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Arts and Culture (Theatre Reviews)

There’s a window of time when things must happen. If we let that window close, it’s gone and we don’t get it back.

Fasten your seatbelts as we blast off for Colonial Players’ 66th season with Rocket Man, Steven Dietz’s 1998 serious comedy about the road not taken.
    Act I counts down like a comedy sketch with a disturbing undercurrent.    Act II is a space shuttle with frequent stops between grim reality and a fifth dimension of beautiful and bittersweet extremes where life runs backward and youth presages the end of possibilities.
    In this surreal postcard from another dimension, you’ll meet Donny (Ben Carr), a landscape architect in the midst of a midlife crisis; his ex-wife Rita (Laura E. Gayvert); their resentful teen Trisha (Paige Miller); Donny’s best friend Buck (Timothy Sayles), a widower with a Noah complex; and Donny’s unacknowledged soul-mate Louise (Shirley Panek), a former co-worker turned divinity student.
    Donny thinks that in another world it could have all turned out differently. To make the most of his remaining time, he has quit his job and jettisoned his worldly possessions to dedicate himself to studying the stars through his attic skylight. He is strangely calm for a man on the brink.
    Given a second chance at life, Rita thinks we’d all make the same mistakes in new and interesting ways. She rants about Donny’s self-centered forgetfulness, while Trisha rants about finding her possessions strewn across the lawn for strangers to take.
    Who is right, Donny or Rita?
    Does he travel to another world, another time or a dream? Does our personality destine us to repeat history?
    The playwright isn’t saying, but everyone has a theory, the cast included. That’s why all are so invested in their roles.
    Carr doesn’t so much act the character of Donny as inhabit him, his face a palette of moods and thoughts that transcend words.
    As Donny’s friend, Sayles is sweet comic relief with perfect timing and a quirky manner to foil the sad insanity that surrounds him. He is miscast only in that his full head of hair lends absurdity to his bald jokes.
    As the insomniac sage Louise, Panek appreciates her character’s inability to transcend the careful detachment she cultivates.
    As daughter Trisha, Miller melds maternalism with emotional distance.        As ex-wife Rita, Gayvert demonstrates an unexpected girlishness in her reunion with Donny, though before that change of personality in Act II, it’s hard to understand why Donny might miss her.
    In life “we demand the illusion of involvement,” Donny says, and that’s what the technical aspect of this show provides. With a set deliberately barren and depressing, designers achieve stunning moods with a soundtrack of space-inspired hits from Donny’s youth and a light grid that debuts with this show. When Donny blasts off into the heavens to the title tune, bathed in a visual wash of dancing galactic blue pinpoints, the gasping audience is also transported.
    In this trip to the road not taken, we are encouraged to “travel further, dig deeper, live more and sing life.” If you can handle ambiguity, you’ll love the play. If not, bring a philosophical friend to help resolve questions.


Director: Scott Nichols. Set designer: Edd Miller. Sound: Kaelynn Miller. Lights: Terry Averill. Costumes: Hannah Sturm. Stage manager: Herb Elkin. Music designer: Jim Reiter.

Playing thru Sept. 27: ThFSa 8pm; Su 2pm (plus 7:30 Sept. 14) at Colonial Players Theatre in the Round, East St., Annapolis; $20 w/discounts; rsvp: 410-268-7373; www.thecolonialplayers.org.

Theater al fresco at Reynolds Tavern, where the humor is bawdy, the medicine primitive and the fun timeless

     Annapolis Shakespeare Company keeps the comedy in the courtyard coming. After a successful run with Molière’s The Schemings of Scapin, now on tap outdoors at Reynolds Tavern is a lively and very funny Imaginary Invalid. Molière’s final play was written by the tuberculosis-wracked playwright/actor to star himself and reflect his disdain for the medical mores. He indeed played the lead to great acclaim before succumbing to his malady soon after the curtain went down on a show for King Louis XIV.
    Adapted by Tim Mooney and directed by Kristen Clippard, Annapolis Shakespeare Company’s Imaginary Invalid is three riveting acts of fast-paced fun, with a stellar cast reveling in every rhyming couplet. But don’t let the three acts worry you about a long night ahead; the 7:30pm start gets you out just a bit after 9pm.
    The imaginary invalid is Argan (Kim Curtis), a well-to-do hypochondriac who wants to marry his daughter Angelique (Ashlyn Thompson) off to a soon-to-be-doctor (Zachary Roberts), son of Diafoirus (John Stange), already a doctor, so one will always be around. Meanwhile, his second wife Beline (Amber Gibson) wants both her stepdaughters, Angelique and Louison (Roberts again), put into a nunnery so she can claim Argan’s riches when he dies. But Angelique is in love with the handsome, romantic and oh so dim Cleante (Keegan Cassady). Argan’s maidservant Toinette (Briana Manente) has no qualms about setting Argan straight on why a forced marriage is a bad idea, as does his brother Beralde (Stange again), who also is getting a little fed up with the whole ­hypochondria thing.
    Got all that? Thanks to a cast of actors who know how to deliver lines with their bodies as well as their voices, the action is easy to follow. Which brings up a personal nitpick: How many times have you gone to the theater and missed lines because the actors weren’t speaking up? Nine times out of 10 it’s not the volume that’s the problem, it’s the diction. Other local theaters would do well to emulate Annapolis Shakespeare Company’s focus on enunciation because nary a line was lost, even in this outside setting. Speak the speech, I pray thee.
    The other thing that often gets between the actor and the audience’s ability to follow what’s happening is the blocking — the placement and movement of the actors — a challenge especially in a round setting such as the Reynolds courtyard. Again, director Clippard’s focus on the details pays off. Despite the small space, the action does not feel limited or cramped, and no back is turned to any of us for more than a few seconds.
    In the less-is-more category, this is all done with a single chair and one chair-side table with a few apothecary bottles. That’s because the top-notch acting and efficient use of space eliminate the need for anything more than the very clever costumes. So, reserve a Tuesday evening and watch some very talented actors pull you away from Annapolis 2014 and into 1600s’ France, where the humor is bawdy, the medicine primitive and the fun timeless.


Costume coordinator: Maggie Cason. Stage manager: Sara K. Smith. Assistant stage management intern: Shannon McGovern.

Playing thru October 7 Tu at 7:30pm at Reynolds Tavern. 7 Church Circle, Annapolis. $20 w/advance discounts:
410-415-3513; www.annapolisshakespeare.org.

Always look on the bright si-ide of life …
 

     There are two kinds of people in this world: Those who get Monty Python, and those who don’t. The dividing chasm is willingness to accept silliness. Python’s humor is physical (Google Silly Walk), yet it has an underlying winking, silly intelligence that the don’t-gets … well, don’t get.
    Fortunately for Annapolis Summer Garden Theatre, the opening night audience for Monty Python’s Spamalot was filled mostly with gets. Based largely on the 1975 film Monty Python and the Holy Grail — but borrowing from plenty of other Python hits — the Mike Nichols-directed Spamalot premiered on Broadway in 2005 and won three Tonys, including Best Musical. Some of the humor that is directly aimed at a Broadway audience full of Python fanatics fell a little flat in Annapolis (case in point: the Mel Brooks-ish “You Won’t Succeed on Broadway … if you don’t have any Jews”). Some noticeable opening night tentativeness between orchestra and chorus will tighten up over the five-week run. But this is already a delightful production creatively directed by Jeffrey Lesniak and highlighted by stellar individual performances.
    Even if you haven’t seen the movie (and by all means, do, it’s timeless!), you’re in for a silly good time.
    As some Broadway musicals use a thin plot to string together strong songs, Spamalot uses its thin plot — Arthur and his knights searching for the Holy Grail — to string together classic Python comedy bits and a few songs. The songs are meant as much to skewer Broadway musicals as to push along said plot. Python founder and writer Eric Idle wrote the lyrics and book. A parody of Arthurian times, Spamalot revolves around King Arthur (a droll Ruben Vellekoop) and his knights of the “very round” table. The knights are the stars of this show.
    Each plays several roles with comic timing and delivery — not to mention the various speaking and singing voices — all spot on. Standing out in the voice department is David Merrill, whose Sir (Dennis) Galahad gets things moving with a hilarious diatribe about the woes of the working class. He then joins the Lady of the Lake (Alice Goldberg) for a satirical yet lyrical jab at formulaic Broadway called “The Song That Goes Like This.” Merrill’s tenor is a treat. Later he shines as the famed Black Knight, insisting “it’s just a flesh wound” after losing his limbs to his challenger. He reappears as Prince Herbert’s overbearing father, getting into a hilarious back and forth with two guards who can’t quite grasp the concept of “stay here.”
    The other knights — Sir Robin (Fred Fletcher-Jackson), Sir Lancelot (Joshua Mooney) and Sir Bedevere (DJ Wojciehowski) — each contribute several comedic turns. Notable is Mooney as the French Taunter (“I fart in your general direction!”), the Knight of Ni and, of course, Lancelot, whose sexuality is confirmed for him by the singers of “His Name Is Lancelot’ (“he likes to dance a lot; he wears tight pants a lot”). Other standouts: a very funny Steven Baird as Patsy, the king’s dedicated coconut-clopping sound effects toadie; and Austin Heemstra, who narrates things as the historian and gets his own laughs as Not Dead Fred, the Minstrel and Prince Herbert.
    In addition to the very effective duet with Merrill on “The Song That Goes Like This,” Goldberg’s Lady of the Lake takes another shot at Broadway tunes when she returns to the stage in “The Diva’s Lament” (“whatever happened to my part? It was exciting at the start …”).
    Perhaps the most famous Python song of them all, “Always Look on the Bright Side of Life” opens Act II (and returns very effectively after the curtain call) exclaiming “When you’re chewing on life’s gristle, don’t grumble, give a whistle.” Originally sung in Life of Brian by a chorus of the crucified, it works, very well, here.
    Also working very well is the multi-level castle set by Dan Lavanga and the wide variety of colorful costumes by Linda Swann. Only God and Eric Idle (one and the same in this show) know what was going on behind the scenes during those quick changes.
    Don’t think that because Spamalot runs through August 31 you can just gallop on over and secure a seat. Annapolis Summer Garden Theatre has a hit in this one, so the Holy Grail around Annapolis this month may be securing two tickets, not one chalice.


Music director: Steve Przybyiski. Choreographer: Rikki Howie Lacewell. Stage manager: John Nunemaker. Lighting designer: Matt Tillett. Sound designer: Dan Caughran. About 2 hours and 15 minutes including intermission.

Playing thru Aug. 31: Th-Su 8:30pm at Annapolis Summer Garden Theatre. $20; rsvp: 410-268-9212;
www.summergarden.com.

This tempest is a summer storm you won’t want to miss.

Just sit right back and you’ll hear a tale of an eerie desert isle where a band of royal castaways is marooned in style. No, it’s not a new sitcom or reality show. It’s William Shakespeare’s The Tempest, a supernatural classic of haunting beauty playing for the next two weekends at the Bowie Playhouse. It’s also the Annapolis Shakespeare Company’s last production in that space before moving to new space on Chinquapin Round Road in the fall.
    The story begins before the action with Prospero (Brian Keith MacDonald), the deposed Duke of Milan, living in exile for 12 years with his teenage daughter Miranda (Jenny Donovan). All that time he has been plotting his retribution. Toward that end, he has become a powerful sorcerer by studying books provided for him by his confederate Gonzalo (Joe Palka), who spirited the father and daughter to safety along with basic comforts like a vast library complete with ornate shelving and a leather armchair. In Prospero’s service are a vile semi-human, Caliban (Alex Zavistovich), rightful heir to the island and son of a now-deceased witch, and three sprites: Ariel (Raven Bonniwell), Ceres (Emily Samuelson) and Juno (Micaela Mannix). All help Prospero exact his revenge on his traitorous brother, Antonio (Grant Cloyd). Thus the eponymous tempest, a supernatural storm conjured by Ariel, which is so ferocious you would swear you were caught in a real microburst if only the theater sprinklers were employed.
    The villainous Duke Antonio is shipwrecked along with his co-conspirator Sebastian (Elliott Kashner) and a royal entourage including King Alonso (Brian McDermott), Prince Ferdinand (David Mavricos), Prospero’s old friend Gonzalo, the jester Trinculo (Charlie Retzlaff), the drunken steward Stephano (Kiernan McGowan) and the noblewoman Adrian (Amie Cazel).
    Prince Ferdinand, separated from his shipmates, is delivered to Prospero and Miranda by Ariel so the youngsters may fall in love and marry, as is Miranda’s birthright. What follows is a series of trials involving frustrated lovers, treasonous assassins who play upon Caliban’s resentment, comical inebriates and generally clueless witnesses to supernatural intervention in the natural order of things. Finally, Prospero is returned to power, Ariel is freed from his service and Caliban is presumably left in peace at his master’s imminent departure.
    As with many of Shakespeare’s works, the plot can be overwhelming, so don’t try to follow it too closely. Just bear in mind that this play is more about witchcraft than story, and enjoy the ride.
    This production is technically a more impressive show than Annapolis Shakespeare Company’s typical fare. The simple set features a sheer curtain of oceanic scrim enhanced by dramatic special effects such as strobes, thunder and wind that either comes from a machine or supreme acting. A disorienting sonic décor of shifting chordal suspensions composed for this show by Gregg Martin keeps the magic alive throughout. The sprites cavort in bodysuits of a rich aquatic palette, while the aristocrats glory in resplendent crimson and gold.
    Major performers behind the mystery are Bonniwell and her sprites, Samuelson and Mannix, who gambol and tease and seethe and flit around the auditorium in a dreamy suspension between sea and sky from the moment the doors open until closing curtain, their every move a nuanced ballet. Zavistovich’s man-monster, with his dreadlocks, crazed eyes and rabid smile, menaces and cowers in extremes of animalistic power and vanquished powerlessness. Yet he is an eloquent beast. MacDonald commands the stage as if it truly were his home, and Retzlaff’s physical comedy makes him the king of fools.
    This tempest is a summer storm you won’t want to miss, but you can’t watch it from your porch. Get your tickets now, before they vanish.

Director: Jay D. Brock. Scenic designer: Andrew Cohen. Choreographer: Sally Boyett. Lighting designer: Catharine Girardi. Costume designer: Maggie Cason. Composer/sound designer: Gregg Martin.
Playing thru Aug 17, F at 8pm; Sa at 2pm & 8pm; Su at 3pm at Annapolis Shakespeare Company, Bowie Playhouse, White Marsh Park. $30 with discounts; rsvp: 410-415-3513; www.annapolisshakespeare.org.

Plenty of solid hits light up nine innings

     Colonial Players’ One-Act Play Festival has been a biyearly summer event since 1999. This year’s installment, THIS AND THAT, presents nine plays across two slates, THIS and THAT, running on alternating dates. The Festival is an occasion for novice directors, production staff and actors to produce known and unknown works under the tutelage of seasoned mentors. Thus, such talents as Rick Wade, past Colonial  Players president and author of the company’s classic A Christmas Carol, appear alongside theater newbies or actors who are cutting their directorial teeth.
    This year’s directors, in the order their shows are listed, include Dave Carter, Timothy Sayles, Rebecca Feibel, Robin Schwartz, Cseni Szabo, Scott Nichols, Dave Walter, Mark T. Allen and Lelia TahaBurt. Their stories range from comedy to tragedy, yet a theme in all but one is that things are not as they seem.

THIS, playing July 25 and 27
     Jerry Casagrande’s Among Shrubs and Ivy, which debuted in 2011 at Silver Spring Stage, follows John (Robert Eversberg) through a decade of vacations at a seaside campground owned by crusty Korean War vet Frank (Martin Hayes). With few but powerful words, they bond over their shared love of the property, their families and the value of continuity in a changing world. With Laurel Kenney, Gregory Anderson and Chloe Kubit.
    Me and My Shadow is a riotous look at duplicity when two classmates reunite with inner voices in-tow, speaking unspeakable thoughts. Playwright Rich Orloff’s forthright comedy follows an insecure writer, Susanne (Bernadette Arvidson), and her Super Ego, Susie (Rosalie Daelemans), to a luncheon with Susanne’s successful publisher friend Jacqueline (Kathryn Huston), and her Id, Jacquie (Peggy Friedman). Even the waitress, Andrea (Laurel Kenney), is funny as Andi (Kubit) expresses her candid thoughts about her customers.
    Sure Thing by David Ives is a take on the dating game reminiscent of Groundhog Day. Bill (Brandon Bentley) and Betty (Sarah Smith) grapple with pick-up lines and small talk, rejecting each other’s overtures with a game show buzzer until they stumble on the right formula for starting a relationship.
    James H. Wise’s comedy Mugger in the Park, voted an Audience Favorite at last year’s Watermelon One-Act Festival in Leonardtown, continues to delight with Kathryn Huston’s portrayal of Selma, the stereotypical little old lady who is stuck up by a thug (Jason Vaughan). Selma prevails with her retinue of complaints, kvetching and clever one-upsmanship. Martin Hayes and Robert Eversberg play Selma’s husband and a second thug.
    In Tough Cookies, by Brett Hursey, a date fizzles when the waiter (Jason Vaughan) can’t supply an entitled jerk, Chaz (Brandon Bentley), with a fortune cookie worthy of its name, while his date, Roxanne (Kenney), racks up paper compliments and blessings.

THAT, playing July 24 and 26
     Queen of the Northern Monkeys, by Jason Vaughan, presents a snippet of life from the 1957 Roman holiday of Danish Baroness Karen Blixen (Carol Cohen), aka Isak Dineson, who wrote the memoir Out of Africa. This lovely episode of her life, exploring her friendship with American literary titan Eugene Walter (Kevin Wallace) and her secretary Clara (Erica Jureckson), feels more like an excerpt from a larger work than a complete work in itself.
    Jeff Stolzer’s award-winning satire Emergency Room pokes fun at the broken healthcare system, pitting a patient (Kim Ethridge) against a corrupt hospital where the doctor and billing clerk (both played by Erica Jureckson) and security guard (Richard Atha-Nicholls) conspire to keep her captive. The exaggerated premise would be funnier if not for the frustration and sick humor.
    Rick Wade’s Foxgloves is a smart intrigue that takes place at an airport bar where widower Dennis (Danny Brooks) and his traveling companion Jerry (Atha-Nicholls) discover how much they have in common. Bernadette Arvidson plays the sympathetic waitress.
    Alien Love Triangle, by Katherine Glover, is a hilarious sci-fi thriller starring Richard Atha-Nicholls and Erica Jureckson as two astronauts studying life and finding love with K’Sh, an amoeba-like creature with three heads (Kubit, Sam Morton and Brooke Penne). 
    Some productions are more polished than others, but each slate offers at least a couple solid wins. It’s summer fun for sultry nights with a seed of surprise.


This and That: One Act Play Festival. Stage Manager: Ernie Morton. Sound: Brittany Rankin and Richard Atha-Nicholls. Lights: Eric Gasior and Shirley Panek. Costumes: Hannah Sturm and Kaelynn Miller. Set: Lyana Morton and Edd Miller.

Playing thru July 27, Th thru Sa at 8pm and Su at 2 at Colonial Players, 108 East St. Annapolis. $10 per slate or $15 for both; rsvp: 410-268-7373; thecolonialplayers.org.
 

The formula for the chemistry of commitment

     I Do! I Do! has been done over and over in community theaters, repertory theaters, dinner theaters and church basements since it closed on Broadway in 1968. One reason is that its two-person cast and simple single set of a four-poster bed make it far easier and less expensive to mount than the typical big-cast-and-chorus musical, thus very attractive to those looking to bring in an audience at relatively little cost.
    That’s not the only reason. The material was lightweight even for the 1960s, and the score produced only one recognizable hit. Yet both bring so much humor and empathy that anyone who is, has been or will be married can identify with Agnes and Michael Snow. It is their union the show follows for some 50 years from the honeymoon night all the way through to the sale of the house they lived in, loved in, argued in, raised kids in and sang to each other in for all those decades. It was written to begin in 1895 and end in 1945.
    Infinity’s production, tightly directed by Tina Marie Casamento and starring Daniella Dalli and Craig Laurie, takes a more modern setting, starting in the late 1950s and ending in the current day. The story is timeless enough that the change is barely noticeable.
    On Broadway, I Do! I Do! was a hit because the personalities and chemistry of stars Mary Martin and Robert Preston raised the level of the material. Infinity’s production is likely to be very popular for the same reason. Both Dalli and Laurie have personality plus, and their vocal chemistry elevates a score that was never one of Broadway’s more popular. Together, they turn the show’s hit, “My Cup Runneth Over,” a pop smash for big-baritone-voiced Ed Ames, into a more real-life paean to growing old together.
    The chemistry between Dalli and Laurie doesn’t stop with their vocals. As wide-eyed young love dims with the passing of the years — and the giggling embarrassment of the honeymoon night gives way to the inevitable vocal sparring of two people wondering years later whether they are where and with whom they want to be — both of these New York actors display an empathy for their characters and each other that remains strong throughout the rises and falls of a long marriage. That arc — from love to frustration to anger to cheating to loneliness and back — is one we’ve all seen on stage and film time and time again. Still, these actors know how to deliver a vocal quip and a physical take in ways that make it all seem fresh. Through it all, they never lose sight of the depth of feeling that must anchor each of these moments, just as it anchors the ups and downs of any long-term relationship.
    Dalli takes Agnes through the decades with a charming and knowing subtlety, gradually aging in body and blooming in attitude but never varying from the personality that makes her the anchor of this production. Her beautiful, rich soprano is the perfect vehicle to carry the emotional ups and downs of Agnes’ songs.
    Laurie is more of a character actor than a leading man à la Robert Preston, so we get a Michael who is a bit broader than one might expect. Laurie pulls it off because of that chemistry with Dalli, because he connects with the audience in a way many actors can’t and because, through it all, he never loses touch with that aforementioned depth.
    Music director David Libby keeps it simple, with pianist Paul Campbell playing a single keyboard in accompaniment because, frankly, that’s all two people singing a nice, relatively simple score really need. A single live keyboard played well is almost always more emotionally satisfying and effective than a recorded and digitized orchestra.
    That simple set with the four-poster bed? Turns out it’s not so simple. Being a professional theater company, Infinity knows how to get the most out of a set, and does so with this one. What appears to be just a big headboard, for example, turns into everything from the altar of a church to a quilt of lights mimicking Agnes’ and Michael’s raised voices in the same ritual married couples everywhere have engaged in since time began: talking past each other from opposite sides of the house.
    It is this, and so much more of ourselves, our parents and our married friends, that we recognize in I Do! I Do! The play is a salute to the institution of marriage, and Infinity carries on the tradition delightfully.


Scenic designer Paul Tate DePoo III; Sound designer Wes Shippee; Stage manager Geoffrey Weiss; Costume designer Tristan Raines; Lighting designer Jimmy Lawlor.

About 2 hours and 15 minutes including intermission. Runs through August 3: Thursdays at 2pm and 7pm; Saturdays at 8pm; Sundays at 2pm; added performances on Wednesday, July 23 at 7pm and Friday, August 1 at 8pm. Advance tickets $35, $40 at the door (seniors $34/$29): call 877-501-8499 or visit www.infinitytheatrecompany.com

Five women seek balance between domesticity and independence, birth control and motherhood, drugs and responsibility in 1960’s London

I was expecting SHOUT! The Mod Musical to be smashing, and it is. With hits by the likes of Petula Clark, Lulu, Shirley Bassey, Mary Hopkin, The Seekers and The Association plus a phenomenal cast of singer/dancers plus a superstar director (Jerry Vess) from seven previous Summer Garden productions, how could it be anything but?
    What I didn’t expect was relevance.
    SHOUT!, which debuted in 2006, revisits the Swinging Sixties in London through the eyes of five women in different stages of life as they discover women’s liberation. Seeking a balance between domesticity and independence, birth control and motherhood, recreational drugs and responsibility, they strive for the glamorous autonomy of superstars like Dusty Springfield even as her music counsels them to wear their hair for him, do the things he likes to do. It was a confusing decade of change, so thank God that Shout Magazine, the U.K.’s answer to Elle, had an advice columnist. Gwendolyn (Ginnie White) guides them through each life crisis with dismissive beauty and fashion tips: all hilarious — until they’re just not, anymore.
    The girls are as anonymous as their letters, each identified only by the color of her frock. There’s Orange Girl (Jamie Erin Miller), the tippling housewife who is completely contented and completely in denial; Blue Girl (Kara Leonard), the vain and lonely sophisticate who can’t find a chap she connects with; Green Girl (Brittany Zalovick), the commitment phobic good-time gal; Red Girl (Mariel White), the baby and a hopeless romantic mess; and Yellow Girl (Katie Gardner) the loud and emotional American.
    They sing in harmonies that approximate the originals without disappointing. Some, like the anthems Windy and Georgy Girl, are delivered in duets; some, like White’s touching rendition of To Sir with Love are solid; and some, like Downtown, are ensemble pieces that eclipse the originals. Nancy Sinatra never sang These Boots Were Made for Walking as well as these skirts. White also sells Those Were the Days and How Can You Tell. Gardner wows with Son of a Preacher Man and Shout. Zalovick rocks One, Two, Three and I Couldn’t Live Without Your Love. Leonard stuns in You’re My World and Don’t Sleep In the Subway, where she flirts with the crowd. And Miller shines in I Only Want to Be with You and Don’t Give Up. Some of the music, like Coldfinger is just fun.
    Interspersed with the music are comedic vignettes à la Laugh-In, poking fun at the French, the Brits, the Royals, fad diets, Twiggy, orgies and asbestos dresses. Leonard’s skin cream commercial in which she contorts her face to look like Munch’s The Scream is a scream, as is Gardner’s stalking of Paul McCartney. Your Fashion Horoscope is an eye-popping trip back through the rack.
    A musical revue needs more than just the right sound and jokes, though. Looks matter, and this production is spot-on from the Mary Quant minis and Vidal Sassoon bobs to the white Go Go boots and frosted lips. The girls speak in accents that echo the ubiquitous Union Jacks decorating the stage and costumes as they swim, jerk, shrug, frug and otherwise dance their way to psychedelic bliss.
    This show is technically tight with custom voice-overs and few glitches on opening night. The fine musical combo grooves in balance with the singers. Only the pre-show entertainment, perhaps a Dionne Warwick medley, was regrettably inaudible.
    SHOUT! is rated PG-13 for sexual and drug references, but those are sedate by modern standards. So go downtown, where the lights are bright. Everything’s waiting for you at Annapolis Summer Garden Theatre.

By Philip George and David Lowenstein. Director and set designer: Jerry Vess. Musical director: Anita O’Connor. Choreographer: Jason Kimmel. Costumer: Julie Bays. Dialect coach, hair and makeup designer: Emily Karol. Lights: Alex Brady. Orchestra Conductor and pianist: Ken Kimble.
Playing thru July 19: Th,SaSu July 3, 5 & 6; Th-Su July 10-13; and W-Sa July 16-19. 8:30pm at Annapolis Summer Garden Theatre. $20: 410-268-9212; www.summergarden.com.

Teen players give you hope in youth and humanity

An all-teen cast draws a fine line between the real and unreal in Twin Beach Players’ Harvey. We’ve known Elwood P. Dowd since 1944, when Mary Chase’s Pulitzer Prize-winning play opened on Broadway, but most notably in James Stewart’s 1950 movie incarnation.
    In all those years, nobody has ever seen Dowd’s best friend and constant companion, a six-foot-three-inch tall white rabbit named Harvey.
    Dowd describes Harvey as a pooka, a benign but mysterious creature from Celtic mythology who is especially found of social outcasts — like Dowd.
    The word comes up several times in the play, always with a mysterious air as if it’s too taboo to be spoken. Nobody else wants to think like Dowd, who is either a nut or a drunk.
    Or is he?
    Twin Beach Players give us glimpses of Harvey — a fedora hat with two holes poked out for rabbit ears, a door that mysteriously opens when Harvey is invisibly passing through, Dr. Chumley sideswiping by Harvey and Elwood’s conversations with his imaginary friend.
    As Dowd, 14-year-old Cameron Walker does such a believable job of talking to Harvey you’d think the oversized rabbit was in the room next to him.
    Dowd’s family doesn’t share his wide-eyed guilelessness. Prim sister Veta (Marina Beeson) is as much put out by his dinner invitations to people he’s just met as she is to his constant opening of doors for invisible lapine friends.
    And how will she ever find a husband for her daughter Myrtle Mae (Abby Petersen), with an uncle whom most of the town regards as a nutcase.
        Myrtle Mae and Veta join forces to have Dowd committed to a sanitarium run by Dr. Chumley (Jeffrey Thompson). Naturally, things do not go according to plan.
    Twin Beach Players keeps the set simple — a cushioned chair, a phone, a bookcase and a desk and chair. All three acts take place in either the library or Chumley’s Rest, the ­asylum.
    The only sound effects are a ringing telephone and the one-time sound of a large rabbit hopping across the stage.
    The elaborate costumes, made to order by Dawn Denison, suit an era of propriety.
    The teen actors playing grown-ups are mature in roles and dramatic skills. No one missed a beat — or a line.
    Veta is dramatic and loud, overbearing to her brother but not to her audience.
    Newcomer and first-time actor Danielle Heckart, who plays Judge Ophelia Gaffney, shows the audience that even a fourth-grader can pull it off.
    Asylum orderly Wilson (Matthew Konerth) adds humor with impromptu actions and one-liners. I couldn’t wait to see him pop back on stage and hear his next crack.
    Dr. Sanderson (Dean Stokes) and Nurse Kelly (Olivia McClung) are believable in their roles as medical professionals: He, the stoic psychiatrist with a secret crush on her and she, the obedient employee with an underlying twist of sarcasm.
    Camden Raines keeps her duel roles — Betty Chumley and Ethel Chauvenet — separate and ­successful.
    Cab driver E.J. Lofgren (Ethan Croll) is true to his role as a cabbie, complete with New York accent and toughness. Despite his short time on stage, he resolves the conflict with his worldly view of patients with mental illness.
    You leave this quirky comedy about human oddities and outcasts feeling pretty good about yourself and everybody else, including large rabbits.

Director: Annie Gorenflo. Producer: Matthew Konerth. Light and set design: Sid Curl. Sound: Michael Happell. Prop master: Camden Raines. Music: Bob Snider. Costumes: Dawn Denison. Youth Troupe directors: Rob and Valerie Heckart.

Playing thru June 29: FSa 7pm; Su 2pm at North Beach Boys and Girls Club. $5; rsvp: www.twinbeachplayers.com.
 

Answer this call and you’ll think twice about who you ­connect with

With a quirky cast of characters and a script full of great one-liners Dead Man’s Cell Phone keep you on your toes guessing and laughing for most of an hour and a half. The plot draws us in with questions we ask about our own mortality and technology.
    How is technology affecting me socially? Does my cell phone connect me to the world or draw me away? Do I really need to answer my phone every time it rings, even when I’m on the toilet? Is there a heaven? Does everything happen for a reason? What do I want to be known for after I die? Who do I love most in the world?
    The 2007 Helen Hayes outstanding play award winner opens in a café where a customer ignores his ringing cell phone. Annoyed by the ringing, Jean (Heather Quinn) repeatedly asks the man, Gordon (Jim Reiter), to answer his phone. When he does not, she answer for him and takes the message before she realizes he is dead. After calling 911, she keeps the cell phone and injects herself into his life, praying to God “Help me to comfort his loved ones. Help me to help the ­memory of Gordon live on in the minds and hearts of his loved ones.”
    The next scene opens as Gordon’s mother, Mrs. Gottlieb (Mary Fawcett Watko) eulogizes her son. It’s a funeral, but she is funny, keeping us alive and awake with witty lines. After a phone rings in the service, she exclaims “There are only one or two sacred places left in the world today. Where there is no ringing. The theater, the church and the toilet. But some people actually answer their phones” in the latter these days.
    It is Gordon’s cell phone ringing. Jean leaves the funeral to answer and meets the caller, who is Gordon’s mistress (Darice Clewell). To her  and all the people who call the undead line, Jane says exactly what they most want to hear.
    Dead Man’s Cell Phone brings a lot of themes and even some romance to the table. There are slow downs in the script, but the actors keep you involved. Theater in the round makes for four separate audiences, and the play’s six actors reach out to all. The theater is so intimate that you can appreciate even their smirking and grinning. Costuming was archaic compared to the phone, but the sparse set served its purpose.
    About that cell phone: It’s a temptation but finally not a substitute for face-to-face connections.

Director: Tom Newbrough. Set design: Edd Miller. Sound: Richard Atha-Nicholls. Lights: Shirley Panek. Costumes: Christina McAlpine. With Jean Berard and Nick Beschen.
Playing thru June 28: Th-Sa 8pm; Su 2pm (also Su June 22, 7:30pm) at Colonial Players’ Theater, Annapolis. $20 w/discounts; rsvp: 410-268-7373; www.thecolonialplayers.org.

Two for one: great music plus the life of a talented, tormented man

Lost Highway, at Infinity Theatre gives two exceptional entertainments at once. First, we are treated to great music from a bygone era, authentically presented with superb musicianship. Then, within that broad framework, we see the life of a talented, tormented man. Lost Highway is far more than a musical revue.
    In his day, Hank Williams was the superstar of country music or, as it was then known, Hillbilly Music. (Full disclosure: I grew up in that era; you couldn’t turn on the radio without hearing Hillbilly Music. As often as not, it was ol’ Hank twanging away.)  
    The faultless musical numbers are alone worth the price of admission. Every number is true to the original Hank Williams rendition — so close that I looked for signs of lip-synching — Not! Every tune (21 of them) has the audience clapping in unison. I especially liked Your Cheating Heart, Jambalaya and Hey, Good Lookin’, although I hasten to add that these are personal likes for every song is as good as every other.
    The arc of Williams’ tragic life is intermingled with the music in such a way that audience emotions are played with as on a rollercoaster ride. That, together with fine acting, makes this play exceptional, for Jason Petty is as close the real Hank Williams as it is possible to be.
    The sheer joy of the musical performance gives way to pity as we watch the collapse of a great talent.
    So for comic relief, we are treated to corny banter of the kind that was de rigeur on country music radio stations.
    Player 1: “My wife says I’m the most handsome man she’s ever seen.”
    Player 2: “I didn’t know your wife was blind.”
    Not so funny here on paper, but stated rapid fire with other corny-isms, it is.
    Hank’s dominating mother supported his musical career, which started when he was 13. He quickly caught the eye, and the ear, of Nashville music executives, and his career took off. But there was darkness in Hank’s life: He was born with spina bifida and became addicted to alcohol and painkillers. He often showed up drunk onstage, and colleagues found it increasingly difficult to work with him. Along the way, he married Audrey, a lady of limited talent who was sure that she had the makings of a superstar. Hank gave her a chance onstage, then fired her. Hank’s mama had a tense relationship with Audrey, with Hank stuck in the middle between mama and wife.
    Hank Williams died at age 29 in the back seat of a powder blue Cadillac.
    All this, and more, is captured on stage. Every performer gives a sterling performance, with Jason Petty as the standout core of the play. Imagine the practice that went into developing the Hank Williams persona. Petty even looks like Williams. The band comprises three kinds of guitar, a fiddle and a standup bass, all played by consummate musicians who are also convincing actors.  
    Audrey Womble gives a fine performance of wife Audrey, a naïve wannabe who nevertheless has Hank’s best interests at heart. Mama is played by Becky Barta, who shows what tough means as she does her best to keep her wayward son in line.
    Infinity Theatre has found the perfect venue for its productions. The theater is roomy with excellent acoustics perfect for a musical production. With shows of this caliber, Infinity Theatre will be around for a long time.

By Randal Myler and Mark Harelik. Directed by Randal Myler. Music director: Stephen G. Anthony. Lighting designer: Jimmy Lawlor. Stage manager: Laura Perez.
Playing thru June 29: Th 2pm & 7pm; Sa 8pm; Su 2pm at CTA Theatre, Bay Head Park, Annapolis. $40 w/advance & age discounts; rsvp: 877-501-8499; www.infinitytheatrecompany.com.