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Kiernan Urso as Oliver, Jennifer Collester Tully as Nancy and Steve McCoy as Bill Sikes in a scene from ‘Oliver!’ Photo by Peter Lanscombe, Theatre Three Productions, Inc.

By Stacy Santini

Bravo! Bravo! The vociferous roar emanating from the admiring standing spectators after the closing act at Theatre Three last Saturday evening was definitely symbolic of the caliber of Jeffrey Sanzel’s “Oliver!” Sanzel recreates Broadway on our local stage as only he can do with this meritorious musical, once again proving that his ability to recreate classical gems in such an appealing manner is unsurpassed. Adults and children alike gleefully piled into the bustling near sold out theater anticipating how this Dickens masterpiece would unfold; and unfold it did, brilliantly.

Of the numerous adaptations of Charles Dickens’ second novel, “Oliver Twist,” Lionel Bart’s accommodation emphasizes the author’s thematic visions exquisitely, and it is no surprise that Andrew Lloyd Weber credits Bart as the father of the British musical. It premiered at the Wimbledon Theatre on June 30, 1960, and much like the original director/choreographer team of Peter Coe and Malcolm Clare, Theatre Three’s Jeffrey Sanzel and Marquez have created a production of potential award winning magnitude.

“Oliver!” is the tale of a young orphan boy who unbeknownst to him was born into a wealthy lineage. Seemingly destined to a life toiling away in 1800 workhouses, his fate takes a turn when he meets a group of thieving pickpockets masterminded by a man named Fagin. The triumph of good over evil eventually prevails, but the ending is secondary to the journey Oliver must take to reach that destination.

Kiernan Urso as Oliver at Theatre Three in Port Jefferson. Photo by Peter Lanscombe, Theatre Three Productions, Inc.
Kiernan Urso as Oliver at Theatre Three in Port Jefferson. Photo by Peter Lanscombe, Theatre Three Productions, Inc.

With a cast of 57, many still in middle school, this could not have been an easy feat, but the synchronization, timing and actual performances are so exceptional that the enormity of the show takes a back seat to the world-class depiction as it releases itself to the audience.

The moment Kiernan Urso takes the stage as Oliver viewers are held captive. His sweet, melodic British accent and sympathy-evoking countenance are merely precursors for his performance of the infamous song, “Where Is Love?” It is all over after that as the audience is utterly and completely engrossed in the story line.

As his savior, Mr. Brownlow, played by Ron Rebaldo states, “There is something in that boy’s face,” and yes there is. Kiernan, a sixth-grader at Longwood Middle School, undoubtedly will be adding numerous roles to his repertoire in years to come.

Each actor in this musical has certainly earned his or her placement among this ensemble, but there are a few that not only stand out but soulfully elevate their characters to lofty heights and usher this “Oliver!” into a new dimension.

Dickens’ examination of external influences corrupting what is innately pure could not be depicted without the character of Fagin, portrayed by Sanzel. Not only does he direct “Oliver!” but he also takes the stage as this charismatic charlatan. We are all used to seeing him as Scrooge in “A Christmas Carol,” which he does so phenomenally that one would think it would be an adjustment to see him in another Dickens’ role, but our fears are very quickly laid to rest when he comes out of the gate with a rendition of “Pick a Pocket or Two” and commands the stage with all the veteran finesse to which viewers have grown accustomed. Sanzel has a unique ability to take unsavory characters and make us not only like them but want to know them. The abhorrent behavior Fagin displays is transcended by Sanzel, and as he rouses with his adolescent gang of thieves we are periodically thrown into hysterics with one liners such as “Go to bed or I will sing again.”

Returning to Theatre Three’s stage is the stunning raven-haired Jennifer Collester Tully as Nancy. Her vocal range is superior and she is resplendent in this role. Struggling with her relationship with the repugnant character Bill Sikes, played by Steve McCoy, she brings new meaning to the cliché of a woman standing by her man. Her performance is so heartfelt that as she sings the forlorn, “As Long As He Needs Me,” we are beguiled to the point of tears. Partnering her with the baron of maleficent characters, Steve McCoy, was smart and their chemistry is palpable. As expected, McCoy portrays Sikes as intensely as he does Jacob Marley in “A Christmas Carol” and Jean Valjean in “Les Misérables.”

More than noteworthy are performances by Linda May as Old Sally and Hans Hendrickson as The Artful Dodger. May’s shrill deliverance of her abusive rants are piercing and repugnant, as they should be, and Hendrickson’s Dodger is amusingly coy.

New to the Theatre Three family is Doug Vandewinckel as Beadle Bumble. As one of the initial characters introduced, his presence on stage cannot be overlooked. The banter between him and Widow Corney, played by Phyllis March, is delightful, and the whimsical, “I Shall Scream” is a welcome debut to the comedic elements of the story.

The set sustaining all the mayhem and debauchery is stark and fitting. The costumes and set design induce a feeling of poverty and desperation. Although the simplicity is not indicative of lack of detail, the production staff — including Ellen Michelmore, James Kimmel, Steven Uihlein, Peter Casdia, Alexander Steiner, Tyler D’Accordo, Kristen Lees, Amanda Meyer, Bonnie Vidal, Brad Wilkens, Tim Moran, Michael Quattrone and Jacob Ziskin — have created a daunting synergistic panorama.

The movement upon stage is perfection. Each nuance as choreographed by Marquez seems obligated to sustain the music and acting laid out before the audience. The accompanying orchestra led by Jackson Kohl realizes the purity of Sanzel and Marquez’s vision fully as well and the talent of musicians Mike Chiusano, Marni Harris, James Carroll, Don Larsen and Kohl should not be overlooked.

“Oliver!” is by far one of the finest productions to grace Long Island stages and exactly as it ought to be. It more than entertains — it delivers countless levels of enjoyment and raises the bar for future artistic aspirations universally. Kudos Theatre Three, Kudos.

Theatre Three, 412 Main St., Port Jefferson will present “Oliver!” through June 27 on the Mainstage. Tickets range from $15 to $30. For more information, call 631-928-9100 or visit www.theatrethree.com.

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Kiernan Urso as Oliver and Jeffrey Sanzel as Fagin in a scene from ‘Oliver!’ at Theatre Three in Port Jefferson. Photo by Peter Lanscombe, Theatre Three Productions, Inc.

By Erin Dueñas

Twelve-year-old Kiernan Urso can trace his love of acting back to preschool where a creative teacher engaged him and his classmates in games of “Let’s Pretend” where the only limit was their imaginations.

“She let us choose whoever we wanted. We would all pick a character, and she would write a script based on the characters,” said Kiernan. “I remember once there was a play with Peter Pan and Rocky Balboa and three Disney princesses. That’s when I learned that performing was a way of communicating.”

In addition to “Let’s Pretend” sessions, the Longwood Middle School sixth-grader said he would accompany his father, a teacher in Longwood, to the plays put on at school.

“I remember sitting in the front row and thinking I can see myself doing that.”

On May 23, Kiernan will take to the stage as the title character in “Oliver!” at Theatre Three in Port Jefferson.

It will be his third time on the main stage there, having appeared in “A Christmas Carol” as Scrooge as a Boy this past year and Tiny Tim the year before. Kiernan said he is excited to play Oliver.

“He is very innocent but very strong,” Kiernan said of his character. “He can survive anything. Despite his life, that hasn’t gone well, he’s a fighter and he won’t give up.”

But playing the title role, which puts him in nine of the play’s 12 scenes, is also making Kiernan nervous.

“Playing the main character is nerve-wracking,” he said. “What are people going to think? I don’t want to disappoint anyone.”

With rehearsals at least five times a week, preparing for “Oliver!” has taken up a lot of Kiernan’s time, but he manages to complete schoolwork thanks to supportive teachers and making good use of his time.

“I get my homework done during the school day and maybe some in the morning,” he said. “I don’t know how I do it but it works out.”

The demanding rehearsal schedule also keeps Kiernan’s mom Christina busy, driving her son back and forth from their home in Ridge to Port Jefferson.

“It’s all worth the crazy hours. It’s such a great experience for him” she said. “To see that spark in your child’s eye — to see him love it and not just like it. It’s all worth it.”

A self-described movie buff, Kiernan said he enjoys watching movies with a lot of drama, and he said he would love to appear in a horror movie one day. He is a big fan of television as well, counting the ABC show “Once Upon a Time” as a favorite.

“I love how they twist fairy tales and compress them with our modern world,” Kiernan said. “I would love to be on that show someday. I don’t even care what character I would play.”

Kiernan said eventually he would like to audition for commercials and possibly even Broadway. A dream role would be to play King Triton in “The Little Mermaid.”

“He’s in control and I like the feeling of how he can boss people around.”

For now Kiernan is enjoying his time at Theatre Three, which he said is unlike anything he has ever experienced.

“The adults here treat you like one of them,” he said. “They are not distant and they try to help you out and do what it takes to make you comfortable.”

Kiernan said he is particularly inspired by Jeffrey Sanzel, who is directing “Oliver!” and playing the role of Fagin. Sanzel also plays Ebenezer Scrooge in “A Christmas Carol.”

“The way he directs, acts and portrays any character he plays is amazing,” Kiernan said. “I want to be like that when I grow up.”

Sanzel is equally impressed with Kiernan.

“When he auditioned for Oliver, we saw something truly extraordinary,” Sanzel said. “It was a combination of raw honesty and underlying fire. In Kiernan, we saw the passion and the light that shines through underneath. The audience will root for him from the first moment to the last.”

Theatre Three, 412 Main St., Port Jefferson, will present the timeless musical “Oliver!” from May 23 to June 27. For more information, call 631-928-9100 or visit www.theatrethree.com.

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From left, Patrick Grossman, Andrew Smith, Joseph Morris, Brodie Centauro, Sean Burbige and Van Whitaker. Photo by William Sheehan

By Charles J. Morgan

Delving once again into the esoteric vocabulary of the theatah, your scribe finds the word “property.” It does not refer to real estate. It means a script. A dramatist finishes writing one, finds a good agent, then some backers, then a director and cast, and it’s on with the show! The property “The Full Monty” has fallen into the hands of the CM Performing Arts Center in Oakdale and opened last Saturday, May 9.

Now a property is quite different from the actual performance. The director, in this case, the very able Kristen Digilio, has to bring believable characterizations, and block them round the boards in a way that is consonant with the characterizations. This staves off the subtle assaults of that monster, Stasis, the spoiler of all action. Digilio effects this with undeniable skill.

Your scribe is a critic, not a press agent. Therefore, he must take under his responsibility all, repeat all, aspects of theater he sees while assigned to review one particular play. Your scribe will take on one for outstanding criticism. It’s the property and only the property. One proem however, your scribe was not the model for Augustus St. Gaudens’ statue The Pilgrim. Your scribe is not the one who is haunted by the fear that somewhere, somebody is smiling. Therefore, he is constrained to label the property filthy, auto-erotic, erotic, lascivious, puerile, skatological and concerned with one thing and one thing only: male genitals seen and unseen. The audience’s deeply pejorative reaction was force-fed to your scribe. The non-stop screaming, hooting, boisterous demands for more,the feigned laughter; all of it came from apparently mature women.

But then there was some acting. Brodie Centauro as Jerry has a smooth tenor voice, revealing an aura of pliant lyricism in the upper register. He is the idea man who recruits five co-workers to form a male stripper group along the lines of the famous Chippendales. All this because he found out that his wife and some of his friends’ wives had, on “girls night out,” gone to see the Chippendales. The plot line for the rest of the show is “will they or won’t they go the full monty?”

Sean Burbige, Joseph Morris, Andrew Smith, Van Whitaker and Patrick Grossman complete the “sex-tet.” Choreography was also by Digilio, another tribute to her talents. A cameo was offered by Linda Pentz as a smoking tough-old-broad, beautifully executed. It even reminded your scribe of Sophie Tucker. Brava Linda.

In Act I, “It’s a Woman’s World,” despite scurrilous lyrics, was rendered by Jessica Ader-Ferretti, Heather Van Velsor, Bidalia Albanese, and Emily Dowdell (who also doubled as Molly MacGregor quite efficiently). This was “balanced” by a monument to flaccid machismo by Centauro and Burbige. Their harmonizing? Great. In Act II, the finale, “Let it Go,” done with great power, told it all.

As usual, Matthew Surico led a phenomenal 12-piece outft, making good use of trombonists Chris Zatorski and Chris Parrella as well as percussionist Jared Shaw.

A bit of fairness: Aristophanes in his “Thesmophoriazusae” and “Lysistrata” was raunchy. Martial and Juvenal titillated Roman crowds. Tennessee Williams in “A Streetcar Named Desire” had Marlon Brando and Jessica Tandy going at it. So?

The CM Performing Arts Center, 931 Montauk Highway, Oakdale will present “The Full Monty” through May 27. Tickets range from $20 to $29. For more information, call 631-218-2810 or visit www.cmpac.com.

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By Ed Blair

“I don’t entirely approve of some of the things I have done, or am, or have been. But I’m me. God knows, I’m me.”

Iconic actress Elizabeth Taylor’s self-appraisal references a life that ranged from the sensation of stardom to the sensationalism of tabloids. She was one of the last superstars of the Hollywood studio tradition, and her life and career, both on and off screen, were a source of entertainment for decades.

Elizabeth Taylor. Photo from the WMHO
Elizabeth Taylor. Photo from the WMHO

Audiences can listen to the legendary actress’ tale as the Ward Melville Heritage Organization presents “The Elizabeth Taylor Story” May 9 through June 17 at its Educational & Cultural Center, 97P Main St., Stony Brook. The popular musical theater and high-tea luncheon series returns to the center with a tribute to the enduring screen idol. The 1963 setting for the St. George Productions finds singer Eydie Gorme (played by Rosie Flore) headlining a musical comedy spring spectacular, with Taylor (portrayed by Lisa Mondy) as the her guest. Along with her faithful domestic, Rosie (played by Kim Dufrenoy), Gorme will talk with her glamorous visitor and delve into the roller coaster ride that marked both a distinguished acting career and an often turbulent personal life. A light lunch of finger sandwiches will follow the show.

The cast members weighed in with their thoughts about the star of the show.

“I think people will walk away with a different perception of Elizabeth Taylor. As she tells her story, you realize that she herself never took her stardom seriously. She felt fabricated by the movie studios, which staged her look as well as with whom she was seen. She never really wanted all the hoopla and drama that went with being a celebrity,” said Dufrenoy.

Added Rosie Flore, “Celebrities and icons are people too. They live, love, laugh and hurt just the way we all do.”

Portraying the former movie idol, Monde said, “Elizabeth Taylor represented glamour. She represented style; she represented Hollywood stardom. At times her personal life overshadowed her screen accomplishments, but in the end, after eight marriages and numerous life-threatening illnesses, Elizabeth Taylor was a survivor.”

Born in London in 1932 to American parents who took their St. Louis art dealership abroad, Elizabeth Rosemond Taylor returned with them to the United States at age 7, as the family fled the impending war in Europe. The Taylors resettled in Los Angeles, where a family friend suggested that the arrestingly attractive Elizabeth be given a screen test at a movie studio. Her radiant good looks and charisma captivated the camera lens, and, by the time she was 10, the fledgling actress was appearing in films at Universal, MGM and 20th Century Fox. After playing several small parts, she rocketed to stardom, playing opposite Mickey Rooney, in the 1944 hit “National Velvet.” Now a child star with a contract with MGM, young Elizabeth scored another big success for her role in “Little Women” in 1949.

Blossoming into a voluptuous-figured, violet-eyed beauty as she entered her twenties, Taylor soon found herself playing opposite some of Hollywood’s top leading men. She received Academy Award nominations for her roles in “A Place in the Sun” (1951), “Raintree County” (1957), “Cat on a Hot Tin Roof” (1958), “Suddenly Last Summer” (1959) and “The Taming of the Shrew” (1967). She garnered two Oscars for her role as a call girl in “BUtterfield 8” (1960) and for her definitive roll as Martha in “Who’s Afraid of Virginia Woolf?” in 1966.

She also appeared famously in “Giant” with James Dean (1956) and with Richard Burton in “Cleopatra” in 1963 for which she was paid the then-stunning sum of one million dollars. Taylor became an international star and appeared solo on the cover of People Magazine 14 times.

Taylor was a significant voice in the battle against AIDS, helping to raise funds for research and playing a major role in focusing public opinion on the epidemic. For her tireless efforts, she was awarded the Presidential Citizens Medal in 2001.

“It is bad enough that people are dying of AIDS,” she said, “but no one should die of ignorance.”

Performances of “The Elizabeth Taylor Story” will run from May 9 through July 17 and take place on Wednesdays, Thursdays, Saturdays and select Fridays at 11:30 a.m. and on Sundays at 12:30 p.m. Advance reservations are required. Tickets are $48 general admission, $45 seniors. For more information or to make a reservation, call 631-689-5888 or visit www.wmho.org.

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From left, Ray Palen, Gabriella Stevens and Mikal Oltedal in a scene from ‘The Man Who Came To Dinner.’ Photo by Michael Leinoff

By Charles J. Morgan

In the sometimes arcane lexicon of the theatah there is the term “chestnut.” It simply refers to a good or actually immortal play that is done every season everywhere. It has long-standing universal appeal, and is audience friendly even when translated into Gheg, Tusk or Urdu. Such a play is George S. Kaufman and Moss Hart’s “The Man Who Came to Dinner,” currently playing at the Minstrel Players’ venue in Northport for a limited run.

Set in 1939, the script is literally flooded with references associated with that era …. Haile Selassie, John L. Lewis, “Bubu” (Mahatma Gandhi), Charles Ross and even Noel Coward with a fast-paced output, wise-cracking, display of humor.

Director Ray Palen starred as the impossibly rude Sheridan Whiteside, a cultured, scholarly writer, pundit and author. Homer described Odysseus as speaking “winged words.” Whiteside’s words are winged too … laden with nuclear warheads. He demolishes any opposition with piercing, barbed onslaughts. Palen discharged his role as Whiteside expertly, consistently — like a lovable Falstaff. He is very seldom offstage and manages the signature wheelchair right up to the edge of the apron.

Michelle Torres plays Maggie Cutler, Whiteside’s long-suffering but capable secretary. Torres handled this role with called-up on professional aplomb even in a scene where she “quits” her job. Here she is still underplaying it, but with steely, scarcely concealed anger.

The Minstrels’ dynamic veteran character actress Maris Kastan is Miss Preen, Whiteside’s nurse. She plays out the dutiful nurse like someone hit with a baseball bat, but can’t figure out what hit her. That is until she dramatically resigns with a downstage center speech about going to work in a munitions factory. Kastan, together with Palen, is an outstanding example of getting into the essence of a role, making the acting real.

Banjo, a true slapstick role, is managed neatly by Ralph Carideo. He really eats up the scenery, combining an earthy Rabelaisian Vaudeville humor, delivered with punch and verve. Then we have Alicia James as glamor girl movie star Lorraine Sheldon. She is in love with one person: herself. Every line and move is promotional of a solitary object named Lorraine. She is frivolous, sexy, with a virtual murder streak … all of it with a compelling smile. This is not an easy role, but James handled it with perfection.

A triple role was held by Brian Hartwig. He was the eccentric Professor Metz in topee, tropical jacket and spectacles who delivers a cockroach colony. (Yes, they do eventually escape.) He has a  bit part as Expressman, but bursts into a key role as Beverly Carlton, a knockoff of Noel Coward done to English accent languidity with all the sophistication Noel himself could have brought. Hartwig’s range of talent was palpable. One wishes to see him more on the Minstrels’ playbill.

Constraints of space preclude mention of others in this massive cast, however, Evan Donnellan stood out as Bert Jefferson, Tricia Ieronimo as Mrs. Stanley and Jim Connors as her long-suffering husband. A curtain call bow was taken by Valerie Rowe who undertook the role of Sara the Cook as a last-minute substitute. Well done!

The Minstrel Players may be a little cramped in their present venue, yet they have expanded smoothly with this show. One sees a massively bright future for them. Break a leg, Minstrels!

The Minstrel Players will present “The Man Who Came To Dinner” on May 2 at 8 p.m. and May 3 at 3 p.m. at the Houghton Hall Theatre at Trinity Episcopal Church, 130 Main St., Northport. Tickets are $20 adults, $15 seniors and children. For more information, call 631-732-2926 or visit www.minstrelplayers.org.

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From left, Bobby Montaniz, Amanda Geraci and James D. Schultz in ‘The Littlest Pirate.’ Photo by Peter Lanscombe, Theatre Three Productions, Inc.

Avast ye! Theatre Three’s world premiere of the musical adventure, “The Littlest Pirate,” which opened last Saturday, takes us from a baseball diamond to a treasure hunt on Diamond Isle and is a rollicking home run.

Written by Tim Peierls and Jeffrey Sanzel, the play tells the story of Annalise, a young girl who wants to play on the Petaluma Pirates Little League baseball team who are always losing to the Rovers from Roger’s Refrigeration. When the coach tells her that the only way she can be on the team is to cheat, Annalise is torn between playing a sport she loves and doing the right thing. She falls asleep on a bench and is swept away into a Pirate Dreamland where she faces the same dilemma when she encounters a band of pirates who want her to switch a real treasure map with a fake one.

Sanzel, who also directed the show, has gathered an enormously talented group of seven adult actors who all tackle duel roles with inexhaustible energy. The petite Amanda Geraci is the perfect choice to play Annalise, the littlest pirate. An incredible actress and singer, Geraci’s solo, “Always Wanted to Play Baseball,” is amazing.

James D. Schultz shines as Coach Wallop and Captain Pyrate who only speaks Pyrish. The one and only Bobby Montaniz is hilarious as he tells numerous jokes as Bobbo and Pirate Parrot. Hans Paul Hendrickson plays the role of twins, Fred and Norville and the Pirate Forvilles, which wasn’t an easy task, but he pulls it off with ease. Jenna Kavaler is wonderful as Jenny, the Petaluma Pirates’ best baseball player who really just wants to play the oboe. Evelyne Lune, as Erin Petaluma and The Pirate Queen, is the all-knowing matriarch of the group and switches roles effortlessly. Rounding out the cast is Andrew Gasparini as Boyd and Pirate Boyd, a terrific actor who has found his own niche on stage and clearly enjoys what he’s doing.

Although the set is minimal with only a few props, costume designer Margaret Ward has spared no expense with matching baseball uniforms and colorful pirate outfits. Choreographed by Marquéz Stewart and accompanied on piano by Peierls and on bass by David Goldberg, the musical numbers are superb, especially “How to Speak Pyrish” and the delightful “Great Day for a Treasure Hunt,” which you will be humming on your way out of the theater.

As with most children’s shows at Theatre Three, there are moral lessons sprinkled throughout the performance. In this case, kids will learn about cheating and the everlasting lesson of “it’s not whether you win or lose, it’s how you play the game.” It is no easy task getting a young audience to sit still for periods at a time, but “The Littlest Pirate” does the trick. No restlessness here  — just children sitting wide-eyed on the edge of their seats, enthralled by the enchantment of live theater. Kids of all ages will enjoy “The Littlest Pirate.” It is funny, entertaining and a great way to spend a Saturday morning.

The entire cast will be in the lobby after the show for a meet and greet and photo opportunities.

Theatre Three, 412 Main St., Port Jefferson will present “The Littlest Pirate” on Saturday mornings at 11 a.m. through May 9. Tickets are $10 per person. For more information, call 631-928-9100 or visit www.theatrethree.com.

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From left, Samantha Carroll, Jay McKenzie and Bobby Peterson in a scene from ‘Violet’ at the SCPA. Photo by Theresa Grillo

By Charles J. Morgan

The noir musical “Violet,” based on the short story “The Ugliest Pilgrim” by Doris Betts, opened last Saturday at the Smithtown Center for the Performing Arts. But what is a noir musical? Is it an opera, rock or otherwise? Is it sad, heart-rending, tragic, on a level with “La Bohème”? Your scribe suggests it is somewhere between Rossini’s effort and the recent “Murder Ballard” — the former an illustrious work of art, the latter the apotheosis of poor taste. “Violet,” therefore, is a middle ground, standing across the road as a signpost directing the theatrical traveler to the crossroads of mediocrity. Take one of the forks: aesthetic satisfaction; take the other —  “…’n I wuz like wow!”

There are noir motion pictures too. They all occur in one noir night, in noir and white and always have plot lines involving a murder solution. It makes one wonder why noir musicals are penned in the first place. Presumably they were intended to pitch shock and schlock into the roiling sea of praise poured onto the “happy ending” dance and song of the major hits. In your scribe’s not-so-humble opinion, “Violet” is a classically flawed work hinging on the fact of a young girl’s face horribly disfigured by a flying axe blade. At this juncture one could rank it with the Parisian Theatre Guignol.

Now then, standing back from all of the above, there was the indomitable Ken Washington direction. As his ever present skills reveal, interpretation and blocking were kept well ahead of the pursuing nemesis stasis. A pitfall of the one-set production is always a threat, but Washington came through. He handled the individuation of characters by giving them fast and slow motion that kept the boards well trod.

In the obviously starring role of Violet was Samantha Carroll. In singing and acting she was outstanding. With a fetching stage presence, she coupled this with a delightful soprano voice. With scarcely an exit she was easily the jeweled bearing on which the dynamic of the show rotated.

Two male singers vied for her attention … her complete attention. One, a sergeant; the other a Tech 4. The sergeant (Flick) was Jay McKenzie, the Tech 4 (Monty) was Bobby Peterson. McKenzie was the cool, veteran soldier with a strong tenor. In Act II his duet with Carrol was very impressive.

Peterson was more than just a foil for the sergeant. His voice was robust with a lyric tenor closeness that expressed his simple love for Violet. Michael Bertolini doubled as the bus driver and, in a powerful cameo, a corrupt Bible-thumper. He sang and danced with a group of pretend Bible singers. Viewing it your scribe felt Catholics in the audience would wear a wry grin; Evangelicals would have picketed that “preacher’s” performance.

As Young Violet, Hayleigh Jusas revealed excellent stage presence and a strong voice. In the “preacher” segment one ultra-powerful voice stood out: that of Amanda Camille Isaac. It was powerful, smooth and wrought with strength that not only expressed her religious fervor but rattled the rafters.

Music was live under the direction of Melissa Coyle with Craig Coyle on second keyboard, Ron Curry on bass, Jim Waddell on drums. Tiffany Jordan on cello, Brad Bosenbeck on violin and two guitars handled by Ray Sabatello and Douglas Baldwin provided palpable background, effecting it all with no brass.

“Violet” was a completely well-executed noir piece. It was balanced with other than rock, pertinent, believable recitatives and tender solos. To your scribe it was a critical challenge. To the audience it was a treat.

The Smithtown Center for the Performing Arts, 2 E. Main St., Smithtown, will present ‘Violet’ through May 17. Tickets are $35 adults, $20 students. For more information, call 631-724-3700 or visit www.smithtownpac.org.

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Peter Fogel stars in the touring production of ‘My Mother’s Italian, My Father’s Jewish & I’m in Therapy.’ Photo from Theatre Three

During the first 15 minutes of “My Mother’s Italian, My Father’s Jewish & I’m in Therapy,” currently on tour and playing at Theatre Three in Port Jefferson, I became a little concerned. I expected to be laughing my tuches off, but that wasn’t the case. Until, that is, Peter Fogel, portraying the show’s author, Steve Solomon, really started describing his Italian mother and Jewish father.

Despite the slow start — and some predictable jokes — the one-man show is enjoyable, especially if you can relate to it.

The show ran on Off-Broadway from 2006 until 2008 and spawned sequels “My Mother’s Italian, My Father’s Jewish & I’m STILL in Therapy” and “My Mother’s Italian, My Father’s Jewish & I’m Home for the Holidays.” Inspired by Solomon’s family and his upbringing in Sheepshead Bay, the show received favorable reviews and has toured internationally and in more than 100 cities.

Fogel, a Stony Brook-born, Baldwin-raised comedian, does a wonderful job of portraying all of the Solomon family and has great comedic timing when interacting with audience members who couldn’t stop laughing.
Fogel is especially hilarious as Grandma Angelina, who states “grandpa was a mail order groom damaged in shipping” and in one conversation confuses “condo” for “condom.”

One of the show’s strength’s is how even the punch lines have a little poignancy to them, like when Solomon asks his parents about the birds and the bees, but they always answered in riddles.

At the end of the show, Fogel made a comment about performing the show in other states and how not as many people get the jokes, which are definitely New York-centric.

There aren’t many other places that will truly understand the bit about driving through a gated Florida retirement community and being stopped by an elderly security guard with a walker or having a Jewish father whose cure-all to life’s problems is Chinese food.

These bits make the show and are so incredibly true for anyone whose parents, or grandparents, have shipped off to Florida or kept Kosher — unless it involved Chinese food.

Some of the jokes may be a little cliché, but man are they funny!

Theatre Three, 412 Main St., Port Jefferson will present ‘My Mother’s Italian, My Father’s Jewish & I’m in Therapy’ through May 10. Tickets are $44 on Wednesdays and Thursdays and $49 on Fridays, Saturdays and Sundays. Special group rates are available. For more information, call 631-928-9100 or visit www.theatrethree.com.

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From left, Kyle Petty as Simon and Danny Amy as Jesus in a scene from ‘Jesus Christ Superstar.’ Photo by Diane Pacifico Marmann

By Charles J. Morgan

There are two ways that “Jesus Christ Superstar,” currently in production at the CMPAC, may be the subject of a critique: the theatrical and the biblical. The work of Tim Rice (lyrics) and Andrew Lloyd Webber (music), who gave the theatrical world “Evita” and “Phantom of the Opera,” it is a rock opera with no recitatives — all song and some ancillary choreography.

Brilliantly arranged live music, actually in the pit, featured Matthew W. Surico directing and on keyboard, backed by Danny Passadino on second board, Diana Fuller and Laura Carroll on guitars, Rob Curry on bass, Jacob Krug on percussion, John Dumlao on violin with Jared Shaw on drums, Kevin Merkel on horn and the skilled fingers and embouchure of Gary Golden on trumpet. This crew had it all, superbly rehearsed, musically overwhelming; Surico had culled top talent.

Director Danny Amy had the leading role of Jesus of Nazareth. Tall and imposing with a lyrical tenor voice, he dominated the enemies and followers with gentility consonant with that of the Nazarene.

Two key roles were held by Jim Sluder as Judas and Debbie Hecht as Mary Magdalene. Sluder brought out the purely earthbound fanaticism. His intense drive to have Jesus proclaim himself as an earthly ruler will lead him to the betrayal. Sluder’s high-pitched intensity had him truly “eating up the scenery.” Hecht’s role was problematic. There is a scholarly trend currently that puts her extremely “close” to Jesus. Her plangent and echoing voice was near rapturous and brought off the humanity of Jesus, which was the essence of Rice and Webber’s efforts.

Four other roles were critical: Annas, played by Ralph D’Ambrose, Caiaphas by John DiGiorgio, Herod by Marc Andre Ausset and Pontius Pilate by Carl Tese. D’Ambrose was the mocking, teasing enemy of Jesus, a part he carried out with detailed efficiency. DiGiorgio, costumed in red with gold-tipped staff revealed a voice that approached a deadly basso at times and brought out his authority with booming, stentorian menace. In contradistinction to the others, Ausset captured the deviant, flighty Herod in a spangled costume and even danced with his female courtiers in a number designed to look like a Moulin Rouge group doing the Galop Infernal. Tese had a near basso voice that he used as an accent to his proclamations. He quite ably evinced the dangers of the middle-of-the-road lack of decision that marks Pontius Pilate’s fatal pronouncement.

In Act I, Hecht’s “I Don’t Know How to Love Him” was a relief from the raucous song and dance of the tormentors and followers, yet it evinced a deep sincerity and that underlying attraction that perhaps is attributed to the Magdalene without biblical evidence. “Pilate’s Dream” by Tese gave the audience a clear picture of Pilate’s hesitancy and his fear. Annas, Caiaphas, priests and the chorus perform “This Jesus Must Die,” a pounding, roaring declaration that made known the desires of the Sanhedrin more than obvious.

Act II is a passion play. The “Last Supper” made no effort to emulate da Vinci but was neatly executed with “Do This in Memory of Me,” outstripping the meaning of the first Eucharist. Ironically Webber’s artful tendency to use a rock cum Latin beat still paid off here. The confrontation of Christ with Pilate was done well except for the famous “What Is Truth?” which was delivered almost in passing when it deserved more of a showcasing.

Choreography by Jennifer Amy was conservative but effective. Set design by Danny Amy was very impressive. The dust and stones of first-century Jerusalem were done in detail with even an upstage center exit that gave a true three-dimensional air. Intricate lighting was the work of David John Serrecchia. He played it suggestively with head spots on Jesus looking like a halo. The finale was handled by the orchestra in a number entitled “John 19:41.” With Surico’s talent handling this one, it had all the sonority of a typical full-blast finale.

The CM Performing Arts Center, 931 Montauk Highway, Oakdale, will present “Jesus Christ Superstar” through April 26. Tickets range from $20 to $29. For more information, call 631-218-2810 or visit www.cmpac.com.

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

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

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

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

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

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

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

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

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

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

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

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

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