The Ritz Theatre Company

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.

 

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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.

10-Minute Comedy Play Festival at the Ritz Theatre Company

87 submissions. 14 contenders. Seven finalists. The Ritz Theatre Company’s 10-Minute Comedy Play festival once again showed that comedy is serious business. The company offered local playwrights the opportunity to write a show that they would present on the Ritz stage. Is the overwhelming response any wonder? I attended the concluding performance on June 1st.

A team of theatrical professionals evaluated the submissions. After all 14 shows were performed, they selected the top seven. The Ritz presented these plays on the evening of June 1st. Each playwright, director and actor who performed in these shows will receive two complimentary tickets to the Ritz production of The Ghosts of Ravenswood Manor by Kumar Dari. At the conclusion of Saturday’s performances, a team of judges (Kumar Dari, Randy Peterson and Alex Wilkie) selected the top three. The playwright of the winner received $100, they awarded the runner-up $75 and gave the third place finisher $50.

Not to repeat myself, but comedy is serious business. All these perks seemed to inspire the playwrights to produce creative material.

The Ritz Theatre presented this event “in the round.” The seats were arranged in four sections on the actual stage. This format allowed the performers to make eye contact with the spectators. It also enabled the audience to feel like part of the show.

The plays selected for this final performance included a range of subjects. Tom Moran selected a contemporary topic for “I, Phone.” Bruce A. Curless directed performers Hannah Hobson and Giacomo Fizzano through this comical take on how technology is taking over people’s lives.

Scott Gibson’s “What You Wish For” presented a unique perspective on the “genie in a bottle” story. Ryan Strack directed this tale about a woman who discovered that a genie lived in a lamp she purchased. While attempting to return it at the department store, she told her story to another woman she encountered the line. When asked why she wanted to get rid of the wish granting genie, she gave an unexpected reason. Mr. Gibson showed a lot of creativity with plot twist on this story.

It seemed fitting that one of South Jersey’s most versatile theatre gurus, Amber Kusching, directed two shows that made the final seven. Heidi Mae’s “Meeting Heaven” was the most complex. It included five characters. Four of which were: a playwright (Kenwyn Samuel), a bartender (Melissa Mitchem), the playwright’s brother (Adam Corbett), and both the brother’s and the playwright’s love interest, “Heaven” (Sarah Baumgarten). The cast also included a narrator played by Julianne Rose Layden. The narrator was actually the playwright character delivering narration. Ms. Layden’s delivery brought to mind the voice overs common in old detective movies.

Ms. Kusching had Ms. Layden walk around the stage while delivering her lines. She spoke in a sultry voice to convey the piece’s mood. Ms. Layden also made eye contact with audience members. It created the impression that the narrator spoke to theatregoers instead of at them.

Ms. Kusching also directed Jim Moss’ “The Last Shirt off His Back.” Kenwyn Samuel and John Nicodemo performed this witty take on death. It involved a haunted apartment and a pillow made of old tee shirts. I mentioned before that these plays were creative, right?

Death is a popular topic with playwrights. In addition to Mr. Moss’ piece, two of the top three plays found humor in the subject.

Kevin O’Brien’s “Little Deaths” received the third place prize. Sara Rabatin directed performers Julianne McIntosh and Beatrice Alonna through this comical exploration of death and political correctness. One also has to credit the performers for dressing in winter attire on a humid late spring evening.

Melissa Harnois directed the runner-up: Eric Rupp’s “Snickerdoodle.” It featured a young lady (played by Alex Phillips) informing her parents (Jay Burton and Beatrice Alonna) that she planned on entering a clown college. (If that didn’t work out, her back-up career was miming.) The mother’s and father’s responses to the daughter’s craving for the craft of clowning made the show hysterical.

The judges awarded Ken Teutsch’s “What Friends Are For” the first place prize. This Mike Grubb directed piece also explored death from a humorous perspective. It featured an unlikely situation for a comedy show. A character (played by Mr. Grubb) informed his roommate (played by Kyle Jacobus) that he wanted to commit suicide. A discussion that would’ve pleased both Albert Camus and Neil Simon resulted.

The Ritz didn’t include the names of the actors in the program. It was understandable as the event was designed to focus on the work and not the performers. At the end of each play the actors introduced themselves. Due to the format I had trouble hearing everyone’s name, particularly following “What You Wish For.” All the actors performed outstanding work. They all deserve credit for their contributions to a very entertaining evening of theatre. * I would also credit the technical crew of Sadie McKenna, Brian Gensel, Sam Tait and Anastacia Swan for their work on the lighting and sound.

It’s not unusual to see typos in theatrical programs on occasion. I did think it odd to find the word playwright misspelled in the one for this event.

At the evening’s conclusion, the Ritz Theatre’s Artistic Director, Bruce A. Curless, addressed the audience. He explained that it seemed “contradictory having a contest involving art. They’re all winners.” His observation reminded me of something the late Glenn Walker said to me. I once told Glenn that every year I read the books that won both the Pulitzer Prize for Fiction and the Man-Booker Prize. He replied, “Don’t worry about awards: worry about your audience.” Based on the spectators’ reaction during this festival, none of these playwrights have anything about which to worry.

 

*For all those whose names I either missed or misspelled, if you’d like to be included in this post please message me on either Twitter or Facebook. I’ll make sure to add it.

Big Fish at the Ritz Theatre Company

“Be the hero of your story,” Edward Bloom (played by Chris Monaco) told his son Young Will (Nicky Intrieri). Edward had quite a tale to tell. It included a witch (Rachel Klien), a mermaid (Lauren Bristow) and a giant (Jared Paxson) along with some memorable human characters; one of whom suffered from lycanthropy (Anthony Joseph Magnotta). Big Fish followed this fabulous fabulist of a father as his son Will (Frankie Rowles) endeavored to discover the man behind the myths. Director Matt Reher along with the cast and crew at the Ritz Theatre took the audience along this magical journey. I attended the May 8th performance.

At the beginning, playwright John August and songwriter Andrew Lippa gave the audience a sense of the evening they could expect. The “Be the Hero” track included a section where Edward Bloom described his unconventional approach to fishing. Calling it the “Alabama Stomp,” Mr. Monaco led the ensemble through a percussive dance routine. Fish leapt out of the water in response to it.

It’s quite a challenge to dance and sing at the same time. Big Fish added a tricky third element by requiring performers to catch large fish thrown from off stage. The cast executed this task without flaw.

The Ritz provided extraordinary atmospherics for this show. In the prelude to the “I Know What You Want” number, Technical Director Connor Profitt transformed the theatre into an eerie swamp. As Edward and his friends searched for the witch, the cricket sounds, dim lighting and smoke made it easy for me to suspend my disbelief.

Lauren Bristow’s solo dancing contained excellent choreography by Devon Sinclair. Mr. Sinclair also coordinated more elaborate routines that included the cast and ensemble; the best comprised the witch’s “I Know What You Want”, “Little Lamb from Alabama” and “Closer to Her.”

Aside from the fantastical elements, Big Fish contained a very “human” story. Edward (Chris Monaco) liked to relate the events of his life through fictitious tales. He described his and his wife Sandra’s (Megan Ruggles) courtship in hyper-romantic terms; as shown through the “Closer to Her” and “Daffodils” numbers. He entertained his son Young Will (Nicky Intrieri) with stories containing a message. An encounter with a witch (Rachel Klein) taught him not to fear death. A mermaid (Lauren Bristow) showed him that love changes a person.

Young Will’s frustration with his father’s tale telling became hostile when he reached adulthood. His wife Josephine (Jamie Talamo) encouraged him to seek the lessons hidden in Edward’s stories. Upon receiving news of his father’s illness, Will (Frankie Rowles) sought to traverse the metaphorical river between them. When Will discovered that his father co-signed a mortgage for his high school sweetheart’s (Jenny Hill played by Colleen Murphy) home, he confronted his father.

Chris Monaco made his Ritz Mainstage debut in the lead role. He captured the upbeat nature of Edward’s personality along with his frustration with Will’s focus on “truth.” Mr. Monaco showed the depth of the character’s affection for Sandra in his scenes with Mrs. Ruggles. And most important: the man could tell a story.

Frankie Rowles played an excellent antagonist to Mr. Monaco. He concretized Will’s own annoyance with his father and his “tall tales.” Mr. Rowles conveyed that sentiment in song through a powerful rendition of “Stranger.” Without giving away spoilers, I will write that the performer enacted his character’s change in a believable fashion.

Big Fish contained beautiful music. Mr. Monaco performed a pining rendition of “Time Stops.” Megan Ruggles and members of the ensemble performed the quick dance moves from “Little Lamb from Alabama” in slow motion. Ms. Ruggles bashful vocals complimented the longing in Mr. Monaco’s.

Act One ended with “Daffodils.” The title referred to Sandra’s favorite flower. Mr. Monaco’s character proceeded to remove one-at-a-time from a bag while serenading Ms. Ruggles. The two performers captured the essence of the following exchange in song.

Sandra: You don’t even know me.

Will: I have the rest of my life to find out.  

Ms. Ruggles delivered a heart rending version of “I Don’t Need a Roof.” To add to the song’s mood, she cradled Mr. Monaco in her lap as she sang. Her performance made this scene the most touching moment of the show. With so many touching moments in Big Fish, this is a noteworthy achievement.

Moira Miller added superb costuming to this production. It enhanced the visual spectacle. From the country folk of Ashton, Alabama to the mystical figures the attire reflected each character’s personality.

Will’s clothing showed the iconoclastic nature of the man underneath it. He wore a jacket and tie to his son’s wedding reception along with a pair of khakis. His son dressed in a traditional suit. The attire displayed the variance in the two characters’ personalities.

The costumes the witch, the mermaid and the giant wore showed remarkable creativity. The witch’s included a pattern that resembled the surface of a cobra’s skin. The gold texture on the ringmaster (Amos Calloway played by Anthony Joseph Magnotta) costume glittered under the lights.

Ritz Big Fish 05

Chris Monaco and Ensemble

In homage to Edward’s fondness for hyperbole, I write that Big Fish contained enough props to fit in a small warehouse. While a bit of an exaggeration, it’s absolute fact that Melissa Harnois did an excellent work managing all these items. As the set (designed by William Bryant) included Edward’s attic, it contained a lot of miscellany.

Malik Muhammad, AJ Love, Chantel Cumberbatch and Meredith Meghan completed the ensemble.

Hillary Kurtz executed Chris Miller’s lighting design without flaw. Matthew Gallagher managed the sound design. Brian Bacon served as Musical Director.

With a great message, fantastical characters and superb musical numbers, Big Fish made for one entertaining evening of theatre going. Director Matt Reher wrote: Truth is not the same as fact. Regarding my assessment of Big Fish, they are.

Big Fish runs through May 19th at the Ritz Theatre Company.

 

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.

Oliver! at the Ritz Theatre Company

The Simpsons character Krusty the Clown cynically stated, “I don’t use my A-material for charity.” The cast and crew of Oliver! took a much more professional philosophy towards aiding those in need. McMagical Productions sponsored this benefit performance that runs from February 21st through February 23rd and is hosted by the Ritz Theatre. I attended the February 22nd show.

Prior to the show, McMagical Productions President Donna Krier addressed the audience. Mrs. Krier explained that McMagical Productions is a non-profit organization created to honor the memory of Barbara McKinsey, a young dance teacher who passed away from lung cancer in 2013.

According to the organization’s website:

McMagical Productions serves those suffering from chronic diseases by raising money, raising awareness and raising their spirits through the performing arts.

Our focus has primarily been on raising funds and awareness for lung cancer research through donations to the Lung Cancer Research Foundation (formerly Free to Breathe,) but we are also working to support other causes as well. For each of our production events, we choose one of the charities close to our hearts, and all the proceeds from that event go towards a donation for that charity. The charity that is supported will be listed on each flier, and additional information about the charities will be available at our events.

Proceeds from this February 21 – 23 run of Oliver! will benefit the Lung Cancer Research Foundation.

I’ve noted before how the Ritz Theatre possesses an unparalleled capability to transform itself. Their casts and crews have converted the building into settings such as the magical world of Disney, a medieval forest and a Christmas wonderland. For this run they took a much different tack. It seemed that they converted the facility into Burlington County Footlighters.

Fans of the Cinnaminson based group would be well-served taking the trip to Haddon Township. Numerous big name performers typically associated with Footlighters contributed their talents to this show. Alan Krier (as Fagin), Lindsey Krier (as Nancy), Buddy Deal (as Mr. Bumble), Tim Sagges (as Mr. Sowerberry) , Gabrielle Affleck (as Mrs. Sowerberry), Bailey Shaw (as Charlotte/Rose Seller), Matt Becker (as Noah Claypole/Knife Grinder), Kevin Esmond (as Bill Sikes) and Stevie Neale (as Mrs. Bedwin) performed. Another BCF legend, Valerie Brothers, directed.

Ms. Brothers didn’t limit the cast to Footlighters alumni. In the lead roles, Jack Barkhamer played Oliver Twist and Naomi Serrano performed The Artful Dodger.

The Ritz Theatre contains much more space than the theatre at Footlighters. Ms. Brothers utilized the opportunities it provided for her. The ensemble employed the entire room for the opening number. While singing “Food Glorious Food” the performers entered though the back and walked down the aisles. During a chase scene Mr. Barkhamer ran through the room after picking Mr. Brownlow’s (played by Steve Phillips) pocket. Matt Becker in the role of a policeman pursued.

Playwright Lionel Bart achieved every songwriter’s dream with Oliver!. It contained a host of catchy songs; just about all possessed some kind of earworm. I’d keep hearing them over-and-over in my head until the next one began. Music Director Peg Smith and the orchestra provided spectacular accompaniment.

“Consider Yourself” made for one of the more memorable numbers. Naomi Serrano delivered phenomenal vocals while performing an excellent dance routine; the latter choreographed by Liz Baldwin. Mr. Barkhamer accompanied her on this number very well. He delivered an excellent solo number on the moving “Where is Love?”

Tim Sagges and Gabielle Affleck performed “That’s Your Funeral” together. It was a pleasure to hear such talented actors combine for a duet.

One of Oliver!’s songs even included a four part harmony. Credit goes to Bailey Shaw, Lisa Krier, Marisa Lazar and Matt Becker for their respective deliveries on “Who Will Buy?” The added reverb gave the number a haunting quality.

Fans of Alan Krier need to see Oliver! And people not familiar with his work will be his fans after this run. Audiences get the full Al Krier experience with this show.

Mr. Krier built upon his reputation for his unique approach to costuming. While nothing will compare with his The Fox on the Fairway wardrobe (incidentally, designed by Valerie Brothers) he used notable attire in Oliver!. He came out wearing a hat. The brim partially covered his face. He wore a raggedy looking trench coat. I’ve watched Mr. Krier perform for several years. I’ve even spoken with him a number of times. I didn’t recognize him. It wasn’t because of the fake beard, either. Mr. Krier is just that talented an actor.

Mr. Krier entertained with his usual comedic prowess. He did a routine with jewelry that printed words cannot adequately describe. Suffice it to comment that Mr. Krier behaved hysterically.

Fans of Mr. Krier’s vocal stylings would be pleased, as well. He contributed his singing skills to several numbers including “I’d Do Anything”, “Be Back Soon” and the ironically titled “You’ve Got to Pick a Pocket or Two.” I used the word ironic because audience members won’t feel like their pockets were picked after hearing Mr. Krier’s crooning.

I’ve referred to Mr. Krier as the patriarch of the Krier Royal Family of South Jersey Community Theatre. Two of his children, Lindsey and Lisa, performed in this show with him. Lindsey’s performance gave this reviewer the impression that she’s ready to take over as leader of that family dynasty NOW.

To share a personal anecdote with readers: the first community theatre show I reviewed was a performance of Avenue Q at Burlington County Footlighters. It took place in May of 2014. Lindsey Krier delivered a moving rendition of “It’s a Fine, Fine Line.” I still remember her singing it even though I heard it once and that occurred almost five years ago. I didn’t think it would be possible to her to improve as a vocalist, but Ms. Krier has developed into a much stronger performer now. Based on how talented she was back then, that’s quite an achievement.

Ms. Krier treated the audience to her exceptional singing ability. “As Long as He Needs Me” contained emotional angst. Ms. Krier captured that sentiment through her vocal inflections and added facial expressions. In addition to her solo numbers, she sang an excellent duet with Abby Swaney.

When I interviewed Alan Krier back in July of 2017, I asked him what it was like to share the stage with Lindsey in Tommy. He said, “We’ve done a few shows together, but we really haven’t had any scenes together.” In Oliver! the two performed together on the “I’d Do Anything” and the reprise of the “It’s a Fine Life” numbers.

 

Al and Lindsey Krier

Alan and Lindsey Krier backstage at Oliver!

Lindsey Krier also displayed remarkable acting ability throughout the evening. Her struggle to save Oliver (Jack Barkhamer) from the evil Bill Sykes led to an excellent confrontation scene. She and Kevin Esmond performed it with uncomfortable realism.

Other performers in the extensive ensemble included: Abby Swaney, Lindsay Deal, Steve Phillips, Michael J. DeFlorio, Susan Dewey, John Sayles, Nicky Intrieri, Liz Baldwin, Christa Campisi, Zachary Capone, Nick French, Paul Huntington, Robert Repici, Chris Valkyria, Noah Bantle. Abigail Bradshaw, Tristan Cogdell, Emily Ferry, Sabrina Gipple, Lizzy Holland, Meghan Lex, Joey Lieberson, Zachary Palais, Nora Ragonese, Maezie Ruggles, and Rebecca Seligman. Caspian Aicher-Roberts played Oliver Twist at the Saturday matinee show.

The final performance of Oliver! will take place on Saturday, February 23. McMagical Productions and the The Ritz Theatre Company will next present Disney’s The Lion King, Jr on April 19th and April 2oth, 2019. For more information, please consult www.mcmagicalproductions.org and http://www.ritztheatreco.org.

 

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.

Scrooge: The Musical at The Ritz Theatre Company

What better way to commemorate the Holiday Season than with a high-tech Christmas spectacle? I’ve commented before about how The Ritz Theatre Company has transformed the South Jersey area into the Wonderful World of Disney. This time the company converted it into a Winter Wonderland. I attended their presentation of Scrooge: The Musical on December 21st.

Upon approaching the theatre I noticed the Ritz lettering colored in red and green. Inside the building lit Christmas trees surrounded by gifts adorned the left and right of the stage. A lighted wreath hung over its center flanked by two others on both sides.

It’s not beginning to feel a lot like Christmas, I thought. This is Christmas.

Director Steve Stonis selected an excellent team to coordinate this elaborate production. Kate Orlando choreographed, Marley Boone designed the costumes and Nicholas French served as Musical Director. The show even included a local ballet troupe: the Cooper River Ballet. Ann Moser Trenka choreographed that group’s routines.

Mr. Stonis brought the audience into the show. Two small platforms were placed in the middle of the theatre on both the left and right of the audience. Actors performed several scenes from them. Performers utilized the aisles for both the action and the dance routines, as well.

During the scene where a man requested a charitable donation from Ebenezer Scrooge, performers Michael Arigot and Bruce A. Curless delivered part of the exchange right in front of me. I got an up-close view of two stellar performers perfecting the craft of acting.

While a delightful Holiday experience, the show included a tint of sadness. This run will serve as Bruce A. Curless’ swan song as Scrooge. This production marks the last time he’ll take on the role of everyone’s favorite Christmas curmudgeon. Mr. Curless made it a memorable one.

When directors chose to utilize the entire room, it gives performers opportunities to interact with the audience. Mr. Curless used the opportunity brilliantly. I enjoyed his disgruntled murmurs while looking at audience members.

Scrooge is a pretty complex character. In the Dickens tale, he transformed from a misanthrope into a philanthropist within a few hours. He even transitioned from Isabel’s adoring suitor into an avaricious miser in the same scene. Scrooge: The Musical added another element to the role: humor. Mr. Curless’ performance captured all these facets of Scrooge’s personality while keeping the role entertaining.  

Mr. Curless performed a comical take on “I Hate People.” Scrooge may not have cared for others, but the audience sure loved Mr. Curless’ musical description of it.

Michael Arigot performed various male roles throughout the evening; some rather diverse. Mr. Arigot chose exceptional voices for them. The horrifying one he used for Jacob Marley enhanced his minatory presence; as did the addition of reverb to it. The comical cockney tone of Mr. Fezziwig made that figure quite amusing. The performer’s ebullient Ghost of Christmas Present brought out the character’s essence. His upbeat rendition of “I Like Life” with Mr. Curless enhanced it.

Hannah Keeley played various female characters. They included Mrs. Cratchit, Mrs. Fezziwig, Isabelle and the Ghost of Christmas Past. I enjoyed her shocked reaction in the first role when Mr. Cratchit (played by Steve Stonis) proposed a toast to Ebenezer Scrooge. These characters provided Ms. Keely with various opportunities to showcase her lovely voice. The most enjoyable occurred when she performed the fitting “Somewhere in My Memory” as the Ghost of Christmas Past.

The show included a remarkable duet between Mr. Arigot and Ms. Keeley. While playing the roles of Young Scrooge and Isabele, they performed a somber rendition of “Happiness.” The tune’s minor key melody showed it to be ironically titled. These two performers—accompanied by Mr. Curless—captured the song’s dreary spirit in a way that made it haunting.

Scrooge’s songwriter Leslie Bricusse provided other performers with opportunities to perform vocal numbers. As Tiny Tim, Addie Crow sang a wonderful rendition of “Beautiful Day.” Urchins Megan Lex and Lily Bunting exhibited their vocal prowess on the tunes “Where is Love?” and “Believe” respectively.

Perhaps in homage to The Nutcracker, Scrooged included some stellar ballet routines. They enhanced the show’s entertainment value. The Cooper River Ballet opened the show by accompanying the cast during the “Overture.” During this performance dancers occupied the stage and both platforms in the middle of the theatre. The set-up created a terrific effect. The group also performed during the “Shades”, “Celebration” and “Isabelle” numbers.

Scrooge included an extensive cast. I’d also like to credit performers Holly Guzik, Emily Ferry, Jameson DeMuro, Olivia Bee Sposa, Max Ruggles, Joey Liberson, Dillinger Crow, Olivia Bathurst, Barbara Fraga, Caroline Grexa, Irelyn Wilkinson, and Audrey Mirtos.

The following members of the Cooper River Ballet added their talents as well: Abby Barrett, Taylor Carey, Emily Collins, Madeline Connor, Caroline Filosa, Lucas Filosa, Kim Fiordimondo, Caroline Hanifen, Gemma Miller and Evan Pirouz.

On multiple levels, I found Scrooge The Musical an outstanding show. I did have one criticism. The show began nine minutes late.

This run of Scrooge will probably be best remembered as Mr. Curless’ final performance in the title role. While his fans may wish that’s “humbug,” in the words of Dr. Seuss: Don’t be sad because it’s over. Smile because it happened. The show I attended certainly gave the audience a lot of reasons to do so.

Scrooge: The Musical runs through December 23rd at the Ritz Theatre Company.

Into the Woods at the Ritz Theatre Company

Once upon a time there was a rapping witch, a comical carnivore of a wolf and a mooooving death scene involving a cow. Then a writer named Lames Lapine encountered songwriter Stephen Sondheim. They took these tales and translated them into a story for the stage. Director Craig Hutchings heard this fairy tale and decided to make it a reality. He worked his magic on the staff at the Ritz Theatre Company. Like Jack with the magic beans, he planted the idea of presenting Into the Woods this autumn. The audience who witnessed the October 26th performance lived happily ever after.

Into the Woods brought a unique concept to theatre. In essence, Lapine and Sondheim combined elements of various fairy tales and set them to music. They took the stories of “Cinderella” (played by Jenna Lubas), “Little Red Riding Hood” (played by Brittany Marie), “Jack and the Beanstalk” (Zachary Moore and Melissa Manzano), and “Rapunzel” (Jamie Talamo) and used them as part of a larger narrative (eloquently explained by Ryan Ruggles).

A witch (Jennie Knackstedt) promised a baker (Joshua Bessinger) and his wife (Megan Ruggles) that she would grant them a child if they could provide her with the following items before three midnights passed: a cape as red as blood, a strand of hair as yellow as corn, the whitest cow and a golden slipper. To my surprise, this quest concluded by the end of the first act: yet another happy fairy tale ending, right? Well…

As local South Jersey writer Christine Hardy once observed, “There’s a reason why fairy tales always end with a wedding.” Into the Woods proved this hypothesis. Act Two injected a dose of “realism” into this fantasy world.

Jenna Lubas delivered strong operatic vocals on the emotional number “Cinderella at the Grave.” Jennie Knackstedt sang a somber lament on parental estrangement with “Last Midnight.” Megan Ruggles performed a moving meditation on regret with “Moments in the Woods.”

To balance out this mood, Into the Woods contained humor. Robert Repici played the most comical death scene involving a cow possibly ever performed on stage. Brittany Marie made “Little Red” into an emotionally charged character. Michael J. DeFlorio turned the villain of her tale into quite the witty wolf. The audience echoed his howls with those of laughter.

Mr. DeFlorio also played Cindarella’s prince in this show. His scenes with another lovelorn regent (Rapunzel’s prince played by Anthony Crosby) made for the evening’s funniest moments. These pretentious princes exaggerated every action they took on stage. This included their singing on the melodramatic duet “Agony.” I also enjoyed Mr. DeFlorio’s struggles to sheathe his sword.

In keeping with the spirit of the season, Into to Woods put some outstanding costuming on display. Costuming Designer AJ Garcia took on quite a project with this show. The pauper style garb that Cinderella, the Baker and his wife and Jack and his mother wore appeared very authentic. On the upper class end of the spectrum, so did Cinderella’s gown, the elaborate uniforms worn by the princes and the witch’s elegant dress in the second act. Even without the music (directed by Collin Maier), the choreography (by Michele Romond) and the excellent acting, Into the Woods would’ve made for an entertaining Halloween parade.

The story book and forest setting (by Krysten Cummings and Joshua Bessinger) made an exceptional framework for action on the stage. The lighting (by Jen Donsky) enhanced it spectacularly.

The cast included A LOT of talent. I’d also credit Krysten Cummings, Ellorah Mead, Monette Solomon, Nicholas French, Jomarie Apelt, Chris Jewell, Maggie Harbord and Sadie McKenna for adding their skills to this stellar ensemble.

Into the Woods made for a scintillating sylvan spectacle; an awesome autumnal arboreal undertaking. The Sunderer of Sorrows and Destroyer of Delights will inflict upon it the same fate as the giant in Jack’s story after November 18th at the Ritz Theatre Company.

Disney’s Mary Poppins at the Ritz Theatre Company

Yet again the Ritz Theatre Company is bringing the magic of Disney to the South Jersey Area. This summer they’re mesmerizing audiences with Mary Poppins. This piece, directed and choreographed by Brian Rivell, contains something that would appeal to just about anyone. It features elaborate special effects, unbelievable dance sequences and some stellar performances. I witnessed the spectacle for myself on July 20th.

The Banks family had problems. An emotionally distant man George (played by Paul McElwee) devoted himself to making money. Winifred (Jenna Lubis) harbored doubts about sacrificing her acting career to marry him. Their two children (played by Cassidy Scherz and Colin Rivell) behaved unruly. To show the extent of their issues, they’d been through more nannies than the Trump Administration has been through National Security Advisers….and Communications Directors…and Secretaries of State. Enter Mary Poppins (played by Martha Marie Wasser) to fix this mess.

This show contained extraordinary special effects. Ms. Wasser and Mr. Kish floated through the air. An overturned table moved right-side up after Ms. Wasser waved her hand. Broken shelves fixed themselves following the same motion. The Ritz Theatre presented one enchanted production. Well-earned kudos goes out to Technical Director William Bryant.

The lighting made the performance a visual delight. The panels on both sides of the stage illuminated. The London backdrop took on different hues throughout the evening. Stars projected on the backs of the seats prior to the “Anything Goes” number. The display brought the audience into the show. Light Board Operator Casey Clark also gets well deserved praise for the spectacle.

Mary Poppins contained sophisticated and intricate dance routines. Brian Rivell coordinated awesome choreography. The cast did a superb job executing it. How to pick a favorite? I would suggest “Step in Time”, “Supercalifragilisticexpialidocious” and “Anything Can Happen” as the strongest contenders for that title. However, if I wrote down all the routines on separate pieces of paper, placed them in a hat and drew one at random it wouldn’t be difficult to make an argument for that one being the best.

CJ Kish (as Bert) always performs with great passion and energy. At times it seems like he’s flying around the stage. In Mary Poppins he did so literally. Mr. Kish performed one sequence in which he executed flips in mid-air and hopped about as though dancing atop chimney brushes.

This show is a “must see” for Mr. Kish’s fans. I found the title of one of his musical number “Twists and Turns” very appropriate. He performed the best dance routines I’ve seen him do. He’s such a talented actor and vocalist (as evidenced by “Chim Chim Cher-eee”) that I hadn’t realized the extent of his dancing ability.

Martha Marie Wasser’s performance wasn’t “practically perfect”: Ms. Wasser turned in a flawless rendition of everyone’s favorite nanny. I always credit performers who can dance in heels. Ms. Wasser had some tricky numbers in which to do so. In “Supercalifragilisticexpialidocious” the tempo changed several times. She and cast executed the routine seamlessly and while singing.

Ms. Wasser adopted all the mannerisms of the title character. From the way she held her umbrella, to her calm manner of speech and through the posture she adopted while floating through the air Ms. Wasser transformed herself into the real Mary Poppins.

I’d also compliment Ms. Wasser on her singing ability. The show contained a number of Disney classics. Ms. Wasser made them her own. “Practically Perfect” and “A Spoonful of Sugar” stood out as the most beautiful.

The Banks family sure had its problems. They didn’t prevent the performers playing them from displaying their own vocal prowess. The four performed well together as a group on “Cherry Tree Lane” and “Let’s Go Fly a Kite.” Paul McElwee (as George) delivered a moving rendition of “Good for Nothing.” Jenna Lubas (as Winifred) sang an incredible version of “Being Mrs. Banks.”

In addition to their scenes with Mr. McElwee and Ms. Lubas, Cassidy Scherz (Jane) Colin Rivell (Michael) got to share the stage with Ms. Wasser and Mr. Kish. They displayed great chemistry working together on numbers such as “Step in Time” and “Practically Perfect.”

My favorite scene occurred during the smackdown between the dueling nannies. Mary Poppins and Miss Andrew (played by Kendra Cancellieri Hecker) confronted one another by using their signature method as a weapon. The former utilized “a spoonful of sugar” and the latter opted for “brimstone and treacle.” It made for a stellar clash enacted by Ms. Wasser and Ms. Hecker. The musical number itself made the audience the real winners of this conflict.

Credit also goes to performers Anne Buckwheat, Darrin Murphy, Kendra Cancelleri Hecker, Kaitlyn Delengowski, Olivia West, Jamie Talamo, Ryann Ferrara, Caleb Tracy, Kyle Ronkin, Darrel Wood, Lindsey Krier, Kelsey Hodgkiss and Leah Senseney. They each contributed to an outstanding ensemble.

Mary Poppins stays on as long as she’s “needed.” The Ritz Theatre Company anticipates that will be until August 5th. Take advantage of that opportunity. The Ritz is being generous. With the superb quality of entertainment I’ve experienced at that company, community theatre fans should feel grateful she’s “needed” there at all. Mary Poppins is another reason why.