Tony Yates

Dirty Rotten Scoundrels at Haddonfield Plays and Players

This Friday the 13th theatregoers got lucky. Haddonfield Plays and Players decided to present a witty take on some dirty rotten scoundrels. There may not be honor among thieves, but they sure displayed some pretty good acting, singing and dancing chops. I attended the opening night performance on July 13th.

Dirty Rotten Scoundrels told the story of aging con-man Lawrence Jameson (played by Chris Fitting). Accompanied by his assistant, police Inspector Andre Thibault (Kacper Miklus), he took on the guise of a fictitious prince. He travelled the Riviera swindling women. During one con he encountered Freddie Benson (Sidney (Syd) Manfred Maycock III). The latter aspired to a life of chicanery but struggled to get his start. He asked Jameson to teach him the art of the craft.

Initially reluctant, Jameson discovered that one of his marks, the gun toting Jolene Oakes, (Lauren Elisabeth) already arranged their wedding. Facing an exile to the prairies of Oklahoma Jameson reconsidered the novice’s offer. The two teamed up on a comical skit to dissuade her. Then the partnership deteriorated.

The two made a deal. Whoever could swindle the next wealthy woman they met for $50,000 could remain in the area. The loser would leave town. Enter the “soap girl”, Christine Colgate (Kristina Coia). As they utilized some creative hijinks to win the challenge, both men found themselves falling in love with her.

I’ll avoid giving away spoilers. I will note that the script contained outstanding use of foreshadowing. Author Jeffrey Lane and lyricist David Yazbek used it with great subtlety, but it all made sense at the story’s conclusion: and what a conclusion! The ending contained plot twists that rivaled the Saw movies finales.

This show gets my Sienkiewicz Award. This honor comes from a line in Henryk Sienkiewicz’s Quo Vadis: “I wish it had been worse, because only then could I find the appropriate words to praise it.” Dirty Rotten Scoundrels (directed by Ryk Lewis) impressed me that much.

Chris Fitting cemented his reputation as the sharpest dressed man in South Jersey community theatre. There’s only performance I’ve seen where Mr. Fitting didn’t wear either a suit or a tuxedo. It’s refreshing that even in the modern era some people still find it appropriate to dress up for a night at the theatre.

The wardrobe aside Mr. Fitting’s style of performing puts him in a unique class. The aristocratic tone with the hint of a British accent suited his character brilliantly. He also displayed exceptional skill in adding an Austrian accent to it when his character played the doctor from Vienna.

Mr. Fitting executed some complex song and dance numbers flawlessly. I enjoyed his somber rendition of the ballad, “Love Sneaks In.” Through this tune he added an unexpected dimension to the con-man’s personality. He performed this adjustment in a believable manner.

Syd Maycock possesses a genius for comedy. His befuddled facial expressions while Ms. Koia sang “Nothing is Too Wonderful to Be True” were just as superb as her singing. He made it obvious he couldn’t believe the things she said. When she prodded him to continue the song, he stumbled over lyrics like he was hearing them for the first time.

When trying to deceive Ms. Coia’s character into giving him the money Mr. Maycock utilized a tender voice of his own. The way he exaggerated it made the inflection hysterical.

His best number occurred when he performed “Great Big Stuff.” Ryk Lewis’ choreography turned it into an awesome song and dance routine with the ensemble. After a performance like this some great big stuff is in store for Mr. Maycock.

Kristina Coia wins the first ever Sienkiewicz Award for Best Actress. Ms. Coia pulled off the most ingenious character transformation I’ve ever seen, heard or read. I won’t give it away as it would ruin the experience for those unfamiliar with the story. Ms. Coia enacted the change in a way that will still surprise audiences.

Aside from revolutionizing the concept of character transformations, Ms. Coia also displayed exceptional vocal capability. She selected the proper voice to sing her character’s songs. Ms. Coia’s soft, tender vocals worked very well on numbers such as “Nothing is Too Wonderful to Be True.”

These three thespians complimented each other wonderfully. The “Ruffhousin’ Mit Shuffhausen” made for the show’s highpoint. Mr. Fitting attempted to win the bet by forcing Mr. Maycock to admit he could feel below his waist. Mr. Fitting made this effort while singing, dancing and hitting him on the thighs with a cane. Mr. Maycock’s expressions and strained denials were impeccable. Ms. Coia’s concern and naïveté added the perfect enhancement to the scene.

I’m familiar with Gina Petti’s skill as a dancer. Ms. Petti displayed it often in Dirty Rotten Scoundrels. I’d never heard the performer’s singing skills. The show provided the opportunity. As Muriel Ms. Petti performed lovely renditions of “What Was a Woman to Do” and the “Like Zis/Like Zat” reprise.

Kacper Miklus delivered and sang his lines in a perfect French accent. He joined Ms. Petti for the duet “Like Zis/Like Zat” and crooned the solo “Chimp in a Suit.” He got laughs trying to play the suave suitor to Ms. Petti while struggling to ignite a cigarette with an empty lighter.

Jennifer Gordon choreographed the “Oklahoma?” routine. This one combined elaborate dancing with comedy. Lauren Elizabeth led the ensemble through one rockin’ hoedown.

I would also credit performers Mary Simrin, Julieann Calabrese, Tony Yates, Sarah Blake, Jen Stefan, Rebecca Dilks, Sheila M. Haswell, Andrea Veneziano, Briant Lopez, Ryan Fanelli, and Robert Haggerty for their contributions to the performance.

I had some minor issues with the script. The show broke fourth wall a few times. Most notably when Jolene informed Lawrence that she arranged their wedding, he asked, “Did I miss a scene?”

I also couldn’t tell when the story occurred. The script contained references to Bob Guccione, Hugh Hefner and Donald Trump; the latter because of his wealth. As the movie of the same name released in 1988, I figured it took place during the 1980s. Then Lawrence made a joke alluding to George W. Bush. I found this inconsistent.

In the “Give Them What They Want” number, Lawrence added, “then you leave them wanting more.” The cast and crew of Dirty Rotten Scoundrels did just that. The same song borrowed a line from John Keats’ Endymion:  “Truth is beauty.” It may be, but it’s not as beautiful as this performance. If you don’t believe me you have until August 3rd to determine for yourself.

 

Night of 1000 Plays at Haddonfield Plays and Players

Last night I discovered one of the lesser known verities about South Jersey. The Garden State serves as home to a host of creative dramatists. Fortunately for theatrical fans, Haddonfield Plays and Players provided these budding Ibsens, Ephrons and Simons with a forum to exhibit their art. With their Night of 1000 Plays, the company turned over their stage to these newcomers. I attended the second annual installment of this program on June 8th.

The stylistic range impressed me. The evening included a host of comedies, some solid dramas as well as a topical tragedy. A cautionary tale regarding the perils of not knowing The Rules to Save a Princess framed the program.

Relationships served as the most popular muse for South Jersey’s playwrights. The excerpt from Lili Myers’ The Gentle Indifference of the World (directed by Jennie Pines) explored the dynamics between four friends played by Ms. Myers, Ricky Conway, Moses Ali and Isabella Capelli. The piece contained an impressive amount of conflict and drama. Amber Kushing’s He Loves Me Not (directed by Eilis Skamarakis) allowed performers Jessi Meisel, Jeff Skomsky, and Kahil A. Wyatt to explore one woman’s struggle through an abusive relationship. Mr. Wyatt also played a witty “bad boy” as the title character in Patti Perry’s Nephew Nemesis (directed by Jeannine James). Rebecca Dilks, San Safeer and Gina Lerario rounded out the cast in this oblivious and dysfunctional family. John Cassidy’s The Teenage Boys Society (directed by Tony Yates) focused on social as well as romantic relationships. It surveyed the trials of adolescence through performers Kahlil A. Wyatt, Ricky Conway, Tony Yates, Jennie Pines and Jeff Skomsky.

Other playwrights delivered some unconventional takes on family relationships. John Cassidy’s The Golden Rule  (directed by Jennie Pines) presented to most unusual metaphor for salted butter this reviewer has ever encountered. Performers Nicole Lukaitis, Dan Safeer, Lili Myers, Isabella Capelli and Brenna Dougherty took on the various family roles in this piece.

Playwright Rich Renner crafted two vignettes influenced by observational humor. In Lisa’s Carpet (directed by Eilis Skamarakas), performers Dan Safeer, Kahlil A. Wyatt and Sheila McDonald showed the risks of trying to cover up household accidents. The same playwright also made a spectacle of the absurdity of using too many spectacles. Night Glasses (directed by Amber Kusching) showed performers Robert Bush and Debby Tighe coping with this situation as it kept them up at night.

The three acts of Casey Tingle’s (directed by the playwright and Nicole Lukaitis) The Rules to Saving a Princess occurred at the beginning, the middle and the end of the evening. Performers Jennie Pines, Krista Reinhardt, Tony Yates, Nicole Lukaitis and Ricky Conway brought this tale to the stage.

Susan Goodell’s No History (directed by Amber Kusching) showed how an unusual classified ad can lead to an uncomfortable Holiday dinner. Performers Krista Reinhardt, Sheila McDonald and Robert Bush allowed the audience to sit in on this comical Christmas chronicle.

The comedy continued with pieces such as Patti Perry’s April Fools (directed by Jeannine James).  Performers Rebecca Dilks, Jeff Skomsky, Sheila McDonald, and Kahlil A. Wyatt enacted a macabre series of jokes that led to an unexpected consequence. John Cassidy’s Artistic Architecture (directed by Eilis Skamarakas) allowed Jessi Meisel to instruct Moses Ali, Brenna Dougherty and Ricky Conway on a rather unconventional approach to the subject.

Taylor Blum crafted a dramatic take on the theme of relationships in Shattered Glass (directed by Amber Kushing). Ricky Conaway delivered a powerful monologue to enhance the writing.

The program included two high minded dramas. Both exceeded this reviewer’s expectations.

Sera Scherz crafted an impressive piece in the form of Through My Eyes (directed by Jeannine James and assistant directed by Sera Scherz). It featured performers Brenna Dougherty and Lili Myers alternating lines as they addressed the audience. The play explored the themes of vengeance, bigotry and forgiveness. Debby Tighe, Jeff Skomsky and Ricky Conway rounded out the cast.

Amber Kusching’s haunting When I Fell in Love (directed by Tony Yates) surveyed the themes of devotion and tragic loss. The playwright placed all three characters in different locations while they spoke indirectly to one another. The play also included sophisticated symbolism. Gary Werner, Nicole Lukatis and Isabella Capelli all delivered impassioned performances bringing the script to life.

While advertised as a Night of 1000 Plays, the Haddonfield Plays and Players could have also called the evening the Night of 1000 Roles. The individuals who participated in this endeavor stayed busy. Most of the performers worked in various capacities in multiple plays. Ricky Conway performed in six of them, Kahlil A. Wyatt in five and Jeff Skomsky in four. Nicole Lukaitis performed in three and directed one. Jennie Pines performed in two and directed two. Jeannine James, Isabella Capelli, Eilis Skamarakis and Amber Kusching each directed three. Ms. Kushing also wrote two of the shows presented.

In addition to her multifarious other roles, Nicole Lukaitis served as the overall program producer. I’d compliment her and stage manager Omaira Parrilla-Dune for providing such a professional environment for these playwrights to showcase their creativity. I’d also express gratitude in allowing audiences to enjoy them.

Pat DeFusco did an exceptional job as the stage announcer. His witty asides added to the evening’s entertainment value.

In the 1930s Paris became famous for its American expatriate community. Notables such as F. Scott Fitzgerald, Ernest Hemmingway and Gertrude Stein emigrated there to practice their craft. Just shy of a century later, South Jersey is developing into a similar community for aspiring writers and playwrights.

For those who missed the opportunity to experience Night of 1000 Plays during its limited run, don’t worry. I’m sure they’ll have the chance to attend plays written by these playwrights again. Just perhaps, the next time they’ll be featured in a city located slightly north of the South Jersey area.

Kiss Me Kate at Haddonfield Plays and Players

On the surface, the opening number “Another Opn’in, Another Show” would work as an appropriate introduction to a musical. At the opening night performance of Haddonfield Plays and Players’ Kiss Me Kate, it didn’t fit. As the show progressed, I couldn’t describe it as just “another” opening night at “another” show. I found this October 6th performance absolutely spectacular.

This Chris McGinnis directed and choreographed musical featured a “play within a play” format. That seemed a fitting approach for a piece that referenced Shakespeare. This Cole Porter classic told the story of a theatre company’s travails in staging the Bard’s The Taming of The Shrew. The events on the stage bore an uncanny resemblance to the lives of the 1940s actors in the play. Comedic hijinks coupled with superb singing and dancing resulted.

Arielle Egan took on the dual roles of Katherine and the actress who played her, Lilli Vanessi. I enjoyed the clever approach this thespian utilized to transform the latter into the former. One also has to acknowledge her skill in bringing out the humorous aspects of a bad temper. She animated the concept that “Hell hath no fury like a woman scorned” with great wit. While she treated the audience to extraordinary acting, Ms. Egan impressed even more with her vocal capabilities.

This performer manages her voice as though it’s a distinct musical instrument. Ms. Egan executed outstanding trills and vibrato while singing the comedic “I Hate Men.” Her character very well may have, but this reviewer sure loved her singing. It proved a challenging song to perform. The track contained rests and accents in unusual places. She impressed by performing the song flawlessly while emphasizing the funnier aspects of the words.

Anthony Vitalo’s stellar vocal prowess also captivated the audience. In addition to a voice that broadcasts well, his style reminds one of Greg Lake’s; only with an American accent. I felt like a “lucky man” given the opportunity to hear his renditions of “Where Thine Thy Special Face” and the witty ode to ribaldry “Where is the Life that Late I Led.” It’s an achievement to speak those titles without tripping over the alliteration. Mr. Vitalo sang with confidence and achieved terrific interpretations.

Mr. Vitalo also exhibited proficiency for facial expressions. Whether his character connived, wooed or angered, he displayed the best mannerisms to express the emotions. From my seat at stage right, I had a clear view of him during Ms. Egan’s superb solo performance on “So in Love.” His somber pining for his lost love gave the song much more impact. That’s a remarkable achievement for a performer sitting silently on stage during the number.

The cast gave Musical Director Justin Adams a lot of talent with which to work. One of the evening’s highlights took place when Mr. Vitalo and Ms. Egan joined together for the “Wunderbar” tune. The song’s title proved an adept description of its delivery from both performers.

Colleen Murphy (as Lois Lane/Bianca) added her remarkable vocals to the show. Many of the lyrics she sang contained dual meanings and she varied her tone to express these changes. Ms. Murphy delivered a striking rendition of the archly titled “Always True to You in My Own Way.” I also enjoyed her duet with Dennis Summerville (Bill Calhoun/Lucentio) on “Why Can’t You Behave?”

Perhaps, serving as an inspiration to Sister Act, Kiss Me Kate utilized gangsters as a source of comedy. Curt Shoyer and Steve Ciapanna provided that comedy through their accents, dialog and costumes. They added singing and dancing to their repertoire with the hilarious “Brush Up Your Shakespeare” number.

Act II opened with the show’s most memorable moment. Kahil A. Wyatt (as Paul) led the company through an intricate song and dance number entitled “It’s Too Darn Hot.” One has to credit Chris McGinnis for coordinating the elaborate choreography. The cast deserve recognition for the flawless performance of such a multifarious routine.

Kiss Me Kate featured a rotating set to accommodate the musical’s 16 different scenes. It transported the audience from Ford’s Theatre in Baltimore to Elizabethan England. Rennee McCleery’s costuming enhanced this effect.

Jordan Gulick, Faith McCleery, Tony Yates, Charles L. Bandler, Alex Chupik, Brian Gensel, Felicia Capece, Nicole Lukaitis, Jennie Pines, Gia Lukatis and Krista Reinhardt added their talents to an outstanding cast.

To borrow from Shakespeare, “all’s well that ends well.” Sadly, the show will end on October 21. Following that, audiences can kiss Kiss Me Kate goodbye at Haddonfield Plays and Players.