#alex carr

[denofgeek]

Looking to The Future of the DC Universe (Alex Carr interview + Exclusive sneak peeks!)

[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.

This slideshow requires JavaScript.

This slideshow requires JavaScript.

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. 

[larryland]

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,…

View On WordPress

[larryland]

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.

This slideshow requires JavaScript.

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. 

[larryland]

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.

This slideshow requires JavaScript.

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. 

[larryland]

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 [phone].

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, …

[larryland]

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.

This slideshow requires JavaScript.

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…

[larryland]

CHATHAM, NY — Break out the bell-bottom pants and boogie shoes for Saturday Night Fever, the most requested show of the summer at

This slideshow requires JavaScript.

here.  The disco inferno of a musical will perform for three weeks, July 6 through 23.

This is the 40th Anniversary of the 1977 film that sparked a cultural phenomenon with a story of young people coming of age to the pulsing rhythms of the new disco beat.  Tony, the leader of the group, hopes his dancing will break the dead-end Brooklyn mold he’s grown up in.  He courts a new partner, Stephanie, who also has dreams beyond the neighborhood, to help him do it.  Ordinary, even boring days turn into nights of energy and power as they all turn to the disco club 2001 Odyssey for escape, but soon must face unforeseen, life-changing events.

The biggest hits of the BeeGees will have you reliving those swinging disco days as you hum along to Night Fever, More Than A Woman, How Deep is Your Love, What Kind Of Fool, If I Can’t Have You, Stayin’ Alive and more.

New to MHT for this show, Daniel Velasquez will play Tony Manero and Kate Zualaf will be Stephanie Mangano.  His credits include Billy Lawlor in 42nd Street and Conrad in Bye Bye Birdie as well as lead vocalist and featured dancer spots with regional theatres and cruise lines; she has extensive musical theatre experience.

Mac-Haydn veterans Gabe Belyeu and Aneesa Folds lead the Saturday Night Fever cast as Monty, the DJ and Candy, the singer at the 2001 Odyssey disco club.  Mr. Belyeu just kept the audience laughing hysterically as Lawrence Jameson in Dirty Rotten Scoundrels.  Ms. Folds did the same while thrilling with her powerful voice as Deloris Cartier in last summer’s favorite show Sister Act.

Tony’s pals, the ‘Faces’, are Dan Macke as Bobby, Sam Pickart (Billy Crocker in Anything Goes) as Gus, Ross Flores as Double-J and Alex Carr (Jospeh in Joseph and the Amazing Technicolor Dreamcoat) as Joey.  Erin Spears Ledford (Stepmother in Into The Woods, Alice Beineke in The Addams Family) and Pat Wemitt will be Tony’s parents Flo and Frank Manero.

John Saunders (Dirty Rotten Scoundrels) directs and James Kinney (Chicago 2016) takes on the task of choreographing the show that is noted for its dynamic and distinctive disco style dancing.

Saturday Night Fever performs for three weeks: July 6 to 9, 12 to 16 and 19 to 23.  The show is already proving popular with Mac-Haydn patrons – to get further information on performance times and to order your tickets as soon as possible call 518-392-9292 or visit www.machaydntheatre.org.

“Saturday Night Fever” Brings Disco Inferno to the Mac-Haydn for Three Weeks CHATHAM, NY -- Break out the bell-bottom pants and boogie shoes for Saturday Night Fever, the most requested show of the summer at…