author: Leonard Taube
Anyone ever get so angry with you that they’ve told you to “Go to the devil!”? Well, now you can (so-to-speak) and enjoy the trip as well! Cockpit in Court Summer Theatre (in residence at CCBC Essex) is currently putting on the 1955 musical comedy Damn Yankees. With a book by George Abbott and Douglass Wallop, and music and lyrics by Richard Adler and Jerry Ross, Damn Yankees is set during the 1950’s during a time when the New York Yankees dominated major league baseball. It is based on Wallop’s 1954 novel “The Year the Yankees Lost the Pennant” and ran for 1,019 performances in its original Broadway production. The show was turned into a major motion picture in 1958 with all the Broadway principals reprising their stage roles apart from the role of Joe Hardy, which was played in the film by heartthrob Tab Hunter. Interestingly, the title was unacceptable in the United Kingdom, where “damn” was a vulgarism and “Yankees” was a derogatory term for Americans. The British branch of Warner Bros. changed the title of the film to What Lola Wants.
Cockpit’s production is directed by Jason Crawford who has put together a cast chock full of talent. Rather than modernizing the show, Crawford chose to keep true to original and, personally, I think that was the right call. There’s just something about old shows like this that stir the soul (no pun intended) with nostalgia, even if it’s a bit dated.
Musical Director Charlotte Evans is tasked with bringing the score to life, and luckily, she is blessed (maybe not the right word given the devilish nature of the show) with some fabulous voices. From rousing ensemble numbers to enchanting duets, harmonies are clear, and voices are strong. Evans also tickles the ivories in the 8-person pit which sounds glorious and is comprised of some uber talented musicians (Kyle Bittle, Jeff Baker, Helen Schlaich, Darwin Ray, Gabriel Fazzino, Wesley Freeman and Harry Swartz). There’s just something about using a live pit that adds a certain “je ne sais quoi” to the ambience of a live musical. Canned music works too, but an orchestra wins my heart every time. Plus, it gives a chance for local musicians to shine and do what they love best.
Choreographer Katie Noppinger puts these guys and gals through the paces, from well syncopated group numbers (“Shoeless Joe From Hannibal, Mo” and “Two Lost Souls”) to signature songs (“Whatever Lola Wants”). Movements are fluid, synchronization is on point and and you can tell the cast is having fun. My favorite, though, was Noppinger’s magic with “Who’s Got the Pain”.
Costumes are sufficiently 1950’s (thanks to Costume Designers Tiffany Zellner and Codey Odachowski), and Lighting Designer Phil Vannoorbeeck makes sure that the stage is appropriately lit, using gels, dark lighting to highlight the dark parts of the show, and follow spots where appropriate. Sound is first rate thanks to Sound Designer/Technical Director Jason Randolph. The pit never drowns out the voices and diction is clear (a pet peeve of mine).
Joe Boyd (old Joe) is played with sincerity and charm by Albert J. Boeren. While we only see him in the first and last scene (and briefly in the number “Near to You”), his character is central to setting up the plot of the show as well as its soul robbing ending. Boeren is convincing as the real estate agent Senators fan who literally makes a deal with the devil.
Joe’s wife, Meg Boyd, is played by Debra Buonaccorsi McWilliams. McWilliams has a beautiful voice which lends itself quite well to such numbers as “Six Months Out of Every Year” and “Near to You”. The interplay between her and young Joe Hardy is both endearing and emotional. She channels Meg’s naïve nature perfectly, a charming 1950’s housewife who is not such a good judge of character and hosts bridge club every 3 days. Ah, the good old days.
Speaking of the good old days, there is no one who yearns more for them than the devil himself, Mr. Applegate, played by Eliyahu Kheel. Full of one liners and biting sarcasm, this devil has been around for centuries and is always looking for a soul to trade in exchange for granting a wish. Kheel’s devil is a delight to watch, full of muster and bluster from making the deal, to incensed rage at Joe Hardy’s desire to go home, to chastising Lola for pitying Joe’s situation. His signature song “Those Were the Good Old Days” is a hoot, as he reminisces about some of his greatest triumphs in human suffering (stock market crash anyone?). Some minor details could have been played up a bit more, such as crossing his legs while he’s sitting talking to Joe Boyd in the opening, playing up and showcasing those red socks he’s sporting. All in all, Kheel is a Satan to be reckoned with, but don’t ask him who he is, or you might just get back a quippy “not a soul”.
Joe Hardy (the young Joe that Joe Boyd becomes thanks to Applegate’s doing) requires a handsome young actor with a strong voice, capable of portraying the innocent eagerness of youth, the voracious appetite of a pro athlete and the charm of an old soul in a young man’s body. Tapping into all these attributes is Joe (yup, that’s his real name) Weinhoffer. Looking every bit the part, Weinhoffer is affable and genuine right from the start. He does a good job in showcasing his inner turmoil once he realizes that his “deal with the devil” might not have been the best idea (“A Man Doesn’t Know”). Weinhoffer has a rich smooth voice that can be deep and rousing (“Goodbye Old Girl”) to soft with hint of caramel tones (“Near To You”). Noppinger also makes Weinhoffer dance (“Two Lost Souls”), and dance he does, and does it well. Go Joe!
Meg Boyd’s friends, Sister (Tiffany Zellner) and Doris (Kara Kaskel) are quite the comedic duo. While we don’t see them much, they do make the most of their time on stage, scurrying here and there, screeching and cavorting, singing and fawning over Joe Hardy. They provide quite a bit of comic relief, and one never knows what to expect when they come on stage.
Manager Van Buren is played by Patrick Jay Golden. Golden’s Van Buren is a cross between hardened baseball coach and fatherly advice giver. His signature song “Heart” is full of heart, in fact, as he tells his guys that there’s another part of baseball that is more than just skill. Golden also has comical moments such as his interactions with Applegate and Gloria Thorpe but, in the end, this is a guy who cares about his team and his players.
Aforementioned Gloria, the hard-nosed sharp-tongued reporter, is played with journalistic prowess by Jillian Page. She commands the signature showstopper “Shoeless Joe from Hannibal, Mo” with her energetic voice and dancing feet. Always out for a scoop, Paige is also a good comedienne, and her back-and-forth with Applegate will make you giggle. But be careful what you say around her, for she just may travel to your hometown, do some digging, and publish a story about you too!
Team Owner Mr. Welch is played by Hoss Parvizian, and he embodies the character perfectly. Welch is deeply committed to the Senators and cares for the players tremendously. Parvizian’s Welch is a grandfatherly type who has spent his career in baseball and wants nothing more than Joe Hardy to succeed. You can feel Parvizian’s concern as he has the ability to make you believe in his character, the mark of a good actor.
So, what do you do when you’re the devil who has been tricked into an escape clause by a real estate agent and the deal itself is in jeopardy because the guy is homesick and wants to go back to his wife? You call in an expert, naturally. An expert in seduction, of course. But make no mistake, this expert homewrecker has numerous catches to her name and has done so much more than that old bore, Delilah. Enter Lola, a centuries old soul on Applegate’s staff. Her mission is clear: to make Joe Hardy forget about his wife. But, as she soon finds out, it’s easier said than done. Played with sultry sexiness, Lizzie Detar brings Lola to life, and with some thrilling dance moves as well that would make Gwen Verdon (the actress who originated the role) proud. Fun fact: A notable difference between the film and stage versions was Gwen Verdon’s performance of the song “A Little Brains/A Little Talent”. Verdon’s suggestive hip movements (as choreographed by Bob Fosse and performed on stage) were considered too risqué for a mainstream 1958 American audience, and so she simply pauses at these points in the film.
There is no pausing here, though, with this modern audience. Detar is obviously no stranger to dance, and whether she’s performing the solo signature “Whatever Lola Wants” or the toe tapping “Who’s Got the Pain?”, this artist can move! She can take my heart and soul anytime. Lola is a complex role, a character who changes before your eyes as the show progresses, and you can feel the conflict within her soul (well, if she still had one that is) as she comes to realize that maybe she has met her match after more than a century. But beware, never feel sorry for anybody.
Now how about those Senators? Washington Senators, that is. The “team” of singing and dancing baseball players are sure to entertain you in rousing numbers such as “Shoeless Joe From Hannibal, Mo” and “The Game”, the latter a clever number where the players bemoan their rigid training routine including abstinence from women so that they can be rested and at their best for, what else, the baseball game. The players are comprised of Anthony Case, Mikael Dagnatchew, Jordan Dixon, Arthur Green, Theo Scully, Victor Scigala and complemented during certain scenes by Ryder Bordes. They all do very well with the singing and dancing, and most have some featured solo parts of which they make the most.
But while these young people are clearly having the best time up there on stage, and while all are terrific performers, a shout out must go to Jordan Dixon who takes a turn with Lola in the number “Who’s Got the Pain?”. This young man can cut the rug (for those wondering what I’m talking about, I mean dance)! His tall, lean body glides, jumps and sways in perfect syncopation to the music and mirrors Lola’s moves (a difficult feat) in a way that mesmerizes the senses and would make Fosse proud. And his gaze! This guy is fully invested, heart, mind and, yes, soul in the dance routine and it’s no wonder he was selected to partner with Detar. One would be wise to question if he, too, is secretly an Applegate disciple, having made a soul-trading deal to become a featured dancer. On par with Detar, he’s that good.
There are 3 other ensemble members (Kate Crosby, Samantha Monk and Makenzie Emmert-Patel) who round out the cast and provide dancing/singing support, as well as Jerry Gietka who takes a turn as the Commissioner at Joe Hardy’s hearing in Act 2. There is also Thomas “Toby” Hessenauer as the befuddled, kindly Postmaster at the hearing as well. They all complete the show’s depth and add their own mark to the story.
So, for a hellishly good time, head out to the ballpark at Cockpit in Court. Rumors are that the hot dogs aren’t what they used to be, but no bother. You won’t even notice once the curtain goes up. And should the urge strike you to laugh, applaud and holler during the show, don’t hesitate. As Lola says, give in.
Running Time: Approximately 2 hours and 30 minutes with one intermission
Damn Yankees plays through June 29th 2025 with Cockpit in Court in the F. Scott Black Theatre of The Robert and Eleanor Romadka College Center at the Community College of Baltimore County Essex Campus— 7201 Rossville Boulevard, Essex MD. For tickets call the box office at (443) 840-2787 or purchase them in advance online.
