April Lindley

Big Fish at the Maple Shade Arts Council

Big Fish possessed one complicated title. As this is July, I anticipated a musical ode to that age old summer past time. Not so. The protagonist’s son went “fishing” into his dad’s past to discover the truth about him. Well, the title either alluded to that or Edward’s being a figurative “big fish” in a small pond. At any rate, theatergoers should leave their rods and reels at home. Settle in for an odyssey of singing, dancing and stellar entertainment with the Maple Shade Arts Council.

Edward Bloom loved to share stories with his son. Who wouldn’t want a tale-telling fabulous fabulist of a father? Well, not Will. When he discovered himself about to become a dad, he longed to know the real Edward behind the stories. But time became an issue. Edward received news he had terminal cancer. Would Will learn the truth? I found out when I attended the July 14th performance of Big Fish presented by the Maple Shade Arts Council.

Director Michael Melvin engaged in some unexpected casting for this project. Antonio Baldasari is one of the funniest actors on the South Jersey community theatre circuit. His performance as Aldolpho in the Maple Shade Arts Council’s The Drowsy Chaperone was the most comical character I’ve seen brought to the stage. April Lindley has also played memorable comic characters in recent years. I attended a performance of Shrek: The Musical at the Collingswood Community Theatre in which she played the emotionally volatile Princess Fiona. That character changed moods about as often as most people inhale. With those two at the top of the bill I entered the Maple Shade High School Auditorium expecting some side-splitting entertainment.

Well, the creative Mr. Melvin had other plans. He cast these performers in dramatic, sentimental and heart-rending roles. He made a good decision. These players proved just as adept at performing “serious” characters. To the audience’s delight both Mr. Baldasari and Ms. Lindley delivered performances just as memorable as their comedic work.

Big Fish included sophisticated dance routines choreographed by Erica Paolucci and assistant Mallory Beach, a live orchestra led by Jim Sheffer and vocal direction by Lauren Delfing. All facets combined for an exceptional show. Oh, yes, and DJ Hedgepath played the son. You know it had to be one grand production for me to mention Mr. Hedgepath last.

Mr. Melvin turned Big Fish into a mesmerizing visual spectacle. He coordinated the lighting, as well. The director ensured the different shades of color on the set reflected the mood of the events occurring on-stage. The bright yellow hue combined with the flowers spread around the stage heightened the beauty of the “Daffodils” number. The red, white and blue costumes accentuated the stellar dancing in the “Red, White and True” routine. The dark costumes of the witch ensemble boosted the ominous aura of the “I Know What You Want” scene. The glowing crystal ball the witch (Nicole Perri) held illuminated in various hues.

Antonio Baldasari has done strong supporting work. I relished the opportunity to watch him take the lead as Edward Bloom. He didn’t disappoint. The performer grabbed my attention at the beginning with his solo rendition of “Be the Hero.”

Mr. Baldasari became Edward. He adopted the character’s slow Southern drawl. I liked his calm mannerisms when confronted by the witch and the assassins; but not when confronted by his son. He complimented Ms. Lindley very well in numbers such as “Daffodils” and “Time Stops.” He worked just as proficiently with cast members Tre Deluca on “Fight the Dragons” and DJ Hedgepath on “Showdown.”

Besides the musical numbers, the show contained serious drama. Mr. Baldasari and Mr. Hedgepath played superb opposites. Mr. Baldasari’s laid back and imaginative persona worked well against Mr. Hedgepath’s angry and analytical nature. April Lindley and Jayne Collotti (as Will’s wife Josephine) served as mediators. Even without the songs, this conflict alone would have made for a great story.

DJ Hedgepath’s fans will be delighted, as usual. I enjoyed his renditions of “Stranger”, “What’s Next” and the “Be the Hero” reprise. In addition to the hostility to Mr. Baldasari’s character, he showed great emotion when visiting him in the hospital. He brought out Will’s development very believably.

April Lindley turned in an absolutely awesome performance as Sandra. Ms. Lindley delivered her lines in a perfect Southern accent. She inspired empathy for Sandra through her flawless facial expressions.

Ms. Lindley established a new standard for dramatic vocals. With the dying Edward resting in her lap she sang “I Don’t Need a Roof” while crying. She performed as though every word agonized her character even more. All the time she remained in key. Ms. Lindley brilliantly extended a rest before hitting the final note. It made a deeply emotional moment even more powerful.

The highlight of this show occurred during the “Little Lamb from Alabama/Time Stops” sequence. April Lindley, Shaina Egan and Emma Kelly joined together to perform this song and dance number. They sounded just like the Andrews Sisters playing on an MP3. The “Little Lamb from Alabama” number featured a quick upbeat tempo. It segued into “Time Stops” sung by Ms. Lindley and Mr. Baldasari. For that one the three dancers slowed down and performed the same moves in slow motion. They executed this transition with precision.

I also compliment the other cast members who contributed to the production. Tre Deluca (played Young Will the night I attended), Jane Collotti, stilt walker Stephen Jackson, Nicholas French, Nicole Perri, Allison Abiva, James Gallagher, Ryan Bogie, Matthew Maerten, Mallory Beach, Erin Daly, Laura Foley, Jerrod Ganesh, Evan Hairston, Lori Alexio Howard, Nicole Manning, Jordan Moore, Lisa Palena and William Young.

During the intermission Mr. Melvin told me to “get the tissues ready for Act II.” I’m sure audience members shed tears at its conclusion, but not because of the story. I doubt I’m the only person who felt sad that it ended. Missing out on the experience would’ve made me even more miserable. For theatre fans still in the doldrums you have until July 21st to catch Big Fish.

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Shrek the Musical at Collingswood Community Theatre

When I found out the NFL scheduled the first Eagles playoff game during the late afternoon of January 13th I knew I had a decision to make. Did I want to witness a serious tragedy or light-hearted musical comedy on that evening? I opted for the latter. I’m sure glad that I did. The Collingswood Community Theatre treated me to a fantastic performance of Shrek the Musical.

When I read the program I discovered David Lindsay-Abaire wrote the book and lyrics. After attending a performance of Rabbit Hole, his play regarding a family struggling to cope with the death of their four year old son, I thought I may be attending yet another serious tragedy. Fortunately, the playwright changed tack while Director Mary Baldwin and Musical Director Brian Kain kept it lighthearted.

Over the years I’ve watched Ryan Adams play a variety of supporting roles at Collingswood Community Theatre. I’ve been a long-time fan of this King of the F Clef’s baritone vocals. Mr. Adams showed he’s just as adept with tenor based material through his performance in the title role. It thrilled me to hear him sing some fantastic duets with his co-stars. He complimented Jeff McGrail on “Travel Song” and April Lindley on “I Think I Got You Beat.”

Mr. Adams delivered a moving rendition of the ballad “When Words Fail.” His delivery captured both the awkwardness and emotional challenge of expressing one’s feelings to a love interest. He brought profound pathos into this performance.

I credit his voice selection for the Shrek character. He used an accent that sounded Scottish with a tinge of Swedish. I didn’t hear an instance of him wavering from it the entire evening. That’s quite impressive with the amount of dialog and quantity of musical numbers he performed. That shows how hard he prepared for the role.

Jeff McGrail complimented Mr. Adams as his wise-cracking sidekick, the Donkey. There aren’t many ‘sassy donkey’ roles in musical theatre, or in any medium, for that matter. Mr. McGrail displayed immense imagination in bringing this role to the stage. I found his character very entertaining and enjoyable to watch. He also displayed fabulous vocals on tracks such as his solo number “Don’t Let Me Go.”

April Lindley did masterful work in her role as Princess Fiona. She delivered operatic vocals, danced and played each of the character’s (many) mood changes with equal skill while still getting laughs from the audience. Somehow, she fused all three of these traits together to open Act Two in her performance of “Morning Person.”

Ms. Lindley excelled at non-verbal communication. Her facial expressions always reflected the dialog and lyrics. I should add that I sat in the ‘nose bleed’ section of the Scottish Rite Theatre. I’m also nearsighted, but I did wear my glasses. (I was so far away from everyone else in the building that my vanity didn’t inhibit me from doing so.) Even under those conditions, I could still read Ms. Lindley’s expressions perfectly.

There’s an old saw that, “there are no small roles, just small actors.” Patrick Waldron gave a whole new interpretation of that expression in his performance as the diminutive Lord Farquaad. The role presented an interesting physical challenge. Mr. Waldron spent the evening on his knees. His appearance on stage first reminded me a bit of characters Tim Conway used to play. Mr. Conway didn’t possess Mr. Waldron’s dexterity, however. Mr. Waldron danced during one of the numbers while kneeling.

One of the most challenging roles for an actor is what I call that of the ‘comic relief in a comedy.’ In Shrek, the villain, Lord Farquaad, served as that character. Mr. Waldron performed spectacularly. Even though he played an unlikable and hyper-sarcastic personality, he managed his delivery to make his dialog sound funny. Through his skill as a performer, he found ways to make what could’ve been an annoying role into a most amusing one.

Many refer to Aretha Franklin as the undisputed “The Queen of Soul.” I’m a fan of Ms. Franklin’s, as well. But I have to admit that Stefanie Bucholski’s rendition of “Forever” made Ms. Franklin into a distant cousin of the royal family. Ms. Bucholski turned in some astounding soulful vocals in her role as the Dragon. She didn’t have to ask me to “respect” her talent: she earned it with that singing.

Choreographer Kate Scharff and Assistant Choreographer Kate Thomas Arter coordinated some extraordinary dance sequences. I found the ones featuring the Duloc Performers, the Three Blind Mice and the Pied Piper’s mice the most memorable. The superb costuming by Ellen Geigel enhanced the visual spectacle.

I’ve attended summer performances of Jesus Christ Superstar and Sweeney Todd presented by the Collingswood Community Theatre. They enacted those shows in the Main Ballroom at the Scottish Rite building. The sets combined with the lighting made for a mesmerizing theatrical experience. I didn’t think it possible that they’d be able to do anything comparable in the actual Scottish Rite Theatre.

Shrek proved me wrong. The show featured a very professional set. The performance’s high-tech nature included images projected on a movie screen. I especially liked the starlit backdrop they used for the night scenes.

I’d also like to compliment the other performers who made Shrek the Musical such a fun show: Caelan Gaines, Millie Griffin, Suzi Cook, Kate Schell, Caitlin Halligan, Emily Jackson, Ryann Burke, Karen McShane, Tom Geigel, Henry Kain, Jenni Maienza, Matt Griffin, Maria Leonen, Marcy Smith, Julia Maia, Anne Marie Dunn, John Dunn, Patty Nigro, Grace Janco, Cara Davis, Mike Smith, Pauli Bucholsky, Tracy Levy, Patty Walsh, Jen Laksh, Dave Routzahn, Kaitlyn Woolford, Dylan McGowan, Chris Geigel, Ernest Neal, Matt Griffin, Dylan McGowan, Kara Hastings, Emily Jackson, Erica Paolucci, Shannon Ewing, Alicia Smartt, Erin Daly, and Mallory Beach.

As things turned out on January 13th, the Eagles game didn’t become the tragedy I expected. They won and will advance to the NFC Championship game. I thought it clever how the Collingswood Community Theatre cleverly interpolated the Birds’ fight song into the finale. I have to say I found the performance of Shrek more entertaining than any of their games this season. Anyone familiar with the team knows: that’s saying something. The show runs through January 21st.

Theatre Review – The Producers at Collingswood Community Theatre

The Collingswood Community Theatre presented an evening of politically incorrect statements, myriad references to unscrupulous business practices along with a host of crass comments objectifying women. This took place on January 14th of this year, so, no, they did not host a 2016 Presidential Debate. Instead, they staged a spectacle intentionally meant to be comical. Under Mary Baldwin’s direction, they staged Mel Brooks’ irreverent take on the theatre business The Producers.

The musical told the story of Max Bialystock (played by CJ Kish). Once a producer of legendary Broadway shows, his recent work “flopped.” More complications ensued when accountant Leo Bloom (played by Chris Fitting) audited his books. Upon discovering Max stole two thousand dollars from the production, he observed that, “under the right conditions, a producer can make more money with a flop than with a hit.” Max’s extraordinary cajoling convinced this self-described “nobody” to become his partner and aid in producing a theatrical disaster; thus providing Leo with the vehicle to pursue his ambition to become a Broadway producer. Then the real hijinks commenced.

In their quest to find the “worst script” the pair optioned Springtime for Hitler: an encomium written by Franz (Tyler Cunnion), an erstwhile Nazi turned pigeon keeper. Then they sought out the “worst director” in New York. Initially reluctant, Roger De Bris (played by Ryan Adams), after some encouragement from his “common law assistant” Carmer Ghia (Jeff Mc Grail), agreed to direct the show; so long as he could “Keep it Gay.” Max proceeded to pursue his main means of raising money: seducing old lady “investors.”

To add to the scheme’s complications, a lovely young Swedish woman with the long first name of Ulla Inga Hansen Benson Yansen Tallen Hallen Svaden (played by April Lindley) entered Max’s and Leo’s lives. Longing to audition for the show she stayed on as the duo’s housekeeper until presented the opportunity. Her presence and romantic interest in Leo led to complications in the producers’ partnership.

CJ Kish turned in a transcendent performance as Max; a very challenging role. It required singing, dancing and delivering comedic chops. Mr. Kish delivered a stellar performance in all three areas. His rendition made an unscrupulous and despicable character funny and likable. Through his moving recitation of “Till Him” he even inspired empathy for Max.

Mr. Kish brought unparalleled enthusiasm to his performance. I attended the second show CCT presented on Saturday. The energy he displayed on stage reflected that of someone just back from vacation. During the “Betrayed” number, he summarized the entire musical to that point, even acting out highlights from various scenes. That took a lot of skill, especially at the end of the night. He seemed as fired-up then as he did at the evening’s beginning.

As Leo, Chris Fitting played the role of a “nobody” evolving into a “somebody” very well. He convincingly brought to life a dull accountant with an unorthodox nervous tick. When anxious this bean counter would remove a blue baby blanket and rub his face with it. (And some people think actors have strange habits.) His performance worked as a great contrast with both Mr. Kish and Leo’s love interest, the alluring Ulla. (April Lindley) He also performed an outstanding song and dance number with the ensemble on “I Wanna Be a Producer.”

Ms. Lindley and Mr. Adams deserve great credit for both singing and dancing in heels. On a personal note, I struggle to walk right for a few days after buying new loafers. I can’t imagine the challenge of navigating a stage during a routine while wearing elevated shoes.

In terms of Mr. Brooks’ show itself, I didn’t like that it broke the “fourth wall” several times. When Max and Leo asked Ulla when she’d cleaned the office she replied, “Intermission.” Shortly after, she asked Leo why he walked so far “stage right.” During the “Betrayal” number, Max mentioned that “it’s a long show.”

I can, however, appreciate that Mr. Brooks likes poking fun at many subjects. I do have to commend including his own work among them.

I also discovered a few typos in the playbill. Both Mr. Kish’s and Mr. McGrail’s bios got cut off in my version. Performers memorize pages of text and spend countless hours rehearsing musical dance numbers. They exhibit their craft in a medium that allows them one chance to “get it right.” And many do this several times a year in multiple productions. These people aren’t like the rest of us. I’m always interested in learning about the kind of people with the courage and inspiration to do this. I would’ve liked to read their full comments.

In addition to the great performances Collingswood Community Theatre treated the audience to a fantastic multi-media spectacle. Brian Cain did an outstanding job as musical director. Kate Scharff crafted complex choreography with a large ensemble. Chuck Jackson’s set construction provided theatregoers with a true sense of being in the actual locations where the action occurred.

The Producers opened with a fictitious audience leaving the theatre grumbling about the poor quality of Max Bialystock’s show. No one did that for this Collingswood Community Theatre production. This cast and crew sure took Ulla’s musical advice “When You’ve Got It, Flaunt It” in terms of their skills during this performance.

For the finale the entire ensemble gathered on stage and sang a number called “Goodbye.” In it they instructed the audience to leave. It’s good they did. With their superb rendition of this Mel Brooks musical I’m sure people would’ve hung around waiting for an encore…even if Max produced it.