Reviews Shows are listed in alphabetical order. A Little Night Music (2008) By Donna Bailey-Thompson, In the Spotlight, Inc. If the meanings within the song, "Send In The Clowns" have eluded you, the answers await within the musical now glowing at Exit 7 Players theater. At the core of this engrossing marriage of lyrics which along with the spoken word propel the plot forward, is love that reveals its link with the four basic emotions: mad, glad, sad, and afraid. "A Little Night Music" bursts open with a Greek-like chorus of five superb singers: Harrison King III, Mary Annarella, Michelle Liaszenik, Katie Clark (who knows how to sell a song) and at the performance I saw, Director Robert Laviolette filled in for laryngitis-silenced Ken Hebert. They deliver Stephen Sondheim's intricate lyrics and music at a steady clip the Sondheim signature: do not to fret if there's not time to catch every word. A plot synopsis can only hint at the rampant hanky-panky, the desperate longings, the pain of betrayals. An aging attorney, Fredrik (winningly portrayed by Phil Prather) has wed Anne, a mere girl (the delightful Stephanie Devine). His former lover, Desiree (Roxanne Labato, a polished pro), is a worldly courtesan, and her current amour Count Carl-Magnus (forceful Andy Banas) is jealous and his wife Countess Charlotte (Mary Fernandez-Sierra who almost steals the show) grows a spine, sort of. When she describes her pain as a betrayed wife in, "Every Day A Little Death," the destructive power of adultery is laid bare. Featured in the large cast is the young love-starved seminarian Henrik (an endearing Michael Holt), perky Petra (Jami Wilson), winsome Fredrika (Sara Banning) and her weary grandmother Madame Armfeldt (Esta Busi). Zack Parizo, Aileen Terzi, Sarah Dion and Marc Parsons perform their supporting roles with imbedded characterization. Act One ends with all liaisons poised to implode during Act Two a weekend in the country at Madame Armfeldt's palatial mansion (designed and painted by Ken Samonds). Costumer Maryann Scognamiglio has created a symphony of beautiful, lush costumes. that reflect early 1900 styles. Kudos to Director Robert Laviolette and Musical Director Bill Martin for bringing in an intricate, tricky, first-rate show in keeping with the Exit 7 Players commitment to present quality performances. Their "A Little Night Music" is a community theater triumph. All My Sons (2008) By Donna Bailey-Thompson, In the Spotlight, Inc. This play is worth seeing. At the end of the first act, there was silence. No applause. No one moved. For two reasons: the audience had become riveted by a masterfully-written story performed by a fine cast and the house lights had not brightened enough to signal that intermission had arrived. Exit 7 Players have bestowed upon Arthur Miller's emotionally-stirring, "All My Sons" the highest honor: respect for the material and for the craft itself. Noted for their upbeat productions of such musicals as "Gypsy," "Sweet Charity" and "Cabaret," presenting this particular drama now is as timely as it was when it opened on Broadway in 1947. There's not an old bone in its body because "All My Sons" is about timeless concerns family and business, love and ethics, courage and cowardice huge subjects that beset ordinary people. Director Jennifer Curran has stated, "This is the story I needed to tell. What we can choose to ignore, what we can and cannot live with and what we cannot forgive." Her emotional connection with the script is reflected in the performances, especially those of Kate Keller (Jennifer Bauduccio), Joe Keller (Fred Piel), Chris Keller (Charles Holt) and George Deever (Dan Derby). The conflicted Kellers and the accusatory Deever are superb. Special kudos go to Bauduccio who stepped into a demanding role less than two weeks before the opening. As Anne Deever, Lea D. Oppedisano plays an establishment daughter, a far cry from her most recent Exit 7 Players role as Charity Hope Valentine in "Sweet Charity." Once again, Paul Hamel (Set Designer/Technical Director/Set Construction) has fashioned a set that complements the play's theme, especially as represented by family and business: the Keller's house dominates the stage but visible across the road is the factory. There are strong similarities between "All My Sons" and Miller's play "A Death of a Salesman." But to paraphrase a line from "Salesman," more attention must be paid to "All My Sons" because, to paraphrase a cosmetic's advertising pitch, it's worth it. Christmastime Is Here (2007) By Donna Bailey-Thompson, In the Spotlight, Inc. If you want to be entertained and charmed, check out the Exit 7 Players' "Christmastime Is Here," an original musical production that rediscovers the enchantment and humor within this hectic season. For a cast that ranges in age from seven to decades more, the premise is ideal: dress rehearsal of a Christmas musical review. Their director is harried but everyone else is relaxed, upbeat. The first non-catastrophe is the unfinished painting of a cut-out horse (for drawing the sleigh) which the sleigh's passengers take turns pushing and pulling, all the while singing, of course, "Sleighride." The power of a well-paced performance is off to the races. There are 22 acts, all done well and some are outstanding. Such as a condensed version of "The Nutcracker" performed to Tchaikovsky's music by the children's ensemble and a few key adults (the Nutcracker, the Sugar Plum Fairy). The choreography (Aileen Merino Terzi and Amy Szczepaniuk Meek) is pleasing and appropriate for the fledgling corps de ballet. Mice, the Nutcracker's army, The Russian Dance, The Chinese Dance (super delightful), and a dazzling Christmas tree and that was only the third act. Mini bursts of levity included a running gag (sometimes literally) of a cast member's determination to sandwich in her rendition of "The Twelve Days of Christmas" in spite of the director's objection; pantomimes of Guy vs. Tangled Lights while Gal Wrestles with Wrapping; and of two last-minute, desperate shoppers squabbling over a piece of clothing which they render into pieces. In this spirited, gentle, amusing, wholesome musical, the commercialization of Christmas is banished. Instead simplified pleasures prevail, including the readings and recitations of Christmas classics and a letter from Iraq, a living Nativity scene, even a Carol sing and a rafter-rockin' "Rockin' Around The Christmas Tree." The Exit 7 Players' Christmas show generates good cheer. Kudos to the writers and creators of "Christmastime Is Here" Rebecca Sullivan, Robert Sullivan-Neer, Amanda Davis and Andy White; and to Director Amanda Davis; Musical Director Bonni Drumheller; Technical Director and Master Carpenter Paul Hamel; Calvin Anderson's Lighting Design. And bravo to the talented, enthusiastic cast, all 39 of them the Adult Ensemble (16) and the Children's Ensemble (23). George M! (2009) Photo by Phill Davis - click to expand By Donna Bailey-Thompson, In the Spotlight, Inc. Some may speculate that George M. Cohan's obsessive determination to make it big on Broadway began while he was still in the womb. He was born into a vaudevillian family - father, mother, sister; while just a kid, he wrote routines for the family act. There were setbacks during his climb to the Great White Way, but his goal never wavered, nor did his ego. Fast forward to 1984 when the love of theatre and no fear of hard work gave birth to a new community theater: today the Exit 7 Players celebrate 25 years of presenting productions of higher and higher calibre. This is where George M! and Exit 7 Players are the rubber that meets the road. If it's possible for the departed to tune into a theatrical interpretation of his life, then George M. Cohan's ethereal self can extract pleasure from visiting this energetic production. For sure, his notorious ego is getting stroked. As performed by Del Caraway, Cohan's obsession with show business is evident throughout this musical that exacts demanding performances by everyone, from the leads through the chorus. The forgotten songs and the ones still appreciated today (all written by Cohan)- "Yankee Doodle Dandy," "Give My Regards to Broadway" - and the hypnotic tap dancing of a few or the full company, are reminders of Cohan's talent that drove him to greatness and inspires the dedicated cast and crew to put on a winning show. Bravo to Director Bob Sullivan-Neer. Choreographer David Michael Bovat's innovative combinations have turned neophytes into authentic dancers; thanks to Musical Director Karla Newmark, every sung word is understood; Costume Coordinator and Seamstress Carolyn Samonds has created a calendar of fashion spanning 60 years; Stage Manager Sue Crowther keeps the backstage from becoming a logistical nightmare. Cohan's friend William Collier said, "George is not the best actor or author or composer or dancer or playwright. But he can dance better than any author, compose better than any manager, and manage better than any playwright. And that makes him a very great man." Similarly, Exit 7 Players is a fine community theatre that honors professional standards. Into the Woods - Youth Players (2009) By Donna Bailey-Thompson Rave Alert! Blessed with the magical touch of Director/Choreographer Jenn Marshall, Exit 7 Players score again. Last year they shone in Les Miserables. Now they've topped that success with a dazzling production of another meaty musical, Into The Woods songs and lyrics by Stephen Sondheim, 24 named characters and a chorus of two dozen more young actors. The result? Sweeping enchantment at a professional level. The plot is, truly, a sophisticated hoot. All the characters have wishes. Cinderella wishes to go to the Ball. Jack's mother (he of Beanstock fame) wishes they weren't so poor. Red Riding Hood wishes there were more sweet rolls in the basket she's taking to Granny. The Baker and his wife wish they had a baby. And the Wicked Witch? She's so full of herself that the audience wishes she'd never leave the stage. However, into the woods they go where convoluted realism is punctured with parody, farce, fear, poignancy, slapstick, greed and delicious sly humor. All this and music, too. Thanks to Musical Director Devon Louise Bakum, Sondheim has never sounded better. The singers are not only pitch-perfect, their diction is sharp, and their phrasing is clear. Wait, there's more! The set (Designer Sue Crowther; Master Carpenter Paul Hamel) blends realism with fantasy. The costume designs (borrowed from the Picturesque Peasant Period) work beautifully for the principals, the little forest people, the darling Three Little Pigs, and especially for the Witch who is a scary vision in voluminous sparkle-brightened black, stringy dirty gray hair, and an elongated nose that resembles a crooked finger. The talented costumers (Lori Rodriguez, Ann Tumavicus, Donna Major, Winnie Cardaropoli) are key components to this production's success. What shocks is discovering the ages of this seemingly adult company from first grade to entering college freshmen. No pun intended, but there isn't a sour note in the cast. All the principals (the Witch, Monica Giordano; Baker, Colby Herchel; his Baker Wife, Naomi Leslie; Cinderella, Katie Stiefel; Jack, Gavin Mackie; Little Red, Kayla Sturgeon; and The Prince, David Webber) sing well and act convincingly, movingly, at the same time. With high standard companies like Exit 7, theater's future health is assured. Jekyll & Hyde (The Arts Etc.) Compelling & Thrilling ANOTHER EXIT 7 WINNER Reviewed by Donna Bailey-Thompson (2010) To label Jekyll & Hyde a musical is misleading because although it is that, it is more. Yes, there are dancing girls and love songs. But there is also an absorbing story, beautiful music that at times blends classical with pop, lyrics that advance the story, a large cast, many speaking/ singing roles, appropriate costumes. The format is as much "opera" as "musical" The language is English and every word is clearly enunciated. In other words, if you want to be well entertained by dedicated, experienced actors who can act and sing at the same time, Jekyll & Hyde is yours to savor. Dr. Jekyll's father suffers from a mental illness that has transformed him into a drooling vegetable. Jekyll wonders if his father's illness is caused by evil existing within his soul. He wants to find out why man is capable of committing both good and evil deeds. If he succeeds, he believes he can save other unfortunates suffering with debilitating mental illness. His first song is a tender tribute to his father, "Lost in the Darkness," and the second is an impassioned "I Need to Know," an intent that suggests its origin is altruistic. An energetic chorus sings "Facade" with the fervor of having discovered a great truth: all of us hide our true selves. Although the story of Jekyll's experiments with potions that bring out and/or expose the evil within him is well known -- even the ending is known -- nevertheless fascination and suspense are created by a superb cast that is totally "in" the moment with a score that is married to the story. The music is intricate as well as melodic. Everything works in concert. As Jekyll, Ben Ashley is outstanding. When Jekyll is good, he's very, very good, and when he's bad, he's Hyde evil, epitomizing amorality. His Jekyll love for his betrothed, Emma (Melissa Dupont), and hers for him, are genuine. His attraction to Lucy (Katie Clark) and hers to him is complicated by her neediness and his descent into depravity. But oh my, how they can sing! They ease naturally from speaking to singing and back again. Everyone does! There's not a sour note in this production. Everyone performs with conviction. The costumes (Joanne Ela, Kim Lynch, Lori Rodrioguez, Winnie Cardaropoli) are appropriate. The lighting design (Frank Croke) enhances the action. There are 30 in the cast, and every one is an asset to this polished production. This feat reflects well on the Production Team: Director Kim Lynch making her Exit 7 directorial debut where years back, she was a youth member, honors the pace of the script while coaxing the best each cast member can give. Musical Director Christina Climo, also making her Exit 7 debut, appreciates the sensitivity and power of the lyrics and music which she has passed along to the orchestra. And they get it Ben Mabrey, piano; Sean Uliasz, keyboard/strings; James Snedeker, woodwinds; Dan Hendrix, trombone; Dave Bussell, trombone; and Dan Holmes, drums/percussion. Choreographer Alison Forance (assisted by Stacy Ashley) makes moving groups of six or twelve or sixteen look as uncomplicated as turning a kaleidoscope. Year after year, Master Carpenter/Technical Advisor Paul Hamel's sets work, whether serious or whimsical. Stage Manager Winnie Cardaropoli is a traffic cop during rehearsals, but once it's show time of a production with many scenes involving a few to many actors, it's her responsibility to keep the backstage wheels greased and on the right tracks. Riding herd over all the above is Lori Rodriguez, Producer. Stated in the program is this: "The Exit 7 Players is completely run and operated by volunteers." Sometimes, like now, writing this review, that's hard to believe. Jekyll & Hyde (In the Spotlight) by Shera Cohen It is nearly impossible for anyone who has ever seen "Jekyll & Hyde" (J&H) to leave the theatre without singing or humming the showstopper song "This Is the Moment." In the case of Exit 7's presentation, the song title literally describes the success of the production and the entire troupe. Ever since "Big River" (1995), the work of those onstage and backstage has continued to go upstream, sometimes against the tide of what many might expect from amateur theatre. J&H is a musical rarely performed even by professional troupes, as it is extremely difficult for the actor in the lead role. Yet, Exit 7 tackles this musical head on. Audience members were heard saying, "This is better than Broadway." Save for a large orchestra (instead of Exit 7's excellent six-piece band) and expensive sets (Exit 7's furnishings worked well, particularly with backdrop slides), the comparison between NYC and Ludlow is not a stretch. Everyone knows the story of J&H - one man, both good and evil. But there is more to the story. The plot extensively details the motivation in this character and the dichotomy of the components that make a man whole. J&H is a disturbing play with exquisite music and important lyrics - somewhat opera-like. Kim Lynch seems to have had an easy job directing, as well as Alison Forance choreographing, but only because their cast is perfect. From the kids in the chorus to the Red Rat dancers, those with secondary roles (each well defining his/her character) to the leads, it is difficult to find a single flaw. Reams of accolades can be written about J&H's star, Ben Ashley. This, too, is the best moment in his career as an actor and singer. The difficulty of switching from Jekyll to Hyde and back again within seconds of each other could have easily become comic. Not so here. These are the tensest moments in the production. Augmenting Ashley's brilliance are Melissa Dupont and Katie Clark, in his duets with each, and their, "In His Eyes," is lush. The weekend of November 12th is your moment to see "Jekyll & Hyde." Les Miserables (2008) By Donna Bailey-Thompson, In the Spotlight, Inc. The tension of social unrest generations of injustice that led to France proclaiming a Second Republic and the individuals caught up in its life-changing drama, are knocking the socks off audiences as performed at a professional level by dedicated amateur actors ranging in age from five to eighteen. In this abridged version of the blockbuster musical, "Les Miserables," the integrity of Victor Hugo's classic novel is honored and in many respects intensified by the awe-inspiring performances of 47 young people. Based upon the high quality of Exit 7 Players' productions, the professionalism of their "Les Mis" should not be surprising, but, it is. To inspire such outstanding performances is a testament to Director/Choreographer Jenn Bauduccio's skill and the cast's trust in her guidance.. Exit 7's "Les Miserables" Special School Edition is an outstanding theatrical experience. As the dying Fantine, Monica Giordano's solo is heartbreaking. Other emotional peaks are attained by Michelle Waslick, age 9 (Gavroche); Tray K. Sanders, age 13 (Enjalras); Sarah Banning, age 15 (Eponine) whose "On My Own" breaks more hearts. The amoral Thenardiers Lisa Rizza, about to become a college freshman and Colby Herchel with three years acting experience offer lively, humorous nastiness. Star-crossed lovers Cosette (Katie Stiefel) and Sam Plotkin (Marius, age 16) pour out their longing for one another. The determination of Jean Valjean (Gavin Mackie, high school senior) to become an honest man and the doggedness of the sadistic law enforcer Javert (Michael Piels who enrolls in NYU this coming semester) to destroy Valjean, infuse their scenes, singly and together, with raw energy. Their duets stir and alarm. Musical Director Devon Louise Bakum has infected the young cast with a desire to excel. The songs are not easy to sing, yet the chorus and soloists deliver with ease and conviction. The costumers Bauduccio, Mary Hernandez, Sherri Montagna, Lori Rodriguez, Cheryl Chant incorporated authenticity into their creations. The imaginative minimal sets are the handiwork of master carpenters Paul Hamel and Tom Marshall Jr. Unsung are the parents and families of the cast who juggled their other responsibilities to support their cast member's ambitions. Before the auditions, Exit 7 spent years planning and negotiating. And now, Bravo! Nunsense II: The Second Coming (2007) By Donna Bailey-Thompson of In The Spotlight, Inc. Snobs who turn up their noses at the freewheeling, giddy nonsense of Nunsense II deprive themselves of run-amok merriment, the kind that gives one's funny bone a happy workout. When not smiling, the audience is laughing from giggles to guffaws. There is something innately comical about penguins, and five nuns garbed in composite habits of a black tunic/dress, snug coif, starchy wimples and flowing veils have a leg up on physical comedy just by donning their costumes. The mere hint of a story line gives Exit Seven Players' multi-talented cast one opportunity after another to sing and dance up a storm (there are 20 musical numbers) and to exchange dialog that occasionally is borderline naughty (but only for those with naughty minds). From the opening number, the blending of the five voices signals that Nunsense II is a well-rehearsed production that attains professional standards. Even laryngitis cannot prevent the Reverend Mother (Pamela Abair) from giving a solid performance. To the bump and grind beat of "Look Ma, I Made It," she lets the girl she once was wiggle again. As Sister Hubert, the competitive second in command, Katie Clark's sweet voice rings true. Reverend Mother's and Sister Hubert's sock-it-to-me Sake scene is a tipsy delight. Jennifer Hines establishes Sister Robert Anne's swaggering persona when she sings, "I've Got Pizazz." Jaimye Hebert as Sister Mary Leo wearing the white veil of a novice, conveys girlish wonder and excitement with a big smile and happy eyes. And she can really sing, too. The comic antics of Jennifer Bauduccio as Sister Mary Amnesia incite near hysteria. A natural comedienne, she mugs, cavorts, prances, and reacts jack-quick to whatever opportunities this free-wheeling show presents. Everything works: Ken Samonds' set design (a touch of Japan too long to explain); Paul Hamel's master carpentry; Nathan Newton's musical direction (with Bonni Drumheller and Kevin Barker); Rosalie. A Dialessi's costume designs. Only two Nunsense II performances left, so dilly-dallying is not recommended. Next season Gypsy in September and All My Sons in February. Once on This Island Reviewed by Donna Bailey-Thompson Wikipedia does not clear up any confusion about the background of the musical, Once On This Island, when it states : "The novel, My Love, My Love: Or The Peasant Girl by Rosa Guy is based on the Hans Christian Andersen tale [The Little Mermaid], and inspired the musical Once on This Island, set in the French Antilles." The Island is Haiti which in the musical incorporates some Haitians' belief in multiple gods and the more often than not unsurmountable differences between those who have and those who have not. Also woven into the story line are aspects of Cinderella, Romeo and Juliet, and other variations of romance, both requited and unrequited, as well as reincarnation. The play begins with a horrific thunder storm, plenty of lightning and deadly floods. Little Ti Moune, orphaned by the storm, is rescued from the branches of a tree where she escaped from being swept away by the rising water. As played by Deja Lylah Theroux, age six, in the large cast (30), she is an enthusiastic sprite whose artistic energy is magnetic. This is her theatrical debut. She could be a future star that emerges from the training inherent within community theaters, such as Exit 7, that honor high standards. Most of Exit 7's Youth Players are new faces. Those who auditioned and made the cut and hung on through tough rehearsals comprised primarily of music and dance 22 musical numbers loaded with intricate choreography are either smitten by the theater bug and/or believe in honoring their commitment to rehearsals and performances. The script demands full commitment, and by golly, the cast meets the challenge. Especially with a young cast, the adults in their lives deserve recognition for turning their lives inside out to transport tomorrow's Tony nominees to rehearsals. The fruits of Director Hillary Wildman's labors her blocking and pace prove she's had experience herding cats. The cast, including the neophytes, demonstrate respect for the discipline demanded by the stage which, when honored, lifts a production from the unrealistic, spontaneous idea of let's-put-on-a-show (your garage or mine?) to a production that more often than not hits its marks. As Co-Choreographers, Dorin Rufer and Cheryl Chant keep the action moving with sequences that are fresh. The Costumers Winnie Cardaropoli, Nancy Gonzalez, Cheryl Chant, Judy Hemmingway, Sonia Henderson, Mary Hernandez, Karen Ntagkounakis keep the tropics alive with vibrant colors; within one of the big production numbers, four little frogs with huge, bulging eyes, have their own syncopated choreography. Clever costuming rescues need for more male actors in a ballroom dance sequence: the girls wear long dresses; the "boys" wear while jackets and Bermuda shorts. Problem solved. Technical Director, Set Designer, Master Carpenter Paul Hamel has nailed it again, from the romantically entwined palm trees through the mountain for the gods, moveable souvenir booths, lattice gates studded with flowers, and more. The Scenic Artists Ken Samonds, Jessica Sweeney, Sylvia Staples, Diane Lamoureaux evoke the lush undergrowth of tropical island scenery gilded with prolific flowers of shy pastels to the boldly brazen. A musical deserves first-rate support, and the eight-person orchestra playing multiple instruments provides rhythm and island atmosphere, especially the flutes and percussion. The musicians are Karla Newmark (Musical Director) and Bonnie Germain (synthesiers), Nate Carr (saxophones), Nancy Miller-Sanborn and Katherine Sanborn (flutes), Tyler Peyman (guitar), Sherri Jyringi (bass), and Kevin Barker (percussion). On opening night, the second act was stronger than the first, partly because of so many components of the story to absorb and perhaps any of the cast with opening night jitters had recognized that the audience's expectant faces were on their side. CAST Little Ti Moune: Deja Theroux Little Girl: Teyla McAdoo Mama Euralie: Eleanor Tynan TonTon Julian: Chad Nowlan Ti Moune: Taylor-Jordan Fournier Daniel/Beauxhomme: Troy Sanders Armand/Daniel's Father/Gatekeeper: Josh Labonte Asaka: Jasmine Goodspeed Papa Ge: Normand Caissie Erzulie: Naomi Leslie Agwe: Nick Gilfor Andrea: Erica Paul Storyteller: Mackenzie Johnson Storyteller: Ari Michaels Storyteller: Emily Tyburski Storyteller: Arianna DiMaio Storyteller: Nonni Ntagkounakis Daniel's Son: Tatyana Gonzalez Chorus of Storytellers, Peasants, Gossipers, and Grandhommes Arrianna DiMaio Aalyia Ackerman Jenna Thompson Casey Banville Dominique Libera Khristine Consuegra Racquel Ackerman Starrlenna Lafleur Rebecca Henderson Juliette Zielinski Kelsey Hernandez RENT (The Arts, Etc.) REVIEWED BY B.K. GRANT The Arts, Etc. RENT WINS AGAIN! The winner of four Tony Awards and the Pulitzer Prize for Drama in 1996, Rent is a trip a trip back to the days of dreams, aspirations and loving your neighbor. It's a journey many of us remember well, one remembered fondly or with pangs of regret. Exit 7's production of Rent tells the story of a year in the life of a group of young people from various sides of the street who strive to resolve conflicts, salvage their relationships and 'make it' in New York City's Lower East Side. The rent is due. There's no heat. The electricity goes out regularly. Everyone's nearly broke. It's Christmas. The company's rendition of "Last Year's Rent" expands on this scenario with a musical decision not pleasing to their landlord, Benjamin Coffin, III. In his first appearance on the Exit 7 stage, Silk Johnson is smooth in the role of a former member of 'the group', now a well-to-do property owner who, while appreciative of their situation, still wants the rent due him. Josiah Durham offers a great portrayal of Mark Cohen, good friend and the play's narrator, who weaves the tale of the characters' personal circumstances regarding HIV and sexual identity. A struggling film maker, he feels capturing snippets of his friends' lives just may net him that elusive contract. Tom Collins is a computer genius one of few in the group with a steady job. Josh Osborne lends his strong voice to this brainy New Yorker, projecting a self-assured persona. His romantic interest is Angel Dumott Schunard, a street entertainer and drag queen. Michael Garcia is perfectly cast as the sexy Angel, complete with five-inch heels and tights. Michael Lorenzo is wonderful in the role of Roger Davis, Mark's roommate and frustrated song writer. He evokes all the feeling of a tormented artist's desperation to accomplish his goal before leaving this world in "One Song Glory". Roger meets and eventually falls for Mimi Marquez, an exotic dancer. Kyle Boatwright is a steamy and sensual Mimi as she tempts and teases Roger. They are both disillusioned, sometimes hopeless in their particular situations, but there is a tangible attraction between them which offers some hope. The introduction of Joanne, a lawyer *(another 'decent' vocation) and Maureen, a performer and Mark's former girlfriend, rounds out the main characters of the play. Christine Green, cast as Joanne, is wonderful as Maureen's strong, not-so-silent, take charge lover. Maureen is dedicated to Joanne and to the cause; Nikki Wadleigh nails Maureen's feisty free spirit flawlessly as she commands audience participation in her hilarious "Over the Moon". Act Two opens with the company's out-pouring of the well-known "Seasons of Love" as they look hopefully toward the New Year. The lyrics are clear and heartfelt, as is every number presented for one's overwhelming enjoyment. The musical tribute to their departed friend brought this reviewer to tears. The individual stories within the play are emotionally intense, exploring all aspects of loneliness, fear of commitment, love and expectation. While the main characters shoulder most of the action, this production would not be as great without the Ensemble, namely: Marie Allie, Tina Clark, Ryan Duchesne, Susan Duncan, Steven Grabowski, Jess Miller, Kait Rankins, Dawn Rendell, Joey Stankiewicz and Andrea Wilson-Pierce. The troupe induces sadness, joy and everything in between throughout the audience. All the actors are deep within their respective characters, grasping every mood, every sensation, every gesture, and delivering ten-fold. Jonathan Larson would be bursting with pride. Collectively with the cast, director Meghan Lynn Allen, producers Rebecca Johnson and Lori Rodriguez, musical director Bill Martin and his orchestra (Stephen Foster, Bonnie Germain, Jonathon Hagopian and Dane Scozzari) choreographer Amy Meek, technical director Paul Hamel and many more talented, dedicated people are to be congratulated on this great achievement. What an emotional journey! When leaving the theater, this reviewer was speechless. There are not enough superlatives in the English language to adequately describe this performance. Exit 7's production of Rent is not just a great show or a superb show; it is an incredible rollercoaster of poignant experiences which grabs hold of you, heart and soul, taking you on the ride of a lifetime. No Day but Today. Don't miss it! RENT (2011) RENT (In the Spotlight, Inc.) REVIEWED BY ERIC SUTTER Jonathan Larson's Tony Award winning and ground breaking musical "Rent," about a group of struggling Bohemian artists on NYC's Lower East Side, revvs up the stage and the emotions at is Exit 7. This intensely entertaining production is a colossal undertaking by director Meghan Lynn Allen and musical director Bill Martin. It's a mixed-up, muddled up, shook-up world with themes of sexuality, AIDS, and the ravages of poverty. The intricate story is convoluted with many sub plots that turn delightfully, revealing various love connections. The set is simple with emphasis on music and dance. It simmered and seared with high voltage edgy rock numbers and challenging choreography by Amy Meek. Lead characters Mark (Josiah Durham) and Roger (Michael Lorenzo) must be carefully followed. Roger is a singer/songwriter looking for his big break. Love and friendships are unveiled through song dialogue. Big numbers -- "Rent" and "Seasons of Love" -- livened every cell in one's body. Relationship songs such as "You Okay Honey" with Angel (Michael Garcia) and Collins (Joshua Osborne), "Light My Candle" with Roger and Mimi (Kyle Boatright), and "Tango Maureen" with Mark and Joanne (Christine Greene) were loving fun and helped develop characters' personalities. "On the Street," a passionate full company number, featured a big voice stand-out by Blanket Lady (Susan Duncan). Maureen (Nikki Wadleigh) turned out the humorous "Over the Moon," which coaxed the audience to "Moo." Act I closed with the over the top "La Vie Boheme" in high fashion. The plot thickens in Act II as the characters' emotional baggage becomes weighty. Steamy duets ensue with "Take Me Or Leave Me" between Maureen and Joanne, and "Without You" with Roger and Mimi. "Contact" features Angel, who hasproven to be a firm testament to the strength of the human spirit. After Angels' AIDS death, Collins sings "I'll Cover You" backed by a powerhouse group ensemble vocal. "Goodbye Love" finds Roger, Mimi and Benny(Silk Johnson) in a heated love triangle. "Your Eyes" is Roger's love song to Mimi -- watch for her strange twist of fate. There is no day but today! This powerful musical is chock full of strong language; it is intended for mature audiences. Scrooge (2006) By Donna Bailey-Thompson, In the Spotlight, Inc. Wow! Exit 7 Players are showing off the glowing results of an extreme makeover that bespeaks understated elegance, from the white fans suspended from the midnight blue ceiling through the rich wine curtains to the gold leaf details on the proscenium arch. With the exception of the installation of the new carpeting, all labor was volunteered by members of the board. The effort is frosting on the cake for this community theater which is noted for mounting major musical productions. And they're doing it again: "Scrooge." This incarnation of Dickens' revered "A Christmas Carol" features a cast of 26 garbed in fashion representative of 1843 England, delivering 20 enthusiastic musical numbers, uncounted scene changes, and driving home the lesson, "Tis better to give than to hoard." There are two faces to this drama the extroverted who is everyone in the cast except the miserable introvert, Scrooge himself (Waldo Goodermote). The musical numbers performed by the company are filled with good cheer (Nathan Newton, Musical Director) and lively stepping (Li Ciaglo, Choreographer). The trickiness of weaving in a ghost story is compounded by endowing the specters with psychoanalytical prowess who terrify a selfish old man with how he will suffer after he dies. All the Ghosts (Jerica McCarthy, Robert H. Clark III, Timothy H. Wilson, and John Woytowicz) are appropriately creepy and menacing. Headed by Tiny Tim (Connor Coughlin), the urchins are delightful (Jessica Sevigne, Nina L. Rodriguez, Mackenzie Johnson, Julia Clayton, Alex Clayton, Marty Clayton). Director Dan Derby has delivered a difficult show to an appreciative audience. The set designs by Ken Samonds, Paul Hamel and Dan Derby are masterpieces. Rosalie Dialessi's costume designs are outstanding. Integral to the show's appeal is the orchestra Nathan Newton (Conductor/Keyboard I), Bonni Drumheller (Keyboard II), Kyle Phipps (Flute), Nate Cabana (Flute and Clarinet, 1st weekend), Paul Coffill (2nd and 3rd weekend), Joe Dias (Percussion). The program designed by Jaimye Hebert complements Exit 7's exciting new look. Snow White and the Seven Dwarfs (2011) - Youth Players REVIEWED BY B. G. GRANT, The Arts, Etc. Wilhelm & Jacob Grimm were German academics, linguists and cultural researchers who collected folklore. They are among the best-known story tellers of European folk tales: their work popularized such stories as "Cinderella" (Aschenputtel), "Hansel and Gretel" (H nsel und Gretel), "Rumpelstiltskin" (Rumpelstilzchen), and "Snow White" (Schneewittchen). Snow White and the Seven Dwarfs, the first animated feature film produced in America, has garnered much attention and many awards since its release in 1937. Thus going in, this reviewer, a great fan of the Brothers Grimm and Disney, knew what to expect. I became so engrossed in their amazing performances that I neglected to take copious notes. Opening night of Snow White and the Seven Dwarfs warmed my heart and tickled my funny bone. There is much happy hopping and feather flapping among the youngest who exhibit tireless energy. The young ladies of the court are graceful, poised and deliver their lines incredibly well. The dwarfs Blick, Flick, Glick, Snick, Plick, Whick and Quee -- are absolutely adorable. Kudos to Director Kim Lynch for her expert guidance of this show's performers all forty six of them! Ranging from first graders to high school seniors, these young people meld, act, react and even adlib, to the delight of the audience. The personality that seems to link the individual scenarios together is Sir Dandiprat Bombas, the Court Chamberlain, played by an animated Rick Giordano. This high school junior hilariously ushers various characters in and out of scenes, on and off stage, while desperately trying not to trip over his own feet. Macduffie senior Rachel Messbauer, cast as Princess Snow White, has a regal air about her as she delivers her lines with feeling and sincerity. In her first performance with Exit 7 Players, Teresa Hart is outstanding as the evil Queen Brangomar, who in the end experiences Karma that comes around. Fourteen-year-old Michaela Crowther is a natural in the role of Witch Hex, who, having a few problems of her own, still has the wherewithal to conger up enough magic to do the deed. As for the remaining forty-two cast members, the intent here is not to ignore, but to extend a collective Standing O for a job exceptionally well done! Once again, the video and projection design of Frank Disco, Technical Director, adds a special touch to the production. Makeup artists Mackenzie Johnson (age 13) and Angelina Gonzalez (age 12) worked their magic to add to the fantasy. To the many involved in the costuming: beautiful, charming, delightful and amazing. This wonderful production of Snow White and the Seven Dwarfs by the awesome Exit 7 Youth Players did not disappoint. Don't miss it! Sweet Charity (2007) By Donna Bailey-Thompson of In the Spotlight, Inc. "Sweet Charity" demands a triple-threat headliner singer, dancer, actress and Exit 7 Players' Lea D. Oppedisano fills the bill. The musical has experienced many incarnations starting with Gwen Verdon who originated the role on Broadway (1966), followed by the movie (1969) starring Shirley MacLaine, and most recently (2006-7) a touring revival featuring Molly Ringwald. Now, in Ludlow, Oppedisano's performance is a tour de force. From the moment she steps through a heart and into the audience's, she is Charity Hope Valentine all heart. And honest to a fault, "caught in the flypaper of life". Charity is a dance hall hostess, euphemistically speaking. Boyfriends betray her. Girlfriends berate her. She soldiers on. There, that's the plot. But the delight is in the details. Counting the finale, there are 15 musical numbers, an eight-piece orchestra conducted by Nathan Newton at the piano, and 21 in the cast (seven play multiple roles). The set designs (Ken Samonds, Paul Hamel, Dan Derby) are inspired; the costumes(Rosalie Dialessi) are appropriately slutty. Choreographer Li Ciaglo pays tribute to the great Bob Fosse (whose choreography for the original Broadway show won a Tony) by adapting some of his signature moves, e.g., the fluid hands. Director Dan Derby wound up the cast tighter than a tick and the pace never lets up. In the words of Ed Sullivan, "Sweet Charity" is a "really big show," and once again, the Exit 7 Players prove they can deliver the goods. They honor the tenets of community theater. They cast familiar faces and welcome new ones, i.e., Nate Luscombe (Oscar) who plays Charity's love interest. During their initial meeting, in a stuck elevator, Luscombe grabs the audience with his comedic timing both lines and pratfalls. Exit 7 Players' "Nunsense" is the stuff of legends. They're presenting four performances only of "Nunsense II" June 8, 9, 15, 16. Coming in September, three weekends of "Gypsy." The Andrews Brothers - The New 40's Musical by Roger Bean (2009) "This show is worth seeing twice." I put my money where my mouth was when I wrote my first review of The Andrews Brothers and now I have seen it twice for twice the anticipation, twice the enjoyment, twice the appreciation of upbeat entertainment. In addition to the basic ingredients a good script for an experienced director to build upon, the nostalgic kick of WW II hit songs, appropriately imaginative choreography, an outstanding cast of pro-level caliber the show overflows with the warmth generated by four performers who love what they're doing. When this invisible essence flows among the actors and back and forth between cast and audience, a good show becomes even better and is certifiably worth seeing twice. Donna Bailey-Thompson October 16, 17, 23, 24, 30 and 31, 2009 at 8 PM and October 25, 2009 at 3 PM Review by Donna Bailey-Thompson, The Arts Etc. No law exists against being thoroughly entertained (even beguiled) by another Exit 7 Players runaway hit. There's enough of a story line to mount two dozen Hit Parade favorites of decades ago, many still played today, that capture the flavor of 1945 wartime. At a South Pacific island, a traveling USO act is expected to perform for troops shipping out the next day, back into the fighting. In the meantime, three stage hands (Joe Alvernaz, Robert Clark III, Steven Sands) are recruited as replacement backup singers and dancers for a canary -- a girl singer scheduled to open for the expected Andrews Sisters. They tear up the stage. These are ordinary guys, who in 2009 real life have day jobs, but don't tell anybody because they perform with the aplomb and professionalism for which Exit 7 is well-known. As for the canary (Diane Lamoureaux), she's so perfectly cast that she's almost a cliche: super pretty, she sells every song with perfect pitch, and radiates a sweetness. An eight-piece orchestra swings, stoking urges to dance. There's no room for violins in this big band knock-off that features clarinet (Doug Glanville), saxophones (Kristen Dye, Nathan Carr), trombone (Donna McKeever), trumpet (Sheldon Ross), bass (Sherri Jyringi) and drums (Kevin Barker) all under the direction of conductor Karla Newmark at the keyboard. Their beat is infectious. Director Pam Abair keeps the stage alive: it hums. Jennifer Marshall's choreography is outstanding: no dance moves are repeated -- no small feat. Remember? There are two dozen musical numbers. The first act opens with the novelty hit, The Hut Sut Song, about as close as the '40s came to rap. Costumer Cheryl Chant gets the '40s: the singer's shirt dress is a canary yellow (well, why not?) and the guys wear various combinations of fatigue parts. Towards the end of Act I, word arrives that the Andrews Sisters won't: one of the sisters has chickenpox and the trio is quarantined. With the help of Ac-Cent-Tchu-Ate The Positive, the canary convinces the guys that they can't let down the troops who are expecting a show, and further, that they have the chops to perform as the Andrews Brothers. When the guys discover the Andrews Sisters' props have arrived, they are inspired to go certifiably nuts singing and dancing The Hawaiian War Chant which, among other accomplishments, lends credence to Darwin's Theory of Evolution and almost destroys the audience with laughter. Triple threat Paul Hamel (technical director and master carpenter, producer) together with Ken Samonds (scenic artist) have caught the look of the tropics with only a couple palm trees as well as the austerity of a war zone hosting USO morale boosting activities. See also: www.uso.org The first half of Act 2 combines song and dance routines by the Andrews Brothers, three hotties in drag, wobbling in heels, hairy legs showing through stockings, wearing generously proportioned cantilevered bras. Creator/Author Roger Bean knows when to phase out the joke in favor of the canary's solos which give the trio time to change back into guys, this time wearing military issue suntans. The reuniting of this talented foursome reignites the charm and fun they generated at the beginning. The combination of long-loved songs sung by trained voices coupled with innovative dance routines brings a cheering audience to its feet, a salute to the performers and production team for a well-deserved standing O. This show is worth seeing twice. The Andrews Brothers - The New 40's Musical by Roger Bean (2009) by Eric Johnson, In the Spotlight, Inc. What is so funny about guys in dresses? In this case, it seems to be these particular guys. Robert Clark III, Joe Alvernaz, and Steven Sands are hysterical as Lawrence, Max and Patrick Andrews, three USO stage hands who find themselves caught without a headline act (you guessed it, the Andrews Sisters) and have to perform in their stead. There are plenty of belly laughs to be had in Act II as the boys cavort about the stage; Sands in particular has some hilarious scene-stealing moments. Diane Lamoreaux is the perfect choice for pin-up girl/chanteuse Peggy Jones; her curvaceous physique and sultry voice fit the time period perfectly. It would be nice to see more depth to her character; perhaps it was just opening night jitters but against the bar set by the rest of the cast, her performance seemed somewhat flat. Creator/author Roger Bean doesn't present anything truly original or fresh, as all of the music is culled from existing songs of the '40s and the story is fairly predictable, but that doesn't make it any less entertaining. The show is also refreshingly short for a musical -- about two hours. The standout performance comes from the orchestra. Eight musicians (including music director/keyboardist Karla Newmark) create a big band sound that fills the room and gets toes tapping. The vocal performances by the cast are deftly executed with a generous amount of three-part harmony. Pam Abair's direction creates a wonderful pace that keeps this show rolling along nicely. Kudos to choreographer Jenn Marshall for not going over the top; the movements never seem awkward or beyond the abilities of the actors. Likewise, the set design by Paul Hamel and Abair is just enough to complement the production without going too far. The cast and crew are to be commended for a balanced and highly enjoyable performance. "The Andrews Brothers" delivers a night of great music, plenty of laughs and, oh yes, guys in dresses. The Diamond Collection (2010) By Eliza Netti, The Arts Etc. A Hot August Night it was not, but Kenny Labelle and The Diamond Collection delighted a full house of fans Saturday night at the Exit 7 Players Theater, in Ludlow MA. Covering crowd favorites that spanned decades, Labelle and company overcame a heating issue and engaged a chilled but enthusiastic crowd with hits like "Shiloh," Solitary Man" and "Forever in Blue Jeans." If Neil Diamond is the Head of the Showmanship Department at the School of Rock and Roll, Kenny Labelle is his star pupil. Dressed in Diamond's signature black on black, minus a few sparkles, the glitterati singer-guitarist Labelle with his 7-piece band and sweeping microphone moves prowled across the stage bringing the crowd more than his larger-than- life-persona: he brought with him big sound. The stage tightly packed with Labelle and five musicians including Rob (Robbie-the-crowd-favorite) Dauphinais, Drums; and Don Avezzie, Percussion; Doug Wallace, Guitar; "Big Al" Tower, Bass; Gary Smith, Keyboards; and Francesco "Frankie" Romeo on Keyboards who each time he warmed his hands, I was reminded how much the band should be commended for their dedication and musicianship and how much "Frankie" bears a striking resemblance to Michael Imperioli, the actor who played Christopher Moltisanti in the HBO hit series, The Sopranos. Labelle, also flanked by two backup singers, including Diane Slezek, performed about a dozen songs in each set, including fan favorites "I Am, I Said," "I'm a Believer" (originally a hit for the Monkees), and "Play Me." The most energetic and unifying tune of the night was that of a well-engaged crowd in signature sway, singing along to "Sweet Caroline." Each time Labelle gave up a guttural, "Good times never seemed so good," the fans gave back a rousing, "So good, so good, so good!" Diamond fans looking for a classic rendition of "You Don't Bring Me Flowers Anymore" would have been disappointed albeit slightly amused with Labelle and Slezek's tongue-in-cheek rendition of "You Don't Like to Shower Anymore" and their dead pan musical artistry complete with bathrobes and shower caps. Labelle reminded us that when interviewed for VH1's Behind the Music, Jack Black cited Neil Diamond as the quintessential live performer, describing Diamond as "kind of like a love slinger." In true tribute form, the crowd had that love and more slung their way. Labelle provided much-needed heat to a hearty array of still-coat-and-jacket-clad New Englanders who impressed with classic sing-alongs and signature stage moves, warmed up Diamond Collection the venue and slung that love right back onto the stage. Labelle and company easily strummed the chord that is the essence of Neil Diamond "A Matter of Love." The Goodbye Girl (2008) By Donna Bailey-Thompson, In the Spotlight, Inc. Say a huge hello to "The Goodbye Girl" a musical, that hits all the right notes story, director, choreographer, cast another outstanding Exit 7 Theater production. From the rousing opening number filled with expectations about moving from Manhattan to Los Angeles, the mood plummets when single mother Paula (Lea D. Oppedisano) discovers that Tony, her actor boyfriend, has dumped her in favor of a role in Spain. Her daughter Lucy, a precocious 10 (Emma Henderson), stoically accepts this latest downer. Paula vows, "No more!" and is determined to resume her career as a dancer. At a rehearsal studio with dancers who know the routine, she demonstrates she's not only out of shape but rusty. The intricate number, "A Beat Behind," is cleverly choreographed by Todd Santa Maria. In the middle of the night, a deadbolted door prevents a stranger, with a key, from entering the apartment. Elliot (Nate Luscombe) has bought out Tony's lease. Paula dictates the house rules. Elliot, armed with the lease, pulls rank and imposes new rules. Wide-eyed Lucy misses nothing. Elliot is an actor who has been lured from Chicago to star in "Richard III" at a theater so far off Broadway, it's off the sanity map. Its director, Mark (Jim Coulter) wants Elliot to play the king like a queen who wants to be king. That sequence brings down the house. Still to come is Act Two. Originally a movie (1977), written by Neil Simon, based upon the life of his then wife, Marsha Mason, who played the title role, the musical opened on Broadway (1993) with music by Marvin Hamlisch and lyrics by David Zippel. Simon's craftsmanship endures but, thankfully, the wisecracks are minimized. The voices of Paula, Elliot, Lucy, and the landlady Mrs. Crosby (Christine Kasparian) have the Broadway-like zing of professional training. This "Goodbye Girl" is edgy, at times hysterically outrageous, yet tender and sweet, especially the individual scenes Paula and Elliot have with Lucy: Emma Henderson is a little girl with big talent and the poise of an adult pro. She listens. This is a polished production nine musicians, a stylish set design, and a crew with no wasted motions. Director Dan Derby, take a bow. Thoroughly Modern Millie (2011) by Eric Johnson, In the Spotlight, Inc. Perhaps this show should be called "Thoroughly Timeless Millie" because that is exactly what the story line is, timeless. Small town girl hits the big city lights with a plan and a dream, both of which are compromised right from the start. It is a story that has been told many times before, and will continue to be told in various settings and with a plethora of characters. Everyone loves a story about triumph over adversity, and good defeating evil. The beginning of the opening number showcases Dylan Rae Brown as Millie, the aforementioned small town girl seeking out her fortune in New York City circa 1922. Brown captivates and charms the audience right from the start -- her remarkable voice and stage presence are most entertaining. The chemistry between Millie and Jimmy, the fast talking, street wise city boy (adeptly played by PJ Adzima) is delightful. The characters are real and believable throughout. The skilled and talented ensemble complements the production wonderfully. A few standouts include Katie Clark as Miss Dorothy, Jeff Clayton's Graydon, and Dawn Rendell's Miss Flannery. The "scenery chewing" award for this production is a tie between Pat Haynes as Mrs. Meers and Kathy Renaud as Muzzy. Each actress takes a turn stealing the scene in the first act, and when they have a scene together in the second act it is pure, over the top hilarity. Director Kim Lynch has done an exemplary job of casting and directing a show which could lend itself to being too "cutesy" in the wrong hands. Musical Director Christina Climo and the orchestra do a very nice job with the score which includes a brief homage to the patter songs of Gilbert and Sullivan. The choreography by Amy Bouchard works beautifully --it is tight and deftly executed. A combination of built pieces and projections (courtesy of Technical Director Frank Disco) comprise the set design which also works very nicely. Exit 7 Players upholds its reputation for high production values with this show, as evidenced by the standing ovation from the enthusiastic opening night audience. "Thoroughly Modern Millie" is an entertaining and skillfully executed production, thoroughly. Thoroughly Modern Millie (2011) BY DONNA BAILEY-THOMPSON, The Arts, Etc. WHAT'S NOT TO LOVE ABOUT THIS SHOW? Thoroughly Modern Millie may be a Roaring Twenties period piece but it's as fresh now as when it first delighted audiences back in 1965 (as a movie musical starring Julie Andrews, nominated for seven Academy Awards and five Golden Globes) and in 2002 as a musical play (based upon the movie), winning six Tony Awards. Described as a pastiche (borrowed components, or think of a crazy quilt), the play is bright, playful, with enough nutty goings on to generate giggles and guffaws. This is a fun show. There is nothing tedious about the expected recitation prior to curtain of the plea to turn off cell phones, et cetera, because the words are spoken in Chinese. A projection flashes the English translation. Throughout the show, Ching Ho (David Webster) and Bun Foo (Grant Kuehl) are the source of running gags. One delivers a line that gets a huge laugh. (You'll know it when you hear it.) The setting is New York City, the time is the early Twenties. Determined women have, they think, emancipated themselves -- bobbed hair, short skirts -- but otherwise remain dependent upon a man for their identity. None more so than Millie who has fled Kansas for NYC where she intends to marry a wealthy businessman. She walks on the stage wearing flapper-flavor attire, awed by the Manhattan skyline. When she turns towards the audience, within nano seconds she is no longer a Kansas hick but Millie -- resolute, energized. As Milllie, Dylan Rae Brown owns the stage. She sings, dances, and acts with skill, wit, endowed with It, that special ingredient that can lift a good performer into the realm of genuine stardom. As she continues studying for her BFA in Musical Theater at the University of the Arts, theater lovers can hope she'll have time to squeeze in performances at Pioneer Valley venues. Millie and Jimmy (Paul P.J. Adzima) collide and verbally tangle during the first scene when Millie discovers a crowd provided cover for the stealing of her hat, suitcases, money and one shoe. The sparring of Millie and Jimmy comes across as spontaneous, authentic, so now at Exit 7 there are two stage-savvy actors: this fall, P.J. heads for Marymount Manhattan College to major in Theatre Arts and minor in Musical Theatre. Jimmy assumes that Millie has come to NYC to break into show business. He recommends an inn where an absence of money doesn't seem to preclude getting a room. That's because the proprietor, Mrs. Meers (the incomparable Pat Haynes) masquerading as an Oriental, operates a White Slave business by drugging girls who can't pay their rent and dispatching them to China. Millie lands a steno job working for an eligible bachelor, Mr. Trevor Graydon (Jeff Clayton, who mines his character to a fare-thee-well, almost bringing down the house). One of the tenants who can't pay her rent faces a fate worse than death Miss Dorothy (the beguiling Katie Clark in her 14th Exit 7 show). As the exuberant Muzzy Van Hossmere, Kathy Renaud belts out tunes while simultaneously honoring demanding choreography. Everything except the kitchen sink seems to find a niche. There's an elevator that works only if the passengers tap dance. A glimpse of unfair labor practices is represented in the typing pool of women wearing shirt dresses who are docked $1.00 for a typo a significant bite out of their hourly wage. There are moments when it seems as if Gilbert & Sullivan composed the music or that Vaudeville has intruded. A possible summary of this bubbling show is the line, "A lot can happen in seven days. Just read The Bible!" Indeed, there are 27 musical numbers supported by choreography (Amy Bouchard) that complement the music, especially The Speed Test: the typists at their little desks tap dance in place, including the punctuation. When celebrants at a speakeasy are arrested and jailed, the mood lighting (Frank Croke) of slanted bars accentuates the depth of the cell. The set designs (Sue Crowther, Kim Lynch) suggest a room or a street; the costumes (Judy Hemmingway, Mary Jane Disco) suggest the fashions of the time. Accompanist Jean Aldrich-Jones' alertness keeps the music coming. Director Kim Lynch has brought this delightful romp from read-through to performance sparkling with a light touch that belies the dedicated work of crew and cast. Titanic (2010) Reviewed by B. K. Grant (The Arts, Etc.) Our bright yellow White Star Line Boarding Pass shouted "PERMISSION TO BOARD The Largest Vessel in the World...R.M.S. TITANIC". With a production team and cast totaling nearly 80 very talented individuals, director Bob Laviolette has triumphed with the presentation of "Titanic". It was no easy task to render the celebrated tale of the ill-fated steamer's demise from the ship's point of view without relying on previously aired material. It went off seamlessly. The clever use of stills (rippling waters, the ornate staircase, a starlit sky, the signal flares) projected on the back wall of the stage combined with minimal props (railings, deck chairs and benches, a tilted piano) effectively set the scenes. In Act One, the Titanic's proud designer Thomas Andrews, played by John Woytowicz, gives a lengthy dissertation on the ship's strength, size and beauty, convinced that her maiden voyage will be world famous. Referring to her as the "Ship of Dreams", the crew gestures adoringly toward the great vessel; passengers scramble to get in line, singing "I must get on that ship". The crowd is rich with characters from the elite, affluent vacationers to the common people hungry for a better life. As the eclectic mix of passengers is boarded into first, second, and finally third class areas, one is reminded of the unfortunate class system in 1912 England. Not only were there separate quarters but also separate decks, the lowest being the final resting place of most of the hopeful third class. An uplifting musical number alluding to prosperity "In America", expresses the hopes and dreams of the working class passengers. The overall mood is jovial, excited and energized. The wonderful bejeweled, aproned and uniformed costumes depict the wardrobe of the era accurately, lending to the production's authentic atmosphere. While the passengers take full advantage of the amenities on board, the pompous owner of the White Star Line, J. Bruce Ismay (well played by Eric Johnson) is insistent the Titanic is unsinkable. She must be known as a "six day ship", referring to the journey over the Atlantic to New York City. Ismay repeatedly badgers Captain Smith (Jeff Clayton, who even looks like the real Captain) regarding her speed and his leadership. The Captain's reluctance and the "safety first" cautioning of the ship's designer can not deter Ismay's course and the order is given to increase speed. Back on deck, subtle changes occur in the party-goers' attire furs, jackets and layered sweaters are worn as evidence of cooling temperatures. Although the Captain was given coordinates of nearby ice floes via telegraphy from other ships, arrogant persistence on the part of Line owner Ismay and the Captain's own pride combine to propel them onward at full speed to meet their destiny. April 14th, 1912, 11:40PM. The first act closes as the great ship hits the iceberg. Eager for more, this reviewer didn't want (or need) an intermission. The second act opens seven minutes later with a wake up call; some appear in pajamas, others still in party garb, as they are ushered to the grand salon. Confusion, reassurance, questions and encouragement permeate the air; all remain cautiously hopeful until an empty serving cart is observed slowly rolling across the floor. The lower deck's staircase is seen blocked, forcing third and some second class passengers to frantically search for an alternate escape route. Life vests are distributed and the mood is still not desperate; most feel a rescue is imminent and enjoy the music and a last glass of wine until they meet again. The Carpathia was on her way; however it would be almost four hours in coming. The life boat scene nearly brought this reviewer to tears: since there were enough life boats for only half the passengers, women and children went first; wives clinging to their husbands, then separated; children begging their fathers to join them; families torn apart. Further accenting the futility of the situation, designer Andrews struggles in his last hour to find the flaw in his blueprints as doomed passengers desperately cling to the sinking bow's railing. And the band played on until they could play no more. The story of the Titanic's maiden (and only) voyage is one of tragedy, courage, selfishness and sacrifice. This Exit 7 presentation is one of challenge, illumination, musical artistry and entertainment not to be missed. Who's Afraid of Virginia Woolf (2009) By Donna Bailey-Thompson, In the Spotlight, Inc. This outstanding production of "Who's Afraid of Virginia Woolf" is a triumph worthy of an Off Broadway venue. Under the sensitive, vigorous direction of Marck Morrison, playwright Edward Albee's masterpiece is as fresh and cogent today as when its debut rocked Broadway in 1962. Four accomplished actors give stellar performances Claire Bertrand (Martha), Bob Laviolette (George), Jami Byrne Wilson (Honey), and Brian Dickey (Nick). There is not one false note during the play's three hours. From the blaring opening scene through the final heart-wrenching moments, Ludlow's Exit 7 Players present riveting first-rate theater. A bare-bones, no-meat synopsis of the play: Martha and George are serious swillers of booze who have honed verbal abuse to an outrageous art form. After they arrive home from a faculty gathering, Martha informs George that she has invited a young teacher, Nick, and his wife, Honey, to stop by for a drink. Throughout the night into the dawn, emotional mayhem prevails. Scabrous exchanges substitute for polite conversation. Terrible psychological scars are semi-exposed that beg the question: truth or illusion? Regardless, there is "blood under the bridge." Each actor skillfully balances the character's facade with its underlying reality. George and Martha's symbiotic relationship hovers at a parasitic level; both Laviolette and Bertrand through subtle body language convey within their mutual contempt a complicated, revengeful respect. Nick, the supposedly fair-haired young man is exposed as being as unscrupulous as his hosts. His fragile wife Honey's slow motion progression from tipsy into alcoholic stupor is pantomimed virtuosity. Throughout all three acts, Morrison's directorial skills have become the actors' own. His respect for the audience's need to absorb their insight into Martha and George's convoluted natures is the gift of decompression a protracted final scene of George putting the house to bed before he cradles Martha, his spent other. Productions of this caliber demonstrate that the bottom line difference between a quality community theater and a regional or NYC venue is money: the pros are salaried, whereas the "amateurs" are dedicated volunteers. Those who lump all community theater into a slapdash hobby category will have their parochial opinions torpedoed by Exit 7's "...Virginia Woolf." Be advised: for mature audiences only.