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Merely Players’ Little Women
With its
able cast of children and teens, Merely Players helps us to hold on to what
matters.
Reviewed by Dick Wilson, Bay Weekly
Merely Players amateur theatre company serves up a second course of warmth and
comfort in Little Women.
We are reassured, with an opening medley of old Christmas carols, that this
story of a family divided from its father by the Civil War will not be too
harsh. The four Marsh sisters and their mother work together to stave off
disaster and overcome many adversities. Sisters Jo, Meg, Beth and Amy grow
spiritually as they progress through childhood and adolescence.
Louisa May Alcott wrote the novel in 1868 as a fictionalized account of her
experiences. The book was a hit, selling at least 15,000 copies, a huge success
in those days. Its 47 chapters each relate a vignette in the family’s life.
The play is fashioned in much the same style, as a series of small, separate but
related events, all contained within three acts. As a scene ends, the lights are
lowered for another small drama to begin. The drama within each tightly
compacted scene leads into the next scene and often refers back to previous
themes from previous scenes, so the story is joined seamlessly.
Jo (played by Erin Tarpley) is the oldest sister, and most of the worrying for
all the sisters falls on her. She has to traverse her own rocky path, however.
In many ways the story is about Jo, with the rest of the family as background.
Tarpley is an excellent Jo, believable as the stabilizing force.
Meg (Ilana Kowarski), Beth (Bronwyn van Joolen/Jesse Bennett) and Amy (Addie
Binstock/Armida Lowe) all contribute mightily as Jo’s younger sisters.
Especially strong is Binstock, who projects a small voice in a big way. Marmee
(Emily Coree) is the mother who must bear all her children’s sorrows while
providing emotional sustenance. Other significant roles are Laurie (Matt Burns)
and Brook (Dylan Roche), both of whom provide romantic interest. The role of
Laurie is multi-dimensional, and Burns handles it well. The role of Brook is
smaller, but Roche does credit to it.
Little Women is the kind of play we look for when we want to escape, for a
little while, from the stresses of the time in which we live. With its able cast
of children and teens, Merely Players helps us do that.
Director: Beverly Hill van Joolen. Stage manager: Rebecca Binstock. Production
assistant: Lisa Farnsworth Howard. Set designer: Jim Dell. Costume manager:
Helen Brierley. Light/sound technician: Zach Arnie.
Playing thru Dec. 12 at 8pm FSa; 3pm Su @ Chesapeake Arts Center, Brooklyn Park.
$12; rsvp: 410-636-6597;
www.merelyplayers.net.
'Little Princess' is a royal success
Originally published April 27, 2007
With its production of A Little Princess at Chesapeake Arts Center
Studio Theatre, Merely Players continues its tradition of bringing
together intergenerational casts and behind-the-scenes youths and
parents to provide high-quality theater.
The show, which I believe is new to our area, is based on the
children's story by Frances Hodgson Burnett. John Vreeke adapted A
Little Princess for the stage with music by Will Severin and George
David Weiss.
Burnett, who also wrote Little Lord Fauntleroy, The Lost Prince and
The Secret Garden, was adept at adding romance to her characters'
difficult lives to create uplifting stories.
The title character of this musical is Sara Crewe, who moves from
the privileged status of having her own private quarters provided by
her military father at a prestigious all-girls boarding school to
sharing an attic room with other maids after her father is killed in
the war.
"Sara's story has relevance today wherever children are displaced or
orphaned," director Beverly van Joolen says. "Like Sara, children in
Iraq, America and the United Kingdom are suffering horrendous
losses, and their numbers are growing every day."
Sara survives by believing in dreams, finding enchantment and
mystery through the Indian valet who moves in next door and
encourages her to believe in magic and the power of love.
In this Merely Players production, every detail gets attention,
including having young cast members charmingly dressed in Victorian
costumes greet arriving theatergoers.
Van Joolen has assembled a 44-member cast, including only a few
adults. These young people are well-rehearsed and deliver polished
performances. In the leading role of Sara Crewe, Christina Bartone,
13, is believable, and she sings well. Bronwyn van Joolen as
Ermengarde, Addie Binstock as Becky and Caroline Nyce as Lavinia
also are top-notch.
Among the adults, Michelle Harmon, who plays Indian valet Ram Dass,
has an arresting stage presence and one of the best singing voices
on stage. Mason Holloway is convincing as Sara's father, Captain
Crewe. Michelle Studnicky is excellent as mean Miss Minchin, and
Victoria Dawn Raddin is impressive throughout and especially so in
her rebellious scene as Miss Amelia. Vince van Joolen adds warmth
and deep-felt emotion as Mr. Carrisford, who becomes Sara's
benefactor.
Studio Theatre's small stage space is used well, with impressive
sets brimming with talented, young people. Children arrive and
depart through the aisles, becoming even closer to bring the
audience into the action.
Everything about this performance - light and sound, choreography
and costumes - is first-rate and worthy of its near-capacity
audience on opening night.
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Reviews
RUBY GRIFFITH'S
AWARD PROGRAM - Narnia, 2005:
"Beverly Hill van Joolen assembled a very big
cast to stage this ambitious production of Narnia, and it would seem that
she had worked in close collaboration with both the Musical Director (Ken
Kimbly)and the Choreographer (Christy Stouffer). Her casting of the
principal characters was very good, particularly the four children, Aslan, and
Mr. and Mrs. Beaver. They basically carried the show with support from
some of the lesser characters. Lines were well rehearsed and the British
accents were well done, particularly the children, Aslan, and Mrs. Beaver.
. . . Overall, and with the help of many stage effects, presumably under
the guiding hand of Andy Mueller, the technical director, a magical show did
ensue and it was fun."
. . ". The fight
scene was very well staged and reflected the presence of a fight director
(Eric Eaton) on the production staff."
" The
small orchestra ensemble consisting of just five players sounded very
professional and complemented the action on the stage beautifully. The
musicians all played well and were very competently led by Music Director, Ken
Kimble with his synthesizer."
"Kudos
to the (stage) management. (Rebecca Binstock & Kathy McCrory)."
"The
lghting (Tim Grieb) of the set prior to the o pening of the show added interest
and entertainment . . ."
" The program
(Alex Banos) had a very attractive cover design depicting the Lion, the Witch
and the Wardrobe."
" All four of
the children deserve great praise, Lindsay Espinosa (Susan), K. Strawley
(Peter), Henry Pazaryna (Edmund), and Bronwyn van Joolen ( Lucy)."
"Outstanding
amongst the rest of the cast was Anna Deal as Mrs. Beaver, her accent never
wavered and she was always in character. There was a wonderful performance
by Vincent van Joolen in the regal role of Aslan. Perhaps Matt Wetzel was
the most talented member of the cast. He seemed to thrive of stage .
. . Dylan Roche was an . . . intimidating Fenris Ulf as Sara Collison was
an appealing Tumnus. Mention should also be made of Forest Deal as
Professor Digory Kirke, and Dickens Warfield giver her all as Mrs. Macready."
"The large
chorus sounded good and was well rehearsed. "A Field of Flowers" (Susan
and Lucy), "To Make the World Right Again" (Aslan & Ensemble), and
"You Can't Imagine" (Tumnus) were the highlights of the big numbers, and the
Beavers delighted with "Wot a Bit A' Spring Can Do."
Merely Players’ Footloose
An unashamed showpiece for youthful exuberance and
daring, encouraging its cast to sing and cavort with
unrestrained glee.
reviewed by Dick Wilson
Merely Players, a nonprofit funded by the Arts
Council of Anne Arundel County, presents Footloose, an
energetic musical with a huge cast (28 characters) and a
silly plot about a town that bans rock and roll music
and all dancing — anytime, anywhere. Surprisingly,
however, the plot is more than a one-dimensional
celebration of teenage rebellion. It’s a parable
delivering the message that the values people hold are
not necessarily threatened by things they don’t
understand.
The Rev. Shaw Moore (Judson Davis) has spearheaded a
law that imposes a complete ban on all dancing within
the town of Bomont. Most of the townsfolk, who generally
go along with whatever the town fathers decree, are
supportive of the law, but — naturally enough — the
town’s teenagers are strongly opposed. This will come as
no surprise to any audience; it doesn’t exactly qualify
as a plot twist. On the surface, the story is sort of
reminiscent of those syrupy sweet 1950s musicals that
usually featured Doris Day, all bouncy and bubbly. The
teenagers of Footloose submit, albeit sullenly, to the
dancing ban until Ren (Frank Anthony) blows in from
Chicago and sparks the rebellion. Then teenagers and
adults square off.
Ren the character brings attitude. But it’s Anthony,
the actor/dancer/singer who brings talent in abundance.
Anthony has found his career, if he had any doubts. From
his first appearance, he is the core around which this
play rotates. Every time he makes an entrance, the
audience perks up in expectation, hoping that he will
deliver another great segment. He does, every time.
However, the rest of the cast contributes mightily to
the show’s success. Davis, as the stern moralist Rev.
Shaw Moore, brings the right air of gravitas to the
stage. Also worthy of note is the character of school
principal Harry Clark (Greg Coale). Coale has that
ability, rare in actors, to project a sense that
something unexpected is about to occur—even when there’s
no apparent reason in the story for such an expectation.
That’s a trait that helps keep things interesting.
Footloose is not just a stylized 1950s’ piece; it’s
an unashamed showpiece for youthful exuberance and
daring, encouraging its cast to sing and cavort with
unrestrained glee. And the story has depth; even the
most dour of the town fathers grows and learns something
from the interaction with the kids. The teenagers, too,
learn important lessons.
Footloose is a musical, and musicals require lots of
music. It’s well supplied here by a very accomplished
quintet playing reeds, guitars, keyboards and
percussion. Musical director Marsha Goldsmith plays
keyboard. Some of the pieces, such as “The Girl Gets
Around,” “Let’s Hear It For The Boy” and “Footloose”
have become standards in today’s Oldies But Goodies
outlets. Fine direction, notable costuming and good
choreography help round out this exuberant show.
Footloose first appeared in 1984 as a movie starring
Kevin Bacon as Ren and John Lithgow as the Minister. The
movie is generally credited with giving Bacon the boost
that put his movie career on track to stardom. Footloose
was later made into a play and had a successful run on
Broadway.
The Chesapeake Arts Center has converted the
auditorium of a former high school into a theater, and a
fine theater it is, with good acoustics, lighting and
comfortable seating. It’s a roomy place, ideal for a
large-scale production such as Footloose.
By Dean Pitchford and Walter Bobbie. Music by Tom
Snow. Lyrics by Dean Pitchford. Director: Steve Love.
Musical Director: Marsha Goldsmith. Choreographer: Matt
Macis. Production Manager: Kathy McCrory. Stage Manager:
Becky McCrory. Costume Design: Lynn Collison.
Playing thru April 30 at 8pm FSa; 3pm Su @ Chesapeake
Arts Center, 194 Hammonds Ln., Brooklyn Park. $15:
410-636-6597.
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