Theatre Three's "A Christmas Carol" Visually Stunning

Theatre Three’s “A Christmas Carol” is a Visually Stunning Holiday Treat

Theater Review by Cindi Sansone-Braff 

Photos:Steve Ayle/Showbizshots.com

“A Christmas Carol” Theatre Three Full CastTheatre Three’s 39^th annual production of “A Christmas Carol”  is as much a Long Island holiday tradition as Brunch with Santa, hanging stockings, and decorating the tree. 

“A Christmas Carol” was the first of many Christmas stories written by the legendary English author Charles Dickens. While writing this beloved novella, Dickens was amazed by the strange mastery in which this story seized him and how he wept over it, laughed, and wept again. 

To many Long Islanders, including myself, Theatre Three’s Executive Artistic Director, Jeffrey Sanzel, is the quintessential Scrooge. I have seen Sanzel’s award-winning production of Scrooge many times and never tire of it; for each year, I notice another one of  Dickens’ meaningful themes, discover something new about one of the characters, and come to understand more deeply why this novella has captured the heart and soul of people for 180 years. Sanzel’s brilliant direction and outstanding characterization of Scrooge bring this endearing Christmas tale to life. Watching Sanzel’s rich and nuanced performance and his amazing onstage transformation from the misanthropic, greedy, and miserly businessman into the benevolent, kind, and generous person Scrooge becomes is one of those rare theatrical experiences you will never forget.

The play opens with an ominous reminder over and over again that “Marley was dead … There is no doubt about that.” The echoing of this indisputable reality made Steven Uihlein’s portrayal of the remorseful ghost of Jacob Marley, draped in chains, rising from the depths of hell, all the more bone-chilling.  

Cassidy Rose O’Brien and George SanzelMarley isn’t the only ghost in this tale. Cassidy Rose O’Brien, looking angelic, all dressed in sparkling white, was most captivating as the Ghost of Christmas Past. As The Ghost of Christmas Present, Stephen T. Wangner displayed his comedic genius, uttering every line with perfect timing, thus providing the audience with some much-needed comedic relief. The audience audibly gasped when the Ghost of Christmas Yet to Come appeared, donning a larger-than-life costume expertly manned by Sean Amato. This terrifying Spirit reveals some future possible tragic outcomes, including the death of Tiny Tim, if Scrooge doesn’t correct the errors of his ways.

Stephen T. Wangner was equally impressive in the role of the kind and lovable Mr. Fezziwig, Scrooge’s first employer. Ginger Dalton gave a noteworthy performance as the devoted Mrs. Fezziwig, and her hilarious portrayal of Scrooge’s housekeeper, Mrs. Dilber, left the audience in stitches. Julia Albino was believable as their loving daughter and fiancée of Scrooge. Albino’s facial expressions and body language spoke volumes when she broke off her engagement to Scrooge because he was obsessed with money and material things.

Kyle Breitenbach, with his engaging onstage voice and movie star classic good looks, commanded the stage as Dick Wilkins apprenticed to Fezziwig. Sean Amato brought charm and likeability to Fred Halliwell, Scrooge’s kind nephew, and Cassidy Rose O’Brien was charming as his pregnant wife, Janet Halliwell. 

Ray Gobbes, Jr, as Bob Cratchit, the long-suffering employee of Scrooge, gave a heartrending performance, particularly in the family scenes. Veteran Theatre Three performer Linda May brought her A-game to this production in her portrayal of Bob Cratchit’s loving wife and mother of his children. Her moving solo, “In the Bleak Midwinter,” brought tears to my eyes.

Stephen T. Wanger, Linda May, Julie Friedman, Griffin Fleming, Isabela ThomsenOne of the overarching themes in “A Christmas Carol” centers around the hardships countless children endured during the Victorian era. The storyline concerning Tiny Tim and the possibility of his early death from a childhood disease mirrors the 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 talented children and young actors in this cast, including Kathleen Arabelle Han, Christina Gobes, Alexa Eichinger, Brooke Morrison, Patrick Hutchinson, Finn Thomas, Griffin Fleming, Shannon Cooper, Julie Friedman, Isabela Thomsen, Mairead Camas, Kaylin Zeidler, Stanley Zinger, Zach Kanakaris, Cassidy Worrell,  Addyson Urso, Angelina Eybs, and 

Skye Greenberg. The children alternate performances, and the show I saw featured a very talented Stanley Zinger giving a heartwarming performance as Tiny Tim, and Patrick Hutchinson acing the role of Scrooge as a Boy.

Steven Uihlein and Jeffrey SanzelEvery aspect of this show comes together to create a sense of magic and wonder. Everywhere you look, there is something visually stunning to behold, from the beauty of the church’s stained-glass windows to the falling snow and the many exciting special effects. The exquisite choice of background music, the beautiful singing voices of the cast, and the pitch-perfect sound by Tim Haggerty were treats for the ears!

A big round of applause goes out to Robert W. Henderson, Jr. for his outstanding lighting and sound design. Randall Parsons’ breathtaking set with its multi-levels and transformative design, Randall Parsons and Jason Allyn’s authentic Victorian costumes, and the expert musical direction by Brad Frey all added to the overall success of this production.

Don’t forget to arrive early to hear the stellar cast caroling on the Second Stage before the show and to stay afterward to get a picture onstage with Ebenezer Scrooge. 

This year, surprise your whole family by gifting them tickets to Theatre Three’s magical production of “A Christmas Carol.” This show will bring you and yours tidings of comfort and joy! This holiday spectacular runs through December 30.  For tickets, call 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 published by Next Stage Press. www.Grantmeahigherlove.com.

Theatre Review Theatre Three's "The Prom"

Theatre Three’s “The Prom” has a Whole Lot of “Zazz!”

By Cindi Sansone-Braff 

Photo Credit: Steven Uihlein, Theatre Three Productions, Inc.

“It’s ground-breaking, earth-shaking, life-affirming, breath-taking, gut-wrenching heart-aching, in two words, it’s history-making…” These lyrics from “Changing Lives,” the opening number of the musical “The Prom,” could well describe Theatre Three’s first production of its 53^rd mainstage season.

With music by Matthew Sklar, book and lyrics by Chad Beguelin, and book by Bob Martin, “The Prom” was the 2019 winner of the prestigious Drama Desk Award for Best Musical. This spectacular show is bursting with heart, soul, and relevant messages for today’s audiences, such as we all need to accept each other, love thy neighbor, and be true to ourselves.

“The Prom” features two eccentric, self-absorbed actors, Dee Dee Allen and Barry Glickman. Their Broadway show “Eleanor! The Eleanor Roosevelt Story” closes on opening night due to a disparaging theatrical review calling them out on their narcissism. Their publicist, desperate to get them back in the good graces of their fan base, suggests they become involved in a cause célèbre. Two other disgruntled actors, Trent Oliver and Angie Dickinson, join them in coming up with a plan to help an Indiana high school student, Emma, who wanted to bring their girlfriend to the prom, but the outraged PTA decided to cancel the event altogether.

This witty and well-written musical is as much a commentary about the egos, vanities, and ups and downs of the theatre world as it is about how it feels to be living in the fishbowl world of high school where your every word, deed, and action is judged by your so-called friends, fellow students, and community.

Expertly directed by Jeffrey Sanzel, every performer brought their A-game to this polished production. I loved the colorful, movable set by Randall Parsons and the live band conducted by Jeffrey Hoffman.

Jae HughesJae Hughes, a versatile performer, gave an award-worthy performance as Emma, a bright and talented high school student who reluctantly becomes the poster child for LGBTQ teens. Hughes displayed her phenomenal acting and vocal skills with a moving version of “Just Breathe,” where Emma laments, “Who knew asking out a girl to the prom would go over just like an atom bomb.” Hughes, joined by the multi-talented ensemble, gave a moving rendition of “Unruly Heart.”

Jillian Sharpe was extraordinary as Alyssa Greene, a cheerleader torn between her love for Emma and her need to please her mother and friends. Sharpe gave a moving performance during her solo “Alyssa Greene,” pouring her heart out about her whole life being a lie. Hughes and Sharpe’s duets “You Happened” and “It’s Time to Dance” were real showstoppers.  

With her strong stage presence and powerhouse vocals, Linda May was believable as Dee Dee Allen, a hugely talented, albeit egotistical Broadway legend. Her solo, “The Lady’s Improving,” was one of the show’s highlights. I loved her glamorous diva outfits designed by Jason Allyn and Joe Kassner.

Ryan Nolin, with his expressive mannerisms, humorous dance moves, intense facial expressions, and expert comedic timing, gave a stellar performance as Barry Glickman, the gay but totally politically incorrect Broadway star. Nolin garnered some of the biggest laughs of the evening with his hilarious rendition of “Barry Is Going to Prom.” 

Theatre Three veteran Sari Feldman was charismatic and convincing as Angie Dickinson, a long-running ensemble member of the Broadway musical “Chicago,” desperate to become a star. She gave a standout performance along with Emma (Jae Hughes) in the razzmatazz song and dance number “Zazz.” Feldman looked smoking hot in all her skintight black-sequined outfits, a nod to Bob Fosse and his preferred dance-style costume.

Brian Gill aced the role of Trent Oliver, a pompous Julliard School graduate, down on his luck, although frequently recognized for his role in a beloved 90’sitcom “Talk to the Hand.” Trent adamantly claims that his role on that TV show was just a small part of his theatrical resume. Gill  brilliantly showcased his vocals and comedic talent during the fun and upbeat song “Love Thy Neighbor.”

Theatre Three THE PROM Linda May and Dennis CreightonDennis Creighton as Mr. Hawkins, the kind, concerned, and caring high school principal and love interest of Dee Dee Allen; Jason Allyn as Sheldon Sapertstein, the hardworking Broadway publicist; and Tamralynn Dorsa as Mrs. Greene, Alyssa’s well-intentioned but misinformed mother, all delivered noteworthy performances.

A standing ovation goes out to Josie McSwane for her high-energy choreography and the entire cast and ensemble for executing the many dance numbers with “zazz,” that magic ingredient known as “style plus confidence.” The show’s ensemble was one of the best you will see on any stage. It included Melanie Acampora, Sean Amato, Will Brennan, Julia Durfee, Kaitlyn Jehle, Will Logan Liam Marsigliano, Anna Moceri, Cassidy Rose O’Brien, Isabella Scarpa, Michele Segal, Tara Shaw, Katy Snair, Ryan Van Nostrand, and Alexander Yagud-Wolek.

Take your date to “The Prom.” To purchase tickets, please call 631-928-9100 or visit www.theatrethree.com.

Theatre Three THE PROM Linda May and Dennis CreightonCindi 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 play, “The Menu,” is featured in Kingdom Theatre’s Playwright Celebration weekend, November 3, in New York City. www.Grantmeahigherlove.com.

Theatre Review "Jersey Boys" At Gateway Theater

By Cindi Sansone-Braff

Oh, What a Night at The Gateway

Photo Jeff BellanteSaturday night’s enthusiastic audience showed their appreciation for the spectacular cast of the musical “Jersey Boys” by singing, clapping, and dancing along to the many chart-topping hits that made The Four Seasons one of the most beloved ’60s bands. This crowd-pleasing show ran on Broadway from 2005 to 2017, winning four Tonys and an Olivier Award. 

With music by Bob Gaudio, lyrics by Bob Crewe, and book by Rick Elice and Marshall Brickman, this jukebox musical dramatizes the rise and fall of The Four Seasons. Written like a docudrama with music or a VH1 biopic, the innovative four-part plot structure is based on the seasons of the year. 

The Gateway’s Long Island premiere of “Jersey Boys,” brilliantly directed by Larry Raben, held the audience spellbound from the moment the stellar cast stepped on stage, right through the high-voltage finale, “Who Loves You.” A big round of applause goes out to Rachel Armitstead for casting dynamic singers who sounded like The Four Seasons, delivering pitch-perfect renditions of their seemingly endless catalog of hit songs. These multitalented performers not only replicated the voices, smooth dance moves, and unique style of the fabulous foursome but also managed to capture the essence of the magic that made The Four Seasons score 40 Top 40 hits, including eight number-one singles.

“Jersey Boys” is storytelling at its best, tackling many complex themes, emotions, and behaviors that characterize the human condition. The plot structure uses a narrative style where each band member directly addresses the audience like an old friend telling his version of what it was like to be a part of this legendary quartet. 

Act I opens with “Spring,” where wise guy Tommy DeVito tells his side of the story and his role in the genesis of The Four Seasons. Travis Murad Leland gave a tour-de-force performance with his spot-on depiction of the cocky group’s founding member, whose over-the-top gambling problem ultimately led to the band’s dissolution. With his rich baritone vocals, Leland gave a moving rendition of the Doo-wop rhythm and blues song “Earth Angel.”

The “Summer” season gave the keyboardist, who wrote or co-wrote many of the band’s greatest hits, his day in the sun. Lukas Poost gave a riveting performance as Bob Gaudio, a private man who never enjoyed the spotlight, preferring to stay behind the scenes writing and producing music. Poost has a charismatic stage presence, and his upbeat rendition of “December, 1963  (Oh What a Night)” was one of the show’s highlights.  

Act II opens with “Fall” and features Matt Faucher’s noteworthy performance as the bass singer and bass guitarist Nick Massi. Massi isn’t exactly sure why he walked out on the band, but it had something to do with homesickness, being fed up with life on the road, cramped motel rooms, and bathing with tiny bars of soap. The audience loved the group numbers, such as: “Sherry,” “Walk Like a Man,” and “Big Girls Don’t Cry,” and Faucher’s rich bass voice added dimension and depth to these beloved songs.

Finally, “Winter” descends with Frankie Valli being the only original band member performing onstage in any capacity as The Four Seasons. Pablo David Laucerica gave an award-worthy performance as the frontman of the iconic quartet. His incredible vocals, complete with the requisite falsetto, blew the audience away. His stellar rendition of “Can’t Take My Eyes Off of You,” a song that earned Valli a gold record and showcased his stellar tenor vocals, was worth the price of admission. Laucerica’s heartfelt delivery of “Fallen Angel” is one of those rare theatrical moments that stays with you long after you exit the theatre.

The finale reunites the quartet in 1990, with their induction into the Rock and Roll Hall of Fame. As the show draws to an end, each band member delivers a funny, poignant monologue and savors that bittersweet moment when they momentarily put aside their differences to perform the smash hit “Rag Doll.”

The supporting actors in this unforgettable production gave superb performances, including Paloma D’Auria as Valli’s daughter, Haley Hannah as Valli’s first wife, and Aja Goes as Valli’s journalist girlfriend. Mike D’Amico displayed his comedic talent as the actor Joe Pesci, Gateway veteran David Engel’s portrayal of lyricist Bob Crewe garnered some of the biggest laughs of the evening, and Luke Darnell was believable as the mob boss Gyp DeCarlo. Reese Britts, Jason Pintar, Mark Ryan Anderson, and Connor Macchi were outstanding in their many roles.

This spectacular show features outstanding costumes, a fabulous live orchestra, and high-energy choreography. The versatile set and background projections greatly added to the overall success of this show. 

The Gateway’s “Jersey Boys” production has powerhouse performers, a great story, and some of the most memorable tunes of all time. You don’t want to miss it!

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

“Jersey Boys” runs through September 10. To purchase tickets, 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 published by Next Stage Press. www.Grantmeahigherlove.com.

Theatre Review: "Escape To Margaritaville"

Set Your Mind on Island Time and “Escape to Margaritaville”  

By Cindi Sansone-Braff

Photos: The John W. Engeman Theater

Sam Sherwood (Tully) and EnsembleThe Engeman Theater’s “Escape to Margaritaville” is a nonstop beach party bonanza and a must-see, fun-for-the-whole-family summertime show. Be sure to wear a colorful tropical outfit, but consider leaving the Parrot Head hat at home, so the people sitting behind you can see what’s happening!  

The vacation vibe begins the moment you arrive at the Engeman Theater. The smiling valets greet you wearing beach hats, shorts, and Hawaiian shirts. The lobby has a tiki bar set up for photo ops. The intimate lounge has signature Jimmy Buffett cocktails, so treat yourself to one, sit back, and let the good times roll.

Sam Sherwood (Tully)Based on the beloved island tunes of Jimmy Buffett, with book by Greg Garcia and Mike O’Malley, this 2018 Broadway jukebox musical tells the tale of Tully Mars, a smooth-talking singer/bartender, who loves his laidback, no-strings-attached lifestyle, until he falls head over heels for Rachel, a career-driven environmental scientist, and his entire life turns upside down. 

The tropical Caribbean set by Kyle Dixon had the audience soaking in the beachy ambiance when they stepped inside the theatre. Amanda Bailey (Marley) and Dan Sharkey (J.D.)The live band, led by Musical Director Ed Goldschneider, was strategically stationed onstage, ready to wow the audience. Cheering and clapping exploded throughout the theatre when Tully and the ensemble entered the stage sporting colorful beachwear designed by Dustin Cross. The opening number, “License to Chill,” reminded the audience to leave their troubles behind and  “Escape to Margaritaville.”

Sam Sherwood gave an outstanding performance as Tully, demonstrating his musical talent every time he played his guitar. He showcased his powerhouse vocals throughout the evening, delivering an unforgettable rendition of “King of Somewhere.” 

Hunter Brown (Brick) and Sam Sherwood (Tully)Meadow Nguy was convincing as Rachel, a woman obsessed with her job and helping the world. Nguy is a polished performer, and the audience loved her solo “It’s My Job.” Rachel and Tully’s duets “Three Chords,” a song written especially for this show, and the beloved classic “Son of a Son of a Sailor” were showstoppers.

With her funky island accent, dreadlocks, and colorful West Indies fashions, Amanda Bailey rocked the part of Marley, the hardworking manager of the rundown Margaritaville Hotel and Bar. Dan Sharkey gave a tour-de-force performance as J.D., a good-natured, aging drunkard who is losing his hearing and sight. Thanks to a “little blue pill,” he gets his mojo back and actively pursues Marley. Bailey and Sharkey showcased their strong vocals during “Why Don’t We Get Drunk and Screw,” the song Jimmy Buffett originally wrote as a parody of country music love songs.

Meadow Nguy (Rachel) and Maggie Bera (Tammy)Hunter Brown gave a command performance as Brick, a big-hearted bartender who isn’t the sharpest tool in the shed. Brown, a natural-born comedian, received some of the biggest laughs of the evening. The audience particularly loved his “flashback” scenes where he encounters a pack of dancing zombie insurance salesmen. As Tammy, Rachel’s fun-loving friend, and Brick’s love interest, Maggie Bera gave a standout performance. Brown and Bera had great onstage chemistry, and they showcased their stellar vocals with their duet, “We Are the People Our Parents Warned Us About.” Mikey Marmann gave a noteworthy performance as Chadd, Tammy’s obnoxious, controlling fiancé.

The multi-talented, high-energy ensemble includes Danielle Cooper, Lance Jewett, Brianna Kaleen, Ashley Klinger, Anna Chase Lanier, Leer Leary, Alexis Loiselle, Mikey Marmann, and Leron Wellington. The swings are Sarah Lindsey and Brett Rawling.

Meadow Nguy (Rachel)“Escape to Margaritaville” is a funny, fabulous, festive show featuring a cast of likable, relatable characters. This show has no bad guys or villains, just a smoking volcano ready to erupt. One of the show’s highlights was Dwayne Washington’s pitch-perfect rendition of “Volcano.” 

Expertly directed and choreographed by Keith Andrews, the opening night of “Escape to Margaritaville” was a smash hit, and the rousing applause and lengthy standing ovation at the show’s end said it all!

“Escape To Margaritaville” runs through Sunday, August 27, 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.

Theatre Review: The Rabbit Hole Brings Immersive Theatre to Rocky Point

The Rabbit Hole Brings Immersive Theatre to Rocky Point 

The Rabbit Hole, founded by CEO and Artistic Director Dina Mondello, is an immersive theatre specializing in original shows. Located in Rocky Point, their latest production is “Campfire Stories,” a world premiere play written by Dina Mondello, Nicholas Auletti, and Chris Curley. This show features an original score by Dina Mondello, a Julliard-trained classical pianist. 

Campfire story photo Nicholas Auletti and Peter KonsevitchThe plot of “Campfire Stories” revolves around two couples hiking to Crystal Brook Camp. After settling into the campground, they decide to regale each other with terrifying campfire stories. In a traditional theatrical setting, the audience is separated from the actors and the action by a stage, creating a “fourth wall.” Immersive theatre removes the stage, breaking the fourth wall, thus allowing the audience to become “immersed” or deeply involved in the performance.

The Rabbit Hole black box theatre is an intimate space; therefore, the audience witnesses the action up close and personal. Kevin Shea’s innovative outdoorsy set design utilizes every square inch of the theater. The authentic set dress design by Stephen Ness made the audience feel like they were part of the camping adventure. Lanterns light the way, and logs and tents are strategically arranged throughout the theatre. Most importantly, there is the requisite campfire. 

The first act introduces the two couples, one married and one dating. Poppy, a soft-spoken, reserved woman, is married to Eoin, an arrogant and aggressive man. Bruce is a down-to-earth guy hellbent on winning over Szymon, a woman unwilling to let him into her world.

Peter Konsevitch gave a powerful performance as Bruce. Konsevitch has a memorizing stage presence, demonstrating his strong comedic and dramatic acting skills throughout the show. Bruce is the first to share a horror story, and his is entitled “Eye to Eye, a shocking tale about a psychopath, sticky notes, and glass eyes. 

The second campfire story is Poppy’s story, “Parental Discretion Advised.” Julia Durfee’s nuanced performance as Poppy held the audience spellbound as she reiterated the haunting tale of two Stony Brook University friends, a Ouija board, and a demonic possession.

Act II opens with Eion’s story, “I Work Alone.” Nicolas Auletti gave an award-worthy performance as he enacted the riveting narrative about an overworked, stressed-out house painter contending with bad cell service, a nervous wife, and a shell-shocked Viet Nam vet. 

Campfire Story photo Peter Konsevitch and Cassie Beauchamp.The show closes with Szymon’s story, “Desperation,” a heartrending saga about a terminally ill child, a worried mother, and a holistic healer from hell. Cassie Beaucamp delivered a compelling performance as  Szymon, a tormented and troubled mother. Beaucamp’s facial expressions and body language spoke volumes, and her anguished screams sent chills down my spine.

Victoria Shure-Muthig, like most of the other actors in the play, took on several roles and aced all of them. 

“Campfire Stories” is a well-crafted, 90-minute, two-act play directed by Dina Mondello. During intermission, the audience is encouraged to walk around the “campground” and explore the theatrical space. After the show, they can vote for the most frightening story, with the results posted on Rabbit Hole’s Facebook page: The Rabbit Hole L.I., or Instagram:@therabbitholeny.

Content Warning: “Campfire Stories” might be scary for those under 16. The show contains strong language and dark content and is unsuitable for children under 12. 

Edgy, bold, and provocative, the Rabbit Hole is a creative gift to Long Island’s theatrical community. 

To purchase tickets, visit their website at: https://www.entertherabbithole-li.com/. The show runs through Sunday, July 23. Seating is limited, and many shows have sold out, so drop everything and order tickets now! The Rabbit Hole is located upstairs at 77A NY-25A, Rocky Point, NY 11778.

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: 'The Donna Summer Musical' Gateway Theater

By Cindi Sansone-Braff

Photo  Jeff Bellante

Summer: The Donna Summer Musical at the Gateway is Hot Stuff!

Summer: The Donna Summer Musical is chockful of great songs, upbeat dance numbers, and dazzling costumes. The book is by Colman Domingo, Robert Cary, and Des McAnuff, and the music and lyrics are by Donna Summer, Giorgio Moroder, Paul Jabara, and others.  

This biographical jukebox musical opened on Broadway in 2018 at the Lunt-Fontanne Theater and featured over 20 of Summer’s well-known hits, including “She Works Hard for the Money,” “MacArthur Park,” and “On the Radio.” This moving tribute to the “Queen of Disco” highlights Donna Summer’s meteoric rise to stardom and her struggles with substance abuse, suicidal thoughts, and haunting childhood memories. Summer’s deep faith in God ultimately became her saving grace.

Under the astute direction of Broadway veteran Jenny Laroche, this polished production features a spectacular trio of talented performers, each portraying the celebrated Disco Diva during various stages of her life. Grace Capeless as Duckling Donna, the pre-teen version of Summer, captivated the audience every time she stepped onstage. Afra Hines was riveting as Disco Donna, a young woman experiencing her first taste of fame and fortune. Renee Marie Titus gave a tour-de-force performance as Diva Donna, the mature, insightful, wise woman that Summer became.

The show opens on a high note with Renee Marie Titus strutting her stuff and singing her heart out to “The Queen is Back.” She showcased her stellar vocals with her heartfelt delivery of the gospel song “I Believe in Jesus.”  

Grace Capeless delivered a memorable performance as Duckling Donna, displaying her strong acting and vocal skills throughout the show. This young, multitalented performer already has an impressive resume, including Broadway credits! I loved her renditions of “I Remember Yesterday” and “Pandora’s Box.” Capeless also portrayed Mimi Sudano, Donna’s oldest daughter,  perfectly playing this part.

Afra Hines’s depiction of Disco Donna was spot-on. Hines is a superstar in her own right, and her sensual dance moves and powerhouse vocals were highlighted during the hit song “Bad Girls.” Carmine Mastrokostas delivered a convincing and charismatic performance as Bruce Sudano, Donna Summer’s devoted husband. The onstage chemistry between Mastrokostas and Hines set the stage on fire. Their “Heaven Knows” duet was one of those magical onstage moments that stay with you long after you exit the theater.

Christian Brailsford gave a noteworthy performance as Andrew Gaines, Summer’s loving but strict father. Renee Marie Titus aced her dual role with her moving depiction of Summer’s mother, Mary Gaines. John Rochette, as Neil Bogart, the head of Casablanca Records and Donna’s mentor, and Jessica Lorion as his business-savvy wife, Joyce Bogart, were believable in their respective roles.

Kudos to the multitalented company Maggie Bergman, De’Ja-Simone Crumpton, Nichole Forde, Anthony Garcia, Haley Hannah, Gigi Lewis, Jessica Lorion, Michael Marrero, Melissa Mattos, Jade Milam, Victoria Price, Nia Simone Smith, and Dan Teixeira.

There is essentially no set, just fabulous prop designs by Brittany Loesch that bring each scene to life. The outstanding original costume design by Janine Loesch added greatly to the show’s overall success. “Last Dance,” a showstopping finale, had Diva Donna, Disco Donna, Duckling Donna, and the whole company flaunting their fabulous costumes, much to the audience’s delight.

A special shoutout goes to the creative team with Hair and Make-up by Emma Estelle Beneck and Lighting Design by Kim Hanson. The impressive rain effect during “I Love You” with the Sound Design by Jonah Verdon and Projection Design by William Milligan is worth the price of the ticket. Under the guidance of Des McAnuff and Sergio Trujillo, Kyli Rae recreated the original Broadway choreography for The Gateway stage.

Heaven knows you should drop everything and get tickets for Summer: The Donna Summer Musical, the hottest show of the 2023 summer!

The show runs through July 16, 2023. To purchase tickets, 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 published by Next Stage Press. www.Grantmeahigherlove.com.

Theatre Review 'Sound Of Music' At Engeman Theater

By Cindi Sansone-Braff

Photos courtesy of  John W Engeman Theater

A Riveting Revival of the “The Sound of Music” at the Engeman Theater

The cast and crew of the Engeman Theater deserved the standing ovation that went on forever after Saturday night’s triumphant performance of “The Sound of Music.” The final collaboration between composer Richard Rodgers and the lyricist Oscar Hammerstein II became one of the most beloved musicals of all time. 

Kayleen Seidl (Maria Rainer)Loosely based on Maria von Trapp’s 1949 memoir, “The Story of the Trapp Family Singers,” the original 1959 Tony-award-winning Broadway production starred Mary Martin and Theodore Bikel, and the 1965 Academy-award-winning film featured Julie Andrews and Christopher Plummer. 

The story begins in 1938, right before the Anschluss, the terrifying moment in history when Austria became part of the Third Reich. The plot centers around Maria, a free-spirited Austrian postulant who may possess too much zest for life and passion for music to fit into such a cloistered life.  The Mother Abbess instructs Maria to work as a governess while she looks inward and decides if theCaitlin Burke (The Mother Abbess) and Kayleen Seidl (Maria Rainer)convent life is her true calling. Maria’s love for the seven von Trapp children and their widowed father, Captain Georg von Trapp, determines her fate, and she becomes a devoted wife and mother. After the annexation of Austria, rather than serving Hitler’s brutal regime by accepting a commission in the German navy, Captain von Trapp decides to flee Austria with Maria and the children.

The opening number, “Preludium,” sung by the Sisters of the Nonnberg Abbey, sets the tone for this profoundly spiritual musical. Cáitlín Burke as The Mother Abbess, Amanda Hunter-Finch as Sister Berthe, Nicole Weitzman as Sister Margaretta, and Gina Naomi Baez as Sister Sophia displayed their beautiful vocals and astute acting skills throughout the show. Burke delivered a moving rendition of  “Climb Ev’ry Mountain.” This classic song about self-discovery and finding your true mission was one of the show’s highlights.

When Kayleen Seidl belted out the first note of the title song, “The Sound of Music,” the audience instantly fell in love with her. Seidl’s graceful movements, joyful facial expressions, and stellar vocals made her a charming and charismatic Maria.  

Kayleen Seidl (Maria Rainer) and the von Trapp Children The talented cast of children, with their strong vocals, dance moves, and acting skills, are all superstars in their own right.  Their pitch-perfect rendition of “So Long, Farewell” is worth the price of admission.

The von Trapp Children and Tim Rogan (Captain George von Trapp)Tim Rogan gave an award-worthy performance as the staunch Captain Georg von Trapp.  Seidl and Rogan had great onstage chemistry, and their heartfelt duet, “Something Good,” was an audience favorite. Rogan further revealed his breathtaking vocals with his moving version of “Edelweiss,” a musical tribute to Austria. 

Matthew Bryan Feld as Max Detweiler and Angel Reda as Elsa Schraeder gave memorable performances as two sophisticated people willing to accommodate the presence of the Third Reich rather than rock the boat and risk the ire of the Nazis.  

Laura Park as Leisl von Trapp and Tyler Hecht as Rolf Gruber, two young people experiencing the joy of falling in love, both gave standout performances during “Sixteen Going on Seventeen.” 

Angel Reda (Elsa Schraeder)This polished-to-perfection production was brilliantly directed and choreographed by Drew Humphrey, and the innovative set design by Kyle Dixon allowed for the many quick set changes the script called for. Dustin Cross’s authentic period costumes added to the show’s overall success.

The incredible ensemble includes Dane Agostinis, Ian Allred, Gina Naomi Baez, Finn Brown, Oliver Cirelli, Claire Daly, Max Desantis, Harrison Drake, Evelyn Engelmann, Tiffany Furicchia, Cassidy Gill, Lauren Gobes, Tyler Hecht, Amanda Hunter-Finch, Christopher Isolano, Kayla Kennedy, Quinn Oliver Lessing, Micaela Maio, Paige Mathers, Sadie Mathers, Sarah Milnamow, Christopher Morrissey, Laura Park, Liam Polani, Layla Turnier, and Nicole Weitzman. 

This warm and wonderful show will delight audiences of all ages, so treat the whole family! The show runs through Sunday, July 2, 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 play, “Way Out,” is featured in the upcoming Rogue Theater Festival.

Theatre Review 'Something Rotten'

      Theatre Three Closes Out Their Mainstage Season on a High Note with “Something Rotten”

By Cindi Sansone-Braff 

Photos Ana McCasland, Theatre Three Productions, Inc.

Theatre Three SOMETHING ROTTEN at left Evan Teich In 2015, “Something Rotten,” with music and lyrics by Wayne Kirkpatrick and Karey Kirkpatrick and book by Karey Kirkpatrick and John O’Farrell, garnered 10 Tony-award nominations. This clever, well-crafted show lampoons musicals and classical theatre, with allusions to at least 20 Broadway scores and many references to the Shakespearean canon tossed in the mix.

The musical takes place in England during the 1590s. The opening number, “Welcome to the Renaissance,” features the talented, charismatic Jae Hughes as The Minstrel and the entire company proclaiming how wonderful it is to live in 16th-century England during a golden age. Randall Parsons’s innovative Elizabethan-era set and Chakira Doherty’s authentic period costumes helped transport the audience to that glorious time of rebirth.

“Something Rotten”  features a large cast of zany characters, and a big round of applause goes out to the director, Jeffrey Sanzel, who managed to have every onstage actor shine as they exuded boundless energy throughout the entire production. 

The slapstick plot centers around a playwriting team comprised of two brothers, Nick and Nigel Bottom. They are about to lose their patronage unless they develop a hit show that can upstage Shakespeare, the  Renaissance superstar. Nick consults a soothsayer, Thomas Nostradamus, hoping to discover the next big thing in theatre. Nostradamus predicts that “musicals” will be the next big thing to hit the theatre world, and Nick and Nigel set out to write one.

SOMETHING ROTTEN Andrew Boza & Ryan Nolan.Ryan Nolin is a natural-born comedian, and his depiction of  Nick, the frustrated and penniless playwright, had the audience in stitches. Nolin showcased his strong vocals with his powerful rendition of “God, I Hate Shakespeare.” Christine Boehm gave a knockout performance as his wife, Bea, a woman ahead of her time. Her heartfelt delivery of “Right Hand Man” was one of the show’s highlights.

Andrew Boza gave a noteworthy performance as Nigel, a nervous, insecure man passionate about poetry. Danielle Pafundi was believable as Portia, Nigel’s love interest. The onstage chemistry between Boza and Pafundi was palatable, and their duet, “I Love the Way,” was an audience favorite.

Brother Jeremiah, Portia’s scripture-quoting father, was brilliantly portrayed by Jim Sluder. During the fantasy song and dance number “We See the Light,” Sluder received some of the biggest laughs of the evening.

My favorite character in this musical is Thomas Nostradamus, the renowned seer’s nephew, and Dennis Setteducati was riveting in this role. He also revealed his comedic genius during “A Musical,” one of the funniest songs in the show. This number also featured breathtaking choreography by Sari Feldman and Josie McSwane, including a rapid-fire group tap dance segment and a showstopping kickline routine.

Evan Teich gave an award-worthy performance as Nick and Nigel’s nemesis, Shakespeare. Teich stole every scene he was in as he pranced around the stage like a rock star, wearing skintight pants and shaking his booty. He revealed his stellar vocals during “Will Power,” an upbeat song delivered while his adoring fans fawned over him. Some of the lyrics of this song feature some of Shakespeare’s most beloved quotes, such as, “Now is the winter of our discontent,” “Shall I compare thee to a summer’s day,” and “Summer’s lease hath all too short a date.”

Angelo DiBiase aced the role of the comic character Shylock, a Jewish money lender, who lets the audience know that this is the only job he is permitted to do, but his passion is theater. Liam Marsigliano gave a memorable performance as Lord Clapham, the wealthy, flamboyant theatre patron, and Bryan Bowie was believable as the Master of Justice.

The star-studded ensemble added greatly to the overall success of this production. A big shoutout goes to all of them, including Melanie Acampora, Sean Amato, Patrick Campbell, Samantha Fierro, Brian Frank, Rachel Geiser, Rachel Greenblatt, Heidi Jaye, Michelle LaBozzetta, Melissa Norman, Cassidy Rose O’Brien, Michelle Shapiro, Jillian Sharpe, Briana Ude, Steven Uihlein, Ryan Van Nostrand, and Ryan Worrell.  

Take the whole family to see this funny, fast-paced, and fabulous production of “Something Rotten.” The show runs through June 24, 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 play, “Way Out,” is featured in the upcoming Rogue Theater Festival.

Theatre Review 'The Mountaintop' Eastline Theatre

By Cindi Sansone-Braff

Photos by Anthony Noto

Eastline Theatre’s Long Island Premiere of “The Mountaintop” is Magnificent

Kerby DariusEastline Theatre is a courageous, innovative, and edgy nonprofit theatre company that aims to create theatrical experiences in unlikely spaces while re-examining the canon, exploring modern plays, and bringing original works to the community’s attention. Their latest production, “The Mountaintop,” is brilliantly directed by Van-Leon Whitaker and presented in partnership with Westbury Arts, with additional support from the Huntington Arts Council.

“The Mountaintop,” an Olivier-Award-winning drama, opened on Broadway in 2011 under the direction of Kenny Leon and featured Samuel L. Jackson and Angela Bassett. This two-character, one-act, 90-minute play is a fictionalized account of Reverend Dr. Martin Luther King Jr.’s last evening on Earth. 

The playwright, Katori Hall, followed Aristotle’s three unities of action, time, and place to create dramatic tension. “The  Mountaintop” takes place in Room 306 of the Lorraine Motel in Memphis, Tennessee, on the eve of Dr. King’s assassination. Earlier that day, Dr. King delivered his majestic speech, “I’ve Been to the Mountaintop.” Throughout that speech, he seemed painfully aware that his days were numbered. He mentions asking the Almighty if he could live a few years into the second half of the 20^th century. He closed that memorable speech with the ominous words, “I may not get there with you. But I want you to know tonight, that we, as a people, will get to the promised land.” 

Christen Dekie, Kerby DariusHall’s characterization of Dr. King reveals his warts and all, and some people might find this offensive. It can be difficult to think of those we publicly admire as mere mortals who wear socks with holes in them, have smelly feet, lie, cheat, chain smoke, and have panic attacks. However, I believe Hall’s point is that Dr. King was a man with shortcomings like the rest of us, but he managed to muster up the strength, perseverance, and courage to accomplish what he was destined to do, despite his fears. 

The Westbury Arts is an intimate theatre space, and the set for this show, a downtown Memphis motel room, was designed by Michelle Savin and Nicole Savin. When you enter the theatre, you see a bed, end tables with lamps, a telephone, a small desk, and a chair. The seats, strategically placed around the set, allow the audience to feel like they are sitting in a hotel room with Dr. King on that fateful night.

When Kerby Darius, a commanding and charismatic actor, entered the stage, the audience became fully engrossed by his award-worthy portrayal of Martin Luther King, Jr. The play’s opening is memorizing as we watch Dr. King  pacing agitatedly around the motel room, talking aloud while writing his next speech, repeating several times, “Why America is going to hell.” However, the sparks begin to fly when he orders a coffee from room service, and Camae,  a sassy, brassy motel maid, arrives, bringing him a hell of a lot more than he bargained for.

Christen DekieChristen Dekie, as Camae, gave a riveting and unforgettable performance as the sexy, flirtatious motel maid who tells Dr. King, “I cuss worse than a sailor with clap.” Camae has one of the most memorable monologues you will ever see on any stage, and Dekie delivered it with so much passion and force that the audience broke out in spontaneous applause.  

Entertaining, enthralling, and engaging, don’t miss Eastline’s electrifying production of “The Mountaintop.”

Please note that this show includes discussions of racism, violence, death, sex, and infidelity, and includes racially insensitive language and derogatory terminology, and may not be suitable for all audiences.

“The Mountaintop” will play at Westbury Arts through May 28th. Tickets are free with a $20 refundable reservation at eastline.ludus.com. These reservations are refundable in cash following each performance. 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 play, “Way Out,” is featured in the upcoming Rogue Theater Festival.

Theatre Review 'Evita' At Gateway Playhouse

By Cindi Sansone-Braff

Photo: Jeff Bellante 

An Electrifying “Evita” at The Gateway Playhouse

The Gateway’s polished-to-perfection production of “Evita” received a well-deserved standing ovation Saturday evening. This beloved rock opera by composer Andrew Lloyd Webber and lyricist Tim Rice has enthralled audiences for decades. The 1980 Broadway production won the Tony Award for Best Musical, and the 1996 film version starring Madonna and Antonio Banderas grossed over $141 million worldwide.

Amanda Rivera Torres, Ryan K. BailerSet in Argentina from 1934 to 1952, “Evita” is the rags-to-riches story of Eva Duarte. The show takes us from her impoverished childhood years to her short but somewhat successful stint as an actress and to her powerful political life as the wife of military leader-turned-president Juan Perón. 

The show opened in a Buenos Aires cinema on July 26, 1952. Through the magic of Aaron Kurland’s projection designs, we feel as if we are part of that movie audience and witness what it must have been like for them to learn of the passing of Eva Perón, the spiritual leader of their nation. During “Requiem for Evita,” the top-notch ensemble re-enacted that historical moment, showing how deeply people mourned for the First Lady of Argentina.

However, the Peróns had their adversaries, and the wry and witty narrator Che, brilliantly portrayed by Pablo Torres, represents the voice of this cynical faction. A charismatic actor, Torres revealed his strong vocals during “Oh What a Circus.” As a side note, the original director, Harold Prince, identified the show’s narrator as the Argentine Marxist revolutionary Che Guevara. In The Gateway’s revival, as in many later revivals, Che is seen as an everyman character commenting on Eva’s life and ambitions, which was Tim Rice’s original intention. 

Amanda Rivera Torres and EnsembleThe musical then flashes back to 1934, and the audience sees Eva as a calculating 15-year-old girl running off to Buenos Aires with a much older man, Magaldi, a tango singer. Matthew Malecki Martinez was outstanding as Magaldi. Martinez has a powerful voice, and he received some of the biggest laughs of the evening with his sassy tango moves during the number “On this Night of a Thousand Stars.”

Amanda Rivera Torres gave a riveting performance as the beautiful and ambitious Eva Duarte, a cunning woman who reinvented herself, changing her name to “Evita,” a Spanish nickname meaning “Little Eva.” Donning Costume Designer Janine Loesch’s Cinderella-worthy, white ball gown, Torres delivered a moving rendition of “Don’t Cry for Me Argentina.”

Ryan K. Bailer gave an award-winning performance as the dignified and charming Juan Perón. Bailer’s commanding stage presence and magnificent renditions of  “On the Balcony of the Casa Rosada” and “She is a Diamond” were unforgettable theatrical moments.

Amanda Rose Gross portrayed Perón’s Mistress, an insecure young woman who Eva sent packing. Gross’s emotion-filled, melodious voice hit all the right notes when she delivered the reflective song “Another Suitcase in Another Hall.”

Keith Andrews and Andrés Acosta’s Latin-infused choreography, featuring tango, cha-cha, and salsa moves, is worth the price of admission. The edgy military march numbers were my personal favorites. The tango dancers, Michelle Alves and Carlos A. Jimenez, were captivating, exuding passion and playfulness with their every sensuous step.

Kudos to the multi-talented, high-energy ensemble who aced the many acting, singing, and dancing roles they performed. A special shoutout goes out to the children in the cast, who, at select performances, will portray the Children of Argentina in the number “Santa Evita.” These talented children include Sonnie Betts, Sofia Da Costa-Wilson, Sofia DeMatteo, Dominick Heilemann, Sofia Jarmel, Abigail Pirozzi, Ashton Rasmussen, Sarah Robayo, Tamanna Sandhu, and Bree Wilkens.

The Gateway’s “Evita” has an exceptional cast, showstopping choreography, and spectacular costumes. You don’t want to miss it!

Content Advisory: This show may not be suitable for all ages. While there is no official rating system for live theatre, please use your judgment based on age, maturity, and subject matter.

“Evita” runs through May 28. 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 published by Next Stage Press. www.Grantmeahigherlove.com.