Review: Lucky Stiff at Silhouette Stages

By Jason Crawford Samios-Uy

Running Time: 2 hours and 10 minutes with one 20-minute intermission

Something funny’s going on and it’s happening at Silhouette Stages in Columbia with their latest offering, Lucky Stiff by Lynn Ahrens (Book and Lyrics) and Stephen Flaherty (Music), with Direction by Conni Trump Ross, Music Direction by William Georg, Choreography by Tina DeSimone, Set Design by Douglas Thomas, and Costume Design by Linda Swan.

The Cast of Lucky Stiff. Credit: Silhouette Stages

Lucky Stiff is based on a 1983 novel by Michael Butterworth called The Man Who Broke the Bank at Monte Carlo and is about a nobody English shoe salesman named Harry Witherspoon who lives an uneventful life in East Grinstead, England. He learns that his Uncle Anthony, from Atlantic City, USA has died (killed by his legally blind lover), and he stands to inherit $6 million. The catch is, Harry has to agree to take Uncle Anthony’s corpse on a whirlwind Monte Carlo all-expenses paid vacation or all the money goes to Uncle Anthony’s favorite charity, the Universal Dog Home of Brooklyn. Harry agrees and sets out to fulfill Uncle Anthony’s dying wish but while in Monte Carlo, he meets a very quirky cast of characters who have plans of their own for the $6 million.

Have a traditional proscenium (traditional) stage, Set Design by Douglas Thomas is innovative and creative. Thomas begins with a blank stage with black curtains and actually uses a quite minimal design using tri-flats to represent different settings that were easy to move and set up. Not once is the audience confused as to where a scene is taking place and use of easy-to-move set pieces, as well, adds to the production value. The attention to detail is impressive with specific bed sheets, glamorous gold table cloths, and representations of the inside of a plane passenger cabin and a public bus. Overall, Set Design was spot on and added great production value.

Doug Thomas, Andy Kolp, Rob Wall, & Neal Townsend. Credit: Silhouette Stages

Costume Design by Linda Swann is splendid as this piece musical/comedy theatre, so everything is a little over the top and it is set in present day. Each character has his or her own individual style and each actor’s wardrobe works well for his or her character. Swann gives us a well thought-out, detailed-oriented Costume Design that helps define these zany characters without making caricatures out of them. Working with characters who are stereotypes and even one or two with secret identities, Swann does a bang up job with her design for this production.

No musical would be complete without a little dancing and Choreography by Tina DeSimone is charming and entertaining. I can tell there are some strong dancers in this ensemble as well as some who aren’t as strong as others, but DeSimone really gets her cast and has modified her choreography (modified, NOT dumbed down) to suit her cast and that’s such an important talent for a choreographer to have. She adds in a good old fashioned kick-line (which always goes over well, like it or not) and has her cast moving comfortably on the stage as well as giving her more experienced dancers more challenging choreography to utilize and show of their talents. Kudos to DeSimone for her excellent efforts.

Rob Wall, Mike COrnell, Becca Hanauer, & Lisa Sharpe. Credit: Silhouette Stages

Music Direction was tackled by William Georg and even though this production used recorded or canned music, it is still executed beautifully. Georg has a vocally strong ensemble to work with anyway and in the opening number, “Something Funny’s Going On”, the power behind the vocals certainly makes the audience take notice and clearly announces this production is ready to begin. Georg mentioned that the system used for this production is more than just pushing a play and stop button, but more interactive and he actually controls cues and timing in the numbers which is quite impressive seeing as though he provides all of the sound effects required, as well. The cast sounds brilliant and, from where I was sitting, not one cue was missed so, major kudos to William Georg on his musical work.

Direction duties are tacked by Conni Trump Ross and she has put on a well-thought out, well put-together production. Her casting is top-notch and fitting and the pacing of this piece keeps it interesting and ending at an appropriate time. Ross seems to understand this piece and the story it tells, while keeping in mind the comedy that goes along with it. She doesn’t take the piece too seriously, but gets the important message across of taking that leap of faith once in a while and trying new things because you never know what can come of it. With Ross’ superb guidance, the ensemble is able thoroughly and seamlessly tell this crazy story.

This is definitely an ensemble piece and the entire ensemble knocks it out of the ballpark, making this an enjoyable, fun evening of theatre.

Todd Hochkeppel takes on a supporting role as Luigi Gaudi and his dedication and effort make for a strong, funny performance. This character is an observer, in the background, and popping up when least expected or when it’s least convenient and Hochkeppel takes this character and runs with it. His character choices, especially his movement, mannerism, and impeccable Mediterranean accent make for an upbeat and fantastic performance.

Don Patterson & Kristen Zwobot. Credit: Silhouette Stages

Don Patterson takes on the role of the neurotic, optometrist Vinnie DiRuzzio. Poor Vinnie, who also happens to be the brother of one of the women after Harry Witherspoon and the $6 million, is dragged into this story kicking and screaming but takes it all in stride. At first glance, Patterson seemed a little out of place, being a tad older than the rest of the “main” cast, but after a minute or two, that is forgotten and he fits right in with this crazy cast of characters. He seems to grasp the character of Vinnie and his neurotic tendencies and portrays him well. Patterson is comfortable in his role, is confident, and does a great job, vocally, with his numbers such as “The Telephone Song” and his duet “Rita’s Confession,” giving a strong, solid performance.

Featuring Alyssa Bell, Rob Wall, & Mike Cornell. Credit: Silhouette Stages

The beautiful Alyssa Bell takes on the role of the beautiful Dominique DuMonaco, a club singer who is “hired” to show harry a good time while he’s in Monte Carlo but ends up in a bit of a different arrangement by the end of the piece. Let me say that I am thoroughly impressed by the effort Bell gives to her character. She especially gives 100% to her solo number “Speaking French” and she is a joy to watch, tackling more challenging choreography while having to belt out a doozy of a song. Though the challenging choreography may have affected her vocal performance a bit, not allowing her to take a much needed breath in her song and belt it out as it should have been, she still does a stellar job with this part. She plays her character flawlessly with just enough “slinkiness” to make her sexy, but also enough naivety to make her innocent and likable. Her accent is commendable and, overall, she her performance is quite admirable.

Featuring Rob Wall & Mike Cornell. Credit: Silhouette Stages

Rob Wall is superb as Harry Witherspoon and really embodies this character making it his own. As the character in which this story revolves around, Wall holds his own and the responsibility quite well giving a strong, self-assured performance. His chemistry with the rest of the ensemble is effortless and helps make his character more authentic. He does a great job maneuvering Uncle Anthony (played brilliantly by a still and quiet Mike Cornell) around in a wheelchair and not crashing into everything up on the stage, which is actually a pretty impressive feat. I would like more volume from him during his songs but he does belt the high money notes, which is natural and, vocally, Wall is a dynamo, with his smooth bari-tenor voice resonating throughout the theatre. He understands his character and you can see the insecurities in the choices he makes onstage and within his face and mannerisms, making for a fine and praiseworthy performance.

Maddie Bohrer, a newcomer to Silhouette Stages, takes on the role of Annabel Glick, a straight-laced, no-nonsense representative from The Universal Dog Home of Brooklyn, just waiting for Harry Witherspoon to trip up, just once, so the $6 million can go to the dogs, instead. Bohrer is absolutely charming and sweet in this role and she plays it beautifully. Her transition from “all-business” to letting her hair down is smooth and effortless and her chemistry with Wall is brilliant. I wouldn’t necessarily consider Bohrer a coloratura soprano, but her voice is sweet and strong and it works perfectly for her character and, on side note, I’d love to see her wail in a rock-opera sometime, just to see what she can do! Her performance is robust  and on point and a joy to watch.

Mike Cornell & Kristen Zwobot. Credit: Silhouette Stages

Kristen Zwobot as Rita La Porta is a standout in this production. From the moment she steps on stage she is in character (the stereotype of a New Jersey gangster girlfriend) and she is consistent throughout the piece. Her comedic timing is spot on and it helps that she grasps the comedy and her character allowing her to have a good command of the stage. Her look, character choices, and use of a New Jersey-esque accent make for a funny, hearty performance. It’s worth mentioning that Zwobot is a bona fide vocal powerhouse. Her voice is strong and clear in numbers such as “Rita’s Confession” and “Funny Meeting You Here,” filling the entire theatre (and then some) making for an outstanding and memorable performance.

Final thought… Lucky Stiff is a fun, fast-paced farce that is sure to tickle your funny bone and have your toes tapping. The material from Ahrens & Flaherty is catchy and easy to listen to and the production is well-thought out and put-together. The entire ensemble is dedicated and gives 100% to their performance and they tell the story effectively. Make sure you add this to your list of things to see this season because you won’t be disappointed.

This is what I thought of Silhouette Stages’ production of Lucky Stiff… What did you think? Please feel free to leave a comment!

Lucky Stiff will play through March 26 at Silhouette Stages, 10400 Cross Fox Lane, Columbia, MD. For tickets, call the box office at 410-637-5289 or purchase them online.

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Review: Three Penny Opera at Spotlighters Theatre

By Jason Crawford Samios-Uy

Running Time: 3 hours with one 15 minute intermission

Connor Moore As the Street Singer. Credit: Spotlighters Theatre/Shealyn Jae Photography

I’m both a musical theatre fan and an opera fan, with emphasis on the former, but I certainly appreciate a good opera now and then. Of course, both genres’ main element is music but the production is a bit different. Spotlighters Theatre‘s latest offering, Three Penny Opera Adapted by Bertolt Brecht and Music by Kurt Weill (adapted from a translation of Jonathan Gay’s The Beggar’s Opera by Elizabeth Hauptmann) merges both of these genres to give us a three hour journey where our heroes fight for social and economic justices to which today’s audiences can relate. This production is Directed, Edited, Adapted, and Newly Translated by Michael Blum, with Music Direction by Erica Rome, and Choreography by Melissa McGinley.

The story begins with the familiar Ballad of Mack the Knife, beautifully performed by Connor Moore (though, be forewarned, it’s much different from the jazzy Bobby Darrin version we’re used to), then goes on to tell the story of Macheath (a.k.a. Mack the Knife) the most notorious criminal in all of England. Macheath marries Polly Peachum (Allison Hicks) much to the dismay of her parents (Frank Mancino and Kay-Megan Washington), who happen to be wealthy and in charge of all the beggars in London but there’s not much to be done since Tiger Brown, the High Sheriff of London is a very good boyhood friend of Macheath. Mr. Peachum, with his clout, threatens Tiger Brown, leading to the arrest of Macheath who manage to escape (a couple of times) with the help of some prostitutes, which leads to an abrupt ending a la deus ex machina (but you’ll have to see it to see if it’s happy or sad).

Steve Quintillian and Robert Wall. Credit: Spotlighters Theatre/Shealyn Jae Photography

Although this piece runs just about as long as an average opera, the pacing and tempo is very good so, it’s not that the cast is dragging their feet, it’s just A LOT of show. Blum skillfully punches out each scene smoothly without much downtime and keeps the action moving along nicely.

Spotlighters Theatre’s space being as intimate as it is, the Set Design by Alan Zemla is fitting for this piece utilizing set pieces rather than a unit set, which is clever, and using space off the stage wisely, as well.

Going along with the production aspect of this piece, Costume Design by Amy Weimer and Darcy Elliot was well thought-out and befitting with variety and authenticity.

Rachel Verhaaren, Andrea Bush, Evangeline Ridgeway, and Kay-Megan Washington. Credit: Spotlighters Theatre/Shealyn Jae Photography

Overall, this is a well put-together production with a tight ensemble but the story gets somewhat lost in the translation by Director Michael Blum. According to Blum’s bio, he has a background in opera, and it seems as though that’s how he approached this production rather than a play with music or a musical theatre piece. The program states the setting of this piece is supposed to be Baltimore in 2017 and London, 1838 (as seen through the eyes of Brecht in Berlin, 1928) – did ya get all that? Blum manages to portray the latter adequately, but the only hint of Baltimore 2017 comes in to play during two instances where the cast dresses up like modern day beggars but, unless I missed it, I didn’t get the feel of modern day Baltimore at all in this piece. However, minor curious direction choices aside, his casting is full of superb vocalists and most are indeed top notch such as Kay-Megan Washington, Allison Hicks, and Amber Hooper – all vocal powerhouses. Music Director Erica Rome is to be commended for her work with this ensemble as they are on point, musically, and Choreography by Melissa McGinley is charming and appropriate, adding value to the production.

Robert Wall. Credit: Spotlighters Theatre/Shealyn Jae Photography

A couple of highlights in this production are Evangeline Ridgeway as Jenny Diver and Robert Wall as Tiger Brown, High Sheriff of London. Both a very accomplished vocalists and each portrays his or her respective character with confidence and ease with a strong presence on the stage.

Steve Quintillian takes on the role of our “hero,” Macheath, and though his overall performance falls a little flat as, vocally, he may not be as strong as his counterparts, he gives a good showing as the suave con man, King of Criminals and he is dedicated to his role.

Allison Hicks. Credit: Spotlighters Theatre/Shealyn Jae Photography

The entire ensemble gives an admirable, dedicated performance (especially ensemble standout Andrea Bush, who carries her smaller role naturally and confidently), moving the piece along smoothly and really rounding out this production beautifully.

Final thought… Three Penny Opera is definitely a bit of an acquired taste but definitely worth checking out because of the incredibly immense vocal talent in this production. The translation may make the sordid story of criminals, con men, crooked cops, and even a little love a bit jumbled, but, overall, it’s a well-performed, charming piece with an absolutely dedicated ensemble. Whether your an opera fan or an old fashioned musical theatre fan, you’ll find a familiar joy in this production.

This is what I thought of Spotlight Theatre’s production of Three Penny Opera.

What did you think? Please feel free to leave a comment!

Three Penny Opera will play through February 5 at Spotlighters Theatre, 817 St. Paul Street, Baltimore, MD. For Tickets, call the box office at 410-752-1225 or purchase them online.

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Review: Das Barbecu at Spotlighters

By Jason Crawford Samios-Uy

Running Time: 2 hours and 30 minutes with one 15-minute intermission.

A series of Wagner operas and the great state of Texas?! Can the two mix? Sounds crazy, right? Well, Spotlighters Theatre‘s latest contribution to Baltimore theatre, Das Barbecu, with Book & Lyrics by Jim Luigs and Music by Scott Warrender, proves that it can be so. Directed by Greg Bell, with Music Direction by Michael Tan and Choreography by Jillian Bauersfeld and Greg Bell, Das Barbecu manages to take Wagner‘s complex four-part Ring Cycle opera and make it just a little more accessible and (some would argue) more interesting and fun for audiences not so versed with the classics. Now, this isn’t to say that Das Barbecu is a dumbed-down version of the Ring Cycle, but more contemporary and in-tune with today’s audiences. The story, characters, and message is still in tacked, only now it has a charming Texas drawl.

Rob Wall and Clare Kneebone. Credit: Spotlighters Theatre / Shealyn Jae Photography / Shealynjaephotography.com

The intimate, in-the-round space at Spotlighters would usually be a challenge for a show like this with its multiple locations and, well, they say everything is bigger in Texas, but Spotlighters has a lot of experience putting big shows up in this small space and Set Designer Alan Zemba used his space very wisely. With simple yet creative set pieces, Zemba manages to take the audience from the garden of a palatial mansion to a vast ranch, to bedrooms, then to a bar, then to the top of a mountain, then to a barbecue (whew!), all with minimal set pieces. Not only was the set creative, but it is easy and practical enough for the stage crew to get on and off quickly. I will say, however, there were a few scene changes that seemed a bit longer than usual, but all in all, the stage crew had razor sharp, rehearsed precision and the set worked beautifully with the piece and certainly helped tell the story.

The cast of Das Barbecue. Credit: Spotlighters Theatre / Shealyn Jae Photography / Shealynjaephotography.com

Adding great value to this production is Costume Design by Andrew Malone. There are so many characters in this piece played by only five actors, Malone does an impeccable job making each character absolutely individual and memorable with simple, yet noticeable wardrobe changes. An actor can play up to five characters, but, because of the character costumes, it is easy to distinguish each character, which is invaluable with this involved, twisting story. Major kudos to Andrew Malone for his creative and flawless design.

With the space being as intimate as it is, Light Design by Al Ramer is simple, yet very befitting to this production and did not impede but enhance the action onstage. The lighting is well thought-out and sets the proper mood for each scene helping move the story along.

Moving into the production aspect of this piece. Choreography by Jillian Bauersfeld and Greg Bell is fun and very appropriate for this piece and the space in which it is performed. The dancing is tight and entertaining and adds to the production rather than takes away from this piece. Also, the actors are comfortable with the choreography and perform it confidently and with high energy making it enjoyable to watch.

Allison Comotto and Clare Kneebone. Credit: Spotlighters Theatre / Shealyn Jae Photography / Shealynjaephotography.com

Baltimore theatre veteran Music Director Michael Tan does not disappoint in this production. He manages to take his small cast and have them harmonizing and blending beautifully to bring this story to life. Some songs are funny and some poignant, but whichever mood, under the direction of Tan, the actors seem to understand what these songs are about and perform them accordingly. It helps that the most of the ensemble is already strong, vocally, and Tan uses this to his advantage making for a very impressive showing.

Directing 5 actors to play 26 characters can be quite a challenge for any director, experienced or otherwise, but Greg Bell takes on this challenge and executes his impeccable skill. It is important for whomever takes the reigns of this piece to completely understand the story of Wagner’s complicated Ring Cycle and Bell seems to have a tight grasp and his vision for this piece is apparent and well put together. He excels in blocking his actors to keep the story moving smoothly and at a near perfect pace. Though, as an audience member, I did have to do my part by paying attention, but the story was presented to me clearly and I wasn’t scratching my head or asking questions during intermission or after the performance. Das Barbecü is another well-done project from Greg Bell.

Jim Gross. Credit: Spotlighters Theatre / Shealyn Jae Photography / Shealynjaephotography.com

Jim Gross, a.k.a. Actor 4, takes on the role of Woton, Gunther, Hagen, a Texas Ranger, and a Giant and, according to his bio, is back after a year hiatus from the stage. He gives an admirable performance having to take on so many characters and keeping each an individual through not only costumes, but mannerisms and physicality, as well. His Texan/Southern accent could use a bit more work as I don’t hear much of one throughout and his solo number “River of Fire” does fall a bit flat for being so early in the second act. However, he does hold his own commendably against the other strong actors in the ensemble and his performance is to be applauded.

Clare Kneebone. Credit: Spotlighters Theatre / Shealyn Jae Photography / Shealynjaephotography.com

Clare Kneebone was last seen at Spotlighters in Tick, Tick… Boom! and, in this production, she is known as Actor 3, taking on the roles of Brünnhilde, a Norn Triplet, a Texas Ranger, and a Rivermaiden. Kneebone is comfortable on this stage and takes strong command when she appears. Though this is a complete ensemble piece, she takes on what’s closest to the female lead in this piece and she gives a confident, natural performance. Her beautiful, strong vocals blend very nicely with the ensemble and shine through in her solo number “County Fair.” Kneebone is a joy to watch and I look forward to experiencing her future work.

Rob Wall. Credit: Spotlighters Theatre / Shealyn Jae Photography / Shealynjaephotography.com

Rob Wall is no stranger to the Spotlighters stage, also having been last seen in Tick, Tick… Boom! Wall takes on the responsibilities of Actor 5, performing the roles of Siegfried, a Norn Triplet, Milam Lamar, Alberich, and a Giant. Taking on what could be considered the lead male role, Wall gives a very enjoyable, strong performance. His gorgeous, booming voice resonates throughout the theatre but he blends well with the ensemble, filling out the sound beautifully. He is able to separate each character he plays and give them each their own respective lives. He understands his characters and works hard to bring them to life. He has a great command of the stage and seems quite comfortable and natural in his roles and this is another great performance from Rob Wall.

Allison Comotto is Actor 1 and takes on the roles of Gutrune, a Norn Triplet, Freia, Y-Vonne Duvall, a Rivermaiden, and a Valkyrie. She, too, is a veteran of the Spotlighters stage having been last seen in Zombie Prom.

Allison Comotto. Credit: Spotlighters Theatre / Shealyn Jae Photography / Shealynjaephotography.com

Comotto is a busy bee in this production but she is certainly a highlight with her spot-on comedic timing and natural acting chops that make her characters very enjoyable to watch. Vocally, she’s strong and is able to hold her own in the harmonies and blends well. Not to beat a dead horse, but her comedic timing is absolutely flawless. Her character, Y-Vonne Duval (actually pronounced WHY-vonne), a high society Texas wife who knows all the gossip in town, is just plain hysterical. She’s comfortable on stage and has a very strong presence that makes one take notice. Her natural talents are a joy to watch and I’m looking forward to seeing more from Ms. Comotto in the future.

Andrea Bush. Credit: Spotlighters Theatre / Shealyn Jae Photography / Shealynjaephotography.com

Lastly, but certainly not least, Andrea Bush, who is most decidedly another standout of this production. Bush is an absolute pleasure to watch as she navigates through her characters as Actor 2, taking on the roles of Narrator, Fricka, Erda, Needa Troutt, Back-Up Singer, Katsy Snapp, a Rivermaiden, and a Valkyrie. For as many characters as Bush had to play, she transitioned seamlessly and gave each character an individual personality, displaying her on-point acting skills. Vocally, this woman has some strong pipes and her booming voice is an asset to this piece. In both her comedic and more serious numbers, she gave a strong vocal showing and found the feeling in every song through her performance. Her comedic timing is outstanding and she seems to understand all her characters and the story, allowing her to give an assured performance that adds value to this production. She’s defintiely one to watch.

Andrea Bush and Allison Comotto. Credit: Spotlighters Theatre / Shealyn Jae Photography / Shealynjaephotography.com

Final thought… much like the Looney Tunes made Wagner much easier to swallow (and introduced children and a lot of adults to the opera genre), Spotlighters production of Das Barbecu takes a complex, classic piece and makes it more accessible and funny. Wagner’s Ring Cycle is not a piece I am entirely familiar with, but now, should I delve into a performance of it somewhere in my journeys, I’ll have a better understanding of the story and will probably appreciate more than I would have going in blind. Who knew Texas and a Wagner series of operas would mesh so well together?

Want another point of view? Check out what The Bad Oracle had to say!

Das Barbecu will play through October 30 at Spotlighters Theatre, 817 St. Paul Street, Baltimore, MD. For tickets, call the box office at 410-752-1225 or purchase them online.

 

 

 

 

 

Review: Tick, Tick… Boom! at Audrey Herman Spotlighters Theatre

by Jason Crawford Samios-Uy

Running Time: 90 minutes with no intermission

Most theater folk know or at least have heard of the recent Broadway sensation called Hamilton. Now, about 20 years ago, there was another Broadway sensation that caused the same kind of ruckus (whether warranted or unwarranted, depending on who you talk to) written by a Lyricist/Composer/Author named Jonathan Larson called RENT. Well, let’s go back a few years before that and this same Lyricist/Composer/Author wrote a small, three person musical called Tick, Tick… Boom!, an autobiographical account of what he called his failure and frustrations up till that time.

Tick, Tick… Boom! with Book, Music, & Lyrics by Jonathan Larson and Vocal Arrangements and Orchestrations by Stephen Oremus is the latest offering from Audrey Herman Spotlighters Theatre and is Directed and Choreographed by Jillian Locklear Bauersfeld with Music Direction by Michael W. Tan.

I’m going to admit, I’ve never been a RENT fan by any stretch of the imagination, but… I was pleasantly surprised and quite entertained by this production of Tick, Tick… Boom! and I just might have to give RENT another more comprehensive listen!

Garrett Zink as Jon. Photo Credit: Spotlighters Theatre

Beginning with the production aspect, Set Designer/Scenic Artist Alan Zemla used the small Spotlighters space very wisely by not cluttering it with frivolous set pieces but with six black boxes that were moved around and acted as all the set pieces including a bed, a BMW, office furniture, and convenience store counter. The moving of the boxes was incorporated into the blocking and with no other clutter on stage, it was easy for the actors to transition from one scene to the next. Also impressive are the theatre walls themselves. Each wall is cleverly painted to represent New York City from New York Subway walls to a representative skyline. Zemla is to be commended for his work in this production.

Costume Design by Andrew Malone was simple and contemporary as this play is pretty much set in modern times, 1990 to be exact, and, though the “skinny jeans” (or what looks like skinny jeans) the character of Jon is wearing throughout the show may be a bit of a stretch, the plaid button-down was a perfect choice, as were the outfits of the other two characters.

The space is very unique and small with pillars on the four corners of the stage and I imagine it’s a bit difficult to light a production but Lighting Designer Fuzz Roark managed very nicely. Though a little dark at times, the production was lit very appropriately and simply with no major bells and whistles, which is not needed in this production, anyway, and Roark’s lighting scheme was spot on.

Again, being a small space, one would think sound wouldn’t be an issue, however, it is quite a feat to launch a full fledged musical in a small space but Sound Designers Lanoree Blake and Fuzz Roark managed to do just that. There is a full, live pit orchestra only inches away from the stage and none of the actors are equipped with a microphone so, there are only a few times when the balance between the orchestra and the actors is a little wonky and if an actor is on the opposite side of the stage from where one is sitting it’s difficult to hear every line, but I lost nothing from the story and was able to keep up. The sound effects used were appropriate and well placed and moved the story along quite nicely.

Garret Zink as Jon & Rob Wall as Michael. Photo Credit: Spotlighters Theatre

According to the Director’s Note, Director Jillian Locklear Bauersfeld had directed Tick, Tick… Boom! About 10 years ago, while a directing major in college. She states that production was a success and though I can’t speak for her previous attempt, I’m tending to agree with her because this production can be chalked up as a success, as well! Anyone who takes on directing theatre in the round starts off with a challenge, but Bauersfeld pulls this off flawlessly, keeping her actors moving and using her space wisely as to not forget any section of the audience. Her blocking is very fluid and this keeps the pace of the piece moving nicely along, not too fast and not too slow. She seemed to have understood these characters and managed to pull thought-out performances from her cast, and her vision of Jonathan Larson’s life was clear and apparent with minimal sets, costumes, and props.

Garrett Zink as Jon & Clare Kneebone as Karessa. Photo Credit: Spotlighters Theatre

Music Direction by Baltimore theatre veteran Michael W. Tan (who also plays the keyboard) is superb as he brings the songs of pre-RENT Jonathan Larson to life. There is a certain modern feeling one must understand when dealing with Jonathan Larson and Tan seemed to understand this perfectly. Not the usual “show tunes,” Tan manages to pull the modern pop-rock style from his actors that fit this show like a glove. The fantastic orchestra he’s pulled together, including Christine MacDonald on guitar (with John Jeffries subbing on guitar on certain shows), Greg Bell on bass, and William Georg on percussion, also help make this production all the more enjoyable.

Garrett Zink as Jon & Rob Wall as Michael. Photo Credit: Spotlighters Theatre

The only comment I can make on the music of this show is that it is amazing. It is certainly a Jonathan Larson score but it’s modern and melodic and the upbeat songs are driving and the ballads are poignant. If one is familiar with the more famous show from Larson, one can hear the beginnings of most of those songs in these songs. I enjoyed the variety of the score and the attempt at using different styles such as the country and western inspired “Therapy”, the rocking “No More,” and nostalgic, oldies sound of “Sugar.” These upbeat, fun songs were balanced out nicely with poignant power ballads such as “See Her Smile” and “Real Life” that didn’t slow the show down at all, but moved the story along. Also, among these different styles, these songs have a 90s feel to them and, as a kid of the 90s, I was thoroughly entertained!

Clare Kneebone as Susan. Photo Credit: Spotlighters Theatre

Moving on to the performance aspect of this production, it’s a very small cast consisting of three actors – a perfect size cast for the space. Included in the cast is Garret Zink as Jon, the hapless lyricist/composer/author who’s about to turn 30 years old and doesn’t think he’s done anything with his life, Clare Kneebone as Susan the understanding, but yearning girlfriend of Jon, and Rob Wall as Michael, the forward moving best friend.

Jon is the first character to whom we’re introduced and he serves as the narrator throughout the show. Garret Zink has a very good presence and seems comfortable on stage with perfect articulation even though his Baltimore accent peeks in occasionally. Although his performance seems a little forced at times and his flailing hand gestures sometimes draws attention away from what he’s saying, he still pulls off the role very nicely and you do feel for the character and even relate to him as Zink brings a certain honesty to the character. The Larson score can be challenging (his mentor was Stephen Sondheim for goodness sake!) and aside from struggling a bit in the upper register, Zink was able to make a good showing with appropriate style and presentation.

Garrett Zink as Jon, Clare Kneebone as Susan, and Rob Wall as Michael. Photo Credit: Spotlighters Theatre

Rob Wall as Michael was an absolute joy to watch. From the moment he steps on stage with his big smile and smooth, friendly voice, Wall makes Michael a character who’s easy to like. He’s very comfortable and confident on stage and he moves easily and with purpose. According to his bio, he sang in the Naval Academy Mens Glee Club and was the announcer for Naval Academy parades and with his velvet, booming voice, I don’t doubt it! He performed his songs flawlessly and not only hit the notes, but had that extra understanding of the songs such as “Johnny Can’t Decide” and “Real Life” where he takes the reigns and that takes his performance to a much deeper level. Wall also gives Michael a certain amount of calm that balances out the agitation that Zink gives the Jon character. Wall is certainly one to watch and you don’t want to miss him in this performance!

Clare Kneebone as Susan. Photo Credit: Spotlighters Theatre

This leaves us with Clare Kneebone, who takes on the role of Susan, the girlfriend. Kneebone is the standout in this production and not only because she’s the only female but because she plays this role brilliantly, confidently, and flawlessly. As she stepped onto the stage, it was clear she was a powerhouse and very comfortable on stage. Her performance was very natural and purposeful as it was clear she understood her character and what her character was going through. Along with a fantastic acting talent (as she plays various characters, including a theatrical agent and an actress in a workshop of a new show), Kneebone has a very impressive musical talent as well and her big, beautiful voice shines throughout this production, namely in her solo number, “Come to Your Senses,” a true power ballad in which she’s not even playing the role of Susan, but of another character – the actress in the workshop of a new show, Karessa. Her performance alone should be reason enough to see this show!

Final thought… Tick, Tick… Boom! Is a show that shouldn’t be missed! Even if you aren’t a huge RENT fan, that’s OK because this show absoltuely stands on its own. Yes, you will see the beginnings of that more famous show, but it’s to be expected as it’s the same lyricist/composer/author and it’s definitely his unique style. This cast is great, the music is fun, and story is certainly relatable! Go see this show!

This is what I thought of this production of Tick, Tick… Boom!.… what do you think?

Tick, Tick… Boom! will play through July 31, Friday-Saturday at 8pm and Sundays at 2pm with a Ten Spot Thursday on July 14 at 8pm at Audrey Herman Spotlighters Theatre, 817 St. Paul Street, Baltimore, MD. For tickets, call 410-752-1225 or purchase them online.