Dennis Summerville

The Who’s Tommy at Haddonfield Plays and Players

No company can celebrate an anniversary like Hadonfield Plays and Players.

A half century ago on this February 14th four lads from Shepherd’s Bush London performed a concert to promote their latest release: a “rock opera” about a deaf, dumb and blind boy with a skill at playing pinball. That Valentine’s Day gig from 1970 has been immortalized by the iconic recording Live at Leeds.

Tommy extended the artistic boundaries of Rock and Roll music upon its release in 1969. Then the record’s “amazing journey” continued. In 1975, The Who decided to “join together” with director Ken Russell to “relay” it to the silver screen. Taking his own advice never to “spend his guitar or pen,” Pete Townshend (and Des McAnuff) adapted Tommy into a musical in 1992.

Adding to the concept’s “success story,” Haddonfield Plays and Players opened their 2020 season with The Who’s Tommy. Your correspondent attended this “welcome” addition to the company’s repertoire on January 31st. HPP didn’t have to “bargain” with him to do so, either.

Bill C. Fikaris proved himself a “sensation” through his direction of this show. Along with Music Director Arlo Ehly, Musical Conductor Alex Ayala and Choreographer Chris McGinnis, the team at HPP injected the spirit of Pete Townshend’s masterpiece into the performance. They presented a high energy show with a lot of movement. Can one imagine anything based on The Who’s music without it?

The Who’s fans can now claim their favorite group capable of producing a high-tech visual spectacle on par with a Pink Floyd show. The design and special effects brought the audience into the world of the story. Chris Miller’s lighting strips positioned at the four corners of the stage added a unique style of illumination to the set. Sound and Projection Designer Pat DeFusco produced stellar visuals. They simulated London flats, an RAF airfield and neon arcade signs. Set designers Ed Ortiz and Glenn Funkhouser painted a Union Jack on the stage floor. The ubiquitous smoke gave the show the aura of a rock concert.

The ambiance was vintage Who. It would have made Pete Townshend, Roger Daltry, John Entwistle and Keith Moon proud. Its authenticity made your correspondent wary of getting hit by shrapnel from smashed guitars and exploding drum kits.

In addition to his musical genius, Mr. Townshend showed creativity at crafting memorable characters. Mr. Fikaris selected gifted performers to bring them to the stage.

The show featured three incarnations of Tommy. Wesley Halloway played the four year old version, Nicky Intrieri performed the 10 year old one and Dennis Summerville took on the role of adult Tommy. All three Tommys sang the high-pitched melody from the “See Me, Feel Me” number. Their vocals sounded cleaner and more professional than those on the original 1969 album.

Mr. Fikaris utilized these performers effectively during the mirror scenes. While one Tommy stared into the looking glass, a different one gazed back. It made for one of the show’s most spectacular visuals.

Mr. Summerville played an outstanding Tommy. He enacted all of Tommy’s personality traits with equal skill. The performer stood still with a blank stare while either in front of the mirror or playing pinball. Mr. Summerville became enthusiastic following Tommy’s moment of realization. He accompanied it with a stirring rendition of “Welcome.” His impassioned vocals captured the essence of “I’m Free” after Mrs. Walker (Shaina Egan) smashed the mirror.

Listening to theatrical vocalists sing Rock and Roll songs is always entertaining. Mr. Summerville made it more of a pleasure than usual. He belted out powerful vocals on the heavier songs such as “Pinball Wizard” and “Sensation.” His soft falsetto on “See Me, Feel Me” articulated the character’s sensitive side.

Justin Walsh played Tommy’s father, Captain Walker. Mr. Walsh’s face held the look of a concerned parent all evening. During the “Acid Queen” and “Hawker” numbers, he showed the nuance between an expression of anxiety and one of repulsion. Mr. Walsh modulated the character’s outlook by singing “There’s a Doctor I’ve Found” with an optimistic tone. He also showed professional acting ability during the altercation between the Lover (played by Keian Hagstrom) and he.

Shaina Egan performed a superior Mrs. Walker. Ms. Egan adopted a very natural sounding British accent for the role. Her expressive facial movements showed the character’s inner turmoil regarding her son’s condition. Her vocals captured the upbeat sentiments of “Twenty-One” and “It’s a Boy” with sincerity. Ms. Egan expressed Mrs. Walker’s frustration through her rendition of “Smash the Mirror.” Her Townshendesqe swinging motion of the chair added a nice touch.

Gary Werner played the lovable lush Uncle Ernie. Mr. Werner added humor to the show during his “Fiddle About” and “Tommy’s Holiday Camp” numbers. The performer added a slight slur to his voice. Mr. Werner did so in a clever way. One could understand his character drank. He still expressed the lyrics so that the audience could understand them.

“Acid Queen” would make the list of Tommy’s best numbers. Legends Tina Turner and Patti LaBelle even sang it with The Who. While an intimidating song to attempt, Joyel Crawford met the challenge. Ms. Crawford gave the song the sultry, soulful treatment it warranted.

Jerrod Ganesh performed the role of the sadistic Cousin Kevin. Mr. Ganesh’s vicious vocals and quick movements demonstrated he character’s malicious nature. He applied the cigarette prop for maximum effect.

Courtney Bundens portrayed Sally Simpson. With a pining look from “behind blue eyes” Ms. Bundens showed her character’s infatuation with Tommy. The performer’s vocals on “Sally Simpson” and “Sally’s Question” made the character even more likable.

Tommy even included a number written by a legendary bluesman. As the huckster Hawker, Keian Hagstrom sang Sonny Boy Williamson II’s “Eyesight to the Blind.” In this sequence, performer Faith McCleery portrayed the harmonica player. Ms. McCleery made her character even more interesting than the Marilyn Monroe icon in the movie version of Tommy.

Tommy contained mesmerizing dance sequences. “Pinball Wizard”, “Acid Queen” and “Miracle Cure” featured spectacular routines. Dance Captain Nicole Lukaitis set a stellar example for the ensemble. The Lads and Lasses executed elaborate moves all evening.

In addition to some different lyrics and arrangements, Mr. Townshend added a “new song” to the musical version of Tommy. This refreshing inclusion of something different made the musical more appealing. Justin Walsh and Shaina Egan delivered a beautiful duet on “I Believe My Own Eyes.”

Other members of the Production Team included: Producer Tami Funkhouser, Stage Manager Omi Parrilla-Dunne, Set Builder Glen Funkhouser, Set Construction/Sound Engineer Kalman Dunne, Costume Designer Renee McCleery, Costume Assistant Brennan Diorio, and Properties Nicole DeRosa Lukaitis and Tami Funkhouser.

The following performers completed the cast: Audrey DiEnno, Jaime Weingard, Jonathan Greenstein, Jake Van Horn, Jake Hufner, Gia Lukatis and Gianna Leonen.

Who fans who would go “anyway, anyhow, anywhere” to experience the band’s music would be well served to go to Haddonfield Plays and Players this February. The opportunity is also a “bargain” for fans of community theatre in South Jersey. Hop in your “magic bus” and head over to the playhouse. “The song is over” this February 15th. So is this run of Tommy at Haddonfield Plays and Players.

 

 

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.