There’s No Yuletide Without Theatre Three’s “A Christmas Carol.”

There’s No Yuletide Without Theatre Three’s “A Christmas Carol.”

By Cindi Sansone-Braff

Photos: Steve Ayle

Christmastime is about tradition and sharing time-tested holiday rituals with family and friends, like shopping for a tree, making a gingerbread house, hanging decorations, and visiting Santa. For Long Islanders, to miss Theatre Three’s annual production of Charles Dickens’ “A Christmas Carol” is pure humbug and gosh-darn sacrilegious.  

A Christmas Carol THEATRE THREE The Company“A Christmas Carol, in Prose: Being a Ghost Story of Christmas,” published on December 19, 1843, was the first Yuletide story written by the legendary English author. In the twenty-five years following its publication, Dickens wrote dozens more, including, “The Haunted Man and the Ghost’s Bargain: A Fancy for Christmas Time,” and “The Chimes: A Goblin Story of Some Bells that Rang an Old Year Out and a New Year In.”

A yearly pilgrimage to Theatre Three’s “A Christmas Carol” reminds us of the two-fold message inherent in this beloved tale of redemption. Firstly, anyone can experience a miraculous change of heart. Secondly, all of us must give ourselves a yearly “life review,” where we take a good, hard look at our words, deeds, and actions to see what we learned and what we can do better in the upcoming year. 

Angelina Eybs, Jeffrey Sanzel, Mia Rofrano, Stanlzey Zinger, Aidan SharkeyTheatre Three’s Executive Artistic Director Jeffrey Sanzel’s brilliant adaptation, precision-perfect direction, and unforgettable portrayal of Scrooge are the heart and soul of this stellar production. Each year, Sanzel brings an additional layer of depth to his remarkable performance. One of the show’s high points is watching Sanzel’s intense body language and facial expressions as he brings the misanthropic, miserable, and miserly character of Ebenezer Scrooge to life and then witnessing his entire demeanor morph as he reveals the kind, generous, and grateful soul Scrooge becomes. 

The production opens on an eerily dark note, with the somber echoes of the lines, “Marley was dead … There is no doubt about that.” With that thought solidly planted in our heads, Stephen T. Wangner delivers a bloodcurdling performance as the ghost of Jacob Marley, chained and remorseful as he returns from the depths of hell. This Christmas classic teems with ghosts, including the Ghost A Christmas Carol THEATRE THREE James Bressler, Ray Gobes Jr.of Christmas Past, angelically portrayed by the talented Cassidy Rose O’Brien. The role of the Ghost of Christmas Present demands an actor who can deliver his clever and well-crafted lines with perfect comedic timing, and Scott Hofer rocked this role. The most terrifying specter of all is the humongous Ghost of Christmas Yet to Come. Expertly maneuvering this larger-than-life costume was Steven Uihlein.

y Rose O’Brien above, Stephen T. Wangner on stairs Throughout the show, Dickens offers much-needed comedic relief in this otherwise dark portrait of the hardship of life in London during the Victorian era. Two of his most endearingly witty characters are the lovable Mr. Fezziwig, Scrooge’s first employer, and his jovial wife, Mrs. Fezziwig. Scott Hofer and Ginger Dalton’s charismatic portrayal of this happily married couple was one of the show’s highlights. Dalton was also outstanding as Scrooge’s hilarious housekeeper, Mrs. Dilber. 

Other notable performers were Julia Albino as Belle, Fezziwig’s dutiful daughter, who reluctantly breaks off her engagement to Scrooge; Kyle Breitenbach as Dick Wilkins, Fezziwig’s apprentice; Steven Uihlein as Fred Halliwell, Scrooge’s kind nephew, and Cassidy Rose O’Brien as Janet Halliwell. 

Ray Gobes, Jr. brought great warmth and kindness to the role of Bob Cratchit, Scrooge’s long-suffering employee. Linda May delivered an award-worthy performance as Cratchit’s loving wife and mother of his children. May has a beautiful singing voice, which she showcased during her moving solo. Much of this allegorical tale’s emotional appeal comes from the heartwarming scenes featuring the tight-knit Cratchit clan. The young actors who portrayed their children were outstanding, including Mia Rofrano as Martha, Aidan Sharkey as Peter, and Angelina Eybs as Belinda. Stanley Zinger delivered a heartrending portrayal of one of Dickens’ most beloved characters—Tiny Tim.

A Christmas Carol THEATRE THREE Jennifer Salvia, James Bressler, Ray Gobes Jr, Jeffrey Sanzel, Roy Fleischer Saturday night’s opening performance featured the children from “The Holly Cast.” Kathleen Anabelle Han gave a captivating performance as The Girl, whose muted presence haunts Scrooge. Patrick Hutchison aced the role of Scrooge as a lonely schoolboy, and Zachery Kanakaris was charming as the elated child on Christmas morning. Ash Stalker delivered a memorable performance as Fan, Scrooge’s older sister, and Amelia Theodorakis commanded the stage as Margaret and the Charwoman. Alternating performances feature another talented group of child actors known as “The Ivy Cast,” which includes Vivian Leigh Rumble, Giovanni Ladd, Olivia Davis, Christina Gobes, Kelsie Curran, Jennifer Salvia, Roy Fleischer, Skye Greenberg, and James Bressler.

A great deal of the success of this production goes to the top-notch creative team. Special mention goes out to Sari Feldman for her expert choreography, Ellen Michelmore for her original music and sound effects design, Tim Haggerty for his exceptional sound design, and Robert W. Henderson, Jr. for his spectacular lighting and sound design. The breathtaking set by Randall Parsons, the authentic Victorian-period costumes by Jason Allyn and Randall Parsons, and Brad Frey’s astute musical direction all came together to make “A Christmas Carol” a resounding success.  

This magical, musical, mystical show is a visceral experience. You will laugh. You will cry, and you will gasp in abject horror. Ultimately, you will leave Theatre Three vowing to keep the Christmas spirit always in your heart.

Arrive early to enjoy the cast caroling on the Second Stage and stay afterward to take an onstage picture with Ebenezer Scrooge. Surprising your friends and family with tickets to Theatre Three’s superb production of “A Christmas Carol” is the perfect holiday gift! The show runs through December 28, 2024.  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.

Don't Miss Engeman Theater's Wacky Whodunit

Don’t Miss Engeman Theater’s Wacky Whodunit

By Cindi Sansone-Braff

Cody Gerszewski – Mr. Boddy

Lauren Weinberg – Miss Scarlet

Danny Rothman – Col. Mustard

Engeman Theater’s latest production, “Clue,” is a madcap show chockful of mayhem, murder, and madness. Inspired by the iconic Hasbro board game and based on Jonathan Lynn’s star-studded 1985 Paramount movie, Sandy Rustin’s well-crafted play adaptation features additional material by Eric Price and Hunter Foster.

Set in the terrifying blacklisting era of McCarthyism, this farcical murder mystery takes place (of course!) on a dark and stormy night. The plot is simple: six blackmailed people receive a threatening invite to a dinner party at the secluded Boddy Manor. When the host turns up dead, they all become suspects. This 90-minute, one-act slapstick-style whodunit calls for a top-notch ensemble with strong physical comedy skills and boundless energy. The phenomenal cast in this rock-solid production did not disappoint!

Patrick Harvey – Mr. GreenThursday Farrar – Mrs. PeacockChristina DeCicco – Mrs. WhiteKyle Dixon’s innovative and visually stunning set, filled with secret chambers, augmented the dizzying onstage antics. The audience roared with laughter as the frantic suspects raced at the speed of light through the Hall, Kitchen, Ballroom, Billiard Room, Library, Study, Lounge, Conservatory, and Dining Room. The murder weapons we all know from the board game: a revolver, lead pipe, wrench, candlestick, dagger, and rope play a prominent role in the show.

Michael Keyloun aced the role of Wadsworth, the traditionally proper British butler. Toward the end of Act II, in a nod to one of Neil Simon’s comedic writing techniques, Keyloun delighted the audience with a convoluted monologue summarizing the insanity that ensued.

Ken King – Prof. PlumMichael Keyloun – WadsworthArianne Davidow - YvetteThursday Farrar delivered an award-worthy performance as Mrs. Peacock, the high-strung, closet-drinking senator’s wife. Lauren Weinberg was captivating as Miss Scarlet, a high-class Washington, D.C. call girl. Christina Decicco, with her commanding stage presence, was believable as Mrs. White, a widow who may or may not have murdered a few of her husbands.

Ken King wowed the audience with his charismatic depiction of the handsy academic Professor Plum. Danny Rothman’s spot-on portrayal of the pompous, bumbling idiot Colonel Mustard garnered some of the biggest laughs of the evening. A versatile actor, Patrick Harvey delivered an award-worthy performance as Mr. Green, the anxious and timid klutz with tricks up his sleeve.

Christina DeCicco, Patrick Harvey, Ken King, Michael Keyloun, Lauren Weinberg, Arianna Davidow, Danny Rothman, Thursday FarrarAn audience favorite was Arianne Davidow as Yvette, the sexy French maid. Cody Gerszewski, Jeremy McClelland, and Suzanne Mason doubled up to portray several diverse roles, including a cook, cops, Mr. Boddy, a Singing Telegram Girl, and a motorist. These talented actors delivered standout performances throughout! The swings are Ashley Margaret Morton and Dustin Harris Smith.

Under Marc Tuminelli’s skillful direction, the entire ensemble delivered killer performances. The behind-the-scenes magic, John Burkland’s awe-inspiring lighting design, Dustin Cross’s colorful ’50s costumes, and Laura Shubert’s artful sound design brought this beloved board game to life.

Filled with hijinks, histrionics, and humor, culminating with one hell of a wacky ending, you don’t want to miss this stellar production! “Clue” runs through October 27, 2024. Purchase tickets 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 Three’s "Matilda the Musical" Soars!

Theatre Three’s “Matilda the Musical” Soars!

By Cindi Sansone-Braff

Despite the August 18 rainstorm and the subsequent flood damage to Theatre Three, the resilient team of creatives, staff, and the local community rallied to uphold the showbiz credo: the show must go on! And what an electrifying show it is! The power of the performance was palpable, as evidenced by the thunderous standing ovation at the end of Saturday night’s opening performance of the family-friendly British import “Roald Dahl’s Matilda The Musical.”

Originally staged in 2010 by the Royal Shakespeare Company at Strafford-upon-Avon, “Matilda” premiered on Broadway at the Shubert Theatre in 2013. Based on British author Roald Dahl’s beloved children’s novel, this Olivier and Tony award-winning show has music and lyrics by Tim Minchin and a book by Dennis Kelly. 

The enthralling storyline of this musical revolves around Matilda Wormwood, an imaginative, intelligent, and psychically gifted five-year-old whose love of reading helps her escape the horrors and neglect of her upbringing. This musical is not just delightful entertainment but also a thought-provoking piece with powerful themes such as “do not blindly follow authority figures,” “use your unique abilities and gifts to help others,” and “a prophet is not recognized in their own land.” These themes add depth and relevance to the story, making it a truly engaging experience.

Sadie Mathers and castSadie Mathers, a rising star, was perfectly cast as Matilda. With her innate intelligence and charisma, Mathers was the living embodiment of this extraordinarily likable character. She demonstrated strong dance skills throughout the show and delivered powerful renditions of her solos, “Naughty” and “Quiet.” The audience’s enthusiastic cheers when Mathers stepped on stage to take a curtain call were a testament to her popularity and the success of her performance. 

Miss Trunchbull, the tyrannical headmistress at Matilda’s school, is always played by a male, and Liam Marsigliano did a bang-up job of portraying this sadistic and darkly comic character. A show-stopping number was “The Smell of Rebellion,” in which Trunchbull gave a Phys Ed class that seemed more like a Fascist boot camp on steroids, with the children doing a series of calisthenics at supersonic speed. Veronica Fox gave an award-worthy performance as Miss Honey, Matilda’s compassionate and kind-hearted teacher, who, despite her trepidation, musters the courage to stand up for the children against Miss Liam Marsigliano as Miss Trundhbull And Sadie MathersTrunchbull. Fox displayed her strong vocals during the beautiful ballad “My House.” 

Steven Uihlein aced the role of Mr. Wormwood, Matilda’s uncaring, callous father. Uihlein is a first-class comedian, and his spot-on timing had the audience in stitches as they listened to his slimy, harebrained schemes to sell used cars. Act II opened on a high note with Uihlein and Jax Segal as his dim-witted son, Michael, performing a riotously funny musical number, “All I Know.” Segal’s deadpan facial expressions garnered some of the biggest laughs of the evening. Rachel Geiser delivered an unforgettable performance as Mrs. Wormwood, a self-absorbed wife who cares little for her children and is only concerned with winning ballroom dance contests. Will Logan captivated the audience as Rudolpho, Mrs. Wormwood’s dance partner. 

Steven Uihlein, Jax Segal, Rachel Geiser.Michelle LaBozzetta, as Mrs. Phelps, a librarian who befriends Matilda; Bryan Bowie, as Sergei, the Mafia boss; Eric J. Hughes, as The Escapologist; and Josie McSwane, as The Acrobat, delivered memorable performances. The stellar adult ensemble also includes Melanie Acampora, Julia Albino, Will Brennan, Kaitlyn Jehle, Paul Manzo, Cassidy Rose O’Brien, Marlo Pepe, and Katy Snair.

The Youth Ensemble was among the most polished and professional troupes I have ever seen. Benjamin Corso demonstrated his comedic acting skills as Bruce, a timid boy subject to cruel punishment by Miss Trunchbull. Surrounded by his classmates, Corso’s performance during “Bruce” was one of the show’s highlights. Olive Oakes gave an outstanding performance as Lavender, Matilda’s best friend. Oakes had a funny solo bit in the show that delighted the audience as she kept hinting at something she would do to get even with Miss Trunchbull. Still, she didn’t want to spoil the surprise, then burst with excitement as she blurted out, “I’m going to put the newt in the Trunchbull’s jug!” Erin Risolo as Alice,  Adriana Mia Como as Hortensia, Olivia McGourty as Erica, Zach Kanakaris as Nigel, and Matthew Eby as Tommy all showed their star power right from the get-go with the engrossing opening number “Miracle.” With each successive group number, they seemed to up their game, culminating with the rousing showstopper “Revolting Children.”

The Little KidsThis mesmerizing show features a gigantic cast of adults and children, and the mega-talented director Jeffrey Sanzel deserves a big round of applause for his expert staging. During big production numbers like “The Smell of Rebellion” and “Loud,” Sari Feldman’s high-energy choreography had the audience breaking out in spontaneous applause. Jason Allyn’s costume design, particularly the children’s prim and proper school uniforms and the fabulous glitter outfits worn by Mrs. Wormwood, added to the overall spectacular visual appeal of this show, as did  Xiangfu Xiao’s dazzling lighting effects and Brian Staton’s eye-catching projection designs.

Featuring live music, fabulous costumes, outstanding directing, acting, singing, and choreography, Theatre Three’s “Matilda” is a must-see show! Running through October 20, 2024, to purchase tickets or for additional information, please visit www.Theatrethree.com or call the Box Office at 631-928-9100. Although family-friendly, a child must be at least five years old to attend this show.

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 Producers" At Theatre Three

Don’t Miss Theatre Three’s Stellar Production of “The Producers”

By Cindi Sansone-Braff

Photo Credit: Courtney Gilmore, Theatre Three (Photo Courtney Gilmore, Theatre Three)There is no denying that Mel Brooks is the master craftsman of “Rolling in the Aisles,” zany, unadulterated comedy. Twenty-three years after his Broadway smash hit “The Producers” won a record-breaking 12 Tony Awards, including Best Musical, this ingenious satire continues to mesmerize audiences with its wacky, wisecracking, wonderful, and often wicked sense of humor.

Based on Brook’s 1968 black comedy, “The Producers,” this beloved musical farce tells the tale of a down-and-out, shady Broadway​ producer, his nerdy accountant, and their harebrained get-rich-quick scheme. Brooks’s fingerprints are all over this show since he wrote the music and lyrics, and with Thomas Meehan, Brooke also wrote the book. This riotously funny show is vaudeville, Borscht Belt, slapstick, camp, and pure schtick all rolled into one smorgasbord of something is not kosher-around-here kind of funny!

Scott Hofer, Brittany Lacey, Tony Butera (Photo Credit: Courtney Gilmore, Theatre Three)Under Jeffrey Sanzel’s masterful direction, the entire cast gave standout performances in every scene of the show. Sanzel had the actors play the funny bits with expert comedic timing to generate plenty of belly laughs, but he also inspired the cast to be committed to the comedic circumstances of the musical; therefore, they played their parts with theatrical truth.

Max Bialystock, once a revered Broadway producer, is now the laughingstock of 42nd Street. He sings of his woebegone ways in “King of Old Broadway,” which parallels the song “Another Op’nin’, Another Show” from the musical “Kiss Me Kate.” This scene also played like a parody of “Fiddler on the Roof,” complete with a blind violinist! Scott Hoffer makes a most captivating Max, and he displayed his stellar vocals and expert comedic skills as he belted out the acerbic lyrics from this showstopping number.

Tony Butera gave an award-worthy performance as Leo Bloom, the mild-mannered Broadway-struck accountant. And yes, this character does have the same name as the protagonist in James Joyce’s modernist novel “Ulysses,” because Brooks “stole” it! Throughout the show, Brook’s awe-inspiring lyrics and dialogue reference other famous writers, such as Strindberg, O’Neill, Shakespeare, Dostoevsky, and Ibsen.

Evan Teich, Ryan Nolin, Jim Sluder, Tony Butera (Photo Credit: Courtney Gilmore, Theatre Three)When Leo casually mentions how, with some creative accounting, it could prove more lucrative to produce a Broadway bomb than a hit, that thought gets the greedy wheels of Max’s brain spinning. The two devise a plan to produce a colossal flop and skip town with the backer’s money when it closes after just one performance. Comedic complications ensue when their show, “Springtime for Hitler,” becomes a smash hit!

Butera got to showcase his strong vocals and dance moves during “I Wanna Be a Producer.” The fabulous lighting effects, glitzy costumes, and the precision-perfect tap dance routine, choreographed by the talented Josie McSwane, all came together to make this a standout number.

(Photo Credit: Courtney Gilmore, Theatre Three Photo : Courtney Gilmore, Theatre ThreeAnother great onstage moment occurs during the bromance song “’ Til Him,” when Max and Leo profess their loyalty and love for each other with the help of the talented Little Old Ladies as backup singers. Butera and Hoffer have the kind of magical onstage chemistry that made other comedy duos like Abbot and Costello, Laurel and Hardy, and Jack Lemmon and Walter Matthau so popular.

Brittany Lacey delivered a riveting performance as Ulla, the Swedish siren who steals Leo’s heart. Ultimately, Lacey steals the show with her sizzling rendition of “When You’ve Got It, Flaunt It.” Lacey can sing, dance, and act, but more than that, she has that extra, indefinable something that makes someone a star.

Evan Teich’s spot-on portrayal of Franz Liebkind, a German immigrant, crazed Nazi fanatic, and author of “Springtime for Hitler,” brought the house down. Teich is a natural-born comedian, and his hilarious rendition of “In Old Bavaria,” complete with a chorus of pigeons, was a showstopper. However, one of the funniest numbers in the show was “Der Guten Tag Hop-Clop,” with Leo and Max hopping, clopping, and flashing the bird as they reluctantly joined in the “Nazi Hoedown.”

Ryan Nolin and Scott Hofer (Photo: Courtney Gilmore, Theatre Three)Ryan Nolin’s depiction of Roger De Bris, the flamboyant gay director of “Springtime for Hitler,” had the audience in stitches when he entered wearing Ronald Green III’s outrageous costume design. De Bris was costumed to look like the Grand Duchess Anastasia, but De Bris whined that he looked like the Chrysler Building. Nolin’s hilariously campy depiction of Hitler was one of the show’s highlights. Another high point in the show was watching Debris and his charming sidekick, Carmen, convincingly played by the talented Jim Sluder, singing and dancing up a storm.

A big shoutout goes to the stellar ensemble who expertly portrayed a parade of characters: Jason Allyn, Sean Amato, Brian Frank, Will Logan, Liam Marsigliano, Edward Martinez, Ryan Van Nostrand, Melanie Acampora, Louisa Bikowski, Maryne Conner, Rachel Geiser, Rachel Greenblatt, Kaitlyn Jehle, Michelle LaBozzetta, Linda May, Cassidy Rose O’Brien, Isabella Scarpa, and Jillian Sharpe.

This parody spoofs just about everyone and everything, and there is undoubtedly something to offend everyone, so get your tickets and be prepared to be triggered in a way that tickles your funny bone!

The show runs through June 22, 2024. To purchase tickets or for additional information, please visit www.Theatrethree.com or call the Box Office at 631-928-9100.

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

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

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

By Cindi Sansone-Braff

Photos: Steve Ayle Showbizshots

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

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

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

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

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

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

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

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

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

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

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

Theatre Review: "Jersey Boys" At Engeman Theater

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

By Cindi Sansone-Braff

Photo credit:The John W. Engeman Theater

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

By Cindi Sansone-Braff

Photos: Peter Lanscombe, Theatre Three Productions, Inc.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

By Cindi Sansone-Braff

Photos: Steven Uihlein, Theatre Three Productions, Inc

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

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

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

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

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

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

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

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

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

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

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

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

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

By Cindi Sansone-Braff

Photos by Nick Sarnelli

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

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

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

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

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

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

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

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

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

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

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

By Cindi Sansone-Braff

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

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

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

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

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

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

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

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

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

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

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

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