Arielle Egan

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 6th 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 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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Theatre Review – Parade at Haddonfield Plays and Players

I have some “real big news” for both fans of “pretty music” as well as those who prefer “a rumblin’ and a rollin’” in their seats. Haddonfield Plays and Players are putting on an outstanding production of the musical Parade. I experienced the pleasure of witnessing the show firsthand at the premiere on October 20, 2016. Director Pat De Fusco understood one person couldn’t “do it alone.” The cast and crew earned their share of “the glory” for this remarkable performance. Many times “it’s hard to speak my heart.” So I hope readers will forgive me for “all the wasted time” I spent on this “prelude.” I would point out that the substantive parts of this review are “not over yet”; and there’s a lot of substance to this one.  So “what am I waiting for?”

Parade (book by Pulitzer Prize winning playwright Alfred Uhry and music and lyrics by James Robert Brown) told a disturbing tale for a musical. The action commenced on Confederate Memorial Day, April 26, 1913. With the backdrop of a parade commemorating this Georgia holiday, authorities discovered the body of a 13 year-old factory worker named Mary Phagan (Played by Alexa Reeves) in the basement of the building she worked. In order to advance his political career, Georgia Governor Slaton (played by Michael Doheny) pressured District Attorney Hugh Dorsey (played by Michael Lovell) to quickly convict someone of the crime. He opted to frame a Jewish migrant from Brooklyn, Leo Frank (played by Andrew Jarema).

Mr. Jarema’s role reminded me of a character from an Alfred Hitchcock movie. With his big spectacles, clean-cut looks and straight hair he looked the part of an average man drawn into a bizarre happening through forces beyond his control. He showed great range in his performance, as well. When police asked his character to identify Mary’s body he became squeamish and anxious. During an enactment of (false) court room testimony, Mr. Jarema did a superb job transforming from a timid man wrongly accused into a predatory lothario. I enjoyed his spirited performance in the later incarnation during the jazzy “Come Up to My Office” number. He also demonstrated tenderness singing the “This is Not Over Yet” ballad accompanied by Lucille Frank (played by Arielle Egan). I have to applaud this performer for transitioning his character into a courageous and even heroic figure by the end of the show.

Arielle Egan played an outstanding supportive wife in the role of Mrs. Frank. Mr. Jarema’s character didn’t make it easy for her. In spite of his taking his anger and frustration out on her, sometimes in rather shrill tones, she conveyed both her anxiety and devotion to him. I found her renditions of “You Don’t Know This Man” and “All the Wasted Time” very moving.

I also liked the way she adjusted her character’s personality throughout the show. While visiting her husband in prison she expressed a desire to leave town during his trial. Like her counterpart’s, her character became more audacious throughout the performance. Later in the show her character approached the governor at a private party and asked him to re-open her husband’s case. Her animation of Mrs. Frank made this change credible.

The best moment in the show occurred with Darryl Thomson, Jr.’s soulful performance on “Blues: Feel the Rain Fall.” With the chain gang serving as a chorus and the image of the scorching sun over the Georgia landscape in the background, he sang the blues in a way that would’ve made Robert Johnson jealous. I enjoyed the song so much it gave me the blues because it ended too soon.

I also appreciated Taylor Brody’s portrayal of cynical reporter Britt Craig. His dark suit along with the tie hanging loosely under his unbuttoned top button looked the part of a beat reporter in search of a scoop. So did his taking notes while attending Ms. Phagan’s funeral. The rendition of “Real Big News” really captured his character’s essence. Visuals of newspaper headlines projected against the background enhanced the atmosphere on this tune, as well.

I applaud Michael Arigot for his very emotional portrayal of Frankie Epps. He began by playing a carefree teenager courting Mary Phagan. Following her death he delivered heartbreaking singing during “The Funeral Sequence.” I found that portion of the show very poignant. Following that, he compellingly played a man consumed with rage and obsessed with the need for vengeance.

Parade featured a veritable high tech extravaganza. A projector flashed images on the rear wall during several crucial scenes. A pre-recorded soundtrack played in the background for the musical numbers. Several times the harmony played so loud it drowned out the singers’ voices. Towards the end of the show the music cut out several times. With a show this complex these things happen. None of the performers let the distractions affect their performances. They remained focused until the sound crew addressed the issues. That’s a credit to everyone’s professionalism.

I also want to credit Michael Lovell (as DA Hugh Dorsey) and William H. Young (as Riley) for the interrogation. If I may borrow a line from Hamilton, these gentlemen made me feel like I was “in the room where it happens.” The questioning occurred the same way I would’ve imagined a politically ambitious DA grilling an African-American witness in the Deep South during the early twentieth century. Mr. Lovell delivered threats with veiled hostility. Mr. Young prayed and trembled while listening. The proficiency of these two performers made this scene uncomfortably realistic.

My “verdict” on Haddonfield Plays and Players production is that this show was phenomenal. If someone tells you I made different comments regarding Parade, tell that person, “‘That’s what he said.’ ’You don’t know this man.’”

“Somethin’ ain’t right,” though. “It don’t make sense” that the show’s “finale” will take place just a few short weeks away on November 5th. The performance deserves a longer run. Where’s the “hammer of justice” here? Visit Haddonfield Plays and Players before Parade passes by. That’s my “closing statement.”