Annie - Sharon Playhouse

The Sharon Playhouse’s production of the musical Annie is first-rate entertainment for young and old audiences alike.  The success of the show relies on the strength of the actress playing the title character, and Avery Hope, who portrays the spunky, resolute orphan, is marvelous in the role.  She lights up the house with her beaming smile, possesses a powerful singing voice, and commands the stage in all her scenes.

Avery Hope and Bailey (Sandy) in Annie.

Annie is rooted in Connecticut musical theater history.  The show had its world premiere at the Goodspeed Opera House in August 1976 and moved to Broadway less than a year later.  It is currently the 30^th longest running production in Broadway history at 2,377 performances.

The orphans in the musical Annie.

Based on Harold Gray’s 1920’s comic strip, Little Orphan Annie, the show follows Annie and her fellow adolescents residing in an orphanage run by the perpetually besotted Miss Hannigan.  The actress is less evil and menacing and more just a mean-spirited drunk.  By happenstance, the billionaire Oliver Warbucks decides to treat one of the waifs – guess who - to a Christmas holiday at his Fifth Avenue mansion.  Soon, the fabulously wealthy industrialist, and his staff, become smitten with the young lass.  Looking to adopt her, Warbucks is temporarily thwarted as he agrees to help Annie look for her parents, who have been missing for 11 years, offering a fabulous reward upon their arrival.  Meanwhile, Miss Hannigan’s felonious brother Rooster and girlfriend Lily St. Regis, hatch a plan to con the billionaire by pretending to be Annie’s mother and father.  In the end, their deception is foiled, Annie becomes Annie Warbucks, and everyone celebrates, even the President FDR.

 

 

Courtney Balan as Miss Hannigan in Annie.

The Charles Strouse and Martin Charnin score is a modern-day classic.  They songs include “It’s The Hard Knock Life,” “Little Girls,” “Easy Street,” “You’re Never Fully Dressed Without a Smile” and, of course, the musical's signature song, “Tomorrow.”  Almost every tune composed by Strouse is a hummable gem.  Charnin’s lyrics are smart, yet simple (“The sun'll come out, tomorrow/Bet your bottom dollar, that tomorrow/There'll be sun!”). 

 

Thomas Meehan’s book doesn’t play down to the audience and is snappy and full of comedic moments.  Under Carl Andress’s brisk direction, the show moves steadily and assuredly.  The two-hour running time passes quickly and enjoyably.  While not known as a dancing show, Krystyna Resavy’s choreography adds an entertaining element to a number of scenes.

 

Avery Hope, Savannah Stevenson, and members of the cast of Annie.

The acting corps is led by the buoyant, take charge Ms. Hope, Courtney Balan’s more comic depiction of Miss Hanigan, and Alan H. Green’s self-important, man with a heart-of-gold portrayal of Oliver Warbucks.  The featured cast are just as strong, most notably Harrison Drake as the conniving Rooster Hannigan.  Savannah Stevenson conveys a suitably dignified persona to the role of Grace Farrell, Warbucks’ loyal right-hand woman.  Landry Champlin brings a tinge of humor to her portrayal of Lily St. Regis, Rooster’s partner in crime.  Special mention to Rudd Anderson for enlivening a number of key roles in the show.  There's also the adorable Sandy, the stray dog that wins Annie's heart.  Trained by William Berloni, who began his illustrious career with the Goodspeed production, the pooch is well-behaved and adds a twinkle to the show.

 

 

Landry Champlin, Harrison Drake, and Courtney Balan in Annie.

Christopher and Justin Swader’s Scenic Design effectively create sets over a dozen different scenes.  They are enhanced by Karla Woodworth’s painterly backdrops of New York City, finely lit by Wheeler Moon’s Lighting Design.  Kathleen Deangelis provides a multitude of suitable depression-area costumes.

 

Avery Hope and Alan H. Green in Annie.

Annie, playing at the Sharon Playhouse through August 10.  Click here for dates, times, and ticket information.

 

The Little Mermaid - Summer Theatre of New Canaan

The Summer Theatre of New Caanan’s (STONC) production of The Little Mermaid is an immensely entertaining, family-friendly production.  Based on the Disney animated classic, the show boasts a first-rate cast, imaginative sets, an abundance of colorful and whimsical sea creature costumes, some high-flying manuevers and, of course, a score that includes such memorable songs as “Part Of Your World,” ”Under the Sea,” “She’s in Love,” and “Kiss the Girl.”  This is the third summer in a row that STONC has staged a Disney musical – Mary Poppins in 2024 and Beauty and the Beast in 2023 – and Mermaid is the best so far.

 

Laura Renee Mehl and members of the cast of The Little Mermaid.  Photo by Dutch Doscher.

Like its source material, the musical centers around Ariel, youngest daughter of Triton, who adores everything human.  When a young prince’s ship sinks in a storm, the young mermaid saves his life and falls in love.  Eric, soon to be crowned king of his land, barely remembers his rescue, but cannot forget her voice, which leads Grimsley, the advisor to the prince to hold a ball (think Cinderella) to find his true love.  Even though her father has forbid her interacting with the people above, Ariel, disobeys his orders.  She signs a pact with her evil aunt Ursula, the sea witch, and becomes human.  The catch – Ursula has taken the young maiden’s voice and if Eric doesn’t kiss her in three days, Ariel faces an eternity as the sea witch’s prisoner.  The end?  Suffice it to say, a happy ending comes to all…that is except Ariel’s aunt.

 

Jason Guy, Aidan Cole, and members of the cast of The Little Mermaid.  Photo by Dutch Doscher.

Young (and old) audiences have embraced The Little Mermaid over the years for a number of reasons.  First, audiences remember growing up with the film (or are of the age where it is a current favorite).  Second, the book by Tony and Pulitzer Prize winning playwright Doug Wright (based on the Hans Christian Anderson tale as well as the animated film), speaks to the timeless theme of the rebellious teen and overprotective father.  Third, the musical validates that malevolent forces are no match for virtue and bravery.  And, of course, it is a beautiful love story.

Gray Mortier, Logan Mortier, and Keisha T. Fraser in The Little Mermaid.  Photo by Dutch Doscher.

The songs by Alan Menken and Howard Ashman helped reinvigorate the Disney animated musical.  Their next collaboration was the even more successful Beauty and the Beast.  The compositions, including the notable songs mentioned earlier, are full of humor and wonder.  As with other Disney animated films, there are songs with a degree of menace and foreboding.  They also afford the main actors plum signature numbers.  Each song resonates perfectly throughout the New Canaan High School auditorium, due to the superb Music Direction of Alex Parrish and Sound Design of Daniel Bria.

 

Jason Williams and members of the cast of The Little Mermaid.  Photo by Dutch Doscher.

Director Arbender J. Robinson, was a member of the ensemble from the original Broadway production and, therefore, knows how to keep the show fresh and highly entertaining.  He seamlessly integrates Isaiah Tyrelle Boyd’s stylish choreography and the high-stepping tap-dancing routines created by Doug Shankman.  Robinson adeptly incorporates the essential creative aspects of the show to fashion a wonderous whole.  They include Kevin Gleason’s pinpoint Lighting Designs, Daniel Brea’s robust Sound Design, Lauren Nicole Sherwood’s inspired and artistically rendered Sets and Costumes, and the company ZFX’s magically aerial effects.

 

Mike Katz, Laura Renee Mehl, and Carlos Velasquez Escamilla of The Little Mermaid. Photo by Dutch Doscher.

 

The outstanding cast is led by Laura Renee Mehl as Ariel.  The actress, displaying innocence and charm, possesses a powerful voice that can be heard throughout the performance space (and I was sitting in the back).  Aidan Cole is endearing as Prince Eric, bringing parts regal heir and smitten teen to his role.  Jason Williams, clad in a rich red suit and matching hat, is suitably crusty and delightful as Sebastian.  Keisha T. Fraser is playfully wicked as Ursula.  Mike Katz gets kudos for his high-flying antics as Scuttle, Carolos V. Escamilla is loveable as Flounder, and Joseph Torello is fittingly king-like as Triton.

Members of the cast of The Little Mermaid. Photo by Dutch Doscher.

 

The Little Mermaid, playing at STONC through July 27.  Click here for dates, times, and ticket information.

Singin' in the Rain - Playhouse on Park

Tap-dancing enthusiasts rejoice!  The current production of the musical Singin’ in the Rain, playing at West Hartford’s Playhouse on Park through August 17, is bursting with one dynamic number after another.  The show, a slimmed down, re-imagined production of the movie classic, is entertaining and an ideal musical for the intimate Playhouse stage. 

 

Daniel Plimpton, Lindsay Gloriana Bohon, Robert Mintz and members of the cast of Singin' in the Rain.  Photo by Meredith Longo.

The show begins as a screening of the film goes awry.  A few “super-fans” in the audience scurry about, deciding to recreate the movie, which gives the production a fun, opening premise.  However, audiences would not know this unless they read the Director's note before the start of the show.  There is no transitional exposition so audience members, unfamiliar with the movie, are left scratching their heads about what is happening.  If Director Evan Hoffman would have added 30 – 60 seconds of dialogue for the actors, the stage would have been properly set.   Once the production finds its momentum (about 15 minutes into the show), the plot becomes more straightforward and is easy to understand.

 

Lindsay Gloriana Bohon and members of the cast of Singin' in the Rain.  Photo by Meredith Longo.

The original screenplay by Betty Comden and Adolph Greene utilizes the trunk songs of Nacio Herb Brown and Arthur Freed to depict Hollywood’s bumpy transition from silent films to talkies.  It’s a classic take on boy meets girl, boy loses girl and, finally, boy wins girl.  Don Lockwood (the Gene Kelly character in the film) and Lina Lamont are silent screen stars whose on-screen chemistry is far from the truth in real-life.   Lockwood accidentally meets Kathy Seldon (the Debbie Reynolds character), an aspiring actress, and is smitten.  Lina Lamont is not too happy about their dalliance, but tolerates the young ingenue when she is hired to dub her voice, which is unsuitably grating, as the movies suddenly transition to talkies.   Will this move ruin Ms. Selden’s blossoming Hollywood career?   Will Don and Kathy find true love?  Can Cosmo Brown (the Donald O’Connor character) help his best friend, Don, succeed?  Will Lina be thwarted in her scheming ways?

 

Daniel Plimpton and Robert Mintz in Singin' in the Rain.  Photo by Meredith Longo.

Hoffman has infused the musical with imaginative sequences, creative shenanigans, and an endless array of props (nod to Prop Master Sara Dorinbaum) that helps fashion a charming and, often, amusing show.  He is assisted by Forest Entsminger’s utilitarian Scenic Design, with an exposed backstage area filled with an assortment of props, and Michael Frohling’s adroit Lighting Design.  

 

Daniel Plimptonand members of the cast of Singin' in the Rain.  Photo by Meredith Longo.

Most of his embellishments and inventiveness work.  This is exemplified with two of the best-known songs from the movie, “Make ‘Em Laugh” and the title number.  In the former, Robert Mintz, who is outstanding as Cosmo Brown, delivers an energetic, athletic routine that hilariously conjures up Donald O’Connor’s iconic movie sequence.  In the song “Singin’ in the Rain” [Spoiler Alert:  it does rain on stage, abet, slightly], the Director teases the audience with squirt bottles, a fire hose, and a watering can.

 

Robert Mintz, Parker Joh, and Daniel Plimpton in Singin' in the Rain.  Photo by Meredith Longo.

 

While most of his choices find their mark, there are a few mishits.  The cake Ms. Seldon is suppose to pop out of is, instead, a hard-to-recognize drawing.  The cue cards displayed during the filming of a silent movie scene are too hard to follow.

 

The show contains one classic song after another, many of them set to Choreographer Robert Mintz’s scintillating, crowd-pleasing tap-dancing schemes.  Even with just a keyboardist (Melanie Guerin) and drummer (Honoka Masuyama), the songs are handsomely presented.  They include "Beautiful Girl," "I've Got a Feelin' You're Foolin'," "Make 'Em Laugh", "You Are My Lucky Star," "Moses Supposes," "Good Mornin'," and "Singin' in the Rain." 

 

Robert Mintz and members of the cast of Singin' in the Rain.  Photo by Meredith Longo.

The four leads successfully bring the essence of the movie classic to life.  Daniel Plimpton brings confidence, charm, and terrific dancing feet to the role of Don Lockwood.  Lindsay Gloriana Gohon imbues the role of Kathy Selden with innocence and determination.  She also has a lovely singing voice. Carolyn Burke’s Lina Lamont is sufficiently daffy, but also brings the necessary nastiness and vindictiveness to her portrayal.  Her performance, however, would have been funnier if her voice was more strident. Robert Mintz is a comedic whirlwind as Cosmo Brown.  And his dancing – superb!

 

Parker Joh and members of the cast of Singin' in the Rain.  Photo by Meredith Longo.

The ensemble – Parker Joh, Julia Solecki, Juno Brosas, and Patric MacLennan – fill a variety of roles, providing indispensable support and an abundance of humorous energy to the production.

 

Singin’ in the Rain, playing at Playhouse on Park through August 17.  Click here for dates, times, and ticket information.

 

All Shook Up - Goodspeed Opera House

Jukebox musicals come in many forms.  There are the shows that present songs as vignettes by a specific composer (Ain’t Misbehavin’), musicals that are biographical in nature (Jersey Boys, Beautiful), and productions that create a story with the songs of an artist(s) shoe-horned into the plot (Mamma Mia!, Rock of Ages).  All Shook Up, which features the songs recorded by Elvis Presley, falls under the latter category and is receiving a lively, appealing production at the Goodspeed Opera House.

 

 

Ryan Mac and the cast of Goodspeed's All Shook Up. Photo by Diane Sobolewski

 

The show, with echoes of Footloose and Hairspray, begins as Chad, the likeable, roguish center of the story, is being released from jail, which allows for a high-spirited opening number to “Jailhouse Rock.”  He stops at a small, sleepy town to have his motorcycle repaired.  His appearance, friskiness, and womanizing ignites the down-to-earth townsfolk to suddenly erupt with love.  Keeping track of all the budding romances almost requires a scorecard.  Nothing can prevent cupid’s arrows from finding their mark, not even the Mayor, who has outlawed PDA (public displays of affection).  In the end, which includes a satisfying twist or two, weddings abound and blissfulness reigns.

 

Ryan Mac and the cast of Goodspeed's All Shook Up. Photo by Diane Sobolewski

  

The libretto by Joe DiPiertro, a Tony-winning writer for Memphis and the long-running Off-Broadway revue, I Love You, You’re Perfect, Now Change, is well-plotted, fast-moving, and full of humor and silliness.  I did find the cuffuffle over two teen’s interracial romance to be misplaced, especially when another interracial relationship proceeds with no hubbub.

 

A key to a rewarding jukebox musical is if an artist’s songs are effective in advancing the plot and providing motivation to a character’s actions.  On this count, DiPiertro finds the mark.  The over two dozen Elvis hits, which include “All Shook Up,” “Blue Suede Shoes,” “Burning Love,” “Heartbreak Hotel,” and “Hound Dog,” are well-placed and come across as written specifically for the show.

 

 

The cast of Goodspeed's All Shook Up. Photo by Diane Sobolewski

Director Daniel Goldstein keeps the show moving quickly, imbuing each scene with sparkle and comedy.  While Act II loses some steam, Goldstein still enables the show to come together for a gratifying conclusion.  He seamlessly incorporates Beowulf Boritt’s collapsing scenic designs and Paige Seber’s pinpoint lighting design.  He cedes the helm often to Choreographer Byron Easley who infuses almost every musical moment with energetic, enthusiastic dance routines.

 

The two nominal stars of the show are Ryan Mac (Chad) and Kerstin Anderson (Natalie).  Mac, as the rascally Chad, could easily slip into the role of Danny Zucco from Grease, brings, at times, a laid back coolness to his character and, at other points, an endearing befuddlement to the role.  Kerstin Anderson infuses her portrayal of Natalie, the tomboyish auto mechanic in love with Chad and loved by the nerdling Dennis, with an independent temperament and winsome heart.

 

Montria Walker, Ryan Mac, Jenna Bienvenue and Corinne C. Broadbent in Goodspeed's All Shook Up. Photo by Diane Sobolewski

Not to take anything away from Ryan Mac and Kerstin Anderson, but it is the featured players that elevate the quality and overall enjoyment of the production.  Two to spotlight are Jordan Matthew Brown and Jessica Crouch.  Brown brings an endearing, cuddly charm to his role as the self-depreciating Dennis.  Ms. Crouch, gives her character, the blonde bombshell Miss Sandra, Director of the local museum, a pitch perfect haughtiness.  Other featured performers worth noting are Benjamin Howes (Jim), L Morgan Lee (Sylvia), Jackera Davis (Lorraine), Jackson Reagin (Dean), Amy Hillner Larsen (Mayor Matilda), and Kilty Reidy (Sheriff Earl).  When give their moments to shine, they don’t disappoint.

 

All Shook Up, playing at the Goodspeed Opera House through August 24.  Click here for dates, times, and ticket information.

 

Joseph and the Amazing Technicolor Dreamcoat - Ivoryton Playouse

Before Jesus Christ Superstar or Evita, there was the Andrew Lloyd Webber and Tim Rice “pop cantata,” Joseph and the Amazing Technicolor Dreamcoat.  The composition was their first publicly performed show, a work that was commissioned by a private school in London in 1968.  Webber was only 20 years-old, Rice four years his senior.  The expanded work, which played on London’s West End in the early 1970’s and Off-Broadway in the late 70’s, is receiving a satisfying production at the Ivoryton Playhouse.

 

As with all Webber-Rice collaborations, this is a sung-through musical that incorporates a variety of musical styles, including Pop, Rock, Country/Western, Calypso, Jazz, and even a song reminiscent of the king himself – Elvis Presley.  The songs are sung with enthusiasm and energy.  There is more of a playfulness and less complicated structure to the songs in comparison to the duo’s later compositions.  What prevents a total enjoyment of the score is Dustin Pfaender’s Sound Design, which made it very difficult to understand the lyrics, primarily the character of The Narrator.  In large, ensemble numbers, the issue is not as pronounced since Joseph is a large show with many singers.  It is more the songs spotlighting an individual character.

 

Jospeh is a family-friendly show that is a retelling of the story of Joseph in the book of Genesis.  A favorite of his father, his envious brothers kidnap him and sell Joseph to slavery.  He eventually ends up in the court of the Egyptian Pharaoh, after correctly interpreting his dreams of feast and famine, which allows the country to prepare for the impending catastrophe.   Jacob's family is not as blessed and travels to Egypt to escape the famine.  Joseph, whose identity is unbeknownst to his brothers, provides food and shelter to them.  After saving his brood, he reveals himself, forgives their transgressions, and is finally reunited with his family, his father bursting with joy.

 

The production, directed and choreographed with a certain degree of liveliness by Todd L. Underwood, can occasionally appear under rehearsed, with all the various elements not always in sync.  While the Set Design by Cully Long is on the minimal side, Marcus Abbott’s Lighting brings splashes of color to the show.  Sean Spina’s combination of period costumes and flamboyant outfits (Pharaoh, aka Elvis) are a noticeable treat.

 

The cast is led by Kyle Daisimer as the bedeviled Joseph.  Throwing nuance and refinement to the wind, the actor ambles through the show with a self-effacing bravado.  Alanna Saunders, with her broad smile and effervescent presence, is a natural as The Narrator of the show.  Unfortunately, her singing voice, more than not, cannot always overcome the music accompaniment to be appreciated. Ryan Knowles provides the role of Pharaoh/Elvis with just the right amount of outrageousness and flash to make a notable presence.  The ensemble, primarily the actors who comprise Joseph’s large number of brethren, is a disparate group of performers that, nonetheless, supply a healthy dose of humor and entertaining and the production. 

Joseph and the Amazing Technicolor Dreamcoat, playing at the Ivoryton Playhouse through July 27.  Click here for dates, times, and ticket information.

CT Critics Give “Primary Trust” and “Ragtime” Top Honors at 33rd Awards Ceremony

The Pulitzer Prize winning play, “Primary Trust,” a moving, bittersweet drama about loneliness and friendship, which played at TheaterWorks Hartford, and a powerful, emotionally stirring production of “Ragtime” at Goodspeed Musicals took top honors at the 33rd annual Connecticut Critics Circle Awards (ctcritics.org) held on Monday, June 23, 2025.

 

TheaterWorks Hartford Artistic Director Rob Ruggiero accepting the CT Critics Circle Award for their production of the Pulitzer Prize winning play, Primary Trust.

The event, which celebrates the work from the state’s professional theaters during the 2024 – 2025 season, was held at the Event Center, Housatonic Community College, in downtown Bridgeport.  The ceremony was emceed by Stuart Brown, President of the CT Critics Circle.

 

“Ragtime” was also honored for Best Director of a Musical (Christopher D. Betts) and Best Actor in a Musical (Michael Wordly).  Rashidra Scott from the Goodspeed Musical “A Christmas Story” received Best Featured Actress in a Musical.

 

“Primary Trust” also garnered a Best Featured Actor in a Play for Samuel Stricklen.

 

The chilling, highly theatrical production of the Hartford Stage production of “Dr. Jekyll and Mr. Hyde” received the most overall awards on Monday night, primarily in the creative categories.  The show was recognized for Costume Design (An-lin Dauber), Lighting (Evan C. Anderson), and Sound Design (Jane Shaw).  Nathan Darrow, as the tormented Dr. Jekyll, received Best Actor in a Play.  Melia Bensussen, the Artistic Director of Hartford Stage, received Best Director of a Play for “Romeo & Juliet.”

 

Three productions from the Westport Country Playhouse garnered awards.  Their deliriously funny “The 39 Steps” won for Best Ensemble.  Erin Noel Grennan received Best Featured Actress in a Play for her performance as a no-nonsense maid in “Theatre People,” while Anna Louizos was recognized for her lush Scenic Design in “Native Gardens.”

 

Awards for outstanding actress in a play and musical went to Irene Glezos (Musical Theatre of CT’s “Master Class”) and Kate Baldwin (Sharon Playhouse’s “The Prom”), respectively.  Felicia Curry won for her Best Solo Performance in the TheaterWorks Hartford production of “Sandra.”

 

Other winners were Jordan Friend for Best Featured Actor in a Musical for Sharon Playhouse’s “Rock of Ages,” Mallory Davis (Best Choreography) for her energetic dance numbers in the Music Theatre of CT’s “White Christmas,” and Camilla Tassi for Best Projections for A Contemporary Theatre of CT’s “Fiddler on the Roof.”

 

Semina De Laurentis, who is stepping down as Artistic Direct of Seven Angels Theatre, received a Special Award honoring her 35 years at the helm of the Waterbury theater.  Lauren Yarger was honored with the Tom Killen Award for lifetime service to the theater. 

 

For the first time, the Annual Awards Ceremony was live streamed.  The recording is available at:  https://www.youtube.com/live/yBrXUMIzgts?si=v2CmLX6d1m-1zwTu

 

Helping to present the awards were Connecticut Critic Circle members Karen Isaacs, Nancy Sasso Janis, and Tim Leininger.

 

The Connecticut Critics Circle was founded in 1990. The statewide organization is comprised of reviewers, writers, and broadcasters that cover the professional theaters throughout the entire state. The annual awards honor the actors, directors, designers and others who help make our professional theater so highly regarded in and outside the state.

About Time - Goodspeed Musicals

The title of the new, engaging musical revue, About Time, playing through Sunday, June 15 at the Norma Terris Theater in Chester, CT, has a double meaning.  First, theater aficionados are saying “About Time” that the composing team of David Shire and Richard Maltby, Jr., whose songs comprise the show, have finished the final piece of their long-awaited, life-cycle trilogy. 

The cast of Goodspeed's About Time. Photo by Diane Sobolewski.

Their first production, Starting Here, Starting Now, from 1977, explored relationships and romance.  The next revue, Closer Than Ever, from 1989, moved to songs about mid-life crisis, second marriages, and unrequited love.  Finally, we have About Time, which looks at the latter part of life, with songs about “people navigating the joys and challenges of growing older while staying young in spirit.”

 

About Time, is performed by a seasoned six-person cast.  Most of the songs are amusing, some laugh-out-loud funny.  But there are also wistful numbers that knowingly connect with the audience.  All the performers have their moment in the spotlight in addition to being paired with fellow thespians.  Richard Maltby, Jr.’s lyrics are both sophisticated and playful.  David Shire’s compositions are tuneful with music that covers a number of different genres.

 

The disarming and entertaining revue gets off to an enthusiastic start with the song, “Show Tune ,” led by the energetic Eddie Korbich with accompaniment by the rest of the cast.  The actor talks about the revue and the inclusion of a thread to connect the evening’s works.  However, besides the tunes wrapping themselves around the show’s theme, much isn’t verbalized until the last number, a reprise of the title number.  Since About Time is still in development, having more dialogue inserted may be something for Maltby and Shire to think about.

 

Issy van Randwyck, Shinnerrie Jackson and Lynne Wintersteller in Goodspeed's About Time. Photo by Diane Sobolewski.

In addition to Korbich, there is Daniel Jenkins (the original Huck Finn in Broadway’s Big River and star of the Maltby and Shire musical, Big), who’s laid-back persona is perfect for the humorous numbers “Smart People” and “Lunch with Linda,” where he is paired with the comedic Issy van Randwyck.  Ms. Van Randwyck, a multi-Olivier-nominated actress, also provides deft comic performances with “All I Wanna Do Is Go Dancing” and, with her female compadres, “Overripe Fruit.”

 

Darius de Haas, a frequent Off-Broadway and Broadway actor, gets into the act with the ode to misplaced items, “Keys.”  Lynne Wintersteller, an original cast member of Closer Than Ever, who can belt with the best of them, is more contemplative in her solos, such as the wistful “No One Will Know” and the empowering “Done.”  Rounding out the cast is Shinnerrie Jackson, whose individual songs lack presence.  However, she shines in the collective numbers.

 

There are some issues the developers should look at: 

• The interludes, while generating laughs, seem awkwardly squeezed in.  “Interlude #2, Password” could be updated and the end of “Interlude #3, Urology” is cheap. 
• Some songs come across as incomplete, like “Just a Home. 
• Act I is more buoyant than Act II, which causes the second half of the show to drag somewhat.

 

Maltby, who also directs the revue, is a Tony Award practitioner of the art (he created and directed Ain’t Misbehavin’).  He guides the show with an easy and knowledgeable pacing and, with the assistance of Choreographer Marcia Milgrom Dodge, adds a dash of light-footed dance sequences.  Mitchell Fenton provides a subtle Lighting Design, and Jay Hilton’s Sound Design ensures all the songs are clear and crisp.

 

Piano/Conductor Deniz Cordell is a virtuoso on the piano (who might want to tone done his sometimes distracting histrionics) and is assisted by Annie Pasqua on Piano II and Scott Chaurette on Bass.

 

About Time, playing at the Norma Terris Theater through June 15.  Click here for ticket information.