Carla Maria Verdino-Süllwold - Page 16

The electric, near ecstatic atmosphere in Brunswick's Pickard Theater last night more closely resembled that of a rock concert than a theatre company opening. For months in advance, the sold out box office has signaled the joyful anticipation of Maine State Music Theatre's new production of Mamma Mia! - one of the first regionally for the blockbuster Broadway hit. But anticipation aside, it is the delivery here that is the story: a stunningly executed, intelligently staged, deliciously performed rendition of the 2001 long running ABBA musical that transformed the intimate Pickard Theater into a boisterous celebration.

It's a party -under the blue skies and Mediterranean sun of a Greek island - or at least an evocation of that paradise on the stage of Maine State Music Theatre in Brunswick. "It's a party and a great story, and I am so very excited to be part of it! I look forward to revisiting the ABBA music and to encouraging the audience to get up and dance and sing with us." Cory Jeacoma is talking about the anticipation swirling around this week's opening of MSMT fourth main stage production, Mamma Mia, in which he makes his MSMT debut in the leading role of Sky. The vibrant young actor, who just four months ago was graduated from Pace University's musical theatre program, has been working steadily for some years now and is already on his way to making his name and talents known.

If you were among the lucky theatre lovers who scored a ticket to the Broadway blockbuster hit, Mamma Mia! in 2005, you might have had the pleasure the pleasure of experiencing Lauren Mufson make her Broadway debut in the leading role of Donna Sheridan. Now more than ten years later, the actress returns to the beloved ABBA musical in a highly anticipated new production at Maine State Music Theatre that opens August 10. The musical theatre and cabaret artist, teacher and voice coach and mother of two is delighted not only to revisit one of her favorite parts, but to make her Maine stage debut in one of the first ever regional productions of the show.

'We are excited to have the audience open its eyes to some sunshine. [Artistic Director] Curt Dale Clark and I were just saying this morning that this has been an intense season so far, and Fiddler on the Roof and Evita cannot let in much sun. But we stream that light in Mamma Mia, and we hope it will provide a chance to breathe in the joy of the Greek Isles. If we do it right, we will all feel an uplift.' Director/choreographer Mark Martino is waxing eloquent about his latest project and one which constitutes his Maine State Music Theatre debut: a new production of the 2001 Broadway smash it musical Mamma Mia, based on the songs of ABBA. Martino has what he calls 'a very short history' with the show, having mounted a production for the first time in June of this year at the Theatre Aspen. 'The two will be staged very differently,' he explains. 'Aspen is a 200-seat thrust stage, and here they have a 600-seat proscenium theatre. The Pickard Theater gives me an opportunity to expand the show. Our cast at MSMT is about one third larger than in Colorado - some twenty-seven actors - which is even a bit larger than the twenty-four in the original Broadway production. The production values are going to be large and lavish, and the cast has a huge amount of energy, so for me it is an opportunity to revisit the show and make different pictures and entirely different choreography.'

One week into the virtually sold-out run of MSMT's Fiddler on the Roof, cast members, Bill Nolte, Susan Cella, Erick Devine, and Rachel Rhodes-Devey, together with MSMT's Managing Director Stephanie Dupal convened in the third Peek Behind the Curtain panel discussion at the Curtis Memorial Library on July 27, 2016, to examine the phenomenon of the show that continues to mesmerize audiences fifty-two years after its Broadway debut. In response to moderator Carla Maria Verdino-Sullwold's observation that Fiddler is a show which - like its characters - survives, the participants discussed their individual perspectives on the show, their characters, and the universal themes that continue to speak powerfully to audiences.

The Theater at Monmouth's new production of Pierre de Beaumarchais' delightful, provocative 18th century comedy, The Barber of Seville, (in translation by Elizabeth Griffith) sparkles not only with saucy wit, but also with a striking modernity. The first play from the French master's Figaro trilogy is a comedy of manners about marriage with the underlying theme - embodied in the wily Figaro - of class conflict. And though the historical context is Enlightenment France, Rosine's quest for self-determination and love and Figaro's cheerfully impudent challenging of a hierarchical society ring with relevance.

One of Shakespeare's best-loved history plays, Henry V, opened Friday July 23 at Maine's Theater at Monmouth in a stylish and stirring performance directed by Mark Mineart. Trimmed to a little over two hours, the production, nonetheless, keeps the architecture of the masterpiece and all the most famous speeches, and performed as it is by a strong ensemble, it achieves an immediacy and truthfulness.

Maine State Music Theatre's third 2016 main stage production is a cause for celebration! After twenty-one years, the beloved Bock-Harnick musical, Fiddler on the Roof returns to the Pickard stage in a monumental production directed and choreographed by Gary John LaRosa, that stunningly weaves a rich and joyous tapestry of laughter, tears, and joy. Maintaining its perfect dramatic and emotional equipoise, this Fiddler on the Roof travels between tradition and change, monumental events and mastery of detail.

"I haven't specifically counted," the dynamic actress sitting opposite me replies. "Somewhere between 1000-2000 performances, I think. I've done the role with Theodore Bikel and Harvey Fierstein, on both national tours, and in regional and stock houses all over the country." Susan Cella is speaking of her signature portrayal of Golde, the vehicle which has brought her to the latest stop in her artistic journey, Maine State Music Theatre in a new production of the Bock-Harnick musical, Fiddler on the Roof, that opens July 20.

Ogunquit Playhouse's third season offering is an epic production of the Alan Menken-Stephen Schwartz- Peter Parnell musical version of Victor Hugo's The Hunchback of Notre Dame. This is only the third regional production of this adaptation of Hugo's 19th century novel set in 15th century Paris and represents another major step in the development process which will likely eventually bring this show to Broadway.

'It's all about growing and being willing to change…about people finding a way to look at things from both sides and learn to empathize.' The soft-spoken man sitting opposite me thoughtfully answers my question about the universality of the musical theatre piece in which he stars, Fiddler on the Roof. There is a gentle, heartfelt quality to all his comments, and one understands immediately why Bill Nolte makes an ideal Tevye. The Broadway actor, singer, and visual artist makes his Maine State Music Theatre debut on July 20 in a part he has played twice before, and he waxes eloquent about the experience in Maine and his reunion with director/choreographer Gary John LaRosa and many of the veteran cast members.

'This is like a real homecoming. The last time I worked at Maine State Music Theatre was in 1995, and it was also Fiddler on the Roof,' says nationally acclaimed director-choreographer Gary John LaRosa. La Rosa, who is widely considered one of the reigning authorities on the beloved 1964 Bock-Harnick bitter-sweet musical about Russian Jews confronting a changing world, has in his own words, 'literally done dozens' of Fiddler productions throughout his vibrant, busy career. 'I've actually stopped counting,' he says with a smile, though we note that among all these, he staged the 50th anniversary Fiddler gala on Broadway, as well as at least four of these won prestigious theatre awards and nominations. This month he finds himself in Brunswick, Maine, directing a thirty-six person cast in MSMT's third main stage show of the 2016 season.

History- actual 20th century events and the theatre's own story and legacy - became the joint focus of Maine State Music Theatre's second Peek Behind the Curtain talkback, held on July 7 at the Curtis Memorial Library. The panel examined the characters and forces that formed the basis for MSMT"s thrilling production of Evita, now playing at the Pickard until July 16, and also took several excursions into MSMT's history, which forms the basis of a new retrospective exhibition, MSMT Past, Present, and Future, which serendipitously celebrated a gala opening that same date. Moderated by Broadway World's Carla Maria Verdino-Sullwold, the panel featured the three stars of the Andrew Lloyd-Webber musical, Kate Fahrner, Matt Farcher, and Nat Chandler, as well as the Artistic Directors of two of the areas leading theatres, MSMT's own Curt Dale Clark and the Good Theater's Brian P. Allen.

Twenty-five years after it was last presented at the Pickard Theater, Andrew Lloyd-Webber/Tim Rice's masterpiece has returned in triumph to Maine State Music Theatre in a stunning new production directed and choreographed by Marc Robin. Boasting the largest cast in the company's history (46), this Evita is gripping and epic, at the same time that it is touchingly intimate and magnificently detailed. The size of the endeavor is both literal and figurative, for MSMT's Evita succeeds not only in its grand sweep, but also in the magnitude of its intangible assets - unsparing honesty, intensity, and emotional depth.

On a stage, of course! You only have to watch the twenty-five year-old actor inhabit a character, take possession of a story, and let loose with his emotive voice to understand his assertion. Matt Farcher is currently poised to make his debut at Maine State Music Theatre on June 29 as Che in Andrew Lloyd-Webber-Tim Rice's epic musical Evita, but in the short time since he has performed professionally, he already boasts a resume replete with challenging and diverse leading roles and a career that has taken him off-Broadway and to leading regional theatres across America.

The Theater at Monmouth kicked off its ambitiously programmed 2016 summer season, Vive La France, with one of the timeless treasures of French theatre, Cyrano de Bergerac. Presented in a severely abridged seventy-five minute adaptation by Jo Roets, the Edmund Rostand play made its impact largely through the artful staging and charismatic performance of its three-person cast.

"When I called to do this job, I was shocked and terrified at first. It's such an iconic part," confides actress Kate Fahrner, who makes a double debut in Evita at Maine State Music Theatre on June 29, 2016. The three-week run marks the young and talented Broadway star's role debut as the mesmerizing Eva Peron, as well as her first MSMT appearance. And if this weren't enough of a challenge, she adds, she has a number of other exciting things happening in her life right now as well - foremost among them a one-year old daughter, who (with the help of family) has accompanied her to Maine for rehearsals.

Maine State Music Theatre continues its impressive 2016 lineup of shows with two performances on June 20, 2016, of A Grand Night for Singing, a musical revue conceived by Walter Bobbie to showcase the glorious songs of Richard Rodgers and Oscar Hammerstein II. Directed and choreographed by Curt Dale Clark with tap choreography by Raymond Marc Dumont, the revue features a sixteen-member cast of young professionals drawn from the intern company and local Maine performers, who turn in a performance that offers not only grand singing and dancing, but also speaks to the huge reservoirs of talent that MSMT is proud to possess. The original 1993 twenty-seven song revue skillfully weaves together a wide range of Rodgers and Hammerstein's works in arrangements by Fred Wells (and lovely orchestrations by Michael Gibson and Jonathan Tunick) from both their smash hits like Oklahoma, Carousel, South Pacific, The Sound of Music, The King and I, and Cinderella, as well as gems from lesser-known shows like Allegro, State Fair, Flower Drum Song, and Pipe Dream. Patrick Fanning serves as MSMT's Music Director, conducting the wealth of melodic material with elan, delicious detail, and nuance and eliciting from the young cast lyrical and idiomatic renditions of beloved sings such as 'We Kiss in a Shadow,' 'Maria,' 'If I Loved You,' and 'This Nearly Was Mine' or upbeat numbers like 'Honey Bun' and 'Oh, What a Beautiful Morning!' The dynamically staged and imaginatively choreographed production by MSMT's Artistic Director Curt Dale Clark - with a dazzling, intricate tap number created by Raymond Marc Dumont for 'Kansas City' - is brimming with class, warmth, and humor. Clark inspires the cast to bring to their music and vignettes an infectious and embracing energy, an eloquence of emotion spiced with mischievous moments. His pacing is brisk, and he effectively builds a lively sense of character and communication among the cast members, who share their enthusiasm with the public, even interacting on several occasions with the audience in the house. By retooling the contexts of many of the songs, he is able to add a contemporary and universal touch to their appeal. Most of all, he helps these young artists find and share the timeless heart in this treasure trove of American musical theatre. Using the bare bones of the Ghost set makes for a minimal but attractive decor. The characterful casual and subsequently elegantly formal costumes by Travis S. Grant are carefully chosen for their complementary pastel hues; the kinetic lighting by Heather Reynolds and a well-balanced sound design by Nate Dickson contribute to making this revue offers a feast for eyes and ears. Working seamlessly as an ensemble, the youthful cast gives their all both in the big production numbers and in focused solos, amply illustrating the meaning of the musical theatre term 'triple threat.' They sing beautifully; they dance with technical aplomb, and they act with irresistible charm. Moreover, each and every one of them knows how to interpret a song - to make it more than a lyrical moment. Each has several occasions to shine, and Clark and Dumont have skillfully mined their individual strengths. Among the many highlights are a perky rendition of 'Surrey with the Fringe on Top' (Eric Berry-Sandelin, Katie Whittemore, Cameron Wright, Rachel Grindle, Hugh Cipparone, Berkley Jones), inspired vocal interpretations of 'If I Loved You (Jennifer Kennedy), 'It Might As Well Be Spring' (Berkely Jones)'This Nearly Was Mine,'(Matthew LaBerge), a smoldering account of 'Maria' (Alex Drost), a romantic 'We Kiss in a Shadow' (Giovanni DiGabrieli), a winsome 'All At Once' (Marty Lauter, Cipparone), and a single verse in 'Love Look Away' to bring tears to the eyes (Lauter), a feisty 'Stepsisters' Lament,' (Ali Sarnacchiaro, Haley Ostir, Megan Flynn), a spirited 'I Can't Say No' (Molly Keane-Dreyer, Kennedy), and a witty 'The Gentleman Is A Dope' (Alex Drost, Kyle Laing, Ostir, DiGabrieli, Lauter). The numerous ensemble numbers are enhanced by the strong camaraderie and chemistry among the players, making for some memorable comic and romantic moments such as the women's septet in sunny 'Wash That Man' and the men's octet in a plaintive 'Love Look Away.' The choreography is expressive, lyrical, and catchy by turns - ranging from ballet and modern to jazz and tap - with such numbers as the sweeping polka of 'Shall We Dance?' or the dueling tap in 'Kansas City' garnering special attention. Special mention to Berkely Jones, Marty Lauter, and Kyle Laing for their dance solos and impressive technique. To spend an evening with these magnificent Rodgers and Hammerstein classics makes it impossible not to take away a renewed appreciation for their geniuses and a love of their legacy. But A Grand Night for Singing does something else as well. It proves to be one more piece of evidence that MSMT is truly, as its catchphrase promises, 'Bringing Broadway to Brunswick.' Photos courtesy of MSMT, Roger S.Duncan, potographer Evita which begins on June 29 - July 16 at the Pickard Theater, 1 Bath Rd., Brunswick, ME, on Monday, June 20 at 2:00 p.m. and 7:30 p.m. For tickets call box office at 207-725-8769 or visit online at www.msmt.org

'Sometimes in this business, it can seem you work and work and you aren't seeing results right away. Then all at once, everything comes to fruition at once, and that is a major boost to our company morale. That's exactly what has happened this season for MSMT,' says Artistic Director Curt Dale Clark. 'Of our main stage productions, we have three that will be firsts!' Clark, who is joined by director Marc Robin, actors Liz Shivener and Mike Backes, is speaking to a Brunswick audience at Curtis Memorial Library on June 15, 2016, at the first of the season's Peek Behind the Curtain series, which is moderated by Broadway World's Carla Maria Verdino-Sullwold. He elaborates. 'This summer we will present the New England regional premiere of Mama Mia; we have extended our twelve-week season for the first time by co-producing with Portland Stage, The Irish and How They Got That Way, and together with the Fulton Theatre, we have created the East Coast Regional premiere of the new chamber music version of Ghost The Musical. It's been an extraordinary adventure!'

Robin and Clark's musical theatre version of Jack and the Beanstalk, which plays three performances this week at MSMT's Pickard Theater, is a colorful, clever, catchy retelling of a familiar story designed to enchant the entire family. Directed/choreographed by Curt Dale Clark, cast with an ensemble of energetic young actors, and staged in a striking visual production, this delightful fairytale creates magic for all.