Brian Padla

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.

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The Addams Family: A New Musical Comedy presented by the Maple Shade Arts Council

It’s not often one witnesses the triumvirate of comedy, horror and fencing in the same show. The Maple Shade Arts Council production of The Addams Family:  A New Musical Comedy (directed by Michael Melvin) seamlessly incorporated all three. Just for good measure they included some outstanding musical and dance numbers from a stellar cast to round out the performance.

The musical told a tale of trauma in the Addams household. Wednesday (played by Casey Grouser) found her true love. She and her boyfriend Lucas (Robert Achorn) recently engaged. Her fiancé hailed from the “normal” world. In order to introduce the two families, she arranged a dinner at the Addams home. As if that didn’t make for a tense evening, she told her father Gomez (D. J. Hedgepath) about her pending nuptials. To add to the conflict she asked that he not tell her mother Morticia (Rachel Comenzo) about the arrangement until after dinner. Gomez NEVER kept a secret from Morticia; a fact she brought to his attention repeatedly during the show. The story contained more conflict and tension I would have expected from a light -hearted musical.

One has to respect D. J. Hedgepath for taking on the role of Gomez. Any theatrical performance is a challenge; especially when taking on a role iconized by another actor. After watching Mr. Hedgepath’s interpretation of Gomez, I’ll now view John Astin’s performance of the character on the same level as his role as The Riddler. (Mr. Astin is very talented, but he’s no Frank Gorshin.) At first I found it unusual to see Gomez Addams without a chalk stripe suit and smoking a cigar in every scene. As the show went on, Mr. Hedgepath reinvented the role as his own. He brought much more passion and energy to Gomez than other actors I’ve seen. For purists: he did include many “cara mias” while kissing Morticia’s arms from her wrist down to her shoulder. He also added fencing to his repertoire.

Rachel Comenzo clearly studied the role of Morticia. With crossed arms, fingers spread across her upper arms, and her pale face with a blank look the role became the actress. As usual, she showed off her exceptional vocal prowess. She showcased her abilities best in “Just around the Corner”. The song contained a homonym. The lyric went: death is just around the corner. Ms. Comenzo explained to the audience that, “death is just around the coroner. Get it?” It’s usually a bad sign when a performer needs to explain a joke to an audience. Ms. Comenzo did so very naturally and with such charm that she still got laughs.

I also have to give Ms. Comenzo credit for her skill as a dancer. Most of the choreography required her to dance in a long dress while wearing heels. She managed this difficult task flawlessly.

The real highlight of The Addams Family came during the “Tango de Amor” number with Gomez, Morticia and the Addams family ancestors. The ensemble performed a complex tango with Gomez and Morticia in the spotlight. I applaud choreographer Sarah Dugan for putting this together. Watching Mr. Hedgepath and Ms. Comenzo tango together brought to mind the legendary drum battle between Ginger Baker and Art Blakey. The level of talent displayed on stage is difficult to put into words. These two triple threats executed an intricate dance sequence brilliantly. It was a pleasure to see this much aptitude in one musical. Not that the two actors competed with one another, but if they had, like in the famous drum battle, the audience would’ve been the true winner.

Many memorable musical performances took place in The Addams Family. Casey Grouser (Wednesday), Lori Alexio Howard (Alice Beineke), Brian Padla (Uncle Fester) and Jacob Long (Pugsley Addams) all turned in very strong vocal performances. Mr. Hedgepath delivered a moving rendition of the somber ballad “Happy/Sad”.

I did feel a bit let down at one point with the song selection. When the second act began I thought ZZ Top were about to play. It turned out it was just Nicholas Olszewski in the guise of Cousin It.

I’d also like to give special acknowledgement to Phyllis Josephson as Grandma. She didn’t get a lot of stage time in this show, but she proved the old adage, “There are no small roles: only small actors.” Every time she had the spotlight, the audience became hysterical. I enjoyed her tone of voice. It sounded similar to the “Cat Lady” on the television show The Simpsons. Unlike that character, I could still understand her clearly, though.

My only criticism of the show concerned the technical issues. Several times a loud humming noise broadcast over the loudspeakers. Hearing the actors became challenging. Much to their credit, they remained focused and didn’t let it interrupt their performance. At the beginning of the show the acoustics were poor, as well. Both the orchestra and the dialog sounded muddled. Mr. Hedgepath and Ms. Comenzo both project their voices very well. I know my difficulty hearing had nothing to do with the actors.

At a key moment in the performance, the cast played a game called “Full Disclosure”. They passed a chalice around the dinner table. The person drinking from it would have to reveal a secret. One wouldn’t have to give it to members of the audience for them to disclose how well the cast and crew presented The Addams Family. That’s no secret. The show runs through July 18th  at the Maple Shade High School Auditorium.