Ed Doyle

High Fidelity at Haddonfield Plays and Players

Haddonfield Plays and Players took me back in time this weekend. Not only did the company feature a show set during the 1990s, but Ed Doyle cast a number of familiar faces from his 2017 homage to the 1980s, Rock of Ages. In spite of my enthusiasm for watching Ed “Rico” Santiago, Dana Masterman and Vinnie DiFilippo share the stage again, I had some doubts about the overall program.

If I were to partake in the main character’s favorite past time, the 1990s wouldn’t make my “top five” decades. My “top three” reasons are: our country suffered through a philanderer in the White House, a senior figure in the Federal Government perjuring himself and a sexual misconduct scandal involving a Supreme Court nominee. Bad behavior must’ve been endemic to the 90s as High Fidelity’s protagonist, Rob, engaged in some of his own. The story explored his relationship woes through great music (directed by Jared Moskowitz) and dance routines (choreographed by Katharina Muniz). I attended the October 6th performance.

High Fidelity depicted one man’s quest to cope with heartbreak. Rob (played by Ed “Rico” Santiago) struggled through a difficult breakup with Laura (Dana Masterman). His past relationships with Alison (Jenn Kopesky), Penny (Sara Viniar), Charlie (Krista Reinhardt), Sarah (Trishia Dennis) and Jackie (Amanda Frederick) haunted him. Rob found solace among music and the regulars who frequented his Brooklyn record store.

Someone coping with the loss of his girlfriend while living a dull life may seem like a hackneyed story line. Pulitzer Prize winning playwright David Lindsey-Abaire gave this premise a fresh take. High Fidelity contained unexpected plot twists and several quirky characters. Add the music by Tom Kitt and lyrics by Amanda Green and this musical comedy became an enjoyable evening of theatre.

Ed “Rico” Santiago (as Rob) possesses a rare gift for connecting with spectators. Unlike many performers he regularly makes eye contact with theatregoers. Combine that with his pleasant delivery, witty presence and adeptness for singing upbeat numbers Mr. Santiago’s ability to engage an audience is without peer.

Mr. Santiago displayed great range in High Fidelity. In spite of the character’s despicable behavior, he still induced the audience to support Rob. His stirring rendition of “Laura, Laura” served as a major reason why.

Dana Masterman (as Laura) displayed great talent through her use of non-verbal communication. Even when her character wasn’t singing, speaking or dancing, Ms. Masterman made Laura a key figure on the stage. She ensured the audience always understood precisely what Laura thought and felt about the action. The best example in this show occurred during her first scene with Ian (played by Tommy Balne). The performer captured the situation’s awkwardness perfectly.

Ms. Masterman’s singing capability equals her aptitude for facial expressions. She delivered outstanding vocals on “Number Five with a Bullet”: a track that fused aspects of country, rock and soul music. As if that didn’t provide a challenge, Ms. Masterman performed part of this number while climbing over a couch.

The “She Goes” routine grabbed the number one spot on my “top five” High Fidelity highlights list. While Lauren Hope Gates (as Allison) and Mr. Santiago delivered strong vocals, the back-up dancers made the number a classic. Vinnie DiFillipo, Matthew Weil and Jonathan Greenstein performed a comically choreographed routine that made the evening’s highpoint.

For those romantic minded theatregoers out there, the show included some additional love stories. The one between Dick (Joseph Grosso) and Anna (Faith McLeery) allowed these two performers to sing the delightful reprise to “It’s No Problem” together. I’d add that moment to the “top five” list, also.

The ensemble contained eccentric characters. They made the show even more amusing. Barry (played by Anthony Vitalo) strived to put together a band although he didn’t play anything. When he did assemble the members of Sonic Death Monkey, he showed himself to be quite the balladeer. He performed a terrific rendition of “Saturday Night Girl” accompanied by Matthew Weil and Johnathan Greenstein. The latter used the same hair stylist as Mr. T. for this show, apparently.

Singer Marie (Allison Korn) was “complex.” She engaged in brief affair with Lyle Lovett, but couldn’t say it was with Lyle Lovett although it was with Lyle Lovett. Ms. Korn delivered the sober lament of those coping with difficult breakups, “Ready to Settle”, with somber conviction.

In keeping with the “list” theme, Tommy Balne catapulted his character into the pantheon of “top three” Yogi’s. Joining the distinguished company of the Bear and the Berra, add Ian.

Among a cast of funny and talented performers, Mr. Balne made his role the most humorous. Famed for organizing Kurt Cobain’s intervention, Ian attempted to win over Laura with his mystic appeal. Mr. Balne’s wig, costume and clever insertions of the yoga tree pose would make him any comedy fan’s Ghandi.

I did find one aspect of the show a bit disappointing. Alluding to his earlier work, Mr. Doyle placed one of Stacey Jaxx’s records in the store. Last year Vinnie DiFilippo portrayed that fictional singer in Rock of Ages. The prop kindled my hope that he’d reprise the role in this show. While that character didn’t appear, Mr. DiFilippo compensated by performing a spectacular Bruce Springsteen impression.

I would also like to complement performers Jenn Kopesky, Sara Viniar, Krista Reinhardt, Trisha Dennis, Amanda Frederick and Jeremy Noto for their work in this production.

High Fidelity would make my “top five” list of musical comedies set in the 1990s. We all know the scandals that shamed our nation in the 90s will never recur. However, let’s hope playwrights and musicians craft more period pieces like High Fidelity. Let’s also hope that this cast and crew members from Haddonfield Plays and Players are available to bring it to the stage. No one will ever accuse me of perjury after writing that.

High Fidelity goes the way of grunge music, the Macarena and the US budget surplus after October 20th.

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 4th.

Theatre Review – The Heiress at Haddonfield Plays and Players

Dysfunction. Resentment. Money. Add an element of vengeance to the mix and we’ve got a story. The Haddonfield Plays and Players production of The Heiress included all these qualities. The cast and crew showed the audience that while money can’t buy happiness, it can sure exacerbate a lot of misery.

Admittedly, my expectations for this performance were rather low. William Wyler adapted this 1947 play from Henry James’ Washington Square. Wordy serves as the best word to describe this author’s work. I figured the play would run into the Christmas season.

My second concern involved the casting. In his novel, James described Catherine Sloper as a “dull-looking glutton”. When I saw Marnie Kanarek in the role I felt conflicted. She’s certainly not a “dull-looking glutton”. I struggled to identify her as Catherine at first. While gazing into her big blue eyes through the first scene, I realized that Directors Ed Doyle and Matthew Weil made the right call casting against type here.

Ms. Kanarek delivered a phenomenal performance as Catherine. Through her twitching and hurried talking she portrayed a reticent, socially awkward young woman. By the end of the play she transformed into an angry, bitter and vindictive woman made old well before her years. I applaud her measured transition during the show.

I’m still struggling to find the right word describing her facial expressions during the final scene. While doing needlepoint, she had this look like she was going to slash and stab the tapestry. As I sat in the front row, the house manager’s pre-performance announcement that “those close to the stage may get closer to the action than they wish” gave me a chill.

I also have to credit Ms. Kanarek for Catherine’s meltdown during the second scene in Act Two. This mental breakdown was one for the ages. Screaming she tore open her suitcase. Flailing her arms she hurled clothes all over the stage. (I didn’t envy Narci Regina, in the role of the maid, the task of cleaning up this mess.) I probably would’ve called 911 had I not been seated so close to the stage. She scared me.

From reading the playbill, singing is Ms. Kanarek’s strength. That surprised me as The Heiress lacked musical numbers. She displayed outstanding acting chops throughout the entire performance. I can’t emphasize that enough to give her the credit she deserves.

Tyler Reed did a great job courting Catherine in his role as Morris Townsend. This character reminded me a bit of Fr. Flynn from John Patrick Shanley’s Doubt. Reed played a suave, smooth-talker with an answer for everything. Was he really after Catherine’s money? Did he truly love her? Could he be trusted? When Dr. Sloper (played by Michael Hicks) accused him of being “mercenary”, he calmly rebutted. He always did so by telling his accusers exactly what they wanted to hear. What a coincidence. Or wasn’t it?

Reed also performed well in Townsend’s scenes with Aunt Livinia. (Played by Phyllis Pomerantz.) His charming laughter and wit made me think he wanted to win her over. Then again, maybe he did. His behavior certainly encouraged her myriad matchmaking machinations.

Henry James once wrote, “I’ve always been interested in people, but I’ve never liked them.” Dr. Sloper (played by Michael Hicks) embodied this world view. I liked Hick’s interpretation of the character; particularly the way he tilted his head back whenever he sat in his chair. In keeping with the role, he delivered his lines in a staccato, machine gun like barrage. In his talented hands, Dr. Sloper became austere, unemotional and analytical. He freely expressed his resentment towards Catherine. (Her mother died shortly after giving birth to her.) Not the best qualities for someone raising an insecure daughter.

Mr. Hicks displayed another of the doctor’s bad qualities when holding a glass of brandy during every scene. Yes, you read that right. The doctor had a brandy every scene. I guess the standards for physicians in 1850s New York were more lax than the current ones. Did I mention he had a brandy in every scene? I’m surprised Dr. Sloper didn’t contract cirrhosis of the liver during the show.

The thespians conducted themselves very professionally. As we all know, technical glitches happen on occasion. During a crucial discussion between Ms. Kanarek and Mr. Ross the lights flickered for several minutes. These two actors weren’t distracted. They remained focused and got through the scene flawlessly. The blinking diverted my attention a few times. I really applaud their ability in not allowing this snafu to inhibit their performances.

I did have one criticism of the show. All the actors spoke fast. (As I wrote above: I thought Mr. Hicks’ delivery consistent with his character. After all: the faster Dr. Sloper got the words out, the faster he could drink more brandy.) In fact, several performers tripped over their words a few times. I figured they talked this way to reflect the speaking patterns of upper class New Yorkers in 1850. To be fair, I didn’t have any trouble hearing or understanding anything said on stage. In addition, everyone in the cast spoke with perfect diction. At no point in the show did I notice any mispronunciations. That’s a great accomplishment when speaking quickly.

F. Scott Fitzgerald once wrote, “The rich are different than the rest of us.” After watching The Heiress, I sure hope that’s right. While money may not buy happiness, it can get you a few hours of stellar entertainment at Haddonfield Plays and Players. The Heiress runs through May 23rd.