Theatre Review : "Murder On The Orient Express" At Theatre Three

There’s Still Time to Catch Theatre Three’s Orient Express

By Cindi Sansone-Braff

Photos: Steve Ayle Showbizshots

Theatre Three’s “Murder on the Orient Express” is a wild ride filled with plenty of twists and turns, detours, and near derailments that leave the audience breathless, gasping and laughing, as they travel with a trainload of mysterious and memorable characters from Istanbul to Western Europe. When you see the mind-blowing luxury train set design by Randall Parsons, you know you’re in for the ride of your life. The fabulous period costumes by Ronald Green III, the characters speaking in various accents, and the realistic projections by Brian Staton were like a time machine that transported the audience back to the 1930s. The mood-inspiring lighting by Stacey Boggs created the illusion that the audience was watching a classic movie being filmed right before their eyes.

Michael Limone, Jeffrey Sanzel Ken Ludwig is a prolific playwright whose 34 plays and musicals are staged somewhere around the globe every night of the year. His sharp-witted stage adaptation of Agatha Christie’s classic novel “Murder on the Orient Express” has become the most produced comedy-mystery in the world. Theatre Three’s stellar production features the iconic Jeffrey Sanzel as Hercule Poirot, a role that seems to have been written for him. Poirot, the crackerjack detective, is one of Christie’s most beloved characters and appears in many of her works published between 1920 and 1975.

Under Christine Boehm’s outstanding direction, this high-paced whodunit kept the audience on the edge of their seats. This murder mystery takes place over 48 hours on the Orient Express, as Poirot, hot on the trail of clues and alibis, tries to figure out who murdered the ruthless American businessman Samuel Ratchett, brilliantly portrayed by Angelo DiBiase.

The play opens in a restaurant in Istanbul, complete with potted palm trees and a cocky Head Waiter played by the talented Richard O’Sullivan. This character’s witty dialogue, dripping with subtext, sets the tone for the rest of this clever production.

Murder On The Orient Express CastThere are plenty of colorful and intriguing suspects for Poirot to question, and Sanzel commanded the stage with his exacting body language and spot-on delivery of his many dramatic and comedic lines. Cassidy Rose O’Brien gave a noteworthy performance as the beautiful but nervous English Governess Mary Debenham. David Dimarzo was most convincing as the handsome, charismatic Colonel Arbuthnot, a Scotsman who is mad about Mary. Michael Limone aced the role of Monsieur Bouc, the director of the train company, who also happens to be an old friend of Poirot’s. Limone had explosively funny lines where the crowd’s laughter energized the show. His line, “The Yugoslavian police department? They are like the Three Stooges in the movie house. They poke each other in the eyes by accident,” still has me laughing.

Angelo DiBiase, Michelle LaBozzettaOf course, this is a luxury, long-distance train service that Monsieur Bouc calls “Poetry on Wheels,” so there would have to be some royalty aboard. Sheila Sheffield stole the show as the regal Russian Princess Dragomiroff, and Michelle LaBozzetta, as the Hungarian Countess Andrenyi, carried herself with grace and poise.

Steven Uihlein was believable as the uptight, nervous Hector MacQueen, an American personal secretary and translator. Linda May owned the audience as she gave an award-worthy performance as the flamboyant, loud-mouthed American Helen Hubbard, who isn’t all she appears to be. Samantha Fierro brought quiet reserve and dignity to her role as Greta Ohlsson, an unassuming Swedish nurse and missionary.

Zach Johnson, as the French Conductor Michel, gave a standout performance. At the end of the play, Johnson’s facial expressions reveal the depth of his character’s heartrending pain and angst.

“Murder on the Orient Express” has fleshed-out characters, a well-conceived plot set in an exotic locale, and well-crafted dialogue. However, the universal themes have made this story stand the test of time. This tale teaches us to trust our instincts, be keen observers of life, learn the difference between illusion and reality, and understand that our complex world isn’t a black-and-white place; therefore, the lines between good and evil get blurred. The most important lesson may be this: God sees to our intentions. If our intentions are good and the law is insufficient in doling out justice, then our actions are justified morally, even if they are not justified legally.

Visually stunning and powerfully provocative, Theatre Three’s “Murder on The Orient Express” must not be missed! The show runs through May 4, 2024. To purchase tickets or for additional information, please visit www.Theatrethree.com or call the Box Office at 631-928-9100.

Cindi Sansone-Braff is an award-winning playwright. She has a BFA in Theatre from UCONN and is a member of the Dramatists Guild. She is the author of “Grant Me a Higher Love,” “Why Good People Can’t Leave Bad Relationships,” and “Confessions of a Reluctant Long Island Psychic.” Her full-length Music Drama, “Beethoven, The Man, The Myth, The Music,” is published by Next Stage Press. www.Grantmeahigherlove.com.

Theatre Review: "Jersey Boys" At Engeman Theater

Engeman’s “Jersey Boys” Just Too Good to Be True!

By Cindi Sansone-Braff

Photo credit:The John W. Engeman Theater

Loren Stone (Joe Pesci) and Nick Bernardi (Tommy DeVito) Joey Lavarco is Frankie Valli, or at least Saturday night’s enthusiastic Engeman audience believed this to be so! They showed Lavarco the same love, adoration, and affection they would have lavished on the real Frankie Valli. The three other superstar leads, Nick Bernardi, Stephen Cerf, and Sean McGee, were equally showstopping. I’ve never seen an audience respond so physically to a show: they sang, bopped, oohed, aahed, clapped, and danced along to the many chart-topping hits that made The Four Seasons one of the top ’60s bands. 

For those of us who grew up listening to the Four Seasons, their hit tunes became our generation’s anthems and the soundtrack of our lives. However, people of all ages can relate to the universal themes explored in this well-crafted jukebox musical: brotherhood, loyalty, responsibility, betrayal, and what do I do with my life, when I grow up? Once you see this show, you will understand why “Jersey Boys” had such a long run on Broadway and why it picked up four Tonys and an Olivier Award, including the 2006 Tony Award for “Best Musical.”

oey Lavarco (Frankie Valli), Nick Bernardi (Tommy DeVito), and Stephen Cerf (Nick Massi)This crowd-pleasing show, with music by Bob Gaudio, orchestrations by Bob Crewe, and a book by Rick Elice and Marshall Brickman, dramatizes the rise and fall of The Four Seasons. Written like a VH1 biopic, the plot structure uses a narrative style. Each band member addresses the audience, telling his version of what it was like to be a part of a legendary quartet, one that scored 40 Top 40 hits, including eight number-one singles.

The Engeman’s electrifying production of “Jersey Boys,” brilliantly directed and choreographed by Paul Stancato, captivated the audience from the moment the mega-talented cast stepped on stage, right through the high-voltage finale, “Who Loves You.”  Kudos to the Wojcik Casting Team for finding dynamic singers who looked, moved, and sounded like The Four Seasons, delivering pitch-perfect renditions of their massive catalog of hit songs. A big round of applause goes to Orion Forte for outstanding projections and to Dustin Cross for his glamorous, glittery ’60s costumes.

The Four Seasons and Ensemble Sean McGee (Bob Gaudio), Joey Lavarco (Frankie Valli), Nick Bernardi (Tommy DeVito), and Stephen Cerf (Nick Massi)Tommy DeVito, a charismatic con man and the founding member of the beloved foursome, is the first band member to tell his side of the story. Nick Bernardi gave a stellar performance as Tommy DeVito. Bernardi, with his sexy swagger and onstage cockiness, captured the essence of this talented man, who also happened to be an unrepentant degenerate gambler. Sadly, DeVito’s excesses ultimately led to the band’s demise. With his velvety baritone vocals and strong stage presence, Bernardi gave an unforgettable rendition of the ultimate Doo-wop rhythm and blues hit “Earth Angel.”

Act I closed on a high note with Bob Gaudio, the keyboardist and writer of many of the band’s greatest hits, reflecting on his roller-coaster experiences with the band. Sean McGee rocked the role of Bob Gaudio with his charismatic stage presence, and his high-energy rendition of “December, ‘63 (Oh What a Night)” was a showstopper.  

Joey Lavarco (Frankie Valli)Act II opened with Stephen Cerf’s riveting performance as the bass singer and bass guitarist Nick Massi. Cerf had the audience in stitches when he delivered his comedic “ten-year sentence speech,” listing a million reasons why Tommy DeVito was the world’s worst man to share a motel room with. Cerf’s powerful voice added dimension to the group numbers, such as: “Sherry,” “Walk Like a Man,” and “Big Girls Don’t Cry,”

Frankie Valli, portrayed by Joey Lavarco, was the last to share his story. This seems fitting since Valli was the only original band member who continued to perform onstage in any capacity as The Four Seasons. Lavarco delivered a powerhouse performance as the frontman of the iconicThe Four Seasons quartet, and his moving rendition of “Can’t Take My Eyes Off of You” was worth the price of admission. His heartrending delivery of “Fallen Angel” was an unforgettable onstage moment.

The finale takes place in 1990 when the defunct quartet reunited for their induction into the Rock and Roll Hall of Fame and performed their smash hit “Rag Doll.” Each band member closed the show with a heartfelt, funny monologue.

The spectacular ensemble includes Carey Blackburn, Jonathan Cobrda, Kate Coffey, Lexxi Frilles, Katelyn Harold, Stephen C. Kallas, Mike Keller, Dale Obermark, Dominic Pagliaro, Justin Wolfe Smith, Loren Stone, Jake Waford, and Dwayne Washington. Loren Stone as the actor Joe Pesci and Jonathan Corbrda as Bob Crewe received some of the biggest laughs of the evening, and Mike Kellar gave a command performance as the mob boss Gyp DeCarlo.

Content Advisory: This show contains mature themes and adult language and may not be suitable for all audiences. 

Ring in Spring with The Four Seasons! Tickets are going fast, so much so that the show’s run was extended through Sunday, May 12, 2024. To purchase tickets, call 631-261-2900, go to the box office at 250 Main Street, Northport, or visit www.engemantheater.com. 

Cindi Sansone-Braff is an award-winning playwright. She has a BFA in Theatre from UCONN and is a member of the Dramatists Guild. She is the author of “Grant Me a Higher Love,” “Why Good People Can’t Leave Bad Relationships,” and “Confessions of a Reluctant Long Island Psychic.” Her full-length Music Drama, “Beethoven, The Man, The Myth, The Music,” is published by Next Stage Press. www.Grantmeahigherlove.com.

Theatre Review: Theatre Three's Festival Of One-Act Plays

Treat Yourself to Theatre Three’s Festival of One-Act Plays

By Cindi Sansone-Braff

Photos: Peter Lanscombe, Theatre Three Productions, Inc.

Theatre Three’s 25^th Annual Festival of One-Act Plays features eight edgy, entertaining, and engaging world premieres selected from 1200 submissions. Under Jeffrey Sanzel’s creative direction,  these diverse plays, ranging from existential musings on mortality to murder and complex matters of the heart, thoroughly captivated Saturday afternoon’s audience.

Courtney Gilmore, Rob SchindlarOne-act plays are meant to be performed in an intimate theatrical space, and Theatre Three’s Ronald F. Peierls Theatre on the Second Stage offers the perfect venue. These theatrical slices of life effortlessly transport the audience from one imaginary world to the next. A short play needs conflict, well-crafted dialogue, memorable characters, and provocative settings to be effective. This year’s eight featured plays checked all those boxes.

The festival opened with Brian C. Petti’s humorous and thought-provoking play, “Bovine Existential,” which takes place in an unusual setting—a slaughterhouse holding pen. Two Theatre Three veterans, Phyllis March as First Cow, a die-hard pessimist, and Linda May as Second Cow, a wide-eyed optimist, contemplate the meaning of life and death. March and May delivered Petti’s artfully crafted dialogue with precision-perfect timing. Kudos to Jason Allyn for his adorable black and white Holstein costumes.

Steven Ulhlein, Sean Amato, Cassidy Rose O’Brien, Jae Hughes, Julia AlbinoDeirdre Girard’s well-written, suspenseful drama, “A Year to Grieve,” is set in a secluded cabin where two mystery writers speculate on the perfect murder. Brittany Lacey as Heather and Evan Teich as Thomas had great onstage chemistry and kept the audience on the edge of their seats as they played their respective roles in this cat-and-mouse thriller.  

Laura Neill’s four-character comedy, “Juliet Wakes Up,” set in a tomb in Verona, Italy, offers a different ending to Shakespeare’s tragic tale of two young star-crossed lovers. Neill’s tongue-in-cheek twist on Shakespeare’s most beloved characters, the slapstick plot, and witty dialogue made this a standout play. Cassidy Rose O’Brien as Juliet, Julia Albino as Rosaline, and Gina Lardi as Willow gave noteworthy performances. These three talented actors played off each other, and their back-and-forth banter left the audience in stitches. Jae Hughes, a gifted comedic actor, inspired big belly laughs floundering about the stage as the fatally wounded Romeo.

The first half of the show closed with a riveting four-character tragic play, “Rescue,” by Kevin Podgorski. This heartrending drama centers around Dot, a good-to-a-fault grandmother convincingly played by Ginger Dalton, and her incorrigible grandson, rivetingly portrayed by Steven Ulhlein. Andrew Markowitz as Allen and Phyllis March as Maeve were convincing as Dot’s caring and concerned friends.

The second half opens with Aleks Merilo’s “The Nearest Far Away Place.” This evocative play takes place in a Ford Fiesta and features a young hitchhiker and the man who gives her a ride. The Young Woman talks too much, and the Man, at first reticent, slowly opens up. Being seat-belted in a subcompact vehicle doesn’t allow for much physical action, yet Courtney Gilmore and Rob Schindlar gave monumental performances as they grimaced, squirmed in their seats, and gave heartfelt deliveries of their many poignant lines.

Linda May, Phyllis MarchLisa Dellagiarino Feriend’s well-written fantasy play, “The Curse,” is set at a beach where a woman has an unusual seaside encounter. Cassidy Rose O’Brien is a talented performer who brought her A-game to the role of Beth. Sean Amato was believable as the mystical creature from under the sea. One of the show-stopping moments of the festival happened when the lights came up, revealing Sean Amato’s hilarious costume and the audience burst out laughing.

Gina Lardi, Ginger DaltonMichele Markarian’s dark comedy, “Grave Matters,” takes place in a cemetery. Gina Lardi gave a stellar performance as Paula, a young woman standing before her father’s grave, imploring him for help. When her irascible dead mother shows up instead, the fun begins. Ginger Dalton as the wise-cracking dead mom was one of the show’s highlights. 

The festival ended with a moving drama by the accomplished Johanna Beale Keller, “That Hike to Hart Lake,” which traces college friends on an eighty-year journey. Julia Albino, Sean Amato, Jae Hughes, Cassidy Rose O’Brien, and Steven Ulhlein all gave outstanding performances. Jae Hughes delivered a moving monologue at the end of the play, which brought me to tears.

Theatre Three’s talented, hardworking company delivered an exciting and memorable theatrical experience with this year’s Festival of One-Act Plays. Watching the actors play multiple roles and assist with the rapid scene changes was awe-inspiring. A big round of applause goes to Tim Haggerty for his outstanding sound design. The realistic sounds of barnyard animals, crickets, birds, sirens, and a few well-chosen songs helped make those faster-than-the-speed-of-light set changes interesting to behold.  

Theatre Three’s 25^th Annual Festival of One-Act Plays is theatre at its best. There is limited seating, so get your tickets now. Running through March 23, for ticket information, call the box office: (631) 928-1130, Monday-Saturday, 10 am to 5 pm, or visit their websites at www.TheatreThree.com.

Please note: Adult Content and language. Parental discretion is advised.

Cindi Sansone-Braff is an award-winning playwright. She has a BFA in Theatre from UCONN and is a member of the Dramatists Guild. She is the author of “Grant Me a Higher Love,” “Why Good People Can’t Leave Bad Relationships,” and “Confessions of a Reluctant Long Island Psychic.” Her full-length Music Drama, “Beethoven, The Man, The Myth, The Music,” is published by Next Stage Press. www.Grantmeahigherlove.com.

Theatre Review "tick-tock...BOOM! At Theatre Three

Theatre Three’s “tick, tick … BOOM!” Packs a Punch!

By Cindi Sansone-Braff

Photos: Steven Uihlein, Theatre Three Productions, Inc

Robbie Torres and Veronica FoxJonathan Larson’s “tick, tick … BOOM!” originated as a “rock monologue” entitled “Boho Days.” In early September 1990, he premiered this semi-autobiographical one-man musical at Second Stage Theater. He continued to hone it for the next few years while simultaneously working on the iconic musical “Rent.” Sadly, he passed away on January 25, 1996, the day before the opening of the Off-Broadway preview of “Rent.” Posthumously, Larson received the Pulitzer Prize for Drama and three Tony Awards.

Theatre Three’s outstanding production features the “tick, tick BOOM” version revised by David Auburn, a playwright brought in as a Script Consultant. Auburn turned the original one-man show into a three-character musical that opened in 2001 at the Jane Street Theatre in New York City, directed by Scott Schwartz.

The themes explored in this rock musical are universal. Who hasn’t wondered if following their passion was leading them down the path to ruin, or who hasn’t watched the pursuit of their dreams turn into real-life nightmares? 

Jason Furnari and Robbie TorresThis provocative musical takes place in New York City a week before Jon, an aspiring composer, turns 30. Pressured by the haunting sensation that time is running out, Jon confronts the harsh reality that his goal of writing a successful musical has yet to come to fruition. His girlfriend, Susan, a dancer, longs to get out of the rat race of the Big Apple. His best friend Michael has given up the ghost of the theatre world and has taken a job at a marketing firm, where he is enjoying the perks of a big salary—a BMW and a luxury apartment. The opening song, “30/90,” reflects how scary it is to turn 30 in the 1990s, as all three characters lament, “What can I do?”

Robbie Torres gave an award-worthy performance as Jon, a man bursting with talent yet plagued with anxiety and self-doubt. Torres aced his moving solo, “Why,” reminiscing about his long-term friendship with Michael and their dream of making it big in the theatre world.  

Jason Furnari, Robbie Torres, Veronica FoxJason Furnari was exceptional as  Michael, a gay man and former actor, who sings his liberation anthem “No More,” discovering with money there is “No More walking thirteen blocks with thirty pounds of laundry in the freezing dead of winter…” Jon joins in this upbeat, comical duet, taking an inward leap of faith that someday he, too, will have all this and more, not by selling out to the corporate world but by utilizing his God-given creative gifts. Furnari’s moving rendition of “Real Life” was one of the show’s highlights.

Veronica Fox as Susan stole the show with her powerhouse vocals, charismatic stage presence, and versatility. Fox has a flair for comedy and had the audience in stitches with her spot-on portrayal of Rosa, Jon’s painfully honest, hard-hitting agent. As Karessa, a performer in Jon’s musical “Superbia,” Fox showed off her sassy, sexy side, and her pitch-perfect rendition of “Come to Your Senses” was an audience favorite. Fox and Torres rocked the outrageously funny song “Therapy,” where Jon and Susan hash it out, singing bitingly witty lyrics such as, “I feel bad, that you feel bad, about me feeling bad, about you feeling bad.”

Jason Furnari, Robbie Torres, Veronica FoxAnother hilarious moment in the show happened during the song “Sunday,” a nod to Larson’s mentor and idol Stephen Sondheim. In this scene, Jon works in a diner and is driven nuts by an array of annoying and demanding patrons, brilliantly played by Furnari and Fox. 

Jeffrey Sanzel’s precision-perfect direction kept this high-energy, emotion-driven musical entertaining and engaging from curtain rise to curtain fall. Randall Parsons’s innovative set consisted of large screens where the fabulous live band was always visible and readily heard. The well-chosen set pieces: Jon’s desk, which was nothing more than a large slab of wood on milk cartons, an overflowing trash can, a couch, and a keyboard, speak volumes about the spartan life of a creative. Jason Allyn’s ’90s costumes added a touch of realism to the show. If Theatre Three ever auctions off Susan’s showstopping green velvet dress with its divine touch of bling, I will place the highest bid!

The audience showed their appreciation for this electrifying production by giving it a well-deserved standing ovation. This must-see musical runs through March 16, 2024. To purchase tickets or for additional information, please visit www.Theatrethree.com or call the Box Office at 631-928-9100.

Cindi Sansone-Braff is an award-winning playwright. She has a BFA in Theatre from UCONN and is a member of the Dramatists Guild. She is the author of “Grant Me a Higher Love,” “Why Good People Can’t Leave Bad Relationships,” and “Confessions of a Reluctant Long Island Psychic.” Her full-length Music Drama, “Beethoven, The Man, The Myth, The Music,” is published by Next Stage Press. www.Grantmeahigherlove.com.

Theatre Review: EastLine's "The Diary Of Anne Frank"

A Standing Ovation for EastLine’s Opening Night of “The Diary of Anne Frank”

By Cindi Sansone-Braff

Photos by Nick Sarnelli

“The Diary of Anne Frank” is a stage adaptation of one of the most famous books published posthumously, “The Diary of a Young Girl.” The playwrights Frances Goodrich and Albert Hackett were a husband-and-wife screenwriting team perhaps best known for their adaptation of the 1943 short story “The Greatest Gift” by Philip Van Doren Stern, which the beloved Christmas classic, “It’s a Wonderful Life” was based on. The couple spent eight years completing this play, which opened on Broadway in 1955 and received the Tony Award for Best Play and the Pulitzer Prize for Drama. EastLine Theatre’s production features Wendy Kesselman’s 1997 revision of the Goodrich and Hackett adaptation. 

Clare Lowell, Melanie Lipton, Gary TifeldThe BACCA Arts Center in Lindenhurst is an intimate space, which allowed Danny Higgins, the innovative director of this powerful two-act drama, to bring an immersive theatre experience to the audience. Throughout the show, you will feel as if you are locked away in the Secret Annex with the Franks, the van Daans, and Mr. Dussel. The entire cast is superb, and the interpersonal relationships between the different characters rang true, keeping the show’s emotional grasp rock solid throughout. “The Diary of Anne Frank” is one of those rare plays where the actors stay on stage the whole time, cleverly dramatizing the harsh truth that in real life, there was no other place for them to hide and no room in the Secret Annex for them to get away from each other. Kudos to Higgins for his masterful lighting, which helped set the play’s somber, realistic, and often terrifying tone.

Chloe Adamczyk and Victoria KayeChloe Adamczyk was perfectly cast as Anne Frank, a strong-willed, intelligent teenager awakening to her sexuality, longing to live life, but stuck in involuntary confinement by a world gone mad. Anne wants to be a writer and says, “I want to go on living even after my death!” Adamczyk is a gifted actor whose expressive body language and facial gestures spoke volumes. I loved the fun and tender moments she shared with her older sister, Margot, beautifully portrayed by the talented Victoria Kay. Kay brought a quiet strength to this role. When the Gestapo officer barged into the Secret Annex, the terror-stricken expression on Kay’s face sent chills down my spine.

Gary Tifeld delivered an award-worthy performance as Otto Frank, Anne’s kind, supportive, and protective father. The drama closes with Tifeld giving one of the most gut-Gary Tifeldwrenching monologues you will ever hear on any stage. Tears rolled down my eyes as he painfully described the dire fate of his friends and family members. Melanie Lipton commanded the stage as Edith Frank, Otto’s devoted wife, and she was believable as Anne and Margot’s troubled but loving mother.    

The van Daans also shared the Secret Annex. As time went on, the tension between the two families grew stronger and stronger, so much so that Edith Frank insisted, after catching Mr. van Daan stealing a piece of bread, that he and his family must find another place to hide, a feat damn near impossible for them to accomplish. Ted Moriates, as Mr. van Daan, and Staci Rosenberg-Simons, as his wife, had dynamic onstage chemistry. Their easy banter provided much-needed comedic relief throughout the play. They also shared many poignant moments that added to the play’s emotional impact. Michael Devereaux gave a memorable performance as Peter, their timid and hypersensitive teenage son, and Anne’s love interest.

Lee Kurfist, Gary Tifeld, Melanie LiptonLee Kurfist gave a standout performance as Mr. Dussel, a neurotic dentist who shared a room with Anne. Watching him fiddle with his dental tools and struggle to learn French from Anne were some of the more lighthearted moments in the play.

“I never thought I’d live to see the day a man like Mr. Frank would have to go into hiding.” These heartbreaking words were spoken by Mr. Kraler, a man who worked for Otto Frank and risked his life to help the Frank family and the others escape the Nazi death camps. Peter Goike III gave a nuanced performance as Mr. Kraler, a man who mustered up the courage to do what needed to be done despite his fears. Clare Lowell was outstanding as Miep Gies, a kind, moral woman who hated the Nazis and brought food, good cheer, and news of the outside world to the people locked away in the Secret Annex.

Ted Moriates, Michael Devereaux, Staci Rosenberg-SimonsThe authentic period costumes by Chery Manniello and the outstanding Sound Design by Danny Higgins and Dan Moses Schreier added to the overall success of this stellar production.

This haunting real-life drama about a horrific time in history is a heartrending and enlightening experience, one you and yours don’t want to miss. Performances are at the BACCA Art Center in Lindenhurst and run through February 25, 2024. Tickets are $25 and can be purchased at eastline.ludus.com. More information is available at eastlinetheatre.org or by calling 516-749-5047.

Cindi Sansone-Braff is an award-winning playwright. She has a BFA in Theatre from UCONN and is a member of the Dramatists Guild. She is the author of “Grant Me a Higher Love,” “Why Good People Can’t Leave Bad Relationships,” and “Confessions of a Reluctant Long Island Psychic.” Her full-length plays, “Beethoven, The Man, The Myth, The Music,” and “Angel’s Mice and Men” are published by Next Stage Press. www.Grantmeahigherlove.com.

Theatre Review "Fiddler On The Roof" At Gateway Theater

By Cindi Sansone-Braff

Photo: Jeff Bellante 

The Gateway’s Riveting Rivival of “Fiddler on the Roof!”

Jeff Bellante photo of Bruce Winant and CompanyIn 1974, I saw “Fiddler on the Roof” for the first time at the Jones Beach Marine Theatre, and the magnificence of this award-winning musical blew me away. Fifty years later, The Gateway’s polished-to-perfection production of this beloved classic had the same awe-inspiring effect on me. 

From the moment the lights came up, the magic began with a showstopping performance of the beloved song “Tradition.” Gateway alumna Bruce Winant, as Tevye, the main character, drew the audience in with his charismatic presence the moment he belted out, “Tradition, tradition! Tradition!” When the company joined in, the immensity of their collective acting, singing, and dancing talents started the production on a high note!

With a book by Joseph Stein, music by Jerry Bock, and lyrics by Sheldon Harnick, “Fiddler on the Roof” opened on Broadway sixty years ago and featured the inimitable Zero Mostel and Maria Karnilova, whose parents were emigrants from Tsarist Russia. Both of these iconic stars won Tony awards for their outstanding performances. Broadway legend Jerome Robbins received two Tony awards, Best Direction and Choreography. Astoundingly, this 1964 musical won nine Tony awards, including Best Musical, score, and Book.

Based on Sholom Aleichem’s stories by special permission of Arnold Perl, this musical, set at the beginning of the 20^th century in a small Russian village, is the heartwarming and often heartrending tale of Tevye, the Dairyman, his wife, and five daughters. Much of the conflict revolves around Tevye, a man of faith and tradition, who finds many of his most profound beliefs tested by his three oldest daughters and the trying political times in which he lives.

Winant, perfectly cast as Tevye, has impressive Broadway credits, including “Chicago,” “Phantom of the Opera,” “Ragtime,” “American in Paris,” “La Cage Aux Folles,” “Miss Saigon,” “Les Misérables” and “My Favorite Year.” Watching his award-worthy performance, I can see why he is such a sought-after star. He is a powerhouse performer with vocals to match. His solo, “If I Were a Rich Man,” was worth the price of admission. When he came back on stage during the curtain call, the audience jumped up and gave him and the rest of the stellar cast a well-deserved standing ovation.

Abbey Lee was captivating as Golde, Tevye’s hardworking, wisecracking, world-weary wife. One of the funniest scenes, “The Dream,” takes place in Tevye and Golde’s bedroom. Delivering messages from the grave, Brooke Wetterhahn was captivating as Grandma Tzeitel and Jennifer Brett’s larger-than-life performance of Fruma Sarah thrilled the audience. 

Lee and Winant’s onstage chemistry during their beautiful duet, “Do You Love Me?” was another memorable moment.

Leah Mossman was superb as Tzeitel, Tevye and Golde’s oldest daughter, and Oliver Prose gave an outstanding performance as Motel, the poor but determined tailor madly in love with her. Prose aced his solo, “Miracle of Miracles.” Ruthy Froch as Hodel, the second oldest daughter, stole the show with her moving rendition of the heartbreaking ballad “Far From the Home I Love.” I was sitting close enough to the stage to see the tears in her eyes when she sang, “Oh, what a melancholy choice this is, wanting home, wanting him.” Nikita Burshteyn was believable as Perchik, Hodel’s love interest, and a man with modern ideas and strong integrity. Rebecca Lynn Goldfarb as Chava, another of Tevye’s strong-willed daughters, gave a nuanced performance as a troubled young woman forced to choose between her family and the man she loves. Mark Ryan Anderson gave a strong performance as Fyedka, the intelligent and kindhearted Russian man Chava runs off with. Mossman, Froch, and Goldfarb showcased their beautiful vocals during their heartfelt rendition of “Matchmaker.”

Susan J. Jacks was hilarious as Yente, the gossipy matchmaker, who provides some much-needed comedic relief. Two other standout performers were Justin R.G. Holcomb as Lazar Wolf and Ryan K. Bailer as the Constable.

Keith Andrews’s choreography is bold, athletic, energetic, and captivating. The Inn scene, where the Villagers and the Russians dance together to the rousing song “To Life (L’Chaim!),” was one of my favorite dance numbers. A special shoutout goes to the incredible Bottle Dancers Ze’ev Barmor, Anthony DaSilva, Wyatt Slone, and James Monroe Stevko.

The rest of the tightknit ensemble cast includes Giada Longo and Addison Wasylyshyn as Shprintze, Sonnie Betts and Sofia Da Costa-Wilson as Bielke, Alexander Blake Wind as Avram, Ze’ev Barmor as Mendel, Samuel Gray as the Fiddler, Ben Cherry as Mordcha, John Reed as Chiam, Jose Contreras as Nachum, Wyatt Slone as Boris, James Monroe Stevko as Sasha, Anthony DaSilva as Yuri, Rivers O’Neal, Bennett Schneider, Asher King, and Nicholas Iannaccone as Cheder Boys, David Tobachnik as the Rabbi, Collin Aloi, Leo Faitakes, Leonardo Mignola as Russian soldiers, and Skylar Greene and Hailey Aviva as Villagers.

The Gateway’s electrifying production of “Fiddler on the Roof” is a must-see! The show runs through February 25, 2024. Drop everything and get your tickets to the hottest winter show in town. For tickets, contact the Box Office at (631) 286-1133 or buy online at https://TheGateway.org/.

Cindi Sansone-Braff is an award-winning playwright. She has a BFA in Theatre from UCONN and is a member of the Dramatists Guild. She is the author of “Grant Me a Higher Love,” “Why Good People Can’t Leave Bad Relationships,” and “Confessions of a Reluctant Long Island Psychic.” Her full-length Music Drama, “Beethoven, The Man, The Myth, The Music,” is published by Next Stage Press. www.Grantmeahigherlove.com.

Theatre Review "I Love You, You're Perfect, Now Change"

Engeman Theater’s Latest Production Celebrates Love!

By Cindi Sansone-Braff

Lauren WeinbergWith Valentine’s Day in the air, The Engeman Theater’s latest production, “I Love You, You’re Perfect, Now Change,” makes for a great date night. It’s also a perfect way to celebrate “Singles Awareness Day” (February 15) by treating a friend to a fabulously fun night of theater.

With music by Jimmy Roberts and book and lyrics by Joe DiPietro, this show is the second-longest-running off-Broadway musical, with the beloved classic “The Fantasticks” holding the number one spot. 

This well-crafted comedy musical revue satirizes love with all its crazy manifestations. Set in modern times, this show unfolds in a series of unrelated vignettes and songs. Four multi-talented actors take on more than 40 roles. Act I focuses on the ups and downs of single life, culminating in a wonderful and wacky wedding scene. Act II deals with marriage, children, and dating during the Golden Years.

Gina Naomi Baez and Danny BernardyYou would need help finding a more versatile or talented quartet of actors on any stage. Saturday’s opening night audience showed their appreciation for Danny Bernardy, Lauren Weinberg, Gina Naomi Baez, and understudy Matt DaSilva (stepping in for Jason Sweettooth Williams) by giving them a rousing standing ovation. Lauren Echausse is the understudy for the women roles.

Much of the success of this production belongs to John Simpkins’s outstanding choreography and precision-perfect direction. The comedic vignettes left the audience roaring with laughter, whereas the dramatic ones tugged at their heartstrings. 

The main objection to the original 1996 production was how it only focused on heterosexual romanticJason SweetTooth Williams and Danny Bernardy encounters. In 2017, that issue was addressed when this off-Broadway classic was updated by the original creators and staged at the prestigious George Street Playhouse. One of the funniest scenes in the show features gay parents, both named Frank. DaSilva and Bernardy had the audience in stitches as these two over-the-top gay dads went on and on about parenthood and their baby, Frank Jr. When their friend, brilliantly portrayed by Weinberg, comments on how these two guys aren’t any fun anymore, Bernardy breaks into a riotous rap song, “The Baby’s Song,” reminiscing about his good old Eminem days. Bernardy displayed his phenomenal physical comedy abilities and stellar vocals during this high-energy number.

Some of my favorite scenes featured the entire company. The actors’ easy onstage chemistry made the various couple combinations a joy to behold. The Danny Bernardy, Jason SweetTooth Williams, Gina Naomi Baez and Lauren Weinbergaudience broke out in spontaneous laughter when the company belted out the song “A Picture of His Penis,” a spoof on men and what they think women want. In Act 11, one of the show’s highlights featured the whole company in a laugh-a-minute scene entitled “The Family that Drives Together,” where the actors race around on wheeled seats. The song “On the Highway of Love” is side-splittingly funny, with a series of one-liners comprising the lyrics.

This show also has many poignant moments, such as the scene called “Funerals are for Dating,” where two spry seniors meet in a funeral home and engage in a heartwarming flirtation. Kudos to Baez and Bernardy for their spot-on, but not stereotypical, portrayal of two older people who are still young at heart. Their dance number during “I Can Live with That” was another highlight of the show.

Portraying a long-time married man, Matt DaSilva delivered a beautiful rendition of the ballad, “Shouldn’t I be Less in Love with You.”

Lauren Weinberg gave a moving performance and showcased her powerhouse vocals during her solo, “I Will Be Loved Tonight.” Her noteworthy comedic acting talents were displayed during the scene “The Very First Dating Video of Rose Ritz.”

Gina Naomi Baez, dressed in a godawful bridesmaid gown with its requisite matching shoes, stole the show when she performed the Country-Western tune “Always a Bridesmaid.” 

Gina Naomi Baez, Jason SweetTooth Williams, Danny Bernardy and Lauren WeinbergKyle Dixon outdid himself with an eye-catching set, and a big round of applause goes out to Dustin Cross for his innovative costume designs, which allowed for the many rapid costume changes. 

Engaging, evocative, and entertaining, Engeman’s “I Love You, Your Perfect, Now Change” is a welcomed mid-winter distraction guaranteed to tickle your funny bone and warm your heart!

Content Warning: This show contains adult themes and language and may not be appropriate for all audiences. The show runs now through March 3, 2024. Tickets may be purchased by calling 631-261-2900, in-person at the Engeman Theater Box Office at 250 Main Street, Northport, or by visiting their website: www.engemantheater.com.

Cindi Sansone-Braff is an award-winning playwright. She has a BFA in Theatre from UCONN and is a member of the Dramatists Guild. She is the author of “Grant Me a Higher Love,” “Why Good People Can’t Leave Bad Relationships,” and “Confessions of a Reluctant Long Island Psychic.” Her full-length Music Drama, “Beethoven, The Man, The Myth, The Music,” is published by Next Stage Press. www.Grantmeahigherlove.com.

Review: Theatre Three's Production Of "The Gin Game"

 The Stakes are High in Theatre Three’s Stellar Production of “The Gin Game”

By Cindi Sansone-Braff

Photos Steven Uihlein, Theatre Three Productions, Inc.

Brilliantly directed by Colleen Rebecca Britt, Theatre Three’s production of D.L. Coburn’s masterpiece “The Gin Game” is a must-see! This thought-provoking two-act, two-person tragicomedy opened on Broadway in 1977, Bradlee Bing as Weller Martin and Marci Bing as Fonsia Dorseydirected by Mike Nichols and starring Hume Cronyn and his wife Jessica Tandy. Theatre Three’s noteworthy production features another husband-and-wife team, Bradlee E. Bing as the curmudgeon Weller Martin and Marci Bing as the prim and proper Fonsia Dorsey. The palatable onstage chemistry between the Bings is one of the highlights of this show.

Two-character plays must draw the audience in from the get-go and keep them riveted in their seats without relying on all the fanfare and fireworks associated with larger, more lavish productions. These two-hander plays are theatre stripped down to the bare bones, demanding dazzling, evocative, and humorous dialogue that, although spoken, must sound like a masterful duet. The action must be so precise and exacting that it comes off like a well-choreographed pas de deux, and the emotional stakes must be stacked so high that the characters appear to be engaged from start to finish in a duel-to-the-death war of the wills. “The Gin Game” smashingly succeeds on all these counts; therefore, it is not surprising that in 1978, Coburn garnered the Pulitzer Prize in Drama.

As the audience enters the theatre, Weller Martin is already onstage. He is sitting at a card table on the sun porch of the Bentley Nursing Home, playing a game of solitaire. With its rain-stained walls, Randall Parson’s set design captured the deary, depressing atmosphere of this poorly staffed, run-down nursing home.

The card games played throughout serve as a metaphor for life’s challenges. Weller and Fonsia show their hand by sparring, snarling, and swearing at each other, proving that words are weapons and angry, bitter ones will drive away those nearest and dearest to us. When the card games heat up, and the two hit below the belt, the play takes a dark turn for the worse.   

Bradlee Bing as Weller Martin and Marci Bing as Fonsia DorseyBradlee Bing, with his expressive mannerisms and body language, gave a nuanced performance as Weller Martin, a hot-headed nursing home resident who fancies himself to be one of the best damn Gin players you’ll ever see. Bing has an innate sense of comedic timing, with a deadpan delivery that kept the audience in stitches.

Marci Bing was captivating as Fonsia Dorsey, a fragile and broken 71-year-old woman hellbent on hiding the painful truth of her existence. As her patience is continually tested by Weller, a big sore loser incapable of taking any responsibility for his actions, Fonsia reveals a side of herself that is as savage and self-sabotaging as her nemesis Weller. A less polished and seasoned actor might have considerable trouble bringing to life this slow-to-boil character who eventually explodes like an overstuffed pressure cooker, but Bing aced the role, receiving several long rounds of applause throughout her performance.

This play leaves you with the impression that it isn’t the hand you are dealt, your skills or lack of them, or whether providence or sheer luck blesses your lot, but ultimately, it is how you handle whatever life throws your way that determines the quality of your life and relationships.

“The Gin Game” runs now through February 3, 2024. To purchase tickets to this outstanding show or for additional information, please visit www.Theatrethree.com or call the Box Office at 631-928-9100.

Cindi Sansone-Braff is an award-winning playwright. She has a BFA in Theatre from UCONN and is a member of the Dramatists Guild. She is the author of “Grant Me a Higher Love,” “Why Good People Can’t Leave Bad Relationships,” and “Confessions of a Reluctant Long Island Psychic.” Her full-length Music Drama, “Beethoven, The Man, The Myth, The Music,” is published by Next Stage Press. www.Grantmeahigherlove.com.

The Gateway's "Holiday Spectacular on Ice!" is Festive, Fun, and Family-Friendly

By Cindi Sansone-Braff

Photos: Jeff Bellante

The Gateway’s “Holiday Spectacular on Ice!” is Festive, Fun, and Family-Friendly

If you’re looking for a Christmas miracle to share with your loved ones, take them to The Gateway’s “Holiday Spectacular on Ice!” While watching this joyous show, they will witness a winter wonderland resplendent with snowflakes, an onstage ice rink, Santa Claus arriving by sleigh, and visions of candy canes flying through the air.

Two-time Olympic medalist Nancy Kerrigan“Holiday Spectacular on Ice!” features one of America’s most recognized sports icons, the two-time Olympic medalist Nancy Kerrigan, as host and performer. During the opening number, “Where Are You Christmas,” the enthusiastic audience cheered and applauded when Kerrigan skated on stage, graceful and beautiful as ever, to join the talented young figure skater Gabrielle Freeman, a rising superstar.

This show has so many outstanding numbers that I don’t even know where to begin. My favorite was “Run, Run Rudolph,” where the fabulous Female Ensemble Skaters, donning poodle skirts,  skated around Ryan Dunk, whose hip gyrations and funky skating moves stole the show. During “Silent Night,” the Female Ensemble Skaters looked like beautiful snow angels floating among the clouds, and during the upbeat number “Sleigh Ride,” they performed like ice skating Rockettes. The Female Ensemble Skaters, accompanied by The Youth Skaters, delivered an unforgettable performance during the traditional Chanukah song celebrating the Festival of Lights, “Chanukah, O Chanukah!”

Kayleigh Linkous astounded the audience with her aerial acrobatics during “Hangin’ Round the Mistletoe.” When Dayron Tondike joined Linkous, these two athletic performers held the audience spellbound with their gravity-defying antics on the lyra. The best way to describe the showstopping number “Code Name Vivaldi” is to say it was all fire and ice. The multitalented Linkous displayed her breathtaking skating ability while dancing with flaming torches! 

The children in the audience loved the two classic Christmas jingles sung by the Youth Singers, “Rudolph the Red-Nosed Reindeer,” with Ariela Masarsky portraying Santa’s most famous reindeer, and “Frosty the Snowman,” which showcased a larger-than-life-Frosty-skating around the stage accompanied by the Female Ensemble Skaters dressed like Santa’s other adorable reindeers.

The featured Skate Pair, Daniela Ivanitskiy and Jonathan Rogers, captivated the audience with their riveting performances of “All I Want for Christmas is You” and “Christmas (Baby Please Come Home.” At select performances, the other featured Skate Pair are Grace Hanns and Danny Neudecker.

Nancy Kerrigan with EnsembleThe stellar vocalists Jennifer Brett, José  Contreras, Tyler Shore, and Bellport’s own Shannon Gibbons, a Season 18 “American Idol” contestant, added greatly to the overall enjoyment of this production. I particularly loved their group renditions of “I’ve Got Love to Keep Me Warm” and “The Christmas Song.” Gibbons rocked the Jonas Brothers hit, “Like It’s Christmas,” while Nancy Kerrigan figure skated to breathtaking choreography during this upbeat song. Dressed in a sizzling red dress and riding in a sparkling red sleigh, Brett delivered a powerful rendition of “Santa Baby” surrounded by the Male Ensemble Skaters. Contreras and the Youth Singers had the audience singing along to “Feliz Navidad,” and Shore, with his rich and velvety vocals, gave the iconic Burl Ives version of “A Holly Jolly Christmas” a run for its money.

Keith Andrews’s astute direction and Tara Modlin-Maurizi and Andrews’s high-energy, precision-perfect choreography, in conjunction with the breathtaking costume design by Marianne Dominy with additional costumes by Janine Loesch, all deserve special mention. The holiday-themed, versatile set by Brittany Loesch further amplified the celebratory tone of the evening.

The gifted members of the Youth Ensemble are Sonnie Betts, Stefania Conte, Sofia Da Costa-Wilson, Samantha Hayes, Dominick Heilemann, Emily Hershey, Sophie Hughes, Edward Langston, Giada Longo, Julius Lovelace, Brendyn Molnar, Jennifer Morales, Abigail Pirozzi, Ella Roberts, Mia Rofrano, Kyle Walter, Addison Wasylyshyn, and Bree Wilkens.

Nancy Kerrigan and Gabrielle Freeman.The Young Skaters are Conalie Julia King, Gabrielle Freeman, Charlotte Gilroy, and Reese Wustenhoff.

The outstanding Ensemble Skaters are Viktoria Chiappa, Stephanie Chin, Ryan Dunk, Kevin Lee, Kayleigh Linkous, Ariela Masarsky, Madison Patrell, Violet Presley-Wolff, Alain Sandrez, Lacie Tew, Dayron Tondike, and Naomi Wong.

The biggest applause must go to the technical crew for creating and maintaining the ice rink. I stumbled upon a fascinating YouTube video made a few years back by “My Long Island TV” about the making of the staged rink. You might want to click on the link to find out for yourself: How An Ice Rink Is Made on The Gateway Stage.  

This magnificent show runs now through January 1, 2024. For tickets, contact the Box Office at (631) 286-1133 or buy online at https://TheGateway.org/.

Cindi Sansone-Braff is an award-winning playwright. She has a BFA in Theatre from UCONN and is a member of the Dramatists Guild. She is the author of “Grant Me a Higher Love,” “Why Good People Can’t Leave Bad Relationships,” and “Confessions of a Reluctant Long Island Psychic.” Her full-length Music Drama, “Beethoven, The Man, The Myth, The Music,” is published by Next Stage Press. www.Grantmeahigherlove.com.

Engeman Theater's Enchanting "Beauty and the Beast" is a Visual Feast

By Cindi Sansone-Braff

Engeman Theater’s Enchanting “Beauty and the Beast” is a Visual Feast

Daniela Rodrigo (Belle) and Tim Rogan (Gaston)Once upon a time in a faraway land, this “tale as old as time” was the creative brainchild of the French novelist Gabrielle-Suzanne Barbot de Villeneuve. Her fairytale entitled “La Belle et la Bête” (“Beauty and the Beast”) was published in 1740. The version we now know and love was adapted and revised by the French novelist Jeanne-Marie Leprince de Beaumont and published in 1756. Almost 200 years later, the French filmmaker and poet Jean Cocteau wrote and directed a screenplay based on this beloved adaptation. In 1991, Walt Disney Pictures produced the award-winning animated film “Beauty and the Beast,” utilizing source material from Cocteau’s film and Beaumont’s adaptation. In 1994, Disney adapted this beloved film for the stage and brought it to Broadway, where it ran for 13 years. With a book by Linda Woolverton, music by Alan Menken, and lyrics by Howard Ashman and Tim Rice, this captivating musical includes songs from the original movie, plus some wonderful new ones, such “Home,” and “If I Can’t Love Her.” A song cut from Disney’s animated film, “Human Again,” thankfully made its way back into the stage version. 

The showstopping number of the evening was “Be Our Guest.” This musical extravaganza, complete with dancing dishes, bedazzling costumes by Dustin Cross, can-can dancing with high kicks, cartwheels, and splits, tapdancing, sensuous tango moves, and bubbles bursting out of Mrs. Pott’s spout, had the audience laughing, clapping, and singing along.

Much of the magic and wonder of this show is a result of the herculean efforts of the creative team. Accolades go out to the director, Drew Humphrey, for his attention to every detail and for bringing out the artistic strengths of this multitalented cast. Kyle Dixon’s imaginative and colorful scenic design seemed to take on a life of its own, magically transforming before our eyes. The high-energy choreography by Mandy Modic kept the show moving at a whirlwind pace. However, what captivated me the most was the opening number, where Kennedy Perez, dancing the role of the Enchantress, appeared otherworldly with her ethereal, graceful, and enticing classical ballet moves.

John J Trujillo (Maurice)Charismatic and charming, Daniela Rodrigo brought the right amount of sass and wit to the part of Belle. She demonstrated her stellar vocals throughout the show and gave moving renditions of “A Change in Me” and “Home.” Rodrigo was most convincing as the dutiful daughter of Maurice, an eccentric inventor, brilliantly portrayed by John J. Trujillo. In Act II, when Rodrigo entered the stage looking stunning in the requisite voluminous golden-yellow ballgown, the audience showed their approval by breaking out in spontaneous applause.

Joe Caskey gave an award-worthy performance as theJoe Caskey (Beast) Beast. With his impressive vocals and body language, he brought dimension to this complex character who goes from being an obstinate, spoiled, bullying Beast to a kind, gentle, and loving Prince. One of the show’s highlights was his heartrending delivery of the beautiful ballad “If I Can’t Love Her.” Caskey and Rodrigo had intense onstage chemistry, which was most apparent as they lovingly danced around the ballroom.

Tim Rogan aced the role of Gaston, the self-centered, muscular misogynistic villain of the story. Although pompous and dim-witted, this part calls for a strong singer to convey a sense of macho bravado, and Rogan certainly brought those characteristics to the comedic song “Me.” Rogan was most convincing in the terrifying “The Mob Song” scene, where Gaston inspired the other villagers to go and kill the Beast. Noah Ruebeck portrayed Lefou, Gaston’s foolish, bumbling sidekick. This part is laden with slapstick and physical humor, and Ruebeck’s antics had the audience in stitches. 

Robert Anthony Jones (Cogsworth), Jonathan Cobrda (Lumiere) and Caitlin Burke (Mrs. Potts)And of course, everyone’s favorite characters, the servants, having been transformed into inanimate objects under the Enchantress’s spell, got some of the biggest laughs of the evening. Caitlin Burke gave a memorable performance as Mrs. Potts and delivered a heartfelt rendition of the theme song, “Beauty and the Beast.” Sadie Mathers was endearing as Mrs. Potts’ young son, Chip, bringing warmth, cheerfulness, and wide-eyed curiosity to the role. Jonathan Cobrda, looking stunning in his dazzling golden suit and sparkling shoes, gave a hot, hot, hot performance, lighting up the stage as Lumiere, the candelabra. I loved his sexy interactions and onstage chemistry with the “ Oh là là ” Babette, the French maid turned feather duster, portrayed to perfection by the irresistible Samantha Littleford. Robert Anthony Jones brought his A-game to his portrayal of  Cogsworth, the high-strung clock. The onstage banter between Lumiere and Cogsworth was another highlight of the show. Celia Tedde as Madame de le Grande Bouche, the opera singer, stole every scene with her incredible vocals and charismatic stage presence.

Joe Caskey (Beast) and Daniela Rodrigo (Belle)The top-drawer ensemble includes Blaire Baker, Sam Brackley, Easton Edwards, Jackson Parker Gill, Grace Hamashima, Samantha Littleford, Sadie Mathers, Louisa Mauzé, John Neurohr, Kennedy Perez, Simeon Rawls, Noah Ruebeck, Mark Tran Russ, Celia Tedde, John J Trujillo, Dwayne Washington, and Alyssa Yard. 

After each performance, cast members stand in the lobby collecting donations for the Ecumenical Lay Council Food Pantry of Northport. In this season of giving, please bring a few extra dollars to help this worthy cause.

John W. Engeman Theater’s lavish production of Disney’s “Beauty and the Beast” is a story filled with redemption and romance and a must-see for the whole family this holiday season. This spectacular show runs through December 31, 2023. Tickets may be purchased by calling 631-261-2900, going online at www.engemantheater.com, or visiting the Engeman Theater Box Office at 250 Main Street, Northport. 

Cindi Sansone-Braff is an award-winning playwright. She has a BFA in Theatre from UCONN and is a member of the Dramatists Guild. She is the author of “Grant Me a Higher Love,” “Why Good People Can’t Leave Bad Relationships,” and “Confessions of a Reluctant Long Island Psychic.” Her full-length Music Drama, “Beethoven, The Man, The Myth, The Music,” is published by Next Stage Press. www.Grantmeahigherlove.com.