Matthew Weil

The Lion in Winter at the Ritz Theatre Company

The Ritz Theatre Company selected an appropriate play for the second show of its 35th season. The production combined the viciousness and devious nature of COVID-19, the blood sport of the Democratic Presidential primaries and the perils associated with the Ides of March. That’s quite a trifecta for a story that took place in 1183. Dr. Elisabeth Hostetter directed James Goldman’s take on courtly manipulations and machinations: The Lion in Winter. Your correspondent attended the Saturday, March 7th performance.

While approaching the Ritz Theatre, your correspondent became nostalgic for the elaborate Holiday display that decorated the building in December. The company managed to keep the spirit of the season alive with the set. As the action in Lion in Winter occurred between Christmas Eve and Christmas Day, the trappings of a Medieval Holiday celebration filled the stage. The festivities during this Yuletide celebration, however, would not be merry ones, however.

Fifty-year old King Henry II (played by John Jackowski) Plantagenet realized he no longer possessed the energy of a young man: as he explained to his 23-year old mistress Alais Capet (played by Elizabeth Darrell). He needed to select a successor from among his three surviving sons to maintain his kingdom. The oldest, Richard (Michael J. Pliskin) had a strong disposition. Geoffrey (Jack Sharkey) possessed keen intelligence. John was a fatuous lad of 16 with a fondness for drink.

To add to the complications, Henry’s wife Eleanor of Aquitaine (Judy Morris) sought vengeance against her husband. Their marriage had suffered since he imprisoned her for the previous decade. Showing that he had some heart, the king allowed his estranged queen to visit the family for Christmas. Through a series of reindeer games involving each of her sons, she conspired to destroy Henry’s aspirations.

The Plantagenet family’s Holiday guest, King Phillip II (Robert Repici) compounded the intrigue. In a bit of a twist on Napoleon Bonaparte’s maxim that, “When your enemy is destroying himself, don’t do anything to distract him,” this monarch created many more diversions.

The Lion in Winter would show Machiavelli that even his ideas could get taken to extremes. Every character had his/her own personal agenda that he/she pursued without impunity. All of them showed an uncanny ability to agree with the last person with whom he/she spoke. With all these similar personalities, the performers still gave their characters their own unique personalities.

John Jackowski brought both Henry’s strengths and weaknesses to the stage. While dragging his leg as he walked, he still carried a commanding presence. Mr. Jackowski balanced the demands of appointing a successor to rule an empire with the challenges of being a father. After imprisoning his wife, he still showed Henry’s respect for her. As ruthless as Henry conducted himself, Mr. Jackowski displayed his human side. His discussion with Ms. Darrell about staring a family of their own served as the most poignant example of this quality.

Judy Morris’ stage presence reflected both the queen’s dignity and her drive for retribution against her husband. She expressed her lines with the elocution of royalty. Yet, her tone contained palpable vitriol. Ms. Morris also showed Eleanor’s frustration when her plans failed. A desire to “win” motivated her character. She even sought to enlist her husband’s mistress in her machinations. Only a love of her family tempered her determination to punish her husband.

Ms. Morris performed an outstanding scene with Jack Sharkey. The two performers showed that issues beyond power politics plagued the family. As Geoffrey, Mr. Sharkey confronted Ms. Morris about his childhood. He explained that she and the king treated him with indifference during his upbringing. This scene provided some much-needed humanization for the Plantagenet family.

Robert Repici played King Phillip II as a cunning conniver. In a brilliant scene opposite Michael J. Pliskin, Mr. Repici showed just how calculating Philip could be. Mr. Pliskin expressed his character’s tender feelings towards Philip. The clever way he and Mr. Repici slowed down their conversation enhanced the scene’s impact. Mr. Repici later explained to Henry that he behaved as he did with Richard in order to annoy the king.

When each of the king’s sons asked for Philip’s assistance, he agreed to aid their efforts to secure the crown. When they realized that all of them approached Philip with the same request, Mr. Repici sat back in his chair sporting an impish grin. He seemed as entertained as the audience watching Henry and his sons attack one another for their scheming.

Mr. Repici performed another excellent display of Philip’s ruthlessness. Ms. Darrel implored him to stop her wedding to one of Henry’s sons. “I’m your sister,” she yelled. Mr. Repici gently stroked her face and then thrust her towards the altar.

Elizabeth Darrell’s character served as a pawn in the Plantagenet’s family’s myriad manipulations. By the end of the story Alais Capet transitioned into an uncouth political practitioner herself. Ms. Darrel made her character’s change credible.

Joseph Colasante showed the essence of the crown’s heir apparent: John. Adopting the diction of a spoiled child, he whined about his right to ascend to the throne. After developing an intense passion for brandy wine, he stumbled about the stage like a drunkard.

Jackie Spence designed stellar costuming for this production. The purple shirt with the fleur-de-lis Mr. Repici wore befitted a French monarch. Mr. Jackowski’s red robe enhanced his royal persona. Their crowns also appeared authentic. Ms. Morris’ green blouse with golden embroidery aided in transforming her into a Medieval monarch.

Matthew Gallagher managed the sound design. Matthew Weil served as the Lighting Designer. Alyssa DeLuca stage managed. Nathan Kunst worked as the show’s Technical Director. Melissa Harnois managed the properties. Bruce A. Curless served as the Producing Artistic Director.

With all the intrigue, family issues, and relentless ambition, The Lion in Winter will appeal to fans of films such as The Godfather and Goodfellas. Those with an interest in Dr. Henry Kissinger’s tomes on realpolitik will find it enjoyable, as well. The show runs through March 22nd. With the amount of conflict in this story, it’s doubtful this lion will go out like a lamb.

Sweet Charity at the Ritz Theatre Company

Valentine’s Day comes early this year compliments of the Ritz Theatre Company. The production team replaced all the theatre’s Holiday decorations with hearts, red streamers and a musical about the joys and sorrows of looking for love. The fickle finger of fate led your correspondent to attend Sweet Charity on Saturday, January 11th.

Charity Hope Valentine (played by Lauren Bristow) endeavored upon a quest for love. A series of unfortunate choices caused some navigational problems along her voyage. One boyfriend threw her into a lake. Another used her as his personal ATM machine. The third time seemed more promising.

An encounter with Oscar Lindquist (played by Matthew Weil) led to a blossoming romance. Unfortunately, quirks riddled Mr. Lundquist’s personality. His pathological obsession with purity functioned as the most glaring. Charity feared her job as a ‘dancehall hostess’ would cause him to terminate their relationship. It caused Lundquist to wonder if his taste in women could be as flawed as Charity’s taste in men.

That’s pretty heavy material for a book written by Neil Simon based on a concept by Bob Fosse. While witty at first, the story contained the potential of becoming a 1960s answer to Tess of the d’Urbervilles. Fortunately for theatre fans, directors Bruce A. Curless and Roberta Curless kept the performance lighthearted and entertaining.

Sweet Charity featured a host of impressive dance routines choreographed by Co-Director Roberta Curless. Most of them highlighted Charity. Lauren Bristow proved herself the perfect performer to play the part. Ms. Bristow opened the show with a wonderful solo dance that contained no vocal accompaniment. She deftly incorporated a hat and a cane into the “If My Friends Could See Me Now” number while singing Dorothy Fields’ lyrics. (Cy Coleman wrote the music.) Later in the show, Ms. Bristow executed a series of quick twirls while performing “Where Am I Going.”

The other cast members performed a memorable sequence themselves. The instrumental “Rich Man’s Shrug” included an eclectic mix of music. It allowed the choreographer and ensemble to explore their creativity. During the number’s first part, this reviewer thought: if Mike Myers wrote Austin Powers as a musical, this song would be in it. The piece’s second section hearkened back to the sound of the Roaring Twenties. The routines Ms. Curless crafted well suited both these unique musical styles.

Charity may have struggled to find love, but audiences will find it easy to love Lauren Bristow as Charity. Ms. Bristow turned in a superlative performance. Because of the strength of her solo dance routines, her dancing ability impressed the most. She also showcased stellar vocals all evening on songs such as “If My Friends Could See Me Now”, “Ciao Baby” and “Where Am I Going” as well as on the ensemble tracks.

Through her acting ability, Ms. Bristow captured the character’s inner hopefulness. In spite of Charity’s romantic turmoil, Ms. Bristow’s smile expressed her indomitable optimism. Her curious yet amused facial expressions during the Rhythm of Life church scene, showed how the character could find amusement in even the most awkward situations. In addition, Ms. Bristow delivered her many comic lines with both seriousness and the proper timing.

Ms. Bristow also captured the serious side of the character’s personality. For a story written in 1966, Charity evolved into a model of female empowerment. Ms. Bristow portrayed this change with believability; in large due to her skillful display of Charity’s inner optimism.

After the completion of his latest directorial project, Willy Wonka, Matt Weil returned to the stage for another show about sweetness. Mr. Weil pulled his own version of a ‘Nicholas French at the Ritz’ performance.* Mr. Weil played all three of Charity’s boyfriends. He played the first two as humorous characters. He wore a pompadour wig and dark sunglasses for Charlie. Mr. Weil adopted a silly voice while wearing a shaggy wig for the second beau.

Well known for his directing prowess, Mr. Weil showed himself just as adept a performer while on stage. In the role of Oscar Lundquist, Mr. Weil sang an impassioned rendition of “Sweet Charity.” He displayed a comical, yet believable case of nerves when trapped on the elevator with Ms. Bristow. His vocals on “I’m the Bravest Individual” expressed his anxiety.

Ms. Bristow and Mr. Weil complimented one another very well. When Ms. Bristow confessed Charity’s real profession, Mr. Weil exhibited empathy and understanding. Later, Mr. Weil did an excellent enactment of Oscar’s inner conflict. He modulated his character’s attitude making the confrontation scene much more moving. Ms. Bristow’s response gave the resolution added impact.

Vocal Director Tim Brown conducted wonderful arrangements. “Big Spender” featured performers Lauren Bristow, Lindsey Krier, Kelly Govak, Kristin Hegel and Melanie Ervin singing together. Mr. Brown split the vocal sections between the performers. The organization allowed the melody to create a unique audio effect.

Other memorable tunes populated the set list. Ms. Krier and Ms. Govak turned in a strong performance of “Baby Dream Your Dream.” Craig Bazan led a terrific rendition of “I Love to Cry at Weddings.” Terrance T. Hart delivered an operatic sounding “Too Many Tomorrows.”

Sweet Charity’s ambiance gave the performance an excellent 60s vibe. The set (designed by William Bryant) contained a mix of bright and semi-dark colors. The choices reminded this reviewer of the cover of Cream’s Disraeli Gears album.

Costume Designer Tina Greene-Heinze used the same patterns in her work. She placed Ms. Govak in a bright yellow dress. The sequins on Ms. Krier’s blue dress sparkled and enhance the brilliance. The black dress Ms. Bristow wore and the tuxedo on Terrance T. Hart offset the bright colors. The psychedelic patterns on the Rhythm of Life Church members’ clothes fit the time period.

Jim Reed’s wig designs kept the audience rooted in the period as well. They comprised currant buns, long shaggy hair and big Afros. With all the high impact dancing, it surprised this reviewer than none of the performers lost their wigs during the show.

Other members of the Production Team included: Sound Designer Matthew Gallagher, Lighting Designer Chris Miller, Technical Director Nathan Kunst, Stage Manager Brian Gensel, Properties, Meg Iafolla, Assistant Stage Managers Melissa Harnois and Alyssa Sendler, Sound Board Operators Anastasia Swan and Natasha Swann and Spot Operators Gabe Slimm and Jessi Meisel.

The show your correspondent witnessed included a moment for the blooper reel. Since there is no video recording of live theatre, fans will have to be content to read about it. When Matt Weil’s character entered the dancehall, performer Craig Bazan (as the proprietor Herman) called him by his real name, Matt.

Charity observed, “Without love, life has no purpose.” Without shows as fun as Sweet Charity, musical theatre has no purpose. Make a date to see it at the Ritz no later than February 2nd. After that, this run will seem as ephemeral as one of Charity’s relationships.

 

*In the Ritz Theatre’s January 2019 production of A Gentleman’s Guide to Love and Murder, performer Nicholas French played all eight members of the D’Yasquith family.

Scrooge: The Musical “Revitalized and Reimagined” at the Ritz Theatre Company

The “Weil”d December continues for South Jersey community theatre fans.

Under Matthew Weil’s direction, the Ritz Theatre Company premiered the “revitalized and reimagined” version of Scrooge: The Musical this week. This perennial Holiday classic took the stage sans Bruce A. Curless in the lead role. It’s also the second Holiday show that Mr. Weil is directing this month: and it’s one extraordinary Christmas tour-de-force. Your correspondent attended the Saturday evening show on December 14th.

While approaching the Ritz, a series of illuminated Christmas wreaths adorning the Ritz building captured your correspondent’s attention. As did the evergreen strands descending from the roof onto the marquee. The red and green colors of the iconic R-I-T-Z letters distinguished this historic South Jersey institution from the other edifices along the White Horse Pike.

As much as those features established the Holiday mood, the Ritz staff made the interior even more festive. Scrooge purists will be delighted that the production team retained the familiar wreath, evergreen garland and Christmas trees that framed the stage.

The “Weil”d December turned into one “Weil”d Winter Wonderland.

The wrapped gifts underneath the Christmas tree seemed superfluous, however. The real present was the one the performers delivered to the audience.

Alan Krier demonstrates courage when selecting theatrical projects. He played dual roles in Bruce Norris’ exploration of housing discrimination: Clybourne Park. For his first directorial endeavor he chose David Lindsey-Abaire’s Rabbit Hole: a Pulitzer Prize winning play centered on a family coping with the death of their child. Mr. Krier’s decision to play the role of everyone’s favorite Christmas curmudgeon may be his bravest choice yet.

As South Jersey community theatre fans know, 2019 marks the first time the Ritz is presenting Scrooge without Bruce A. Curless in the lead role. He is, in essence, the Tom Brady of Scrooge performers. He’s played that role every December for over twenty years. Unlike actors such as George C. Scott, Winfred Owen and Seymour Hicks, Mr. Curless is a veritable institution as Scrooge. When the Ritz’s production team decided to return this South Jersey “Holiday tradition” to the stage, they only thought of one performer to take the mantle of Scrooge from him: Alan Krier.

Mr. Krier pulled off a theatrical Jimmy Garoppolo, as it were. When stepping out of a master’s shadow, he took a franchise with an uncertain future to another level. The witty delivery he employed for the “I Hate People” number drew laughs from the audience. As did his riposte to Marley’s (played by John Nicodemo) announcement that Scrooge would be visited by three ghosts. The nervous, “I’d rather not,” added to the legacy of vintage Krier comedy.

Director Weil made this incarnation of Scrooge much more dramatic than last year’s performance. He discarded the fluff and pageantry (and thankfully, the platforms in the middle of the room) to focus on the story. By removing those layers, he allowed the depth of Charles Dickens’ original tale to surface. A fable of greed, poverty and redemption played out on stage.

Mr. Krier enacted the dramatic scenes with extraordinary skill. His interactions with John Nicodemo (in the roles of Marley and the Ghost of Christmas Future) equalled the strongest performances he’s delivered on stage. His somber pining when watching his younger self (played by Robert Repici) and his lost love Isabelle (Lindsey Krier) moved this reviewer. The sorrow on his face when Lindsey Krier performed “Isabelle’s Dance” to end the first act concretized Scrooge’s heart shattering.

The Ritz team understood that the comparisons between Mr. Krier and Mr. Curless would occur. Director Weil didn’t burden Mr. Krier with carrying the show on his own. Mr. Weil surrounded him with a cast of monumentally talented performers. They gave the “revitalized and reimagined” Scrooge its own identity.

Robert Repici and Lindsey Krier delivered a gripping version of “Happiness.” The cool baritone of Mr. Repici’s voice accentuated the song’s bittersweet lyrics. Ms. Krier applied palpable passion and enthusiasm to this number. The addition of the dark background, lighting and snow made the scene a visual spectacle for the ages.

The Cratchit kids (Adalyn Crow, Anna Bizhko, Jeffrey Smith and Lillian Low) delivered the “cute factor” for the “Good Times” number. Kaitlyn Healey’s vocals and Steve Stonis’ operatic syllables made this another unforgettable number.

Mr. Weil ensured that each of Scrooge’s spectral visitors possessed their own distinct personalities.

John Nicodemo’s anguished delivery as Jacob Marley captured the character’s torment. His slouching under the weight of the chains showed it. Mr. Nicodemo’s silence and slow movements made the Ghost of Christmas Future even more minatory.

Daio Fumilayo delivered a haunting performance as the Ghost of Christmas Past. The lighting and white gown gave her character an ethereal ambiance. Ms. Fumilayo’s calm delivery (with just a touch of reverb added) and blank stares at Scrooge reflected the character’s otherworldly nature.

John Romano, Jr. made the Ghost of Christmas Present just as jolly as Good Old Saint Nick himself. His Marc Bolan style wig added good comedic effect. The laughter and mannerisms Mr. Romano used while showing Scrooge both the Cratchits’ and Harry’s Christmas festivities gave the impression that he enjoyed the show just as much as the audience. Mr. Romano moderated his character’s frivolity when Scrooge inquired about Tiny Tim’s fate. The tempered anger in his voice while repeating Scrooge’s point about “excess population” gave the point more impact.

Thanks to Mr. Weil’s hospitality, your correspondent attended a rehearsal for Scrooge. During that session Musical Director Nicholas French and Alan Krier teamed up for “Thank You Very Much.” The two brought immense energy to that run through. They displayed even more vitality during the actual show. This reviewer wouldn’t have through that possible.

Steve Stonis, who directed Scrooge last year, and Adalyn Crow performed outstanding acapella numbers, as well.

While this year’s Scrooge didn’t include a ballet company, it did contain a solo dance in that style. Lisa Krier performed a wonderful routine on the “Celebration” number; the latter composed by Bob Cerulli.

In addition to the talent, Mr. Weil added spellbinding visuals to this version of Scrooge. The snow falling from the ceiling along with the strategic use of lighting (designed by Mr. Weil and operated by Stage Manager Melissa Harnois) enhanced the action on the stage. The periodic illuminating and dimming of the wreath above the stage and Christmas trees on stage left and stage right made the show a spectacular Christmas spectacle.

The other performers who provided their talents for this outstanding show included: Charles Bandler, Liz Baldwin, Jay Burton, Sadie McKenna, Audrey Mitros, Dillinger Crow, Beatrice (Bee) Fraga, Gwen Low and Ella Samuel-Seigel.

Assistant Stage Manager Brian Gensel, Costume Designer Briana Bailey and Sound Operators Sam Tait and Natasia Swan rounded out the production team.

Community theatre fans have the opportunity to get the full range of Mr. Weil’s directorial talents this December. Those impressed with the “revitalized and reimagined” Scrooge are encouraged to attend Roald Dahl’s Willy Wonka at Haddonfield Plays and Players. Mr. Weil also directed that show; Scrooge’s Stage Manager Melissa Harnois assistant directed. Wonka runs through December 21st.

Mr. Weil’s direction ensured he won’t be visited by any apparitions this Holiday Season. The stage set, the marquee and the overall story would satisfy the Ghost of Christmas Past. Mr. Krier’s interpretation of Scrooge, the performance of the cast and crew as well as the “reimagined and revitalized” franchise would captivate the Ghost of Christmas Present. (He’d probably be happy that the platforms in the middle of the building are gone, too.) All the new faces in the cast would make even the dreadful Ghost of Christmas Future smile. These performers may ensure the Scrooge franchise a home at the Ritz for the next two decades.

This run, however, passes from the domain of the Ghost of Christmas Present to the Ghost of Christmas Past on December 22nd. Fans should see Scrooge: The Musical before the Ghost of Christmas Future haunts them about the prospect of missing it.

 

Roald Dahl’s Willy Wonka at Haddonfield Plays and Players

Theatre fans get ready for one “Weil”d December. This month legendary South Jersey community theatre director Matt Weil is directing not one, but TWO shows for the Holiday Season. Talk about a gift for audiences. This reviewer attended the first, Roald Dahl’s Willy Wonka, at Haddonfield Plays and Players on December 7th.

Several weeks ago Director Weil spoke with your correspondent. When asked if he directs Holiday shows any differently than he approaches others, Mr. Weil replied, “No. The purpose is to tell a story.” And what a story he and the cast at Haddonfield Plays and Players told.

Willy Wonka (played by Tommy Balne) faced a dilemma. He longed to retire from the chocolate business. His lack of either an heir or a successor forced him to continue working.

Young Charlie Bucket (played by Matthew Goodrich) also experienced troubles. His family lacked money. His father’s (Michael Wemer) job at the toothpaste factory provided the household’s only source of income. This extended family consisted of Mrs. Bucket (Marissa Wolf) and both sets of Charlie’s grandparents. Then the toothpaste factory closed.

In the wake of this, Willy Wonka announced a contest. The winners would receive tours of his factory as well as a lifetime supply of chocolate. The contestants needed to find one of five golden tickets placed in packets of Wonka Bars. In spite of his poverty, Charlie found the means to purchase one bar. It contained a winning ticket.

The show opened with Tommy Balne delivering a beautiful version of “Pure Imagination.” That theme continued throughout the evening. Director Matt Weil deserves immense credit for the ingenuity he applied to this project. He took a piece with the spectacular visuals audiences remember from the 1971 film and made it just as memorable on the stage. Mr. Weil also executed this task with minimal scenery. The set itself (also designed by Mr. Weil) consisted of a checkerboard floor and a series of bay openings with flashing lights.

Without the accoutrements of a fantastic confection producing paradise, the suspension of the audience’s disbelief became an immediate challenge for the cast. The performers showed superlative acting ability to create the illusion. The actors’ expressions and reactions reflected the grandeur and wonder of the chocolate factory. The performers also showed fear and rocked to simulate the motion of the boat as Willy led them down the river into the unknown.

Willy Wonka did not lack for special effects, however. Violet Beauregarde (played by Sophie Holliday) turned into a blueberry. The crew executed this task by inflating her costume and through a creative use of lighting. When Charlie and Grandpa Joe (Tony Killian) floated towards the ceiling, Mr. Weil and his team used an innovative means of presenting this scene on the stage. The bubbles added a nice touch.

In the playbill, Mr. Weil described his initial reluctance over directing Willy Wonka:

Frivolous, saccharine, and lacking in in any major substance, Willy Wonka represented everything I was taught to avoid as an artist – or so I thought.                 

The show did contain similarities to Mr. Weil’s other work. For one, the story contained characters just as gluttonous and socially maladjusted as those in The Heiress and The Pillowman.

The kids who found the golden tickets were not ideal children. Veruca Salt (Cassidy Scherz) was even more spoiled than a Siamese kit kat. Her father (Cory Laslocky) enabled her by believing every day was payday and he could buy anything his little girl wanted.  Augustus Gloop (Dominick T. McNew, Jr.) ate to the extent that he made those suffering from hyperphagia seem like vegan dieters. It took three cooks to prepare his feasts. His ebullient mother (Faith McCleery) encouraged him in his gastronomical pursuits. Mike Teavee’s (Jake Gilman) appetite for television eclipsed Gloop’s hunger for food. His mother (Victoria Tatulli) kept him out of school so he could focus on his interest in television. This group made Violet Beauregarde the most normal member of the bunch. She had an addiction to chewing gum. Her Southern belle mom (Lori Alexio Howard) allowed her to do so as often as she liked.

Phineous Trout (Alex Leavitt) played the reporter tasked with interviewing these lucky “winners.” Mr. Leavitt’s caricaturish grin, initial enthusiasm and later astonishment with these characters drew snickers from the audience.

The Oompa-Loompas provided commentary on the children’s behavior. Performers Abigail Brown, Lorelei Ohnishi, Nathan Laslocky, Logan Murphy, Sera Scherz and Gabriel Werner played the roles of Willy Wonka’s factory workers. They performed fantastic renditions of the “Oompa-Loompa” songs while executing Katharina Muniz’s choreography. Costumer Renee McCleery and Assistant to the Costumer Jenn Doyle designed authentic looking garb for these iconic characters.

Tommy Balne turned in one of the best performances your reviewer has seen on this side of the Milky Way. Mr. Balne possesses a phenomenal ability to talk with his eyes. His communicative facial expressions were so proficient that your correspondent would’ve been just as entertained watching him all evening.

The role required some physical adeptness. Mr. Balne also executed these challenges without flaw. One of the demands included the ability to twirl a cane. Mr. Balne didn’t have butterfingers. He utilized the prop brilliantly all evening.

In addition to his expressive mannerisms, Mr. Balne proved himself a stellar triple threat. Besides the lead role, he also played the character of The Candy Man. As with his rendition of “Put on A Happy Face” in Bye Bye Birdie, Mr. Balne took a theatrical standard and infused it with his own personality. Besides his awesome vocal stylings, he completed an outstanding dance routine with Tess Smith, Michael Thompson, Leah Cedar and Quinn Wood while delivering the popular tune: “The Candy Man.”

The scene reminded this reviewer of a drum battle between Gene Krupa and Buddy Rich. Another famous “Candy Man” crooner hosted it on The Sammy Davis, Jr. Show. Mr. Rich joked to Mr. Davis, Jr. that the winner should receive one of Mr. Davis, Jr.’s shoes. After his performance in Willy Wonka, one of Mr. Balne’s shoes would’ve been a better prize than the tour of factory or a lifetime supply of chocolate.

Matthew Goodrich also performed outstanding song and dance routines. His execution of the “Think Positive” sequence made for one of the show’s most memorable moments. Mr. Goodrich completed some intricate twirls that added superb showmanship to the scene.

Performers Marge Triplo and Lori Clark also added their talents to this extensive cast.

Other members of the Production Team included: Assistant Director Melissa Harnois, Producer Megan Knowlton Balne, Vocal Director Kendra C. Heckler, Stage Manager Sara Viniar, Assistant Stage Manager Brennan Diorio, Set Construction Dan Boris, Lighting Designer Jen Donsky and Props Designer Debbie Mitchell.

South Jersey community theatre aficionados will feel glad Mr. Weil decided to add Roald Dahl’s Willy Wonka to his repertoire. He wrote:

Today, my assumption is that you may be sitting there feeling very much the same way I felt one year ago. My hope is that our show will tickle and delight you, that you may take a similar journey as my own, and that you will find Willy Wonka simple, sweet and satisfying – like a bite of chocolate.

The “Weil”d December continues at the Ritz Theatre Company. The director’s next Holiday project is Scrooge: The Musical. That show runs from December 12th through December 22nd.

Audiences don’t need to win a golden ticket at one in ten million odds to see Willy Wonka. It runs through December 21st. After that, the chocolate factory closes forever at Haddonfield Plays and Players.

Preview of Scrooge “Revitalized and Reimagined” at the Ritz Theatre Company

This December will be an historic one at the Ritz Theatre Company. While the company will be reviving its popular Holiday show Scrooge: The Musical, this year it will include a significant change. For the first time in over two decades, Bruce Curless will not play the lead role.

This November 23rd, your correspondent sat down with Director Matt Weil, as well as the Ritz’s Communications and Group Sales Manager Robert Repici (who is also playing the roles of Young Scrooge and Harry) and the new Scrooge himself, Alan Krier. We discussed the upcoming “revitalized and reimagined” production of Scrooge.

Prior to the 2018 production of Scrooge, Mr. Curless announced he would no longer play Scrooge after that run. The organization’s production team explored other options for their 2019 Holiday program. While Scrooge had been among the Ritz’s top revenue producers last year, financial considerations weren’t the only reason the group decided to return it to the stage.

“The show has a rich history,” Mr. Repici explained. The “thematic potency” appeals to audiences. Watching it at the Ritz during the Holiday Season is “a family tradition.”

“Tradition is a big, big factor,” Mr. Weil added.

So what inspired the director of shows such as Brighton Beach Memoirs, The Pillowman and Big River to add a Christmas production to his repertoire? “It’s impossible to watch a show and not direct it in your head,” Matthew Weil said. For the last four years, Mr. Weil has been: “watching (Scrooge) in various capacities…This show keeps coming back. I wanted to do it.”

While an immense talent in his own right, Mr. Krier understands that he is following a legendary performer in the lead role. He acknowledged that the comparisons to Mr. Curless will be “inescapable.” “I see it as a tribute. No one can fill Bruce’s shoes.” Mr. Krier’s goal is to “entertain the audience.”

Mr. Krier added that, “We’re doing it so differently this year.”

Audience members will not have to crane their necks or turn around in their seats. Mr. Weil and Mr. Repici explained that this version of Scrooge will not include the platforms in the middle of the Ritz Theatre. Mr. Weil described them as “polarizing.” “I’m not a fan artistically,” he added. He prefers to: “build layers on the suspension of disbelief.” He believes that the platforms “break the spell.”

The actors will not perform in the aisles, either. Mr. Weil is sensitive to the fact that some “audience members aren’t comfortable getting close to the characters.” This year, all of the action will occur on stage.

The “reimagined and revisited” Scrooge also will not include the ballet routines. “It gave the show more of a pageant feel,” Mr. Repici said. As a director, Mr. Weil explained that he “focuses on the story and this one is character driven.” For Scrooge, he wants to “strip away the fluff and get back to the story.”

The Ritz has made “major changes” to the show in the past. Mr. Weil noted that one year they made all the characters into animals. He referred to the 2019 version as “another iteration.”

The Ritz production team allowed your correspondent to remain for the rehearsal. The scenery from the Ritz’s current production of The Wiz in the background seemed fitting. Mr. Weil displayed intelligence, heart and courage through his own magical wizardry. He coordinated various scenes and integrated the dance numbers into the larger production with the grace of a conductor leading a symphony.

Under Mr. Weil’s direction, Kaitlyn Healy delivered differing versions of “Good Times.” Each contained very moving sections. “The cute factor is high (in the Cratchit dance number),” Mr. Weil said. Nicholas French and Mr. Krier performed a high-energy rendition of “Thank You Very Much.” With that much passion, potency and appeal at a rehearsal, it will be interesting to see the quality of the finished product.

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Mr. Krier worked his own ideas into the role of Scrooge. In addition to getting many laughs from his cast mates, he even incorporated a jig into one scene. Dancing ability must run in the Krier family. Mr. Krier’s daughter, Lindsey, is the show’s choreographer.

The Ghost of Christmas Future puppet (which Mr. Weil built) is no more. This time John Nicodemo will play the role. Your correspondent got a sampling of his climactic confrontation with Scrooge. This one contained an unexpected twist that will delight audiences.

The “revitalized and reimagined” Scrooge contains elements that will appeal to both purists and those interested in a new take on a classic. Regarding the changes, Mr. Weil said, “If (the show is) good, the audience will like it.” Scrooge runs from December 12th through December 22nd at the Ritz Theatre Company.

The Ghosts of Ravenswood Manor at the Ritz Theatre Company

Ghosts. Mystery. Murder. The Ritz Theatre Company selected the perfect show for ushering in the fall season. This September they’re presenting the world premiere of The Ghosts of Ravenswood Manor. Bruce A. Curless directed this original work written by local playwright Kumar Dari. I attended the September 21st performance.

Like many aristocratic British families at the end of the nineteenth century, the Sappingtons’ profligacy resulted in financial trouble. In addition, Lord Sappington’s business partner swindled him shortly before his passing. In order to raise money his sons Edwin (played by John Jackowski) and Andrew (played by Craig Hutchings) contemplated selling the family estate, Ravenswood Manor. William’s widow, Lady Sappington (Ginna Higgins), planned on taking in lodgers to raise funds.

While this set-up made for a strong conflict, the playwright added a twist that complicated everyone’s plans: Lady Sappington revealed that a series of unexplained events occurred at Ravenswood Manor. She found paintings askew. The sound of mysterious footsteps echoed through the halls. Butler Rugggles (John Hager) discovered an expensive vase off its shelf and lying in the middle of the room. Lady Sappington surmised that ghosts haunted the manor.

To free the home of these spectral visitors, she contacted spiritualist Dr. Karmazin (Joe Carlucci). After surveying Ravenswood Manor, the latter recommended he perform a conjuring ceremony. An unexpected but inevitable result transpired.

While set in 1890 in Victorian England, Mr. Dari added contemporary themes to the show. I found it clever how the playwright drew parallels to the modern era. Andrew battled opium addiction. Edwin and Major Botwright (played by Andrew B Kushner) engaged in debates about the racial issues of the day. Lady Blackthorne (Jack Shaw) was really a transgender English lord.

One wouldn’t expect a ghost story set in Victorian society to serve as the background for a comedy. Once again, Mr. Dari showed exceptional creativity. Major Botwright (Andrew B. Kushner) had a fondness for Gilbert and Sullivan. He enjoyed transforming expressions into a jingle that would fit one of their shows. One of the catchier was:

Tuck, tuck, tuck

Into the duck, duck, duck.  

While no choreographer was listed in the playbill, the major’s “Ring, Ring, Ring for Ruggles” cadence, inspired the ensemble to perform a nineteenth century version of the Macarena.

Following the performance, the playwright and the cast participated in a talk back with the audience. Your correspondent asked Mr. Kumar what inspired him to write this story.

The playwright explained that he had ideas for a number of characters. During a process that took him three years, he refined them and decided to set the play in Victorian England.

The cast did an exceptional job of bringing Mr. Kumar’s unusual characters to life.

The randy Lady Blackthorne possessed a particular fondness for double entendres. Jack Shaw’s effeminate delivery when expressing them made these ribald references even wittier.

Of all the roles in the show, Lady Sappington was the closest to ‘normal.’ Ginna Higgins played an excellent serious character when working opposite Mr. Shaw’s comic one.

Joe Carlucci brought exceptional energy to the role of Dr. Karmazin. He danced about the stage with divining rods. The performer also spoke in a thick Balkan accent, but still expressed his lines so I could understand them clearly.

Andrew B Kushner played a wonderful Major Botwright. The walrus mustache made his transformation into the character even more believable. I also liked the pompous voice he used to tell the major’s myriad stories of personal grandeur.

John Jackowski and Craig Hutchings played the spoiled Sappington brothers. With their characters’ fondness for alcohol, one hopes they don’t strain their elbows.  It’s difficult to hold a glass for 2-1/2 solid hours.

Amanda Lynch Lizzio performed the role of Zenobia Sappington. Ms. Lizzio captured the bubbly and garrulous nature of her character very well.

John Hager added his unique brand of comic genius to the role of Ruggles, the butler. One has to credit him for keeping his torso at a 35 degree angle to the floor all evening. In addition to his professional interpretation of Mr. Dari’s script, Mr. Hager supplemented his performance with his gift for improvisation.

During the intermission I encountered Mr. Hager in the theatre. While remaining in Ruggles’ poor posture, he asked me, “Are you laughing at my pain?”

I’m sure I felt a lot more pain that Mr. Hager did. My side still ached from laughing at his performance during the first act.

Director Bruce A. Curless pulled a Hitchcock. His cameo came in the form of Lord Sappington. As with every other time Mr. Curless has taken the stage, he made his presence memorable. Without giving readers spoilers, he delivered the most haunting performance I’ve ever seen from him.

The production crew included: Technical Director Dan Rogers, Stage Manager Alexis Snyder, Assistant Stage Managers Alyssa Sendler and Gabriel Slimm, Light Designer Jennifer Donsky, Sound Designer Matthew Gallagher and Sound Board Operators Natasha Swann and Anastasia Swann.

Prior to the curtain rising, Production Manager Matthew Weil informed the audience that this run is the “world premiere” of The Ghosts of Ravenswood Manor. I enjoyed the opportunity to attend. As Mr. Weil noted, “How often do you have the opportunity to see a ‘world premiere’?” While that gives theatre aficionados a strong reason to experience the production, the entertaining nature of the show serves as an even better motivation to see it.

Don’t become haunted by the specter of missing The Ghosts of Ravenswood Manor. It runs through September 29th at the Ritz Theatre.

 

The Music Man at The Ritz Theatre Company

The Music Man at The Ritz Theatre Company experienced an opening night that has entered into annals of South Jersey theatrical lore.

On June 11th torrential rain and mass flooding plagued the South Jersey area. The Ritz’s building even lost a portion of its power. In response to the audience’s chants of “the show must go on”, the company continued the show.

The audience still went “batty” over the performance; one spectator did so literally. A winged creature of the order chiroptera entered the theatre. After it settled into a comfortable location to enjoy the show the performance continued.

Shortly afterwards all the power went out. The Ritz crew aided the audience in evacuating the building. That bat must have been one rabid theatre fan. It refused to leave.

The distinguished critic and theatrical maven Amber Kushing attended this performance. Ms. Kushing wrote: If the show was that good with less than half the production elements and a bat trying to steal the spotlight, I can’t wait to see the show in its full glory.

I had the opportunity to witness The Music Man “in its full glory” on Saturday, July 20th. Fans, let me tell you: that bat had some good theatre on its radar.

Katie Knoblock directed Meredith Wilson’s musical depiction of Professor Harold Hill’s (played by Matthew Weil) machinations. The “professor” worked as a con man. Set in 1912, he travelled to small towns throughout the country scamming residents. His scheme entailed selling musical instruments and band uniforms to boys for a concert he would conduct. (Bandleaders are known by the title “professor.”) Before the scheduled show date he would leave town with the money. It turned out the “professor” didn’t know how to play, read or conduct music.

Professor Hill’s latest mark (River City, Iowa) presented some unusual challenges. An anvil salesman named Charlie Cowell (played by Robert Repici) vowed to find and expose Hill as a fraud. The professor also developed a romantic interest in the town’s librarian, Marian Paroo (Jessica Ball). The latter added an additional complication as she also worked as the community piano teacher. To further obstruct Hill’s plan, Mayor Shinn (Alan Krier) and the school board harassed him for his credentials. They threatened to jail him if he didn’t produce them.

All these conflicts made for a riveting story. The Music Man included much more than just an entertaining premise, however.

The show featured brilliant choreography. Erica Paolucci coordinated superb dance routines. The Music Man included numerous complex ones involving the ensemble. Joe Kinnon (as Marcellus) led the group through a wonderfully upbeat “Shipoopi.” “Pick-a-Little, Talk-a-Little” added the challenge of singing 16th notes while dancing. Performers Bonnie Leigh Renner, Casey Clark, Patricia Kelly, Kathleen Corvino and Brianna Borouchoff executed this difficult routine flawlessly. “Seventy-Six Trombones” included an outstanding tap dance performed by the ensemble. Lindsey Krier impressed through the multiple splits she performed during the evening.

The Music Man added an element I’d never encountered during a theatrical production. The show contained a barber shop quartet. Crooners Steven Zellers, Marty Israel, Guy Kirk and David Epstein mesmerized the audience with their vocal skills. Their renditions of “Ice Cream/Sincere”, “It’s You” and “Lida Rose” made an enjoyable evening of theatre much more entertaining. Jessica Ball’s addition of her vocals to the quartet’s rendition of “Will I Ever Tell You” was phenomenal.

Credit also goes to vocal director Anthony Vitalo, sound designer Matthew Gallagher and sound board operator Sam Tait. The audio on the quartet’s performances sounded like an MP3 playing.

Fans of South Jersey community theatre productions know Matthew Weil as an extraordinary director. For The Music Man, Mr. Weil exchanged his director’s chair for the spotlight. He played the lead role of Professor Harold Hill.

Mr. Weil adopted the cocky, yet confident voice of an unscrupulous huckster. It complimented his singing on “Ya Got Trouble.” He also brought out his character’s sensitive side as the show progressed. Mr. Weil expressed it through an excellent duet with Ms. Ball on “Till There Was You.” The performer also showed off solid dance moves when performing with the ensemble.

Jessica Ball proved herself a strong triple threat. She showed Marian’s development from someone who spurned love into someone willing to open herself up to it. Ms. Ball performed exceptional dance moves even taking center stage during the “Seventy-Six Trombones” tap number.

As multi-talented as Ms. Ball demonstrated herself, I enjoyed her singing the most. In addition to her wonderful performances with the quartet and duets with Mr. Weil, Katy Gentry Hutchings, Nicky Intrieri and Emma Scherz, she displayed outstanding vocals when singing solo. Ms. Ball delivered a moving rendition of “My White Knight.”

This production of The Music Man included a few additional treats for theatre fans. The cast included two generations of the Krier Royal Family of South Jersey Community Theatre: Alan and his daughter Lindsey. One of South Jersey community theatre’s power couples also shared the same stage: Robert Repici and Lindsey Krier. Folks, this was an historic performance.

Alan Krier met your correspondent’s stratospheric expectations of him…again. He showed once again his extraordinary ability to become whatever character he plays. Mayor Shinn had a penchant for malapropisms. Mr. Krier spoke the lines so naturally that I thought he flubbed them at first. As the evening progressed, I realized that his character talked that way. That’s exceptional acting.

The following performers completed the ensemble: Quinn Wood, Lexie Chiasson, Aren Duffy, Mary McCabe, David A. Schwartz, Mabelle Davison, Isabelle Negrete, Zachary Moore, Darrin Murphy, Kyle Ronkin, Joseph Marney and Kendall DeVecchis.

On the evening I attended The Music Man performers didn’t receive a respite from extreme weather. At show time the thermometer read 95 degrees. Perhaps for the first time, a critic sweated more than the actors before a performance. Even in these conditions, the cast didn’t allow environmental factors beyond their control to affect them. They gave the audience an outstanding show conducted like the professionals they are.

Put The Music Man on your radar while you can. It’s difficult to imagine a community theatre production this good; but to quote Batman: “Everything’s impossible until someone does it.” Barring a series of blizzards, typhoons and earthquakes, the show will run through August 4th at The Ritz Theatre Company.

 

The Apple Tree at the Ritz Theatre Company

The Ritz Theatre welcomed the summer with The Apple Tree; an eclectic hybrid of three diverse tales woven into one coherent musical. Director Bruce A. Curless took theatregoers along this marvelous journey. He gave the audience both a sweet and bitter taste in the characters’ quests for literal and metaphorical fruits. I attended the opening night performance on June 7th.

Oscar Wilde once noted:

The only way to get rid of temptation is to yield to it. Resist it, and your soul grows sick with longing for things it has forbidden to itself, with desire for what it’s monstrous laws have made monstrous and unlawful.

The Apple Tree applied this premise to the stage. This musical received multiple Tony Award nominations in 1967. Barbara Harris won the Tony Award for Best Actress in a Musical for her performance in the show.

A creative story line wove the three acts together. The playwrights titled Act I “The Diary of Adam and Eve.” Jerome Coopersmith used Mark Twain’s stories “The Diary of Adam and Eve” and “Eve’s Diary” as its source material. Jerome Brock and Sheldon Harnick crafted the next two acts. Philadelphia native Frank R. Stockton’s tale regarding the perils of forbidden love “The Lady or the Tiger?” served as inspiration for the second. Jules Feiffer’s twentieth century twist on the Cinderella story, “Passionella”, comprised the third act.

The Ritz presented this show using their famous “in the round” format. The company arranged the seating in four sections on the Ritz stage. It allowed the actors and audience members to develop a closer rapport with one another.

The ensemble (Giacomo Fizzano, Hannah Hobson, Robert Repici and Alexa Wilder) and the snake (Ellen Sheinkin) drew the audience into the story at the very beginning. With Tiara Knock’s superb choreography and Musical Director Roger Sheinkin’s solo piano in the background, the company recreated the dawn of creation. The ensemble all wore theatrical masks as they danced about the stage. Standing across from one another they elevated a large white cloth then lowered it upon the platform. They removed it to reveal Adam (Joe Grasso).

It’s amazing that a story this complex only required seven cast members to perform it; and perform it they did. The show’s structure required all the actors to play multiple roles.

Daniella DeFassio played the roles of Eve, Barbara, and Passionella. Ms. DeFassio performed each of these diverse characters with equal skill. Her beautiful vocals well suited the catchy melodies on “Friends” and “What Makes Me Love Him.” The performer added humor to the jealous Barbara. The congested voice she used for Passionella added to the character’s appeal.

Joe Grasso took on the roles of Adam, Sanjar and Flip/Prince Charming. Mr. Grasso showed great skill through his expression of Adam’s bad jokes in a way that made the audience laugh. He performed a witty song and dance routine with Ms. DeFassio on “Forbidden Love (in Gaul).” He showcased excellent vocal skills on “Beautiful, Beautiful World” and “Eve.”

Mr. Grasso and Ms. DeFassio performed an outstanding finale together on “George L.” The two showed excellent chemistry as they explored their characters’ inner natures. They captured the plot twist and surprise ending beautifully.

Ellen Sheinkin played both the Snake and the Balladeer. Ms. Sheinkin delivered a powerful performance with Ms. DeFassio during the temptation scene. The performer also exhibited fantastic vocals with her renditions of “The Apple Tree (Forbidden Fruit)” and “I’ll Tell You a Truth.”

After shedding her snake costuming during an on-stage quick change, Ms. Sheinkin transitioned into a spectacular Balladeer. Her story telling prowess enhanced “The Lady or The Tiger?” and “Passionella.”

The ensemble performed wonderful singing and dancing. Under the tutelage of Vocal Director Kristy Jo Swanson and Choreographer Tiara Knock, they delivered engaging routines. My favorite occurred during the “Which Door?” number in Act II. The vocal harmonies combined with the performers’ locations at different parts of the stage created an interesting stereo effect.

Robert Repici performed the role of King Arik. Mr. Repici delivered outstanding bass vocals throughout the second act. Mr. Repici informed me that he has a background in mime so hasn’t focused on singing in theatrical productions until now. He shone in this opportunity.

I’d also like to credit Alexa Wilder for her portrayal of a Fairy Godmother. The Bronx accent she adopted for the role made it memorable.

The show included an extensive production crew. In addition to directing, Mr. Curless managed costumes and props. Matthew Gallagher designed the sound, Matthew Weil designed the lighting and worked as production manager, Melissa Harnois stage managed with the assistance of Brian Gensel and Brennan Diorio.

The Apple Tree took theatregoers on a musical exploration of love and temptation. It also proved the old cliché about life imitating art. Anyone tempted to see it will love it. The Apple Tree will bear fruit at the Ritz Theatre Company through June 23rd.

The Glass Menagerie at the Ritz Theatre Company

March Madness came to the Ritz Theatre Company in the form of The Glass Menagerie. The show premiered on Broadway March 31, 1945. Its playwright, Tennessee Williams, was born in March 26, 1911. As alcohol played a role in the story, this run began just in time for St. Patrick’s Day. I attended the March 16th performance.

Director Matthew Weil is a boon for serious theatre fans. Mr. Weil has brought such legendary works as The Fantastiks, To Kill a Mockingbird, and Brighton Beach Memoirs to South Jersey stages. I relished the opportunity to experience his interpretation of an American classic: The Glass Menagerie at the Ritz. The director met the high expectations established by his reputation.

The Glass Menagerie told the story of a troubled family. The shy Laura Wingfield (played by Sara Viniar) lived a sheltered life. Aside from family, a Victrola and collection of glass animals comprised her only companions. Her brother Tom (played by Taylor Darden) aspired to become a writer. His warehouse job bored him. He longed to escape and pursue a life of adventure. Their mother Amanda Wingfield (Lori Howard) struggled to keep the family together. Circumstances made this quite a challenge.

In the wake of their father’s abandonment, the family appeared on the verge of disintegration. As Laura was either unwilling to or unable to support herself, Amanda understood that her daughter would need a husband to take care of her. Recognizing Tom’s need for “adventure” (and a fondness for alcohol) she worried that he’d leave the family the same way his father had. She made a deal with him. If Tom could find a suitor for Laura, Amanda would allow him to leave.

This premise reminded me a bit of Samuel Beckett’s Waiting for Godot. The characters expected an unknown stranger to enter their lives and fix everything. That’s not the best approach to addressing one’s problems. It does provide for some outstanding drama on the stage, however.

An editor of the Tennessee Williams Annual Review, Robert Bray, called The Glass Menagerie a “memory play.” He may not have been describing the story. I’m thinking he referred to the actors’ need to recall all of Williams’ “lyrical language.”

To test this theory I tried an experiment. I opened a copy of (the New Directions Paperbook Ninth Printing) The Glass Menagerie to a page at random. Looking at pages 50 and 51, three quarters of the text is stage direction. One line is Amanda’s. The rest is a page-and-a-quarter soliloquy that Tom delivers.

One always expects outstanding performances from a Matthew Weil directed show. Based on the previous quality of their work, one always expects that from the actors he selected. They all delivered wonderful interpretations of Mr. Williams’ tragedy.

Taylor Darden selected an excellent accent for the role of Tom. Mr. Darden delivered his lines in a slow Southern drawl. Depending upon the situation, at times that drawl morphed into a slur. The performer’s lanky gait made his character even more unique.

Sara Viniar turned in a heartbreaking interpretation of Laura. Her face displayed a sad look for which one couldn’t help but feel sympathy. The performer’s limping about the stage brought out even more pity for the character. All these traits made the character’s struggle to overcome her shyness much more powerful.

Lori Howard no doubt drew upon her real life experience as a mom in her role as Amanda Wingfield. Ms. Howard played the role so credibly that I felt like part of the Wingfield family. When she criticized Tom for his poor posture I sat up straight. During her final scene with Mr. O’Connor, she instructed his character to leave. Her tone of voice and angry facial expressions made me uneasy. That’s an excellent connection with an audience member.

Jared Calhoun played Jim O’Connor: the gentleman caller. Mr. Calhoun selected an excellent voice. It reflected his character’s proficiency at public speaking. He played well opposite Ms. Viniar when trying to coax Laura out of her shyness. Their chemistry together gave this poignant moment much more impact.

This run marked Melissa Harnois’ first endeavor as a Stage Manager. Ms. Harnois coordinated all the facets of this intricate production wonderfully; and the show contained a lot of components to synchronize.

In The Glass Menagerie the lighting became an integral part of the drama. It almost became a character in itself. Jen Donsky designed this critical feature very well. Technical Director Connor Profitt executed it without flaw.

Those with any interest in either classic American theatre or a family drama would enjoy The Glass Menagerie. Don’t follow Tom’s example by going to the movies. This run closes on March 31st. In the playbill Director Matthew Weil discussed the play’s themes of “decisions” and “regret.” South Jersey community theatre fans will regret making a bad decision of their own by not attending the show at the Ritz.

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.