#dakota dutcher

[larryland]

REVIEW: "Cabaret" at the Mac-Haydn Theatre

REVIEW: “Cabaret” at the Mac-Haydn Theatre

[cabaretdaily]

Some more HQ pictures from the Mac-Haydn Theatre production of Cabaret (x)

[dear-indies]

hey cat&mouse! i'm wondering if you could possibly help me find a faceclaim for my oc! they (i'm not particularly concerned with gender, so m/f/nb is fine) are late 20s early 30s & pretty quiet and reserved. they're a librarian, and my thoughts were along the lines of jenna coleman or anna popplewell, but i;m looking for a mixed (arab/north african or indigenous american) faceclaim

MENA & Indigenous Americas mixed:

Sahar Khadjenoury (1981) Navajo / Iranian.

Celeste Thorson (1984)  Korean, Mexican [Mescalero Apache, Spanish], 1/8th Lebanese/Syrian, Scottish, Irish, Scots-Irish/Northern Irish, English.

Cristina Vee / Cristina Valenzuela (1987) Lebanese, Mexican, Unspecified Native American.

Habiba Da Silva (1994) Lebanese, Syrian, and Brazilian of Unspecified North African, Unspecified West African, Unspecified Indigenous Brazilian, Spanish, Portuguese, and Italian.

Brianna Gurdzhyan (1995) Mexican [including Unspecified Indigenous], Syrian, Armenian, Russian, Spanish- younger but worth a mention!

Natalie Weaver (1996) Choctaw, Lebanese, French - younger but worth a mention!

Esfir Khan (1997) Naskapi, Ojibwe, Oglala Lakota Sioux, Hunkpapa Lakota Sioux, Sihasapa Lakota Sioux, Yankton Dakota Sioux, Nakoda Sioux, Jicarilla Apache, Iranian, Armenian, Russian - autistic - bisexual - younger but worth a mention! 

Tarrak / Josef Tarrak (1998) Inuit / Moroccan- younger but worth a mention!

Jenny Marlowe (?) Algonquin, Mizrahi Jewish, French, Scottish, Irish, Cornish, Welsh, Ukrainian, German.

Emma Apgar (?) Palestinian Arab, Jordanian, Lebanese, Iranian, Iraqi / Unspecified Native American, Polish, Lithuanian, German, Spanish - younger but worth a mention! 

Other mixed:

Yasmine Al Massri (1978) Palestinian  / Egyptian.

Michael Malarkey (1983) Palestinian, Italian-Maltese / Irish, German. 

Adila Sedraïa / Indila (1984) Algerian, Egyptian, Indian, Cambodian.

Martin Sensmeier (1985) Tlingit, Eyak, Koyukon-Athabascan, German, Irish.

Kalani Queypo (1986) Blackfoot, Native Hawaiian, Swedish.

Denise Bidot (1986) Kuwaiti / Puerto Rican.

Alexander Koch (1988) Lebanese, German, possibly other / Italian, ¼ English.

Dana Jeffrey (1988) Ojibwe, Cree, Afro Guyanese, Icelandic.

Sofia Pernas (1989) Moroccan / Galician Spanish.

Alia Shawkat (1989) Iraqi / Norwegian, Irish, Sicilian/Italian [including likely Arbëreshë] - has made comments on her gender which you can find on our non-binary masterlist here because it’s lengthy but hasn’t given herself a label - bisexual. 

Q'orianka Kilcher (1990) Peruvian [Quechua, Huachipaeri] / Swiss-German, Swiss-French.

Malese Jow (1991) Chinese / English, Scottish, Cherokee.

Maria Alia (1993) Palestinian / Puerto Rican.

Sierra Ashkewe (1993) Mohawk Jewish / Ojibwe.

Sofia Carson (1993) Colombian – including Arab [Syrian-Lebanese, Palestinian], Spanish, possibly English, possibly other.

Natacha Karam (?) French, Lebanese, Northern Irish.

Brittany LeBorgne (?) Mohawk, French.

Sarah Podemski (?) Saulteaux, Ojibwe / Polish Jewish. 

Not mixed but worth a mention! 

Nada Moussa (1982) Egyptian. 

Buthaina Al Raisi (1983) Omani.

Edy Ganem (1983) Mexican [Lebanese]. 

Firass Dirani (1984) Lebanese.

Amina Khalil (1988)Egyptian.

Shawn Youngchief (1988) Metis.  

Ashley Callingbull-Burnham (1989) Cree.

Frank Waln (1989) Sicangu Oyate Lakota Sioux.

Jeremy Dutcher (1990) Maliseet - two-spirit - he/him.

Zeeko Zaki (1990) Egyptian. 

Mina El Hammani (1993) Moroccan.

Jimmy Blais (?) Plains Cree.

Hey anon! I’m not sure if you’re aware but there’s a post here about people using nb to mean non-binary so please use some other alternative in the future or just say non-binary! -C & @olivaraofrph���! 

[bakerstreetbabe]

Cabaret

                Pat Moran and Emily Kron

The Mac-Haydn Theatre offers its audiences the unique opportunity to see a variety  of outstanding musicals through the summer. Bob and I have the added pleasure of interviewing talented and interesting performers before the opening nights.  Talking with Emily Kron, Pat Moran and Dakota Dutcher, who have major roles in Cabaret, was enlightening.

Cabaret,…

[investmart007]

Zags are back, this time hoping for one more win and a title

New Post has been published on https://goo.gl/rxKa4U

Zags are back, this time hoping for one more win and a title

BOISE, Idaho / March 14, 2018 (AP)(STL.News) — A handful of players from Gonzaga‘s history-making Final Four team have moved on.

As a program, though, the Zags are right where they expect to be: In the tournament, playing well and, as always, a threat to stick around for a while.

Gonzaga is in March Madness for the 20th straight time, making it only the sixth program to accomplish that. Hoops fans have heard of the others: Kansas, North Carolina, Arizona, Duke, Michigan State.

Despite losing four of their top five scorers, including lottery pick Zach Collins, to the NBA and other corners of pro basketball, the Bulldogs (30-4) rolled through the 2017-18 season, winning their conference regular-season and tournament titles en route to a No. 4 seed in the West. Their path to the program’s second Final Four starts Thursday against 13th-seeded UNC-Greensboro (27-7), which last made the tournament in 2001, when Gonzaga was in Year 3 of its current streak.

“Gonzaga is basically, like, almost an ideal blueprint for what a mid-major program aspires to be,” Spartans forward Jordy Kuiper says.

Part of the sustained success involves not taking anything from granted, especially this time of year.

Junior guard Josh Perkins has been harping on the mantra “Little things matter in March” — a nod to the notion that every rebound and every loose ball could be the difference between going home early and getting to San Antonio for the Final Four.

“We’re heading into the tournament with a little chip on our shoulder because of memories of last year,” senior Silas Melson said, referencing the 71-65 loss to North Carolina in the final. “I wouldn’t say it’s a burden. It’s more motivation than anything.”

Coach Mark Few said he has walked the fine line between using last year — when the Zags finally made the Final Four after years of close calls — as fuel, without putting the burdens of the close call on a team that is fundamentally different.

“I needed to take a step back and be fair to them,” Few said. “Holding them to the standard of last year’s team, it was probably very unfair for a couple of months there. I reached the point in January or February where I backed off and let them be who they are. They’ve definitely thrived with that.”

Other things to watch in the West region Thursday:

DIOP VS. THE DAUMINATOR: The matchup between No. 5 Ohio State and No. 12 South Dakota State features two of the country’s best forwards.

It pits Big Ten player of the year Keita Bates-Diop (19.4 points, 8.8 rebounds) against Summit League Player of the Year Mike Daum (23 and 10), aka “The Dauminator.” Daum is one of only three Division I players to average a double-double this season.

The 5 vs. 12 upset has become so common it can’t really be seen as an upset anymore. Especially not in this case. This game has been targeted by no fewer than a dozen pundits as ripe for a Jackrabbits win.

South Dakota State is in its third straight tournament. Last year, it came in as a 16 seed and was playing nose-to-nose with Gonzaga for 35 minutes before falling 66-46.

This year: “Obviously, expectations are really different for us,” Daum said. “We’re a group of guys who play really well together.”

COUGARS, AZTECS DANCE AGAIN: In Wichita, sixth-seeded Houston (26-7) will make its first NCAA Tournament appearance since 2010 when it faces No. 11 seed San Diego State (22-10).

The once-proud Cougars have been to five Final Fours, including three straight by the Phi Slama Jama teams of 1982-84, but have not won a game in the tournament since that last foray. But their coach, Kelvin Sampson, has some experience making deep runs, including a Final Four trip when he was with Oklahoma.

San Diego State is back in the tournament under Brian Dutcher, who’s in his first season in charge but is no stranger to this stage. He was on Steve Fisher’s bench for eight previous NCAA trips.

ROLLING WOLVERINES: Michigan earned the No. 3 seed in the West Region after five straight wins to cap the regular season and four wins in four days to win a second straight Big Ten Tournament title.

The streaking Wolverines (28-7) will face No. 14 seed Montana on Thursday night in Wichita.

Michigan is certainly familiar with this stage, featuring four players who were part of its Sweet 16 team a year ago. Among them are Moe Wagner, one of the tournament’s breakout stars, and Muhamma-Ali Abdur-Rahkman, who also played in the NCAA Tournament the previous season.

By EDDIE PELLS By Associated Press – published on STL.News by St. Louis Media, LLC (U.S)

[larryland]

REVIEW: "Camelot" at the Mac-Haydn Theatre

REVIEW: “Camelot” at the Mac-Haydn Theatre

[larryland]

CHATHAM, NY— The Mac-Haydn Theatre kicks off its 51st season with the Alan Jay Lerner and Frederick Loewe classic Camelot, running May 23 through June 2.

This soaring Lerner and Loewe masterpiece tells the tale of the legendary love triangle between King Arthur, Guenevere, and Sir Lancelot. The fate of the kingdom hangs in the balance as a young idealistic Arthur, with his roundtable, try to maintain honor and dignity. Classic hits like “If Ever I Would Leave You,” “The Lusty Month of May,” and the title song “Camelot” will thrill and delight.

Stepping into the role of King Arthur is Mac-Haydn favorite Gabe Belyeu, kicking off his tenth season in Chatham. Last summer, audiences loved Gabe in Damn Yankees, Mamma Mia, The Hunchback of Notre Dame, and Annie. Some of Gabe’s career highlights include the National Tours of Showboat and Jesus Christ Superstar with Ted Neeley.

Madison Stratton returns to The Mac-Haydn as the beautiful and spirited Guenevere after her performance as Tonya in last season’s fan-favorite production of Mamma Mia. Madison’s New York theatre credits include Baby, A New Musical Off-Broadway and the National Tour of Ragtime.

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Madison Stratton, Gabe Belyeu, and Nick Miller

Madison Stratton, Gabe Belyeu, and Nick Miller

Madison Stratton and Nick Miller

Nick Miller makes his Mac-Haydn debut as Sir Lancelot. Nick was recently seen as Falstaff in Mixed Precipitation’s Merry Wives of Windsor, Plunkett in Utopia Opera’s Martha, and Judd in the Engeman Theatre’s production of Rodgers and Hammerstein’s Oklahoma!, which he will reprise in Mac-Haydn’s production in August.

Fresh off the national tour of Spamalot, Dakota Dutcher returns to the Mac in the roles of Merlyn and Pellinore. Dakota was seen last season as Cliff Bradshaw in The Berkshire Theatre Award nominated Cabaret.

Rounding out the cast are Mac-Haydn alumni Emma Flynn and Gino Cardoni as Morgan Le Fey and Mordred, respectively. Emma and Gino were both members of the resident company in the 2018 season, during which audiences loved Gino as Sky in Mamma Mia and Emma as Holly in The Wedding Singer.

Camelot is directed by James Benjamin Rodgers and choreographed by Elizabeth McGuire, with costume design by Alison Zador and scenic design by Kevin Gleason.

For tickets and details please visit http://www.machaydntheatre.org or call the box office at (518) 392-9292

Mac-Haydn Theatre Kicks Off its 51st season with “Camelot” CHATHAM, NY--- The Mac-Haydn Theatre kicks off its 51st season with the Alan Jay Lerner and Frederick Loewe classic Camelot, running May 23 through June 2.

[larryland]

by Macey Levin

  From the mid-60’s into the 21st century John Kander and Fred Ebb were major figures in Broadway theatres.  Their notable musicals include Cabaret (1966), Zorba (1968) Chicago (1975) Kiss of the Spider Woman (1993) among many others.  Curtains (2007) was their last show but it was incomplete at the time of Ebb’s death in 2004.   Kander and Rupert Holmes completed the lyrics and Holmes also finished the book.  It received eight Tony nominations, including best musical.  The only award was given to David Hyde Pierce as best actor in a musical.  The show, currently at the Mac-Haydn Theatre in Chatham, New York, is very entertaining.

  Curtains is an homage to show business Show People adds to the litany of songs that glorify the stage such as There’s No Business Like Show Business from Annie Get Your Gun.  But the show is much more light-hearted than Annie… as it is replete with puns, double entendres and predictable but still funny laugh lines.  Also, several of the characters are caricatures.  All of this works within the spirit of the show which is something of a throwback to the musicals pre-Oklahoma!  Indeed, there are allusions to Oklahoma!, Annie Get Your Gun, 42nd Street and the little known Destry Rides Again.

  Taking place in 1959 at the Colonial Theatre in Boston, a new musical entitled Robbin’  Hood is having its first out-of-town tryout.  At the curtain call the inept and highly disliked leading lady Jessica Cranshaw (Erin Spears Ledford) is murdered.  Boston police detective Frank Cioffi (Colin Pritchard) leads the investigation.  Because it is a murder scene, everyone involved in the production is confined to the theatre.  This includes the producer Carmen Bernstein (Monica Wemitt) the director Christopher Belling (Gabe Belyeu)  Georgia Hendricks (Leigh Martha Klinger) the lyricist, the composer who is also her estranged husband Aaron Fox (Steve Hassmer) the major investor Oscar Shapiro (Nick Miller) and an ingenue Niki Harris (Rachel Pantazis).  As he tries to solve the case, Cioffi, who is enamored of the theatre, offers a critique and then direction on how to improve the show, which is about to close before it ever leaves Boston.

  In addition to the search for the killer there are several concurrent sub-plots.  Cioffi and Niki find they are more than attracted to each other; Georgia and Aaron have problems to overcome within their professional and married lives; Carmen and her daughter Bambi (Chelsea Lynne Myers) are in conflict.  Eventually, there are twists to each of these story lines.

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But, it is a musical and though the music isn’t as compelling as that of Cabaret or Chicago, much heavier shows, there are several numbers that are either touching or simply fun.  Thinking of Him sung by Georgia and I Miss the Music by Aaron are wistful melodies with sensitive lyrics while Cioffi’s Coffee Shop Nights is rueful and pensive.  What Kind of Man is an upbeat diatribe directed at critics and The Woman’s Dead, sung by the principals and ensemble, is a hoot.  Numbers from Robbin’ Hood –  Wide Open Spaces, Kansasland and Thataway – are performed with exuberance and get the feet tapping.  The principals’ voices are strong, though Pritchard’s voice as Cioffi is closer to the delivery of Rex Harrison’s in My Fair Lady, it fits the character.

  The show is directed and choreographed by Courtney Laine Self.   Given the strictures of Mac-Haydn’s small theatre-in-the round stage, she has moved the production fluidly utilizing the aisles and the dialogue scenes have effective stage pictures.  The big dance numbers are well- defined and ebullient while the more intimate dance scenes are beautifully toned.

  Though many of the characters are stereotypes they are given strong characterizations by the actors.  Pritchard’s Cioffi is reminiscent of Peter Falk’s Colombo, the seemingly simple and endearing detective.  He is all business while sleuthing or giving his opinions and flirting with and then romancing Niki, sweetly played by Ms. Pantazis.  Carmen Bernstein, the tough producer, is made likable in Wemitt’s strong acting and powerful voice.  The director, Chris Belling, is an overly fey caricature played by Gabe Belyou, who at times seems to be working too hard.  Klinger and Hassmer as the married composing team Georgia and Aaron, as well as Oscar the investor are the most realistic of the principals, allowing us to develop an empathetic relationship with them.  The members of the ensemble, and there are a lot of them, fit into the various numbers and scenes with discipline and gusto.   The four-piece orchestra led by Bruce DeLaCruz artfully supports the actors and the underscoring.

  Given the configuration of MacHaydn’s playing areas, designer Erin Kiernan’s sets are minimal and serve the show’s milieu.  Andrew Gmoser’s lighting enhances the atmosphere for each scene.  The costumes by Jimm Halliday help to define the characters.

  The Mac-Haydn is a true summer stock theatre with its low-key comfortable ambiance, its all-musicals programming, and the combination of Equity and non-Equity performers.   They usually put on a terrific show and this one is just that.  It is simply marvelous fun.

  CURTAINS Book by Rupert Holmes, Music by John Kander, Lyrics by Fred Ebb; Original Book and Concept by Peter Stone; Additional Lyrics by John Kander and Rupert Holmes; Directed and Choreographed by Courtney Laine Self;  Cast: Colin Pritchard (Frank Cioffi) Monica Wemitt (Carmen Bernstein) Rachel Pantazis (Niki Harris) Leigh Martha Klinger (Georgia Hendricks) Steve Hassmer (Aaron Fox) Todd Fenstermaker (Sidney Bernstein) Chelsea Lynne Meyers (Bambi Bernet) George Phelps (Daryl Grady) Dakota Dutcher (Johnny Harmon) Nick Miller (Oscar Shapiro) Jonah Hale (Bobby Pepper) Erin Spears Ledford (Jessica Cranshaw) Bruce DeLaCruz (Sasha Iljinsky) Gino Cardoni (Randy Dexter) Angie Colonna (Mona Page) Kylan Ross (Harv Fremont) Madi Cupp-Enyard (Roberta Wooster) Jesse Lynn Harte (Majorie Cook) Emma Flynn (Arlene Barucca) DeShaun Tost (Roy Stetson) Joe Hornberger (Brick Hawvermale) Anthony DaSilva (Ronnie Driscoll) Maya Cuevas (Peg Prentice/Wardrobe) Elizabeth D’Aiuto (Connie Subbotin) Spencer Petro (Russ Cochran/Stagehand) Sam Seleznow (Detective O’Farrell/Stagehand)  Associate Choreographer: Theresa Alexander; Music Director: Bruce DeLaCruz; Associate Music Director: Blake Dylan Pilger; Costume Design: Jimm Halliday; Scenic Design: Erin Kiernan; Lighting Design: Andrew Gmoser; Stage Manager: Eoghan Hartley; Hair and Makeup Design: Matthew Oliver; Props Master: Joshua Gallagher; Running Time: 2 hours, 45 minutes; one intermission; 6/6/19 – 6/16/19; Mac-Haaydn Theatre, 1925 Route 203, Chatham, New York; 518-392-9292; http://www.machaydntheate.org

  REVIEW: “Curtains” at the Mac-Haydn Theatre by Macey Levin From the mid-60’s into the 21st century John Kander and Fred Ebb were major figures in Broadway theatres. 

[larryland]

by Roseann Cane

There may be no American musical that comes close to the poignant resonance of Lerner and Lowe’s Camelot. A favorite play of President John F. Kennedy (who had been a classmate of Lerner’s at Harvard), the star-studded, award-winning show originally ran on Broadway from December 1960 through early January 1963. It was embraced as symbolic of the Kennedy presidency and became collectively idealized after the Kennedy assassination.

I seized the opportunity to review the Mac-Haydn’s production. Like so many Americans, I have a soft spot for “Camelot,” especially since I’d seen several productions during my ‘60s childhood, and I love the score to this day.

I’m happy to report that director James Benjamin Rodgers has assembled actors who are also superb singers, especially the lovely Madison Stratton (Guenevere), who has an exquisite voice, combined with a stage presence that is at once ethereal and feisty; to my thinking, she is perfectly cast. As Arthur, I didn’t recognize Gabe Belyeu, whom I’ve seen in a number of shows at this theater. That’s a high compliment. His Arthur was youthful, wistful, and charming. Nick Miller (Lancelot), with his warm, burnished, sonorous voice, delivered a glorious “If Ever I Would Leave You.”

How I wish that the direction and choreography had dovetailed with the performances. In other productions I’ve seen, Lancelot sings “If Ever I Would Leave You” while in bed with Guenevere, the two basking in passionate post-coital glow. In this production, Guinevere and Lancelot stood fully clothed, hardly touching each other, and there wasn’t a hint that the couple had a sexual relationship. For that song to propel the story, we need to feel a strong erotic charge between the lovers. The Mac-Haydn is a theater in the round, and I can certainly understand the challenges inherent in bringing furniture onstage. Sex doesn’t have to happen on a bed. Most of the scenes took place in a park or a forest, and these lovers easily could have been embracing on the ground.

Yet earlier in the play, when Guenevere serenaded us with “The Lusty Month of May,” the randy ensemble’s choreography found them in a supine circle on the stage, men straddling the women, and…there’s no other way to put this…humping them. The spirit of the song is more teasing than graphic, and it could have been delightful to see the couples engaging more playfully and suggestively.

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Actor Dakota Dutcher played the roles of Merlyn and Pellinore. Dutcher is a fine-looking, talented young man. In what I experienced as an odd choice, he was a young, robust Merlin in a long beaded wig. Inexplicably, he had a standard American accent, unlike anyone else in the cast. Despite the reference to Merlin’s ability to become youthful, Merlin (to my knowledge) is always played as an elderly, white-bearded magician. This is essential for the audience to grasp the contrast between the boyish, impulsive Arthur and the older, wiser man. In this particular case, Arthur looked older. When Dutcher returned later to play Pellinore, he sported a gray wig and doddered appropriately, English accent and all. I can only guess that the director and the costume designer felt that, since the actor was playing two roles, they had to create an obvious contrast. They needn’t have. In fact, they shouldn’t have, because it cost the play one of its important archetypes, thereby blurring the plot. I have no doubt that Dutcher is fully capable of playing two very different old men.

While the folks at the Mac-Haydn are usually very good at choreographing large casts on the small, round stage, I found the choreography of Camelot not up to their usual standards. The stage often had a chaotic appearance when populated by more than a few members of the large cast. A rope swing hanging on one side of the theater could have been used for fun effect during “The Lusty Month of May,” but it was used throughout the show by various actors, making the movement predictable and extraneous. Similarly overemployed was a misting effect. It would have been eerily lovely during some of the forest scenes, especially when magical events with Morgan Le Fey (Emma Flynn) or evil doings by Arthur’s vengeful son Mordred (Gino Cardoni) were afoot, but the buckets of steam enveloping the set became meaningless very quickly.

Despite the aforementioned technical missteps, I believe that this show is worth a visit. It’s a rare treat to hear so many beautiful voices give new life to songs so many of us hold dear.

Camelot runs May 23-June 2 2019 at the Mac-Haydn Theatre, 1925 NY 203 in Chatham, NY. Book and Lyrics by Alan Jay Lerner, music by Frederick Lowe, directed by James Benjamin Rodgers, choreographed by Lizzie McGuire, musical direction by David Maglione, set designed by Kevin Gleason, lighting design by Andrew Gmoser, costume design by Alison Zador, sound design by Corbin White, props designed by Joshua Gallagher, hair and make-up designed by Matthew Oliver. CAST: Gabe Belyeu as King Arthur, Madison Stratton as Guenevere, Nick Miller as Lancelot, Dakota Dutcher as Merlin and Pellinore, Gino Cardoni as Mordred, Emma Flynn as Morgan Le Faye, Jonah Hale as Sir Dinadan. 

Click HERE for tickets.

  REVIEW: “Camelot” at the Mac-Haydn Theatre by Roseann Cane There may be no American musical that comes close to the poignant resonance of Lerner and Lowe’s Camelot.

[larryland]

by Macey Levin

Hello, Dolly!, an American classic, is receiving a terrific revival on Broadway with Bette Midler.  It is also receiving a terrific revival at Chatham, New York’s Mac-Haydn Theatre with a marvelous Dolly and a spirited and talented cast.

Based on Thornton Wilder’s The Matchmaker, the original production, directed by Gower Champion, opened in 1964 and ran for 2844 performances, closing in 1970.  Dolly Gallagher Levi has become Carol Channing’s signature role; at one time or another she was followed by Ethel Merman, Ginger Rogers, Martha Raye, Betty Grable and Pearl Bailey among others.  A movie starring Barbra Streisand and directed by Gene Kelly in 1969 didn’t match the charm or artistry of the original.

The story, taking place in the late 19th century, centers around widowed matchmaker Dolly’s pursuit of Horace Vandergelder, Yonkers, New York’s “half-a-millionaire.”  As she conspires to get him to propose, three younger couples find their own romance and, of course, everything ends happily.

With a book by Michael Stewart and Jerry Herman’s music and lyrics, Mac-Haydn’s production is a gem.  At the opening performance the first few minutes felt somewhat tentative, but after Monica M. Wemitt gives us a charmingly conniving Dolly with “I Put My Hand In,” the show flies with dazzling choreography by Sebastiani Romagnalo and sparkling staging by director John Saunders.

Herman’s score includes the show’s incomparable title song (and Louis Armstrong’s biggest popular hit) as well as other effective but not as highly reputed numbers.  In particular, there are the wistful “Ribbons Down My Back” sung beautifully by the milliner Irene Molloy (Rachel Rhodes-Devey) and “Before the Parade Passes By” opened by a reflective Dolly then expanding to a rousing, exciting showstopper that includes the entire cast.  “Put on Your Sunday Clothes” sung by Cornelius Hackl (Ryan Michael Owens,) Barnaby Tucker (Dan Hacke) and the entire company is one of Romagnalo’s most imaginative dance numbers.  The “Waiter’s Gallop” which leads into “Hello, Dolly” is almost beyond belief in its complexity and integration of movement.

Wemitt’s Dolly is delicious and shrewd as she invents little lie after little lie to ensnare Vandergelder or to assist his niece Ermengarde (Catherine Skojec) and the love of her life Ambrose Kemper (Dakota Dutcher) to get the uncle’s permission to marry.  Vandergelder is played by Brian D. Wagner.  As with the first scene of the show he began somewhat tentatively but allowed his cantankerous character come through as the “half-millionaire” loses control of the world around him. The major sub-plot is the budding romance between Irene and Cornelius which is beautifully delivered in their duet “It Only Takes a Moment.”  Barnaby is smitten with Irene’s assistant Minnie Fay (Steffany Pratt.)  These six performers shine, not only with their electric voices and dancing, but their characterizations are solid all the way through.  The entire cast, numbering over 30, are focused.  Many of them play several parts and their energy never seems to lapse.  This is a cast that loves what they are doing.

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Director Saunders keeps the rapid pace of the show under control.  Each moment means something and contributes to the writers’ intentions.  He has maintained both a sense of comedy and a recognition of the dramatic subtext of the play.  Enough cannot be said of choreographer Romagnola’s work.  To move this huge number of dancers across the relatively small playing space while interacting with the principal characters is a model of vision and theatricality.  The small band, led by David Maglione, is energetc and musically adept, though sometimes too brassy; but that’s part of the show.

There is a multitude of rich and historically correct costumes designed by Bethany Marks that bring color and vibrancy to the stage.  This is a gorgeous production to look at thanks to her.  Andrew Gmoser’s lighting design complements and subtly adds to the tone of each scene.  The sets by Kevin Gleason are minimal since the Mac-Haydn is a theatre-in-the-round, but they identify locations simply and effectively.  The set changes, of which there are many, are cleverly integrated with the musical numbers so that there aren’t minutes of dead air.

About the Mac-Haydn…  The phrase “summer stock” suggests amateurish productions or a nominally successful Broadway personality deigning to work with a young, often non-professional cast. The Mac-Haydn uses creative integrity to bring quality productions to its audience. The performers, designers and technicians are given the opportunity to test their talents in a space that presents logistical problems.  It is to the credit of the producers as well as the creative personnel that Mac-Haydn offers enjoyable and provocative entertainment.

If you want to smile and laugh and fully treasure the experience, don’t walk, don’t run… fly to see Hello, Dolly! at the Mac-Haydn in Chatham!

Hello, Dolly!; Music and Lyrics by Jerry Herman; Book by Michael Stewart; Directed by John Saunders; Choreographer: Sebastiani Romagnalo; Musical direction by David Maglione and Jillian Zack; Cast: Monica M. Wemitt (Mrs. Dolly Gallagher Levi) Meg Dooley (Ernestina Money) Dakota Dutcher (Ambrose Kemper) Brian D. Wagner (Horace Vandergelder) Catherine Skojec (Ermengarde) Ryan Michael Owens (Cornelius Hackl) Dan Macke (Barnaby Tucker) Steffany Pratt (Minnie Fay) Rachel Rhodes-Devey (Irene Molloy) Victoria Benkoski (Mrs. Rose) Gabe Belyeu (Rudolph Reisenweber) Quinn Corcoran (Stanley) Stephen C. Kallas (Fritz) Alex Carr (Harry) Connor Hubbard (Louie) Atsushi Eda (Danny) Ross Flores (Manny) Bryce McAllister (Hank) Laura Michele Erle (First cook) Katie Skawski (Second cook) Ross Flores (Judge) Stephen C. Kallas & Alex Carr (Policemen) Connor Hubbard (Court Clerk) Alex Carr (Paperhanger) Ensemble: Michele Carter, Laura Michele Erle, Kelly Gabriel Murphy, Megan Hasse,  Katie Skawski, Victoria Benkoski, Meg Dooley, Lauren Wrigley, Gabe Belyeu, Alex Carr, Quinn Corcoran, Connor Hubbard, Stephen C. Kallas, Bryce Mcallister, Atsushhi Eda; Scene Design: Kevin Gleason;   Lighting design: Andrew Gmoser; Costume design: Bethany Marx; Sound design/Audio engineer: Ethan Carleton; Wig Designers: Michael Dunn, Timothy Williams; Stage Manager: Jen Motta; Running Time: 2 hours forty-five minutes, includes one intermission; Mac-Haydn Theatre, 1925 Route 203, Chatham, NY; From 8/24/17 to 9/3/17.

    REVIEW: “Hello, Dolly!” at the Mac-Haydn by Macey Levin Hello, Dolly!, an American classic, is receiving a terrific revival on Broadway with Bette Midler. 

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Two Musicals "In Development" Come to Mac-Haydn Mondays

Two Musicals “In Development” Come to Mac-Haydn Mondays

CHATHAM, NY — An extra special show has been added to The Mac-Haydn Theatre Monday night schedule: In Development, with songs from two original musicals being developed by Musical Director David Maglione will perform on Monday, August 28, at 7:30 p.m. Wendy’s Shadow is a modern-day retelling of the mischievous and magical adventure of “Peter and Wendy”, with a contemporary folk/rock score.  Book,…

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Monty Python’s Musical Gallop

by Barbara Waldinger

To find the Holy Grail, it seems that the legendary King Arthur was required to produce a Broadway show; at least that’s Monty Python’s conceit.  And the production of Monty Python’s Spamalot now playing at the Mac-Haydn Theatre is more than worthy of the Grail—it is a genuine extravaganza!  On a tiny stage in this theatre-in-the-round in a bucolic setting with props and set pieces visible outside and along the walkways into the performance space, we meet a huge cast of young people who sing and dance their hearts out (often at the same time), adorned with the most fabulous costumes imaginable.

Monty Python’s Spamalot, very loosely adapted from the 1975 film Monty Python and the Holy Grail, premiered on Broadway in 2005, directed by Mike Nichols.  Winner of three Tony Awards including Best Musical, and two Drama Desk Awards, the play spawned international productions and tours.  A madcap parody of Broadway musicals as well as the Arthurian and Camelot legends, the show recounts how King Arthur recruits knights to join him at a round table in Camelot, where they embark on the God-ordained quest for the Holy Grail, encountering ridiculous obstacles and outrageous characters along the way.

This production, like its Broadway counterpart, stuffs everything but the kitchen sink into its jam-packed song and dance numbers.  Lunacy reigns throughout, beginning with the first song, which illustrates life in Finland, though the helpful projections on two walls show a map of England in 932 A.D. The energetic ensemble, in colorful Finnish costumes and blond wigs, gaily smack one another with fish, in what purports to be a native folk dance. At length, King Arthur admonishes them:  this is England, not Finland, whereupon they morosely vacate the stage, having misheard or misunderstood the narrator.  Camelot turns out, is a Las Vegas resort with showgirls in sexy outfits and a strip tease by the Lady of the Lake, who starts out in armor and ends in one of her gorgeous silver and feather concoctions.  Speaking of strip teases, later in the proceedings Lancelot’s love for a gay prince is celebrated in a disco with his knightly garb removed to reveal a tight, glittering getup, complete with an outsized codpiece.  The insanity is ubiquitous:  nonstop.  Characters seemingly wander in from numerous familiar shows to join a Fiddler on the Roof takeoff, as part of a search for the Jews who are essential to guarantee a successful musical comedy.  There are so many references to other shows, to modern events, to anything the characters free-associate with whatever is going on, that we are left laughing and breathless as we await the next surprise.

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Compliments to the costume designer, Angela Carstensten, for the amazing number and variety of glorious and comedic outfits, to Michael Dunn and Timothy Williams for the many wigs and to Megan McQueeney for an endless supply of props.  Bravo to the choreographer (Sebastiani Romagnalo) for his inventive dance movements, aided by a revolving stage, and for figuring out the placement of all those performers on the stage and in the aisles. The scenic designer (Andrew Gmoser, who also designed the lighting) makes wonderful use of a castle and drawbridge that rises and falls with room at the top for characters to appear and disappear, not to mention projections and fog.  The lighting effects are extraordinary; the orchestra, containing percussion, reeds, horns and bass, sounds like a full Broadway pit (thanks to musical director Jillian Zack), while the sound designer/audio engineer (Ethan Carleton) provides animal effects, among others, as well as enhanced amplification for the deities.   And, of course, congratulations to the director, Neal Kowalsky, who presides over this entire circus.

The actors and ensemble are uniformly spirited, disciplined and talented.  John Anker Bow as King Arthur emcees all of the action with just the right touch of conviction and stupidity.  His servant Patsy (Ross Flores) whose hand-held coconuts stand in for horses’ hooves, is an ideal foil, especially as his master mournfully sings I’m All Alone, while Patsy faithfully stands right there beside him, a resentful serving of chopped liver.  Madison Stratton as The Lady of the Lake is a sublime comedienne with a terrific voice; Gabe Belyeu’s Dennis, the socialist turned Knight, is a perfect Sir Galahad, posing and preening, and his duet with Stratton (The Song That Goes Like This) is delightfully campy.   Connor Hubbard as Sir Lancelot, attempting the rescue of a damsel in distress (who turns out to be Herbert, the prince) forced to marry against her will, is precious as he breaks down crying, remembering his own bully of a father.  Paul Wyatt’s Sir Robin is a triple threat:  dancer/singer/comedian—and he is equally adept at all of them.  Ryan Owens’ French Taunter shouts inexhaustible and bizarre curses that build in hilarity.

Monty Python’s Spamalot may be a lot of spam, but it adds up to a feast of musical and comic delights. It was a shock to see a very young child perched on his mother’s lap in the audience, but he never once cried—so beguiled was he by this spectacle.  Adults and children alike are sure to be awed by this   spellbinding and zany production.

Monty Python’s Spamalot runs from August 10—August 20 at The Mac-Haydn Theatre.  For tickets call 518-392-9292 or online at www.machaydntheatre.org.

The Mac-Haydn Theatre presents Monty Python’s Spamalot.  Cast:  John Anker Bow  (King Arthur), Paul Wyatt (Sir Robin & Others), Connor Hubbard (Sir Lancelot), Ross Flores (Patsy & Others), Gabe Belyeu (Sir Galahad & Others), Dakota Dutcher (Sir Bedevere & Others), Madison Stratton (The Lady of the Lake), Alex Carr (Historian & Others), Sophia Tzougros (Finland Mayor), Dan Macke (Brother Maynard), Quinn Corcoran (Knight of Ni & Others), Stephen C. Kallas (Tim the Enchanter), Ryan Owens (French Taunter).  Director:  Neal Kowalsky; Choreographer:  Sebastiani Romagnalo; Musical Director: Jillian Zack; Scenic and Lighting Designer:  Andrew Gmoser; Costume Designer:  Angela Carstensten; Wig Designer:  Michael Dunn, Timothy Williams; Sound Designer:  Ethan Carleton.  Stage Manager:  Jen Motta.  Running Time:  two hours fifteen minutes, including intermission; at The Mac-Haydn Theatre, 1925 Route 203, Chatham, NY, from August 10, closing August 20.

REVIEW: “Monty Python’s Spamalot” at the Mac-Haydn Monty Python’s Musical Gallop by Barbara Waldinger To find the Holy Grail, it seems that the legendary King Arthur was required to produce a Broadway show; at least that’s Monty Python’s conceit. 

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by Macey Levin

Stephen Sondheim, as the western world knows, is one of the musical theatre’s giant figures especially during the last half of the 20th century.  His works, even the weak ones, are celebrated as being innovative and challenging. Think of Company, Follies, A Little Night Music, Sunday in the Park with George, Into the Woods and many others, but pay special attention to Sweeney Todd: The Demon Barber of Fleet Street.  First produced in 1979 starring Len Cariou and Angela Lansbury, it won the Tony Award as Best Musical.  In 1989 Bob Gunton, co-starring with Beth Fowler, was Best Actor in a Musical and in 2005 it won the Best Musical Revival starring Patti Lupone and Michael Cerveris.

For a theatre company to produce a creditable Sweeney takes a large cast that can handle extremely difficult music, a director with great creative tools and a lot of courage.  All that can be seen in Mac-Haydn Theatre‘s production currently in Chatham, New York, until August 6.

For those who don’t know the Mac, it is a theatre-in-the round which is a bit problematic for the show.  In a proscenium production there can be an overwhelming sense of the underbelly of London… its shadows and ugliness… hovering over and around the playing area; that’s difficult to create when the stage is encircled by the audience.  The problem is somewhat modified by Andrew Gmoser’s sensitive and artistic lighting design that supports Kevin Gleason’s set  that utilizes the space surrounding the stage and the aisles with myriad set pieces of various sizes and heights.  Jimm Halliday’s costumes for 31 people, many of whom play numerous roles, define the character and the late 19th century when the play takes place. Actually, the creative elements of the technical side of the production are worth the price of admission.

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The cast is predominantly non-Equity, the actors’ union, but that does not mean the talent is of lesser quality.  The voices of the entire cast are on a professional level as is the acting.  The two leads, Mark Hardy as Sweeney and Emily Kron as Mrs. Lovett, have extensive experience on Broadway and off as well as major regional theatres.  Hardy is a different Sweeney than is customarily expected.  He is usually seen with dark, deep-set eyes with a sinister glare and bearing.  This Sweeney appears to be of normal physical presence, but the determination to avenge his trumped-up incarceration and the loss of his wife and daughter becomes more compelling.  Mrs. Lovett in the hands of Emily Kron is also a different take.  Here her gruesome plan to use Todd’s victims in her pies is almost joyous rather than forbidding.  Her energy and brightness almost makes her endearing… a frightful thought.  The secondary leads are also strong vocally and in their respective characters.

Director John Saunders has used every inch of the small theatre to tell the story in tight and efficient staging by moving the cast smoothly into vivid theatrical stage pictures.  He follows the arc of the story and fulfills its dramatic emotional impact.

The small orchestra and the vocals of the cast under the direction of David Maglione and Jillian Zack interpret Sondheim’s ambitious score with both subtlety and power.

Given that this is summer stock theatre, the rehearsal period is very limited.  To reach the high quality of this production with the inherent limitations is testimony to the talents of all involved.  This is not a major regional production but it offers many of its own special artistic attributes

Sweeney Todd, The Demon Barber of Fleet Street; Music and Lyrics by Stephen Sondheim; Book by Hugh Wheeler; Directed by John Saunders; Assistant director/choreographer Patrick Heffernan; Musical direction by David Maglione and Jillian Zack; Cast: Mark Hardy (Sweeney Todd) Emily Kron (Mrs. Lovett) Quinn Corcoran (Anthony Hope) Kelly Gabrielle Murphy (Joanna) Ryan Gregory Thurman (Tobias) Steve Hassmer (Judge Turpin) Jeffrey O’Neill (The Beadle) Kate Skawski (Beggar Woman) Jose Plaza (Adolfo Pirelli) Ross Flores (Jonas Fogg); Ensemble:  Gabe Belyeu, Alex Carr, Michelle Carter, Quinn Corcoran, Dakota Dutcher, Laura Michele Erle, Ross Flores, Megan Hasse, Steve Hassmer, Connor Hubbard, Stephen C. Kallas, Dan Macke, Kelly Gabrielle Murphy, Jeff O’Neill, Ryan Michael Owens, Sam Pickart, Jose Plaza, Steffany Pratt, Katie Skawski, Catherine Skojec, Emily Spateholtz, Gregory Thurman, Sophia Tzougros, Brian D. Wagner; Scene design: Kevin Gleason; Lighting design: Andrew Gmoser; Costume design: Jimm Halliday; Sound design/Audio engineer: Ethan Carleton; Wig Designers: Michael Dunn, Timothy Williams; Stage Manager: Jen Motta; Running Time: 3 hours, includes one intermission; Mac-Haydn Theatre, 1925 Route 203, Chatham, NY; From 7/27/17 to 8/6/17.

www.machaydntheatre.org

REVIEW: “Sweeney Todd” at the Mac-Haydn by Macey Levin Stephen Sondheim, as the western world knows, is one of the musical theatre’s giant figures especially during the last half of the 20th century. 

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CHATHAM, NY—The Mac-Haydn Theatre (MHT), continues its 2017 season with the Stephen Sondheim Tony Award winning musical thriller, Sweeney Todd: The Demon Barber of Fleet Street. This will be the third MHT premiere of the season.

Two MHT favorites return to lead this dark musical masterpiece. Broadway’s Mark Hardy (Titanic, Les Miserables), last seen in 2016 as Henry Higgins in My Fair Lady, returns as the infamous Sweeney Todd. Emily Kron, (Nellie in South Pacific in 2016) returns to portray the pie-making Mrs. Lovett. Emily’s most recent credits include As You Like It (The Denver Center) and Mary Poppins (Northern Stage).

Anthony Hope, the young sailor who saves Mr. Todd and eventually falls in love with his daughter Joanna, is portrayed by Company Member Quinn Corcoran (Purser in Anything Goes) and Sweeney’s daughter Johanna is played by Company Member Kelly Gabrielle Murphy (Jolene in Dirty Rotten Scoundrels).

MHT favorites Steve Hassmer (Andre in Dirty Rotten Scoundrels), and Ryan Gregory Thurman (Joey in Sister Act in 2016) return to play Judge Turpin and Tobias Ragg respectively. Jeff O’Neill (La Cage Aux Folles at The Villagers) and Jose Plaza (a recent graduate of The Hartt School) make their MHT debut as The Beadle and Adolfo Pirelli.

ohanna (Kelly Gabrielle Murphy), Anthony Hope (Quinn Corcorcan) Emily Kron (Mrs. Lovett), Tobias Ragg (Ryan Gregory Thurman) and Sweeney Todd (Mark Hardy). Photo: Neal Kowalsky.

Johanna (Kelly Gabrielle Murphy) and Anthony Hope (Quinn Corcorcan). Photo: Neal Kowalsky.

Emily Kron (Mrs. Lovett) and Sweeney Todd (Mark Hardy). Photo: Neal Kowalsky.

Artistic Director John Saunders (director of Dirty Rotten Scoundrels and Saturday Night Fever) directs and Patrick Heffernan (Assistant Choreographer Anything Goes) assists and choreographs.

Rounding out the cast is Katie Skawski as Beggar Woman, Ross Flores as Jonas Fogg, Gabe Belyeu, Alex Carr, Michelle Carter, Dakota Dutcher, Laura Michele Erle, Megan Hasse, Connor Hubbard, Stephen C. Kallas, Dan Macke, Ryan Owens, Sam Pickart, Steffany Pratt, Catherine Skojec, Emily Spateholts, Sophia Tzougros, and Brian D. Wagner.

The show is under music direction of both David Maglione and Jillian Zack. Kevin Gleason set designs, Jimm Halliday costume designs, Megan McQueeney designs the props, and Ethan Carleton sound designs.

Sweeney Todd runs on Mac-Haydn’s stage July 27 – August 6.

About the Mac-Haydn Theatre

Founded in 1969 by Lynne Haydn and Linda MacNish, The Mac-Haydn Theatre has been bringing artists from all around the country to the town of Chatham, NY (perfectly placed in between the Berkshires, the New York Capital, and the Catskill Region) each summer to produce classic and modern musicals in-the-round. For more information and tickets, please visit us at: www.machaydntheatre.org or call the box office at (518) 392-9292.

The Worst Pies in London Come to Chatham in “Sweeney Todd” CHATHAM, NY—The Mac-Haydn Theatre (MHT), continues its 2017 season with the Stephen Sondheim Tony Award winning musical thriller, …

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"Hi, Ho Robin Hood" Brings Adventure to The Mac-Haydn Children's Theatre

“Hi, Ho Robin Hood” Brings Adventure to The Mac-Haydn Children’s Theatre

CHATHAM, NY — The exciting adventures of a band of merry men in old England come to The Mac-Haydn Children’s Theatre stage with Hi, Ho Robin Hood, July 21, 22, 28 and 29. Robin Hood and his men roam Sherwood Forest, robbing the rich to help the poor people of Nottingham.  Prince John, who is ruling while King Richard The Lion-Hearted is on a crusade, is taxing people right out of their homes! …

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by Roseann Cane

The 1977 film Saturday Night Fever was a smash hit. Based on a 1995 New York Magazine article, Nik Cohn’s “Tribal Rites of a Saturday Night” (which Cohn admitted years later to be fictional), the film propelled John Travolta into stardom, and became the best-selling dance-centered movie of all time until 2010’s Black Swan.

Directed by John Badham with a screenplay by Norman Wexler, and music by the Bee Gees (one of the best-selling soundtracks of all time), it’s not difficult to understand the well-deserved success of the movie. The Bee Gees were commissioned by producer Robert Stigwood to write songs for the film. Not terribly well known at the time, the group created some of the songs during a single weekend, and gathered some songs they’d already written to add to the mix. “Stayin’ Alive” had already been written, and was one of the first songs ready to be used in the film. “Stayin’ Alive” will undoubtedly be forever associated with the movie, in no small part thanks to the movie’s stunning opening sequence.

 The stage musical of Saturday Night Fever, with a book by Nan Knighton in collaboration with Arlene Phillips, Paul Nicholas, and Robert Stigwood, and music by the Bee Gees, opened in London in 1998, and on Broadway the following year. It is now playing at Chatham, NY’s Mac-Haydn Theatre, directed by John Saunders.

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The show opens with “Stayin’ Alive,” too, and in this production, the number falls flat. While James Kinney usually does a superb job choreographing the excellent dancers who grace the Mac-Haydn’s round stage, in this attempt to recreate the busy thoroughfare (86th Street in Bay Ridge, Brooklyn), the chorus walks across the stage and back in “X” formation, bumping into each other (intentionally or accidentally, I couldn’t tell), and the effect is merely one of too many people crammed in too small a space. (Happily, Kinney more than redeems himself later.)

 As Tony Manero, the role originated by Travolta on screen, Daniel Velasquez is very attractive and gifted with a lovely singing voice. Unfortunately, when he is speaking, he frequently sounded as if he were doing a John Travolta impression down to the cadence, and the effect is disruptive; we don’t know where Tony is. It pulls us out of the play. By the end, though, I was gratified that he had stopped impersonating and became his own Tony, Brooklyn accent intact.

 What is terrific about this production are the scenes in the disco club 2001 Odyssey. Lighting designer Andrew Gmoser, scenic designer Kevin Gleason, sound designer Ethan Carleton, choreographer Kinney, and director Saunders have collaborated to transform the entire theater into an authentic disco complete with mirrored disco ball. The lighting design was so successful that it felt as if the audience were right in the club, amid flashing lights and nimble, gyrating dancers.

 I’ve written before about my personal distaste for mic’ing actors, especially in a small theater, but the mics, at least in the particular way they were used in this show, created a serious problem that was impossible to overlook. Early in the show, Tony has an undressing sequence in which he faces a mirror, preening and dancing. The headset part of the mic is usually visible to the audience because of its placement on the actor’s head and face. The body pack transmitter that goes with it is hidden under the actor’s costume. When Mr. Velasquez stripped down to his tight black briefs, his body pack transmitter, roughly the size of two stacked decks of cards, was an abundantly visible protrusion beneath his briefs at the approximate area of his coccyx. At this point Mr. Velasquez was heartily bumping, grinding, and shimmying. To my mind, there was no justification for the placement of that body pack. I felt badly for the actor. The sequence had me cringing, and was at once embarrassing and silly.

 From that point on, I couldn’t help but notice the body packs bulging through most of the cast’s costumes. This was certainly no fault of costume designer Angela Carstensten, who did a fine job clothing the cast. Disco-era clothing is sleek and body-hugging, and I wish that someone either did away with the body packs or devised a better way to disguise them. Certainly, if one was to be placed in Mr. Velasquez’s briefs, he should not have had to strip down to them.

 The production boasts a fine group of actors, singers, and dancers, including Kate Zulauf (Stephanie Mangano), Gabe Belyeu (Monty), belter extraordinaire Aneesa Folds (Candy), and Sophia Tsougros (Annette). As Tony’s parents Frank and Flo, Pat Wemitt and Erin Spears Ledford were well cast, except that Miss Ledford looked far too young to be Tony’s mother, a problem that can easily be fixed with makeup.

My biggest complaint about the stage version of Saturday Night Fever is not about the Mac-Haydn production, but about the script itself. It completely lacks the pathos that was so abundant in the film. That the actors sing the songs from the film disrupts characterization. It is not a film that adapts well to the stage.

It is however, entertaining, and the audience members left the theater delighted. I heard many people exclaim that they had great fun watching the show. If you can go without any expectation that Saturday Night Fever meets the standards of the movie, you’ll find lots to enjoy.

Saturday Night Fever runs July 6-23, 2017, at the Mac-Haydn Theatre, 1925 NY Route 203 in Chatham, NY. Book by Nan Knighton in collaboration with Arlene Phillips, Paul Nicholas, and Robert Stigwood. Music by the Bee Gees (Barry, Robin, and Maurice Gibb.) Directed by John Saunders; Lighting designer Andrew Gmoser; scenic designer Kevin Gleason; sound designer Ethan Carleton; choreographer James Kinney; costume designer Angela Carstensten. CAST: Daniel Velasquez (Tony Manero), Kate Zulauf (Stephanie Mangano), Gabe Belyeu (Monty), Aneesa Folds (Candy), Sophia Tsougros (Annette), Pat Wemitt (Frank Manero), Erin Spears Ledford (Flo Manero), Dan Macke (Bobby), Sam Pickart (Gus), Ross Flores (Double-J), Alex Carr (Joey), Quinn Corcoran (Frank Manero, Jr.), Laura Michele Erle (Pauline), Lauren Wrigley (Linda Manero), Dakota Dutcher (salesman/Jay/Joseph Cursa), Bryce McAllister (Stephanie’s Dance Partner/Cesar Rodriguez), Stephen C. Kallas (Gabriel), Connor Hubbard (Chester Brinson), Megan Hasse (Stayin’ Alive Girl/Shirley Charles), Catherine Skojec (Doreen/Elizabeth Cursa), Katie Skawski (Girl), Michelle Carter (Waitress), Kelly Gabrielle Murphy (Connie), and Steffany Pratt (Maria Huerta).

REVIEW: “Saturday Night Fever” at the Mac-Haydn by Roseann Cane The 1977 film Saturday Night Fever was a smash hit. Based on a 1995 New York Magazine article, Nik Cohn’s “Tribal Rites of a Saturday Night” (which Cohn admitted years later to be fictional), the film propelled John Travolta into stardom, and became the best-selling dance-centered movie of all time until 2010’s…