The Ogunquit Playhouse welcomes Dan Breen as the new Development Director for the historic theatre.
Ogunquit, ME – The Ogunquit Playhouse is pleased to announce the appointment of Dan Breen to the position of Director of Development. Mr. Breen has 30 years of fundraising experience at educational and arts institutions including the Boston Symphony Orchestra and Middlebury College. “The Ogunquit Playhouse is a treasure not only for the seacoast region, but for everyone who loves the highest quality musical theater,” said Breen.
Helping to preserve this powerful art form while working to secure and strengthen the physical plant of the Ogunquit Playhouse are two of the overarching goals Mr. Breen will work to achieve. Through building fundraising efforts, his plans are to increase the Ogunquit Playhouse membership program, expand the Hartwig Legacy Society and to work with the Board of Directors and the community to raise funds for the capital needs of the iconic National Historic Register theatre and campus.
Executive Artistic Director Bradford Kenney stated, “We are thrilled to have Dan Breen as part of our growing company to lead us in the area of fundraising in order to help insure our treasured Playhouse will be here for generations to come. As the Ogunquit Playhouse productions continue to reach new benchmarks within our industry, it is more important than ever to raise the funds necessary to preserve our historic building, and to enhance and equip our theatre to accommodate both our artistic goals and to enhance our public areas in order to create the best possible experience for our visitors.”
Dan Breen and his family have relocated from the Philadelphia area to Kittery Point. Please join us in welcoming Dan to the Ogunquit Playhouse.
About the Ogunquit Playhouse: The Ogunquit Playhouse, a 501c3 not-for-profit organization listed on the National Historic Register, is located on Route One in Ogunquit, Maine and produces the finest Broadway musicals each season with performances Tuesday through Sunday, from May 18 to November 6. Follow the Ogunquit Playhouse on Twitter (@OgunquitPH) and on Facebook (facebook.com/OgunquitPlayhouse) for behind-the-scenes info, photos and fun throughout the season. For a complete list of show times, pricing and more information about the season visit www.ogunquitplayhouse.org.
Get Your Glitter On for the New England Premiere of Priscilla, Queen of the Desert at the Ogunquit Playhouse August 10 to September 3.
Ogunquit, ME — Get your glitter on and take the ride of your life with the hilarious and heartwarming Tony Award-winning Broadway musical, Priscilla, Queen of the Desert, based on the Oscar-winning film on stage at the Ogunquit Playhouse August 10 to September 3. The Ogunquit Playhouse is one of the first regional theatres in the U.S. to stage this outrageous international and Broadway smash hit, with book by Stephan Elliot and Allan Scott, complete with a non-stop dazzling array of over 500 imaginative and outrageous Tony Award-winning costumes and 200 headdresses designed by Tim Chappel and Lizzy Gardiner. Rounding out the fun is a hit parade of infectious dance songs from the 70s and 80s by Tina Turner, Cyndi Lauper, Donna Summer, The Village People and many other pop-stars and include “I Will Survive,” “Hot Stuff,” “Girls Just Wanna Have Fun,” “True Colors,” and “I Love The Nightlife.” Don’t miss the bus! Hop on for a journey to the heart of fabulous!
Jarrod Emick
The story follows the adventure of friends Tick, Bernadette and Adam who board a party bus named Priscilla and take their outrageous drag show on the road through the Australian Outback to unite Tick with his young son. Starring as Tick is Jarrod Emick who won a Tony Award, Drama Desk and Theatre World Award for his role as Joe Hardy in the 1994 Broadway revival of Damn Yankees. Mr. Emick has performed in many other Broadway shows as well, including Miss Saigon (Broadway debut), Rocky Horror Show, The Boy from Oz opposite Hugh Jackman, and Ring of Fire. He also appeared at the Prince of Wales Theatre in the West End premiere of The Full Monty. His regional theatre productions include Next to Normal, Guys and Dolls, Sweeney Todd, Bus Stop, Picnic, Hank Williams: Lost Highway, Contact, Hands on a Hard Body and The Sound of Music.
William Selby
William Selby joins the cast as Bernadette. He most recently enjoyed a long run of Laughing Matters, Vol. 5 at Florida Studio Theatre in Sarasota. Off-Broadway he has performed in many editions of Forbidden Broadway, The Daring Duo, Nerds, Forbidden Hollywood, Juba, and The Apple Tree. Mr. Selby has also performed in regional theatres throughout the U.S. in many shows including South Pacific as Luther Billis (for which he received Broadway World and Connecticut Critics Circle Award nominations for Outstanding Featured Actor), Barrymore, The Presidents, Hot n’ Cole, and All Night Strut. Playing Adam is Matthew Marks who is taking a break from his five year run in Broadway’s The Book of Mormon. Among his credits are the Broadway production of West Side Story
Matthew Marks
and the National Tour of Fiddler on the Roof. Lisa Helmi-Johanson, Coleen Sexton and Debra Walton join the cast as the three Divas along for the fabulous ride. Ms. Helmi-Johanson has performed in regional theatres in the U.S. in Avenue Q, Waterfall, Taming of the Shrew and …Spelling Bee as well as many others. Ms. Sexton has performed on Broadway in Forever Dusty and the National Tours in Wicked as Elphaba, in Legally Blonde as Brooke Wyndham, and various roles in Chicago. Ms. Walton has performed on Broadway and Off-Broadway in many shows including The Pajama Game, Storyville!, The Bubbly Black Girl and Cookin’ At the Cookery: The Life and Times of Alberta Hunter, which earned her a Drama Desk Nomination and a Barrymore Award. Mitch Poulos, who has also performed throughout the U.S., most notably in the National Tours of Billy Elliot the Musical, is cast as Bob.
Helming the Ogunquit production is David Ruttura who is currently the Associate/Resident Director of School of Rock on Broadway. He has worked as Associate Director for many Broadway productions including Spider-Man, Follies, Lombardi, Million Dollar Quartet, White Christmas and A Man for All Seasons. Mr. Ruttera has also directed many shows for regional theatres across the U.S. including the Kennedy Center, La Jolla Playhouse and Gateway Playhouse.
Gerry McIntyre returns to the Ogunquit stage to choreograph Priscilla, Queen of the Desert. He was last at the Ogunquit Playhouse in 2012 to choreograph 9 to 5 the Musical and in 2010 as the Director/Choreographer for Chicago. Mr. McIntyre’s long career, both on the stage, as director and choreographer has included many regional, Off-Broadway and Broadway productions including, the Dreamgirls National Tour, One Man Two Guvnors, My Fair Lady, A Chorus Line, Oklahoma, Candide, Legally Blonde, Urinetown, and Hairspray.
Michael McAssey is the Musical Director for the Ogunquit production. He has conducted and music directed the Broadway National Tours of Avenue Q and Titanic: The Musical, and toured with Donny Osmond playing piano for Liventʼs Joseph…Dreamcoat. He has music directed at theatres throughout New York and the U.S. for various productions that include Chicago, Man of LaMancha, Dirty Rotten Scoundrels, White Christmas, Ragtime, Sunset Boulevard, Gypsy, Violet, Smokey Joe’s Café among others. He appeared with Barbara Cook and Patti LuPone in Paris and toured with Ms. LuPone in her nightclub act, The Argentina Turner Revue.
Set design for the Ogunquit Playhouse production is by Stanley A. Meyer and Jason M. Curtis. Mr. Meyer’s set designs have been seen in Beauty and the Beast on Broadway, Aida at the Alliance Theatre, Treasure Island at the Arkansas Repertory Theatre, and From Here to Eternity and Saturday Night Fever at Finger Lakes Musical Theatre Festival. He has been recognized for his work by the League of American Theatres and Producers, National Broadway Award, Drama League Awards, American Theatre Wing Award and New York Outer Critics Circle Award, as well as the Los Angeles Ovation Award. Mr. Curtis has been the assistant designer for International Tour of Beauty and the Beast, Saturday Night Fever and From Here To Eternity at Finger Lakes Musical Theatre Festival among others.
Sound Designer for the Ogunquit production is Don Hanna whose regional theatre credits include Million Dollar Quartet and Billy Elliot, as well as the National Tours of Million Dollar Quartet and Smokey Joe’s Cafe 20th Anniversary. Lighting Designer is Richard Latta who has created the lighting for dozens of Ogunquit Playhouse productions, including most recently The Hunchback of Notre Dame, Sister Act, Victor Victoria, Nice Work If You Can Get It, Million Dollar Quartet, Saturday Night Fever and White Christmas in addition to many regional theatres in the U.S.
As I waited for the curtain to rise for the opening of The Hunchback of Notre Dame I was fascinated by what I could see of the set for this production. I read in the program notes it was designed by Adam Koch exclusively for the Playhouse. I have seen Mr. Koch’s work before and have been impressed, but his work for this production was beyond impressive, it was positively breathtaking.
Ladders, a movable staircase, giant cathedral doors, five large bells, a choir loft, cauldron, revolving stage upon the stage, all appearing and disappearing seamlessly from scene to scene. This, combined with superb lighting, created a visual epic that held the audience spellbound during the entire performance.
But sets alone do not make for a hit play. While drinking in the creative genius of Mr. Koch, something else began to happen on stage. An incredible story, dark yet touching, unfolded. This story was told by actors with talent who were playing at the top of their game.
As the play opens we see the word “Fate” in large letters over the stage. This word would stay with us as we watch events unfold and it will haunt us with the question: How much do we control our own destinies? One that mankind has struggled with throughout the ages.
Theatre is illusion, and when F. Michael Haynie first appears on stage we see him transformed into the part of Quasimodo right before our eyes. It is a stunning moment when he turns to face the audience, his face with just the right lighting, no makeup, and he is suddenly in full character. It is one of those moments in theatre that is never forgotten. Mr. Haynie goes on to give a full and outstanding performance for the rest of the evening. In a stage populated with talent, he shines.
Quasimodo is the illegitimate nephew of Claude Frollo the Archdeacon of Notre Dame. He took in his brother’s out of wedlock child, and to shelter him from the world, confined him to the belfry of the church where he serves as bellringer.
Frollo (Bradley Dean) Photo: Gary Ng
Frollo, powerfully portrayed by Bradley Dean, is tormented by his feelings of guilt when he begins to feel lust for the beautiful gypsy Esmeralda portrayed by the very talented Sydney Morton. Mr. Dean takes the audience on an emotional roller coaster as he elicits feelings of warmth, pity, sadness, and anger in his descent into a darkness from within the soul of Frollo.
The magnificent score written by Stephen Schwartz and Alan Menken was originally created for the Disney film. It has been since updated with some songs removed and others added. Many of the songs heard in Ogunquit are being performed on stage for the first time. Some high spots among the many are The Bells of Notre Dame, the touching Out There sung from the tower by Quasimodo, the beautiful duet Someday performed by Esmeralda and Captain Phoebus played by Christopher Johnstone who was last seen on the playhouse stage in South Pacific. His voice is as wonderful now as it was then.
Chopin (Paolo Montalban) Photo: Julia Russell
I also want to mention the very strong performance of Paolo Montalbano as Clopin, the king of the gypsies. He also plays the roll of narrator. Along with the gargoyles who come to life only to Quasimodo and serve as a sort of Greek Chorus, the story flows continually.
There is a thirty-two member chorus that occupies the choir loft that is perched high up and to the back of the stage. Their magnificent voices fill the theatre. The Playhouse recruited local talent for the chorus from such groups as the Seaglass Chorale, and they are all first class.
This production is something a bit different for the Playhouse as it has only been performed at two venues in the United States, and this run is being directed for the Ogunquit Playhouse by Shaun Kerrison. It is not a touring company show. Under the artistic direction of Brad Kenney, the Playhouse has become a major player in regional theatre. I believe there is a very strong likelihood this production will move on to Broadway. It is that strong. I hope Mr. Kerrison follows it there.
This play is dark in many parts. It will touch your emotions and make you think about how cruel humans can be to each other and wonder why. It will cause you to look at yourself and, perhaps, question some of the quick judgements we all make about people because they are different. The play does not answer these questions, but I believe it will open many eyes so that we all take the time to be more thoughtful before passing judgement on our fellow human beings.
We can take charge of our fate, but we must grasp our hopes and believe in the good we all have to offer.
See this play. You will be delighted by such a beautiful evening of theatre. You will also leave pondering so much more.
Through August 6th.
For information: OgunquitPlayhouse.org 207.646.5511
Shadow Box: An Amateur In The Ring By George Plimpton
(Little Brown, 347 pages, $20.00)
Every young man who steps into a boxing ring for the first time sees himself as a future champion. Appearing so basic in its nature, prizefighting is the one sport where it doesn’t take a lot of imagination to see one’s self as landing that knock out blow against the champion and taking the title. Reality is a bit different.
For many, that first experience getting punched on the nose by a blow that seemed to come out of nowhere is enough to send even the most imaginative packing and leaving the gym never to return. For others, it is just the thing that gets the adrenalin flowing and the desire spiked to move forward in pursuit of the nearly impossible dream.
George Plimpton was the editor of the The Paris Review from 1953 until his death in 2003. He was also a frequent contributor to Sports Illustrated Magazine. Mr. Plimpton earned a reputation as a participatory journalist by stepping onto the mound to throw against a number of MLB All Stars, play quarterback briefly for the Detroit Lions (he lost thirty yards in his few minutes on the field), and being beaten at golf by Jack Nicklaus and Arnold Palmer among other things.
In 1960 he also decided to experience boxing first hand. Now most people would have gone to a boxing gym and taken a few lessons, stepped in with a sparring partner of similar experience and gotten a good taste of what it is like to be in the ring. Not so in Plimpton’s case. His first choice of opponent was Heavyweight Champion Floyd Patterson. When that arrangement failed to materialize he moved down a weight class and sought out Light Heavyweight Champion Archie Moore. The Old Mongoose agreed to meet George in the ring at Stillman’s Gym in New York City.
He recounted his session with Moore in Shadow Box: An Amateur In The Ring first published in 1977 and now reissued by Little Brown as part of a delightful set of the sports books by George Plimpton. This title is one of seven in the group, and it is a wonderful read.
I first read Shadow Box in 1977 while I was still active in the ring. Rereading it now has brought back so many memories of that time when boxing was quite different than it is today.
Moore and Plimpton (Photo: Walter Daran)
Mr. Plimpton begins with his bout with Archie Moore. He took this match quite seriously enlisting a professional boxing trainer to prepare him for the fatal day. He also read numerous books on the subject and learned he was not unique among writers in getting into the ring with a champion boxer. The poet Arthur Craven, reputed to be the nephew of Oscar Wilde, fought Heavyweight Champion Jack Johnson in Paris. It should be noted that Mr. Plimpton fared much better in his match against Archie Moore.
George had one fatal flaw as a boxer, something he called the “sympathetic response”. This was an involuntary reaction to being hit that resulted in tears flowing from his eyes giving the appearance he was crying. This reaction was a far cry from the Sonny Liston stare and would hardly send chills done the spine of an opponent.
The three rounds with Moore went well in front of a large crowd that had gathered in Stallman’s for the event, and George was very proud of the bloody nose he came away with.
The book moves on from there to many interesting experiences Mr. Plimpton had in the boxing world as well as some wonderful stories about authors such as Ernest Hemingway, Norman Mailer, and Truman Capote. In one of these tales we learn of how the author attempted to arrange a meeting between Hemingway and Mailer, but it never happened. Perhaps, this was for the better as any restaurant the two would have met in almost certainly would have been busted up. We also learn that Mailer was undefeated at thumb wrestling.
Some of the best parts of the book are about the time Mr. Plimpton spent with Muhammad Ali and his covering both the first Frazier fight as well as the Foreman fight in Zaire.
The author was in Ali’s dressing room immediately after the Frazier bout and describes the pain Muhammad was in after his fifteen rounds with Joe. Most fans are not aware of just how much punishment boxers take in a fight, and this was no ordinary fight. Ali was exhausted and in excruciating pain. He could barely walk. I am sure the situation was as bad if not not worse in the Frazier camp. Mr. Plimpton’s wonderful writing brings this moment in boxing history vividly to life.
The last portion of the book is devoted to Ali’s fight with Foreman in Africa. After the press had arrived the bout was postponed for six weeks due to a cut eye the champion received in training. Being so far from home the writers stayed in Zaire for the six weeks. This leads to a number of tales such as the one where Norman Mailer thought he was going to be eaten by a lion.
Mr. Plimpton spends a number of pages writing about Hunter Thompson. Thompson was sent to cover the fight for Rolling Stone Magazine but didn’t go to the bout. I really don’t know why so many pages are devoted to Thompson as I really never understood why he was ever taken seriously, but it is an insight into the time.
The author talks quite a bit about Drew Bundini, Ali’s sidekick. Mr. Plimpton refers to him as Ali’s trainer. In one depressing scene Ali belittles Bundini and slaps him in the face in front of a roomful of reporters. Mr. Plimpton, who worshiped Ali, says he hated him at that moment.
Shadow Box is a delight. It is a book by an author who is a master with words. A man who brings the enthusiasm of the dedicated boxing fan along with just enough knowledge of the sport to make it all come alive. It is a book about the sport when it was much different and much more exciting. That excitement comes through on every page. If you have not already read Shadow Box, I urge you to do so. if you read it years ago, go to it again. You will not be disappointed.
The Ogunquit Playhouse is proud to be the New England premiere of The Hunchback of Notre Dame, on stage from July 13 to August 6, making the Playhouse one of the first regional theatres in the U.S. to stage this new musical. Victor Hugo’s epic tale of hope, love
Sydney Morton (Esmeralda)
and passion, with book by Peter Parnell (On A Clear Day You Can See Forever Broadway revival) and music by composer Alan Menken (Newsies) and lyricist Stephen Schwartz (Wicked), soars to life in this emotionally charged retelling of the celebrated classic. The love story of the beautiful gypsy girl Esmeralda, the scorned bell-ringer Quasimodo and the dashing Captain Phoebus comes to glorious life in this powerful rendition of the timeless tale. The bold and dramatic theatrics, combined with the music’s orchestral power and choral beauty provided by a thirty-two member choir that accompanies the cast, promise to transport audiences back to fifteenth century Paris and inside the cathedral walls made famous by Victor Hugo’s novel.
F. Michael Haynie (Quasimodo)
The stellar cast is led by F. Michael Haynie who is making his Ogunquit debut as Quasimodo. On Broadway he performed in Wicked and Holler If Ya Hear Me, on television in Peter Pan Live for NBC, and the film Not Fade Away for Paramount. The beautiful gypsy girl Esmeralda is played by Sydney Morton who has performed as part of the original Broadway casts of Memphis, Evita, Motown and American Psycho, the National Tours of Flashdance and Jersey Boys, and appeared in The Sound of Music Live broadcast on NBC. Christopher Johnstone returns to the Playhouse as Captain Phoebus after playing Lt. Cable in the award-winning production of South Pacific (Best Actor nominee Broadway World). His many theatre credits include the National Tours of the recent revival of Evita, Lincoln Center’s production of South Pacific and regional productions of Fiddler on the Roof, A Little Night Music, and Pirates of Penzance, among many others.
Bradley Dean (Frollo)
Bradley Dean joins the cast as Claude Frollo. Mr. Dean is also making his Ogunquit debut and has appeared on Broadway in A Little Night Music, The Last Ship, Company, Doctor Zhivago, Spamalot, The Story of My Life, Evita, Jane Eyre, Man of La Mancha as well as many Off-Broadway, National Tours and regional theatre productions. Paolo Montalban joins the cast as Clopin. He was last seen at the Ogunquit Playhouse in The King and I (Lun Tha) and Cinderella (Prince Christopher). On Broadway he appeared in Breakfast at Tiffany’s, Pacific Overtures and Off-Broadway in Two Gentlemen of Verona, and The Romance of Magno Rubio, as well as many regional theatres across the nation. On television Montalban is most recognized as the Prince in the ethnically diverse ABC production of “Cinderella.”
Shaun Kerrison returns from England to direct this epic production for the Ogunquit Playhouse. He has directed many Ogunquit productions, receiving many IRNE and BroadwayWorld nominations for Best Director. Mr. Kerrison was last in Ogunquit in 2014 to direct Mary Poppins the Broadway Musical and The Witches of Eastwick and in 2012 he directed the Rodgers and Hammerstein’s classic South Pacific. He also directed the U.S. regional premiere of Sunset Boulevard at the Ogunquit Playhouse starring Stephanie Powers, as well as Les Miserables and My Fair Lady for the Ogunquit stage. On Broadway, Mr. Kerrison was the Resident Director of Mary Poppins and was the Associate Director for the Broadway revival of Les Miserables and he redirected the National Theatres production of My Fair Lady for its 50th Anniversary U.S. National Tour. He recently reunited with conductor John Wilson to direct Kiss Me Kate for the BBC Proms at the Royal Albert Hall.
Choreographer for the Ogunquit production of The Hunchback of Notre Dame is Connor Gallagher who recently received an Astaire Award for his work on The Robber Bridegroom at the Roundabout Theatre in New York City. His many show credits include the world-premiere stage adaptation of Disney’s Tangled with director Gordon Greenberg; Robert Schenkkan and Neil Berg’s The Twelve at Denver Center; The Fabulous Lipitones for Goodspeed; and Perez Hilton at Lincoln Center. Mr. Gallagher will next choreograph the Broadway-bound musical FOUND for the Philadelphia Theatre Company and as a director, a new musical with Disney Creative Entertainment for fall of 2017.
Fight Director Jacob Grigolia-Rosenbaum joins the creative team to direct the fight scenes in the show. He has worked on many Broadway productions including Bloody Bloody Andrew Jackson, Peter and the Starcatcher, Cyrano de Bergerac, and On the Twentieth Century as well as many Off-Broadway and regional theatre productions and the television production of Peter Pan Live for NBC/Universal.
Brent-Alan Huffman returns to Ogunquit Playhouse as Conductor/Music Director after having conducted last year’s Playhouse hit Sister Act. Mr. Huffman conducted the recent Billboard number 1 cast recording of Hunchback of Notre Dame, and was Conductor/Music Director for the original U.S. companies in 2014-15. His Broadway credits include Leap of Faith,Disney’s The Little Mermaid and Beauty and the Beast, and National Tours include Sister Act, Little Shop of Horrors and Beauty and the Beast. For television he served as Production Music Coordinator on ABC’s The Music Man starring Matthew Broderick and Kristin Chenoweth, and as Associate Music Producer on NBC/Hallmark’s A Christmas Carol starring Kelsey Grammer. Assisting Mr. Huffman is Associate Music Director Jeffrey Campos and Chorus Master Wendell Scott Purrington.
An all new set has been designed by Adam Koch exclusively for the Ogunquit stage that reaches out over the audience complete with areas for Quasimodo to venture. Mr. Koch previously designed sets for the Ogunquit Playhouse productions of Sister Act and Saturday Night Fever. He has designed sets for theatres across the nation, including the landmark outdoor production of Carousel and The Sleepy Hollow Experience for Serenbe Playhouse; the original Chicago production of Million Dollar Quartet at the Apollo Theatre; Hello, Dolly! for Ford’s Theater; Miss Saigon, Dreamgirls, Kiss of theSpiderwoman (2008 Helen Hayes nomination), and See What I Wanna See for Signature Theatre; and Bat Boy for 1st Stage for which he received a 2015 Helen Hayes nomination. His Off-Broadway credits include Rooms: A Rock Romance, Loaded, We the People, Pinkalicious and Freckleface Strawberry. Associate Scenic Designer Steven Royal, who has collaborated with Adam Koch on over thirty musicals, plays and live events including Miss Saigon (Signature Theatre), Carousel (Serenbe Playhouse) and Hairspray (Syracuse Stage) also joins the creative team for the Ogunquit Playhouse.
Also joining the creative team for Ogunquit Playhouse is Costume Designer Martha Bromelmeier who designed costumes for hundreds of theatrical productions including The Kennedy Center Honors, The New Victory Theatre, The Cocteau Rep, The Lucille Lortel Theatre, and Primary Stages among many others. Martha has worked with leading ladies including Patti LuPone, Glenn Close, Audra McDonald, Sutton Foster, Kelli O’Hara, Jessie Mueller, Laura Benanti, Laura Osnes, Patina Miller and Anna Kendrick.
Visit OgunquitPlayhouse.org or call the box office at 207-646-5511 for tickets.
Review: “Anything Goes” At The Ogunquit Playhouse Through July 9th
by Bobby Franklin
Put a classic Broadway musical into the hands of the artists at the Ogunquit Playhouse and it is pretty much guaranteed you will be in for a wonderful evening. The current production of Cole Porter’s “Anything Goes” is another example of the wonderful things that happen on the Playhouse stage.
Andrea McArdle and Josh Canfield Photo: Jeff Bellante
A great cast led by Andrea McArdle, Sally Struthers, and Josh Canfield make this play simply DeLovely. “Anything Goes” opens strong with Reno Sweeney singing “I Get A Kick Out Of You” to the object of her desires Billy Crocker. With such a strong and well delivered opening number I wondered if they were going to be able to continue the pace for the rest of the show. Well, Cole Porter knew his music, and the cast knows their Cole Porter.
Setting sail to “There’s No Cure Like Travel” led by the Captain (Seth Lerner) and “Bon Voyage” we learn that while Reno loves Billy, he is hopelessly in love with debutante Hope Harcourt (Patti-Lee Meringo) who is engaged to Lord Evelyn Oakleigh (Ian Knauer).
Everything becomes delightfully madcap as Billy stows away on board with plans to win Hope’s heart. While doing so he befriends Public Enemy #13, Moonfaced Martin played by Ray DeMattis who cracks an endless stream of one liners. While some are groaners, they are all funny with his superb delivery. Martin is disguised as a priest in order to evade the authorities, which creates for some awkward and very humorous moments.
Steve Brady, Sally Struthers, and Bradford Little T. Kenney Photo: Jeff Bellante
Sally Struthers, oh yes Sally, who returns to Ogunquit each year and never disappoints, is marvelous as Hope’s mother Evangeline. Ms Struthers brings out laughs with just a sidewards glance. She is as strong as ever in this production. In one scene she spends about fifteen seconds singing her way across the stage, but in this few seconds she has the audience roaring with laughter. She is such a treasure. Evangeline is being pursued by Elisha Whitney (Steve Brady) who is a bit of a tippler and the perfect match for her.
As I said earlier, it seemed that with such a strong opening it would be difficult for the cast to keep moving things along. The play only got stronger as each situation and song were brought out. Reno and Billy dancing and singing their way through a wonderful “You’re The Top” where we see Ms McArdle’s immense talent on display while being complimented by the very able Josh Canfield who was perfect in the role of Billy. Hope and Billy singing “It’s DeLovely”, the lively duet with Reno and Moonface performing “Friendship”, and the toe tapping “Blow, Gabriel, Blow” where Andrea McArdle and the cast light up the stage, all make this a fantastic evening.
Mychal Phillips and Cast Photo: Gary Ng
I have to mention two other numbers that were outstanding. Mychal Phillips as Erma burned up the stage while dancing her way along with the sailors to “Buddie, Beware”. The audience loved her.
Ian Klauer’s playing the very British Lord Oakleigh is sidesplittingly funny in his rendition of “The Gypsy In Me” as he tangos across the stage in John Cleese fashion. Oh, this was funny!
The cast is supported by a six piece orchestra directed by Charlie Reuter. Mr. Reuter and his musicians make it look easy. Choreography by Jason wise is step perfect, and the whole production is in the fine hands of director Jayme McDaniel.
Now, I have left out one new incredible rising young star who took the stage by storm in his debut. That would be charming, talented, four legged sensation Little Bradford T. Kenney. Never have I seen such a strong performance from a first time player. It might be noted that this Mr. Kenney, named after Ogunquit Playhouse Artistic Director Brad Kenney, is a Cairn Terrier and has quite the theatre background. Little Bradford was adopted from a kill shelter by Sally Struthers and went out on that stage a puppy but came back a star.
Andrea McArdle and Ray DeMattis Photo: Jeff Bellante
Seeing a play on Broadway is now beyond the financial reach of many people, but that does not mean seeing a full fledged Broadway production is. The Ogunquit Playhouse gives us all you will get on the Great White Way and even more as they make their audience feel as if they have found a home there.
I am sure you will find “Anything Goes” delovely and leave thinking it’s the tops.
For ticket information contact the Ogunquit Playhouse at 207.646.5511 or OgunquitPlayhouse.org
On May 16th “Hands of Stone” the movie biographic of Roberto Duran opened to mixed reviews at the Cannes Film Festival. The movie is scheduled to premiere in the United States in August. I am looking forward to seeing it. Duran is played by Edgar Ramirez with Robert De Niro portraying trainer Ray Arcel. Former boxing champion turned actor John Duddy steps into the role of Ken Buchanan.
While anticipating this movie I have been reflecting on the career of Roberto Duran. Not just his fights but his attitude, training methods, and amazing skills. I believe Duran was the last of the great “Old School” boxers. Roberto had a total of 119 bouts in a career lasting 34 years and in which he fought in five different decades. In that time he won five championships in four weight divisions. He began his career at 119 pounds and fought through the different classes going as high as light heavyweight. He was, of course, at his best while fighting lightweight where he dominated the division and will always be considered an all time great. He is ranked as the best ever by many boxing experts, and they certainly have a good argument for that view.
Leonard v Duran 1
Duran won the Lightweight Championship from Ken Buchanan on January 26, 1972 and remained champion until 1979 when he vacated the throne in order to take on Sugar Ray Leonard for the Welterweight title in Montreal, Canada. In a superb fight, Roberto out boxed and outslugged Leonard over fifteen rounds and came away with the belt. It was the highpoint of his career. The great lightweight champion had proven he could step up in weight and defeat the best.
Of course, the glory was short lived as Duran foolishly agreed to a rematch just five months later. Roberto had not even finished celebrating his victory, and celebrating was something he did with as much passion as fighting, He had ballooned to 180 pounds and had to trim down very fast to make the weight for his title defense. He also was not mentally prepared for the fight. Many believe Leonard, along with his very shrewd manager Angelo Dundee, pushed for the quick rematch knowing Duran would not be at his best in such a short time.
The rest is history as Duran would forever have to live with the words “No Mas” after quitting in the 8th round. To this day there has never been a definitive explanation given as to why the fearless Duran just threw his hands up and relinquished the title. Duran has said different things at different times, but I don’t think he is even sure why he did it. My belief is he just was not up for the fight, got frustrated by Leonard’s brilliant boxing and decided to call it a night. It was one of those crazy moments that was completely out of character for the great champion. As a side note, Duran never actually uttered the words “No Mas!
Duran never actually uttered the words “No Mas!”
Now why do I call Duran the last of the great old school boxers? First off, unlike today’s overly cautious so called champions, Duran fought often and against everyone. After winning the Lightweight Championship he was back in the ring for a non-title bout just three months later. He fought an additional two times that same year including dropping a non-title ten round decision to top contender Esteban DeJesus. Instead of then avoiding DeJesus, Duran went on to give Esteban two shots at the title, stopping him both times.
From the time he won the Lightweight Crown until he gave it up in 1980 Duran fought 43 times in both title and non-title fights. He defended the championship twelve times. Over that period he absolutely dominated the division and was, next to Muhammad Ali, the most followed fighter. Every time he stepped into the ring there was excitement in the air.
Duran trained “Old School” and was taught “Old School” methods by Ray Arcel and Freddie Brown. He also had abundant natural talent, which made him reminiscent of Jack Dempsey. When you watch Duran in action you are not just seeing a brutal punching slugger in there, you are also seeing an artist at work plying his craft. He had the moves of a cat, the punch of a mule, and the cunning of a fox.
Duran v Hagler
Look at almost any Duran fight and you will see brilliance. While watching him at his peak is always a pleasure for any boxing aficionado, I particularly enjoy viewing his 1983 match against Marvelous Marvin Hagler. Here was Duran long past his prime fighting way above his best weight against one of the greatest middleweight champions of all-time. On paper this should have been an easy win for Hagler, but Duran reached into his tool box, or perhaps I should say artist’s palette, to come up with an array of boxing moves that have not been seen since. He used body and head feints to confound Hagler.
He used body and head feints to confound Hagler.
He would work his way inside and appear to be about to go for a clinch when he would suddenly unleash a combination to the body. He was rolling with and slipping punches. He knew how to take breaks in order to catch his breath. Going into the 13th round Duran was actually ahead on two of the judges cards. Just amazing. Marvin, with his eye swollen, had to fight hard in the remaining rounds to secure the victory.
In my opinion, that loss made up ten times over for the “No Mas Fight”. Duran continued fighting until 2001and even managed to win the WBC Middleweight Title in 1989 by defeating Iran Barkley.
Duran was an all time great lightweight, an all time great pound for pound fighter, and a true “Old School Boxer”. It is doubtful the moves he executed in the ring will ever be seen again. For all the talk of him being a slugger, it must be remembered how difficult he was to hit. He had amazing defensive skills. Watching film of him gives you an idea of what great fighters used to do. I have included a video of Roberto teaching some young boxers in a gym in England. It is an absolute Master Class in boxing. You will learn more about the Fine Art of Boxing just watching this video than you will from two or more years in most modern boxing gyms. “Old School Boxing” has become a lost art form. Carefully watching Roberto Duran in action will teach you a lot. Watching him giving pointers in a gym is pure gold.
Andrea McArdel and Company in Anything Goes (photo by Jeff Bellante)
Ogunquit, ME—The Ogunquit Playhouse sets sail with the delightful, Tony Award-winning Anything Goes June 15 to July 9. This splendid madcap musical comedy stars Broadway’s Andrea McArdle as Reno Sweeney and features two-time Emmy Award winner Sally Struthers as Evangeline Harcourt. This tap-happy classic finds a brassy nightclub singer, a starry-eyed stowaway and Public Enemy No. 13 booked on a transatlantic luxury liner bound for romance and hilarity. When the S.S. American heads out to sea, etiquette and convention get tossed out the portholes.
Topping off the fun is Cole Porter’s delightful, delicious, “De-Lovely” first-class score
Topping off the fun is Cole Porter’s delightful, delicious, “De-Lovely” first-class scorethat includes some of musical theatre’s greatest hits, including “I Get A Kick Out Of You,” “You’re The Top,” and of course, “Anything Goes.” Anything Goes features music and lyrics by Cole Porter with original book by Guy Bolton, P.G. Wodehouse, Howard Lindsay, and Russel Crouse and new book by Timothy Crouse and John Weidman.
Andrea McArdle returns to the Ogunquit Playhouse to portray Reno Sweeney. She was last seen at the Playhouse in 2006 as Sally Bowles in Cabaret and in the 2009 production of Les Miserables. She first captured the hearts of theatergoers everywhere in 1977 when she originated the title role in the mega-musical Annie and became the youngest performer ever to be nominated for a Tony Award as Best Lead Actress in a Musical. Since then, she has starred in several Broadway musicals including Jerry Herman’s Jerry’s Girls alongside Carol Channing and Leslie Uggams; Andrew Lloyd Webber’s Starlight Express; as Margy Frake in State Fair; as Fantine in Les Miserables and, most recently, as Belle in Disney’s Beauty and the Beast. She has also appeared in theatres in New York, nationally and internationally and has performed in concert halls from Carnegie Hall to the Hong Kong Philharmonic and casino hotels in both Las Vegas and Atlantic City.
Two-time Emmy Award and Golden Globe Award winner
Sally Struthers
joins the cast as the socialite Evangeline Harcout.
Sally Struthers joins the cast as the socialite Evangeline Harcout.She is probably best known for her role as Gloria in the groundbreaking TV series All in the Family. She has also starred in the Fox television series 9 to 5 and her own CBS series Gloria as well as recurred on the CBS comedy Still Standing and the CW network’s highly acclaimed Gilmore Girls. Ms. Struthers joined the Gilmore cast for Netflix’s new four movie limited revival, which will premiere in the fall of 2016, and recently guest starred in the acclaimed IFC comedy series Maron. Sally Struthers has performed many roles at Ogunquit Playhouse including last season’s Nice Work If You Can Get It, as Louise Seger in Always, Patsy Cline, Mama Morton in Chicago, Paulette the hairdresser in Legally Blonde and as Felicia Gabriel in The Witches of Eastwick.
Playing Moonface Martin is Ray DeMattis who was last at the Ogunquit Playhouse as Coach VanBuren in Damn Yankees, The Red Sox Version. On Broadway he has appeared in Little Shop of Horrors, City of Angels, Zoya’s Apartment, and the original production of Grease. He has also performed in many Off-Broadway shows and regional theatres across the U.S. as well as in film and several television series including The Sopranos, Everwood, and Law and Order. Josh Canfield joins the cast as Billy Crocker. He performed in the Broadway production of Doctor Zhivago and will appear in the upcoming Broadway production of Natasha, Pierre and the Great Comet of 1812 with Josh Groban. He has appeared on the hit CBS television series Survivor: San Juan Del Sur, and the BBC’s Any Dream Will Do. Mr. Canfield has also appeared in many regional theatre productions including Godspell, Hair, Sail Away, and Iron Curtain.
Also in the cast are Patti-Lee Meringo making her Ogunquit Playhouse debut is as Hope Harcourt; Steve Brady as Elisha Whitney, who appeared in last season’s Nice Work If You Can Get It; Ian Knauer as Lord Evelyn Oakleigh, who is also making his Ogunquit Playhouse debut and has appeared on Broadway in Dames at Sea, Mamma Mia!, By Jeeves and State Fair; and Mychal Phillips who returns to Ogunquit to play Erma after last being seen in the Ogunquit Playhouse production of White Christmas.
Helming the production is Jayme McDaniel who also directed the Ogunquit Playhouse productions of 2015’s sold-out White Christmas; Joseph and the Amazing Technicolor Dreamcoat starring Clay Aiken, winning Broadway World awards for best direction and choreography; and Singin’ in the Rain, for which he received an IRNE nomination for his choreography. He is currently a resident artist for EMK Productions in Seoul, South Korea where he has choreographed Rebecca, The Musical and the Yeston/Kopit Phantom and serves as Artistic Supervisor for Elisabeth and Marie Antoinette. He has worked as an associate director, director and/or a choreographer for dozens of shows across the U.S. and internationally, including Laughing Room Only on Broadway; Joseph… at North Shore Music Theatre; Singin’ in the Rain, Grey Gardens, Yankee Doodle and The Rocky Horror Show at the Ordway; The StudentPrince, Camelot and Rags at Paper Mill Playhouse; Always, Patsy Cline, Evita, It’s a Fabulous Life, Chicago, Zombie Prom, The Merry Widow, People Like Us, They’re Playing Our Song, White Christmas, Wonderful Town, Sound of Music at the 5th Avenue Theatre and many others. As an arts administrator he was the Associate Producer for the Ogunquit Playhouse and the Associate Artistic Director for the Ordway Center of the Performing Arts. He’s also enjoyed a career on the stage as well, most notably in the final Nat’l Tour of Hello, Dolly! with Carol Channing.
Choreographer for Anything Goes is New York-based Jason Wise who was mentored by the legendary Tommy Tune. He has choreographed and staged musical numbers for over twenty productions in the United States and Canada for Perez Hilton, Karen Ziemba, Brent Barrett, Lee Roy Reams, Maureen McGovern, Karen Akers, Donna McKechnie, Faith Prince, Leslie Uggams, Christine Andreas, Jackie Hoffman, Bridget Everett, Julia Murney, Stephanie J. Block, Megan McGinnis, Paige Davis, Dustin Diamond, Howard McGillin, Dennis Haskins, Ed Alonzo, Ashley Brown, Andrea Martin, Billy Porter, Michael Urie, Linda Lavin, Tovah Feldshuh, Tonya Pinkins, and now Sally Struthers and Andrea McArdle. Mr. Wise’s television credits include Lifetime’s Dance Moms, NBC’s Smash, ABC’s Pan Am, and The Normal Heart for HBO. His work in film includes The Wolf of Wall Street and The Amazing Spider-Man 2.
Charlie Reuter returns to the Ogunquit Playhouse as Music Director after conducting last season’s award-winning production of Nice Work If You Can Get It. Most recently, he worked with Trevor Nunn to adapt an original score for Pericles for which he received a 2016 Drama Desk nomination for Outstanding Music in a Play. He has also served as assistant conductor for the Tony Award-winning musical A Gentleman’s Guide to Love and Murder at The Old Globe, and for Dreamgirls at The Muny starring Jennifer Holliday. Mr. Reuter other credits include Peter and the Starcatcher at La Jolla Playhouse; The Light in the Piazza at LPT and How the Grinch Stole Christmas at The Old Globe. Following his time in Ogunquit he will conduct the National Tour of Rodgers and Hammerstein’s Cinderella.
Mark your calendars now and get ready to see every show this year. Ticket packages are still available and are the best way to guarantee the best seats for the lowest price, starting at only $129 for a three-show Super Saver package. Individual tickets start at $47 each. To learn more about becoming a Playhouse member, or to purchase tickets and gift cards, visit www.ogunquitplayhouse.org or call the Ogunquit Playhouse Box Office at 207-646-5511.
The Ogunquit Playhouse is proud to be the New England premiere and one of the first regional theatres in the U.S. to produce the brand-new musical The Hunchback of Notre Dame July 13 to August 6. This epic tale of passion and hope is an emotionally charged retelling of the famous Victor Hugo love story set in 15th century Paris, created by two masters of stage and screen, composer Alan Menken (The Little Mermaid, Beauty and the Beast, Newsies, Aladdin) and lyricist Stephen Schwartz (Wicked, Godspell, Pippin). Get your glitter on for the outrageously funPriscilla Queen of the Deserton stage from August 10 to September 3. Take the ride of your life with the hilarious and heartwarming Tony Award-winning Broadway musical, based on the Oscar-winning film, with a non-stop dazzling array of over 500 imaginative and outrageous costumes, 200 headdresses and the non-stop hit parade of hit dance numbers from the 70s and 80s. Pull up your boots and hold onto your hats when Seven Brides for Seven Brothers hits the stage September 7 to October 1. This all-dancing, all-singing, all-new production of the rip-roarin’ musical comedy classic bursts onto the stage with rambunctious energy. Elvis, Jerry Lee, Perkins and Cash return by popular demand! Million Dollar Quartet,the best-selling show in the history of the Playhouse, hits the stage October 5 to November 6 with the 2015 cast to once again to rock out the season with one mega-hit song after the next.
About the Ogunquit Playhouse: The Ogunquit Playhouse, a 501c3 not-for-profit organization listed on the National Historic Register, is located on Route One in Ogunquit, Maine and produces the finest Broadway musicals each season with performances Tuesday through Sunday, from May 18 to November 6. Follow the Ogunquit Playhouse on Twitter (@OgunquitPH) and on Facebook (facebook.com/OgunquitPlayhouse) for behind-the-scenes info, photos and fun throughout the season. For a complete list of show times, pricing and more information about the season visit www.ogunquitplayhouse.org.
Photo Caption: Broadway’s Andrea McArdle stars as Reno Sweeney in the delightfully, delicious, “De-Lovely” Anything Goes at the Ogunquit Playhouse June 15 through July 9. The madcap musical comedy set on the ocean liner S.S. American is filled with Cole Porter’s greatest hits, a team of tap dancing sailors, and a whole lot of fun – especially when two-time Emmy Award winner Sally Struthers hops on board as Evangeline Harcourt to stir things up! Don’t miss the boat! www.ogunquitplayhouse.org or call the Ogunquit Playhouse Box-office at 207-646-5511 for tickets.
There was a time when you could tell a man was a boxer just by seeing him walking. You might be in a restaurant or hanging out on a street corner when a guy would walk by and you could see in his step that he had spent time in the ring. I’m not talking about a fighter who may have taken too many punches and was “walking on his heels”. I’m talking about the light step that most boxers possessed in the days before they were trained to bulk up using weights and muscle building. A well-trained and conditioned boxer was always thinking about staying loose and limber. Even years after retiring, you would see that same agile way of moving in a former boxer. (I’m not sure former boxer is an appropriate term as it is something that, once you have done it, stays in your blood all of your life.)
“Stay away from the weights” was a line heard often from the old time trainers, “They only make you tight and slow.” Back in the days when boxing was taught as an art and not a strong man contest, speed, accuracy, and staying loose was emphasized. “Speed beats power”, “If you are too tense you will be more susceptible to being knocked out”, “Get up on your toes and move”, “Stick and move”, I can still hear these words echoing in my head from my days in the various boxing gyms I trained in.
Now, many people may think I am just talking about the stick and move boxers, but you will see this in the vast majority of boxers regardless of their style.
The ferocious Jack Dempsey moved like a cat stalking his prey.
The ferocious Jack Dempsey moved like a cat stalking his prey.In the Willard fight he is darting in and out. His body is lean and not muscle bound. He has a boxer’s physique, strong in all the right places without being encumbered by bulging muscles that would only slow him down.
Gregorio Peralta and Jack Dempsey
When I was young I got to meet Dempsey in NYC. To this day I remember seeing him walking through his restaurant to greet visitors. He was up there in age and suffering from arthritis in his hips, but he still moved as if he were gliding across the floor, ready to move left or right and throw a counterpunch. Jack Dempsey still had it.
Today’s boxers are missing out on so much with the focus being on building up muscle. Weight trainers are brought in and muscle is layered on. While a fighter has to be strong, there are different types of strength. So often now a days, the spectacle that takes place at the weigh in before a match looks more like a pose-off at a body building competition with the fighters tensing and pumping up their muscles while mugging for the cameras. These bulky muscles are not only useless in the ring, but they are actually a hindrance as they make it almost impossible to use proper punching technique. It also results in more arm punches being tossed than shots that come from the hips with the full force of the body behind them. Fighters are also more susceptible to being knocked out because of how tight they are. It is much more difficult to “roll with the punches” when carrying that kind of muscle. Of course, that is pretty much a moot topic seeing that fighters are no longer taught defensive moves such as that.
I recently watched a brief video of Jake LaMotta training for a fight. It showed him climbing the stairs up to Bobby Gleason’s Gym in The Bronx where he was working out. Now Jake is hardly remembered as a dancing master, but you can see how light he is on his feet as he bounds up the steps. After the workout, he is seen outside walking down the street. If you had no idea who he was you would still know he was a boxer by the way he was moving along the sidewalk.
If you had no idea who he was you would still know he was a boxer by the way he was moving along the sidewalk.
Why the difference between those fighters from earlier days and the boxers of today? Well, when you went into a gym years back you would see fighters shadow boxing, moving in front of a mirror practicing their form, stretching and shaking out their arms and legs. They were very focused on staying limber. When they would hit the heavy bag they would “work it”, which meant boxing it. Instead of just standing in front of the bag they would circle it and practice footwork as well as punching. In the older gyms there was usually space around the bag so the fighters would have room to do this. In many gyms today the bags are lined up close to each other. Now, you often see fighters just standing flatfooted in front of the bag, their feet planted while they are winding up with punches that are telegraphed as if they were being sent by Western Union. It’s no wonder that is happening since most of the time they spend working with a trainer is wasted while going through the silly mitt punching routine that reinforces these bad habits.
A good boxer has to know how to use his entire body. He needs the grace of a ballet dancer combined with the reflexive power of a trip hammer. Most importantly, he has to be taught how to think in the ring, not to just go through mindless motions. Think, stay loose, find rhythm, treat the sport like the art form it once was.
Ali Running
When I was a young boxer I hated doing road work, today it is called running. Most of us disliked it back then but knew it was important so we did it. As much as I hated it, whenever I saw a clip of Muhammad Ali out on the road it inspired me to go out and put in a few miles. Why? Because Ali encompassed why it was called “road work”. He would be running with a step as light as Bill Rogers, turning on his toes, running backwards and forwards while throwing punches; all the time staying loose. It was beautiful watching him move. I’ll bet he never lifted a weight in his entire life, but he had the kind of strength a great fighter possesses.
Those days are now long in the past.
Boxing has changed, and it is not for the better.
Boxing has changed, and it is not for the better.You can no longer spot a fighter by the way he walks. That is because they are no longer artists and the sport is no longer an art form. It is sad.
Let It Be – A Celebration Of The Music Of The Beatles
reviewed by Bobby Franklin
Wow! Let It Be – A Celebration Of The Music Of The Beatles is burning up the stage at the Ogunquit Playhouse. This is not simply a tribute band performing Beatles’ songs; it is
a solid theatrical production that brings us back in time
a solid theatrical production that brings us back in timeand allows us to experience Beatlemania from its very beginnings and on up to the post band day when each member was working on his own.
Let It Be (Photo: Julia Russell)
From the opening number, I Saw Her Standing There, you know you are in for more than just a night of nostalgic music. These five extraordinarily talented musicians, Neil Candelora (Paul McCartney), Michale Gagliano (John Lennon), Chris McBurney (Ringo Starr), JT Curtis (George Harrison) and Daniel A. Weiss (Keyboards) were tight and sharp. They were not only able to recreate the music, but they each also took on the look and personalities of the Fab Four at the different stages of their careers.
The show opens with the band playing behind a mesh material in what represents the Cavern Club in Liverpool where the boys got their start. The stage has two large television monitors in the style of early sets perched atop two gigantic transistor radios on each side of the stage. Live shots of the Ogunquit stage are seen on these screens interspersed with vintage footage from the various eras the Beatles played in. This is very effective and brings back so many memories of all that occurred during the group’s rise in popularity. We relive their appearances on the Ed Sullivan Show along with their sold out performance at Shea Stadium where they stood before over 55,000 screaming fans.
That excitement fills the Playhouse.
That excitement fills the Playhouse.
All the early numbers are there including Please Please Me, All My Loving, I want to hold Your Hand, and She Loves You. A marvelous animation accompanies A Hard Day’s Night, that is vintage perfect.
The Sgt. Pepper’s Lonely Hearts Club Band set is breathtaking
The Sgt. Pepper’s Lonely Hearts Club Band set is breathtakingwith the boys dressed up in full regalia to bring the album cover to life. It is magical. Projections on the back wall along with amazing lights that spin in multi colors on both the stage and the audience make this a very interactive show. John (Michale Gagliano) constantly eggs on the audience and gets a fantastic response. He looks like he is having a great time, and I think he would have stayed all night. This show will have you on your feet rocking with the Beatles for a good portion of the over two hours they are performing more than forty songs. You’ll be surprised at how well you know the lyrics as you sing along.
Let It Be (Photo: Julia Russell)
JT Curtis as George not only has a wonderful voice, but he is a very talented guitar player. His solos on Here Comes The Sun and My Sweet Lord were fantastic, but his guitar solo on While My Guitar Gently Weeps was classic. The boys joked that Eric Clapton might make a surprise visit the evening I was there, but since he didn’t, JT certainly kept him from being missed.
Towards the latter half of the show the performance shifted to a what would it have been like if the Beatles had had a reunion mode. This could have been risky, but it worked just fine as the band got together and played the songs they had each written after having gone their own ways. This is just how it might have been. Chris McBurney (Ringo) was right on doing It Don’t Come Easy while perched high up on the drums.
Neil Candelora was Paul McCartney
Neil Candelora was Paul McCartneyon Band On The Run.
The entire cast captured the Beatles throughout every step of their careers as both a band and solo artists. We see them age before our eyes and got to, for those of us old enough to remember, see so much of what we grew up with. When I’m Sixty-Four had a very special meaning for many in attendance.
You would think all I described here would have been plenty, but they were not through yet. The Beatles, and by now I was fully convinced I was spending the evening with the Beatles, kicked off a tribute set to the greats that influenced them including Chuck Berry and Little Richard. They ripped out, with the crowd dancing and screaming their approval.
The Fab Four (Photo: Julia Russell)
I now feel like a late night television ad man when I am saying there was still more. The title song, Let It Be, was as touching as ever. Hey Jude had everyone singing along, and Back In The USSR sent us out rocking.
I would also like to note that during the performance of Imagine the boys asked the audience to light up their cell phones and wave them during the song. What fun.
Daniel A. Weiss on keyboard is also the Music Supervisor, and he was also outstanding. This was a tremendous amount of music to present in one evening. Add to that the whole theatrical aspect of the show and this was one huge challenge. This team pulled it off on the stage of the Ogunquit Playhouse. Just incredible!
What a start to the season. I would urge all of you to
make tracks north and catch this show
make tracks north and catch this show. I would also strongly suggest you buy a season subscription to the Playhouse. If this is any indication, it is going to be a very exciting year in Ogunquit.
Let It Be – A Celebration Of The Music Of The Beatles
