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June into July is the Bay at its best

“It’s a beautiful day. Don’t let it get away,” my husband emails, quoting Bono.
    So I’m writing with urgency, eager to leave my computer for the Bay, the perfect rhyme to day and away.
    I’ll feel the same tomorrow. What day isn’t beautiful this time of year? Why let any of them get away?
    At the cusp of summer, light is long and weather moderate, mostly. Despite the leonine roars of a changing climate, June’s extremes tend to cool rather than heat. At night, you can still pull on a sweater or tuck under a blanket. Leave your hat on, and you won’t have to take off all your clothes to endure the sun. With luck, that extreme will wait until the sign of the crab yields to the sign of the lion.
    Right now, possibility seems endless.
    School’s finally out throughout Chesapeake Country, the Primary election is won and lost, you can watch baseball every night and many days, vacations are on countdown, calendars are written up with weddings, anniversaries and celebrations. And there’s not yet a jellyfish in sight.
    June, as my grandmother said, “is the month of the roses. The sweetest month and the shortest.” With my birthday falling on June’s last day, there was bittersweetness in that lesson — but not enough bitter to take away the sweetness.
    Anyway, the cup is half-full. We’ve got through Monday before June gets away.
    Then we’ll fling ourselves into the pleasures July brings, starting with Independence Day, which — falling on a Friday this year — gives us a long weekend.
    Bay Weekly is going with the flow. For the next two weeks, I guarantee you a pleasure-filled paper in keeping with the season.
    We’re focusing on fireworks early in this week’s paper, so you can plot a program to double your pleasure. Chesapeake Country fireworks extravaganzas spread over two days.
    On Thursday, July 3, Southern Anne Arundel County is the place to see the show. Anchor out at about 38° 42' or 43' by 76° 30' or 31', and you can see two nearly simultaneous shows, from Herrington Harbour South in the north and Chesapeake Beach in the south. By land, alas, you’ll have to choose one with the other as distant background.
    On Independence Day, Friday, July 4, you’ll find a second helping of fireworks north, south and west, with grand shows in Annapolis, Baltimore, Bowie, Solomons and Washington, D.C. The only pity is you’ll have to choose just one.
    Wherever you choose to see the show, you’ll see it with new insight and knowledge after reading our smart summer intern Madeline Hughes’ description of the choreography that goes into each show and catalogue of the big blasts. Read on to learn the names of the explosions: That one’s a peony … a crysantheum … a willow … a palm, you’ll say, and your friends and family will be impressed.
    There’s lots more to read in this week’s paper to seize this day, for it will never again come your way, from solving mysteries with the Bay Gardener to catching perch with Dennis Doyle to commuting by bicycle with ever-provocative Steve Carr, who returns to our pages this week. The night skies will never be just like this any other week from here to eternity. All of us June babies will read our last birth month horoscope of 2014. And with this week’s crossword puzzle, Bugs in the Program, Ben Tausig retires from weekly puzzling and Bay Weekly’s pages.
    Starting with Independence Day celebrations, you’ll find lots of ways to seize each day, week and month of summer in July 3’s paper, devoted to Travels in Chesapeake County. Bay Weekly writers have combed their memories like beaches in search of favorite day trips and excursions to help you plan many beautiful days ahead for yourself, your family and all your summer visitors.
    Next week, too, some puzzling surprises will come your way.

Answer this call and you’ll think twice about who you ­connect with

With a quirky cast of characters and a script full of great one-liners Dead Man’s Cell Phone keep you on your toes guessing and laughing for most of an hour and a half. The plot draws us in with questions we ask about our own mortality and technology.
    How is technology affecting me socially? Does my cell phone connect me to the world or draw me away? Do I really need to answer my phone every time it rings, even when I’m on the toilet? Is there a heaven? Does everything happen for a reason? What do I want to be known for after I die? Who do I love most in the world?
    The 2007 Helen Hayes outstanding play award winner opens in a café where a customer ignores his ringing cell phone. Annoyed by the ringing, Jean (Heather Quinn) repeatedly asks the man, Gordon (Jim Reiter), to answer his phone. When he does not, she answer for him and takes the message before she realizes he is dead. After calling 911, she keeps the cell phone and injects herself into his life, praying to God “Help me to comfort his loved ones. Help me to help the ­memory of Gordon live on in the minds and hearts of his loved ones.”
    The next scene opens as Gordon’s mother, Mrs. Gottlieb (Mary Fawcett Watko) eulogizes her son. It’s a funeral, but she is funny, keeping us alive and awake with witty lines. After a phone rings in the service, she exclaims “There are only one or two sacred places left in the world today. Where there is no ringing. The theater, the church and the toilet. But some people actually answer their phones” in the latter these days.
    It is Gordon’s cell phone ringing. Jean leaves the funeral to answer and meets the caller, who is Gordon’s mistress (Darice Clewell). To her  and all the people who call the undead line, Jane says exactly what they most want to hear.
    Dead Man’s Cell Phone brings a lot of themes and even some romance to the table. There are slow downs in the script, but the actors keep you involved. Theater in the round makes for four separate audiences, and the play’s six actors reach out to all. The theater is so intimate that you can appreciate even their smirking and grinning. Costuming was archaic compared to the phone, but the sparse set served its purpose.
    About that cell phone: It’s a temptation but finally not a substitute for face-to-face connections.

Director: Tom Newbrough. Set design: Edd Miller. Sound: Richard Atha-Nicholls. Lights: Shirley Panek. Costumes: Christina McAlpine. With Jean Berard and Nick Beschen.
Playing thru June 28: Th-Sa 8pm; Su 2pm (also Su June 22, 7:30pm) at Colonial Players’ Theater, Annapolis. $20 w/discounts; rsvp: 410-268-7373; www.thecolonialplayers.org.

The sun stands still for just a day before again heading south

In the early morning Saturday, at 6:51am EDT, the sun reaches its northernmost point in the sky for the year, with its center hovering directly above the Tropic of Cancer somewhere in Africa. On solstice, the sun appears to pause in place, holding steady for several days directly overhead at high noon — solstice in fact means sun standing still. You can see proof of the sun standing still in this week’s times of sunrise and sunset, listed below, which barely change.
    This solstice marks the Northern Hemisphere’s longest day of the year, with 14 hours 54 minutes of sunlight here along Chesapeake Bay. And while there is no universal body that dictates the start of the seasons, this celestial phenomenon is universally seen as the start of summer for the Northern Hemisphere and the start of winter for those below the equator.
    The earth spins at a 231⁄2-degree tilt, causing the north side of the planet to more directly face the sun for half the year and the south side to more directly face the sun the other half of the year. At the time of the June solstice, the North Pole points almost directly at the sun, while December’s solstice has the South Pole pointing sunward. Right now, we’re enjoying that sunward tilt, and all those extra hours of daylight add up to the season’s much warmer temperatures.
    While it is only the start of summer and the days will continue to grow warmer for some time to come, it is also the beginning of summer’s end. The very next day after solstice, the sun begins its southward march, albeit ever so slightly at first, and the length of daylight wanes.
    For millenia, cultures have tracked the sun’s path across the sky, measuring the length of daylight and the location of the sunrise and sunset throughout the year. The ancient Celts built Stonehenge, built at least 5,000 years ago in alignment with the solstices and sunrise. Around the same time, the Egyptians were building their own monuments to the sun and the passing seasons. From a vantage atop the Great Sphinx on the day of June’s solstice, the sun set directly between the oldest of the Great Pyramids.
    The sun may be the star this week, but the waning crescent moon makes good showings with Venus low in the east before dawn Monday and Tuesday, when only two degrees separate the two. Early Wednesday the moon is just above of the bright star Aldebaran in Taurus.

Find best friends for bargain prices at Anne Arundel County SPCA

With small sighs of relief, volunteers and workers celebrated a bit more room in the inn.
    Filled to the brim with more than 50 adoptable dogs and 150 adoptable cats, the Anne Arundel County SPCA held two adoption events to make room for more needy animals.
    The shelter houses, cares for and feeds up to 4,000 animals a year while seeking to find them homes.
    Four-year-old beagle mix John Wall, who’d been homeless since December, was one of 14 Lonely Hearts dogs adopted. Four, including John, have moved in with their new families. Ten more applications are in the approval queue.
    So far, 9 Lives for $9 has found homes for 16 adult cats. Here’s hoping the third time is a charm for Franco Magic, adopted again this week after eviction from two earlier homes. He’s been waiting since August.
    The shelter had “a big influx of foot traffic the whole weekend,” says Rita Melvin, development and programs manager. One guinea pig was also adopted.
    Many more animals are waiting.
    There’s still time to take advantage of the 9 Lives for $9 cat adoption special, which runs through Tuesday, June 22.
    “We have so many great cats waiting for homes,” Melvin says.
    All prospective adoptees are up to date on their vaccines, flea protected, spayed or neutered and microchipped. Cats are tested for feline leukemia and FIV. Dogs are tested and protected for heartworms.
    To see the feline bargains and home-seeking animals of other species, visit the SPCA at 1815 Bay Ridge Ave., Annapolis: 410-268-4388; www.aacspca.org.

An animated lesson on the benefits of good pet ownership

It’s been five years since Hiccup (Jay Baruchel: Robocop) convinced the people of Berk that dragons were not the enemy. The Vikings have laid down their arms and picked up saddles, domesticating dragons and racing them for fun. Even Hiccup’s dragon-hating dad Stoick the Vast (Gerard Butler: Olympus has Fallen) has converted his dragon-killing armory into a custom dragon-saddle business.
    Peace has brought Stoick and Hiccup closer, but father and son still don’t understand one another. Stoick sees Hiccup’s skill with dragons as a sign that he’s ready to become the next chieftain of Berk. Hiccup is terrified of more responsibility, so he avoids his father for adventures with Toothless, his rare Night Fury dragon.
    While adventuring, Hiccup encounters a group of unscrupulous trappers who shoot dragons out of the sky and sell them to warlord Drago Bloodfist (Djimon Hounsou: Baggage Claim). Drago has found a way to bewilder dragons, gaining control of their minds as he builds an army to take over the world. Hiccup and mysterious dragon-rider Valka (Cate Blanchett: The Monuments Men) are the world’s only hope against Drago and his fire-breathing beasts.
    How to Train Your Dragon 2 is a story about the families we make and the families we earn. The sequel to the wildly popular How to Train Your Dragon, the film expands on the imaginative universe of the first movie but shrinks its heart. Second-time director Dean DeBlois offers great action sequences and soaring chases, but he does little with the characters we’ve come to know.
    Hiccup goes through the standard teen angst of movie characters between the ages of 10 and 25. His body has matured but not his character. He still spurns responsibility. That’s typical teen behavior, but odder is that a boy with raging hormones spends so much time away from his girlfriend. Hiccup’s true love seems to be Toothless, his constant adventuring companion.
    On its surface a film about familial ties, Dragon 2 is more deeply focused on the relationship between pet and person. Hiccup’s connections with his father and his extended family are barely explored, because he is never in the same room with them. There’s a great deal of talking about family and very little interaction.
    Late in the movie, Valka explains to Hiccup that there aren’t any bad dragons, just “good dragons forced to do bad things.” Hiccup learns this first-hand when Drago uses his dragon-controlling powers to force Toothless to betray his beloved master. It’s a crushing blow for fire-breathing beast and boy, and one of the more effectively poignant moments in the movie. Sadly, it’s quickly shoved to the side so that we can go through more dreck about family.
    Though the human dramatics often fall flat, DeBlois is a master of dragon emotion. He gives each dragon a distinct personality. The film works best when the dragons take center stage. They romp, soar, spit fire and act like dopey dogs when they’re with their humans. Who wouldn’t want a dragon for a pet? Seeing this movie will more likely inspire you to give your pet an extra cuddle than to call your parents.

Good Animation • PG • 102 mins.

Two for one: great music plus the life of a talented, tormented man

Lost Highway, at Infinity Theatre gives two exceptional entertainments at once. First, we are treated to great music from a bygone era, authentically presented with superb musicianship. Then, within that broad framework, we see the life of a talented, tormented man. Lost Highway is far more than a musical revue.
    In his day, Hank Williams was the superstar of country music or, as it was then known, Hillbilly Music. (Full disclosure: I grew up in that era; you couldn’t turn on the radio without hearing Hillbilly Music. As often as not, it was ol’ Hank twanging away.)  
    The faultless musical numbers are alone worth the price of admission. Every number is true to the original Hank Williams rendition — so close that I looked for signs of lip-synching — Not! Every tune (21 of them) has the audience clapping in unison. I especially liked Your Cheating Heart, Jambalaya and Hey, Good Lookin’, although I hasten to add that these are personal likes for every song is as good as every other.
    The arc of Williams’ tragic life is intermingled with the music in such a way that audience emotions are played with as on a rollercoaster ride. That, together with fine acting, makes this play exceptional, for Jason Petty is as close the real Hank Williams as it is possible to be.
    The sheer joy of the musical performance gives way to pity as we watch the collapse of a great talent.
    So for comic relief, we are treated to corny banter of the kind that was de rigeur on country music radio stations.
    Player 1: “My wife says I’m the most handsome man she’s ever seen.”
    Player 2: “I didn’t know your wife was blind.”
    Not so funny here on paper, but stated rapid fire with other corny-isms, it is.
    Hank’s dominating mother supported his musical career, which started when he was 13. He quickly caught the eye, and the ear, of Nashville music executives, and his career took off. But there was darkness in Hank’s life: He was born with spina bifida and became addicted to alcohol and painkillers. He often showed up drunk onstage, and colleagues found it increasingly difficult to work with him. Along the way, he married Audrey, a lady of limited talent who was sure that she had the makings of a superstar. Hank gave her a chance onstage, then fired her. Hank’s mama had a tense relationship with Audrey, with Hank stuck in the middle between mama and wife.
    Hank Williams died at age 29 in the back seat of a powder blue Cadillac.
    All this, and more, is captured on stage. Every performer gives a sterling performance, with Jason Petty as the standout core of the play. Imagine the practice that went into developing the Hank Williams persona. Petty even looks like Williams. The band comprises three kinds of guitar, a fiddle and a standup bass, all played by consummate musicians who are also convincing actors.  
    Audrey Womble gives a fine performance of wife Audrey, a naïve wannabe who nevertheless has Hank’s best interests at heart. Mama is played by Becky Barta, who shows what tough means as she does her best to keep her wayward son in line.
    Infinity Theatre has found the perfect venue for its productions. The theater is roomy with excellent acoustics perfect for a musical production. With shows of this caliber, Infinity Theatre will be around for a long time.

By Randal Myler and Mark Harelik. Directed by Randal Myler. Music director: Stephen G. Anthony. Lighting designer: Jimmy Lawlor. Stage manager: Laura Perez.
Playing thru June 29: Th 2pm & 7pm; Sa 8pm; Su 2pm at CTA Theatre, Bay Head Park, Annapolis. $40 w/advance & age discounts; rsvp: 877-501-8499; www.infinitytheatrecompany.com.

Rest and replenish your bed

If you were wise enough some years back to plant asparagus, you’ve been rewarded with a spring feast. Now it’s time to give your asparagus bed a rest to ensure future harvests.
    An asparagus bed planted in full sun in well-prepared and well-drained soil can remain productive for 20 years or more — if you treat it well.
    If you want your bed to serve you with an abundance of spears each spring, you must avoid over harvesting. Stop gathering spears by mid-June — now — to allow mature foliage to develop. An abundance of foliage is necessary to replenish the energy in the roots and crowns for next year’s crop.
    Extending the harvesting season until July will result in a limited crop next season because insufficient time was allowed for recovery. On the other hand, if you limiting the harvest to just a few weeks in the spring, the bed will expand too quickly, crowding the stems. This problem is corrected by extending the harvest season the following year.
    Weeds can be a severe problem in asparagus beds. Keeping up with weeds begins in the spring before the spears appear. Cultivate the beds lightly by using a Nebraska flat blade or a sharp hoe or by shallow tilling. I like to cultivate my asparagus bed the first week in April. We don’t start cutting asparagus spears until mid-April.
    Once the stalks have developed and the plants are in full foliage, an onion hoe is ideal for removing weeds. Soon after I make my final harvest in early June, I appliy Preen at the recommended rate. Preen is cleared for use on vegetable crops.
    Fertilize or mulch with compost soon after the harvest season. I apply calcium nitrate at the rate of one pound per 100 square feet and then apply a one-inch layer of compost. I also place a trickle irrigation line down the middle of each bed before applying the mulch. The trickle irrigation lines are on a feeder line of their own.
    In the fall, do not cut off the stems until the foliage has turned completely yellow. Patience allows all of the nitrogen in the stems to drain down to the crown, where it is readily available for next year’s crop.
    As asparagus beds age, they become more attractive to asparagus beetles. Thus far I have never had a severe infestation.
    However, in August you are likely to see caterpillars of different colors feasting on the foliage. These are mostly butterfly caterpillars that can most easily be picked by hand each day unless you are interested in promoting butterflies.


The Mystery of Bulb Storage, Solved

Q    I read your May 22 column (www.bayweekly.com/node/22306) on moving daffodil bulbs. It’s time to move mine, and your column is helpful. However, I have always wondered why you can’t just replant them right away. After all, they spend the summer in the ground if you don’t move them. But I’ve planted daffs right after I dug them, in June, and they didn’t do well at all. And these were my most vigorous growers. So why do they need to be stored until fall?
     –Lucy Goszkowski, Annapolis

A    Many bulbs are damaged in digging. Storing them before planting in the fall allows the wounds to callus. When bulbs are planted immediately after digging in the summer, damaged bulbs will rot. If you don’t mind gaps in your new planting, go ahead and replant the same day you dig.

Ask Dr. Gouin your questions at DR.FRGouin@gmail.com. Please include your name and address.

Tie right to stop losing big fish

In the decade-plus I have worked at a local sports store, I have swapped many yarns about losing big fish. The recurring theme is broken lines.
    Odd, I once thought. Of all the fish I’ve lost, and believe me that number is considerable, there have been very few that simply broke me off. Now I’m not counting the rascals that cornered the line across a concrete bridge pier or a barnacle-studded dock piling, threaded themselves through submerged rubble or wrapped off on my engine. I mean fish that broke the line by hard pulling.
    How long had the line been on their reels, I wondered. The short story is monofilament line in use over two seasons is not to be relied upon. The line might still seem stout enough, but knot strength is always the first thing to degrade and the main culprit in any break-off.
    If the line was fresh but the setup had been used a number of times, had landed a lot fish and had always held up, I had an easy answer: Your setup just wore itself out. You can’t expect those knots to last forever. Repeated stress will eventually weaken the line‘s structure. The knots have to be renewed, and the more frequently you stress your line, the more frequently the knots should be retied.
    If the angler had freshly made the setups, I would inquire if the end of the line where it failed had a little curlicue shape, like a pig’s tail. That curlicue is the sign of an improperly tied knot slipping free. If there was a piece of mono handy, I could even duplicate the event.
    If none of the above, I would ask the angler to tie the knot for me. Then I would put the hook in a vice and give the line a substantial pull. The connection would usually fail far below the breaking strength of the line. Or it would simply slip out.

Knot Up
    If your knots are in danger of failing, the solution is simplicity.
    Attempt to learn a dozen good knots at once and you’ll remember none.
    The better way to begin is by choosing just one knot, practice tying it several times and stick with it until you can do it without thinking.
    The knot I suggest for starters is the improved clinch knot, sometimes called the fisherman’s knot. It is the knot I most frequently use for tying my line to hooks and lures, and it is probably the most popular knot in use today.
    Only after mastering this knot should you progress to learning others. I suggest the Palomar next. It is one of the stronger and easier-to-tie connections, but its application is limited. The shortcoming will become obvious as you learn to tie it.
    The next in importance is the barrel knot for tying two sections of line together, a leader to the main line for instance.
    Others knots are useful in certain circumstances, but the point is to learn and master one at a time.
    One more thing: Always moisten the line with saliva (for lubrication) when pulling it tight. Otherwise heat from the friction of the knot tightening will weaken the line.
    Another thing: If you’re intent on landing the next big fish you hook, replace your line often and begin each outing by cutting off the hook or lure, discarding the first 15 feet of line (it gets the most wear), replacing your leader (if you use one) and retying your knots. Examine each bend closely upon completion. If they don’t look perfect, cut them off and tie them again. Your lost fish ratio due to break-offs will plummet. I guarantee it.

Your part is to vote

     “How many were wearing aluminum foil hats and Mickey Mouse ears?” my husband, a veteran ­political reporter, wondered.
    “Maybe only a couple,” I joked about the candidates at a forum that had lasted until nearly 11pm.
    Primary election campaigns like the one to be decided in Maryland on June 24 do indeed bring out all kinds. Barriers are low and stakes high. Fees are low; you can run for governor for only $100. You have to run as a Republican or a Democrat to get your name on a Primary ballot. But if you can swallow that, nobody is going to say you can’t. The gatekeepers are off duty. Paperwork is minimal unless you’re raising a lot of money. Outside the big high-office, televised debates, you’ll have your say with plenty of time, place and listeners. Best of all, somebody is sure to win. It might well be you. Stranger things have happened.
    Still, to run for office, you’ve got to have something driving — even obsessing — you. Campaigning is all about putting yourself out in front of people. All but the most reclusive candidates — and there are some — are out among us, knocking on doors, waving signs on busy roads, visiting churches, showing up at festivals, speaking at forums, answering questions, inviting detractors, enduring ridicule. It’s like making your life a YouTube feed.
    At the least, campaigning makes huge demands on a candidate’s time. Most likely it’s going to take money, too, and practicing the odd art of asking people to give you theirs. Certainly it requires inuring yourself to rejection, for many of the people you ask for their money and their vote are sure to say no, during the campaign or on election day.
    To open yourself to all that, you’ve got to want something very much. Or believe something very deeply.
    Richard Ben Cramer, a Chesapeake Bay author who died last year, wrote a political classic called What It Takes that examined motivations of a crop of White House hopefuls. Ego may be the driver, pushing you to believe you’re not just the right person for the job but the only person. Ambition is another driver. Election brings you power. Win and you’re part of a government telling us what we can and cannot do — which has the downside of backlash. But that’s a sting you’re unlikely to feel until it’s time to campaign all over again.
    Meanwhile, you get to enjoy perks. Once politicians get elected, they take themselves pretty seriously, building monumental work environments and giving themselves titles and privileges, often including fancy license plates and convenient parking places. And you can be pretty sure you won’t lose your job until the next election.
    Ego and ambition are very good drivers for candidates, at least in some measure, because campaigning is an act of faith in yourself. Governing requires other skills, including listening to people, knowing how government works, digesting vast quantities of information, remembering what you’ve learned, devoting hours to meetings, working with people, adjusting your balance on the scale of compromise and conviction and many others.
    Most of those forces are driving first-time candidate Matthew Pugh, a Bay Weekly contributor in years past.
    “Maryland is a great state,” he told me, “but sadly, its greatness has been diminished by the irresponsible policies of the current administration; they’ve crippled our economy with more than 40 new taxes, and their spending is out of control — and no one is being held accountable. I’m running for Central Committee because I’d like to help restore responsible Republican leadership in Maryland. I decided I could no longer sit on the sidelines.”
    Pugh is running for a starter office, Anne Arundel County Republican State Central Committeeman in District 33. Only Republicans will see his name on the ballot. The job is unsalaried. But eight candidates are running for three seats. No matter how good a job Pugh does campaigning, loss is a possibility. Driven by conviction, he’s putting himself on the line to make government work.
    Pugh and all the others whose names we find on our ballots — and in this week’s Bay Weekly pages — are citizen heroes. Win or lose, they’re trying to make government work. It would be a shame if we didn’t keep up our end of the bargain by going out to vote.

Actors may flirt with you and filch your food in this frothy romp back in time

With summer comes another season of Molière for moderns, adapted by Tim Mooney and performed by the Annapolis Shakespeare Company in the Courtyard at Reynolds Tavern.
    The Schemings of Scapin, playing through July 29, is a frenzied farce in rhyming couplets about well-heeled 17th century fools and their gamesome servants. With a contrived plot about true love and arranged marriages, this play pits fathers against sons while elevating the lowly and poking fun at the idle rich and lawyers — revolutionary stuff for its time, but Louis XIV loved this fluff.
    To wit, Scapin (Charlie Retzlaff), a brilliant trickster and politician, is employed as valet and temporary guardian to narcissistic Leandre (Zachary Roberts) whose father, buffoonish Geronte (Gray West), is away on business. Likewise, Sylvestre (Ashlyn Thompson), an anxious nudge, is similarly employed with simpering Octave (Michael Windsor) while his sour old father, Argante (Joseph Palka), is away.
    Fortunately for the young men, their servants have not kept very close eyes on them. Unfortunately for the young men, each father returns home with a marriage contract for his son. Alas, Leandre is already in love with the seductive Gypsy Zerbinette (Lauren Turchin). Octave is secretly married to darling Hyacinthe (Jackie Madejski), a match arranged by her nurse, Nerine (Roberts in drag).
    What follows is an elaborate scheme to bilk the fathers, transferring money intended to benefit their sons to the support of relationships with the women who threaten to break family ties. But all’s well that ends well.
    Turchin’s Gypsy steals the show, but all of the performers are masterful at physical comedy, word play, improvisation and audience interaction. Don’t be surprised if they flirt with you and filch your food. With interludes of Baroque harpsichord music and costumes ranging from Blue Boy and Bo Peep to bangles, this is a frothy romp back in time.

Director: Sally Boyett. Costumer: Maggie Cason. Stage manager: Sara K. Smith. Running 1:40 with two intermissions.

Playing Tuesdays (rain date Wednesday) thru July 29 at 7:30pm at Reynolds Tavern Courtyard, Church Circle, Annapolis. $20 w/advance discounts; rsvp. Happy Hour prices until 7pm; dinner menu then available: 410-415-3513; www.AnnapolisShakespeare.org.