Theatre Review: "Get On Your Feet" At Engeman Theater

By Cindi Sansone-Braff

The Rhythm’s Gonna Get You at Engeman Theater

Victor Souffrant (Emilio Estefan) and Alexis Semevolos-Velazquez (Gloria Estefan)On Your Feet! is a 2015 Broadway musical that follows the 26-time Grammy Award-winning husband and wife team, Emilio and Gloria Estefan, on their journey to superstardom. The musical features many of their record-breaking smash hits, including “Rhythm is Gonna Get You,” “Conga,” “1.2.3,” “Get On Your Feet,” plus an original ballad written for the musical by Gloria and her daughter Emily Estefan, “If I Never Got to Tell You.”

Alexis Semevolos-Velazquez (Gloria Estefan) and EnsembleThis is one of those rare jukebox musicals where the songs fit the show because they are part and parcel of the story of Gloria and Emilio. On Your Feet takes you behind the music and inside the real story of the obstacles, prejudice, and heartbreak this dynamic duo experienced along the way. Alexander Dinelaris penned this well-crafted, well-paced show, and the music and lyrics are by Gloria and Emilio Estefan & Miami Sound Machine.  

The enormously talented Sandalio Alvarez choreographed this show using an eclectic assortment of dance styles, including salsa, conga, traditional Cuban dances, modernAlexis Semevolos-Velazquez (Gloria Estefan) and Ensemble dance, as well as two-party dances: the Electric Slide and the hora.

The exquisite costumes by the gifted Cecilia X. Gutierrez were colorful and beautifully constructed. The spectacular outfits Ms. Estefan wore replicated many of the costumes she donned onstage throughout her career. This included the blue gown she wore at the American Music Awards when she gave a heartrending performance of “Coming Out of the Dark,” marking her first staged appearance after the 1990 bus accident that broke her back. 

The fantastic live band conducted by the keyboardist, Erika R. Gamez, added excitement and realism to the musical. A special shout-out goes to all the talented musicians, including Ray Sabatello, Gary Meyer, Russell Brown, Jim Waddell, Brent Chiarello, Brian Lewis, and Kevin Twigg.

Sofia Jarmel (Little Gloria) and Vincent Ortega (Ensemble) Alexis Semevolos-Velazquez, in the challenging role of Gloria Estefan, carries the show with her powerful pipes, strong acting ability, dynamic dance moves, and charisma. She gave a riveting performance with the upbeat hit “Live for Loving You.” Victor Souffrant was believable as Emilio Estefan. As an actor, Mr. Souffrant has a wide-emotional range and revealed Mr. Estefan’s innate psychological strength and his vulnerable side, especially when he encountered his less-than-welcoming mother-in-law. Mr. Souffrant created theatrical magic with his passionate delivery of the beautiful love song “Don’t Wanna Lose You,” as he grapples with ways to help his wife get through her terrible ordeal. Watching Gloria struggle through her arduous physical therapy session made the title of the musical, “On Your Feet,” take on a deeper meaning. The engine that fueled this show was the tremendous onstage chemistry between Ms. Semevolos-Velazquez and Mr.Souffrant. Their passionate duet during Act 1, “Here We Are,” was one of the show’s highlights.

Victor Souffrant (Emilio Estefan), Alexis Semevolos-Velazquez (Gloria Estefan) and Ensemble Carol Beaugard gave a stellar performance as Consuelo, Gloria’s feisty, funny, supportive, and outspoken grandmother. Nicole Paloma Sarro was excellent as Gloria Fajardo, Ms. Estefan’s troubled, critical, often judgmental mother, who was jealous of her daughter’s musical success. One of the most moving scenes in the show occurred in Act II. Ms. Estefan and her mother had been estranged for two years, but after the bus accident, her mother came to the hospital filled with remorse and regret. Ms. Sarro gave a moving rendition of “If I Never Got to Tell You,” and a cathartic and healing moment happened between her and her son-in-law, Emilio, when he joined her in singing this melancholy song. I could hear audience members sobbing during this moving duet, and when I looked over at my husband, I saw tears streaming down his cheek, mirroring my own.

Victor Souffrant (Emilio Estefan), Luca Silva (Nayib), Alexis Semevolos-Velazquez (Gloria Estefan) and Ensemble David De Almo gave an outstanding performance with his spot-on portrayal of Phil, the close-minded, stingy, and unyielding record label executive. One of the funniest moments in the show occurred during the showstopping “Conga” number, where Phil made a complete turnaround in his thinking when he realized the powerful effect Miami Sound Machine’s new music had on audiences.

Ryan Morales was brilliant as Jose Fajardo, Gloria’s father. His moving duet “Cuando Salí De Cuba” with Sofia Jarmel, as Little Gloria, opened the show on a high note. Ms. Jarmel is a rising star and gave a memorable performance as the shy, younger version of Ms. Estefan.

Gabriela Moscoso, as Gloria’s younger sister, Rebecca Fajardo, gave a heartwarming performance throughout and revealed her vocal prowess in her duet with her sister, “Anything for You.”

Luca Silva played the Estefan’s son Nayib, as well as young Emilio, Little Elvis, and Jeremy. That’s a lot of parts for a little fellow to play, but he aced them all, proving he is a true professional.

The stellar ensemble includes Mathew Bautista, Stevie Bovo, Camila Cardona, Anthony Cataldo, Sharlane Conner, Jasmine Maldonado, Susan Oliveras, Vincent Ortega, Facundo Agustin, Oscar Antonio Rodriguez, Rodolfo Santamarina, Luca Silva, and Marina Vidal.

Victor Souffrant (Emilio Estefan) and Ensemble I rarely, if ever, want to see a Broadway musical a second time, but I could see this production ten times in a row and still not have enough of it. You don’t have to be a Gloria and Emilio & Miami Sound Machine fan to love this show, but you will undoubtedly become a fan after seeing it. You will laugh. You will cry. You will dance in your seat and leave humming at least one of the songs. If I had to describe the Engeman Theater’s production of On Your Feet in one word, I would say: exhilarating!

The show runs now through August 28, 2022. To purchase tickets or for more information, contact engemantheater.com or Box Office: 631-261-2900.

Cindi Sansone-Braff is an award-winning playwright. She has a BFA in Theatre from UCONN and is a member of the Dramatists Guild and the Long Island Authors Group. 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. www.Grantmeahigherlove.com.

Theatre Review 'Little Mermaid'

The Gateway’s Little Mermaid is a Magical Show for Children of all Ages

By Cindi Sansone-Braff

Photo by Jeff Bellante

Disney’s The Little Mermaid is a musical based on Hans Christian Andersen’s fairytale and the beloved 1989 animated film. The music is by Alan Menken, lyrics by Howard Ashman and Glenn Slater, and the book is by Doug Wright. The story revolves around Ariel, a beautiful mermaid princess, who falls in love with a human, Prince Eric. Ariel makes a deal with the evil sea witch, Ursula, to trade her tail and voice for legs. The bargain is not what it seems, and Ariel needs the help of her colorful friends, Flounder, Scuttle, and Sebastian, to restore order under the sea. 

This is a visually stunning production, with well-conceived set designs, projections, sea-colored fabrics, high wires, lighting, and sound effects, which all came together to create a magical kingdom under the sea. The many underwater scenes are breathtaking, including Ariel spinning from the bottom of the ocean to the water’s surface and Prince Eric’s near-drowning escapade. The ship sailing on the high sea and the rowboat scene are well engineered, and Scuttle’s flying scenes enthralled the audience.

Brilliantly directed by Larry Raben, with upbeat, energetic choreography by Debbie Roshe, expert musical direction by Charlie Reuter, and exquisite costumes by Amy Clark and Mark Koss, this is the perfect summer show for the entire family.

Emily Grace Tucker is the quintessential Disney princess, graceful, charismatic, and lovable. Ms. Tucker’s angelic voice was perfect for her solo “Part of Your World” and for her musical asides, which revealed her inner thoughts. As Prince Eric, her human love interest, the multi-talented Patrick Ortiz delivered a perfect performance with his charming stage presence and beautiful singing voice. He aced the beautiful ballad “Her Voice” and performed a phenomenal rendition of “One Step Closer.”

Jeremy Gaston made a most likable Sebastian. His upbeat delivery of “Under the Sea,” accompanied by the Sea Creatures, was an audience favorite, as was his pitch-perfect rendition of “Kiss the Girl.”  

Cait Zuckerman gave a riveting performance as Ursula, the manipulative and diabolical sea witch. Her magnificent costume, complete with tentacles, gave her an ominous, larger-than-life appearance. The audience appeared spellbound as she belted out “Poor Unfortunate Souls,” surrounded by her sinister electric eels, Jetsam, played by Louis Williams Jr., and Flotsam, played by Joe Hornberger. Mr. Hornberger and Mr. Williams looked devious in their light-up, skintight costumes, slithering around on their hoverboards.

David Engel as King Triton, donning a majestic costume, was a force to be reckoned with. He commanded the stage and was believable as the ruler of the sea and the father of Ariel and the Mersisters. He revealed his strong vocals in his sorrowful solo “If Only (Triton’s Lament). The second act reprise of “If Only (Quartet)” was a showstopper, again revealing the powerhouse vocals of King Triton as well as Ariel, Prince Eric, and Sebastian.

Jim Borstelmann’s outstanding portrayal of Scuttle, the know-it-all seagull, received some of the biggest laughs of the evening, whether he was flying about the stage or delivering his witty lines and malapropisms with expert comedic timing. The audience showed their approval by clapping wildly when he finished his hilarious rendition of “Positoovity,” accompanied by the Gulls.

Steve Brady as Grimsby, Prince Eric’s prim and proper valet, masterfully executed this part, and the audience got a kick out of him as he pounded his staff on the ground, demanding that the princesses stop their horrific singing during “The Contest.”

My favorite performer among this stellar cast was Adolpho Blaire, who gave an unforgettable performance as Chef Louis. This part calls for an adept comedic performer, and Mr. Blaire had the audience in stitches as he prepared a gourmet seafood dinner, all the while using his sharp kitchen cutlery to accent his passion for cooking and beheading fish.     

Addison Wasylyshyn, as Flounder, Ariel’s loyal guppy friend, played this part with just the right amount of spunk and innocence.  One of the show’s highlights happened when Flounder joined the Mersisters singing and dancing along with the fun do-wop song “She’s in Love.”

Another audience favorite was “Daughters of Triton,” when the Mersisters strutted about the stage wearing colorful mermaid costumes and wigs.  

Kudos to the talented ensemble Saki Masuda, Cait Zuckerman, LaTarika Pierce, Ari Glauser, Emma Schultz, Kaitlin Niewoehner, Kaitlyn LaGrega, Shannon Conboy, Corrie Newman, Nico DiPrimio, Zare Anguay, Josh McWhortor, Logan Dolence, and Joshua Keen; and swings Grace Benedetto, Matthew Rafanelli, Jaye Pegg, and Michael Marziliano.

The Gateway’s spectacular production of The Little Mermaid has all the magic and wonder you would expect from any Disney show.

The show runs through August 7, 2022. Tickets are on sale now and can be purchased as a curated or flexible subscription - giving you the best value on ticket prices or purchase a single ticket (starting at $59). Please take advantage of their Youth Ticket Price for Disney’s The Little Mermaid. Ages 5 - 16, Kids Half Off! For more information, contact the Box Office at (631) 286-1133, or visit the website at 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 and the Long Island Authors Group. 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. www.Grantmeahigherlove.com.

Theatre Review: 'Something Rotten'

Something Rotten is a Must-See Musical Comedy at BayWay Arts Center

By Cindi Sansone-Braff

Photos Lisa Schindler

Studio Theatre’s Bayway Arts Center kicks off its third season with the Long Island Regional Premiere of the Broadway smash-hit Something Rotten.  If you liked Spamalot, Urinetown, and The Producers, you will love this bawdy musical comedy.

Something Rotten at Studio Theatre’s Byway Arts CenterSomething Rotten, created by Grammy-award-winning songwriter Wayne Kirkpatrick and accomplished screenwriters Karey Kirkpatrick and John O’Farrell, received a whopping 10 Tony-award nominations in 2015. This uproarious musical lampoons Broadway musicals and classic theatre. There are allusions to at least 20 other Broadway scores, with many references to the Shakespearean canon thrown in the mix to keep audiences on their toes!

Set in England during the 1590s, Something Rotten features a large cast of over-the-top wacky characters starting with the fraternal playwriting team, Nick and Nigel Bottom. They are about to lose their patronage unless they come up with a smash hit. The main obstacle blocking their success is the Renaissance superstar, Shakespeare, who is stealing everyone else’s thunder. Desperate for answers, Nick consults a soothsayer, Thomas Nostradamus, hoping to discover the next big thing in theatre. The clairvoyant predicts that “musicals” will be all the rage in the future, and the brothers set out to write one.

Something Rotten at Studio Theatre’s Bayway Arts CenterSteven Cottonaro is most convincing as Nick, a frustrated and penniless playwright. His animosity toward the Bard is glaringly apparent from the show’s start when he belts out the song, “God, I Hate Shakespeare.” Bea, his long-suffering wife, portrayed to perfection by the very talented TracyLynn Conner, is a woman ahead of her time. She wants to work but has to pretend to be a man to do so. Ms. Conner gave a powerful rendition of “Right Hand Man,” a heartfelt plea to her husband to allow her to help him in his time of need. Ms. Conner also served as the vocal director of this production. Under her astute direction, the talented singers and the entire ensemble hit all the right notes and delivered their songs with passion and boundless energy. Ms. Conner is one of my favorite performers, and I was blessed to have her star in my romantic comedy, Angel’s Mice and Men, in 2019 at the Hudson Guild Theater in New York City.

F.M. Grossman revealed his comedic genius portraying the part of Thomas Nostradamus, the renowned seer’s nephew. One of the funniest numbers in the show was “A Musical,” and Mr. Grossman’s noteworthy performance had the audience in stitches.

C.J. Russo gave a stellar performance as Nigel, a passionate man who loves poetry. He falls in love with Portia, masterfully played by Jenna Halvorsen. There was plenty of onstage chemistry between Nigel and Portia, and they aced their duet “I Love the Way.” Ms. Halvorsen is a rising star. She has an angelic voice, exceptional acting skills, and a charismatic stage presence. Dennis Creighton was sheer perfection as Brother Jeremiah, Portia’s judgmental, Bible-toting, scripture-quoting father, who believes that all theater, music, and poetry is the work of the devil. In the fantasy song and dance number “We See the Light,” Mr. Creighton received some of the biggest laughs of the evening.

Something Rotten at Studio Theatre’s Bayway Arts CenterNick and Nigel’s nemesis, Shakespeare, wearing skintight leather pants, struts about the stage like a rock star. Kevin Russo rocked the part of Shakespeare, and he stole every scene he appeared in with his powerhouse vocals and hip gyrations. 

Londel Collier opened the show on a high note with his pitch-perfect rendition of “Welcome to the Renaissance.” Robert Budnick received belly laughs as the comic character Shylock, a Jewish money lender. Shylock lets the audience know that this is the only job he is allowed to do as a Jew, but his real passion is theater. Christopher Crosby demonstrated his expert comic timing in his dual roles, that of Lord Clapham, the patron of the theatre, and the Minister of Justice.

Nicole Ashlee Bianco’s ebullient choreography alone is worth the price of the ticket. The audience particularly loved the tap dance numbers. The authentic Elizabethan costumes and wigs by Joe Kassner added a touch of realism to this slapstick musical. Some of the costumes in the fantasy numbers were riotous, like the sunny-side-up egg and omelette outfits the ensemble donned during the high-energy song and dance number “Make An Omelette.”

Kudos to the top-notch ensemble, including Daniel Bishop, Londel Collier, Julia Durfee, Olivia Giorgio, Katelyn Harold, Thomas Higgins, Ashley Huber, Will Logan, Arianna McMorris, Kate Russo, Abby Semelsberger, Kaela Steinbrenner, Dominic Trivigno, Kiernan Urso, Michelle Vicale, and James Lombardi. In 2017, James was in my play Beethoven’s Promethean Concerto in C Minor Wo0 at the BACCA Arts Center in Lindenhurst. He was phenomenal in that production and this one as well!

Something Rotten is a massive production to stage, but BayWay has succeeded spectacularly. Brilliantly staged and directed by Rick Grossman, this production of Something Rotten is bursting with non-stop energy, breathtaking song and dance numbers, fabulous costumes, stellar acting, and an incredible live orchestra. You don’t want to miss this must-show which runs until July 24.

For ticket information, call the box office at 631-226-8400 or go to their website at: https://www.studiotheatrelongisland.com/purchase-tickets.

Cindi Sansone-Braff is an award-winning playwright. She has a B.F.A. in Theatre from UCONN and is a member of the Dramatists Guild and the Long Island Authors Group. 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. www.Grantmeahigherlove.com.

Theatre Review 'Every Brilliant Thing'

Theatre Review by Cindi Sansone-Braff

Photo Credit: Steve Ayle

A Million Reasons to See Theatre Three’s Every Brilliant Thing

Every Brilliant Thing, written by Duncan MacMillan with Jonny Donahoe, shows the audience and the world a million reasons why life is always worth living. Take, for instance, these first five reasons written by the protagonist of this play, when he was a seven-year-old boy, to his hospitalized, depressed, and suicidal mother:

1. Ice cream 2.Water fights 3.Staying up past your bedtime and being allowed to watch TV 4. The color yellow 5. Things with stripes.

As this son gets older, his life-affirming list takes on a life of its own and, over time, becomes a whopping million reasons as to why we should always choose life. I would add to this million “Brilliant Things List” two more things: Jeffrey Sanzel’s award-worthy performance in Every Brilliant Thing at The Ronald F. Peierls Theatre on Theatre Three’s Second Stage; and Linda May’s precision perfect direction, which brought out all the humor, pathos, and positive messages this show is imbued with.

With audience members recruited to take on supporting roles, Every Brilliant Thing is a heartrending, laugh-out-loud funny show about some serious topics: depression, mental health, and suicide prevention. This dark comedy explores a son’s heartfelt attempts to help his mother combat her unrelenting depression by showing her all the beautiful things life has to offer. As the play progresses, we watch him struggle with his own anxiety and depression issues that plague him.

As a side note, the main character remains nameless throughout the play. Like the character Everyman in the 15th-century morality play, The Summoning of Everyman, the protagonist in this drama represents all humankind and the trials and tribulations individuals must endure during their soulful journey through life.

During the production, the audience is comfortably seated on little round tables strategically placed in front of the stage. Before the show began, the actor, Mr. Sanzel, handed out numbered pieces of paper to audience members that included a brilliant reason why life is worth living. I was given two pieces of paper with the words “hugging” and “alcohol” on them. Both times when my numbers were called, I was so deeply engrossed with Mr. Sanzel’s performance that my husband had to nudge me to remind me to perform my small part!

Mr. Sanzel, as the loving, troubled son, gave a riveting, honest, deeply moving performance that took the audience on a wild roller coaster ride of emotions ranging from sorrow to joy, from unbearable pain to healing, from tears to laughter. This is a challenging play for any actor to perform because of the serious nature of the subject matter. Also, it is essentially a one-person play, with an enormous amount of dialogue to memorize. Additionally, there are many improvisational moments between the actor and audience members; thus, no two performances will ever be the same, and an actor has to be quick-witted and flexible to adapt to these unpredictable onstage moments. Mr. Sanzel revealed himself to be a master storyteller and demonstrated his stellar acting and comedic skills throughout the show.

This minimalistic, one-act, dark comedy is theater at its best, proving that for a show to be a success, it doesn’t need a lot of glitz and glamour to entertain, educate, and enthrall an audience.

The monumental takeaway from this show is the truism that we always have to look toward tomorrow, that although tomorrow may not always be brilliant, it will be better! This play inspires us to talk about topics that make us feel uncomfortable, whether we share memories of those we have lost to suicide, our own experiences with bouts of depression, or struggles with our personal “to be or not to be” thoughts. I learned another valuable piece of information while talking to Mr. Sanzel after his electrifying performance: as of July 16, 2022, all across the United States, 988 has been designated as the new three-digit dialing code that will route callers to the National Suicide Prevention Hotline. This is another brilliant thing to celebrate!

This play runs approximately one hour, has no intermission, and will be performed every Sunday at 3 pm through August 28, 2022, with fifty percent of the gross proceeds of this production benefiting the Response Crisis Center. For more information, please visit www.theatrethree.com or Call the Box office: 631-928-9100.

CONTENT WARNING: Although the play balances the struggles of life while celebrating all that is “truly brilliant” in living each day, Every Brilliant Thing contains descriptions of depression, self-harm, and suicide. It is recommended that only audience members 14 and older attend. If you or somebody you know is struggling, we are here to talk 24/7 at 631-751-7500 or the National Lifeline at 1-800-273-8255.

Cindi Sansone-Braff is an award-winning playwright. She has a B.F.A. in Theatre from UCONN and is a member of the Dramatists Guild and the Long Island Authors Group. 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. www.Grantmeahigherlove.com.

Theatre Review: Head Over Heels-The Go-Go's Musical

By Cindi Sansone-Braff

The Gateway’s Long Island Premiere of Head Over Heels is a “Beautiful” Way to Celebrate Pride Month

Head Over Heels – The Go-Go’s Musical, running now through June 26, is The Gateway Playhouse’s first show of their new year-round season. This bawdy Elizabethan-era farce, complete with plenty of anachronistic jokes, follows the escapades of a royal family and their subjects as they explore gender fluidity, sexual awakening, the real meaning of beauty, and ultimately– acceptance.   Me thinketh the theme that “only loves matters” and “love is love” are befitting messages for any musical! Add the additional themes of “live your truth” and “find your true identity,” and you have the stuff of a hit show that leaves you feeling like there is hope for humanity after all.  

Head Over Heels – The Go-Go’s MusicalThis 2018 Broadway jukebox musical utilizes the music and lyrics from the catalog of the iconic 1980’s all-female rock band, “The Go-Gos.” The inspiration for this musical came from Sir Philip Sidney’s Renaissance pastoral romance “Arcadia.” Jeff Whitty conceived the show and wrote the original book, which James Magruder later adapted.

Belinda Carlisle’s “Heaven is a Place on Earth” and “Mad About You” are two songs also featured in this musical, and they were my favorite numbers in the show. “Heaven is a Place on Earth” had a sensual, steamy, shadow love scene that was breathtaking to behold. The energetic reprise of “Mad About You,” featuring the entire company, was a showstopper.

The musical opens with the entire company giving a rousing performance of the mega-hit “We Got the Beat,” which lets the audience know they are in a for a merry musical treat. 

As for vocalists, this show is chockful of major talents. Gina Ward as Mopsa, the Viceroy’s strong-willed daughter, and Renee Marie Titus as Pamela, the vain, oldest princess daughter, gave standout performances when they belted out the hit song “Turn to You.” Ms. Titus also rocked the song “Beautiful,” displaying her comedic acting skills as well during this number.  

Tyson Jennette as Basilius, the pompous King of Arcadia, and Jennifer Byrne, the bored, sometimes dutiful, sometimes sexually adventurous Queen Gynecia, gave memorable performances during the duet “This Old Feeling.” Ms. Byrne is a comedic genius, and with just a mere facial expression or wave of her hand, she had the audience roaring with laughter. She surprised the audience when she gracefully slid into a split, letting us know she could dance up a storm!

Molly Rushing as Philoclea, the younger princess daughter, smitten with a low-stationed shepherd boy, had an angelic voice and graceful demeanor reminiscent of a reserved Disney princess. Her moving rendition of “Here You Are,” where she opens her heart to her would-be lover, was one of the show’s highlights.

Josh Canfield portrays Musidorus, a shepherd who dresses in drag to win the hand of Philoclea.  Mr. Canfield displayed his comedic skills during a hilarious scene where he alternates between being the object of the queen’s desire, flexing his muscles to reveal his masculine side, and wiggling his hips sensuously, displaying his goddess energy, enticing the king. Mr. Canfield also delivered a knockout performance during “Mad About You,” joined by the Male Ensemble, who aced this number.

Turner Riley as Pythio, the Oracle of Delphi, an ethereal, non-binary soothsayer, who delivers four dire prophecies to King Basilius, wore some of the most breathtaking costumes in the show. Pythio, who likes to be referred to by the pronouns they/them, gave a riveting performance, accompanied by the sensuous Snakelets, to the song “Vision of Nowness.” 

Some of the campiest moments in the play came from Steve Brady as Dametas, the King’s Viceroy. He has a strong singing voice, and his acting ability was equally impressive.

Special mention goes out to Grace Benedetto, Delaney Gruber, Ashton Hololob, and Jaye Pegg, the glorious offstage voices that added harmony and depth to many songs.

This modern-day fairytale, complete with a “Happily Ever After” ending, was directed and choreographed with finesse and exacting precision by veteran director Keith Andrews with collaboration from Vincent Ortega and music direction by Andrew Haile Austin. 

The ultra-talented ensemble members included Lincoln Belford, Shannon Conboy, Jesse Jones, Maya Kazzaz, Ashley Klinger, Gracie Phillips, Vincent Ortega, and Jordan Vasquez. This versatile group of performers displayed a kaleidoscope of kinesthetic wonders throughout the show, from sky-high kicks to flips and cartwheels and even scooting by on a unicycle. Their nonstop energy and enthusiasm were the glue that held this rambunctious musical together.

The Gateway’s production of Head Over Heels features the original Broadway scenic design by Julian Crouch and original Broadway costumes designed by Arianne Phillips, adding another level of professionalism to this polished to perfection show. Throw in a live orchestra, lively choreography, powerhouse vocals, fun pop-up sets, and a triumphant finale, and Gateway has got themselves a must-see musical.

Tickets are on sale now for the full season and can be purchased as a curated or flexible subscription – giving you the best value on ticket prices and many other great benefits – or as single tickets (starting at $59). Teen and youth prices are available for select shows. For more information, contact the Box Office at (631) 286-1133, or visit the website at 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 and the Long Island Authors Group. 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. www.Grantmeahigherlove.com.

Theatre Review: Kinky Boots

By Cindi Sansone-Braff

Kick off the Summer Season with Engeman’s Sizzling Production of Kinky Boots

The John W. Engeman Theater’s sizzling production of Kinky Boots held the audience spellbound from the moment the cast stepped on stage to the phenomenal finale. This high-energy, high-spirited, high-heeled extravaganza runs through July 3.   

Front: Omari Collins (Lola); Back:Jaye Jackson (Angel), Kevin Scott (Angel), Kodiak Thompson (Angel), Kyle Fleig (Angel)In 2013, Kinky Boots, the Broadway musical, won every major award, including the Tony® Award for Best Musical! The source material for this show came from Tim Firth and Geoff Deane’s 2005 British movie which was inspired by true-life events. The fabulous pop, new wave, funk, and tango songs are by the unforgettable 80s icon Cyndi Lauper, and the book is by the beloved Broadway legend Harvey Fierstein.

This big-hearted musical revolves around Charlie Price, a man who reluctantly inherits a shoe factory from his father. To save the business from bankruptcy, he partners with Lola, a drag queen, to create a line of sexy, over-the-top, high-heeled boots.

Front: Omari Collins (Lola), Zach Hess (Charlie Price), Edward Juvier (George); Back: Demetrio Alomar (Don), Suzanne Mason (Trish), Kristen Antoinette Kane (Pat), Lily Kaufmann (Lauren)Kyle Dixon has created a fun-to-watch, flexible, multi-level set design with slides, steps, and plenty of moving parts that allow the cast to strut their stuff in style. The glamorous costumes, wigs, and outlandish boots were stars themselves; therefore, Kurt Alger deserves a standing ovation for designing them. Natalie Malotke’s outstanding choreography gave this show an intense physical dynamism that sustained itself throughout the production.

Omari Collins ultimately powers the show as Lola, the cabaret performer and drag queen. Mr. Collins is a triple threat with his tremendous acting, dancing, and singing skills. He showcased his powerhouse vocals during the sassy “Sex Is in the Heels” number. Joined by his entourage of drag queen dancers, known as Angels, this scene was a real showstopper. Just walking on six-inch stilettos can be an athletic event, but the way Lola and the Angels danced in them, well, seeing that was worth the ticket price alone. Mr. Collins, wearing a dazzling white gown, gave a heartrending performance of the sublime and deeply moving song “I’m Not My Father’s Son.” He was then joined by Zach Hess as Charlie Price, who further knocked this moving ballad out of the ballpark. This revelatory moment helped cement their business relationship when they both realized that they were struggling with the same issue: how to assert their true identities despite their fathers’ expectations.

Front: Edward Juvier (George), Back: Ensemble and AngelsZach Hess shines in the role of Charlie Price, the straight-laced factory owner who doesn’t necessarily want to follow in the footsteps of his father. Mr. Price was portrayed with all the power of a true patriarch by the very talented David McDonald. Mr. Hess’s voice was perfect as he belted out the pop-infused tune “The Soul of a Man.” Mr. Hess’s Charlie. had palpable onstage chemistry with Lily Kaufmann as Lauren, a factory worker who had a wicked crush on him. Ms. Kaufmann received some of the biggest laughs of the evening with her hilarious rendition of “The History of Wrong Guys,” a song so many women can relate to! Sofie Flores, as Nicola, Charlie’s fiancé, was compelling as an ambitious woman who knows what she wants but doesn’t always get it. During the London Pub scene, Charlie Fusari as Harry and Mr. Hess as Charlie gave riveting performances in the duet “Take What You Got” 

Full CompanyDemetrio Alomar gave a memorable performance as Don, the macho, arrogant factory worker who starts out as Lola’s nemesis. However, when he steps out in a pair of high-heeled boots during the finale, we know Lola’s good nature has won him over, and he has come to learn an important lesson in humility and acceptance.

Edward Juvier displayed his comedic abilities every time he stepped on the stage as George, the reserved factory manager, who lets it all hang out under the free-spirited influence of Lola. 

The amazing Sextet of drag artists, Damien DeShaun Smith, Elijah Dillehay, Kyle Fleig, Jaye Jackson, Kevin Scott, and Kodiak Thompson, dazzled the audience with their exotic costumes and athletic dance moves, including some impressive cartwheels and splits.

The multi-talented, high-energy ensemble added greatly to the overall success of this show. Kudos to Gary Paul Bowman, Caroline Huerta, Kaisha Huguley, Kristen Kane, TJ Kubler, Suzanne Mason, and Caitlin Lester-Sams. They gave knockout performances during the rousing ensemble number “Everybody Say Yeah.”

Front: Demetrio Alomar (Don); Back: David McDonald (Mr. Price/Ensemble), Suzanne Mason (Trish), Charlie Fusari (Harry), Edward Juvier (George)Expertly directed by Igor Goldin, this production has one of the most electrifying finales you will ever see. The Full Company, donned in breathtaking costumes, sang, and danced their hearts out. It’s no wonder the audience gave this sensational show an enthusiastic standing ovation.

Kinky Boots is filled with glitz, glamor, heart, soul, and an abundance of humor that will leave you feeling uplifted, energized, and filled with the joy of life. Oh, you might want to try the six-step Kinky Boots philosophy of success: 1) Pursue the truth. 2) Learn something new. 3)Accept yourself, and you’ll accept others. 4) Let love shine. 5) Let pride be your guide. 6) You can change the world when you change your mind.  

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 and the Long Island Authors Group. 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. www.Grantmeahigherlove.com.

Theatre Review 'A Bronx Tale'

Engeman Theater’s A Bronx Tale: The Musical Earns a Rousing Standing Ovation Opening Night

By Cindi Sansone-Braff 

This review is dedicated to the loving memory of Jeb Ladouceur, my predecessor. A great writer, drama critic, and friend who I can only hope to emulate. 

Chazz Palminteri and the cast of A BRONX TALE THE MUSICALA few years back, I was blessed to see Chazz Palminteri perform his semi-autobiographical one-man show, A Bronx Tale, at the Patchogue Theater. Written in 1989, this play was based on a brutal killing Mr. Palminteri witnessed on Belmont Avenue in the Bronx when he was nine years old. The original one-man show, where Mr. Palminteri portrayed 18 different characters, inspired the acclaimed movie of the same name, and A Bronx Tale: The Musical.

Robert De Niro and Jerry Zaks co-directed the 2016 Broadway musical production, with a book by Chazz Palminteri. Two beloved Disney veterans, Alan Menken and Glenn Slater, were recruited as the composer-lyrist team for this show. Menkin’s score, a mix of up-tempo Motown, rhythm-and-blues, doo-wop songs, and ballads, was period appropriate for the show, and Slater’s well-crafted lyrics helped advance the plot.

When I first entered the theater, I was blown away by Kyle Dixon’s stunning urban set depicting rows of apartment buildings lining Belmont Avenue with their front stoops, fire escapes, and the requisite neighborhood favorite go-to place: the corner bar.

Chazz Palminteri, the cast and creative team of A BRONX TALE THE MUSICALThe musical opens in a 1960s Italian-American enclave in the Bronx, where a young, impressionable man must decide what kind of a person he truly wants to be for the rest of his life. Should he aspire to be a good, hardworking man like his father, who had little to show for all his labors, or become like Sonny, the smooth-talking, wealthy, powerful crime boss, who was treated like a god?

This show tackles some heavy themes such as respect, conflicted loyalties, integrity, love, family, gang violence, mob crime, segregation, and racial strife. 

Kudos to Paul Stancato, the very talented director and choreographer of this slick and skillfully assembled production. The dance numbers were athletic, high-energy ones, and executed with expert precision by the talented dancers. 

Mike Cefalo shines as Calogero, a likable Italian-American teenager who is the musical’s central character and the show’s narrator. Mr. Cefalo displayed his versatile acting skills and strong vocals throughout the show. 

A few blocks away from Belmont Avenue is Webster Avenue, an African-American neighborhood where Jane, Calogero’s love interest, lives. Having an interracial relationship back in 1968 was a considerable obstacle for a young couple to overcome; therefore, a great source of angst for Jane and Calogero. This star-crossed lovers’ plotline added another layer of drama to the story. Mackenzie Meadows was sheer perfection as Jane, and she and Mr. Cefalo showcased their powerhouse vocals when they belted out “In a World Like This.”

Michael Deaner, a gifted child actor and spectacular singer, brings a streetwise edge and infectious energy to his role as the Young Calogero. His noteworthy rendition of “I Like It,” joined by the DooWop Group and the Ensemble, was a real showstopper! He revealed his spot-on comedic skills during the hilarious song “Roll ‘em,” where the precocious nine-year-old learns to shoot craps.   

Charlie Marcus was convincing as Lorenzo, Calogero’s hardworking, loving father. He delivered a genuinely heartrending performance when he gave his young son some sound paternal advice during the song, “Look to Your Heart.” 

As Rosina, Lorenzo’s loving wife, and Calogero’s devoted mother, Shaina Vencel gave a knockout performance when she sang the maternal reprise of “Look to Your Heart” to her teenage son.

Sonny, the charismatic, feared, and revered mobster, was brilliantly played by Mike Keller. Mr. Keller commanded the stage with every gesture, move, and word he uttered. Mr. Keller knew how to make the audience fall in love with Sonny one moment and despise him the next. Although he could be tough as nails with his crew, Sonny had a soft spot for Calogero, and the interactions between him and the Young Calogero were some of my favorite scenes. His heartfelt rendition of “One of the Great Ones” was riveting, and his masterful delivery of “Nicky Machiavelli” was memorable. 

Sonny’s crew provided much-needed comedic relief throughout the show. All the Wise Guys were polished professionals, including Mike Backes as Rudy the Voice, Michael Barra as JoJo the Whale, Martin Bonventre as Frankie Coffeecake, Christopher DeProphetis as Tony Ten to Two, Yasir Muhammad as Tyrone, and Jesse Sharp as Eddie the Mush.

The first-rate ensemble includes Cate Benioff, Michael Deaner, Tyler Dema, Steven Gagliano, Bryson Jackson, Jasmine Lawrence, Nia Nelson-Williams, Gracie Phillip, Frankie Rocco, Emily Ann Stys, and John Zamborsky.

At the end of this electrifying production, the audience jumped to its feet to give a thunderous standing ovation. A moment later, they screamed ecstatically when Chazz Palminteri made a surprise appearance, enthusiastically saying, “It is really amazing what this theater did here with the space they have, with the set; it’s just outstanding. I am amazed by it, and my hat goes off to all of you – the incredible cast and all the people here at this incredible theater.” Then Mr. Palminteri thanked his deceased parents, Lorenzo and Rosina, and Sonny, for teaching him that the worst crime is wasted talent. 

A Bronx Tale: The Musical runs now through May 8. 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 Guilds. 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. www.Grantmeahigherlove.com.

Theatre Review: Theatre Three's 23rd Annual Festival Of One-Acts

Go See Theatre Three’s 23^rd Annual Festival of One-Acts

As a playwright and theatre critic, I’m always thrilled to see new works staged. After a two-year hiatus due to the pandemic, Theatre Three’s Festival of One-Act Plays has triumphantly returned, much to the delight of its audiences. This year’s festival features six exciting world premieres that are diverse, running the gamut from absurdist comedy to the darkest of dramas.

Short, one-act plays allow a theatre to explore a wide array of topics, some of which would not be able to sustain the longer demands of a full-length play. Still, other issues might be too controversial for theatrical venues to produce on their main stage. Short plays also allow the audience to be transported from one world into a completely different world in a blink of an eye. Most importantly, these short plays give audiences a chance to see new works by some of the most promising playwrights in the world.

Theatre Three CONFESSIONS OF A SUCCESSFUL PLAYWRIGHT by Phil Darg with Stephen T. Wangner, Tamralynn DorsaWhat makes this festival a favorite among playwrights around the globe is the professional production their plays receive here. Festival founder Jeffrey Sanzel had the arduous task of selecting, from more than 500 submissions worldwide, six plays that would get their world premieres. Mr. Sanzel then had to cast these shows and direct them. All six of these one-acts blossomed under the razor-sharp direction of Mr. Sanzel, and a whole creative team of designers and actors worked their theatrical magic as well. These plays are performed on Theatre’s Three’s intimate Ronald F. Peierls Second Stage, allowing the audience to be upfront and personal with the onstage action.

Having entered countless numbers of these festivals myself, I got a real kick out of the opening play by Phil Darg, Confessions of a Successful Playwright. This play is a riotous take on One-Act Festivals and the extreme lengths a modern-day playwright takes to see his works produced. Stephen T. Wangner as the playwright, Wade, and Tamralynn Dorsa, as the reporter interviewing him, were both exceptional in their respective roles.

Theatre Three THE TURN-AROUND by Cary Pepper & Steve Ayle.The Turn-Around, by Cary Pepper, featured two of my favorite Theatre Three veterans, Steve Ayle and Antoine Jones. Steve Ayle used his facial expressions and body language brilliantly to portray Lester, a man who loves his guns and assault weapons. Antoine Jones was equally powerful as Robert, Lester’s next-door neighbor, and nemesis.   

Theatre Three BAD CHINA by Joshua Young with Steven Uihlein, Evan Teich, Brittany LaceyBad China, by Joshua Young, is a harrowing play, timely and thought-provoking, as it explores the dark world of addiction, and the extremes addicts will go to get a fix. Steven Uihlein gave a riveting performance as Nos, a junkie drug dealer. Evan Teich as Del, and Brittany Lacey as Reba, gave electrifying, unforgettable performances. Kudos to all three of these fine actors for having the courage to tackle these challenging roles.

Benign Departures, by Tony Pasqualini, is a futuristic look at ourTheatre Three BENIGN DEPARTURES by Tony Pasqu…ralynn Dorsa healthcare system in the mid-21^st century. Mary Ellin Kurtz gave an award-winning performance as an aged, homeless woman. Ms. Kurtz is a master of her craft. The exacting way she delivered her well-crafted lines proved that she was adept at performing both comedy and drama. Her subtle body movements, including labored breathing and stiffness of joints, and her every nuanced facial expression made you feel the pain, both physically and emotionally, that this character was experiencing. Tamralynn Dorsa, as the doctor with a tough decision to make, brought warmth and likability to a part that basically called for callousness and the ability to make cold calculations.

Theatre Three THE BEAT GOES ON by Arianna Rose…Sari FeldmanThe Beat Goes On was written by one of my favorite playwrights, Arianna Rose. This one-act play uses personification to bring various forms of music containment to life, including L.P., cassette, 8-track, CD, and MP3. The very talented cast, including Sari Feldman, Steve Ayle, Antoine Jones, Brittany Lacey, Steven Uihlein, and Evan Teich, made this play hilarious to watch. Sari Feldman was outstanding as Cass because her dance moves and hand gestures were spot-on. The fabulous costumes by Jason Allyn made this play a standout. I loved Brittany Lacey’s shiny mini dress and sparkling silver shoes, Steven Uihlein’s light-up costume, and Steve Ayle’s 70s style rock outfit.

Theatre Three PLAY DATE by Frank Tangredi with Bradlee Bing, Stephen T. Wangner, & Eric J. HughesPlay Date, by Frank Tangredi, is a warm, whimsical look at fatherhood from two differing perspectives. Bradlee Bing gave a heartrending performance as Lou. He seemed to have a deep understanding of the character he portrayed. The onstage chemistry and delightful bantering between him and Tyler, a young father who Eric J. Hughes captivatingly portrayed, made this play a winner.

Entertaining, enlightening, and engaging Theatre Three’s Festival of One-Acts is one of the highlights of Long Island’s 2022 theatrical season. If you’re a fan of theatre festivals, then this one won’t disappoint, and if you’ve never attended one, then, please, go and see some cutting-edge plays.

Special thanks go out to the Lippencott Financial Group for sponsoring this festival which runs now through April 2. For tickets, please visit their website at www.theatrethree.com. For more information, call 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 Guilds. 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. www.Grantmeahigherlove.com.

Theatre Review: Theatre Three's 'The Marvelous Wonderettes'

By Cindi Sansone-Braff

photos by Brian Hoerger

Theatre Three’s The Marvelous Wonderettes is a Winner!

The Marvelous Wonderettes, directed by the talented Linda May, runs through March 26 at Theatre Three. This family-friendly, two-act musical features more than 30 doo-wop and R&B hits from the 1950s and ’60s and provides lively, sentimental, escapist entertainment, something COVID-fatigued audiences seem to need right now.

Photo by Brian HoergerThe musical opens in the gymnasium of Springfield High School on the night of the 1958 senior prom. “Marvelous Dreams,” the prom’s theme, is prominently displayed on a large banner. The first act is all bubbles, bubble gum, and butthead jokes. Sure, there are a few petty arguments, fits of jealousy, and rivalries, but nothing earth-shattering occurs. However, Act Two takes place a decade later at the high school reunion hosted in the same gymnasium. This act is grittier and more dramatic since it deals with adulthood’s harsh realities, including shattered dreams, broken marriages, and tragic loss.

The all-girl quartette consists of Betty Jean (Cassidy Rose O’Brien), the class clown; Cindy-Lou (Noelle McLeer), the wannabe prom queen; Missy (Kate Keating), the often prim and proper, sometimes shy, sometimes bossy peacemaker of the group; and Suzy (Ashley Brooke), the giddy, gum chewing, easy-going one. These characters are costumed in their signature color: Missy in orange, Suzy in blue, Betty Jean in green, and Cindy-Lou in pink. 

Like most shows of this genre, this jukebox musical, written and created by Roger Bean, has bare-bones dialogue and a simple story that unfolds through popular songs. Under the astute musical direction of Cesar Flores, the four multi-talented leads, who were on stage the entire show, delivered each song with powerful vocals and pitch-perfect harmonies.

Ms. Keating plays the bespectacled, prissy Missy with just the right amount of quirkiness, awkward body poses, convoluted facial expressions, and nerdiness that this part demands. She’s most convincing as a lovesick teenager pining over one of her teachers, Mr. Lee. This show calls for some audience participation, and a member of the audience is brought up on stage to play the non-speaking role of her love interest. Ms. Keating’s powerhouse vocals were revealed when she belted out the slow, pop ballad, “Secret Love.”  

Ms. McLeer is believable in the role of Cindy-Lou, the egotistical, vain, at times vulnerable teenager who callously steals Betty Jean’s boyfriend. Ms. McLeer gave a riveting performance during “Allegheny Moon,” and her soulful rendition of “Son of a Preacher Man,” an R&B song with strong gospel overtones and striking instrumentals, was one of the highlights of the evening.  

Cassidy Rose O’Brien aced the role of Betty Jean with her perfect sense of comedic timing. Whether seizing someone else’s microphone, obnoxiously blowing bubbles, secretly lifting one of the other girl’s dresses, or fumbling with a hula hoop, she steals every scene with her crazy antics. Her knockout vocals and physical comedic skills were apparent with her stellar delivery of “Lipstick on Your Collar.” Her more sensitive side was displayed with her moving version of “That’s When the Tears Start.”

Suzy is the character who changes the most in the show. As the high school girl, she is playful, happy-go-lucky, and hopeful, but a decade later, big with child, she is hormonal, moody, and pessimistic. Ashley Brooke as Suzy is riotous throughout, but her dance moves and gestures during the R&B hit song “Respect” were over-the-top hysterical. She showed her sweet and sultry voice during “Stupid Cupid,” “Hold Me, Thrill Me, Kiss Me,” and “Rescue Me.”

Photo by Brian HoergerA big round of applause goes out to the live band. Visible on stage throughout the show were Cesar Flores, piano, Dave Grudzinski, bass, Don Larsen, drums, John DeRicco, guitar, and Bill Kinslow, sax.

The outstanding choreography by Sari Feldman was comedic at times, always energetic, and dynamic where it needed to be.

Extraordinary lighting effects on the part of Robert W. Henderson, Jr. greatly added to the overall success of this show, from the dramatic spotlights on the individual singers to the festive lights circling the theater at the finale.

The realistic set, depicting a high school gymnasium with the requisite Boys’ and Girls’ locker rooms on either side, was the brainchild of Randall Parsons. 

Appropriate period hairdos, including Suzy’s long, blonde ponytail for the 1950s look and the infamous 1960s bouffant hairstyles in the second act, added to the show’s realism. Also, the costume designs by Ronald Green III – for the prom, short, full-skirted evening gowns with crinoline petticoats underneath to poof them out and stilettos, and for the reunion, miniskirts and white go-go boots – added a layer of panache to the show.

This rousing, nostalgic, fun evening of musical theater, complete with plenty of audience participation, makes Theatre Three’s The Marvelous Wonderettes a must-see production.  

For tickets, please visit their website at www.theatrethree.com. For more information, call 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 Guilds. 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. www.Grantmeahigherlove.com.