Taylor Darden

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.

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A Gentleman’s Guide to Love and Murder at the Ritz Theatre Company

Once again the arts mirror sports. As football fans watch teams vying for the championship battling to eliminate each other in the playoffs, the Ritz Theatre Company treated audiences to a similar premise. They opened this year’s season with a tale of a young man eliminating rivals in his quest for an earldom. To show just how driven he was, he utilized even more ruthless methods than Sean Payton. I witnessed the spectacle myself on January 19th.

Set in Edwardian Britain, A Gentleman’s Guide to Love and Murder delivered just what the title promised. It showed Monty Navarro’s (played by Taylor Darden) ascent from poverty into the British aristocracy. Following his mother’s death, Miss Shingle (Trisha Dennis) told him a family secret. Mrs. Navarro was a relative of the posh D’Yasquith family. They had disowned her for marrying out of her class in favor of a travelling musician.

Upon this discovery, Monty wrote to Lord Asquith D’Yasquith, Sr. requesting a job. The latter responded by telling Monty never to contact him again.

To complicate matters for Monty, he’d fallen in love with the sprightly Sibella (Sophie Jones). She rejected him opting instead to marry a wealthy man in spite of finding him rather dull.

Monty had no money. Because of that he’d lost the woman he loved. And he was eighth in line to become the Earl of Highhurst. Monty personified Frank Sinatra’s observation that: “Lack of money is the root of all evil.” He resolved to ascend the social ladder by taking out a few rungs. Monty chose to murder his way into an earldom.

The premise would suggest A Gentleman’s Guide to Love and Murder a terrifying horror story. Author Robert L. Freedman and songwriter Steven Lutvak instead developed Roy Horniman’s concept into a musical comedy. Director Peter John Rios chose the perfect cast for such an endeavor.

Taylor Darden’s stage presence made him the perfect Monty. Through his boyish-looks along with his mischievous mannerisms he became the character. The way he winked at the audience at the show’s end expressed Monty’s inner thoughts wittily. Mr. Darden also used props for comedic effect very well; especially through the way he scurried about the stage with an axe.

Mr. Darden treated the audience with his exceptional vocal prowess. He performed a wonderful ode to Monty’s love interest in “Sibella.” Mr. Darden displayed range by delivering a memorable comedic number with the same proficiency. The audience enjoyed his duet with Nicholas French on the double entendre laden “Better with a Man.”

For theatre fans who enjoy operatic vocals, this show is a must see. Musical director Michael J. Weaver worked with a trio of talented performers. Sophie Jones (as Sibella), Mariel Rosati (as Phoebe) and Alyssa Batsakis (as Miss Barley) all performed superb vocals with a challenging score. I’d also compliment Mr. Weaver’s stellar piano playing to accompany them.

The evening’s highlight came when Mr. Darden, Ms. Jones and Ms. Rosati teamed-up for the “I’ve Decided to Marry You” number. Phoebe proposed to Navarro while Sibella listened in on the other side. The routine included some elaborate coordination and choreography (also by Peter John Rios). A set with two doors was placed in the center of the stage. Ms. Jones remained on one side, Ms. Rosati and Mr. Darden on the other. As they sang Ms. Jones tried to listen in and then enter the other room as Mr. Darden struggled to block her. The scene made for quite a visual spectacle.

When a show contains numerous dramatis personae it can become difficult to follow. When the same actor performs most of the roles all of them can seem similar. Performer Nicholas French ensured that didn’t happen. Mr. French played eight members of the D’Yasquith family; that included two women.

Mr. French gave every character its own distinct personality. For Lord Adalbert D’Yasquith, Sr. he adopted an austere, dignified persona. He played Asquith D’Yasquith, Jr. as a sybaritic playboy. Working with Alyssa Batsakis (as Miss Barley) in that role the two performers displayed great chemistry as one another’s love interest. Lord Adalbert D’Yasquith, Jr. behaved like a glutton; even making snorting noises while dining.

This actor proved just as adept at playing the female family members. Mr. French showed himself a much better performer than the one he played: Lady Salome D’Yasquith Pumphrey. His rendition of aspiring philanthropist Lady Hyacinth D’Yasquith, was among his best.

Mr. French showed extraordinary skill playing all these roles. His rendition of “I Don’t Understand the Poor” and his performance as weightlifter Major Bartholomew D’Asquith were absolutely hysterical. He displayed the most talent performing the Reverend Lord Ezekial D’Yasquith. For that role he wore prosthetic teeth which gave the character an overbite. Even with that obstruction in his mouth, Mr. French still delivered his lines clearly.

After Mr. French’s performances as each character I could understand just how much having money and status meant to Mr. Navarro. It had to for him to want in to this family.

As one can surmise, playing eight characters in one show required “the fastest quick changes ever” as the director described them in the playbill. One has to credit Mr. French and “quick change dresser” Briana Bailey for executing them so flawlessly.

Michael J. DeFlorio played a superbly comical Chief Inspector Pinckney. With his Sherlock Holmes outfit, continuous mouth twitching and drawling of a British accent he made his stage time very entertaining.

The following performers rounded out the cast: Trishia Dennis, Caroline Milby, Shawn Hudson, Megan Felasco, Bryce Menard, and Charles Finchon.

Act Two opened with the musical question, “Why Are All the D’Yasquiths Dying?” The mourners at the final funeral sang the lines:

I happened to notice there wasn’t a lot of crying

I even heard a snigger from the back

Oh, it really is a shame

How I start to feel the same

How many are there left to bury after what’s-his-name?

Theatre fans won’t take that attitude when this run of A Gentleman’s Guide to Love and Murder wraps. The Ritz is currently the only regional licensor of the show. Theatre fans in the South Jersey area should see it while they can. It meets the fate of many D’Yasquith family members after February 3rd.