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.

Theatre Review 'Sound Of Music' At Engeman Theater

By Cindi Sansone-Braff

Photos courtesy of  John W Engeman Theater

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

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

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

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

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

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

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

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

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

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

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

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

This warm and wonderful show will delight audiences of all ages, so treat the whole family! The show runs through Sunday, July 2, 2023. For a complete show schedule and more information, contact the theater directly at 631-261-2900, visit the box office at 250 Main Street, Northport, or visit www.engemantheater.com. 

Cindi Sansone-Braff is an award-winning playwright. She has a BFA in Theatre from UCONN and is a member of the Dramatists Guild. She is the author of “Grant Me a Higher Love,” “Why Good People Can’t Leave Bad Relationships,” and “Confessions of a Reluctant Long Island Psychic.” Her play, “Way Out,” is featured in the upcoming Rogue Theater Festival.

Theatre Review 'Something Rotten'

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

By Cindi Sansone-Braff 

Photos Ana McCasland, Theatre Three Productions, Inc.

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

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

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

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

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

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

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

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

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

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

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

Take the whole family to see this funny, fast-paced, and fabulous production of “Something Rotten.” The show runs through June 24, 2023. To purchase tickets, contact the box office at 631-928-9100 or visit www.theatrethree.com.

Cindi Sansone-Braff is an award-winning playwright. She has a BFA in Theatre from UCONN and is a member of the Dramatists Guild. She is the author of “Grant Me a Higher Love,” “Why Good People Can’t Leave Bad Relationships,” and “Confessions of a Reluctant Long Island Psychic.” Her play, “Way Out,” is featured in the upcoming Rogue Theater Festival.

Theatre Review 'The Mountaintop' Eastline Theatre

By Cindi Sansone-Braff

Photos by Anthony Noto

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

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

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

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

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

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

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

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

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

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

“The Mountaintop” will play at Westbury Arts through May 28th. Tickets are free with a $20 refundable reservation at eastline.ludus.com. These reservations are refundable in cash following each performance. More information is available at eastlinetheatre.org or by calling 516-749-5047.

Cindi Sansone-Braff is an award-winning playwright. She has a BFA in Theatre from UCONN and is a member of the Dramatists Guild. She is the author of “Grant Me a Higher Love,” “Why Good People Can’t Leave Bad Relationships,” and “Confessions of a Reluctant Long Island Psychic.” Her play, “Way Out,” is featured in the upcoming Rogue Theater Festival.

Theatre Review 'Evita' At Gateway Playhouse

By Cindi Sansone-Braff

Photo: Jeff Bellante 

An Electrifying “Evita” at The Gateway Playhouse

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

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

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

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

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

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

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

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

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

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

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

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

“Evita” runs through May 28. For more information, contact the Box Office at (631) 286-1133, or visit the website at https://TheGateway.org.

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

Theatre Review 'Capriccio Radio' At BACCA Center

By Cindi Sansone-Braff

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

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

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

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

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

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

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

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

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

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

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

Modern Classics Theatre Company of Long Island has an exciting 2023 season ahead, which features “The Laramie Project,” “Gimme A Minute One Minute Play Festival,” “The Curious Incident of the Dog in the Nighttime,” “The Crucible,” and “The Gingerbread Lady.” For ticket information and schedule, call: 516-236-5838 or visit their website: Mctli.com

Cindi Sansone-Braff is an award-winning playwright. She has a BFA in Theatre from UCONN and is a member of the Dramatists Guild. She is the author of “Grant Me a Higher Love,” “Why Good People Can’t Leave Bad Relationships,” and “Confessions of a Reluctant Long Island Psychic.” Her full-length Music Drama, “Beethoven, The Man, The Myth, The Music,” was produced in 2017 at the BACCA Center and is published by Next Stage Press. www.Grantmeahigherlove.com.

Theatre Review 'Pride @ Prejudice' At Theatre Three

By Cindi Sansone-Braff

Photos: Steven Uihlein, Theatre Three

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

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

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

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

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

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

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

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

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

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

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

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

Theatre Review 'Clue' At Gateway Theater

By Cindi Sansone-Braff

A Fun Whodunit at The Gateway

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

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

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

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

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

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

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

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

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

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

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

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

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

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

By Cindi Sansone-Braff

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

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

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

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

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

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

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

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

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

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

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

The show runs through Sunday, April 30, 2023. For a complete show schedule and more information, contact the theater directly at 631-261-2900, visit the box office at 250 Main Street, Northport, or visit www.engemantheater.com. 

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