Script inspired by the film "Anastasia" - Don Bluth, Director - 20th Century Fox (1997)

Love and wit on the Main Line

Colonial Players serves an upper-crust feast with 'Philadelphia Story'

By Mary Johnson Special to The Baltimore Sun

September 11, 2008

Pat Reynolds plays Dexter Haven and Zarah Roberts is Tracy Lord in "The Philadelphia Story." (Bud Johnson // Special to The Baltimore Sun / September 9, 2008)

"One of the prettiest sights in this pretty world is the privileged classes enjoying their privileges," says journalist Mike Connor in The Philadelphia Story, now at Colonial Players in Annapolis. The show is a visual feast, with well-dressed, attractive characters and elegant furnishings illustrating the lifestyle of a Philadelphia Main Line family engaging in drawing-room repartee.

The most requested show by Colonial Players subscribers, The Philadelphia Story was chosen to open the 60th-anniversary season. Playwright Philip Barry's 1939 play, created specifically for Katherine Hepburn, launched her stage and film career.

The play opens as free-spirited socialite Tracy Lord prepares for her wedding to self-made businessman George Kittredge the next day. This is the second marriage for Tracy, divorced after a one-year marriage to Dexter Haven. Tracy's brother Sandy made a deal with the magazine editor to invite reporters to cover Tracy's wedding to avoid having news of their father's infidelities published. Soon family, ex-husband and reporters become convinced that George is wrong for Tracy.

Director Beverly Hill van Joolen took on a challenging task of seamlessly moving the action between players in the 12-person cast through suggested mansion rooms within CP's in-the-round space. In her director's notes, describing this show as "a rich foray into the quips and quandaries of the upper class," van Joolen noted that it "also addresses the battle of the classes, the search for self identity and conflict inherent in acceptance and forgiveness." Earlier, she said she enjoyed working with a cast that gave "subtle recognition to the film performances while welcoming the challenge of re-creating this great classic."

Helping van Joolen bring this world to visual reality is set designer Edd Miller and a group of set decorators and costume designer Beth Terranova. Terranova has assembled a wardrobe of magnificent costumes, including several vintage ones that lend authenticity to cast members' transformations.

Strong performances start at the top, with Zarah Roberts as regal red-haired Tracy, looking fabulous in every costume, from casual gray trousers to gorgeous evening gowns. Roberts' Tracy is feisty and assured, trading barbs with ex-husband Dexter and journalist Mike while conveying her regret of her shortcomings to project an aristocrat with endearing humility.

Equally adept at portraying a member of the upper class is Pat Reynolds as Tracy's first husband, soon making us forget he is cast in the role created by Cary Grant. Reynolds' Dexter conjures up a charming mix of strength and tenderness in emotions stemming from his love for Tracy and his realization that growth is needed on both sides if their love is to endure.

Richard McGraw is cast as bridegroom George Kittredge - not an entirely sympathetic character, whose mix of charm, manipulative aggression, ambition, self-absorption and priggishness are well conveyed.

Ben Carr brings chivalry, brashness and political conviction to the role of former poet and practicing journalist Mike Connor, lending snap to his every line in this dialogue-driven play while conveying Connor's ambivalence toward Tracy in his grudging respect and eventual love.

Jamie Erin Miller plays Liz, Connor's colleague and photographer, with style and sass - although my photographer-husband Bud would have preferred that she used a Speed Graphic camera for greater authenticity.

Other Lord family members deliver what is required, including Marky Regensburg as matriarch Margaret, Marty Thompson as Tracy's younger brother Sandy, Bronwyn van Joolen as younger sister Dinah, Walt League as patriarch Seth Lord and Ed Wintermute as Uncle Willie, who pinches every young woman who comes within his range.

Appearing as servants are Bill Hahn in his debut performance as Thomas and Stephanie Morelli as Elsie.

Performances continue Thursday through Sunday until September 27. For season subscription information, check out www.cplayers.com. To order individual tickets ($20 adults, $15 seniors and students), call the box office at 410-268-7373.

* Schedule will be updated to reflect our progress and as needed to accommodate absences or other unavoidable issues.

* If you notice we are rehearsing a scene you are in, but you're not called, it's probably an oversight, so call or come.

* We will do our best to start on time. if you will be late, please call Beverly or Sarah.

At Colonial Players, Kiss Me Kate Hits the Right Notes

Colonial Players channels zany Shakespeare in Cole Porter’s 1940s’ screwball style

Reviewed by Diana Beechener

“If your blonde don’t respond when you flatter her, tell her what Tony told Cleopaterer,” advise two pinstriped gangsters who soft-shoe across the stage during Cole Porter’s Kiss Me Kate. Adapted from Shakespeare’s Taming of the Shrew, Colonial Players’ anything-but-typical night of Shakespeare puts backstage drama in the spotlight with quarreling actors, madcap misunderstandings and a couple of thugs with a good sense of rhythm.

What you’ll see in Colonial’s theater in the round is a play playing a play. In 1940s’ post-war Baltimore — a far cry from the Baltimore we see on television in The Wire — ego-driven Fred (Matt Garcia) directs himself at Ford Theatre in a production of Shrew. Fred divides his time between chasing the coquettish Lois (Jamie Miller) and contending with his staring shrew, former wife and failed film star, Lilli (Catherine Chiappa). The two stars fight their feelings and each other while supporting actors Lois and Bill (Ronnie Schronce) engage in their own battle of the sexes. Lois uses her wiles to advance her career and her wardrobe. Her jealous boyfriend, Bill, spends his off-stage time amassing huge gambling debts and signing Fred’s name on his IOU.

Pugilistic romance is Shakespeare’s subject too, so life mirrors art mirroring life.

As the opening night curtain goes up on the play within the play, the drama backstage takes center stage, with a jealous Lilli driving home her defiant lines by slapping Fred. Their theatrical squabble spills over into Cole Porter’s version real life. Lilli is about to storm out of the theater when two gangsters arrive to collect on Bill’s IOU. In madcap desperation, Fred convinces the thugs to don harlequin garb and join the cast. With the addition of two armed players, one livid lead and the sudden appearance of the U.S. Navy, Fred soldiers on so the show can go on.

Set designer Gary Adamsen wisely chose only essential furniture with little backdrop, forcing all attention to the performances and elaborate dance numbers. Director Beverly Hill Van Joolen brings on a live four-piece band to play Cole Porter’s delovely music.

Both Matt Garcia and Catherine Chiappa hit all the right notes as Kate’s leads. Chiappa, easily the best vocalist of the cast, dominates her scenes. More impressive, however, is Matt Garcia, who projects such caddish charisma that it’s hard to believe he learned his part in only a week. In a twist worthy of Porter or Shakespeare, the Players’ original lead became ill, forcing the last minute recasting. Garcia’s effortless performance elevates the play and is a credit to his talent.

Yet the gangsters steal the show. Whether in pinstripes and fedoras or harlequin jumpsuits, Steve Migdal and Jeff Sprague maintain their tough-guy personas while cracking wise. Never given names, the characters are a modern nod to Shakespeare’s fools — outsiders who function as wry observers of the action. Armed with revolvers, brassy New Yawk accents and a soft-shoe number, they show what would happen if Tony Soprano had taken vocal lessons. In the Kate’s hilarious musical number, “Brush Up Your Shakespeare,” Sprague and Migdal perform a pun-filled Vaudevillian tap number, explaining how to snag a dame by quoting the bard.

A play-within-a-play plot does not lend itself to theater-in-the-round. In several scenes, actors play to their imaginary audience with their backs to a whole section of their real audience, obstructing the view of the action.

That’s a nuisance, but it doesn’t spoil the zany entertainment Colonial Players channels 1940s’ screwball style from Porter on Shakespeare. Chiappa and Garcia’s chemistry sparks, as do the gangsters’ pistols in this credit to Porter and the bard.

Musical director: Pete Thompson. Choreographers: Nancy Dall, Matt Macis and Theresa Olson. Lighting design: Alex Banos. Sound design: Richard Atha-Nicholls. Costume design: Mary Schmidt. Ensemble: Michelle Harmon, Monica Anselm, Nathan Bowen, Trent Goldsmith, Robert Hardy, Jim Murphy, Michael Rease, E. Aubrey Baden, Christiana Bartone, Carol Anne Drescher, Brenda Garcia, Heather Harris, Mark Kidwell, Erik Springer-Emerson and Bronwyn van Joolen.

Fresh insight on 'Kate'

Colonial Players takes on a classic

By Mary Johnson | Special to The Sun

March 19, 2008

Despite the mixed blessing of seeing at least six versions of Kiss Me, Kate -- including the near-perfection of Annapolis Chorale's version in October -- Colonial Players holds their own with its new show, bringing intimacy and offering fresh insight into Cole Porter's classic.

The play-within-a-play follows the behind-the scenes shenanigans of four main characters in a traveling version of Shakespeare's Taming of the Shrew that has just arrived at Baltimore's Ford's Theatre.

Director and leading man Fred Graham was once married to Lilli Vanessi, who plays Katherine to his Petruchio. Fred is now involved with former chorus girl Lois Lane, who plays Bianca. Lois secretly loves Bill Calhoun, who plays Lucentio and has a gambling problem.

Kiss Me, Kate, which opened on Broadway in 1948, has survived and even flourished through countless revivals thanks to Porter, who wittily engages the Bard with his consummate 20th-century sophistication. This post-World War II piece has a large element of nostalgia reflecting a now-vanished romanticism. Porter's score defines the era's wit and urbanity in tunes like "So In Love," "Always True to You," "Wunderbar," "Where Is the Life that Late I Led?" "Too Darn Hot," "Another Op'nin, Another Show" and "Brush Up Your Shakespeare."

Kate works well in the Colonial Players theater's in-the-round setting, which lends an intimacy to the backstage scenes and transforms easily for Shakespeare's Shrew staging. Director Beverly Hill van Joolen gets high marks for pacing the action briskly with seamless scene changes and for drawing spirited performances from her cast.

Music Director Pete Thompson deserves kudos for the spirited solo and chorus arrangements along with the excellent realization of Porter's timeless score by the live combo.

Debuting as a Colonial Players choreographer, Theresa Olson creates fresh, lively choreography. Also choreographing a few numbers is Nancy Dall, whose work is equally spirited.

In the dual roles of Lilli/Kate, Catherine Chiappa comically projects the more shrewish aspects of both roles, reaching a peak vocally in "I Hate Men," but is a bit less skilled in conveying Lili's vulnerability and lingering affection for her ex-husband.

As Fred/Petruchio, Matt Garcia deserves high marks for stepping into the role with only one week's preparation time after illness felled actor Gary Adamsen. Garcia conveys Fred's mix of affection and distrust for Lilli along with a leading-man vanity and vulnerability. Garcia delivers a delightful "Where is the Life That Late I Led" and a heartfelt "So In Love," and he manages to make the most of his every comic line, while doing justice to the Bard.

Triply talented Jamie Miller as Lois/Bianca proved to be an excellent actress, first-rate dancer and fine singer, bringing pizazz to her "Always True to You." Miller also delivers comic lines skillfully.

Playing Bill/Lucentio, the always reliable Ronnie Schronce delivers another stellar performance -- stylishly tap dancing to offer a lively "Bianca" with a male dance trio. A fine singer, Schronce's version of "Why Can't You Behave?" becomes a sweet, sexy musical plea.

As Gangsters 1 and 2, who hold the leading man and lady hostage because of a mistaken idea about gambling debts, Steve Migdal and Jeff Sprague steal every scene they're in. Together they deliver a show-stopping "Brush Up Your Shakespeare," which has some of the most erudite and witty lyrics ever penned by the master.

Bravos to the quartet of live musicians who brought the timeless score to life. There is an added bonus of the delectable sound of the piano played as if channeling Porter's irresistable, charming suavity.

Kiss Me, Kate continues at Colonial Players' theater at 108 East St. in Annapolis after an Easter weekend break. Performances are Thursdays, Fridays, Saturdays and Sundays through April 5. 410-268-7373 or www.cplayers.com.

I wasn't able to cut and paste the review, so just click onto the website and you can read or hear the great review!

* We hope not to make many changes, HOWEVER, we will as needed to accommodate absences due to illness.

* We are now within two weeks of opening and ALL CAST is called for ALL REHEARSALS. If an illness or emergency keeps you from rehearsal, please let me know as soon as possible so I can rearrange the day as necessary. Barring an illness or emergency, unless you are already on the conflict list, I will be expecting the actors as called, for the full rehearsal.

* We will stick to the schedule as closely as we can, however, some changes will be unavoidable due to progress, illness, snow dates, etc.

* Rehearsals end at 10. Actors may be dismissed earlier when possible. Minor cast members may leave at 9:30 until Tech Week.

* We have arranged the schedule to accommodate the conflicts you gave us at auditions and at the read-thru. Excessive unscheduled absences may result in recasting. Should you have an illness, injury, or family emergency that prevents you from attending rehearsal or being on time, please call Jim (310) 385-9701 or Beverly (410) 507-5009 ASAP.

* Headshots & Publicity Photos are January 17th. Make-up & Crew Headshot on 2/19. Production Shots 2/23.

* Theatre & Green Room: 108 East Street, Annapolis; Annex: 2132 Renard Circle, Annapolis

Please note - In multiple scene, song, & dance rehearsals, I've estimated start times in an attempt to not to bring you in any earlier than necessary. However, as delays will be unavoidable at times, please bring in work, books, or read thru lines alone or in the Workshop or upstairs meeting room with other actors to keep busy when you have down time. Thanks!

12 Noon Thursday, 2/14 TECH PAINT THEATRE - Anyone available - come on in!

OFF BOOK

SUNDAY

Feb.17 Move into Theatre

ALL PROPS

4:45

5:30

6:00

(Jim - On Book)

SET CREW: Gun, Erik, Aubrey, Christina, Bronwyn, Heather, Hattie

CAT & MATT & MICHAEL; TDick&Harry & TDHot DANCERS

ALL CAST

Move Piano & Band to Theatre

RUN SET CHANGES

Moment On, TDH, TD Harry

INTRO to THEATRE - Dressing Room Assignments

WORK RUN ACT I & II w/BAND!

COSTUME FITTINGS

Carol Anne-7:00, Gary

TUESDAY

Feb. 19:

OFF BOOK

6:30

7:00

7:30

9:15

MAKE-UP HEADSHOTS; All Cast & Crew who need headshots.

Cantiamo Cast

Bianca Cast

TDHarry Cast

ALL CAST

General, Lilli

MAKE-UP & CREW HEADSHOTS: 6:30 Beverly, Jim, Steve, Carol Ann, 7:00 DESIGNERS-Richard, Alex, Mary, Elizabeth, Jocelyn, Gary, Denise; STAGE/PRODUCTION: Vince, Gun, Techs; Michael, Michelle; PRODUCTION SHOTS: Petruchio & Kate, Lilli & General, Bianca & Suitors, Lois & Bill

COSTUME FITTINGS

CLEAN w/Music

Cantiamo

True To You

Bianca (line issue)

TD&Harry (line issue)

Servants scene

RON out @ 8:30, Gary left for audition at 9:15

Wed. 2/20-Advise ASAP if you're not available

8 - 6:30 pm

7:00

PAINT FLOOR W/MICHELLE

POTONTIAL - in ANNEX

TDHot Dancers

TD&Harry Dancers

REHEARSAL CX'D WEATHER

TDHot

TDHarry

Gary, Steve, Christina at 7:30, Mark, Ronnie, Michael, RON in until 8:30

THEATRE OPEN as of 2/11 to PAINT FLOOR, BUILD, LOAD, LIGHT, DRY TECH, TECH. MEETING, etc. Also available 2/10 in the evening.
Monday, 2/11		TECH	Paint Theatre Floor
Tues. 2/12 BOOKS DOWN	7:00	ALL CAST WEATHER ALERT!!! REHEARSAL CANCELLED!!!!	CLEAN ACT I w/Music Costume Fittings - CXL'D	PETE@7:30, RON out @9

TECH WEEK - THEATRE TIMES SUBJECT TO CHANGES Hi Cast - Thank you for your terrific effort, energy, focus and talent, all of which has brought us to a very good place going into Tech Week. Please know we are doing everything we can to make the best use of your time this week. We don't want to burn out, but at the same time, they don't call it Hell Week for nothing. Expect frustrations, extreme highs and lows, moments that feel like utter chaos, tantrums and tempers, and long hours. It's like giving birth, murderously painful, but ultimately pure creative genius and indescribable bliss. Keep close tabs on the schedule. Our goal for ending each night is 10:30 and no later than 11 pm. Allot for parking time. Call time is arrival time. Don't forget a good book to pass the down time, and above all - to have fun!
DAY/DATE	TIME	CALLED	REHEARSAL	OUT
Monday Feb. 25	6:30	ALL CAST	ACT II & Run Show w/Band COSTUMES	Michael
Tuesday Feb. 26	6:30	ALL CAST	DRESS RUN with Band
Wednesday Feb. 27	6:30	ALL CAST	DRESS RUN with Band
Thursday Feb. 28	6:30	ALL CAST	INVITED DRESS with Band
Friday Feb.29	6:30	ALL CAST	INVITED DRESS
March 1	7:00	ALL CAST	OPENING - BREAK A LEG!!
MARCH 3	5:30ISH	CAST TBA	PRODUCTION SHOTS AFTER MATINEE - approximately 9 scenes: Paul-Dancers; Hattie-Wardrobe, Lois-Bill-Cab Driver-Pops; General-Aides-Driver; Pavane, Petr-Kate-Haberdasher-Servants; Gangsters, Fred-Baptista; General-Lilli,