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John W. Engeman Theater

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Kate Keating and Austin Morgan in a scene from ‘Frosty.’ Photo by Michael DeCristofaro

The holidays are upon us and that means it’s time for “Frosty” to come to life at the John W. Engeman Theater in Northport. Under the direction of Richard T. Dolce, the annual production, with a spirited cast of five adult actors, presents a lively show with song and dance that is perfect for its target audience.

Uber-talented Kate Keating reprises her role as Jenny, a young girl living in the town of Chillsville who loves the snow and loves winter. With the help of her mother, lovingly played by Courtney Fekete, Jenny builds a snowman who magically comes alive, and the duo are quickly best pals. Making his Engeman debut, Austin Morgan is a terrific Frosty and quickly connects with the audience, especially after he dances to “It’s Your Birthday.”

Jen Casey is the villain Ethel Pierpot, who wants to make Chillsville warm and snow-free so she can build a new factory. Her weather machine starts to make everything melt, including Frosty. With the help of the audience, Ethel Pierpot’s plan is foiled and, after a thrilling chase scene through the theater and an intense snowball fight, the machine is turned off.

From the very beginning the theatergoers become part of the show, thanks to the efforts of the narrator, Michael Verre, who guides the audience through the story with comedic genius. Verre draws the most laughs as he goes from being bundled up for winter to wearing less and less each time he makes an appearance on stage to demonstrate how warm Chillsville is getting.

Asking a full house last Sunday how to stop Ethel Pierpot from turning Frosty into a puddle of water, Verre received some creative suggestions, including have Frosty “go to a new town where there’s plenty of snow,” “put Frosty in an ice cream truck” and “reverse the machine to cold.” At the end of the show, all the children are asked to wish for snow to keep Frosty from melting and are rewarded for their efforts.

There was magic in the air at the Engeman Theater that morning — yes, a snowman came to life and, yes, it snowed inside the theater. But even more magical than that were the priceless expressions of joy, excitement and wonderment on the faces of the children in the audience.

Meet the cast after the show for pictures and autographs. An autograph page is conveniently located at the back of the program.

Take your child or grandchild to see “Frosty” and let them experience the magic of live theater. They will love you for it.

The John W. Engeman Theater, 250 Main St., Northport, will present “Frosty” through Jan. 3. Tickets are $15 each. For more information, call 631-261-2900 or visit www.engemantheater.com.

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Kevin McGuire as Kris Kringle in a scene from ‘Miracle on 34th Street — The Musical’ Photo by Michael DeCristofaro

By Charles J. Morgan

With perfect timing, “Miracle on 34th Street — The Musical” arrived at the John W. Engeman Theater in Northport last weekend to usher in the holidays. When the playbill tells you that the book, lyrics and music were all done by Meredith Willson of “The Music Man” fame, one knows that they are in for some solid musical theater entertainment. And so it was with this effort, attempting to prove there really was a Santa Claus, lifting it all from what could have evolved into crass, sentimental claptrap up to a paean to the goodness and the true warmth of Christmas.

Direction was in the hands of Richard T. Dolce who is also production director of the Engeman. His talents were, as usual, quite evident in blocking done smoothly, and interpretation, making the characters into individuals.

Dolce made the female lead Susan Walker, played by Meaghan Marie McInnes, the secular positivist, devoid of emotion, unbeliever, into the loving, caring mother and equally loving woman opposite ex-Marine Fred Gaily, handled neatly by Aaron Ramey. The innate talents of both in acting and singing shone through brightly. The complementarity of his near-lyrical tenor and her plangent soprano coalesced not merely musically but also intimately … despite a slapped face from her and a stolen kiss by him. The two were the jeweled bearing that the whole story  turned on.

Then there was Kris Kringle played handily by Kevin McGuire. Fully bearded, avuncular, outgoing, knowledgeable … he even sings in Dutch! He never relents in proclaiming himself to be Santa Claus. His singing voice was a powerful tenor. Matt Wolpe plays Marvin Shellhammer, the officious climber. He is perfectly styled as the pushy “idea” man who thinks up the marketing plan to sell plastic alligators as a Xmas sale only to be rebuffed by R.H. Macy who threatens to fire him because he had fired Kris who was telling customers to buy at Gimbels or FAO Schwartz. Macy is handled by Bill Nolte, gruffly but efficiently, the image of the impervious CEO.

The Ensemble was based on the “platoon” system, the Red and Green crew. On opening night, the Red crew was on and the ubiquitous Antoinette DiPietropolo, one of the most talented choreographers in town, wrought her ever present terpsichorean magic.

Music had David Caldwell on keyboard directing with Brian Schatz on reeds; the indefatigable Joe Boardman on trumpet; Frank Hall and Paul Sieb on trombones; Russell Brown on bass; and the rock solid Josh Endlich on percussion. This outfit revealed (again) a range of skills that has marked the success of many other Engeman productions.

Musical numbers such as “Plastic Alligators” by Shellhammer and his clerks was piercingly funny. Kris Kringle’s “Here’s Love with McInnes” with Ramey and the Ensemble  was practically the signature number of the show. Your scribe was deeply impressed with “She Hadda Come Back” by Ramey and three of his card-playing buddies in Act II but was bowled over with laughter by “My State, My Kansas” by Macy, Shellhammer, Nick Addeo, Todd Thurston as a judge and Kim Carson as a legal secretary. It was a vaudeville quartet plus one and done in a courtroom. Certified hilarious.

Staging and lighting were under the direction of Stephen Dobay and Jimmy Lawlor, whose integration of the know-how pulled together all the elements of what made the “miracle” of this show.

Er, one more thing. Your scribe referred to Kris singing in Dutch. Please let him express himself in the only Dutch expression he knows: Gelukkig Kerstfest (Merry Christmas).

The John W. Engeman Theater, 250 Main St., Northport will present “Miracle on 34th Street — The Musical” through Jan. 3, 2016. Tickets range from $69 to $74. For more information, call 631-261-2900 or visit www.engemantheater.com.

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From left, Danny Meglio, James D. Schultz, Kate Keating, Max Venezia, Samantha Carroll and Jacqueline Hughes in a scene from ‘James and the Giant Peach.’ Photo by Jennifer C. Tully

By Rita J. Egan

The John W. Engeman Theater in Northport is serving up a juicy treat with its newest children’s production “James and the Giant Peach.” Based on the classic Roald Dahl tale, the musical, under the direction of Jennifer Collester Tully, features a score by the Tony Award-nominated team Benj Pasek and Justin Paul that alternates between the touching and the upbeat and the book by Timothy Allen McDonald that stays true to Dahl’s original magical story.

The whimsical musical captures the imaginations of theatergoers, both young and old, and the cast effortlessly transports the audience from the hero’s original dismal circumstances to a delectable adventure. As the story opens, we meet James Henry Trotter, an orphan, who has just discovered he can leave the orphanage where he has been staying to go live with his two aunts. The audience soon learns though that his new guardians are usually up to no good.

When the duo demand that James chop down a peach tree, while they spend the day at the beach, the young lad is visited by Ladahlord who reveals to him a special potion to use on the peach tree. Later, when it’s discovered the tree has produced a giant peach, the aunts scheme to make money off the oddity. However, their plans are foiled when James is pulled into an adventure with a colorful cast of friendly insects.

With the opening number, “Right Before Your Eyes,” the audience gets a delightful peek at the offbeat characters that will soon become part of James’ life. Michael Verre as Ladahlord, also serves as narrator in the production, and with his sweet tenor voice, lulls the theatergoers into a magical land where a giant peach can exist and change the life of a young man, right before their eyes.

Max Venezia, who played James on opening day, and alternates the role with Austin Levine, captures the gentle spirit of the protagonist, which is clear during his first number “On Your Way Home” in Act 1. Audience members can’t help but feel a bit of sadness for the little boy who no longer has a family to call his own.

Alyson Clancy as Aunt Sponge and Suzanne Mason as Aunt Spiker are so adept at their comedic abilities, with Clancy even taking out a can of whipped cream at one point, that they not only provide plenty of comic relief but they also make the audience forget just what terrible human beings these character really are. With numbers such as “Property of Spiker and Sponge,” “There’s Money on That Tree” and “I Got You” throughout the play, you can’t help but like the dastardly aunts thanks to Clancy and Mason.

The musical features some entertaining dance numbers, too. During the first act, Verre and Venezia share lead vocals in the lively number “Shake It Up.” While the ensemble joins in the vocals and choreography, Verre is the one who takes center stage with his impressive tap dancing skills.

As the second act opens, the audience discovers James has entered the peach and, along with the lad, meets the eclectic group of life-sized insects. There’s Ladybug played divinely by Kate Keating; Grasshopper portrayed dapperly by James Schultz; Spider presented stylishly by Samantha Carroll; and Danny Meglio as Earthworm embracing his character with thick reading glasses and just the right amount of pessimism for the whimsical adventure. In addition, actress Jacqueline Hughes is a standout as Centipede, as she convincingly portrays a male character like a street-smart newsboy.

The second act allows the actors who play the insects a chance to show off their acting and singing talents, and they don’t disappoint. They also receive a few giggles from the audience with their antics as they navigate their small quarters inside the rolling peach.    

While the critters may be surprised at first to share their space with a human, the number “Everywhere That You Are” shows the insects may have a soft spot for our hero. Led by Keating and Schultz, the bugs deliver the song with a tenderness that convinces you of the bonding with the boy, not only on stage but off as well.

The Earthworm also comes out of his bookish shell during the number “Plump and Juicy,” and Meglio and his fellow insects perform an entertaining number that eases the tension during a scary moment in the peach and adds just the right amount of goofiness that is always welcomed in a children’s musical. 

While trouble ensues when the giant peach and its passengers encounter sharks, seagulls and even impalement on the Empire State Building, James and his new friends conquer their fears and work together to save the day. The cast ends the show perfectly on an upbeat note with the song “Welcome Home,” and when all is said and done, we find that sometimes a sense of family can be unearthed in the most unusual places.

All involved with the Engeman’s “James and the Giant Peach” have produced a heartwarming and inspiring story that will keep children as well as adults entertained from beginning to end. It’s a perfectly peachy way to spend a weekend morning with the family.

The John W. Engeman Theater in Northport, 250 Main St., as part of its Bethpage Federal Credit Union Youth Theater Series, will present “James and the Giant Peach” on Saturdays at 11 a.m. and Sundays at 10:30 a.m. through Nov. 8. Tickets are $15. For more information, call 631-261-2900 or visit www.engemantheater.com.

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Austin Levine and Max Venezia are starring in James and the Giant Peach. Photo by Heidi Sutton

Before “Charlie and the Chocolate Factory,” before “Matilda” and even before “Fantastic Mr. Fox,” Roald Dahl wrote the classic children’s novel, “James and the Giant Peach.”

The story follows the adventures of James Henry Trotter, an orphan who lives with his two mean aunts, Spiker and Sponge. Life for him is sad and lonely — until he meets a grasshopper, spider, earthworm, centipede and a ladybug aboard a giant, magical peach!

Now, over 50 years later, the story comes to life as a musical at the John W. Engeman Theater in Northport on Oct. 3. Nearly 30 children auditioned for the role of James and ultimately two young actors, Max Venezia and Austin Levine, were chosen to share the role. Adult actors will play roles in the supporting cast.

I had the distinct pleasure of interviewing these amazing kids in between rehearsals at the Engeman’s Performing Arts Center across the street from the theater.

Max, whose favorite subject is math, is in the sixth grade at South Ocean Middle School in Patchogue. His path to become an actor began when he found out his friend Ava was taking voice lessons; so he started taking them too. His vocal coach later encouraged him to try out for a role in “Seussical” at Kids for Kids Productions in Oakdale. “That’s what my first show was and I’ve just loved it ever since,” he said.

At the young age of 11, Max already has an impressive resumé that includes roles in “The Music Man,” ”Gypsy” and as Snoopy in “You’re a Good Man Charlie Brown.” “This will be my 22nd show,” said Max, whose most recent role was as part of Fagin’s Gang in “Oliver!” at Theatre Three in Port Jefferson.

Austin, who also loves math, is a sixth-grader at Commack Middle School. In second grade, he landed a role in “Annie” at the Suffolk Y in Commack and was immediately hooked. Since then, the 11-year-old has been in over 10 shows including “Mary Poppins,” “The Full Monty” and “Peter Pan” at the CM Performing Arts Center in Oakdale.

Austin decided to audition for the role of James because “I had never done something at the Engeman and I wanted to because its nice to go try out, [to] go to different theaters.”

When preparing for the role, Max read “James and the Giant Peach” for the first time. “When I saw it, at my age, I thought this is creepy,” he said. Added Austin sheepishly, “I have not read the book — I should though.”

Austin’s favorite scene in the show includes the song “Shake It Up,” where James accidently spills a magic potion setting off a series of peculiar events.

Both Max and Austin said they enjoy working with the adult cast, which includes James D. Schultz, Alyson Clancy, Suzanne Mason, Michael Verre, Kate Keating, Samantha Carroll, Danny Meglio and Jacqueline Hughes.

“I love them. They are so fun to work with,” said Max, adding that he learns a lot from them and takes notes.

Austin agreed. “Because sometimes it’s hard to work with little kids because they are not mature [enough]. It’s a great learning experience,” he said.

Austin, who said he enjoys working with Max the most, usually does not get nervous during a show. “When it’s an audience of, like, 1,000 people and I can’t see them, I’m fine with that. It’s just when I can see them in person, it’s a little weird.”

Max’s favorite show on Broadway is “The Curious Incident of the Dog in the Night Time,” while Austin said he favors “Mary Poppins” because “it is such a great story.”

Rehearsal has been every day after school, usually from 4 to 7 p.m. Max, who hopes to become “an actor and if not that, a teacher, probably either science or math,” does his homework in the car to Northport and on the ride home and sometimes stays up late to finish. Austin, who lives closer, likes to come home from school, relax, go to rehearsal, come home, eat, do his homework for two hours, go to sleep “and do the same thing over again the next day,” he laughed.

Both say their parents have been wonderfully supportive.

Director Jennifer C. Tully said the two boys were chosen because of “their amazing ability at such a young age to capture the sweetness and spunk of James.”

“Both [Max and Austin] are such talented young performers onstage and such genuinely good kids offstage. While both of them have put their own stamps on the role, they both exude the heart and joy that drives this beautiful production,” said James D. Schultz, who plays the role of the Grasshopper.

“I’m blown away by how hard they have worked and their very mature ability to create a rich and layered character,” added Tully. “It has been a pleasure!”

Come see Max and Austin and the entire cast of “James and the Giant Peach” at the John W. Engeman Theater, 250 Main St., Northport, from Oct. 3 to Nov. 8.  Performances are on Saturdays at 11 a.m. and Sundays at 10:30 a.m. Tickets are $15. For more information, call 631-261-2900 or visit www.engemantheater.com.

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Nikko Kimzin and Sam Wolf in a scene from ‘West Side Story.’ Photo by Michael DeCristofaro

By Charles J. Morgan

When dance master Jerome Robbins inspired Arthur Laurents, Leonard Bernstein and Stephen Sondheim to come up with “West Side Story,” they in turn went to The Bard for his “Romeo and Juliet,” morphing the Guelphs and Ghibellines — that’s the Montagues and Capulets of Verona — into the street gangs, the Jets and Sharks. The “star-crossed lovers” became Tony and Maria. This gift to musical theater hit the boards at the Engeman two weeks ago, and the boards are still rattling.

Zach Trimmer and Samantha Williams in a scene from ‘West Side Story.’ Photo by Michael DeCristofaro
Zach Trimmer and Samantha Williams in a scene from ‘West Side Story.’ Photo by Michael DeCristofaro

The entire production is built around dance. The pirouettes, arabesques and jetes were neatly comingled with the modern interpretive method to produce a mathematically perfect, yet emotionally penetrating terpsichorean feast.

At the head of all this was the choreography skills of Jeffry Denman and his two assistants Lauren Cannon and Trey Compton, who also acted as fight choreographer. This talented team gave the audience a night of dance the excellence of which your scribe has not seen in his near decade of writing “criticism.”

They say that the “devil is in the details” but not in this production. Imagine if you will a six-foot-high chain link fence running from upstage center down to stage left … suggesting urban schoolyards. This “prop” was climbed on, jumped on and over by male dancers of the Jets and Sharks in their attempts to escape … in tempo. They actually scaled the fence, landing on the other side on the beat — an incredible act of choreography.

Overall direction was in the always capable hands of Igor Goldin (“The Producers,” “Evita”). If one prescinds from the dance numbers, his blocking and interpretation efforts were carried through with exemplary professionalism.

Outstanding among the dancers were Scott Shedenhelm of the Jets and Karli Dinardo in the role of Anita. Shedenhelm was at his best in “Gee, Officer Krupke,” by far the funniest and most clever number in the show. Dinardo scored talent-wise in “America.”

The leads were handled skillfully by Zach Trimmer as Tony and Samantha Williams as Maria. Both have fittingly tender voices; he a more lyrical tenor, she a mellow, yet strong soprano. They excelled as the star-crossed lovers.

The leader of the Jets, Riff, was played by Sam Wolf who pits himself and his gang against Bernardo, played by Nikko Kimzin and his Sharks. The battles of Sharks vs. Jets is the dance armature of the play, and these two lead their factions brilliantly in dancing, acting and singing.

Among the musical numbers, the “Jet Song” really set the theme of pride and struggle. “Dance at the Gym” by the whole company brought out the animosity that almost erupted in violence. The tender “Tonight” by Wolf and Williams presented the balcony scene in all its romance. The mordant “America” that also showcased the patent talent of Ashley Perez Flanagan as Graciela, hit hard musically at the state of society in both the USA and Puerto Rico.

From left, Victoria Casillo, Tori Simeone,Samantha Williams and Ashley Perez Flanagan in a scene from ‘West Side Story.’ Photo by Michael DeCristofaro
From left, Victoria Casillo, Tori Simeone,Samantha Williams and Ashley Perez Flanagan in a scene from ‘West Side Story.’ Photo by Michael DeCristofaro

Trimmer and Williams also performed romantically in “One Hand, One Heart.” And there was that Officer Krupke number that was most memorable.

The cast also included Mike Baerga, Josh Bates, Christian Bufford, Mark T. Cahill, Nick Casaula, Victoria Casillo, Joey Dippel, Jon Drake, Roy Flores, Eric Greengold, Joan Heeringa, Melissa Hunt, Gregory Kollarus, Leer Leary, Rick Malone, Ashley Marinelli, Kelly Methven, Kaitlin Niewoehner, Joseph Rosario, Tori Simeone and Marquez Stewart who all did a fabulous job.

Piercing live music was led by James Olmstead on keyboard with assistance from Craig Coyle; Robert Dalpiaz and Joel Levy on reeds; the indomitable Joe Boardman on trumpet with Steve Henry and Pete Auricchio; Brent Chiarello and Frank Hall on trombone; bass was Russell Brown with the reliable Josh Endlich on percussion. This ensemble was at its best in the staccato numbers of both Jets and Sharks such as “Dance at the Gym” and especially in “The Rumble.”

The Engeman spares no opposition when it produces a massive piece of entertainment like “West Side Story.”

All elements of the production including costume design by Tristan Raines, set design by DT Willis, lighting by Zack Blane and sound design by Laura Shubert were masterfully integrated into a sophisticated, articulated and authentic whole.

Many critics a few years back tried to see a “social significance” dimension latent in this show. On TV one described it as “… a slice of New York life.” Nonsense, of course. It was Shakespeare with a life of its own as true musical theater.

The John W. Engeman Theater, 250 Main St., Northport, will present evening performances of “West Side Story” on Thursdays, Fridays and Saturdays at 8 p.m., and matinees on Saturdays at 3 p.m. and Sundays at 2 p.m. through Nov. 8. Tickets are $74 on Saturday evenings, $69 all other performances. For more information, call 631-261-2900 or visit www.engemantheater.com.

This version corrects the spelling of Jeffry Denman’s name.

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Henry Clarke & Rachel Pickup in a scene from "The Cottage." Photo by Michael DeCristofaro

By Charles J. Morgan

Announcement to theatergoers everywhere — the English language is alive and well and ensconced on the boards of the John W. Engeman Theater in Northport. Standing like a rock in a sea of drivel, the theater’s latest play, “The Cottage” by Sandy Rustin, exhibits the nuances, the understatements, the acerbic humour, the articulate dialogue and even wisecracks to such a sophisticated, yet rapidly delivered, neatly interfaced lines that your scribe must confess he did not want the show to end.

From left, Henry Clarke, Christiane Noll and Jamie LaVerdiere in a scene from "The Cottage." Photo by Michael DeCristofaro
From left, Henry Clarke, Christiane Noll and Jamie LaVerdiere in a scene from “The Cottage.” Photo by Michael DeCristofaro

Rustin sculpted her work mindful of the spirit of that arch-sophisticated Noel Coward. A sample of his penetrating wit appeared epigrammatically on the Playbill:

“It is discouraging how many people are shocked by honesty and how few by deceit.”

Directed by BT McNicholl, the play expresses the web of marital and unmarital involvement that it is interspersed with humour that comes at the audience like a spray from a Bren gun. Yes, it is high comedy delivered in a rare sense of hilarity. It was interesting to literally watch the audience slowly accommodate itself to the sophistication of it all. A graph of laughter would register from zero to 100, reaching a climactic 100.99 right down to the almost slapstick finale.

Since your scribe does not hold a critic’s duty to relate what a play is all about, suffice it to say that it involves two couples who have criss-crossed spouses. So if there is a denoument, these characters do their absolute best to untangle it. Rachel Pickup playes the lead, Sylvia Van Kipness. Tall, beautiful and statuesque, she appears in all of Act I in negligé and peignoir. Over and above it all she is a supreme actress with a stage presence that would make her outstanding if she wore a suit of armour.

Henry Clarke is Beau, her lover. He has all the masculine good looks of the Hollywood leading man, but he employs all his talents to remarkable effect. In one scene he daringly points a fireplace poker at a man aiming a rifle at him.

Christiane Noll & Lilly Tobin in a scene from "The Cottage." Photo by Michael DeCristofaro
Christiane Noll & Lilly Tobin in a scene from “The Cottage.” Photo by Michael DeCristofaro

Sharply involved in the verbal interplay is Christiane Noll as Marjorie. Jamie LaVerdiere plays Clarke, Beau’s brother and husband to Marjorie who was once married to Beau. Then onstage comes Lilly Tobin, as Dierdre who is actually bounced all over the boards in Act II. Another spoiler is Brian Sgambati as Richard, the allegedly long-lost husband of Dierdre, but actually a deserter from the Royal Navy. Put them all together and you get a hilarious story that gets untangled … maybe.

The title reflects the set. It is the interior of an English cottage located 90 miles from London, possibly the Cotswolds. Set designer Jonathan Collins has outdone himself with this effort. It is tastefully decorated in what may be called English Rustic of 1923, the play’s time frame. Collins’ skills are outstanding.

The ribald essence of the show is an outcome of the vanished Victorian/Edwardian values that went up in smoke on the Somme, Gallipoli and Passchendaele. Hence the gaiety of the actors involved in marital disintegration. But let us not get somber over this. The show is humourous and not without a touch of satire.

If deadly serious matters can be put up for laughs, then prepare to split your sides … keeping in mind that the English language is alive and very well.

The John W. Engeman Theater, 250 Main St., Northport, will present “The Cottage” through Sept. 6. Tickets are $59. For more information, call 631-261-2900 or visit www.engemantheater.com.

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Stuart Zagnit as Max Bialystock in a scene from ‘The Producers,’ Photo by Michael DeCristofaro

By Charles J. Morgan     

The musical “The Producers” opened at the John W. Engeman Theater in Northport last week and did not disappoint. Adapted by Mel Brooks and Thomas Meehan from Brooks’ 1968 film of the same name, it tells the story of a down-on-his-luck Broadway producer, Max Bialystock.

Once nicknamed the “King of Broadway,” Bialystock has recently produced a series of turkeys (“…the critics left at intermission”); so he must produce a hit or go broke. His easily swayed, near psychotic auditor Leopold Bloom shows him how to make millions by producing a flop! Both rummage through a pile of manuscripts until they find one entitled “Springtime for Hitler,” extolling the virtues of the Nazi party. Putting this one on had to be a failure! Off they go in search of the author and to find an “angel.”

Stuart Zagnit and Joel Newsome played the hilarious plotters as Max and Leo, respectively. They were so contrasted as the Machiavellian hard-as-nails fixer to the trembling, quivering weaker partner who still carries a piece of his infant security blanket. Both have lively tenor voices — Zagnit the mighty organ,  Newsome the exquisite violin.

Gina Milo, as Ulla the voluptuary, had all the right (and left) moves, topping this panoply of pleasure with a powerful soprano. Her “If You Got It, Flaunt It” number expressed it all.

The two plotters find their author in Franz Liebkind played by John Plumpis — a wacko Nazi in Luftwaffe steel helmet, imitation jackboots and a stick — he is all over the boards intoning a somewhat mangled German accent but coming on quite strong in Act II’s “Der Guten Tag Hop-Clop” and in Act II’s “Haben Sie  Gehört Das Deutsche Band?”

The gay community is well represented with Roger DeBris, handled smoothly by Ian Knauer, and Carmen Ghia, played languidly by Christopher Sloan. Knauer is well over the two-yard mark, leading one to believe that height was a requisite. Why? Because the height of the lissome female ensemble only added to their beauty, referring to Emily Blake Anderson, Molly Jean Blodgett, Mary Callahan and Laura Otremba. A marvelous performance, especially those kicks.

Choreography was by the ubiquitous and deeply talented Antoniette DiPietropolo with direction by Igor Goldin. DiPietropolo had a massive job on her hands. The cast was large and the ensemble equally so. Yet, as usual, she brought out a clear terpsichorean reality, including one done in walkers. Goldin was similarly charged with clear individualization and interpretation of characters. He succeeded handily.

At this juncture your scribe must reveal his impressions of the show’s music. James Olmstead leads a six-piece outfit featuring the incomparable Joe Boardman on trumpet, the trombones of Brent Chiarello and Frank Hall, Russ Brown on bass, Mark Katz on reeds and Josh Endlich on percussion driving it along.

Boardman has a tone redolent of Charlie Shavers with a whiff of Dizzy Gillespie. The sound of gunshots in Act II was actually rimshots by Endlich. Talk about accurate cuing. In fact, after final curtain this group did a little jamming. Your scribe was loath to leave his seat so much was he enjoying a trip down 52nd Street in the late forties.

This was a beautifully mounted production — something the Engeman is quite good at.

The John W. Engeman Theater will present “The Producers” through July 12. Tickets are $69. For more information, please call the box office at 631-261-2900 or visit www.engemantheater.com.

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Michael Verre tries to squeeze a shoe on Kate Keating as Alyson Clancy and Maryellen Molfetta look on during a scene from 'Cinderella' at the Engeman Theater. Photo by Jennifer C. Tully

The John W. Engeman Theater in Northport was a sea of blue princess dresses last Saturday morning at the theater’s opening of the classic fairy tale, “Cinderella.” Directed by Jennifer Collester Tully, the story follows the original plot closely with lots of fun and laughter. The inclusion of a few younger actors is a nice addition, making this show the perfect choice to introduce children to the magic of live theater.

Allie Eibler and Michael Verre fall in love in a scene from ‘Cinderella' at the Engeman Theater. Photo by Jennifer C. Tully
Allie Eibler and Michael Verre fall in love in a scene from ‘Cinderella’ at the Engeman Theater. Photo by Jennifer C. Tully

Allie Eibler stars as the sweet and innocent Ella, a young girl whose father dies, leaving her at the mercy of her evil stepmother and mean stepsisters. Forced to do all the chores and sleep in the kitchen by the fireplace, she is nicknamed Cinderella. Her miserable plight attracts the attention of her fairy godmother, played wonderfully with a warm Southern accent by Suzanne Mason, who is determined to rescue her. Aided by her helpers, energetic 13-year-olds Ryan J. McInnes and Meaghan Maher (both last seen in “A Christmas Story”), the fairy godmother arranges for Cinderella to attend the royal ball, where she steals the heart of the young prince, played by the handsome Michael Verre, and, after the shoe fits, lives happily ever after.

The talented Maryellen Molfetta plays the role of the stepmother with just enough selfishness and greediness, and Alyson Clancy as Henrietta and Kate Keating as Gertrude are hilarious as the jealous stepsisters.

Maryellen Molfetta, Alyson Clancy, Kate Keating and Allie Eibler star in 'Cinderella' at the Engeman Theater. Photo by Jennifer C. Tully
Maryellen Molfetta, Alyson Clancy, Kate Keating and Allie Eibler star in ‘Cinderella’ at the Engeman Theater. Photo by Jennifer C. Tully

It is the incomparable Kevin Burns, however (seen most recently as the Cowardly Lion in the “Wizard of Oz” and as Frosty in “Frosty the Snowman”), in the role of the king, who steals the show.  Blind as a bat, he fumbles around the set, always headed in the wrong direction, mistaking a topiary for a guard, and almost falls off the stage at one point, drawing the most laughs.

There is a lot of audience interaction in this show — something the kids just love. The actors walk up and down the aisles during scene changes, serving as a nice distraction. The king even wanders up and down the aisles with Cinderella’s glass slipper, asking little girls to try it on as the prince stands by with eager anticipation. Even the youngest guests won’t have time to grow restless as they participate in “The Sneeze Polka” dance and are asked questions by the cast.

Suzanne Mason bewitches the audience in a scene from 'Cinderella' at the Engeman Theater. Photo by Jennifer C. Tully
Suzanne Mason bewitches the audience in a scene from ‘Cinderella’ at the Engeman Theater. Photo by Jennifer C. Tully

Designed by Laurén Paragallo, the colorful costumes, ranging from the stepsister’s hilarious outfits to Cinderella’s breathtaking ball gown, to the royal garbs for the king and prince, are spot on. Choreography by Marquez Catherine Stewart is terrific, especially evident during the “The Sneeze Polka.”

Meet the cast after the show for pictures and autographs. An autograph page is conveniently located in the back of the program. The John W. Engeman Theater, 250 Main St., Northport, will present “Cinderella” on Saturdays at 11 a.m. and Sundays at 10:30 a.m. through May 10. Tickets are $15 each.

For more information, call 631-261-2900 or visit www.engemantheater.com.

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Jessica Lee Goldyn in a scene from ‘A Chorus Line’ at the Engeman. Photo by Michael DeCristofaro

By Charles J. Morgan

“A Chorus Line” opened at the John W. Engeman Theater in Northport last weekend and was a top-notch terpsichorean treat! If your scribe could marshal more alliterative allusions evoking the theatrical theophany that burst forth last Saturday, he would be demeaning the meaning of accurate critical acumen. But enough of Roccoco doggerel! The show, directed by Drew Humphrey was, well, a smash hit.

Since it was all about dance and nothing but dance, a word about the choreography is in order. Dena DiGiacinto was in charge, and her fully charged crew put out a potpourri of evolutions and contortions in every genre including tango, tap, ballet and culminating in an all-hands-on-stage finale entitled “One,” which brought out a standing ovation rife with shouts of “Bravo!” DiGiacinto is immensely talented, having played a role in it on Broadway. However, she is the one who managed the unbelievable precision, coordination and aesthetic unitive finality that was a tribute to the totality of the show.

Since dance requires music, there was James Olmstead leading his magnificent crew with associate Bob Kelly and featuring Joe Boardman on trumpet, Brent Chiarello on trombone, Russ Brown on bass, Mark Gatz on reeds and Josh Enflich on percussion. In your scribe’s opinion previously expressed about this band, they could easily supplant a Broadway pit outfit including its string section.

The main lead is Zach, the choreographer charged with getting a chorus line in shape for a forthcoming performance. He is played by James Ludwig who reveals not only talent in dancing but a genuine stage presence as an actor. He even appears as a dancer in that knockout finale.

Then we have Jessica Lee Goldyn as Cassie who gives an empty-stage dance  solo in “The Music and the Mirror” as well as an emotional dialog with Zach that can only be described as riveting.

Stephanie Israelson is Valerie. She has two breakaway numbers. In Act I with Andrew Matzger and Sissy Bell called “And…” in which her dancing skills are obvious and in Act II a solo on “”Dance: 10; Looks: 3” in which those skills are more ubiquitous. DJ Petrosino as Al and Rachel Marie Bell as Kristine are hilarious in a number called “Sing.”

In another number entitled “At the Ballet” Kelly Sheehan, Abby Church and Courtney Moran manifested evident skill. Patent progress was also evident in Danny Wilfred’s performance as  Richie.

It should be remembered that every single person on the boards is a dancer. There are no walk-ons, no characters who have only dialog — it is dance and music all the way. Lighting was effected by Cory Pattak who handled the fast-paced action with consummate skill.

There was no set. Even the back wall upstage was seen; after all it was rehearsal and audition time. Laura Shubert on sound design made her  ability to balance, increase/decrease, volume shine through. Your scribe even picked up a brief solo by Josh Endlich played on sizzling high-hats. The beats of all the numbers was so complete that your scribe’s slightly arthritic knee grew tired from his left foot tapping. He actually had to switch to his right.

All in all, the entire performance is sharply and professionally performed, something that the Engeman has consistently presented to theater audiences.

The John W. Engeman Theater, 250 Main St., Northport, will present “A Chorus Line” through May 10. Tickets are $69. For more information, call 261-2900 or visit www.engemean theater.com.

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