DETERMINED— (adj.) resolute or decided; staunch. “Despite numerous setbacks, an uphill climb, and a whole rescaling of their current production of The 25th Annual Putnam County Spelling Bee due to a last-minute forced-shift in hosting venue, River Stone Theatre Company was determined to launch their inaugural show in this 2025 calendar year, making for one excellent theatrical experience despite all of the initial roadblocks in their path.” D-E-T-E-R-M-I-N-E-D. Finally, albeit temporarily, settling into the Havre de Grace Opera House for just two weekends, River Stone Theatre Company (RSTC) is proud to present their very first, full-length staged show— The 25th Annual Putnam County Spelling Bee, with nine…give or take one or two… (hey this is a spelling bee, not a counting bee) astonishingly talented individuals populating the stage. Directed by Chuck Hamrick, with Musical Direction by Jasmine Mays-Robinson, and Choreography by Veronica Lane, this show certainly sets the bar high for future RSTC productions.
EXCEPTIONAL— (adj.) forming an acceptance or rare instance; extraordinary; unusually excellent; superior. “If you’re not going to reinvent the wheel or put some hot-take new spin on a frequently produced and repeated musical, your textbook approach better be exceptional and Director Chuck Hamrick ensures that it is.” E-X-C-E-P-T-I-O-N-A-L. When you’ve seen Spelling Bee as many times as I (and has anyone seen Spelling Bee as many times as I? I honestly gave up counting like 20 bees ago), you’ve come to expect one of two things. A textbook, ‘as-written’ production, which usually falls somewhere in the ‘good-to-great’ range of things or a totally unhinged, hot-new-take production that can either be spectacular or miss it’s mark by a mile. While Hamrick’s production falls into the former, it’s practically perfect (save for operating on tracks rather than with a live pit, but given the fact that the first show of their inaugural season never got to happen, and this one nearly didn’t after losing its venue at the last minute, the company gets a pass on the tinned musical accompaniment.) There’s nuance to the characters, some refreshing and modern-to-the-minute ad-libs, particularly from VP-Panch, who almost needs to be reigned in he’s so unhinged, and remarkably tight pacing. Hamrick and his team has done an exceptional job with this show and it’s a great and hopeful sign of productions to come from RSTC.
INGENIOUS— (adj.) characterized by cleverness or originality of invention or construction; cleverly inventive or resourceful. “It takes an ingenious Scenic Designer & Constructionist & Painter to pull off a full-scale aesthetic switch in ten days’ time the way Daniel Morelli (and his paint team: Keri Freburger & Holly Klarman) did with this show.” I-N-G-E-N-I-O-U-S. Fabricating a set and scenery for a stage that has fly-tower/two-tiered staging space with a proper proscenium apron, wings, and multiple entrances is one thing. Taking that scenery and essentially having to redesign it to conceptually fit into a black-box miniature with no fly-space and limited overall capacity is the mark of true genius and to do so in such a short period of time and still have the set look impressive, albeit quaint and simple— which lends itself to the nature of the show’s libretto, is brilliance in action. Morelli has the perfectly garish blue and yellow striped walls of the gymnasium with the banner and bleachers all cozily tucked into the abbreviated stage space of the Opera House and it looks as if it was always meant to be produced there.
MIND-BLOWING— (adj.) amazing; intense. “I keep a running excel spreadsheet of words used for ‘reviews past’ of this production and found it utterly mind-blowing that there was no column for Sound Designer. (alternate sentence?) It is mind-blowing that there are praises to be had about Sound Designer Scott Harclerode’s aural landscape with this production as sound balance, microphone levels, and overall sound quality are a perpetual problem in the Opera House no matter which company is on stage.” M-I-N-D-B-L-O-W-I-N-G. Seriously, Harclerode’s sound design for this show is perfection. Not one hot mic, not one ounce of feedback, not one overplayed soundtrack from the canned music. It takes some skill and some fiddling to get the sound system in the Opera House to behave that perfectly and clearly Harclerode is the Opera House Sound Whisperer.
AUGMENTATIVE— (adj.) reinforcing the idea or the original; something which enhances, uplifts, or boosts. “In some cases, lighting and illumination tactics can blend into the background or they can distract from what’s happening on stage if they’re too intense, but in Lighting Designer Aaron S. Adam’s case, they are augmentative of both the pathos in moments of song and serve to enhance the overall visual experience of the performance.” A-U-G-M-E-N-T-A-T-I-V-E. Adam’s follows the show’s usual trajectory of moody blues for numbers like “The I Love You Song” and a rainbow racket for “Pandemonium but there’s also a lovely subtly when various characters are having their internal monologues presented either in soliloquy or solo song to the audience where the lighting drops and shifts to signal that this moment from this character isn’t necessarily happening in reality. It’s a really nice touch, giving the production a polished feel.
SPIRITED— (adj.) having or showing mettle, courage, vigor, liveliness, etc. “The 25th Annual Putnam County Spelling Bee” isn’t a dance show, but there are definitely some moments of spirited dancing by way of Choreographer Veronica Lane.” S-P-I-R-I-T-E-D. “Pandemonium” and “Magic Foot” are the classic examples and Lane doesn’t disappoint, especially with the background kick-line in the latter mentioned number. And the slow-motion waltz that gets brought in for Olive and Barfee during “Olive & Barfee Pas De Deux” is both charming and hilarious.
MAESTRO— (noun) an eminent composer, teacher or conductor of music; a title of respect used in addressing or referring to such a person; a master of any art. “Musical Director Jasmine Mays-Robinson has proven herself a true maestro of poppy musical theatre with her work in this production of Spelling Bee.” M-A-E-S-T-R-O. The vocal harmonies and blends and overall strongly balanced, purified tonal sound coming out of this nine-to-eleven-person cast are sublime. Mays-Robinson has a real handle on her craft and keeps the tempo enthusiastically matched to the tracks, making sure articulation and enunciation are crisp, words aren’t tripped over, muttered, or mumbled while they’re being sung, and ensures that overall the music is a jubilant delight to hear.
UNHINGED— (adj.) having no hinge or hinges; or with the hinges removed; extremely crazy; out of control or erratic. “To say some of the ad-libs coming out of Adam Biemiller’s mouth in the role of VP Douglas Panch are unhinged would be something of an understatement.” U-N-H-I-N-G-E-D. A bit of a bull in a China shop, Biemiller fills out that character well with a lot of off-the-cuff remarks, particularly when it comes to commenting on the ‘guest spellers’ or cracking jokes with the definitions or sentences of various spelled words. His improvisational skills and comedic topical research skills are impressive, as he manages to slide some hot-topic commentary into the show throughout the performance. And his desperate attempts to coerce Panch into poor Rona Lisa Peretti’s life are equally unsettlingly hilarious. One of the best moments Biemiller’s Panch has is after his uncharted hangry-style explosion and he’s ushered back in, completely docile and under the arm of the Comfort Counselor, showcasing an impressive versatility in his character acting capabilities.
ACE-IN-THE-HOLE (noun: idioms & phrases) a secret or hidden advantage that is kept in reserve until it can be used for maximum impact; a trump card; a hidden advantage or resource that is kept hidden until needed. “Every performer in the production is spectacular but Charlie Roberts is the bombastically unexpected Ace-in-the-Hole playing Comfort Counselor Mitch Mahoney.” A-C-E-I-N-T-H-E-H-O-L-E. Mitch Mahoney gets pigeon-holed as that gruff, grumbly, comedic relief-sort (in an already comedically charged and laugh-loaded show) that can easily be a static supporting character. But not with Roberts who’s busy belting his face off in “Prayer of the Comfort Counselor.” With an astonishing sustain and huge powerhouse sound that is both unexpected and sublime, that number explodes like Vesuvius, bringing the house down. Roberts is bringing this rogue Chicago-southside accent to the character as well, which is refreshing from the more traditional approach of someone from Jersey or New York. And he even shows a little bit of empathy and sentimentality when comforting the kids, the more the show progresses; it’s a real impressive display from Roberts for sure. And it’s worth noting that Roberts wins at stage life in general as he gets right up one of the other character’s faces quite intensely in one of those soliloquy moments preceding “Prayer of the Comfort Counselor” and basically causes said cast member to crack. (It was hysterical!)
EUPHONIOUS— (adj.) pleasant in sound; agreeable to the ear; characterized by euphony. “Lisa Pastella’s euphonious voice is like perfect syzygy for the character of Rona Lisa Peretti.” E-U-P-H-O-N-I-U-S. If you’ve ever been to a school event, that forced-polite, syrupy-on-the-edges-of-being-saccharine smile and gentle tone of talking voice coming from the administrator or whoever is in charge will be no stranger to your ear and you’ll recognize it directly both in Pastella’s speaking patterns and in her facial expressions and body language when it comes to playing the host of the bee. She’s also gifting the audience with a glorious, rapturous songbird sound that alights on numbers like the titular opening one, “Rona Moment” and it’s repetitions, and “The I Love You Song”, with the latter bringing forth Pastella’s vast emotional swells into her lyrical sound. In addition to being a vocal sensation, Pastella has hilarious moments of desperately trying to dodge Panch’s relentless advances, torn between trying her best to ignore them outright or bombastic-side-eye her way out of them. And her general expressions to everything and anything happening around her are both hysterical and engaged with the show as it unfurls. Keep an eye out for “Pandemonium” when she’s chastising (unclear whether it’s Panch, Mitch, or both) grumbling ‘you’re the adult!’ and trying to keep her cool at the same time while bringing the children back in line!
BONUS— (noun) something given or paid over and above what is due; something extra or additional given freely. “Choosing to feature the show’s two swings, Gregory Bennett and Conner Rock, as Carl Dad and Dad, is a quirky and fun bonus inclusion of players in this production.” B-O-N-U-S. It’s a clever way to gently expand this small cast whilst also ensuring internal coverage in the event of illness and or emergency. And both Bennett and Rock are humorous in their respective Dad roles. They’re even planted in the front row of the audience so when their characters pop up to be helicopter parents on stage you get that extra jolt of hilarity from their involvement.
INDEFATIGABLE— (adj.) incapable of being tired out; not yielding to fatigue; untiring. “Chip Tolentino (Adam Kindley) may spend the first act feeling a bit like a background character but the way he steamrolls through the opening number of the second act, with his indefatigable energy and raging furies, you’d never know it wasn’t the Chip Tolentino show.” I-N-D-E-F-A-T-I-G-A-B-L-E. Kindley is motoring with energy at the top of act II, really nailing both the comedy and the vocal integrity of “Chip’s Lament.” His physicality is excellent; his comedic melt-down during that number once he’s back up on the stage is wild and perfectly timed to land large laughs with the audience. And his belting sustain at the end of the number is really very impressive too. There’s also something to be said for his later arrival as Jesus, marching barefoot halfway up into the house, as if only Marcy can see and hear him.
MULTIFARIOUS— (adj.) having many different parts, elements, forms, etc.; numerous and varied; greatly diverse or manifold. “Sadieanne Cole’s multifarious approach to Marcy Park showcases more than just the frigid and frosty ‘all-business’ character that is generally seen in portrayals of this character.” M-U-L-T-I-F-A-R-I-O-U-S. Cole shows a progressive defrosting of Marcy, giving her lively expressions while simultaneously bringing that bitchy exterior so frequently associated with the character. You get great facial expressions from Cole’s portrayal as well as an aerobic series of ‘show-off’ moves during her solo feature “I Speak Six Languages.” And her vocals are sublimely on par with the talented cast featured in this production.
MURINE— (adj.) belonging to or pertaining to the rodent sub-family, Murinae, which includes more than 500 species of mice and rats. “Poor Leaf Coneybear (Hayden Hauptman) keeps getting murine words though he finds that amusing.” M-U-R-I-N-E. Hauptman even has some murine-esque qualities about his portrayal, though they tend to lean more squirrel-like in nature than rate or mouse. Though he portrays the character a bit timidly like a mouse. There’s a genuine simplicity that Hauptman unearths in his portrayal of Leaf, enhanced with a little bit of comedy, particularly when it comes to his Gonzo finger puppet. With a solid clear voice, landing perfectly on “I’m Not That Smart” (and it’s reprise), Hauptman wins the audience over easily. And there’s a priceless moment upon his exit where he shakes everyone’s hand but Panch and that is comedic gold.
MAGNILOQUENT— (adj.) grandiose in style of speech or expression; bombastic; using high-flown or bombastic language; speaking grandly. “Logainne Schwartzandgrubeniere (Alana Guardipee) goes on a magniloquent tear about venue hunting in addition to her bombastic outburst during her featured solo number.” M-A-G-N-I-L-O-Q-U-E-N-T. Guardipee becomes the human embodiment of a neurotic dervish having a panic attack during “Woe Is Me” and it’s a wild ride for all. Her scripted speech impediment is perfectly balanced, creating the effect for the character while simultaneously allowing her speech to be understood. And her powerhouse vocals are outstanding particularly at the end of that number. Guardipee has considerable spunk to bring to the character and really effervesces, even when she hits that more ‘downer’ of a reprise.
PELLUCID— (adj.) allowing the maximum passage of light; clear in meaning, expression, or style. “Julia Eakes pellucid approach to Olive Ostrovsky really opens the audience’s heart to her tireless optimism, even if it is chimerical in its essence.” P-E-L-L-U-C-I-D. There’s something a little bit nerdy, a little bit sweet, a little bit watermelon-y (seriously, look closely at her costume and hairbows), and a little bit hopeful about the way Eakes plays the character. She’s got the voice, no question, and you get to hear that lovely sound during “My Friend the Dictionary” but Eakes truly breaks your heart when she sings the trio number “The I Love You Song.” It opens up the ocular flood gates and tugs hard at the heartstrings. (Lisa Pastella’s Olive’s Mom hits like an emotional hurricane in this number and both women are vocally supported strongly by Adam Kindley’s harmonies as Olive’s Dad.) There is something indescribably precious about the way Eakes interacts with Will Barfee as well; their Pas De Deux dance is adorkable.
SPLENDIFEROUS— (adj.) splendid; magnificent; fine. “It may sound like something straight-up out of Mary Poppins but this archaic word, which in modern times is often utilized in its truncated version— splendid— is the only word to attempt to describe Wilson Seltzer’s performance as Will Barfee with any kind of hope for doing it justice.” S-P-L-E-N-D-I-F-E-R-O-U-S. The way Seltzer balances his character voice, a highly-affected nasally sound with particularly intentional speech patois against his glorious, clear singing tone is astonishing. When he’s belting it out during “Magic Foot” not only are you getting this insane Broadway caliber sound but you never loose sight of his quirky, super-dork caricature components. And Selter’s aiming for a career with the Rockettes with those eye-high kick attempts during that same number. He’s got an insane amount of charisma and charm in that number, which juxtaposes perfectly against the character’s otherwise nerdy nature. His off-handed comedic kickbacks, particularly when going line-to-line with Panch are uproarious and he’s just a showboating, scene-stealing stage wonder.
IMPRESSIVE— (adj.) having the ability to impress the mind; arousing admiration, awe, respect; moving: admirable. “River Stone Theatre Company’s inaugural production is nothing short of impressive; their Spelling Bee is a real must-see.” I-M-P-R-E-S-S-I-V-E.
Running Time: Approximately 2 hours and 10 minutes with one intermission
The 25th Annual Putnam County Spelling Bee plays through July 26th 2025 with River Stone Theatre Company, currently performing at the Havre de Grace Opera House— 121 N. Union Avenue in Havre de Grace, MD. Tickets are available at the door or in advance online.