There is a song in The Last Five Years titled, “I Can Do Better Than That” and if The Montgomery Playhouse & Theatre @ CBT want to fill the seats, Producers David Jones and Elizabeth Weiss really need to do better. To ad lib a line from Mel Brooks, “What they did to Jason Robert Brown, Booth did to Lincoln.” When you put up a show with only two actors and music by JRB you need to make sure that your actors and Musical Director are up to the task.
Adam Grant wrote, “The culture of a workplace – an organization’s values, norms and practices – has a huge impact on our happiness and success.” Never has this been truer than in Branden Jacobs-Jenkins’ Gloria, Directed by Kip Fagan at the Woolly Mammoth Theatre Company.
Fagan has a clear understanding of Jacob-Jenkins’ work, and his staging is brilliant. Life, especially in the work place, is full of ups and downs,
“How do rumors get started, they’re started by the jealous people and….,” no wait, that was the Timex Social Club. We’re talking Neil Simon’s Rumors at The Colonial Players. The Maryland General Assembly may not be in session but Director Atticus Cooper Boidy has Annapolis all a buzz. Simply put, Mr. Boidy delivers perhaps the best production you’ll see in the state capitol this year. His understanding of comedic timing and how to navigate a farce is incredible.
Happiness is finding a pencil, pizza with sausage, telling the time. Happiness is learning to whistle, tying your shoe for the very first time. Happiness is playing the drum in your own school band, and happiness is spending an evening with the cast and crew of Artistic Synergy of Baltimore’s You’re A Good Man Charlie Brown, Directed by Melissa Broy Fortson, with Musical Direction by Michelle Bruno.
ASoB has elevated their production from show status to a concept,
You gotta have heart. All you really need is heart. Well, heart, a talented cast, dynamite dancing, and a few catchy tunes if you want to score like the folks at Pasadena Theatre Company. Their recent production of Damn Yankees, Directed by Chuck Dick, with Musical Direction by Robert White is, well, a hit.
The Humanities Recital Hall on the campus of Anne Arundel Community College is a nice venue for this production.
Ed Higgins, as Alan Turing says in one scene, “It’s about right and wrong.” How Do You Like Me Now Productions (HDYLMNP) understands this and gets it right again with Hugh Whitemore’s Breaking the Code. If there is one thing that we have learned about HDYLMNP throughout the years, it’s that they will take an issue, put it in your face, and make you aware of something that you needed to be made aware.
“Well, I suppose there are two ways to look at this I mean, true I am here in a foreign country with a dead man in a wheelchair, trying to pretend that nothing is wrong, and having to do all sorts of things I don’t even want to think about. On the other hand, this is a chance to earn a great deal of money in a very short time. So, for once in my life I shall think positive I will think positive.” – Harry Witherspoon
I’m positive that you will have a wonderful time at Colonial Players’ Lucky Stiff,
I thought that love was only true in fairytales…. Then I saw Shrek, directed by Stephen Napp, at Charm City Players and now I’m a believer! The Charm City Players are in residence at the Harry and Jeanette Weinberg Auditorium at Mercy High School.
If it were possible to capture the very definition of “collaborative theatre”, then there would have to be a reference to Charm City Players. From the moment that you walk into the theatre,
Dundalk Community Theatre brings to stage the classic coming of age story, “The Graduate”, Directed by Todd Starkey, with scene/lighting/sound design by Marc W. Smith, and costumer Eva Grove. As I am a fan of Mr. Starkey’s work, I was very much looking forward to this production. Having seen his phenomenal direction of Assassins, and his brilliant portrayal of Professor Callahan, perhaps I set the bar too high for this one.
Sometimes what we long for is staring us right in the face. This could not be a truer example than in Leonard Bernstein’s Trouble In Tahiti, Directed by David Schweitzer, with Musical Direction by Benjamin Shaver, now playing at Stillpointe Theatre.
From the moment that you enter the venue, you are captivated by Scenic/Properties Designer Ryan Haase’s transformation of an upper church room into a 1950’s “supper club”. The covered tables,