New Year’s Laughin’ Eve
Laugh in the New Year with New Year’s Laughin’ Eve at Theatre Three, 412 Main St., Port Jefferson at 6 p.m. and again at 8 p.m. Now in its 13th year, the lineup will include Eric Haft, Joe DeVito and a surprise guest comedian. Hosted by Paul Anthony. Tickets for the early bird show are $50, tickets to the prime time show are $65. To order, call 928-9100 or visit www.theatrethree.com.
By Melissa Arnold
Putting on a stage production is about so much more than actors and musicians. The staff working behind the scenes — stage managers, set builders, makeup artists and costume designers — are just as important, and their skills can make the difference between an excellent show and a mediocre one.
Costume designer Jason Allyn is all about going the extra mile to create the perfect outfit, down to the jewelry, fine detail work and sequins. He sat down recently to talk about the costume design process and his new stage home at Theatre Three in Port Jefferson.
When did you first become interested in costume design?
My mother took me to musicals when I was young, and she was also a seamstress. As for me, I’m a huge comic book nerd, a big Marvel and DC Comics nut. As a kid, I loved the stories and the heroes, but I also loved their costumes! Since I knew how to sew from my mom, I would make and recreate those outfits because I wanted to be them. But I never had the thought of wanting to be a costume designer, at least not at that time.
So when did you start thinking about making it your career?
I did both theater and sports when I was growing up, and even worked at Theatre Three in high school. I went to college for musical theater, and we had to spend a certain number of credit hours on different parts of the process — acting, lighting, design. I found myself doing a lot of costume hours because of my natural love for fashion, period movies and sewing. I got a job working at a local theater as a director, and ended up designing some things. It snowballed from there, becoming a real love.
Why is costume design so important to a production?
It’s a piece of art, just like any other aspect of the show. People know when you’re giving them a bad product, and they know when you’re giving it your best effort.
How did you start working at Theatre Three?
My last job ended around the same time as the pandemic began. It was such a dark time for so many of us in theater, and I wasn’t sure I was ever going to be able to find work again. I began considering going in a different direction with my career. But then my best friend asked me to work with her on costuming a production of The Nutcracker, and after such a long time focusing on directing, it really rekindled my love for costuming.
I had borrowed a couple of pieces from Theatre Three, and when I went to the theater to return them I had a wonderful, two-hour conversation with [Theatre Three Executive Artistic Director] Jeffrey Sanzel. He ended up calling me some time later once the theater reopened and invited me to interview for their wardrobe supervisor position and I started work in August.
Tell us a bit about your process. How do you go about designing a costume?
First, I sit down and read the entire script, taking notes as I go. If it’s a musical, I listen to the original cast recording and sometimes try to find clips online to use as references. Some roles are very particular and iconic, like Maria’s white dress in West Side Story, which you really need to stick to. Other shows allow for the opportunity to design in the ways I feel would be most interesting. For example, I’m working on the costumes for Steel Magnolias right now for the spring, and the main character wears pink, but there is a lot of freedom there.
Jeff and I will sit down and talk about each character and my ideas. Sometimes I’ll sketch or bring in pictures of other looks I enjoy, and he’ll make suggestions or changes. It’s a collaborative process.
Where do you get the materials for the costumes?
Sometimes they are a part of my existing collection, other times we get them at thrift stores or I sew them. I dye pieces to get the right colors we need, and I love using wigs. I get my fabric from JoAnn’s, and the actors and staff are always excited to hear what I’m making next. With Barnaby Saves Christmas, I decided to use different styles for the boy and girl elves, with different colors and details to denote rank. It’s like creating an entire world.
Do you have a favorite fabric?
Cotton is great for children’s theater because it’s washable and doesn’t bleed — children’s shows are very active and so it’s important for the costumes to be durable and easy to care for. As for mainstage shows, it’s more about what would be appropriate for the period and setting of the show. I love confetti dot, as well as anything with sequins or a little glam. Sparkle really makes a costume pop and gives a great effect. There’s something about it as an audience member that’s exciting.
Do you have favorite shows you’ve done costuming for?
Nine the Musical, Dirty Rotten Scoundrels, The Wizard of Oz, Beauty and the Beast and Cinderella are all on my list.
What do you love most about costuming?
Honestly, I love designing for women. Men are wonderful, but they’re simple — you put on a pair of pants and they’re good to go. But women come in so many different shapes, sizes and styles of dress. It’s all beautiful. There’s nothing that makes me happier than when a woman tries on her costume and says to me, “I feel so pretty!” or when a man says, “Wow, I feel great in this.” Everyone is gorgeous and deserves to feel that way. Each person is important and matters to me.
Beyond that, it’s a joy for me to be in the audience and watch the faces of audience members, especially children, when a character comes onto the stage.
What are you enjoying about working at Theatre Three?
It’s such a loving work environment. Everyone is so supportive of everyone else, and it’s a joy to be a part of that. After the pandemic, I truly didn’t think I was going to be able to work again. Jeff is a wonderful director to exchange ideas with — he truly listens and gives me the freedom to be creative, and it means the world to me that he likes my work.
I also love that I have my own workshop space there where I get to spread my wings and be creative. They even painted it purple for me and embrace how obsessive I am about organization. It’s my dream job!
By Melissa Arnold
It might seem hard to believe, but it’s only been eight years since Disney’s Frozen was released, captivating all ages and making Elsa and Anna household names. Children of previous generations might have idolized Belle or Cinderella, but now it’s all about the icy queen and her bighearted sister. The majority of girls under 20 would likely admit to belting out the now iconic “Let It Go” a time or two.
Among those Frozen superfans are Leah Kelly and Lorelai Mucciolo, who star as Elsa and Anna in the Smithtown Performing Art Center’s production of the stage adaptation for kids, Frozen Jr.
The pair have an effortless chemistry onstage, and when you get to know them it’s easy to see why. Behind the scenes, they’ve been friends for years, and both call Smithtown Performing Arts Center (SPAC) their second home.
Some of Lorelai’s (Anna) earliest memories are of toddling around the theater — her parents were involved there before she was even born. She admits she was “stubborn” when her family suggested she give performing a try, despite growing up at the foot of the stage.
“I actually had terrible stage fright. I was really nervous to try acting, but once I got up there I realized it was the best thing ever. It just felt right,” said Lorelai, a 15-year-old sophomore at East Islip High School.
Leah Kelly, who plays Elsa, also needed a little coaxing to make her acting debut.
“I started off with dance when I was 3 years old, but I was always singing,” said Leah, a 17-year-old senior at Smithtown West High School. “One day, my mom found me singing along to the movie Tangled while I played with my Barbies, and she asked if I wanted to take a singing class. I was and am a little on the shy side, so I was reluctant, but she suggested I go with a friend.”
It was through those singing classes at SPAC that Leah met her current voice teacher, future directors and a host of new friends, including Lorelai. The two girls have known each other for almost 10 years now, often sharing the stage. But this is the first time they’ve played sisters.
Frozen Jr. director Courtney Braun has watched Leah and Lorelai blossom into young women with confidence and grace. Braun, who is pursuing a graduate degree in social work from Stony Brook University, found her own voice on the SPAC stage as a girl.
“I first became a part of the theater’s ‘Youth Experiencing Arts’ program when I was six years old. We were doing Grease, and I showed up in a pink poodle skirt and a high ponytail, ready to go,” she recalled. “I’ve met so many wonderful people here, including my best friend.”
Braun was in elementary school when she met Lorelai for the first time — she was an infant then. Years later, Braun met Leah during a production of The Wizard of Oz.
“I’ve always been amazed by them. They are so kind — truly each other’s biggest supporters, and they’re wonderful role models for others,” Braun said of the girls.
This production of Frozen Jr. was originally planned for two years ago, long before COVID-19 shuttered theaters. Leah and Lorelai eagerly awaited their chance to audition, and when the time finally came, Braun felt that the girls were natural fits for Elsa and Anna.
“Leah is a force to be reckoned with. For Elsa, I was looking for a strong personality that was also able to show the occasional insecurity when it’s called for, and Leah accomplishes that so well,” Braun explained. “And Lorelai has all of the sweet, bubbly, unique personality quirks that make us love the character Anna — she can be a little quiet when you meet her, but as soon as she takes the stage, it’s game on. She has such deep insights.”
For the girls, it’s a welcome relief to be back onstage, especially after enduring canceled shows and remote learning.
“Being part of a cast is very unifying, and you get to connect with an audience emotionally, which is a great feeling,” said Leah who is enjoying her time in Frozen Jr.
“I love the relationship that’s mended between Anna and Elsa, despite their differences. They learn to work through things together instead of on their own,” she said. “Coming out of the pandemic, I feel like we can all relate to feeling isolated and alone.”
Lorelai said that even with outdoor theater opportunities, there’s no replacement for being at SPAC.
“I love being able to look out into the audience and see the joy on people’s faces. A lot of people sing along and kids come dressed in costume,” she said. “There’s something about getting to go onstage and be somebody else for a while that I really enjoy — it’s like professional make believe, and for lack of a better word, it’s magical.”
Frozen Jr. is running now through Jan. 17, 2022 at the Smithtown Performing Arts Center, 2 East Main Street, Smithtown. Tickets are $25. For showtimes, ticket purchases and information, visit www.smithtownpac.org or call 631-724-3700.
The Seiskaya Ballet’s The Nutcracker, a perennial holiday favorite on Long Island, returns to Stony Brook University’s Staller Center for the Arts, 100 Nicolls Road, Stony Brook for a six-performance run from Dec. 16 to 19. This classical ballet rendition has earned praise from critics and audiences alike.
Hailed as Long Island’s most lavish “Nutcracker,” the Seiskaya Ballet production of the classic holiday ballet is a truly international collaboration beginning with Pyotr Tchaikovsky’s most famous score. Sets and several costumes were designed by Poland’s Margaret Piotrowska whose highly respected work in Polish television and stage productions has garnered wide praise.
Directed by founder Joseph Forbes, scenery was executed by Scenic Art Studios which has been credited with painting over 300 Broadway shows. The imaginative and unusual sculptures utilized in the Seiskaya Ballet’s production were the brainchild of creative artist Matt Targon. Choreographed by celebrated Russian-born Valia Seiskaya, this acclaimed production is imbued with bravura dancing, energy and endearing charisma.
The cast will be led by BalletX standout, guest artist, Blake Krapels (Cavalier) plus Seiskaya Ballet’s award winning Principal Dancers Lara Caraiani, Kyra Allgaier, Rachel Bland and Maya Butkevich.
Performances will be held on Thursday, Dec. 16 at 7 p.m.; Friday, Dec. 17 at 7 p.m.; Saturday, Dec. 18 at 2 p.m. and 7 p.m. and Sunday, Dec. 19 at 1 p.m. and 6 p.m.
Tickets are $40 for adults, $34 children and seniors and $30 for groups of 20 or more at the Staller Center Box Office at 631-632-ARTS and at www.nutcrackerballet.com. (Attended box office hours are 11 a.m. to 3 p.m. Monday through Saturday and two hours prior to all performances. Online seat selection is available for all shows.)
By Rita J. Egan
For one young North Shore resident, the last few months have been like a dream.On Thursday, Dec. 2, one of the actresses playing an orphan in NBC’s Annie Live! was Lily Tamburo of East Setauket. The 11-year-old has been acting for years and has graced the stage at The John W. Engeman Theater in Northport as the young orphan Molly in Annie in 2017, Ivanka in Once in 2018 and Amanda Thripp in Matilda in 2019.
She was watching her favorite movie Mamma Mia! when she found out she got the role in Annie Live!
“I was literally crying when I heard that I got the part, because I really didn’t think that I would even get that far,” Lily said.
The role is her first in a television production. Lily was ready to return to Broadway in the musical Mrs. Doubtfire. Before COVID-19 restrictions shut Broadway down, Lily had appeared in the ensemble in the three previews of the show and was also the understudy for the role of Natalie Hillard.
With the lights of Broadway shining once again, Mrs. Doubtfire was ready to open, and Lily was set to rejoin the cast. However, to take on the role in Annie, she wouldn’t be able to be in the Broadway play at the same time. She said while in one way choosing one over the other was a difficult decision to make, in another way it was an easy decision to go for Annie.
“I thought it would be a really good opportunity to make new friends and to get that TV experience, and it really was,” she said. “I made the right choice.”
As for the auditions, which were virtual, Lily said everyone tried out for the Annie role first, which eventually went to 12-year-old Celina Smith, and then were called back to audition for a specific character. Her first callback was for Molly/Kate. In the end, she gained the role of Orphan One in the ensemble.
“It didn’t really make a difference to me because I was still in everything that all the other orphans were in [and] still on the screen a lot,” she said.
Besides singing, dancing played a huge part in the role, something Lily said she didn’t have much experience in. “That’s why I was also really surprised when I got the role,” the actress said, adding that being part of the production improved her dancing skills.
The Annie Live! cast rehearsed for seven weeks at various locations in the city until the first run-through of the entire show at Gold Coast Studios in Bethpage, where it was broadcast from on Dec. 2. Despite Lily’s excitement about being part of the show, the cast couldn’t announce their participation until closer to the air date.
Lily shared the TV experience with big names including Harry Connick, Jr. as Daddy Warbucks, Taraji P. Henson as Miss Hannigan, Nicole Scherzinger as Grace Farrell and Tituss Burgess as Rooster Hannigan. She said she wasn’t nervous to be around the actors and singers at all. “All of them are so down to earth,” she said.
Lily added all of them interacted with the young actors through rehearsals. Connick even stopped by one day while the young actors were being tutored and talked to them about music and Mardi Gras, the celebration that takes place in his home state of Louisiana.
Family and friends were on hand the day of the show; some were able to watch the dress rehearsal, while others watched the live show. Lily’s mother, Lauren Zummo, was one of them. The mother said she’s glad that her daughter has had the experiences she has had at Long Island regional theaters, where she added there are many talented child actors.
“They work so hard,” Zummo said. “Sometimes they think, because some people tell them, ‘Oh it’s a waste of time.’ It’s never a waste of time because you just never know.”
She added one of the people who gave Lily a chance was Antoinette DiPietropolo, the director and choreographer of Annie when Lily played the role of Molly at the Engeman Theater. DiPietropolo texted her after the 11-year-old was on TV. Everything came full circle for the mother when she heard from the person who gave her daughter her first chance, Zummo said. The Annie role at the Engeman led to Lily appearing in the national tour of How the Grinch Stole Christmas! in the role of Cindy Lou. The production was also directed and choreographed by DiPietropolo.
“You just need one person to believe in you to keep going to the other positions,” said Zummo.
Lily returned to classes at Setauket Elementary School earlier this week. However, she has been auditioning for various parts including Sarah Silverman’s The Bedwetter.
In the meantime, she is left with the wonderful memories of Annie Live! and the experience that she described as the “time of her life.”
By Heidi Sutton
As the weather outside becomes frightful, the Engeman Theater in Northport invites families inside for a heartwarming production of Frosty. The terrific cast, directed by Jennifer Collester with stage manager Jillian Sharpe, brings the holiday musical to life with catchy sing-alongs and plenty of audience participation.
The narrator (Lizzie Dolce) introduces us to Jenny (Meaghan McInnes), a young girl who lives in Chillsville, “a little town way up north that is always covered with a fresh blanket of snow.” The daughter of the Mayor (Matt Rafanelli), Jenny’s favorite thing to do is to play outside. With help from her father, she builds a snowman and names him Frosty. When Jenny puts a scarf around him, Frosty (Justin Autz) magically comes to life and the two become fast friends.
On the other side of town, Ebenezer Pierpot (Jae Hughes), the president of Pierpot Enterprises (a manufacturer of snow shovels, snowblowers, and ice scrapers), wants to build a bigger factory in the park but can’t do that with all the snow. During a meeting at town hall, Pierpot tricks the Mayor into signing a contract to build a machine that will melt all the snow in the town, putting Frosty’s life in jeopardy.
With Chillsville getting warmer by the minute, will Jenny come up with a plan to save Frosty or will he turn into a large puddle of water with a carrot?
I always look forward to reviewing this show because I love to see the children’s faces light up when they realize that they have been invited to become part of the production. They move to the edge of their seats with eager anticipation as they wait for the next question from the narrator or the cast and the next sing-a-long to join in.
During the performance the audience is asked what Jenny should do today (Build a snowman!), to come up with a plan to save Frosty (Move to another town!), help Jenny write a letter to her dad, and wish for snow (and it works!) They also join the narrator in the fun opening number, “Snow!” and the entire cast in a lively rendition of “Frosty the Snowman.”
With the ultimate message that love “is pretty powerful stuff,” this is the perfect show to introduce a child to live theater and is a wonderful way to celebrate the holiday season.
The John W. Engeman Theater, 250 Main St., Northport presents Frosty through Jan. 2. Running time is 90 minutes with a 15-minute intermission. Children’s theater continues with Disney’s Frozen Jr. from Jan. 29 to Feb. 27 and Madagascar – A Musical Adventure from March 26 to May 1. All seats are $20. For more information or to order, call 631-261-2900 or visit www.engemantheater.com.
By Heidi Sutton
The holidays have officially arrived with the return of Barnaby Saves Christmas at Theatre Three. Celebrating its 17th anniversary, the endearing musical, written by Douglas Quattrock and Jeffrey Sanzel, tells the tale of a little elf named Barnaby and his reindeer friend Franklynne’s quest to save Christmas.
It’s Christmas Eve and Santa’s workshop is a flurry of activity as elves Sam, Crystal and Blizzard make last minute preparations before they join Santa and his reindeer in delivering presents. The newest elf, Barnaby, is busy finishing a special request from Santa — a little stuffed bear with dark blue pants, buckles on his shoes and a bright yellow vest.
When everyone else leaves on Santa’s sleigh, Barnaby soon realizes that the stuffed bear has been left behind and convinces Franklynne the littlest reindeer to help him track down Santa and give him the present.
Along the way they meet Sarah and her nephew Andrew and learn about Hanukkah, the Festival of Lights, and try to foil villain S.B. Dombulbury and his partner in crime Irma’s plan to steal Christmas by stuffing up all the chimneys with coal.
While the script, score and lighting are pure perfection, director Jeffrey Sanzel has added other elements to the show to keep it fresh and exciting. This year the gorgeous new costumes by Jason Allyn take center stage with revamped choreography by Sari Feldman and the final scene is streamed live on Facebook.
This year’s stellar cast of nine adult actors put on a great show. Eric J. Hughes is back as Barnaby, a little elf “whose dreams are twice his size.” Sari Feldman returns as a feisty Franklynne, a role that was originally written for her back in 2004. Jason Furnari (the original Barnaby) is hilarious in the role of head elf Sam while newcomers Josie McSwane (Blizzard the Elf) and counterpart Katie Lemmen (Crystal the Elf) spend most of their time being hypnotized by S.B. (Spoiled Brat) Dombulbury (an incredible Steven Uihlein). Still yearning for a song-writing career, audience favorite Dana Bush is back as Irma for the 17th year in a row.
Rounding out the cast, a phenomenal Phyllis March reprises her dual role as the forgetful Mrs. Claus and Sarah and newcomer Finn MacDevitt tackles the role of Andrew and Santa Claus with ease.
The most wonderful parts of the show are the musical numbers by Douglas Quattrock with special mention to Hughes’ solo “Still With a Ribbon on Top,” “Miracles” by March (accompanied on guitar by MacDevitt) and the rousing finale, “Wouldn’t You Like to Be Like Barnaby?”
With the special message that Christmas lies within our hearts, the show spreads holiday cheer for children and adults alike. Add this one to your wish list.
Souvenir elves and reindeer are available for purchase before the show and during intermission and the entire cast will be in the lobby after the show for photos.
Theatre Three, 412 Main St., Port Jefferson presents Barnaby Saves Christmas through Dec. 26. Children’s theater continues with Puss-In-Boots from Jan. 15 to Feb. 5, 2022 and a brand new production of Dorothy’s Adventures in Oz from Feb. 23 to March 26, 2022. All seats are $10. To order, call 631-928-9100 or visit www.theatrethree.com.
By Heidi Sutton
When Hans Christian Andersen penned “The Snow Queen” in 1844 he surely had no idea that his beautiful fairy tale would live on and serve as the inspiration for Walt Disney Animation Studio’s Frozen over 150 years later. The second highest-grossing animated movie of all time, (Frozen II is the highest) it has morphed into a Broadway musical, short films, Disney on Ice and everything in between.
Now the timeless tale heads to the Smithtown Center for the Performing Arts Center for 29 performances in the form of Frozen Jr. With music and lyrics by Kristen Anderson-Lopez and Robert Lopez and book by Jennifer Lee, the show features all of the beloved songs from the animated film along with a few fun new ones.
The story follows two sisters who are princesses in the kingdom of Arendelle. The eldest, Elsa, was born with magical powers that allow her to create ice and snow. As a young child, Elsa doesn’t know how to control her powers and while building a snowman she accidentally harms her sister Anna. Although Anna is healed by the mysterious Hidden Folk, their parents decide it would be best to protect Anna by keeping the two apart.
Anna, who has no memory of the accident, can’t understand why her sister avoids her. When the parents are lost at sea, Elsa stays in her room, keeping her secret hidden from her sister and the outside world.
Ten years have passed and it is time for Elsa to become Queen, but on coronation day her magic unintentionally brings an eternal winter to the kingdom. Accused of sorcery, she flees into the mountains to hide. Anna enlists the help of Kristoff the icemaker to help her find her sister and free Arendelle from the spell. Will she succeed?
Directed and choreographed by Courtney Braun with musical direction by Melissa Coyle, the production is polished from start to finish. Ranging in age from 8 to 17, the 24-member cast is extremely talented and clearly love what they are doing. Special mention must be made of Leah Kelly and Lorelai Mucciolo for standout performances in the role of Elsa and Anna.
Lorelai’s bubbly personality shines in “Do You Want to Build a Snowman?,” “For the First Time In Forever” and in her fun duet, “Love is An Open Door,” with Luke Hampson who plays the role of Hans. In contrast, Leah’s character is more reserved, fearful of the powers inside her, and carries herself like royalty. Her vocals are incredible and she literally brings the house down with her powerful number “Let It Go.” Both are perfectly cast.
Elena Grassi and Jillian Cerrato as Young Anna and Young Elsa and Riley Ferraro and Gabby Blum as Middle Anna and Middle Elsa set up the relationship between the two sisters perfectly. Much to the delight of the younger children in the audience, Olaf the Snowman (played by Ryan Romanelli) and Sven the reindeer (played by Derek Hough) make an appearance as well.
Costumes, designed by Chakira Doherty, are stunningly beautiful and her attention to detail is impeccable. Of special note is when Elsa changes costumes mid-song during “Let It Go” and turns into an ice queen with a beautiful blue shimmering dress, drawing gasps from the audience.
A nice addition is the animated projections on a screen depicting different locations in the Kingdom of Arendelle including the inside and outside of the castle, the snowy mountains and Elsa’s ice castle. Large panels on either side of the stage turn with the scenes and the lighting pulls it all together for a magical experience.
The Smithtown Center for the Performing Arts has gone all out in this production and it shows. The team has succeeded in bringing the the mystical world of Arendelle to life on the stage. If your child loves Frozen, they will love this show. And what’s better than live theater? Costumes are encouraged and booster seats are available. Meet Elsa and Anna in the lobby for a photo and pick up a Frozen souvenir on your way out.
The cast: Leah Kelly, Lorelai Mucciolo, Brody Hampson, Ryan Romanelli, Derek Hough, Luke Hampson, Ari Spiegel, Michael Gualtieri, Ryan Van Nostrand, Gabrielle Arroyo, Justin Walsh Weiner, Zachary Podair, Alia Romanelli, Elena Grassi, Jillian Cerrato, Gabby Blum, Dori Alghrim, Riley Ferraro, Adrienne Porti, Mairead Camas, Savannah Shaw, Sophia Weiner, Jonathan Setzer and Gianna Oppedisano.
The Smithtown Center for the Performing Arts, 2 E. Main St., Smithtown presents Frozen Jr. through Jan. 17 with a special sensory sensitive performance on Dec. 4 at 7 p.m. All seats are $25. To order, call 631-724-3700 or visit www.smithtownpac.org.
All photos by Courtney Braun
By Heidi Sutton
The holidays have arrived at Theatre Three in Port Jefferson with the 37th annual production of A Christmas Carol. In the lobby the garland is hung and the tree is trimmed and in the Mainstage theater the Victorian London set awaits the wonderful imagination of Charles Dickens and the beloved retelling of a classic tale of redemption.
Based on Dickens’ 1843 novella of the same name, A Christmas Carol introduces the audience to Ebenezer Scrooge, a bitter and miserly man who has chosen “the world of business” over love, friendships and community. We first meet Scrooge “of all the good days of the year” on Christmas Eve, exactly 7 years since his business partner Jacob Marley died, as he snaps at his clerk Bob Cratchit, dismisses his nephew Fred Halliwell and chases carolers away. We see Want in the corner, a specter who will haunt Scrooge the entire show.
Later that evening Scrooge is visited by Marley’s ghost who offers him a precious gift — one last chance at redemption. Draped in the heavy chains he has forged in life, Marley warns Scrooge he will be visited by three spirits — the ghosts of Christmas past, present and future – in an attempt to save his immortal soul.
In one of the most important parts of the show, the Ghost of Christmas Past shows Scrooge “the shadows of things that have been” — a series of events that led him to become the man he is today — from his mother dying at childbirth; his time at Wellington House, the boarding school where he spent many Christmases alone as a boy; his loving relationship with his sister Fan and his apprenticeship with the kind-hearted Fezziwig where he proposes to his first and only love, Belle.
The shadows also reveal the exact moment when he chooses to go into a business partnership with Marley (“and so it began”) and is overtaken by greed; when Belle walks out of his life; how he turns on Fezziwig; and the death of Fan.
The cheeky Ghost of Christmas Present arrives to teach Scrooge the joys of mankind. The first stop is Bob Cratchit’s home where he finds out about Tiny Tim’s failing health and that Cratchit’s oldest daughter works long hours in the workhouses to help the family pay their bills. Scrooge’s concern is evident. The mood lightens at a dinner party hosted by his nephew where the guests mock him in spirit during a game and compare him to a bear.
A daunting 14-foot Ghost of Christmas Yet to Come shows Scrooge the shadows of what is yet to come, including his own death and how it affects those he has wronged. The frightening notion is exactly what the miser needs to turn his life around. His transformation on Christmas Day, especially in his interaction with Want, is a joy to watch. In the end, Scrooge discovers that old Fezziwig was right all along and that love is the only thing in life worth having.
Adapted for the stage by Theatre Three’s Executive Artistic Director Jeffrey Sanzel, the show evolves and changes every year, keeping it fresh and exciting. This year the show features a revised underscoring created by musical director Brad Frey, slight changes to the opening and closing, a shivaree, and due to COVID regulations, Tiny Tim is a puppet, designed by gifted puppet designer Austin Michael Costello.
The entire cast is excellent, with many playing multiple roles. Sanzel, who has played the role of Scrooge in over 1400 performances, is fascinating to watch. Slightly hunched over, his character walks slowly with a cane and eases into a chair with a groan. But when the Ghost of Christmas Past brings him to Fezziwig’s Christmas Party, he jumps out of the shadows with a straight back and becomes a young man again dancing the night away with Belle.
Special mention must also be made of Douglas J. Quattrock in the role of Scrooge’s loyal clerk Bob Cratchitt (a role he has played over 750 times) whose love for his family and the holidays is unconditional. His character’s attempt to be strong for his family while his child is very sick tugs at the heartstrings.
The Victorian set, designed by Randall Parsons, is most impressive with fireplaces that glow, a four-poster bed that tucks away neatly into the wall when the set transforms to the London streets, a church with stained glass windows, and a living home decked out for the holidays. The period costumes, also designed by Parsons, are perfectly on point and the lighting and sound design by Robert W. Henderson Jr. is truly magical, a word that also best describes the entire production.
Sanzel says it best in his director’s notes.“A Christmas Carol is a beautiful reminder that we are members of a community and that our responsibilities go beyond ourselves. Scrooge’s pledge to Tiny Tim’s future shows his ability to help those in his life; his embrace of the specter of Want shows his commitment to the world entire. Dickens’ message is one not just for Christmas but for always.”
Don’t miss this beautiful show.
Arrive early and be treated to a selection of Christmas carols by the actors on the Second Stage on the lower level and stay after for a Polaroid photo with Scrooge for $5 to support the theater’s scholarship fund or take one with your cellphone at no charge.
Theatre Three, 412 Main St., Port Jefferson presents A Christmas Carol through Dec. 26. A special abridged sensory-sensitive performance will be held on Nov. 28 at 11 a.m. Running time is 2 hours with one intermission. Tickets are $20 each in November; $35 adults, $28 seniors and students, $20 children ages 5 to 12 in December. For more information or to order tickets, call 631-928-9100 or visit www.theatrethree.com.
By Barbara Anne Kirshner
Phenomenal music, dance, comedy with romance sprinkled on top all wrapped up in a giant red velvet bow, that’s White Christmas, Engeman Theater’s gift to ring in this joyous season.
Last year, the holidays were dismal with theatres shut across our great nation due to COVID, but not even a sweeping pandemic could extinguish its spirit for long. Theater fought back, reigniting marques with brilliant neon lights announcing that the show would most certainly go on.
The Engeman proudly swung open its grand glass doors welcoming all who enter to enjoy the magic of live theatre once more and to celebrate the holidays it is treating audiences to an irresistible White Christmas. With music and lyrics by Irving Berlin and book by David Ives and Paul Blake, this musical is based on the much loved 1954 movie starring Bing Crosby, Danny Kaye, Rosemary Clooney and Vera Ellen. The first stage adaptation did not happen until 2004 when it premiered in San Francisco before playing a limited engagement on Broadway from Nov. 14, 2008, until Jan. 4, 2009.
The story revolves around two former WWII army buddies Bob Wallace and Phil Davis who, after the war, become successful entertainers, then big time producers. They get a letter presumably from an army buddy asking them to check out his sisters’ act at a local club. Sparks fly when they meet these sisters who are leaving that night for a Vermont Inn to fulfill a booking engagement. In pursuit of romance, Bob and Phil follow the ladies and discover that their former general who now owns this inn has fallen on hard times. The plot proceeds with mad cap comedy and extraordinary musical numbers.
With producing artistic director, Richard Dolce and managing director Kevin J. O’Neill at the helm, the Engeman is dedicated to creating Broadway caliber experiences for their audiences and White Christmas is professionalism at its very best.
This multi-talented ensemble is captivating. From the rollicking open numbers of Happy Holidays and White Christmas, Aaron Young as Bob Wallace and Daniel Plimpton as Phil Davis grasp us and never let go. Young’s voice richly floats through his every song while his stage presence is beguiling. Davis is a true song and dance man. The I Love a Piano duet featuring Darien Crago as Judy Hayes, is a tour de force tap number. Crago’s skill and energy mesmerizes in all her dance routines, making them appear effortless. Meadow Nguy as Betty Haynes soaring soprano sends chills especially in Love, You Didn’t Do Right by Me.
Rounding out this ensemble is an impressive supporting cast. Keith Lee Grant is riveting as the stern General Henry Waverly shouting out commands until he reaches a moment of reflection that allows the caring man within to materialize. Suzanne Mason as Martha Watson sporting red curls reminiscent of Lucille Ball and impeccable comedic timing takes center stage belting out Let Me Sing and I’m Happy and nearly stops the show. The general’s granddaughter, Susan Waverly, played by AnnaBelle Deaner, mimics Martha with a rousing reprise of the same song.
Director Matt Kunkel has created sheer perfection taking us on a memorable musical journey of sight and sound. Music Director Camille Johnson maintains energetic fluidity from start to finish with a band that is beautifully synchronized to the performers in every number.
Choreography is central to this show and Drew Humphrey’s lively routines from the tap numbers to a chorus line done with the precision of the Rockettes is outstanding. Sound design is essential in a musical and Laura Shubert has the levels just right.
This is a period piece musical therefore costumes must allow for ease of movement while reflecting the 1950’s era and Dustin Cross has created breathtaking silhouettes most notably the dreamy coats decorated with clouds in Blue Skies, the dazzling black and white ensembles in I Love a Piano with Judy’s belt that unwinds into piano keys and all those stunning red confections in the White Christmas and I’ve Got My Love to Keep Me Warm finale. Hair design is another essential element in a period piece and Conor Donnelly’s 1950’s hairstyles look authentic.
Kyle Dixon’s scenic design sets the tone and is functional as it morphs easily from one scene into the next giving the continuous feel of the magical holiday season by emphasizing reds, greens and whites. Dixon’s giant frames of white bark against green matting outlines the set and emphasizes a rural feel for the Vermont Inn. Aaron Bowersox’s lighting design adds brilliance to the big numbers and subtle touches for gentler moments.
White Christmas is a must-see festive treat for the entire family so ring in the holidays with this spectacular musical now through January 2, 2022. And be sure to return for the rest of their 2021-2022 season of exciting shows.
The John W. Engeman Theater is located at 250 Main Street in Northport. Tickets to the show range from $75 to $80 with free valet parking. To order, call 631-261-2900 or visit www.engemantheater.com.
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