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The cast of ‘The Addams Family,’ from left, Terry Brennan, Daniel Belyansky, Jon Rivera, Steven Cottonaro, Gina Morgigno, Denise Antonelle and Marc Slomowitz. Photo by Timothy Pappalardo

By Charles J. Morgan

Deep, dark, dank and dusty were the living quarters of the cartoon-famous Addams Family immortalized by Charles Addams and carried forward by the long-running TV series. Just in time for Halloween, Oakdale’s CM Performing Arts Center’s Noel S. Ruiz Theatre has produced it in all its necropolitic splendor and funereal solemnity. And by the way … it’s a musical.

Given CMPAC’s penchant for grand and opulent staging, it was phenomenally successful. The ubiquitous and talented Patrick Grossman designed the set with its precise and swift and sure mobility. With keenly executed lighting plot by Carl Tese, the show’s dark and dreary set was suffused with appropriate ominous light including graveyard mist.

Grossman also directed and his skills with blocking and interpretation were palpably patent. CMPAC’s massive venue poses a problem for the making and breaking of character compositions in a coherent, logical (real?) manner. Theatrically, Grossman succeeded mightily in this. When it came to interpretation he did a credible job inculcating “spookiness.”

Jon Rivera, in the role of Gomez, has the dominant role. His voice, somewhere between a tenor robusto and dramatico, carried him emotionally through all his numbers such as “Wednesday’s Growing Up” and “Gomez’s What If” in Act I. He focuses emotion and sturdiness with masterful acumen.

Denise Antonelle, as his wife Morticia, has a firm soprano coupled with a voluptuous stage presence and a projection ability commingled with exceptional clarity. Their daughter Wednesday was played by Gina Morgigno. Morgigno was ingénue-like in her movements and that plangent voice in Act I’s “Pulled” and “Crazier Than You” in Act II ranked her as a first rate actress-singer. Fifth-grader Daniel Belyansky, who plays Pugsley, is wonderful in his solo number in Act I, a take-off on Gomez’s number “What If.” He has a strong developing voice, and this showcase number may mark him for much to come.

With a massive blonde wig, Terry Brennan plays Grandma, launching her scratchy, boisterious voice in earthy aphorisms, brooking no opposition from anyone. Marc Slomowitz as Uncle Fester had a sort of a parallel role. He had mobility, especially facial, and was hilarious in “Fester’s Manifesto” in Act I and “The Moon and Me” in Act II.

Then there was Lurch the butler. It was a silent role except for his gurgling and growling, the timing of which evoked some loud laughter, especially from your scribe. Steve Cottonaro handled this role with mimetic menace.

As usual, Matthew W. Surico led a live pit band with his expected genius. There was somewhat of a preponderance of Latin rhythms ranging from tango to 6/8 time Bossa Nova, even a waltz. The musical talents of this 12-piece outfit rose to resplendent heights. Choreography was in the hands of the skilled M.E. Junge who also played a small part as one of the Ancestors while costumes were neatly handled by Ronald Green III.

If the audience’s whooping and howling are any indication of the success of this production, it must be a smash hit. Your scribe more tacitly agrees.

The CM Performing Arts Center, 931 Montauk Highway, Oakdale will present “The Addams Family” through Nov. 8. Tickets range from $20 to $29. For more information, call 631-218-2810 or visit www.cmpac.com.

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

By Rita J. Egan

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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The entire cast of ‘Alice’s Wonderland Adventures!’ Photo by Peter Lanscombe, Theatre Three Productions, Inc.

Lewis Carroll’s beloved classic may be more than 150 years old, but “Alice’s Adventures in Wonderland” and “Through the Looking-Glass” still resonate with children and adults alike. Now Theatre Three’s creative geniuses Tim Peierls and Jeffrey Sanzel have written a brand new Alice-inspired children’s musical — “Alice’s Wonderland Adventures!” — that opened last Saturday. All the familiar characters are here, from the White Rabbit to the Mad Hatter, to the Queen of Hearts to the beloved Cheshire Cat. Throw in an appearance from Humpty Dumpty and Dorothy Gale, add a quick game of Wheel of Fortune for good measure, and you’ve got yourself a hit show.

Sanzel as director leads a talented group of seven adult actors, all of whom play multiple roles, through a delightful and clever production perfect for younger audiences. Seasoned actors Jenna Kavaler, Amanda Geraci, Hans Paul Hendrickson, Andrew Gasparini and Steve Uihlein are all outstanding, as are newcomers Mary Ortiz and Melanie Acampora, making their children’s theater in-house debut.

In the first act we meet Addison Carroll (Kavaler), an actress who is nervous that she will forget her lines as Alice in “Alice in Wonderland.” In a dream sequence, she finds herself transported to a magical land where the White Rabbit accidently takes her script. Addison spends the rest of the show chasing after the harried hare, trying to get it back. Along the way, accompanied by the Cheshire Cat, she has a tea party with the Mad Hatter, the March Hare and the Dormouse; plays croquet with the Queen of Hearts, who enjoys shouting, “Off with their heads!” a bit too much; and visits with Tweedledee and Tweedledum. Addison’s adventures help her gain confidence and she awakens from her nap, ready to take on the world.

Sanzel knows his target audience well. Every scene is full of song and dance, fast-paced and short. Riddles and jokes run rampant throughout the production: “Why do flowers work in the kitchen? Because you can’t make tarts without flour!”

The 12 original musical numbers by Peierls, accompanied by Steve McCoy on piano, are the heart of the show. Hendrickson is outstanding in his solos, “We’re All a Little Mad Here” and “The Tweedle’s Song,” in which he impressively performs both Tweedle roles, making his solo a duet. Geraci shines in “So Much to Do,” and the entire company’s “Wonderland Within You” is the perfect finale.

The actors utilize the set from the evening show, “Sweeney Todd,” but that’s OK because the costumes and puppets are so colorful and fun, a set is not even necessary. From the caterpillar with his six arms to the long red robe of the Queen of Hearts, costume designer Teresa Matteson has done an excellent job. It is the 13 puppets, however, designed and constructed by the brilliant Tazukie Fearon, that steal the spotlight. From the moment they make an appearance, the children are mesmerized. This is live theater at its best. Meet the cast in the lobby after the show.

Five-year-old Josephine Cunniffe, of Stony Brook, who said she loved the show, enjoyed the performance with her grandparents. Her favorite character was the White Rabbit.

Ashley Kenter, who’s been coming to Theatre Three since she was a little girl, said her favorite characters were “Alice … and the bunny” and her favorite scenes were when the Cheshire Cat told knock-knock jokes. The 10-year-old, who was having her birthday party at the theater, said she decided to celebrate the milestone at Theatre Three “because there is a lot of room here and they have a lot of good shows.” Her favorite show of all time is “Barnaby Saves Christmas,” which by coincidence is the theater’s next children’s show, from Nov. 27 to Dec. 26.

Theatre Three, 412 Main St., Port Jefferson, will present “Alice’s Wonderland Adventures!” through Oct. 24. Tickets are $10. For more information, call the box office at 631-928-9100 or visit www.theatrethree.com.

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Steve McCoy and Suzanne Mason star in ‘Sweeney Todd’ at Theatre Three. Photo by Sari Feldman, Franklin Inc.

Port Jefferson Village residents can score free tickets to see the musical “Sweeney Todd” at Theatre Three on Main Street.

Residents with a valid ID can pick up tickets at the village recreation department office, on the second floor of the Village Center, as supplies last. The tickets are available for two Thursday night shows: Oct. 15 at 8 p.m. and Oct. 22 at 8 p.m.

Call 631-802-2160 for more info.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Both say their parents have been wonderfully supportive.

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

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

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

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

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

By Charles J. Morgan

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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From left, David Conover and Adam Conover pose for a photo on the set of an upcoming episode of ‘Adam Ruins Everything.’ Photo from Adam Conover

Adam Conover never used to ruin anything. More than one year later, that is exactly what Conover will do every Tuesday during “Adam Ruins Everything,” a new show on truTV.

Conover, a Smithtown native who grew up on the North Shore, hosts the comedy show, which blends comedy, history and science to entertain and enlighten viewers about common misconceptions in society. The show touches upon various topics including giving, security, crime scene investigations, childhood, sex and more.

His first episode covers giving and touches upon the history of engagement rings, why shoe companies that give away free shoes are harmful and the reality of food pantries.

But for Conover, creating a show wasn’t something he just set out to do. Everything simply fell into place.

Once Conover reached middle school and high school, he became more interested in drama and theater. His mother, Stony Brook native Margaret Conover, said she remembers her son being a handful as a child, saying that it was hard to keep him focused on a task. But his Shoreham-Wading River High School’s theater program was one of the few things that grabbed and maintained his attention.

Conover got his first acting break after a teacher selected him for one of the star roles in the school’s production of “The Clumsy Custard Horror Show.”

Conover said his overall experience in his high school’s theater program made an impression on him as it gave him a glimpse into working in a performing arts career.

“I think the biggest thing I took out of it was that … it was like a real theater program. We’re not just kids putting on a show,” Conover said in a phone interview. “We are putting on a real show with a real audience that has expectations and the show has to be good.”

Adam Conover’s father, David Conover of Stony Brook, said he remembers his son being in nearly all school plays when he attended Shoreham-Wading River’s Prodell Middle School and the Shoreham-Wading River High School.

“He became very passionate about certain things. Teachers that he loved in high school, he would do all the work for,” David Conover said in a phone interview. “Drama was one of those things he was focused on doing really, really well.”

Margaret Conover also added that the high school’s program helped her son as “the creativity that was fostered and allowed in [high school] really gave him a wake up.”

Comedy was also pushed to the forefront after Adam Conover begged his parents to upgrade their television subscription to include Comedy Central when he was in middle school. Until then, his mother said she wasn’t aware of his interest in comedy.

As a child, Adam Conover always loved learning. He remembered watching science programs like “Bill Nye the Science Guy,” among other programs that fostered his love for acquiring information. Science played a big role in his childhood as his mother and father work in science-based fields and have their Ph.D.s in botany and marine biology, respectively. His younger sister Emily also has her Ph.D. in nuclear physics.

A career in comedy was never the first thing that came to mind for his family. Regardless, his parents were supportive of his dreams even after he quit a web development job to pursue a full-time career in comedy in 2006.

Conover left his job and rejoined friends from his Bard College days — the same group he was with in the early 2000s when Olde English, their sketch comedy, was established. The change left Conover’s parents concerned for their son’s well-being but supportive nonetheless.

“We were concerned about whether or not that was a good way of making a living, but we didn’t attempt to dissuade him from doing so,” his father said. “We always believed that people should follow their passion and if you do oftentimes the rest of everything else works out.”

According to the father, Adam Conover’s work with his sketch comedy group helped him land a job as a staff writer and cast member of CollegeHumor Originals in 2012. And Jon Cohen, one of the “Adam Ruins Everything” producers, said the show was initially released as a web series and received positive feedback from viewers, which encouraged Cohen, Conover and Sam Reich, another executive producer, to produce and pitch the show to television networks.

TruTV picked up the 12 half-hour episodes of the show last October. Cohen said he realized they would work to produce the show after Conover informed him that the coconut water Cohen was drinking was not very healthy.

“He’s obviously playing a heightened version of himself,” Cohen said in a phone interview about Conover. “He truly believes and is passionate about all of the information he has and he just wants to share it with people, not because he wants to be a know-it-all but just because he wants people to know the truth and that’s what’s going to be great about this show.”

“Adam Ruins Everything” will debut on Tuesday, Sept. 29, at 10 p.m. on truTV.

While his family never thought Conover would work in the entertainment industry, Margaret, David and Emily Conover agreed that they are proud of Adam and are certainly “not surprised” by his career choice.

“Making this show [was] my life goal, and true mission for me,” Adam Conover said. “This is exactly the kind of comedy I want to do, and is saying things I want to say. I suppose that if I had to think ahead, my goal would be to say those things even more effectively in season two, if we’re lucky enough to get one.”

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Emily Dowdell and Bobby Peterson star in ‘Bonnie & Clyde’ Photo by Tim Pappalardo

By Charles J. Morgan

Hold on to your wallets! The famous bank robbers Bonnie & Clyde are back and they are wreaking havoc at the Noel S. Ruiz Theatre at the CM Performing Arts Center in Oakdale. The play follows the original plot, with the two of them featured as folk heroes on one level and as public evildoers on another. This twofold approach is what drives CM/PAC’s startling production of this folk opera based on the book by Ivan Menchell, featuring Don Black’s lyrics and Frank Wildhorn’s music.

Bonnie and Clyde do their murderous thieving throughout the southwest in the Depression-torn early thirties. They are characters who awaken in the concupiscible hearts of the non-criminal majority as two who have escaped the dust bowl, the breadlines and outright poverty by doing one thing: taking.

There is balance however. In three different segments, there is a revival meeting in which a fiery evangelical preacher, in maximum decibel, proclaims the Gospel. There is a very slight element of excess here, but what better way for the authors to show that Bonnie and Clyde are criminal outcasts. These revival scenes are among the best in the show. There is even an element of choreography in them.

Bonnie is seen as a celebrity wannabe who even writes poetry. It is doggerel. Yet even as they were on their murdering spree, making headlines, some local newspapers actually published it.

Clyde is a semi-literate, dirt-poor son of a share cropper who shirks all kinds of gainful employment in favor of “taking,” as does his sycophantic brother “Buck.”

Their criminal career was neatly depicted by the set. The indefatigable Patrick Grossman is the set designer and director. Wearing the former hat, he had a system of flats and slats that went from stage right to stage left and were used vertically, there being no need to do any shifting. A vignette of Bonnie and Clyde in bed, or in the act of robbing a bank, as well as the revival scenes would be seen as one or more of the slatted flats were opened and closed — most effective. He also devised a system of projecting flashing contemporary newspapers. Wearing the other hat, Grossman was confronted with the always pressing problem of interpretation and blocking. His talents in this field extend to excellence. He made them real, even down to a consistently applied southwestern accent.

The multi-talented Emily Dowdell played Bonnie Parker, coupling her powerful soprano with coyness, assertion, self-pity and an outcry for love admirably. Clyde Barrow was played by Bobby Peterson with a far-ranging tenor and believable toughness both in solo and duet.

Briggs Houston played the role of Marvin “Buck” Barrow, Clyde’s brother. His voice was a middle-register tenor. His somewhat lumbering attitude and his death scene were done to perfection. Shannon Cunningham was Blanche, Buck’s wife. She had great stage presence coupled with a caressable soprano. She suffused the loyal wife role with high morality for Buck. Her performance was impressively consistent.

Then there was Carl Tese as the revivalist preacher. Talk about power! He shook the rafters with the Decalogue, the Beatitudes and John 3 with the range of heavy artillery. ME Junge was Trish, a small part for the leading choreographer; but she is a trouper.

In the musical numbers, the preacher and “congregation” performed “God’s Arms Are Always Open” with, well, dynamism, and Bonnie and Clyde’s duet in “Dyin’ Ain’t So Bad” told it all.

Musical direction was handled, as usual, by Matthew W. Surico on piano and a solid pit band that featured Kevin Merkel on synthesizer, Christian Wern on bass, Michael Villarico on drums, Diana Fuller and Lauren Carroll on guitars, John Dumlao on violin and Eric Albinder and Andrew Lenahan on woodwinds. It was the pit band effect Surico always achieves that gave body to the whole show. Kudos to the entire cast for a job well done!

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

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From left, Michael Bertolini, Mary Ellin Kurtz and Staci Rosenberg-Simons in a scene from ‘Arsenic & Old Lace.’ Photo by Samantha Cuomo

By Charles J. Morgan

When a theatrical company does a chestnut, it is because it has not only stood the test of time but has pleased audiences through the years. 

The Smithtown Center for the Performing Arts has trotted out one of those chestnuts, Joseph Kesselring’s “Arsenic and Old Lace,” that darkly humorous comedy about two charmingly wicked aging sisters who go about murdering lonely men by poisoning them with a glass of home-made elderberry wine laced with arsenic, strychnine and “just a pinch” of cyanide as if they were dusting furniture in their antique home in Brooklyn, reminiscent of the old houses on Westminster, Rugby and Argyle roads in your scribe’s native Flatbush.

Mary Ellin Kurtz and Staci Rosenberg-Simons portray the malevolent Brewster sisters, Abby and Martha, respectively. Their overly sweet demeanor toward one another comes off perfectly; their Victorian good manners are the perfect cover for their evil deeds. Their innocence is not even feigned … it is sincere!

Then there is their brother, Teddy, a harmless lunatic who thinks he is President Theodore Roosevelt. Bobby Montaniz has this role and plays it to the hilt. With a bristling moustache and pince-nez glasses, he actually looked like TR. His “Charge!!!” up the stairs, bugle in hand, forces the sisters to explain, “The stairs? . . . San Juan Hill.” In his “signing clothes,” a cutaway frock coat and striped pants, he signs the “Treaty,” which is his own commitment papers to an insane asylum. His TR lines all have to do with real, historical TR incidents. Your scribe’s favorite was when he places his hand on the shoulder of the visiting preacher from the local church intoning “I’ve always enjoyed my talks with Cardinal Gibbons!” Montaniz was the comic foil of this show.

Steve Corbellini plays the sisters’ nephew, Mortimer. He is supreme as the one who discovers what the sisters have done. He is torn between simply turning them in to the police and his nepotic love for them. Corbellini has a remarkable stage presence and a comic ability that is first class.

Lauren Gobes has the role of Elaine, Mortimer’s fiancée. She is pretty, ingénue-like and possessed of impressive range … from beloved to spurned and back again.

On to the scene comes Mortimer’s brother Jonathan, handled expertly by Michael Newman . . . the “bad” Brewster. His voice is threatening and thunderous, and his reciting of his lines in a sort of monotone brings out a deep-seated evil. His shady confederate is Dr.  Einstein, the hard drinking, failed surgeon. Eugene Dailey has the role and interprets it masterfully. Rounding out the cast are Mark DeCaterina, Michael Bertolini, John Steele and Kevin Shaw, all of which do a fine job.

Now chestnuts need good sets, and Timothy Golebiewski as set designer ran a team of constructors including Brian Barteld, Clarke Serv and Russ Brown in mounting a massive, highly impressive interior complete with wainscoting, window seat and, especially noteworthy, a staircase with a double landing leading to “upstairs” rooms. The furniture looked like it had been bought during the presidency of Grover Cleveland.

On to this set steps director Jordan Hue who, confronted with this broad physical venue, had the job of interpreting and blocking the cast, carrying out the director’s job of making the characters as real as possible, and coupling that with the actors own talents and engendering a seamless performance. In this Hue succeeded eminently.

This is a chestnut pulled from the roast for the audience’s delectation. The SCPA has done its usual fine work on a production well worth seeing.

The Smithtown Center for the Performing Arts, 2 E. Main St., Smithtown, will present the classic comedy “Arsenic & Old Lace” through Oct. 4. Tickets are $35 adults, $20 students. For more information, call 631-724-3700 or visit www.smithtownpac.org.

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From left, Aaron Dalla Villa, Sean King and Jay William Thomas in a scene from ‘Orphans.’ Photo by Jacob Hollander

By Charles J. Morgan

The three-person drama “Orphans” officially opened at the Conklin Barn in Huntington last week kicking off a 12-performance run.

It is no wonder that stars like Alec Baldwin, William Devane and Ned Beatty have played a part in the past on Broadway in this powerful, dynamic effort. Playwright Lyle Kessler has written an interlocking, emotion-laden, compelling drama about two orphaned brothers living in North Philly; one, Treat, a slick domineering “Mack the Knife” type played to the hilt by Aaron Dalla Villa; the other, Philip, a mentally challenged younger brother who manages to maintain a tenuous grip on reality, handled skillfully and deftly by Jay William Thomas. Treat is convinced that his criminal lifestyle is morally acceptable since it is all for the benefit of his meek, needy and obedient brother.

Both actors discharged their characterizations brilliantly. Kessler has painted the emotional dynamism here with the precision of Seurat’s pointillism, perhaps with an admixture of Van Gogh’s intensity. Dalla Villa and Thomas display this with character intensity, revealing each to be skillful actors with an explosive stage presence and role interpretation of the highest magnitude.

Then on to the 18-inch-high stage platform of the Conklin Barn enters Sean King as Harold. He is drunk and has been kidnapped by Treat who discovers that Harold has a load of stocks, bonds and cash in his briefcase as well as on his person. Treat ropes him to a chair and, foolishly, leaves Philip in charge of him as he goes out to make outlandish “ransom” demands.

The great dramatic change comes when Harold frees himself and becomes the salient character. Was he a mob boss? A crooked businessman? Actually, he provides intellectual and emotional help to Philip, putting him on the road to extra-mental reality.

Treat is enraged on returning, but Harold mollifies him with a promise of a job as his bodyguard at an enormous salary. At this juncture the audience is beginning to realize that King’s portrayal of Harold is something larger than life. Harold is “The Other.” He dispenses moral and ethical advice that begins to give some concrete meaning to the lives and actions of Treat and Philip. King’s consistent playing of this role is startlingly understated, which gives it far more impact than if there had been added bombast — a temptation to a lesser skilled actor.

The final scene in this two-act production occurs in a very heart-rending denouement redolent of a Renaissance triptych.

Direction was by the multitalented Jim Bonney. Any director confronted by a fast moving three-actor property has issues with blocking. Bonney overcame this problem with the fastest-paced blocking your scribe has seen in a long time. He used karate, a fist fight, wrestling and logical positioning that was keenly correct. Bonney’s skills were challenged, but he showed his directorial métier so admirably that he came up with a tightly controlled, expressive result.

Is there a philosophy in “Orphans”? Yes. But it is not a transcendent one … more of a purely human one. Yet the humanity of Harold is so overwhelming, despite his lifestyle that it penetrates the façade of “goodness” between the brothers. It is tragedy, yet its human dimension provides an element of hope. Keep in mind that Renaissance triptych.

Bonney/King Productions will present “Orphans” at the Conklin Barn, 2 High St., Huntington, through Sept. 5. Meet the playwright Lyle Kessler and join him for a Q-and-A after Sept. 4th’s performance. Tickets are $25. For more information, call 631-484-7335 or visit www.brownpapertickets.com.

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