Kiss Me Kate at Haddonfield Plays and Players

On the surface, the opening number “Another Opn’in, Another Show” would work as an appropriate introduction to a musical. At the opening night performance of Haddonfield Plays and Players’ Kiss Me Kate, it didn’t fit. As the show progressed, I couldn’t describe it as just “another” opening night at “another” show. I found this October 6^th performance absolutely spectacular.

This Chris McGinnis directed and choreographed musical featured a “play within a play” format. That seemed a fitting approach for a piece that referenced Shakespeare. This Cole Porter classic told the story of a theatre company’s travails in staging the Bard’s The Taming of The Shrew. The events on the stage bore an uncanny resemblance to the lives of the 1940s actors in the play. Comedic hijinks coupled with superb singing and dancing resulted.

Arielle Egan took on the dual roles of Katherine and the actress who played her, Lilli Vanessi. I enjoyed the clever approach this thespian utilized to transform the latter into the former. One also has to acknowledge her skill in bringing out the humorous aspects of a bad temper. She animated the concept that “Hell hath no fury like a woman scorned” with great wit. While she treated the audience to extraordinary acting, Ms. Egan impressed even more with her vocal capabilities.

This performer manages her voice as though it’s a distinct musical instrument. Ms. Egan executed outstanding trills and vibrato while singing the comedic “I Hate Men.” Her character very well may have, but this reviewer sure loved her singing. It proved a challenging song to perform. The track contained rests and accents in unusual places. She impressed by performing the song flawlessly while emphasizing the funnier aspects of the words.

Anthony Vitalo’s stellar vocal prowess also captivated the audience. In addition to a voice that broadcasts well, his style reminds one of Greg Lake’s; only with an American accent. I felt like a “lucky man” given the opportunity to hear his renditions of “Where Thine Thy Special Face” and the witty ode to ribaldry “Where is the Life that Late I Led.” It’s an achievement to speak those titles without tripping over the alliteration. Mr. Vitalo sang with confidence and achieved terrific interpretations.

Mr. Vitalo also exhibited proficiency for facial expressions. Whether his character connived, wooed or angered, he displayed the best mannerisms to express the emotions. From my seat at stage right, I had a clear view of him during Ms. Egan’s superb solo performance on “So in Love.” His somber pining for his lost love gave the song much more impact. That’s a remarkable achievement for a performer sitting silently on stage during the number.

The cast gave Musical Director Justin Adams a lot of talent with which to work. One of the evening’s highlights took place when Mr. Vitalo and Ms. Egan joined together for the “Wunderbar” tune. The song’s title proved an adept description of its delivery from both performers.

Colleen Murphy (as Lois Lane/Bianca) added her remarkable vocals to the show. Many of the lyrics she sang contained dual meanings and she varied her tone to express these changes. Ms. Murphy delivered a striking rendition of the archly titled “Always True to You in My Own Way.” I also enjoyed her duet with Dennis Summerville (Bill Calhoun/Lucentio) on “Why Can’t You Behave?”

Perhaps, serving as an inspiration to Sister Act, Kiss Me Kate utilized gangsters as a source of comedy. Curt Shoyer and Steve Ciapanna provided that comedy through their accents, dialog and costumes. They added singing and dancing to their repertoire with the hilarious “Brush Up Your Shakespeare” number.

Act II opened with the show’s most memorable moment. Kahil A. Wyatt (as Paul) led the company through an intricate song and dance number entitled “It’s Too Darn Hot.” One has to credit Chris McGinnis for coordinating the elaborate choreography. The cast deserve recognition for the flawless performance of such a multifarious routine.

Kiss Me Kate featured a rotating set to accommodate the musical’s 16 different scenes. It transported the audience from Ford’s Theatre in Baltimore to Elizabethan England. Rennee McCleery’s costuming enhanced this effect.

Jordan Gulick, Faith McCleery, Tony Yates, Charles L. Bandler, Alex Chupik, Brian Gensel, Felicia Capece, Nicole Lukaitis, Jennie Pines, Gia Lukatis, Nicole Lukatis Jennie Pines, and Krista Reinhardt added their talents to an outstanding cast.

To borrow from Shakespeare, “all’s well that ends well.” Sadly, the show will end on October 21. Following that, audiences can kiss Kiss Me Kate goodbye at Haddonfield Plays and Players.

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Seussical at Burlington County Footlighters

What better way to spend an evening having fun

Than seeing a musical inspired by the power of imagination?

I found this one more amusing than Mother Goose.

Oh, the thinks you can think when it comes to Seuss.

 

Okay, no one will ever confuse my writing with Mr. Geisel’s. Lest his fans become too distraught by my weak imitation, the Footlighters cast and crew proved much more adept at carrying on his legacy. I attended the premiere of Seussical on September 15, 2017.

 

When I opened the program I was delighted to see

It was directed by theatrical guru Dennis Doherty.

I watched the show before going to bed,

Now these rhyming couplets are stuck in my head!

 

Ugh! Well, I don’t often attend performances that inspire me to imitate the characters’ speech patterns. That shows the quality of this production.

Patrick O’Malley turned in an animated performance as that troublemaking tabby, The Cat in the Hat. The fast paced strutting about the stage with either his hands on his hips or clasping the inside of his jacket deftly mimicked character’s mannerisms.

Of course, the role required a flair for comedy. Mr. O’Malley captured the character’s arch nature. While approaching the sleeping JoJo he placed his finger to his lips to shush the audience. He mimed a sleeping position to show the child slumbered. Then he bellowed, “WAKE UP!”

This demanding part included several complex song and dance numbers. He dazzled with the ironically titled “How Lucky You Are.” The deft way he utilized the cane enhanced the routine. He also did a superb job teaming up with the Hunches on “Havin’ a Hunch.”

Seussical featured the best dance routines I’ve observed. Choreographer Liz Baldwin did phenomenal work coordinating them. Since many of them included several performers, it made the numbers much more intricate. The company impressed me by staying in synch and executing these complex dances so well.

Tre DeLuca shone in an impressive performance as JoJo. He transformed his character from a naïve boy into a mature young man throughout the evening. He served as a great foil to the autocratic General Gengus Khan Schmitz (Suzie Ramsdell) and displayed great chemistry with Mr. O’Malley. I liked his enactment of perplexity when Mr. and Mrs. Mayor (Michael Sheldon and Jenny Scudder) chastised him for “thinking” too much.

Mr. DeLuca delivered memorable singing. He performed a somber rendition on the reprise of “Alone in the Universe.” Duets made up all his other numbers. His high vocals complimented the other ranges. He rounded out the harmonies very well.

Brian Padla turned in a moving performance as the sensitive elephant, Horton. During the first part of the show, he “heard a Who” on a speck of dust. He placed it on top of a clover. While the residents of Whoville performed at the other side of the stage, he listened. His facial expressions captured the feelings of someone enraptured by what he heard.

His non-verbal skills accentuated Mr. Padla’s vocal capabilities. He best combined those strengths on “Here on Who” accompanied by the residents of Whoville.

Under the musical direction of Peg Smith, Seussical featured many stellar vocal performances. Jill Bradshaw sang movingly in her renditions of “The One Feather Tail of Miss Gertrude McFuzz” and “Notice Me, Horton.” Alex Davis belted out “Amayzing Mayzie” and “Mayzie in Palm Beach” like a seasoned cabaret singer. Kendra Hecker delivered awesome vocals on the soulful sections of “Biggest Blame Fool” and “The People Versus Horton the Elephant.”

I’ve written before about how Burlington County Footlighters likes to bring the audience into their shows. When Brian Bacon and Mark Urmson joined together for the catchy “Monkey Around” they danced down the aisles with Horton in pursuit.

Playwrights Stephen Flaherty and Lynn Ahrens didn’t spare any performer dialog laden with rhyming couplets. In their roles as the Mayor and Mrs. Mayor, Michael Sheldon and Jenny Scudder had the most difficult. In the scene where they confronted JoJo about his “thinking”, they alternated rhyming couplets. I credit them for not allowing the word patterns to distract them. They also crooned a moving rendition of “Solla Sollew” along with Mr. Padla and Mr. DeLuca.

I enjoyed JP Helk’s baritone rendition of the Grinch’s voice. I enjoyed it even more when he used it to deliver his jaded rendition of the Grinch’s Christmas story to the Whos.

As always, Jim Frazer did an exceptional job with the set design. Mr. Frazer’s talents make the “willing suspension of disbelief” very easy for audience members. This time he transformed the Footlighters stage into the surreal world of Seuss; ranging from the Jungle of Noor to Whoville to the Circus McGurkus.

Amanda Codgell’s costuming enriched the show. The attire conveyed the characters’ personalities while staying true to Dr. Seuss. At the same time, it didn’t overshadow the performers wearing it. Ms. Codgell did some very inspired work with red bows, such as The Cat in the Hat’s tie and the dual bows on Mazie’s stockings. Mazie’s and Gertrude’s feathers enhanced those characters’ appearance. The Cat’s iconic hat was spot on.

I’d also credit performers Liz Baldwin, Julia Fraupel, Alyssa LaPierre, Suzie Ramsdell, Gabriella Kelsey, Michaelina Petti, Tristan Codgell, Max Hann, Morgan Hann and Harrison Scudder for their contributions to the production.

It didn’t surprise that a show based on imagination would bring together so many creative people. Seussical transported the power of “the thinks you can think” to the stage. The Footlighters cast and crew made it a reality. They put on one “amayzing” show.

Just because you’re a Seuss fan doesn’t make you nerdy,

Go see Seussical at Footlighters before it ends September 30.

Rumors at the Ritz Theatre Company

This September 9^th, I experienced an evening of hitting, characters assuming tasks they’re not accustomed to and a host of misunderstandings. One couldn’t select a more appropriate prelude to the Philadelphia Eagles’ 2017 season. Unlike the Birds’ woes, however, the Ritz Theatre Company intended to present a comical performance to fans. They staged Neil Simon’s Rumors directed by Al Fuchs.

Attempts to evade and/or cover-up a perceived political scandal served as the characters’ motivations. While a ubiquitous topic for non-fiction writers, Mr. Simon utilized his unique comic craft as only he could. He entertained the audience with a fictitious take on an unusual one involving the strangest cover-up ever attempted. The playwright’s skill along with the superb performances transformed this common topic into an original masterpiece.

Ken Gorman (played by Brian Rivell) and his wife Chris (played by Suzanne Yocus) arrived at the Deputy Mayor of New York’s home. They’d planned on attending a party celebrating His Honor’s tenth anniversary. Instead Ken discovered him bleeding and unconscious with a gun next at his side. Mr. Gorman happened to be both the host’s attorney and friend. He didn’t want word of the incident leaked until understanding what happened. He and Chris decided not to tell the authorities.

Brian Rivell delivered a spirited performance as Ken Gorman. One has to credit him for maintaining his focus while tasked with running up and down stairs all evening. He didn’t allow the role’s physical demands to impede his comic timing. He excelled in the latter when his character became temporarily deaf.

Suzanne Yocus served as the perfect counterpart to Mr. Rivell in the role of Chris Gorman. The anxious way she scurried about the stage battling her craving for a cigarette almost made me long to break my twenty year fast. Ms. Yocus also managed to stagger about the set as though intoxicated. I credit her for still delivering her lines clearly while playing a character in that state.

Following the Gormans’ decision to keep the Deputy Mayor’s condition quiet, the Gatzs arrived. Kumar Goonewardene nailed the language and accent of a foul mouthed New Yorker. That’s quite a stretch for someone living in the culturally sophisticated South Jersey area.

Later in the show his character took on a separate role within the play. Mr. Ganz played the Deputy Mayor when the police inquired about gunshots. Mr. Goonewardene delivered a monumental soliloquy explaining what happened. What Hamlet’s “to be or not to be” was to drama, this one was to comedy. The performer convincingly spoke his lines like someone coming up with them extemporaneously. That served as the true highlight of this show.

Jean Collelouri as (Claire Ganz) took on arguably the most challenging role in the show. Her character had the tasks of trying to get the truth out of the Gormans, laying out all the gossip that gave the show its title and playing a jealous wife. Ms. Collelouri met all of these difficult tasks brilliantly.

Then the most interesting invitees arrived. In the couple of Ernie Cusak (Michael Murphy) and Cookie Cusack (Carol Furphy-Labinski), Mr. Simon may have created the most unusual husband and wife team in the history of theatre. Mr. Murphy played a psycho-analyst and Ms. Furphy-Labinsky the host of a cooking show. Had the entire show focused on them, it would’ve still justified the ticket cost.

Mr. Murphy did an exceptional job getting into his character. His beard, moustache and glasses gave him a striking resemblance to Sigmund Freud. The soft voice and calm manner of talking complimented his character’s persona. The low-keyed way he played this role made the scene when he lost his temper much more humorous.

Ms. Furphy-Labinsky had both the privilege and the challenge of delivering the show’s funniest line. When her character discussed her back trouble, she explained, “It only hurts when I stand up or sit down.” She expressed the line perfectly.

Ms. Furphy-Labinsky also wore the most comical attire. One of the characters called it an odd item to wear to a dinner party. While the script referred to it as Russian, it brought to mind a Bavarian maid’s attire. Did this performer utilize it to subliminally signal future directors her openness to performing in The Sound of Music?

This group of characters made for a very amusing show. But Mr. Simon kept the comedy coming. Glenn Cooper (played by Robert B. Colleluori) and Cassie Cooper (Jennie Knackstedt) rounded out the ensemble. Tolstoy famously wrote, “Happy families are all alike; every unhappy family is unhappy in its own way.” This couple pushed the envelope on the latter.

Mr. Colleluori played a character running for state senate. Facing his wife’s rumors regarding infidelity challenged him more than the upcoming election. The performer delivered a series of denials with increasing intensity. He captured the complexities of a politician’s behavior. At first he hesitated to give his name to the policeman questioning him. When the officer later said he looked familiar, his character couldn’t resist effusively announcing his bid for state senate.

Ms. Knackstedt’s interpretation of the haughty, Cassie, brought to mind Dan Aykroyd’s Winthorp in Trading Places. Ms. Knackstedt’s choice of voice captured the character’s affluent background. She expressed herself in such a way that made her tone sound both exaggerated, but still believable that someone would speak in that manner. That’s not an easy balance to execute.

I would’ve preferred more applicable music playing before the show and during intermission. I presume the director opted for 1980s pop music since Rumors premiered in 1988. Since the play centered on a high society dinner party, I thought either ‘cocktail jazz’ or classical string music would’ve established the mood better.

With all these hijinks occurring, Officer Welch (Stephen Coar) and Officer Pudney (Abbe Elliot) rounded out the dramatis personae. After Mr. Ganz in the guise of the Deputy Mayor tried describing the evening’s events, Mr. Coar’s character delivered another of the show’s memorable lines. It would serve as a good summation of the entire script: “I didn’t believe a word of it, but I liked it.”

The Ritz Theatre Company’s Producing Artistic Director, Bruce A. Curless, introduced Rumors with a bit of bravado. He started telling the audience: “If you enjoy the show, spread the word.” He then modified his remarks by re-stating them as: “After you enjoy the show, spread the word.” There’s an appropriate epigram attributed in various forms to people from Dizzy Dean to Jaco Pastorious. It reads: “It ain’t bragging if you can back it up.” The cast and crew did just that. Based on this performance’s quality, rumor has it they’ll continue doing so through the entire run. It ends September 24th.

 

Marble and Mud: Political Commentary

The President’s remarks after Charlottesville engendered more controversy than usual. Some interpreted his measured denunciation along with the tacit support from many in his party as a GOP transitioning from the party of Lincoln into the party of George Lincoln Rockwell. The further irony of a Republican Commander-in-Chief defending monuments dedicated to “losers” from the Confederacy became muddled by the Chief Executive’s continued missteps. The incident and aftermath reignited the debate over the appropriateness of monuments honoring Civil War enemies. It’s confounding that it took an incident of this magnitude to bring the issue to the national forefront.

The United States may hold the distinction as the first nation in history to immortalize figures for taking up arms against it. It baffles the mind that individuals such as Robert E. Lee, Nathan Bedford Forrest and other rebels would become marble effigies displayed on public properties throughout the union. This stretches the boundaries of Lincoln’s assurance: “malice towards none and charity for all.”

It astonishes that some deem such figures worthy of honor. The West Point alumni who abandoned their blue uniforms for gray forsook their oath to defend the nation from “all enemies foreign and domestic.” The Confederate States instigated a war of choice against their fellow Americans. The states that seceded from the Union did so unnecessarily. The Republican Party opposed the extension of slavery; it didn’t contest its existence.

All the legalese regarding “states’ rights” and “secession” only obfuscated the real issue. No state seethed over matters such as the Federal Government building a post office on prime public land. No local government raged over the unfairness of port duties getting sent to Washington. None invoked the “taxation without representation” epigram in response to state funds stuffing the coffers of a bloated national bureaucracy. Slavery served as the catalyst, cause and core of the conflict.

Myriad contributions to the American experience originated in the South. Authors such as William Faulkner, Flannery O’Connor and Truman Capote enhanced our nation’s literary tradition. Statesmen such as George Washington, James Madison and Thomas Jefferson built our political system. It’s difficult to imagine popular music without the influences of Elvis Presley, the Delta Blues and—America’s original art form– Jazz. Without these inspirations, American culture would not exist. The area south of the Mason-Dixon line gestated numerous boons that made the nation a “shining city on a hill.”

The Civil War is not among them. It seems macabre to “honor” those who waged a four year war of attrition against the United States government. Scholars debate the conflict’s human cost. Depending upon which estimates one uses, the hostilities caused casualties somewhere in the range of 600,000 to 900,000. The War Between the States initiating the deaths of more Americans than any other war is not open to conjecture.

Critics complain that removing Confederate monuments “erases” history. The question: just what history do they believe it erases? The very existence of these statues muddies the past. Even without the presence of the rebel effigies, Americans will still study and seek to understand the most violent war in our country’s history. Understanding why society held these figures in high regard for so long will prove more challenging.

It’s always mystified me that Americans adopted the Roman practice of deifying political figures. Imperial officials made (popular) former emperors into gods. They then chose to construct elaborate monuments honoring their memories. It’s bizarre to witness that practice in my own country. After all, the Founding Fathers crafted a constitution predicated upon a deep mistrust of government.

While appropriate to respect public servants, revering them is a dangerous practice; at times, a strange one. It defies all bounds of reason that a marble likeness of Roger Taney occupied the grounds of the Maryland State House until recently. While Chief Justice, he wrote the majority opinion in the Dred Scott v Sandford (1857) case. Legal scholars cite it as the worst decision SCOTUS ever handed down. The reckless application of judicial activism made the Civil War inevitable.

Some have suggested that Taney presided over a successful Court. His conduct in Dred Scott represented one mistake in an otherwise distinguished career. I find that comparable to lauding Neville Chamberlain for his contributions to European politics. It would be unfair to judge the whole of his career by his one failure. So what if that lone irresponsible act almost precipitated the end of liberal democracy?

Monuments to political figures reflect more upon the era of their dedication. Seldom are they timeless. History often mires public officials in mud. They have no place in marble.

 

Natural Phenomenon Review – Solar Eclipse 2017

I once awoke to golden flakes coloring the Atlantic Ocean. As the sun ascended from the horizon, they extended into gilded streaks that rippled along the sea’s surface. I gasped in awe at nature’s majesty.

On August 21, 2017 the sun darkened at midday. That’s it. That’s what happened. Not quite the comparable spectacle for my tastes. The much heralded solar eclipse didn’t even measure up to a solar flare.

Before it even started, I had issues with the set-up. I experienced the Solar Eclipse from Pennsauken, New Jersey. Small puffs of clouds arranged peripatetically throughout the cerulean sky. The temperature reached the mid-80s, but the humidity level remained comfortable. This describes just about any “beautiful summer day” described in poetry, songs and romances. I would’ve preferred a less cliché setting for such a “captivating” celestial display.

Then as “peak eclipse time” approached, the heavens darkened. Not as dark as I’d expected. From the legends I’ve heard about these phenomena, I expected “day to turn into night”, if you will. Not so. The darkness compared to the atmosphere during a rain shower. And we’re told ancient societies quaked in terror during a solar eclipse!? What was wrong with those people!?

Unexpected thunderstorms plague South Jersey during the summer. On one of the few storm free days we’ve experienced recently, the solar eclipse made it appear one was imminent. How awe inspiring.

As poor as the sun performed during this occurrence, the moon disappointed even more. One October I recall looking out my bedroom window during a full moon. The Yardbirds’ psychedelic instrumental “Glimpses” played on the radio. The lunar orb weaved through the apertures in the overcast sky. It created quite a sensory spectacle.

The moon did not bring its “A-game” to this eclipse. Its dark outline became visible during the day. I perused a thesaurus after writing that line. Still, that’s the most elaborate way I can describe it.

On many days I’ve seen the moon CLEARLY during daylight hours; especially in the early morning. (Keep in mind the sun concurrently shares the sky with it at this time, too.) A spectator can view craters along with the rest of the intriguing landscape in the naked eye. During the eclipse it appeared as a dark circle. Based on this performance, I’m starting to understand why man hasn’t visited there in over forty years.

This natural phenomenon quickly turned into a phenomenot. Let’s hope the 2017 Solar Eclipse turns out to be a “rebuilding year” for celestial displays. It sure didn’t inspire me to travel the world and witness other eclipses when they occur. From now on, if I want to see the sky darken in the middle of the day, I’ll just patiently wait until nighttime.

Disney’s Beauty and the Beast at the Ritz Theatre Company

The magic of Disney transformed South Jersey into a mystical wonderland; well, more so than usual. Twenty-first century exurbia altered into the form of a rustic medieval village. A mysterious enchanted castle settled on the outskirts. The Ritz Theatre served as the source of this enchantment. The building became even more bewitching this July 28^th. I experienced a supernatural evening in the form of Disney’s Beauty and the Beast directed by Craig Hutchinson.

In the prologue voiceover, Rick Williams delivered a stellar reading of the backstory for this “tale as old as time.” In it, a handsome prince discovered the perils of vanity in the most unpleasant way possible. He turned a homely beggar woman away from his door because of her appearance. Spoiler alert for those who’ve never had contact with the outside world: a witch bore the guise of the old woman. She cursed the good-looking young man, making him into a hideous beast. In the process, his servants experienced their own metamorphoses. They started changing into various items in the household.

Only one thing could end the curse. Spoiler alert for those surprised by the first spoiler alert: it’s the love of a good woman. The beast must find a young lady who can look past his horrifying appearance. But this quest contained an added challenge. The Beast must complete it before all the petals fell off the rose the witch gave him. At the story’s beginning, the rose was almost bare.

The action then turned to the bookish Belle (Annabelle Garcia). Somewhat of an outcast due to her love of literature, she still drew the interest of the most desirable man in town, Gaston (Nicholas French). While spurning his affections, her father, Maurice, (played by Bruce A. Curless), became lost in the woods. In order to avoid a coven of wolves, he took shelter in the Beast’s castle. The latter didn’t take kindly to uninvited guests, so he imprisoned the father. In order to free him, Belle promised the Beast she would stay with him forever. Then as the rose withered, their relationship bloomed.

Annabelle Garcia interpreted her character’s role as “beauty” very broadly. I witnessed no paucity of pulchritude from this performer. Ms. Garcia showcased a beautiful voice, beautiful dance moves and beautiful acting ability. Belle proved quite a demanding role, and this thespian rose to the level it required.

Ms. Garcia turned Belle into the epitome of a Disney heroine. Her selection of voice brought to mind Judy Garland’s from The Wizard of Oz; only more mellifluous. Even when delivering lines, her voice contained a melodic quality to it. This performer treated the audience with impressive singing. Her delivery of “A Change in Me” drew on the character’s feelings and expressed them proficeintly.

Ms. Garcia also wowed theatregoers with her dancing ability. Her most memorable scene occurred when she took part in the fast, high-energy “Be Our Guest” routine along with the ensemble.

A true triple threat, Ms. Garcia also exhibited superb aptitude for non-verbal communication. Even when other action occurred on stage, she remained in character through her perfect use of facial expressions. The way she laughed in her scenes with Maurice (Bruce A. Curliss) showed the character’s genuine affection for her father. It came across as believable and sincere. Bravo.

Bryan M. Pitt put on one beast of a performance as the Beast. I liked the way he brought out the character’s inner turmoil through his vocals. He delivered “If I Can’t Love Her” in a dolorous tone that stirred me. One has to credit him for doing this so well without allowing a burdensome costume to distract him.

Mr. Pitt varied the monster’s emotions very well. Through his character interpretation he showed the Beast possessed much more depth and complexity than what appeared on the surface. When required, he played an angry, frightening creature speaking in a harsh tone that invoked terror. The reverb added to his voice in the first act enhanced this effect.

Like a true stage veteran, he portrayed the character’s change in a measured way that made it credible. Mr. Pitt brought out the Beast’s vulnerability when admitting to Belle he didn’t know how to read. He also got laughs when squealing as Belle bandaged his wounds.

I always enjoy the opportunity to hear Tami Gordon Brody sing. Her rendition of “Beauty and the Beast” didn’t disappoint. It provided the perfect background to Belle’s and the Beast’s solo dance.

This show featured elaborate costuming. To illustrate just how extravagant, it’s difficult to argue the Beast’s as the best. David M. Mooney (as Cogsworth) played a realistic appearing clock. Tami Gordon Brody (Mrs. Potts) took the stage as a tea-kettle. Achilles Inverso (as Luminaire) donned the attire of candelabra. Nicky Intrieri performed as a teacup. Brittany Marie (Babette) played a feather duster. Jane Ericksen wore a dresser most of the evening. The ensemble acted as various pieces of silverware. These players deserve immense respect for not allowing costumes that inhibited movement to affect their performances. That’s true professionalism.

In addition, the “normal” characters wore authentic appearing gowns from the 18^th century. They made for quite a visual spectacle.

David M. Mooney and Achilles Inverso displayed outstanding comedic chemistry working together. Their respective costuming added to the humorous effect, but they didn’t allow themselves to become reliant on them for humor. As with Ms. Garcia, they selected the perfect voices to correspond with their characters. I enjoyed Mr. Mooney’s English accent and Mr. Inverso’s French intonation. The inflections enhanced the witty banter between the two.

Nicholas French (Gaston) and Matt Flocco (Lefou) performed well as a comedy team. In addition, I  enjoyed their singing together on the apotheosis of self-admiration the appropriately titled “Gaston.”

Nicholas French may have played a reprehensible character in the form of Gaston, but I still relished they way he performed. It’s quite a trial to play a lothario in an appropriate way to a Disney audience, but Mr. French did so. He teamed up with Ms. Garcia on the outstanding duet: “Me.”

I had one minor issue with the show. I know this is Disney, but dancing wolves? In the story’s context, they were supposed to be threatening creatures. Seeing them dance, made them less so; and Beauty and the Beast isn’t Cats. That’s not to diminish the work of the dancers. More thought out writing would’ve gotten the playwright’s point across better.

Choreographer Jessica Quindlen put together memorable routines. I’d credit dancers Casey Clark, Olivia West, Lindsey Krier, Nicky O’Neal, Kaitlyn Delengowski, Margot Adams, Matthew Janis, Madeline Kendall, Annie Raczko, Kahlil Wyatt, Mike Wemer, Brian Gensel and John Sayles for the technical ability to execute them.

I also enjoyed Taylor Brody in the role of the malevolent Monseiur D’Arque. Bruce A. Curless played the eccentric Maurice exceptionally well.

During intermission, the Ritz allowed theatregoers the opportunity to purchase illuminating roses. When the proper scene arose a series of roseate glows dotted the auditorium. Watching a dark theatre light up with red flowers added to the optical display.

Some “tales as old as time” never get old; Disney’s Beauty and the Beast among them. A curse may have ignited the main story spark, but it blessed the audience with a truly enchanting evening. Unfortunately for theatre fans, the petals are falling off the rose while you’re reading this. The magical opportunity to see Beauty and the Beast ends this August 6^th.

Rock of Ages at Haddonfield Plays and Players

When narrator Lonny described the action in Rock of Ages as taking place during “the Reagan Era” my face scrunched. Whatchu talkin’ ‘bout, Lonnie? I thought. My entire memory of that period consists of spending the summer watching the Iran-Contra Hearings. I hoped I wouldn’t start wiggin’ out in the theatre. Then I took a chill pill. I realized that I live in a time when people in government “just say no” to engaging in illegal deals with a hostile foreign power. Theatre goers should feel even more stoked that Haddonfield Plays and Players opted to bring back the era’s best attribute fer sure: the gnarly music. They delivered some schweet renditions in Rock of Ages when I attended the mahvelous performance on July 22, 2017.

The show featured a most fresh premise. Author Christopher D’Arienzo re-worked the old small-town girl goes to Hollywood concept. He crafted the musical in a way so that host of hit songs from the 1980s delivered the 411.

The dancers in this show earned my respect fast; and continued to earn it throughout the entire performance. La’Nise Ambrose did monumental work in coordinating the moves. I give immense credit to dudettes Audrey DiEnno, Katharina Munoz, Tiara Nock and Nicolette Palombo. They kept up the same level of intensity the entire evening; and the show required a lot of intensity to maintain.

The high tech production quality impressed me. Rock of Ages featured a live band and a big screen. Combined with the singing and dancing, it made for a complex show. Director Ed Doyle did an extraordinary job coordinating all these facets.

Anyone interested in the popular music of the 1980s MUST see this show. As a fan of the era’s tunes, I got stoked to hear the rock-o-rama presented in this type of forum. The quality of singing enhanced the tracks much more than I’d expected. How much better these songs sounded when performed by the cast surprised me.

Few would dispute Lou Gramm delivered outstanding vocals during Foreigner’s prime. Performers Michael Robert Anderson and Dana Masterman made him sound dag. They sang one of the best duets I’ve ever heard on “Waiting for a Girl Like You.” They combined with Vinnie DiFillipo to deliver a passionate “I Want to Know What Love Is.”

Mr. Anderson and Ms. Masterman weren’t the only performers who delivered memorable duets. Ed “Rico” Santiago and Aaron Blake combined their skills for a comical rendition of REO Speedwagon’s “I Can’t Fight This Feelin’.”I liked the way they managed to sing this tender ballad in their characters’ voices.

Dana Masterman turned in a totally ace performance. While an extremely gifted vocalist, she possesses boss skills for non-verbal communication. This performer’s smiling and upbeat facial expressions reflected those of an idealistic young woman. As the show progressed, Ms. Masterman deftly conveyed disillusion over her character’s romantic problems and career failures. Her shibby inability to quite master pole dancing got laughs, as well.

After hearing Michael Robert Anderson croon these 80s classics, fans would gag on a spoon listening to the originals. Mr. Anderson sang so remarkably well that I had trouble imagining a struggling musician could have such talent. Still, he acted the role of Drew very convincingly. He sustained a high note on “Oh, Sherrie” without vibrato. Singers in 80s cover bands would be well served to study his technique.

The show contained a large cast. No one person could bogart all the accolades. The posse worked very well together and complimented one another’s talents to the max.

Holly Birch Knapp’s performance as the radical Reginia was, well, radical. She displayed exceptional passion leading the “We’re Not Gonna Take It” number.

Vinnie DiFillipo showed fantastic comedy prowess as the randy rock star. Monette Solomon delivered outstanding vocals on “Anyway You Want It” and “Shadows of the Night.” I applaud Bill Zeoli and David Fusco for the ability to sing with authentic German accents. I’d also compliment performers Armando Mendez, Trisha Dennis, Jenn Kopesky-Doyle, Faith McCleery, Jenni Pines, Amanda Frederick, Cara Dickinson, Shannon McClernan and Jeremy Noto for their contributions to the ensemble.

I also enjoyed hearing the live band under Mark Kozachyn’s direction. Eric Madden shred his guitar like a true 80s axe-man.

“So what’s your damage with this production?” You may ask. I found it grody that Antonio Baldasari didn’t have more stage time as Aresenal’s new lead singer. The man possesses a genius for comedy. If Mr. Baldasari stood in front of an audience reading the phone book he’d find a way to make people laugh. In his limited scenes, he still amused the audience.

Rock of Ages reminded me that the 80s contained some choice music. I’m not being bogus when I write that that the cast and crew presented one tubular production. I’ve fallen for this show and I can’t get up. Cowabunga! Grab the Bartles and Jaymes and jet to the theatre. Where’s the beef? It’s totally happening at Haddonfield Plays and Players until August 4^th.

Sister Act at the Maple Shade Arts Council

Many South Jersey community theatre fans have attended at least one Sister Act production staged this year. When the Maple Shade Arts Council announced that they’d be producing it this July, I’m sure some asked, “Do we really need another Sister Act show..again?” Well, theatre legend Michael Melvin directed this one. So don’t think of it as “just another Sister Act” show. Think of it as the New Testament. I attended the showing at the Maple Shade High School Auditorium on July 15, 2017.

Since Sister Act has been such a popular show this season, I’ll spare readers the usual plot summary. However, to paraphrase director Michael Melvin, I will report that the cast and crew “put together one hell of a heavenly show.”

Watching Phyllis Josephson take the stage again was a true pleasure. I’ve seen her perform in numerous shows; in fact most recently in Sister Act at Haddonfield Plays and Players. She delivered a rap number in that one, but this is the first time I experienced her ethereal vocal style. I found her emotional rendition of “I Haven’t Got a Prayer” very moving.

Ms. Josephson turned in a supreme performance as Mother Superior. She balanced the character’s austere nature while still getting laughs at the proper times. After her passionate rendition of the number mentioned above, she followed it up with a stellar on-liner. She also shared great chemistry with her nemesis, Dolores, played by Danielle Harley-Scott.

Ms. Harley-Scott played a wild free spirit and aspiring disco diva forced to masquerade as a nun. This required some range and she executed the challenge very well. She crooned the upbeat numbers “Take Me to Heaven” and “Fabulous Baby!” with spirit. Later in the show she adjusted and delivered a passionate rendition of “Sister Act.” Maintaining her focus while the lights reflected off her sequined blouse was an achievement in itself. Her comedic attempt to lead the nuns in grace made one of the funniest moments of the show.

In a bit of ironic casting, Darryl Thompson, Jr. played “Sweaty” Eddie. I wrote ironic, because I didn’t notice him sweat all evening. The challenging number “I Could Be That Guy” would’ve given most performers a reason to perspire. Mr. Thompson already earned a reputation as a phenomenal vocalist through his previous work. With that acknowledgement, he sang a version of the song that would’ve impressed Berry Gordy.

Casey Grouser (as Sister Mary Robert) displayed extraordinary talent in this production. This performer possesses the strongest voice I’ve ever heard. The brilliant way she modulated it all evening impressed me. Unlike many singers, Ms. Grouser managed to hit high notes without her voice sounding piping. Ms. Grouser shone in her passionate rendition of “The Life I Never Led.”

In other scenes, Ms. Grouser captured her character’s initial timidity by hugging a book, looking down or quickly shuffling off stage. She believably enacted the character’s transformation into a self-confident person. Her overall performance deftly brought out Sister Mary Robert’s inner feelings.

I called Antonio Flores “brilliantly comical” when he played a gangster in City of Angels at Burlington County Footlighters. I delighted in watching him step up into the role of crime lord, Curtis. The witty flair he added to “When I Find My Baby” enhanced the tune’s unusual lyrics.

Lori A. Howard and Vitaliy Kin demonstrated great comedic collaboration. Mr. Kin possesses a unique ability to stand out no matter what role he’s playing. Ask anyone who heard him sing Spandau Ballet’s “True” in Yiddish during The Wedding Singer. Listening to him shout in Spanish while Ms. Howard translated became my favorite moment in the show.

Erica Pallucci choreographed some extraordinary high-energy dancing. Casey Grouser, Gina Petti and MacKenzie Smith put on a clinic. There’s no question the choreographer deserves some credit for the routines. I’m just thinking these dancers found a lot of inspiration from the funky moves Mr. Melvin showcased when he played TJ this January.

The way Sister Act combined comedy, singing and dancing in the same scenes made it distinct. Matt Maerten, Evan Hairston and Vitaliy Kin combined their talents for the “Lady in the Long Black Dress” number. It made for an unforgettable scene.

I’d also credit performers Jillian Starr-Renbjor, Brian Blanks, Debra Heckmann, Andrea Veneziano William Smith and the ensemble for their comedic and vocal contributions to this stellar production.

The live band made the show even more special. Cameron Stringham did an excellent job coordinating the music. It sounded spectacular without overshadowing the vocals.

One of the advantages we community theatre critics enjoy is the opportunity to interact with influential people. I’ve had the privilege to sit next to famous performers, directors and producers at various shows I’ve attended. The Maple Shade Arts Council took this perk to a whole new level. Michael Melvin occupied the next seat over from me when he played Pius VI. (I give him credit for staying in character while doing so.) So this time, I got to sit next to the director, the organization’s president and a Pope. Now I’ve made it as a writer!

So do we really need another version of Sister Act in South Jersey? After watching the Maple Shade Arts Council’s production, an emphatic YES answers that question. This performance contained phenomenal singing, dancing and acting. Just perhaps, a series of Sister Act Two shows may be a welcome addition to the 2017 – 2018 theatrical season. For now, fans can see the original at the Maple Shade High School Auditorium through July 22.

Sweeney Todd at Collingswood Community Theatre

Without question, Sweeney Todd: The Demon Barber of Fleet Street is the show that best combines the trilogy of vengeance, cannibalism and hairstyling. This mix gave it an originality seldom witnessed in the annals of theatre. I experienced the pleasure of the Collingswood Community Theatre’s presentation of this Stephen Sondheim musical on July 13, 2017.

The atmosphere director Mary Baldwin created far exceeded what one would expect from community theatre. The cast and crew transformed the Grand Ballroom at the Scottish Rite into an eerie incarnation of Victorian London. The smoke, dim lighting and ominous music fashioned a chilling atmosphere. The lantern carrying cast members pacing onto the stage from all directions added to the sense of dread. It created the perfect mood for the story.

Sweeney Todd presented the tale of its pseudonymous character originally known as Benjamin Barker (played by CJ Kish). Judge Turpin (Ryan Adams) imprisoned him on false charges. A nefarious desire motivated this deed: the magistrate longed for Mrs. Barker. The man formerly known as Benjamin Barker escaped a penal colony in Australia. He returned to London calling himself Sweeney Todd. He revealed his lugubrious story to a man he encountered on the street, Anthony (played by Chris Fitting). Then he entered his former residence. Now it housed the pie shop of a widow, Mrs. Lovett (Lisa Kain Marcelli).

The woman revealed that Mrs. Barker poisoned herself following Judge Turpin’s attack. In case some audience members still didn’t quite understand just how evil the judge’s nature: he also took in Todd’s daughter, Johanna (Stacie Krawiecki) as his ward. Now he wanted to marry her. Mr. Todd didn’t take this news well. Through his reaction, Mrs. Lovett determined his true identity.

In a somewhat unexpected lifestyle choice from a good Christian gentleman brought up on the values of Victorian England, Todd consecrated his life to vengeance. At the same time, Mrs. Lovett lamented the high cost of ingredients for her pies. The two then came up with a resourceful solution to both their dilemmas.

CJ Kish delivered an extraordinary performance as Todd. He nailed every one of the role’s complex facets. He sang impeccably. While bringing the character’s dark nature to life, he got laughs, as well. I relished watching him enact myriad emotions when Judge Turpin (Ryan Adams) sat in his barber’s chair. Mr. Kish varied his demeanor from resentment to obsequiousness with each sentence he delivered.

I’ve commented before on the energy Mr. Kish displays on stage. I appreciated the passion he brought to this character, as well. He maintained the same level of intensity from the beginning until the end of the show; not an easy feat with this role’s demands.

I also have to credit Mr. Kish for his appearance. With his bushy hair and mutton chops, I could visualize him as the “Demon Barber of Fleet Street.” His malign facial expressions rounded out the persona. The careful use of red lights accentuated his horrifying vibe. If someone would allow a figure that ominous to place a razor at his throat, he probably deserved what he got.

Lisa Kain Marcelli did an extraordinary job transforming into her character, Mrs. Lovett. Her British accent sounded very authentic. Vocally, it made me think of Edith Bunker, only from England. One has to credit her for singing so well with that inflection. I especially enjoyed her crooning on “By the Sea.”

As with The Producers, I enjoyed watching Mr. Kish and Chris Fitting work together. Mr. Fitting delivered stellar vocals on the pining ballad “Johanna.” I also appreciated his impassioned acting performance in the scene where he rescued his love from the madhouse.

Faith Charlton had a busy night. This performer portrayed the Beggar Woman and the barber, Pirelli. Ms. Carlton possesses an amazing voice. She showed off her vocal prowess in “The Contest.” In her various roles, she spoke in the accents of a British woman and an Italian man. Later in the show she also delivered dialog in an Irish brogue. That’s quite a range.

If someone asked me, “What provides a better bass tone: a Fender Bass Guitar or Ryan Adams’ voice?” While a difficult choice, I’d be inclined to answer the latter. Mr. Adams selected a great baritone inflection for the judge. His scat singing to Mr. Kish’s whistling on “Pretty Women” served as my favorite moment from the show.

Rounding out the cast, Cara Davis played the role of a young boy. Her measured interpretation of the child’s descent into madness chilled me. Patrick Waldron performed the role of the judge’s henchman, Beadle. I liked how he fused the traits of a viscous thug with those of a music lover into the same character. Stacie Krawiecki contributed her remarkable vocals to the performance, as well. I enjoyed her rendition of “Green Finch and Linnet Bird.”

This Collingswood Community Theatre production featured authentic looking costumes. Ellen Geigel’s designs made the sojourn back to Victorian times even more convincing.

Brian Kain did a superb job conducting a fabulous orchestra.

Sweeney Todd may not be everyone’s favorite musical about cannibalism, revenge and hairstyling. I’m pretty sure it would at least make most people’s top twenty containing that combination. If all had the privilege to watch the Collingswood Community Theatre present it in the Grand Ballroom, it would undoubtedly move up to number one on the list. I’ll never forget it. And I’ll never forgive Collingswood Community Theatre for ending their summer season so soon…well, only until next summer.

 

Dan Brothers: The Critique Compendium Interview

Dan has been involved in theater since 2003 with Burlington County Bridge Players production of The Complete History of America as Assistant Director.  Since then he has appeared in worked on the following productions:

At the Burlington County Bridge Players he assistant directed Arsenic and Old Lace. He acted in A Christmas Carol, Exit Date, and Don’t Dress For Dinner.

He acted in The Champagne Charlie Stakes at the Hanover Street Theater.

He acted in the following shows at Burlington Country Footlighters: The Nerd, Dangerous Liaisons, The Boys Next Door, Assassins, As Bees in Honey Drown, Rumors, Legally Blonde, And The Winner Is, Glengarry Glen Ross, The Foreigner, Rabbit Hole and The Fox on the Fairway.

He also produced Metamorphosis.

Mr. Brothers graciously consented to an interview on 7/7/17. An edited transcript of our conversation follows.

 

Critique Compendium: In a recent interview, Al Krier expressed some pretty strong thoughts about you. He said, and I quote, “Dan is the best! I will share a stage with him anytime. He is very generous as an actor.” Do you agree?

Dan Brothers: Vice versa. Al’s a good friend. Playing opposite him is cake. I’m very comfortable working with him.

You have no choice but to raise your game around him. He’s one of that select few that do that. He’s that good. It’s a joy to work with him. Kudos.

In Glengarry Glen Ross we were both funny together. It gelled. Sometimes you know you got it. With that show we both knew we had it.

 

Critique Compendium: What was it like to perform in shows directed by your wife, Valerie Brothers?

Dan Brothers: It’s a good time. It’s fun, but different. She’s allowed to come down on me much more because I’m her husband. She comes down on me anyway. (Laughs.)

She’s a perfectionist. I’ve known her for 11 years. When she does a project she’s all in.

We have different ways of preparing. The clash can be fun and challenging at the same time.

She really takes care of a script. She does extensive preparation. Eight to 12 months out, she has something laid out.

The Nerd was the first show I auditioned for at Footlighters. I got the lead and at the first read through with the cast I learned that there’s a surprise ending regarding my character. That’s the first time I knew about the ending because I didn’t read the entire script before auditioning.  Pretty sad isn’t it.

I’m the very opposite of Valerie.

 

Critique Compendium: Your character in The Fox on the Fairway had quite an infatuation with Elizabeth Deal’s character. Did having your wife as the director influence your performance in any way?

Dan Brothers: Not in the slightest. Liz and I became good friends over the last few years. We got to know each other quite well during Rumors.

That’s one of the unseen things that happens in community theatre. Meeting people and making friends is the best part. It’s the best reward.

There was no uncomfortableness during that show.

 

Critique Compendium: You’ve worked as an assistant director in the past. Have you ever considered directing yourself?

Dan Brothers: I’ve daydreamed about it. I don’t know when it’s going to happen. It could be a couple of years from now.

 

Critique Compendium: You’ve also performed on stage with your wife, Valerie, most recently in Rumors. The two of you also played a married couple in Exit Date. What’s it like sharing the stage with your spouse?

Dan Brothers: That’s a good time. We met during The Nerd and would laugh and flirt quite a bit…we still do that.

 

Critique Compendium: In the scene where yours and Al Krier’s character made the bet in The Fox on the Fairway, how did you keep a straight face? Between his silly sweater and the tone of voice he used, that must’ve been difficult.

Dan Brothers: Good question. There’ve been so many moments like that. What happens for me is I get the laughs out of the way during rehearsal.

When it’s “game time” you’re conscious of the fact people paid to see the show. People should see us performing to the best of our abilities.

On stage, I’m more focused on staying in character. I find that more difficult that not laughing or giggling.

I’m actually more nervous about misspeaking a line or stuttering than laughing.

 

Critique Compendium: You’ve performed with Mr. Krier regularly. You also played the male lead in his directorial debut, Rabbit Hole. Was it any different working with him as a director?

Dan Brothers: Yes. That show was extremely rewarding. Al’s a very laid-back individual and that was exactly how he directed. I was very grateful to be cast in that show.

People are familiar with me playing funny roles. I remember a compliment Brenda Kelly Bacon gave me after seeing Rabbit Hole, she said something to the effect: “When you first came out I expected to laugh but as the show went on I forgot I was watching you.” Those are the compliments that really hit home.

I love getting laughs, but if I can move people it’s that much more rewarding because it’s not something I normally do. I’ll always cherish the role for that reason.

 

Critique Compendium: In Rabbit Hole, you played a father struggling to cope with the loss of his four-year-old son. The scene of you watching the videos of him really moved me.  How did you condition yourself to get through that a show that emotionally demanding every night?

Dan Brothers: I take personal experiences. Not all our days are happy. Many years ago I lost someone very close to me. I resort to what it was like to lose her.

It’s got to be unbelievably devastating to lose a child. I’m not a parent, but I do know what loss is.

When you’re on stage you want to do the best you can. I drew on my personal experiences to drive it home.

In The Boys Next Door I played a boy abused by his father. My mother said there were a couple of times during the show there was silence instead of applause after a scene I was in and that in itself is the audience’s reaction to what they just witnessed. I learned in that show that silent audience is actually high praise.

It’s quite something to get that reaction.

 

Critique Compendium: Rumors featured an abundance of slapstick humor. You played a physically demanding role in that show. In fact, the character you played got hit by a door and even broke his nose. How did you prepare for it?

Dan Brothers: I drank lattes and sat on the couch.

To the kids who want to get into theatre: don’t prepare like Dan. I really don’t prepare. That should prove helpful for any future directors who might consider casting me.

You’ve got to listen to your director. Scott (Angehr) casts you because you earned it. Now you’ve got to prove it to him. You’ve got to prove him right.

Take the vase toss and “one more time” in the Fox on the Fairway. In “one more time” we reenacted the show in three minutes. It comes down to rehearsals.

I can be a real bitch when I’m rehearsing. During “one more time” there was a lot of bumping and dropping things. You just keep going even if there’s a mistake.

As far as the vase toss goes the vase never dropped. Liz (Deal) made a catch like Odell Beckham, Jr. one night, but the vase never dropped.

You rehearse the hell out of it and get it right.

 

Critique Compendium: You and Rachel Comenzo played a married couple in Rumors. What was it like playing opposite her?

Dan Brothers: She’s a delightful young woman. She’s great to work with. Rachel and I would actually find time alone to run lines and ideas about our characters together which really made our first scene together very strong and enjoyable. She’s great to play against.

With that show our characters didn’t go on stage until 45 minutes in. Backstage, we’d play games. Liz’s (Deal’s) character didn’t enter until late into the second act. We all had a blast. The show was a great time.

Critique Compendium: One of your strongest traits is your voice. You can do soothing baritone. You can also broadcast very well. Is that something you were born with or did you develop it?

Dan Brothers: My parents gave me my voice. I use it a lot. Some might say too much. It’s cool to have compliments on my voice.

 

Critique Compendium: What first interested you in the performing arts?

Dan Brothers: Chicks. (Laughs)

Kevin Esmond and I went to high school together. The guy’s amazing. Holy Cross was doing a show of Anything Goes. Kevin rattled names of girls involved in the theatre. I decided to try out and got cast. It was amazing. There was tap and singing in the show. I never thought I’d do it.

I returned to South Jersey from Florida in 2006 and once again Kevin reached out to me to asst. direct Burlington County Bridge Players production of Arsenic and Old Lace. I’ve been involved in community theatre since.

 

Critique Compendium: What types of things interest you in playing a role?

Dan Brothers: Quite a bit. My roles have been very diverse. Howie (in Rabbit Hole) and Bingham (in The Fox on the Fairway) were very different. I’d have to say it has to be someone I can relate to in a pretty good way.

In Rabbit Hole, for instance, while I’m not a parent, I do know how to be a good husband. The character had a desire to seek affection elsewhere. That’s very foreign to me because of Valerie. Ultimately, he wanted to be with his wife. I know how to be a good man.

Valerie is greatest thing that happened to me. I’m crazy about this woman. I like bringing that into a character.

Rabbit Hole was very real and needed to be performed as such. I didn’t want to make fun of this character.

Rebekah (Masters) and I had a scene where we really laid into one another. We worked very hard with Al and Val to make sure we got it right. It really worked. That was my favorite scene in the show.

Quite frankly it’s hard to specify what turns me on to a particular role.

 

Critique Compendium: What’s been you’re favorite role that you’ve performed so far?

Dan Brothers: I’d have to pick more than one.

Rick Stedman in The Nerd. I don’t toot my own horn very often, but there are times when you know you’ve got a character locked in and this was certainly one of those times.

Howie Corbett in Rabbit Hole is another one, for reasons I mentioned earlier.

Barry Klemper in Boys Next Door. He’s a great character. It wasn’t even the one I wanted in the show. But getting cast as Barry was wonderful learning experience. That’s where I learned drama can be as rewarding as making someone laugh. It was a good lesson.

 

Critique Compendium: What’s the most difficult role you’ve played?

Dan Brothers: I had a hard time with Henry Bingham (The Fox on the Fairway), but I wouldn’t say it’s the most difficult. I find comedies easier than dramas.

I had to sing two lines in Legally Blonde which was actually quite nerve-wracking since I’m not musically gifted.

I would probably say Barry. It took me a while to learn. I didn’t get the part I auditioned for but I needed to get over it. The show dealt with some pretty tough issues in a direct way and also a lighthearted approach. It’s a beautifully written show and will always be grateful for being a part of it.

 

Critique Compendium: What actors have influenced you?

Dan Brothers: Jack Nicholson. He was in my favorite movie, The Shining. Talk about natural ability! The guy just knows how to do it. He can convey so much without ever saying a word.

 

Critique Compendium: If you had the opportunity to work with any other actor either living or dead, who would it be?

Dan Brothers: Nicholson. I would love to work with him. It would be very intimidating but very cool as well.

 

Critique Compendium: What do you do when you’re not on stage? What are your hobbies?

Dan Brothers: Golf. Val loves it. She has cats. I have golf. It works beautifully.

 

Critique Compendium: How do you balance a career, family and other activities with the demands of performing in community theater productions?

Dan Brothers: It’s pretty easy for me. I’ll separate work from theatre. I get in game mode for theatre.

These days I’m getting my lines down quicker. If you have lines down faster, it gives you more time to work on the role. I like playing with the role. When you’re in a show your wife is directing, you have to get your lines down quicker.

 

Critique Compendium: What adjective would best describe your theater career?

Dan Brothers: Rewarding. It’s all been rewarding.