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Running time 2:55 - one intermission
t A Potomac Stages Pick for a substantial mounting
 of this mega musical
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Storyline: The central plot of Victor Hugo’s massive novel of France between 1815 and 1832 has been streamlined to cover the story of a prisoner set free after serving time for stealing a loaf of bread. He assumes a new identity, rises to wealth and position and takes on the role of guardian for the young daughter of one of his employees. She grows into a young woman and falls in love with a student involved in the revolution, who, with her guardian’s secret help, survives the slaughter of the revolutionaries on the barricades.

The original staging of the musical with its glorious score by Claude-Michel Schönberg (with lyrics by Herbert Kretzmer based on the original French text by Alain Boublil and Jean-Marc Natel) is still going strong on London's West End where it originally opened in 1985! The Broadway version ran for fifteen years and has even been revived once. Now Fred Hanson, an old hand at mounting traveling versions of big shows, devised this re-staging for Atlanta's Theater of the Stars with stops here and in Houston and Kansas City. It is a solid-looking production using a large projection screen as a back wall surrounded by a frame providing doors, balcony's and windows while large set pieces such as segments of the barricade and the gate of the Mayor's house slide quietly into place. Some of the projections move to create effects. This works nicely for the sewers of Paris, but seems wasted and confusing when the big moment of Javert's suicide arrives. And, a show curtain with a blob obviously intended to look like the loaf of bread the hero stole to feed his sister's child is, unfortunately, used again and again in semi-darkness, becoming a confusing image at times. The intent of the designer became clear, however, when one woman in the audience was seen wearing a tee shirt bearing the legend "All this over a loaf of bread?"

The cast is strong of voice as well as body. Rob Hunt's work as Police Inspector Javert is impressive all night long and his solo, "Stars," before one of Borovay's loveliest projections is the highlight of the show. It isn't the only highlight, however. There's Deborah Lew's work on the song "In My Life," Rob Evan's tender "Bring Him Home," Jenny Fellner's big moment at the lip of the stage belting out "On My Own," Anderson Davis' touching rendition of "Empty Chairs at Empty Tables" and Edward Watts' full-throated portion of "Red and Black." Even smaller roles get some nice work. Joseph Dellger sings the solo for the Bishop that really starts the vocal delights with sensitivity and clarity. The role of the young Gravoche is better blocked by Hanson in this re-staging than it was on Broadway and was ably performed by Jake Schwencke on the night we reviewed the production. Only the roles of Monsieur and Madame Thenardier, the crooks who appear at many key points in the story, are disappointingly performed. Laurent Giroux singing is often out of balance with the orchestra and Cindy Benson's broad comic bits seem to lack setup.

The glories of Claude-Michel Schönberg's score are given fine treatments, not only in vocals of power and beauty, but in the playing of the thirty-member orchestra in the Filene Center's cavernous pit. With 3,766 seats under cover and room for an additional 3,100 people on the lawn, the show naturally relies on amplification of both voices and instruments. Peter Fitzgerald and Erich Bechtel provide a fine system for this, capturing the lushness as well as the brighter details of the orchestrations by John Cameron who did the originals lo those many years ago. The Broadway revival had new charts for a pit band of a mere 14. How nice that this production returns to the fullness that Schönberg's score demands and deserves.

Music by Claude-Michel Schönberg. Lyrics by Herbert Kretzmer. Original French text by Alain Boublil and Jean-Marc Natel. Based on the novel by Victor Hugo. Additional materials by James Fenton. Directed and choreographed by Fred Hanson. Music direction by Dan Riddle. Orchestrations by John Cameron. Design: Matt Kinley (scenery and images) Zachary Borovay (projections) Robert Fletcher (costumes) Cookie Jordan (hair, wigs and makeup) Ken Billington (lights) Peter Fitzgerald and Erich Bechtel (sound). Principal cast: Cindy Benson, Nikki Renee Daniels, Anderson Davis, Joseph Dellger, Rob Evan, Jenny Fellner, Laurent Giroux, Kylie Liya Goldstein, Rob Hunt, Deboarah Lew, Jake Schencke or Jimmy McEvoy, Carly Rose Sonenclar, Edward Watts.

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Running time 2:50 - one intermission
A solid traveling production on the occasion of
the classic's 50 anniversary
Click here to buy the original cast CD

Storyline: This 1957 transformation of the Romeo and Juliet story to the streets of New York City sets an Italian American street gang (the Jets) against a Puerto Rican gang (the Sharks). Tony, the former leader of the Jets, who is growing up and trying to break out of the gang life by working in Doc’s drug store, meets Maria, the sister of the leader of the Sharks. Tony and Maria fall instantly in love and, at Maria’s urging, Tony tries to prevent a rumble between the two gangs. Things go wrong, however, and in the ensuing knife fight Tony ends up killing Maria’s brother. In the explosion of hatred and prejudice that results, Tony, too, is killed.

West Side Story continues to grow in legend even if it wasn't an instant classic. When it opened on Broadway after an out of town tryout at the National Theatre in Washington in 1957, it got mixed reactions - in part because it was so unlike most other musicals that it was hard to see its strengths on first glance. (The Music Man was the Tony Award winner that year.) But it had its proponents from the start for its success at blending music, lyrics, script and dance into a unified whole telling a story that was at once contemporary and timeless. Dance tells more of the plot than had ever been the case before and lyrics carried the character while music unified it all. The movie version in 1961 solidified the success of the work and has made it a long-lasting staple of the American musical theater. Any quality production is sure to be satisfying and this one, mirroring the original direction and choreography quite closely, is certainly at that level. It doesn't rise above the rest of the revivals but it holds its own, providing a satisfying evening of theater. 

Tony and Maria here are Nathan Scherich, a handsome and virile young man who looks like one who might just be outgrowing his teenage gang years, and Sarah Darling, a pretty, even younger looking young woman. Both sing well and there is a hint of the appropriate chemistry for them as star-crossed lovers. The pair of Michael Balderrama, who carries himself with the prideful strut of a leader with more than just a chip on his shoulder, and Natascia Diaz as Bernardo and Anita provide a contrasting strength. Balderrama moves with ferocity. Diaz' work in the Potomac Region has included the pre-Broadway appearance of Man of La Mancha, the Sondheim Celebration's A Little Night Music and the Kennedy Center production of Carnival! Joey Calveri does a fine job as "Action" combining the anger and intensity of the early scenes with the fierce comedy of "Gee Officer Krupke."

The often glorious score is supported by an orchestra of 22, most of whom are local musicians hired for the week. The show does travel, however, with trumpeter Jeff Willfore whose contribution to the "Cool" ballet is notable, and drummer Don Yallech who lays down a solid beat under Mr. Bernstein's highly complicated and convoluted rhythmic compositions. The size of the Filene requires electronic amplification, of course, even for those in the front orchestra seats and the system in use for the show captures most of the rhythm, reeds and brass nicely while the strings fare less well even with five violins and two cellos. At times the vocals overtax the system as well and the muffling of wireless microphones during embraces is a bit distracting.

Music by Leonard Bernstein. Lyrics by Stephen Sondheim. Book by Arthur Laurents. Based on a conception of Jerome Robbins. Mr. Robins original direction and choreography reproduced by Alan Johnson. Musical direction by Janice Aubrey. Design: Leo B. Meyer (set) Kansas City Costumes Company (costumes) Ken Billington (lights) Peter Fitzgerald and Erich Bechtel (sound). Principal cast: Jack Aaron, Michael Balderrama, Joey Calveri, DJ Chase, Sarah Darling, Natascia Diaz, Leo Ash Evens, Stephanie Fittro, Kurt Kelly, Logan Keslar, Josh Montgomery, Dale Radunz, Nathan Scherich, Jay Scovill, Christopher Sergeeff, Vanessa Van Vrancken, Donald Warfield.

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Running time 2:35 - one intermission
t A Potomac Stages Pick for a bright new production of the popular musical
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Storyline: Disney’s 90 minute animated feature about a prince turned into a beast until he can learn to love and be loved in return has been fleshed out, expanded and given half a dozen additional songs in this full musical theater version.  There is added depth and detail in the relationship between the prince/beast and the perky girl who has the temerity to read, think and dream for herself.  This version retains all the palace staff, who, as a side effect of the spell, are slowly turning into utensils.

Linda Wolverton, who wrote the script for the movie and then the book for the musical, made the beast a more sympathetic character than in the cartoon movie. In a deft piece of plotting, she added a touching element to the movie’s sequence in which the Beast gives his library to the book-loving Belle. She has him reveal that he never learned to read. Belle reads her favorite book to him. His "I never knew books could . . . let me forget who – what I am" gives a poignancy to his character that is delicious and a depth to their burgeoning romance that is much more understandable. It lets us see just what she might have seen in him.

Murin brings both a clear voice and a youthful beauty to the role of the beauty Belle. Her big moment is the second act song that was added during Toni Braxton’s turn in the part, "A Change in Me." Her Beast is Michael Halling, who, among other notable claims to fame both on Broadway and in regional theater, was one of the two actors who served as standbys for Hugh Jackman who never missed a performance during the run of The Boy from Oz. Halling's voice is given an unnecessary reverberation through the sound system which harms some of the more tender moments like the marvelous “If I Can’t Love Her” but certainly makes his roar as a beast impressive.

This Gaston is Tony Lawson, who played the role in the national tour of the Disney production. He is very good in the conceited oafishness with such fabulously mocking lines as "We shall be the perfect pair - - rather like my thighs." Among the household staff who are becoming household objects under the witch’s evil spell are James Young as the the suave Lumiere who is becoming a candlestick, and Michael Fitzpatrick as the officious butler well on his way to becoming a clock. Bernardine Mitchell, who was so good in the title role in last year's bio-musical at MetroStage, Mahalia, is in equally fine voice for the role of the teapot, Mrs. Potts. It is a shame the part doesn't have more songs for her work on the title song is beautiful.

Music by Alan Menken. Lyrics by Howard Ashman and Tim Rice. Book by Linda Woolverton. Directed by Drew Scott Harris. Choreography by Norb Joerder. Musical direction by Michael Biagii. Design: J. Branson (set) Tiia E. Torchia and Shawn-Adrian Decou (costumes) Katie Ward (hair and make-up) Ben Pearcy (lights) Peter Fitzgerald (sound) Scott Suchman (photography). Cast:  Ray DeMattis,  Michael Fitzpatrick, Markelle Gay, Michael Halling, Nancy Johnston, Tony Lawson, Bernardine Mitchell, Patti Murin, Paige Price, Courter Simmons, James Young.

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Running time 2:45 - one intermission
A "Family Friendly" musical proves surprisingly threatening for "little girls"
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Storyline: In the depths of the depression of the 1930s, a Billionaire by the name of Warbucks sends his secretary to a New York City orphanage to select a lucky youngster to spend the Christmas holiday in his mansion. She comes back with "Little Orphan Annie" who charms everyone in the place - the staff and the billionaire. He decides to adopt her, but she still holds out hope that the parents who left her on the steps of the orphanage as an infant will fulfill their pledge to come back for her. Warbucks enlists the help of the FBI to track them down and offers a reward, which the mean mistress of the orphanage and her brother plot to collect. But no second rate crooks can outwit J Edgar Hoover, FDR, Daddy Warbucks and Annie!

"Never mind Miss Hannigan," many would say, "how's the kid?" Here it's Marissa O'Donnell, and in the fine tradition of the show, she's simply marvelous. She belts out "Tomorrow" with panache, she handles the dog "Sandy" calmly, she plays scenes with other kids (many of whom are talented enough to steal the scenes) and with adults with a sense of assurance, and she bonds with her Daddy Warbucks, Conrad John Schuck, with warmth and humor. Schuck is a fine blustery billionaire and he shows the development of his affection for Annie clearly. His silent reaction to the discovery that apparently he can't adopt Annie because her parents have come to re-claim her (don't worry, the problem is soon dispensed with) is sublimely sentimental. Plus, he's got the chops to deliver "Something Was Missing" beautifully.

The true joy of the show, however, is in the sequences for the orphans. Amanda Balon is a delight as the diminutive "Molly," and all six urchins are good - "It's the Hard-Knock Life" works like a charm, and their parody of the 1930s radio singing commercial "You're Never Fully Dressed Without a Smile" is great fun.  Under the baton of Keith Levenson, however, these are probably the only two really sprightly moments in a score that is often filled with them. "N.Y.C. and even "Easy Street" seem slow by comparison and, especially given the rather mushy sound in the cavernous and wide-open interior of the Filene Center, the full orchestra often feels sluggish.

Legendary designer Ming Cho Lee has come up with new sets for this tour which sometimes seem flimsy and at others seem impressive.  His Hooverville under a highway bridge where the homeless of the depression sing out the biting "We'd Like To Thank You (Herbert Hoover)" is striking, and his Christmas Eve snowfall effect, as lit by Ken Billington, makes the world of wealth of Daddy Warbucks seem like the loveliest of souvenir snow globes.

Music by Charles Strouse. Lyrics by Martin Charnin. Book by Thomas Meehan. Directed by Martin Charnin. Original choreography by Peter Gennaro. New Choreography by Liza Gennaro. Musical Direction by Keith Levenson. Design: Ming Cho Lee (set) Theoni V. Aldredge (original costumes) Jimm Halliday (additional costumes) Bernie Ardia (hair) Ken Billington (lights) Peter Hylenski (sound) Scott Suchman (photography). Cast: Alan Baker, Amanda Balon, Taylor Bright, Elizabeth Broadhurst, Julie Cardia, David Chernault, Jocelyn Chmielewski, Kelly Linn Cosme, Richard Costa, Jennifer Evans, Brian Michael Hoffman, Aaron Kaburick, Allen Kendall, Delaney Moro, Marissa O'Donnell, Monica L. Patton, Katherine Pecevich, Brittany Portman, Liz Power, Alene Robertson, Conrad John Schuck, Harry Turpin, Christopher Vettel, Casey Whyland, Scott Willis.

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Reviewed August 30
Running time 2:50 - one intermission
t A Potomac Stages Pick for a glorious production of one of the great American musicals
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Storyline: A misogynistic English linguist believes that "the way an Englishman speaks absolutely classifies him." He takes on a project of teaching a "guttersnipe" flower girl how to speak to demonstrate that it is words like "Aoooow" and "garn" that keep her in her place, "not her wretched clothes and dirty face." Once the project is complete, however, he discovers that he has "Grown Accustomed to Her Face" and fallen in love.

Alan Jay Lerner's book may borrow a great deal from his source, George Bernard Shaw's acerbic criticism of class distinctions, but he softened the harshness at just the right places and came up with a new ending that was more in keeping with the traditions of the Broadway stage. His lyrics shine with a polish, a delight in craftsmanship and a genuine sense of valuing the very language the show extols. The music of Frederick Loewe is never anything less than gorgeous and melds perfectly with even Lerner's simpler lyrics. The loveliness of "Wouldn't It Be Loverly" and the lilt underlying what reads like a simplistic lyric makes poetry out of "I Could Have Danced All Night." The team transformed a secondary character, that of the flower girl's father, into a role perfect for a music hall headliner to get some contrasting scenes, and came up with highlights such as "With a Little Bit of Luck" and "Get Me To The Church On Time," while the plight of the suitor for the girl's hand had the timeless "On the Street Where You Live." 

Marla Schaffel, so fine as Jane Eyer on Broadway, makes a loverly flower girl and a dazzling lady with charm and spunk and just the right sense of self worth that makes her so much more than just the creation of her diction coach. John Vickery, who originated the role of Scar in The Lion King on Broadway, is a precise and meticulous presence as the linguist who takes her in as the subject of an experiment. She comes across as a bit older than her character and he's a fairly young professor, so the age gap between them is less than you might expect, but that creates no real problem for this story. Rob Donohoe sells the music hall routines of the father well and Jim Weitzer is appealing as the besotted young man who would be happy to stay on the street where she lives.

As a traveling company, this production relies on one major set (the professor's study) with painted drops for most of the rest of the locales. This is in keeping with the feel of musicals of the period and the paintings on those drops - forced perspective sketches of Covent Gardens, Ascot park, Wimpole Street and the like - are very good although the drops do ripple in the wind given Wolf Trap's semi-outdoor situation. Only the ballroom setting seems skimpy and that is partially due to the smallish size of the dancing ensemble. However, no touring company could afford the size ensemble from the original (the opening night cast on Broadway was 48 - the tour travels with a cast of 25 which is large by modern standards). The local orchestra nearly outnumbers the on-stage cast with 23 players under the direction of Tom Griffin. They sound very good indeed through Peter Fitzgerald's sound system, with even the lovely harp of Caroline Gregg clearly heard in the softer moments.

Music by Frederick Loewe. Book and lyrics by Alan Jay Lerner. Directed by Drew Scott Harris. Choreography by Lisa Guignard. Musical direction by Tom Griffin. Design: Kenneth Foy (set) Costume World (costumes) Ben Pearcy (lights) Peter Fitzgerald (sound) Marc Bryan Brown (photography). Cast: Eric Catania, Rob Donohoe, Adrienne Doucette, Mike Erickson, Jennifer Evans, Timothy Ford, Ellen Horst, Jerrica Knight-Catania, Gannon McHale, Garrett Miller, Christopher Ryan, Natalie Ryder, Marla Schaffel, Larissa Shukis, Melinda Tanner, James Valentine, John Vickery, Jim Weitzer, James Young.

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Reviewed July 19
Running time:  2:10 - two intermissions
t A Potomac Stages Pick for a notable performance
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Storyline: Peter Pan has flown in from Neverland to hear Wendy tuck in her brothers in the London home of the Darling family. He teaches them all how to fly so they can come back with him and Wendy can be the mother for the lost boys who spend their time fighting pirates and Indians. When Peter saves the Indian princess, Tiger Lily, from the pirates, a truce is arranged. The Pirates' leader, Capt. Hook, however, is still on the hunt for Peter who had cut off his hand in a sword fight. Hook has to be careful because a crocodile ate the hand and decided he liked it so much he's searching for the rest of the Captain. Hook tries to poison Peter but the fairy Tinker Bell consumes the poison to save him. He implores all the children in the world who believe in fairies to applaud and the sound saves Tinker Bell's life.

Of course, it is the flying that will linger in the mind, especially the mind of those children who first experience the magic of live musical theater with this timeless classic. All the flying effects during the show are of the up and down, right to left and back again variety. The acrobatic ability of Ms. Rigby - who first came to public prominence as a gymnast (hold on to your hat - her victory in Yugoslavia where she became the first American ever to win a medal in the World Championship meet was thirty-five years ago!) - is put to great use making these lateral swings seem the essence of freedom. She saves the very best for the very last, her curtain call when flight becomes a three dimensional thing as she swoops out into the cavernous space over the heads of those in the orchestra section.

Sir James Barrie's 1904 play has stimulated a number of versions. In 1950 Leonard Bernstein took a crack at it for Jean Arthur (click here to read our review of the recording of this version.) In 1953 Disney made an animated movie with songs by Sammy Fain and Sammy Cahn. Hallmark Hall of Fame had a version in 1976 with songs from Anthony Newley and Leslie Bricusse. Stephen Spielberg churned out a non-musical "Hook" in 1991. For most, however, the version on which this production is based is the one to remember. It is the one that Mary Martin did not only on Broadway but on TV. New orchestrations and vocal arrangements by Crag Barna and a team of four others produce a strong sound. He and Steve Bartosik are credited with the rhythmic explosions of "Ugg-A-Wugg" but much credit for the strength of that number must go to both choreographer Patti Columbo and the work of the entire cast.

The production is clearly intended for kids (and those who wish they either were kids or had some to bring along) with two intermissions to give young and old a chance to "get the wiggles out" and make the relatively lengthy evening go by fairly rapidly. The first act is extremely fast paced and lasts only 35 minutes. The early part of Act II drags a bit but soon that "Ugg-A-Wugg" number sparks thing all over again. Howard McGillin makes a marvelously humorous villain as Capt. Hook playing opposite a delightful Patrick Richwood as his lackey Mr. Smee.

A musical production of the play by Sir James Barrie. Music by Moose Charlap. Lyrics by Carolyn Leigh. Additional music by Jule Styne. Additional lyrics by Betty Comden and Adolph Green. Directed by Glenn Casale. Choreogaphy by Patti Colombo. Musical direction, orchestrations, vocal arrangements and new dance music by Craig Barna. Flying sequences designed by Paul Rubin. Design: John Iacovelli (set) Shigeru Yaji (costumes) Monica Sabedra (wigs) Tom Ruzika (lights) Julie Ferrin (sound) Craig Schwartz (photography) Michael McEowen (stage manager). Cast: Nathan Balser, Jordan Bass, Omar D. Brancato, Michael G. Hawkins, Tiffany Helland, Janet Higgins, Gavin Leatherwood, Tracy Lore, Theresa McCoy, Lauren Masiello, Ryan Mason, Howard McGillin, Lindsay Nickerson, Patrick Richwood, Kathy Rigby, Elisa Sagardia, Shawn Moriah Sullivan, Tony Spinosa, Luis Villabon.

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Reviewed August 31
Running time 3:00 - one intermission
t A Potomac Stages Pick for sumptuous score and staging plus Sandy Duncan
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Storyline: In the 1860's British widow Anna Leonowens arrives with her young son in Bangkok to assume the post of school teacher for the King's many children. Her western ways intrigue the court, and the King's earnestness and essential goodness within the strictures of a culture that is strange to her captures her heart. Each learns essential lessons from the other in a romance of the intellect.

The King here is local Jeb Stuart High School alum Martin Vidnovic, who gives the part the stage presence and command that it requires, but who doesn't overpower an evening that clearly belongs to Duncan. From her entrance and first song, "Whistle a Happy Tune," when she first demonstrates a semi-conversational way of easing into a song and a fine, full voice for the strong melodies of Richard Rodgers, she owns the role. Her haughty Mrs. Anna melts nicely at the introduction of the King's delightful children, and holds her own in the verbal contests of will with Vidnovic. The release of "Shall We Dance" is a delight. Duncan's charm even extended to the curtain call, when breaking out of the reserve of "Mrs. Anna," she seemed positively giddy at the reception of the audience and very appreciative of the contributions of her colleagues. She even stepped downstage to mouth to the orchestra in the pit "thank you all!" and then led applause for the signers interpreting in sign language from the side of the stage. 

This is the only touring musical to visit Wolf Trap this season that is a fully unionized show under contract with Actors Equity, so it is possible to compare and contrast the quality of the cast with that of the shows that came this way before. In general, it isn't a great deal better. Oh, the leads are stronger - Duncan and Vidnovic are a notch or more above Mark McCracken (Oliver's Fagan) or Brandon Andrus and Amanda Rose (Oklahoma!'s Curley and Laurey), but the rest of the cast is at about the same level as the supporting casts of the other productions. All three shows offer thoroughly professional performances across the board although some, of course, are better than others. In this King and I the standouts in supporting roles include Catherine MiEun Choi whose dignity shines through as her voice soars as Lady Thiang, the King's number one wife, and Hal Davis whose elegance and charm as the British government's representative who is an old acquaintance of Mrs. Anna gives a hint of the society she left behind. Among the disappointments was Martin Sola, who, as doomed lover Lun Tha, evidenced no real romantic attachment to the woman he'd risk his life for, Luz Lor's Tuptim. 

Rodgers music is, of course, legendarily beautiful, including such lovely songs as "Hello, Young Lovers," "We Kiss in a Shadow" and "Something Wonderful." Hammerstein's lyrics are similarly marvelous and the book he crafted is a textbook case of storytelling with one significant exception. It was the fashion of the time, based on the successes of the earlier works of these same two men (Oklahoma!, Carousel, South Pacific), to have a "dream ballet" or other dance piece featured in a romantic musical. Here it was a fifteen-minute dance version of Harriet Beecher Stowe's Uncle Tom's Cabin which emerged as Jerome Robbins' dance "The Small House of Uncle Thomas." It is a show stopper of the wrong kind, putting a hole in the middle of the second act which is already a bit too long. Of course, you can always just sit back and enjoy the physical splendor of the show. Kenneth Foy's set designs are nothing short of dazzling within the constraints of a touring company, and they look spectacular under John McLain's warm lighting, as do Roger Kirk's opulent costumes. As a result, the show has the lovely look of its original. The sound design is credited in part to a legendary figure in the musical theater, Abe Jacob. As you would expect, that means this production boasts a well thought out scheme, but, at least through Wolf Traps' system, it comes across with a treble heavy tinnyness that gets in the way of understanding some of the voices, most notably that of Martin Vidnovic.

Music by Richard Rodgers. Book and Lyrics by Oscar Hammerstein II. Directed by Baayork Lee. Jerome Robbins' choreography recreated by Susan Kikuchi. Music direction by Kevin Farrell. Design: Kenneth Foy (set) Roger Kirk (costumes) David H Lawrence and Wanda Gregory (hair/wigs) John McLain (lights) Abe Jacob and Mark Cowburn (sound) Scott Suchman (photography). Cast: Ronald M. Banks, Lou Castro, Daphne Chen, Catherine MiEun Choi, Hal Davis, Sandy Duncan, Scott Kitajima, Luz Lor, Patrick Minor, Martin Sola, Natalie Turner, Martin Vidnovic, Sally Wong.

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Reviewed July 13
Running time: 2:40 - one intermission
t A Potomac Stages Pick for a quality production of a classic musical
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Storyline: The basic tale of Charles Dickens' "Oliver Twist" is compressed into two and a half hours with sixteen songs. In a London orphanage, young Oliver has the temerity to beg for a second helping of gruel and is summarily sold off to an undertaker who needs a child mourner for his funerals. He escapes that fate only to be taken into a gang of pickpockets run by Mr. Fagan. He's wrongly arrested for picking a pocket when he was only observing the technique of his tutor, the Artful Dodger. In the meantime, barmaid Nancy has difficulties with her abusive lover Bill Sikes. When Oliver's accuser turns out to be a wealthy gentleman who, finding that he wrongly accused the lad, takes him under his protection, Bill Sikes sees a way to profit but Nancy comes to the boy's rescue with fatal results.

Dickens' sprawling story with dozens of major characters had to be compressed and streamlined in order to fit within the confines of a single evening. Bart used the techniques of British music halls with their broad characterizations, simple humor and energetic musical numbers to move the story along briskly. He kept Dickens' horde of urchins, giving a youthful vigor and charm to the piece, with Oliver himself singing the lovely "Where is Love?" and the Artful Dodger participating in the merriment with "I'd Do Anything." Here we have a nine-year-old old bundle of stage presence, Ryan Tutton, as Oliver. Andrew Blau as The Artful Dodger isn't much older, being a ninth grader out on tour.

Fagan is the adult backbone of the story and any successful production requires a strong performance in the role. Here Mark McCracken, whose background includes both legitimate theater and improvisational and sketch comedy, is at his best tossing off music hall gags (at one point in his big act one song "You've Got To Pick A Pocket or Two" he advises the urchins he's singing with that they are so good they "should go on tour"). Later, he gets a bit lost in the convolutions of his big second act number "Renewing the Situation."  The show-stopping numbers are sung by the barmaid, here given glorious voice (and not inconsequentially, gorgeous form) by Renata Reneé Wilson, who holds the big note on "needs" in "As Long As He Needs Me" not once but twice, garnering raucous crowd responses on both the first time through and on the reprise. Unfortunately, the "he" that needs her isn't given such a strong performance. The role of Bill Sikes should be horrifyingly threatening from the first notes of "My Name!" but Shane R. Tanner who plays the role here takes a good while to build up to the level of evil that makes sense of the fact that everyone seems to quake at the mere mention of his name.

This is a solid and substantial production with impressive sets for a short-stop tour, a closet full of great costumes, a number of memorable lighting effects (especially the snowflakes that slowly fall strait down in an early scene while the speaker system incongruously carries the sound of a strong wind), a fabulous sounding orchestra in the pit playing the orchestrations revised for the revival, and fine ensemble singing. The choreography is particularly impressive. The opening effect of the orphans marching up from the pit in search of "Food Glorious Food " builds into a "glorious" scene that kicks off a fine evening.

Music, lyrics and book by Lionel Bart. Directed by Graham Gill. Original musical staging by Matthew Bourne. Additional choreography and musical staging adapted by Geoffrey Garratt. Orchestrations by William David Brohn.  Music direction by Dominick Amendum. Design: Adrian Vaux (set) Anthony Ward (costumes) Jenny Kagan (lights) Peter Grubb/System Sound (sound) Scott Suchman (photography) Victoria Navarro (stage manager). Cast: Josie Andrews, Colin Bates, Gabe Belyeu, Andrew Blau, Deborah Bowman, Nathaniel M. Cherry, Carrie Cimma, Gwen Eyster, Jimmy Flannery, Theresa Fowler, Kelly Marie Furlough, David L.J. George, Mark Ginsburg, Forrest Hedden, Bryan R. Knowlton, Kelly MacGregor, Kimberly Xavier Martins, Mark McCracken, Michael McKinsey, Amanda Lee Miller, Christina Morrell, Matthew J. Rodgers, John Saunders, Connor Senning, Kerry Sensenbach, Nathan Spector, Shane R. Tanner, Clay Thomson, Samuel P. Todd, IV, Mary-Ann Trippet, Ryan Tutton, Christian David VanNasdall, Lauren Verfenstein, Annamarie Vukmanovich, Christian A. Warner, Guy Wegener, Sarah White, Justin Wilcox, Koby Williamson, Renata Reneé Wilson, Tucker Worley.

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Reviewed June 24
Running time 2:50 - one intermission
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Storyline: In the Oklahoma Territory of 1907, cowhand Curley is stuck on lovely Laurey but can't get past his flirting to get up the gumption to actually invite her to the box social. The consequence of his hesitation is her agreeing to go with disreputable hired hand Jud Fry. The competition for Laurey's hand reaches tragic proportions with Jud dead and Curly standing trial for his murder on what should be his happy wedding night. But prairie justice recognizes self defense, freeing the young couple to start their lives in the territory that is about to become the great state of Oklahoma!

Among the performers who deliver the most impressive performances are the leading lovers, Brandon Andrus whose clear voice and easy charm make him an attractive Curley, and Amanda Rose as a nicely spunky Laurey, whose attractive femininity is clear even in farm overalls, and who dances the dream ballet with grace. There is a chemistry between them from the opening moments in the charming "The Surrey with the Fringe on Top." Pat Sibley is marvelous as a feisty Aunt Eller and Tom Lucca gets both facets of the Jud Fry character just right -- he's simultaneously hateful and pitiable.

The couple playing the secondary pair of lovers is almost as good. The dim bulb but ever positive Will Parker who just got back from Kansas City is given a bright portrayal by Daniel Robinson. His girl who "Cain't Say No" is delightfully perky in the person of Sarah Shahinian. Together, they make "All er Nothin'" a real delight. Colin Trahan has less success with the role of the traveling salesman/peddler, but the part has been the most difficult of them all as the decades have gone by since the show first opened in 1943. The ethnic humor and the cheap stereotype of what was once "the Jewish comic" role (even when ostensibly, as here, a "Persian peddler") doesn't translate well after sixty years of increasing awareness of insulting characterizations.

Packing this show up to travel for short stands required some downscaling of the massive set designed by Anthony Ward but the translation was skillfully done and most of the images remain fresh. They travel with their own turntable stage which means that they can't adjust the width of the stage for individual theaters. On Wolf Trap's exceptionally wide stage, the narrow platform seems a bit small but your eye adjusts just as it does when you watch a wide screen movie on your nearly square television. Here there are the open sky with the scudding clouds that marked the original, the single structure that rotates to serve as farmhouse, barn and smokehouse and the field of corn "as high as an elephant's eye." The prairie horizon that was so impressive before, however, looks more like a cheap cutout here, and they dispensed with the actual raising of the barn that opens Act II with "The Farmer and the Cowman." Still, that number is danced with joyous release, clearly the best dancing of the night by the full ensemble.

Music by Richard Rodgers. Book and Lyrics by Oscar Hammerstein II. Directed by Fred Hanson based on the direction of Trevor Nunn. Choreographed by Ginger Thatcher recreated from the choreography of Susan Stroman. Fight choreography by Malcolm Ranson. Original orchestrations by Robert Russell Bennett. Additional orchestrations by William David Brohn. New dance music by David Krane. Music supervisor John Mezzio. Design: Anthony Ward (set and costumes) David Hersey with adaptation by Ted Mather (lights) Brian Ronan (sound) Joan Marcus (photography) Trinity Wheeler (stage manager). Cast: Brandon Andrus, Gordon Gray, Tom Lucca, M. Erik Michelsen, Amanda Rose, Sarah Shahinian, Pat Sibley, Daniel Robinson, Colin Trahan and ensemble.

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August 26 – 31, 2003
Thoroughly Modern Millie

Reviewed August 26
Running time 2 hours 40 minutes
t Potomac Stages Pick

Storyline: Retaining the basic story of the famous movie, the Broadway musical tells of a young woman who comes to New York at the height of the flapper era determined to follow Vogue’s advice to the modern woman – marry money. In the process, she stumbles into a "white slavery" racket that kidnaps unattached young women who come to New York to break into show business and ships them off to China to become street walkers. Naturally, she breaks up the criminal activity while finding true love.

The touring cast is every bit as good as the original Broadway cast. Darcie Roberts gets more out of the physical comedy of the title role than the Tony-Award winning Sutton Foster did while belting the big numbers and tapping away with aplomb. Her acrobatic comic bit in which she gets tangled up under her typing desk earned a round of applause, not just lots of laughs. Sean Allan Krill doesn’t dance quite as well as Marc Kudisch did in the original as the boss Millie sets her sights on, but he’s fabulous at singing the operetta material from lush romantics to patter songs and gets all the comedy just right. Millie’s true love interest is nicely played by Matt Cavenaugh who just closed as the star of Urban Cowboy on Broadway. Hollis Resnik is very funny as the faux-Chinese villain and Pamela Isaacs soars on her two big blues numbers as a wealthy club singer.

The score very properly and effectively lifts material from the original movie and adds some nice new material. There are ten new songs. Some of the show’s best musical moments come from music composed by James Van Heusen (the title song), Jay Thompson ("Jimmy"), Peter Il’ych Tchaikovsky ("The Nuttycracker Suite"), Sir Arthur Sullivan ("The Speed Test") and Victor Herbert ("I’m Falling in Love with Someone"). There’s even a little Offenbach in the orchestra. The songs that were written by Jeanine Tesori and Dick Scanlan specifically for the musical are nice and one is even a standout – "Forget About the Boy."

The book that Scanlan cobbled together with screenplay writer Richard Morris has its problems, but the book isn’t the real reason for doing this show and, when it really counts, it delivers. A key factor for any musical playing Wolf Trap’s Filene Center is the quality of the sound design and its execution, for there can be as many as 4,000 people under the roof and nearly as many out on the lawn. Here John Weston’s design is nearly flawlessly executed. The tour’s sets aren’t as brightly colored or art deco-ish as the Broadway version. They seem a tad flimsy and fail to fill the cavernous stage of Wolf Trap’s Filene Center, but set designer, David Gallo, has added a nice touch of an Alexander Calder mobile hanging in the penthouse suite of the wealthy club singer. The set for the sky scrapper ledge on which Millie and her beaux cavort is nicely done (only in musical comedy would breaking into a soft shoe on a sky scrapper’s ledge seem not only sensible but inevitable) and the drop-down screen for the translation of ... well, lets not give away all the gags!

Music by Jeanine Tesori and others. Book by Richard Morris and Dick Scanlan. Lyrics by Dick Scanlan and others. Directed by Michael Mayer. Choreography by Rob Ashford. Orchestrations by Doug Besterman and Ralph Burns. Dance arrangements by David Chase. Music direction by Eric Stern. Design: David Gallo (set) Martin Pakledinaz (costumes) Donald Holder (lights) Jon Weston (sound). Cast: Bradley Benjamin, Renée Monique Brown, Matt Cavenaugh, Jeremy Davis, Juliana Ashley Hansen, Pamela Isaacs, Diana Kaarina, Sean Allan Krill, Rachel Lafer, Joe Langworth, Mark Ledbetter, Darren Lee, Troy Magino Daniel May, Andrew Pang, Heather Parcells, Diane Veronica Phelan, Mia Price, Hollis Resnik, Darcie Roberts, Janelle A. Robinson, Paul Schaefer, Laura Shoop, Steven Wenslawski, Tony Yazbeck. 

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Reviewed August 27
Running time 2 hours 45 minutes
Price range $18 - $55

Written by Peter Stone. Music by Jule Styne. Lyrics by Bob Merrill. Directed/Choreographed by Dan Siretta. Design: James Leonard Joy (sets) Suzy Benizinger (costumes) David H. Lawrence (hair) Ken Billington (lights) Christopher K. Bond (sound). Cast: Tony Curtis, Jodi Carmeli, Timothy Gulan, Arthur Hanket, William Ryall, Lenora Nemetz, Gerry Vichi.

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Reviewed August 16
Running time 3 hours 5 minutes
Price range $18 - $48

Music by Kurt Weill. Lyrics by Langston Hughes. Book by Elmer Rice. Directed by Garnett Bruce. Conducted by Richard Bado. Choreographed by Karma Camp. Design: Adrianne Lobel (set) Martin Pakledinaz (costumes) Tom Mays (lights). Cast: Carolyn Betty, Angela Fout, Oren Gradus, Anne Hawthorne, Stephen Gregory Smith, Ryan Taylor, Angela Gilbert, Joel Snyder, Miranda Rowe, Terri Eschul Malone, Adriana Zabala, Stacey Rishoi, Eugene Galvin, Joyce Lundy, Elizabeth McNamara, Alan T. Reed, Josh Hawkins, Patrick Marques, Jason Ferrante, Carleton Chambers, Marty Lodge, Ross Hauck, Leslie Luxemburg, Elisha Hipólito, Benjamin Winnick, Emily James, Linda Kirk, Jennifer Blades.

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Reviewed June 25
Running time 2 hours 40 minutes

Music by Leonard Bernstein. Lyrics by Stephen Sondheim. Book by Arthur Laurents. Entire original production directed and choreographed by Jerome Robbins. Directed and choreographed by Alan Johnson. Design: Leo B. Meyer (set) Ken Billington (lights) Lynn Bowling (costumes) Abe Jacob (sound). Cast: Drew Niles, Natasha Harper, Andy Blankenbuehler, Dale Radunz, Neal Hemphill, Ricky Cortez, Lynn Sterling, Dennis Stow, Jack Aaron, Stephanie Fittro, Shane Kirkpatrick.