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TracyLynn Conner and Brian Gill in a scene from 'The Bridges of Madison County'

By Michael Tessler

You know you’ve seen an incredible production when you find yourself pondering your own life and place in the universe after exiting the theater. That was the case last Sunday afternoon after attending a production of “The Bridges of Madison County” at Theatre Three in Port Jefferson.

TracyLynn Conner and Brian Gill with the cast from ‘The Bridges of Madison County’

Based on the award-winning novel by Robert James Walker and the beloved film starring Meryl Streep and Clint Eastwood, this musical adaptation has a score worthy of Broadway, and Theatre Three provides a cast equally deserving of that designation.

For those unfamiliar with the plot, this is an unconventional love story. Not cliched but brutally honest and so refreshingly human.

As not to spoil much, we meet our protagonist Francesca, an Italian refugee fleeing a war-torn Italy and a life she’s ready to leave behind. To accomplish this she marries Bud Johnson, a simple-minded but well-meaning American soldier who left life on the farm to serve his country. Both travel back to the United States where they build a home and a beautiful family. Their son Michael doesn’t want to live the life of a farmer like his father; their daughter Carolyn, however, embraces it as she trains an award-winning steer for the annual state fair.

Francesca, lovingly called Fran by her husband, longs for the life she dreamed of as a little girl. She feels it is far too late to begin anew, and while there is food on the table, there’s no money for her to visit her home in Italy and the life she left behind. So she settles for a life as a farmer’s wife, trying to find contentment packing lunches.

From left, Marissa Girgus, Dennis Creighton, Steve McCoy, TracyLynn Conner, Matthew Rafanelli and Ella Watts in a scene from ‘The Bridges of Madison County’

Everything changes for Fran when her husband and children take a trip to the state fair. She gets a rare opportunity to breathe and relax. That is until a beat up pickup truck rolls into her driveway and with it the arrival of Robert Kincaid — a professional photographer from National Geographic putting together a photo series on bridges throughout the United States. He’s lost and needs some directions. He’s well-traveled, having just recently visited Italy and having seen every corner of the globe. Fran invites him into her home and, by extension, her life. Thus her world changes forever.

Though I won’t spoil the rest, the show is a real treat. You’ll feel just about every emotion in the book in this two-act musical. Once again Jeffrey Sanzel shines as a director capable of any genre. His unique vision can make a timeless story feel brand new again.

Undoubtedly some lines are picked up directly from the book and film adaptation, but Sanzel’s production takes you for a ride in that worn down pickup truck. You get a glimpse into someone’s world, and that’s a beautiful thing. Sanzel guides his incredibly talented cast, making it impossible not to feel for these characters. I found myself so invested in characters who managed to emote so much in such a short time. Sanzel has no problem setting the bar higher and higher with each passing performance.

This show’s phenomenal cast certainly made his job easier though! Leading the production is the show’s star, TracyLynn Conner who portrays Francesca. First off, her accent is marvelous and never breaks even once. Her voice is one of the finest I’ve ever heard on a stage. Operatic, emotional and just so beautiful to listen to.

Much credit goes to Jeffrey Hoffman who handled the show’s musical direction and turned this small cast into an incredible musical ensemble.

Matthew Rafanelli and Ella Watts

Fran’s husband Bud is played by Dennis Creighton, who really captures the essence of the character and shows his musical tenor in the show’s second act and final number. He’s accompanied by two incredible young actors — Ella Watts as their daughter Carolyn and Matthew Rafanelli as her bookish brother, Michael. I was particularly impressed with Watts. This former star of NBC’s “The Sound of Music Live!” has a voice so incredibly refined that you wish she had even more time on stage. Rafanelli really shines in his role and you’ll find yourself constantly rooting for him and his dreams and flashing back to your own childhood sibling drama. No doubt we’ll be seeing both actors on stage many times in the future!

Theatre Three veteran and Bryan Cranston look alike Steve McCoy remains one of my favorite company members. He plays Charlie — the friendly, simpleton neighbor of the Johnsons and provides comic relief throughout some of the show’s tougher moments. His wife Marge provides nonstop laughter followed by some incredibly endearing scenes. She is portrayed by the incredibly talented Amy Wodon Huben.

Brian Gill’s low and powerful voice brings Robert Kincaid, the world traveling photographer to life. His duets with Conner are some of the highlights of the show. His personality is infectious and translates beautifully on stage.

Last, though certainly not least, is the incredibly diversified performances of Marissa Girgus who plays not one but over four roles. She steps into each of them flawlessly, creating performances both touching and comedic. I felt all sorts of emotions during her nothing short of groovy performance of “Another Life.”

Being a smaller cast, you can get a sense that each character was crafted to perfection not just by the actors but by their director. They feel so real and so dynamic, which is exceptional as several actors play multiple roles … something that usually takes you out of an experience but now suddenly enhances it.

Brian Gill and TracyLynn Conner

My favorite part of the show (outside of its cast) was its unique score, which combines two radically different genres to make something genuinely unique. Strings played as though from the Italian countryside, harrowing and haunting — a reminder of an old world, an abandoned life combined with the lively sound of the great American Midwest, and the wholehearted lifestyle of the American farmer. For a brief moment these sounds clash into something unique and unforgettable.

This may be one of the most beautiful sets I’ve seen at Theatre Three. Randall Parsons transports you to the great American Midwest. Robert W. Henderson Jr., the show’s lighting designer, ensures the light breaks through the barn wood in spectacular ways. One can’t help but feel nostalgic when looking at the kitchen they designed as well.

From top to bottom this show is local theater at its finest. Provoking several audible gasps from the audience followed by thunderous rounds of applause, “The Bridges of Madison County” is something you wish you could photograph and treasure forever.

Theatre Three, 412 Main St., Port Jefferson will present “The Bridges of Madison County” on the Mainstage through Oct. 28. Tickets are $35 adults, $28 seniors and students, $20 ages 5 to 12. Children under 5 not permitted. Contains adult subject matter. Parental discretion is advised.

A special event, “Behind the Curtain with ‘The Bridges of Madison County’” will be held on Oct. 22. Join Director Jeffrey Sanzel, musical director Jeffrey Hoffman and actor TracyLynn Conner for a freewheeling exploration of this powerful contemporary musical. The full buffet supper and talk will begin at 5 p.m. $30 per person. The event will be followed by the Mainstage performance of “The Bridges of Madison County” at 7 p.m. Tickets for the performance may be purchased separately.

For more information, call 631-928-9100 or visit www.theatrethree.com.

All photos by Peter Lanscombe, Theatre Three Productions Inc.

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Stephen Treglia as Sancho Panza and Michael Bertolini as Don Quixote’ in a scene from ‘Man of La Mancha’ Photo by Courtney Braun

By Kyle Barr

 

In the conflict between cynical realism and colorful idealism, “Man of La Mancha” is fully in support of the latter even while being so close to giving into the former. It is a production that teeters on this line even in the most silly of circumstances, and it is this fine line that requires quite a lot from everyone involved from music to set design to acting so that the meaning does not get confused.

It is good then that the Smithtown Center for the Performing Arts is up to the challenge.

Michael Bertolini as Don Quixote’ in a scene from ‘Man of La Mancha’ Photo by Courtney Braun

While classic productions like “Man of La Mancha” (a 1960s Broadway production ran for over 2,000 performances) give local theaters the opportunity to perform something familiar, these shows can have the side effect of giving the impression that it is “amateur hour.” However, the SPAC, even on its opening night, not only manages to have a show with great performances on every level, but it also manages to capture the depth and heart of the play.

The story first centers upon the “bad poet and idealist” Miguel de Cervantes who, along with his manservant, is arrested by the Spanish Inquisition under the charge of foreclosing on a church. In prison, all their possessions are taken by the other inmates, including the tough yet sympathetic “Governor,” who declares they will put on a mock trial for Cervantes and that if he is found guilty everything including his precious manuscript will be taken or burned.

The aging gentleman declares he wishes to present his trial in the form of a play about a man named Alonso Quijana, who has become so fed up with the evil of the world and has spent so much time around books on ancient chivalry that he goes insane, dons a breastplate and helmet and makes himself a knight errant named Don Quixote. He has the other inmates act out characters throughout his defense, all while time is ticking down before he must meet his real trial in front of the Inquisition.

The cast of ‘Man of La Mancha’. Photo by Courtney Braun

What is remarkable about the production, and what director Kenneth J. Washington and the other folks at the SPAC have managed to convey, is how well the theme and meaning builds over time. At first the audience must agree with the inmates, thinking Cervantes is an idiot idealist who has little excuse for his actions. Slowly it is clear through the obtuse silliness of Don Quixote that Cervantes might have a point, and eventually it is clear the production is a metanarrative about theater and fiction itself.

It is a theme expressed even by the set design, headed by resident designer Tim Golebiewski. At first the set seems well designed, with good work on the foreground and the paintings of stonework that seems truly lifelike. But it all seems a little dull and gray, easily blending into each other.

However, this works to the play’s themes. The audience is there inside this dungeon, and just like the inmates the place is dull and harrowing. Once Don Quixote is on stage, running around with broken lance and bent sword, both inmates and audience imagine a more colorful scene much in the way that Quixote seems to imagine it. It is all enhanced by lighting designer Chris Creevy who does a fine job on the subtle hints of lighting to fit the scene.

Of course, this setup would not work at all unless the actors convey that they too are being transported into Cervantes’ world, and on opening night last Saturday the entire cast went above and beyond what was expected.

Stephen Treglia as Sancho Panza and Michael Bertolini as Don Quixote’ in a scene from ‘Man of La Mancha’ Photo by Courtney Braun

While actors are often expected to play multiple parts on the stage throughout a play, lead Michael Bertolini has the harder job of switching between Cervantes, Quixote and Quijana often in the middle of a scene. Nevertheless, he manages it flawlessly, with each character having a distinct presence on stage. Cervantes is composed and gentlemanly, while Quixote is loud, boisterous while cripplingly old. It was a joy to watch Bertolini put on makeup right on stage, quickly transforming himself into another character in a scene only usually reserved for behind the stage.

SPAC veteran Brianne Boyd, who plays Alonsa, the kitchen wench of the local inn, fills her roll with a great melancholy that is pitch perfect, not to mention her voice that captures that loneliness and hopelessness especially in her song “It’s All the Same,” which musical director Melissa Coyle and choreographer Danielle Nigro must have spent countless hours getting just right. The song stands out as the most memorable and affecting number of the entire production.

The other standouts of the cast are easily Stephen Treglia as the manservant Sancho Panza, the unflappable sidekick to both Cervantes and Quixote, and Steve Ayle, his first time at the SPAC, as both the Duke and Dr. Carrasco, who has a stern face when talking of the merits of cynicism and realism over idealism.

If you have never seen “Man of La Mancha,” then SPAC’s production is a great introduction to the magnificent story. If you have seen La Mancha before, then this is a good way to remember why you loved it so much.

The Smithtown Center for the Performing Arts, 2 E. Main St., Smithtown will present “Man of La Mancha” through Oct. 22. Tickets are $35 adults, $32 seniors, $20 students with valid ID. To order, call 631-724-3700 or visit www.smithtownpac.org.

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From left, Robert Cogliati, president of the board of trustees, VNSHS; Todd Latchford, group sales manager, Engeman Theater; Barbara Sorelle; event planner, VNSH; Linda Taylor, CEO, VNSHS; and Kevin J. O’Neill, owner, Engeman Theater. Photo from Engeman Theater

On Aug. 9, John W. Engeman Theater owner Kevin J. O’Neill presented a check to Robert Cogliati, president of the board of trustees; Barbara Sorelle, event planner; and Linda Taylor, CEO of Visiting Nurse Service & Hospice of Suffolk Inc. (VNSHS).

At a July 12 performance of “Grease,” VNSHS hosted a VIP pre-show event, consisting of an open bar, a food spread donated by Northport Caterers and several raffle items. A significant portion of the proceeds from every ticket sold for the evening’s performance went back to VNSHS, along with a contribution from the theater, totaling $12,500.

Taylor stated that the funds raised by the event support the organization in various capacities, but that the area most in need of support is the hospice house.

“We really enjoy working with everyone at the theater on these events,” Taylor added. “It is a real team effort to contribute to Visiting Nurse Service and the hospice house.”

The event was part of the Engeman Theater’s Fundraising Program, through which not-for-profit organizations within the community can raise funds to support their specific programs and causes through Main Stage performances at the theater. At each fundraising event, a significant portion of the ticket sales proceeds goes back to the host organization.

VNSHS is a not-for-profit, community-based home health care and hospice agency, responding to community needs as they arise, maintaining a tradition of charitable and compassionate care in the home, and providing community service activities such as blood drives, bereavement support and flu clinics.

“Visiting Nurse Service does phenomenal work, and I think Northport is a better place as the result of their efforts,” said O’Neill. “They are another staple in the community, and we’re proud to support the incredibly valuable work they do.”

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The spot at 225 Main Street will be where Northport Village will begin construction for a new inn. Photo from John W. Engeman Theater

By Sara-Megan Walsh

Blueprints and floor plans can be drawn up for the proposed Northport Inn, which overcame its first legal hurdle last week.

Northport Village trustees voted 3 to 1 to approve a code modification that paves the way for the construction of hotels and/or inns within the village’s downtown business district. Mayor George Doll and Trustees Jerry Maline and Damon McMullen voted in favor, and the sole dissenting vote was cast by Deputy Mayor Henry Tobin.

The village code approved Aug. 22 sets basic guidelines to regulate any future construction of a hotel and/or inn including maximum height and required parking spaces.

“There’s a tremendous need for lodging in this area” said Kevin O’Neill, managing director of John W. Engeman Theater. “Long Island is one of the most underserved locations in the United States for lodging.”

An artistic rendering of what the proposed hotel and restaurant at 225 Main Street in Northport Village may look like. Photo from Kevin O’Neill

O’Neill, along with his business partner Richard Dolce, the theater’s producing artistic director, first presented a proposal for a 24-room Northport Inn and restaurant to be built at 225 Main Street in May, feet away from the Engeman.

“With the entrepreneurial juices that we both have, we were trying to figure out different ways that we can hedge the risk of a show being successful or not to help keep us afloat,” O’Neill said. “The vision came into play where we could create a restaurant that synergizes with the theater and an inn.”

The main inspiration for the proposal came from The American Hotel in Sag Harbor, according to O’Neill, in addition to several boutique lodgings that Dolce and O’Neill visited in Camden, Maine, last year. The partners said their goal is to bring first-class harborside lodging to the village along with a restaurant to serve meals and drinks to both overnight visitors and theatergoers.

“We have no intention of this becoming a glitzy Hampton-type thing,” O’Neill said. “We think it could be a charming harbor town like you have in Maine, but seven hours closer.”

Since the initial presentation in May, the main public criticism voiced by residents and the sole dissenting trustee, Tobin, has been what the potential impact the addition of the hotel and restaurant would have on the village’s parking and traffic congestion. Public comments were accepted by the village board from May 16 to July 18.

“We’re already stressed for parking on Main Street,” Tobin said. “I support the hotel, I support the restaurant. The question is what size restaurant will work within downtown Northport?”

The proposed plans as set forth call for a ground-level, 200-seat restaurant, according to O’Neill. Tobin said a parking and traffic study should have been conducted prior to the trustees’ vote to modify the village code to allow for the construction of the hotel/inn.

“We are taking a building that’s a blight upon the community and turning it into a landmark.”

—Kevin O’Neill

“[A parking and traffic study] would give us guidance on how many seats a restaurant could have and yet have minimal parking and traffic problems,” Tobin said. “We could use a study to determine the balance between the economic needs of the hotel and the logistical needs of the village and its residents.”

O’Neill stressed that he and Dolce are “very conscious” of parking concerns in Northport, citing that the village currently has approximately 600 public parking spaces, largely at the west end of the business district. He said it is their plan to convert the existing two parking lots, of 12 spaces each, currently on the property into a total of 54 parking spots. This is more than the number required under the village code passed on Aug. 22, according to O’Neill.

“We have done tireless research and we are confident that the parking we are providing, along with our valet that we’ve provided for the last 10 years, that we will have a seamless process to handle this,” he said.

The John W. Engeman Theater currently offers a valet parking service for  its attendees, managing to service and park vehicles for 390 patrons up to twice a day for weekend matinees and evening performances.

A secondary issue raised by Tobin and residents was a concern that the 200-seat restaurant could be used for catering large events, causing a large influx of vehicular traffic at a time. However, O’Neill said he and Dolce have no interest in providing catering service for weddings, bat mitzvahs or other special occasions.

O’Neill said he hopes to have blueprints and a site plan drawn up for the proposed Northport Inn by Nov. 1 to present to the village, with the hopes of beginning construction in early spring 2018.

“We are taking a building that’s a blight upon the community and turning it into a landmark,” O’Neill said.

Both O’Neill and Dolce said they welcome any village residents with questions or concerns about their proposal to contact them directly for further discussion.

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Photo courtesy of Engeman Theater

Lifting Spirits

On Aug. 15, actors and staff from the John W. Engeman Theater at Northport presented a fully staged production of the Broadway musical “Seussical the Musical” for over 100 patients at Cohen Children’s Medical Center in New Hyde Park.

The production, sponsored by Bethpage Federal Credit Union and Northwell Health, took place in the hospital’s lobby, which had been transformed into an intimate theater space, complete with a stage, lighting, professional sound and full costumes. An enthusiast audience of young patients, parents and hospital staff attended the production, which was also broadcast to televisions in all of the center’s in-patient bedrooms.

“On behalf of all of our young patients at Cohen Children’s Medical Center and the people who love them, we are once again delighted to welcome the very talented cast who brought us ‘Seussical the Musical,’” said Michael Dowling, president and CEO of Northwell Health. “Being in the hospital can be a very lonely experience for children, especially in the summer because of all the activities they’re missing. Thanks to the dedicated and generous troupe at the John W. Engeman Theater, we’re able to brighten their spirits.”

Before the performance began, each patient in the audience was given a “Seussical” T-shirt and a colorful program with Dr. Seuss-themed activities. When the show ended, audience members were able to meet the cast, take photos and have their playbills autographed by the actors.

“We are thrilled to be able to bring ‘Seussical the Musical’ once again to CCMC. It is an opportunity for us to lighten the load that the patients and families are carrying with a night of joy,” said John W. Engeman Theater owner Kevin O’Neill. “We are very appreciative of the Bethpage Federal Credit Union and Northwell Health sponsorships that help make this wonderful evening possible.”

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‘Rich Boy, Rich Girl’ starring C. Thomas Howell will be screened at the festival.

By Rita J. Egan

The Global Revolution Film Festival is coming to the Smithtown Center for the Performing Arts on Aug. 25 to 27, and North Shore film lovers are in for a revolution of the creative type. The event will consist of 10 two-hour blocks of film showings — each block consisting of a combination of original shorts, documentaries and full-length films.

A scene from ‘I’m Still Here’

Ken Washington, theater director, said the Smithtown Performing Arts Council was approached by the organizers of the film festival, and the theater was fortunate to have the weekend open. “We have been trying to integrate films into our program, and this seemed like a good way to make that happen,” he said.

Filmmaker Andrew Henriques, one of the organizers of the festival along with founder Jamal Blair and Greg Pursino, said the first two years the event was held in Farmingdale, and this year they searched for a new venue.

“We’ve been looking for a while for a festival location that is close to a train station, and the Smithtown theater is just two blocks away,” Henriques said. “And it has access to places that the filmmakers can go right after their screening because a lot of times you want to keep the party going. You’re there with a bunch of friends; you saw an awesome film; you’re high on the applause and getting to see your movie on a big screen, so you want to go someplace … There are so many locations for them to go [in Smithtown] and continue the celebration.”

He continued, “For us it’s important that they have a place to go and talk, network and talk to other directors and just socialize and talk shop. That’s a big part of it.”

Henriques, who grew up in Bellport, said Pursino discovered the theater, and he was impressed when his colleague showed him the location and loved that it had a balcony — something not many theaters have anymore.

“It reminded me of a theater from New York City,” he said. “It’s beautiful inside, and it has so much character. I know other filmmakers and other creative artistic people are going to be blown away by the theater.”

A scene from ‘The Last Warriors’

Henriques said he met Pursino, a fellow filmmaker, at a film festival, and Blair, another filmmaker, through Facebook. The organizers’ motto is “Story Above Stars” a slogan they thought of after attending some film festivals and noticing the poor quality of a few movies even though they featured recognizable actors. Their theory is that many events include movies with famous stars, knowing they will show up for the movie’s screening and draw in audiences.

“We’re not star chasing,” Henriques said.

The Global Revolution organizers choose films from all over the globe with stories that they believe will make audiences think while being entertained.

“We don’t care who is in your film,” Henriques said. “If you have a great film and a great story, you’re in.” He said the organizers chose to include web series in the event, something most film festivals don’t do; and there were no restrictions when it came to submissions. They looked for “a great plethora of fantastic films with unique stories.”

“That’s what we look for mostly,” Henriques said. “Something different; something outside of the typical things you might see in Hollywood that are telling the same old stories and remakes over and over again.”

When judging submissions for the festival six judges look for aspects such as a good storyline, cinematography, production, sound quality and pacing. The filmmaker said they looked for films that made you feel as if you are not watching a movie.

“The more that you are drawn away from the story the less points you get,” Henriques said. “A lot of things can draw you away from a story — bad camera angles, bad acting, bad sound. So, anything that takes away from the story, we start deducting points.”

Henriques said there is no quota for how many films of a certain genre they include. What is presented is based on the quality of the movie. “If we get in all comedies that are better than anything else we get, we’re going to show all comedies,” he said.

However, this year’s festival includes a variety of genres from a film that explores the current worldwide issue of sex trafficking and is inspired by real events, “I Am Still Here,” to Henriques’ romantic comedy “Rich Boy, Rich Girl” that he co-directed with Judy San Roman. The filmmaker said the comedy is the only one in the festival that features a known actor in the states, C. Thomas Howell, who rose to fame with the 1983 movie “The Outsiders.”

‘Cat Planet’ will be screened on Aug. 26.

Ten two-hour blocks of movies will be shown over the three days. Friday’s films will run from 1 to 9:30 p.m. with a networking session for directors, actors and fans at noon. Saturday’s films will be screened from 10 a.m. to 9 p.m., while Sunday’s screenings will be held from 11 a.m. to 7 p.m. followed by a closing awards ceremony from 7 to 8 p.m. Each block is $10 or $25 for a day pass (good for all films shown on one day) or $60 for a full festival pass (good for all days and all blocks).

Washington hopes that local film lovers will enjoy the new venture at the theater. “We’re honored to be hosting the event and hope it can be enormously successful and become an annual occurrence here in Smithtown,” he said.

Henriques said the mission of Global Revolution Film Festival is to show films that will have audience members thinking after they leave the theater. “My main hope is that they walk away and they have films they can talk about where it just doesn’t disappear five minutes afterwards,” he said. “The experience just continues on.”

The Smithtown Center for the Performing Arts is located at 2 East Main Street in Smithtown. For more information, call 631-724-3700 or visit www.smithtownpac.org.

Film Festival Schedule

Aug. 25

Noon to 1 p.m. : Networking for directors, actors and fans

1 to 3 p.m. {Block 1}

“Vida Muertos”

“End Unsung”

“Two Texas”

“JFK Killer and Motives Revealed”

“I Am Still Here”

4 to 6 p.m. {Block 2}

“Strange Harvest”

“Back Stabber”

“Impervia”

“Play-Time”

“Uncle Chuck”

“Pearl Rain”

“Forgive Me”

7:30 to 9:30 p.m. {Block 3}

“Rich Boy, Rich Girl”

Aug. 26

10 a.m. to noon {Block 1}

“Fuerza”

“The Last Warriors”

“Full Service”

“The Man with the Western Hat”

“Micro Bites”

“Cat Planet”

1 to 3 p.m. {Block 2}

“Fairfield Follies”

“The F-word”

“A Matter of Seconds”

4 to 6 p.m. {Block 3}

“The Torments of Love”

“The Bake Job”

“Breaking the Silence”

“Slapface”

“Numbness”

“Madam Trigger”

7 to 9 p.m. {Block 4}

“Power of Prayer”

“Pet”

“The Son, The Father”

“Disco”

Aug. 27

11 a.m. to 1 p.m. {Block 1}

“The Accompanying Dancer”

“Pechorin”

2 to 4 p.m. {Block 2}

“Jihad”

5 to 7 p.m. {Block 3}

“Dual City”

“Cup of Tea”

“Christina Wood Memorial”

“Mirror Image”

7 to 8 p.m. : Closing/Awards Ceremony

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From left, Susan Emory, Michaela Catapano, Mark Jackett and Debbie D'Amore in a scene from 'The Frog Prince.'

By Heidi Sutton

There’s a whole lot of hopping going on at Theatre Three this week as its Children’s Theatre presents an original musical retelling of the classic Brothers Grimm fairy tale, “The Frog Prince.” Written by Jeffrey Sanzel and Kevin F. Story, the show teaches us to not judge a book by its cover and to “open yourself up and wonderful things will happen.”

Above, the cast of ‘The Frog Prince’

The swamp in the kingdom of King Tarvin is filling up with more frogs every day, much to the dismay of the Frog King. Turns out The Enchantress Livia and her sister, The Enchantress Aurora, are responsible for the sudden overpopulation, transforming everyone who crosses them into a clammy amphibian, even the dry cleaner!

When the pompous Prince Darnay of Caversham refuses to give Aurora, who is disguised as a beggar woman, some water, he meets the same fate as the others and is turned into the Frog Prince. His servant, Squire Tweel, takes him to the swamp to meet the Frog King and try to break the spell.

The Frog King introduces him to the shy and independent Princess Madrigal, who prefers to keep to herself. When she accidently drops a gold ball into a pond, the Frog Prince retrieves it for her and the two become fast friends. Will she be the one to break the magic spell and turn him into a prince again with a kiss or will he have to eat flies for the rest of his life?

Directed by Sanzel, the show is nothing short of adorable and packed with enough frog jokes to last a whole month!

From left, Ginger Dalton, Steve Uihlein and Aria Saltini in a scene from ‘The Frog Prince’

Matt Hoffman, last seen in the role of Aladdin, is terrific in the dual role of Prince Darnay and the Frog Prince. His transformation from a spoiled brat to a sweet prince is remarkable. Newcomer Michaela Catapano shines as Princess Madrigal and her rendition of “Babble Chatter Prattle” is magical. Steve Uihlein is the quintessential Frog King, and plays his warty role to the fullest. Aria Saltini and Ginger Dalton make a great team as The Enchantresses and also serve as narrators to the story, which is a nice touch. Meg Bush is delightful in the role of Squire Tweel who can’t help but poke a little fun at her master’s webby predicament (“Yes, your Greenship!”).

Mark Jackett (King Tarvin), Susan Emory (Queen Cecile) and Debbie D’Amore as Princess Madrigal’s nanny are a solid supporting cast. The production is further enhanced by the addition of 34 talented students from the theater’s summer acting workshops, who serve as royal princesses, pages, citizens, townspeople, frogs and party guests.

Matthew Hoffman and Michaela Catapano in scene from ‘The Frog Prince’

The musical numbers, accompanied on piano by Steve McCoy, are fun and hip with special mention to the solo “Not Heard and Not Seen” by Hoffman, “Life Couldn’t Be Better” by the Frog King & the Frogs and “Warts and All” by the entire company. Costumes by Teresa Matteson from the royal garbs to the green frog costumes are exceptional, and Sari Feldman’s choreography is first rate.

From the play itself to casting and crew, every aspect is aimed at providing a magical theatrical experience for children, and this wonderful production hits the mark. Meet the main cast in the lobby for photos after the show.

Running time is approximately one hour and 15 minutes with one intermission. Booster seats are available.

Theatre Three, 412 Main St., Port Jefferson will present “The Frog Prince” on Aug. 11 at 11 a.m. and Aug. 12 at 11 a.m. and 2 p.m. Children’s Theatre will continue with a brand new musical, “A Kooky Spooky Halloween,” from Oct. 7 to 28 and everyone’s holiday favorite, “Barnaby Saves Christmas,” from Nov. 24 to Dec. 30. All seats are $10. To order, call 631-928-9100 or visit www.theatrethree.com.

The entire company

All photos by Peter Lanscombe, Theatre Three Productions, Inc.

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The cast of ‘Freckleface Strawberry The Musical’. Photo by Jessie Eppelheimer

By Rita J. Egan

Freckleface Strawberry and her friends have arrived in Northport, and they have a positive, uplifting tale to share with theatergoers of all ages. The charming “Freckleface Strawberry The Musical” debuted at the John W. Engeman Theater on July 22.

Based on the debut book in the “Freckleface Strawberry” series by Academy Award–winning actress and New York Times best-selling author Julianne Moore, the play features music and lyrics by Gary Kupper and musical book by Kupper and Rose Caiola.

Photo by Jessie Eppelheimer

The story follows the life of a 7-year-old who isn’t happy about the freckles that speckle her whole body. Through musical numbers and dialogue, audience members discover just how much Strawberry despises her freckles. At one point, she covers her face with a ski mask, and in the past, has tried to scrub them off. By the second act, the fast-moving tale develops into an inspiring story of loving yourself for who you are.

Directed by Marquez Stewart, the cast includes an ensemble of seven talented actors, including Northport High School student Meaghan Maher as an adorable and quirky Strawberry and the versatile actress Jacqueline Hughes playing the athletic Danny. Marielle Greguski is Jane and the protagonist’s mother with sweet and soothing vocals, while TracyLynn Conner is perky and energetic as Emily. Andrew McCluskey as nerdy Jake, Matthew Rafanelli as a lovable Harry and Rita Sarli as the perfect ballet girl round out the cast flawlessly.

Photo by Jessie Eppelheimer

The adult actors are extremely convincing as young kids dealing with growing pains and garnered several giggles from the audience members, especially in the first act when Hughes, McCluskey, Rafanelli and Sarli play members of the Freckleface Mafia. On opening day, the children in the audience were delighted when Rafanelli combed the aisles searching for someone who would want some freckles.

When Strawberry’s mother discovers how upset her daughter is about her freckles, Greguski and Maher sing a sweet and tender “Perfect.” The number is followed by another touching song, “Lonely Girl” by Sarli and Maher where Strawberry discovers that even when people appear to be perfect, they may not always feel that life is that way. Both songs contain positive, uplifting message that serve as a great lesson for children and a nice reminder for adults.

As the first act ends, Maher on lead is joined by the rest of the cast singing the upbeat tune “I Can Be Anything” and dancing fun choreographed moves by Stewart. When the second act begins, we are greeted by all of Strawberry’s friends once again as they sing “Be Like Her” and “Who’s the Kid in the Mask.”

Greguski has fun executing the rap “Creative Minds,” when she plays a teacher in one scene and does an impressive job. The rap is followed by the children sharing their poems with their classmates, which had many in the audience laughing in the debut performance.

During the poem readings, Jake is moved to share his inspirational piece, “Be Yourself,” and McCluskey’s vocals are strong when he sings lead on the song. Joining him on the chorus, the actors blend well on vocals, which is also apparent in songs such as “When You Got Friends” and “Different.”

It’s difficult growing up feeling different from everyone else, so it’s wonderful when a story such as “Freckleface Strawberry” comes around to remind us that it’s OK to be ourselves. The cast members at the Engeman do a great job in relaying this message, and the musical is a sweet treat that is just in time for summer fun — especially for those who may be getting a bit freckled from the bright sun. Meet the entire cast in the lobby after the show for photos and autographs.

The John W. Engeman Theater, 250 Main Street, Northport, will present “Freckleface Strawberry the Musical” through Aug. 27. Runtime is approximately one hour with one 15-minute intermission, and booster seats are available for small children. The season will continue with “Cinderella” from Sept. 23 to Oct. 29 and “Frosty” from Nov. 18 to Dec. 31. Tickets are $15, and show times are Saturdays 11 a.m. and Sundays 10:30 a.m. For more information, call 631-261-2900 or visit www.engemantheater.com.

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Above, the cast performs a musical number in a scene from ‘Young Frankenstein’

By Kyle Barr

From left, Michael Newman as the blind hermit and Ryan Nolin as the monster in a scene from ‘Young Frankenstein’

Mel Brooks, the director and writer of some of cinema’s most beloved comedy movies, has always had something of a theatrical flair to his films. There have been musical scenes in “Robin Hood: Men in Tights,” “History of the World Part 1” and one glorious moment in “Young Frankenstein” when Frankenstein’s monster replaces his ragged clothing for a tuxedo and top hat and stiffly tap dances to “Puttin’ on the Ritz.”

It’s no wonder then that “Young Frankenstein” works so well as a musical stage production. The characters are there, the humor is there, and the Smithtown Center for the Performing Arts is more than up to the task of adapting the musical with a performance that emphatically captures the hilarious moments of the original 1974 film.

The story, written by Mel Brooks and Thomas Meehan with music and lyrics by Brooks, follows the film very closely with only a few changes. The famous Victor Von Frankenstein, the mad scientist who created the original Frankenstein’s monster, is dead, and the villagers of Transylvania are much happier to see him gone.

Nick Masson as Frederick and Sarah Juliano as Inga in a scene from ‘Young Frankenstein’

While they think their troubles are over, Frankenstein’s grandson, Dr. Frederick Frankenstein (Nick Masson), gets a letter that says he has inherited his grandfather’s castle in Transylvania. While he is originally staunch in refusing to follow in his grandfather’s footsteps, with the help and coaxing of compatriots Igor (Andrew Murano), Inga (Sarah Jane Juliano) and Frau Blucher (Anne Marie Finnie), Frederick does indeed join the family business. It only takes a few mistakes before the monster (Ryan Nolin) is loose, and the villagers who for once thought they were free of monsters are yet again set upon by a big green menace.

Director and set designer Timothy Golebiewski skillfully leads a number of SCPA regulars along with several stage veterans making their premier at the theater. At last Sunday afternoon’s performance, all of the actors played their parts very well with several standouts.

SCPA veteran Michael Newman gives two excellent performances in the dual roles of Inspector Kemp and the blind hermit, while Juliano is hilarious as Inga, and her yodeling could give any clog-wearing German a run for their money.

‘Puttin On the Ritz’ at the SCPA.

With the passing of Gene Wilder last year still heavy on the heart, it’s hard to imagine another person portraying Frederick Frankenstein (“It’s pronounced Fronkensteen!”). However, Masson chooses to put a different spin on the iconic role to great effect. He sounds and acts much like everyone remembers their least favorite high school teacher to be, that one with the nasal voice and the rather high opinion of himself. He has a great sense for timing and his beginning song “The Brain,” about his love for the titular organ, is played up to its full bizarre and hilarious extent.

Murano as Igor (“It’s pronounced ‘Eye-gor!”) is a stand out soley for how much he seems to enjoy his role. Costume designer Ronald R. Green III does a superb job on his makeup from the character’s cloak to his deathly-white face and pointed nose.

While Igor is only the sidekick, he often steals the show with how much body language he puts into the jokes. It’s easy to see how Murano revels in the opportunity to touch the other characters in uncomfortable ways. One hilarious scene is when the character gets his hands on another’s fur cloak and chews into it and humps it like a dog.

Nick Masson and Andrew Murano in a scene from ‘Young Frankenstein’

While you originally wouldn’t expect much emoting from Frankenstein’s monster, who for most of the movie can only grunt and howl, Nolin does a great job of using his body language to effect the subtle and often confused emotions of the creature. It’s also great to see how well he transforms into an upstanding gentleman and how he affects an English accent as soon as he’s given intelligence.

The set design is particularly exceptional. Golebiewski and crew must have spent many good hours on setting up the two-tiered layout of the set, which has layers and a surprising amount of depth. It is remarkable to watch just from where different characters appear. Several of the bookcases can be spun around, which is not only used to transition from one parlor scene into a laboratory scene but is also used in one of the more famous jokes from the film where Inga and Frederick try to figure out how to use a secret door hidden in a bookcase.

The theater’s band, with conductor and keyboardist Melissa Coyle at the helm, Craig Coyle on keyboard, Michael Molloy on bass and Jim Waddell on drums, bring the whole show together nicely.

One thing to note is that this musical is raunchy, even more raunchy than the film on which it is based. While there are more than a few innuendos, there are many explicit references to sex and private parts, so adults may want to look up the script to the play before bringing young children along.

However, if you don’t mind a bit of sexual humor and you fondly remember the 1974 movie version, you won’t walk away disappointed. If you are looking to grab some of old monster movie nostalgia while watching something that wholly parodies those old horror conventions, you can’t get much better than SCPA’s “Young Frankenstein.”

The Smithtown Center for the Performing Arts, 2 E. Main St., Smithtown will present “Young Frankenstein” through Aug. 20. Tickets are $35, adults, $32 seniors, $20 students with valid ID. To order, call 631-724-3700 or visit www.smithtownpac.org.

All photos by Courtney Braun.

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Photo by Courtney Braun

By Heidi Sutton

Christian Arma as Gerald and Samantha Foti as Piggie. Photo by Courtney Braun

If you are a parent or grandparent of young children, then you are most likely familiar with the young reader books by award-winning author and illustrator Mo Willems. There’s the “Knuffle Bunny” and “Pigeon” series (“Don’t Let the Pigeon Drive the Bus!” is a personal favorite) and his latest “Cat the Cat” series, among others.

Willems devoted most of his time, however, to writing the “Elephant and Piggie” series, 25 books in total. From the first, “My Friend Is Sad,” to the last, “The Thank You Book,” Gerald the elephant and his “bestus” friend, a pig named Piggie, learn common etiquette rules for friendship.

Now through Aug. 20, young visitors to the Smithtown Center for the Performing Arts can enjoy the musical Elephant & Piggie’s “We Are in a Play!” which pays homage to the popular book series with script and lyrics by Willems and music by Deborah Wicks La Puma.

Photos by Courtney Braun
Above, left, the Squirrelles, from left, Sarah Juliano, Emily Keleher and Maria Simeone. Photo by Courtney Braun

The script is based mostly on Elephant and Piggie’s “We are in a Book!” but draws from other stories including “I Am Invited to a Party,” “Elephants Cannot Dance,” “Should I Share My Ice Cream?” and “I Love My New Toy,” resulting in an adorable show that is too cute for words.

Directed and choreographed by Courtney Braun, with musical direction by Melissa Cowell, the first half of the show follows Gerald (Christian Arma) and Piggie (Samantha Foti) as they learn to share, how to get ready for a fancy-costume pool party hosted by the Squirelles (Sarah Juliano, Maria Simeone and Emily Keleher) and grasp the act of forgiveness.

Eventually, Gerald and Piggie notice that there is an audience watching them and then, much to the delight of the younger children, have them shout out the word “banana,” clap their hands and do the “Flippy Floppy Floory dance,” the perfect ending to a wonderful morning of live theater.

Samantha Foti as Piggie. Photo by Courtney Braun

The adult cast of five all give top rate performances and boy can they sing! Costumes by Ronald R. Green III reflect the character’s animal traits and personalities with Arma’s glasses, gray vest and pants, Foti’s pink skirt with striped tights and the Squirrelles brown dresses and long brown wigs.

Please note that running time is one hour with no intermission, so try to hit the bathrooms ahead of time. Snacks will be sold in the lobby and booster seats are available. Meet the cast in the lobby after the show for photos and autographs. An autograph page is conveniently located on the back page of the program.

The Smithtown Center for the Performing Arts, 2 East Main St., Smithtown will present Elephant & Piggie’s “We Are in A Play!” through Aug. 20 followed by Disney’s “Beauty and the Beast Jr.” from Sept. 16 to Oct. 29. All seats are $15. To order, call 631-724-3700 or visit www.smithtownpac.org.

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