Nicolette Palombo

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.

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Theatre Review – The Drowsy Chaperone at The Maple Shade Arts Council

I could use many expressions to describe The Maple Shade Arts Council’s presentation of The Drowsy Chaperone: sleep inducing would not be one of them. This Brian Padla directed performance showcased the greatest collection of talent ever assembled in a church basement. When I attended on July 9th, even the audience featured exceptional performance artists. (Rachel Comenzo attended as did other luminaries of the South Jersey community theater community.) An entertaining evening of music and comedy resulted.

Mr. Padla, the cast and crew deserve great credit for putting on a musical this involved. They merit even more accolades for doing so while in the Council’s “temporary home.” The staff managed to convert a small stage in the basement of Our Lady of Perpetual Help’s Nolan Hall into a professional theatrical platform with an orchestra section and dressing rooms. As if that didn’t warrant kudos, the show well exceeded my expectations; and they were stratospheric even before I walked in the door. As many readers are probably already aware: I’m familiar with the work of producers Michael Melvin and Jillian Starr-Renbojr as well as that of performers Connor Twigg, Gabrielle Affleck and Casey Grouser.

The “musical within a comedy” featured a unique premise. It began with the lights out. A lone voice broke the darkness. The Man in the Chair (played by Dennis Dougherty) delivered a humorous monologue ruminating on musical theatre. He described an obscure show from the 1920s called The Drowsy Chaperone as his favorite. Then he pulled out a vinyl recording of the musical and placed it on his record player. The performers took the stage and acted it out. From time-to-time the show would freeze allowing Mr. Dougherty’s character to provide witty commentary. While The Drowsy Chaperone’s script turned out to be musical theatre’s answer to a B movie, the Man in the Chair’s exposition combined with wonderful singing and dancing made it an unforgettable piece for theater fans.

One of the Man in the Chair’s vignettes concerned the fate of the actor who played Aldolpho in the original production. It turns out the performer met an ignominious end. After drinking himself to death his poodles partially devoured him. All theatregoers should hope that destiny doesn’t befall Antonino Baldasari. (He portrayed Aldolpho in this production.)

Mr. Baldasari played the funniest role I’ve had the pleasure of watching on a live stage. As a parody of a lusty Latin lothario he carried a long cane that he just couldn’t seem to control; always dropping it at the most inconvenient moment. His high-pitched stretching of the word what could be the best one-word catch phrase in the history of comedy. He then took the humor to another height by crooning “A Message from a Nightingale.” In that challenging number he portrayed an Oriental man singing with a Spanish accent. He impressed me the most by keeping a straight face through the whole show: something those of us in the audience couldn’t do.

I give Connor Twigg great credit for taking on the role of Robert Martin, let alone playing it so well. He performed a phenomenal tap dance while singing “Cold Feets”. (Joe Lee—as George—expertly accompanied him towards the number’s end.) A few scenes later he wore a blindfold while roller skating. To round out the character he also delivered numerous funny lines perfectly. Mr. Twigg had a full evening.

I’ve attended shows where Gabrielle Affleck either performed or directed. In the title role of this one, I had the chance to hear her sing for the first time. Ms. Affleck is such a talented vocalist that I’m stunned I’ve never heard her perform a musical number before. I enjoyed her melodic rendition of the so-called ode to alcoholism “As We Stumble Along”. Because of the unorthodox mixture of tango with comedy, I’d select her duet with Mr. Baldasari, “I Am Aldolpho” as the stand-out number from this show.

The Drowsy Chaperone seemed to spare no performer from singing a song that challenged one’s ability to keep a straight face. Following a great rendition of the narcissistic “Show Off” in Act I, Nicollete Palombo (as Janet van de Graaff) sang the most unusual ballad ever written, called “Bride’s Lament”, in Act II. The Man in the Chair warned the audience that this track had “terrible lyrics.” What an understatement. The dolorous lament compared a woman’s lover to a monkey. One can only admire the way Ms. Palombo voiced such an emotional recitative without cracking a smile.

The production featured many exceptional performances. I also applaud James Gallagher, Matthew Maerten, Sarah Harris, Casey Grouser, Debbi Heckmanm and Lori A. Howard for their enactments. Alex Davis, Haley Melvin, Mary Melvin, Kevin Roberts, Frankie Simpson and Amber Stolarski rounded out the ensemble nicely.

The orchestra, led by Cameron Stringham, sounded fantastic. The sound quality impressed me; especially when taking the venue into account. At times I thought I was listening to the soundtrack on CD. The songs in this show were rather complex, as well. The “Overture” had the band come in mid-way through a pre-recorded performance. Some songs included rests in unusual places. One track simulated a record skipping. They and the cast delivered all these numbers flawlessly.

The show did experience some technical glitches. A loud humming noise came through the PA system a few times during Act II. Then the sound briefly cut out. These things happen. The issue is how performers handle them when they occur. One of these episodes transpired with most of the ensemble on the stage. No one reacted to the snafu. Everyone remained in-character and continued their performances while the sound crew corrected the problem. That’s professionalism.

The talent level at South Jersey community theatre productions always impresses me. I write that a lot, but this show was special. I’d never heard of The Drowsy Chaperone, but I left thinking it the most entertaining musical I’ve witnessed. Before the show I met Michael Melvin, the President of the Maple Shade Arts Council. He thanked me for the reviews I’ve written of his and the Council’s work. If anything, as audience members, we should be thanking Mr. Melvin and his organization for producing such fantastic shows. Their current staging of The Drowsy Chaperone is a great reason why. It runs through July 16th.