For someone with a little bit of theatre background, I can honestly say that seeing shows multiple times does not bore me as one would probably expect. More often than not it is a combination of a good script, with fantastic direction, and amazing actors that would typically drive the average theatre goer into seeing a production multiple times.

In the case of Den of Thieves, not only were there three versions of the show to watch but live theatre brings to the table an element of unpredictability that you can’t find anywhere else.

Where else would you find Hugh Jackman blowing up at an audience member for a cell phone going off in the middle of A Steady Rain? Where else could you find mishaps go wrong and watch an actor really show off their acting chops AND improv skills at a drop of a pin?

However, coming to a show in hopes to see something out of the ordinary happen isn’t exactly the best reason to watch a production multiple times. So again, why do it? Quite simply, to watch the cast grow and improve overall, as well as see them grow into their characters with every passing performance.

The newcomers: Seneca Lee Evensen (Boochie), Jason Gavin (Sallie Nads), and Paul Garrison (Paul Abraham Handleman); for example will undoubtedly show the most improvement as they go from performance to performance.

Seneca has learned to fill in the empty spaces when the focus is not on her. Her monologue this second weekend is filled with so much more emotion, that you find yourself almost rooting for the character, even if she was playing you as a fiddle. As an audience member you can’t help but be drawn to her almost to the point that you forget that this is Seneca and you start to see and believe that is Boochie. For myself, she is just scraping the surface of melting into her character to the point that you don’t know when Seneca ends and where Boochie begins.

Jason Gavin has always been Sallie Nads for me, incredibly menacing, having way too much fun torturing the “protagonists”, and an all around crazy mafia goon. But his reaction when he came out with a chainsaw only for it to stutter when he tried to start it was priceless… going so far as to say that, “it didn’t work, boss.” For a newcomer, he did an incredibly good job keeping to character, even through mishaps. This is someone that I would be more than willing to see in future shows.

Paul is also one of those actors that almost exactly IS the character that he is portraying. Though at one point during the run he was almost over-acting, he reigned it in enough to give the character just enough punch and fun when interacting with other characters without going terribly overboard. Paul, one of the most visible characters on the show, is also probably the most… stable (is there such a thing with this show)? The actor never fails to amaze me with his acting, though inconsistent at times towards the beginning, he is finally feeling his stride and I cannot wait to see what he brings to the table at the end of the run.

Seeing so many incredibly talented newcomers in a production makes it that much more fun to see how they grow not only as actors, but into their roles as well. To the point that they blend in so well with the veterans that it is rather difficult to distinguish who the veterans are versus the newcomers.

One of Bolingbrook’s finest, Bill Smith (Al “The Big Tuna” Pescatore), though only seen in the last ten minutes of the show, single-handedly steals the show. With so many one liners and funny facial expressions, he brings such an incredible sense of stage presence that you cannot help but feel the compulsive need to obey him for fear of your life. While at the other side of the coin, Cameron Nowicki (Lou “The Little Tuna” Pescatore) plays up Little Tuna so much that you can’t help but laugh at his interpretation of the character. Spunky and sarcastic, it was a real treat seeing how much he has changed from the start of the production to the end.

Of course, you have your veterans: Lori Rohr (Maggie) and Adam Krause (Flaco) whose consistency and energy to the production night after night, brings a sense of stability and cohesiveness to the show and gives the rest of the actors something to strive for. With the bar set so incredibly high, it would seem like these actors have no where to go but down… instead, night after night, they are still raising the bar not just for themselves but for the production as a whole.

If there is one thing that I could say about these two veterans it is that they bring so much of themselves into their characters that three weekends later it is impossible to know where the actor ends and the character begins. As easy as it could have been to play off their respective roles as one-dimensional, neither of them do so and instead bring such a sense of a realism into their characters that the audience can relate and grab on to.

It is an honor to see the show as many times as I have and being able to see each of the actors grow before my eyes. They didn’t just grow as actors (which undoubtedly the fantastic direction of Craig Engel aided in) but they grew into their characters to the point that their characters will leave an indelible mark in their lives after the show.

With one weekend remaining, the majority of the cast (with the addition of Jacqueline Schultz and Joseph Mennella) will have three more performances to drive the show home. Here’s hoping that they will hit not just one home run, but three… and I intend to be there to watch it happen… and yes: All Three Shows.

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In the case of TOTH’s production of Den of Thieves, two of the roles are split between two actors. The role of the exotic dancer/stripper Boochie is split between newcomer Seneca Lee Evensen and musical theatre veteran Jacqueline Schultz. On the male front the role of Lou “The Little Tuna” Pescatore is split between stage veteran Joseph Mennella and the latest protege, Cameron Nowicki.

Now if you have read my “official” review of the show from opening weekend, then you know that I have seen the version that has Seneca playing Boochie and Cameron as Little Tuna. However, that Saturday night performance was also very different from that of Opening Night where Joseph Mennella played the Little Tuna.

Here is a quickie breakdown of who is playing who and when during the run of the show:

1st weekend: 28 – 30 October 2011

• Boochie: Seneca Lee Evensen
• Little Tuna: Joseph Mennella (Friday & Sunday), Cameron Nowicki (Saturday)

2nd weekend: 4 – 6 November 2011

• Boochie: Jacqueline Schultz
• Little Tuna: Joseph Mennella

3rd weekend: 11 – 13 November 2011

• Boochie: Seneca Lee Evensen
• Little Tuna: Cameron Nowicki

4th weekend: 18 – 20 November 2011

• Boochie: Jacqueline Schultz
• Little Tuna: Joseph Mennella

If you notice, there are three different “versions” of the show that one could watch: Seneca/Joseph, Seneca/Cameron, and Jacqueline/Joseph. So watching interactions and the varying chemistry within the combos is a joy to analyze and nitpick to one’s content (as I am prone to do). What I will attempt to do is describe what my thoughts are for each actor as they play each role and compare the actors in the roles that they co-portray.

Why am I not analyzing the varying combinations themselves? Simply because there isn’t much interaction between the characters of Boochie and Little Tuna, so to analyze that would be akin to looking for a needle in a haystack, it is simply not worth it.

Seneca Lee Evensen is the newcomer to not only Theatre-on-the-Hill but theatre in general, and for a novice she does a fantastic job portraying the exotic dancer/stripper Boochie in her first role. Though one could argue that she didn’t portray Boochie, she IS Boochie. She intuitively knows how to play up the character no matter the circumstance, the mannerisms come so naturally to her that it is easy to forget that she’s acting. Even so, as a novice there are still things that she could work on as an actress: consistently reacting when she isn’t speaking or being spoken to, for the most part. Regardless of experience, Seneca gives Boochie not only an air of independence, but a sense of vulnerability in a minor moment of of her monologue. In some ways because she is such a natural Boochie, it remains to be seen how she would fare as another character altogether. Seneca has a fantastic running start though and I only see great things coming out of her should she continue acting down the road.

Jacqueline Schultz is primarily known for her musical theatre experience, so seeing her in something grittier and darker was a real treat. Her being in a straight show gives her a chance to really flex her acting chops that isn’t always possible in musical theatre. What she brings to the table as Boochie is a much more polished portrayal of Boochie, she is very quick with a jab and could fill in voids when necessary. Jacqueline’s Boochie is very proud and independent, so vulnerability doesn’t come as easily or isn’t quite as believable as one would think, but in some ways it works. It is through this pride and independence that one could easily see the wheels turning in her head as she determines her next course of action as Boochie when it seems clear that her original plan isn’t working. Even though this interpretation isn’t as gritty, her strength is in the nuances when the focus seemingly isn’t on her.

Cameron Nowicki is the perpetual protege of the group. Someone with experience but hasn’t been molded and polished quite yet. He shined in a big way when he came out as Little Tuna, whether he was singing Justin Beiber, or flirting with the girls. Whether he was trying to put Sallie ‘Nads in his place or trying to figure out where he belongs in this mafia lifestyle. His interpretation of Little Tuna is a cross between Scrappy Doo and… well I can’t seem to figure out what to be honest (my beau just told me it was a cross of Scrappy Doo and Scott Evil, which makes TOTAL sense). What resulted is a young man with a spark and a spunk that simply cannot be ignored, add to this a Napoleonic complex and the laughs will keep coming. This is someone that I would be more than willing to see again down the road, and hopefully to see where he comes up with in the future.

One look at the stage veteran, Joseph Mennella and you can’t help but think, “**yawn** another sexy mafia man” and then he begins to speak. Joseph just has that look that screams out Italian mafia, but what makes Joseph’s interpretation of Little Tuna memorable is that as much as he looks like the heir to the mafia empire, even though he acts like a mafioso, when he speaks it is anything but. Saying things like, “daddy I love you” or “I can’t help it, I have Bieber fever” you cannot believe it is coming out of his mouth, but it does. Even though his interpretation is more by-the-book approach, it works simply because his look is the perfect counter point to everything else.

If someone were to ask (and it has happened) which interpretation I prefer, I simply cannot answer. Each actor/actress brings such a unique spin and flavor to their performance that it some ways it is like comparing Granny Smith apples to Red Delicious.

In all honesty I would go so far as to recommend seeing the show twice, obviously with different actors so you could get a feel of how changing the actors changes the feel of everything else, no matter how minor. I have seen this show quite a few times and I still haven’t bored of the show yet, mainly because the writing, acting and directing is top notch.

There are still two weekends left in this run… I know I am going to be there to see it through to the end, what about you?

So it should come as no surprise that I would have some celtic music in my collection… especially a quintet of Irish men whom called themselves Celtic Thunder. They were brought together upon the successful heels of Celtic Woman and include two very special gems the really cute Damian McGinty and the soulful tenor Paul Byrom.

I have always been a fan of Paul Byrom, and when I heard that he was leaving Celtic Thunder in late 2010, I was disappointed until it was known that he was going to pursue a solo career. For anyone that has known his music in Ireland all know that he preferred a solo career over a career in a “boy band” due to having already been in a “boy band” in his youth and not having a good experience with that group.

So in my email box over the weekend I found out that Paul Byrom is going to kick off his first solo tour through the U.S. in Chicago on Wednesday! Argh, really? Really? As if I wasn’t busy enough, *sighs* we’ll see if I could muster the time to make it, otherwise I would have to content myself with his latest CD.

Hearing about Paul made me wonder what was going on with Celtic Thunder, and it was there that I found out that young Damian McGinty had left the group and will be on the third season of Glee! !_!

To say that I was surprised is a moot point. I never had time to watch tv, let alone keep up with the latest news, so obviously I had to hunt down information about The Glee Project, since it just completed it’s first season, and find out what the heck happened.

Apparently Damian auditioned and became a co-winner earning him a seven-episode arc on the show. Because of the obligations with the show, he was forced to resign from Celtic Thunder. *sighs* I enjoyed watching Glee during its first season and kind of tapered off in the second season. Now with the addition of Damian, I’m finding myself having to watch the show again just to see him and see how he would perform. Go figure.

As for Celtic Thunder? They still have the dangerous Ryan Kelly and the fatherly George Donaldson for me to enjoy, so I am not too worried about that, but still… time flies, apparently.

Coupled with fantastic music (in this case it is Gypsy by Black Violin)… argh, I can’t comment. Just watch!

Such known alumni include:

• Altar Boyz – NYMF 2004
• [title of show] – NYMF 2004
• Next to Normal – NYMF 2005 (as Feeling Electric)
• The Great American Trailer Park Musical – NYMF 2004
• Rooms: A Rock Romance – NYMF 2005

Every year presents a new crop of productions trying to find their footing and every year there has been standouts. This past year is no exception.

For the past several years there has been an adaptation of Jane Austen’s Pride and Prejudice going through the theatre circles, with a demo session in JASNA Chicago one year, and a one night full production performance in Rochester, New York a few years back.

If one were to do a search for “Jane Austen”, “pride”, “prejudice”, and “musical” there would be a whole crop of productions and attempts that various composers, lyricists and writers have attempted throughout the years. So how would this be any different than the rest?

What the creators: Lindsey Warren Baker and Amanda Jacobs have done differently was not just take the story of Pride & Prejudice and put it on stage, but they included the “character” of Jane Austen into the production. Confused yet? Originally Pride & Prejudice was known as “First Impressions”, when Jane Austen sent the manuscript around it was rejected time and again to the point that she shelved the script and began work on Sense & Sensibility.

Later after the success of S&S, with the world itching for another story it is believed that Jane Austen took the story of First Impression and rewrote it heavily into the story we now know as Pride & Prejudice. This musical production not only goes through the storyline we all know and love, but what sets this show apart for the theater goer is that we also see the “author” of P&P and follow her as she edits, reviews, and changes her original manuscript into a masterpiece.

Sometimes Jane Austen (masterfully played by Donna Lynne Champlin) would simply write the story with her character enacting what she wrote verbatim. Sometimes she would struggle with words and her characters would choose for her, and every now and then her characters would simply recite exactly what is on their minds and Jane Austen would just transcribe them word for word. For anyone out there that does fictional writing this should be relate-able on some level.

In the New York Musical Theatre Festival incarnation of the production, the transitions between scenes was absolutely fluid, with the cast aiding in the scene changes. The dance sequences not only added to the story but also moved the storylines along so it isn’t just fluff. The chorus / ensemble numbers were spot on, and the individual performances exceeding expectations on a number of levels.

To this theatre goer, the male performances clearly outshined the female performances (aside from Donna’s interpretation of Jane Austen). Darren Bluestone is absolutely adorable and lovable as the smitten Charles Bingley, while his best friend Fitzwilliam Darcy is every girl’s dream realized by Doug Carpenter. What Doug brings to Darcy is a sense of vulnerability to a character driven by prejudice and pride only for his defenses to be broken down by a slit of a girl, his story arc isn’t just believable but profound as well.

Matthew Schneider is an absolute riot as Mr Collins, and seems to wear the robe of comedic relief for the production. His mannerisms, laugh, and characterization were not just spot on, but took everything to a whole new plateau that I haven’t seen in other productions of Pride & Prejudice.

Jane Bennet, as portrayed by Margaret Loesser Robinson, is believable and heartbreaking countered to perfection by Patricia Noonan’s Elizabeth Bennet. When these two actresses act and interact you could see the chemistry and connection that sisters ought to have.

With some actors/actresses playing dual roles perhaps one of the most surprising is the decision to have Marguerite Willbanks play not only the shallow matriarch Mrs Bennet, but also the insanely imposing Lady Catherine de Bourgh. At first glance I did not realize that both character were being played by the same actress, it wasn’t until I started reading the bios that I was pleasantly surprised. The strength of this actress is to play both characters in such a way that audience members would simply forget that it is the same actress and that is a pleasure to watch.

If there is something that needs tweaking it would undoubtedly be the length of the first act, which honestly cannot be helped because of just how much backstory and set up is needed to get the ball rolling. Quite honestly I did not notice how much time had passed until intermission and in retrospect I do not believe there is much else that the creators could cut to shorten the time in Act One.

Unfortunately the production’s run via the New York Musical Theatre Festival has come to an end, but I highly recommend keeping an eye (or an ear) out for this gem of a production. I’ve been following this for several years now and after seeing the show at NYMF, I am firmly keeping one ear to the ground in hopes of seeing an incarnation pop up soon… like on Broadway.

This original show completed it’s run at Theater Wit the Saturday before Halloween, it is a story set in a small town where a young comic geek is trying to prove that his neighbor is a vampire. When everyone believes him to be mad, he calls Scott Janus (whose ad was found in a comic book) for help in killing off the vampire.

When the vampire realizes that Scott Janus is in town, he calls in reinforcements to aid in terminating the thorn in their perpetual sides. A high stakes chase in trying to save the town ensues with an ending that this theatre goes definitely didn’t see coming.

Although there are aspects of the show that was just plain predictable, there were aspects of the show that was just laugh out loud roaring fun and games… especially when they start poking fun at one particular sparkling vampire “in training”.

This was another production that the beau took me to, and quite honestly it was well worth it. Non stop laughs, and for any geek out there, the nuances just keep coming. If anything, it is shows like this one that gives hope that creativity is still out there, you just need to know where to look.

At the Movies is a cabaret show that is comprised of known (and not so known) songs from the stage and screen and breathes new life into them. Presented in the revamped theatre of Stage 773, the show presents two differing vocal styles and melts them together in such a way that balances more than contrasts.

Don’t ask me what shined about this show, it just did. There were a few arrangements of known songs in this show that I would never have thought in a million years would work. Case in point, the song Old Devil Moon from the musical Finian’s Rainbow, mesh that with let’s say the Mission Impossible theme song. Impossible? (no pun intended) That’s what I originally thought too, but I’m eating my words.

I could go on about the arrangements all night, but in all honesty, the music and arrangements is only half the battle. Kevin’s voice delivers the music with such love and conviction that once you get sucked in there is no going back. Such a deep voice, and one that kept me engaged for most of the night (always a good sign). Let’s just say that if my beau were to ask me to go and see another show with his friend in it, I will jump on the opportunity, because to me he is well worth the price of admission.

Wait Until Dark is probably best known for the 1967 film adaptation of the same name, with Audrey Hepburn as the young blind woman Susy Hendrix. The script itself is a fascinating read with the characters jumping out of the page. However, between myself and several other theatre goers we agree that there has yet to be a community theatre group that effectively creates the suspense necessary for this show.

Unfortunately for the Beverly Theatre Guild, they have not broken that mold. Wait Until Dark is about a recently blind woman, Susy Hendrix, who happens to be in possession of a doll full of drugs. Her husband came in possession of those drugs through a chance encounter with a thief while on flight heading home a few weeks earlier. In the meantime, there are three con-artists who are all gunning for the doll and lure the husband away on a trip of “business” so they could corner the blind woman and steal the doll. With the help of a young neighbor, Susy attempts to even the odds by turning off all the lights in the home… however she neglects one: the refrigerator.

This has all the ingredients for a splendid thriller, so where did it all go wrong?

According to this theater goer it starts with the protagonist as played by Summar Jonas. Though she played blind rather well, her performance lacked conviction, lacked resolve, lacked emotion overall. I simply could not bring myself to feel for her as a character, which is an issue in a suspense / thriller when you cannot bring yourself to root for a character.

The trio of antagonists fared a little better as a trio, but independently largely depends on character.

Richard Bucchi creates the character Mike Talman, Mike being an imaginary friend of Susy’s husband Sam Hendrix. For a while, I believed in the character of Mike as he tries to understand and manipulate Susy into revealing details of her family, life, and most importantly where the doll disappeared to. However, when the tables start to turn and Susy starts to get wise to the possible scheme, Richard crumbles as Mike and characterization becomes less believable, even moreso when Mike is suppose to have a change of heart towards Susy.

Ken Schaefer on the other hand is much more believable as Sgt Carlino, he’s imposing when he needs to be, and bumbling when he realizes that he is stuck in a con that he wanted to back out of. In fact, I would not have minded seeing him in the lead considering how well he plays evil without even trying.

However, when it comes to the primary antagonist, Harry Roat as played by Matthew Walsh, evil doesn’t necessarily come as naturally to him. Working with Matthew in a previous show, he has the chops to do evil well, and with some of the more minor, comedic characters he shines, but as Harry Roat it came off more as a William Shatner wannabe. Whether it is because he’s trying too hard or the director swayed him in that direction is up in the air, however, he lost all appeal to me within the first few minutes of him being on stage… and that is never a good thing.

The theoretical, climatic fight scene between Susy and Harry fell so flat that I found myself getting incredibly bored, just begging for the show to be over so I could leave and attend another show that I knew would entertain me more.

In fact the only other two characters with substance on stage (aside from Ken Schaefer’s Sgt Carlino) included Jason Murphy as the husband Sam Hendrix and Becca Valek as the annoying and spunky young neighbor, Gloria. Jason does a wonderful job of being strong and sarcastic towards Susy, pushing her to be a better and stronger person independently. While on the other hand showing how much he truly cares and loves his wife.

Becca was a joy to watch, being equal parts annoying brat and insecure little girl. She balances Susy well and is a pleasure to watch. This is a young lady that I can’t wait til see what happens as she ages and matures over time.

Even though other patrons admitted to being scared or frightened during the show, I supposed I have gotten spoiled by other groups to find this to be lacking. However, whether this is the fault of the director, actors, group as a whole remains to be seen. Considering that this is the second production I saw at the Beverly Theatre Guild that fell flat to me (the other also being a suspense / thriller), I am going to withhold judgment on the group as a whole.