Cape Cod Theater Reviews

For director Arden-Reese, the theme resonates beyond the stage. According to her, bullying might take different forms, but supporting the kids facing it is as important as ever. “In helping the dwarves and their own quest, Bilbo finds out what shines inside him — something that hadn’t shined before,” she said. But the story’s heart isn’t just in the script; it’s in the actors’ performances, their students and the energy that fills the stage. As a Cape Cod local and current associate chair at New York University’s Tisch Drama, Arden-Reese said she was thrilled to guide the cast in this process. “When a community comes together for this common purpose and people give their heart, soul and whole being to a piece, something happens. It transcends the sum of its individual parts. That’s the magic that makes theater pop,” she said. By the final curtain, Beau has faced trolls, outwitted Gollum and confronted his own “dragon.” As he steps off stage, one lesson lingers: there really is more in him than meets the eye.

The ensemble of actors/singers, some of which play more than one part, is enthusiastic in its portrayal of Texan life. Marie Lemon, Ralph Prentice Danial, Dante Sterling, David Couter, Haley Jones, and Mark Fishback handle the many primarily clever songs with power and panache, and some fantastic harmonics. Set designer Christopher Ostrom has, as always, wowed the audience with his mis-en-scène—this time, a rustic Lone Star country/western interior that provides the backdrop to all the various venues and scenes. (See if you can spot the band—Nevada Lozano, Jo Miller, Robert Bekkers and Chris Cerreto—in the set’s cleverly designed pickup truck.) A shout out to costume designer Carol Sherry, who didn’t go too far over the top in creating “western” styles.

The cast of eight, backed by four excellent onstage musicians, have terrific voices, and smooth professionalism. One standout with the right Texas accent and pizzazz is ensemble member Halley Jones as both waitress, Tammy, and Mrs. Nugent’s granddaughter. Carol Sherry’s costume changes work well, delineating the multiple characters the actors play. The musical has its moments for those who find fascination in the morbid. It’s haunting in its unresolved moral dilemmas. For those put off by the macabre, be warned away. The opening night audience found many a good laugh and was not put off by the play’s morbidity; they gave it a standing ovation.

With such a character-driven play, the cast needs to trust itself and develop rapport, which this group does without turning a hair. And that rapport extends to the audience. Everybody knows someone like Desham with her New Age over-confidence and perky attitude. The greatest transformation is seen in Lauren; she begins the course cynical and withdrawn, to the point of us wondering if she’s meant to be on the spectrum (she’s not: she’s a teenager, part of a demographic that often mimics autism); by the end of the six sessions she is an excellent participant, clear and focused.

The director of this production is Jonathan Fielding, one of the Harbor Stage’s four founders, and the result is an immersive experience in organic storytelling: you learn about the five characters gradually, in bits and pieces, during actors’ exercises and side conversations, in their own words and from others’ points of view. It’s not always clear what is speculative and what is true. Baker, as a playwright, is known for her long silences and unrushed pacing, and Fielding builds on that. The first act is at times perplexing, at times frustrating, and the narrative is sketchy at best. The actors’ exercises are only occasionally revelatory and sometimes seem aimless. The teenage student in the class, Lauren, played pitch-perfectly by Jackie Scholl, recognizes this and openly complains about it, expressing the skepticism that some in the audience undoubtedly feel.

On opening night, seats were filled at the Academy Playhouse in Orleans, where the stage exploded with color in the 2012 revised version of the show, originally conceived and directed by John-Michael Tebelak and now brought to life under the direction of Randy Doyle, with producing artistic director Judy Hamer. Presented in two acts and featuring well-known musical numbers such as “Day by Day,” the production delivers a heartfelt message of hope, kindness and above all love. The cast infuses the performance with energy, weaving song, dance, and a touch of comedy into the storytelling.

The cast of 14 all perform multiple roles in the show, switching characters on stage by simply changing a hat or a jacket. This fluidity adds to the idea that we’re all part of one big melting pot or maybe that we’re all in this together—choose the metaphor that works best for you. The majority of the play is sung through with most of the songs springing up organically. The majority of the songs are sung by the entire ensemble, which adds to the feel of the show as one big group effort. One exception is “Me And The Sky,” sung with assertion by Kelli Barrett as pilot Beverly Bass. The song recounts Bass’s lifelong infatuation with flying and her raw grief in the wake of 9/11 that “the one thing I loved more than anything” has been used as a bomb.

Other than Dot and George's story, the play explores the other subjects of the painting. There’s the “Old Lady” brilliantly recreated by Wendy Watson (she played the same role on the same stage 20 years ago) and her “Nurse.” The talented Hailey Deltano plays both the nurse and the “Mrs.” in another couple in the painting. “Mr.” is Anthony Teixeira, a Cape Rep favorite. In fact this show is stacked with Cape Rep favorites. Ari Lew is Franz, a servant, and Nell Hamilton is Frieda, the cook in the same household. Nick Nudler is Jules, an envious fellow artist, and the always delightful Holly Hansen plays Yvonne, Jule’s haughty wife. Brian Lore Evans is the muscular tattooed “Boatman” from the painting, and Ian Hamilton is Louis, the baker.

The Academy of Performing Arts production featured a talented and dedicated cast. Morris took on the role of Norma McCorvey, while Theresa Cedrone portrayed Sarah Weddington. Andrew Haber performed the dual roles of Ron Weddington and Flip Benham. Jen Rabold played Linda Coffee, Judy, and Peggy, and Rachel Hischak appeared as Ronda Mackey, Helen, and Holly Hunter. Jacob Rabold took on a wide range of characters including Justice Blackmun, Norma’s doctor, Robert Flowers, a TV news reporter, and Fred Friendly. Dan Rabold portrayed Henry McClusky, Jay Floyd, Michael Manheim, and the Abortion Doctor. Kendall Smith appeared as Connie. Kayla Jorgensen played Aileen, Gloria Allred, Pregnant Woman #3, and Roxy. Lizzy Smythe filled multiple roles including Ofelia, Pregnant Woman #2, Uma, a waitress, and Elenor Smeal. Cora Goers played both Melissa and Emily, while Suzanne Fecteau portrayed Barbara, Pregnant Woman #1, and a TV reporter. Allison Hyder rounded out the cast in the roles of Mary and Molly.

The energetic and talented cast (nearly all females with the exception of Peter and one other!) fabulously enacted the story of the boy who refuses to grow up. Reese Daley is a great Peter; he plays the carefree, stubborn young man splendidly. On opening night, Juliet Seeley (Tinkerbell), Grace Olah (Smee), Amanda Gordon (Captain Hook) and Aylen Miller (Wendy) were particularly good in those high-profile roles. I’m sure you'll see each of the cast shine at some point in the production. They really give it their all.

As Anastasia, Kyla Stone has a winning smile and a soaring voice that carried throughout the theater. Her character’s toughness masks an insecurity that comes with not knowing who you are. As Dmitri, Dorset talks tough but soon develops a soft spot for Anya, evident when they both talk about their difficult upbringing; both, in essence, raised themselves. Their song “My Petersburg” conveys emotion and longing. Part of his role as Dmitri is to make Anya shine; this Dorset does well.

As the play opens, we witness the nuns of the convent at their evening prayers (“Preludium”) and see Maria out in a meadow. Her absence for evening prayers is noted by Sister Berthe (Ris Bland), Sister Sophia (Angie Tovar), Sister Margaretta (Madeline Braun) and Mother Abbess (Emma Mize) and discussed in their lovely rendition of “Maria.” Mother Abbess sends for Maria, telling her that she is sending her to be a governess with the von Trapp family. Their duet of “My Favorite Things” was wonderful. Mize has an amazing voice. It is clear, with power and clarity. She stands out in “My Favorite Things” with Nicholson. Their voices meld well.

As the self-pitying Sonia, Jennifer Cabral is simply marvelous. She makes the role completely her own, playing Sonia as a mischievous naïf with killer delivery. William Mullin, as the cranky and passive Vanya, has surprising punch, especially in his 11th-hour speech about the sad state of things. Susan Lambert, as the narcissistic Masha, is vain and vulnerable, furious and restrained in just the right measure. The three non-siblings are equally good. Hilarie Tamar, as the voodoo-practicing cleaning woman Cassandra, is a hilarious, scene-stealing revelation. Jeff Brackett attacks the role of Spike — Durang’s riff on the classic buxom blonde, with a ripped, muscled torso and bubble butt — with relish, energizing every space he’s in. And finally, Lena Moore, as the sweet and innocent neighbor Nina, finds hidden depth and awareness amid this circus of older loons.

There is absolutely nothing to fault here. The writing is crisp and, under David Drake’s excellent direction, the actors make the most of it, with perfect comedic timing. Durang’s use of parody and his criticism of social institutions rings true for the world of 2025, and all of that makes this sometimes-dark comedy a delight to watch. It’s the best show I’ve seen this year so far, and possibly for several other years as well.

The couple’s two adult sons, Biff (Alex Pollock) and Happy (Jack Aschenbach), both live at home. Biff has returned to the East after a gig working with horses in Texas. We’re introduced to the brothers in a lighthearted scene where the table functions as a bunk bed. They reminisce about girls, but the atmosphere soon grows melancholic. Pollock’s performance as Biff, a man who’s uncertain of himself, stooped, with eyes slightly downcast, cuts deep. “I’ve always made a point of not wasting my life,” he tells his brother. “And every time I come back here, I know that all I’ve done is to waste my life.” Happy, who is more outwardly successful, is still disillusioned. He feels frustrated by working in an office. The brothers talk about buying a ranch out West, but it’s just one of many unlikely fantasies running through the play — ideas the cast members spin vividly despite the spare staging.

The Harbor Stage Company’s production of Arthur Miller’s Death of a Salesman proves that great theater doesn’t require expensive sets or extensive cast lists, just exceptional performances. The show is thoughtfully heavy, touching on themes of disillusionment and betrayal, and extremely relevant as the American dream continues to be redefined. While the cast for this tale of an American salesman losing his grip on the American Dream is made up of only four characters, this deepens the audience connection to the play by allowing for deeply intimate and powerful scenes.

Scene-stealer alert! Every show at APA has at least one, and in “The Little Mermaid” that was undoubtedly Charlie Tobin, who portrays the iconic Sebastian, trusted advisor to King Triton. Tobin, clad in his crab headpiece and shiny sequin red suit, was hilarious with his smooth moves and priceless facial expressions. He absolutely nailed it with his two major musical numbers: “Under the Sea” and “Kiss the Girl.”

Madison Mayer (Piggie) and Zack Johnson (Elephant Gerald) are extremely talented and have amazing voices, as do the rest of the cast members, who all give top-notch performances. The Squirrelles are Alma Alcantara, Zoe Squeglia, Maryn Neviackas, Morgan Neviackas and Michael Becrelis; pigeon/Squirrelle is Harper Sullivan, and the delivery dog/ice cream penguin is Steve Lymneos.

Set in a Russia grappling with revolution and loss, the story opens in the 1920s, when rumors begin to circulate that the youngest Romanov daughter, Anastasia, might have survived her family’s execution. Seizing the opportunity, two con men—Dmitry (Zamir Gorden) and ex-aristocrat Vlad Popov (Jude Chiarella)—decide to transform a mysterious orphan girl into a princess impersonator to claim a reward from the Dowager Empress of Russia, now exiled in Paris. Their song, “A Rumor in St. Petersburg,” is one of the production’s early highlights. The ensemble shines in this number with their harmonies, energy and enthusiasm. The dancing, while subtle, is exciting to watch.

Director Trish LaRose has gathered quite a talented group to portray the playful and absurd pirates. There’s Swill (Lexy Hatch), who always has to be addressed twice. Sharktooth (Gianna Casale) has an eye patch and a swagger that will bring giggles even to the youngest in your family. Pierre, the chef (Devin Massarsky) is a hoot with his French accent. When the captain is “thinking” he says he’s “sinking.” Needless to say, that causes a stir! And last but certainly not least, there’s Max (Rachel Walman). Max is just so funny trying to be the sensible one.

CLOC is noted for its musical performances, and the ensemble dancing and singing were wonderful. The choreography was great, with the numbers “Luck Be A Lady” (the dance one) superb and the one with Nicely-Nicely Johnson (Scott Mayers) effective with the waves of movement. I am/was delighted and amazed how effectively they use/used the stage for the dance numbers (acrobatics and all). Mayers sings, dances and acts well. Also good was Zamir Gorden as Benny Southstreet. But the top kudos go to Sachiko Nicholson for Sarah. Her singing, dancing and acting are top-notch. Her voice is lovely, and she brought Sarah to life. Her duet with Lily Joseph in Act 2, “Marry the Man Today,” was good. I loved “How Do I Feel” and “If I Were A Bell,” too. The staging for the scene in Havana was done nicely, with the dancers counterpointing Sarah and Sky.

All of the actors in the show deliver stellar performances of the songs in the show which include “La Vie Boheme” and the show-stopping, iconic “Seasons of Love.” Main characters include filmmaker Mark (played by Dillon Klena), struggling musician Roger (played by Chris McCarrell), dancer and addict MiMi (played by Storm Lever) and their friends Angel (Frankie Rodriguez), Tom (Terrance L. Johnson), Maureen (Ashley Blanchet) and Joanne (Tsilala Brock). Other company members include Jordan Barrow, Gabe Cruz, Sarah Kleist, Olivia London, Neema Muteti, Jackson Kanawha Perry, and Jon Rodez.

The entire company shined brightly during three of the most famous and memorable scenes in the show: “Summer Nights,” “We Go Together,” and “You’re the One That I Want.” The amount of technical skill and impeccable choreography to pull off these numbers, including the awesome “Hand Jive” scene, was astounding. The energy and talent of this cast is spectacular. Cast in the two leading roles of Danny and Sandy are Melanie Singer and Wil Moser. The chemistry they exude on stage, paired with their high-octane vocals, was unforgettable! Singer’s solo rendition of “Hopelessly Devoted’ was breathtaking and will leave you with chills. Moser’s slick charm oozes through in his solo performance of “Sandy” when he gets stranded at the drive-in.

All the actors, ably directed by Tim Habeger, are well up to their roles in this fine and thoughtful play. All the production values (lighting is by Ostrum himself) enhance the show.

Chelsey Jo Brown emulates the frenetic SpongeBob perfectly. Alex Mai Murray is adorable as sidekick Sandy Cheeks, and Anthony Teixeira plays Patrick with just the right amount of angst. Ari Lew is a great Squidward (loved the costume!) and Sam Billman’s Plankton is rub-your-hands-together diabolical. The kids in the audience were delighted to see crabby Mr. Krabs (Hannah Carrita), too. Rounding out the cast is Hailey Deltano as the Mayor of Bikini Bottom, Jack Martin as Mrs. Puff and Emily Shafritz as Karen the Computer. With over 13 song and dance numbers, the hour and a bit flies by and will delight and captivate even the most fidgety members of your family. The cast walks all through the audience at times and engages with the children often; plus, after the show they stay and chat and sign autographs.

In his debut as an CCTC/HJT, director Ian Hamilton must have been giddy when he secured his two principals: Trish LaRose for Ursula and Perry Gill for Ariel. LaRose brings down the house with “Poor Unfortunate Souls.” And that cackle! Gill is a perfect Ariel; she sings like an angel, especially on “Part of your World.” Of course these two are surrounded by an incredible cast, and your children will be thrilled to see Sebastian (John O. Fennell), Flounder (Wes Foster), Scuttle (Coco Kemp), Ursula’s henchmen, the electric eels Flotsam (Maya Nava) and Jetsam (Zendon Donoho), along with Prince Eric (Xavi Villejo) and his loyal servant Grimsby (Jane Staab). Matt Kemp portrays both King Triton and the hilarious Chef Louis. There are princesses (Lylah Crawley, Eva Leahy, Grace Olah, Maurissa Samuels, Avery Garrison and Kelly Martin) and sea creatures (Piper Taylor, Phoebe Schuessler, Ella Frueschner and Aria Nickerson) also.

The sailors, Ozzie (Ryan Bouchard), Chip (Zamir Gorden), and Gabey (Hayden Thompson), fix on three girls—Hildy Esterhazy (Amelia Gibbons), Claire de Loone (Madeline Braun) and Ivy Smith (Isabel Mincy)—to be their romantic dream girls. All six are phenomenally supercharged and perfectly matched. Each couple enjoys the same folie à deux and who’s to say that’s a bad thing? Gibbons as Hildy, the amorous cab driver, gets laughs any way she can in her seduction of Ozzie. Her breakneck cab tour of the city is in perfect synch with the staccato beat of the Bernstein music. She belts out “I Can Cook” in the best Broadway tradition and does high justice to “Ya Got Me.” The audience loved her. Madeline Braun (Claire) vamps her role beautifully as the lusty anthropologist who studies Ozzie the sailor because he resembles the Pithecanthropus Erectus in the museum. Her song, “Carried Away,” is done beautifully, all the more fun because of the deadpan delivery. Ozzie never had a choice or a chance and gets equally ‘carried away.”

Audience members will leave stunned at their aerial feats (and rightfully so, they were spectacular), but I found myself going back in my head to Peacock’s fascinating “charade” routine. In that routine and in every aspect of the show, Peacock uses every part of her body, mind and soul to convey what she’s portraying. Nudler is a fabulous counterpart: he’s even more intense and his over-the-top-ness counters her intense but more understated performance. Not to say that she’s demure; not even close. The dynamic works. And they both are so physically strong! On the way out, I thought to myself, they must be exhausted!

Harbor Stage has once again breathed new vibrant life into a story usually relegated to college reading lists, and both Withers and Fielding are—as always—spectacularly good at pulling audience members out of their own lives and into quirky, interesting, and sometimes baffling characters. Another absolute delight.

The two actors switch off bread-baking duties. In one scene, Withers, as Nils’s mother, pares fruit as family matters are discussed. “Land’s a good thing to have,” Nils says, trying to placate his mother. “Only when you stay on it,” she replies sourly.

The entire cast is extremely talented. Mabel (Haley Hudson) has a charming voice that fills the venue (“Poor Wand’ring One”). Frederic (Bennett Wright) handles his role impressively and his voice is engaging, as is Ruth’s (Emily Marino). The Pirate King (Harrison Gilbert) gives a powerful performance of “Oh Better Far to Live and Die.”

Set in New York City’s Upper East Side in 1985 (cordless phones! mousse of pike with a Pernod sauce!), the plot concerns a well-off middle-aged couple, the wife’s family (which includes a cranky mother), and a famous artist who’s 100 years old. Act One sets up the situation a bit slowly, but fasten your seat belts for Act Two, just not too tightly because you’ll need some slack for belly laughs.

The title role of Buddy Holly is played by the fiercely charming Andy Christopher, a native Texan like Holly. In fact, Christopher learned to play guitar in Lubbock bars with Buddy Holly’s nephew. Christopher Alvarado portrays the youthful Richie Valens to perfection alongside Matt Cusack as the Big Bopper. Cusack is also the music director for this Playhouse production. Legna Cedillo portrays Holly’s wife Maria Elena quite tenderly, and David Bonanno plays music executive Murray Deutch, who helps Holly rise to fame.

Missy (Madison Mayer), Betty Jean (Ameila Burbine), Suzy (Samantha Walker) and Cindy Lou (Francesca Jannello) are all adorable and captured our hearts on opening night. No matter what life has dealt them, these ladies will get through it together with a smile and a song! It’s hard to single out any one of these actors; all four are vivacious and sing with joyful energy.

The Academy of Performing Arts continues to knock it out of the park with each and every production. If I could go see “Gypsy” a dozen more times, I would! It was that spectacular!

In this new production of Perestroika, the actors reprising their roles from Millennium Approaches have honed their performances, all of them improved. (Which is saying something: they were all splendid last year.)

Drake’s direction is a large part of why this performance had audience members in tears and inspired them to give a rousing standing ovation with more shouts of “bravo!” than I think I’ve ever heard. He brings magic, freshness, and discovery to a play that is, let us not forget, three and three-quarters hours long—time that passes quickly thanks to his sense of timing. (The audience is warned about the length, with Drake quipping, “And after that… we serve breakfast!)

Literally being part of the show helps you connect deeply with it. It really is more than a play; it's an experience. This lovely theater in the woods always thinks outside the box, and just when you think you’ve seen all a theater can do they surprise you with something new.

The five performers have an easy camaraderie on stage with different configurations of the five, singing together. Ms. Almeida and Ms. Perrault were often paired together or one of the men would start a song with other cast members joining in by the second or third verse.

The talented cast features several performers new to the Barnstable Comedy Club stage including Noah Jung, who plays Kenny; and Kevin Little, who plays Max. Ian Kenneally, who plays Lucas, is making his on-stage debut with the role; Charles McDougal, who plays Brian, is returning to the theater for the first time since high school; and Madeline Little, who plays Helen, one of only two women in the show, is making her Barnstable Comedy Club debut.

In addition to having excellent young performers in Audrey, Tristen and Mayah, the Falmouth Theatre Guild has amassed an exceptional cast of “young townspeople.” Imagine being able to find not just three talented young people, but more than a dozen of them.

Mr. Mellin’s presence is big and burly, like an overgrown, gruff-looking but friendly teddy bear. He is a skilled storyteller, compelling but not over the top.

The emotions run deep in this play and the actors were definitely up to the task! It was a reminder to us all that life is precious and those around us have the capacity to lift us up and carry us through despair if we will let them. Be sure to catch this show while you can. Tickets are selling out fast!

The four children, the “four humans” in an ancient prophecy, are delightful. Peter (Kaya O’Brine), Susan (Rebecca Reyes), Edmund (Sam Bonwit) and Lucy (Gemma McBride) are very convincing and captivating. Sam Sewell as Tumnus, the faun, was spot-on; the opening night audience loved him. The interactions of Mr. and Mrs. Beaver (Shiloh Pabst and Julianne Bonwit) were equally appreciated by the full house. The White Witch (Elizabeth Dunton) and her sidekick the Dwarf (Phoebe Schuessler) worked well together and were somehow both scary and comical.

“A Grand Night for Singing” is a fast-paced and super fun reimagining of some of the best Rogers and Hammerstein songs from such popular musicals like, “Oklaholma!,” South Pacific,” “The King and I,” “Carousel,” “The Sound of Music” and many more. Some songs are blended together with remarkably smooth transitions and a few unexpected twists, making this a wonderfully refreshed take on classic tunes. If you’re a fan of musicals of any kind, this show is for you!

“Secret Garden” is directed by the incomparably talented Jennifer Almeida, who also plays Lily Craven, the spirit ghost of the manor. Playing Lily’s grieving window, Archibald Craven, who is stricken with a hunched back and broken heart, is Terrence Brady. Together, the vocals of Almeida and Brady are a delight.

Cassandra West and Rob Minshall stand out in their roles as Margot and Tony, the ill-fated couple. A beautiful stage set evokes a well-heeled 1950s living room, and the turn-the-tables murder moment is most effective.

This production excels. The cast — Maeve Moriarty, Keith Richard Chamberlain, Rick Sherburne, Daniel Powers, Joe Hackler, Dafydd Rees, Brynn Grambow, Hannah Reggio and Kathleen Larson Day — are perfect in their roles. But Rees steals the show. To tell you how would really be to spoil some great fun.

Spending a snowy afternoon with the incredibly talented cast of “Into the Woods Jr.” was a delight. The cast of young performers is packed with so much dedication and wit.

Children will love this show. It’s full of fast-paced swashbuckling action. The comical pirates bounce off each other in synchronicity both vocally and physically. They are Captain Braid Beard (Anthony Teixeira), Swill (Rachel Walman), Sharktooth (Nicholas Stewart), Pierre (Devin Massarsky) and Max (Toby Wilson). The song and dance numbers are fabulous with clever choreography created by Chelsey Brown.

Eight talented actors take to the Comedy Club stage to show us how their world is radically changing in the midst of the fear and uncertainty of wartime. Sandy Basile, Amy E. Cole, Janet Geist Moore, Frank Hughes Jr., Liz Liuzzi, Marcus Liuzzi, Amie-Leigh McFarlane and Emma Miles are outstanding in a don’t-miss entertainment that proves that their little “band of brothers,” in community together, can do the risky thing, thereby affirming their sturdiest selves – especially when times are tough.

The large cast never stumbles or flounders; they just rejoice in the message of the play. It’s difficult to single out anyone because everyone is just so good.

One duo who captures hearts in “Elf” are Buddy’s stepmother Emily and brother Michael, played by Katie Beatty and Toby Goers. Their two lovely duets, “I’ll Believe in You” and “There is a Santa Claus,” were super sweet.

The singers sometimes cleverly appear to be playing an instrument as they sing. One such moment is James Davis as Ritchie Valens whose guitar plug dropped out as he was performing ― with no sound change. He smiled angelically as he reinserted it, while continuing to sing, and the audience had a belly laugh that was welcome and thoroughly enjoyable.

The 18 performers in Drake’s Provincetown production never miss a beat. There isn’t a weak link among them. This level of professionalism is rare in community theater, and many in the cast do indeed live and work here. Almost, Maine sets a high bar.

Hischak is wonderfully over the top as the drama critic Daria whom all the actors love to hate. And her acting is just as good, dead or alive, as it takes some kind of control to allow other actors to drag your “corpse” around, dumping it here and there.

Each cast member had ample time to shine in the spotlight, as well. Holly Hansen’s “Colored Lights” was heartfelt and enchanting, and Rebecca Riley captured the audience’s hearts with both her voice and her comic timing in "Arthur in the Afternoon” and “All that Jazz.”

Ari Lew is Hugo, the lovesick and down-on-his-luck nice guy who is under the tutelage of Captain Lewis, played by Brian Lore Evans. Lew has so mastered his comedic role that we could watch his face on a screen and still laugh. He’s that good!

This show is completely, wonderfully, laugh-out-loud-until-you-cry perfect for this moment—and does this cast ever deliver! The story is the stuff of a hundred silent films, with Marx Brothers, Abbott and Costello sprinkled throughout, and a little I Love Lucy thrown in for good measure.

Folks at the Academy of Performing Arts regularly tackle these big musicals in their small theater and the community is the better for their efforts. Choreographer Missy Potash and orphans choreographer Sydney Peterson deserve credit for moving 50 people around the stage, not to mention having the orphans kicking legs (and not each other!) in a chorus line.

Steve Ross (as Lawrence ― impeccable sartorial get-up and faux suavity) and Rob Minshall (mismatched, slouchy clothes and an air of always running to catch up) are perfect as the trickster pair.

Much of the dialogue is sung and the music is challenging at best. The performers do a great job starting on the right note, staying in tune and moving while singing without losing the flow.

The show features 35 actors, many of them very talented. But Peter Cook, who plays the lead as Tevye, is the incredible backbone that keeps this show humming. When did I know Cook would be an incredible Tevye? From his very first line.

The cast works together in lockstep, each expressing their roles with unfettered intensity and passion. Emotions run the gamut and their faces show it ― tears and snuffles included ― and they ask questions, questions … endless questions.

The four-person cast is a delight. D’Arcy Dersham as Michaela and Susan Lambert as Jojo are electric as they dance around each other, dissecting their characters’ memories and expectations with spot-on emotional fervor. Janet Geist Moore as Baby is hilarious and has the distinction of being the oddball character that barges into the action precisely when she’s not wanted.

This play is fantastically thought-provoking, entertaining, and a wonderful lens through which to think about what matters most in life—and death—to each of us.

A standout performance on opening night was Macklin Devine as the certifiably crazy Renfield. Granted, this character is intense in any production about Dracula, but Devine was simply divine as the fly-eating lunatic. The strong ensemble of Dracula’s ghouls and household staff need a mention too. They were Anna Botsford, Zendon Donoho, Nansea R. Flynn and Violet Hellstrom.

Simon’s Tony-nominated play is peppered with funny lines, one of the funniest delivered by Paul responding to Corie’s threat to get a guard dog: ‘She’d take him for his first walk, he’d see these stairs and go right for her throat.”

It’s love at first sight when Regullano bounces onto the stage, laundry on the couch, and a yapper she can’t contain. She’s a delight to watch and to hear, and her jumbled excitement and pain flow out of her like a tiny Niagara Falls. Kim is the perfect listener, expressing herself the best she can while being a calming presence.

The entire cast brought their best performances, transforming the Academy stage into a spooky and mysterious setting that only Dame Christie could conjure.

It is of course Curry who is the star, present in every scene, wise-cracking, showing us what might be going on behind the façade of easy-to-espouse yet difficult-to-live concepts. He is wickedly funny, sexy and absurd by turns, with a strong voice that is startlingly human (smoking a joint, drinking bourbon, and popping pills… “I take them for my back, okay?” she hisses. “You try holding up that torch!”).

The comedic exhaustion the Statue of Liberty feels as she has to handle the voices in her head as to who she is, defined by everybody from an equally chatty statue of Sojourner Truth to a Texas school teacher, give this production directed by Janice J. Goldberg, a roller coaster style pacing with absurdity and sentimentality offering a compelling interpretation of these confusing times that are filled with hope and fear.

More than a spy story injected with humor, “The 39 Steps” is a tour de force of not only unforgettable performances but ingenious stagecraft, brilliant sound and lighting design and clever, sleight-of-hand costume designs.

The dynamics between the characters demonstrates a push-pull relationship, each actor playing off the other. Westminster is very much a Withers play. It is funny and insightful, and it escalates delightfully to an over-the-top crescendo clearly calling out the prejudices and blind-spots human beings have about one another and the difficulty we have putting our money where our mouths are.

Withers is Pia, and Stacy Fischer is Krysten, who together share wordplay and telling body language when questions and answers balloon into seemingly unsolvable quagmires. They are excellent in their rapid-fire dialogue, clearly illustrating how Pia fancies herself mature and genteel and Krysten portrays an intelligent airhead with a big secret to hide.

The actors perform their little hearts out! They really commit to their roles hilariously; insert “audible gasp” here. My favorite line in the play! There’s physical comedy, colorful creatures (a giant tarantula!) and even a rootin’, tootin’ ballet that brought giggles galore!

Annie Miesels astounds. It is her multifaceted interpretation of the flakey yet incredibly sharp Alice that brings a jaunty levity to this incredibly profound narrative. Jennifer Van Dyck, playing Diana, gives a performance both humorous and emotionally impactful.

In this relatable and warm WHAT production, the actresses and Walker make these characters two women you’re glad to know.

Annie Meisels playing naïve housewife Alice and her artist and fierce single-mom neighbor, Diana, played by Jennifer Van Dyck, are powerhouses. Meisels is sweet in a floral dress while the harder-edged Van Dyck wears silk and denim. Each is enthralled and confused by the other, but the development of the characters and the plot is seamless and so real, it’s easy to become the proverbial fly on the wall and sit in rapt attention for the 90-minute (no intermission) show.

This is a big musical brought to life with hundreds of tiny moments. If a play could wink at you, this one surely would. College Light’s troupe understands that and delivers a production with very good diction (you have to hear the jokes to get them!) and songs, even, that are whispered rather than belted out.

“Waitress” contains every ingredient necessary for a perfect production: it is relatable, the songs are memorable and the entire cast is top notch. You’ll be playing the soundtrack the whole way home and dreaming of homemade pies. The echoing, longing sounds of “sugar, butter, flour” will leave audiences craving more “Waitress” long after the musical ends.

I should warn you that “Death of a Salesman” is not a fun or easy two hours. WIlly’s agony is etched in the muscles of Doyle’s face, the canals formed by years of clenching his jaw. It is a relief to see the actor at curtain call and note that his face is relaxed and smooth.

Emmalee Anita Diaz truly shone as Elle Woods, leaving an indelible mark with her melodious voice and side-splitting musical numbers. Her standout moment in the song "Legally Blonde" was a treat, especially when paired with her Greek chorus — Sachiko Nicholson, Grace Kelly Kretzmer and Kathryn-Ximena Rojas. This singing and dancing trio, living in Elle's head, literally freezes the rest of the cast, making every appearance riotously funny.

Standouts on opening night were the indomitable, eye-rolling Holly Hansen, Hailey Deltano’s show-stopping vocals, the dynamic Mo O’Neill and Alex Murray in the ensemble, and of course Jared Hagen’s over-the-top Major-General. But seriously, everyone was incredible. This entire group sings, dances and emotes constantly with such joyful, enthusiastic energy.

It would be easy to call out every single person who worked on this production; it’s as near perfection as any theater, anywhere, can get. If you haven’t seen Gilbert & Sullivan, come try it out. If you’ve already seen Gilbert & Sullivan—trust me, you haven’t seen it like this.

This highly enjoyable story is brought to life by a fantastic cast. The ensemble makes up the loyal wolf pack and a group of peckish vultures, keeping the audience entertained with their high energy and amusing quips. Hugo Ceraldi also delivers a standout performance as Akela, the distinguished king of the wolves, commanding the stage with his powerful intonation.

Some of the standout moments of “I Have a Song to Sing, O!” include a pleading “Spurn Not the Nobly Born” by the excellent Joseph So, a breathless whirl of “I Am the Very Model” sung by Robert Grady and the chorus, a gorgeous rendition of “Poor Wandering One” by the gifted Laura Barabe, a touching “My Lord, A Supplicant at Your Feet” performed by Pam Banas, and a rousing rendition of “He Is an Englishman” by Scott Hamilton and the chorus. The members of the entire cast put their team differences aside and join together in the final spirited number from “Yeoman Of The Guard,” “I Have a Song to Sing, O!”

This ‘80s girl will guarantee you don’t have to know the movie “Heathers” by heart or at all to love the musical. Better motor and get your tickets now — this one is sure to sell out fast.

It’s an incredibly talented cast and hard to pick one standout. Patience, played by Susannah Hardwick, had such an incredible voice with songs including “Still brooding on their mad infatuation” and “Long Years Ago, fourteen maybe.” Thomas Valenti was side-splittingly funny as Reginald Bunthorne, who had the audience in stitches most of the night; Nathan Tilton was a great “idyllic poet” Archibald Grosvenor.

While all the numbers were worth a listen, the setup worked especially well when the singer was well-matched to the song, such as 2022 American Idol contestant Bonifini playing along on her rhythm guitar to Joplin’s “Me and Bobby McGee.” With her long wavy hair and faded jeans, Bonifini captured the vibe of Joplin’s 1971 hit perfectly.

Actor TJ O’Leary dominates the stage, playing this insufferable oaf of a royal with a perfect mix of immaturity and abrasiveness, capturing the infuriating and dangerous implications of insecurity with a hilarious jaunt.

On stage, the music and dancing are the heart of the show along with heavy doses of laughter. The actors are extremely talented and their commitment to their craft is obvious.

CLOC’s “Little Shop of Horrors” is a testament to the bright future of both on- and off-Broadway theater. Every member of the incredibly talented cast is a current college student or recent college graduate, each of whom already boasts an impressive repertoire. The cast is charming, often comedic, and immensely talented, shining brightest during group numbers like “Finale Ultimo: Don't Feed the Plants.”

...the real standouts of this thoroughly synchronized ensemble are the corruptible innocents, Brad and Janet, played by a real-life couple, Zack Johnson and Madison Mayer. Both of them are a bit more zaftig than the Brads and Janets I’ve previously seen (such as Barry Bostwick and Susan Sarandon in the movie), but they make it work in their favor.

Zack Johnson has a lovely voice when he sings his solos “Once in a While,” and “Damnit Janet.” He and Mayer are real-life partners whose natural affinity adds heft to the otherwise goofy plot. Mayer’s all charming innocence as she sings and struts her way to a new self realization and is aided by a cast of accomplished artists.

Being able to constantly watch Fielding’s reactions — rather than having occasional cuts to Wally in the film — also adds comedy and depth. Fielding uses body language, furrowed brows, and trying-to-be-patient expressions to indicate his skepticism and attempts to understand, sometimes pushing into a “What the heck are you talking about?” stare that gets laughs.

It’s daring of course to be the first one to do anything; adapting a movie—that already has cult status—for the stage is super-daring, with the inevitable comparisons it invites; but Harbor Stage owns this story. Kropf captures the essence of a kind of artist who stays on the highwire not because he’s afraid of falling but because it’s the only place he can find meaning; Fielding is the artist who wants his work to fit into the overall picture of a life where process is more important than success. And both Kropf and Fielding absolutely shine.

Alex Valentine is the booming, cursing voice of Audrey II, demanding sacrificial meals from Seymour—“Must be blood, must be fresh”—and pointing out the not-so-obvious: “a lotta folks deserve to die.”

Knitel delivers an absolute standout performance as King. She belts out each King classic with powerful clarity, while ensuring her every movement and word is charged with King’s charisma and humor. Over two hours and 20 minutes, the audience witnesses Knitel’s King transform from a gawky teen into a confident woman, sure of her voice and the power it holds.

Seating the full house was somewhat chaotic with patrons entering through multiple doors and clogging the aisles as ushers tried to help find seats. However I would navigate that traffic jam again in a New York minute to take in this bright, lovely show.

Everyone gives fabulously engaging performances, with stand-outs being Jody O’Neil as the Lecturer, the Greek chorus of the play, Brittany Rolfs as Mae, the reefer den matron with a heart of gold, Maranda Rossi as Mary Lane, the sweet and innocent all-American girl corrupted by the Devil’s cabbage, and Gabriel Graetz in multiple roles, including a hysterical, yet wonderfully disturbing turn as a baby neglected by his dope fiend mother. As a company, the entire cast brings their A-game.

It’s not the plot that makes Reefer Madness so much fun, of course; it’s the lovely wackiness of it all. Eras come and go with some abandon and little logic—from dancing the Charleston to the evils of jazz, from bobby socks and soda jerks to slinky lingerie and bobbed coiffures, it’s hard to see exactly when it’s supposed to take place, which adds to the silliness of it all.

Hedwig and Yitzhak, respectively, and who’s performances are so dynamic it gives the illusion that they jut out into the theater, as if we’re wearing 3-D glasses. And their voices register on the Richter scale.

“Hedwig and The Angry Inch” is just as much a musical as it is a stand-up comedy. Diem and Moran are quick-witted, tastefully raunchy and unapologetically blunt; this two-man show will have audiences cackling just as much as they are crying.

It’s nonstop fun action and hilarity, along with outstanding singing and dancing. There’s a tap dance routine, acrobatics and even roller skating. Don’t miss this show!

“The Lion King” is a production not to be missed. The show is perfect for families with small children and an easy hour to commit to on a summer morning. Get tickets soon; this one will sell out fast!

We laughed, we cried and we cheered. LaRose’s ability to relate to her audience was never more evident. As you take in where she came from and what she’s experienced, she seems to be talking to you directly, which she is.