There is plenty of heat in 110 in the Shade at Prince William Little Theatre. 110 in the Shade is adapted from N. Richard Nash’s book The Rainmaker. It depicts love, hope, and redemption in a small southwestern town during the Great Depression. It garnered four Tony awards in 1964, including Best Composer and Lyricist. This musical received a Tony nomination in 2007 for Best Revival of a Musical. The music is by Harvey Schmidt and the lyrics by Tom Jones.

Prince William Little Theatre does an excellent job of staging a drought-stricken town in Three Point, Texas, in 1938. Kudos to Scenic Designer David Ritchey for this wonderful creation, along with Lighting Designer Dariyn Fergus. Let us take a moment to congratulate the musical direction of George Fulda. The orchestra was seated stage right, dressed in period costumes, and I loved it!

Lizzie’s return to the family ranch of widower H.C. Curry, nicely played by John Totten, shakes up the family as they try to find her a husband. Jimmy Curry (Alex Fulda) and Snookie Updegraff (Savannah Lagana) give us some comic relief. These two characters enjoy a lot of playful and flirtatious banter and have a cute duet, “Little Red Hat.”

This production has some strong singers that bring this musical to life. Lizzie Curry, played by Emily Burnworth (after a ten-year absence from the stage!), shines on numbers such as “Simple Little Things” and “Is it Really Me?” Her duets with her potential love interests, Starbuck the rainmaker (Chris Anderson) and File the sheriff (Dave Zeoli, who has never done a musical!), are especially noteworthy. All three of these characters give convincing musical performances. The idea of being a female during the 1930s, and what age is considered an “old maid” before your time, is explored. Also, the perception of beauty as in the eye of the beholder is bluntly expressed by Noah (Adam Weidner). Lizzie and Starbuck duet on “Is it Really Me” with a tenderness and vulnerability that displays a transformation in Lizzie.

Costume Designers Riley Leonhardt and Susy Moorstein brought the Townspeople to life with their costumes. Their stage time is filled with nice harmonies and crowd interaction. This production is filled with families and families that are cast together. The small-town life of Three Point, Texas, comes alive with the set designs, lighting, and choreography. Will the town of Three Point, Texas, get the much-needed rain they are seeking? Will Lizzie find her true worth? Will Starbuck or File steal her heart? Please see 110 in the Shade to find the answers to these questions. There are fans on the display table outside the theater. Pick one up on your way into the theater to help cool you off while experiencing 110 in the Shade.

Running time: Approximately two hours with a 15-minute intermission.

110 in the Shade plays through on July 14, 2024, presented by Prince William Little Theatre performing at the Gregory Family Theater in the Hylton Performing Arts Center, 10960 George Mason Circle, Manassas, VA. Tickets ($30 adult; $25 senior, student, and military; $20 children 12 and under) are available online or through the Hylton Center box office at 703-993-7759, Tuesday to Saturday, 10 am to 6 pm.

110 in the Shade
Co-Directors, Don Petersen and Susy Moorstein
Co-Producers, Samantha Fulda and Susy Moorstein
Musical Director, George Fulda
Stage Manager, Samantha Fulda

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Montgomery College Summer Dinner Theatre (MCSDT) has put on another entertaining production for its 46th year. The first of two shows is The Prom, directed by Ian Anthony Coleman. Ian is an alum of MCSDT, having played the Tin Man in the 2013 production of The Wiz. The theme and content of this show could not be more fitting for Pride Month.

The Prom premiered on Broadway in 2018 and is partly based on a true story. It is mainly inspired by original producer Jack Viertel, who kept encountering similar stories in headlines. He had seen several instances where same-sex couples were banned from their prom. Who could predict that in five short years, schools are becoming more exclusive of the LGBTQ+ community than inclusive? The Prom was written by Bob Martin and Chad Beguelin, and their writing continues to shine a light on this exclusion.

The story begins at the premiere of a fictional Broadway show, Eleanor: The Eleanor Roosevelt Musical, starring Dee Dee (played by Cristen Young with a powerhouse voice), along with her three costars, Barry, humorously played by Eitan Amster, Angie, wonderfully played by Daniela Lock, and Trent played by Kelly Mok, who commands the stage with his performance.

This motley troupe finds their show opening and closing on the same night due to less-than-stellar reviews, which causes them to panic and enter crisis mode. They decide to find a “cause” to show outward kindness to the world. In the show’s opening number, “Changing Lives,” Angie (Daniela Lock) searches Twitter and finds a school in Indiana that has received national attention for banning gay students from prom. This is it! This is the “cause” that will distract from their abysmal reviews, transforming their reputations and careers.

The prom in question focuses on Emma. I don’t know anyone who would be more suited for this role than Susan Rodgers. She sings “Just Breathe” with such a convincing and beautiful tone. Emma and Alyssa, nicely played by Julie Pesak are the couple at the heart of the controversy. Alyssa’s mother, Mrs. Greene (Shelley Deppa), is the leader of the opposition to a gay-inclusive prom. This poses a dilemma for Alyssa and Emma.

We are introduced to the principal of James Madison High School, Mr. Hawkins (Preston James), who has contacted the ACLU and is against Mrs. Greene and the PTA banning the gay community from prom. He sings “We Look to You” with such bravado and commanding presence that you want to hear more. Mr. Hawkins and Dee Dee strike up a friendship at the “Apples and Bees” (Applebee’s). Despite all of Mr. Hawkins and the Broadway Four’s attempts at an inclusive prom, disappointment is on the horizon.

MCSDT always brings the goods regarding set design (Elizabeth McFadden). The illusion of a high school gymnasium was orchestrated well, along with a scene with a recognizable convenience store. Overall, the choreography (Patricia “Pep” Targete) was well executed. Music Director Elisa Rosman excelled in the heavy dance number “Zazz.” The talented Bob Fosse backup dancers (Jill Taylor and Emily Scholl) put on a showstopper performance, allowing Lock and Rodgers to shine yet again. The outfits of the Fosse dancers (costume design by Kristina Martin) helped set the tone of this dance number.

The show has some humorous and soulful moments set forth in song, particularly “Love Thy Neighbor,” featuring Trent (Kelly Mok) and Ensemble, and “Unruly Heart” by Emma (Susan Rodgers) and Ensemble. The Prom is a fun and thought-provoking show. As Ian Anthony Coleman stated in his director’s note, “The Prom is a celebration of love in all its forms. It reminds us that no matter our differences, we are all deserving of love, respect, and a place to belong”.

Running Time: Approximately two hours and 30 minutes, including a 15-minute intermission.

The Prom plays three more times — June 23, 2023, at 8 p.m., June 24 at 8 p.m., and June 25 at 2 p.m. — presented by Montgomery College Summer Dinner Theatre performing in the Theatre Arts Arena, Theatre Arts Building, Rockville Campus, 51 Mannakee Street, Rockville, MD. Tickets ($65 buffet and show, $25 show only) can be purchased online or by calling 240-567-5301 (box office hours are Monday through Friday, 10 a.m. to 2 p.m. and 3 p.m. to 6 p.m.).

COVID Safety: Masks are optional but encouraged for guests, especially when serving from the buffet.

The Prom
Book & Lyrics by Chad Beguelin | Book by Bob Martin
Music by Matthew Sklar
Based on an original concept by Jack Viertel

Director: Ian Anthony Coleman
Music Director: Elisa Rosman
Choreographer: Patricia “Pep” Targete
Sound Design: Neil McFadden
Light Design: Lynn Joslin
Costume Design: Kristina Martin
Scenic Design: Elizabeth McFadden
Props Designer: R. Scott Hengen

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I saw John Cariani’s Almost, Maine at a local high school in 2015 and thoroughly enjoyed it. The Arlington Players are now performing this quirky, heartwarming, and thought-provoking play through February 19, directed by Alexa Roggenkamp. In it, the audience is transported to a quaint fictional town in Maine called Almost, where the lives of various characters intertwine in nine vignettes. Serving transitions between scenes is a simple set design by Julie Fischer and Rudy Roggenkamp.

The nine short stories are dramatized by 18 actors who collectively demonstrate the ideas of love at first sight, falling in and out of love, metaphors of how we measure love, and declaring love too soon and not soon enough. With Valentine’s Day around the corner, what better time to explore love and relationships?

Each story offers actors the chance to shine in their portrayals. Glory, played by Erin Gallalee, gives a commanding performance as a woman who is looking to say goodbye to her broken heart. She stumbles upon East, played by Sargon de Jesus, whose deadpan delivery of a Maine farmer repairman really works. Morgan DeHart as Steve and Julia Link as Marvalyn help to define what it might feel like to not feel pain, and yet show how there is still no escaping the pain of the heart. One of my favorite scenes is between Gayle (Madison Bacino) and Lendall (Luke Hellyer) with their dialogue about how much we feel we give or have given in a relationship. Bacino as Gayle convincingly performs a partner who is setting boundaries but is willing to change course when offered another attractive perspective.

One scene did not work for me: the setting of the Moose Paddy pub. The table was situated at the back of the stage, which made it difficult to hear some of the actors’ lines. The delivery was a bit slow at times and the scene seemed to call for a bit more intensity on the part of Jimmy.

There was plenty of snow, coats, gloves, and boots to remind us how cold it was outside. However, in bringing so many affairs of the heart to light, The Arlington Players’ Almost, Maine got a warm audience reaction.

Running Time: Approximately two hours, including a 15-minute intermission.

Almost, Maine plays through February 19, 2023, presented by The Arlington Players performing at the Jefferson Community Center, 125 South Old Glebe Road, Arlington, VA. Tickets ($25 for adults, $22 for seniors and military, and $15 for students and children) can be purchased online.

The cast, creative, and production credits are online here.

COVID Safety: Masks are required inside the Community Center.

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Prince William Little Theatre tackles a holiday sequel inspired by A Christmas Carol, a comedy by Mark Brown: The Trial of Ebenezer Scrooge. The play premiered in 2004 at the Orlando Shakespeare Theatre. It has since been performed at schools, colleges, and community theaters. Directed for Prince William Little Theatre by Terri Ritchey, the play focuses on Ebenezer Scrooge, nicely played by Cliff Rieger, one year after the events of Christmas Eve and all that transpired that night. Scrooge is back to his old ways and is suing Jacob Marley (Garth Porter) and the Ghosts of Christmas Past, Present, and Future for breaking and entering, kidnapping, slander, pain and suffering, attempted murder, and causing emotional distress.

Scrooge represents himself (to save money), and Solomon Rothschild, finely acted by Jon Radulovic, represents the ghosts. Presiding over all of this and giving commanding performances are Michael Mehaffey as Judge Pearson and Scott Olson as the Bailiff, Mr. Connolly. The best comedic performances were from Matthew Scarborough as Frederick Fitzpatrick and Heather Fife as Mrs. Fan Scrooge Fitzpatrick/Belle/Ghost of Christmas Past.

I found the scene with the Ghost of Christmas Yet to Come (Matthew Scarborough) and the Translator (Ellen Woodstock) somewhat repetitive, however. It was funny the first few lines and then seemed distracting.

This was my first time seeing The Trial of Ebenezer Scrooge. The concept of the play taking place one year after the events of Christmas Eve in A Christmas Carol was intriguing.  There were similarities in both about having to take inventory of past behaviors and how they affect the people around you. I am always for a chance at redemption, and both plays do a good job of this. I prefer the storytelling in A Christmas Carol, but I understand the more comedic take in The Trial of Ebenezer Scrooge.

The technical components were all executed quite well by Peter Ponzini, lighting design; Wil Taft, sound design; and Kurt Gustafson, special effects. There were some unbelievably cute little helpers with the evidence presented in a slide show (names not mentioned in the program). The courtroom set design was cleverly done by Nick Mastrangelo.

The theme of the play still fits the holiday spirit, and all the actors are to be commended for bringing this play to life. There were various ages in the audience, with young children generating quite a few laughs. And there was a sing-a-long printed in the program, which didn’t happen but would have been a fitting way to close the show.

Running Time: Approximately two hours, which includes a 15-minute intermission.

The Trial of Ebenezer Scrooge plays through 18, 2022, presented by Prince William Little Theatre performing at the Gregory Family Theatre at Hylton Performing Arts Center, 10960 George Mason Circle, Manassas, VA. Purchase tickets ($20 adult; $17 senior, student, active and retired military; $13 youth) online or over by phone, 703-993-7759 (Tuesday to Saturday, 10 AM to 6 PM).

Upcoming performances
Sunday, December 11 at 2 p.m.
Friday, December 16 at 8 p.m.
Saturday, December 17 at 2 p.m.
Saturday, December 17 at 7 p.m.
Sunday, December 18 at 2 p.m.

COVID Safety: Face coverings are recommended for indoor events at the Hylton Center.

The Trial of Ebenezer Scrooge
By Mark Brown

Cast: Cliffe Rieger (Ebenezer Scrooge), Michael Mehaffey (Judge Pearson), Jon Radulovic (Solomon Rothschild), Garth Porter (Jacob Marley), Scott Olson (Mr. Connolly the Bailiff), Matthew Scarborough (Ghost of Christmas Yet to Come), Ricardo Padilla, Ellen Woodstock (Translator), Heather Fife (Ghost of Christmas Past), Erika Horton, and Keith Scarborough.

Director: Terri Ritchey
Asst. Director: Robert Jordan
Producer: Chrissy Mastrangelo
Stage Manager: Jason Crosby
Asst. Stage Manager: David Ritchey
Backstage Manager: Vincent Calhoun
Set Design/Master Contractor: Nick Mastrangelo
Set Construction: Nick Mastrangelo, Mia Villani, Tim McCleery, and Cast
Costumes: Michelle Matthews, Susy Moorstein
Lighting Design: Peter Ponzini
Sound Design: Wil Taft
Special Effects: Kurt Gustafson
Sound Engineer: Skyler DeGroot
Props: Becky Gould-Levine, Melanie McCleery
Dialect Coach: Carol Strachan
Hair and Make-up: Erin Briner
Publicity/Marketing: Becky Gould-Levine
Photography: Amanda Elena Photography
Graphic Art: Kathryne Mastrangelo
Program: Chrissy Mastrangelo

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Providence Players is delighting you this holiday season with a creative cabaret of meaningful tunes and songs to get you into the holiday spirit, Cabaret Takes a Holiday. It’s directed by Deborah Davidson, who is no stranger to performing in various cabarets. This is Providence Players’ first-ever cabaret and it does not disappoint! The cabaret is presented in an intimate setting at The Italian Café in Falls Church, with a very accommodating staff I might add. The cabaret has a cast of seven very talented singers: Courtney Camden, Susan Dye, Jenny Levy, Dean Richard, David Whitehead, George Willis, and Kerri Wilson. The cabaret is divided into two acts, except for the matinee show, which is presented in one act.

The cabaret has a mixture of humor, nostalgia, and some teary-eyed ballads, with smooth transitions that have you on the edge of your seat wanting more. The music director and pianist is Barbara Schelstrate, who is super talented and does not miss a beat. There are 21 songs in total, along with some audience surprises. What I loved about this choice of songs was the personal connection that each singer had with them. In turn, they moved the audience members as well.

A notable performance for this writer was “Autumn Leaves,” sung by Dean Reichard. The arrangement was by Eva Cassidy, a local favorite who passed away at the tender age of 33, and Barbara Schelstrate. Another gem was “Escape,” performed by George Willis, descant by Susan Dye, with percussion by Dean Reichard and Jenny Levy. A true delight was Kerri Wilson, who sang “Don’t Tell Mama” from the musical Cabaret. Wilson then introduced her mother and best friend, Director Deborah Davidson, and they dueted on “For Good” from the musical Wicked. I truly felt their bond, and I admit, I got teary-eyed thinking of my own daughter and my mother.  Jenny Levy sang a hilarious version of “Never Fall in Love with an Elf” from Elf, the Musical. Susan Dye brought the pipes and humor to “Grandma Got Run Over by a Reindeer,” a song that brought a smile to everyone’s faces. David Whitehead reminisced with a beautiful version of “Tennessee Christmas,” and Courtney Camden performed a solid and fun version of “Santa Baby.”

If you want to hear all the songs they performed, with some audience surprises at the end, well, you need to get your tickets. Hurry, shows are selling out.

Running Time: 90 minutes, including a 15-minute intermission.

Cabaret Takes a Holiday, plays through December 11, 2022, presented by Providence Players of Fairfax and The Young Hearts performing at The Italian Café, 7161 Lee Highway, Falls Church, Virginia. Tickets (adult, $21; senior 62+, $18; and student with valid ID, $18) can be purchased online.

Upcoming Performance Dates and Times
Friday and Saturday at 8:00 p.m. December 3, 9 & 10
Sunday at 7:00 p.m., December 4 & 11

COVID Safety: Masks are optional.

Cabaret Takes a Holiday
Director: Deborah Davidson
Music Director: Barbara Schelstrate
Co-Producers: Jayne L. Victor and Michael Donahue
Sound and Lighting Design: Brian O’Connor

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Rooftop Productions is opening with a holiday classic, the Broadway version of The Christmas Carol the Musical, based on the story by Charles Dickens, with music by Alan Menken. Rooftop’s production is directed by Ted Ballard, with musical direction by Aaron Furry. The musical opens with songs introducing the evolution of Scrooge, “Hear the Bells” (sung by the Ensemble), “Jolly Good Time” (Scrooge, Ensemble), and “Nothing to Do With Me” (Scrooge, Cratchit, Sandwich Board Man, Lamplighter, Tiny Tim, Fred, Jonathon, Blind Old Hag, and Ensemble). Scrooge is wonderfully played by Jay Tilley, along with his present-day characters of Bob Cratchit, nicely played by Josh Vest, complementing Mrs. Cratchit, Savannah Lagana, and an adorable Tiny Tim, played by Luke Prado. Ruby Haines makes an equally adorable Lucy Cratchit. Fezzwig was another crowd-pleaser, played by Andrew Morin.

Scrooge cares more about personal wealth than the well-being of others. He encounters his past, present, and future when he is faced with the Ghosts of Christmas Past, Present, and Future. All these ghosts are well suited for their roles, played by a talented Patrick Mulhern, Ahryel Tinker, and Tatianna Crawford, respectively.

I have never seen the musical version of The Christmas Carol, so it was a delight to see the musical numbers and choreography interspersed in this classic tale. Breena Grimes’ choreography was very creative and fun. The Ensemble was up for the task and gave off an exuberance that cannot help but put you in the holiday spirit.

Noah Nicoletti was impressive as Young Scrooge and Brynna Thaxter as Young Marley/Scrooge at 8½/Ensemble. The only distractions from these performances were mic issues that either cut the sound off intermittently or did not allow for projections of voices. The hope is that these sound issues will be corrected for future shows, allowing the audience to enjoy the full context of their performances.

I personally enjoyed the pace and up tempo of Act Two the most. “Dancing on Your Grave”, (Ensemble, Cratchit) and “Yesterday, Tomorrow and Today” (Scrooge, Angels) really brought the storyline together. Jay Tilley as Scrooge showed us a convincing transformation into a changed man. It was a delightful ending that put a smile on everyone’s face.

This musical is being performed at the Arts Factory in Manassas. As part of a fundraiser, a Trees for the Arts campaign was introduced. Patrons may bid on the trees and keep track of their bids by activating a QR code after the performances.

Running Time: Approximately one hour 45 minutes, including a 15-minute intermission.

A Christmas Carol the Musical plays through December 11, 2022, presented by Rooftop Productions performing at the ARTfactory, located at 9419 Battle Street in Historic Downtown Manassas. Tickets ($20 student/senior, $25 adult) can be purchased online or by calling the ARTfactory at 703-330-2787.

Upcoming performances
Fridays and Saturdays, December 2, 3, 9, and 10 at 7 p.m.
Sundays, December 4 and 11 at 3 p.m.

COVID Safety: Following the current CDC recommendation, audience members should wear a mask based on personal preference, informed by personal level of risk.

A Christmas Carol the Musical
Music by Alan Menken
Lyrics by Lynn Ahrens
Book by Lynn Ahrens and Mike Ockrent
Based on the story by Charles Dickens

Ensemble: Patrick Mulhern, Brynna Thaxter, Ruby Haines, Loren Park, Kemi Shewmaker, Janice Dionne, Mandi Ellis, Yasmina Georgia, and Melissa Georgia

Director: Ted Ballard
Music Director: Aaron Furry
Choreographer: Breena Grimes
Costumer: Nicole Andres
Stage Manager: Lauren Jerothe
Lighting Designer: Ashton Schaffer
Tech Director: Jimmy Conroy
Sound: Adriane Harrison
Costumer: Andrea Oswald

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The Providence Players of Fairfax have chosen a very timely comedic play to open their 2022/23 season: David Mamet’s November. Directed by Jayne L. Victor, the show has musical numbers interspersed throughout its three acts. John Smith, music design, and Thomas Udlock, sound design, deserve the credit for helping with these upbeat and complementary numbers.

The play opens in the Oval Office with the president, Charles Smith, played with grit and acerbic humor by Michael Donahue, and his advisor, Archer Brown, played by Matthew Randall. Archer oversees his boss with a balancing act of frustration and loyalty. Charles is days away from his second election and his chances for re-election are growing slim. The play captures the campiness of Charles interacting with his wife and campaign fellows with hilarious humor.

This play premiered on Broadway in 2008 starring Nathan Lane and featuring Laurie Metcalf, who received a Tony award nomination as Best Featured Actress in a Play. Additionally, the play was part of a reading in 2020 to benefit the Actors Fund of America during the COVID-19 pandemic, featuring John Malkovich and Patti LuPone.

There’s a warning that the play contains strong language and adult content, but it all adds to the outrageousness and desperation of a president going to any lengths to get re-elected—not far removed from the political climate of today. President Smith’s speechwriter, Clarice Bernstein, played convincingly well by Kat Sanchez, is summoned back from her time off adopting a baby from China. I loved the evolution of her character, which you will be blessed with in Act III. She presents a dilemma for her boss that is hard for him to wiggle out of.

The president also needs to pardon a couple of turkeys. The plan he concocts with the representative of the National Association of Turkey and Turkey Products Manufacturers, hilariously played by David Whitehead, is a last-minute self-concocted scheme to finance his re-election bid. There is some banter with the Native American leader Dwight Grackle, humorously played by Mario Font. There is no political correctness in this play, so be prepared for issues tackled in 2007 (when the play was written). The director mentioned that each of us will laugh at the content we find funny and that is the beauty of this play. It is tongue-in-cheek and will have you identifying with the times of today. The issue of marriage between same-sex partners will give you pause. It will remind you of the journey of America to recognize same-sex marriage as legal, how we have evolved today, and how that legality is now being jeopardized.

The set design by John Coscia was very representative of the Oval Office. I loved the voting booth at the entrance of the theater, and the campaign stickers handed out by the wonderful ushers before the show.

Overall, I enjoyed the campiness and slapstick comedy of this play. Michael Donahue is such a good actor that he helped with the pacing of the content. There were times that it moved a little slow for me, but the content kept me on my toes. Act III was a showstopper worth building up to.

This was my first attendance at a Providence Players of Fairfax show, and I look forward to returning. Kudos to all involved for an entertaining production.

Running Time: One hour 45 minutes, including a 15-minute intermission.

November plays through October 29, 2022, presented by Providence Players of Fairfax performing at the James Lee Community Center, 2855 Annandale Road, Falls Church, VA (Thursday – Saturday at 7:30 pm; Sunday at 2:00 pm). Tickets ($21 adult, $18 seniors and students with ID) are available online, by email (tickets@providenceplayers.org) or voicemail (703-425-6782), or at the box office 30 minutes prior to the show.

COVID Safety:  All cast and crew have been vaccinated against COVID-19 and patrons are encouraged to be vaccinated to help protect the Providence Players actors, crew members, and other patrons. Masks are no longer required to attend productions at James Lee Community Center.

Lighting Design:  Emerson Bennett
Costume Design:  Tracey Froelich
Hair/Makeup:  Robbie Snow

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The McLean Community Players have been on a hiatus for three years because of the pandemic and venue renovations. The Show Must Go On! A Musical Revue was rescheduled from July of this year, which made this compilation of a very talented group of singers/performers seem more special. The revue highlighted musicals that the Players have performed over the years and songs from musicals they hope to present in the future.

The cast consisted of some impressive talented performers who should all get a mention for their efforts. Included were performers who have been on Broadway, along with many credits that include Carnegie Hall and DMV theaters. The cabaret-style show was under the direction of Michael Replogle and Jess Rawls and produced by Shaun Moe and Claire Tse. The music was directed by Bart MacMillan.

The simple set consisted of boxes with musical names, easy for placement and sitting. The orchestra consisted of Bart MacMillan (keyboard), David Burrelli (bass), and Michael Hale (drums). They stayed in sync with the performers the entire night. There were eighteen songs in the show. Some were familiar and some not-so-familiar might go on your “must-listen” list.

Act One opened with the entire company singing “Being Alive” from Company. Jennifer Soraya Rose sang a very heartfelt and resounding rendition with a set of pipes that had you on the edge of your seat. Shakil Azizi followed with a very funny and well-acted “I Am Adolpho” from The Drowsy Chaperone. I admit I am a softie when it comes to The Sound of Music. The background screen of the Austrian Alps and the beauty and grace of soprano Shelby Young singing “The Sound of Music” were delightful. If you love Little Shop of Horrors, you would be thoroughly entertained by Brooke Nyren and Shaun Moe duetting on “Suddenly Seymour.”

Act Two would have you thinking you are seeing the show Finding Neverland, with the entertaining performances by George Willis, Shaun Moe, and Shakil Azizi singing “Live by the Hook.” Two unique songs from Crazy Ex-Girlfriend — “A Diagnosis” performed by Brooke Nyren and “Hear Me Out” from 36 Questions by Jess Rawls — had me wanting more. My guest and I loved the well-acted and -harmonized song “Bad Idea” from Waitress, performed by Josie Morgan and Shakil Azizi. Shout-out to Jennifer Levy for her very funny and entertaining rendition of “The Ladies Who Lunch” from Company. The entire cast joined in unison to give us a heartfelt and emotional “You Will Be Found” from Dear Evan Hansen.

The performers and crew of McLean Community Players put their time, heart, and souls into opening their season with an entertaining audience pleaser of a show.

Running Time: Approximately one hour 45 minutes, including a 15-minute intermission.

The Show Must Go On! A Musical Revue played September 23 and 24, 2022, presented by McLean Community Players performing at the Alden Theatre, 1234 Ingleside Avenue, McLean, Virginia.

Lighting Designer: Braden Aust
Sound Designer/Operator: Jon Roberts, Claire Tse
Set Dressing: Claire Tse

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Aldersgate Church Community Theater’s world premiere of Jean Koppen’s The Best Worst That Can Happen is a must-see for delightful and heartwarming theater. The play focuses on the relationship between a mother and daughter as the daughter navigates the loss of her mother’s memory.

The mother worries about her daughter’s career and love life. The mother, Margie, is a retired theater teacher who likes to act out conversations and conflict with her book author daughter, Joanna. The introduction of a family friend, Paul, to “help” Margie by moving in, helps break down the walls of denial and tension that a family experiences with a diagnosis of Alzheimer’s.

We also get an introduction to Paul’s brother, Lewis, as a neurotic film producer from Hollywood. All their lives will intersect in the most unconventional of ways. As director Joanna Henry so aptly states, “This is a sophisticated narrative, dealing with aging, self-esteem, and Alzheimer’s, but it is also a love story.”

Henry directs a cast of actors who complement each other quite nicely. Anne Paine West as Margie is phenomenal as she takes us on her journey of memory decline with candor and grace. Elizabeth Replogle plays daughter Joanna with a steel resolve that softens over time. The characters of Paul, vulnerably played by Brad Sperber, and his brother Lewis, outrageously played by Nathan Adam Tatro, all help to weave these characters into each other’s lives in unexpected ways.

The set design by Charles Dragonette, assisted by Leah and Shah Choudhury and Jim Hutzler, takes place in the same room with some clever deviations. I especially loved the framed playbills on the wall, marking the life of a theater teacher. The lighting might benefit from softer transitions between scenes, but this might have been what was intended for this production.

I was told this production had its own intimacy and fight coordinator (Emily “EJ” Jonas), and her consultation on this was brilliant. One intimate scene was laugh-aloud funny and almost scene-stealing. I had the privilege of meeting the author of this very meaningful and entertaining play, Jean Koppen. Her plays have been seen at the Kennedy Center, Page-to-Stage Festival, Keegan Theatre, and the Capital Fringe Festival.

This play resonates with anyone who is coping with aging issues with a parent or loved one. It tackles what it feels like to be bullied as a child and how we carry that into our lives and relationships. It also shows us how even when we think we are not ready for it, love shows up to prove us wrong. It is a play about a paradigm shift in thinking that sometimes the best can happen in the worst situation.

Running Time: Approximately two hours with a 15-minute intermission.

The Best Worst Than Can Happen plays July 15, 16, 22, and 23, 2022, at 7:30 pm and July 10, 17, and 24 at 2:00 pm presented by Aldersgate Church Community Theater performing at Aldersgate United Methodist Church, 1301 Collingwood Road, Alexandria, VA. Tickets ($18 general; $15 for seniors and active-duty military) can be purchased online or at the door after the window for presales has closed.

COVID Safety: There is social distancing between rows and masks are encouraged. All cast and crew are fully vaccinated and boosted.

The Best Worst Than Can Happen

Play written by Jean Koppen
Produced by Charles Dragonette and Marg Soroos
Directed by Joanna Henry

Anne Paine West as Margie
Elizabeth Replogle as Joanna
Brad Sperber as Paul
Nate Tatro as Lewis

Lighting Design, JK Lighting
Costume Design, Beverly Benda

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What a great feeling to see live theater again at Montgomery College Summer Dinner Theatre. My last time there was in 2019. As Artistic Director Lisa Carrier Baker said in the playbill, “Elated does not begin to describe how we feel to be back in the Theatre Arts Arena, with you, after a three-year hiatus.” This was my first time seeing the very moving and important musical Falsettos. I was not disappointed by Kurt Boehm’s wonderful direction or Nathan Beary Blustein’s smooth and well-executed musical direction. Falsettos was written by William Finn and James Lapine, with music and lyrics by Finn. The musical premiered on Broadway in 1992 and was nominated for seven Tony Awards, winning for Best Book and Best Original Score.

The cast is small but talented and mighty. Falsettos takes place in New York City in 1979. It tells the story of Marvin, played by the talented Ben Clark, who leaves his wife, Trina, brilliantly played by Emma Hanks. Darien Chan played their ten-year-old son Jason. The young actor performed as if he had been acting for years.

Marvin leaves Trina for his gay lover, Whizzer, sensitively played by Jimmy Bartlebaugh. This creates a ripple effect of guilt, anger, sadness, and betrayal. Marvin and his family are Jewish, and he is very proud of his heritage and his family, as we hear in the song “A Tight-Knit Family.” The first act centers around how this action impacts him and his family. His wife seeks out therapy with a psychiatrist, Mendel, well-acted by Sam Intrater. Mendel is instantly attracted to Trina as she grapples with the end of her marriage to Marvin in the song “Love Is Blind.”

Marvin and Whizzer have their own issues to work through, one being Marvin’s desire for monogamy with Whizzer in the song “The Thrill of First Love.” Jason worries about his future in the hilarious number “My Father’s a Homo,” and all involved urge Jason to see a psychiatrist (“Everyone Tells Jason to See a Psychiatrist”). Trina worries about her role in the family being replaced by Whizzer and she belts out a resounding, emotional, and entertaining rendition of “I’m Breaking Down.” There are a lot of wonderful musical numbers that round out Act One, most notably “March of the Falsettos,” beautifully harmonized by Intrater, Clark, Chan, and Bartlebaugh.

Act Two fast-forwards to 1981, the beginning of the AIDS epidemic, with a reference to the indifference of Nancy Reagan, who chose to focus on the “war on drugs” instead of the looming AIDS crisis. The act opens with a delightful rendition of “Falsettoland” led by Intrater and the entire company. Marvin has new neighbors, Dr. Charlotte, finely acted by Valerie Nagel, and her lesbian girlfriend, Cordelia, convincingly played by Cate Ginsberg.

The musical flows from song to song with very little dialogue. I was not sure how I felt about this at first, but the storytelling drew me in. The costume pieces were very well matched to each character and the time period by Costume Designer Kristina Martin. The set design by Elizabeth McFadden was representative of New York City and really worked for this production. The cast members were well suited to each of their roles, with stand-out performances from Ben Clark, Emma Hanks, and Darien Chen.

As director Kurt Boehm said in his playbill director’s note, Falsettos is “an important piece of theatre as it represents the LGBTQ community, Judaism, coming out, and living your life proudly with dignity and honor.”

Running Time: Approximately two and a half hours, including a 15-minute intermission.

Falsettos plays June 24, 2022, at 8 pm, June 25 at 8 pm, and June 26 at 2 pm presented by Montgomery College Summer Dinner Theatre performing in the Theatre Arts Arena, Theatre Arts Building, Rockville Campus, 51 Mannakee Street, Rockville, MD. Tickets ($65 buffet and show, $25 show only) can be purchased online or by calling 240-567-5301 (box office hours are Monday through Friday, 10 a.m. to 2 p.m. and 3 p.m. to 6 p.m.).

COVID Safety: Vaccine cards will be checked at the door.  All patrons must provide proof of vaccination OR a recent negative COVID test (within 72 hours of the show). Masks must be worn to enter the arena, approach the buffet, and during the show.

Assistant Musical Director, Matthew Dohm
Lighting Designer, Lynn Joslin
Sound Designer, Frank DeSando

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