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Arts and Culture (Theatre Reviews)

Comedy, tragedy and undercurrents of love … just like every family

“You have to soar to fill your soul, but your family is what keeps you grounded,” writes first-time director Dave Carter in the playbill for The Cripple of Inishmaan. That’s the point of Colonial Players’ season opener, a well-crafted comic piece that dips into the reality of sadness and cruelty without turning maudlin.
    Martin McDonagh’s play debuted in 1996 in London and off Broadway in 1998. The wisp of a plot focuses on an American coming to Inishmore, near the island of Inishmaan, to make a film about the locals, who are abuzz.
    Bright performances abound in this dark comedy.
    Teenaged orphan Billy Claven (Jack Leitess), known as Cripple Billy, decides that his fate — and his escape from the cruelties of the island — lies in Hollywood, so he shoves off to join the movies. His two aunts (Mary MacLeod and Carol Cohen) worry about their charge, who spends much too much time reading books and staring at cows. Friend Bartley McCormick (Drew Sharpe) tries his best to understand, and Bartley’s egg-flinging, rough-edged sister Helen (Natasha Joyce) tries to be as cruel as possible.
    Babbybobby Bennett (Scott Nichols), the rough-hewn widower facing his own demons, manages the transit off the island. Tying things all together is the theatrical town gossip Johnnypateenmike (Edd Miller), whose thirst for attention is fed by his ability to barter news for goods. Lisa KB Rath as Johnny’s elderly sot of a mother and Danny Brooks as Doctor McSharry also shine in smaller supporting roles.
    The star of this production is not one particular character over another, but rather the vast undercurrents of love that ebb and flow through each and among them all together. Thence rises the heartfelt laughter, saving what could have been too dark a comedy. Cripple Billy’s friends and neighbors are his family, and Cripple Billy takes as good as he gets when it comes to understanding and coping with his disability. The directness with which his condition is treated gives us some very lovely, often laugh-out-loud, comic moments. From the aunts’ hand-wringing angst over Billy’s lack of prospects and Helen’s addiction to cursing and kissing, to Bartley’s denseness and Johnnypateenmike’s hilariously childlike need to be first to tell, this cast makes McDonagh’s characters come to life brightly, hilariously and sincerely.  
    It’s not a perfect show, to be sure. In several scenes the pacing needs to be picked up (opening night was two hours and 40 minutes, a bit long for a two-act non-musical). Several scenes are awkwardly staged so that too much of the audience in the round is blocked from the action. In a few spots, the actors’ volume must be turned up.
    On a more positive note, director Carter and his actors take care to ensure the Irish accents are of the less-is-more variety, consistent enough that we know we’re in the Aran Islands, but not so overdone that we lose what’s being said.
    What’s being said is beautiful, funny and often heart-wrenching. The Cripple of Inishmaan rides an undercurrent of love that draws us in, gives us good, hearty laughs and soars into our hearts.


Playing thru Oct. 1: Th-Sa8pm, Su 2pm, plus Sept. 18 7:30pm, Colonial Players Theatre, East St., Annapolis; $20 w/discounts; rsvp: 410-268-7373.

Stage manager: Ernie Morton. Costume designer: Christina McAlpine. Set designer: Terry Averill. Lighting designer: Shirley Panek. Sound designer: Michelle Bruno. Dialect coach: Nancy Krebs.

Mel Brooks’ mocking masterpiece

To end its 50th season, Annapolis Summer Garden Theater has challenged itself with one of the biggest and most popular musicals ever to hit Broadway: Mel Brooks’ The Producers. Winner of a record 12 Tony Awards in 2001 and running for more than 2,500 performances, the show sought to hilariously offend everyone — Jews, producers, actors, homosexuals, Nazis … the list goes on. Brooks’ blockbuster set the stage for the kind of hard-to-get ticket that is being matched only by the current hit, Hamilton.
    It’s a big musical, with choreography, music and acting that have to be over the top to work; have you ever seen subtlety in any Mel Brooks movie? Annapolis Summer Garden Theater smartly turned the reins over to local directing veteran Jerry Vess, who strikes a nice balance between the bigness of Broadway and the limits of community theater. A tight, seven-piece band led by Ken Kimble sounds bigger, the original choreography is nicely adapted by Emily Frank, and Anita O’Connor’s music direction helps a talented cast confidently deliver on such songs as It’s Bad Luck to Say Good Luck on Opening Night.
    Costumer Jocelyn Odell brings Brooks’ wacky German vision — think pretzel heads and beer-stein jewelry — brilliantly to the stage. The costumes emulate those that helped make the original so memorable.
    The plot is simple: Down and out Broadway producer Max Bialystock (B. Thomas Rinaldi) ropes in straitlaced and timid accountant Leo Bloom (Nathan Bowen) to stage a purposely horrible musical, Springtime for Hitler, and abscond to Rio with the money they raised when it closes after one night. The wrinkle, of course, is that it becomes a smash hit.
    Rinaldi hits all the right notes as Max, and his body type, voice and attitude are perfect for the role — though opening weekend tentativeness zapped some of the zing from Brooks’ zingers. Late in the second act, when he reviews all that’s happened while sitting in a jail cell, he makes Betrayed masterful: funny, even a touch emotional. 
    Rinaldi and Bowen work well together, evoking a Laurel and Hardy dynamic. Bowen’s baritone lends itself well to I Want to Be a Producer. As actor, he allows Leo’s uptightness to be comical but not unbounded — for that would mean competing with so many unbound characters that Brooks has in store for us. Characters including —
    • Franz Leibkind, the Springtime for Hitler playwright who, on his rooftop with his Nazi pigeons, reminisces about his past (In Old Bavaria), forces Max and Leo to sing along to Adolf’s favorite song (Der Gutten Tag Hop-Clop) and has them swear to never dishonor Adolf Elizabeth Hitler. Josh Mooney, complete with liederhosen and Nazi helmet, is hilarious as Franz, his bright smile and energy surpassed only by his sidesplitting seriousness when tending to the fuhrer’s honor.
    • Roger DeBris, the flamboyant “worst director in New York,” whom Max attempts to sign to ensure the show flops, and his “common-law assistant” Carmen Ghia. Pete Thompson as Roger and Kevin James Logan as Carmen are brilliant together and apart, and bring one of the most popular numbers of the show, Keep it Gay, to hilarious life. Logan’s flaccid fluidity is so beautifully comical that the audience has no choice but to laugh. Playing Hitler during the show-within-a-show, Thompson’s Roger romps mischievously and riotously as he sings Heil myself!
    • Ulla Inga Hansen etc. etc. (a long long name, pure Brooks), the tall, beautiful Swedish blonde who auditions for Max’s next show and becomes his “Secretary-slash-receptionist.”
    Max lusts, Leo longs and Ulla titillates in a complete 180 from Max’s older women benefactors. As the always smiling statuesque Ulla, Erica Miller gives us a syllable-chewing faux Swedish accent that works to perfection in When You’ve Got It, Flaunt It, which gives her body, Max’s libido and Leo’s heart quite the workout.
    • The Usherettes, Ashley Gladden and Amanda Cimaglia, musically narrate, and a fine ensemble provides wonderful voices, dancing and characters, none more uproariously than almost the entire cast in Along Came Bialy, better known in theater circles as the little old lady walker song.
    While there was that tentativeness on the second night, accompanied by some screechy microphone levels, little details like that always work out as a run progresses. Here’s the important thing:
    Annapolis Summer Garden Theater has gone all out for its 50th birthday. With Jerry Vess’ perfectly paced adaptation and a cast that’s having a blast, the company fits Mel Brooks’ comic genius and this big Broadway show onto a local stage. It’s the audience that gets to celebrate.
    Act quickly … several dates are already sold out.


About two hours 50 minutes with one intermission.

Thru Sept. 4: Th-Su 8pm, $22, rsvp: ­www.summergarden.com.

Find out as six young playwrights speak out in Twin Beach Players’ 11th Annual Playwright Festival

Twin Beach Players has unusual success in getting kids to say what’s on their minds. Over 11 years, youngsters from elementary to high school have taken to the Kids Playwright Festival stage, writing plays that describe the world as they know it.
    The Player and the Festival are “safe spaces for kids of all backgrounds to express themselves,” says company president Sid Curl. “Kids feel they can be themselves and have fun doing it.”
    At the same time, the annual competition and festival introduce young people to the camaraderie and teamwork needed to get live theater productions to work.
    From Kids Playwright Festival, alums have even made it big, with internationally published plays, small roles on popular shows like House of Cards and original plays on the Charm City scene.
    Six-dozen aspiring thespians are creating this year’s festival, as authors, actors and stage hands. Two dozen submitted plays. Half a dozen — all girls — earned the honor of seeing their words come to life in the words and gestures of actors in front of families and friends. That talented cadre also earns cash prizes of $100.
    After three years of acting, recent homeschooled high school grad Taylor Baker tried her hand at playwriting this year. Objection! won, she says, because it not only “breaks the fourth wall — drawing the audience in — but also is funny.”
    Sisterly competition brought younger sister Sidney Baker to this year’s stage with her Shoes, Pizzas and Spirits. “It’s a twist on A Christmas Carol,” she says, created to please theatergoers who, like herself, tire of the same old play every December.
    Rising Northern High School ninth grader Leah Hartley is a two-time winner. Last year she wrote about art and friendship. This year’s Science Mistakes was a challenging new subject for her. And, she thought, for the competition because, she says, “nobody writes about science.”
    Wrong.
    Cousin Elizabeth Kieckhefer, a home-schooled sixth grader, tracked her with Amber’s Science Lesson.
    Science would have been a natural subject for aspiring meteorologist Lucie Boyd, a seventh grader at Northern Middle School, and second-time Festival winner. A couple of years back, her play about meteorologist Doug Hill won a countywide school competition. Instead, for this year’s festival she wrote a sequel to her last year’s winner. “I love reading mysteries and learning about history in school,” she says. The Mystery of the Hum of Nachitti combines both ­interests.
    Sadie Storm, a seventh grader at Plum Point Middle School, is the most experienced Twin Beach Player, with the company since second grade. As an actress, Sadie poured her heart into her roles. One of her proudest moments was her director’s praise for her work in a very small part. “Passionate about social change,” her debut as a playwright is Changes, a play about bullying that, she hopes, is “better than the boring ones she sees at school.”


Playing thru August 14. FSa 7pm, Su 3pm, North Beach Boys and Girls Club, 9021 Dayton Ave., $7, rsvp: www.twinbeachplayers.com.

These talented kids will get your laughs

Annie Get Your Gun is a classic musical based on real people in the days of America’s western expansion. Buffalo Bill’s traveling performance entertained people from all walks of life with the best shot around, Frank Butler. That is, the best shot around other than Annie Oakley.
    The story of the girl who could shoot better is brought to life by Talent Machine, a local theater company that has been getting kids on stage since 1987.
    Talent Machine’s president Lea Capps believes in her young troupe, so there’s no “dumbing down” anything — as youth theater companies may do, performing junior versions of famous plays and musicals.
    Capps’ dedication to performing the authentic plays and musicals pushes her pupils further, allowing their talent to grow. Talent Machine’s Annie Get Your Gun delivers belly-busting laughter, foot-tapping music and talented actors to boot.
    “There’s no business like show business,” proclaims the fame-hungry Wild West ensemble. The message resonates with the budding thespians, children from ages seven to 15.
    “It’s my favorite song in the musical,” says eighth-grader Thomas Crabtree, who plays Mr. Adams.
    Talent Machine cultivates kids’ interest in theater into real talent with the help of dedicated volunteers who for this show created costumes and sets that seemed to step right out of the sharpshooting days of Annie Oakley.
    Michelle Nellum, who trained the spotlight on the young stars, had never planned to get involved. When she and her family moved locally a decade ago, a cousin invited her to one of Talent Machine’s extremely popular Easter breakfasts hosted by Buddy’s Crabs and Ribs. When daughter Maya, then around three, saw what kids not much older than her were doing, she wanted to join them. Maya wouldn’t be satisfied with dancing in the aisle. Now Maya and her mother encourage other friends to join.
    “As it’s 100 percent volunteer, Talent Machine keeps costs low for everyone,” Nellum says.
    On stage, actors and actresses lose themselves in their characters. From Annie’s rustic accent to the mesmerizingly perfect tap dancing and the children’s ability to push through sound equipment malfunctions, Talent Machine knows how to prepare its actors for their big night. Off stage, the actors were more than happy to meet new fans.
    Nine-year-old Lucy Dennis, answered my questions about the musical as though she was regularly hounded by the paparazzo. Lucy, who has been in seven Talent Machine productions, was also inspired to join after watching a breakfast show. Much as she loves acting and dancing, she aspires to be a vet.
    If you have a free night this weekend and want to change up the usual Netflix routine, see Annie Get Your Gun before Talent Machine moves onto its second summer performance.
    Remember, there’s no business like show business!


Thru July 17: ThFSa 7:30pm, Su 2pm, Key Auditorium, St. John’s College, Annapolis, $15, rsvp: ­www.talentmachine.com.
 

Stellar, but still shocking after all these years

When Jonathan Larson’s rock opera Rent, loosely based on Puccini’s La Boheme, debuted 20 years ago to a Pulitzer and Tony for Best Musical, it felt so edgy, so raunchy, so shocking with its cast of young radicals: the addicts, the drag queen, the bisexual, the stripper. Despite evolving societal norms and newer crises eclipsing the AIDS epidemic, this blockbuster still has power. With a pulsing beat and haunting earworms, it follows an unforgettable cast of characters for one year as they wrestle with the seven deadly sins and private turmoil only to realize that happiness lies only in living each moment as if it were their last.
    Annapolis Summer Garden Theatre has assembled a stellar cast of singer/dancers for this production, starting with Tim German as Mark, the videographer who records it all and learns the price of success when his creative genius meets corporate TV greed. At issue is his coverage of a housing firestorm surrounding former roommate Benny (Matthew Walter), who has turned ruthless landlord since marrying into money. When Benny padlocks the building and a tent city sprouts up, the cops and the media are there. So is protest artist Maureen (Loghan Bazan), Mark’s attention-whore ex who left him for an attorney named Joanne (Andrea Greenwald).
    When Mark’s old friend Tom Collins (Christian Gonzalez), a mathematical genius, rolls back into town, he is rolled by gangstas on the street and rescued by a cross-dressing Angel (Nicholas Carter), who becomes the love of his life (Today 4 U). As both men are HIV positive, their support group plays a large role as the story progresses. Mark’s other roommate, guitarist Roger (David Colton), is similarly afflicted and spends the whole show composing his magnum opus (One Song Glory and Your Eyes) before the virus that killed his girlfriend claims him. Roger is a content loner until he meets Mimi (Athena Blackwood), an exotic dancer (Out Tonight) and Benny’s sometime girlfriend. It’s complicated, but Roger and Mimi’s affair is the catalyst for most of the show’s greatest hits, including Light My Candle, I Should Tell You, Another Day and Without You.
    Momentum is slow to build, especially regarding a secondary plotline that has Angel killing Benny’s dog by drumming. But once things get rocking, they don’t stop.
    Greenwald is dynamite with German in Tango Maureen and with Bazan in Take Me or Leave Me. Bazan’s bizarre protest piece, Over the Moon, way eclipses the film version. German and Colton’s Living in America is raw and driving, while Gonzalez and Carter slow the pace in the dreamy Santa Fe and I’ll Cover You. The ensemble impresses with powerhouse solos by Kylie Airin Sjolie and Gabe Taylor (Seasons of Love), Kyle Gonzalez (Will I), Wesley Williams (No Day but Today). Amy Matousek, Katie McCarren, Elizabeth Pittman, Lilibeth Rabang and Brian Shatt provide solid backup.
    Details are fun. Remember the Lycra and shredded denim invasion? Pay phones and bricklike cell-phones? Technological innovations like flashlights serving as spots lend poverty-chic, and the onstage band feels as natural as your noisy neighbors. Best of all, live footage of Mark’s films projected onstage provide intimacy and immediacy.
    The take-away is this: Forget regret, or life is yours to miss.
    If you fly the rainbow flag and like your rock intellectual and irreverent, don’t miss Rent. Runs two hours and forty minutes with intermission. Rated R for adult themes and language.


Director: Andy Scott. Music director: Paige Austin Rammelkamp. Choreographer: Casey Lynne Garner. Stage manager: Jen Schiller. Set: James Raymond and Jeff Huntington. Costumes: Kristina Marie Martin. Lights: Matt Tillett. Sound: Rob Glass. Video: Babs Weiss. Musicians: Rammelkamp, Ken Kimble, Kevin Hawk, Jeff Eckert and Declan Hughes.
Playing thru July 23, Th-Su plus Weds. July 13 & 20, 8:30pm, 143 Compromise St., Annapolis. $22 rsvp: 410-268-9212; www.summergarden.com.

An impressive troupe of young people takes on one of the most challenging races in theater

Producing a Shakespeare play is similar to running a marathon. It’s grueling, frustrating, thrilling and exhausting — and that’s just training.  Maintaining forward motion through the entire course is an accomplishment for any age.
    Twin Beach Players youth production of Much Ado About Nothing has taken on that challenge with great success. 
    Framed at the end of World War II, Twin Beach Players’ Much Ado is a largely festive story made even more spirited by the smart and snarky banter between the fiercely independent Beatrice (Neha Chawla) and the perpetual bachelor Benedick (Cameron Walker). There’s a shadier side as well involving a malicious scheme by the military leader’s illegitimate brother (reimagined here as a sister), Don Jon (Olivia McClung). The ne’er-do-well sets her plan into motion to spoil the wedding of young Claudio (Conor Reinold) and their host’s daughter Hero (Ashley Venier).
     Teeming with elements of trust and deceit within families, friends and romance, the storylines lead to both triumph and disaster. 
    While fondness for Shakespeare and familiarity with the story are helpful, they are not necessary to enjoying this aspiring production. Actors Chawla and Walker set the over-arching tone for the exuberant physicality that helps keep the plot moving when the language — at times challenging for even experienced actors — threatens to bog the performance down. The two offer laugh-out loud moments and engage the audience. The central romantic story is sweet and its actors expressive.
    Other notable performances come from Travis Lehnen as Leonato, E.J. Roach as Don Pedro, Olivia McClung as Don Jon, Aaliyah Roach as Friar Francis and Andrew Brinegar as Antonio. 
    The mood of the era is well set with the sounds of Glenn Miller-esque tunes on a tinny radio, complemented visually by military uniforms, Hepburn–style slacks and charming vintage dresses. Some of the best-staged scenes were teamed with excellent lighting choices, for instance when the entire backdrop glowed in twinkling lights as the full cast launched into a joyful swing dance.  All is supported well by a young tech staff who keep the show rolling at a decent clip.
    Without question this is a teen production and at moments the mark was missed. But those moments were, in a way, appreciated. Otherwise, we might forget we are watching an impressive group of young people taking on one of the most challenging races in theater.


Two and a half hours with an intermission. Thru June 26 FSa 7pm, Su 3pm, Boys and Girls Club, North Beach, $10 w/discounts, rsvp: www.twinbeachplayers.com.

(For Friday performance, arrive very early to enjoy the North Beach Farmers Market to ensure decent parking.)

A very good play balancing good ­fortune with bad luck

“To live in poverty is to exist in a war zone,” award-winning Colonial Players director Edd Miller notes in the playbill for Good People. “Not necessarily with bullets and bombs but with situational choices of conscience.”
    Do choices pull people out of poverty? Determine our lot in life? Or is it luck? Or hard work? Pulitzer Prize winning playwright David Lindsay-Abaire and Miller ask us not to decide but to ­consider.
    The 2011 drama is set in South Boston, or Southie, in 1998, but its questions are timeless and beyond boundary.
    To help us do that Lindsay-Abaire gives us Margie (with a hard “g”), a middle-aged single Southie mother who loses her job at a dollar store because she’s always late, usually because her adult handicapped daughter can’t be left alone. Margie doesn’t want a handout, just a job that will pay the rent. To find that, she sets aside her ego and reluctantly asks help from her years-ago boyfriend Mikey, an Irish lace doctor who escaped from the neighborhood and got rich because … luck? Hard work? Choices?
    Act I sets us up with the firing by young manager Stevie, with Margie and her friends Dottie and Jean urging her, sometimes hilariously, to look up Mikey. Turns out he has no work to offer. But he has an extravagant birthday party coming up, and Margie invites herself. When she hears by phone that the party is off because of a sick child she believes she is being disinvited lest she won’t embarrass Mikey in front of his non-Southie friends. She goes anyway and is mistaken by Kate, Mikey’s wife, for a caterer picking up dishes that weren’t used because the party was indeed canceled.
    Identities straightened out, Kate invites Margie to chat, much to Mikey’s dismay. Now fly the slings and arrows of good fortune versus bad luck.
    With Miller at the helm, this fine cast navigates the stream of comedy at the surface of much of this show while personifying the undercurrents of deception, despair and distrust. Shirley Panek gives us a Margie who shouldn’t be likeable, but is, thanks to Panek’s deft ability to deliver a stinging yet funny blow to the ego while allowing us to see the pain in her eyes. It is a riveting and emotional performance.
    Likewise, Ben Carr takes Mikey beyond a caricature of a local boy who made good to a finely crafted multidimensional character who relishes his success but, under Margie’s jealous glare, becomes so defensive that his own doubt about luck vs. work show through. Panek and Carr click, so for the audience Margie and Mikey do, too.
    As Kate, Ashley Spooner does some navigating as an elite African-American inexperienced in the past lives of Mikey and Margie. Her Act II performance in a long, yet riveting, three-person scene moves from elitist to understanding as flaws in her husband and their marriage are revealed.
    Karen Lambert’s Jean and Bernadette Arvidson’s Dottie are fine Southie friends, delivering hilarity that resonates with despair. As Stevie, the young store manager whose mother was the women’s friend, Glen Pearson displays the nervousness of a character appearing as the cause of despair.
    Director Miller’s multi-use set cleverly moves from a store alley to a Southie house to a bingo hall to a well-off doctor’s living room all with minimal movement — clear proof that in theater in the round, less is more. His cast keeps the pace moving, and each is clearly invested not only in what we see of their characters but also in what we can feel is so subtly moving under the surface.
    Good People is very, very good.


About two hours, 15 minutes with intermission. Stage manager: Herb Elkin. Costume designer: Dianne Smith. Sound designer: Theresa Riffle. Lighting designer: Frank Florentine.

Thru June 25: ThFSa 8pm, Su 2pm, Colonial Players Theatre, Annapolis, $20 w/discounts, rsvp: ­www.thecolonialplayers.org.

Back to the ’80s

To celebrate its 50th season bringing musical theater to Annapolis, Annapolis Summer Garden Theatre has chosen this summer to stage, in reverse order, The Producers, Rent … and The Wedding Singer. The Producers won 12 out of its 15 Tony nominations, setting the nominations record and joining the short list of musicals winning in every nominated category. Rent was nominated for 10 Tonys and won four, plus the Pulitzer Prize for Drama. The Wedding Singer … five nominations, no wins and critical yawns.
    The fact that The Wedding Singer was a loveable but mediocre 1998 movie didn’t stop its writer, Tim Herlihy, from turning it into a loveable but mediocre 2006 Broadway show. It is, of course, set in the 1980s, and most of its purpose seems to be to remind us of that fact. Big hair, big music, big money and big names are tossed around like rice at the newlyweds — with results nothing near the quality of The Producers and Rent.
    Yet a game and talented Annapolis Summer Garden Theatre cast answers the call of the decade with talent and humor that in more cases than not rises above the material.
    In case you missed the movie, the plot is basic: Robbie Hart, a wedding singer, lives with his Grandma Rosie in Ridgefield, NJ. He’s engaged to skanky waitress Linda but at a gig meets Julia, who herself is engaged to smarmy Wall Street banker Greg Guglia. Robbie promises to sing at Julia’s wedding, Linda hilariously dumps Robbie at the altar — claiming she wants to marry not a mere wedding singer but a rock star — and Julia pines for Greg to pop the question.
    As Robbie and Julia, Jamie Austin Jacobs and Hayley Briner (who splits the role on alternating weekends with Layne Seaman) generate chemistry and do some nice vocal work together, especially on the delightful Grow Old with You, which is carried over from the movie. Briner also delivers an upbeat, very ’80s-like Someday, one of the few songs in this score you might leave the theater humming. And while Jacobs needs to remember that wearing a body mike doesn’t negate the need to project when speaking, he’s got the personality and presence, and certainly the singing voice, to make you forget Adam Sandler.
    As Linda, Hannah Thornhill delivers attitude, punch and the vocal chops to match. In Let Me Come Home, she doesn’t just beg to be taken back, she demands it … physically as well as emotionally, in a comic highlight of the show. Jeffrey Hawkins plays Julia’s fiancée Glen with the right amount of Wall Street Gordon Gekko (look it up kids) and also displays a very nice voice on the greed is good message It’s all About the Green. As Robbie’s bandmates, Robbie Dinsmore as a wannabe Boy George and Fred Fletcher-Jackson as a wannabe Van Halen show solid comic timing. Ashley Gladden is Julia’s cousin, a sassy, sexy Holly, whose Saturday Night in the City comes with a Flashdance finale. Even Grandma Rosie channels the ’80s, with Phyllis J. Everette breaking into a very funny rap, Move that Thang. Members of a fine supporting ensemble effectively back up leaders with solid vocals, energetic dance and comic characters.
    Director Mark Briner keeps the pace moving, as does the choreography of Becca Vourvoulas, and Ken Kimble’s backstage orchestra hits all the right notes. Andrew Mannion’s set design puts the fun in functional, and Lin Whetzel’s costumes are full of ’80s fun, with big shoulder pads and bigger colors (but why oh why does the Wall Street tycoon walk around in ratty jeans? Not even Guess?).
    All in all, an invested and energetic cast and crew bring you a slick and rollicking evening. You won’t cry at the romance, you might even groan at the references, but you’ll also smile and tap your feet — especially if you lived through the decade that bored many of the people you’re watching on the stage.


About two and one-half hours with one intermission.

Thru June 18. ThFSaSu (plus W June 15) 8:30pm, Annapolis Summer Garden Theatre, $22 w/discounts, rsvp: www.summergarden.com.

A sure bet for a good time

From auditions to curtain, every theater production is a gamble, but 2nd Star Productions’ Guys and Dolls beats the odds. A period piece lampooning its own subculture, this 1950 Tony winner for Best Musical still feels funny and frisky from the opening Call to Post to the classic Fugue for Tinhorns. It grabs you by the lapels and doesn’t let go as Nicely Nicely Johnson (James Hulcha), Benny Southstreet (Nathan Bowen) and Rusty Charlie (Daniel Starnes) vow I Got the Horse Right Here.
    Ya gotta love characters like Nathan Detroit (Brian Mellen), who runs The Oldest Established Permanent Floating Crap Game In New York, and his adorable doxie, Miss Adelaide (Jamie Erin Miller), who headlines at The Hot Box nightclub. Never was there a sweeter, more devoted couple, even after 14 years of engagement.
    Then there’s suave Sky Masterson (E. Lee Nicol), a high-roller on the sticky end of a sucker bet whereby he must convince prim Sister Sarah (Erica Miller) of the Salvation Army to go out with him — to Havana. Despite their professed disdain for each other, it’s an offer she can’t refuse when he promises to deliver 12 certified sinners to a critical prayer meeting where General Cartwright (Carole Long) will determine the mission’s fate.
    Broadway is crawling with sinners. There are gamblers: Big Jule from Chicago (Steve Streetman), Harry the Horse (Julian Ball), Brandy Bottle Bates (Eric Meadows), Liver Lips Louie (Stevie Magnum), Angie the Ox (Joshua Hampton), Society Max (Tyler White), Scranton Slim (Andrew Gordon), Li’l Pete (Michael Mathes), Jimmy Two Bags (Jerry Murray) and Black Jack Jolly (Brian Jollie).
    And the Hot Box dolls: Mimi (Lucy Bobbin), Betty Lee (Debra Kidwell), Penny (Allison Baudoin), Lily (Victoria Brown), Josephine (Emily Morgan), Ruby (Christa Kronser), Charlie (Genevieve Ethridge) and La Rue (Sarah Williams and Angeleaza Anderson).
    Despite Sarah’s daily sermonizing to Follow the Fold and Stray No More — complete with a band of Uncle Arvide (Dave Robinson), Agatha (Hillary Glass), Calvinette (Alice Goldberg) and Martha (Kimberly Hopkins) — the sinners see the mission as just another potential gaming site where they can hide from Police Lt. Brannigan (Gene Valendo).
    It’s all so suspenseful! Will the sinners find salvation? Will Sarah and Sky find each other’s arms? Will Adelaide drag Nathan to the altar?
    Jamie Miller is phenomenal as the old-fashioned girl in fishnets, whether spouting her mother’s homespun wisdom or performing at the Hot Box.
    Brian Mellen makes it easy to see why she loves such a weasel as Detroit in his Sue Me.
    E. Lee Nicol (recently of The Music Man) charms in such hits as Luck Be a Lady and I’ve Never Been In Love Before. Erica Miller is flush in the campy If I Were a Bell and her Marry the Man Today duet with Adelaide.
    Dave Robinson delivers a tender More I Cannot Wish You. James Hulcha and Nathan Bowen are Aces in the title song and dance. Hulcha’s jackpot of Pentecostal fervor, Sit Down You’re Rockin’ the Boat, brings the house down.
    From barbershop to choral extravaganzas, the harmonies are always true and the clever lyrics clear to the back row. The choreography is kitschy and tight with several big dance numbers such as Havana and The Crapshooters’ Dance spotlighting the eye-popping moves of choreographer Andrew Gordon alongside Bobbin, Kidwell and White. The Hot Box chorus girls, under the management of the Emcee (Mangum), turn burlesque into burlee-cute whether dressed in short coveralls for I Love You a Bushel and a Peck or undressed in lacy corsets for Take Back Your Mink.
    With a live pit of 12 musicians, five winning sets and at least 60 period costumes, this is spectacle to beat all spectacles. For a little action, Guys and Dolls is a sure thing for all ages.


Guys and Dolls by Frank Loesser, Jo Swerling and Abe Burrows. Director: Debbie Barber-Eaton. Music Director: Sandy Melson Griese. Choreographer: Andrew Gordon. Producer: Nathan Bowen. Stage Manager: Joanne D. Wilson. Set Designer: Jane B. Wingard. Costumes, Makeup and Hair: Linda Swann. Lights & Sound: Garrett R. Hyde.

Playing thru June 25, F & Sa at 8 pm, Su at 3pm at Bowie Playhouse, 16500 White Marsh Park Dr., Bowie. $22 with discounts, rsvp 410-757-5700; ­www.2ndstarproductions.com.

Catch the second weekend of fun and frivolity

Time-travel nearly 350 years from the court of King Louis XIV of France to Twin Beach Players’ version of Molière’s 1668 comedy of manners, L’Avare. The Miser, as English has it, completes performer/director Jeff Larson’s production of a Moliere trilogy, including Tartuffe and the Imaginary Invalid, spanning 14 years of theatrical performances by Twin Beach Players. Through all, he’s teamed with company president Sid Curl.
    Colorful and convincing characters embroiled in a twisting plot make up The Miser’s world. In two acts, we witness what happens when Harpagon, the miser, obsessed with adding to his sizeable fortune, secrets away his wealth. To add to these riches, he plans marriages for his two children. Those around him, however, are equally determined to carry out their own plans.
    These are familiar characters. Comedic archetypes we recognize had their roots in Moliere, including the bumbling Inspector Clouseau character of Pink Panther fame, first imagined as the Miser’s Inspector ­Sansclou. The characters use slapstick, physical humor and clever banter to keep us entertained.
    As in Moliere’s time, some characters break through the imaginary fourth wall that separates the audience from the performers onstage to engage with us directly. The technique is visually interesting and involving as well as revelatory of a character’s private thoughts.
    Larson’s blocking uses stage space wisely, helping to focus our attention toward or away from imposing character action or dialogue, especially when multiple characters share the stage simultaneously.
    Overall, acting is solid with some outstanding performances, including Luke Woods’ commendable physical and verbal character choices as Harpagon.
    Annie Gorenflo’s Elise balances youth and experience. Aidan Davis adds strength to Valere with a pleasing and resonant vocal tone. Tom Weaver’s Cleante is sincere and believably love-struck, while Jenny Liese’s Marianne is bright and affable. Jim Weeks shows commanding physical agility and range as La Fleche.
    Jeanne Louise as Mâitress Jacqueline Ze Chef is animated and excitable; her French accent is believable and her movements charmingly gazelle-like. Stage veteran Helenmary Ball is delightful as marriage broker Madame Frosine, offering impeccable comic timing, hilarious facial expressions and rich vocal variety. Kevin McAndrews masterfully performs his roles of Maitre Simon and Inspector Sansclou, shaping subtle nuances between them. Curl entertains in his cameo as Senor Anselme, drawing comparisons to the chameleon-like talent of actor Tim Conway in physical appearance, comic ability and vocal diversity.
    The production staff skillfully executes their technical responsibilities, giving legitimacy to time and place. Music designer Robert Snider’s selection of pre-show, intermission and post-show music is consistent with the Baroque era. An able stage crew professionally and discreetly transforms the sparse set in Act I to a more fully furnished set in Act II. Costume design and makeup include period wigs, curls and costumes accented with bolder hues to enhance characterizations.


Two and a half hours with a 15-minute intermission; light refreshments available for purchase.

Th-Sa 8pm, Su 3pm thru April 17 at the North Beach Boys and Girls Club, 9021 Dayton Ave. $15 w/discounts: 410-286-1890; www.twinbeachplayers.com.