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Running time: 2:50 plus meal
t A Potomac Stages Pick for a fabulous performance in the difficult role of Albin / ZaZa
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Storyline: A St. Tropez cabaret owner and his drag queen star and life partner have raised a son who has grown up and fallen in love with the daughter of an anti-gay crusader. The son wants to bring his love home to meet "his parents" but asks that the drag queen stay away from the gathering and that his father reunite for the night with his birth-mother in a display of conspicuous normalcy. When the birth-mother doesn't show up, the drag queen slips into a dress to act as hostess of the joyous get-together. The son learns lessons of love and acceptance as the evening gets totally out of hand.

Harvey Fierstein burst into Broadway's consciousness in 1982 with his Torch Song Trilogy which won him both the Tony Awards for Best Actor in a Play and for Best Play. La Cage came only 13 months later while Trilogy was still running. He didn't appear in the original La Cage and neither of the lead roles were written with his, shall we say unique? personality in mind. What he did was construct a marvelously functional musical comedy book that carries the story along with a clarity, a basic humanity and an honest affection that was a perfect match for Jerry Herman's heart-on-the-sleeve approach to a show tune. Herman had already given us Hello, Dolly!, Mame, and Mack & Mabel, among others, which means that the songs "Hello, Dolly," "Before the Parade Passes By" and "Open a New Window" were already part of a musical theatergoer's stock of favorites. With La Cage, he added the lovely romantic tunes "With You on My Arm" and "Song in the Sand," the anthem to human dignity "I Am What I Am" and the rousing show tune "The Best of Times" to the catalogue every club singer and lounge act of the 60s and 70s had to know.

Munsey's performance may dominate the evening but he's not alone on stage. His co-star was supposed to be Jason Fulmer, but Fulmer suffered a heart attack the week before the official opening. While the theater reports that Fulmer is recovering well, his understudy Darren McDonnell had to go on with something less than full rehearsal time for preparation. At the press opening McDonnell did a fine job and his elegant cabaret owner/host is likely to get better and better as the run continues. As it is, he carries himself with class, which makes what was written to be the second most important role in the piece a solid part of the partnership portrayed on stage. Still, the role has the problem that this character, so open, honest and caring, also has to be thoughtless enough to treat his partner unconscionably. Sam Ludwig, so very good in Toby's recent Titanic, is fine here as the son who asks his dad to treat his partner that way. Some very good work is done in smaller supporting roles by Stephen Galloway, Jr. as the couple's butler who wants to be the maid, Daniel L McDonald as the bigoted anti-gay crusader, Lynne R. Sigler as the restaurateur who hosts the company for the second act's spectacular "The Best of Times" and Joshua Singer as the cabaret's stage manager.

So, with all those good things, what were the shortcomings that could be overlooked because of Munsey's performance? Well, for one thing, not only can't the five-piece band sound like a full musical theater orchestra, at the beginning of the run they can't even sound like a well rehearsed five piece band. The press performance was marred by a number of missed notes, bungled tempos and ill-timed entries. Then there are the sets which, while efficient in support of a quick moving script, lack any sumptuousness and look, instead, merely serviceable. And, while we're on the subject, the boats in the painted back drop of St. Tropez wouldn't be allowed anywhere near the million frank yachts that actually occupy the harbor of that millionaire's play port. The costumes (designed by Munsey, by the way) are marred by the use of what look to be one size "fits" all flesh colored leotards under the cabaret dancers' costumes that don't seem to fit any size. Ah, but all that seems minor when Munsey hustles out his highest drag and puts a little more mascara on!

Music and lyrics by Jerry Herman. Book by Harvey Fierstein based on the play by Jean Poiret. Directed by Eric J. Potter. Choreographed by Tina Marie DeSimone. Musical direction by Cedrick Lyles. Design: David A. Hopkins (set) Lawrence B. Munsey (costumes) Lynn Joslin (lights) Jimmy Engelkemier (sound) Kirstine Christiansen (photography) Tina Marie DeSimone (stage manager). Cast: Frank Anthony, Heather Marie Beck, James Biernatowski, Liz Boyer Hunnicutt, Bryan Daniels, John Dellaporta, Rebecca Fale Chui, Byron Fenstermaker, Stephen Galloway, Jr., Jonathan Jackson, Jordan Klein, Steve Love, Sam Ludwig, Daniel L. McDonald, Darren McDonnell, Lawrence Munsey, Shoshana Rose, Mary Searcy, Lynne R. Sigler, Joshua Singer, Becca Vourvoulas.

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Running time 2:20 - one intermission
An entertaining performance of a light musical comedy of the '50s
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Storyline: The 1959 school year is getting underway at Rydell High. Crises abound. Who goes with whom to the hop? Should the new girl go steady with the boy she met over the summer? What would dropping out of beauty school do to a girl’s life? Will having even a junker of a car improve a boy’s social life?

Grease was an early example of what became a rage for 50s nostalgia. It opened two years before TV’s Happy Days and four years before John Travolta appeared in Welcome Back Kotter. Its view of the 1950s was less idealized than that of its sanitized followers. Then, in 1978, Grease was turned into a John Travolta, Olivia Newton-John movie that carried the sanitization even further, filtering the songs through the then-contemporary Bee-Gee’s sound. Yet later the talented director/choreographer Tommy Tune revived the show on Broadway, viewing the 50s through rose colored glasses that gave everything a hot pink hue. That revival’s pink toned tour was seen in every city of any size around the country. As a result, productions of Grease these days are usually an exercise in nostalgia for the 70s and not for the 50s.

Minnick's production, like an earlier one at Toby's Columbia Dinner Theatre directed by Ray Hatch, reverts to the less idealized, slightly grittier feel of the original, but it isn't anywhere close to actually being gritty - no Blackboard Jungle this. It does indulge in the sort of sophomoric humor that makes it a bit rough for younger audiences, however. Still, it is a light and enjoyable evening with teen icons of the leather jacket and pedal pusher fashion age. Jake Odmark and Jessica Ball team up as the a high school stud too interested in his reputation for being cool to acknowledge his real affection and the object of that affection, the clean-cut girl he met over the summer.

In the classic tradition of romantic musical comedy structure, there is a subplot of another couple. This involves Tina Marie DeSimone as the hard-boiled chick who suspects she's pregnant and Matthew Schleigh as the black leather jacketed owner of the car he calls, in the first act's best number "Greased Lightnin'." The second act is a series of big numbers including Ball's "Hopelessly Devoted To You" which was written for the movie version, and DeSimone's touching rendition of "There Are Worse Things I Could Do." The real highlights, however, are the big dance numbers that are stamped with Minnick's touches - "Born to Hand-Jive," "You're the One That I Want" and the previously mentioned "Greased Lightnin'."

Music, lyrics and book by Jim Jacobs and Warren Casey. Directed and choreographed by Mark Minnick. Music direction by Douglas Lawler. Design: David A. Hopkins (set and lights) Samn Huffer (costumes) Janine Gulisan-Sunday (wigs) Amy Kaplan and Vicki Sussman (properties) Galen Lande (sound) Kirstine Christiansen (photography) Tina DeSimone (stage manager). Cast: MaryLee Adams, Brandon Ambrosino, Jessica Ball, Tina Marie DeSimone, Jamie Eacker, Jenny French, Scean Flowers, Ben Gibson, Jesaira Glover, Demargio House, Jordan Klein, Tamarin K. Lawler, Darren McDonnell, Matthew Moore, Jake Odmark, Jesse Palmer, Ashley Parker, Shoshana Rose, Heather Scheeler, Matthew Schleigh, Dan Sonntag, Alan Wiggins, Kate Williams.

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Running time 2:30 - one intermission
A quality staging of a classic musical
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Storyline: In a tiny Jewish enclave in 1905 Russia, Tevye lives in poverty with his wife and five daughters. Without dowries, how will he get them husbands? When a wealthy local widower asks for his eldest daughter’s hand he arranges a marriage but finds that she prefers to wed a penniless tailor. Tevye bends a bit and allows her her wish. When his second daughter falls in love with a penniless revolutionary and wants to follow him into exile in Siberia without his permission but with his blessing, Tevye bends further and allows her her wish. But when his third daughter falls in love with a Russian and wants to wed outside their faith he simply can’t bend that far. “If I try to bend that far, I will break.” The anti-semetic furor that accompanied the end of the Tsarist regime overtakes the entire enclave and Tevye and all his neighbors are forced to leave their homes.

The appeal of the short stories of Tevye’s life written by Sholem Aleichem is that they find the warmth of human affection and the miracle of human resiliency within such trying times. The appeal of the play that Arnold Perl wrote based on those stories is that he found a way to structure bits and pieces from many stories into a single, dramatically engrossing narrative. The appeal of the musical that drew off these stories and this play is that it not only retained its source material’s glory, it enhanced it with a score that was a perfect match – “If I Were A Rich Man,” “Matchmaker,” “Miracle of Miracles,” “Sunrise, Sunset,” “Far From The Home I Love.” No show is perfect and Fiddler does have a one-dimensional character in Tevye’s wife Golde, and a number of simplistic stereotypes. But it has so many marvelous elements it seems churlish to point these out.

DeSimone and James direct with a spirited pace that sometimes seems a bit too fast but serves to capture the humor and the energy of the piece. When they let it slow down a bit - for “Sabath Prayer,” "Do You Love Me?" and "Far From The Home I Love" the scenes and songs benefit from the contrast. DeSimone choreographed the last time and now shares choreography duties with her co-director, James. The dances remain energetic releases of joy. Together they create a clear and truly funny dream sequence. The production benefits from the solid musical direction of Doug Lawler who leads the small but effective pit band.

David Bosley-Reynolds returns as Tevye. His chats with his maker seem real conversations in his mind and the visible joy that his love for his daughters brings comes through as strongly as does his pain at the disintegration of his world, but his relationship with his wife Golde isn't as clearly portrayed here with Lynne R. Sigler in the role. Still, they do a lovely “Do You Love Me.” DeSimone and James also team up on stage. She plays Tzeitel, Tevye's eldest and he plays Motel, the penniless Tailor who weds her for love, not money. James plays the part with a bright clarity, some sharp comedy and a nice release on one of the greatest songs in the score, "Miracle of Miracles." Andrew Horn also does some very nice work, especially making the marriage negotiation scene with Tevye which breaks into song with "To Life" a highlight.

Music by Jerry Bock. Lyrics by Sheldon Harnick. Book by Joseph Stein based on Sholem Aleichem stories by special permission of Arnold D. Perl. Directed by Tina Marie DeSimone and David James. Musical direction by Doug Lawler. Design: David A. Hopkins (set) Janine Gulisano-Sunday (costumes) Lynn Joslin (lights) Galen Lande (sound) Kirstine M. Christiansen (photography) Tina Marie DeSimone (stage manager). Cast: Steve Apple, Jessica Ball, Heather Beck, David Bosley-Reynolds, Melynda Burdette, Tina Marie DeSimone, Byron Fenstermaker, Itzy Friedman, Bailey Gabrish, Jerry Gietka, Denise Glass, Katelyn Glass, Adam Grabau, Ray Hatch, Andrew Horn, Jonathan Jackson, David James, Daniel L. McDonald, Matthew Moore, Susan S. Porter, Shoshana Rose, Matthew Schleigh, Lynne R. Sigler, Joshua D. Singer, Greta Stetson, Ariel Vinitsky, Kate Williams, Victoria Winter.

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Running time 2:55 - one intermission
t A Potomac Stages Pick for a spirited performance of a delightfully entertaining musical
v Includes some sexual material and obscured nudity
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Storyline: The musical is set in Buffalo where unemployed steel workers, whose lives are corroding from inactivity and the blow of unemployment to their self esteem, take an unorthodox approach to their problem. They set out to put on a one-night-only strip in which they will do what the Chippendales do. But their promotion gets a bit out of hand when they promise to "go all the way" and do The Full Monty. Will they really bare it all? (Don’t leave early!)

Among the Toby's regulars in the cast are two that do some exceptionally fine work: David Bosley-Reynolds and David James. James does some of his finest work in the role of the would-be stripper who lands the job not because of his skill at dancing up walls like Donald O'Connor, but because of what he seems to display in his audition for a spot in the line of strippers. He's cheerfully anxious to go along with the plans while Bosley-Reynolds' initially stuffy character softens as the evening goes by and bonds with his male colleagues nicely. A standout performance in a small role, that of the actual Chippendale-style stripper, is delivered by Matt Johnson who does as much, if not more, with the part than did the original actor on Broadway.

David Hopkins' set, like the one of the original Broadway production, moves smoothly from scene to scene through the use of sliding panels of corrugated building materials and rolling structures like walls, beds, sinks and toilet stalls. Music direction is by Cedrick Lyles who also handles piano and conducts the six piece orchestra. At the performance we reviewed, the orchestra simply couldn't handle the tricky rhythmic twist of the opening. However, they then settled in and delivered satisfying support for the vocals and dance numbers. The flute work supporting "Big Ass Rock" as well as the woodwind support for the more conventionally lovely "Breeze Off The River" were both outstanding, and the energy displayed for the big dance number, "Michael Jordon's Ball," contributed a great deal to the good feelings the audience took with them into intermission. Thanks to a sparklingly upbeat score by newcomer David Yasbeck, a script that delivers both the humor and the heart in the storyline, and quality staging by director Munsey, this Full Monty is a satisfying package in nearly every respect.

Music and lyrics by David Yazbek. Book by Terrence McNally based on the motion picture written by Simon Beaufoy. Directed by Larry Munsey. Musical direction by Cedrick Lyles. Choreographed by Tina Marie DeSimone. Design: David A. Hopkins (set) Larry Munsey (costumes) Lynn Joslin (lights) John Suchy, Sound Logix (sound) Kirstine Christiansen (photography). Cast: Steven Antonsen, Jessica Ball, Heather Marie Beck, David Bosley-Reynolds, Dean Davis, Tina Marie DeSimone, Scean Flowers, Rebecca Garrahy, Adam Grabau, Ray Hatch, Andrew Horn, David James, Matt Johnson, Kevin McAllister, Daniel L. McDonald, Matt Moore, Larry Munsey, Ryan Patrick, Lynne R. Sigler, Lauren Spencer-Harris, Matt Summers, Ariel Vinitsky, Kate Williams.

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Running time 2:50 – one 30 minute intermission
The Christmas classic set to music
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Storyline: The musical based on the Frank Capra film tells the story of a man who comes to doubt that he has made a contribution to his family and his world, but who is shown just how much good he did when an angel trying to earn his wings shows him what life in his home town would have been had he not lived.

Michael Tilford’s lyrics never seem to find their voice, ranging from prose one moment to free verse the next to singsong after that. The cast never lets this show, singing each song with as much heart and warmth as they can muster. Particularly noteworthy was the performance of Becca Vourvoulas who plays Violet, the young woman who always wanted, but never won the heart of George Bailey. Ms. Vourvoulas is featured in two numbers in the show, one at the dance where George runs into Mary and another when she prowls Ernie’s dive bar after George has made his wish. Both performances are energetic, with dance and a clear voice that lifts the show beyond its limits for a moment. Also of note is Daniel McDonald as George’s father, Peter Bailey, who’s one song in the show, “The Greatest Gift,” portrays through feeling - if not the lyrics - a father’s love and wish for success for his son.

The set suffers only mildly from the low ceilings in the Baltimore Toby’s. Traveling from the Potters home to the drugstore where George worked to the building and loan is handled well using some automated and many manual movements while the performance continues to the side. One very impressive moment comes when Ernie’s dive transforms in mere seconds into the town cemetery where Ma Bailey mourns the loss of all the Bailey men. The costumes fit the period of the late 40’s and while some of the dance moves are new, they still seem fitting to the setting.

Everything could have worked much better if the actors had been given more to work with. At times the lyrics seem almost insulting in their simplicity and at other times one actor is singing lines to another who is speaking them, with no apparent reason for the different presentation. The show just doesn’t seem to be up to Toby’s normal standards, having received over 40 Helen Hayes nominations in the past ten years, but the cast as is often the case, is fantastic both as the wait staff and on stage, continuing the unique presentation where dinner is served by the star of the show.

Music by David Nehls. Lyrics by Michael Tilford & David Nehls. Adapted by Michael Tilford from the film by Frank Capra. Directed by Toby Orenstein. Choreographed by Tina DeSimone. Musical Direction by Reenie Codelka & Barry Hamilton. Design: David A Hopkins (set and light) Samn Huffer (costumes) Galen Lande (sound) Kirstine Christiansen (photography) Erin Radcliff (stage manager). Cast: Heather Marie Beck, Robert Bledermann, Melynda Burdette, Jonathan Cort, John Dellaporta, Tina Marie DeSimone, Katelyn Glass, Adam Grabau, David Gregory, Lauren Spencer-Harris, Andrew Horn, Samn Huffer, Dvid James, Meghan Jarvie, Kevyn Ann Jorgenson, Sheryl May, Daniel McDonald, Larry Munsey, Phil Olejack, David B, Reynolds, Matthew Schleigh, Lynne R. Sigler, Jason Speigel, Megan Tavares, Susan Thornton, Ariel Vinitsky, Becca Vourvoulas

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Reviewed March 30
Running time 2:45 - one intermission
A colorful, tuneful production
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Storyline: Linda Woolverton adapted the script she wrote for the 90 minute animated feature about a prince turned into a beast until he can learn to love and be loved in return.  She added depth and detail to the relationship between the prince/beast and the perky girl who has the temerity to read, think and dream for herself. She retained all the palace staff, who, as a side effect of the spell, are slowly turning into utensils.

Janine Gulisano-Sunday, with her bright eyes, clear voice and perky manner, makes a great Belle. The way she handles the well known songs from the movie, such as the patter-like opening "Belle" and those added for Broadway including "Home,"  makes you wish there were more songs for the part. Indeed, there is one more, and Toby's production includes it as well. "A Change In Me" in the second act was written in 1998 for pop-diva Toni Braxton when she briefly took over the role on Broadway. It is a pop-like song that does little to add to the story but gives one more solo to Belle, and Gulisano-Sunday makes the decision to keep it in the show a source of pleasure.

Also satisfying is Evan Shyer, who has taken on the role of the Beast this time. His booming voice makes highlights of both renditions of "If I Can't Love Her," the number that gives the end of the first act its sting, and the second act reprise. The role is intentionally broadly written so that the beast's personality can overcome the limitations of the mask/makeup, and it takes near-overacting to allow both the humor and the charm of the character show through. Russell Sunday, who has proven his prowess with strong dramatic singing roles, falls short in the broadly comic villain role of the conceited Gaston.

Among the strong supporting performers is Greg May, who does the highly physical shtick of Gaston's toady Lefou. The characters becoming household objects as a result of the spell that love must break are Darren McDonnell, being marvelously suave as the candlestick Lumiere, David James who repeats his role as Cogsworth, the officious servant in a panic at the prospect of becoming a clock, and Channez McQuay who is now in the role of the housekeeper turning into a teapot. She is quite good in the big title number. The entire ensemble performs with an energy and enthusiasm that is refreshing for this particular show. The last time we reviewed the show on Broadway, the ensemble seemed bored with their roles. Not so here -- the tankard clanking dance is twice as spirited as it was 200 miles to the north.

Music by Alan Menken. Lyrics by Howard Ashman and Tim Rice. Book by Linda Wolverton. Directed by Toby Orenstein. Choreographed by Ilona Kessell. Musical Direction by Doug Lawler and Christopher Youstra. Fight direction by Lorraine Ressiger. Design: David A. Hopkins (set) Samn Huffer (costumes) Janine Gulisano (wigs) Lynn Joslin (lights) Drew Dedrick (sound) Steven Fleming (stage manager). Cast: Charlie Abel, Jennifer Anderson, Heather Marie Beck, Raymond S. Brodsky or Jonathan Cort, Mary Kate Brouillet, Scott Brown, Tom Burns, Dianna Collins, Micayla Diener, Adam Grabau, David Gregory, Janine Gulisano-Sunday, Andrew Horn, David James, Laura Kelley, Roe Kizeik, Emily Levey, Greg May, Daniel L. McDonald, Darren McDonnell, Channez McQuay, Michael Rostek, Elliot Scher, Evan Shyer Quae Simpson, Russell Sunday, Jason, Wiggins.