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Igor Goldin

By Barbara Anne Kirshner

It’s curtains up on another scintillating season of shows at the Engeman! How can they top last year’s caliber productions that offered one magnificent show after the other? Well, they have done it again with an effervescent Mystic Pizza.

The musical was adapted from the 1988 film classic starring Julia Roberts about three young coming of age waitresses working at a small-town pizzeria in Mystic, Connecticut, a town that is quiet all winter but bustling with tourists in the summer. The real pizza parlor was a popular place in Mystic since 1973 and became the inspiration for the film after being visited by screenwriter, Amy Jones.

The world premiere was at the Ogunquit Playhouse in Maine in 2021. Interesting to note that the concept for a Mystic Pizza musical was first visited in 2007 as part of the plot in season 2 of the NBC sitcom 30 Rock.

This juke box musical rocks with some of the best tunes from the 80’s and 90’s including those of Melissa Ethridge, John Mellencamp, Van Morrison, Phil Collins, Pat Benatar and Debbie Gibson. The songs compliment a substantial script that centers around the lives of three teenage Portuguese waitresses at this pizzeria who are on the threshold of making major decisions concerning lives, careers and romance. The plot highlights the contrast between the working class living in Mystic year-round and the affluent tourists who summer there. 

Igor Goldin in his Director’s Notes commented on how intriguing it was to work on a musical that had only one prior production. That allowed him to open the door for creating without any preconceived ideas. The result is a true feast of sight and sound starting with an ingenious set designed by Kyle Dixon that gives the feeling of a New England fishing village with a rustic backdrop and featuring a large A-frame structure, center stage on a turntable that revolves into various settings. Jose Santiago’s lighting design enhances each set change and establishes mood.

The show is energetic right from the start with John Mellencamp’s spirited Small Town that instantly immerses us in the lives of these townies. The songs are well chosen and placed in just the right spots to help drive the story line. Under the direction of Sarah Wussow, the band wraps itself around each of these pop tunes and is a driving force in delivering emotions. Ashley Marinelli’s choreography compliments the energy of the show with joyous, bouncy movement that embraces the rock tone. Costumes by Dustin Cross appropriately contrast the classes with tight fitting miniskirts for townies as opposed to collegiate styles for upper class.

The three waitresses are engaging as they navigate into adulthood. There is Jojo (Michelle Beth Herman), who faints at her wedding to Bill (Stephen Cerf) but is conflicted since she doesn’t want their relationship to end. She aspires to make something of herself and dreams of owning her own restaurant. Cerf, a consummate vocalist and dancer, punches out Addicted to Love with revved up passion telling us just how committed he is to Jojo. Their duet Take My Breath Away highlights their exquisite vocals and undeniable chemistry.

Sisters Kat (Brooke Sterling) and Daisy (Emily Rose Lyons) are complete opposites. Daisy longs to get out of this Connecticut town and thinks her only option is to attract a well-healed summer tourist. She meets Charles Gordon Windsor, Jr. (Jake Bentley Young), who comes from a wealthy family but is equally disenchanted with his life. His secret desire to be an artist is overshadowed by his father’s insistence that he become a lawyer. Charlie encourages Daisy to have faith in herself and go for what she really wants which is to become a lawyer. Lyons and Young turn in a sensual performance with I Think We’re Alone Now. But conflict erupts when Daisy realizes he invited her to a family dinner as a show of rebellion against his parents’ plans for his future. Young and Lyons’ Hit Me With Your Best Shot is electrifying.

Kat is the smart one, accepted into Yale and is an aspiring astronomer, but naïve in matters of the heart having fallen for Tim (Corbin Payne), an architect who is new in town working on restoration of an old historic residence. As Kat, Sterling embraces the emotion of first love with a poignant Lost in Your Eyes. Sterling and Payne share a sweet moment in When I See You Smile, but their characters’ relationship crumbles when Tim confesses to being in a loveless marriage. 

Leona (Kathryn Markey) is charming as the owner of the pizza shop who exudes concern for her teenage waitresses and mischievous in not revealing the secret ingredient to her specialty sauce until just the right moment.

Kent M. Lewis (The Fireside Gourmet) keeps us in suspense as the aloof critic who will either make or break the pizza shop with his review.

The company adds so much fun and animation to this polished production. and an enthusiastic standing ovation punctuated the sterling performance during last Saturday’s show. The Engeman has done it again with this delightful romp into its 15th season. Catch Mystic Pizza through Oct. 30.

The John W. Engeman Theater is located at 250 Main St., Northport. For tickets, call 631-261-2900 or visit www.engemantheater.com.

By Barbara Anne Kirshner

SHOES! Cobbled into laced high-top boots, stilettos or platforms, they transport the wearer to another place, another time, even another attitude. As Cyndi Lauper’s lyrics put it, “The most beautiful thing in the world — SHOES!”

Kinky Boots isn’t just about shoes; there’s a much deeper message of acceptance that resonates in this musical with book by Broadway icon, Harvey Fierstein (Torch Song Trilogy and La Cage aux Folles), and music and lyrics by Cyndi Lauper who already was the beacon for diversity with such anthems as True Colors. Together they crafted this poignant, funny musical that radiates so much heart.

The show is based on the 2005 British film, Kinky Boots, which was inspired by a true story, the topic of a 1999 episode of the BBC2 documentary television series Trouble at the Top. 

This musical centers around a young man, Charlie Price, who is struggling to save his family’s five-generations-long shoe factory in the small town of Northampton, England that he inherited from his father. He forms an unlikely alliance with a drag queen, Lola, and they produce a line of high-heeled alternative footwear for men and take their kinky boots to the runways of the international shoe show in Milan. Along the way, Charlie and Lola realize they are not that different.

Kinky Boots premiered at the Al Hirschfeld Theatre on April 4, 2013. It received 13 nominations and 6 Tony Awards including Best Musical, Best Actor for Billy Porter and Best Score for Cyndi Lauper giving her the distinction of being the first woman to win alone in that category. It closed on April 7, 2019. 

Now the musical heads to the John W. Engeman Theater in Northport  which enjoys a tradition of breathtaking professionalism and Kinky Boots only adds to its repertoire of fabulous theatre.

Musical direction by Jeff Cox keeps festivities energized with the band conducted by Ben Kiley, on the night of this review, brilliantly taking on Lauper’s high-spirited score and driving it home.

The dynamic cast is intense and multi-talented, injecting passion and energy into the show. In the lead role of Charlie Price, Zach Hess is compelling, making us feel his dilemma, torn between trying to keep his father’s legacy alive or giving in to his fiancée Nicola’s insistence that they start a new life in London. Hess’ vocals are rich and powerful in such numbers as Step One, Take What You Got and blows the roof off the house with the impassioned Soul of a Man. Sofie Flores’ Nicola is a steam-roller, prickly and conniving; she selfishly conjures up a plan to get Charlie out of the factory.

Omari Collins dazzles in the role of flamboyant drag queen Lola whom Charlie met after a chance encounter. Collins glamorously struts his stuff in such numbers as Land of Lola, Sex Is In The Heels and sends chills with his showstopper Hold Me In Your Heart. He is riveting when he confides how he didn’t live up to his father’s desire that he become a proper boxer.

We are thoroughly immersed in the duo of Charlie and Lola who come together to create all those kinky boots and along the way realize that above all else they must accept themselves, a revelation that resounds in I’m Not My Father’s Son.

In the role of factory worker Lauren, who comes up with the idea of footwear for a diversified market, Lily Kaufmann is so much fun especially when she regrets her poor choices in men with The History of Wrong Guys and is deliciously animated lusting after Charlie. As factory worker Don, Demetrio Alomar exudes the right flavor of gruff and macho especially when he rebuffs Lola leading to a pivotal confrontation.

The ensemble is incredibly limitless, bouncing through the kinetic choreography of Natalie Malotke. The factory workers are appropriately gritty in contrast to the sizzling Angels. How the Angels are able to perform all those gymnastic dance routines in sky high heels is incomprehensible!

Under the direction of Igor Goldin, this production soars with vitality and feeling. The ingenious set designed by Kyle Dixon emulates the industrial feel of this small town factory with its steel scaffolding that glides into various positions as each scene requires and features a slide conveyor belt for spitting out shoes. Jose Santiago’s lighting design with well-placed spots that add pathos causes shivers and excitement just at the right moments. Sound design by Joanna Lynne Staub is crisp with all levels expertly set.

The shining stars are the thigh-high kinky boots in a rainbow of colors and bedazzled in jewels compliments of prop designer Kristie Moschetta. Kurt Alger must have had such fun designing costumes and wigs for this show. Every time Lola and her Angels appear we are awed by form-fitting confections in red, leather and animal prints with coiffeurs piled high or exploding in curls.

The finale, Raise You Up/Just Be, splashes joy over the audience and ejects them from their seats into an enthusiastic standing ovation. One can’t help but leave the theatre exhilarated. The Engeman has hit a home run with this mesmerizing production of Kinky Boots. Don’t miss it.

The John W. Engeman Theater, 250 Main St., Northport presents Kinky Boots through July 3. The 2021-2022 season closes out with the musical On Your Feet The Story of Emilio and Gloria Estefan from July 14 to Aug. 28. Tickets range from $75 to 80 with free valet parking. To order, call 631-261-2900 or visit www.engemantheater.com.

By Rita J. Egan

“Matilda the Musical” opened at the John W. Engeman Theater at Northport Nov. 14 with all the spunk of a Broadway production.

Inspired by the 1988 book by Roald Dahl, the musical introduces audience members to the real and imaginary worlds of 5-year-old Matilda Wormwood, who is misunderstood by her dim-witted family. While the Wormwoods make life difficult at home by making fun of her passion for reading and her smarts, the days become even more troublesome when she begins school with the dastardly Miss Trunchbull, the headmistress of Crunchem Hall. However, with her love of reading, a magical imagination and caring teacher Miss Honey on her side, Matilda finds her happy ending.

The musical, with book by Dennis Kelly, music and lyrics by Tim Minchin and orchestrations and additional music by Chris Nightingale, debuted in England in 2010 and opened on Broadway in 2013. While the show closed on the Great White Way in January of 2017, “Matilda the Musical” is still running at the Cambridge Theater in London. It was also released as a movie in 1996 starring Danny DeVito and Rhea Pearlman as the Wormwoods and Mara Wilson as Matilda.

Igor Goldin has directed a superb cast in the Engeman version, which includes many talented children actors. AnnaBelle Deaner and Elsa Dees alternate in the role of Matilda. On the night of Nov. 15 when I reviewed the musical, AnnaBelle played the part. The actress is darling in the role and portrays Matilda perfectly as the brave and precocious girl she is. She hits every note during her solos and her version of “Quiet” is beautiful and touching.

AnnaBelle along with her fellow youth actors stole many scenes. During one depicting the first day of school, they along with the ensemble performed a sensational “School Song” where everyone involved was strong in both vocals and dance moves. The company also delivers a fantastic “When I Grow Up,” the signature song from the musical.

Sara Gallo as Mrs. Wormwood and Michael Perrie Jr. as Mr. Wormwood are hilarious. While the two characters aren’t the best at parenting, Gallo and Perrie are pros at garnering laughs from the audience. Gallo plays her character to the hilt during the song “Loud” as she and Al Lockhart as Rudolpho, her dancing partner, show off some fantastic dance moves. And Perrie’s vocals are strong on “All I Know,” known as “Telly” in the Broadway and London versions. He also does a wonderful job interacting with the audience toward the end of intermission. Richard Westfahl as Michael Wormwood is also funny as Matilda’s dim-witted brother.

Dane Agostinis as Miss Trunchbull, the Olympic Hammer-Throwing Champion headmistress who believes children are maggots, plays the antagonist role perfectly. Agostinis can deliver her songs smoothly without breaking character despite the funny lines and laughs from the audience. Kate Fahrner as Miss Honey is simply endearing and sings a beautiful “My House” in the second act.

Emily Kelly as The Acrobat and Alex Herrera as The Escapologist are delightful, especially when Herrara joins Matilda on the song “I’m Here.” Nicole Powell was a charming Ms. Phelps, the librarian who looks forward to Matilda’s stories. Jamie Colburn as the Doctor and Sergei rounds out the cast perfectly.

On the night that I attended the show, I was fortunate to have with me 15-year-old Jonathan Guttenberg, who has seen countless productions, including “Matilda the Musical” on Broadway and London. Jonathan said “School Song” and “Revolting” were his favorite numbers in the Engeman production because they were both powerful and thought the theater did a phenomenal job.

Scenic designer Nate Bertone has put together a fun and colorful set with clever oversized books that fold out one way to serve as the Wormwood’s living room and another to provide the backdrop for the library. Mara Newbery Greer also has choreographed several energetic dance numbers, which the actors have mastered, including the youngest members of the youth ensemble, with special mention to Lily Tamburo. 

With the chilly weather settling in along the North Shore, “Matilda the Musical” has arrived just in time with its funny, heart-warming story and will be a hit with local theatergoers of all ages. 

The John W. Engeman Theater, 250 Main St., Northport, presents “Matilda the Musical” until Dec. 29. Performances are Thursdays at 8 p.m., Fridays at 8 p.m., Saturdays at 3 and 8 p.m. and Sundays at 2 p.m. Tickets range from $75 and $80 with free valet parking. To order, call 631-261-2900 or visit www.engemantheater.com.

All photos by Michael DeCristofaro

Mike Cefalo as Davey, Dan Tracy as Jack Kelly and the cast of 'Newsies'

By Melissa Arnold

This summer, the John W. Engeman Theater in Northport is transporting audiences to a New York City of long ago in its production of “Newsies.” This feel good, family-friendly show, which opened last Thursday, is thoroughly entertaining and will have you rooting for the cast from start to finish.

The cast of ‘Newsies’

“Newsies”’ journey to the stage is an interesting one — the show is based on the 1992 Disney movie of the same name, and made its Broadway debut in 2012, where it won two Tony Awards. The book was written by Harvey Fierstein, with music by Alan Menken (“Beauty and the Beast,” “Aladdin”) and lyrics by Jack Feldman. 

Both the film and musical are loosely inspired by the real-life events of the Newsboys Strike of 1899. The newspaper business was booming in 1898 while the United States was involved in the Spanish-American War. But when the war ended in September of 1898, so did the clamor for news. And this is where “Newsies” begins. 

In the summer of 1899, a ragtag group of Lower Manhattan paperboys are lamenting the slow news climate, and famed publisher Joseph Pulitzer is brainstorming ways to boost his profits. At that time, newsies purchased their own papers from the publishers to sell on the street. Pulitzer decides to hike the prices the newsies pay, and since most of the kids are poor, homeless or trying to support their families, the backlash is immediate.

Whitney Winfield as Katherine Plumber in a scene from ‘Newsies’

Led by the charismatic and scrappy 17-year-old Jack Kelly, the kids form a union and declare a strike. The show chronicles the uphill battle Jack and his friends face to be taken seriously and shines a light on unfair child labor practices of the era. At the core of “Newsies” is the power of resilience, community and standing up for a cause — and that spirit is as relevant today as it was then.

Under the direction of Igor Goldin, this production’s cast features a number of actors making their Engeman debut. Among them are Dan Tracy, whose confidence and comfort on stage give his portrayal of Jack Kelly a lovable swagger. Tracy does a great job balancing Jack’s tough guy exterior with a more hidden tender side, which shines through in songs such as “Santa Fe” and “Something to Believe In.” 

Mike Cefalo and Zachary Podair, who play the rookie paperboy Davey and his kid brother Les, are also new to the Engeman. The pair have a natural chemistry and strong voices — listen for Cefalo in “The World Will Know” and Podair in “Watch What Happens.” As the youngest member of the cast, Podair is charming and funny, and he’s sure to have a bright future ahead in acting.

Whitney Winfield, in the role of Katherine Plumber, certainly holds her own with a big voice in “King of New York” and “Something to Believe In.” Her character is loosely based off of reporter Nellie Bly, who was a trailblazer for working women and female journalists. Winfield plays the role with a contagious positive spirit and moxie.

Dan Tracy as Jack Kelly in a scene from ‘Newsies’

The ensemble is every bit as enjoyable as the main cast. Worth noting is their incredible talent for dance — choreographer Sandalio Alvarez and dance captain Claire Avakian are to be applauded for their hard work. “Newsies” is full of pirouettes, backflips, cartwheels, jumps and more tricks that will blow you away. Even the curtain call is an impressive showcase for their skill, where you can tell the cast is enjoying the show as much as we are.

The double-decker set designed by DT Willis depicts a Manhattan street, with metal staircases, a fire escape and a cityscape background. The set is multifunctional, transforming easily from a rooftop to the city square, a deli, theater and office with some quick work from the cast, who also functions as stage crew.

With every show at the Engeman, it’s the little touches at the theater that make the experience extra special. Show up early to enjoy one of several “Newsies”-themed cocktails, listen to ragtime or put yourself on the front page with their crafty wooden newspaper prop. Feel free to ask the staff to take a photo — they’re easy to find in old-time flat caps and suspenders. Be sure to check out the playbill for some fascinating information on the show’s historical background.

The John W. Engeman Theater, 250 Main St., Northport will present “Newsies” through Sept. 2. Tickets range from $73 to $78. For information or to purchase tickets, call 631-261-2900 or visit www.engemantheater.com.

All photos by Michael DeCristofaro

Chris Brand and Brianne Kennedy in a scene from 'Oklahoma!'. Photo by Michael DeCristofaro

By Katherine Espinoza

Calling all cowboys and farm girls yearning to see turn of the century Oklahoma Territory! The John W. Engeman Theater is the place for you! The Northport playhouse kicked off its seven-week run of Rodgers and Hammerstein’s first collaboration, “Oklahoma!,” this past weekend to a full house. The musical, based on Lynn Riggs’ 1931 play, “Green Grow the Lilacs,” tells the story of cowboy Curly McLain and his romance with farm girl Laurey Willliams.

The original Broadway production opened on March 31, 1943, and was nominated for seven Tony Awards, along with a Pulitzer Prize for Rodgers and Hammerstein the following year.

Jane Blass as Aunt Eller. Photo by Michael DeCristofaro

Directed by Igor Goldin (“1776,” “Memphis”) the Engeman’s production is warm, funny and full of high-energy performances. The show opens in a barn, with Laurey’s wise and witty Aunt Eller (Jane Blass) churning butter while doling out advice. It quickly becomes clear that Eller’s steady hand and calm mind is needed to keep the town afloat. We encounter our lead cowboy Curly, played by a commanding Bryant Martin, soon after the opening scene. Belting out an incredible “Oh, What a Beautiful Mornin,’” he tries to woo the beautiful Laurey (Kaitlyn Davidson) to the box social — what we today know as a local dance.

Despite Curly’s attempts at charming her, Laurey accepts an invitation from the hired hand Jud, played to perfection by Nathaniel Hackmann who returns to the Engeman stage fresh off of a powerful performance as the lead in “Jekyll & Hyde.”

A 15-minute “dream ballet” reflects Laurey’s struggle with her feelings about Curly and Jud. We see an actress who looks exactly like Davidson, and we see Davidson watching her, and eventually we understand what is unfolding before us …

Bryant Martin as Curly and Nathanial Hackmann as Jud. Photo by Michael DeCristofaro

Hackmann delivers once again, and makes you feel his loneliness and desire for Laurey with his rendition of “Lonely Room.” It’s hard not to feel for his character even as the rest of the town seems to shun him for being nothing more than the help.

One of Laurey’s friends, the very flirtatious Ado Annie (Brianne Kennedy) is causing heartache for her boyfriend Will Parker (Chris Brand) who has just returned from a rodeo in Kansas City where he has won the $50 needed to offer for her hand in marriage. Ado Annie has fallen for the town peddler Ali Hakim (Danny Gardner) who is a ladies man and doesn’t really want to marry her or any woman. Does she give the handsome Will her hand or does she run away with the peddler? Ali Hakim is very convincing as he tells her it’s “All er Nothin” and bares his heart.

The drama continues as the box social begins and the town gets ready for some dancing. Choreographed by Drew Humphrey (“Thoroughly Modern Millie”), the southern dance numbers are great fun, especially during “Kansas City,” where you get to see some fantastic cowboy moves.

Kaitlyn Davidson as Laurey and Bryant Martin as Curly in a scene from ‘Oklahoma!”. Photo by Michael DeCristofaro

As the show continues on, Curly makes the audience believe in the power of love and root for his relationship to succeed. But you can’t count out Jud, who is sure to leave his mark on the stage as his character brings trouble to the town — you’ll almost want him to bring trouble just for another chance to see Hackmann on the stage.

The set, designed by D.T. Willis, is very authentic looking and effectively transports you back in time to the life of the early pioneers. Lasso ropes hang from the wooden walls of the barn and the stage is covered in wood to give the setting a rustic feel. Wooden stools and chairs were also hung from the walls.

Matthew Solomon brings the fashion fun to life, designing the costumes for the show. At the box social, the women trotted across the stage in laced up boots with a heel, antique gowns with petticoats underneath and adorned with lace and bonnets. The cowboys are dressed with leather chaps over their denim, cowboy hats and down to the last detail the spurs on their cowboy boots. The wedding gown Laurey wears is especially beautiful, covered in delicate lace from head to toe, and topped off with a long veil and beautiful bouquet of flowers.

Musical director Jeff Theiss brings all the tunes of the original show to life again and has you tapping your feet as the cast superbly sings the beloved classic “Oklahoma!” The music and romance and comedy combined make for a fantastic show. Come on down and join the fun as you relive life on the prairie!

Cast includes: Jane Blass, Chris Brand, Sari Alexander, Charles Baran, Robert Budnick, Kaitlyn Davidson, Danny Gardner, Nathanial Hackmann, Zach Hawthorne, Tyler Huckstep, Brianne Kennedy, Bryant Martin, Kaitlyn Mayse, Kim McClay, Danny McHugh, Nick Miller, Katilin Nelson, Meghan Nicole Ross, Connor Schwantes, Kelly Sheehan and Michael J. Verre.

The John W. Engeman Theater, 250 Main St., Northport will present “Okalahoma The Musical” through June 25. Tickets range from $71 to $76 and valet parking is available. For more information, call 631-261-2900 or visit www.engemantheater.com.

From left, Andrew Hendrick, James D. Schultz, Christopher Wynne Duffy, Peter Saide, Benjamin Howes, Jake Mills, Kevin Robert Kelly, and Stephen Valenti in a scene from ‘1776’. Photo by Michael DeCristofaro

By Rita J. Egan

With talented actors, period-appropriate costumes and a detailed set, a theatrical production can make audience members feel as if they have traveled back in time. This is certainly the case with the John W. Engeman Theater’s production of “1776,” which opened last week.

Before there was “Hamilton,” there was “1776.” The classic musical, with music and lyrics by Sherman Edwards and a book by Peter Stone, debuted on Broadway in 1969 and was turned into a movie in 1972. Dramatizing the efforts of John Adams to persuade his fellow delegates of the Second Continental Congress to vote for American independence, “1776” focuses on the last weeks leading up to the signing of the Declaration of Independence.

The first lines by Adams, played by James LaVerdiere, help to set the tone for the musical: “I have come to the conclusion that one useless man is called a disgrace — that two are called a law firm — and that three or more become a Congress.” With this quote as well as the opening number “For God’s Sake, John, Sit Down,” the audience discovers that while the musical discusses a serious matter, it is delivered with a sense of familiarity and a good dose of humor.

Jennifer Hope Wills (as Abigail Adams) and Jamie LaVerdiere (as John Adams). Photo by Michael DeCristofaro
Jennifer Hope Wills (as Abigail Adams) and Jamie LaVerdiere (as John Adams) in a scene from ‘1776’. Photo by Michael DeCristofaro

LaVerdiere perfectly captures the frustrations and persuasiveness of Adams, who his fellow delegates describe as obnoxious and disliked. The scenes between him and Jennifer Hope Wills, who plays Abigail Adams, where the Massachusetts delegate imagines conversations with his wife, allow the audience to learn of the struggles of the women who were left at home dealing with sick children and failing farms and business. During Act 1, the two deliver a sweet and touching version of “Yours, Yours, Yours,” and we discover a softer side of Adams.

When Thomas Jefferson, played by Michael Glavan, yearns to go home to see his wife, we meet the second of only two female characters, when Adams sends for Martha to come to Philadelphia while Jefferson works on the Declaration of Independence. Portrayed by Adriana Milbrath, the actress delivers a delightful “He Plays the Violin” with LaVerdiere and David Studwell, perfectly cast as the charming and witty Benjamin Franklin. Glavan is a strong vocalist, too, who audience members have the pleasure of hearing during “But, Mr. Adams” and “The Egg.”

A surprise standout performance comes from Matthew Rafanelli, playing the disheveled courier delivering messages from George Washington. In the beginning of the play, it’s understandable if one thinks he has a small part, but by the end of Act 1, Rafanelli delivers a perfectly executed “Momma Look Sharp.” His heart-wrenching vocals on the song, which details the loss of young boys on the battlefield, left many with tears in their eyes during the press opening last Saturday night.

It should also be noted that Robert Budnick playfully portrays a cheerful Stephen Hopkins, and Tom Lucca perfectly captures the authoritative nature of John Hancock. Special mentions should be made of Jon Reinhold (Richard Henry Lee) who plays the cocky Virginian with a great deal of humor, Benjamin Howes (John Dickinson) who provides strong lead vocals on “Cool, Cool Considerate Men,” and Peter Saide (Edward Rutledge) who delivers a powerful “Molasses to Rum.”

Igor Goldin has expertly directed the cast of 25 actors, who should all be commended for their strong vocals and mastering of a great amount of dialogue. Due to the craftsmanship of all of those involved in Engeman’s “1776,” the dreams of our country’s forefathers come to life once again.

The John W. Engeman Theater, 250 Main St., Northport, presents “1776” through Nov. 6. Tickets range from $71 to $76. For more information, call 631-261-2900, or visit www.engemantheater.com.