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Arts and Culture (Theatre Reviews)

Actors may flirt with you and filch your food in this frothy romp back in time

With summer comes another season of Molière for moderns, adapted by Tim Mooney and performed by the Annapolis Shakespeare Company in the Courtyard at Reynolds Tavern.
    The Schemings of Scapin, playing through July 29, is a frenzied farce in rhyming couplets about well-heeled 17th century fools and their gamesome servants. With a contrived plot about true love and arranged marriages, this play pits fathers against sons while elevating the lowly and poking fun at the idle rich and lawyers — revolutionary stuff for its time, but Louis XIV loved this fluff.
    To wit, Scapin (Charlie Retzlaff), a brilliant trickster and politician, is employed as valet and temporary guardian to narcissistic Leandre (Zachary Roberts) whose father, buffoonish Geronte (Gray West), is away on business. Likewise, Sylvestre (Ashlyn Thompson), an anxious nudge, is similarly employed with simpering Octave (Michael Windsor) while his sour old father, Argante (Joseph Palka), is away.
    Fortunately for the young men, their servants have not kept very close eyes on them. Unfortunately for the young men, each father returns home with a marriage contract for his son. Alas, Leandre is already in love with the seductive Gypsy Zerbinette (Lauren Turchin). Octave is secretly married to darling Hyacinthe (Jackie Madejski), a match arranged by her nurse, Nerine (Roberts in drag).
    What follows is an elaborate scheme to bilk the fathers, transferring money intended to benefit their sons to the support of relationships with the women who threaten to break family ties. But all’s well that ends well.
    Turchin’s Gypsy steals the show, but all of the performers are masterful at physical comedy, word play, improvisation and audience interaction. Don’t be surprised if they flirt with you and filch your food. With interludes of Baroque harpsichord music and costumes ranging from Blue Boy and Bo Peep to bangles, this is a frothy romp back in time.

Director: Sally Boyett. Costumer: Maggie Cason. Stage manager: Sara K. Smith. Running 1:40 with two intermissions.

Playing Tuesdays (rain date Wednesday) thru July 29 at 7:30pm at Reynolds Tavern Courtyard, Church Circle, Annapolis. $20 w/advance discounts; rsvp. Happy Hour prices until 7pm; dinner menu then available: 410-415-3513; www.AnnapolisShakespeare.org.

 
It would be a shame for one seat to go empty during this run.
Debuting to 10 Tony Awards 50 years ago, Hello, Dolly! is a rarity among musicals: song and dance blend seamlessly with story, its buoyant innocence saving it from contrivance. Based on Thornton Wilder’s play The Matchmaker, it’s a perfect vehicle for 2nd Star Productions, long recognized for outstanding musicals. The combination of strength in show and talent makes this the best amateur musical production I have seen in 13 years of reviewing. 
 
Dolly Levi (Nori Morton), as charming as she is perceptive and manipulative, is a marriage broker who, after a long widowhood, has set her own matrimonial sights on Horace Vandergelder (Gene Valendo), the half-millionaire from Yonkers who also happens to be her client. Horace is set to marry Irene Molloy (Pam Schilling), a lovely widow and milliner from the city. But his quest does not end as he — or six younger romantics — anticipated, as Dolly lets drop some slanderous rumors about Irene’s character.
 
Horace’s two clerks at Vandergelder’s Feed Store — Cornelius (Nathan Bowen) and Barnaby (Daniel Starnes) — close the store without Horace’s knowledge to follow him, intent on sightseeing and kissing a girl — all on two dollars. Horace’s niece Ermengarde (Emily Freeman), meanwhile, steals off to the city at Dolly’s urging with her forbidden love Ambrose (Josh Hampton). Dolly enters the pair in a polka contest at the swanky Harmonia Gardens Restaurant, where Horace will dine.
 
In the city, Cornelius and Barnaby spot their boss and take refuge in Irene’s hat shop, where Horace discovers them and abandons Irene. She and her assistant Minnie (Colleen Coleman) then fall for Cornelius and Barnaby. Dolly next sets up Horace with a mannequin, then with Ernestina (Rebecca Feibel), a crass floozy, interrupting their miserable tête à tête so that he will fall for her in desperation. Horace’s employees, meanwhile, are trying to entertain the milliners on a pittance in an adjacent booth when an accidental wallet swap saves their day but causes Horace to be arrested for not paying his bill. The polka contest turns into a riot. Everyone is hauled to court, but Cornelius saves the day with a speech on the power of love that moves the Judge (Mark Jeweler) to free everyone but Horace. Dolly, of course, is there to save his day.
 
There is not a clinker in this cast. The leads, all well cast, know how to sell their songs. With hummable hits like Put on Your Sunday Clothes, It Takes a Woman and It Only Takes a Moment, the singing is pitch-perfect and the dancing precise. Morton is every inch the marvelous meddler; Valendo delivers just the right blend of tightwad anxiety; Bowen charms with naïve sincerity and energy to burn; Starnes is an impressive presence as the teen playing a teen; Schilling sings like a lark in Ribbons Down My Back and Coleman is her perfect ingénue foil. Tim Sayles is hilarious as Rudolph, the maître d’ who barks orders like a German drill sergeant in the Waiters’ Galop, a stunning ballet of  tuxedoed servers. Feibel wrangles the laughs with her bumptious shenanigans. There are even children — two talented girls — always a welcome sight in community theater choruses.
 
Sets and costumes are a feast for the eyes with half a dozen ornate set changes and two dozen beautiful ensembles complete with parasols, plumes, boaters and bonnets. The robust nine-piece orchestra sometimes overpowers the soloists, but never a word is lost. 
 
Money is like manure. It isn’t worth anything unless you spread it around, Dolly is fond of saying. The same is true for talent. It would be a shame for even one seat to go empty during this run. So buy your tickets now, Before the Parade Passes By.
 
 
Hello, Dolly! by Stewart and Herman. Director and set designer: Jane B. Wingard. Costumes: Linda Swann. Musical director: Joe Biddle. choreography: Vincent Musgrave. Lights and sound: Garrett R. Hyde. With Heather Jeweler as Mrs. Rose and Brianne Anderson, Aaron Barker, Rosalie Daelemans, Austin Dare, Genevieve Ethridge, Samantha Gardner, Ethan Goldberg, Ann Marie Hines, Julie Hines, Amy Jones, Crista Kirkendall, Brigid Lally, Erin Lorenz, Rebekka Meyer, Spencer Nelson, Malarie Novotny, Sharon Palmer, Sophia Riazi-Sekowski, CeCe Shilling, Jordan Sledd, Deb Sola and Sarah Wessinger.
 
Playing thru June 29. F & Sa at 8 pm; Su at 3pm at 2nd Star Productions: Bowie Playhouse, White Marsh Park. $22 w/discounts; rsvp 410-757-5700; www.2ndstarproductions.com.

Gather under the stars for satins and sequins, top hats and tails and vocal harmonies with that Merry Melodies brand of manic sweetness

It seems only yesterday we were urged to come and meet those dancing feet … on 42nd Street. But the 2001 revival of the 1980 Broadway hit (both multiple Tony Award winners) debuted as a 1933 Warner Brothers film starring Ruby Keeler and Ginger Rogers. Now Annapolis Summer Garden Theatre brings back this buoyant musical extravaganza, after a 20-year hiatus, in a show billed as a “bold celebration of the transcendent joys of Broadway.”
    Packed with show-stopping classics, it stars several dynamic leads guaranteed to satisfy the strongest nostalgia craving. ASGT’s stage can’t provide the same trademark visuals of Busby Berkeley’s film choreography, but the tapping is complex and tight, highlighting the virtuoso performances of Hannah Thornhill as Peggy Sawyer, the sudden starlet, and Summer Garden Theatre newcomer Nicholas Carter as her friend Andy, the dance captain of her star vehicle, Pretty Lady. Maggie (Allie Dreskin), the show’s wisecracking writer, is equally impressive for her singing.
    Because even the spunkiest musical needs a story line, no matter how flimsy, Peggy the small-town-girl takes the city by storm and wins the hearts of hard-nosed producer Julian Marsh (Brandon Deitrick) and sweet chorus boy Billy (Kyle Eshom).
    Meanwhile, aging diva Dorothy Brock (Allison Erskine) gives Peggy her lucky break, literally, when age trips over youth in rehearsal. Dorothy was due for a change, anyway, having tired of her sugar daddy who is the show’s backer, Abner Dillon (Wendell Holland), and desperate to reunite with her secret love, Pat Denning (Thomas Brandt).
    For a show with two love triangles, there is nary a spark beyond the music. But with hits like We’re in the Money glittering green as a lotto commercial, Lullaby of Broadway with its great male harmonies, and Shuffle Off to Buffalo staged in train cars, the rest is fluff.
    Thornhill, ASGT’s star of Thoroughly Modern Millie and Chicago, has it all: voice, moves, personality and Renée Zellweger’s looks. Carter astounds as an Astaire for the modern age. Dreskin brings a Bette Midler quality to Maggie, wowing early on in Shadow Waltz, and dominating the stage for a third of the show. Newby Erskine’s strong contralto is best showcased in About a Quarter to Nine and I Only Have Eyes for You. Eshom shines in Dames. Caitlyn Ruth McClellan, Lacy Comstock, Amanda Cimaglia and Trent Goldsmith excel in the tertiary lead chorus roles of Anytime Annie, Phyllis, Lorraine and Brent, featured in the big-production numbers.
    From an acting perspective, Aubrey Baden is worth mentioning for his terrific impersonation of a rehearsal pianist, despite the fact that he doesn’t play or speak. All the music, in fact, is provided by a tiny, tinny backstage combo. Holland is a quintessential milksop. Deitrick does a decent job with his famous pep talk, “You’re going out there a youngster, but you’ve got to come back a star,” but he has trouble navigating 42nd Street in his solo reprise of the title song in the finale. Similarly, some dragging tempi and a lighting problem siphoned some of the show’s energy on opening night.
    Still, if you love satins and sequins, top hats and tails, and vocal harmonies with that Merry Melodies brand of manic sweetness, you will thrill to this chestnut.


With Samantha Curbelo, Ashley Gladden, Debra Kidwell, Maureen Mitchell, Erin Paluchowski , Aaron Quade and D.J. Wojciehowski.
By Stewart, Bramble, Warren and Dubin. Director and choreographer: Kristina Friedgen. Musical director: Julie Ann Hawk. Dance captains: Nick Carter and Caitlyn Ruth McClellan. Set designers: Friedgen and Dan Snyder. Costumes: Miriam Gholl. Lights: Alex Brady. Orchestra conductor/pianists: Hawk and Laura Brady.
Playing thru June 21. Th-Su plus Wed. June 18 at 8:30 pm @ Annapolis Summer Garden Theatre, 143 Compromise St. $20; rsvp: 410-268-9212; www.summergarden.com.
 

Take an intimate look at private lives affected by corporate callousness.

Colonial Players has kept audiences engaged in a season that has swung from the ridiculous to reality: from a time machine to Death Row, and now from a tabloid fantasy to the Industrial Revolution. In Melanie Marnich’s These Shining Lives, a fictional treatment of a factual tragedy, we meet four victims of radium poisoning whose plight spawned a landmark Supreme Court decision on corporate responsibility and workers’ safety. Despite the legalistic dénouement, this story is less Erin Brokovich than an intimate look at the private lives affected by corporate callousness.
    If you’re a fan of television’s Big Love or The Big C, you’re already familiar with Marnich’s work. Or perhaps you were lucky enough to catch this show’s 2008 debut at Baltimore’s Center Stage. Regardless, this touching chronicle of friendship and suffering will arouse your anger and sympathy for Catherine (Sarah Wade), Charlotte (Krissy McGregor), Frances (Josette Dubois), Pearl (Aricia Skidmore-Williams) and thousands like them who, for over a decade, decorated watch faces with a paint composed of radium powder and their own saliva.
    From the Roaring Twenties to the Great Depression, these working girls were heady with newfound freedoms and “easy money” thanks to the newly discovered element thought to impart a healthy glow and beneficial side effects. They got $8 a day; they lost teeth, jaws, limbs, their jobs, their good names and their lives.
    Through it all, the men around them tiptoed around the obvious. Mr. Reed (David Carter), the supervisor, kept a watchful eye on their degeneration even as he denied the hazards of the job. The company doctor (Eric Hufford) prescribed aspirin and rest. Catherine’s adoring husband Tom (Ben Carr), suspicious from the start, nevertheless grew resentful of and dependent on his wife’s work even as she
withered before his unbelieving eyes.
    The powerful story could have been more affecting with a more elaborate set. For despite luminescent designs on the floor and walls, the recycled kitchenette and worktables are ineffective substitutes for a deathbed and courtroom, and even those pieces remain unchanged throughout the production. Period costumes add a colorful touch to an otherwise drab environment, as do the scratchy recordings. But a vintage cathedral radio and more period embellishments would have added a whole new dimension of ­reality and interest.
    From a performance standpoint, Wade glows as Katie, from her first ecstatic entrance to her dying breath, meshing with Hufford with palpable chemistry in last weekend’s fine understudy performance of husband Tom. Carter brings a charming smarminess to the role of the calculating boss. McGregor, Skidmore-Williams and Dubois construct a decent rapport as the smart aleck, the jokester and the moralist. Yet beyond a couple limps and a sling, they are less convincing than Wade in their personas and their frailties. Where are the crutches, the bruises, the pallor, the blacked-out teeth and the physical manifestation of persistent pain? Without them, the tragedy feels less immediate than it should.
    Still, this show does a good job of reminding us that precious time is ticking and we should never take a moment of our shining lives for granted.

Director: Craig Allen Mummey. Set designers: Mummey and Laurie Nolan. Sound: Keith Norris. Lights: Alex Brady. Costumes: Beth Terranova.
 
Playing thru May 31. ThFSa 8pm, Su 2pm at Colonial Players Theater, 108 East St., Annapolis; rsvp: $20 w/discounts; 410-268-7373; www.thecolonialplayers.org.

Compass Rose is the first theater to produce this edgy drama

“Why try something new when we already know what we like?” asks the conservative character in Compass Rose’s current production, Another Day On Willow Street.
    “Because,” says founding artistic director Lucinda Merry-Browne, “the future of theater depends on new works.”
    So Annapolis audiences are the first ever to see this new work by acclaimed playwright, author and actor Frank Anthony Polito. Chosen for its unique structure and strong themes, this edgy drama about two relationships in crisis leading up to the 9/11 terrorist attacks considers the themes of sacrifice and commitment against a backdrop of domestic stress, isolation and jealousy.
     Ian (Ric Andersen) and Stacy (Renata Plecha) have it all: a townhome on Willow Street, his Wall Street banking career and her early retirement from publishing to have their baby. Only problem is, she’s not ready and he’s too busy enjoying his role as sole breadwinner to indulge her fears. Going stir-crazy at home, she makes a friend at the park. Mark (Jonathan Lee Taylor) is a struggling actor who rents the studio next door and is living as a geographic bachelor separated from his love, Paul (Anthony Bosco), a Boston-based lawyer. Paul, who is nursing his dying mother, is pressuring Mark to help him fulfill her dying wish to see them married. Only problem is, Mark still hasn’t come out to his parents.
    There are a lot of phone calls and domestic squalls, crossed signals and crossed paths between unacquainted neighbors, Starbucks and even some gratuitous gay phone sex as each couple hashes out the same issues in parallel conversations that echo each other. The main message, stated twice, is that, “people put things off and put things off and put things off only to realize their lives are over.” Not an original thought, but one worth repeating.
     Set and lighting are minimal, characters clichéd and dialogue circular. Yet there is some strong acting. Most notable are Bosco and Taylor, both Equity actors who were cast as last minute replacements with just one week to learn the show. Each fleshes out his role, to the extent the script allows, with finesse. Plecha, last seen as the nurse in Compass Rose’s Romeo and Juliet, is also convincing as the reluctant housewife.
    However, Andersen, last seen as Bob Ewell in Compass Rose’s To Kill a Mockingbird, is wooden and one-dimensional. There is more chemistry between Stacy and the gay neighbor than there is between husband and wife.  
     From a technical perspective, the blocking is awkward, often requiring downstage actors to turn their backs on the audience to carry on conversations with those upstage.
    Other problems come with the script. Characters’ names are barely used the first half of the show, making it hard to identify them. The play has a general flatness, and the roller-coaster of a pseudo dramatic arc culminates in a confusing climax, tidy resolution and abrupt ending.
    This is no instant classic, but it will make you think about the transience of life and the fragility of love.
    Adult themes make this show inappropriate for ages under 16, and runtime is advertised as 75 minutes with no intermission, yet opening night ran an extra 15 minutes.

Director: Lucinda Merry-Browne. Costumes: Julie Bays. Lights: Chris Timko.
Playing thru May 31. Th 7pm; FSa 8pm; Sa May 24 2pm and 8pm; Su and Sa May 31 2pm. Compass Rose Theater, Annapolis. $35 w/discounts; rsvp: 410-980-6662; www.compassrosetheater.org.

Dignity Players exits stage left field, imagination amok

For nine years, Dignity Players has mounted quality productions on the themes of social justice and equality — morality plays that inspire with occasional forays into seriocomedy — brilliant, thought-provoking stuff. And now, as Monty Python would say, for something completely different: a hilarious send-up of John Buchan’s classic thriller The 39 Steps, which became a 1935 Alfred Hitchcock hit. Like a beloved professor playing a prank on the last day of school, Dignity delivers an unforgettable couple of hours of pure pleasure, with a gag a minute and romance to boot.
    The story follows the adventures of Richard Hannay (Ty Cobb), who leads a boring life until he meets a woman with a thick German accent, Annabella Schmidt (Rebecca Ellis), who says she’s a spy. He takes her home where she is murdered, and soon a mysterious organization called The 39 Steps is hot on his trail in a manhunt across the British Isles that climaxes in a death-defying finale.
    This film noir classic has enjoyed a renaissance of late as a riotous blend of virtuoso performances in which three of the four actors portray 25 roles ranging from walk-ons to leads. It sounds impossible, yet with inventive stagecraft it’s not only possible but preferable to the traditional production. There’s Chaplinesque physical comedy, cartoonish pranks, puppetry, shadow play, mime, a train-top chase scene — and references to every Hitchcock blockbuster.
    From the opening scene at a Vaudevillian performance featuring The Amazing Mr. Memory (Duncan Hood) and his manager (Eric Lund), these two actors (billed simply as Clown 1 and Clown 2) never take a break. No sooner does the imperiled Annabella appeal to Richard for protection than the clowns are lurking outside his apartment as the two most delightful trench-coated spies since Boris and Natasha. Each time Richard glances out the window, they skulk and slink into view carrying their own full-sized lamppost, reappearing throughout the show as cops, businessmen, inn keepers, farmers, Hitler sympathizers, newsboys, conductors, maids and milkmen. Ellis, meanwhile, reappears as a helpful farmer’s wife and a traitorous confidante who unmasks him only to find herself handcuffed to him for the duration.
    Technically more complex than Dignity’s usual fare, this production features fog, gunshots, special lighting and a slide show backdrop. The hilarious preshow of Alfred Hitchcock’s tongue-in-cheek videos introducing his greatest hits is not to be missed.
    Director Jim Reiter, a veteran of Dignity Players hits such as Sordid Lives, The Crucible and Shadowbox, has assembled a brilliant cast. Cobb — a Dignity alum from 8 and Sight Unseen — is equal parts suave, sly and charming. Ellis — who has appeared with nearly every local theater except Dignity — is cool and glamorous with a demure style perfect for the period. Lund — who has worked with Dignity on and off stage in productions such as The Vagina Monologues, A Christmas Carol, The Last Days of Judas Iscariot and The Shadow Box — exhibits Peter Sellers’ comic genius in his portrayal of characters such as Professor Jordan, the Nazi.
    Hood — an ubiquitous local favorite memorable for his hilarious Scrooge, Psuedolus and Shakespeare — displays his box of tricks: from Mr. Memory’s out-of-body experiences to a sanctimonious Scot’s brimstone mealtime blessing. After appearing with countless theaters in the Baltimore-Washington area, he is excited to be doing this play, his one and only with Dignity, because of this show. “Normally the stuff they do is too serious for me to care about,” he says, “but THIS ONE!”
    If the perception of seriousness has kept you from Dignity’s many outstanding productions over the years, change your ways. The 39 Steps is the funniest play you’ll see all year and Dignity’s swan song: a parting gift for nine great years.


Costumes: Jeannie Christie. Stage manager: Andy McLendon. Technical designers: Julien Jacques and Mickey Lund.
Playing thru May 17. Th-Sa 8pm at The Unitarian Universalist Church of Annapolis, 333 DuBois Rd. $20 w/discounts; rsvp: 410-266-8044 x127; www.dignityplayers.org.

That was pretty cool!

Rock musical and Andrew Jackson make a logical theatrical fit when you think about it: arrows cutting people down in mid-sentence; the scandal of marrying a married woman; a “people’s president” who strengthens the power of his office — yet sparks the creation of the Democratic party while crafting his image to get what he wants. There’s a lot of stage-worthy material to be mined from the life of our seventh president, and Bloody Bloody Andrew Jackson reaches deep. What emerges is a loud, profane, politically incorrect, funny and raucous show that offers daunting challenges to any company daring to stage it.
    The Theatre at Anne Arundel Community College surmounts most of those challenges, offering a lively and enjoyable production overall. One big plus: A talented and tight rock combo nestled upstage. They adeptly accompany screaming rock and quiet ballads. I’d love to credit them but, curiously, their names do not appear in the program. 
    As Andrew Jackson, Vincent Capuano plays at both ends of the hit-and-miss spectrum. He has a commanding stage presence, a good voice and knows his subject, both as history and as written by the playwrights. But he misses a few of the screamin’ rock ‘n’ roll high notes early on, though his voice warmed up as the show progressed.
    In Act II of this second night of the run, he carried a script. There are a lot of legitimate reasons that can happen — usually an actor has taken on a role late in production after another actor leaves. No explanation was offered, so there will be no judgment here. But those paying $20 a ticket may have done some judging. To his credit, Capuano didn’t seem to miss a beat. Here’s hoping the break between weekends eliminates the on-stage book because Capuano’s talent deserves to be unleashed in this role.
    Jennie Woods excels as Rachel Jackson, Andrew’s wife. Her comic timing is sharp, and she is equally adept at drama. Her pleasant voice is perfectly matched to her songs, which is another way of saying she is so talented she makes them her own. Rachel grounds her rock star husband. Woods likewise gives substance to this production, adding heart to the zaniness.
    The rest of the cast commits to each role, often playing several. They have a blast doing it, yet director Dr. Lars Tatom’s guidance has set clear parameters so that they resist the temptation to go too far in a very over-the-top show. That makes it a lot easier for the audience to go along for the ride.
    What isn’t easy on the audience is, too often, the sound. By definition, a rock musical is going to be loud, and there are times when the college sound system and acoustics, clearly not built for such volume, erupt into painful distortion. When the entire chorus gets going, with all those body mikes fighting for radio frequency, the din often drowns the words. 
    When’s the last time you went to a rock concert and heard all the words? Still had fun, didn’t you?
    That’s how to approach Bloody Bloody Andrew Jackson. It’s a fun show, performed by a talented cast. Like any rock concert it has its hits and misses. But you walk out, ears ringing, saying that was pretty cool.

Director and producer: Lars Tatom. Music director: Aaron Smith. Choreographer: Tommy Parlon. Stage manager: Brittany Adams.

Playing April 17-19, ThFSa 8pm at Kauffman Theatre, Anne Arundel Community College, Arnold. $20 w/discounts; rsvp: 410 777-2457; boxoffice@aacc.edu.

This romanticized Frankenstein story is a shocking musical with a rocking score.

The story of a Bat Boy living in a West Virginia cave — illustrated with a photoshopped baby picture —  amazed America in 1992 when published by Weekly World News, which bills itself as The World’s Only Reliable News. Playwrights Keythe Farley and Brian Flemming shared the popular fascination, and a gothic science fiction began stewing in their minds.
    Five years later, with the help of composer/lyricist Laurence O’Keefe, their romanticized Frankenstein story — a sort of Edward Scissorhands meets Dracula and Liza Doolittle — became a hit musical with a shocking book and rocking score.
    Now, Beverly van Joolen and Colonial Players shake up staid Annapolis with a five-star production and an all-star cast exultant in pathos, religiosity, hypocrisy and tasteful debauchery.
    Ron Giddings as Bat Boy/Edgar is phenomenal, embodying his character’s mutations with curled extremities, nasal mewling, haunted eyes and adorably creepy ears. Yanked from his subterranean home, he lives like a curiosity with the family of Hope Falls’ veterinarian Dr. Parker (Chris Patton), suspended arms folded from his cage or flitting to the tabletop. Starved for love and blood, he is dependent on the charitable Parkers, who transform him from a bald beast to a civilized boy.
    The virginal missus, Meredith Parker (Wendy Baird), mothers and tutors him as she sings A Home for You, feeding him people food he retches. Meanwhile, the villainous doctor secretly feeds his bloodlust and plots his destruction even as sister Shelley (Paige Miller) learns to love him.
    Despite good intentions, proclaimed in the song Christian Charity, townsfolk are not so accepting.
    Edgar alienated the locals right off the bat by biting young Ruthie Taylor (Emma Panek), who with brothers Rick (Nathan Bowen) and Ron (Corey Jeweler) discovered him in the cave. She’s been languishing in the hospital ever since. There Mrs. Taylor (Alicia Sweeney) croons Mrs. Taylor’s Lullaby to her with the comic shrillness of Edith Bunker. Hormone-crazed Rick seethes, in Whatcha Wanna Do?, over Edgar’s place in Shelley’s home and heart.    
    Meanwhile, Edgar’s Pygmalion-like transformation — mastering English with a British accent no less, singing Show You a Thing or Two — proves fantastic and fatal. Sheriff Reynolds (Scott Nichols), Mayor Maggie (Debbie Barber-Eaton) and citizens (Bronwyn van Joolen, Shannon Benil, Sam Cush, Kendra Penn and Shirley Panek) can’t warm up to the freak in formalwear.
    When Edgar crashes a church revival where the Rev. Hightower (Lynn Garretson) raises the roof with Christian love, singing A Joyful Noise, Edgar’s earnest prayer for healing in Let Me Walk Among You is thwarted by Dr. Parker’s slanderous lies. Thus, the Bat Boy becomes the scapegoat for the community’s woes.
    He and Shelley flee to the woods where Pan (John Hamli), sublime in fur and codpiece, presides over their coupling amid an animalistic orgy. His song is Children, Children. The couple quarrel over their future together in Inside Your Heart before her parents discover them and resolve the mystery of Edgar’s history (via a video projection to onstage scrims) to determine the couple’s fate.
    It’s macabre, zany, sweet and ridiculous with rousing tunes like Hold Me, Bat Boy that you’ll continue humming all weekend. The entire cast delivers in this biting social commentary. Miller and Giddings will break your heart with their harmonies and humanity, while Hamli and Garretson astound with their powerhouse vocals. Baird and Bowen display comic genius in their singing and acting roles.
    Colonial’s most technically intensive project to date, Bat Boy employs four types of LED lights, colored strobes, center stage floating projections, fire, smoke, fog, a mirror ball and moving sound. Even the program, in tabloid format, delivers with flashy headlines and bat-themed trivia.
    You’ll have to see this extraordinary two hours and 15 minutes to believe it.
    But don’t take the kids: Content depicts violence, sex and drug use, and special effects are alarming.

Musical director: David Merrill. Choreographer: Jamie Erin Miller. Set: Terry Averill. Sound: Wes Bedsworth. Lights: Frank A. Florentine. Costumes: Elizabeth Chapman. Makeup: Eddie Hall. Additional special effects: Keith Norris. Musical accompaniment: Right on Cue Services. Film: Make Your Mark Studios.
 
Playing thru April 19. ThFSa 8pm, Su 2pm at Colonial Players Theater, 108 East St., Annapolis. $20 w/discounts; rsvp: 410-268-7373; www.thecolonialplayers.org.
 

Can two old geezers find a future past resentment?

For Neil Simon’s The Sunshine Boys, Twin Beach Players reunites the biggest comedy team in Vaudeville for a nostalgic performance of their once-famous Doctor sketch.
    Willie Clark (Jeff Larsen) and Al Lewis (Tom Wines) were the act to catch for 43 years. But 11 years ago, Al walked out, leaving Willie to hold the bag of gags.
    Now, in their golden years, CBS asks them to reunite in a show that pays reverence to the great comic stars through the years. It’s a second chance in a lifetime, but resentment — and tension — get in the way. Clark’s nephew and agent (Tom Weaver) has to figure out a way to get the two geezers to bury the hatchet and pull off the television show.
    Mayhem ensues when Clark ­nearly dies trying. His heart attack keeps the double-trouble duo out of the television show.
    Fate has another plan for them: living together in relative peace and performing their acts in a retired actors’ home.
    Opening night brought not only the old boys but also new comfort to the theater’s small venue at North Beach Boys and Girls Club. Thanks to Twin Beach master carpenter Justyn Christofel, the audience looks down on the action from moveable-bleachers.
    But play-goers didn’t fill the bleachers or help keep the Sunshine Boys’ uptempo.
    Highlights — like the Doctor sketch rehearsal for a CBS television show and the scene where the boys threaten each other with dagger and cane — bring comic relief to a play slow to take off in Act 1. Act 2 regains momentum as the old boys regain their old timing.

Aidan Davis as Eddie; Staci Most as Vaudeville Nurse; Samantha Wadsworth as Nurse. Director and production designer: Sid Curl. Assistant director and stage manager: Donna Bennett. Costume designer: Dawn Denison. Music designer: Bob Snider. Setting and make-up designer: Wendy Cranford. Lighting tech assistant: Katherine Willham. Lighting and sound board operator: Camden Raines. Audience design: Richard Keefe Jr. Promotions and advertising: Viv Petersen and Philomena Gorenflo. House management: Lynda Collins and Viv Petersen.
Playing FSa 8pm; Su 3pm thru April 13 at North Beach Boys and Girls Club, North Beach. $12 w/discounts: 410-286-1890; www.twinbeachplayers.com.

See it, and Shakespeare lives

Shakespeare’s plays are still being performed 400 years after they were created because they were brilliantly written but also because their themes are timeless.
    Not every theater company that takes on Shakespeare can live up to the Bard’s talent and intent, moving beyond the page to vitalize his characters, prose and situations. But when Shakespeare is done well, his stories jump off the page and into our consciousness, demanding our attention and forcing us not just to understand but also to feel what his characters are feeling, and why.
    So it is with Annapolis Shakespeare Company’s Hamlet. Beautifully realized, stylistically and brilliantly transposed into the current day, this Hamlet is a tour de force, a masterwork for the company. Director and set and sound designer Sally Boyett, the company’s producing artistic director, has earned a reputation for her economical yet transformative use of the Bowie Playhouse stage. This production furthers that reputation. From the huge gilded frames that hang from a dark sky to the sacrifice of a few house seats in favor of a platform that thrusts the actors almost halfway into the audience, this is an impressively aesthetic production.
    Boyett’s haunting and ethereal sound and Paul Collins’ often eerie lighting accompany our journey through Hamlet’s madness and his thirst for revenge. Maggie Cason’s costumes, mostly muted grays but with a touch of blood-red seemingly everywhere, remind us that madness, revenge and betrayal are not only to be found in Shakespeare’s time.
    Of course, none of this matters if the acting and direction do not achieve the same standards, and here both are surpassing. Every one of our community theater actors and directors would benefit from attending at least one of Annapolis Shakespeare’s productions, especially this one, because the dedication and commitment to character, to dialect, to pacing and to clarity are unsurpassed.
    Manu Kumasi’s Hamlet is stellar, the fire and humor coming not just from the staccato delivery of his lines but blasting from his every pore. His physicality seems to envelop the theater, especially when he ascends to the end of that aforementioned platform and with sheer passion imposes his world onto ours, his fiery eyes just feet away from ours, boring directly into us and gripping us with his madness.
    Likewise, Audrey Bertaux brings us an Ophelia whose own tragic fall into madness could have been over the top in less capable hands. Instead, we are drawn into the character’s decline and feel pity for the way Hamlet projects his anger toward his mother onto her.
    Nafeesa Monroe as Gertrude and Paul Edward Hope as Claudius lead the rest of the company, several of whom very effectively play multiple roles. From Rosencrantz and Guildenstern to Horatio to Polonius and all the rest you read about in school, this is Shakespeare at his best, flying off the pages and brought to life in a production whose superlative whole is far greater than the sum of its very excellent parts.

Producer: Kristen Clippard. Stage manager: Monica Jones. Dialect coach: Nancy Krebs.
Playing thru April 13. Th 7pm, F 8pm, Sa 2pm & 8pm, Su 3pm at the Bowie Playhouse, White Marsh Park Park. $24/$20: 410-415-3513; www.annapolisshakespeare.org.