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Theatre to the Point

Theatre #tothepoint for DC, MD & VA

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Mark Sullivan

Theatre to the Point Best of 2017: Community Theatre

As the first year of Theatre to the Point comes to a close we wanted to recognize the best of what we saw in 2017. We were paying audience members at a limited number of shows this year and in the future as our site grows we expect these yearly reviews to be a far more comprehensive overview of the best our region had to offer.

Best Musical:

Aida – Reston Community Players

We were blown away by the technical quality of this production that we described as “must see community theatre”

Review

Best Play:

A Bright New Boise – Silver Spring Stage

It’s been a year where local theatres have embraced plays with some pretty dark themes and none were more enjoyable than Silver Spring Stage exploring the rapture inside the break room of a Hobby Lobby.

Review

Best Value Show:

Aida – Reston Community Players

With ticket prices set at $27 we wondered if this show could reach value. Director, Andrew JM Regiec, oversaw a show that smashed that price, scoring 71/100 for a $42 value.

Best Actor in a Musical:

Matt Wetzel, Emmett (Legally Blonde) – Silhouette Stages

Best Actress in a Musical:

Sherry Benedek, Sister Mary Robert (Sister Act) – Cockpit in Court

Best Actor in a Play:

Brendan Murray, Will (A Bright New Boise) – Silver Spring Stage

Best Actress in a Play:

Maura Suilebhan, Anna (A Bright New Boise) – Silver Spring Stage

Best Director of a Musical:

Susan Thornton, Willy Wonka the Musical – Other Voices

Best Director of a Play:  

Bill Hurlbut, Omnium Gatherum – Silver Spring Stage

Best Music Director:

Nathan Scavilla, Sister Act – Cockpit in Court

Best Choreographer:

Kendall Sigman, Hairspray – The Fredericktowne Players

Best Set Design:

Andrew JM Regiec & Dan Widerski, Aida – Reston Community Players

Best Costume Design:

Charlotte Marson, Aida – Reston Community Players

Best Lighting Design:

Steve Knapp & Jim McGuire, Willy Wonka – Other Voices

Best Sound Design:

Robert Pike, A Bright New Boise – Silver Spring Stage

Check out all of our reviews here.

Review: Heathers The Musical

Heathers

The 1988 movie, Heathers, starring Winona Ryder and Christian Slater achieved cult status with Gen Xers and the musical that had an Off-Broadway run in 2014 has perhaps surpassed that with Millennials who have embraced this story as their own. That is certainly the vibe tonight inside the Maryland Ensemble Theatre with a raucous sold out crowd. Despite the MET’s mainstage season finishing just two weeks ago this MET X production of Heathers The Musical is the second show to open on this stage in the period since. That hectic schedule perhaps contributed to the minimalist nature of Cecelia Lee’s set which featured painted walls with colorful squares outlined in grey and two platforms at the rear of the stage that looked like the backdrop for an 80s music video.

Veronica Sawyer (Georgiana Summers) opens the show with her spoken diary entry and we are introduced to the array of high school students in Beautiful. It’s a strong start to the show that not only showcases the hopes and fears of these high school kids but also the excellent costume work of Cody Gilliam. The attention to detail in defining each member of the ensemble along with the many costume changes throughout the show are a real highlight of the production. The arrival of the Heathers is incredibly stylized and works well in these opening moments but once we hit the dialogue we are confronted with the extremely affected accent and movement of Heather Chandler (Drew Canning) There is no sense at any stage that this is a real person and perhaps that was intentional, as it is a consistent actor/director choice throughout the show, but it becomes exhausting to listen to and increasingly difficult to watch.

Fight for Me features some hilarious slow motion fight choreography from Steve Custer as JD (Jordan Champe) tussles with football players Ram Sweeney (Mark Sullivan) and Kurt Kelly (Andrew Zabetakis) Sullivan actually comes close to stealing the show, which is some achievement while portraying such a vacuous character, as his smooth vocals, comic timing and facial expressions are spot on for the whole performance. We get an insight into JD’s backstory via the 711 anthem, Freeze Your Brain, and while Champe certainly looks the part of the bad boy in his trench coat and dog tags he plays JD a little too sweet at times; a hint more darkness in the first act would have felt more appropriate and would have helped sell his overall journey. Champe’s gaze all too often finds the floor rather this his scene partner and although this may have been a character choice it doesn’t translate well during his vocals.

It’s a credit to the Director, Caitlyn Joy, that we buy into the each new location despite the limited visual changes. The show has a great flow and Joy uses the central MET pillar smartly throughout – especially effectively as Veronica stumbles through JD’s bedroom window during the raunchy standout song of the first act, Dead Girl Walking. As the body count begins to rise it becomes increasingly obvious that the set would have benefited greatly from a third platform surrounding the pillar. There is so much action on the floor that simply does not work from a sight line perspective in this space. Raising those moments up by a foot would have had a major positive impact on the overall production. With none of the actors mic’d up in this intimate setting there were some sound balance issues. Music Director, Jonas Dawson, forms part of an unseen 3 piece band that unfortunately overpowers the vocals at times.

The second act really kicks things up a notch with the laugh out loud number, Dead Gay Son. Tad Janes is a comic force in all his cameos but never more so than as Ram’s Dad in his moment of acceptance and sexual awakening at his son’s funeral. The song also features the best of Lena Janes’ choreography. At times Janes’ work could have benefited if the platforms had been incorporated a little more to add levels to her routines. The execution could certainly have been tighter, especially in Big Fun and Hey Yo, Westerburg, but her choreography was relevant and entertaining for the duration of the show.

Summers is a strong singer but it is her ability to bring out the emotion of her character into her lyrics that is the strength of her performance. Her tragic pleading in the beautiful Seventeen is one of the most captivating scenes of the night and her overall acting performance is full of delightful quirks with more than a passing nod to Winona Ryder’s performance in the original movie. There are more vocal highlights to come as Heather McNamara (Kaitlin McCallion) delivers a haunting rendition of Lifeboat. It’s a song that could easily be forgettable but McCallion makes it a moment and part of an impressive overall character arc. Megan McGee gives some of the best and most truthful work of the night as Martha Dunstock. McGee infuses every line with thought and feeling and delivers perhaps the strongest vocal of the show in the heartbreaking Kindergarten Boyfriend. It’s a song of introverted self-reflection that turns to imagery of taking flight and the freedom that she hopes her suicide will bring her. The static staging of the song, standing center stage in the spotlight, feels a little out of sync with the moment. Ending the song in that spot, as she takes what she thinks will be her final step, would have been a more powerful choice.

Although this is an entertaining production of Heathers The Musical featuring some fine individual performances, the show is vocally good, not great, and lacks a truly stand out ensemble moment. The show features some sexually explicit themes, especially in act one, and won’t be to everyone’s taste, but Joy handles the material well and pushes the barriers with this talented young cast without ever over stepping.

#tothepoint Rating 64/100

You can view a full breakdown of the allocated points here.

Ticket Price: $15

Value Rating: +$13

With our scoring system and our unique value for money guide we rate this show at $28 so grab a ticket if there are any left! Heathers The Musical continues at the Maryland Ensemble Theatre until July 8th.

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