Theatre Review 'Capriccio Radio' At BACCA Center

By Cindi Sansone-Braff

A Stellar Production of “Capriccio Radio” at the BACCA Center

Modern Classics Theatre Company of Long Island is the official theater company for the BACCA Arts Center in Lindenhurst. This non-profit organization’s mission is to bring innovative theatrical productions to local audiences. Their latest production was “Capriccio Radio,” a two-act drama by the gifted Bay Shore playwright Larry Rinkel.

The word “capriccio” has numerous meanings. For one, it can mean whimsy or fancy. It can also mean a prank or caper. In musical terms, it means a free-form instrumental piece with a lively tempo. “Capriccio” is also the name of the final opera written by the esteemed German composer Richard Strauss. The original idea for this 1942 opera,  subtitled “A Conversation Piece for Music,” came from one of my favorite writers,  Stefan Zweig. In Rinkel’s play, Capriccio is the name of a fictional classical radio station somewhere in an American city. 

This well-crafted and thought-provoking play revolves around a prestigious classical radio station. This station enjoyed creative and financial freedom for twelve years, although it never found a sizable following and rarely broke even. When a new manager takes over, the staff must find a way to turn a profit or perish. In the process, jobs are threatened, and long-term friendships are tested. 

Rinkel has created intelligent, interesting, and intriguing characters. His spot-on dialogue is witty and thoroughly entertaining. This engaging drama explores many complex themes, such as the future of classical music, corporate America’s callous attitude toward loyal, long-term employees, age-old generational conflicts and struggles, and how difficult it can be for an artist to create art for art’s sake without worrying about the outcome. Long after I left the theatre, I found myself thinking about the compelling themes “Capriccio Radio” brought to light.

This show features an intergenerational cast where the seven character’s ages run the gamut from a rebellious 17-year-old up to a spry septuagenarian. Under the astute direction of Tony Tambasco, the tight-knit ensemble brought their A-game to the show.  

Jill Linden delivered a moving performance as Roberta Siegel, the founder of the Capriccio Radio station. Linden’s body language and facial expressions spoke volumes about the stress and angst this character experienced when the new management took over. Royce Johnson gave a standout performance as James Godfrey, the cocky new manager who has no regard for classical music and little respect for his employees or anyone else.

Robert Budnick aced the role of the pompous, opinionated curmudgeon Claude Feierstein and had some of the funniest lines in the show. Budnick showcased his comedic genius every time he stepped on stage and spouted out his true feelings about the dismal state of modern music.  Gloria Jung was charismatic and convincing as the sharp-tongued, edgy Lydia Morolla​, a passionate woman of a certain age battling ageism in a vain effort to stay relevant in a world eager to put her out to pasture. 

Alkis Sarantinos gave a riveting performance as the frustrated, overly intellectual Sylvan Phillips, a radio announcer specializing in music theory. Kieran Padraig Cullen delivered an award-worthy performance as Noah Brock, a disgruntled high-school student and wannabe composer. The onstage banter between Sylvan and Noah was one of the show’s highlights. 

Alexander Chilton gave a nuanced performance as Ed Ramsey, the sales manager of the radio station, a mild-mannered man, given the Herculean task of keeping the radio station afloat and the remaining employees happy.

“Capriccio Radio” was an entertaining, electrifying, and engaging night of theatre showcasing a talented cast, great direction, and a powerful script.  

Modern Classics Theatre Company of Long Island has an exciting 2023 season ahead, which features “The Laramie Project,” “Gimme A Minute One Minute Play Festival,” “The Curious Incident of the Dog in the Nighttime,” “The Crucible,” and “The Gingerbread Lady.” For ticket information and schedule, call: 516-236-5838 or visit their website: Mctli.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,” was produced in 2017 at the BACCA Center and is published by Next Stage Press. www.Grantmeahigherlove.com.

Theatre Review 'Pride @ Prejudice' At Theatre Three

By Cindi Sansone-Braff

Photos: Steven Uihlein, Theatre Three

Go See Theatre Three’s Polished and Professional Production of Pride @ Prejudice

Theatre Three PRIDE@PREJUDICE clockwise from upper right David DiMarzo, Christine Boehm, Andrew Murano, Michelle LaBozzetta, Ashley BrookeTheatre Three’s latest production, Pride @ Prejudice, is a new twist on an old tale. Daniel Elihu Kramer’s two-act dramedy deconstructs and reexamines Jane Austen’s beloved 1813 novel Pride and Prejudice through the lens of our modern, high-speed internet world. Chat rooms, blog posts, frustrated college students, commercial endorsements, and references to film adaptations are interspersed throughout. 

There’s no denying that Pride and Prejudice is one of Jane Austen’s most popular novels, one that has enchanted audiences for more than 200 years with its compelling love story complete with a “happily ever after” ending. Moreover,  a great deal of the timeless appeal of this masterful literary work rests on Ms. Austen’s realistic, relatable, and recognizable characters and the enduring themes the novel explores.

Daniel Elihu Kramer, the playwright and adaptor of the novel, teaches directing, acting, and Film and Media courses at Smith College. Pride @ Prejudice certainly reflects this academic background, but the play has plenty of down-to-earth humor in it as well. In this thought-provoking adaptation, Mr. Kramer was sure to highlight the themes that have made  Pride and Prejudice universally appealing, such as class distinctions and prejudice, misconceptions and harsh judgments of people based on presumptions, marriages of convenience versus marrying for love, the importance of family connections, and the challenging economic realities women faced because of gender inequality.

Theatre Three Christine Boehm, Andrew Murano, David DiMarzoThis comedy of manners revolves around the complicated love story between the well-to-do Mr. Darcy and the financially unstable Elizabeth Bennet. Brilliantly directed by Jeffrey Sanzel, this funny and poignant homage to Jane Austen featured five talented actors who complete an onstage theatrical marathon as they depict two dozen characters.

Christine Boehm gave a riveting performance as Elizabeth, the proud, independent, and strong-headed daughter of a middle-class country gentleman, and David DiMarzo was equally impressive as the wealthy, prideful, and often misunderstood Mr. Darcy. The onstage chemistry between Ms. Boehm and Mr. DiMarzo was one of the show’s highlights. Mr. DiMarzo also mastered the role of the bumbling, buffoonish Mr. Collins, an arrogant clergyman who doesn’t possess an ounce of spirituality. 

Michelle LaBozzetta is a remarkably versatile actress. She utilized her facial expressions, voice,  and expressive body language to make each distinct character come to life. I particularly enjoyed her portrayal of the pompous and rude Lady Catherine and her spot-on performance of Lydia, the Bennet’s flighty, fickle, and flirtatious youngest daughter.

David DiMarzo, Ashley Brooke.Ashley Brooke put her strong comedic skills to good use as  Mrs. Bennet, a neurotic, high-strung woman obsessed with marrying off her five daughters. Ms. Brooke’s rantings, ravings, crying fits, and bouts of hysteria were some of the funniest onstage moments.

Andrew Murano juggled many roles and made each one unique and memorable. He was convincing and likable as Mr. Bennet, Elizabeth’s kind and supportive father.  Mr. Murano gave a nuanced performance as Mr. Wickham, a manipulative militia officer who perpetuates the illusion that he is a righteous person when, in fact, he is a compulsive liar, swindler, and gambler.

The realistic 19th-century costumes by Chakira Doherty, the innovative set by Randall Parsons, and the illustrative projections by David Orlando added to the overall success of this polished and professional production. 

This entertaining, enlightening, and engaging show runs through May 6, 2023. To purchase tickets, contact the box office at 631-928-9100 or visit www.theatrethree.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 being published this spring. www.Grantmeahigherlove.com.

Theatre Review 'Clue' At Gateway Theater

By Cindi Sansone-Braff

A Fun Whodunit at The Gateway

Photo Credit Jeff BellanteSaturday night’s sold-out production of Clue at The Gateway had the audience bursting into spontaneous applause throughout the show and up on their feet for a rousing standing ovation at the end.

This farcical whodunit is based on the 1985 Paramount movie by Jonathan Lynn, which was inspired by the classic Hasbro board game, Clue. Sandy Rustin wrote the play adaptation, with additional source material by Eric Price and Hunter Foster.  

This hilarious farce-meets-murder-mystery takes place on a dark and stormy night at Boddy Manor. Kelly J. Tighe’s innovative three-part revolving set enhanced the dizzying plot. Watching the suspects race around the eerie mansion, running in and out of the Hall, Kitchen, Ballroom, Billiard Room, Library, Study, Lounge, Conservatory, and Dining Room, was awe-inspiring.

Set in 1954, in the time of McCarthyism and the Red Scare, the plot revolves around six anxious dinner guests whose invite came in the form of a threatening letter. When their host turns up dead, they all become suspects. This show’s cartoonish, slapstick style calls for an ensemble with strong physical comedy skills, and the stellar cast brought their A-game to the production. 

Led by Wadsworth, Miss Scarlet, Professor Plum, Mrs. White, Mr. Green, Mrs. Peacock, and Colonel Mustard race to find the killer as the body count stacks up. 

James Taylor Odom gave a tour-de-force performance as the proper British butler, Wadsworth. Toward the end of Act II, Mr. Odom’s longwinded but spot-on monologue concerning all the crazy shenanigans that had happened thus far had the audience roaring with laughter.  

Sally Struthers, perhaps best known for her television role as Gloria in All in the Family, returned to Long Island to portray the neurotic, flaky, and hilariously funny Mrs. Peacock. Ms. Struthers, a two-time Emmy Award and Golden Globe Award winner, previously appeared at The Gateway in 9 to 5, Anything Goes, and Nice Work if You Can Get It. Her Broadway credits include Wally’s Café and Neil Simon’s female version of The Odd Couple. Ms. Struthers aptly displayed her comedic genius as Mrs. Peacock, the holier-than-thou wife of a senator. Ms. Struthers’s facial expressions and body language had the audience in stitches every time she stepped onstage, and some of the funniest laughs of the evening came from hearing Mrs. Peacock’s spontaneous bouts of uncontrollable potty mouth. 

Emily Brockway, dressed to kill in a red, sparkling evening gown with a thigh-high slit up the side, gave an award-worthy performance as Miss Scarlet, a high-class Washington, D.C. call girl. Jennifer Byrne gave a memorable performance as Mrs. White, a high-strung widow who may or may not have murdered a few of her husbands.

John Long gave a nuanced performance as Professor Plum, and Christopher Seiler was riotously funny as the pompous but not too bright Colonel Mustard. David Engel, a strong character actor, was most believable as the timid Mr. Green, and his remarkable character transformation at the end of the play truly surprised the audience.

Traci Bair as the sexy French maid,  Amy Persons as the Cook, Lukas Poost as the Cop, Maggie May as the Telegram Girl, and Travis Murad Leland as Mr. Boddy/Motorist all gave noteworthy performances. 

With killer performances by the entire cast and technical designs to die for, this wonderfully wicked, wacky, and witty show is a must-see. Under the brilliant direction of Larry Raben, this farcical play held the audience spellbound right up to the zany ending.

Tickets for Clue are on sale now and start at $59. The Gateway offers Youth and Teen pricing on some performances and Student Rush tickets which can only be purchased one hour before show-time, at the door, and with a valid Student ID. Group Sale Discounts are also available for groups of 15 people or more. For more information, contact the Box Office at (631) 286-1133, or visit the website 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 being published this spring. www.Grantmeahigherlove.com.

Engeman Theater's 'The Scarlet Pimpernel' Hits All the Right Notes

By Cindi Sansone-Braff

Engeman Theater’s The Scarlet Pimpernel Hits All the Right Notes

Engeman Theater’s mesmerizing opening night performance of the musical The Scarlet Pimpernel had the audience up on their feet for a rousing standing ovation that went on and on and on, seemingly without end. The audience further expressed their delight by cheering when Terrence Mann, the acclaimed actor who portrayed Chauvelin in the original 1997 Broadway production, stepped onstage to speak.

Terrence Mann joins the cast on stage!Featuring a Broadway-worthy cast, this visually stunning production exploded with powerhouse vocals that blew the roof off. Based on the classic 1905 novel by Baroness Orczy, with music by Frank Wildhorn and book and lyrics by Nan Knighton, this musical takes place in 1794 in France and England during the bloody climax of the French Revolution. The plot follows the exploits of a courageous group of Englishmen led by an enigmatic hero, The Scarlet Pimpernel, who risk their lives to save French aristocrats condemned to the guillotine. 

Although this swashbuckling action-packed musical calls for a large cast, the show essentially revolves around the plight of three characters: Percy Blakeney, who is secretly The Scarlet Pimpernel; his beautiful and talented French wife, Marguerite St. Just, and their nemesis, Chauvelin, a ruthless, cutthroat patriot hellbent on purging the French Republic of The Scarlet Pimpernel and his loyal comrades.

Christopher Behmke (Percy Blakeney/The Scarlet Pimpernel)Christopher Behmke, a multi-talented actor, expertly maneuvered his way through the many guises and disguises Percy Blakeney employs throughout the show. Mr. Behmke used his dramatic acting skills to appear strong, capable, and courageous when leading the League of The Scarlet Pimpernel and to create a believable depiction of a Belgian spy. Moreover, he put his comedic acting skills to good use when he pretended to be a vapid, vain, and pompous aristocrat obsessed with the latest men’s fashions as a ruse to throw off his enemies. Mr. Behmke displayed his magnificent vocals throughout the show, and his moving rendition of “She Was There” was a real showstopper!

Christopher Behmke (Percy Blakeney/The Scarlet Pimpernel) and Nathaniel Hackmann (Chauvelin)Chauvelin is one of those anti-heroes who proves to be all the more dangerous because he is handsome, charismatic, appealing, and powerful. Although he is still in love with Marguerite, he manipulates and blackmails her all the same. Nathaniel Hackmann’s riveting performance as Chauvelin captivated the audience every time he stepped on stage. With his rich baritone voice, he aced his solo, “Where’s The Girl.” During a spellbinding fight scene, Mr. Behmke and Mr. Hackmann displayed their athletic prowess and strong combat and fencing skills.

Arianne Davidow (Margeurite St. Just)Arianne Davidow gave an outstanding performance as Marguerite St Just, a beautiful French actress married to Percy. She is terrified that her husband will discover she once had a love affair with Chauvelin. Ms. Davidow showcased her stellar vocals in every number she performed in, and her heartrending duet with Mr. Behmke, “When I Look at You,” was my favorite performance of the evening.

A special mention goes out to Joe Hornberger for his memorable portrayal of Armand St. Just, Marguerite’s younger brother and one of the members of the League of The Scarlet Pimpernel. His moving duet with Ms. Davidow, “You Are My Home,” was one of those magical onstage moments that stays with an audience long after they exit the theater. Jessie Jo Aka gave a strong performance as Marie Grosholtz, an artistic woman with a promising future in wax sculptures.

Christopher Behmke (Percy Blakeney/The Scarlet Pimpernel) and EnsembleThis production was expertly directed and choreographed by Paul Stancato. The opening scene of Act II, “They Seek,” with its polished-to-perfection choreography, is worth the price of admission. The period costumes and wigs by Kurt Alger added to the overall wonder and success of this lavish production. Kyle Dixon’s multi-level scenic design allowed for dynamic stage movement, and the onstage guillotine helped recreate the horror and dread the French people must have sadly experienced during “The Reign of Terror.”

Christopher Behmke (Percy Blakeney/The Scarlet Pimpernel) and Arianne Davidow (Margeurite St. Just)The top-notch ensemble includes Mick Bleyer, Josh Shea Coates, Jonathan Cobrda, Lauren Drewello, Eddie Egan, John Michael Finley, Scott Fuss, Nina Jayashankar, John Alejandro Jeffords, Weston Lecrone, Michael Liebhauser, Anna Catherine Smith, and Daniella Tamasi. The swings are Audrey Fisher, Michael Santora, and Matthew Wade. 

The Creative Team includes Michael McBride (Musical Director), John Burkland (Lighting Design), Laura Shubert (Sound Design), and John Collins (Props Design).

The show runs through Sunday, April 30, 2023. For a complete show schedule and more information, contact the theater directly at 631-261-2900, visit 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 being published this spring. www.Grantmeahigherlove.com.

Theatre Review 'Theatre Three's Festival Of One-Acts'

By Cindi Sansone-Braff

Photos by Peter Lanscombe, Theatre Three Productions, Inc.

The Curtain Rises on a Sold-Out House at Theatre Three’s Festival of One-Acts

Director Jeffrey Sanzel and his multitalented company of actors have worked arduously to make Theatre Three’s 24^th Annual Festival of One-Act Plays a smashing success. From a whopping 750 submissions worldwide, seven short plays were selected to have their world premieres produced at the intimate Ronald F. Peierls Theatre on the Second Stage.   

Theatre Three 24th Annual One-Act Festival Down to the Wire by Julia Everitt with Daniell Pafundi & Samantha FierroThis year’s festival opened on a light note with Julia Everitt’s Down to the Wire, an absurdist comedy about a college student whose procrastination over a class assignment drives her roommate crazy. Samantha Fierro as Brittany and Danielle Pafundi as Ella were excellent in their comedic roles.

Playwright Mark Cofta’s one-act play Markings appeared in Theatre Three’s Seventh Annual Festival. Sadly, Mr. Cofta passed away last July, but his artistic legacy lives on in his touching drama A Citrus Day. This gut-wrenching play revolves around two teenage half-siblings who meet for the first time and compassionately come to grips with some dark, long-kept family secrets. As the kind, soft-spoken Lorrie, Melissa Norman brought warmth and likability to the part, and Tristan Prin aced the role of Fenton, a nervous, insecure, and shy young man. 

Leslie Dianne’s Accepting Adina was another touching family drama, only this one centered around a father and son struggling to accept loss, move forward, and embrace a new normal. This play featured two Theatre Three veterans, Steven Uihlein as the son and Steve Ayle as the father. Mr. Uihlein and Mr. Ayle have great onstage chemistry, and these talented men gave heartrending, nuanced, and memorable performances.

One-Act Festival THEATRE THREE The Dating Pool Samantha Fierro, Tamralynn Dorsa, Phyllis March, Ava Andrejko, Brittany Lacey.Playwright Arianna Rose’s short plays And The Beat Goes On and Family by Numbers were performed in the last two Theatre Three festivals. This year’s entry, The Dating Pool, is a well-crafted dramedy about a widow of a certain age. She is confronted by younger versions of herself as she contemplates taking the dangerous plunge back into the dating pool. This creative play has five great roles for women of different ages, and Phyllis March, Ava Andrejko, Samantha Fierro, Brittany Lacey, and Tamralynn Dorsa all gave award-worthy performances.

One-Act Festival THEATRE THREE Unclaimed Baggage Antoine Jones, Angelo DiBiase, Jason Furnari, Tamralynn Dorsa, Phyllis MarchAct Two opened with Keith Whalen’s highly entertaining play Unclaimed Baggage. This thought-provoking piece takes place in an airport and is a metaphorical and often hilarious look at all the emotional baggage humans drag around with them. Angelo Dibiase gave a brilliant performance as Marvin, a grumpy, ungrateful man who comes to see the error of his ways. As Finn, the baggage handler, Jason Furnari gave a stellar performance showcasing his solid comedic and dramatic acting skills. Antoine Jones, Tamralynn Dorsa, and Phyllis March were also outstanding.

Larry Brenner’s First Bite is a comedic, supernatural take on modern-day dating that had the audience laughing out loud. Evan Teich gave a standout performance as John, a likable, charismatic, and charming vampire, and Brittany Lacey was brilliant as Wanda, a woman with a colorful dating history.

The festival closed on a high note with Mark Loewenstern’s The Slightly Exaggerated True Story of “Civic Virtue.” Although only twenty minutes long, this well-researched, well-crafted historical play is epic in nature. It tells the fascinating story of a marble sculpture, “Civic Virtue Triumphant Over Unrighteousness,” and how this work of art, displayed outside City Hall in New York City, created an uproar that lasted for more than 90 years. It took the entire company, filling the whole stage, to bring this mesmerizing play to life.  

One-Act Festival THEATRE THREE Entire CompanyTheatre Three’s high-energy, dedicated company brought their A-game to this festival, playing multiple roles and helping with the superfast scene changes. A big round of applause goes out to Sean Amato, Ava Andrejko, Steve Ayle, Angelo Dibiase, Tamralynn Dorsa, Samantha Fierro, Jason Furnari, Antoine Jones, Brittany Lacey, Phyllis March, Melissa Norman, Danielle Pafundi, Tristan Prin, Evan Teich, and Steven Uihlein.

Theatre Three’s 24^th Annual Festival of One-Act Plays is theatre at its best. There is limited seating, so drop whatever you are doing and get your tickets now. Running through March 25, 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 short play, No Rest of a Soul, is in the Think Fast Theater Project Festival.    www.Grantmeahigherlove.com.

Theatre Review 'Side By Side By Sondheim' At Theatre Three

By Cindi Sansone-Braff

Photos Steven Uihlein, Theatre Three Productions

Go See Theatre Three’s Side by Side by Sondheim

Side by Side by Sondheim Theatre Three Company and BandSide by Side by Sondheim, a cabaret-style revue, features a treasure trove of hits from Stephen Sondheim’s inimitable song collection. Mr.  Sondheim, who passed in 2021, was an award-winning composer and lyricist credited with having “reinvented the American musical.” 

Mr. Sondheim’s shows tackled dark and troublesome themes that were often philosophical, exploring the complex inner workings of the human mind, the angst-filled entanglements of love, and the volatile ups and downs of married life. This new introspective way of storytelling was a major reason why so few of his shows from the 1970s were financial successes. However, they have withstood the test of time to become beloved American classics.

This musical revue premiered in 1976 and showcased songs from those early works, including Company, Follies, Pacific Overtures, and A Little Night Music. Sondheim also collaborated as a lyricist with great composers such as Leonard Bernstein, West Side Story, Jule Styne, Gypsy, and Richard Rodgers, Do I Hear a Waltz? Songs from these classic shows are included in this production.

Side by Side by Sondheim Theatre Three Emily Gates, Jack Seabury, Ana McCasland, Linda May, Ryan NolinAt first glance, Side by Side by Sondheim seems like a ’70s TV variety show. An onstage band and four performers revisit Sondheim’s earlier songs, and a comedic narrator thematically ties the whole shebang together. But anything Sondheim is more complicated, nuanced, and layered than meets the eye, and before long, your whole being becomes engaged in this electrifying production. Expertly directed by the talented Christine Boehm, the audience remained spellbound as they laughed, cried, and sang along to 30 of Sondheim’s memorable show tunes. 

Ana McCasland, as the narrator, was charismatic, well-spoken, and polished. She had a rapid-fire way of delivering her comedic lines and is also a talented physical comedian. Ms. McCasland further captivated the audience with her riotous rendition of “I Never Do Anything Twice,” a racy song from the film The Seven-Per-Cent Solution. Ms. McCasland’s portrayal of a madam in a Viennese brothel, who uses feathers, more feathers, and then some more feathers to make her point, was spot on.

All four of the show’s singers had star quality, incredible onstage chemistry, and abundant talent. Each performer was entertaining, energetic, and engaging throughout the show. 

Side by Side by Sondheim Theatre Three Ryan Nolin, Linda May, Emily GatesBeloved Theatre Three veteran Linda May showcased her stellar vocals and strong acting skills throughout the show. She had the audience in stitches with her hilarious performance of “The Boy From,” and her moving rendition of “Send in the Clowns” brought tears to my eyes. Emily Gates has a mesmerizing stage presence, and her powerful voice was apparent in every number she sang. I loved her heartrending performance of “Losing My Mind.” Ms. Gates and Ms. May’s duo, “A Boy Like That and I have a Love” from West Side Story, was unforgettable and one of the show’s highlights. 

The other performers, Jack Seabury and Ryan Nolin, are two of the most talented performers you will see on any stage. I enjoyed Mr. Seabury’s gut-wrenching rendition of “Anyone Can Whistle,” a song that calls for no artifice, just pure heartfelt emotion, and Mr. Seabury was up for the task. As for Ryan Nolin, he was outstanding in every song he performed, but my favorites were “Could I Leave You?” and “Being Alive.”

At the opening of Act II, the audience uttered a collective “Wow,” when they saw all four performers dressed to the nines in Jason Allyn’s fabulous evening costume designs. Mr. Allyn hit a home run with the giant-colored wings in the showstopper, “You Gotta Get a Gimmick.”

The amazing onstage band didn’t miss a beat and featured Jeffrey Hoffman on piano, Logan Freidman on Bass, and Don Larsen on percussion. Steven Uihlein’s creative lighting design set the proper mood for each song. His clever use of lighting during “Company/Another Hundred People” was one of the show’s high points.

Spend some time with Sondheim, spectacular singers, and a well-staged show! Running now through March 18, 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.

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, andConfessions of a Reluctant Long Island Psychic. Her short play, No Rest of a Soul, is in the Think Fast Theater Project Festival.    www.Grantmeahigherlove.com.

Theatre Review 'The Wedding Singer' At Gateway Theater

The Wedding Singer at the Gateway is Bursting with Over-the-Top Talent

By Cindi Sansone-Braff

The Wedding Singer, The Musical Comedy, is based on the 1988 movie of the same name, which starred Adam Sandler and Drew Barrymore. This Broadway musical picked up five Tony Award nominations, including “Best Musical,” eight Drama Desk Awards, and three Drama League Awards. The upbeat, fun, ’80s-style music is by Matthew Sklar, the lyrics are by Chad Beguelin, and the book is by Tim Herlihy and Chad Beguelin.

Cast of The Wedding Singer (photo Jeff Bellante)This well-crafted musical is a nostalgic rom-com romp set in the mid-1980s, a decade of excess. In keeping with the zeitgeist, Madonna’s “Material Girl” became the anthem for this “Decade of Greed.” At the same time, Ivan Boesky and Michael Milken encouraged the youth of America to follow the almighty dollar sign. So, it’s no wonder that Robbie Hart, the protagonist of The Wedding Singer, is torn between following his dream to make music or pursuing a more lucrative career on Wall Street. When the musical opens, Robbie is New Jersey’s most sought-after wedding singer whose life falls apart when he’s jilted at the altar. His despair, dejection, and depression lead him down the road to ruin, and as a result, he becomes the wedding singer from hell. At his lowest point, he finds himself tossed in a dumpster, and this scene is pivotal in the musical because this is where and when Robbie first begins to connect with the waitress, Julia Sullivan.

I was so looking forward to seeing Stony Brook resident Douglas Goodhart in the lead role of Robbie Hart. Unfortunately, Mr. Goodhart contracted COVID-19 and could not make the opening night. I wish this Long Island talent a speedy recovery so he can get back onstage soon. In the meantime, the show must go on, and the incredibly talented Jose Contreras stepped in at the last moment to save the day. Mr. Contreras gave a strong performance as Robbie, aptly displaying his vocal and comedic talents, especially during his solo, “Somebody Kill Me.” Sarah Ellis was believable and likable as Julia Sullivan, a naïve, trusting, kind young woman engaged to a womanizing Wall Street wheeler-dealer. There was great onstage chemistry between Ms. Ellis and Mr. Contreras, and they rocked their outrageous duet, “Come Out of the Dumpster.”

Janet Aldrich was outstanding as Robbie’s young-at-heart, hot-to-trot, up-close-and-personal grandmother. Ms. Aldrich revealed her strong comedic skills throughout the show, and her solo, “A Note from Grandma,” made the audience burst out in spontaneous laughter when she referred to Robbie’s ex as “… a skanky whore.”

Bill Coyne aced the role of Glen Guglia, a Wall Street broker who, like Gordon Gekko in Oliver Stone’s 1987 film Wall Street, believes “Greed is Good.” Glen made his philosophy about what matters in life plain and clear when he belted out the tune “All About the Green.” The line in that song, “But if you sell your soul, at least you’ve made a sale,” sums up this shallow, sleazy, and unscrupulous character who hawks junk bonds and shamelessly engages in insider trading. Glen Guglia lives for impressing others, driving a flashy car, splurging on cocaine, and dining in high-end restaurants while dressed for success in his expensive tailored suits and power ties. He is the “King of Conspicuous Consumption,” gobbling up the latest high-tech gadgets like CD players and cellular phones.    

Joseph Frederick Allen was excellent as gender-fluid George, a character based on the performer Boy George. With his intense facial expressions, expressive body language, and stellar vocals, Mr. Allen was a scene-stealer. His rendition of “George’s Prayer” was spot-on, funny, and one of the show’s highlights.

Kelly MacMillan gave a showstopping performance as Linda, Robbie’s vampy ex. She put her powerhouse vocals and athletic dance moves to good use during “Let Me Come Home,” a racy, high-energy number that was her desperate attempt to win Robbie back.

Katie Lamark gave a memorable performance as Holly, the sexy, fun-loving waitress with a heart of gold. I loved her crimped hair, micro-mini spandex skirts worn with fish nets, and leg warmers. As Sammy, Holly’s love interest, Hunter Brown proved to be a charismatic performer and a triple threat with his outstanding singing, dancing, and acting skills.

A special shoutout goes to all the incredibly talented Las Vegas impersonators strutting their stuff during the White House Wedding Chapel Scene. The ensemble of superstars included Shannon Conboy, Erin Fish, Ashley Klinger, Sarah Lindsey, Mikaela Rada, Renee Marie Titus, Matthew Blum, Peyton Cassity, Jose Contreras, Anthony DaSilva, George P. Roberts, and David Tanciar. Swings include Kimberly Hudman and Steven Gagliano.

The Wedding Singer is brilliantly directed and choreographed by veteran director Keith Andrews. The superb choreography was reminiscent of the riveting dance numbers performed in Flashdance and Michael Jackson’s blockbuster music video Thriller. 

If you love the 80s and enjoy a good night at the theater, drop everything and get your tickets to the Gateway’s lush and lavish production of The Wedding Singer. The show runs until February 26. For more information, contact the Box Office at (631) 286-1133, or visit the website 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 short play, No Rest of a Soul, is in the Think Fast Theater Project Festival.    www.Grantmeahigherlove.com.

Theatre Review 'Dirty Rotten Scoundrels' Engeman Theater

By Cindi Sansone-Braff

Engeman Theater’s Lavish Production of Dirty Rotten Scoundrels is a Smash Hit!

Dirty Rotten Scoundrels is a laugh-out-loud musical comedy that opened on Broadway in 2005 and ran for 626 James D Sasser (Lawrence Jameson) and Danny Gardner (Freddy Benson)performances. The music and the lyrics are by the super-talented David Yazbek, and the book is by Jeffrey Lane. This show is a stage adaptation of the uproarious 1988 MGM film of the same name starring Steve Martin and Michael Caine. That beloved movie was a remake of the 1964 Bedtime Story featuring Marlon Brando and David Niven. In 2019, there was a female-centered remake of this film entitled The Hustle, starring Anne Hathaway and Rebel Wilson.  

This zany musical, with its upbeat jazzy-pop score and ludicrous lyrics, is set in Beaumont-sur-Mer, a fictitious resort town on the luxurious French Riviera. The plot is simple: two grifters,  debonair Lawrence Jameson and boorish Freddy Benson, join forces but soon discover that there isn’t enough room for two professional hustlers in one small coastline town. These two-master manipulators become engaged in a fierce and funny battle to prove who is the more successful swindler. In a nutshell, this show is a whimsical lesson in how to con a con artist out.  

Matthew Bryan Feld (Andre Thibault), Danielle Cooper (Ensemble), and James D Sasser (Lawrence Jameson)James D. Sasser gave a memorable performance as Lawrence Jameson, a charismatic, charming con man who makes a full-time living scamming lonely, wealthy women. In the opening number, “Give Them What They Want,” Mr. Sasser, sophisticated and poised, commanded the stage and revealed his stellar vocals. 

Danny Gardner was spectacular as Freddy Benson, an uncouth American who cons unsuspecting women of their money by telling them far-fetched, fabricated tales about his grandmother’s failing health or his hysterical paralysis. The part of Freddy Benson, the two-bit crook, who dresses like Ed Norton on The Honeymooners, calls for an actor with strong physical comedy skills. Mr. Gardner is a natural-born comedian who had the audience in stitches every time he stepped on stage. He gave a powerhouse performance when he belted out the tune “Great Big Stuff.” This song has some of the most memorable madcap lyrics you will ever hear onstage, and Mr. Gardner knew how to use his facial expressions, body language, and amazing vocals to make this number one of the show’s highlights.

Gina Milo (Muriel Eubanks) and Matthew Bryan Feld (Andre Thibault)Emily Larger aced the role of Christine Colgate, a seemingly likable, sweet-natured American girl vacationing in the French Rivera, who is more than meets the eye. Ms. Larger rocked the song “Here I am.” Her duet with Freddy (Danny Gardner), “Love is My Legs,” was a standout moment. During this number, Ms. Larger and Mr. Gardner showcased their spot-on comedic timing, stellar acting abilities, and impressive vocal versatility.

Gina Milo gave an outstanding performance as Muriel Eubanks, a wealthy American socialite infatuated with and swindled by Lawrence Jameson before she falls head over heels in love with Andre Thibault, Jameson’s scheming French assistant. Matthew Bryan Feld was likable as Andre, and Ms. Milo and Mr. Feld had excellent onstage chemistry. The audience got a kick out of Muriel and Andre’s sexy encounters and applauded wildly after their duet, “Like Zis, Like Zat.”

Danny Gardner (Freddy Benson) and Gina Milo (Muriel Eubanks)Suzanne Mason was excellent as Jolene Oakes, a gun-toting, shoot-‘em-up American known as the “Princess of Petroleum.” She gave a strong performance during the hilarious hoedown number, “Oklahoma?” The song “All About Ruprecht” and the ensuing shenanigans involving Jolene, Lawrence Jameson, and Freddy Benson was one of the funniest scenes I have ever seen on stage. If you could use a good laugh, this scene alone is worth the ticket price!

Dirty Rotten Scoundrels is a visually stunning production. Much of that credit goes to the creative staff’s collective efforts, including Kyle Dixon’s breathtaking Riviera Resort set design, director Drew Humphrey’s brilliant direction, and Mandy Modic’s polished-to-perfection choreography. Dustin Cross had the daunting task of designing outfits worthy of a high-end resort, and his efforts resulted in sumptuous and glorious costumes.  

James D Sasser (Lawrence Jameson) and Ensemble Danny Gardner (Freddy Benson), Emily Larger (Christine Colgate), and James D Sasser (Lawrence Jameson)The multi-talented Ensemble includes Danielle Cooper, Alyssa Jacqueline, Kent M. Lewis, Christopher Morrissey, Broderick O’Neal, Kennedy Perez, Emilie Renier, Noah Ruebeck, and Bryce Valle. The Swings are Laura Park and Jon Yepez.

You don’t want to miss this fast-paced, funny, fabulous show which runs through Sunday, March 5, 2023. For a complete show schedule and more information, contact the theater directly at 631-261-2900, visit the box office at 250 Main Street, Northport, or go to 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, andConfessions of a Reluctant Long Island Psychic. Two of her monologues from her full-length plays are featured in Smith and Kraus’s The Best Men’s Stage Monologues of 2022 and The Best Women’s Stage Monologues of 2022.www.Grantmeahigherlove.com.

Theatre Review 'The Sweet Delilah Swim Club'

Theater Three’s Stellar Production of The Sweet Delilah Swim Club is a Must-See!

By Cindi Sansone-Braff  

THE SWEET DELILAH SWIM CLUB Elizabeth Ladd, Lori Beth Belkin (Photo Credit: Steven Uihlein, Theatre Three Productions, Inc)The Sweet Delilah Swim Club is a beautifully written, well-crafted dramedy by a trio of talented writers, Jesse Jones, Nicholas Hope, and Jamie Wooten, also known as Jones Hope Wooten, “America’s Playwrights.”

This funny and poignant two-act, four-scene play scanning 33 years, tells the story of five members of a championship college women’s swim team who have a weekend-long reunion every August at “Sweet Delilah Cottage,” an oceanfront beach house on North Carolina’s Outer Banks. 

The play opens when the women are 44 and ends when they are 77. As in real life, much happens during this three-decades-long period, and some heavyweight themes are tackled, such as divorce, demanding children, disappointing career dreams, dementia, disease, and death. You know, the usual trials and tribulations that form the fabric of our lives.

Each of the five characters in this show is distinctly different from one another, which is the source of many conflicts that comprise the plot. The witty dialogue, an abundance of humorous one-liners that arise organically from the action, and zany but lovable characters make this play an American treasure.

Randall Parsons’s set design, a realistic depiction of a cozy beach cottage, and Linda May’s outstanding direction, with her meticulous attention to detail, added to the overall success of this show. 

The cast of five is outstanding and displayed palatable onstage chemistry, camaraderie, and boundless energyStephanie Moreau, Suzie Dunn Lori Beth Belkin, Elizabeth Ladd, Tamralynn Dorsa ( Photo Credit: Steven Uihlein, Theatre Three Productions, Inc ) throughout. Jason Allyn’s period-appropriate costumes and wigs, in conjunction with the extraordinary acting abilities of these five actresses, allowed the audience to witness these Southern belles navigating their way through the emotional tsunami known as mid-life and later recharting the course of their lives, acclimating to the ravages of time.

Tamralynn Dorsa’s portrayal of Sheree Hollinger was spot-on. Back in the day, Sheree was the team captain of their college swim team. Throughout the decades, she continually drives her friends crazy, micromanaging their every move during their reunions. Ms. Hollinger looked the part as well since Sheree watches every bite she eats, hellbent on maintaining her athletic physique from now till doomsday.  

Lori Beth Belkin was believable as Dinah Grayson, a hard-drinking, wise-cracking, career-driven attorney who later comes to see that for all she has achieved in the courtroom, her personal life has left her less than satisfied.

I always love seeing Stephanie Moreau in Theatre Three’s productions. She excels in the role of Lexie Richards, a sassy serial divorcee, who sucks, tucks, lasers, and lifts her body parts in a fierce war against aging. Lexie is the character who transforms the most throughout the play, and by the time she reaches the 77^th year of her life, she has made the wise decision to age gracefully. She has also stopped being so self-absorbed and has become caring, kind, and supportive of others.

Suzie Dunn as Vernadette Simms, a woman down on her luck, is laugh-out-loud funny. Vernadette has a wicked sense of gallows humor, and she has some of the funniest lines in the play, most of which center around the sorry state of hertrainwreck of a life. At the end of the play, when Vernadette loses her memory, the other characters see this as a blessing in disguise.

Tamralynn Dorsa, Stephanie Moreau, Lori Beth Belkin, Suzie Dunn, Elizabeth Ladd (Photo Credit: Steven Uihlein, Theatre Three Productions, Inc)Elizabeth Ladd is superb in the role of Jeri Neal McFeeley, formerly known as Sister Mary Esther, a Catholic nun who makes a mid-life decision that shocks her longtime friends. Through her body language, facial expressions, and gestures, Ms. Ladd reflects the inner and outer growth this character experiences as she embarks on her new life outside the confines of the convent.

The Sweet Delilah Swim Club is a well-written, brilliantly directed, and superbly acted play, and it will certainly be worth your effort to venture out on a cold, wintry evening to spend some quality time with five Southern Belles at the “Sweet Delilah Cottage” by the sea.

Running now through February 4, 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.

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, andConfessions of a Reluctant Long Island Psychic. Two of her monologues from her full-length plays are featured in Smith and Kraus’s The Best Men’s Stage Monologues of 2022 and The Best Women’s Stage Monologues of 2022.www.Grantmeahigherlove.com.

Theatre Review: "A Christmas Carol, The Broadway Musical" At Gateway Theater

Gateway’s “A Christmas Carol, The Broadway Musical” is a Spirited Production for the Whole Family

By Cindi Sansone-Braff 

Photo: The Gateway

Gateway’s magical production at the Patchogue Theater is one of those Christmas miracles we all pray for. The musical adaptation of Dickens’s beloved Christmas story brings a new twist to an old tale. This show has it all: great acting, singing, dancing, a live orchestra, Broadway-quality costumes, spectacular special effects, and a magnificent set designed by the talented Kelly Tighe.

A Christmas Carol, The Broadway Musical was an annual holiday tradition at the Theatre at Madison Square Garden from December 1994 until December 2003. With music by Alan Menken, lyrics by Lynn Ahrens, and book by Mike Ockrent and Lynn Ahrens, this show continues to enthrall audiences of all ages, as evidenced by Saturday night’s rousing standing ovation.

One of the underlying themes in Dickens’s 1843 novella, A Christmas Carol, the source material for this musical, was the hardships of being a child during the Victorian era. Scrooge’s miserably lonely childhood played a significant role in his grown-up jaded and pessimistic attitude toward the world. The storyline concerning Tiny Tim and the possibility of his early death from a childhood disease mirrors the real fears and harsh realities of life during the 19^th century. With that said, a great deal of the success of this production must be given to the dedication and talent of the cast of children, who are members of The Gateway School for the Performing Arts. A big applause goes out to Logan Baxter, Sonnie Betts, Sage Cotter, Bailey DeLauter, Skylar Greene, David Lafler, Kailyn Marra, Halle Morana, Sienna Reefer, Mia Rofrano, Marty Timlin, Elliot Torbenson, and Addison Wasylyshyn.  

A heartwarming moment in the show takes place at the Cratchit’s house when the entire family sings the upbeat song “Christmas Together.” Bennett Schneider was particularly endearing in the role of Tiny Tim, and he aced his solo. Ben Jacoby was convincing as the ever-optimistic Bob Cratchit, and Jennifer Byrne gave a strong performance as his loving wife.

The full title of Dickens’s novella is A Christmas Carol, In Prose, Being a Ghost Story of Christmas. The four ghosts in this production are all eerily unforgettable. Tom Lucca was fantastic as the ghost of Jacob Marley, revealing his powerhouse vocals during the bone-chilling song “Link by Link.” The audience was memorized as Marley flew across the stage, terrifying Scrooge. Gerry McIntrye gave a showstopping performance as The Ghost of Christmas Present, as did Morgan Billings Smith in her role as the Ghost of Christmas Past. As the Ghost of Christmas Yet To Be, Saki Masuda performed one of the most beautifully choreographed dance numbers I have ever seen, thanks to the gifted choreographer Debbie Roshe.

As for the central character, Ebenezer Scrooge, Howard Pinhasik gave an award-worthy performance as the bitter, bah-humbugging curmudgeon who finds redemption. Mr. Pinhasik displayed his strong acting, dancing, and singing skills throughout the show. 

I loved seeing Gateway’s Director of Development, Scot Patrick Allan, in the role of Mr. Smythe. Mr. Allan has a charismatic and engaging stage presence, and I hope to see him in many more productions.

During the festive song and dance number, “Mr. Fezziwig’s Annual Christmas Ball,” Robert Anthony Jones was a standout as the jovial Mr. Fezziwig.  Renee Marie Titus was equally as memorable in the role of his fun-loving, supportive wife, and Ms. Titus and Mr. Jones garnered some of the biggest laughs of the evening.

Under the astute direction of David Ruttura, the entire ensemble was first-rate, and their high energy and immense talent added to the overall success of this production. Ensemble and swing members include Evan Bertram, Steven Gagliano, Cody Gerszewski, Gianna Vasquez Bartolini, Daniel Deist, Fabi Gallmeister, Kaitlyn LaGrega, Whitley Locks, Katie Mattar, Michael Morley, Corrie Newman, Austin Phillips, Grace Sautter, and Brian C. Veith. 

Gateway’s spectacular production of A Christmas Carol, The Broadway Musical, is entertaining and enchanting right up to the exuberant finale when Ebenezer Scrooge rejoices in the true spirit of Christmas. A moment later, snowflakes fell upon the stage, and the children in the audience clapped their hands in delight. 

Running through December 28 at Patchogue Theatre, tickets are on sale starting at $59. Contact the Box Office at (631) 286-1133, or visit their website: 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. Two of her monologues from her full-length plays are featured in Smith and Kraus’s The Best Men’s Stage Monologues of 2022 and The Best Women’s Stage Monologues of 2022. www.Grantmeahigherlove.com.