Times of Huntington-Northport Review

Theater Review: John W. Engeman Theater heats up the summer with ‘Saturday Night Fever’

July 18, 2019
By Melissa Arnold

 

The John W. Engeman Theater in Northport is bringing out its disco balls and bell-bottoms this summer as it kicks off its 2019-20 mainstage season with “Saturday Night Fever.”

The high-energy musical delivers all the 1970s hits and fashion that’s made it a beloved classic for more than just baby boomers. The musical is based on the famous 1977 film of the same name that rocketed John Travolta into stardom. The film was adapted for the stage by Robert Stigwood in collaboration with Bill Oaks, and the North American version was written by Sean Cercone and David Abbinanti.

Directed by Richard Dolce, “Saturday Night Fever” is the story of Tony Manero, a 19-year-old ladies’ man from the Bay Ridge section of Brooklyn. It’s 1977, and Tony is restless, working a dead-end job in the shadow of the Verrazzano Bridge and dealing with his family’s scathing disapproval. It doesn’t help that his brother Frank Jr. is a priest, making Tony even more of a black sheep.

All of that fades away on the weekends, though, when Tony escapes to the local disco Odyssey 2001 to show off his skills on the dance floor. He’s got real talent and sets his sights on winning an upcoming dance competition that could be his ticket to a more fulfilling life.

Tony is quickly frustrated with his overeager dance partner, Annette, who’s more interested in winning a trip to his bedroom than a dance competition. To Annette’s chagrin, Tony is drawn to Stephanie, a lovely yet guarded dancer he meets at the club. Stephanie reluctantly agrees to enter the contest as Tony’s partner on the condition that it’s strictly business. But their passion at the disco is unmistakable, and romance is hard to resist.

While it’s difficult to compare anyone to John Travolta, Michael Notardonato makes the role of Tony seem effortless. A newcomer to the Engeman, Notardonato has also played Tony elsewhere in the U.S. and abroad — he was even nominated for Outstanding Actor in a Musical by the Connecticut Critics Circle for a past performance of the show. Notardonato’s silky vocals and expert footwork are a treat to take in.

Annette (Andrea Dotto) and Stephanie (Missy Dowse) are in contrast throughout most of the show: One is bold, the other withdrawn; one is full-on Brooklyn, the other tries to forget her roots. Both Dotto and Dowse are great dancers with strong vocals; newcomer Dotto tugs on the heartstrings with a powerful rendition of “If I Can’t Have You,” while Dowse’s multiple duets with Notardonato (“100 Reasons,” “What Kind of Fool”) are where she really shines.

Also at the heart of “Saturday Night Fever” are Tony’s knucklehead best friends who are prone to making bad decisions, including some that change their lives forever. Matthew Boyd Snyder, Christopher Robert Hanford, Steven Dean Moore and Casey Shane act like they’ve known each other forever. They play well off of one another and have no trouble getting laughs out of the crowd while also drawing empathy in the show’s darker moments.

The standout work for this show goes to the ensemble and orchestra — after all, it’s the soundtrack and dancing that drive “Saturday Night Fever.” Chris Rayis leads the band in foot-tapping, dance-in-your-seat favorites from the Bee Gees, including “Stayin’ Alive,” “Boogie Shoes” and “Disco Inferno.” The ensemble’s dance numbers, including “Jive Talkin’” and “Night Fever,” are among the best in the show.

Dance captain Kelsey Andres, choreographer Breton Tyner-Bryan and associate choreographer Emily Ulrich deserve accolades for the obvious hard work and effort that went into preparing the cast to be at the top of their game. Keep an eye out for Gabriella Mancuso who plays Candy, 2001 Odyssey’s professional singer. Her vocals are among the strongest in the entire cast, and definitely the most memorable.

The extra touches to the Engeman’s production of “Saturday Night Fever” help the audience feel like they’re a part of the show. Disco balls can be found both above the stage and in the lounge area, covering the entire theater in those characteristic funky lights we all love. The set is equally dazzling and showcased a wide variety of scenes. The mirrors in the dance studio, neon lights in the club, and a stunning, climbable Verrazzano Bridge made the show more realistic.

The only drawback in the musical version of “Saturday Night Fever” is the number of unanswered questions by the end of the show, but it’s still a fantastic performance that’s not to be missed. Stick around after the curtain call for a few extra songs, and don’t be afraid to dance in the aisle.

 

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Times of Huntington-Northport Review

You’ll die laughing at Engeman Theater’s ‘A Gentleman’s Guide to Love and Murder’

March 20, 2019
By Melissa Arnold

I never thought I’d cheer for a murderer. Nor did I ever imagine laughing so much at a show about murder. There’s a first time for everything, I guess.

Directed by Trey Compton with musical direction by James Olmstead, “A Gentleman’s Guide to Love and Murder” has a deceptively simple title, one that probably makes you think of a classic, suspenseful whodunit. What you get instead is a fast-paced, absurdly funny comedy that will keep you laughing from start to finish.

Based on the 1907 Roy Horniman novel “Israel Rank: The Autobiography of a Criminal,” the Tony Award-winning musical, with book by Robert L. Freedman and music by Steven Lutvak, ran on Broadway from 2013 to 2016.

Danny Gardner in a scene from the show. Photo by Michael DeCristofaro

As the show begins, we find ourselves looking in on a young man feverishly writing his memoirs from a London jail cell, seeking to preserve his story if he should face execution the next day. That man, Montague “Monty” Navarro, is the newly minted Earl of Highhurst, and his rise to nobility wasn’t exactly noble. Two years earlier, while grieving his mother’s death in 1907, an impoverished Monty learned that she was related to the powerful, aristocratic D’Ysquith family. The D’Ysquiths, however, disowned her when she chose to marry a commoner. Despite this, Monty was the ninth descendant in line to become the earl.

Monty hoped his newfound lineage would impress Sibella Hallward, the posh and sultry woman he loves, but she ultimately abandoned him to marry a wealthy man. With no one else to turn to, he attempted to make inroads with his new relatives, and in the process had a sinister thought: What if he killed the D’Ysquiths? What if he could become the earl? The show follows Monty through flashbacks of the past two years as he eliminates his cousins in a variety of zany and unexpected ways.

Wojcik/Seay Casting consistently assembles stellar casts for the Engeman’s shows, and this one is no exception, featuring a host of Broadway and national theater vets. Sean Yves Lessard plays Monty, and he is earnest, polished and entirely believable. You’ll empathize with his poverty and join him on an emotional roller coaster as he sneakily offs the D’Ysquiths. Beyond that, Lessard’s smooth, controlled vocals are a real treat, especially in the waltzing “Poison in My Pocket” and steamy “Sibella.”

What makes “Gentleman’s Guide” stand out is that eight of the D’Ysquith cousins are played by the same actor, Danny Gardner. He makes the transition from young to old, gay to straight and even male to female characters look entirely effortless. Each D’Ysquith has his or her unique quirks, and Gardner is so astoundingly versatile that you almost won’t believe it’s the same person. He also deserves accolades for impossibly fast costume changes and impressive tap dancing.

A torrid love triangle sits at the heart of Monty’s escapades. Despite her marriage to a wealthy man, Sibella (Kate Loprest) still comes knocking, especially as Monty ascends the line of succession. At the same time, Monty quickly finds himself falling for his distant cousin Phoebe D’Ysquith (Katherine McLaughlin), a good-hearted and pious lady that just wants to love and be loved.

Loprest makes the self-absorbed Sibella almost lovable with charming wit and confidence. She’s also a delight to listen to, a crystal clear soprano that’s strong without being overpowering. McLaughlin’s Phoebe is demure and sincere, a perfect foil to Sibella. She shines in songs like “Inside Out,” and the trio’s performance in “I’ve Decided to Marry You” is one of the show’s highlights.

Scene and props designer Nate Bertone deserves particular mention for his creative work on the detailed, Edwardian set of “Gentleman’s Guide.” To help audience members keep track of the D’Ysquiths, the stage is framed with massive portraits of Gardner in his various incarnations. Spotlights and laser X’s on those portraits will alert you to who’s still kicking and who’s been taken out. The effect is a lot of fun and adds to the show’s overall silliness.

The bottom line: “A Gentleman’s Guide to Love and Murder” is hilarious from the first line, and so enjoyable that I’d love to see it again. The show isn’t gory, but there’s plenty of innuendo to go around, and there are occasional loud noises and use of light fog throughout.

 

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Times of Huntington-Northport Review

‘Elf’ at the Engeman is full of laughs and Christmas cheer

The cast of ‘Elf’

November 20, 2018
By Melissa Arnold

 

Whether you’ve been playing carols for weeks or are just now contemplating putting up the tree, the end of Thanksgiving signals the official arrival of the holiday season. If this is the most wonderful time of the year in your house, there’s no better way to enjoy it than by catching “Elf`The Musical” at the John W. Engeman Theater in Northport.

Based on the beloved 2003 film starring Will Ferrell, “Elf” tells the story of a little boy who crawls into Santa’s gift bag and ends up at the North Pole. Raised as an elf, the ever-growing Buddy has no idea he’s really human, even though he’s a terrible toymaker. When Buddy learns the truth about his identity, he sets out on a journey to New York City to reconnect with his roots and find his family.

Insulated by the always cheery atmosphere of Christmastown, it’s an understatement to say Buddy faces culture shock upon arriving in the Big Apple. But it will take a lot to keep Buddy from spreading Christmas cheer, especially to the person that needs it most: his Scrooge-y father.

“Elf” made its Broadway debut in 2010 with book by Bob Martin and Thomas Meehan and music by Michael Sklar and Chad Beguelin. Devoted fans of the film will appreciate the show’s faithfulness to the original script, including Buddy’s classic one-liners that make it so iconic. The musical numbers aren’t especially memorable and feel unnecessary at points, but they do open up the opportunity for some great dance routines.

The production begins with Santa (Gordon Gray) inviting the audience to join him as he reads the story of Buddy the Elf. There’s something so fun about these moments that allow actors to interact with the crowd and draw viewers in. And the little details in Santa’s scenes (his oversized chair with a bag of Doritos and the remote control stuffed in the cushion) feel genuine and cozy. Gray’s portrayal of Santa is effortless, funny and truly believable — his belly laughs will make you wonder if he’s the real deal.

Erik Gratton is no stranger to the role of Buddy. He also starred in the national tour of “Elf” and last year’s Madison Square Garden production. While it’s hard to shake off the image of Will Ferrell in that famous green hat, Gratton leaves it all on the stage with tons of energy and all the zany enthusiasm Buddy deserves. His first experience and subsequent obsession with a paper shredder will have you in stitches. It’s also worth noting that he approaches the show’s rare emotional moments with surprising tenderness. Gratton will break your heart at the end of the first act during “World’s Greatest Dad (Reprise).”

After fantasizing endlessly about what life with his dad will be like, Buddy meets his overworked, agitated publisher father, Walter Hobbs (Joe Gately). Tension rolls off Gately in waves, and when Hobbs loses his temper, Gately fills the theater with powerful, roaring tirades. He’s a wonderful foil to Christianne Tisdale and Zachary Podair, who play Hobbs’s wife Emily and young son Michael. Tisdale and Podair have great chemistry as mother and son, and their duets in “I’ll Believe in You” and “There Is a Santa Claus” were personal favorites.

Of course, Buddy’s life is further turned upside down when he finds himself smitten with a beautiful, yet world-weary Macy’s employee, Jovie (Caitlin Gallogly). Gallogly is delightfully edgy and jaded for the majority of the show, making her character’s eventual thawing that much more enjoyable. She also has one of the strongest voices in the cast, and her vocals in “A Christmas Song” and “Never Fall in Love With an Elf” are a treat for the ears.

The ensemble in “Elf” has several different roles to play, from elves in Santa’s workshop to retail employees and bitter mall Santas. They deserve major props for their elf scenes — since elves are tiny, the actors perform on their knees. It’s no small feat to sing and dance to “Christmastown” from that position!

Choreographer Mara Newbery Greer and associate choreographer Tiger Brown are to be applauded for their hard work with the cast. The intense tap dancing in “Nobody Cares About Santa” is another impressive surprise.

Set designer Nate Bertone creates a whimsical backdrop for the show, grounded by huge arches covered in snowflakes. The giant logos for Macy’s and Greenway Press are eye-catching, as are the creative use of props and background silhouettes to show scene changes in real time. While musical director Charlie Reuter and the small orchestra are tucked out of sight in the pit, they provide the perfect, almost cartoonish, accompaniment to this silly show.

All told, director Matt Kunkel has led the Engeman’s cast of “Elf” in a production that’s loads of fun for the whole family — a perfect fit for the holiday season.

A note on content: “Elf” does contain some brief mild language and lighthearted innuendo that most children won’t notice. The show is generally appropriate for all ages.

If you have some extra money to spare, consider making a donation after the show to the Ecumenical Lay Council Food Pantry, which supports more than 150 local families each week. Cast members will collect donations as you leave. For more information, call 631- 261-4357.

 

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Times of Huntington-Northport Review

Engeman Theater champions the little guy with ‘Newsies’

July 24, 2018
By Melissa Arnold

This summer, the John W. Engeman Theater in Northport is transporting audiences to a New York City of long ago in its production of “Newsies.” This feel good, family-friendly show, which opened last Thursday, is thoroughly entertaining and will have you rooting for the cast from start to finish.

The cast of ‘Newsies’

“Newsies”’ journey to the stage is an interesting one — the show is based on the 1992 Disney movie of the same name, and made its Broadway debut in 2012, where it won two Tony Awards. The book was written by Harvey Fierstein, with music by Alan Menken (“Beauty and the Beast,” “Aladdin”) and lyrics by Jack Feldman.

Both the film and musical are loosely inspired by the real-life events of the Newsboys Strike of 1899. The newspaper business was booming in 1898 while the United States was involved in the Spanish-American War. But when the war ended in September of 1898, so did the clamor for news. And this is where “Newsies” begins.

In the summer of 1899, a ragtag group of Lower Manhattan paperboys are lamenting the slow news climate, and famed publisher Joseph Pulitzer is brainstorming ways to boost his profits. At that time, newsies purchased their own papers from the publishers to sell on the street. Pulitzer decides to hike the prices the newsies pay, and since most of the kids are poor, homeless or trying to support their families, the backlash is immediate.

Whitney Winfield as Katherine Plumber in a scene from ‘Newsies’

Led by the charismatic and scrappy 17-year-old Jack Kelly, the kids form a union and declare a strike. The show chronicles the uphill battle Jack and his friends face to be taken seriously and shines a light on unfair child labor practices of the era. At the core of “Newsies” is the power of resilience, community and standing up for a cause — and that spirit is as relevant today as it was then.

Under the direction of Igor Goldin, this production’s cast features a number of actors making their Engeman debut. Among them are Dan Tracy, whose confidence and comfort on stage give his portrayal of Jack Kelly a lovable swagger. Tracy does a great job balancing Jack’s tough guy exterior with a more hidden tender side, which shines through in songs such as “Santa Fe” and “Something to Believe In.”

Mike Cefalo and Zachary Podair, who play the rookie paperboy Davey and his kid brother Les, are also new to the Engeman. The pair have a natural chemistry and strong voices — listen for Cefalo in “The World Will Know” and Podair in “Watch What Happens.” As the youngest member of the cast, Podair is charming and funny, and he’s sure to have a bright future ahead in acting.

Whitney Winfield, in the role of Katherine Plumber, certainly holds her own with a big voice in “King of New York” and “Something to Believe In.” Her character is loosely based off of reporter Nellie Bly, who was a trailblazer for working women and female journalists. Winfield plays the role with a contagious positive spirit and moxie.

Dan Tracy as Jack Kelly in a scene from ‘Newsies’

The ensemble is every bit as enjoyable as the main cast. Worth noting is their incredible talent for dance — choreographer Sandalio Alvarez and dance captain Claire Avakian are to be applauded for their hard work. “Newsies” is full of pirouettes, backflips, cartwheels, jumps and more tricks that will blow you away. Even the curtain call is an impressive showcase for their skill, where you can tell the cast is enjoying the show as much as we are.

The double-decker set designed by DT Willis depicts a Manhattan street, with metal staircases, a fire escape and a cityscape background. The set is multifunctional, transforming easily from a rooftop to the city square, a deli, theater and office with some quick work from the cast, who also functions as stage crew.

With every show at the Engeman, it’s the little touches at the theater that make the experience extra special. Show up early to enjoy one of several “Newsies”-themed cocktails, listen to ragtime or put yourself on the front page with their crafty wooden newspaper prop. Feel free to ask the staff to take a photo — they’re easy to find in old-time flat caps and suspenders. Be sure to check out the playbill for some fascinating information on the show’s historical background.

 

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Times of Huntington-Northport Review: The Engeman delivers a musical and emotional powerhouse with ‘Once’

Times of Huntington-Northport
Melissa Arnold
January 25, 2018

If you’ve ever fallen in love, had your heart broken or faced unfulfilled passion, you’ll relate to “Once.” And even if you haven’t, the cast at the John W. Engeman Theater will still grab your heart and squeeze. The show, which is part of the theater’s 11th season, is both unique and compelling. It’s easy to see why “Once” grossed 11 Tony nominations and eight wins in 2012, its first year on Broadway. The show is a stage adaptation of the 2007 film of the same name that starred Glen Hansard and Markéta Irglová. Both versions were written and directed by John Carney.

Under the direction of the Engeman’s Trey Compton, “Once” begins with a nameless street performer referred to as Guy (Barry Debois) singing a heartbreaking ballad about an ex-girlfriend. A bold and honest young Czech woman (Andrea Goss as Girl) overhears the song and immediately pesters him for the juicy details that inspired it. It turns out that Guy has lost his love of music since his old flame left for New York City. Performing just hurts too much, and he’s ready to throw in the towel on his dreams.

But Girl won’t hear any of that, and she’s convinced that he’d win his love’s heart again if he sang her that song. Their conversation is the beginning of an intensely passionate and emotionally raw week as the two write, rehearse and record songs together.

What makes “Once” stand out is its presentation, which you’ll notice before the show even begins. Get there early and you’ll find the cast on stage in the middle of a rocking pub party, Dublin style. They hoot and holler while they sing, play Irish tunes and dance on tables. The best part is that the audience is invited to go up and join them. The set includes a working bar that offers a single variety of beer, red wine and white wine for $10.

The musical performances in this show are also one of a kind, as there is no stage band providing accompaniment. Instead, each person in the 13-member cast also plays an instrument, and all of the songs are performed from memory, which is beyond impressive. To make it work, chairs are set in a semicircle around the perimeter of the stage. When a character exits a scene, he or she simply takes a seat, fading inconspicuously into the background.

They also function as their own stage crew, dancing and playing brief musical interludes as they carry props on and off the set. It’s a bit hard to describe in words, but the overall effect is visually compelling and speaks to the incredible talent of this cast.

Both Goss and Debois are no strangers to “Once” — she was part of its recent Broadway run, while he was the music captain of the 2016 U.S. national tour. They bring to the show an intense realism you can hear in every note they sing. Guy’s opening number, “Leave,” and Girl’s tearful performance of “The Hill,” will leave you awestruck.

The members of the ensemble, which include “Once” veterans Elisabeth Evans (Reza), John Thomas Hays (Billy), Stephen McIntyre (Bank Manager) and Bristol Pomeroy (Da) among others, are every bit as talented as Debois and Goss. They put out a powerful sound with rich harmonies and tons of energy. During their a cappella performance of “Gold,” you could hear a pin drop in the packed house. The standing ovation during the press night performance last Saturday night was well deserved.

Read online: http://tbrnewsmedia.com/theater-review-engeman-delivers-musical-emotional-powerhouse/

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Times of Huntington-Northport Review: Kick off the holidays with ‘Annie’ at Northport’s Engeman Theater

Times of Huntington-Northport
Melissa Arnold
November 15, 2017

There are few characters from a musical more enduring across generational lines than the curly-haired, ever positive orphan Annie. The John W. Engeman Theater in Northport is celebrating the holidays with its mainstage production of “Annie” through Dec. 31. Now in its 11th season, the Engeman has once again teamed up with director/choreographer Antoinette DiPietropolo (“Grease,” “Memphis”) to bring Annie and her friends to life.

The story of New York’s most beloved orphan was partially inspired by “Little Orphan Annie,” a comic strip created by Harold Gray in the 1920s. After his death, the strip was carried on by a number of cartoonists until 2010. The comic followed the adventures of a little redhead girl and her dog while also offering commentary on political issues of the day, including the election of President Franklin D. Roosevelt and his New Deal.

“Annie” the musical debuted on Broadway in 1977, with book by Thomas Meehan, music by Charles Strouse and lyrics by Martin Charnin. Since then, the show has toured around the world, won a slew of Tony Awards including Best Musical and Best Score and inspired several film adaptations.

When the play begins, 11-year-old Annie and her fellow orphans are growing up in the shadow of the Great Depression in New York City. Life is tough for these kids, especially living in a run-down, dirty orphanage under the care of calloused Agatha Hannigan. For years, Annie has waited eagerly for the return of her birth parents, who left her at Hannigan’s door with a letter and a locket. But they never come, and when Annie is chosen to spend two weeks with lonely billionaire Oliver Warbucks, her life is forever changed.

The cast of Engeman’s “Annie” will win your heart as soon as the show begins. Young Broadway veteran Presley Ryan embodies Annie’s charisma and unbreakable spirit effortlessly. Ryan’s Annie is appropriately youthful, and her voice is pleasant to listen to — sweet and strong, never shrill. You’ll fall in love with her during the first song, “Maybe,” and it’s hard to resist singing along with her on “Tomorrow.”

Ryan is far from the only young lady to stand out in this show, however. All of the girls at the New York Municipal Orphanage have a key role to play — to remove even one of them would make the ensemble seem incomplete.

At the Engeman, the cast features two teams of orphans that will appear on different nights, but if the “red team” is any indicator, you’re in for a treat regardless of whose turn it is. The chemistry among the girls is natural and endearing — a special note of praise should go to the adorable Sophia Lily Tamburo, who plays Molly, the youngest of the bunch. Her comedic timing and dance moves are so impressive for her age, though all of them are incredibly talented with bright futures ahead.

Lynn Andrews is reprising her role as Miss Hannigan for this production — she and Elizabeth Broadhurst (Grace Farrell) were part of the 30th Anniversary Tour of “Annie” beginning in 2005. Andrews’ character is loud, proud and shameless with bold vocals to match. She’s snarky, funny and foolish, sometimes all at once, which is entertaining to watch. Her rollicking performance of “Easy Street” with Jon Peterson and Gina Milo (Rooster Hannigan and Lily St. Regis, respectively) is one of the best in the show with fantastic harmonies.

George Dvorsky, another seasoned Broadway actor, plays Oliver Warbucks, the billionaire looking to make one orphan’s Christmas a bit brighter. He wasn’t expecting a little girl, however, and the relationship he builds with Annie is full of emotion and nuance. Dvorsky has both comedic and poignant moments in the show, and his performance of “Something Was Missing” will resonate with anyone who has experienced deep love of any kind.

There are also a few special guests in this show. For a brief time, Annie finds a loveable sidekick in a stray dog named Sandy. In this production, Sandy is actually played by two real dogs, Moon and Sandy. Moon was once a stray himself, and Sandy was recently rescued from a kill shelter following this summer’s devastating Hurricane Harvey in Texas. The dogs are amazingly well-behaved onstage thanks to hard work with Happy Dog Training & Behavior and the support of the cast “animal wrangler,” Cassidy Ingram.

While the ensemble serves as the supporting cast for the show, they have plenty of time to shine on their own — keep an eye out for them during the hilarious scenes at the White House and the radio station.

New York scenic designers Christopher and Justin Swader are behind the unique and versatile set for this production. Detailed artwork of a hazy NYC skyline remains in the background throughout the show, and scene changes are made by the cast themselves. There’s not a lot of variation, but the transitions are simple and clear, so it gets the job done. Jonathan Brenner leads a seven-man orchestra in performing the classic score.

As of this writing, it still feels a bit early to think about the holidays, but the Engeman is dressed to the nines with garland and lights. And since “Annie” is set just before Christmas, it’s hard not to catch the holiday spirit during your visit. You might even feel like you’re a guest at Warbucks’ elaborate Christmas party.

Each year around the holidays, the John W. Engeman Theater gives back to its community through charitable support. This year, the theater is partnering with the Ecumenical Lay Council Food Pantry at the First Presbyterian Church of Northport, which helps feed more than 160 local families each week. Consider bringing some extra cash to the show, or visit www.fpcnorthport.org to learn more.

 

Read online: http://tbrnewsmedia.com/kick-off-holidays-annie-northports-engeman-theater/

Times of Huntington-Northport Review: ‘Grease’ is the word at the Engeman

Times of Huntington-Northport

July 13, 2017

Melissa Arnold

 

When it comes to musical theater, few shows are more beloved with theatergoers than “Grease.” Can you blame us, though? It’s an old, familiar story: Boy meets girl. They fall in love. Things get messy.

Put simply, it’s a snapshot of teenage relationships that’s almost universally relatable. And thanks to the 1978 film adaptation starring John Travolta and Olivia Newton-John, “Grease” is permanently cemented into the hearts of so many.

All this makes it the perfect summer kickoff for the John W. Engeman Theater’s 11th season.

For those of you who are not familiar with the plot, “Grease,” written by Jim Jacobs and Warren Casey, follows the Rydell High School Class of 1959 through the highs and lows of hormone-fueled infatuation.

At the center of it all is Sandy Dumbrowski (Liana Hunt), the naïve, charming new girl in town who catches the eye of notorious bad boy Danny Zuko (Sam Wolf). While the two develop a whirlwind summer romance, the transition back to Rydell High is a tough one. Peer pressure, social stereotypes and the desire to fit in pull Danny and Sandy in different directions while sending ripples of tension through their circle of friends.

While is sounds like a lot of drama, the show is full of fast-paced banter and folly that will keep you laughing and singing along until the end.

Director Paul Stancato leads a cast of theater veterans in a well-polished performance that’s hard to criticize. Such high quality is what you can expect to see regularly at the Engeman.

Liana Hunt plays Sandy in a way that’s down to earth and totally believable. Her voice is strong without being over the top. “Hopelessly Devoted to You” allows her to shine on her own, which is appreciated in a show mostly comprised of duets and chorus numbers.

As Danny, Sam Wolf builds fantastic chemistry leading the rebellious Thunderbirds. The first words in the iconic “Summer Nights” will leave no doubt about why Wolf got the role – he can sing, and that same passion translates to everything he does on stage.

But this production wouldn’t be what it is without the phenomenal supporting cast, who are every bit as talented as Hunt and Wolf. In fact, they nearly stole the show.

The T-Birds (Zach Erhardt, Chris Collins-Pisano, Chris Stevens and Casey Shane) are hysterically funny. Their antics will make you laugh out loud, especially when they briefly dip into the audience. They’re also incredible dancers, pulling off flips and jumps like they’re nothing.

The Pink Ladies (Hannah Slabaugh, Laura Helm, Madeleine Barker and Sari Alexander) are a force of their own as well – each one stands out from the group with individuality and assertiveness. Of particular mention is Barker, who plays the cynical Betty Rizzo with tons of natural swagger, and Slabaugh, who you can’t help but love during “Mooning,” a duet her character Jan performs with Roger (Collins-Pisano).

The efforts of choreographer Antoinette DiPietropolo and dance captain Tim Falter have definitely paid off in this production. Dancing is central to the plot in “Grease,” and the cast’s quick, complicated routines are worth shouting over. From the opening “Grease is the Word” to the dance contest during “Born to Hand Jive,” they should be commended for both their skill and the stamina required to pull off the show.

And while you can’t see the band at the Engeman – they are tucked neatly under the stage – their rock ‘n’ roll carries the whole show. In fact, if not for their credits in the program, you might think the music was prerecorded. The six-man ensemble is led by conductor/keyboardist Alec Bart.

Costume designer Matthew Solomon does a fantastic job transporting us back to the ’50s. The dresses worn by the girls at the school dance are gorgeous and colorful, and their twirling skirts are perfect for all the dancing in that scene. The set, designed by Stephen Dobay, is simple but functional. The stage is flanked by generic buildings on either side, but there are also a set of risers leading up to a second level. This area was transformed throughout the performance last Saturday night and allowed for multiple conversations or settings to occur at once. It works especially well as a stage for the school dance.

Overall, this production is exactly what you’d expect to see from such a classic show – there are no surprises, and that’s a good thing. Find your seats early to relax with a drink while listening to top hits from the ’50s, and make sure you stay through the curtain call for a brief, fun sing-a-long with the cast.

Runtime is 2 hours and 20 minutes with one 15-minute intermission. Be aware that strobe lights and haze are used throughout the show.

See “Grease” now through Aug. 27 at the John W. Engeman Theater, 250 Main St., Northport. Tickets range from $73 to $78 and may be purchased by calling 631-261-2900 or by visiting www.engemantheater.com. Free valet parking is available.

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