The Gateway Brings Broadway to Bellport with "Irving Berlin's White Christmas"

The Gateway Brings Broadway to Bellport with “Irving Berlin’s White Christmas”

By Cindi Sansone-Braff

Photos:Jeff Bellante

If you’re dreaming of a white Christmas, just like the one you used to know, The Gateway’s “Irving Berlin’s White Christmas: The Musical” is the place to be! Jam-packed with some of the finest “Great White Way” actors and expertly directed by Randy Skinner,  the original choreographer for the 2008 Broadway production, this holiday classic brings the magic and wonder of Broadway to Bellport. 

With music and lyrics by Irving Berlin and a book by David Ives and Paul Blake, this two-act musical is based on the iconic 1954 film of the same name, which starred Bing Crosby, Danny Kaye, Vera-Ellen, and Rosemary Clooney.

The sensational score, overflowing with many well-loved standards from Berlin’s songbook, showcases various musical styles, including classic Broadway, swing, jazz, tap, and some of the most breathtaking ballads of all time. Berlin’s beloved hits call for an astute musical director, and Andrew Haile Austin brought his A-game to this production. The icing on this holiday treat is  Skinner’s 2009 Tony Award-nominated choreography, featuring tap, ballroom, fan dances, fancy footwork, and sky-high kicks. Under Skinner’s expert supervision, choreographer Mary Giattino, a former Rockette and Broadway veteran, successfully recreated the original Broadway choreography for Gateway’s production of “Irving Berlin’s White Christmas.”

The musical opens on Christmas Eve, 1944. As World War II rages on the Western Front, two showbiz buddies serving in the U.S. Army entertain war-weary troops with a festive holiday show. Belting out “Happy Holiday” and “White Christmas,” Jeremiah James as Bob Wallace and Jeremy Benton as Phil Davis commanded the stage with their stellar vocals. We’re also introduced to General Henry Waverly, brilliantly portrayed by Tom Galantich.

Flash forward to 1954 with Army veterans Wallace and Davis, now a successful song-and-dance team, following the Haynes sisters, a singing act, to a ski resort in Vermont known as the Columbia Inn, where they’re scheduled to perform a Christmas show. Kelly Sheehan as Judy Haynes and Marie Eife as Betty Haynes were perfectly cast in their respective roles. 

When Phil and Bob discover that Henry Waverly, their former General, owns the ski resort and is in financial trouble, they recruit their old army buddy, Ralph Sheldrake, a prominent television executive, to help save the inn. Cullen R. Titmas will play the role of Ralph Sheldrake in future shows; however, Glenn Girón did a fantastic job portraying Sheldrake during Saturday evening’s performance. As Martha Watson, the inn’s wisecracking concierge, Amy Bodnar gave a showstopping performance with her upbeat rendition of “Let Me Sing and I’m Happy.”

This musical incorporates several “shows within the show.” At Jimmy’s Back Room, Betty ((Marie Eife) and Judy (Kelly Sheehan) perform a fabulous rendition of “Sisters,” complete with a well-choreographed fan dance. One of the show’s highlights was Jeremy Benton and Kelly Sheehan’s tap-dancing extravaganza number “I Love a Piano.” Their sparkly black and white glitter costumes, designed by the talented Carrie Robbins, added a touch of class to the number. I loved the fabulous black evening gown Betty (Sheehan) wore during a heartrending scene at the Regency Room in New York City, where she delivers a sexy, sultry rendition of “Love, You Didn’t Do Right by Me.” In response, Jeremiah James gave a standout performance when he crooned “How Deep is the Ocean.”  “Blue Skies,” a big production number, was one of the show’s highlights. Everything from James’s magnificent vocals to the high-voltage choreography and the captivating costumes made this an unforgettable theatrical onstage moment.

Sonnie Betts and Sofia Da Costa-Wilson share the role of Susan Waverly. At Saturday’s opening night performance, Sonnie Betts gave an award-worthy performance as Susan, General Waverly’s precocious granddaughter. Betts has a charismatic stage presence and showcased her strong vocals during her solo, a reprise of “Let Me Sing and I’m Happy.”

Kudos to David L. Arsenault for his innovative set design, which flawlessly shifted from location to location, quickly transforming as needed into various settings such as a train car, the Columbia Inn, a Vermont barn, and The Regency Room.

The multi-talented ensemble includes Brian C Veith, Amy Persons, Glenn Girón, Evan Bertram, Sean Quinn, Daryn Polzin, Chase Fontenot, Maggie Bergman, David Benjamin Perry, Melissa Lynne Jones, Joseph Ryan Harrington, Elizabeth McGuire, Isaiah Mayhew, Keila Sue Wong, Josh McWhortor, and Michelle Lemon.

Treat your friends and family to this festive, feel-good musical, which reminds us to count our blessings! The show runs through December 29, 2024. Contact the Box Office at 631-286-1133 to purchase tickets or visit The Gateway.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.

"Charlie And The Chocolate Factory" At Engenmen Theater Is A Must-See

Catch Wonka Mania at The Engeman Theater

By Cindi Sansone-Braff

Matthew Eby (Charlie Bucket) and Sarah Colt (Mrs. Bucket)The John W. Engeman Theater’s latest production, “Charlie and the Chocolate Factory,” is a must-see show for the entire family. The magic begins the moment the mega-talented Cooper Grodin, rocking the role of Willy Wonka, steps out on stage and sings, “The Candy Man,” the signature song written by Anthony Newley and Leslie Bricusse for the 1971 musical fantasy film “Willy Wonka & the Chocolate Factory.”

The plot revolves around the enigmatic Willy Wonka and his ingenious marketing strategy to open the gates to his secret candy factory–but only to a lucky few who find one of the five Golden Tickets. The winners, Charlie Bucket, a nice boy from a low-income family and four naughty children from wealth and privilege, go on a life-altering journey through Wonka’s wacky world of pure imagination.

Steven Bidwell (Ensemble), Caroline Eby (Ensemble), Zoe Gillis (Ensemble), Howard Pinhasik (Grandpa Joe), Matthew Eby (Charlie Bucket), and Sarah Colt (Mrs. Bucket)This stage musical, with book by David Greig, music by Marc Shaiman, and lyrics by Scott Wittman and Marc Shaiman, is based on Roald Dahl’s beloved children’s novel “Charlie and the Chocolate Factory.” Dahl attributed his creative literary genius to a traumatic brain injury he suffered during World War II when his fighter plane crashed. 

Matthew Eby (Charlie Bucket)Sarah Colt (Mrs. Bucket), Matthew Eby (Charlie Bucket), and Howard Pinhasik (Grandpa Joe)It’s hard to fathom that Dahl wrote this hope-filled, life-confirming, rags-to-riches tale during the most heartbreaking years of his life. Although the seeds of the story had been incubating in his mind for decades, it wasn’t until 1960 that he began writing his first draft of a story entitled “Charlie’s Chocolate Boy.” Sadly, that same year, Dahl’s personal life took a sudden tragic turn when his 4-month-old son suffered a severe brain injury after a New York City cab hit the infant’s stroller. Dahl, a determined and devoted father, dedicated much of his time to his son’s recovery. He was still working on this children’s fantasy novel in 1962 when his seven-year-old daughter, Olivia, contracted measles and died from encephalitis. Dahl fell into a deep depression and was unable to write, but found solace in creating a beautiful garden to surround his daughter’s grave. After a bout of drugs and alcohol, he returned to writing and, in 1964, completed “Charlie and the Chocolate Factory,” a work that continues to bring boundless joy to millions of people.

The life-affirming themes in this show serve as a morality tale for children of all ages. Being entitled, selfish, and greedy might get us what we want in the short run, but in the larger scheme of life, these vices keep us from experiencing the happiness that comes from giving to others. This show also uses humor to demonstrate the dire consequences of not following safety rules. Most importantly, Willy Wonka and Charlie Bucket remind us to use our imaginations to “make something out of nothing.” 

Matthew Eby (Charlie Bucket) and Cooper Grodin (Willy Wonka)Although the show teems with meaningful messages, Dahl is never pedantic or preachy; instead, he offers his readers a delicious recipe for living balanced and productive lives. In 1988, two years before his death, Dahl wrote “Matilda,” a children’s novel espousing the evils of disciplining children with an iron fist, whereas, in this seminal work, he warns parents of the detrimental effects of allowing children to run rampant without being properly reprimanded. 

What makes Engeman’s production so unforgettable is the way the top-notch cast brought Dahl’s zany characters to life. Matthew Eby aced the role of Charlie Bucket, a kind, generous, grateful, and well-mannered child. Eby showcased his strong vocals throughout the show, and I loved his rendition of “A Letter from Charlie Bucket.” Sarah Colt gave a heartfelt performance as Mrs. Bucket, a self-sacrificing single mom who spends her days caring for her family and her nights working in a laundry. Colt’s beautiful voice was showcased during “If Your Father Were Here.” Howard Pinhasik brought humor and pathos to the role of Grandpa Joe, an avid storyteller and a man who gets a new lease on life when Charlie takes him on the chocolate factory adventure.

Oliver Cirelli had the audience in stitches with his comedic depiction of Augustus Gloop, a greedy and gluttonous boy, and Cáitlín Burke gave a noteworthy performance as Mrs. Gloop. One of the show’s highlights was Cirelli and Burke’s hilarious Bavarian folk dance number, “More of Him to Love.”

Mike Teavee, a cocky kid addicted to the boob tube, was expertly played by Luca Silva, and Molly Samson was convincing as Mike’s mother, a self-absorbed woman who likes to pop prescription pills and hit the bottle.

Cooper Grodin (Willy Wonka)London DelVecchio was outstanding as Veruca Salt, a Russian brat who throws temper tantrums to get her way. DelVecchio stole the show whenever she danced around in her pink tutu and tiara, acting like a spoiled prima ballerina. All decked out in a full-length white fur coat, James Channing, as Veruca’s Russian mob father, got some of the biggest laughs of the evening.

Briahna Gribben gave an award-worthy performance as Violet Beauregard, the Queen of Pop, who seeks fame and fortune as a chewing gum influencer. When she defied Wonka and popped an experimental piece of gum in her mouth, the audience laughed, watching her blow up like an oversized blueberry Zeppelin. Rickens Anantua, a charismatic actor, commanded the stage as Violet’s well-meaning but overindulgent father.

Alternating the children’s roles are Elliot Torbenson as Augustus Gloop,  Elyana Faith Randolph as Veruca Salt, Satya Mae Williams as Violet Beauregarde, and Benjamin Corso as Mike Teavee.

Watching all the fantastic special effects used throughout this magical production is worth the price of admission. My favorite scenes featured the Oompa-Loompas, the dancing Little People who act like a Greek chorus playfully chiding the four spoiled children for their unacceptable behaviors.

Brilliantly directed by  Drew Humphrey, with upbeat, exuberant choreography by Mandy Modic, the show kept the audience riveted. The rest of the creative team brought their A-game to the show. Kyle Dixon’s exquisitely crafted set, Dustin Cross’s colorful, festive costumes, the expert lighting by John Burkland, and the fantastic sound design by Laura Shubert made this one of the most animated shows you will ever see on any stage.

The talented ensemble includes Cate Benioff, Madeline Benoit, Steven Bidwell, Hero Dela Cruz, Caroline Eby, Zoe Gillis, Katelyn Harold, Alyssa Jacquline, TJ Kubler, Joi D McCoy, Mac Myles, Noah Pierre Pleunik, and Noah Ruebeck. 

“Charlie and the Chocolate Factory,” a not-to-be-missed holiday treat, runs through December 29, 2024. For a complete show schedule and more information, call 631-261-2900, go to the box office at 250 Main Street, Northport, or visit 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.

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.