CLOSE
Tags Posts tagged with "theater review"

theater review

by -
0 310
Sebastian (Derek Hough) serenades Prince Eric (Brody Hampson) and Ariel (Dori Ahlgrim) in 'Kiss the Girl'. Photo from SPAC

By Heidi Sutton

This summer, families will have the opportunity to swim under the sea with Ariel and all her friends as the Smithtown Center for the Performing Arts presents one of Disney’s most beloved classics, The Little Mermaid Jr. 

From the moment you step into the historic theater you know you are in for a real treat. Decorated with shells and coral, the lobby beckons visitors to an afternoon of live theater as little Ariels and fellow princesses make their way to their seats. The set is equally impressive, with long blue panels affixed with coral and netting representing the kingdom of Atlantica. Once the show begins, every flawless scene delights with wonderful acting, singing and dancing by a cast of 20 young budding actors. Sitting in the balcony, I kept thinking how this could easily be a main stage production.  

Ariel (Dori Ahlgrim) sings ‘Part of Your World’. Photo from SPAC

With music by Alan Menken, book by Doug Wright and lyrics by Howard Ashman and Glenn Slater, the show, which opened last Saturday afternoon, begins with the seafaring number “Fathoms Below” and keeps the audience on the edge of their seats until the very end. 

Directed and choreographed by Ryan Nolin, with musical direction by Robbie Torres, the story centers around Princess Ariel, the youngest mermaid daughter of King Triton, who is obsessed with the world above and longs to trade in her fish tail for a pair of legs, much to the dismay of her father. 

When she falls in love with Prince Eric, Ariel strikes a bargain with her aunt, the evil sea witch Ursula, to become human. There is a catch however — Ariel must give up her voice and Eric must fall in love with her in three days or she will lose her soul forever. With the help of her best friend Flounder, the court composer Sebastian the crab, and a seagull named Scuttle, Ariel sets off to follow her heart. But things do not go as planned.

Ariel (Dori Ahlgrim) and Prince Eric (Brody Hampson) in a scene from the play. Photo from SPAC

Dori Ahlgrim is perfectly cast as the free spirited Ariel. With a beautiful singing voice, her solo, “Part of Your World” brings the house down. As Prince Eric, Brody Hampson holds his own with the endearing number “One Step Closer” where he teaches a mute Ariel how to dance.

Molly Sanges is wonderful as Ariel’s best friend Flounder and Gianna Oppedisano is a delightful Scuttle in “Human Stuff.”

Special mention must also be made of Derek Hough as the crabby crustacean Sebastian who shines in the big dance numbers “Under the Sea” with mermaids and jellyfish and “Kiss the Girl” in a race against time as the sun goes down. 

The big number ‘Under the Sea’. Photo from SPAC

Other standout performances include Jenna Hammelman as the heartless Ursula who belts out a superb rendition of “Poor Unfortunate Souls” and Gabby Blum and Kieran Brown as the slippery slithering electric eels Jetsam and Flotsam who show up when least expected to create havoc. In the second act, Luke Hampson, French accent and all, gives a hilarious performance as Chef Louis in “Les Poissons.”

Costumes by Liz Honig are on point, from the black and white sailors costumes to the bright, bold and sparkly mermaid outfits. The set, along with King Triton’s kingdom, switches flawlessly from Ariel’s grotto to Ursula’s lair to Prince Eric’s castle. Kudos to the set production team. As an added bonus, a large screen in the background changes with the scenery and adds a third dimension to the story. 

Members of the cast will stay after the show for photos and shell wands and tiaras are sold in the lobby. Proceeds from the merchandise will benefit the restoration of the historic theater.

The Cast: Brody Hampson, Ari Spiegel, Ryan Romanelli, Derek Hough, Marilena Castoro, Selin Kazdal, Hannah Waller, Alia Romanelli, Emmerson Lebrecht, Nicole Sasbon, Molly Sanges, Dori Ahlgrim, Gianna Oppedisano, Gabby Blum, Kieran Brown, Jenna Hammelman, Luke Hampson, Allison Heidrich, Michael Gualtieri and Alexa Oliveto

The Smithtown Center for the Performing Arts, 2 E. Main St., Smithtown presents Disney’s The Little Mermaid Jr. through July 24. Costumes are encouraged. Running time is one hour and 30 minutes. Tickets are $25 per person. For more information or to order, visit www.smithtownpac.org.

 

by -
0 361
1 of 9
The cast of Kinky Boots. Photo courtesy of Engeman Theater
The cast of Kinky Boots. Photo courtesy of Engeman Theater
Zach Hess (Charlie Price) and Lily Kaufmann (Lauren). Photo courtesy of Engeman Theater
Front: Omari Collins (Lola), Back: Caitlin Lester Sams (Ensemble), Kaisha Huguley (Ensemble), Lily Kaufmann (Lauren) in a scene from the show. Photo courtesy of Engeman Theater
Front: Demetrio Alomar (Don); Back: David McDonald (Mr. Price/Ensemble), Suzanne Mason (Trish), Charlie Fusari (Harry), Edward Juvier (George). Photo from Engeman Theater
Front: Edward Juvier (George), Back: Ensemble and Angels in a scene from the show. Photo courtesy of Engeman Theater
Front: Omari Collins (Lola), Zach Hess (Charlie Price), Edward Juvier (George); Back: Demetrio Alomar (Don), Suzanne Mason (Trish), Kristen Antoinette Kane (Pat), Lily Kaufmann (Lauren). Photo courtesy of Engeman Theater
Front: Omari Collins (Lola); Back: Jaye Jackson (Angel), Kevin Scott (Angel), Kodiak Thompson (Angel), Kyle Fleig (Angel). Photo from Engeman Theater
The cast of Kinky Boots. Photo courtesy of Engeman Theater

By Barbara Anne Kirshner

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

by -
0 367
1 of 21
Stephanie Moreau, Christina Muens and Lori Beth Belki in a scenę from the show. Photo by Brian Hoerger/Theatre Three Productions, Inc.
A scene from 'Mamma Mia!'.Photo by Brian Hoerger/Theatre Three Productions, Inc.
A scene from 'Mamma Mia!'.Photo by Brian Hoerger/Theatre Three Productions, Inc.
A scene from 'Mamma Mia!'.Photo by Brian Hoerger/Theatre Three Productions, Inc.
A scene from 'Mamma Mia!'.Photo by Brian Hoerger/Theatre Three Productions, Inc.
A scene from 'Mamma Mia!'.Photo by Brian Hoerger/Theatre Three Productions, Inc.
A scene from 'Mamma Mia!'.Photo by Brian Hoerger/Theatre Three Productions, Inc.
A scene from 'Mamma Mia!'.Photo by Brian Hoerger/Theatre Three Productions, Inc.
A scene from 'Mamma Mia!'.Photo by Brian Hoerger/Theatre Three Productions, Inc.
A scene from 'Mamma Mia!'.Photo by Brian Hoerger/Theatre Three Productions, Inc.
A scene from 'Mamma Mia!'.Photo by Brian Hoerger/Theatre Three Productions, Inc.
A scene from 'Mamma Mia!'.Photo by Brian Hoerger/Theatre Three Productions, Inc.
A scene from 'Mamma Mia!'.Photo by Brian Hoerger/Theatre Three Productions, Inc.
A scene from 'Mamma Mia!'.Photo by Brian Hoerger/Theatre Three Productions, Inc.
Stephanie Moreau, Christina Muens and Lori Beth Belki in a scenę from the show. Photo by Steven Uihlein/Theatre Three Productions, Inc.
A scene from 'Mamma Mia!'.Photo by Brian Hoerger/Theatre Three Productions, Inc.
A scene from 'Mamma Mia!'.Photo by Brian Hoerger/Theatre Three Productions, Inc.
A scene from 'Mamma Mia!'.Photo by Brian Hoerger/Theatre Three Productions, Inc.
A scene from 'Mamma Mia!'.Photo by Brian Hoerger/Theatre Three Productions, Inc.
A scene from 'Mamma Mia!'.Photo by Brian Hoerger/Theatre Three Productions, Inc.
The cast of 'Mamma Mia!'. Photo by Brian Hoerger/Theatre Three Productions, Inc.

By Barbara Anne Kirshner

You are cordially invited 

To the destination wedding

Of Sophie and Sky

At a Greek Island inn.

BUT before Sophie can walk down the aisle, there is a mystery that must be solved.

Theatre Three has done it again and in grand style with the lighthearted musical comedy, Mamma Mia! The Musical featuring the songs of Swedish pop sensation, ABBA.

The band, under the direction of accomplished Jeffrey Hoffman, starts the joyful festivities with an overture of ABBA catchy hits. Even if you weren’t alive when this 70’s rock group was big, the songs are infectious and sure to delight all age groups.

Producer Judy Craymer is credited with introducing the idea for this show to ABBA Swedish songwriters and members of the original band, Björn Ulvaeus and Benny Andersson, in 1983. British playwright Catherine Johnson was brought onboard to weave a story around these much-loved hit tunes and Mamma Mia! was born. 

The show was an international sensation including productions at London’s West End and Broadway. It holds the distinction of being the eighth longest-running musical in West End history and 18th longest running musical on Broadway where it opened at the Winter Garden Theatre on October 18, 2001, and ran through September 12, 2015.

The story revolves around Sophie who discovers her mother Donna’s old diary only to find entries describing that twenty-one years ago she was intimate with three men, — Sam Carmichael, Bill Austin and Harry Bright — at this island paradise that she now owns. One of these three men is Sophie’s father, but which? 

Sophie, who is about to get married, has visions of her father walking her down the aisle, so she sends invitations addressing them from her mother, but not letting Donna know what she has done. She feels certain that the moment she sets eyes on the men, she will know her father. The men accept and the plot is filled with comedic and emotional twists and turns when they show up at Donna’s Greek Island inn.

Director Jeffrey Sanzel has done a masterful job casting this show and the results are sheer perfection.

Cassidy Rose O’Brien’s Sophie is adorable with a rich vibrato that wraps around songs like I Have a Dream. O’Brien and Eric J. Hughes, as her fiancé Sky, have great chemistry. One cute bit has Sky and his pals maneuvering scuba flippers as they team up with O’Brien on Lay All Your Love on Me showing how silly, playful and sexy these two are together.

Steve Corbellini as Donna’s special love Sam delivers a heartfelt performance that crescendos in his duet with Christina Muens (Donna) on S.O.S. Dennis Setteducati is hysterical as the never married adventurer and writer, Bill. His duet with Rosie on Take a Chance on Me is a madcap whirlwind as choreographed by Sari Feldman who can always be counted on to tell stories through dance. Andrew Boza’s Harry is reminiscent of a Monty Python character with his humorous British affects.

To add a fine dose of humor to the plot, Donna has invited her best friends with whom she was once in a girl group called Donna and the Dynamos. When these women arrive, the three have a grand reunion as they reminisce over former exploits. 

There is the rich Tanya (Stephanie Moreau), who has been married three times, and the breezy Rosie (Lori Beth Belkin) who has never married. These three women are the centerpiece of the show adding much hilarity through their impeccable comedic timing and exuberant renditions of songs like Dancing Queen, Chiquita, and Super Trouper. Muens is fabulous as Donna with her powerhouse voice that sends chills especially in the standout The Winner Takes It All.

The cast is accompanied by a lively ensemble that infuses the stage with song and dance.

Costumes by Ronald Green III help illustrate the personalities of the characters from Bill’s Indiana Jones style hunting hat to Tanya’s elegantly flowing outfits to the flashy silver disco dresses of Donna and the Dynamos to all that glitter.

Randall Parsons’ scenic design cleverly glides from the main inn to a bedroom and back again while lighting design by Robert Henderson, Jr. accentuates the moods with well-placed neon columns illuminating assorted colors.

The finale is exhilarating with Donna, Tanya and Rosie joined by Sam, Bill and Harry appearing in colorful ABBA inspired costumes and accompanied by the entire company draped in sequins. They invite the audience to a dance party featuring the songs Mamma Mia, Dancing Queen and Waterloo.

For an effervescent evening of theatre, get swept into the world of ABBA music at Donna’s fun Greek island resort in Mamma Mia!, playing now through June 25 at Theatre Three, 412 Main Street in Port Jefferson. Tickets are $35 adults, $28 seniors and students, $20 children ages 5 and up. Please note this show contains adult themes and situations. For more information or to order, call 631-928-9100 or visit www.theatrethree.com

POSTSCRIPT:

I first saw Mamma Mia! in 2003 at Mandalay Bay Hotel when I was visiting my uncle who lived in Las Vegas. It was such a magical production brimming with energy and spirit that I couldn’t wait to take my niece and nephew to see the Broadway production, but to my surprise, I left the Winter Garden Theatre disappointed. I am happy to say that Theatre Three’s production has the spirit and energy that so enchanted me in Vegas. If you love musical theatre, you must catch this show. You will leave the theatre smiling, dancing to the beat and singing.

by -
0 255
1 of 11
A scene from 'The Marvelous Wonderettes'. Photo by Brian Hoerger/Theatre Three Productions, Inc.
A scene from 'The Marvelous Wonderettes'. Photo by Brian Hoerger/Theatre Three Productions, Inc.
A scene from 'The Marvelous Wonderettes'. Photo by Brian Hoerger/Theatre Three Productions, Inc.
A scene from 'The Marvelous Wonderettes'. Photo by Brian Hoerger/Theatre Three Productions, Inc.
A scene from 'The Marvelous Wonderettes'. Photo by Brian Hoerger/Theatre Three Productions, Inc.
A scene from 'The Marvelous Wonderettes'. Photo by Brian Hoerger/Theatre Three Productions, Inc.
A scene from 'The Marvelous Wonderettes'. Photo by Brian Hoerger/Theatre Three Productions, Inc.
A scene from 'The Marvelous Wonderettes'. Photo by Brian Hoerger/Theatre Three Productions, Inc.
A scene from 'The Marvelous Wonderettes'. Photo by Brian Hoerger/Theatre Three Productions, Inc.
A scene from 'The Marvelous Wonderettes'. Photo by Brian Hoerger/Theatre Three Productions, Inc.
A scene from 'The Marvelous Wonderettes'. Photo by Brian Hoerger/Theatre Three Productions, Inc.

By Barbara Anne Kirshner

Do you have close-knit forever friends applauding your successes as well as offering encouragement during challenging times? If your answer is yes, then you are truly lucky to have such treasures in your life. The Marvelous Wonderettes, a feel good musical romp back to the 50’s and 60’s now playing at Theatre Three, follows four such friends as they navigate life’s often unpredictable twists and turns together.

Playwright Roger Bean was approached by the Milwaukee Repertory Theatre to write a small-scale musical for their black box space. With constrictions such as little room backstage, Bean wrote the one-act version of The Marvelous Wonderettes produced in 1999. He got the inspiration for the musical from a conversation with his mother about when she was a high school song leader and part of a singing trio. Bean also credits his mother for instilling in him a love of 50’s and 60’s music. 

That Milwaukee production was so successful that the theatre revived it in 2001, this time as a full-scale two-act musical. Then came the Los Angeles production in 2006 followed by a smash Off-Broadway run in 2008 with an Off-Broadway revival in 2016.

It’s prom night, 1958, at Springfield High School and song leaders, Betty Jean (Cassidy Rose O’Brien), Cindy-Lou (Noelle McLeer), Missy (Kate Keating) and Suzy (Ashley Brooke) in frilly crinoline dresses, wrist corsages and teased up hair burst onstage delivering a bouncy rendition of “Mr. Sandman” followed by “Lollipop” and segue into “Sugartime.” When Cindy-Lou steals the microphone and belts out Betty Jean’s signature song “Alleghany Moon,” slapstick antics of trying to upstage each other ensue thus highlighting their competitive natures and the hilarious tone of the show.

The girls explain to the crowd that they are last minute stand-ins for the evening’s entertainment. It seems the boys’ glee club lost the gig after lead singer Billy Ray Patton was suspended for smoking behind the girls locker room. They go on to announce the theme for this year’s prom, “Marvelous Dreams,” and break into a rapturous “All I Have to Do Is Dream” followed by “Dream Lover.”

Each girl in this ensemble is as unique as the individual colors they wear with Betty Jean and her all-American looks in lime green, the bespectacled and comedic Missy in orange, ditzy gum chewer Suzy in blue and self-centered Cindy-Lou in pink.

A nice choice of playwright Bean was to set Act II ten years later reuniting the girls at their 1968 class reunion. This act is brimming with pop 60’s tunes. The crinoline has now been replaced by flowing robes trimmed with feathers, knee high white go-go boots and hoop earrings. A lot has changed for each girl, but they come together once more in harmony realizing they have a bond that stands the test of time.

All four of these actresses deliver powerhouse performances with dynamic acting, rich voices and lithe dancing. Keating’s Missy is passionate as she reveals her crush in “Secret Love” and then gives a standout version of “Mr. Lee” replete with impressive, sustained notes that receive spirited applause from the audience. 

Brooke’s Suzy punctuates Act I with an exuberant “Hold Me, Thrill Me, Kiss Me” and then delivers an intense “Maybe I Know” in Act Two. O’Brien’s Betty Jean explodes in a heart-wrenching “You Don’t Own Me” followed by “That’s When the Tears Start” and McLeer’s Cindy-Lou sends chills in “Son of a Preacher Man” into “Leader of the Pack.”

It must be noted there is some humorous audience participation that puts the crowd right in the center of all the action.

Linda May’s direction keeps the festivities lively. She has created an ensemble that holds on to the audience from their first effervescent entrance until their final bow. Sari Feldman’s stylized choreography is reminiscent of the best girl groups of that era. Costumes by Ronald Green III are a cornucopia of colors and fabrics. Green’s attention to detail accentuates the 50’s and 60’s flavor of the show.

The band under the musical direction of Cesar Flores is built into the backdrop so they are onstage for the entire show keeping the energy high. Tim Haggerty’s sound design infuses exhilaration to each number.

Scenic design by Randall Parsons offers a buoyancy even before the show begins with a pink backdrop and sparkling fringe bordering the band shell. Lighting design by Robert W. Henderson, Jr. generates vibrancy to songs like “Lollipop” and “Wedding Bell Blues” as well as mood lighting with “Hold Me, Thrill Me, Kiss Me” and “That’s When the Tears Start.” The disco ball swirling blue spots around the theater is a nice touch to close Act I. Heather Rose Kuhn’s properties joins in the fun with giant lollipops, a hanging crescent moon and bubbles.

Theatre Three’s The Marvelous Wonderettes is such a fast-paced delight that at the end you can’t believe it’s over already. See it with your best friends — you’ll be glad you did!

Theatre Three, 412 Main St., Port Jefferson presents The Marvelous Wonderettes through March 26. Tickets are $35 adults, $28 seniors and students, $20 children ages 5 and up. For more information or to order, call 631-928-9100 or visit www.theatrethree.com. 

 

by -
0 233

By Barbara Anne Kirshner

Pulsating percussion, blazing guitar riffs, vocal gymnastics all set against a gold mine of 80’s hit anthems; that’s intoxicating Rock of Ages now playing at the Engeman Theater in Northport.

This five time Tony Award nominated musical with book by Chris D’Arienzo and arrangements/orchestration by Ethan Popp is an exuberant romp back to the 80’s brimming with defining hits including those of Journey, Bon Jovi, Pat Benatar, Poison, Styx and Steve Perry. The show premiered on Broadway April 7, 2009, at the Brooks Atkinson Theatre and later moved to the Helen Hayes Theatre where it closed on January 18, 2015. The 2012 film featured Tom Cruise, Julianne Hough and Diego Boneta.

The Engeman is professionalism at its very best making for a completely enjoyable evening at the theatre. Attention to detail is key here from its plush stadium style seating to its sophisticated lounge to productions of the highest quality, and with Rock of Ages, the audience is taken on an exhilarating ride.

Director Igor Goldin has assembled an outstanding cast that blasts off right from the start and never quits until the final curtain. Goldin keeps the energy high with clever electric moments including a smoke screen that parts introducing Lonny Barnett (Matt DaSilva), who takes on the role of narrator. He’s a dead ringer for Queen’s Freddie Mercury with handlebar mustache and puffed out chest. DaSilva struts around the stage like he owns it, smashing the fourth wall, connecting to the audience.

Lonny is flamboyant and so much fun as he chronicles the tale of starry-eyed dreamers who hit the Sunset Strip in search of stardom only to find fame is illusive at best. Drew, a wannabe rock star working as a busboy at Dennis Dupree’s club, The Bourbon Room, craves the lead singer spot in rock group, Arsenal, when their front man, Stacee Jaxx, announces he is leaving the band.

A love triangle happens between Drew, Jaxx and Sherrie Christian, who just arrived from the Midwest with aspirations of being an actress. She is innocence personified with her squeaky clean Olivia Newton John looks and blonde flippy hair. Drew, who has fallen instantly, gets her a waitress job at the club. But when he says they are “friends,” she rushes into the arms of Jaxx who later insists Dupree fire her. Dupree reluctantly agrees since he is counting on Jaxx’s final performance with Arsenal to bring in the money he desperately needs to keep his club from demolition.

Dan Hoy delivers so much heart as Drew with eyes that embrace the audience and an incredible voice punctuated by sustained notes. Bailee Endebrock’s performance is compelling and her lilting soprano sails through songs like “I Wanna Know What Love Is.” Nick Bernardi’s Jaxx, dripping with sexuality, grinds his way in “Wanted Dead or Alive” causing the girls to swoon at his feet. Erik Schark as Dupree is a gruff, bigger than life presence, but allows glimmers of feeling to appear like in his comical duet with Lonny on “Can’t Fight This Feeling.”

Further conflict ensues when Hertz Flyingmann (Ryan M. Hunt) and his son Franz (Sean Widener), German real estate developers, convince the city’s mayor (Kenneth D. Washington) to rid the Strip of “sex, drugs and rock-n-roll” for wholesome developments. He commands, “Bring in the wrecking ball!” and erupts in outstanding vocals on “The Final Count Down” making Hertz a villain you love to hate.

Hertz and his son face direct opposition from Regina (Daria Pilar Redus), the City Planner, but when she wins Franz over, the two burst into a show stopping rendition of “Hit Me With Your Best Shot.”

The ensemble sparkles through each scene with brilliant voices and they seem to defy gravity through Natalie Malotke’s titillatingly effervescent choreography. Of special note is Renee Titus as Justice Charlier, the owner of the Venus Club, a “gentleman’s club,” who hires Sherrie after she’s fired by Dupree. Her belting mezzo soprano in “Every Rose Has It’s Thorn” sends shivers.

The five piece band conducted by Jeff Cox is onstage for the entire show igniting each scene with intensity that drives on the plot. Dueling guitars at the close of Act II are spectacular. Laura Shubert’s sound design is well-balanced and dynamic.

Kurt Alger’s costume and wig design is a party of colors and revels in the retro 80’s sequins animal prints, net stockings, thigh high suede boots, tight jeans, plunging necklines and long, lustrous hair, oh, and that’s on the boys.

Kyle Dixon’s scenic design impresses even before the show begins with its giant guitar stage right and a well-placed spiral staircase left used later to create emotional tableaus. Dixon’s choice of industrial elements adds grit with scaffolding outlined in pipes and black palm trees stenciled onto a white brick backdrop. Jose Santiago’s lighting design is kinetic ranging from brilliant to subtle. Of note is a flash of red illuminating actors that adds sensuality in one pivotal scene.

Engeman’s Rock of Ages is a high powered trip into 80’s counterculture that grasps the audience and when it lets go, all you want is a repeat performance.

The John W. Engeman Theater, 250 Main St., Northport presents Rock of Ages through March 13. Tickets range from $75 to $80 with free valet parking. For more information or to order, call 631-261-2900 or visit www.engemantheater.com.

by -
0 310
1 of 8
The cast of Theatre Three's 'Baskerville.' Photo by Brian Hoerger
A scene from 'Baskerville.' Photo by Brian Hoerger
A scene from 'Baskerville.' Photo by Brian Hoerger
A scene from 'Baskerville.' Photo by Brian Hoerger
A scene from 'Baskerville.' Photo by Brian Hoerger
A scene from 'Baskerville.' Photo by Brian Hoerger
A scene from 'Baskerville.' Photo by Brian Hoerger
A scene from 'Baskerville.' Photo by Brian Hoerger

By Barbara Anne Kirshner

Gothic!

Thrilling!

Suspenseful!

Wait a minute — It’s a comedy!!

It’s hilarious Ken Ludwig’s Baskerville: A Sherlock Holmes Mystery now playing at Theatre Three in Port Jefferson.

“Mr. Holmes, they were the footprints of a gigantic hound!” That exclamation conjures up ominous chords and the audience is immediately immersed in the murder mystery at bleak Baskerville Hall perched on the edge of the desolate fog-laden moors.

In Ken Ludwig’s (Lend Me A Tenor, Moon Over Buffalo, Crazy for You) adaptation of the 1901 Sir Arthur Conan Doyle novel The Hound of the Baskervilles, he brilliantly takes this gothic classic and infuses it with comedy making for spine-tinglingly funny results.

The searching questions, who killed Sir Charles Baskerville and is there a legendary hound haunting Baskerville Hall, must be answered before another heir is murdered. Enter Sherlock Holmes (Evan Donnellan) and his sidekick, Dr. Watson, I presume, (Kevin Callahan). The brave duo ferret through contradicting clues and a host of suspicious characters in efforts to protect Henry Baskerville, the next heir who has just arrived from Texas. 

Donnellan takes the stage in grandiose style. His Holmes is sly, elegant and capable. When he says he knows the print of every paper in the country, we believe him. Kevin Callahan’s Doctor Watson is so much fun. He tries to keep up with Holmes though often bungles, adding to the laughs, but his genuine investigative spirit makes him the perfect sidekick to Holmes. Together they are an invincible pair despite the labyrinth of deceit and intrigue they must face in attempting to solve this crime.

The original Conan Doyle mystery is chock full of characters all necessary in creating red herrings that keep the reader guessing until the final page. Ludwig realized he would need numerous characters to tell the story, so he inventively reduced his adaptation down to five actors — Holmes, Watson and the other three playing more than forty roles. 

This challenge calls for extraordinary performers who must instantly change costumes while also changing accents, physicality and intentions, all the while making the audience believe each of their characters. 

Director Christine Boehm has accomplished just that by assembling an outstanding supporting cast — Jonathan Sawyer Coffin, Elena Faverio and Ana McCasland — who change costumes as easily as they transform into different personas. This high energy threesome bounce snappy lines into the air wrapped in an array of accents. 

Faverio’s German accent as Mrs. Barrymore is hysterically reminiscent of Cloris Leachman’s Frau Blücher in Young Frankenstein. Coffin’s booming southern drawl is a comical contradiction for the next in line of the Baskerville fortune. McCasland takes on the proper English of Dr. Mortimer as easily as she emotes the Castilian of the hotel proprietor. These outrageously high camp performances are met with rapturous laughter and applause from the audience that builds to an enthusiastic crescendo at curtain call.

Randall Parsons’ scenic design gives the necessary gothic feel with a gray backdrop detailed in swirls of black suggesting impending fog blanketing the moor. A giant screen, center, ingeniously projects settings and events. Lighting design by Robert Henderson, Jr. sets the eerie mood, then stirs things up with flashes of bright lights.

Chakira Doherty’s costume and wig designs are masterfully crafted. Actors, portraying numerous characters, must change in an instant and Doherty’s well-thought-out garments and coiffures make this task possible.

Tim Haggerty’s sound design is essential in instilling chills. Whether it be the cacophonous howling hound to the staccato of the chugging train to a deafening explosion, these sound effects build in both suspense and humor.

Since simplicity is key to this production, properties play a major part and Heather Rose Kuhn creatively plants scenes with the use of sparse props. A train is depicted with only a well-placed bench that morphs easily into a bed at Baskerville Hall for the next scene. A counter glides in and out representing Northumberland Hotel and giant wheels appear when Holmes refers to a cab.

All the twists and turns are captivating and hysterical as we follow Holmes and Watson to a startling conclusion that even gives way to an unexpected epilogue. So, take out your spyglass and join the intrepid pair on this thrilling and uproarious caper!

Theatre Three, 412 Main St., Port Jefferson presents Ken Ludwig’s Baskerville: A Sherlock Holmes Mystery through Feb. 5. Tickets are $35 adults, $28 seniors and students, $20 children ages 5 and up. For more information, call 631-928-9100 or visit www.theatrethree.com.

See a sneak peek of the show here!

 

by -
0 259
The cast, from left, Lizzie Dolce, Matt Rafanelli, Justin Autz, Meaghan McInnes and Jae Hughes. Photo from Engeman Theater

By Heidi Sutton

As the weather outside becomes frightful, the Engeman Theater in Northport invites families inside for a heartwarming production of Frosty. The terrific cast, directed by Jennifer Collester with stage manager Jillian Sharpe, brings the holiday musical to life with catchy sing-alongs and plenty of audience participation. 

The narrator (Lizzie Dolce) introduces us to Jenny (Meaghan McInnes), a young girl who lives in Chillsville, “a little town way up north that is always covered with a fresh blanket of snow.” The daughter of the Mayor (Matt Rafanelli), Jenny’s favorite thing to do is to play outside. With help from her father, she builds a snowman and names him Frosty. When Jenny puts a scarf around him, Frosty (Justin Autz) magically comes to life and the two become fast friends.

On the other side of town, Ebenezer Pierpot (Jae Hughes), the president of Pierpot Enterprises (a manufacturer of snow shovels, snowblowers, and ice scrapers), wants to build a bigger factory in the park but can’t do that with all the snow. During a meeting at town hall, Pierpot tricks the Mayor into signing a contract to build a machine that will melt all the snow in the town, putting Frosty’s life in jeopardy. 

With Chillsville getting warmer by the minute, will Jenny come up with a plan to save Frosty or will he turn into a large puddle of water with a carrot?

I always look forward to reviewing this show because I love to see the children’s faces light up when they realize that they have been invited to become part of the production. They move to the edge of their seats with eager anticipation as they wait for the next question from the narrator or the cast and the next sing-a-long to join in.

During the performance the audience is asked what Jenny should do today (Build a snowman!), to come up with a plan to save Frosty (Move to another town!), help Jenny write a letter to her dad, and wish for snow (and it works!) They also join the narrator in the fun opening number, “Snow!” and the entire cast in a lively rendition of “Frosty the Snowman.”

With the ultimate message that love “is pretty powerful stuff,” this is the perfect show to introduce a child to live theater and is a wonderful way to celebrate the holiday season.

The John W. Engeman Theater, 250 Main St., Northport presents Frosty through Jan. 2. Running time is 90 minutes with a 15-minute intermission. Children’s theater continues with Disney’s Frozen Jr. from Jan. 29 to Feb. 27 and Madagascar – A Musical Adventure from March 26 to May 1. All seats are $20. For more information or to order, call 631-261-2900 or visit www.engemantheater.com.

by -
0 293
1 of 14
The 2021 cast of 'A Christmas Carol
Scott Hofer and Jeffrey Sanzel in a scene from 'A Christmas Carol'
Stephen Wangner and Jeffrey Sanzel in a scene from 'A Christmas Story'
Steven Uihlein and Jeffrey Sanzel in a scene from 'A Christmas Carol'
A scene from 'A Christmas Carol' at Theatre Three
Noelle McLeer and Jeffrey Sanzel in a scene from 'A Christmas Carol' at Theatre Three
A scene from 'A Christmas Carol' at Theatre Three
A scene from 'A Christmas Carol' at Theatre Three
A scene from 'A Christmas Carol' at Theatre Three
A scene from 'A Christmas Carol' at Theatre Three
A scene from 'A Christmas Carol' at Theatre Three
Julie Friedman and Jeffrey Sanzel in a scene from 'A Christmas Carol'
Streven Uihlein and Jeffrey Sanzel in a scene from 'A Christmas Carol'
Douglas Quattrock and Jeffrey Sanzel in a scene from 'A Christmas Carol'

By Heidi Sutton

The holidays have arrived at Theatre Three in Port Jefferson with the 37th annual production of A Christmas Carol. In the lobby the garland is hung and the tree is trimmed and in the Mainstage theater the Victorian London set awaits the wonderful imagination of Charles Dickens and the beloved retelling of a classic tale of redemption.

Based on Dickens’ 1843 novella of the same name, A Christmas Carol introduces the audience to Ebenezer Scrooge, a bitter and miserly man who has chosen “the world of business” over love, friendships and community. We first meet Scrooge “of all the good days of the year” on Christmas Eve, exactly 7 years since his business partner Jacob Marley died, as he snaps at his clerk Bob Cratchit, dismisses his nephew Fred Halliwell and chases carolers away. We see Want in the corner, a specter who will haunt Scrooge the entire show.

Later that evening Scrooge is visited by Marley’s ghost who offers him a precious gift — one last chance at redemption. Draped in the heavy chains he has forged in life, Marley warns Scrooge he will be visited by three spirits — the ghosts of Christmas past, present and future – in an attempt to save his immortal soul.

In one of the most important parts of the show, the Ghost of Christmas Past shows Scrooge “the shadows of things that have been” — a series of events that led him to become the man he is today — from his mother dying at childbirth; his time at Wellington House, the boarding school where he spent many Christmases alone as a boy; his loving relationship with his sister Fan and his apprenticeship with the kind-hearted Fezziwig where he proposes to his first and only love, Belle.

The shadows also reveal the exact moment when he chooses to go into a business partnership with Marley (“and so it began”) and is overtaken by greed; when Belle walks out of his life; how he turns on Fezziwig; and the death of Fan.

The cheeky Ghost of Christmas Present arrives to teach Scrooge the joys of mankind. The first stop is Bob Cratchit’s home where he finds out about Tiny Tim’s failing health and that Cratchit’s oldest daughter works long hours in the workhouses to help the family pay their bills. Scrooge’s concern is evident. The mood lightens at a dinner party hosted by his nephew where the guests mock him in spirit during a game and compare him to a bear.

A daunting 14-foot Ghost of Christmas Yet to Come shows Scrooge the shadows of what is yet to come, including his own death and how it affects those he has wronged. The frightening notion is exactly what the miser needs to turn his life around. His transformation on Christmas Day, especially in his interaction with Want, is a joy to watch. In the end, Scrooge discovers that old Fezziwig was right all along and that love is the only thing in life worth having.

Adapted for the stage by Theatre Three’s Executive Artistic Director Jeffrey Sanzel, the show evolves and changes every year, keeping it fresh and exciting. This year the show features a revised underscoring created by musical director Brad Frey, slight changes to the opening and closing, a shivaree, and due to COVID regulations, Tiny Tim is a puppet, designed by gifted puppet designer Austin Michael Costello. 

The entire cast is excellent, with many playing multiple roles. Sanzel, who has played the role of Scrooge in over 1400 performances, is fascinating to watch. Slightly hunched over, his character walks slowly with a cane and eases into a chair with a groan. But when the Ghost of Christmas Past brings him to Fezziwig’s Christmas Party, he jumps out of the shadows with a straight back and becomes a young man again dancing the night away with Belle. 

Special mention must also be made of Douglas J. Quattrock in the role of Scrooge’s loyal clerk Bob Cratchitt (a role he has played over 750 times) whose love for his family and the holidays is unconditional. His character’s attempt to be strong for his family while his child is very sick tugs at the heartstrings.

The Victorian set, designed by Randall Parsons, is most impressive with fireplaces that glow, a four-poster bed that tucks away neatly into the wall when the set transforms to the London streets, a church with stained glass windows, and a living home decked out for the holidays. The period costumes, also designed by Parsons, are perfectly on point and the lighting and sound design by Robert W. Henderson Jr. is truly magical, a word that also best describes the entire production.

Sanzel says it best in his director’s notes.“A Christmas Carol is a beautiful reminder that we are members of a community and that our responsibilities go beyond ourselves. Scrooge’s pledge to Tiny Tim’s future shows his ability to help those in his life; his embrace of the specter of Want shows his commitment to the world entire. Dickens’ message is one not just for Christmas but for always.”

Don’t miss this beautiful show.

Arrive early and be treated to a selection of Christmas carols by the actors on the Second Stage on the lower level and stay after for a Polaroid photo with Scrooge for $5 to support the theater’s scholarship fund or take one with your cellphone at no charge. 

Theatre Three, 412 Main St., Port Jefferson presents A Christmas Carol through Dec. 26. A special abridged sensory-sensitive performance will be held on Nov. 28 at 11 a.m. Running time is 2 hours with one intermission. Tickets are $20 each in November; $35 adults, $28 seniors and students, $20 children ages 5 to 12 in December. For more information or to order tickets, call 631-928-9100 or visit www.theatrethree.com.

by -
0 595
1 of 5
The cast of 'White Christmas' at the Engeman Theater 2021
Meadow Nguy and Darien Crago in 'Sisters'
Aaron Young and ensemble in 'Blue Skies'
Darien Crago and Daniel Plimpton in 'I Love a Piano'
Front row, Joshua Keen AnnaBelle Deaner and Ryan Rodino, back row, Darien Crago and Daniel Plimpton reprise 'Let Me Sing and I'm Happy'

By Barbara Anne Kirshner

Phenomenal music, dance, comedy with romance sprinkled on top all wrapped up in a giant red velvet bow, that’s White Christmas, Engeman Theater’s gift to ring in this joyous season.

Last year, the holidays were dismal with theatres shut across our great nation due to COVID, but not even a sweeping pandemic could extinguish its spirit for long. Theater fought back, reigniting marques with brilliant neon lights announcing that the show would most certainly go on.

The Engeman proudly swung open its grand glass doors welcoming all who enter to enjoy the magic of live theatre once more and to celebrate the holidays it is treating audiences to an irresistible White Christmas. With music and lyrics by Irving Berlin and book by David Ives and Paul Blake, this musical is based on the much loved 1954 movie starring Bing Crosby, Danny Kaye, Rosemary Clooney and Vera Ellen. The first stage adaptation did not happen until 2004 when it premiered in San Francisco before playing a limited engagement on Broadway from Nov. 14, 2008, until Jan. 4, 2009.

The story revolves around two former WWII army buddies Bob Wallace and Phil Davis who, after the war, become successful entertainers, then big time producers. They get a letter presumably from an army buddy asking them to check out his sisters’ act at a local club. Sparks fly when they meet these sisters who are leaving that night for a Vermont Inn to fulfill a booking engagement. In pursuit of romance, Bob and Phil follow the ladies and discover that their former general who now owns this inn has fallen on hard times. The plot proceeds with mad cap comedy and extraordinary musical numbers.

With producing artistic director, Richard Dolce and managing director Kevin J. O’Neill at the helm, the Engeman is dedicated to creating Broadway caliber experiences for their audiences and White Christmas is professionalism at its very best. 

This multi-talented ensemble is captivating. From the rollicking open numbers of Happy Holidays and White Christmas, Aaron Young as Bob Wallace and Daniel Plimpton as Phil Davis grasp us and never let go. Young’s voice richly floats through his every song while his stage presence is beguiling. Davis is a true song and dance man. The I Love a Piano duet featuring Darien Crago as Judy Hayes, is a tour de force tap number. Crago’s skill and energy mesmerizes in all her dance routines, making them appear effortless. Meadow Nguy as Betty Haynes soaring soprano sends chills especially in Love, You Didn’t Do Right by Me. 

Rounding out this ensemble is an impressive supporting cast. Keith Lee Grant is riveting as the stern General Henry Waverly shouting out commands until he reaches a moment of reflection that allows the caring man within to materialize. Suzanne Mason as Martha Watson sporting red curls reminiscent of Lucille Ball and impeccable comedic timing takes center stage belting out Let Me Sing and I’m Happy and nearly stops the show. The general’s granddaughter, Susan Waverly, played by AnnaBelle Deaner, mimics Martha with a rousing reprise of the same song.

Director Matt Kunkel has created sheer perfection taking us on a memorable musical journey of sight and sound. Music Director Camille Johnson maintains energetic fluidity from start to finish with a band that is beautifully synchronized to the performers in every number.

Choreography is central to this show and Drew Humphrey’s lively routines from the tap numbers to a chorus line done with the precision of the Rockettes is outstanding. Sound design is essential in a musical and Laura Shubert has the levels just right.

This is a period piece musical therefore costumes must allow for ease of movement while reflecting the 1950’s era and Dustin Cross has created breathtaking silhouettes most notably the dreamy coats decorated with clouds in Blue Skies, the dazzling black and white ensembles in I Love a Piano with Judy’s belt that unwinds into piano keys and all those stunning red confections in the White Christmas and I’ve Got My Love to Keep Me Warm finale. Hair design is another essential element in a period piece and Conor Donnelly’s 1950’s hairstyles look authentic.

Kyle Dixon’s scenic design sets the tone and is functional as it morphs easily from one scene into the next giving the continuous feel of the magical holiday season by emphasizing reds, greens and whites. Dixon’s giant frames of white bark against green matting outlines the set and emphasizes a rural feel for the Vermont Inn. Aaron Bowersox’s lighting design adds brilliance to the big numbers and subtle touches for gentler moments.

White Christmas is a must-see festive treat for the entire family so ring in the holidays with this spectacular musical now through January 2, 2022. And be sure to return for the rest of their 2021-2022 season of exciting shows.

The John W. Engeman Theater is located at 250 Main Street in Northport. Tickets to the show range from $75 to $80 with free valet parking. To order, call 631-261-2900 or visit www.engemantheater.com.

by -
0 156
1 of 6
A scene from 'Twelfth Night'. Photo by Arya Sementilli/Carriage House Players
A scene from 'Twelfth Night'. Photo by Arya Sementilli/Carriage House Players
A scene from 'Twelfth Night'. Photo by Arya Sementilli/Carriage House Players
A scene from 'Twelfth Night'. Photo by Arya Sementilli/Carriage House Players
A scene from 'Twelfth Night'. Photo by Arya Sementilli/Carriage House Players
The cast of 'Twelfth Night'. Photo by Arya Sementilli/Carriage House Players

By Barbara Anne Kirshner

In this COVID era where outdoor activities are preferred, the Carriage House Players, in partnership with the Smithtown Center for the Performing Arts and the Smithtown Historical Society, has extended the usual summer open air entertainment by heralding autumn with an under the stars production of Shakespeare’s romantic comedy Twelfth Night.

East Main Street in Smithtown is well lit at night by passing car headlights but once you turn off the main road and head up a narrow country lane, you are instantly immersed in a blanket of serene darkness save for an illuminated structure standing tall in the distance. 

A string of white twinkling lights guides the way through a meadow that ends at this grandiose structure decorated as a red barn framed by natural towering trees. You have just entered the world that is Twelfth Night.

This tale of unrequited love, believed to have been written around 1601–1602, has a whirlwind of twists and turns bursting with intrigue and mistaken identities that one remains riveted throughout.

The pre-show antics make it worth getting to the grounds early. Actors in Victorian garb circulate, hob knob with the audience, one strums a guitar and even reads tarot cards.

High-test energy explodes right from the start and maintains momentum through to a rollicking ending. This exceptionally well-rehearsed cast, thanks to director, Christine Boehm, appears comfortable with Elizabethan English and flings Shakespeare’s words in an easy, conversational manner just as the Bard intended. 

The opening springs to life with the song I Put a Spell on You and the stage rocks with a captain at the helm trying to stay the course of his ship veering off through a turbulent storm. Black sheers fiercely whip up and down, an abstract representation of violent waves which ends with a catastrophic shipwreck. 

Enter Anna Stacy, dynamic as Viola, in a role that shifts genders from female to male and back again. Viola was rescued by the sea captain, the adept Patrick Campbell, while Dan Schindlar, charismatic as her brother Sebastian, is rescued by Antonia, played by the expressive Zöe Katsaros. Neither are aware that the other has survived which adds another layer of intrigue to the plot. 

Viola disguises as a young man, ‘Cesario’, to go into the service of Michael Mandato’s evocative Count Orsino. Orsino is tortured by unrequited love for Countess Olivia a damsel in mourning for seven years over the death of her brother. Mary Caulfield captivates as the grieving countess shrouded in black and spurning all suitors. ‘Cesario,’ in doing the bidding of Orsino, professes his master’s love for Olivia, but it backfires when the countess falls in love with ‘Cesario’ instead. 

Upon seeing Sebastian, Olivia assumes he is ‘Cesario’ and implores him to marry her which he does willingly. In a final twist, ‘Cesario’ and Sebastian appear before Olivia and Orsino causing more confusion. But Viola reveals her true identity, declares her love for the count and is reunited with her twin brother. 

Sub-plots abound with Olivia’s uncle, Sir Toby, a drunkard performed with gusto by Evan Donnellan and his comrade, Sir Andrew, (Jae Hughes), a delightful fop who also pines for Olivia. This duo adds much madcap humor into the mix! 

Another comical twist happens when Maria, Olivia’s maid, played with relish by Katie Murano, pulls a prank on the pompous steward, Malvolio, making him think Olivia is in love with him. Kevin Callaghan’s Malvolio falls into hilarious raptures as the lovesick steward and nearly stops the show. 

Another participant in the plot against Malvolio is Feste, Olivia’s jester, played by the multi-talented Ana McCasland who displays all of her talents from singing to playing the guitar to acting.

For an electric celebration of wits, intrigue and an enthusiastic ensemble thoroughly committed to Shakespeare’s raucous comedy, catch a performance Twelfth Night, now playing through Oct. 31.

The Carriage House Players presents Twelfth Night on the grounds of the Smithtown Historical Society, 239 East Main Street, Smithtown on the evenings of Oct. 15, 17, 22, 24, 29 and 31. Tickets are $20, $15 seniors and children 12 and under. To purchase, call 631-724-3700 or visit www.smithtownpac.org.

Prev1...456...7Next Page 5 of 7
TBR News Media is your local news and entertainment website.
We provide you with the latest breaking news and information for your community.
Contact us: [email protected]

Most Viewed

©