises. Thus Friar Laurence (Thomas Hessenauer), who performed her wedding, arranges a fake death to buy time until Romeo can spirit her away from the crypt. Miscommunication results in their serial suicides.
     There is great action and acting in this show. The sword fighting is tight and treacherous. Lynn’s Mercutio sparkles with charisma and energy. Robinson’s Tybalt is a menacing hot head who commands attention. Plecha and Hessenauer bring the wisdom and compassion of age to their nurse and friar characters, and Reno demonstrates a mercurial temperament as Juliet’s father that well explains her fear of displeasing him.
    The period costumes are beautiful and tailored. Of the four women in pants roles — a reversal of the norm in Shakespeare’s time — only Lynn has the hairstyle to pull it off with aplomb, and the Prince looks strangely androgynous. Another disconcerting turn, which is probably accurate for the time and therefore a brilliant decision on the director’s part, is actors in their late 20s playing the parental roles. Do the math and be amazed. There is some music scattered throughout, but inconsistent in period and style.
     Despite the shortcomings, there is still much to enjoy in this blossoming production, not least Pendry and Lynn’s outstanding performances. As a professional show, it earns a B. But as a student project from an educational theater, it’s a real winner.

With Casey Baum as Romeo’s servant and Sydney Knoll as Juliet’s servant. Director: Lucinda Merry-Browne. Costumes: Julie Bays. Fight director: Casey Kaleba. Lights: Megan Lang. Sound: Kathleen Boidy. Set: Amy Kellet.
Playing thru April 20. Th 7pm, FSa 8pm (Sa April 12 & 19 also 2pm) Su 2pm at Compass Rose Theater, 49 Spa Rd., Annapolis. $35 w/discounts; rsvp: 410-980-6662; www.compassrosetheater.org.

You don’t have to be an artist to paint like a master — just a genius

Many have tried to copy Johannes Vermeer’s detailed and fascinating works, but it took a CEO from San Antonio with no artistic training to do it. An electrician and amateur inventor, Tim Jenison is the CEO of the wildly successful video technology company NewTek. He is not, however, a painter.
    Jenison was fascinated with the works of the 17th century painter. Vermeer was an oddity of his time because he didn’t sketch his paintings, instead working oil on canvas to achieve realistic images of Dutch domesticity. No documents survive to reveal Vermeer’s techniques; his process and the formulas for his paints are a mystery lost to the ages.
    To Jenison’s eye, Vermeer’s style resembled a compressed video image: reflecting true light values, showing single point focus and capturing amazing detail. Jenison theorized that Vermeer used a lens and camera obscura setup to get such realism. Using a small mirror and a technique he invented for matching shades, the untrained Jenison was able to create stunningly realistic paintings.
    So it was possible to paint using optics and mirrors. But did Vermeer do it that way?
    To test his theory, Jenison used his optics setup to recreate Vermeer’s The Music Lesson. This wasn’t simply a case of repainting a masterpiece; Jenison was out to prove that Vermeer could have used optics to achieve his results. Jenison visited Vermeer’s home, took measurements of his studio space and got to work.
    He recreated Vermeer’s studio, hiring experts to rebuild every stick of furniture, recreate the light that would have streamed through the windows and sew exact replicas of the clothing of the models. Jenison made his own lens, using techniques that would have been available in the 17th century, hand-polished the optics and learned how to hand-mix oil paints. With all the elements in place, it was time to test his hypothesis.
    A documentary that argues art and technology should be united instead of viewed as separate studies, Tim’s Vermeer is a tribute to inventive minds and determination. Directed by Teller (of magical duo Penn and Teller), the film is a joyful look at the dedication, obsession and ultimate triumph of Jenison and Vermeer. Narrated by Teller’s partner Penn Jillette, the film explores what makes an artist but finds no single answer.
    Capturing Jenison’s tenacity while giving the audience a hefty art history lesson, Teller manages to keep the film light and entertaining. He interviews all the right art historians to make his argument that Jenison’s methods are not only possible but probable.
    The real proof of Jenison’s thesis is his recreation of The Music Lesson. Teller painstakingly documents every exacting step Jenison takes to reach his goal. The commitment is part technology, part madness and all art.
    You’ll need to go to Baltimore or D.C. to catch this documentary, but it’s well worth the trip. Don’t be surprised if you find yourself buying a small mirror and some oil paints after you see it.

Great Documentary • PG-13 • 80 mins.

Liam Neeson texts with a terrorist in this silly but enjoyable drama

Bill Marks (Liam Neeson: The Lego Movie) needs a few belts of liquor before he goes to work in the morning. Marks is an air marshal entrusted with guarding passengers on international flights. He’s afraid of flying and desperate for another drink, but he tries to white-knuckle his way through.
    The one perk of the job is his seat: Apparently air marshals sit in first class and enjoy all the amenities. When his cell phone beeps mid-flight, he expects new orders from his boss. Instead it’s a text from a passenger threatening to kill one person on the plane every 20 minutes until a ransom of $150 million arrives.
    It might be a joke, but Marks has to be sure. He alerts the crew, sets his watch for 20 minutes and looks for who’s making the threats.
    The first body announces the 20-minute mark. Marks is convinced the threat is real, but TSA and Homeland Security suspect Marks himself. With only a flight attendant and fellow passenger to help him, Marks seeks to stop the killing and find the killer. But as he gets closer, the passengers begin to suspect his motives.
    Non-Stop is a ridiculous locked-room thriller with a tenuous grasp on physics and logic. Astoundingly, neither the breach of Newton’s laws nor facts keeps Non-Stop from being an entertaining film.
    Director Jaume Collet-Serra (Unknown) makes the most of the confined setting of the film. Every shot reminds you of just how small aircrafts can be, making the whodunit storyline tenser. Well-choreographed fights are staged in claustrophobic plane bathrooms, cabins and aisles.
    There are drawbacks to using text message exchanges to build tension. Texting is a passive form of communication, forcing you to read plot points with an autocorrect feature. It’s hard to make texting riveting, and the movie feels silly when Neeson grimaces at his phone, punching keys dramatically.
    As the man who kicked off the so called geri-action genre, Neeson is adept at making the ridiculous entertaining if not believable. Neeson is also a great brawler, rushing his opponents and throwing rapid, brutal punches. His dramatic training lets him give gravitas to even the silliest lines of dialog. Mark Wahlberg couldn’t get away with saying “I’m not hijacking this plane! I’m trying to save it!”
    This fun but mindless action would be great to catch on a plane.

Good Action • PG-13 • 106 mins.

The playwrights did it.

The theater darkens. Ominous, deep, suspenseful music oozes around us. Shadows rise. A hooded figure attacks. Bowie Community Theater’s latest, Dark Passages, begins.
    A good whodunit requires tight writing, staging and pacing, all to keep the audience on the edge of their seats.
    In this modern take on the murder suspense mystery, the cast works hard to rise above a script that gives us little more than we’ve already seen in movies, plays and episodes of Castle.
    Playwrights Shannon Michael Dow, Jan Henson Dow and Robert Schroeder have put together a script that is sometimes funny, sometimes involving. But its constant and obvious efforts to keep us guessing about whodunit ironically sap the play of the suspense that ought to be at its core.
    Are we on the edge of our seats? No. Are we curious? Yes, about whodunit of course, but also about why a script set in the present day of voice mail and texts relies on an early-1990s’ era cassette tape telephone answering machine as a plot point. Or why the choice was made to hang a working clock on the wall to remind us of the real time — around 8:30pm, for example, when the program tells us the scene we’re watching is set on “a weekday afternoon.”
    Quibbles aside, Bowie Community Theater’s production provides us an entertaining evening, with some compelling characters and some clever, two-level staging that allows the action to flow effectively.
    Set in an upstate New York college town, the mystery begins when several young women go missing. We are introduced to Sandy (Chrisshall Daniel), a graduate assistant to professor Mark (Pat Reynolds). Sandy is first to be taken away, in the dark of her apartment by a black-hooded intruder. Mark’s girlfriend Bret (Amanda Magoffin) moves into the vacated apartment run by creepy landlord Harold (Scott Beadle). Across the hall is neighbor Eric (Matt Leyendecker), whose loud banging is explained away as him working on his art, though the box he moves it in is roughly the size of a coffin.
    We also meet oversexed Gillian (Lenora Spahn), a friend of Bret’s just back from Europe and looking at males like a dog in heat. Will she be next? Will Bret? Detective Russell (James McDaniel) is there to investigate. Or is he?
    Meanwhile, Bret and Mark are having their problems. It turns out the professor was having an affair with the missing Sandy. Eric rejects Gillian’s advances. More ominous music, another attack … another woman goes missing. The plot turns again. 
    Whodunit is revealed at the end, of course, after several more twists. The likeable cast has turned in a solid performance. We rise, not from the edge of our seats but from deep within, that ominous music serenading us as we exit, wondering how this talented group might have fared with a script that asks more of them and us.

Directed by John Nunemaker. Producer: Taylor Kidd. Stage manager: Bernadette Arvidson. Sound designer: Dan Caughran. Set designer: Gerard Williams. Lighting designer: Garrett Hyde.

Playing thru March 16. FSa 8pm, Su 2pm at White Marsh Playhouse, Bowie. $20 w/discounts; rsvp: 301-805-0219; www.bctheatre.com.

The couple that kills together may not stay together

Thérèse (Elizabeth Olsen: Very Good Girls) had a tough childhood. Abandoned at her aunt’s home by her father, Thérèse was raised with her sickly cousin Camille (Tom Felton: From the Rough). Trained by her Aunt Raquin (Jessica Lange: American Horror Story) to be a nursemaid to spoiled rotten Camille, Thérèse escapes to dreams of Paris.
    When Camille decides he’s of an age to move to Paris and make a living like a grownup, Madame Raquin forces Thérèse to marry him. Her ploy not only keeps the family together but also ensures Camille’s inheritance of Thérèse’s secret fortune. Thérèse isn’t thrilled, but she’s an illegitimate daughter with no education. Her options are marriage or the streets.
    Just as Thérèse has resigned herself to a loveless and sexless marriage, she meets Laurent (Oscar Isaac: Inside Llewyn Davis), Camille’s artist coworker. The two begin a torrid affair. Life would be perfect if they could openly be together.
    Camille has to go. They plot his demise between trysts, but when it comes to the deed, they are infirm of purpose.
    Based on Emile Zola’s classic novel Thérèse Raquin, In Secret shares the original’s fascination with sex, guilt and obsession. Unfortunately, director Charlie Stratton (Revenge) is not Zola. Unlike Zola’s novel, which maps out themes of repression, sexual awakening and guilt, Stratton jumps from sex scenes to overwrought dramatic monologues. We don’t have time to develop sympathies, so it’s a long march through the plot.
    As the tragic lovers, Olsen and Isaac are oddly cast. Though they have decent chemistry, their acting styles clash with the story. They’re too loud and expressive for repressive 1867 France, where a woman’s transgressions could ruin her. Olsen seems especially lost, vacillating from vacancy to histrionics. Isaac is a charming seducer, but he can’t mine much substance from this shallowly written character.
    Lange makes the most of her underwritten role by gracefully chewing the scenery as Thérèse’s controlling aunt. She has recently reinvented herself as a Bette Davis-style crone, reveling in the grotesque. Here, she dials back the performance, portraying Aunt Raquin as a well-meaning woman who is so blinded by her devotion to a sick child that she neglects the other child in her care.
    In Secret does have a few good moments, especially when Stratton plays with the guilty couple’s minds. He also invites us to watch very pretty people having sex in beautifully lit montages.

Fair Drama • R • 101 mins.

2nd Star Productions casts dynamite in this explosive production

2nd Star Productions grew up on musicals and comedy. Now 18 years old, the company has matured. You’ll see the change — and you’ll want to, I promise you — in 2nd Star’s first production in a new playhouse.
    A Soldier’s Play, at the Charis Center for the Arts, is serious drama arising from social discord. It’s the kind of significant show you’d expect from Dignity Players, the Annapolis social justice-focused company about to go dormant. Rated R for mature audiences, Charles Fuller’s 1982 Pulitzer Prize winner is historical fiction rooted in racial tension and mystery. 2nd Star brings a dynamite cast of fresh talent to its production.
    The time is 1944. The setting is a segregated army base in Louisiana, where 90 percent of the soldiers are black enlisted men warehoused away from combat. One of the black soldiers has been murdered. Circumstances are puzzling. The story follows the investigation of his death.
    Sgt. Waters (Cristopher M. Dinwiddie), was admired for his high standards and impeccable record — and resented for his inflexibility. When his body is found in the woods, his commanding officer, Capt. Taylor (Dan Kavanaugh), refuses to accept the obvious explanation of a Klan attack. He demands a full investigation. But when black lawyer Capt. Davenport (Kevin Sockwell) is assigned to the case, Taylor worries that Davenport’s color will stand in the way of his investigation. In fact, Davenport’s race and conviction make him just the man to navigate the ins and outs of the black enlisted men’s barracks and the white officer corps. What follows is a series of testimonies, related in flashbacks, illustrating the sergeant’s mercurial temperament, racial  self-loathing and self-important authority over a company of elite baseball players.
    Among Sgt. Waters’ soldiers are Pvt. Wilkie (Benny Pope), a former sergeant demoted for being drunk on duty; Pvt. Smalls (Antoine Bragg), a surly malcontent; Pvt. Henson (Daley Fitzgerald Gunter), a hunky ladies’ man and dispassionate observer of barracks’ politics; PFC Peterson (Reginald Grier), the quiet one; Pvt. C.J. Memphis (Ramone Williams), a gifted blues musician and gentle soul from the South; and Cpl. Cobb (David E. Johnson Jr.), C.J.’s best friend. Cpl. Ellis (Frederick Henderson) is the sergeant’s eager right-hand man. Two bigoted white officers, Lt. Byrd (Lawrence Griffin) and Capt. Wilcox (Ethan Goldberg), are dragged into the investigation as the last to see Sgt. Waters alive. Davenport considers the whole crew to have motives and means for the murder.
    In this vast and youthful cast, only the three white actors — Kavanaugh, Griffin and Goldberg — are familiar to Anne Arundel audiences. The rest, a remarkably talented and fit group justly cast as athletes, make the barracks hum with palpable camaraderie. All were recruited by the show’s producer, Cheramie Jackson. Dinwiddie stuns as Sgt. Waters, a role he played for Prince George’s Hard Bargain Players, and Johnson’s soulful melodies haunt long after curtain. 
    New faces and content aren’t the only surprises consequent on 2nd Star’s accommodation of the new three-show scheduling restriction imposed by its long-time home, Bowie Playhouse, to accommodate a fourth residential company.
    Long acclaimed for ornate sets, 2nd Star now offers a minimalist set of black platforms without special effects in the Charis Center’s primitive accommodations. It doesn’t matter, given the energy onstage.
    You’ll be on edge the full two hours.

Director and set designer: Jane B. Wingard. Producer: Cheramie J. Jackson. Lights: Rick Schultz. Sound: Ramone Williams. Costumes: Wingard and Jackson.
Playing thru March 9. FSa 8pm, Su 3pm at Charis Center for the Arts, 13010 8th St., between the post office and fire department in Bowie’s historic district. $15 w/discounts; rsvp: 410-757-5700; www.2ndstarproductions.com.