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Running time 2:40 - one intermission
A solid musical drama
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Storyline: This jazz/big orchestra musical expands the basic story of the 1956 movie about a sleazy Broadway columnist and his sycophantic protégé, a press agent who will do anything to get publicity for a client. The columnist, a classic control freak with a sordid fixation on his younger sister, uses the young press agent to keep his sister under his control and to break up her romance with an up-and-coming jazz musician.

Expanding the story of the original novella and the Burt Lancaster/Tony Curtis film that made it famous, this version remains true to its source material but goes much farther. The degeneracy of the Broadway columnist is richer, deeper and ultimately more disturbing. Blakeman Brophy has the role here and gives it a solid, sordid interpretation. He and director John K. Monnett even manage to avoid making the one mismatch of a song spot in the entire show from seeming as strange as it did on Broadway. There, with John Lithgow in the role, the columnist's big number of the second act, a trifle called "Don't Look Now," seemed to be awkwardly shoe-horned into the plot in order to give Lithgow a light moment to shine. Brophy delivers it in a less spectacular manner, and, as a result, doesn't draw quite as much attention to its ill fitting nature. Speaking of "second act" however, we should point out that the show really isn't structured in two acts, even though an intermission interrupts a scene. After the audience has had a chance to stretch and ponder for fifteen minutes, it picks up exactly where it left off.

The most expanded aspect of the original story is the character of the hungry sycophant whom the columnist corrupts and ultimately destroys. Steve Block handles it here with attention to the details of the story even when his voice isn't quite up to the demands of a frankly very demanding part. Erin Richardson and John Patrick Loughney team as the sister and her boyfriend, which means they get to sing the sweet love duet "Don't Know Where You Leave Off," and Elizabeth Yeats gets to belt out "Rita's Tune" as the press agent's unfortunate girlfriend. The score is richer than just the individual songs for specific characters. Much of the distinctive nature of this big, full sounding score comes from the ensemble singing as a kind of Greek Chorus chanting in the press agent's ear with cautions, warnings and advice. They have their own distinctive sound: very full, very sharp and quite appropriate to the time setting of the 1950s.

The strength of the ensemble singing and the playing of the sixteen member pit orchestra are impressive. Musical director John-Michael D'Haviland has put a premium on enunciation in the chorus and solid playing in the pit. The tempos set by conductor Leah Kocsis are just a bit sluggish, but that is probably a reflection of a joint decision of the director/choreographer, music director and conductor to make sure that the musical challenges are met. Michael deBlois's scenic design of four movable monoliths (sort of wide, square pillars with built in fold-out features) is a more than acceptable solution to the challenges of this multi-location play that must flow smoothly from street to exterior and from sleazy dive to penthouse. The costumes of Mary Ayala-Bush and Lory Levitt run the gamut from fine 1950s style night clubbing garb to the less than fashionable outfit for Loughney which is just right for his character. Unfortunately, however, Brophy's smooth columnist looks frumpy rather than fashionable most of the evening, and the new suit that is supposed to signal Block's transformation from penniless flack to prosperous side-kick doesn't make him look very debonair.

Music by Marvin Hamlisch. Lyrics by Craig Carnelia. Book by John Guare based on the novella by Earnest Lehman and the screenplay by Clifford Odets and Lehman. Directed and choreographed by John K. Monnett. Musical direction by John-Michael D'Haviland. Conducted by Leah Kocsis. Fight choreography by Steve Lada. Design: Michael deBlois (set) Mary Ayala-Bush and Lory Levitt (costumes) Jen Durham (hair) Anita Gilbert (properties) AnnMarie Castrigno (lights) Keith Bell and Brian Vargas (sound) Fredo Alvarez (photography) Terri Carnihan (stage manager). Cast: Bethany Blakey, Steve Block, Blakeman Brophy, Amy Carson, Mickey Daguiso, Steve Dasbach, Ivan Davila, Ashleigh de la Torre, Jennifer Diffell, Akiyo Nishida Dunetz, James Finley, Mark Hidalgo, Cassandra Hodziewich, Kanita AnJanette Howard, Curtis Jones, John Patrick Loughney, Kristen Wilson Magee, Daniel McKay, Sam Nystrom, Anne Marie Pinto, Erin Richardson, Alex Stone, Brent Stone, Mike Usowski, Emily Wallace, Elizabeth Yeats. Musicians: Katrina Ambrose, Mitch Bassman, Jack Coulter, Randy Dahlbert, John-Michael d'Haviland, Anders Eliasson, Dana Gardner, Virginia Gardner, Gwyn Jones, Lora Katz, James Kocsis, Bob Kraig, Chris Magrin, Curt Nette, Nate Pancost, John Pullen, Blake Rose, Bob Weber, Paul Weiss.

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Running time 1:40 - one intermission
A colorful, stage-filling performance of an up-tempo musical backed by a solid pit orchestra
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As much fun as William D. Parker has been on this stage (he was a kick as the smarmy anti-smut crusader in The Best Little Whorehouse In Texas a few years ago), it is good to have him down in the orchestra pit with just his head and arms visible as he leads the nine-member band that anchors the entire show. The rock-solid rhythm section, the marvelous brass and especially Gwyn Jones' flute work as one of the three reed players is the best thing going for the show. The solos are played with a sense of assurance that is unusual in a community theater and the balance is quite good as well. While the show as a whole suffered at least during the opening weekend from an over-stressed sound system that was not well mixed and had multiple failures, the microphones in the pit were well placed, cleanly mixed and suffered no such failures.

Music by Andrew Lloyd Webber. Lyrics by Tim Rice. Directed by Rick Hayes. Musical direction by William D. Parker. Choreographed by Richelle "Rikki" Howie. Design: Jared Davis (set) Ceci Albert (costumes) Ruby Devine (makeup and hair) Michele Bell (properties) Rick Warfield (set decoration) Pete Silvia (special effects) Jeffrey Scott Auuerbach (lights) Edwin D. Morman (sound) Michael deBlois (photography) Christine Farrell (stage manager). Cast: Aziza Alam, Sofia Campoamor, Diana S. Chau, Bob Chaves, Roberta Chaves, Libby Dasbach, Rae Edmonson, Carey Faulkner, Temple Fortson, Francis Guiterrez, Lexi Haddad, Mike Holland, Richelle "Rikkie" Howie, Jean Koppen, EmmaJane Lilburne, Rachel Morrissey, Shannon Perkey, Billy Puschel, Katie Puschel, Margie Remmers, Ryan L. Schaffer, Joshua Schwartz, Morgan Sendek, Lauren D. Sinsheimer, Alex Stone, Nick Stone, Rose Thorne, Kelly Willner, M.C. Wolfe, Richard Yingling.

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Running time 2:20 - One intermission
A lively soprano and vigorous "Pirate King" lead the lyrical foolishness
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Storyline: An apprentice pirate who longs to be free of his indentures because he detests all that piracy represents finally believes he is free to lead the Queen’s forces against his former colleagues. But the indentures were written to last until his 21st birthday and not simply until his 21st year – since he was born on February 29 of a leap year, he won’t have accumulated 21 birthdays for nearly a century!

Gilbert and Sullivan's 1879 comic operetta about an apprentice to a band of pirates who falls in love with the daughter of “the very model of a modern Major General” has been a hit for over a hundred and twenty-five years, since it opened as the follow up to the even more outlandishly successful H.M.S. Pinafore (or, as the Major General sings in one of Gilbert's self-depreciatory lines in this witty concoction, "That infernal nonsense Pinafore"). These two, and the later The Mikado, are not only the top three hits of that team that gave us over a dozen treasured shows, they became the biggest three musical hits of their century. They continue to be produced often (that's "often as in 'Frequently'") because they combine wit with sumptuous music.

The voice of Laura Wehrmeyer soars through the large auditorium of the Thomas Jefferson Theatre with a clarity that is distinctive and a tone that, unlike many at that register, is honeyed rather than harsh. It is easy to see why the young apprentice pirate would fall for her. Lane Smith tries but doesn't quite succeed in holding his own in duets with her. Both the pirates and the police who pursue them are lead by characters given fine, energetic performances. Christopher Guy Thorn is a virile Pirate King while Rodrigo J. Vega is a comic Sergeant of Police with a touch of Groucho. Albert Coia, as the Major General, with his background in British music hall style performances, seemed a bit tentative on opening night but will probably strengthen during the run.

Gilbert and Sullivan operettas always included a good deal of topical humor which audiences in England in the 1880s recognized and appreciated. As audiences have continued to enjoy the works, it has become traditional to add some topical material to intrigue modern audiences. The Arlington Players turned to Bill Karukas and Jack Marshall for new material, and they manage to match the style as well as the meter in placing their updates. Music director Mark V. Deal gets a good, solid sound out of the chorus and his orchestra seems just as solid, but it is hard to tell when the wooden platform over most of the pit muffles the strings so severely. An extended curtain call with each of the principals reprising their big moments from the show uses music arrangements created specifically for the production by Porter Lyon.

Written by W. S. Gilbert. Composed by Arthur Sullivan. Directed by Malcolm Edwards. Musical Direction by Mark V. Deal. Choreography by Kay Casstevens.  Desigh: Jared Davis (set) Mary Ayala Bush and Irene Molnar (costumes) Sarah Baker (makeup and hair) Mary Jean Bruno and Nikki Hoffpauir (properties) AnnMarie Castrigno (lights) Keith Bell (sound) Michael deBlois (photography) Lee Zahnow (stage manager). Cast: Abby Aronson, Karen Batra, Rebecca Bergren, Jennifer Blanton, Danny Brogan, Mike Bruno, Michelle Buteau, Amanda Cane, Paul Cohn, Albert Coia, William Cover, Thomas Daniels, Susan R. Dye, Sue Edwards, David Henderson, Mark Hidalgo, Heidi Hammond Jackson, Kristy Jacobs, David Zachary Johns, Heather Latiri, Julian Lockwood, Timbo Longio, Kristen Magee, Neil McElroy, Jonathan Mittaz, Renee Moyer, Daria Moylan, Miriam Salerno, Cari Shenkler, Jamie B. Sinks, Lauren Sinsheimer, Lane Smith, Christopher Guy Thorn, Robert J. Vega, Rachel Waldstein, Laura Wehrmeyer, Henry Yap.

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Reviewed October 9
Running time 2:20 - one intermission
A few strong performers carry an otherwise lackluster production
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Storyline: This musical treatment of the story of the Princess and the Pea sets the tale in a kingdom where the law dictates that no one can marry until the heir to the throne finds a bride. The overbearing Queen has driven her husband into mute submission and rejects every candidate for her son’s hand until a Knight who has impregnated one of the Ladies in Waiting recruits a true princess in hopes of getting the Prince married so he can marry his own lady before her pregnancy is noticeable.

Richard Rodgers’ daughter wrote the music for this confection in the 1950s as a brief entertainment for the paying customers at the legendary Pocono resort, Tamament. Apparently it entertained a number of important guests, for there was enough "buzz" to encourage an expansion to a full length musical comedy and a transfer to Broadway. As luck would have it, that production starred a then-unknown Carol Burnett. In the 1990s there was a Broadway revival featuring Sarah Jessica Parker that fared less well, running just under 200 performances as compared to the original nearly 500 performance run.

Gentic fills the shoes with a comic sense of panache that is a delight to watch. She knows what she is doing each moment she is on stage and sells her big numbers and small gestures. Gentic doesn't have to carry the entire show, however. When John Patrick Loughney as the prince, who alas, lacks a lass sings "Ohhhhh, I Liked Her" you not only know he really was attracted to the Princess, you have reason to believe that the show is about to take off. Similarly, when Meaghan Hannan, as a lady in waiting who can't wait too long sings out about what will happen "In A Little While" the show seems to take off, only to come back to earth with the awkward sounds of the orchestra.

Jane E. Petkofsky adds her solid skills as the comically evil Queen Aggravaine who insists on putting the petitioning princess to the famous test for "sensitivity," and Hershel Kleinberg is a very good and very funny mime as her husband, King Sextimus the Silent. This production includes a song written for the 1996 revival that puts his skills to good use, "The Minstrel, the Jester and I" in which minstrel Ron Squeri and Jester Richelle "Rikki" Howie deliver their parts in words but he completes most of the lines with a mimed gesture.

Music by Mary Rodgers. Lyrics by Marshall Barer. Book by Jay Thompson, Dean Fuller and Marshall Barer. Directed by Rick Hayes. Musical direction by Michael A. Dzbenski. Choreography by Richelle "Rikki" Howie. Design: Frank Pasqualino (set) Douglas Gowin (costumes) Michele Bell (properties) Amy Lenander (lights) Brian Vargas (sound) Michael deBlois (photography) Jerry M. Dale, Jr. (stage manager). Cast: Jeffrey Scott Auerbach, Dan Baggett, David Clement, Kadira Coley, Libby Dasbach, Iván Dávila, Rachel Davis, Katie Gentic, Meaghan Hannan, Hershel Kleinberg, Russell Kopp, Justin B. Latus, John Patrick Loughney, Dora Lubin, Arturo Martinez, Rachel Morrissey, Liz Owens, Jane E. Petkofsky, Steve Rosenthal, Christina Sandoe, Ron Squeri, Rose Thorne.

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Reviewed April 29
Running time 2:55 - one intermission
Efficient staging but mixed performance of a sumptuous score
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Storyline: Doctorow’s novel threaded fictional characters and historical figures into a portrait of three interlocking worlds that existed within miles of each other in the New York City of 1906. The musical focuses on a black piano player who suffers mindless injustice, a Jewish immigrant who rises to success in the new world and a white upper class family whose fates are intertwined with both of them. Through it all, the figures of Henry Ford, J. P. Morgan, Booker T. Washington, the starlet Evelyn Nesbit and the escapist Houdini give a sense of time and historic import to the piece.

This is a musical that touches the heart on many levels. The score of composer Stephen Flaherty and lyricist Lynn Ahrens is so full of gorgeous, emotional anthems that it would overload a less emotionally charged and narratively rich book. But they are the perfect match for Terrence McNally’s huge adaptation of Doctorow’s novel. A tremendous amount of the story is told through the songs rather than in dialogue between musical numbers. Ahrens’ ability to encapsulate a plot point in a very few words is astonishing. The true story of the shooting of Stanford White by Harry K. Thaw, “the crime of the century,” takes exactly 25 words: “Then I went and married Harry Thaw. Eccentric millionaire. Oh! Oh! Harry’s a jealous man. Bang! Bang! That was the end of Stan. Boo hoo!” Ahrens ability to capture the essence of emotions is beautifully matched by Flaherty’s music which rocks gently to true ragtime, soars nearly effortlessly to emotional crescendos and lifts the spirit at key moments.

Jimmy Payne is the best of the leads in the role of Tateh, the immigrant who becomes a director of silent movies. His acting skills are up to the challenge of the role and his voice can handle the demanding part. His singing of Flaherty's flowing melody for "Gliding" is lovely. Nearly as good but in a lesser role is Steve Block as the younger brother who rejects his brother-in-law's views and joins the band of aggrieved blacks. His real-life wife, Allison Block, plays the historical character Emma Goldman. Their pairing for the duet "He Wanted to Say," where she voices some of the emotions his character is unable to express, makes for a uniquely touching moment. The full chorus delivers much of the power of the score in full voice, and the pit orchestra of 21 provides a solid foundation. Notable performances in smaller roles come from Zachary Frank as the little boy and Ashley Batten as Evelyn Nesbit. John-Michael d'Haviland is disappointing in the crucial role of the black piano player. His voice has difficulty getting through the entire evening of this challenging music and he lacks some of the power the role demands. It didn't help him, however, that the staging of his transformation by grief and anger from charming musician to vengeful murderer left him without a gun that is so key to his big soliloquy.

Director Christopher Dykton handles the sprawling story skillfully, moving the three stories along nicely with interlocking images. Russell Kopp's set design helps tremendously in that it can change locale so smoothly and efficiently. He uses four pillars on casters which can be wheeled into place and then can support signs or structures to indicate a train depot or a union hall. With a great number of costumes providing additional visual clues, it is easy to follow the complex and frequently convoluted story.

Music by Stephen Flaherty. Lyrics by Lynn Ahrens. Book by Terrence McNally based on the novel by E.L. Doctorow. Directed by Christopher Dykton. Musical direction by Gary C. Mead. Fight choreography by Tom Witherspoon. Design: Russell Kopp (set) Grant Kevin Lane, Suzanne Maloney, Irene Molnar (costumes) Sarah Baker (makeup) Bette Williams (hair) Arthur Rodger (men's facial hair) Avery Burns (properties) B. Keith Ryder (lights) Keith Bell (sound) Michael deBlois (photography) Lee Zahnow (stage manager). Cast: Mary Andrus, Ashley Batten, Steve Block, Allison Block, Blakeman Brophy, Kathy V. Brown, Gigi Coddington, Kadira Coley, Charmian O. Crawford, Ashleigh de la Torre, John-Michael d'Haviland, Carmel Ferrer, Zachary Frank, Terry Goodman, Diana Haberstick, Jill Harris, Nia Harris, Michelle Hessel, Eric Hunsley, Jared E. J. Ivory, R. Neill Jefferson, Tim Kipp, Jason P. Langley, Jessica Lass, Lory Levitt, Mark A. Lewis, Leslie Lissimore, Patrick McMahan, John K. Monnett, Dave Moretti, Renee Moyer, Sam Nystrom, William D. Parker, Jimmy Payne, Darcy Pommerening, Elizabeth Sabin, Bill Seely, John Segota, Becca Shick, Brent Stone, Sondra Tackett, Philip Watson, Heather Whitney.

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Reviewed September 19
Running time 3:00 - one intermission
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Storyline: Compiled from the stories of Damon Runyon about the denizens of a Broadway that probably never really existed but certainly pre-dated the drug and sex industries of the 1970's or the glitzy tourist trap of more modern times, this "Musical Fable of Broadway" tells the interconnected stories of a high-rolling gambler who falls in love with a prayer mission "doll," and the operator of "the oldest established permanent floating crap game in New York" and his fiancé of fourteen years.

Carmel Ferrer brings her gorgeous voice to the role of "the mission doll" and Glen Hochkeppel displays a light touch on some of the sentimental moments of the high roller, but they never seem to spark each other which is a problem in a play about their character's attraction to each other. Jack Stein and Allison Block fare better in the spark department as the couple who are approaching the fourteenth anniversary of their engagement. Together they are a kick on "Sue Me" while separately they make the most of the opportunities presented - Stein with flippant remarks and Block with the fabulous comedy songs "Adelaide's Lament" and (with Ferrer) "Marry the Man Today."

Director John K. Monnett mounts each scene with attention to detail and the traditions of the show which is now half a century old. As a choreographer he also respects the original work of Michael Kidd, especially in the crap game ballet set in the sewers below Times Square. While some of his dances such as the unfortunately stale "A Bushel and a Peck" or "Havana" fail to take flight, there are times when his work takes off as in the Act II opening "Take Back Your Mink," and a superbly mounted "Sit Down, You're Rockin' the Boat" where he combines his work as director with his choreography in support of a smashing performance by Jimmy Payne, who, as the intriguingly named "Nicely-Nicely Johnson," is the most consistently entertaining performer in the show.

The show looks great because of the work of Jared Davis who provides substantial slide-on, slide-off sets to match the backdrops of the show (he shares credit with Sandy Kozel for painting the classy Times Square backdrop that captures the curves of the Paramount's marquee) and Pam McFarlane's costumes that reflect that time that probably never was of Runyon's Broadway. Both Ann Marie Castrigno's lights and Keith Bell's sound set a standard for how well technical systems can support a community theater effort.

Music and lyrics by Frank Loesser. Book by Abe Burrows. Based on a story and characters of Damon Runyon. Directed and choreographed by John K. Monnett. Music Direction by J. Michael d'Haviland. Design: Jared Davis (set) Pam McFarlane (costumes) Casey Gannon (hair and makeup) Irene Molnar (properties) AnnMarie Castrigno (lights) Keith Bell (sound) Michael DeBlois (photography) Terri Carnahan (stage manager). Cast: Max Aguilar, Amy Bailey, Bob Bender, Allison Block, Amanda Cane, John DeCore, Carmel Ferrer, Christopher Gillespie, Glen Hochkeppel, Jason Paul Langley, Mark Lewis, Katie Mallory, Daniel McKay, Katie McManus, Dave Moretti, Catherine Oh, Michael Pakonen, Jimmy Payne, Linda Ray, Elizabeth Reynolds, Elizabeth Sabin, Laura Schier, Corey Sell, Jennifer Skidmore, Jack B. Stein, Brent Stone, Mike Usowski, Bill Walker, Brendan Walsh, Allyn Webber.

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Reviewed May 7
Running time 2 hours 30 minutes

Storyline: A group of young men gather on Saturday Nights on a porch in Brooklyn to dream of striking it rich on the skyrocketing stock market just before the crash of 1929 - or at least of getting lucky in the search for a date. The one most smitten by the idea of the wealthy life of class makes a series of bad (lets face it, dumb) decisions over the course of a week in which he blows his friends' money which he was to have invested. Instead, he has put down a deposit on an apartment he can't afford in an effort to impress both the real estate agent and a young girl who shares his fantasies. She's smart enough, however, to know the difference between dreams and reality, and is shocked when he sells a car that isn't even his in order to advance his plans. This being a 1950's musical comedy, however, all is set right at the end with a quick reversal of fortunes.

TAP gives this show a solid community theater production with a nicely realized set and some very good costume design work by Grant Kevin Lane, a solid sounding orchestra under the musical direction of Gary C. Mead and the performances of an earnest cast including a couple of very nice supporting performances. In the lead roles of the dreamer and his dreamette are David Carney and Emily Barber Capece, who are just a bit deficient in the charming humor and panache the roles clearly require. They each pull off their individual scenes but there isn't a lot of chemistry between them which would make the attraction between their characters more convincing.

The group of friends on that front porch is a fine quartet of Matthew A. Anderson, Brendan Walsh, Michael D. Cropper and Steven Block who are joined by Brian Vargas, Duane Monahan and two young ladies, Allison Block and Mia De Mezza. Together, they make a fine group of young adults aching for success and also simply in search of a good time. Block teams up with Monahan for a well delivered "I Remember That" in the second act. The ensemble is a bit thin (director Christopher Dykton acts as choreographer as well and has to content himself with a trio of couples to populate the dance floor at what is supposed to be the Grand Ballroom of New York's Plaza Hotel.) There are some sharp performances in smaller roles including Laine Binder as the nightclub singer who belts out "Loves a Bond Blues."

It is Sondheim's score that is the important part of the evening. It hadn't been heard in context because the producer who hired him to write it died before the show could be produced. It is a very traditional Broadway musical score of the period with love songs, comedy songs, patter songs, story songs and even a dream ballet. (In the decade following Oklahoma! few would consider putting a show on a Broadway stage without one.) It is full of easily remembered melodies and many of the songs advance the story very effectively. Some of the literate magic that has become a Sondheim trademark is apparent in this early work. It is nice to have it available on a Potomac stage.

Music and lyrics by Stephen Sondheim. Book by Julius J. Epstein based on the play "Front Porch in Flatbush" by Julius J and Philip G. Epstein. Directed and choreographed by Christopher Dykton. Music direction by Gary C. Mead. Design: Grant Kevin Lane (set and costumes) Serge Notkid (hair) Hope Berschler (properties) Joyce Frank (set dressing) B. Keith Ryder (lights) Keith Bell (sound) Michael DeBlois (photography) Lee Zahnow (stage manager). Cast: Matthew A. Anderson, Amy Bailey, Laine Binder, Allison Block, Steven Block, Richard Butterworth, Amanda Cane, Emily Barber Capece, David Carney, Michel D. Cropper, Mia De Mezza, Greta Lynn Fairbanks, Allyson Harkey, Christopher J. Marulli, Danny McKay, Duane Monahan, John K Monnett, Michael Usowski, Brian Vargas, Brendan Walsh.

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Reviewed February 6
Running time 2 hours 15 minutes
t A Potomac Stages Pick for a pair of
extraordinary performances

Storyline: In 1887 the parents of deaf and blind Helen Keller appeal to a school for the blind in Massachusetts to send a governess for their daughter. Annie Sullivan, nearly blind herself, comes to be more than a governess. She becomes a teacher, reaching her intelligent charge and opening the world to her through a system of hand spelling and her own determination to do more than simply seeing to her physical needs.

Eight year old Mollie Clement is totally believable in a role that requires stamina, violent outbursts and a blank-eyed stare through some extremely physical scenes. Under the direction of Rosemary Hartman, she not only handles the physical demands of the part, she imbues the character with both a clear sense of logic for her actions and reactions and a winning personality. It is a no holds barred performance. When she slaps Karen Jadlos Shotts who plays Sullivan, it is with a striking force and fierce abandon. And yet, it is no brat that she creates, it is a charming young lady tragically trapped in a body apparently incapable of any other means of communication with the outside world than to strike out.

Shotts is the other half of this admirable team. Her performance is no less outstanding but it seems somehow less extraordinary simply because she is an adult actress and it is less remarkable to find this level of competence in an adult. The role of Sullivan is more intellectually challenging because it is through her that the audience learns a great deal about the conditions of the characters and it is her strong will that matches Keller’s innate intelligence in creating the miracle.

The two benefit from the work of fight choreographer Steve Lada. As a result, the physical confrontations between the two are wild and uninhibited. But there is more at work than the high-energy struggle of muscles. There is a clarity of the logic behind movements and also behind the quiet moments of tenderness that must be credited to Hartman’s direction. There is a fine set and the costumes are well done as well but some of the effectiveness of the evening is harmed by a few too-obvious glued on sideburns and too-loud sound cues. Still, the evening captures your attention from the start and doesn’t let go until the curtain call when it comes as a real surprise to see Clement’s eyes darting from face to face among her fellow cast members.  

Written by William Gibson. Directed by Rosemary Hartman. Fight choreography by Steve Lada. Design: Hal Crawford (set and lights) Joan A. S. Lada (costumes) Judy Kee (properties) Keith Bell (sound) Michael deBlois (photography) Susanne Diffley (stage manager). Cast: Mollie Clement, Kendall Cunningham, Lexi Haddad, Barbara Hayes, John W. Kirby, Nichole Naccash, Thomas Nelson, Matthew Randall, Karen Jadlos Shotts, Christopher Smith, Mary Stewart, Kaori Vazquez, Stephanie Vazquez, Elizabeth Yao. 

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Reviewed September 26
Running time 2 hours 55 minutes

Storyline: On openin’ night of a musical comedy based on Shakespeare’s The Taming of the Shrew, the leading couple are warring privately while they battle on stage. He’s the director as well as the star and she’s his former wife, newly engaged to another. Their bickering is exacerbated by the fact that the actor playing Lucentio has a bad gambling addiction and has signed the star’s name to an IOU for his losses in a game run by the mob. Gangsters take over the performance to ensure repayment.

Michael Nansel and Amy Conley are the sparring couple. Each brings a strong voice to the proceedings, something that is a must for a show that has them singing such demanding material together as “Wunderbar” and then taking solos on the likes of “So In Love,” “I Hate Men” and “Where Is the Life That Late I Led?” Neither brings much star power to the roles of stars, however. Allison Gendusa brings the closest thing to star power to her role, that of the supporting actress playing Bianca. Her “Always True To You In My Fashion” is a standout moment. Another standout is the nearly-fail-safe classic of musical comedy “Brush Up Your Shakespeare” which Jack B. Stein and Tom Witherspoon have the good fortune to be able to deliver. They do it very well and pick up the enjoyment level as the show proceeds to the climax of Act II.

There are those who think the script for this musical is one of the best examples of a well integrated book. This production shows that some of that reputation is based on the success of directors to distract attention from the weaker parts of the script. Director and choreographer John K. Monnett tailors scene after scene to the strengths of his troupe but the scenes don’t always add up to effective storytelling. His dances, for instance, are energetic and balanced and they let the stronger dancers show their stuff while avoiding placing too heavy demands on those who aren’t quite as strong. But the dances don’t seem to tell much of the story. The opening of the second act with Cole Porter’s energetic “Too Darn Hot” in Don Sebesky’s 1940s big-band orchestration is a case in point. Fine dancing from those who are best but no real explanation of what the cast is doing in modern dress in front of a brick wall when, just before intermission, the same people were in (not very attractive) Shakespearean costumes on the set of the musical Taming of the Shrew. Neither the set design by Jared Davis nor the choreography and blocking make it clear that the show’s company is supposed to be taking a break at intermission out in the alley behind the theater. 

Still, Porter’s score is among the strongest in the entire cannon of Broadway’s golden age of musicals. J. Michael d’Haviland’s pit band of over a dozen brass and wind players create a solid bass sound and swing effectively although they show signs of needing more rehearsal time. As the run continues they should be better. And the overall pace of the performance may pick up as well. It needs to.

Written by Samuel and Bella Spewack. Music and lyrics by Cole Porter. Directed and choreographed by John K. Monnett. Musical direction by J. Michael d’Haviland. Design: Jared Davis (set) Pam MacFarlane (costumes) Avery Burns and Arthur Rodger (makeup) Serge Notkid (hair) Joyce Gillogly (properties) AnnMarie Castrigno (lights) Keith Bell (sound) Michael deBlois (photography) Joan A. S. Lada (stage manager). Cast: Karen Batra, Bethany Blakey, Amanda Cane, Amy Conley, Susan R. Dye, Malcolm Edwards, Greta Lynn Fairbanks, Allison Gendusa, Brian Huseman, James Johns, Scott Kenison, Justin B. Latus, Lory Levitt, Katie McManus, Dave Moretti, Michael Nansel, Christopher John Reyes Navarro, J.R. Owens, John Segota, Jennifer Skidmore, Christopher Smith, Janet Devine Smith, Jack B. Stein, Michael Usowski, Tom Witherspoon, Ryan B. Zempel.

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April 25 – May 10, 2003
The Best Little Whorehouse in Texas

Reviewed April 25
Running time 2 hours 30 minutes

Storyline: Miss Mona operates The Chicken Ranch, a no-nonsense, business-like house of ill-repute on the outskirts of a small Texas town where her girls don’t need pimps or protection and where the customers have been welcome for decades, through good times and bad. When a crusading television reformer blows the whistle on the best kept secret in the state (“Texas has a whorehouse in it!”) the politicians run for cover and Miss Mona is run out of business.

The romance between Karen Hayes as Miss Mona and Kim-Scott Miller as the sheriff serves as an undercurrent that adds heft to Larry L. King and Peter Masterson’s comic script. The attraction between them is written to be deep and longstanding but always at an arms length. That makes both parts more difficult to play, and both Hayes and Miller handle the subliminal clues of affection very well while Hayes sells her songs nicely and Miller, who is really only called upon to sing once, gives “Good Old Girl” a sweetly sentimental rendition.

The strongest individual performances come from William D. Parker as the insufferable television reformer whose smarminess is thick enough to spread with a knife, Ed Broyles in a one-song cameo as the Governor of Texas doing “the sidestep” around the political scandal and Renée Moyer as a lonely waitress in a diner who would like to have just some of the attention being poured out to the girls who work out of town.

Monahan handles the choreography duties as well as directing and he builds well constructed dances, especially the rousing chorus of Texas A&M football players who come to The Chicken Ranch to celebrate a gridiron victory (“The Aggie Song”) that ends Act I and the comic “Sidestep” that supports Broyles’ gubernatorial shenanigans that begins Act II. Both are supported by the on-stage band of six who sound a bit thin on the ballads but really lay down a solid sound for the more high spirited high jinks.

Book by Larry L. King and Peter Masterson. Music and lyrics by Carol Hall. Direction and Choreography by Duane Monahan. Music direction by Gary Worster. Design: Jared Davis (set) Joyce Frank (set dressing) Irene Molnar (costumes) Serge Notkid (wigs and hair) Elizabeth H. Stevens (properties) Jeffrey Scott Auerbach (lights) Keith Bell (sound) Michael deBlois (photography) Debi Costa (stage manager). Cast: Evie Abat, Max Aguilar, Matthew A. Anderson, Carlos Barillo, Ed Broyles, Pam Burton, Amanda Cane, Courtney Carter, Kelly Cronenberg, Mary Frances Dini, Rob Duncan, Karen Hayes, Mike Hoskinson, Lory Levitt, Mark Lewis, Daniel McKay, Katie McManus, Keith J. Miller, Kim-Scott Miller, David Moretti, Renée Moyer, Lindsey Neilsson, Meg Ogea, J.R. Owens, William D. Parker, Geraldine Skeen, Michael Usowski, Brendan Walsh.

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Reviewed February 1
Running time 2 hours 15 minutes

Three different casts perform the three different stories. The two most satisfying casts are the first and the third but all are solid. Carol Ratnoff teams with John McCaffrey at the start and her stream of constant patter is a kick while his distracted husband with a guilty secret works well. For the final act, it is Steve McClure as the woebegone father of the bride who works up to a peak while Anne Paine West scurries about in ever increasing confusion.

The three acts do have one thing in common -- in addition to their location -- Michael Scott.  He is the bellhop in the first two and the bride groom in the third. As the bell hop he is perfectly acceptable in roles that have a few bright quips but no real depth. But in the third, where he really has only one line, he delivers it with such panache that he earns kudos from this reviewer.

Director Rodger and Juan Felipe Rincon have designed a substantial set for 719 at The Plaza although, given the extremely wide stage at the Thomas Jefferson, the suite is so spacious as to seem to be the Presidential or Royal suite. If they had used less than all of the stage it would have compacted the action more center-stage and concentrated the dilemmas in constricted space. Still, the execution of the design they came up with is first rate.

Written by Neil Simon. Directed by Arthur Rodger. Design: Arthur Rodger and Juan Felipe Rincon (set) Lorraine Magee (properties)  Julie Kiley (makeup) Jeffrey Scott Auerbach (lights) Michael DeBlois (photographs). Cast: Carol Ratnoff, John McCaffrey, Michael Scott, Steve McClure, Anne Paine West, Carol Lampman McCaffrey, Danny Funderburk, Jennifer Nycz-Conner.

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Reviewed October 6
Running time 2 hours
Price range $13 - $15

Book and Lyrics by W. G. Gilbert. Music by Arthur Sullivan. Directed by Malcolm Edwards. Music direction by Andrew Loftus. Vocal direction by Lynn Chen. Choreography by Lorri Shealy Unumb. Design: Michael deBlois (set) Irene Molnar (costumes) Don Slater (lights) Bill Wisniewski (sound). Cast: Bill Karukas, David Henderson, Jason Rylander, Matt Williams, Daria Antonucci, Renee Moyer, Mary Frances Dini, Phil Lookadoo, Neil McElroy.

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Reviewed July 13
Running time 2 hours
Performed At Gunston Arts Center
Price range $10-$12

Written by A.R. Gurney. Directed by Dave Costa. Design: Arthur Bleasants (set) Carol McCaffrey (costumes) Suzanne Maloney (lights) Dave Costa (sound). Cast Philip Baedecker, Lauren Bloom, Lisa Forrest, Jim Williamson.

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Reviewed May 3
Running time 2 hours 30 minutes
t Potomac Stages Pick

Music by Frank Wildhorn. Book and lyrics by Leslie Bricusse. Directed by Gloria DuGan. Music Direction by David Rohde. Choreography by Jeannie Torres. Design: Christopher Smith (set) Joan A.S. Lada (costume) Diane Parker (hair and makeup) B. Keith Ryder (lights) Dawn Chila (London Backdrop) Michael deBlois (photography) Stan Harris (sound). Cast: Ryan Khatcheressian, Carmel Ferrer, Heather Whitney, Lance Adell, David Henderson, Michael Sherman, Matthew A. Anderson, Lorraine Magee, Chuck Whalen, Renee Moyer, Jay Tilley, Todd C. Huse, David F. Boleyn, Arthur Rodger, Nano Gowland, Kathryn M. Brais, Kandace Cummings, Michelle Vignoli.

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Reviewed February 2
Running time 2 hours 40 minutes

Written by Arthur Miller. Directed by Chuck Whalen. Design: Chuck Whalen (set) Jeffrey Scott Auerbach (lights) Kristen Moore (costume coordination.) Cast: Donald Neal, Sally Kalmus, Jeffrey S. E. Sculley, Jake Call, Paul Marvel, Giuseppe DeBartolo, Jessica Trent, Len Palmisano, Michael Dudzik, Anne Paine West, Catherine Young, Colleen Hanson, Travis J. Martz.

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Reviewed October 7

Director Christopher Dykton paces the production with a slow and deliberate feel that seems ponderous during the early going. But it picks up momentum as the show continues and becomes quite solid indeed. Music Director Gary C. Mead leads his large orchestra with the same sense of plodding along at the start. Visually, the production is serviceable without being sumptuous. The satisfactions of this production are for the ear, not the eye. But it reaches the heart – which is what the play is supposed to do.