November 21, 2019
By Rita J. Egan
“Matilda the Musical” opened at the John W. Engeman Theater at Northport Nov. 14 with all the spunk of a Broadway production.
Inspired by the 1988 book by Roald Dahl, the musical introduces audience members to the real and imaginary worlds of 5-year-old Matilda Wormwood, who is misunderstood by her dim-witted family. While the Wormwoods make life difficult at home by making fun of her passion for reading and her smarts, the days become even more troublesome when she begins school with the dastardly Miss Trunchbull, the headmistress of Crunchem Hall. However, with her love of reading, a magical imagination and caring teacher Miss Honey on her side, Matilda finds her happy ending.
The musical, with book by Dennis Kelly, music and lyrics by Tim Minchin and orchestrations and additional music by Chris Nightingale, debuted in England in 2010 and opened on Broadway in 2013. While the show closed on the Great White Way in January of 2017, “Matilda the Musical” is still running at the Cambridge Theater in London. It was also released as a movie in 1996 starring Danny DeVito and Rhea Pearlman as the Wormwoods and Mara Wilson as Matilda.
Igor Goldin has directed a superb cast in the Engeman version, which includes many talented children actors. AnnaBelle Deaner and Elsa Dees alternate in the role of Matilda. On the night of Nov. 15 when I reviewed the musical, AnnaBelle played the part. The actress is darling in the role and portrays Matilda perfectly as the brave and precocious girl she is. She hits every note during her solos and her version of “Quiet” is beautiful and touching.
AnnaBelle along with her fellow youth actors stole many scenes. During one depicting the first day of school, they along with the ensemble performed a sensational “School Song” where everyone involved was strong in both vocals and dance moves. The company also delivers a fantastic “When I Grow Up,” the signature song from the musical.
Sara Gallo as Mrs. Wormwood and Michael Perrie Jr. as Mr. Wormwood are hilarious. While the two characters aren’t the best at parenting, Gallo and Perrie are pros at garnering laughs from the audience. Gallo plays her character to the hilt during the song “Loud” as she and Al Lockhart as Rudolpho, her dancing partner, show off some fantastic dance moves. And Perrie’s vocals are strong on “All I Know,” known as “Telly” in the Broadway and London versions. He also does a wonderful job interacting with the audience toward the end of intermission. Richard Westfahl as Michael Wormwood is also funny as Matilda’s dim-witted brother.
Dane Agostinis as Miss Trunchbull, the Olympic Hammer-Throwing Champion headmistress who believes children are maggots, plays the antagonist role perfectly. Agostinis can deliver her songs smoothly without breaking character despite the funny lines and laughs from the audience. Kate Fahrner as Miss Honey is simply endearing and sings a beautiful “My House” in the second act.
Emily Kelly as The Acrobat and Alex Herrera as The Escapologist are delightful, especially when Herrara joins Matilda on the song “I’m Here.” Nicole Powell was a charming Ms. Phelps, the librarian who looks forward to Matilda’s stories. Jamie Colburn as the Doctor and Sergei rounds out the cast perfectly.
On the night that I attended the show, I was fortunate to have with me 15-year-old Jonathan Guttenberg, who has seen countless productions, including “Matilda the Musical” on Broadway and London. Jonathan said “School Song” and “Revolting” were his favorite numbers in the Engeman production because they were both powerful and thought the theater did a phenomenal job.
Scenic designer Nate Bertone has put together a fun and colorful set with clever oversized books that fold out one way to serve as the Wormwood’s living room and another to provide the backdrop for the library. Mara Newbery Greer also has choreographed several energetic dance numbers, which the actors have mastered, including the youngest members of the youth ensemble, with special mention to Lily Tamburo.
With the chilly weather settling in along the North Shore, “Matilda the Musical” has arrived just in time with its funny, heart-warming story and will be a hit with local theatergoers of all ages.
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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.
May 15, 2019
By Heidi Sutton
The sands of ancient Egypt have blown into Northport as the Engeman Theater presents the timeless love story “Aida” through June 23. With music by Elton John, lyrics by Tim Rice, and book by Linda Woolverton, Robert Falls and David Henry Hwang, the musical is based on Giuseppe Verdi’s 19th-century opera of the same name.
The Egyptian pharaoh (Julius Chase) wishes to expand his reign beyond the Nile and orders Egyptian captain Radames to make war with neighboring Nubia. In his travels, Radames captures a dark and beautiful Nubian princess, Aida, and presents her as a gift to his fiancé of nine years, Princess Amneris. Over time he finds himself falling in love with Aida and begins to question the course his life should take.
When a plot orchestrated by Radames’ father Zoser (Enrique Acevedo) to poison the Pharaoh is brought to light and Radames and Aida’s forbidden love is discovered, Princess Amneris is tasked with deciding their fate. Without giving away the ending, let’s just say that breaking ancient Egyptian laws never ended well.
Costumes by Kurt Alger are gorgeous, from Princess Amneris’ many gowns and headpieces to the Pharaoh’s royal garbs. The set, designed by Michael Bottari and Ronald Case, is adorned with hieroglyphics, palm trees, an occasional stream and a rotating platform that is utilized in many ways including as a ship, a throne and a prison cell.
Kayla Cyphers is perfectly cast as Aida, a enslaved princess stolen from her father, Amonasro (Gavin Gregory) and trying to stay strong for her people. “Nubia will never die! Whether we are enslaved or whether we are far from our native soil, Nubia lives in our hearts. And therefore, it lives.” Regal and strong-willed, she commands the stage in every scene.
We see the most change in Radames, expertly played by Ken Allen Neely, from a selfish cold-hearted man to a hopeless romantic who just wants to run away with his Nubian princess.
Jenna Rubaii is divine as the materialistic Princess Amneris, “first in beauty, wisdom … and accessories,” and draws the most laughs — “Are you trying to get me drunk, Radames? You know it’s not necessary,” and special mention should be made of Chaz Alexander Coffin who plays Mereb, a Nubian slave. From his first appearance on stage Coffin quickly becomes an audience favorite.
The musical numbers are the heart of the show, from the highly charged dance numbers, “Another Pyramid” and “Dance of the Robe,” to the fun fashion show “Strongest Suit” and the romantic duets “Written in the Stars” and “Elaborate Lives.”
Director and choreographer Paul Stancato has such a wondrous and mysterious time period to work with and he takes full advantage of it, creating an exciting and colorful show with a first-rate cast of actors-singers-dancers and live band to produce a wonderful evening of live theater.
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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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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.
“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.
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.
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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By Rita J. Egan
March 22, 2018
It may be chilly outside, but things are heating up inside the John W. Engeman Theater. The Northport venue debuted its production of “In the Heights” on March 15, and with a talented cast and the energetic sounds of salsa, reggaeton, merengue and hip hop, audience members are guaranteed a fun, hot night on the town.
Before he shared the story of Alexander Hamilton through rap and song in “Hamilton,” Lin-Manuel Miranda created this spirited musical, which ran from 2008 to 2011 on Broadway and won four Tony Awards.
A love letter to Latinos who live in Manhattan’s Washington Heights, the story takes place during July Fourth weekend on one city block and centers around bodega owner Usnavi and his neighbors. While the play includes a good deal of reality like money issues, the death of loved ones and the sacrifices one must make for a better life, its main themes are about love and hope, and most important of all, having patience and faith.
With book by Quiara Alegria Hudes and music and lyrics by Miranda, through dialogue and song “In the Heights” reveals the economic struggles of Usnavi and his fellow business owners, car service proprietors Kevin and Camila Rosario and beauty salon owner Daniela.
The musical throws in romance as Usnavi pines away for the beautiful Vanessa, who works at the beauty salon, and the Rosarios’ daughter Nina and their employee Benny engage in a forbidden romance. As the audience gets a peek into the heartache of Usnavi losing his parents at an early age, Vanessa yearning to move downtown, the bright Nina losing her college scholarship and the love felt for the neighborhood’s adopted grandmother, Claudia, one can’t help but feel a part of this close-knit community.
Spiro Marcos as Usnavi does a fine job filling big shoes (the role was originally played by Miranda on Broadway). The actor skillfully uses rap during most of his numbers to tell the story. Marcos is in touch with Usnavi’s softer side, making it impossible not to root for him as he longs for Vanessa and dreams of going back to the Dominican Republic, his birthplace, while trying to keep the bodega afloat.
Josh Marin is charming as Benny, and Cherry Torres is sweet and lovely as Nina. The two have a good amount of onstage chemistry during their romantic scenes, which is front and center during the song “Sunrise” where they sing beautifully together. Chiara Trentalange balances a bit of sass and attitude with a touch of softness to deliver a Vanessa who may be determined to put her neighborhood behind her, but audience members can’t help but like her, too.
Tami Dahbura is endearing as Abuela Claudia, while Paul Aguirre and Shadia Fairuz are perfect together as Kevin and Camila. Schehereazade Quiroga is perfect as the spunky Daniela and delivers comedic lines perfectly. Iliana Garcia is refreshing as naïve hairdresser Carla, and Vincent Ortega is delightful as the Piragua Guy, especially during his number “Piragua” and its reprise. Nick Martinez, as Usnavi’s young cousin Sonny, and Danny Lopez as Graffiti Pete, do a nice job adding some comic relief throughout the production.
The dancers are also among the stars in the show. Skillfully choreographed by Sandalio Alvarez, they energetically and masterfully transfer from salsa, merengue, reggaeton and hip hop dance steps.
The music in the production is top notch and is a mix of dance tunes that will have audience members wanting to dance in the aisles and emotional ballads for which some may need tissues. The band, led by conductor Alec Bart, does a superb job flawlessly moving from one musical genre to another, and the singers also do an excellent job.
During the first act, Torres expertly uses her vocal talents to perform an emotion-evoking version of “Breathe.” It is during this number audience members discover her time at Stanford University didn’t work out for her, and she now feels lost not knowing what to do with her life.
Aguirre’s number “Inútil” is just as heartbreaking as his character feels useless after discovering his daughter didn’t come to him to help her pay for school. Fairuz also displays strong vocals during the song “Siempre.”
Trentalange sings lead on the upbeat song “It Won’t Be Long Now” with Marcos and Martinez. The actress has fun with the song and her vocals are great.
Dahbura moves around convincingly like a frail grandmother, and then surprises audience members with her emotional vocals during “Paciencia y Fe.” Abuela Claudia remembers her youth in Cuba and arriving in the United States, during the song. Her mother would always remind her to have patience and faith, advice Claudia continues to share with those she loves.
During the first act, the ensemble performs “96,000” as they sing about what it would be like to win the Lotto. With the singers emanating so much energy, one can’t help but feel optimistic for them.
Quiroga gets the party started with “Carnaval del Barrio” and her vocals are outstanding. The high-energy song with exceptional dancing is sensational. It is soon followed by “Alabanza” where Torres sweetly sings the first lines and then the song builds up to a powerful number featuring the whole cast. Both performed during the second act are show stoppers.
Spanish is sprinkled throughout the dialogue and lyrics of “In the Heights” to add authenticity, but are always followed by English translations, or the lines are delivered with gestures that make things clear for those who don’t understand the language.
Many may want to see this musical because they are curious about Miranda’s earlier work, but “In the Heights” is an entertaining look into the life of Latinos in New York City and a beautiful tribute to the music that was brought to the United States from the islands of Puerto Rico, Cuba and the Dominican Republic.Buy Tickets
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