Cleveland Stage Alliance – Reviews and Previews

Eric Fancher – Founder/Administrator/ Webmaster/"CSA Presents" Co-Producer


August 2014

Hair at Blank Canvas Theatre

In the late 60’s, my cousin John Toland and his partner Gilbert Lesser (famous for his Broadway Posters, including his most famous work with Equus), hung out in the artistic centers of New York City. They were there when Liza rode into Studio 54 on a white horse, and they were friends with many young artists who would become notable in the future. I remember a time when I was visiting John, and we were walking around the city. He told me one interesting story about how he would drop by a friend’s apartment, and hanging out there were Rod McKuen, James Rado and Gerome Ragni.
A fascinating collection of folks, but Rado and Ragni, along with composer Galt MacDermot, would go on to create the classic musical HAIR. I always wondered if they were talking about the show, when my cousin visited. With book and lyrics by Rado and Ragni, HAIR became a product of the hippie counterculture and sexual revolution of the 1960s, along with the pleasures of psychedelic drug use, and creating anthems of the anti-Vietnam War peace movement.

The themes of HAIR continue to permeate our culture. We still have debates over drugs, freedom of choice, and whether War is the answer. Along with astute direction and vast vision, Patrick Ciamacco, the Artistic Director of Blank Canvas Theatre, has assembled a fearless, brave and energetic as hell cast to celebrate the themes and inspire audiences to think beyond the spectacle. And, spectacle it is, thanks in large part to the amazing projection work artistically incorporated into the show by Perren Hedderson. Ciamacco and Hedderson create some fascinating and stunning pictures that are able to create strong emotions, and that feels so good. Hair tells the story of the “tribe”, a group of politically active, long-haired hippies of the “Age of Aquarius” living a bohemian life in New York City and fighting against conscription into the Vietnam War. Claude (an unrecognizable Scott Esposito), his good friend Berger (Nicky Belardo), their roommate Sheila (Jessie Cope Miller*) and their friends struggle to balance their young lives, loves and the sexual revolution with their rebellion against the war and their conservative parents and society. Ultimately, Claude must decide whether to resist the draft as his friends have done, or to succumb to the pressures of his parents (and conservative America) to serve in Vietnam, compromising his pacifistic principles and risking his life.

But the biggest enemy in this production, or at least on opening night, is not the Viet Cong or an irrational government plowing straight into a war that was not winnable, thus sending home veterans with Agent Orange in their system and PTSD, but the muddled vocal sound. I sat in the center section, and for the first 20 minutes of this show, it sounded like everyone was muffled, and it was simply hard to hear. Only when the belters were cranking, or the ensemble was singing, did I hear the fabulous come through. The orchestra seems to be coming through the same speaker as the vocals for the cast, and the cast is losing that speaker battle. I literally kept looking at the sound board operator to see if he was alive. Berger came on, it was like his mic was off, and the song “Donna” became a non-event. Anyone singing upstage, vocal is completely lost. And that is a shame, because there is a lot of good stuff happening.

First of all, 20 minutes before the show opening, the theatre was almost completely full. How exciting to have that kind of support on an opening night. Also wafting through the air was some good herb, but don’t worry, the legal kind. Must say, the mood was so set and ready to go.  Leading the vocalists is Miller, who creates a powerful rendition of “Easy To Be Hard.” Every song she sings is blessed with striking vocals and emotional content. Neely Gevaart embodies Chrissy with a beautiful innocence as she weaves her love story with “Frank Mills.” Becca Frick gives some great face during her numbers, and scenes. “Air” is grand, and her “takes” on proceedings are priceless, as is the pregnancy smoking. Joanna May Hunkins is vocally in charge as she opens the show with “Aquarius” and never lets us go. Scott Esposito takes us on a grand journey as Claude. Strong voice, deft acting, and an arc that takes you with him, as he battles his demons and conformity. Tonya Broach raises the roof and lets it fly, even as Abe Lincoln. Nothing better than music from the soul, from a soul sister. Broach tears apart her songs like a pulled pork dinner, and there are shreds of fabulous everywhere. One of the major highlights of the show was “Black Boys” “White Boys.” These ladies took some names. Nicky Belardo as Berger certainly had the hippie movement down, but the sound issues really hurt me connecting with him. When there was clarity, I dug his character. However, I was confused when he wasn’t singing on the flag song. Devon Settles serving up some awesome Shaft inspired characterization as Hud. Once again, Trey Gilpin uses his falsetto as a weapon as Woof. Nice turn David Turner, as Margaret Mead.

The “Tribe” is excellent. This crowd is like “Hippies gone wild”, except you get a front row seat. Filled with energetic, talented, engrossing, and personable individuals, who are fearlessly embracing the material. Great vocal energy and movement. The tribe also includes Wesley Allen, Andrea Belser, Roderick Cardwell II, Venchise Glenn, Shannon Hubman, Jillian Mesaros, Kate Leigh Michalski, and Joe Virgo.,

On the Production Staff:

I really enjoyed Ciamacco’s vision. The use of projection work, and staging was excellent. Brad Wyner provided a kick ass band. Jessie Cope Miller as Choreographer had a blast with this show. Her moves were right on target. Inventive, fun, and just enough hippie sass to elevate the numbers. Thanks to costumer Luke Scattergood, costumes were groovy. Perren Hedderson killed it with his projection work. So many incredible visual treats to absorb and process. Excellent work. The ending is very powerful. Lighting Design by Cory Molner was ok, but I had noticed that the front light didn’t seem to be focused center, or the actors were missing their mark.  Quite a few times, the actors had crescent moons on their faces. Also, at the final blackout, a light remained on the stage, which took away from the final moment. The contrast between the on stage projection work and actual lighting, made the non-projection scenes seem more hollow and bare. Ciamacco designed the Sound, and also, the Set Design, which worked great for the space, and offered perfect audience interaction decks.

This is a wild and important ride. The sound issues will be resolved. The musical offers great insight into the mindset of a generation that forced society and government to rise up to a challenge. The audiences will eat this show alive, and you want to make sure you have a seat at the table. Get your Hippie On!

*Denotes member of Actors’ Equity Association.


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August 29 – September 13
8pm Fridays
8pm Saturdays

7pm Sundays

$15 General Admission

(440) 941-0458

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78th Street Studios
1305 West 80th Street, Suite 211
Cleveland, OH 44102 

No Sex Please, We’re British at Huntington Playhouse

You probably have never heard of him, but Anthony Marriott passed away this year in London, at the age of 83. He was well known in British circles for co-writing the record-setting play, “No Sex Please, We’re British,” written by Marriott and Alistair Foot (who died a few weeks before opening night in London),  which ran in the West End for more than 16 years, from June 1971 until September 1987, a total of 6,761 performances. And to this day, is the longest-running comedy in the history of theater in England. The only other productions that have run longer are “The Mousetrap” and “The Woman in Black.” Currently, Huntington Playhouse is unleashing this farce on local audiences. In order to enjoy this wild ride, it would be a great benefit if you were a fan of “Benny Hill,” as the show is strewn with physical comedy and enough innuendo to last for years.

The plot involves a young bride (Jena Gross), and her husband (Steve Martin), who is the assistant manager at a bank, who innocently sends a mail order off for some Scandinavian glassware. What comes is Scandinavian pornography. The plot revolves around what is to be done with the veritable floods of pornography, photographs, books, films, and eventually girls (Natalie Romano, Will Crosby) that threaten to engulf this happy couple. The matter is considerably complicated by the man’s mother (Meg Parish), his boss (David Hundertmark), a visiting bank inspector (Jordon Fleming), a police superintendent (Ron Young), and a muddled friend (Bob McClure), who does everything wrong in his reluctant efforts to set everything right.

Director Christopher Bizub takes on this rather outdated relic with zeal. I say outdated, because most of the comedy bits have been around for years, so it is a tough task to make this fresh and shockingly funny. The assembled cast does a valiant job, but due to the air conditioning keeping the audience cool, the actors who project the best and have the clearest diction are the winners. McClure as Brian, is one of those individuals who pulls off a physically chaotic and amusing performance. This would be the local answer to Chris Farley, and he literally does everything he can to create havoc, except throw himself on the coffee table and destroy it. Martin as Peter, and Gross as Frances, have their jobs cut out for them. Having the job of being the Rob and Laura of the evening, they are surrounded with characters that are constantly vying for the audience’s attention. For the most part they hold up well. Martin creates a frenetic character that serves as a comedic ping pong ball, as he bounces around navigating this motley crew of British invaders. Gross is charming, but her diction distracts, as does her habit of looking in the audience. Parish is wonderful as Eleanor, Peter’s Mother. With grace, charm and comedic timing, Parish turns in a very fun performance. As does her eventual suitor, Hundertmark. Fleming and Young have fun with their supporting contributions, but I would suggest Fleming wear an extra pair. Romano and Crosby definitely get the reaction that fans of Benny Hill would love.

The show lacks a crispness in some of the physical comedy, but the constant flow of motion was definitely well paced. With so many entrances and exits, the cast was a well-timed machine. There are many more smiles here, than laughs, but this is one bottle of wine away from a raucous evening of old school comedy.

Stage Manager Joy DeMarco, Set Design Tom Meyrose, Light and Sound Design Chuck Tisdale, and Costume Design David Glowe.


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August 14 – September 7

8pm Fridays
8pm Saturdays
2pm Sundays

$10-$20 Reserved Seating
(440) 871-8333

Huntington Playhouse
28601 Lake Road
Bay Village, OH 44140

The Seven Year Itch at Cassidy Theatre.

“The grass is always greener on the other side.” From time to time, so many of us forget how good we actually have it, or forget how special the loved ones in our lives really are. This sobering thought get a comedic turn in the 1952 George Axelrod play, The Seven Year Itch, currently charming audiences at The Cassidy Theatre. The “Itch” explores a phrase that was used by psychologists to explain a feeling of declining interest, or a need for a change, after several years of marriage. In 1955, this play was produced as a film, and starred Marilyn Monroe and Original Broadway star Tom Ewell. The film features the iconic scene of Monroe standing on top of a subway grate, as her white dress is blown around by a passing train underneath.

Director Jenna Messina has assembled a great cast to create a well-paced, and well-acted production. Her direction highlights well staged “Fantasy moments” that offer insights as to what the main character would love to see happen based on his selfish decisions, or insights into how it could go all go to pot, with the wrong decision.

For the story, Richard Sherman (a very funny Jim Dove), is tempted by a beautiful neighbor (fetching Madeline Krucek), while his wife Helen (Aleece Roach) and son Ricky (Mason Kruse), are away for the summer.

The anchor of the evening is Dove. He is engaging, personable, and has a lovable Jackie Gleason type quality. He deftly navigates through this journey of tortured obsession to comedic delight. The audience ate him up. The part is huge, and Dove always managed to find fresh, funny way to keep us engaged. As The Girl, which is the only reference to her in the script, Krucek does a knockout job. Embodying a role made famous by Monroe, Krucek takes her time and established her own characterization. She is as fearless on stage, as she is beautiful. Creating her own complex demure temptress, with layers of survivor skills and naiveté. While the higher register voice wears after a bit, Krucek overcomes that with engaging appeal and comedic skill.

The supporting cast is terrific. Aleece Roach (Helen) takes a fine turn as the wife. Radiant, beautiful, and saucy. I really enjoyed Neil Donnelly as the Radio Announcer, turned advice giver, a lot. He has a film noir flair and Bogart swagger to his delivery. Even announcing the ball game was interesting. Special shout out to Brandon-Soeder Penner as Dr. Brubaker, for knowing the combination to the suitcase, when it wouldn’t open. Nice catch.

This is a great evening out, especially for the older crowd that remembers this classic film. And yes, the dress does arrive on stage to grand delight.Time to grab your parents and head out to the theatre. But the night I attended, all ages were there. Funny is funny, no matter what age.

Direction and Costumes Jenna Messina, Stage Manager Lou Petrucci, Props by Sue Overton, Lighting by Jeremiah Landi, Set by Kenneth Slaughter, and Sound by Slaughter and Messina (which sounds like a great band name)


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August 8 – August 24
8pm Fridays
8pm Saturdays
3pm Sundays

$14-$15 Reserved Seating

(440) 842-4600

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Cassidy Theatre
6200 Pearl Road
Parma Heights, OH 44130

Jekyll and Hyde, The Musical at Olmsted Performing Arts

I would imagine that Angela Boehm (Producer/Director) and Christina Haviland (Director), had a “Thelma and Louise” moment, when they decided to produce and direct Jekyll and Hyde, The Musical at Olmstead Performing Arts (OPA). In the past, OPA has been known for ultra-family friendly theatre, and rather conservative productions. The choice to produce Jekyll and Hyde, The Musical is similar to the finale of “Thelma and Louise”, where the two ladies clasp hands, slam on the accelerator, and take a perilous flight. In the case of this production, OPA should be proud. Not only do they take on heavier material, stretch their actor base, but also offer two equity contracts as part of their mission to become a professional theatre. I am thrilled when theatres create opportunities for equity contracts, and provide more work for the equity community. The directors also cast strong local individuals in their supporting roles to round out the excursion into new territory.

The story is based on the book “The Strange Case of Dr. Jekyll and Mr. Hyde” by Robert Louis Stevenson. Music is by Frank Wildhorn, Lyrics by Wildhorn, Leslie Bricusse, and Steve Cuden, and book by Wildhorn. The musical premiered on Broadway in March, 1997. The story revolved around a devoted man of science, Dr. Henry Jekyll (Michael Padgett*), who is driven to find a chemical breakthrough that can solve his father’s comatose state, and eventually be able to help others. Aided by his associate and longtime friend John Utterson (Josh Rhett Noble*), Jekyll presents his suggested study to the Board of Governors (an eclectic mix), and is denied. Jekyll then decided to use himself as a subject for his experiments, and the results are devastating.

Padgett as Jekyll/Hyde is fantastic. Firing on all cylinders, this artist created an accessible Jekyll, showing his humanity, and then slowly, the venerability as he pursued his objective. With soaring vocals, he commands “This Is The Moment”, with show stopping resilience, counters with illuminated darkness on Hyde’s dramatic “Alive”, and is eerily monstrous in the tender “Sympathy, Tenderness.” This is a well textured and beautiful performance. Natalie Green, as Lucy, is electric and hot. Besides her sheer beauty, Green brings powerhouse vocals and deft acting skills to the role. She handles the knock out numbers like “Someone Like You” and “A New Life”, as if key changes were kernels of popcorn, and she is hungry. Seemingly effortless vocal work, that results in a spectacular presentation for the audience. When Padgett and Green tangle in “Dangerous Game”, I had to remind myself I wasn’t watching pay for view. Riveting, provocative, and beautifully executed.

The role of John Utterson is kind of a thankless role. Important to the story, but not given tremendous weight, that is, until you have someone with the class and style of Noble. He brings layers of emotion, and tremendous stage presence to his scenes, and becomes a quiet anchor to the distressing storyline. I don’t know if this role warrants an equity contract, but I am sure glad that OPA did. Quality intact. And speaking of quality, this was my first encounter watching Rachel Anderson perform. As Emma Crew, she has a beautiful presence, a beautiful voice, and gorgeous look. Her voice soared, and was textured with strength and compassion. Rounding out the four horsemen or horsepersons, Anderson delivered a great portrayal, and along with Green, created a vocal event with “In His Eyes”.

The sound performances don’t stop there. Jeffrey Braun, as Sir Danvers Carew, was spot on as Emma’s father. Good vocals and character. Rebecca Riffle as Nellie, provided a fabulous chassis, sass for days, and her own strong set of pipes. Michael Vitovich, as The Spider, was appropriately creepy and mean. As a group, the Board of Governors was a blast, and certainly provided much entertainment as they met their ill-timed end.

The robust ensemble was certainly pushed by the choreography, provided by Josh Landis. They did dive right in and create mostly strong images, but the main critique is faces. They need to be more expressive and connected to the piece and lyrics that are happening. The distraction could come from trying to keep up with the dance, guess the next move, but you cannot let that affect your face. And, in the numbers, everyone should be coming into the scene on the same superlative idea, which can be individually interpreted and performed with each other. You are so important to any piece of theatre that is heavy on leads. The ensemble is the element that takes it to another level. So kick butt, have some fun, and Kill It!

As far as the direction, there are some details that caught my eye. The opening reveal could have been more impressive with set. Too vast of a stage to open up for the beginning. Scene changes were great, but at one moment, a crew member crossed from stage right to stage left, to help move a stage left staircase, that was distracting. One of my biggest peeves is a “button” on the end of songs, or dance numbers. Coordinating actors, lights and music, to create a crisp ending is key to executing a solid number. I found those lacking several times. Also, the lighting cues seemed off sometimes. However, the “Confrontation” lighting was great, just as long as the cues are flawless. And the staging of the wedding at the end, was excellent. What was lacking, will all get better in time. This is a great beginning.

Choreography by Landis was energetic and creative, although I would have preferred a bit more realism in “Murder, Murder”. But Landis pushed his ensemble hard, and the results strived to get the best out of everyone, which in many cases, was great. Loved the umbrellas. Judy Crandall coached great vocals, and David W. Coxe, led a talented orchestra.

Meghan Cvetic called a good show, Technical Director Bob Foraker provided effective scenery. Some scenes could have used more depth, but his best work was the basement laboratory. That was cool. The Lighting Design by Gary Holsopple is fine. And, Josh Caraballo provided great sound design, along with Dawn Hyde. (Any relation?) Costumer Jane Christyson provided some great looks.

Thelma and Louise should be very proud of this leap of faith.

There are two shows Saturday, August 9th, and the final show is on Sunday, August, 10th.

*Member of Actor’s Equity Association


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August 9 – August 10
2pm and 7pm Saturdays

2pm Sundays

$13-$18 Reserved Seating

(440) 235-6722

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Olmsted Performing Arts
6941 Columbia Road
Olmsted Falls, OH 44138

The Frogs at Cain Park

Currently at the Alma Theatre in Cain Park, is a fascinating production of the award winning The Frogs. (Award winning in 405 B.C.). This satire took shots at the political arena of the day, and also, enjoyed poking fun at the theatre audience, with gems like “If it’s not sold out, I don’t want to see it.” Written by Aristophanes, this play has enjoyed quite a journey of adaptation, in order to find it present form as a musical. In 1941 Bret Shevelove adapted the play into a book musical, with music and lyrics by Stephen Sondheim. In 1979, Nathan Lane became interested and added his own revamping of the piece, which enabled taking more current jabs at political situations. So with additional music by Sondheim, the Lane driven adaptation opened on Broadway on July 22, 2004.

Being a Sondheim aficionado, Director Martin Friedman has spent the past 20 years exploring his intricate and demanding work. So, with the support of Cain Park Artistic Director Ian Hinz, and Producer Erin Cameron Miller, this greatly under produced musical came to fruition. Friedman has assembled a remarkable production team and adventurous thespians to tackle this romp to Hades and back. The musical follows Dionysos (Dan Folino*), Greek god of wine and drama, and his slave Xanthias (Caitlin Elizabeth Reilly*), on a journey to Hades to collect renowned critic and playwright George Bernard Shaw (Michael Regnier), so that he may enlighten the misled and corrupt (The Frogs), who are engulfed in their own clouded vision. They are assisted by Herakles (Darryl Lewis*), as he provides an undercover personae. Along this journey to Hades, they meet gods, lost souls, and some creepy Matrix loving Frogs. Finally, with the permission of Pluto (Nicole Sumlin*), Dionysos has to choose between Shaw and William Shakespeare (Mitchell Fields*), in the Hades version of “So You Think You Can Recite.”

This production is entertaining as hell, but also had some confusing moments. The confusing moments are observations intended for the director. As far as entertaining, Folino brings his exuberant talent to the role of Dionysos. With tremendous confidence and charm, he certainly would be able to win any election as a write in candidate. With a clear voice, deft diction, he handles the scored life a pro, while delivering his sarcastic comedic bits with wild abandon. I am sure some are scripted, and some are definitely not. Confusing was the fact that in Act One, the comedic delivery was in the style of comedian Mitch Hedberg, and then in Act Two, that seemed to go away. As the sidekick Xanthias, Reilly goes toe to toe with Folino, delivering a full out, fearless, crazy and eventually hormone induced character. Exuding confidence, she was the perfect foil partner. However, this role was actually intended for a male, which would make the story almost a buddy adventure. Because of the choice to cast a female, the score needs to be adapted to a female voice range, which in this case made way for a higher register. And, when Xanthias loses her virginity, it becomes a lesbian adventure, however, it would be a lot funnier, if “his” first time was getting laid by Amazon woman. Go big, or go home. But, that is just me.

One of the funniest characters in this show is Charon, the ferryman of Hades, played with one liner brilliance by Eric Thomas Fancher. Killing me. His one eyed patched creepy ferryman gig was outstanding. And just as entertaining as Aekos, the Gatekeeper. Good Stuff. Lewis arrives on the scene looking like Mr. T’s twin, who decided to enter musical theatre. He has a grand presence, a powerful voice, an electric face and comedic chops to sell everything. Sumlin is purple pleasure palace of talent. Entering like Beyonce on tour, she illuminates the stage with her voice, presence, and sublime acting skills. And the fact that this role was intended for a male, didn’t stop her from making it her own.

The pièce de résistance of the evening is the showdown between Fields and Regnier. Each embodying their characters with deft characterization, these two are a scream. What is amazing about this whole moment, is the fact that what makes it so funny, is that the two actors deliver their prose in an uncanny realistic brilliant delivery. It is wonderful fun, and in itself, something you should not miss.

The rest of the cast is great. The stunning Neely Gevaart as Ariadne, the lost love, is memorizing. The cast execute some fierce choreography, led by dance captains, energetic Nora Culley^+, and the uber talented Tom Sweeney^+. Sidney Perelman, Trey Gilpin^, Lydia Hall, Kelly Elizabeth Smith^, and Meg Wittman^ deliver some intense Frog realness.

Director Friedman has done a great job bringing this piece to life. It is a fearless decision. His staging is wonderful, and his supporting and positive presence is felt throughout. Music Director Nathan Motta provided excellent music direction, and also extended his musical vision with the hiring of Conductor/Keyboard Jordan Cooper to lead the pit. Martin Cespedes~ knocked it out of the pond. I’m sorry, I tried not to do that. The dance in this show was awesome, and the creative energy that flowed into this piece was executed with outstanding precision. Ron Newell is a scenic design god of his own. This set was fierce, and The River Styx was very cool, and sturdy for the actors that must cross. (When Mitchell Fields crosses the river, I think the entire audience is holding their breath). Lighting Designer Trad A Burns brings his electric skills again, with great effects. Sound Designer Stan Kozak delivered balanced sound (Kudos to Friedman for the preying bird sound).  Costume Designer Tesia Dugan Benson delivered the goods, from hippie attire to electric colored Lycra. Stage Manager Tom Humes* called a great show.

*Member of Actor’s Equity Association

^Equity Membership Candidate

~Member of Stage Directors and Choreographers Society

+Dance Captain

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July 31 – August 17
7pm Thursdays
7pm Fridays
7pm Saturdays
2pm Sundays

$15-$26 Reserved Seating

(216) 371-3000

Order Tickets Online

Alma Theatre at Cain Park
14591 Superior Road
Cleveland Heights, Ohio 44118

Oberlin Summer Theater Festival – Bittersweet Goodbye

Oberlin Summer Theater Festival closed this past weekend, and my biggest regret is that I didn’t get there earlier. Based on what I saw during the production of Come Back, Little Sheba by William Inge, and directed by Paul Moser, I will not make that mistake again. I would suggest that all of us, put it on our calendar for next summer and be on the lookout.

The Festival produces high quality productions and is populated by Oberlin’s Professional teaching staff, and students of the Oberlin College and Conservatory. Any actors that join in on the programming from outside, are exceptional performers. The most amazing part of this gift, it that it is FREE to the public. Oberlin itself is a quaint town with shops and restaurants to explore before or after the show. There is even another theatre of high regard in the area, The Mad Factory. It is a perfect theatrical storm of talent, which leaves you enriched and fulfilled and extra money for dessert.

The production of Come Back, Little Sheba was riveting. Karen Nelson Moser*, as Lola, brought a damaged and honest truth, which allowed herself if delve fearlessly into the world of co-dependence. Matthew Wright* provided a devastating arc to Doc. Wright brilliantly wore the veil of strength and old fashioned ideals, while slowly peeling back layers that eventually revealed a darkness that could only be assuaged by alcohol. It was a powerful descent into the hell that the Serenity Prayer fights against. Annie Winneg as Marie brought a realistic portrayal of young love, and the fickle moments that teeter on destroying what is really good. Her honesty of who she was, lent itself to be a formidable assault on the veneer of Doc.  Colin Wulff, as Turk, was perfect in physicality and manner. Wulff delivered a solid rendering of this young man, pursuing love with straightforward passion, and playful angst.

The rest of the cast was solid. So much so, that when Danny Prikazsky, as the Milkman, arrived on the scene, I wanted to punch him for being cold to Lola. Jordan Golding, Laura Starnik, David Cotton, William Quick, Axandre Oge, Tiffany Ames and Pete Ferry* rounded out the talented ensemble of supporting characters.

I can’t wait for next summer. I will not miss this fabulous opportunity again. I call road trip, and shotgun!

*This actor appears courtesy of Actor’s Equity Association.


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