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Musical

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The perfect family movie for the holidays

Meet Disney's newest princess, Moana!

By Erika Riley

Disney’s newest musical movie masterpiece, “Moana,” opened in theaters this holiday season and is unsurprisingly a hit. Kids and adults alike will enjoy its strong protagonist, charming sidekick, beautifully crafted songs and inspirational message.

The story starts with an introduction to a Pacific Islander myth about the demigod Maui (Dwayne Johnson) and how he stole the heart of Te Ka. He hoped to bring it to the humans who he lived to serve, but instead opened up a darkness that still crept through the oceans to the present day.

Moana is the daughter of the chief of an island in the Pacific, where everybody lives peacefully and works together to make sure the island is running smoothly. Moana is destined to run the island one day but can’t help wanting to see what’s beyond the reef. Her exploratory nature gets the best of her. When the island is in trouble due to the darkness Maui unleashed, she takes it upon herself to take off on a boat and get the heart back.

The movie feels less like a Disney princess movie after that and more like an adventure, as we watch Moana sail across the ocean in search for Maui. She is simultaneously strong and flawed; while she is confident in her abilities and determined to save her island, she is also not a very good sailor or navigator, or very convincing when she does meet Maui. Yet we watch her grow and learn, and that’s an arc that is rarely seen out of “princesses.” Moana does, however, declare that she is not a princess, insisting that she is the daughter of the chief.

Moana is fronted by new voice actress and native Hawaiian Auli’i Cravalho, who beautifully brings her to life, especially during her musical numbers. This is the first musical movie that Disney has released since “Frozen” in 2013, and it does not disappoint. Lin-Manuel Miranda, writer of the hit Broadway musical “Hamilton,” co-wrote the original songs for the movie with Mark Mancina and Opetia Foi’a. The songs are both catchy and empowering and have a very similar driving groove to them that can be found in the “Hamilton” sound track. “How Far I’ll Go” and its reprises are the most influential songs in the movie, and can easily be seen as the new “Let It Go.” Johnson makes his musical debut with Maui’s “You’re Welcome,” a catchy and fun song that helps flesh out Maui’s self-righteous and confident character.

While the plot of the movie is similar to what Disney has done in the past, with a female protagonist going on a quest with the help of a man, it takes a steep curve in the fact that it does not have a love interest. Even though Moana is traveling with Maui, there is never any foreshadowing that they will be in a relationship, and they remain friends throughout the movie. In the end, it’s Moana who saves the day and figures out how to bring peace and prosperity back to her home, not Maui.

The movie is geared toward kids but will also be perfect for parents and teenagers who are nostalgic for classic Disney movies. While the humor is sometimes geared more toward children, there are some comments throughout the movie where Disney pokes fun at itself that adults will pick up on more.

Moana is a great role model for kids, and the inclusion of Pacific Islander culture is a stark contrast from movies like “Tangled” and “Frozen,” which featured white protagonists. Moana learns more about her culture throughout the movie, and it’s a beautiful part of the plot, and an arc rarely seen in fairy tales.

Moana is a great choice for a movie to see with the whole family this holiday season. It is currently playing at AMC Theaters across the Island, as well as PJ Cinemas in Port Jefferson Station.

About the author: Stony Brook resident Erika Riley is a sophomore at Knox College in Galesburg, Illinois. She is interning at TBR during her winter break and hopes to advance in the world of journalism and publishing after graduation.

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If you have had enough of politics and pundits this week, come with me for a nostalgic trip through the golden age of Broadway musicals. I was carried back to those heady days of the 1950s by a recent New York Times article about the lost art of sneaking in for the second act, impossible today due to post-9/11 security. Now I don’t know if you have ever indulged in this type of larcenous activity, so I will explain how it worked — at least for me and my merry little band.

I attended junior high and high school at 68th Street and Lexington Avenue in Manhattan. The subway was right at the corner of our Gothic-style building. This is important information for you to know in order to follow our exploits. The other bit of vital info is that our school day officially ended each afternoon at 2 p.m., rather than the usual 3 p.m. for the rest of the schools under the New York City Board of Education’s auspices.

Shortly after I started in seventh grade, I fell in with a happy group of kids who lived across town, on the Upper West Side. While that was decades away from what we know today as the highly cultured and worldly UWS, nonetheless these kids were a lot more culturally savvy than I was. Every Wednesday, which is of course matinee day, they would slip out of our last class some 15 minutes early, slither quietly through the side door of the school and make a beeline for the subway stairs 20 feet away.

Somehow I came to be included in this precocious group. We would ride the local to 59th Street, descend to the lowest level of the station, which in those days housed the BMT line, ride it through Midtown to 49th Street and Broadway and arrive at the predetermined show of our choice just as intermission was ending and the smokers were returning to their seats for the second act.

No one ever checked the tickets for the second act in those days. And there were always empty seats sprinkled throughout the theater that we claimed for our own. If the real seat owner arrived, most often the usher would help us find another seat since it was fairly common practice for young people to move closer to the stage in those days if there was opportunity. I doubt the ushers realized they were helping scofflaws.

In this way, I saw some of the most famous plays with their original casts during what turned out to be the most memorable period of American musical theater. Of course I didn’t know that then, I just knew I was having a fine old time and we didn’t even have to pay the subway fare because we had student passes.

Of course I never told my parents what we were doing every Wednesday afternoon, and somehow we never got caught leaving school early. Perhaps the faculty understood where we were going and thought it more important than the last 15 minutes of classes.

But my parents may have wondered from time to time because I seemed too knowledgeable about the current musicals, their actors and composers. There were the Rodgers and Hammerstein classics: “Oklahoma!,” “Carousel,” “The King and I,” “South Pacific” and “The Sound of Music” (the latter two with Mary Martin); Frank Loesser and his “Guys and Dolls,” “The Music Man,” “West Side Story” and Chita Rivera; Ethel Merman, Gertrude Lawrence, Yul Brynner, Gene Kelly and Gwen Verdon; Irving Berlin and Cole Porter — they were all in my world.

And then there was the best of the best, its eloquence, melody, intelligence and heart standing at the head of those magnificent musicals, Lerner and Loewe’s “My Fair Lady.” I can still hear the music, with its clever lyrics, playing in my head. Led by Rex Harrison and Julie Andrews, it was the longest running show on Broadway for years thereafter. And we saw them all — at least by half.

M.E. Junge (Ariel) sings “The World Above” in a scene from "The Little Mermaid." Photo by Lisa Schindlar

This summer, families will have the opportunity to swim under the sea with Ariel and all her friends as The Noel S. Ruiz Theatre presents one of Disney’s most beloved classics, “The Little Mermaid.”

Gregg Sixt as King Triton in a scene from "The Little Mermaid." Photo by Lisa Schindlar
Gregg Sixt as King Triton in a scene from “The Little Mermaid.” Photo by Lisa Schindlar
Ronnie Green as Scuttle in a scene from "The Little Mermaid." Photo by Lisa Schindlar
Ronnie Green as Scuttle in a scene from “The Little Mermaid.” Photo by Lisa Schindlar

The full-length musical, which opened last Saturday night at the CM Performing Arts Center, brings the ocean to life on the Oakdale stage and follows Ariel’s adventure to find true love — and her voice. The show delights children and adults with a dazzling production, special effects and unforgettable music.

Kristen Digilio and Patrick Grossman (who also serves as set designer and choreographer) skillfully direct a talented cast of more than 20 in this fun adaptation of the Danish fairytale of the same name by Hans Christian Andersen. Music is by Alan Menken with lyrics by Howard Ashman and Glenn Slater from the 1989 animated film.

M.E. Junge is perfectly cast as Ariel the mermaid princess and shines in her solos, “The World Above,” “If Only (Ariel’s Lament),” and “Part of Your World.” Bobby Peterson is the romantic Prince Eric with standout vocals, and he is as handsome as can be. Kin-Zale Jackson perfectly plays Sebastian, Ariel’s lobster friend, Jamaican accent and all. His rendition of “Under the Sea” and “Kiss the Girl” brings down the house.

Kyle Petty (Chef Louis) in a scene from "The Little Mermaid." Photo by Lisa Schindlar
Kyle Petty (Chef Louis) in a scene from “The Little Mermaid.” Photo by Lisa Schindlar

The wicked sea witch, Ursula, is played flawlessly by Erica Giglio-Pac, who commands the stage with her powerful voice and presence and is chilling during her performance of “Poor Unfortunate Souls.” Kyle Petty is hilarious as the French Chef Louis who chops and guts his way through “Les Poissons.” His chase after Sebastian through the castle draws the most laughs. Petty is a delight to watch and is on stage for too short a time.

The supporting cast does a wonderful job, with special mention to Flounder (Victoria Tiernan), Scuttle (Ronnie Green), the electric eels Flotsam (Matthew W. Surico) and Jetsam (Kevin Burns), King Triton (Gregg Sixt) and Grimsby (Andrew Murano).

Multiple sets are featured for both the above and underwater scenes with a ship, a castle, coral reef and lots of waves. Green’s costumes complement the set perfectly, with vibrant outfits, wigs (more than 40 are used during production) and tons of glitter. From Ursula’s dress, with six additional legs, to King Triton’s crown and trident, everything pulls together nicely. Lighting was designed by Allison Weinberger, with spotlighting neatly handled by Jacqueline Hughes and Marielle Greguski and the choreography was exceptional, especially during “One Step Closer,” in which Eric and Ariel dance the Waltz, and the tap dance number “Positoovity” with Scuttle and his seagull friends.

Erica Giglio-Pac (Ursula) in a scene from "The Little Mermaid." Photo by Lisa Schindlar
Erica Giglio-Pac (Ursula) in a scene from “The Little Mermaid.” Photo by Lisa Schindlar

This is a wonderfully family-friendly show and although the scenes with Ursula could be a little frightening for a younger child, the clever script — chock full of sea-themed puns, like “as long as you live under my reef, you will live by my rules” and “a squid pro quo” — as well as the singing, dancing and special effects make it all worthwhile.

As a special nod to the children in the audience, the crew turns on bubble machines during “Under the Sea“ from the sides of the theater and on stage, releasing, according to the program, 15 gallons of bubble juice during each show. Although the evening show starts at an earlier time of 7:30 p.m., it runs for two and a half hours with one 15-minute intermission, perhaps too long for the younger audience.

The Noel S. Ruiz Theatre at the CM Performing Arts Center, 931 Montauk Highway, Oakdale, will present Disney’s “The Little Mermaid” through July 9. Tickets range from $16 to $29, with VIP seats for $40.

The theater closes its 38th season with “West Side Story” from July 30 to Aug. 28. For more information, call 631-218-2810 or visit www.cmpac.org.

From left, Matthew W. Surico as Flotsam, M.E. Junge as Ariel and Kevin Burns as Jetsam in a scene from "The Little Mermaid." Photo by Lisa Schindlar
From left, Matthew W. Surico as Flotsam, M.E. Junge as Ariel and Kevin Burns as Jetsam in a scene from “The Little Mermaid.” Photo by Lisa Schindlar
Kin-Zale Jackson (Sebastian) and M.E. Junge (Ariel) in a scene from "The Little Mermaid." Photo by Lisa Schindlar
Kin-Zale Jackson (Sebastian) and M.E. Junge (Ariel) in a scene from “The Little Mermaid.” Photo by Lisa Schindlar

Tessa Grady (As Millie Dillmount) in a scene from ‘Thoroughly Modern Millie.’ Photo by Michael DeCristofaro

By Heidi Sutton

“Thoroughly Modern Millie” opened at the John W. Engeman Theater in Northport last Saturday, a fitting finale to its 2015-16 season. With music by Jeanine Tesori, lyrics by Dick Scanlan and book by Richard Morris and Scanlan, the play is based on the 1967 film starring Julie Andrews and won six Tony awards, including Best Musical in 2002. It has been making the rounds in community theater and high school productions ever since.

Sarah Stevens (as Miss Dorothy Brown) and Tessa Grady (as Millie Dillmount) sing “How the Other Half Lives” in a scene from ‘Thoroughly Modern Millie.’ Photo from Michael DeCristofaro
Sarah Stevens (as Miss Dorothy Brown) and Tessa Grady (as Millie Dillmount) sing “How the Other Half Lives” in a scene from ‘Thoroughly Modern Millie.’ Photo from Michael DeCristofaro

Drew Humphrey directs the talented cast with polish and precision. From the jazzy opening number, “Not for the Life of Me,” the show takes off running and never loses momentum.

The year is 1922 and “modern gal” Millie Dillmount, played by Tessa Grady, has just arrived in the Big Apple from Salina, Kansas, with the sole intent of marrying for money instead of love. Within minutes, she is robbed of her hat, her purse and a shoe. She quips, “10 minutes in this town and I have my New York horror story.” Grady is perfectly cast as a determined woman who takes charge of her own destiny and jumps right in to the flapper lifestyle with a new wardrobe and hairstyle. However, things start to go haywire when her “Chinese” landlady, Mrs. Meers, turns out to be an impostor involved in a white slavery ring in China, and the rich man Millie wants to marry doesn’t seem to notice her.

Daniel Plimpton (as Jimmy Smith) and Tessa Grady (as Millie Dillmount) sing “I Turned a Corner” in a scene from ‘Thoroughly Modern Millie.’ Photo by Michael DeCristofaro
Daniel Plimpton (as Jimmy Smith) and Tessa Grady (as Millie Dillmount) sing “I Turned a Corner” in a scene from ‘Thoroughly Modern Millie.’ Photo by Michael DeCristofaro

With fancy footwork and pitch-perfect voices, the entire cast shines, with special mention to Daniel Plimpton (playing Jimmy Smith), Sarah Stevens (as Miss Dorothy Brown), Nicole Powell (as Muzzy Van Hossmere) and Tim Rogan (playing Mr. Trevor Graydon), who all gave stellar performances. However, it is Michele Ragusa, in the delicious role of Mrs. Meers, and her two henchmen, Ching Ho, played by Anthony Chan, and Bun Foo, played by Carl Hsu, who steal the show. Meers’ famous line, “Sad to be all alone in the world,” said every time she comes upon an orphan and next victim, draws the most laughs.

The show is a feast for the eyes, with glittering flapper dresses and three-piece suits designed by Kurt Alger perfectly capturing the era. The set is equally impressive. Cleverly designed by Jonathan Collins, panels on the stage resemble a sparkling New York City skyline, and when spun around reveal small additions to a scene such as a desk or a bench.

Nicole Powell (as Muzzy Van Hossmere) and Tessa Grady (as Millie Dillmount) in a scene from ‘Thoroughly Modern Millie.' Photo by Michael DeCristofaro
Nicole Powell (as Muzzy Van Hossmere) and Tessa Grady (as Millie Dillmount) in a scene from ‘Thoroughly Modern Millie.’ Photo by Michael DeCristofaro

Choreographers Dena DiGiacinto and Humphrey do an incredible job incorporating the jazz age’s dance styles, including the Charleston, the shimmy and the can-can. “The Speed Test” in which Millie shows her typewriting speed, accompanied by a highly energetic tap ensemble, is breathtaking. As a special treat, conductor/keyboardist James Olmstead and his eight-piece powerhouse band belt out jazz and blues tunes flawlessly throughout the night, completing a wonderful evening of live theater.

The John W. Engeman Theater, 250 Main St., Northport will present “Thoroughly Modern Millie” through July 10. Running time is approximately two hours, including one 15-minute intermission. Tickets range from $69 to $74 with free valet parking.

The season continues with “Mamma Mia!” from July 21 to Sept. 11, “1776” from Sept. 22 to Nov. 6 and “Mary Poppins” from Nov. 17 to Jan. 1, 2017. To order tickets, call 631-261-2900 or visit www.engemantheater.com.

Anthony Chan (as Ching Ho), Michele Ragusa (as Mrs. Meers) and Carl Hsu (as Bun Foo) sing “Muqin” in a scene from ‘Thoroughly Modern Millie.’ Photo by Michael DeCristofaro
Anthony Chan (as Ching Ho), Michele Ragusa (as Mrs. Meers) and Carl Hsu (as Bun Foo) sing “Muqin” in a scene from ‘Thoroughly Modern Millie.’ Photo by Michael DeCristofaro

The cast of ‘Shrek The Musical’ at Theatre Three. Photo by Brian Hoerger, Theatre Three Productions Inc.

By Michael Tessler

Putting on “Shrek The Musical” is no easy feat. There are countless characters, huge set requirements, fantastical costumes and puppets both small and … dragon-sized. Theatre Three’s bold production of “Shrek” takes these challenges in stride, resulting in a masterful production befitting the scope and size of its Broadway counterpart.

Donkey (Bobby Montaniz) and Shrek (Danny Stalter) in a scene from ‘Shrek The Musical.’ Photo by Brian Hoerger, Theatre Three Productions Inc.
Donkey (Bobby Montaniz) and Shrek (Danny Stalter) in a scene from ‘Shrek The Musical.’ Photo by Brian Hoerger, Theatre Three Productions Inc.

Jeffrey Sanzel, the show’s director, is deserving of great praise as he takes on the task with his usual grace and theatrical virtuosity. His versatility as a director is to be commended, such range and vision is an unusually rare thing. As a frequent spectator of his work, I’m beyond grateful that he makes every show a thrilling new experience, and his interpretation of “Shrek” is certainly no exception to that rule.

The production is filled with show-stopping numbers (21 of them!) and every song outdoes the previous. From the leads to the ensemble, each cast member delivers a spectacular performance worthy of the show’s Tony-nominated score.

One of my directors growing up would often remind me that a successful show lets people “leave their brains at the door”  — it’s an escape from reality, and even the slightest mistake can upend that magical facade. This is why this production of “Shrek” was so uniquely satisfying. There was not a moment when I wasn’t fully swept up by the show’s phenomenal cast and harmonies.

Our title character Shrek, played by Theatre Three newcomer Danny Stalter, was an absolute treat. Stalter plays upon the Mike Myers’ legacy but forges his own unique style that is both endearing and hugely rewarding. This dynamic character undergoes development in nearly every scene. This progression is captured beautifully by Stalter whose well-conceived performance only enhances the emotional moments. Shrek, while grotesque and green on the outside, has a beautiful voice that will send chills down your spine more than once.

His partner-in-crime is a jackass, and by that I mean Donkey. Played with sass and master comedic timing by Bobby Montaniz, this hard not to love character steals the show and often! Admittedly his performance of “Make a Move” has been stuck in my head for hours, and I’m not complaining because it’s still making me laugh.

Danny Stalter as Shrek, Jenna Kavaler as Princess Fiona and Bobby Montaniz as Donkey star in ‘Shrek The Musical’ at Theatre Three. Photo by Brian Hoerger, Theatre Three Productions Inc.
Danny Stalter as Shrek, Jenna Kavaler as Princess Fiona and Bobby Montaniz as Donkey star in ‘Shrek The Musical’ at Theatre Three. Photo by Brian Hoerger, Theatre Three Productions Inc.

In theater they say “there are no small roles, just small people,” which bring us to Lord Farquaad, the Lord of Duloc, played to perfection by Matt Senese. This miniature-sized dictator had me laughing so hard, I’m surprised they didn’t kick me out of the theater. Senese makes perfect use of his tiny costume legs, dancing, jumping and kick-lining fearlessly. As if being funny weren’t enough, he also has a voice that is sure to wow!

Jenna Kavaler, a Theatre Three veteran, plays Princess Fiona flawlessly. Having just watched her performance in “Beau Jest,” I was amazed at her range as an actress. She is funny and wildly entertaining, especially during one particularly gassy sequence with Shrek. Her voice is beautiful but shines best during her three-part harmony with her younger Fiona counterparts played by Leah Bloom and Ella Watts. Their performance of “I Know It’s Today” was one of the most beautiful things I’ve ever heard in local theater.

Steve McCoy choreographs the show to perfection, while Jeffrey Hoffman masterfully manages musical direction. Robert W. Henderson Jr. lights up the show with expert design and Patrick Grossman brings to life some fantastic fairy tale costumes. All in all, this family-friendly production is the perfect way to spend a weekend! If you don’t believe me, see below for a few notes from my little cousins who joined me for this special review!

Theatre Three, 412 Main St., Port Jefferson will present “Shrek the Musical” through June 25. Evening shows begin at a family-friendly time of 7 p.m. Tickets range from $15 to $30.

All are invited to a Director’s Dinner on the Second Stage on June 5 at 5:45 p.m. with Jeffrey Sanzel for a fascinating behind the scenes look of the making of “Shrek” following the 3 p.m. show. Tickets, which include dinner and a show, are $53 adults, $48 seniors and students, $45 children ages 6 to 12.

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

From left, Aida, Liam and Maddox pose with the program and their green ogre ears after the Shrek show last Saturday night. Photo by Michael Tessler
From left, Aida, Liam and Maddox pose with the program and their green ogre ears after the Shrek show last Saturday night. Photo by Michael Tessler

KID CRITIQUES:

Aida (age 7½): I loved when Donkey shaked his booty at Shrek! I liked the dragon because she had a nice voice!

Liam (age 5½): My favorite part is seeing Donkey! He’s really funny! Especially when he fell from the tree and made a little wall!

Maddox (age 5½): Loved the tap dancing and when Shrek kicks! And when Shrek found out Fiona’s secret!

Matt Senese will portray Lord Farquaad in Theatre Three’s latest production, ‘Shrek the Musical.’ Photo by Peter Lanscombe, Theatre Three Productions Inc.

By Rita J. Egan

Armed with hockey-grade shin and knee guards, Patchogue resident Matt Senese is ready to hit, not the ice, but the stage as Lord Farquaad in Theatre Three’s upcoming Mainstage production of “Shrek the Musical.”

For those who may not be familiar with the 2001 DreamWorks movie or 2009 Broadway musical, Lord Farquaad is the diminutive archenemy of Shrek and friends. Senese, who jokes that he is “5 feet 7 inches with a lot of sleep,” will play the role on his knees in order for the audience to get the full effect of just how small his royal nuisance is. The shin and knee guards under his costume protect his lower legs from injuries.

Matt Senese will portray Lord Farquaad in Theatre Three’s latest production, ‘Shrek the Musical.’ Photo by Peter Lanscombe, Theatre Three Productions Inc.
Matt Senese will portray Lord Farquaad in Theatre Three’s latest production, ‘Shrek the Musical.’ Photo by Peter Lanscombe, Theatre Three Productions Inc.

The seasoned actor, who is also a fourth-grade teacher at Maud S. Sherwood Elementary School in Islip, has appeared in over 300 local productions as well as regional theater outside of New York. Recently, Senese took time out from his busy schedule to answer a few questions about his participation in the upcoming production.

How did you feel when you learned that you got the part?
I was very excited! Jeff (Sanzel), the artistic director, cast me before it was even announced. He asked me about it last year. So, I’ve known for a year that I was going to be doing it which gave me time to … learn it and kind of get used to dancing on my knees.

How are rehearsals going?
They’re great. I think it’s going to be a wonderful show. It’s a very hard working group.

Do you have a favorite number in the musical?
The favorite thing that I do is a song called “What’s Up, Duloc” where it’s kind of a … Las Vegas number, so it’s got back-up singers and dancers. But, I’m doing it on my knees with these tiny legs so it’s very funny. I think my favorite song in the show though is one that I’m not in, and it’s called “Freak Flag.” It’s a song about just being yourself — everyone is different; nobody is perfect. So just let your freak flag fly.

For you is that the main message of ‘Shrek’?
Absolutely. It’s a great musical to bring the whole family to because it’s a musical that celebrates differences. Also, the wonderful thing about this story is it’s not your typical fairy tale. Usually the princess kisses the frog, and the frog turns into a handsome prince. It’s a musical about an ogre who falls in love with a princess and at the end of the story, she turns into an ogress. They’re both ogres at the end of the show, and happy to be ogres because it’s not about looks, it’s about love.

Do you have plans after the musical ends at Theatre Three?
No, I don’t. I’m just going to take it easy. I think after “Shrek” I’m going to rest up and enjoy myself, and then in the fall, look for something to do.

Do you have anything to share with locals who want to act?
I think people who live on Long Island are very lucky in the fact that there are so many theaters. We’re lucky. There are other places you go to, and they really don’t have any kind of local theater and they have to wait until tours come through. We live in a place that really has a lot of art. I think if that’s your passion, then there is a lot opportunity for it on Long Island.

What do you hope the audience will take away from this production of “Shrek the Musical”?
First and foremost, I hope they’ll be entertained. I hope they’ll leave whistling a tune from the show because I think the score is really wonderful. Sometimes you go to see a show and you really can’t whistle any of the tunes. This show you can take so much of that with you. The music is very catchy; it’s very inspirational.
And, I hope that they just get the message. The message of “Shrek” is to just be yourself. There’s no such thing as perfection in the world. We’re led to believe…as children we’re taught these fairy tales, but really nothing in life is a fairy tale, and that is what I think “Shrek” shows. It’s about love. It’s about love and accepting who you are and accepting everyone else for who they are.

Theatre Three, 412 Main Street, Port Jefferson, will present “Shrek the Musical” from May 21 to June 25. Tickets range from $15 to $30. For more information, visit www.theatrethree.com or call 631-928-9100.

Sari Feldman, Amanda Geraci, Aria Saltini and Melanie Acampora star in a scene fron ‘Cinderella.’ Photo by Peter Lanscombe, Theatre Three Productions Inc.

A sweet little fairy tale waltzed into Theatre Three last weekend and quickly stole the hearts of the entire audience. The theater is closing its 2015-16 children’s theater season with the perfect choice: a classic retelling of “Cinderella.”

Many little princesses sat in the audience during Saturday’s opening to see Cinderella find her true love and live happily ever after.

With book, music and lyrics by Douglas J. Quattrock, Theatre Three’s version of this rags-to-riches story is full of singing, dancing, magic, quirky characters and lots of laughs. In short, your kids will love it.

From left, Jenna Kavaler and Amanda Geraci star in a scene from ‘Cinderella.’ Photo by Peter Lanscombe, Theatre Three Productions Inc.
From left, Jenna Kavaler and Amanda Geraci star in a scene from ‘Cinderella.’ Photo by Peter Lanscombe, Theatre Three Productions Inc.

Directed by Jeffrey Sanzel, the eight adult cast members all deliver stellar performances and clearly love the craft they have chosen. In a nod to the 17th century author of the modern Cinderella story, who is commonly referred to as the father of the fairy tale, the show’s narrator is named Charles Perrault. This “squire to the sire,” played by Andrew Gasparini, transports theatergoers to a faraway land ruled by King Utterly Charming (Steven Uihlein), who wants to retire to Boca and pass the crown on to his handsome son, Prince Charming (Hans Paul Hendrickson) — and yes, he is indeed charming. However, the king feels that his son should get married first and invites all eligible maidens to a royal ball.

The squire delivers the invitations to the home of the beautiful Cinderella (Amanda Geraci), who is still being treated badly by her wretched stepsisters (Sari Feldman and Melanie Acampora) and mean stepmother, played by newcomer Aria Saltini.

Left behind while the three meanies go to the ball, Cindy is visited by her fairy godmother, Angelica, wonderfully portrayed by Jenna Kavaler. Speaking with a Southern accent, Angelica quickly cooks up a beautiful gown and sends Cinderella on her way.

During Cinderella’s infamous missing shoe episode, Prince Charming interacts with all the little princesses in attendance, asking them for their shoe sizes as he searches for the glass slipper’s owner — a nice touch.

The songs, with Steve McCoy accompanying on piano, dominate the show. Geraci’s solo, “A Girl Like Me (And a Boy Like You),” is sweet as she dances with a broom and dreams of falling in love, and her duet with Hendrickson, “Here in Your Arms (The Waltz)” is delightful. Special mention should also be made of Gasparini’s solos, “Once Upon a Time” and “Take a Chance.”

The cast of ‘Cinderella’ at Theatre Three. Photo by Peter Lanscombe, Theatre Three Productions Inc.
The cast of ‘Cinderella’ at Theatre Three. Photo by Peter Lanscombe, Theatre Three Productions Inc.

Teresa Matteson’s costumes are on point, from Cinderella’s beautiful gown to Prince Charming’s crown. Feldman’s choreography ties it all together.

Meet the entire cast in the lobby after the show and stay for a special photo with Cinderella and the Prince.

Theatre Three, 412 Main St., Port Jefferson, will present “Cinderella” through June 11. The new season will begin on the Mainstage with “The Emperor’s New Clothes” from July 8 to Aug. 5 and the premiere of “The Misadventures of Robin Hood” from Aug. 5 to 13. All seats are $10. For more information, call the box office at 631-928-9100 or visit www.theatrethree.com.

From left, Franklyn P. Butler, Phyllis March, Brian Gill, Robbie Torres, Katie Ferretti, Edward Breese and Jess Ader-Ferretti star in ‘Cabaret.’ Photo by Samantha Cuomo

By Melissa Arnold

The Smithtown Performing Arts Center took its audience on an emotional roller coaster ride Saturday night during its gripping opening performance of “Cabaret.”

Ronald R. Green III serves as both director and costume designer for the show, which is set in early 1930s Germany, just prior to World War II. Written by Joe Masteroff, “Cabaret” is based on a play by John Van Druten and stories by Christopher Isherwood, with music by John Kander and lyrics by Frank Ebb. It is among the most enduring musicals on Broadway, with its first show in November 1966 leading to multiple revivals here and abroad.

“Cabaret” follows wandering novelist Cliff Bradshaw as he travels to Berlin in search of his next great idea. And boy, does he find it! He is quickly drawn into the raunchy, circus-like Kit Kat Klub and becomes entangled with its regulars, particularly the seductive performer Sally Bowles.

Sally Bowles is a woman who knows how to get what she wants, and she quickly wriggles her way into Cliff’s life,  first by moving in with him and then by slowly winning his heart. And they’re not the only ones falling in love. Cliff’s landlady, Fräulein Schneider, is charmed by the perfect gentleman, widower Herr Schultz.

Unfortunately, what begins as a shockingly funny love story grows dark as Adolf Hitler and the Nazis gain momentum in Germany. The characters eventually find themselves torn apart by politics, and the show’s ending is so gut-wrenching that you can almost feel the air leave the theater.

Sally and Cliff are played by Katie Ferretti and Brian Gill, who are both newcomers to the SCPA stage. Ferretti’s portrayal of Sally is full of moxie, and Gill’s effort is totally believable as Cliff falls helplessly in love.

The audience is directly addressed throughout the show by a flamboyant and hypnotizing emcee played by Robbie Torres. If “Cabaret” is a circus, then Torres is its wild ringleader. As crude as his character can be, he’ll capture your heart and hold on long after the show ends. Be warned, the emcee quickly transitions between several languages, and his thick accent may be hard to understand for some.

Worth particular mention in the talented supporting cast are Fräulein Schneider and Herr Schultz, who are portrayed with great tenderness by Phyllis March and Edward Breese. The duets featuring the couple, “Married” and “It Couldn’t Please Me More,” are the sweetest of them all.

Choreographer Danielle Coutieri ensured that the many dance numbers in “Cabaret” were full of all the shock value and sex appeal audiences would expect from a questionable nightclub. The kick-line at the beginning of the second act was particularly fun to watch.

The orchestra is located on the set’s upper level for this show, where they are regularly visible to the audience and even become a part of the story as the Kit Kat Klub’s house band. Led by music director Melissa Coyle, the music is more than just a sound track — they are a driving force for the club and show as a whole. They play powerfully, at times almost overwhelmingly so.

While this is not a show for children, adults are bound to be thoroughly entertained and delighted by “Cabaret.” Just be prepared to leave the theater in stunned silence. This classic will strike you in the heart.

Smithtown Performing Arts Center, 2 East Main St., Smithtown, will present “Cabaret” through May 22. Show includes strong language, intense sexuality and brief violence, alcohol and drug use. Running time is approximately 2.5 hours with one 15-minute intermission.

The season continues with “Hairspray the Broadway Musical” from July 9 to Aug. 28, “Rent” from Sept. 10 to Oct. 2 and “Urinetown the Musical” from Oct. 15 to Nov. 6. All tickets are $35 and may be purchased by calling 631-724-3700 or visiting www.smithtownpac.org.

From left, Ariel (Mackenzie Germain), Scuttle (Rachel Kowalsky) and Flounder (Amanda Swickle) admire a dinglehopper (a.k.a. a fork) in a scene from ‘The Little Mermaid Jr.’ Photo by Keith Kowalsky

By Rita J. Egan

The only thing better than hearing a beloved children’s story is having it performed by children themselves. This weekend the John W. Engeman Theater presented its first “by kids, for kids” production, Disney’s “The Little Mermaid Jr.,” to an excited young audience.

Ariel (Mackenzie Germain) is put under a spell by Ursula (Maeve Barth-Dwyer) in a scene from ‘The LIttle Mermaid Jr.’ Photo by Keith Kowalsky
Ariel (Mackenzie Germain) is put under a spell by Ursula (Maeve Barth-Dwyer) in a scene from ‘The LIttle Mermaid Jr.’ Photo by Keith Kowalsky

The musical’s run in Northport will feature two separate casts, with a combined total of 37 children between the ages of 7 and 17, playing alternate performance dates of the production that was adapted from the Broadway musical written by Doug Wright.

First introduced in the Hans Christian Andersen classic fairy tale, “The Little Mermaid,” Ariel is the youngest of King Triton’s seven daughters. Living under the sea, she dreams of one day shedding her fins so she can walk and dance on land just as humans do. With the help of an evil sea witch, Ursula, her fantasies come true much to the dismay of her chaperone Sebastian, the crab. Soon Ariel finds herself meeting a handsome prince as she embarks on an onshore adventure with Sebastian as well as her colorful friends, a fish named Flounder and a seagull called Scuttle.

At this past Sunday’s performance, the young cast performed as if they were seasoned actors. Mackenzie Germaine was a sweet and lovely Ariel, who sang the mermaid’s signature song “Part of Your World” beautifully. As for her Prince Eric, Ben Hefter was endearing as well as charming.

Ariel (Mackenzie Germain) sings ‘Part of Your World’ in a scene from ‘The Little Mermaid Jr.’ Photo by Elise Johnson Linde Autz
Ariel (Mackenzie Germain) sings ‘Part of Your World’ in a scene from ‘The Little Mermaid Jr.’ Photo by Elise Johnson Linde Autz

Maeve Barth-Dwyer was poised and devilishly delightful as Ursula. She performed “Poor Unfortunate Souls” as if she was standing on a Broadway stage. In addition, Lizzie Dolce and Mia Goldstein, Ursula’s slippery spies Flotsam and Jetsam, flawlessly sang back-up on the show-stopping number.

Despite being a teenager, Matthew Fama portrayed King Triton with just the right amount of authority and tenderness needed for the parental role. Justin Autz (Sebastian), Rachel Kowalsky (Scuttle) and Chris Pappas (Chef Louis) added the right amount of humor.

Kowalsky had fun with the eccentric character and shined on “Human Stuff,” while the comedic abilities of Autz and Pappas were front and center during the number “Les Poissons,” which got huge laughs from the audience.

Amanda Swickle as Flounder was adorable, and when she joined Ariel’s sisters during the song “She’s in Love,” she skillfully showed off her excellent singing abilities.

Ella Benjamin, Eve Ascione, Katie Garthe, Keeley O’Malley, Katie Dolce and Alexandra Spelman shone as Ariel’s sisters and harmonized beautifully during their numbers, “Daughters of Triton” and “She’s in Love.” 

Keith Gryski (Grimsby), Natalie Ryan (Carlotta) and James Tully (Pilot) rounded out the ensemble on Sunday, and just like their fellow castmates, have the potential for a bright future in acting.

Ariel (Mackenzie Germain) and Prince Eric (Ben Hefter) share a dance in ‘The Little Mermaid Jr.’ Photo by Keith Kowalsky
Ariel (Mackenzie Germain) and Prince Eric (Ben Hefter) share a dance in ‘The Little Mermaid Jr.’ Photo by Keith Kowalsky

Musical director Ariana Valdes did an excellent job with the score, which features lyrics by Howard Ashman and Glenn Slater and music by Alan Menken. As for the iconic numbers, “Under the Sea” and “Kiss the Girl,” the whole ensemble did a fabulous job.

Director Alyson Clancy has skillfully directed a talented young cast that delivers a show that is professional and at the same time light and fun for the whole family.

The John W. Engeman Theater, 250 Main St., Northport, will present Disney’s “The Little Mermaid Jr.” until May 8. Tickets are $15 for all ages. For more information, visit www.engemantheater.com or call 631-261-2900.

Carson Higgins (Huey Calhoun) and Breanna Bartley (Felicia) star in 'Memphis.' Photo by Michael DeCristofaro

Well, hockadoo! The John W. Engeman Theater was full of soul last Saturday night, engaging theatergoers with a sizzling production of “Memphis” that raised the roof and culminated with a five-minute standing ovation.

Directed by Igor Goldin (“West Side Story” and “Evita”) and choreographed by Antoniette DiPietropolo, the rock ‘n’ roll musical is loosely based on the life of “Daddy-O” Dewey Philips, a Memphis disc jockey who dared to play the music of black artists in the late 1950s, when segregation was still the norm in the South. With book and lyrics by Joe Dipietro and original music and lyrics by David Bryan — a member of rock band Bon Jovi — the production ran on Broadway from 2009 to 2012 and won four Tony Awards, including best musical in 2010.

The story follows Huey Calhoun, who, in his quest to find the sounds of early rock ‘n’ roll, finds himself in a black nightclub on the seedy side of town. Owned by Delray, the club features his sister Felicia, a black singer with whom Huey quickly falls in love and vows to get on the radio so the world can hear the music that Delray says is “just Negro blues sped up.”

Breanna Bartley brings down the house during a musical number from ‘Memphis.’ Photo by Michael DeCristofaro
Breanna Bartley brings down the house during a musical number from ‘Memphis.’ Photo by Michael DeCristofaro

Carson Higgins is the lead as Huey, a role he has played in the past and has by now perfected. Higgins makes Huey likable and endearing and draws the audience in from the beginning. An incredible actor and singer, Higgins’ rendition of “Memphis Lives in Me” is unforgettable.

Breanna Bartley is perfectly cast as Felicia. With a smooth singing voice, she shines in the musical numbers, especially in “Someday” and “Colored Woman.”

The entire supporting cast is wonderful, with powerful voices and the moves to match. Standouts include Kathryn Markey as Huey’s sassy mother Gladys; C. Mingo Long as Delray; and Jarred Bedgood as Gator, who doesn’t speak or sing until the end of Act I but then treats the audience to a moving rendition of “Say a Prayer.”

Hidden from view but not to be overlooked is the six-piece powerhouse band. Musical Director James Olmstead, who doubles on keyboard, returns to the Engeman to lead a talented group of musicians, including Josh Endlich on percussion, Russ Brown on bass, Joe Boardman on trumpet, Brian Schatz on reeds and Douglas Baldwin on guitar, all playing Bryan and Dipietro’s rousing score.

Set design is handled neatly by D.T. Willis and works well, utilizing sliding panels and a second level to tell the story, and the gorgeous period costumes by Tristan Raines are spot-on, pulling the production together successfully. Don’t miss this wonderful high-energy production, a perfect ending to a night out on the town.

The John W. Engeman Theater, 250 Main St., Northport, will present “Memphis” through May 8. Show includes some adult language and staged violence. Running time is 2.5 hours, including one 15-minute intermission. Free valet parking. Tickets are $74 on Saturday evenings and $69 for all other performances, and may be purchased by calling 631-261-2900 or by visiting www.engemantheater.com.

Carson Higgins leads the cast of ‘Memphis’ at the John Engeman Theater. Photo by Michael DeCristofaro
Carson Higgins leads the cast of ‘Memphis’ at the John Engeman Theater. Photo by Michael DeCristofaro