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Neither scary nor entertaining, it may be time to kill off this franchise
 

In a semi-near future, America has a novel way of coping with crime: The Purge. One evening a year, all crime — including murder — is legal. The New Founding Fathers tout the Purge as a ritual release that’s good for society. In practice, it’s opportunity for social engineering as rich whites kill poor minorities.
    Senator Charlie Roan (Elizabeth Mitchell: Crossing Lines), a Purge survivor, seeks to end the bloody tradition. It’s her campaign pledge as a presidential candidate. Lest she ruin their murderous fun, the New Founding Fathers make her the target of this year’s Purge.
    Roan’s ally is Leo Barnes (Frank Grillo: Captain America: Civil War), who couldn’t bring himself to purge his son’s killer.
    Will Leo change his mind about the benefits of the Purge? Can Roan survive the night? Will this franchise survive its simplistic philosophy?
    The problem with The Purge: Election Year is that its message comes before its story. Rather than sympathetic characters, you get preaching about bad old white men. Worse still in a film about the oppression of racism, most of the minority characters are underwritten, stereotypical and appear only to save whites or offer them emotional support.
    Leo, the star of the second film, has little to do in this one. Once his character had a full emotional arc; now he’s reduced to grimacing, running and shooting. Roan is a screaming damsel. She chides all the killers, while the movie makes it obvious that killing is the only way to survive the night. This paradox makes her look weak and foolish.
    Director James DeMonaco (The Purge Anarchy) makes the colossal mistake of abandoning the gritty B-movie feel that made the second Purge fun. On three he’s returned to his roots, ineffectually proselytizing to the popcorn-eating masses. This film sounds like a poorly researched philosophy paper. Without charm, pacing or creativity, it becomes a slog on par with surviving Purge night. Even the threats are laughable: Half the movie features a pack of teen girls in skimpy dresses menacing people in a car illuminated with twinkle lights. The other big bad is a pack of frail old men who may gum our heroine to death.
    Neither scary nor entertaining, The Purge: Election Year is the kind of mass-market thriller that will satisfy no one. There’s not enough blood to satisfy horror buffs, and political thriller junkies will find the simplistic story unbearably dull. Avoid this purge night.

Poor Thriller • R • 105 mins.

Stellar, but still shocking after all these years

When Jonathan Larson’s rock opera Rent, loosely based on Puccini’s La Boheme, debuted 20 years ago to a Pulitzer and Tony for Best Musical, it felt so edgy, so raunchy, so shocking with its cast of young radicals: the addicts, the drag queen, the bisexual, the stripper. Despite evolving societal norms and newer crises eclipsing the AIDS epidemic, this blockbuster still has power. With a pulsing beat and haunting earworms, it follows an unforgettable cast of characters for one year as they wrestle with the seven deadly sins and private turmoil only to realize that happiness lies only in living each moment as if it were their last.
    Annapolis Summer Garden Theatre has assembled a stellar cast of singer/dancers for this production, starting with Tim German as Mark, the videographer who records it all and learns the price of success when his creative genius meets corporate TV greed. At issue is his coverage of a housing firestorm surrounding former roommate Benny (Matthew Walter), who has turned ruthless landlord since marrying into money. When Benny padlocks the building and a tent city sprouts up, the cops and the media are there. So is protest artist Maureen (Loghan Bazan), Mark’s attention-whore ex who left him for an attorney named Joanne (Andrea Greenwald).
    When Mark’s old friend Tom Collins (Christian Gonzalez), a mathematical genius, rolls back into town, he is rolled by gangstas on the street and rescued by a cross-dressing Angel (Nicholas Carter), who becomes the love of his life (Today 4 U). As both men are HIV positive, their support group plays a large role as the story progresses. Mark’s other roommate, guitarist Roger (David Colton), is similarly afflicted and spends the whole show composing his magnum opus (One Song Glory and Your Eyes) before the virus that killed his girlfriend claims him. Roger is a content loner until he meets Mimi (Athena Blackwood), an exotic dancer (Out Tonight) and Benny’s sometime girlfriend. It’s complicated, but Roger and Mimi’s affair is the catalyst for most of the show’s greatest hits, including Light My Candle, I Should Tell You, Another Day and Without You.
    Momentum is slow to build, especially regarding a secondary plotline that has Angel killing Benny’s dog by drumming. But once things get rocking, they don’t stop.
    Greenwald is dynamite with German in Tango Maureen and with Bazan in Take Me or Leave Me. Bazan’s bizarre protest piece, Over the Moon, way eclipses the film version. German and Colton’s Living in America is raw and driving, while Gonzalez and Carter slow the pace in the dreamy Santa Fe and I’ll Cover You. The ensemble impresses with powerhouse solos by Kylie Airin Sjolie and Gabe Taylor (Seasons of Love), Kyle Gonzalez (Will I), Wesley Williams (No Day but Today). Amy Matousek, Katie McCarren, Elizabeth Pittman, Lilibeth Rabang and Brian Shatt provide solid backup.
    Details are fun. Remember the Lycra and shredded denim invasion? Pay phones and bricklike cell-phones? Technological innovations like flashlights serving as spots lend poverty-chic, and the onstage band feels as natural as your noisy neighbors. Best of all, live footage of Mark’s films projected onstage provide intimacy and immediacy.
    The take-away is this: Forget regret, or life is yours to miss.
    If you fly the rainbow flag and like your rock intellectual and irreverent, don’t miss Rent. Runs two hours and forty minutes with intermission. Rated R for adult themes and language.


Director: Andy Scott. Music director: Paige Austin Rammelkamp. Choreographer: Casey Lynne Garner. Stage manager: Jen Schiller. Set: James Raymond and Jeff Huntington. Costumes: Kristina Marie Martin. Lights: Matt Tillett. Sound: Rob Glass. Video: Babs Weiss. Musicians: Rammelkamp, Ken Kimble, Kevin Hawk, Jeff Eckert and Declan Hughes.
Playing thru July 23, Th-Su plus Weds. July 13 & 20, 8:30pm, 143 Compromise St., Annapolis. $22 rsvp: 410-268-9212; www.summergarden.com.

A little girl learns the importance of friendship and family in this charming tale

Orphan Sophie (Ruby Barnhill: The 4 O’clock Club) leads a lonely life in London. Already very grown up and smarter than her peers, she follows the matron to ensure that bills are filed and snipes at the drunks who wake the other orphans. Her only friend is an orange tabby cat. Sophie’s busy life also means she doesn’t have time for frivolities, like sleeping. She’d much rather stay up and read.
    Late one night, Sophie spies something peculiar out her window. Lurking in the alley is a very tall man — some 30 feet tall. Terrified, Sophie does what any child would do: She hides under the covers. Her strategy doesn’t work, for she is scooped out of her bed and taken to Giant Land.
    There, she learns her captor is the BFG, short for Big Friendly Giant (Mark Rylance: Bridge of Spies). He is the only non-cannibal giant in all the land. That’s good news for Sophie, but she’s still captive, and the BFG refuses to take her home now that she’s seen him.
    As Sophie and the BFG bond, the other giants catch a whiff of the child. Hulking brutes that dwarf the BFG and feast on the bones of children, the giants want Sophie.
    Can the BFG keep Sophie safe? Will she ever return to England?
    Based on the beloved children’s book by Roald Dahl, The BFG is a sweet, silly film that should appeal to older children and Dahl fans. Director Steven Spielberg (Bridge of Spies) makes a story that is both delightful and visually stunning. He carefully crafts a distinctive London and Giant Land with storybook appeal.
    As the Friendly Giant, Rylance is a wonderful fusion of technology and performance. Created through motion capture and technological rendering, Rylance’s giant is wonderfully detailed; you can even see his pores. But all the fancy computer graphics in the world can’t guarantee a good performance. Here Rylance delivers, filling the BFG with such warmth and kindness that you find yourself charmed.
    In her big-screen debut, Barnhill is also charming, equally at home bossing the BFG around and helping him catch dreams. She’s a good actress who doesn’t push her childlike enthusiasm too hard.
    Still, this is not a film to see if you have a low tolerance for whimsy and quirk. The BFG speaks in a language of Seussian terms and malapropisms.
    Dahl fans and families with children about six or over should delight in this tale of two lonely people creating their own dreams.

Good Children’s Film • PG • 117 mins.

 

A great comic team in search of a worthy project

Calvin Joyner (Kevin Hart: Ride Along 2) peaked in high school. A star athlete, top student and class president, Calvin had it all. He was the prom king and married the prom queen. Everyone knew he’d be the big success in his class.
    Too bad.
    Calvin grows up to be a boring accountant resentful of the rut his life has become. He balks at his wife’s suggestion they go to their high school reunion, fearing that his old friends will mock him.
    Bob Stone (Dwayne Johnson: Ballers) has the opposite trajectory. A friendless nerd in school, he was tossed naked into a school assembly by bullies. As Bob stood, the target of laughter, Calvin gave him his jacket to cover himself.
    After high school, Bob changed his name, dropped a ton of weight, picked up a ton of muscle and joined the CIA. At least that’s what he tells Calvin when the two reconnect via Facebook.
    Calvin is pleased to reconnect — until bullets start flying. Is Bob CIA or a rogue agent hunted by the agency?
    Silly and unimaginative but with a stellar cast, Central Intelligence is a rare film where flaws are overcome by the chemistry of the lead actors. Johnson’s natural charm allows him to sell even the most ridiculous lines, and it’s a treat to see him as the wacky one instead of the buff action guy.
    The usual source of buffoonery, Hart is also playing against type. As the straight man to Johnson’s loony Bob, he shows a great aptitude for reacting to chaos instead of creating it, proving himself a more nuanced actor.
    The chemistry of its leads is about this movie’s only virtue. Director Rawson Marshall Thurber (We’re The Millers) is so ham-fisted that every plot twist is easy to guess and tension is absent. Celebrity cameos are a distraction, but not a very good one.
    Johnson and Hart make a great comic team in search of a project worthy of their talents.

Fair Comedy • PG-13 • 114 mins.

An impressive troupe of young people takes on one of the most challenging races in theater

Producing a Shakespeare play is similar to running a marathon. It’s grueling, frustrating, thrilling and exhausting — and that’s just training.  Maintaining forward motion through the entire course is an accomplishment for any age.
    Twin Beach Players youth production of Much Ado About Nothing has taken on that challenge with great success. 
    Framed at the end of World War II, Twin Beach Players’ Much Ado is a largely festive story made even more spirited by the smart and snarky banter between the fiercely independent Beatrice (Neha Chawla) and the perpetual bachelor Benedick (Cameron Walker). There’s a shadier side as well involving a malicious scheme by the military leader’s illegitimate brother (reimagined here as a sister), Don Jon (Olivia McClung). The ne’er-do-well sets her plan into motion to spoil the wedding of young Claudio (Conor Reinold) and their host’s daughter Hero (Ashley Venier).
     Teeming with elements of trust and deceit within families, friends and romance, the storylines lead to both triumph and disaster. 
    While fondness for Shakespeare and familiarity with the story are helpful, they are not necessary to enjoying this aspiring production. Actors Chawla and Walker set the over-arching tone for the exuberant physicality that helps keep the plot moving when the language — at times challenging for even experienced actors — threatens to bog the performance down. The two offer laugh-out loud moments and engage the audience. The central romantic story is sweet and its actors expressive.
    Other notable performances come from Travis Lehnen as Leonato, E.J. Roach as Don Pedro, Olivia McClung as Don Jon, Aaliyah Roach as Friar Francis and Andrew Brinegar as Antonio. 
    The mood of the era is well set with the sounds of Glenn Miller-esque tunes on a tinny radio, complemented visually by military uniforms, Hepburn–style slacks and charming vintage dresses. Some of the best-staged scenes were teamed with excellent lighting choices, for instance when the entire backdrop glowed in twinkling lights as the full cast launched into a joyful swing dance.  All is supported well by a young tech staff who keep the show rolling at a decent clip.
    Without question this is a teen production and at moments the mark was missed. But those moments were, in a way, appreciated. Otherwise, we might forget we are watching an impressive group of young people taking on one of the most challenging races in theater.


Two and a half hours with an intermission. Thru June 26 FSa 7pm, Su 3pm, Boys and Girls Club, North Beach, $10 w/discounts, rsvp: www.twinbeachplayers.com.

(For Friday performance, arrive very early to enjoy the North Beach Farmers Market to ensure decent parking.)

The sequel to Pixar’s Finding Nemo is a less nuanced tale but no less enjoyable

A year after blue tang Dory (Ellen DeGeneres: Ellen) helped clownfish Marlin (Albert Brooks: Concussion) find his son Nemo (Hayden Rolence), Dory remains forgetful. She never remembers where she is or what she’s doing. Marlin finds her short-term memory loss annoying.
    When a trip to the migrating grounds of the Pacific triggers a memory, Dory becomes obsessed with finding her family. Now a vague idea of her parents’ whereabouts sets her off. Because Dory’s too forgetful to go alone, Nemo and an increasingly fed-up Marlin accompany her to a marine rehabilitation center in California.
    Of course the trio gets separated. Thus Dory must find both her parents and Marlin and Nemo. Helping is Hank (Ed O’Neill: Modern Family), a seven-tentacled rehabilitated octopus who is terrified of release.
    The sequel to Pixar’s Finding Nemo, Finding Dory is a less nuanced tale of aquatic families, but it is no less enjoyable. Directors Andrew Stanton (John Carter) and Angus MacLane (Toy Story of Terror) give us a story with no one too villainous. Marlin is a bit of a jerk, but then again Dory’s disability can be extremely frustrating and dangerous. It’s an interesting lesson about understanding and accepting differences.
    The film adds news characters in the ocean park excursion. Hank is a loveable curmudgeon of an octopus. His dream is to live in an aquarium in Cleveland, where little kids won’t poke him. With his camouflages, he keeps park staff on the constant hunt.
    Kaitlin Olson (It’s Always Sunny in Philadelphia) stands out as a sweet but nearsighted whale shark who has trouble swimming. Wire fans will be delighted by daffy sea lions Fluke and Rudder, voiced by Idris Elba and Dominic West.
    Finding Dory sacrifices some of the emotional depth of Finding Nemo to make itself funny. Instead of delving into the hurt of cruel comments or the terror of Dory’s forgetfulness, the film focuses on jokes. It’s not a bad strategy for a kids’ movie, and the little ones with me in the theater were enraptured with Dory and her friends.
    Finding Dory is a great movie with a lot of heart. Adults and kids will find characters to root for, jokes to laugh at and understanding of how tolerance and patience help the world.

Great Animation • PG • 103 mins.

A very good play balancing good ­fortune with bad luck

“To live in poverty is to exist in a war zone,” award-winning Colonial Players director Edd Miller notes in the playbill for Good People. “Not necessarily with bullets and bombs but with situational choices of conscience.”
    Do choices pull people out of poverty? Determine our lot in life? Or is it luck? Or hard work? Pulitzer Prize winning playwright David Lindsay-Abaire and Miller ask us not to decide but to ­consider.
    The 2011 drama is set in South Boston, or Southie, in 1998, but its questions are timeless and beyond boundary.
    To help us do that Lindsay-Abaire gives us Margie (with a hard “g”), a middle-aged single Southie mother who loses her job at a dollar store because she’s always late, usually because her adult handicapped daughter can’t be left alone. Margie doesn’t want a handout, just a job that will pay the rent. To find that, she sets aside her ego and reluctantly asks help from her years-ago boyfriend Mikey, an Irish lace doctor who escaped from the neighborhood and got rich because … luck? Hard work? Choices?
    Act I sets us up with the firing by young manager Stevie, with Margie and her friends Dottie and Jean urging her, sometimes hilariously, to look up Mikey. Turns out he has no work to offer. But he has an extravagant birthday party coming up, and Margie invites herself. When she hears by phone that the party is off because of a sick child she believes she is being disinvited lest she won’t embarrass Mikey in front of his non-Southie friends. She goes anyway and is mistaken by Kate, Mikey’s wife, for a caterer picking up dishes that weren’t used because the party was indeed canceled.
    Identities straightened out, Kate invites Margie to chat, much to Mikey’s dismay. Now fly the slings and arrows of good fortune versus bad luck.
    With Miller at the helm, this fine cast navigates the stream of comedy at the surface of much of this show while personifying the undercurrents of deception, despair and distrust. Shirley Panek gives us a Margie who shouldn’t be likeable, but is, thanks to Panek’s deft ability to deliver a stinging yet funny blow to the ego while allowing us to see the pain in her eyes. It is a riveting and emotional performance.
    Likewise, Ben Carr takes Mikey beyond a caricature of a local boy who made good to a finely crafted multidimensional character who relishes his success but, under Margie’s jealous glare, becomes so defensive that his own doubt about luck vs. work show through. Panek and Carr click, so for the audience Margie and Mikey do, too.
    As Kate, Ashley Spooner does some navigating as an elite African-American inexperienced in the past lives of Mikey and Margie. Her Act II performance in a long, yet riveting, three-person scene moves from elitist to understanding as flaws in her husband and their marriage are revealed.
    Karen Lambert’s Jean and Bernadette Arvidson’s Dottie are fine Southie friends, delivering hilarity that resonates with despair. As Stevie, the young store manager whose mother was the women’s friend, Glen Pearson displays the nervousness of a character appearing as the cause of despair.
    Director Miller’s multi-use set cleverly moves from a store alley to a Southie house to a bingo hall to a well-off doctor’s living room all with minimal movement — clear proof that in theater in the round, less is more. His cast keeps the pace moving, and each is clearly invested not only in what we see of their characters but also in what we can feel is so subtly moving under the surface.
    Good People is very, very good.


About two hours, 15 minutes with intermission. Stage manager: Herb Elkin. Costume designer: Dianne Smith. Sound designer: Theresa Riffle. Lighting designer: Frank Florentine.

Thru June 25: ThFSa 8pm, Su 2pm, Colonial Players Theatre, Annapolis, $20 w/discounts, rsvp: ­www.thecolonialplayers.org.

A girl learns that money and a sick boyfriend have advantages in this gross romance

Lou (Emilia Clarke: Game of Thrones) needs a job. So when the Traynor family advertises for a companion, she signs on — despite her lack of experience or training in healthcare. Her charge is Will (Sam Claflin: The Huntsman: Winter’s War), a former financial wiz and extreme sports enthusiast who’s now quadriplegic. Will is angry, depressed and in no mood to deal with bumbling Lou.
    Eventually, he warms to her — because what men want is a girl who smiles while taking a litany of abuse. Soon they fall in love, but there’s a hitch in Lou’s happily-ever-after: Will wants to die.
    Can Lou convince him to give life with her a chance? Or is this romance doomed?
    Me Before You isn’t a movie; it’s a manipulation. Director Thea Sharrock (Call the Midwife) makes do with close-ups of pretty people shedding tears. There’s no hint of the demanding work of caring for a quadriplegic, no mention of managing bodily functions, no inkling that Lou understands what she’s getting into. Her job is to make tea, wear outfits seemingly assembled by a demented toddler and smile relentlessly while looking vaguely confused. She’s shown helping in Will’s physical care only twice, lifting his head (don’t strain yourself, Lou).
    There is no substance to their relationship.
    Would the story be so sweepingly romantic if Lou worked at a government-run facility instead of a stately manor. Would she have fallen in love with Will if his family’s money couldn’t afford a private plane to Tahiti (complete with nursing care so Lou can continue to smile and work on her tan)?
    The only actor unscathed by performing in this film is Stephan Peacocke (Wanted), Will’s nurse.
    In the interest of disclosure, I will admit that my seatmate vehemently disagrees with my assessment. And people cried, but not me. I’m saving my tears for where this film is leading the romance genre.

Poor Romantic Drama • PG-13 • 110 mins.

Back to the ’80s

To celebrate its 50th season bringing musical theater to Annapolis, Annapolis Summer Garden Theatre has chosen this summer to stage, in reverse order, The Producers, Rent … and The Wedding Singer. The Producers won 12 out of its 15 Tony nominations, setting the nominations record and joining the short list of musicals winning in every nominated category. Rent was nominated for 10 Tonys and won four, plus the Pulitzer Prize for Drama. The Wedding Singer … five nominations, no wins and critical yawns.
    The fact that The Wedding Singer was a loveable but mediocre 1998 movie didn’t stop its writer, Tim Herlihy, from turning it into a loveable but mediocre 2006 Broadway show. It is, of course, set in the 1980s, and most of its purpose seems to be to remind us of that fact. Big hair, big music, big money and big names are tossed around like rice at the newlyweds — with results nothing near the quality of The Producers and Rent.
    Yet a game and talented Annapolis Summer Garden Theatre cast answers the call of the decade with talent and humor that in more cases than not rises above the material.
    In case you missed the movie, the plot is basic: Robbie Hart, a wedding singer, lives with his Grandma Rosie in Ridgefield, NJ. He’s engaged to skanky waitress Linda but at a gig meets Julia, who herself is engaged to smarmy Wall Street banker Greg Guglia. Robbie promises to sing at Julia’s wedding, Linda hilariously dumps Robbie at the altar — claiming she wants to marry not a mere wedding singer but a rock star — and Julia pines for Greg to pop the question.
    As Robbie and Julia, Jamie Austin Jacobs and Hayley Briner (who splits the role on alternating weekends with Layne Seaman) generate chemistry and do some nice vocal work together, especially on the delightful Grow Old with You, which is carried over from the movie. Briner also delivers an upbeat, very ’80s-like Someday, one of the few songs in this score you might leave the theater humming. And while Jacobs needs to remember that wearing a body mike doesn’t negate the need to project when speaking, he’s got the personality and presence, and certainly the singing voice, to make you forget Adam Sandler.
    As Linda, Hannah Thornhill delivers attitude, punch and the vocal chops to match. In Let Me Come Home, she doesn’t just beg to be taken back, she demands it … physically as well as emotionally, in a comic highlight of the show. Jeffrey Hawkins plays Julia’s fiancée Glen with the right amount of Wall Street Gordon Gekko (look it up kids) and also displays a very nice voice on the greed is good message It’s all About the Green. As Robbie’s bandmates, Robbie Dinsmore as a wannabe Boy George and Fred Fletcher-Jackson as a wannabe Van Halen show solid comic timing. Ashley Gladden is Julia’s cousin, a sassy, sexy Holly, whose Saturday Night in the City comes with a Flashdance finale. Even Grandma Rosie channels the ’80s, with Phyllis J. Everette breaking into a very funny rap, Move that Thang. Members of a fine supporting ensemble effectively back up leaders with solid vocals, energetic dance and comic characters.
    Director Mark Briner keeps the pace moving, as does the choreography of Becca Vourvoulas, and Ken Kimble’s backstage orchestra hits all the right notes. Andrew Mannion’s set design puts the fun in functional, and Lin Whetzel’s costumes are full of ’80s fun, with big shoulder pads and bigger colors (but why oh why does the Wall Street tycoon walk around in ratty jeans? Not even Guess?).
    All in all, an invested and energetic cast and crew bring you a slick and rollicking evening. You won’t cry at the romance, you might even groan at the references, but you’ll also smile and tap your feet — especially if you lived through the decade that bored many of the people you’re watching on the stage.


About two and one-half hours with one intermission.

Thru June 18. ThFSaSu (plus W June 15) 8:30pm, Annapolis Summer Garden Theatre, $22 w/discounts, rsvp: www.summergarden.com.

A sure bet for a good time

From auditions to curtain, every theater production is a gamble, but 2nd Star Productions’ Guys and Dolls beats the odds. A period piece lampooning its own subculture, this 1950 Tony winner for Best Musical still feels funny and frisky from the opening Call to Post to the classic Fugue for Tinhorns. It grabs you by the lapels and doesn’t let go as Nicely Nicely Johnson (James Hulcha), Benny Southstreet (Nathan Bowen) and Rusty Charlie (Daniel Starnes) vow I Got the Horse Right Here.
    Ya gotta love characters like Nathan Detroit (Brian Mellen), who runs The Oldest Established Permanent Floating Crap Game In New York, and his adorable doxie, Miss Adelaide (Jamie Erin Miller), who headlines at The Hot Box nightclub. Never was there a sweeter, more devoted couple, even after 14 years of engagement.
    Then there’s suave Sky Masterson (E. Lee Nicol), a high-roller on the sticky end of a sucker bet whereby he must convince prim Sister Sarah (Erica Miller) of the Salvation Army to go out with him — to Havana. Despite their professed disdain for each other, it’s an offer she can’t refuse when he promises to deliver 12 certified sinners to a critical prayer meeting where General Cartwright (Carole Long) will determine the mission’s fate.
    Broadway is crawling with sinners. There are gamblers: Big Jule from Chicago (Steve Streetman), Harry the Horse (Julian Ball), Brandy Bottle Bates (Eric Meadows), Liver Lips Louie (Stevie Magnum), Angie the Ox (Joshua Hampton), Society Max (Tyler White), Scranton Slim (Andrew Gordon), Li’l Pete (Michael Mathes), Jimmy Two Bags (Jerry Murray) and Black Jack Jolly (Brian Jollie).
    And the Hot Box dolls: Mimi (Lucy Bobbin), Betty Lee (Debra Kidwell), Penny (Allison Baudoin), Lily (Victoria Brown), Josephine (Emily Morgan), Ruby (Christa Kronser), Charlie (Genevieve Ethridge) and La Rue (Sarah Williams and Angeleaza Anderson).
    Despite Sarah’s daily sermonizing to Follow the Fold and Stray No More — complete with a band of Uncle Arvide (Dave Robinson), Agatha (Hillary Glass), Calvinette (Alice Goldberg) and Martha (Kimberly Hopkins) — the sinners see the mission as just another potential gaming site where they can hide from Police Lt. Brannigan (Gene Valendo).
    It’s all so suspenseful! Will the sinners find salvation? Will Sarah and Sky find each other’s arms? Will Adelaide drag Nathan to the altar?
    Jamie Miller is phenomenal as the old-fashioned girl in fishnets, whether spouting her mother’s homespun wisdom or performing at the Hot Box.
    Brian Mellen makes it easy to see why she loves such a weasel as Detroit in his Sue Me.
    E. Lee Nicol (recently of The Music Man) charms in such hits as Luck Be a Lady and I’ve Never Been In Love Before. Erica Miller is flush in the campy If I Were a Bell and her Marry the Man Today duet with Adelaide.
    Dave Robinson delivers a tender More I Cannot Wish You. James Hulcha and Nathan Bowen are Aces in the title song and dance. Hulcha’s jackpot of Pentecostal fervor, Sit Down You’re Rockin’ the Boat, brings the house down.
    From barbershop to choral extravaganzas, the harmonies are always true and the clever lyrics clear to the back row. The choreography is kitschy and tight with several big dance numbers such as Havana and The Crapshooters’ Dance spotlighting the eye-popping moves of choreographer Andrew Gordon alongside Bobbin, Kidwell and White. The Hot Box chorus girls, under the management of the Emcee (Mangum), turn burlesque into burlee-cute whether dressed in short coveralls for I Love You a Bushel and a Peck or undressed in lacy corsets for Take Back Your Mink.
    With a live pit of 12 musicians, five winning sets and at least 60 period costumes, this is spectacle to beat all spectacles. For a little action, Guys and Dolls is a sure thing for all ages.


Guys and Dolls by Frank Loesser, Jo Swerling and Abe Burrows. Director: Debbie Barber-Eaton. Music Director: Sandy Melson Griese. Choreographer: Andrew Gordon. Producer: Nathan Bowen. Stage Manager: Joanne D. Wilson. Set Designer: Jane B. Wingard. Costumes, Makeup and Hair: Linda Swann. Lights & Sound: Garrett R. Hyde.

Playing thru June 25, F & Sa at 8 pm, Su at 3pm at Bowie Playhouse, 16500 White Marsh Park Dr., Bowie. $22 with discounts, rsvp 410-757-5700; ­www.2ndstarproductions.com.