Douglas Quattrock as Bob Cratchit in a scene from ‘A Christmas Carol’. Photo from Theatre Three
By Melissa Arnold
Acting has been a part of Douglas Quattrock’s life for decades now, but like a kid at Christmas, he waits all year to take the stage for Theatre Three’s “A Christmas Carol,” which opens this weekend. Quattrock, 52, of Selden, is director of development, group sales and special events coordinator for the theater. On stage, he’s Bob Cratchit, the long-suffering clerk of Ebenezer Scrooge and the father of Tiny Tim. I recently had the opportunity to speak with Quattrock as he prepares to play the quintessential character for the 27th year.
How long have you been with Theatre Three?
I performed in my first show at Theatre Three in 1982 and became an official part of the staff in 2004.
What got you interested in acting?
I grew up in New York City and then moved out to Long Island in high school. I had to take an elective, and they had a spot open in chorus, but I didn’t realize I could sing. After that I spent a lot of time in the music room and taught myself to play piano. From there I got involved with the school’s productions and discovered I had a passion for it, whether I was acting or on the stage crew.
When did you first appear in ‘A Christmas Carol’?
Back in 1989, I was doing a show in East Islip, and (director) Jeff Sanzel saw me perform. He came backstage and asked me if I would audition for Bob Cratchit for the upcoming production at Theatre Three.
From left, Doug Quattrock as Bob Cratchit and Jeffrey Sanzel as Scrooge in a scene from ‘A Christmas Carol.’ Photo from Theatre Three
Did you hope to play Bob Cratchit from the beginning?
Absolutely. I’d seen the production before and a few friends had done the role before me. I’ve loved the story for as long as I can remember. I love [Cratchit’s] hope and connection to his family — he comes from a large family, just like I do. We grew up in a small apartment and my parents always struggled to make Christmas special for us, even if they couldn’t afford much. They taught us it was all about family.
Do you feel you’ve brought anything new or different to the role?
As I’ve gotten older, I come to appreciate more the value of family and what really matters in life … I focus so much on that in the role. I hope people can see that, and that my family knows how much I love and appreciate their support.
Tell me about the cast.
While Scrooge, Mr. Fezziwig and myself have been the same for many years, there are also new people that come onboard every year. They bring a fresh, new energy to the show and new dynamics. For example, I’ve (appeared with) many different women who were playing Mrs. Cratchit over the years. Each of them has her own way of playing the role, which affects our relationship on stage. It’s really exciting to see how it changes with time.
From left,The Cratchit family, sans Tiny Tim, from left, Jace Rodrigues, Marquez Stewart, Douglas Quattrock, Zoe Kahnis and Kellianne Crovello in a scene from last year’s ‘A Christmas Carol’. Photo from Theatre Three
What is it like working with the young people in the cast?
The children are just amazing. It’s fun to watch them grow up and go on to other roles in the show or other productions over the years. [Director] Jeffrey [Sanzel] works so hard to instill good values and responsibility in them, to let them know how important they are to the show. If they’re not on stage, they’re either watching rehearsals or doing homework — they need to keep up with every aspect of their lives. Theater provides such a wonderful outlet of expression and education for children.
What is it like working with Jeffrey Sanzel as both director and Scrooge?
He has so much passion and warmth not only for this story, but for everything he does here professionally. I consider him a friend. It’s amazing for me to watch him make the transformation into Scrooge — he’s very scary. It’s especially so because he’s also my boss in real life! But we have a unique relationship.
Is the show scary? Are there any special effects?
Yes, it is scary — we don’t recommend it for children under five, and if they’re five, they shouldn’t sit in the front. There are fog machines, strobe lights, loud noises, darkness, voices from below, a 14-foot ghost and much more. We recommend that they watch other versions of “A Christmas Carol” first so they have an idea of what the show’s about.
Is this your favorite time of year?
Without a doubt!
‘A Christmas Carol’ will be adding extra shows during the Port Jefferson Dickens Festival, which falls on Dec. 3 and 4 this year. What do you most enjoy about the Dickens Festival weekend?
It’s amazing seeing how the whole village embraces this production. They decorate [Port Jefferson] so beautifully and everyone comes together to support what we do. It’s like the whole place comes to life.
What is so special about community theater?
It’s about taking limited resources and creating the best productions from that. We create with heart, imagination and a lot of hard work. That comes from within. And when a show goes well, it’s that much more exciting and valuable.
People have said that you always make them teary-eyed in your last scene with Scrooge. How does that make you feel?
That’s my favorite scene, even though it’s the shortest between us. From Bob’s perspective, the whole story has been building up to that moment, when Scrooge says (Bob’s) son, Tim, will walk again. Scrooge has so many redemptive moments in the last few minutes of the show, and it’s so powerful. I love knowing that moves people. I want people in the audience to see that even the tiniest gestures of kindness can mean so much to someone. That is Christmas to me. If the audience can walk away with that message, and capture the spirit of the season, then I’ve done my job.
“A Christmas Carol” will run at Theatre Three, 412 E. Main St., Port Jefferson, from Nov. 19 to Dec. 30. All tickets are $20 in November and range from $20 to $35 in December. For information or to purchase tickets, call 631-928-9100 or visit www.theatrethree.com.
Samantha Carroll and Jeremy Hudson sing ‘Follow Your Heart’ in a scene from ‘Urinetown.’ Photo courtesy of the SCPA
By Rebecca Anzel
“Urinetown: The Musical,” currently in production at the Smithtown Performing Arts Center through Nov. 6, has received rave reviews. The two lead characters, Hope Cladwell and Bobby Strong, are played by real-life couple Samantha Carroll and Jeremy Hudson. I sat down with the two actors on Saturday night before the show to ask them about their latest roles.
Samantha Carroll and Jeremy Hudson sing ‘Follow Your Heart’ in a scene from ‘Urinetown The Musical.’ Photo courtesy of SCPA
How did you two meet?
S: The first time we actually met was here at Smithtown Theater years ago when we both auditioned for Light in the Piazza, which was my first show. Jeremy didn’t make the cut but we read together on stage and I remembered it and I found him on Facebook—
J: She Facebook stalked me throughout college.
S: I just was like, “I read with this guy and he’s nice.” We became closer friends at the Engeman. We started doing children’s theater there together and he was in a production of White Christmas that I was a dresser.
J: Even before that though — Little Women.
S: Oh god yeah, and then we did Little Women together at CM. Our friendship and love, eventually, has come through working at all these different theaters. But we did actually meet at the Smithtown Center for the Performing Arts years ago. And here we are.
J: It was a long time ago. 2007.
What is it like being engaged to each other and starring opposite each other in a show?
S: I mean, it’s like any other day really. We met doing shows together so I guess it’s normal. It’s easier to learn the lines. I trust him on stage. Our families are even more excited than we are.
J: Yeah, it’s a fun opportunity that’s few and far between. It’s a chance to have both of our lives kind of converge at one point to be able to do a show like this together. We try and make the most of the time we have doing this show because —
S: We don’t know when it’ll come again to work together, so it’s very nice.
Photo courtesy of SCPA Samantha Carroll and Jeremy Hudson in a scene from ‘Urinetown The Musical.’ Photo courtesy of SCPA
What other theaters have you both worked in?
S: Together, we worked at CM Performing Arts Center in Oakdale and the John W. Engeman in Northport. This is definitely our biggest roles together. Playing opposite each other is really, it’s silly but we’re both serious enough that we don’t just burst out laughing.
J: We can keep it together for five minutes.
You said that you performed at this theater in a teen production. Have you done any other shows here?
S: I have. I’ve been here my whole theater life. I’ve done many of the Wonderettes shows — they’re doing another Wonderettes coming this May and June. Light in the Piazza was my first really big one. Most recently, I’ve been in Violet, which was a really big favorite, and we were both actually in First Date together a few months ago as well.
J: Last March. More than a few months at this point.
S: But yeah, I was in Little Mermaid. The list goes on and on. And Jeremy’s worked here before as well.
J: I haven’t done quite as much but I have done a few shows in the past. I did Assassins here, I did Dirty Rotten Scoundrels. Bloody Bloody Andrew Jackson was another one I did here.
How old were you each when you decided that you wanted to be an actor? What attracted you to the profession?
S: I think I was probably about 6 or 7 when I started to be interested in it. My mom took me to see Beauty and the Beast on Broadway and at that point I was like, “Oh, well I have to be Belle.” I mean, I’m still waiting. I think my first acting class was probably at 8 years old and then I started singing lessons in sixth grade, so once I got to high school, I realized that this is what I want to do for the rest of my life. Beauty and the Beast, those princesses and those villains, inspired me to be where I am.
J: And I was in high school, I guess. My brother — my older brother, 10 years my senior so much older brother — used to do theater and growing up I would always go with my parents to see him do shows pretty consistently, so it was always kind of a part of my life. And then I did one myself and I was like, “Hey this is fun.” My first show was Grease, and then Guys and Dolls. I just enjoyed doing it, and having been a part of it my entire life, I just kind of slid into it myself.
Samantha Carroll in a scene from ‘Urinetown The Musical,” Photo courtesy of SCPA
Do you ever get nervous on stage?
S: For sure. Nerves are good, though, because it means you care about it and it keeps you focused.
J: The thing is, I forget there are audiences there, so I just am doing it and because I’ve done it so many times now, I’m used to people watching me do whatever. The only time I get more nervous, so to speak, is if I start to really think about it. Sometimes I’ll be on stage doing a scene and, not to say I won’t be in the moment, but I’ll just think, “I’m standing on a stage and there are people staring at me.” And then at that point what I’m doing starts to sink in, and then maybe at that point.
S: We don’t stay up at night thinking how terrifying it is to be on stage, or we wouldn’t do it. I think we get just general butterflies, especially when your parents are in the audience. You just want to be good. We’re perfectionists, unfortunately, to a fault.
What is it like watching each other perform?
S: It’s so cool. I do some stuff in Millbrook Playhouse in Pennsylvania, and Jeremy has come out to to see me in everything. I always just wait to hear what he has to say, because those mean the most to me. His words and his critiques, he doesn’t have many.
J: Not to her face at least.
S: And seeing Jeremy is amazing too. I got to see him in 1776 last year.
J: You don’t get to see me do as much as I see you.
S: He sees me a little more because he works a big-boy job too.
J: One of the many reasons we’re going to get married is just because it’s nice to share similar interests in this because it is a very time-consuming, very all-encompassing profession job. Being an actor or actress takes a lot out of you, so to be on the same page and to have that point of reference or common ground, so to speak, between the two of us is good.
What is it like when you get a standing ovation?
S: It’s not expected, but it’s very nice when it happens.
J: It’s good that an audience is that invested because it takes a lot to sit through a show, even a show you like, and then feel the need to stand up and show your appreciation for it afterwards means a lot.
Jeremy Hudson and cast in a scene from ‘Urinetown The Musical.’ Photo courtesy of SCPA
Has anything strange ever happened out in the audience that you noticed while on stage?
J: All the time. People on their cell phones, people falling asleep.
S: Snoring!
J: People eating.
S: Choking. We’ve done so much children’s theater together, the kids are, you know, they just scream the whole time. We’ve seen it all.
J: Audiences feel like because they’re sitting in a dark theater that people don’t see them. But lo and behold, being on stage you see everyone and everything. I look out and scan the audience every once in awhile. If you’re doing something weird, I will see you, and we will be talking about you. Being an audience member requires just as much investment as being a performer on the stage. It’s why I don’t like sitting in the front row myself because I feel like I’m a part of the performance as well, because the actors can see you. They can see you throughout the show.
S: And they will look at you. It’s actually easy to see the front row, but a lot of other rows are harder to see. It depends on the cues, but you can always see the first row.
J: Always.
What is your dream role?
S: Currently — they change all the time — I would love to be Alice in Bright Star who was played by Carmen Cusack on Broadway. And I would die and go to heaven to be anything in Waitress.
J: I mean, who doesn’t want to be in Le Mis, but I would like to play Jean Valjean in Les Misérables again. I did it in a teen production ten years ago, so I would like to do that again in a real production. That would be fun.
Do you have theaters in mind that you want to work in?
J: Anything between 7th and 8th Avenues between 42nd and 49th Street would be great.
S: Any theater that’s going to be professional and lovely, we would love to work at.
What attracted you to “Urinetown the Musical”? What made you want to audition?
S: I actually did “Urinetown” at the same theater 10 years ago in the teen production and I played Hope — the same part. I found out they were doing it again and Ken [Washington], the director, had talked to me about if I would like to reprise my role but on the main stage. I said absolutely. It’s a strange show, but it’s very funny and I like to be Hope so I wanted to do it again.
J: I saw the actual show 10 years ago and I have always liked it and wanted to be a part of it. It’s always been on my short list of shows to do, so I’m glad I’ve gotten the opportunity to do it at this point.
What is it like working with the director?
S: I have worked with Ken since I was 16 years old and he has seen me grow up. He is still the fun, grumpy man I remember he was, but you know, I think Ken has such a passion for theater. It’s definitely rubbed off in a good way. We love Ken.
J: He cares a great deal and he has a wealth of knowledge as far as theater goes, so it’s definitely something that is good to tap in to from time to time.
What is it like working with the cast?
S: Well, this cast specifically is a lot of, as we like to say, Long Island notables, just people who have kind of been doing this for such a long time. We’re very luck, honestly. A lot of big personalities, but in a really great way.
J: It’s a very eclectic group of people. All bring individual strengths [to the stage].
What is your favorite scene and song in the show?
S: My favorite scene and song is definitely “Follow Your Heart.” I’ve always loved it. “Be still, Hear it beating, It’s leading you, Follow your heart” was actually my yearbook quote for high school. It’s funny, it’s heartfelt and I get to do it with the best partner in the world.
J: I enjoy the scene leading up to “Run Freedom Run!” and that song. It’s just fun because it’s a bunch of strange people and it’s just very funny. It’s 80 percent the same every night and 20 percent slightly different, which always keeps things interesting.
Michael Newman and Samantha Carroll in a scene from ‘Urinetown The Musical.’ Photo from SCPA
Why should people come see the show?
S: If you ask any theater person at all, they’ll say to you, “‘Urinetown’ is the best,” or, “I love ‘Urinetown’.” I’ve been in it three times. It’s just one that people who don’t usually come to see theater don’t always come to, but they really should because it’s very, very funny. Hilarity ensues.
J: It’s just such an original piece of theater. The show came out in the early 2000s but it’s still very timely in terms of the current climate with politics. It has a lot of good things to say. The music is very catchy, and it’s one of those shows where you hear the name and you’re like, “I don’t know — it sounds weird,” but then you actually go to sit down and you see it and within 15, 20 minutes you’re like, “Wow, I’m glad I didn’t miss the opportunity to see this!”
What is up next for both of you?
S: I am very shortly starting Mary Poppins at the John W. Engeman. I’m in the ensemble but I’m covering a few different tracks of a lot of the character roles. I’m going to be doing that the whole Christmas season. And Jeremy will get one soon, but he’s—
J: Currently in between things. I have to, what with work and whatnot, I have to be a little more selective in what—
S: So he can make the dollar bills. It’s honestly either just you’re doing three shows at a time, one after the other, or you don’t do something for six months.
J: As long as we can make a living, or any wage, really, performing, that is the ideal. I would love to do theater but that doesn’t necessarily mean that’s the only thing I would like to do.
S: But we’ll always do it, regardless of if we have babies or have full-time jobs, we’ll definitely always come back and do theater because that’s what we love.
Is there anything else that you want to say to our readers?
J: This is a wonderful show, here, and Smithtown Performing Arts Center. There is a theater in Smithtown, it’s on Main Street.
S: Please come see Urinetown and everything else because everything they do here is really wonderful.
J: They put a lot of time and effort and thought into shows here. This is specifically a show that desperately needs an audience to enjoy it for it to really reach it’s maximum potential, so come on down everyone.
‘CAUSE EVERYTHING IS RENT Broadway stars Anthony Rapp and Adam Pascal took time out from signing autographs to pose with staff members from the John W. Engeman Theater in Northport, from left, Phyllis Molloy, Alex Spitzli, Michael DeCristofaro, Richard T. Dolce, Jessie Eppelheimer, Jennifer Tully, Kate Keating and Alexandra Heidrich, after the duo’s sold-out show, ‘Anthony and Adam LIVE,’ on Oct. 17.
WELL DESERVED: From left, Douglas Quattrock, director of development/group sales at Theatre Three; Lions Michael DeGutis, Dan Jacoby and Mark Cherches with Theatre Three’s Artistic Executive Director and honoree Jeffrey Sanzel. Photo by Heidi Sutton
By Heidi Sutton
When he’s not being a Scrooge during the holidays, Jeffrey Sanzel is working hard to make this world a better place through the creativity of live theater. Sanzel, the Executive Artistic Director at Theatre Three in Port Jefferson, was chosen by the Port Jefferson Lions Club to be this year’s honoree of the Vincent Bove Award for his service to the community and for his unfaltering commitment to stop bullying.
Vincent Bove was the mayor of Belle Terre for 25 years, sat on the board of trustees of Mather Hospital until he passed away in 2006 and was on the board of Theatre Three. He was also the driving force behind Jefferson’s Ferry in South Setauket.
Jeffrey Sanzel, center, with longtime members of the Theatre Three family, Douglas Quattrock and Vivian Koutrakos after receiving his award. Photo by Heidi Sutton
Lions Club members Michael DeGutis, Dan Jacoby and Mark Cherches presented the award to Sanzel on the Mainstage before the theater’s Saturday evening performance of “Legally Blonde.” “The Lions love Theatre Three,” said DeGutis, referring to the Port Jefferson institution that turned 70 this year. “We want to stop the bullying that’s going on all across Long Island,” said Jacoby before presenting Sanzel with a check in the amount of $1,800 for Theatre Three’s educational touring program, The Bullying Project.
“I’ve known Jeffrey for his iconic Ebenezer Scrooge, his fabulous Fagan [‘Oliver!’], his poignant ‘From the Fires: Voices of the Holocaust,’ which he wrote and directed. He’s supported the Bullying Project, the Daniel Miller Project; it’s just been a wonderful association all these years,” said Cherches before presenting Sanzel with the award “for his outstanding contributions to the Port Jefferson community … as an actor, director, author, creator and visionary.” Sanzel then received a long standing ovation from the packed house.
“This is an incredibly beautiful award,” said Sanzel. “We are thrilled with the support we’ve gotten [from the Lions Club] over the years. They were the foundation support when we started Class Dismissed: The Bullying Project 11 years ago and then 3 years ago with Stand Up! Stand Out! The Bullying Project. These projects would not exist without the support of the Lions Club.”
The evening was also a poignant one for the Theatre Three family as Saturday would’ve also been Ellen Michelmore’s birthday, the theater’s musical director who succumbed to cancer in May. “Ellen is a reminder to be a good person,” said a visibly shaken Sanzel, “… so receiving this today is a reminder to do good things in the world and of course the Lions Club is that reminder every day … so on behalf of Theatre Three and the arts community of Long Island we thank you for what you do.”
For more information on Theatre Three’s Bullying Project, please visit www.theatrethree.com.
From left, Douglas Quattrock, Jeffrey Sanzel and Hans Paul Hendrickson in a scene from 'A Christmas Carol' at Theatre Three. Photo courtesy of Theatre Three
Save the date! Theatre Three, 412 Main St., Port Jefferson will present Behind the Curtain with “A Christmas Carol” on Thursday, Dec. 8 at 5 p.m. Executive Artist Director Jeffrey Sanzel, who has appeared as Scrooge for over 1,000 performances, will guide you through the history of the story, its many adaptations and the journey of the theater’s 33 years of presenting this Christmas classic. A full buffet dinner and talk will be followed by the Mainstage performance of Theatre Three’s production of Charles Dickens’ “A Christmas Carol.”
Tickets for the event are $30 per person and include the buffet dinner and talk. Tickets for the 7 p.m. performance may be purchased separately. For further information and reservations, call 631-928-9100 or visit www.theatrethree.com.
The cast of ‘Urinetown’. Photo courtesy of the SCPA
By Heidi Sutton
The Smithtown Center for the Performing Arts closes out its 14th season with the award-winning satirical comedy, “Urinetown The Musical,” which opened last weekend. With superb direction by Ken Washington, the 16-member seasoned cast guides the audience through two and a half wonderful hours of greed, love, corruption, regret, rebellion, fear, justice and long lines to the bathroom! Oh and it is very funny!
Officer Lockstock (Michael Bertolini) and street urchin Little Sally (Courtney Braun) in a scene from ‘Urinetown’, Photo courtesy of SCPA
The incredible Michael Bertolini returns as Officer Lockstock, a role he played 10 years ago in the same theater, and serves as narrator to set the scene. The town is experiencing a 20-year drought, he explains, which has caused a severe water shortage, causing the government to ban all private toilets. Everyone must use public bathrooms in order to “take care of their private business.” However, all the urinals are controlled by corporate giant Urine Good Company run by the greedy Caldwell B. Cladwell (Michael Newman). In other words, everyone must “pay to pee.” Anyone who doesn’t pay is arrested and sent to Urinetown, “a mystical place, a bad place, filled with symbolism,” never to be seen again. “Whaaat!”
The cast
Michael Bertolini
Courtney Braun
Mark Cahill
Samantha Carroll
Erich Grathwohl
Ronnie Green
Jeremy Hudson
Amanda-Camille Isaac
M.E. Junge
Mary Ellin Kurtz
Kaylyn Lewis
Eddie Martinez
Michael Newman
Ryan Nolin
Dondi Rollins Jr.
Jim Sluder
When Cladwell’s daughter Hope (Samantha Carroll) returns from college to work at UGC, she meets Bobby Strong (Jeremy Hudson), an assistant janitor at one of the cheapest toilets in town, run by Miss Pennywise (Mary Ellin Kurtz). Bob and Hope fall in love and she encourages him to follow his heart. His heart tells him to form a rebellion and the fight to pee for free is on. Will good win over evil or will Bobby be sent to Urinetown?
Musical director Melissa Coyle, on keyboards, leads a powerful ensemble with Alexandria DeVries on reeds, Ken Mahoney on trombone, Michael Molloy on bass and Jim Waddell on drums. The musical numbers, choreographed by M.E. Junge, are all top notch. Carroll and Hudson’s duet, “Follow Your Heart,” is very sweet (there’s clearly some chemistry there), while Michael Newman is hilarious as he hops around the stage singing “Don’t Be the Bunny.” Other stand-out numbers include “Cop Song,” which incorporates flashlights and batons into the choreography and the gospel number, “Run, Freedom, Run!” and the cast shines in “Snuff That Girl” and “What Is Urinetown?” both clearly inspired by “West Side Story” and “Fiddler on the Roof.”
As Little Sally says to Officer Lockstock at the end, “This isn’t a happy musical but the music is happy …. and the title is awful!” True, but you should still go see it!
The Smithtown Center for the Performing Arts, 2 East Main St., Smithtown will present “Urinetown The Musical” through Nov. 6. Tickets range from $20 to $35. To order, call 631-724-3700 or visit www.smithtownpac.org.
From left, Danny Meglio, Kate Keating and Jackie Hughes in a scene from 'The Wizard of Oz.' Photo by Jennifer Tully
By Heidi Sutton
The cast of ‘The Wizard of Oz’. Photo by Beth Hallisey
The month of October means that the classic tale of the “Wizard of Oz” is back on the Engeman’s stage in Northport. Presented every year at this time with the support of the Bethpage Federal Credit Union, the beloved children’s theater musical only gets better with age. Suzanne Mason, who played the Wicked Witch of the West in last year’s production, sits in the director’s chair this time and leads an adult cast of eight through an hour and half of pure “joy and rapture.”
Based on the children’s books by L. Frank Baum, “The Wizard of Oz” tells the story of young Dorothy Gale and her dog, Toto, who are swept out of Kansas by a tornado and transported over the rainbow to a magical land of munchkins, witches and ruby slippers. Engeman’s “Wizard” gives us an abridged version of the classic tale (no poppies here) but tackles it with such enthusiasm that will make audiences fall in love with Dorothy, Cowardly Lion, Tin Man and Scarecrow all over again.
Kate Keating stars as Dorothy in ‘The Wizard of Oz.’ Photo by Jennifer Tully
Kate Keating reprises her role as Dorothy Gale and treats the audience to “Somewhere Over the Rainbow” in the very beginning of the show. Keating’s enthusiastic performance is truly wonderful and at times she sounds just like a young Judy Garland. Jackie Hughes tackles the role of Scarecrow with ease, wobbly legs and all, giving us a sweet rendition of “If I Only Had a Brain,” and Danny Meglio is a terrific Tin Man on a quest to get a heart. Samm Carroll plays the dual role of meanies Ms. Gulch and the Wicked Witch of the West with just the right amount of grouchiness.
However, it is Andrew McCluskey as Cowardly Lion who steals the show. In pure comedic form, he delivers a performance that would make Bert Lahr proud. Stephanie Krasner in the role of Nico the Monkey Bat, Joshua Cahn as the Wizard and Courtney Fekete as Glinda round out the supporting cast and do a fine job.
A nice touch is the constant interaction between the actors and the audience. During the frequent set changes, Dorothy, Scarecrow, Lion and Tin Man walk through the aisles asking the children which way they should go to see the Wizard. Even the Wicked Witch suddenly appears from around the corner, causing many young audience members to jump out of their seats.
Jackie Hughes as is Scarecrow in ‘The Wizard of Oz. Photo by Jennifer Tully
Designed by Jess Costagliola, the costumes are exactly what one would expect, from Dorothy’s iconic blue gingham dress to Glinda’s beautiful pink gown. That is until the munchkins come out and mix things up a bit. With giant hats and big googly eyes, their rendition of “Ding Dong! The Witch Is Dead!” is hilarious. Wings flap on Nico the Monkey Bat and wait until you see the Wizard!
With familiar music, lots of humor and not-too-scary special effects, this “Wizard of Oz” is the perfect show with which to introduce a young child to live theater. So turn off the televisions, iPads and cell phones and start your journey down the Yellow Brick Road as soon as you can — this production is not to be missed. Meet the cast in the lobby after the show for photos and autographs. (An autograph page is conveniently located at the back of the program.) Running time is 90 minutes with one 15-minute intermission.
The John W. Engeman Theater, 250 Main St., Northport will present “The Wizard of Oz” through Nov. 6 followed by a holiday favorite, “Frosty,” from Nov. 26 to Dec. 31. All tickets are $15. To order, call 631-261-2900 or visit www.engemantheater.com.
From left, Steven Uihlein, Jessica Contino, Melanie Acampora and Emily Gates star in 'Pumpkin Patch Magic'. Photo by Peter Lanscombe, Theatre Three Productions, Inc.
By Melissa Arnold
Twenty years ago, Theatre Three’s Artistic Director Jeffrey Sanzel wrote a Halloween play for children with sweet, goofy characters and an encouraging moral lesson. This October, the Port Jefferson theater will present an updated version of Sanzel’s original show, “Pumpkin Patch Magic,” featuring all-new music and lyrics by Jules Cohen. I sat down with Sanzel and Cohen to learn more about bringing the show to life again.
Jeffrey Sanzel has written or adapted more than 100 plays in his 28 years at Theatre Three.
What inspired you to write this play?
Jeff Sanzel: This goes back many years. We’ve actually done “Pumpkin Patch Magic” twice, with the original performances happening 20 years ago. (My writing partner and I) were looking for a new Halloween show and decided we wanted the theme to be based around the saying, “If at first you don’t succeed, try, try again.” We always want to have a moral underpinning for our stories. So we created this world of Halloween with all the characters you’d expect — witches, ghosts, gnomes — and their different skills and limitations. For example, there’s a witch who can fly and a witch who can’t. It’s very funny.
How do you go about developing a show like this?
We talk about a theme, and then work on characters. I usually sit down and think about the sort of direction I want the story to go in, and from there I’ll start writing … there are usually 15 to 20 pages that never make it into the show — it’s just about getting the ideas going. If we’re doing an adaptation, I’ll read as many different versions of the story as I can to help flesh out how I want to tell it and what kind of message we want to convey.
From left, Princess Pumpkin (Melanie Acampora) Ermengarde Broomwellsweepalot the Witch (Emily Gates) and Norman the Nervous Gnome (Steve Uihlein) star in ‘Pumpkin Patch Magic. Photo by Peter Lanscombe, Theater Three Productions, Inc.
Can you summarize the story?
These characters are the ones who are responsible for getting pumpkins into the pumpkin patches all over the world. There are two groups involved: the overachievers and the underachievers. Some of the characters are limited in what they can do, and they’re always being reminded of how they can’t do as much as others. The story is told by a fairy, Loquacious Chattalot, who tries to encourage them, but it backfires and they give up. But in the end, it’s the limited ones who end up making it all happen successfully.
How did you come up with the name Fairy Loquacious Chattalot?
I’m a big fan of Charles Dickens — we do “A Christmas Carol” here at Theatre Three every year — and Dickens-style names always tend to stick in my head. The characters’ names really reflect who they are, and that is definitely true for this fairy. She’s a very nonstop talker, and that’s where I got Loquacious Chattalot.
For what age group is this play recommended? I would say it’s best for ages 3 and up.
It’s very entertaining, fast and colorful. It’s not scary at all — in fact, it’s very silly. The humor is very goofy, and the show is extremely family-friendly. All of our children’s shows are meant for the whole family to be entertained.
Are children encouraged to come dressed in their Halloween costumes?
Absolutely! We love when the kids show up in costume; it’s so much fun. And if you stay after the show, the characters will come out [in the lobby] to meet the kids and have their picture taken.
Why should parents bring their kids to see the show?
Children’s theater is the greatest way to introduce kids to theater, and the earlier on they’re exposed to it, the more they can develop an appreciation for it. Seasonal shows like this one are a lot of fun and the message for this show is so important — keep trying. You can learn, you can make a difference and there’s nothing you can’t do.
Jules Cohen has written music for dozens of shows all over the country, but now he fights breast cancer as an oncologist at Stony Brook University Hospital.
Are you a native Long Islander?
Jules Cohen: I grew up in Poughkeepsie, and after college I lived in Manhattan for 20 years. I moved to Suffolk County six years ago to work at Stony Brook.
Composer Jules Cohen, center, with the cast of ‘Pumpkin Patch Magic’ at Theatre Three. Photo by Peter Lanscombe, Theatre Three Productions, Inc.
You studied music in college, but now you’re an oncologist. What led to that change?
I have a bachelor’s degree in music and a master’s in music composition. I hoped to make my career as a musical director in theatre and a songwriter, and I did that for several years working with several reasonably high-profile directors. But it’s difficult to make a living in those fields, as you never know where your next job will come from. I had to move all over the country — I’ve worked in Vermont; San Francisco; Louisville, Kentucky; and in New York City. I knew that if I wanted a more stable life, I needed a more structured day job. Music and theater could always remain a hobby while I did other work. My initial thought was to become a psychologist, so I went to medical school, and once I got there I found I really gravitated more toward medical oncology.
Was the transition difficult for you?
Once I decided to go to med school, I pursued it wholeheartedly and didn’t find leaving the music and theater career difficult. I’ve always played the piano and am working on jazz piano now. That satisfies the musical part of my brain.
What inspired you to get involved with composing for ‘Pumpkin Patch Magic’?
I have two young children — a 5-year-old and a 10-year-old. I’ve always taken them to basically every show at Theatre Three, and it got to the point where the actors all knew Emma and Oscar. They really watched them grow. I decided to see if I could get involved, and I met Jeff in the lobby one day. He suggested I collaborate with him on one of his kids’ shows, and a few weeks later he emailed me the script for a Halloween show he had written years ago. From there I worked on updating the score, one song at a time. My kids love Halloween, so they’re very excited, and my daughter is very into musical theater — she loves to give her input.
What’s involved with writing a song? What is the process like?
Writing lyrics was relatively new for me, but I really enjoyed spending time working on the rhyme and wordplay. That process develops a sense of rhythm, and from there I start thinking about pitches. You flesh it out a bit at a time, eventually developing chords and a melody line, then adding little embellishments and intricacies. It’s really not magic or anything — as they say, it’s 10 percent inspiration and 90 percent perspiration.
How would you describe the music for the show?
It’s definitely heavily influenced by jazz, and the whole score is written for keyboard. Who are your musical influences? I really enjoy musicians in both jazz and theater, and the intersection between them — George Gershwin, Cole Porter, Frank Lesser, Thelonious Monk, and Charlie Parker are some of my favorites.
What are you most looking forward to about the show?
I’m very excited to hear my songs performed by real actors and singers, to see them come to life onstage. I’m hoping that people will appreciate it and that they leave tapping their feet. I know that I’m pleased with the songs — they are fun and clever.
“Pumpkin Patch Magic” or “If At First You Don’t Succeed” will run from Oct. 1 through Oct. 29 on Saturdays and Sundays at Theatre Three, 412 Main St., Port Jefferson. All seats are $10. For more information or to purchase tickets, call (631) 928-9100 or visit www.theatrethree.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) 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.
From left, Rachel Greenblatt, Brittany Lacey, Jenna Kavaler and Amanda Geraci in a scene from ‘Legally Blonde: The Musical.’ Photo by Peter Lanscombe, Theatre Three Productions, Inc.
By Michael Tessler
“Legally Blonde” is the sort of film I’d usually enjoy bundled up in a blanket on a cold winter day, perhaps while digging into a pint of Ben and Jerry’s, laughing loudly to myself. And yet Saturday night at Theatre Three in Port Jefferson I found myself sharing in that same wholesome joy surrounded by hundreds of others equally filled with laughter and milewide smiles. “Legally Blonde: The Musical” doesn’t shy away from its film roots but rather embraces them, incorporating songs and themes that deliver the story like never before!
Jeffrey Sanzel, the show’s director, continues to demonstrate a mastery of theater worthy of Broadway or the West End. This is not a compliment I deliver lightly, but it is so rightfully deserved. His ability to transcend genre and create flawless spectacles of comedy, drama, music and dance have stunned me continuously through the many shows I’ve now reviewed. Not once have I left the theater’s Athena Hall without being uplifted or captivated by the raw, genuine emotions neatly packed within the confines of a Theatre Three production.
Brittany Lacey as Elle Woods in Legally Blonde: The Musical. Photo by Brian Hoerger
“Legally Blonde,” while a light-hearted romp, was certainly no exception to that rule. After a long and difficult week I found myself leaving the theater feeling lighter than air. Not even for a moment is the beautiful illusion of theater ruined, undoubtedly because of Sanzel’s magic touch. His actors are so well-paced, so well-trained, a truly regimented troupe of thespians. Their stage comes to life.
Our protagonist is the stuff of “Greek” legend, and by that I mean she’s the president of the Delta Nu sorority at UCLA. Elle Woods, your quintessential popular blonde stereotype, is awaiting an overdue dinner with her longtime college boyfriend (played with lovable arrogance by Chris Brady) whom she expects to propose. Hilarity ensues as quite the opposite happens. Without spoiling too much, Elle begins on an unlikely adventure to Harvard Law School, a place not exactly known to be fashion forward!
This show is filled to the brim with comedic caricatures playing on our preconceived notions in a delightful way. From the hunky UPS man played to comedic perfection by Kyle Breitenbach to the rude, snobby, love-to-hate law student Vivienne Kensington played impressively by Caitlin Nofi, to the “blood in the water” lawyer Professor Callahan played by Theatre Three veteran Steve McCoy.
Brittany Lacey and Brett Chizever in a scene from ‘Legally Blonde: The Musical’ byPhoto by Brian Hoerger
At the show’s center is actress Brittany Lacey. Her performance as Elle Woods is local theater at its finest. Her voice both powerful and soft, her delivery of lines so expressive and authentic, and most impressively her ability to dance in flawless precision while belting notes that require two and a half lungs. Many times throughout the production, I wondered if the show’s original writers had somehow met Lacey and based the show’s protagonist after her. Casting could not have been better. She’s accompanied by the awkwardly lovable Emmett played with a special tenderness by Brett Chizever. Before the show’s end you’ll love these two!
Randall Parsons has built a set of simplistic brilliance, the entire stage enclosed by an ever-changing border of glowing lights complemented perfectly with Robert W. Henderson’s lighting design. Shining in the spotlight is the brightest pinks I’ve ever seen with gorgeous costumes by Su Jung Weaver. All these elements are coordinated seamlessly by stage manager Peter Casdia. Jeffrey Hoffman, the show’s musical director, expertly leads a “Greek” chorus and a cast of superb vocal talents. From the show’s opening number, “Omigod You Guys,” to the more touching “Ireland” it seems there was not a mark to be missed! Don’t miss out on seeing this show. I guarantee it’ll take a “chip off your shoulder!”
Theatre Three, 412 Main St., Port Jefferson kicks off its 47th Mainstage season with “Legally Blonde: The Musical” through Oct. 29. Tickets range from $20 to $35. For more information, call 631-928-9100 or visit www.theatrethree.com.
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