Classic Theatre of Maryland’s production of The Importance of Being Earnest is a hilarious celebration of wit and farce, and a fun way to open the new season. Directed by Sally Boyett, the production shows why Oscar Wilde’s classic comedy of fake identities, comic absurdities, and clever one-liners continues to charm audiences.

The Importance of Being Earnest follows two young men, Jack Worthing and Algernon Moncrieff, who both lead double lives to escape social obligations and pursue romance. Jack invents a brother named “Ernest” so he can visit the city and woo Gwendolen Fairfax, while Algernon uses the same alias to court Jack’s ward, Cecily Cardew. When their deceptions are exposed, chaos and witty confusion ensue.

Actor Pierce Bunch brings a mischievous joy to the lead role of Algernon Moncrieff, a young dandy enjoying this deception. He excitedly speaks with Cecily (Tabitha Bradley) under the assumed identity of Ernest. Bunch shines in comedic scenes, where he dictates his love to Cecily and casually eats muffins while tossing off absurd remarks as his plans fall apart.

Joe Staton brings a seriousness to Jack Worthing, Algernon’s friend. He tries to grab the cigarette case Algernon holds, hoping to avoid revealing his own schemes. In love with Algernon’s cousin Gwendolyn (Stephanie Greenwood), he moves as close to her as propriety allows. He politely but firmly objects to the marriage, using the power he has. Staton and Bunch have excellent chemistry, trading insults and protesting at each other’s plans while still remaining friends. Greenwood plays Gwendolyn with quiet determination. She momentarily hangs back to speak with Jack and defends her love for him against opposition, all while delivering comic lines.

Tabitha Bradley plays Cecily, Jack’s ward and Algernon’s love interest, with a seeming innocence. She excitedly relates to Algernon the progress of their courtship and plays up the double entendres of Oscar Wilde’s comedy. She and Greenwood work perfectly together, moving comically from a hesitant friendship to insults and back to sisterhood.

Nancy Krebs commands as Lady Bracknell, Gwendolyn’s mother and Algernon’s aunt. She firmly orders Gwendolyn to their train and questions Jack, remarking on his unusual background. Excited by another marriage prospect, she has the young woman turn around, remarking on her dress and chin. She offers witty observations on society in between her demands.

Kristen Rankin plays Miss Prism, Cecily’s tutor, with a seriousness hiding great passion. She urges Cecily to continue with her studies and engages in deep intellectual conversations with Reverend Chasuble (John Pruessner), dropping double entendre metaphors and scheming to spend time with him. She takes center stage when explaining a secret from her past.

Pruessner brings a gentleness to Reverend Chasuble, trying to give charitable interpretations to seemingly bad news. He eagerly speaks about a sermon he has adapted for multiple occasions.

Brian Davis plays Algernon’s servant Lane with a dry wit as he responds to Algernon’s questions. Dexter Hamlett plays the butler Merriman with a hint of sarcasm, relaying instructions.

Scenic Designer Salydon Boyken creates a late 19th-century living space, with chairs, a sofa, and end tables up front, while two large tables in back contain lamps, books, and other items. For the garden, wrought-iron chairs and tables are brought out, and flowers are placed throughout the stage. Costume Designer Sally Boyett and Wig Designer Tommy Malek evoke the period with long dresses for the women and suits for the men. Algernon is colorful in a bright blue suit, while Lady Bracknell commands attention with a large hat holding many flowers.

Lighting Designer Adam Mendelson helps create a sense of transition between scenes by dimming the lights for each act break. Sound Designer Folger Ridout incorporates various sound effects, including birds singing and Jack rummaging around, as well as music during romantic scenes. Dialect Coach Nancy Krebs ensures the actors’ accents sound authentic while still being understandable. Sally Boyett keeps the energy high with lots of movement, from Algernon and Jack fighting over a plate of muffins to Jack and Gwendolyn tenderly signaling each other. The actors hit all the right comic moments, making for an evening of delightful laughter and a treat for those who know the play and those watching it for the first time.

All in all, the Classic Theatre of Maryland’s production of The Importance of Being Earnest is a standout accomplishment.

Running Time: Two hours and 30 minutes, including one 15-minute intermission and one 10-minute intermission.

The Importance of Being Earnest plays through October 19, 2025, at Classic Theatre of Maryland – 1804 West Street, Annapolis, MD. For tickets ($61–$89 ), call the box office at 410-415-3513, email BoxOffice@classictheatremaryland.org, or purchase online.

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Compass Rose Theater’s production of Annie is a colorful celebration of singing and dancing with an optimistic outlook even in the darkest of times. The beloved musical, with book and lyrics by Thomas Meehan, music by Charles Strouse, and lyrics by Martin Charnin, features the loveable red-headed orphan Annie during the Great Depression. Directed by Tracy Adler, with musical direction by Barrett Johnson and choreography by Tori Farnsworth, the show is a fun way to kick off the new season.

Jules Kanarek plays Annie with equal parts love and determination, breaking up fights between the orphans and comforting one of them. She repeatedly breaks out of the orphanage to find her parents, defying the threats of Miss Hannigan (Hayley Adler). She wins over Warbucks (James M. Toler) by leaning against him and sighing. Throughout the show, she changes the tone of “Maybe” from a sweet, hopeful song to one filled with disappointment. “Tomorrow” is full of joyful hope.

The girls playing the other orphans are impressively talented. Baylor Cherneski gives a rough edge to Pepper, arguing with the others and fighting them. Tabitha Belle Popernack as July fights her back in a wonderfully staged scene. Sophia Vincent as Tessie seems innocent but pulls pranks on Miss Hannigan. Julia Ballenger as Molly ends up in comical places such as a laundry hamper and a pail. Their “It’s the Hard Knock Life” is defiant against their harsh treatment, while “Fully Dressed” is a fun reprise of a radio song, all while doing handstands, lifts, leaps, and somersaults.

Hayley Adler brings excellent comic timing to orphanage manager Miss Hannigan. She blows a whistle and yells at the girls while sipping from a flask. “Little Girls” shows her exasperation with her charges, in a sultry, jazzy mood. Tyler M. White plays her conman brother Rooster with a zest for the next score, while Tori Farnsworth brings a comic ditziness to his moll Lily. They slide across the stage in “Easy Street” figuring out get-rich-quick schemes.

James M. Toler plays billionaire Warbucks with authority, barking for his secretary and butler, and making snap decisions on artwork and phone calls. His phone call to President Roosevelt is hilarious, as he tries to hide his distaste for the Democrat Roosevelt. Though he’s initially comically awkward with Annie, they quickly bond, and he twirls her around while singing “I Don’t Need Anything but You.” He sings of his love for the noisy, hustling city in “N.Y.C.” and shows his love for Annie in “Something Was Missing.”

Taryn Murphy brings an eagerness to Grace, Warbucks’ secretary, confidently helping any way she can. She has great comic tension with Miss Hannigan, as she politely but firmly tells the orphanage manager Warbucks’ plans for Annie. C.C. Gallagher plays Bundles the laundry man with cheer, casually dismissing Miss Hannigan’s flirtations. As FDR he is aristocratic and charming, welcoming Annie. He can be commanding as well, ordering his Cabinet to sing in “Cabinet Tomorrow.” Jewel Freeman shines as a star-to-be in “N.Y.C.,” singing of her hopes for the big city. C.C. Gallagher radiates authority as officer Lt. Ward, the beat cop, who confronts Annie. Andrew Agner-Nichols as Drake, the butler, is comically eager, popping up as soon as Warbucks calls for him, and as radio announcer Healy, he smoothly transitions from dramatic to charming as his subject changes. “Fully Dressed” is an amusing, memorable jingle. Lizzy Grice is quietly efficient as the maid Sophie. Sequel is clever as the dog Sandy, doing little tricks as Annie sings “Tomorrow.”

Set Designers Kerry and Laurie Brandon and Philip Aaron have large blocks throughout the stage for multiple uses, from beds at the orphanage to the call letters of the radio studio and as seats. A chair, table, and telephone sit off in the front corner, while desks, chairs, and other items come in as needed. Costume and Prop Designer Susan Flynn evokes the Depression era with outfits that distinguish each character, with Grace in elegant business wear, Miss Hannigan in less-expensive-looking dresses, and Rooster in a loud, striped blue suit. Annie wears several dresses throughout, including her famous red one.

Lighting Designer Marianne Meadows turns off the lights during scene changes. Spotlights shine on the actors during emotional moments. Sound Designers Ryan Squires and Barrett Johnson, also Music Director, ensure the music never overwhelms the singing. Choreographer Tori Farnsworth creates beautiful and athletic dances, with clever swings, twirls, and lifts. Director Tracy Adler gives the show lots of movement, with actors using all parts of the stage. They hit all the right comic and vulnerable moments, singing and dancing with high energy and emotion. Annie exudes something for audiences of all ages, especially hope and love, at a time when both are sorely needed.

Running Time: Two hours and 45 minutes, including one 15-minute intermission.

Annie plays through October 19, 2025, presented by Compass Rose Theater, performing at Maryland Hall for the Creative Arts (third floor), 801 Chase Street, Annapolis, MD. For tickets ($15–$55 plus fees), call the box office at 410-980-6662 or purchase online. 

A virtual playbill is available here.

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The Colonial Players of Annapolis production of An Ideal Husband is a delightful comic start to the season. Oscar Wilde’s classic play of blackmail explores morality, reputation, and compromise, all through brilliantly funny one-liners and comedic misunderstandings. Directed by Greg Jones, it offers plenty of laughs as well as lots to consider afterward.

Michael Dunsworth gives a fierceness to Sir Robert, a leading politician whose past comes back to haunt him. He is outraged at Mrs. Cheveley’s (Aparna Sri) proposition, refusing at first to even consider it. He argues against his wife’s (Christine Kinlock) dismissal of compromise in political matters, and rails at her for putting him on such a high pedestal. He refutes Lord Goring’s (Tristan Poje) idea that his giving in to temptation was “weak,” arguing that it took strength to do so. He captures all the justifications and wavering that his moral dilemma has put him in.

Christine Kinlock plays Sir Robert’s wife, Lady Gertrude, with an uncompromising strength. She harshly judges Mrs. Cheveley, wanting to throw her out of the house. Rebuffing Sir Robert’s pleas for understanding, she stands behind him as he writes a letter trying to end the proposition, and follows him inside after he makes another important decision.

Aparna Sri is deliciously wicked as Mrs. Cheverley, making her threat to Sir Robert in between clever jibes at English society. Reveling in her power over Sir Robert, she briefly lies on the sofa. In Lord Goring’s home, she seductively stands in the doorway, then sits on his lap. In a brief, vulnerable moment, she admits her love to Lord Goring and her hatred of Lady Gertrude.

Tristan Poje plays Lord Goring, Sir Robert’s friend, as a dandy with a strong moral sense. While delivering some of Wilde’s most famous and funniest witticisms, he gives both Sir Robert and Lady Gertrude earnest, heartfelt advice, trying to show them the value of compromise and compassion. Seeing what Sir Robert has done to be terrible, he nevertheless defends him and seeks to protect Lady Gerturde, even when it might hurt him. He is the play’s moral heart.

Sarah Wade brings a charming silliness to Mabel, Sir Robert’s sister. Her back-and-forth with Lord Goring, filled with flirtation and humor, is lovely to watch. She gives a look of disappointment at Lord Goring’s attentions to other women.

Edd Miller is a hoot as Lord Caversham, Lord Goring’s father. Flabbergasted at Lord Goring’s living “solely for pleasure,” he urges his son to marry, as “bachelors can’t be trusted. Too much is known about them.” His insistence on speaking with his son comes at the comically worst time, and he gives some hilarious digs at Lord Goring.

Sue Ann Staake brings an absurdity to Lady Markby, who brings Mrs. Cheveley to social functions. She speaks at length and with great comic timing about her husband’s speaking at home as though he were in Parliament. Vanessa Van Note and Alexis Mete play partygoers Mrs. Marchmont and Lady Basildon with great energy, making humorous observations about marriage and husbands while eagerly walking arm in arm with Lord Goring.

Nick Meyers plays Mason, Sir Robert and Lady Gertrude’s butler, with grace, announcing visitors and giving useful information. Todd Smith has great comic timing as Phipps, Lord Goring’s butler, with a hilariously deadpan response to one of Lord Goring’s observations. He follows Lord Goring around the stage, trying to put a flower in his buttonhole while Lord Goring rattles off his famous one-liners.

Set Designers Dudley Whitney and Edd Miller and Props Designer Carrie Shade create a Victorian setting, with chairs, carpets, writing desks, and side tables coming on and offstage as needed for each act. Projection Designer Dudley Whitney throws up period-appropriate images on the walls, such as paintings and bookcases. Costume Designer Maggie Balacki and Hair and Makeup Designer Jan Blome evoke the era with colorful dresses for the women and coattails, bow ties, and smoking jackets for the men. Mrs. Cheveley stands out in a striking red dress at the start, as well as a green dress toward the end.

Lighting and Sound Designer Dudley Whitney highlights key moments in the story through spotlighting characters and throwing out a distinctive sound. Choreographer Lindsay Zetter gives excitement to the furniture changes with each act, with Phipps directing Lady Basildon and Mrs. Marchmont in moving the furniture. Greg Jones keeps the comedy high through physical gags and comic reactions, while also allowing for vulnerable and emotional moments to show through. The actors hit each perfectly, and Wilde’s language feels natural coming from them. An Ideal Husband wraps complex issues of ethics in charming, hilarious lines. Go see it!

Running Time: Two hours and 30 minutes, including one 15-minute intermission.

An Ideal Husband plays through September 27, 2025, at Colonial Players of Annapolis – 108 East Street, Annapolis, MD. For tickets ($28), call the box office at 410-268-7373 or purchase online.

A virtual playbill is available here.

An Ideal Husband
By Oscar Wilde
Directed by Greg Jones

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Classic Theatre of Maryland’s production of Much Ado About Nothing is a witty, colorful interpretation of Shakespeare’s classic comedy. Co-directors Donald Hicken and Sally Boyett (who also choreographs) set it in a tropical hotel in the 1950s, adding dancing and the era’s music. It is a fun summer show with lots of laughs as well as plenty to consider afterward.

Josh Lee plays Benedick, a man with a sharp wit, with hidden depths. His retorts are humorous but with cutting barbs. After one back-and-forth with Beatrice (Kristianna Pirrie Dilworth) that leaves him wounded, he slinks away sulking. Honoring a promise to Beatrice, he quietly but firmly challenges Claudio (Evan Leone).

Kristianna Pirrie Dilworth brings a concealed vulnerability to Beatrice, who matches Benedick in wit. Her jokes are as humorous as his and with just as much of an edge. Having scared off suitors, at one moment she shows a longing for love before laughing it off. Angered at Claudio, she stomps across the stage demanding justice, pushing away Benedick as he tries to speak to her. Their relationship is fascinating to watch, two clever people who clearly belong together and love each other but are afraid to admit it.

Evan Leone plays Claudio, Benedick’s friend, with quickly changing emotions: smitten with Hero (Delaney Jackson) but leaving the wooing to another friend, stiffly speaking to him after believing he has taken her for himself. Later, believing Hero unfaithful, he angrily and violently reproaches her, pushing her down. Remorseful, he lays flowers in a chapel, expressing how he loves Hero.

Delaney Jackson brings a liveliness to Hero, enamored with Claudio and helping set up Beatrice and Benedick. Accused by Claudio, she collapses to the floor, weeping, deeply emotional. Mackenzie Koehne plays Margaret, servant and friend to Hero and Beatrice, with a passionate charm, giving clever retorts to Benedick and Beatrice, while intimately dancing with Borrachio (Joe Love). Realizing her role in Hero’s misfortune, she weeps in the corner. Camila Aldet brings an easy allure to Ursula, eagerly helping Hero and Margaret with their plans for Beatrice. She confronts Claudio, needing to be held back from him.

Dexter Hamlett plays Leonardo, host and father to Hero, with quiet authority, embracing guests and directing preparations. Shocked at the accusations against Hero, he rails against her before attacking Claudio. Maverick Bunker brings an enthusiasm to Don Pedro, Benedick and Claudio’s commanding officer, eagerly helping to bring Benedick and Beatrice together. He supports Claudio’s accusations.

Pierce Bunch plays Don John, Don Pedro’s brother, with barely concealed anger, raging at any opportunity to create trouble for his brother and friends. Joe Love brings a roguish charm to Borrachio, Don John’s underling, dancing closely with Margaret and swaying his hips as he brags about his mischief. Brandon Doyle brings an excitement to fellow underling Conrad, eagerly listening to Borrachio’s exploits while angrily calling Dogberry (John Pruessner) “an ass.”

John Pruessner plays Dogberry with excellent comic timing, always using the exact wrong word and repeating himself in many different ways. Adam Lawrence and Nathan Rosen bring hilarious enthusiasm to his assistants, Seacole and Verges, excitedly rushing through their report on Borrachio. Rosen plays Friar Francis with strong authority, defending Hero’s reputation and creating a plan to save her. Colin Kemmerer brings a youthful mischievousness to the boy Richie, comically interrupting the action with noisemakers, slide whistles, and even a pogo stick.

Scenic Designer Salydon Boyken turns the stage into a tropical paradise, with vines, flowers, and plants all around. The backdrop is a metal screen with elaborate work, while the floor is Spanish tile. Canvas chairs, desks, and tables enter as needed. Costume Designer Sally Boyett and Wig Designer Tommy Malek recreate the 1950s with bright dresses and bikinis for the women, as well as suits for the men, who also wear naval officer and sailor uniforms. Dogberry and his associates wear Boy Scout uniforms.

Lighting Designer Adam Mendelson dims the lights in between scenes, as well as for night scenes. Sound Designer Folger Ridout plays classic 1950s songs throughout, usually commenting on the action. Donald Hicken and Sally Boyett keep the actors constantly moving around the stage, often to great comic effect. Benedick and Beatrice’s eavesdropping scenes are particularly hilarious. The dancing, with Mackenzie Koehne as dance captain, is a beautiful treat, especially one done to the “Tequilla” song, using spins and twirls, and uniquely passing around a bottle. The actors ensure that Shakespeare’s language feels natural even in the more modern setting. It feels reminiscent of a Cole Porter musical adaptation of Shakespeare. Everything comes together for an evening of delightful comedy with a bite, surprising at times while remaining familiar.

Running Time: Two hours and 30 minutes, including one 15-minute intermission.

Much Ado About Nothing plays through July 27, 2025, at Classic Theatre of Maryland – 1804 West Street, Suite 200, Annapolis, MD. For tickets ($61–$89), call the box office at 410-415-3513, email BoxOffice@classictheatremaryland.org, or purchase online.

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Annapolis Summer Garden Theatre’s production of The Best Little Whorehouse in Texas is a funny, colorful celebration of a classic musical. With a book by Larry L. King and Peter Masterson, and music and lyrics by Carol Hall, it tells the story of a cherished, long-standing bordello nicknamed the “Chicken Ranch” that is threatened by public exposure. Directed by Mark Briner, with Kate Piazza as music director and Becca Vourvoulas Szymanski as choreographer, the show rejoices in pleasure and freedom. Although the performance reviewed here sadly ended halfway through due to inclement weather, even Act I alone offers a whole show’s worth of toe-tapping music, excellent singing, and top-notch dancing.

Traci Howie Denhardt plays “Chicken Ranch” owner Mona with a comic, no-nonsense hardness that hides a compassionate side. “A Lil’ Ole Bitty Pissant Country Place” has her explaining the rules of the place to newcomers Angel (Katie Sheldon) and Shy (Ashley Rudy), while suggesting euphemisms for Angel’s salty terms. She calls her clients guests so that they “feel at home, but not too much at home.” In “Girl You’re a Woman,” she tenderly encourages Shy and later comforts Angel after an emotional phone call.

The Girls (Erica Miller, Nicole Ricucci, Gillian Keirn, Elda Trombley, Madelyn Keir, and Nancy Louck) are sassy and seductive, making double-entendres and complaining about the heat. In “A Lil’ Ole Bitty Pissant Country Place,” they repeat and elaborate on Mona’s rules, while “Twenty-Four Hours of Lovin’ ” has them describing the pleasures of a full day off.

Katie Sheldon plays newcomer Angel with a streetwise hardness. She casually rattles off to Mona the problems she’s had in the business, while sporting a black eye. A phone call later shows her emotional side. Ashley Rudy brings an innocence to Shy, not understanding some of the terms the Girls used, yet still determined to work there. She hugs Mona when she takes the girl in. She shakes her first guest’s hand (Chris Rudy) before bringing him to her room. Michelle Bruno brings an enthusiasm to Mona’s assistant, Jewel. She dominates the stage in “Twenty-Four Hours of Lovin’,” joyfully telling, with a jazzy beat, how she plans to spend her time off. Chris Rudy as the Bandleader gives a history of the “Chicken Ranch” in “20 Fans.”

George W. King III brings a near-evangelical zeal to Melvin P. Thorpe, a television personality and community watchdog, who enthusiastically reports on the horrors of the “house of ill-repute” in “Texas Has a Whorehouse in It.” His Singers (Erica Miller, Nicole Ricucci, Ashley Rudy, and Elda Trombley) back up his outrage that such a place exists in Texas, while his Lone Star Strutters (Ethan Albo, Billy Luzier, Nathanael Quay, and Chris Rudy) promise to illuminate wrongdoing in “Watch Dog Theme” using flashlights.

James Zemarel plays Sheriff Ed Earl Dodd with a comic anger, furious at Thorpe’s exposé of the bordello and nervous about how it might affect him. He circles Thorpe, poking him with a finger and threatening him and his crew with arrest. John Purnell plays Mayor Rufus Poindexter with a nervousness, worried about what this unwanted publicity will do to him. Taylor Hinds brings a loneliness to diner waitress Doatsey Mae, singing wistfully in “Doatsey Mae” of the glamor of beautiful people. She is strict as Wulla Jean, the bordello’s previous owner, rolling her wheelchair over to people breaking her rules and whacking them.

Set Designer Todd Croteau, with Lead Set Builder Peter Kaiser, creates a two-level stage with many doors, leading to the Girls’ rooms. A staircase audience left leads to the second level, while a slightly raised platform is in the back near the center. The band is in the upstage center, under the second story. Many ceiling fans whirl on both levels. Chairs and tables come out for the diner scenes. Costume Designer Lisa Chadwick has colorful outfits that help distinguish each character. Thorpe wears a bright blue suit with an American flag tie; his Singers are in white gowns, while his Lone Star Strutters have cowboy hats and shirts with the Texas flag on them. Shy begins in a simple, bland dress, later changing to a sparkly green dress.

Lighting Designer Will Roberts dims the lights for more intimate songs like “Girl You’re a Woman” and “Doatsey Mae” while keeping things bright for big numbers like “20 Fans.” The Strutters sing part of their number lit by flashlights. Sound Designer Maeann Ross ensures the performers stay at a good volume. Music Director Kate Piazza balances the sometimes jazzy, sometimes country, sometimes Broadway music of the Rio Grande Band (Billy Georg, Trent Goldsmith, Noah Nicholson, David Mueller, Kevin Hawk, and Reid Bowman) with the singers, making sure that neither overwhelms the other. Choreographer Becca Vourvoulas Szymanski has many engaging country-western-themed movements throughout, like swing and line dancing. Director Mark Briner keeps the performers moving across the stage over both levels. They hit all the right comic and emotional moments, with many double-entendres, wisecracks, and tender scenes. The Best Little Whorehouse in Texas feels like a celebration of Texas itself, featuring larger-than-life characters with a comic bite, trying to live as they please. To learn what happens in Act II, come down to the “Chicken Ranch”!

Running Time: Two hours and 30 minutes, including one 15-minute intermission.

The Best Little Whorehouse in Texas plays through July 19, 2025, at Annapolis Summer Garden Theatre – 143 Compromise Street, Annapolis, MD. For tickets ($30) call the box office at 410-268-9212 or purchase online.

The Best Little Whorehouse in Texas
Book by Larry L. King and Peter Masterson
Music and Lyrics by Carol Hall
Based on a story by Larry L. King
Directed by Mark Briner

CAST
Mona Stangley: Traci Denhardt
Sheriff Ed Earl Dodd: James Zemarel
Melvin P. Thorpe: George King
Senator Wingwoah / C. J. Scruggs: Jamey Pelligrini
Angel: Katie Sheldon
Shy: Ashley Rudy
Jewel: Michelle Bruno
Doatsey Mae: Taylor Hinds
Governor / Mayor Rufus Poindexter: John Purnell
Edsel Mackey: Nathanael Quay
Band Leader: Chris Rudy
Chip Brewster: Ethan Albo

Chicken Ranch Ladies
Beatrice: Gillian Keirn
Dawn: Madelyn Keir
Eloise: Elda Trombley
Ginger: Nancy Louck
Linda Lou: Erica Miller
Ruby Rae: Nicole Ricucci

Aggies
Ethan Albo
Nicholas Baranosky
Shane Coleman
Billy Luzier
Nathanael Quay
Tyler Rose
Chris Rudy

Understudies
Brendan Guay, Laura Raynor, and Vanessa Van Note

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Classic Theatre of Maryland’s production of The Imaginary Invalid is a hilarious adaptation of Molière’s farce. Directed by Sally Boyett and performed in the courtyard of Reynolds Tavern, it is a delightful way to kick off the summer and Classic Theatre’s “Comedy in the Courtyard.”

Dexter Hamlett plays Argan, the title character, with obsession and cluelessness. A hypochondriac convinced he is seriously ill, he laments when a prescription drops to the ground, ringing furiously for his maid to retrieve it. He waves his cane at those dismissing his illnesses, while clueless about how his wife really feels about him, or who his daughter truly wishes to marry. In the end, he wails, thinking no one loves him, but then becomes excited when prompted by an unusual plan to have a doctor in the family.

Kristianna Pierre Dillworth brings a craftiness to Argan’s wife, Beline. She slyly manipulates him into making his will, claiming to be unconcerned with his money and its location, while confirming both with him. Wanting to put Argan’s daughter into a convent, she tries dissuading the suitor Argan has chosen, telling him the daughter is “cold” and uninterested. When Argan appears to be dead, she shows her true feelings, leaping for joy.

Daniella Canizales brings a youthful tearfulness to Argan’s daughter, Angelique. In love with another besides the one her father has chosen, she weeps and throws her hands into the air, fearing how her true love will react to this news. Thinking her father dead at one point, she cries again, lamenting her loss.

Brian Davis plays Angelique’s beloved Cleante with passion. Discovering she is to marry another, he comically tries to hide his anger, coming out in huffs. He desperately sings an opera with Angelique, a coded song that expresses his feelings and plans. As Argan’s doctor, Dr. Purgeon, he commands authority, favorably interpreting his nephew’s rough examination of Argan, and pronouncing doom when his patient fails to follow his orders.

Evan Leone brings comic awkwardness to Claude d’Aria, Argan’s proposed suitor for Angelique. Referring to himself in the third person, he tries to woo Angelique with odd phrases of love. He clumsily examines Argan, spinning the patient around in his chair. Surprised at Angelique’s disinterest in him, he clucks and waddles off. As a notary, he eagerly suggests ways of disposing of Argan’s money to avoid legal issues.

Nancy Krebs plays Argan’s maid, Toinette, with comic sass, speaking back to Argan with insults and deliberately mispronouncing Claude’s last name. She helps reveal Beline’s true feelings toward Argan and works to disrupt his marriage plans for Angelique. Her doctor disguise is hilarious, making up diagnoses on the fly and goose-stepping across the stage. She comically switches between doctor and Toinette, with a funnily flirtatious back-and-forth between them.

The costumes, designed by Sally Boyett, evoke Molière’s era while distinguishing each character. Argan wears a green robe and nightcap, while Angelique and Beline are in long dresses. Cleante first appears in a colorful cape and mask, hoping to disguise himself. Everything enhances the comedy, with funny use of the word “intercourse” and sound effects playing at mentions of Claude’s name and Argan’s wife. Toward the end of the first half, the actors sing to classical pieces and one Whitney Houston song. They constantly move around the stage, at times warily circling each other. They hit all the right comic moments, perfectly capturing the farce. It makes for a pleasantly humorous after-dinner show.

Running Time: 90 minutes including one 15-minute intermission.

The Imaginary Invalid plays select Tuesday evenings through August 26, 2025, presented by Classic Theatre of Maryland, performing in the outdoor beer garden of Reynolds Tavern – 7 Church Circle, Annapolis, MD. For tickets ($58–$85), call the box office at 410-415-3513 or purchase online. Food and drinks at Reynolds are not included in the ticket.

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The Birmingham Royal Ballet’s production of Black Sabbath – The Ballet is a thrilling blend of classical dance and heavy metal music. While Paul Murphy conducts the Kennedy Center Opera House Orchestra in Black Sabbath music and original music composed by Marko Nyberg, Christopher Austin, and Sun Keting, inspired by the band, the company dances pieces choreographed by Raul Reinoso, Cassi Abranches, and Pontus Lidberg. In three acts, the ballet pays creative tribute to a band that has made its mark on popular culture.

The company dances wonderfully in spectacular combinations of solos, duets, quartets, and groups. In Act I, the Guitarist, Marc Hayward, joins them onstage, and they circle around him, carrying and floating him away. Yaoqian Shang and Javier Rojas, as “Solitude,” play, circle, spin, and lift while always kissing. They are joined by Rachele Pizzillo and Enrique Bejarano Vidal, in black full-body suits, who spin, lift, and extend their legs.

Act II has voice-overs of band members speaking about creating their music while “Orchid” plays. While Tony Iommi recounts the factory accident that necessitated his new guitar sound, Callum Findlay-White walks and spins to his speech. As Ozzy talks about starting out, Ava May Llewellyn spins and extends her legs. Later, while Ozzy relates a spooky occurrence with fans at a hotel, Lachlan Monaghan sings the beginning of “Black Sabbath.”

In Act III the dancers move an overturned car with a demon atop it around the stage, while spinning and lifting each other. Later, they tumble and leap across the stage, pumping their fists and stomping their feet. Riku Ito dances to the Guitarist as “Laguna Sunrise” plays, diving between his legs, circling around him, and moving in pure joy.

Conductor Paul Murphy, music director and principal conductor of the Birmingham Royal Ballet, powerfully leads the Opera House Orchestra in their renditions of Black Sabbath songs. While several songs, like “Iron Man” and “War Pigs,” appear multiple times, they are played differently each time. In Act I, they sound like Black Sabbath would play them, heavy metal grinding. In Act II, they sound much lighter, sometimes almost jazz-like; this version of “Sabbath Bloody Sabbath” sounds perhaps even better than the original. In Act III, the songs feel like the thrilling soundtrack to an action movie, the perfect accompaniment to the dancers’ energetic movements.

Costume Supervisor Elaine Garlick puts the dancers mostly in black shirts and tights or regular clothes. For some scenes, some wear grey bat-like outfits or black full-body suits covering their faces. Scenic elements, constructed by Scott Fleary Productions, involve small circular symbols dropping and rising from the ceiling, as well as an overturned car and a silver devil in Act III.

Lighting Designer K.J. enhances the atmosphere by playing with darkness and light. At the start, spotlights appear on the dancers as they emerge from the back. As Ozzy speaks of his encounter with witches, red lights shine in the back, creating an indistinct but frightening shape. Sound Production and Designer Joshua Blair handles the voice-overs of the band members.

Given the recent controversies at the Kennedy Center, audiences must decide for themselves whether to attend a production there. But Black Sabbath – The Ballet’s bringing together such disparate groups as heavy metal fans and ballet lovers, to enjoy world-changing music and inventive, beautiful dancing together, feels worth it.

Running time: Two hours and 10 minutes, including two 20-minute intermissions.

Black Sabbath – The Ballet plays through June 8, 2025, presented by Birmingham Royal Ballet, performing in The Opera House at the John F. Kennedy Center, 2700 F St. NW, Washington, DC. For the schedule and to purchase tickets ($59–$169), go online or contact the Box Office at (202) 467-4600.

The program for Black Sabbath – The Ballet is online here.

COVID Safety: Masks are optional in all Kennedy Center spaces for visitors and staff. If you prefer to wear a mask, you are welcome to do so.

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Mosaic Theater Company’s production of Andy Warhol in Iran is a masterful, creative blend of humor and reflection. Brent Askari’s play imagines a possible event during the pop artist’s 1976 visit to Iran to take Polaroids of the Empress for paintings, an event that, as Andy puts it, “might have happened.” Directed by Serge Seiden, the play intimately reveals the connections between two seemingly different people.

Alex Mills evokes Andy Warhol with all his quirks and obsessions. Shyly noticing the audience while standing out on a balcony, he drops down, hoping to evade them. He initially speaks to the audience by imagining a phone conversation with them, as that is how he is most comfortable speaking to people. He finds politics “abstract” and expensive, ever since his unflattering portrait of Richard Nixon led the IRS to audit him yearly. Meanwhile, he hopes his portraits of royals will pay off well, as they would likely be purchased in multiple copies for palaces and government buildings.

Nathan Mohebbi brings a determination to Farhad, a young Iranian who confronts Andy in his hotel room. He decries Andy’s work of soup cans and painting dictators when he could paint “anything in the world.” He imagines Andy’s visit to the White House, where he met the Empress, to have been “decadent,” which Andy realizes he means in a bad way.

Mills and Mohebbi work brilliantly together, with a lovely back-and-forth as Andy, revealing his ignorance of Iranian history, tries to convince Farhad not to follow through on his plans to kidnap Warhol as a protest action against the Shah. When Mohebbi describes the tortures the Iranian government inflicts on protestors, Mills yells in sympathetic pain. Andy is flattered when Farhad does not realize he wears a wig. They share their backgrounds, Farhad reluctantly, with his education in the States, and his wish to have lived a different life, one of money and fame, than his reality. Andy talks about his poverty-stricken childhood, his father’s early death, and how fame saved his life when he was shot. At one point, Mills ends up on his knees, pleading with Mohebbi, fear in his voice.

Scenic Designer Andrew Cohen creates a nice hotel room, with a big bed upstage center and night tables on either side. Behind the bed is a balcony with a sliding glass door and a backdrop of mountains. Off-stage audience right is an old rotary phone and boxes of Brillo pads, with similar boxes on the other side. Properties Designer Deb Thomas places period-piece items throughout the stage, including a Pan Am flight bag and a Polaroid camera. Across the top of the stage are small screens showing various photos. Two large screens roll onstage at times on which Projections Designer Mona Kasra throws videos of Warhol’s friends and key events in Iran’s history.

Costume Designer Jeannette Christensen and Wig and Make-Up Designer Larry Peterson capture Warhol’s look, with white wigs, sunglasses, blue jeans, and loose tie. Farhad wears a bellhop’s uniform at first before shedding it for a loose shirt. Lighting Designer Alberto Segarra spotlights Andy and Farhad for their individual monologues, raising and lowering the lights as the emotions change. Sound Designer David Lamont Wilson throws out sounds of knocking on doors and a gunshot.

Director Serge Seiden keeps the tension high throughout the whole play, so that even though we know Warhol’s ultimate fate, at times we wonder if he will make it through this encounter. The actors hit all the right comic and emotional moments. No knowledge of Warhol and Iran is necessary; indeed, the play feels at times like an entertaining biography and history lesson, though there is some repetition between Andy’s addresses to the audience and his conversation with Farhad. Even those who are not fans of Warhol will enjoy this look at a celebrity artist gradually showing his insecurities and humanity. Andy Warhol in Iran is a profound yet humorous exploration of art, business, politics, and connection.

Running Time: Approximately 90 minutes, with no intermission.

Andy Warhol in Iran plays through July 6, 2025, presented by Mosaic Theater Company performing in the Sprenger Theatre at Atlas Performing Arts Center, 1333 H Street NE, Washington, DC. Tickets are $42-$78 and available by contacting the box office at (202) 399-7993 or boxoffice@atlasarts.org from 12 pm–6 pm Tuesday through Sunday, or one hour prior to a performance. Tickets may also be purchased online or through TodayTix.

The digital program is downloadable here.

Senior discount of 10% when using the discount code SENIOR. Student tickets $20 with discount code STUDENT. Educator: $20 with discount code EDUCATOR. Limited number of rush tickets are available via walk-up one hour before the start of each performance. Military and First Responder rate: 10% with discount code HERO. Under 30: $25 with code UNDER30 (not available on weekend matinees).

Andy Warhol in Iran
By Brent Askari
Directed by Serge Seiden
Andrew Cohen (Scenic Designer), Alberta Segarra (Lighting Designer), Jeannette Christensen (Costume Designer), Larry Peterson (Wig and Make-Up Designer), David Lamont Wilson (Sound Designer), Deb Thomas (Properties Designer), and Mona Kasra (Projections Designer)

SEE ALSO:
Mosaic Theater Company to present DC premiere of ‘Andy Warhol in Iran’ (news story, April 22, 2025)

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Annapolis Summer Garden Theatre’s production of Disaster! is a funny, entertaining show combining great dancing and singing with classic songs. Seth Rudetsky and Jack Plotnick’s parody of ’70s disaster movies, using the era’s hit music as the musical numbers, is set on a floating casino off New York, awaiting various catastrophes. Directed by Dr. Shane Jensen and choreographed by Darryl Pilate, it is a colorful way to kick off the company’s 59th season.

Sean Garcia plays Chad, a waiter at the casino, as a heartthrob concealing deep feelings. In “Hot Stuff,” he advises Scott (Drew Looney) about talking to women and charms several of them. He is awkward, though, when unexpectedly meeting his ex, Marianne (Ally Baca). Pretending with her that everything is fine, alone he sings “Without You” about how he misses her. He reveals his hurt feelings to her in “Sky High,” and tenderly sings about her in “I’d Really Love to See You Tonight.”

Ally Baca plays Marianne, a reporter trying to discover the casino’s shoddy construction, with great fierceness hiding fears. In “I Am Woman,” she sings proudly of being a strongly independent career woman, while “That’s the Way I’ve Always Heard It Should Be” reveals the real reason she does not want to get married. “I’d Really Love to See You Tonight” shows her sharing her vulnerability with Garcia.

Cameron Walker brings an urgency to Professor Ted Scheider, the expert trying to warn everyone of the impending disaster at the casino. In “Feelings,” he tenderly sings of burying his emotions after a terrible tragedy. “Mockingbird” has him comically echoing Jackie (Caitlyn Ruth McClellan) as he tries to conceal his identity.

Caitlyn Ruth McClellan plays casino singer Jackie with ambition, determined to be a success and marry boyfriend Tony (Ryan Gallucci), even against all the evidence to the contrary. She sings “Saturday Night” enthusiastically, getting the spotlight. In “I Will Survive,” she powerfully sings of stepping out on her own and finding her own strength.

Meghan McCarthy switches back between Jackie’s twin children Ben and Lisa with excellent skill. Ben is mischievous and discontent, while Lisa is intelligent and inquisitive. “When Will I Be Loved” brilliantly shows off the back and forth, while “Ben” has Lisa tenderly helping her brother in a crisis.

Emily L. Sergo plays nun Sister Mary Downey with perfect comic timing. At the casino to preach against the sin of gambling, she sings “The Lord’s Prayer” hilariously off-key. She finds herself drawn to the slot machine, wrapping herself around it in “Never Can Say Goodbye” and “Torn Between Two Lovers,” and trying to hide it from passersby.

Sarah Johansen and Michael Kenny play the long-married couple Shirley and Maury. “Still the One” has them playfully and cornily dancing and singing about their love. A reprise has Kenny tenderly singing it, full of emotion. Johansen is excellent at physical comedy, trying to hide a terminal condition with lots of physical and verbal tics, stuffing her mouth with paper to stop saying inappropriate things. Her tap dance routine is captivating to watch, full of energy and precise moves.

James Claxton IV captivates the stage as disco diva Levora Verona. Evading a taxi driver demanding she pay the fare, she wails about having fallen so low. “Knock on Wood” has her hoping for better luck as she plays the slot machine, while inadvertently causing the catastrophe. She begins “Come to Me” slowly, almost like a spiritual, before breaking into a fast-paced song and hitting the falsetto.

Ryan Gallucci plays casino owner Tony as a sleazy operator. He propositions Marianne in “Do You Wanna Make Love” and follows around a scantily dressed model while pretending to look for Ben. “Don’t Cry Out Loud” has him comically showing his fears during a crisis.

Drew Looney replaced Derek Anderson as Chad’s friend Scott in this performance, awkwardly trying to chat up women. Ashley Barry, Thomas Digby, Laura Krell, Drew Looney, L. Osborne, and Tyler Rose make up the ensemble, playing backup singers, irritable chefs, and a captain.

Set Designer Todd Croteau and Props Designer Jessica Padgett create a colorful casino. Audience right is a rotary phone and an unusually shaped seat, while audience left has an office with piranhas. A slot machine is near the center, where the musicians can be glimpsed behind streamers. Arches on either side of the stage come together for an elevator, and the balcony has chairs, doors leading to dressing rooms, and closets. Costume Designer Lisa Chadwick and Wig/Hair Stylist Ryan DeVoe evoke the fashions of the ’70s, with shiny dresses for Jackie, a huge Afro and platform shoes for Levora, and bright shirts for Shirley and Maury.

Lighting Designer John Purnell and Sound Designer Hayden Van Wormer increase the atmosphere of calamity with whirling spotlights, rumbling noises, and lights evoking fire. Blue light bathes the stage for Sister Mary’s “Never Can Say Goodbye” and “Torn Between Two Lovers.”

Choreographer Darryl Pilate creates beautiful dance numbers, with lifts, swings, and kicks. Shirley’s tap dance to “A Fifth of Beethoven” is especially spectacular. Director and Music Director Jensen leads the musicians (Marie Harrison, Trent Goldsmith, Jeff Eckert, William Georg, Allyson Wesley, Mari Hill, David Lewis, and Aaron Kan) in playing all the memorable songs, never letting it overwhelm the singers. The performers use all parts of the stage, with simultaneous action on the main floor and the balcony. Their high energy and near-constant motion help add to the sense of doom. They sing powerfully, hitting all the comic and emotional moments, while acting out the song lyrics in funny ways. “Three Times a Lady” is particularly hilarious. Missing this show would be a disaster!

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

Disaster! plays through June 14, 2025, at Annapolis Summer Garden Theatre – 143 Compromise Street, Annapolis, MD. For tickets ($30), call the box office at 410-268-9212 or purchase online.

Disaster!
By Seth Rudetsky and Jack Plotnick
Director/Music Director: Dr. Shane Jensen
Choreographer: Darryl Pilate
Production Manager: Lin Whetzel
Stage Manager: Jessica Padgett

CAST
Chad Rubik: Sean Garcia
Jackie: Caitlyn McClellan
Sister Mary Downy: Emily L. Sergo
Ben/Lisa: Meghan McCarthy
Marianne: Ally Baca
Levora Verona: James Claxton
Prof. Ted Scheider: Cameron Walker
Tony Del Vecchio: Ryan Gallucci
Scott: Derek Anderson
Maury: Michael Kenny
Shirley: Sarah Johansen
Ensemble: Ashley Barry, Thomas Digby, Laura Krell, Drew Looney, L Osborne, Tyler Rose

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Classic Theatre of Maryland’s production of Anything Goes is a colorful, joyous celebration of music, dance, and acting. Directed and choreographed by Sally Boyett, with musical direction by Maureen Codelka, it brings Cole Porter, Guy Bolton, and P.G. Wodehouse’s classic musical of hijinks on a transatlantic ocean liner to glorious life.

Jeff Gallup gives a determination to Billy Crocker, pursuing a soon-to-be-married woman. He sings passionately of how he feels about Hope (Allison Meyer) in “Easy to Love,” dancing with her and holding her close. In “It’s De-Lovely,” he sings joyfully of her reciprocating, though beginning comically, in drag. “All Through the Night” has him clinging to his love even at his lowest point.

Allison Meyer brings a fearfulness to Hope, torn between her love for Billy and her commitment to marry Evelyn (Noah Pigza). She pulls away from Gallup several times, racing away in tears. Even confronting her mother (Nancy Krebs), she cannot bring herself to say who she really wants.

Camila Aldet plays Reno, Billy’s friend and a nightclub performer, with a charming brashness. Realizing Billy is not interested in her romantically, she sings “I Get a Kick Out of You” with a slight bitterness, still charmed by him despite everything. She cements their friendship in “You’re the Top,” building up Billy’s confidence to pursue Hope. She sings “Friendship” with Moonface (John Pruessner) to great comic effect, starting off sincere in their bond before devolving into seeking the spotlight and quacking at each other.

Reno’s fellow performers Purity (Makenzie Koehne, also Dance Captain), Chastity (Sara Evelina Davis), Charity (Mollie Becker), and Virtue (Katie Van Horn) exude sensuality, grabbing the attention of passengers and sailors. They take the spotlight in “Blow, Gabriel, Blow,” a brilliant take on evangelical Christian services with gorgeous outfits and outstanding dancing that prompts several passengers to confess their sins.

Nancy Krebs brings an obsession with money and status as Hope’s mother, Evangeline. Worried that Hope will not marry her fiancé, she arranges for the Captain (Josh Lee) to marry them as soon as possible. Dexter Hamlett plays Eli Whitley, a wealthy businessman and Billy’s employer, as an old college boy, singing Yale fight songs and drinking freely. He pursues Evangeline with great comic effect.

Noah Pigza plays Hope’s fiancé, Evelyn, with excellent comic timing. A British aristocrat, he writes down unusual American phrases while misusing them, telling Moonface he has “hot pants for you.” In “The Gypsy in Me,” he shows his passionate side, waving his smoking jacket like a matador and tangoing with Reno. Adam Lawrence plays the Bishop Henry T. Dobson with great portentousness, admonishing Reno and her performers for their act.

John Pruessner is a hoot as Moonface Martin, a gangster stowaway. Announcing himself, he is surprised when no one recognizes him. Trying to cheer up Billy, he sings an absurd song, “Be Like the Bluebird,” with comic tweets and chirps. Delaney Jackson plays Moonface’s partner Erma Latour with great comic timing, announcing that the sailors are teaching her how to “stoke the coal.” In “Buddy, Beware,” she sings of her needs while hurling the adoring sailors away.

Sean-Edward Varner and Jacob V. Scott bring comic roguishness to Spit and Dippy, formerly under Bishop Dobson’s care. They pick passengers’ pockets and swipe their money in craps games. Josh Lee plays the Captain with comic authority, desperately searching for celebrities to make his ship memorable, while Cyrus Mooney plays the harried Purser, running around the ship solving problems. Joe Love and Hunter McCauley play sailors easily distracted by the beauties on board. Their songs together, “Sailor’s Shanty” and “Public Enemy Number 1,” have excellent harmony, like a barbershop quartet at its finest. “Public Enemy Number 1” stands out especially as a beautifully sung hymn to crime and celebrity.

Scenic Designer Salydon Boyken creates a cruise ship onstage, with life preservers and bunting hanging from railings at the staircases and by the backdrop. Portholes are on the back wall. Costume Designer Sally Boyett and Wig Designer Tommy Malek evoke the 1930s with bright dresses, fur coats, and stoles for the women and striped suits, fedoras, and straw hats for the men. The Captain and Purser look spiffy in their uniforms, while the sailors are workmanlike in theirs. Reno and her showgirls dazzle in their sparkly, frilly dresses.

Lighting Designer Niya John changes the lights to reflect the mood, splashing red across the stage for “The Gypsy in Me.” In “Friendship,” Reno and Moonface fight to get the spotlight on them. Sound Designer William K. D’Eugenio balances the music and the singing while throwing out ocean sounds.

Voice and Dialect Coach Nancy Krebs ensures the several accents used feel authentic while remaining comprehensible to the audience. Music Director Maureen Codelka keeps the music in line with the singing. Sally Boyett and Associate Choreographer Mackenzie Koehne create visual delights by using tap, spins, twirls, kicks, lifts, and rolls in the dance numbers. “Anything Goes” and “Blow, Gabriel, Blow” are particularly stunning. The performers blend harmoniously in their singing, producing a beautiful sound. They all play well off each other and hit all the right emotional and comic moments. Anything Goes is a romp of a good time and has the audience smiling and laughing throughout. Don’t misbehave and miss it!

Running Time: Two hours and 30 minutes, including one 15-minute intermission.

Anything Goes plays through May 18, 2025, at Classic Theatre of Maryland – 1804 West Street, Suite 200, Annapolis, MD. For tickets ($61.75–$88.75), call the box office at 410-415-3513, email BoxOffice@classictheatremaryland.org, or purchase online.

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Colonial Players of Annapolis’ production of Bump is a fun blend of humor, education, and poignancy. Chiara Atik’s play tells three stories: a car mechanic who invents a childbirth-assistance device (based on a true story); a group chat of pregnant women; and a midwife assisting a pregnant woman during Colonial times. Directed by Shannon Benil, it is a lovely ending to Colonial Players’ 76th season.

Rick Estberg plays grandfather-to-be Luis with enthusiasm. Initially uncomfortable with Maria (Mary MacLeod) and Claudia’s (Vanessa Van Note) conversations around Claudia’s pregnancy, reading magazines while they talk and interjecting comments, he soon eagerly shares his newfound knowledge as he develops the Vasquez Device for helping with childbirth. Showing it to pregnant mothers, he weaves scenarios in which they must get the baby out quickly, revealing how the Device will save lives.

Mary MacLeod plays Mary, Luis’ wife, with quiet strength. She questions Claudia’s desire for an at-home “water birth,” wondering about its practicality. Later, she remarks to Luis that she was glad he was not involved in her delivery but would have liked him to have been more involved with the baby. When Luis suggests that Claudia test the Vasquez Device during her own delivery, she helps Claudia come up with reasons why she should not, in ways that would not hurt Luis’ feelings.

Vanessa Van Note brings a youthful eagerness to Claudia. She describes with joy the benefits of “water birth” delivery and dramatically relates a tale of a friend’s woes in the hospital while giving birth. She resists Luis and Mary’s arguments against it, and is initially skeptical toward the Vasquez Device, but soon bonds with Luis over his research, helping him show it to medical people. In a vulnerable, scared moment, where she is without a plan, Luis gives her one.

Tom Byrne plays YouTube Guy, whose videos Luis watches, with excellent comic timing, perfectly capturing the quirks of technology. He talks too loudly when Luis has the volume turned up and mouths his words when muted. His trick with the cork in the wine bottle is cleverly inventive.

Hui Zhu, Colleen Isaiah, Melanie Gordon, Lena Hanrahan, Carrie Shade, and Amanda L. Matousek play the women of the group chat. While they all sit or stand while typing on their phones, in their separate areas, they react to each other with smiles or surprised looks. Sometimes they talk over each other. They set aside time for “WTF Wednesdays,” where they vent about elements of pregnancy that drive them crazy, and “Unpopular Opinion Thursdays.” Their individual personalities show through, with Zhu announcing she has gone off caffeine cold turkey and will not be getting an epidural during labor; she judges those in the group who have not. Matousek gives a powerful performance when describing her experience going through labor, surprised at how calm and “capable” she felt. They also play patients and a receptionist at a clinic where Luis discusses his Device, moving from suspicion to excitement as they try it out. Some also play women doing “water birth” videos, Hanrahan a comically relaxed one, while Gordon is much more in pain and fear.

Gemma Davimes brings an innocence to Mary, the Colonial woman preparing to give birth. She whimpers at the pains from the contractions, urgently wanting it to end. She curses her absent husband and the baby, trying to flee the house at one point. Julia Williams brings a firmness to the Midwife, casually telling Mary what to expect. She walks Mary around the room, bringing her back in when she tries to run. She has moments of compassion and understanding that connect these two different women.

Set and Properties Designers Shannon Benil and Kathy Parrott divide the stage in half. Audience left is a modern living room, with a sofa and various chairs around. On the other side are two small tables, a chair, and a rocking chair, with Colonial-feeling instruments. The living room’s cushioned coffee table becomes a bed as needed. The message board scenes use the whole stage. Duncan Hood’s Vasquez Device has a homemade feel, with some parts that look comical, but are effective. Costume Designer Shannon Benil quickly distinguishes the characters from each storyline, with the Vasquez family in contemporary clothing and the message board women all in black. Mary and the Midwife wear long Colonial dresses and caps.

Lighting Designer Eric Hufford blacks out the end of each scene and keeps the lights low at first for the message board scenes before raising them. During the Colonial scenes, lights in the back create the look of a fireplace. Sound Designer Sarah Wade throws out sounds of texting and other cell phone use, and has fun music in between scenes. Shannon Benil keeps the three different stories easily recognizable and going strong. The portrayals of online videos and group chats are done with great comic effect while still getting across the information and emotion. The actors hit all the right moments at just the right time. Everything comes together for an evening of theater filled with laughs and much to think about during and afterward. Don’t miss it!

Running Time: 90 minutes with no intermission.

Bump plays through May 17, 2025 (Thursdays–Saturdays at 8 pm; Sunday matinees March 16 and 23 at 2 pm), at Colonial Players of Annapolis – 108 East Street, Annapolis, MD. For tickets ($26), call the box office at 410-268-7373, opt 2, or purchase online. A virtual playbill is available here.

Contains strong language.

Bump
Written by Chiara Atik
Directed by Shannon Benil

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AACC Theater’s production of Museum is a rollicking fun time. Tina Howe’s 1976 play features the quirky visitors to an exhibit of three artists on the last day of display, with a guard trying to maintain order. Directed by Atticus Cooper Boidy, it is full of laughs.

James Reed Estepp plays the Guard with comic exasperation. In between keeping visitors from touching the art, especially the clothespins in one section, escorting several guests out, and trying to corral one wildly unpredictable guest, he collapses onto his stool, hoping the day will pass quickly. Cameron Ashley plays Michael with a quiet curiosity, photographing both the arts and fellow visitors’ hijinks. Zaura Denton plays Fred with eagerness, rushing back and forth to get permission to photograph the art, and reading aloud from the informational plaques.

All other actors play multiple roles. Olivia Comeau brings an enthusiasm to Liz, explaining to her friends that one of the artists was raised with deaf-mute parents and wondering what it meant when, as a baby, he would cry, and they could not hear him. Meridian Toalepai brings an eccentricity to Carol, who judges museums by the views from their windows and dreams of creating a museum with only windows, all different types. Nyla Waskiewicz brings joy to Blakey, so enthralled by one exhibit that she nearly lies down on it.

Ray Jung plays Francoise with complete seriousness, engaging in a conversation in French with a puppet bat, who then angrily confronts the guard on a correction in the catalog. Jana Naylor brings an enchantment to Annette, speaking to one guest about the artists before all the others follow her around the exhibits, eagerly absorbing her knowledge. Cameron Walker has perfect timing as a man wincing from a too-loud self-guided tour cassette. As Giorgio, he is excited by one of the pieces, almost sniffing it, before expounding on its meaning.

Dylan Klebahn brings a pretentiousness to Will, critiquing all aspects of the exhibit with wordplay. As one of the artists, he makes changes to the exhibit in silence, while the other guests watch him in awe. Robin Whewell plays Bob with great thought, growing increasingly concerned about the lack of a future for museums and art, shaking Will’s shoulders and shouting, “Something must be done!” They play Bill with boredom at first, putting away a catalog before excitedly hearing about one of the artist’s strange habits.

Aryana Chamberlain and Amanda L. Matousek play off each other perfectly as the two Barbaras, one worrying about the decline in natural fabrics as the other describes a rash all over her body. Angela Germanos plays the second guard with boredom, having only a few visitors for her exhibit elsewhere in the building. Dean Cottrill plays the second guard with excitement, enthusiastically looking at the differences between American museum security and European. Kestrel Watson plays Zoe with quiet horror at one guest’s outrageous antics, before pulling off hijinks herself. Eliza Geib brings a comic intensity to Tink, dramatically telling a story about one of the artists after enthusiastically rubbing a sculpture all over her face. She blows on the artwork, looking for the secret that will unlock them.

Scenic Designer Gabby Bly creates an exhibit space highlighting the unusual art. At audience left are several pedestals to hold sculptures, while on the opposite side, mannequins hang on a clothesline, with a tray of clothespins on the side. In the back are four large painting-like pieces hanging on the wall. Benches are throughout the stage. Costume Designers Olivia Comeau and Nyla Washiewicz keep the large cast of characters immediately distinguishable. The two Barbaras wear similar floral dresses, while Francoise is in a red pantsuit.

Lighting Designer Magdalene Cunningham spotlights a few characters, particularly Tink during her dramatic monologue. Special lighting effects occur for the paintings in the back. Sound Designer Steven Ney throws out comical sounds, including a too-loud self-guided tour cassette.

Director Atticus Cooper Broidy keeps the energy high with characters moving constantly throughout the stage and on and off. The actors navigate the stage and each other well and switch characters seamlessly. They hit all the right comic moments. Museum pokes great fun at the eccentricities of art and art-goers and is well worth seeing.

Running Time: Approximately 90 minutes, with no intermission.

Museum plays through April 19, 2025, presented by Anne Arundel Community College performing at the Robert E. Kauffman Theater in the Pascal Center for the Performing Arts, 943-951 Anne Arundel Community College Road, Arnold, MD. For tickets ($5–$20) call the box office at 410-777-2457 or purchase online.

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