Jeff Rife

Legally Blonde: The Musical at Bridge Players Theatre

Bridge Players Theatre debunked the myth that blondes have more fun. They showed that it’s the audience that has the most fun during their run of Legally Blonde: The Musical. Your correspondent attended the Saturday, September 28th show in Burlington, NJ. The site of West Jersey’s former capital hosted one capital performance.

The 2001 novel and film Legally Blonde inspired this musical of the same name. With music and lyrics by Lawrence O’Keefe and Nell Benjamin and book by Heather Hatch, it told the story of Elle Woods (played by Alix Vitarelli), a woman perceived as a stereotypical blonde. Her boyfriend, Warner Huntington III (played by Mike Gibbins), ended their relationship because he didn’t think her a “serious” person. To win his love, she decided to follow him to Harvard Law School.

While there she discovered that Warner had become engaged to Vivienne Kensington (Caitlin Reed). This development along with the academic demands of the pretentious Professor Callahan (Brian S. Rothman) led her to re-consider her decision to pursue her lost love to law school. Her friendships with beautician Paulette Buonofuonte (Dyani Myles) and recent Harvard Law graduate Emmett Forrest (Antonino Baldassari) caused her to think she may have found her true calling.

The word energy would best describe this production. Jessi Meisel served the dual roles of both Director and Choreographer. The energy Ms. Meisel needed to fill these roles was infectious. It carried over into the cast.

The beginning of Act I would’ve been just as effective as a routine for an exercise program. It opened with the dynamic song and dance number “Omigod You Guys.” It featured over ten cast members performing intricate dance routines together on stage.

The opening to Act II may have been even more demanding. In the role of fitness queen Brooke Wyndham, performer Gina Petti led a group of performers through the musical rendition of an actual exercise workout. I’ve never seen a theatrical scene this difficult to perform. (In fact I’m shaking my head in disbelief as I’m writing this.) The ensemble danced and sang while jumping rope. Let me repeat that. They danced and sang while jumping rope. They even executed a 360 degree turn while doing the latter.

Ms. Petti deserves immense praise for the proficiency she brought to the “Whipped into Shape” sequence. As someone who has choreographed shows in the past, she may have needed all the knowledge and skills she’s acquired from those experiences just to perform this arduous number. Ms. Petti also contributed outstanding lead vocals to the song; a tune that didn’t have the easiest melody to sing. I’m not sure how she managed to so while jumping rope and dancing around the stage for several minutes.

And there was more high impact dancing.

The ensemble performed an astonishing tap number on “What Do You Want.” Alix Vitarelli led a large ensemble through some brilliantly choreographed maneuvers. Credit goes to the entire team for remaining in-synch during the performance.

On the evening I attended, the weather added an additional complication. Even though autumn began a few days before, the atmosphere had the feel of a balmy July night. The temperature hovered in the low 80s. The dew point approached the mid-70s. The theater itself didn’t have air conditioning.

And this was just the weather outside and in the theatre. The performers had hot spotlights beaming down on them all evening.

Not the ideal conditions to perform intensive dance routines.

I’d recommend the performers’ friends and family to skip the tradition of bringing them flowers following the show. Oxygen and electrolytes would be more practical.

Legally Blonde contained some outstanding vocal numbers. I especially enjoyed Dyani Myles’ pining ode to the Emerald Isle: “Ireland.” Caitlin Reed nailed some stratospheric pitches on “Find My Way.”

Alix Vitarelli turned in a phenomenal performance as Elle Woods. Ms. Vitarelli proved herself a triple threat of the highest order all evening.

Ms. Vitarelli channeled the character’s personality through her interpretation of the role. She selected a perfect walk for Elle. She ambled while keeping her back straight and her palms parallel to the floor. The performer silently expressed Elle’s inner thoughts through the facial expressions she displayed. Ms. Vitarelli’s timing captured the bubbly essence, the latent comedy and the disillusion in Elle’s dialog.

Ms. Vitarelli sang an emotional rendition of the show’s title track. She also joined with cast members for some wonderful duets. They included the sorority anthem “Delta Nu Nu” with Ms. Petti and the motivational “Chip on My Shoulder” with Antonino Baldassari; the latter accompanied by the Delta Nus (Amanda Adams, Cynthia Reynolds and Amanda Hoffman).

Any fan of Antonino Baldassari’s must see Legally Blonde. I’ve watched Mr. Baldassari play hysterical characters in musicals (Aldolpho in The Drowsy Chaperone) as well as serious ones (Edward Bloom in Big Fish). The role of Emmett Forrest allowed him the opportunity to showcase his skill at playing both these character types.

Mr. Baldassari displayed his usual aptitude for comedy during Emmet’s makeover. For a funny guy, Mr. Baldassari possesses some serious skill for singing. He best captured the character’s serious side through his duets with Ms. Vitarelli. Their performances on “Chip on My Shoulder” and “Legally Blonde” were both outstanding.

Legally Blonde also gave theatre fans to watch South Jersey community theatre’s preeminent power couples perform on stage together. For those who are unaware, Antonino Baldassari and Gina Petti are married in real life.

I’d also credit performer Cynthia Reynolds. I’ve watched her perform a terrific lead in Carrie: The Musical and as an ensemble member in Spring Awakening. Both shows contained very dark subject matter. Ms. Reynolds showed that she’s just as adept at playing a giddy, upbeat character (Serena) in a lighthearted show.

A physics student, Ms. Reynolds applied her mastery of the science during the dance routines. Circumventing the limitations of the Heisenberg Uncertainty Principle, she calculated the speed and location of her high kicks so they didn’t contact any performers.

I had two criticisms of the show.

The performance began ten minutes late. Even after the curtain went up I still saw audience members walking down the aisles to take their seats. Folks, if you can’t be on time be early.

During one crucial scene in the show, performer Alix Vitarelli came out on stage dressed as the Easter Bunny. In keeping with that theme, it would have been nice if the theatre gave out candy to everyone. I’m just sayin’.

The cast also included the following human performers: Caroline Piotrowski, Kori Rife, Ashley Carragher, William H. Young, Allyssa Winkelspecht, Ryan Mulligan, Gregory Drey, Jimmy Hoffman, Erin Gupta, and Yvette Burroughs-Myles.

The following canine performers added their histrionic skills to the production: Allie Rothman and Pudge Hoffman.

The production team included: Assistant Director Ethan Rundell, Musical Director Diana Dohrmann, Producer Marissa DiPilla, Stage Manager Tim Kirk, ASM Lyz Lydon, Technical Director/Audio Engineer/ Set Construction Manager Jeff Rife and Lighting Design/ Lighting Technician Bob Beaucheane.

The verdict on Legally Blonde: Bridge Players Theatre treated audiences to one high-energy, funny and entertaining performance. The statute of limitations to see it ends on October 5th. Regrettably, it won’t receive a stay of execution. Don’t let the people who’ve already watched the show have all the fun. Endorphins aren’t the only thing that can make a theatre fan happy. Find your way to Bridge Players Theatre before October 5th.

 

A Streetcar Named Desire at Burlington County Footlighters

Several years ago it seemed like every South Jersey community theatre produced a version of Sister Act. Now it seems like they’ve graduated to more sophisticated material. Tennessee Williams has become the new ubiquitous feature on community theatre marquees.

Burlington County Footlighters presented the latest rendition of Mr. Williams’ work in the form of A Streetcar Named Desire. I attended the opening night performance on January 25th.

Streetcar told the story of down-on-her luck dilettante Blanche DuBois (played by Morgan Petronis). She’d lost her husband, her job and the family estate in quick succession. While a common theme in country music, Williams applied this trio to the stage. He did so magnificently. The show received the 1948 Pulitzer Prize for Drama in the process.

Blanche’s sister Stella (played by Alex Davis) agreed to let her stay in the New Orleans home she shared with her husband Stanley Kowalski (John Helmke). Blanche found the accommodations lacking in the sophistication to which she’d accustomed herself. She also discovered Stanley to be a boorish “madman.” Stanley responded to Blanche’s contempt and haughty attitude by working to destroy her reputation.

So do audiences really need another installment of Tennessee Williams? With conflict this strong how could a real theatre fan ever get enough of it?

Tennessee Williams’ work presents a host of challenges for actors. Director Lou DiPilla selected a superb cast with which to meet them.

Morgan Petronis played an exceptional Blanche DuBois. The performer first deserves credit for taking on one of the most iconic roles in American theatre. In addition, the character presents several difficulties for those with the courage to play it. Let’s start with the writing.

Watching this show reminded me of a conversation I once had with the late Glenn Walker. In a discussion regarding HP Lovecraft, he criticized the author’s use of narration. When thumbing through one of Lovecraft’s stores, one can see blocks and blocks of text without dialog.

A reader could criticize the text of Streetcar for a similar reason. After perusing its pages just now, I witnessed blocks and blocks of dialog. This creates a problem for actors. People in the modern era are used to 5 second sound bites and Tweets of less than 140 characters. How can one engage contemporary audiences with such verbose material?

Ms. Petronis got it done. She delivered her lines in keeping with the sing-song lyricism of Williams’ dialog; adopting a very authentic Southern accent. One has to credit her for keeping the cadence without misspeaking any of her lines.

Now that was just the speaking facet of the role. Not only did Williams’ protagonist change throughout the story, the character became more of a fabulist than even Willy Loman.

Ms. Petronis played this liar very believably. Even as someone familiar with the play, I struggled to tell when Blanche told the truth or fibbed. I liked the casual ways Ms. Petronis said that she’d only have one drink…or two. She strolled around the stage in finery claiming an old suitor tried to contact her. While the audience could tell the character had begun losing touch with reality, Ms. Petronis portrayed Blanche as though SHE believed the things she said. That’s a very difficult balance and the performer executed it brilliantly.

Tennessee Williams didn’t limit himself to only making Blanche a complex character. His antagonist possessed some complexities of his own. The Stanley role reminded me a bit of the title character from Eugene O’Neill’s The Hairy Ape. Only this one contained much more attitude, anger and vindictiveness. John Helmke met the role’s demands.

Mr. Helmke played well opposite Ms. Petronis. As highbrow as she made Blanche seem he enacted Stanley as the opposite. His rough accent and the way he shifted his weight while walking suited the character. With equal dexterity Mr. Helmke played a hard-drinking “one-of-the-guys”, a destructive alcoholic and a contrite husband. The latter a challenging task for a character harboring a low opinion of women. The realistic way he begged for Stella’s forgiveness made me cringe.

Alex Davis played Stella, the bridge between these two poles. The character harkened back to Shakespeare’s Brutus. Like him, Stella meant well, but always made the wrong decisions. The nonchalant way in which Ms. Davis would either make excuses for or express enjoyment over Stanley’s behavior was chilling. Ms. Davis’ rendition showed Stella didn’t see any flaws with his actions.

Fran Pedersen played a phenomenal love interest for Blanche, Harold “Mitch” Mitchell. Mr. Pedersen stumbled over his words and laughed awkwardly while attempting to woo her. When Stanley told him what he’d discovered about Blanche, Mr. Pederson adapted. With disheveled hair he raged at her, sounding almost as angry as Stanley. At the show’s end he gave her sad looks that expressed his regret better than words.

Blanche complained about her “nerves” throughout the show. After watching performances this powerful, I’m sure the audience felt a little unsettled.

The following performers rounded out the cast: Kori Rife, Matt Dell’Olio, Shay Fuller, Jeff Rife, Tim Schumann, Lauren DiPilla and Brian Wayman.

In December of 2016 I attended Burlington County Footlighters’ presentation of A Christmas Carol. Set designer Jim Frazer crafted a Christmas village that converted the stage into a real-life Norman Rockwell painting. I didn’t think it possible to create a stage set better than that one. Then came The Explorers’ Club. After this show, I’ll start adding the words to date whenever I describe Mr. Frazer’s “best.”

When I entered the building I felt like I strolled right into the French Quarter.  The set for Streetcar transformed the stage into vintage New Orleans. The broken shutters, the wood balcony and the cerulean backdrop gave the setting authenticity. The flickering streetlamps at both sides of the audience created an eerie ambiance when the house lights (also designed by Mr. Frazer) dimmed.

One wouldn’t expect a non-musical drama to contain good singing. Footlighters’ presentation of Streetcar did. Carla Ezell added her soulful vocal prowess to the production. Since the action occurred in the Big Easy, instrumental jazz music played throughout the performance.

That brings me to my one criticism of the show. With all the jazz music I’d hoped the Mike Parisi Trio would return to the Footlighters stage. They played at the Winter Warmer the company hosted in December. Their jazz stylings would have fit well with this ambiance. Maybe the next theatre company will take note when it presents Tennessee Williams.

The brutality and brilliance of A Streetcar Named Desire will never lack relevance. The cast and crew at Burlington County Footlighters demonstrated why it will always be a timeless masterpiece.

While Williams’ work may be timeless, time is running out at Burlington County Footlighters. Theatre fans shouldn’t depend on the kindness of strangers to buy tickets for them. They have until February 9th to see the show. After that they can still stand outside the building yelling, “Stella! Stella!” They’ll receive a much different response than Stanley Kowalski, however.

City of Angels at Burlington County Footlighters

I spent a long evening of being mesmerized this May 5th. The excessive amount of talent on stage nearly overwhelmed me when I attended the opening of Burlington County Footlighters presentation of City of Angels. This Daryl S. Thompson, Jr. directed piece contained superb acting, great dancing and extraordinary singing. It also featured performances by several South Jersey Community Theatre legends. DJ Hedgepath, Rachel Comenzo and Jillian Starr-Renbjor all returned to the Footlighters stage. To add to the show’s appeal, Jim Frazer designed the set and Cameron Stringham served as musical director. Mallory Beach and Erica Paloucci handled the choreography.

Well, what else is there to say?  Oh, DJ Hedgepath and Rachel Comenzo once again showed us mortals why we all need to keep our day jobs. This is the easiest review I’ve ever written. Enjoy the rest of your day.

For the benefit of those people who like details, I’ll continue.

The show applied the “story-within-a-story” approach to a musical. It told the tale of screenwriter Stine’s (DJ Hedgepath) quest to write the script for a movie called City of Angels. In the course of doing so, he battled Hollywood producer and director Buddy Fidler’s (Steve Rogina) incessant meddling, he struggled to keep his marriage to Gabby (Rachel Comenzo) together; a feat complicated by his infidelity with Donna (Jillian Starr-Renbjor), and the voice of his protagonist, Stone (John Romano), tussled with him in his head.

In a manner reminiscent of The Wizard of Oz, characters from real life ended up in the imagined story. One has to credit the performers who played dual roles during the same evening.

Kaitlyn Delengowski stood out as portraying the two most diverse characters. I really enjoyed the high-pitched squealy voice she selected for the Carla character; quite a departure from that of the haughty, Alaura Kingsley.

As to where the story went after that: your guess is as good as mine. With the Hollywood characters becoming the movie characters, the plot twists in the detective’s quest and Stine’s re-writes, I found it far too complicated to follow. It didn’t matter, though. The fantastic singing and superb performances made for a very enjoyable evening.

The story didn’t possess the same complexity as some of the melodies, however. David Zippel’s lyrics didn’t quite compliment Cy Coleman’s odd musical phrasing, either. They gave the singers a challenge.

Rachel Comenzo delivered a transcendent performance on the intricate “It Needs Work”. Perhaps inspired by her skill, DJ Hedgepath followed it up several tunes later with his stellar rendition of the equally difficult “Funny”.

The musical began with an unconventional and difficult opening to perform. It started as scat singing that transitioned into a barber shop quartet. Performers Stephen Jackson, Matthew Maerten, Emily Huddell and Kori Rife accepted the challenge of hooking the audience with this unusual material. They executed this task brilliantly.

Not many players would volunteer for the opportunity to sing a duet containing sixteenth notes. Fans familiar with them already know that Rachel Comenzo and Jillian Starr-Renbjor possess exceptional vocal prowess. They showed it with their rendition of “What You Don’t Know about Women.”

DJ Hedgepath and John Romano shared their own dual moment in the spotlight, as well. They delivered an outstanding performance on the “You’re Nothing without Me” number.

The cast delivered outstanding presentations. Mr. Romano tuned in a solid performance as the hard-boiled detective. I enjoyed his interactions with his edgy secretary (Jillian Star-Renbjor), the wealthy wife (Kaitlyn Delengowski) and the gangsters (Wayne Renbjor and the brilliantly comical Tony Flores). Noel McLeer played the missing girl very well, too. This group made me feel like I watched a musical interpretation of a Dashiell Hammett novel. Steve Rogina’s portrayal of the arrogant Hollywood director added a nice element to the story, as well.

Unlike many directors, Darryl Thompson, Jr. chose not to spend the night in the control booth. Instead, he opted to add his own superior vocal talents to the show. I’ve heard him sing bluesy and soulful material in the past. In this production, he showcased his ability to croon jazzy tracks with “Ya Gotta Look Out for Yourself” and the tender ballad “Stay with Me.”

I’d also like to credit Vitaliy Kin’s performance in the roles of Pancho Vargas and Lt. Munoz. I still remember several years ago hearing him perform Spandau Ballet’s “True” in Yiddish in The Wedding Singer. As comical as it was, he sang the tune very well. In this show, he delivered an awesome “All Ya Have to Do is Wait” number featuring a salsa and conga dance.

It thrilled me to hear Rachel Comenzo showcase her vocal talents once again. I watched her perform several non-singing roles last year. Ms. Comenzo’s rendition of “With Every Breath I Take” as nightclub singer, Bobbi, made up for the long wait. Her voice delivered great vibrato, soft inflection and outstanding modulation. I thought the band a little too loud on this number. Without a microphone, she still found a way to deliver soft notes in a manner so the audience could still hear her clearly. I’m still trying to figure out how that was even possible.

While crooning this moving number she also used extraordinary facial expressions toward Mr. Romano’s character. As difficult as this may be to believe, she conveyed Bobbi’s emotions non-verbally so well, that the scene would’ve been just as effective had she been silent.

With the possible exception of Mr. Hedgepath, I’ve never watched a performer get into character as well as Ms. Comenzo. Somehow, she manages this so flawlessly, that one sometimes loses sight of just how proficient she is at doing so. That’s talent.

It’s always difficult to select a ‘best’ DJ Hedgepath moment. His duets with Mr. Romano and monumental solo rendition of “Funny” would be good contenders. I also liked when he stepped out of the spotlight to put on the trench coat, glasses and hat and become one of the background dancers. In addition to his superior skill as a performer, you have to respect actors who are willing to accept any role to remain on the stage.

The City of Angels title aptly fit the show. The cast took the audience to heaven. The production impressed so much that “you can always count on me” to tout its praises “with every breath I take.” It’s true that “ya gotta look out for yourself.” There’s nothing “funny” about that, but “eve’rybody’s gotta be somewhere.” So why not use “the buddy system” and take a friend to go see it? “All ya have to do is wait” until the next performance.

 

Theater Review – Of Mice and Men at Bridge Players Theater Company

Finally an American has produced a drama on par with Shakespeare. John Steinbeck’s Of Mice and Men animated the concepts of unfulfilled dreams and aspirations in a way that made them distinctly American and, yet, universal. He interwove the freedom to “live off the fatta’ the land” with the quest for love and companionship. At the same time he explored the individual’s place in a society he’s no longer of value to. The cast and crew at the Bridge Players Theater in Burlington, NJ turned in performances commensurate with such high-minded concepts.

I admire director Gabrielle Affleck’s choice of projects. Several months ago I enjoyed watching her lead a production of Kimberly Akimbo; a challenging play written by Pulitzer Prize winning dramatist David Lindsey-Abaire. For her follow-up endeavor, Ms. Affleck decided to “up her game”, if you will, and selected another story with difficult and controversial material. This time a Pulitzer Prize winning novelist who also received the Nobel Prize in Literature wrote the script. This show also featured a dog (Ladybird “Lady” Ezell) in the live show. One can only respect this artist’s courage.

I found the interplay between Breen Rourke (as George) and Paul Sollimo (as Lenny) outstanding. A year-and-a-half ago I watched Mr. Rourke play Shelly “The Machine” Levine in Glengarrry, Glen Ross. I still recall the masterful way he voiced the role in a shrill, whinny voice. It made me wonder how he’d play a drifter from 1930s California. His authentic delivery of George’s diction and locution surprised me. As the show continued I realized I shouldn’t have been. He possesses superb acting abilities. He showed his character’s descent from rugged idealism to disillusionment very steadily and believably.

I also have to give Mr. Rourke credit for his performance in the opening scene. The playwright assigned most of the dialog to his character. At times I thought the scene a soliloquy. He impressed me for remembering all the words, let alone for the genuine manner he delivered them.

I found the casting of Paul Sollimo in the role of Lenny as somewhat ironic. The dialog described the character as “dumb”. Mr. Sollimo is a genius in the field of acting. I’ve watched him play several “sophisticated “characters extremely well over the years. I wondered what he would bring to the role of Lenny. It allowed him to exhibit his craft at its pinnacle. Mr. Sollimo brilliantly transformed himself into the character. He crawled around on the floor, giggled childishly and spoke like someone slow of mind. He pronounced words in the identical way I imagined the character would have when I read the novel. This outstanding performance led me to sympathize with Lenny more than I’d expected to.

I’ve always believed that no amount of histrionic prowess can rescue bad script writing. Rachel Comenzo’s performance of “Curley’s wife” proved me wrong. I’ve always believed, to put this as politely as I can, Mr. Steinbeck’s development of “Curley’s wife” in the novel was the worst character portrayal in the history of the English language. Seriously: Steinbeck couldn’t have even given her a name? (See my earlier review of the novel version of Of Mice and Men.) I thought the character description in the play version a bit better. Curley’s wife seemed misunderstood and longed to seek a better life. The author still failed to fully develop it.

Ms. Comenzo deserves immense credit for animating such a poorly written character so well. In her final scene with Lenny, she delivered an emotional exposition of Curley’s wife’s background leading into her desire to escape her unhappy surroundings. Ms. Comenzo’s pining facial expression and soft voice modulation actually made me empathize with the character. That’s difficult for a performer to do with a strong character. I never would’ve thought it possible with a weak one. It shows the immense level of her acting skills that she achieved that with so little assistance from the playwright.

Mr. Rourke, Mr. Sollimo and Ms. Comenzo put on an acting clinic. The rest of the cast delivered great performances, as well. I’d especially note that Greg Northam played a very moving Candy. His gingerly gait and slumped over posture added to my empathy for him. Richard Priest (as Crooks) and Fred Ezell (as Carlson) utilized memorable voices for the roles they played.

I would warn theater goers that some of the dialog contained racial epithets. The playwright had an ulterior motive for including it, however. Later in the show Mr. Steinbeck expressed his animosity towards this sort of racial bigotry. In a moving scene between Crooks (played by Richard Priest) and Lenny, the lone African American character discussed his disdain with the other characters for excluding him simply because of his race. As the original play premiered in 1937, I admired the then progressive view on race relations.

I’d also liked to give a shout out to Jeff Rife. The man did a phenomenal job with the set design. I also give him credit for engineering the set in such a way that made the intricate changes between scenes more manageable for the cast and crew.

The story in Of Mice and Men has become iconic in our culture. Mr. Steinbeck’s tale is a masterpiece of the highest order. It’s still well worthwhile to revisit; especially, when performed by such an outstanding cast and crew. The Bridge Players Theater Company’s presentation brought to mind a line from Henryk Sienkwiewicz’s epic novel Quo Vadis: “I only wish it was worse, because only then could I find the appropriate words to praise it.” The show runs through May 14.