Patrick Fanning
Latest News on Patrick Fanning:
Photos: Inside HOW TO DANCE IN OHIO's Reunion Concert (May 22, 2024)
Review: After Covid and the Insurrection, HAMILTON Resonates More Deeply in its TPAC Return (Jul 29, 2022)
BWW Interview: Ogunquit's AMERICAN IN PARIS: A Musical and Choreographic Conversation (Jul 22, 2018)
Photos: Inside HOW TO DANCE IN OHIO's Reunion Concert (May 22, 2024)
Review: After Covid and the Insurrection, HAMILTON Resonates More Deeply in its TPAC Return (Jul 29, 2022)
BWW Interview: Ogunquit's AMERICAN IN PARIS: A Musical and Choreographic Conversation (Jul 22, 2018)
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News
Photos: Inside HOW TO DANCE IN OHIO's Reunion Concert
See photos from How to Dance in Ohio's reunion concert!
See photos from How to Dance in Ohio's reunion concert!
Review: After Covid and the Insurrection, HAMILTON Resonates More Deeply in its TPAC Return
When Lin-Manuel Miranda’s epic masterpiece Hamilton was last in residence at Nashville’s Tennessee Performing Arts Center – where it is now ensconced for an as equally anticipated, if briefer, two-week run through August 7 – the world was a far different place than that in which we live today. Yet somehow, due in very large part to the Covid-19 pandemic, the January 6th insurrection at our nation’s Capitol, and the repercussions and reverberations of those two cataclysmic events that have followed in the intervening two-and-a-half years, Hamilton seems to be more resonant, its story more relevant and its presentation more heartrending and current than ever before.
When Lin-Manuel Miranda’s epic masterpiece Hamilton was last in residence at Nashville’s Tennessee Performing Arts Center – where it is now ensconced for an as equally anticipated, if briefer, two-week run through August 7 – the world was a far different place than that in which we live today. Yet somehow, due in very large part to the Covid-19 pandemic, the January 6th insurrection at our nation’s Capitol, and the repercussions and reverberations of those two cataclysmic events that have followed in the intervening two-and-a-half years, Hamilton seems to be more resonant, its story more relevant and its presentation more heartrending and current than ever before.
BWW Interview: Ogunquit's AMERICAN IN PARIS: A Musical and Choreographic Conversation
'This is a period in history where art is rejuvenating the people. From a musical standpoint, An American in Paris depicts an interesting time in the European-American cultural exchange. The many colors of French, German, British music were being influenced by American sounds to create a new, singular musical aesthetic, and this, in turn, influenced American musicians who emulated these aspects. It became a snowball of invention.' Music Director David Lamoureux is talking about the exciting period of cultural cross contexts and artistic innovation that was Post War Paris. He is joined by two of his collaborators on the production, directed and choreographed by Jeffry Denman, which opened at the Ogunquit Playhouse on July 13: Assistant Music Director Patrick Fanning and Assistant Choreographer Ashley Marinelli. The trio waxes eloquent about the fertile, innovative artistic world of the play and its time period and the opportunity to bring this milieu and story to life at the famed playhouse which celebrates its 86th season.
'This is a period in history where art is rejuvenating the people. From a musical standpoint, An American in Paris depicts an interesting time in the European-American cultural exchange. The many colors of French, German, British music were being influenced by American sounds to create a new, singular musical aesthetic, and this, in turn, influenced American musicians who emulated these aspects. It became a snowball of invention.' Music Director David Lamoureux is talking about the exciting period of cultural cross contexts and artistic innovation that was Post War Paris. He is joined by two of his collaborators on the production, directed and choreographed by Jeffry Denman, which opened at the Ogunquit Playhouse on July 13: Assistant Music Director Patrick Fanning and Assistant Choreographer Ashley Marinelli. The trio waxes eloquent about the fertile, innovative artistic world of the play and its time period and the opportunity to bring this milieu and story to life at the famed playhouse which celebrates its 86th season.
Photo Flash: First Look LITTLE SHOP OF HORRORS at Fulton Theatre
The nationally regarded Fulton Theatre presents the psychedelic musical comedy Little Shop of Horrors, now through October 15. Expect the unexpected as Little Shop of Horrors is presented to our audience in a brand new and exciting way. Remember whatever you do, DO NOT FEED THE PLANT! BroadwayWorld has a first look at the cast in action below!
The nationally regarded Fulton Theatre presents the psychedelic musical comedy Little Shop of Horrors, now through October 15. Expect the unexpected as Little Shop of Horrors is presented to our audience in a brand new and exciting way. Remember whatever you do, DO NOT FEED THE PLANT! BroadwayWorld has a first look at the cast in action below!
Fulton Theatre Opens LITTLE SHOP OF HORRORS
The nationally regarded Fulton Theatre is proud to present the psychedelic musical comedy Little Shop of Horrors, September 19 through October 15. Expect the unexpected as Little Shop of Horrors is presented to our audience in a brand new and exciting way. Remember whatever you do, DO NOT FEED THE PLANT!
The nationally regarded Fulton Theatre is proud to present the psychedelic musical comedy Little Shop of Horrors, September 19 through October 15. Expect the unexpected as Little Shop of Horrors is presented to our audience in a brand new and exciting way. Remember whatever you do, DO NOT FEED THE PLANT!
Photo Coverage: MSMT's The Who's TOMMY
Maine State Music Theatre presented two sold-out performances of The Who's Tommy, the rock musical by Pete Townshend and Des McAnuff, on July 31, 2017, at Brunswick's Pickard Theater.
Maine State Music Theatre presented two sold-out performances of The Who's Tommy, the rock musical by Pete Townshend and Des McAnuff, on July 31, 2017, at Brunswick's Pickard Theater.
BWW Review: An Amazing Journey: MSMT's Riveting and Revelatory TOMMY
Midway through the first act of The Who's Tommy, the young protagonist invites his mates and listeners to ride together on his amazing journey. And truly, Maine State Music Theatre's production of the Pete Townshend/DesMcAnuff musical, seen for two performances only at the Pickard Theater July 31 offers its audience just that - a riveting, often raw, perennially relevant, piercingly beautiful account of a boy's painful but ultimately uplifting journey through the darker side of human experience and into the light. The rarely staged 1992 musical version based on the 1969 concept album and rock opera with its sung-through score, narrative told largely in dance, and its sometimes disturbing material poses significant challenges to any company, but MSMT once again proves its artistic mettle. Under the inspired direction of Curt Dale Clark, with the complex choreography of Raymond Marc Dumont and the rousing musical direction of Patrick Fanning, this company of young artists marshals its considerable talents to tackle the ambitious project with energy, passion, and complete professionalism.
Midway through the first act of The Who's Tommy, the young protagonist invites his mates and listeners to ride together on his amazing journey. And truly, Maine State Music Theatre's production of the Pete Townshend/DesMcAnuff musical, seen for two performances only at the Pickard Theater July 31 offers its audience just that - a riveting, often raw, perennially relevant, piercingly beautiful account of a boy's painful but ultimately uplifting journey through the darker side of human experience and into the light. The rarely staged 1992 musical version based on the 1969 concept album and rock opera with its sung-through score, narrative told largely in dance, and its sometimes disturbing material poses significant challenges to any company, but MSMT once again proves its artistic mettle. Under the inspired direction of Curt Dale Clark, with the complex choreography of Raymond Marc Dumont and the rousing musical direction of Patrick Fanning, this company of young artists marshals its considerable talents to tackle the ambitious project with energy, passion, and complete professionalism.
BWW Review: MSMT's Enchanting SLEEPING BEAUTY Offers a Fresh and Relevant Perspective on a Classic Fairytale
MSMT opens its Theatre for Young Audiences with three performances of Marc Robin and Curt Dale Clark's musical retelling of the Brothers Grimm fairytale, Sleeping Beauty, in a striking visual production, performed with energy, conviction, and style by a company of young actors. The hour-long musical version puts a contemporary spin on the familiar story and subtly raises issues and values which seem remarkably current, despite the fact that the show was written more than twenty years ago.
MSMT opens its Theatre for Young Audiences with three performances of Marc Robin and Curt Dale Clark's musical retelling of the Brothers Grimm fairytale, Sleeping Beauty, in a striking visual production, performed with energy, conviction, and style by a company of young actors. The hour-long musical version puts a contemporary spin on the familiar story and subtly raises issues and values which seem remarkably current, despite the fact that the show was written more than twenty years ago.
BWW Review: Patsy Cline Is Alive and Well and Dazzling at Maine State Music Theatre
About half way through the musical, Always, Patsy Cline, Louise says of the legendary singer, 'She blew the roof off that old honky tonk!' And much the same could be said for the electric atmosphere at the Brunswick's Pickard Theater, where MSMT opened its 59th season with a dazzling production of the musical that includes twenty-seven songs made famous by the singer, who remains to this day - fifty-four years after her untimely death - a towering presence in the world of country and pop music. With true betes de scene, Christine Mild as Patsy and Charis Leos as Louise, accompanied by a virtuoso band, performing an unforgettable songbook, this production delivers not only powerhouse vocal-dramatic values, but also offers the audience a vibrant and poignant journey to another time and place that magically come alive through in the charismatic story of its protagonists. The Ted Swindley musical which focuses on the last six years of Patsy Cline's life and on her friendship with a Texas divorcee and fan, Louise Seger, is so much more than a catalog of songs strung together by a chronological narrative. Indeed, the book is touching well-constructed - funny, sad, warm and human by turns - and the songs are integrated into the story with a seamlessness that lets the play move from reality to memory.
About half way through the musical, Always, Patsy Cline, Louise says of the legendary singer, 'She blew the roof off that old honky tonk!' And much the same could be said for the electric atmosphere at the Brunswick's Pickard Theater, where MSMT opened its 59th season with a dazzling production of the musical that includes twenty-seven songs made famous by the singer, who remains to this day - fifty-four years after her untimely death - a towering presence in the world of country and pop music. With true betes de scene, Christine Mild as Patsy and Charis Leos as Louise, accompanied by a virtuoso band, performing an unforgettable songbook, this production delivers not only powerhouse vocal-dramatic values, but also offers the audience a vibrant and poignant journey to another time and place that magically come alive through in the charismatic story of its protagonists. The Ted Swindley musical which focuses on the last six years of Patsy Cline's life and on her friendship with a Texas divorcee and fan, Louise Seger, is so much more than a catalog of songs strung together by a chronological narrative. Indeed, the book is touching well-constructed - funny, sad, warm and human by turns - and the songs are integrated into the story with a seamlessness that lets the play move from reality to memory.
BWW Interview: The Yodel, the Cry, the Catch, the Growl - Christine Mild Brings Patsy Cline to Life
'It's all in the way she placed her voice. I like to call it the Kermit the Frog place - the soft palate at the back of the throat, and that's what activates the yodel, the catch, the cry, the growl which are the iconic hallmarks of her singing. Patsy Cline wasn't really a technical singer; this all just came naturally to her, but for me as an actress and technical singer who has to do the show eight times a week, I have to make sure I am singing in a healthy, safe way and understand how to make that happen. So if I place the voice right - if I place it in the 'Patsy place'- it all happens without trying.'
'It's all in the way she placed her voice. I like to call it the Kermit the Frog place - the soft palate at the back of the throat, and that's what activates the yodel, the catch, the cry, the growl which are the iconic hallmarks of her singing. Patsy Cline wasn't really a technical singer; this all just came naturally to her, but for me as an actress and technical singer who has to do the show eight times a week, I have to make sure I am singing in a healthy, safe way and understand how to make that happen. So if I place the voice right - if I place it in the 'Patsy place'- it all happens without trying.'
Maine State Music Theatre to Celebrate Music Legend Patsy Cline This June
The nationally regarded Maine State Music Theatre celebrates music legend and cross-over sensation Patsy Cline, June 7 - 24. The touching true story, Always… Patsy Cline combines humor, heartache and 27 of Patsy's most unforgettable hits, such as "Crazy," "Walkin' After Midnight," "Sweet Dreams," and more.
The nationally regarded Maine State Music Theatre celebrates music legend and cross-over sensation Patsy Cline, June 7 - 24. The touching true story, Always… Patsy Cline combines humor, heartache and 27 of Patsy's most unforgettable hits, such as "Crazy," "Walkin' After Midnight," "Sweet Dreams," and more.
BWW Review: 'Come On In' to ALWAYS... PATSY CLINE at the Fulton
The perennial Patsy Cline jukenox musical gets a solid production at the Fulton in Lancaster. It's not high art, but it's a good time.
The perennial Patsy Cline jukenox musical gets a solid production at the Fulton in Lancaster. It's not high art, but it's a good time.
Fulton Theatre and Maine State Music Theatre Join Forces for ALWAYS... PATSY CLINE
The nationally regarded Fulton Theatre and Maine State Music Theatre celebrate music legend and cross-over sensation Patsy Cline, April 18 through May 21.
The nationally regarded Fulton Theatre and Maine State Music Theatre celebrate music legend and cross-over sensation Patsy Cline, April 18 through May 21.
It's a Jolly Holiday with MARY POPPINS at Syracuse Stage
Magic and family fun ring in the holiday season as Syracuse Stage presents the classic musical Mary Poppins, Nov. 26 to Jan. 8 at the Archbold Theatre in the Syracuse Stage/SU Drama Complex at 820 E. Genesee St.
Magic and family fun ring in the holiday season as Syracuse Stage presents the classic musical Mary Poppins, Nov. 26 to Jan. 8 at the Archbold Theatre in the Syracuse Stage/SU Drama Complex at 820 E. Genesee St.
It's a Jolly Holiday with MARY POPPINS at Syracuse Stage
Magic and family fun ring in the holiday season as Syracuse Stage presents the classic musical Mary Poppins, Nov. 26 to Jan. 8 at the Archbold Theatre in the Syracuse Stage/SU Drama Complex at 820 E. Genesee St.
Magic and family fun ring in the holiday season as Syracuse Stage presents the classic musical Mary Poppins, Nov. 26 to Jan. 8 at the Archbold Theatre in the Syracuse Stage/SU Drama Complex at 820 E. Genesee St.
Fulton Theatre Opens 2016/2017 Season with BILLY ELLIOT: THE MUSICAL
The nationally regarded Fulton Theatre opens a monumental new season with the triumphant Billy Elliot: The Musical through October 16. The Tony Award-winning musical features infectious music by the incomparable Sir Elton John including "Shine," "Solidarity," "Electricity," and many more!
The nationally regarded Fulton Theatre opens a monumental new season with the triumphant Billy Elliot: The Musical through October 16. The Tony Award-winning musical features infectious music by the incomparable Sir Elton John including "Shine," "Solidarity," "Electricity," and many more!
Fulton Theatre Opens 2016/2017 Season with BILLY ELLIOT: THE MUSICAL
The nationally regarded Fulton Theatre opens a monumental new season with the triumphant Billy Elliot: The Musical through October 16. The Tony Award-winning musical features infectious music by the incomparable Sir Elton John including "Shine," "Solidarity," "Electricity," and many more!
The nationally regarded Fulton Theatre opens a monumental new season with the triumphant Billy Elliot: The Musical through October 16. The Tony Award-winning musical features infectious music by the incomparable Sir Elton John including "Shine," "Solidarity," "Electricity," and many more!
BWW Review: Playful, Joyous MAMMA MIA! Rocks MSMT Stage
The electric, near ecstatic atmosphere in Brunswick's Pickard Theater last night more closely resembled that of a rock concert than a theatre company opening. For months in advance, the sold out box office has signaled the joyful anticipation of Maine State Music Theatre's new production of Mamma Mia! - one of the first regionally for the blockbuster Broadway hit. But anticipation aside, it is the delivery here that is the story: a stunningly executed, intelligently staged, deliciously performed rendition of the 2001 long running ABBA musical that transformed the intimate Pickard Theater into a boisterous celebration.
The electric, near ecstatic atmosphere in Brunswick's Pickard Theater last night more closely resembled that of a rock concert than a theatre company opening. For months in advance, the sold out box office has signaled the joyful anticipation of Maine State Music Theatre's new production of Mamma Mia! - one of the first regionally for the blockbuster Broadway hit. But anticipation aside, it is the delivery here that is the story: a stunningly executed, intelligently staged, deliciously performed rendition of the 2001 long running ABBA musical that transformed the intimate Pickard Theater into a boisterous celebration.
BWW Review: Spectacular EVITA Takes MSMT Stage by Storm
Twenty-five years after it was last presented at the Pickard Theater, Andrew Lloyd-Webber/Tim Rice's masterpiece has returned in triumph to Maine State Music Theatre in a stunning new production directed and choreographed by Marc Robin. Boasting the largest cast in the company's history (46), this Evita is gripping and epic, at the same time that it is touchingly intimate and magnificently detailed. The size of the endeavor is both literal and figurative, for MSMT's Evita succeeds not only in its grand sweep, but also in the magnitude of its intangible assets - unsparing honesty, intensity, and emotional depth.
Twenty-five years after it was last presented at the Pickard Theater, Andrew Lloyd-Webber/Tim Rice's masterpiece has returned in triumph to Maine State Music Theatre in a stunning new production directed and choreographed by Marc Robin. Boasting the largest cast in the company's history (46), this Evita is gripping and epic, at the same time that it is touchingly intimate and magnificently detailed. The size of the endeavor is both literal and figurative, for MSMT's Evita succeeds not only in its grand sweep, but also in the magnitude of its intangible assets - unsparing honesty, intensity, and emotional depth.
BWW Review: MSMT's A GRAND NIGHT FOR SINGING (and Dancing) Lives Up To Its Name
Maine State Music Theatre continues its impressive 2016 lineup of shows with two performances on June 20, 2016, of A Grand Night for Singing, a musical revue conceived by Walter Bobbie to showcase the glorious songs of Richard Rodgers and Oscar Hammerstein II. Directed and choreographed by Curt Dale Clark with tap choreography by Raymond Marc Dumont, the revue features a sixteen-member cast of young professionals drawn from the intern company and local Maine performers, who turn in a performance that offers not only grand singing and dancing, but also speaks to the huge reservoirs of talent that MSMT is proud to possess. The original 1993 twenty-seven song revue skillfully weaves together a wide range of Rodgers and Hammerstein's works in arrangements by Fred Wells (and lovely orchestrations by Michael Gibson and Jonathan Tunick) from both their smash hits like Oklahoma, Carousel, South Pacific, The Sound of Music, The King and I, and Cinderella, as well as gems from lesser-known shows like Allegro, State Fair, Flower Drum Song, and Pipe Dream. Patrick Fanning serves as MSMT's Music Director, conducting the wealth of melodic material with elan, delicious detail, and nuance and eliciting from the young cast lyrical and idiomatic renditions of beloved sings such as 'We Kiss in a Shadow,' 'Maria,' 'If I Loved You,' and 'This Nearly Was Mine' or upbeat numbers like 'Honey Bun' and 'Oh, What a Beautiful Morning!' The dynamically staged and imaginatively choreographed production by MSMT's Artistic Director Curt Dale Clark - with a dazzling, intricate tap number created by Raymond Marc Dumont for 'Kansas City' - is brimming with class, warmth, and humor. Clark inspires the cast to bring to their music and vignettes an infectious and embracing energy, an eloquence of emotion spiced with mischievous moments. His pacing is brisk, and he effectively builds a lively sense of character and communication among the cast members, who share their enthusiasm with the public, even interacting on several occasions with the audience in the house. By retooling the contexts of many of the songs, he is able to add a contemporary and universal touch to their appeal. Most of all, he helps these young artists find and share the timeless heart in this treasure trove of American musical theatre. Using the bare bones of the Ghost set makes for a minimal but attractive decor. The characterful casual and subsequently elegantly formal costumes by Travis S. Grant are carefully chosen for their complementary pastel hues; the kinetic lighting by Heather Reynolds and a well-balanced sound design by Nate Dickson contribute to making this revue offers a feast for eyes and ears. Working seamlessly as an ensemble, the youthful cast gives their all both in the big production numbers and in focused solos, amply illustrating the meaning of the musical theatre term 'triple threat.' They sing beautifully; they dance with technical aplomb, and they act with irresistible charm. Moreover, each and every one of them knows how to interpret a song - to make it more than a lyrical moment. Each has several occasions to shine, and Clark and Dumont have skillfully mined their individual strengths. Among the many highlights are a perky rendition of 'Surrey with the Fringe on Top' (Eric Berry-Sandelin, Katie Whittemore, Cameron Wright, Rachel Grindle, Hugh Cipparone, Berkley Jones), inspired vocal interpretations of 'If I Loved You (Jennifer Kennedy), 'It Might As Well Be Spring' (Berkely Jones)'This Nearly Was Mine,'(Matthew LaBerge), a smoldering account of 'Maria' (Alex Drost), a romantic 'We Kiss in a Shadow' (Giovanni DiGabrieli), a winsome 'All At Once' (Marty Lauter, Cipparone), and a single verse in 'Love Look Away' to bring tears to the eyes (Lauter), a feisty 'Stepsisters' Lament,' (Ali Sarnacchiaro, Haley Ostir, Megan Flynn), a spirited 'I Can't Say No' (Molly Keane-Dreyer, Kennedy), and a witty 'The Gentleman Is A Dope' (Alex Drost, Kyle Laing, Ostir, DiGabrieli, Lauter). The numerous ensemble numbers are enhanced by the strong camaraderie and chemistry among the players, making for some memorable comic and romantic moments such as the women's septet in sunny 'Wash That Man' and the men's octet in a plaintive 'Love Look Away.' The choreography is expressive, lyrical, and catchy by turns - ranging from ballet and modern to jazz and tap - with such numbers as the sweeping polka of 'Shall We Dance?' or the dueling tap in 'Kansas City' garnering special attention. Special mention to Berkely Jones, Marty Lauter, and Kyle Laing for their dance solos and impressive technique. To spend an evening with these magnificent Rodgers and Hammerstein classics makes it impossible not to take away a renewed appreciation for their geniuses and a love of their legacy. But A Grand Night for Singing does something else as well. It proves to be one more piece of evidence that MSMT is truly, as its catchphrase promises, 'Bringing Broadway to Brunswick.' Photos courtesy of MSMT, Roger S.Duncan, potographer Evita which begins on June 29 - July 16 at the Pickard Theater, 1 Bath Rd., Brunswick, ME, on Monday, June 20 at 2:00 p.m. and 7:30 p.m. For tickets call box office at 207-725-8769 or visit online at www.msmt.org
Maine State Music Theatre continues its impressive 2016 lineup of shows with two performances on June 20, 2016, of A Grand Night for Singing, a musical revue conceived by Walter Bobbie to showcase the glorious songs of Richard Rodgers and Oscar Hammerstein II. Directed and choreographed by Curt Dale Clark with tap choreography by Raymond Marc Dumont, the revue features a sixteen-member cast of young professionals drawn from the intern company and local Maine performers, who turn in a performance that offers not only grand singing and dancing, but also speaks to the huge reservoirs of talent that MSMT is proud to possess. The original 1993 twenty-seven song revue skillfully weaves together a wide range of Rodgers and Hammerstein's works in arrangements by Fred Wells (and lovely orchestrations by Michael Gibson and Jonathan Tunick) from both their smash hits like Oklahoma, Carousel, South Pacific, The Sound of Music, The King and I, and Cinderella, as well as gems from lesser-known shows like Allegro, State Fair, Flower Drum Song, and Pipe Dream. Patrick Fanning serves as MSMT's Music Director, conducting the wealth of melodic material with elan, delicious detail, and nuance and eliciting from the young cast lyrical and idiomatic renditions of beloved sings such as 'We Kiss in a Shadow,' 'Maria,' 'If I Loved You,' and 'This Nearly Was Mine' or upbeat numbers like 'Honey Bun' and 'Oh, What a Beautiful Morning!' The dynamically staged and imaginatively choreographed production by MSMT's Artistic Director Curt Dale Clark - with a dazzling, intricate tap number created by Raymond Marc Dumont for 'Kansas City' - is brimming with class, warmth, and humor. Clark inspires the cast to bring to their music and vignettes an infectious and embracing energy, an eloquence of emotion spiced with mischievous moments. His pacing is brisk, and he effectively builds a lively sense of character and communication among the cast members, who share their enthusiasm with the public, even interacting on several occasions with the audience in the house. By retooling the contexts of many of the songs, he is able to add a contemporary and universal touch to their appeal. Most of all, he helps these young artists find and share the timeless heart in this treasure trove of American musical theatre. Using the bare bones of the Ghost set makes for a minimal but attractive decor. The characterful casual and subsequently elegantly formal costumes by Travis S. Grant are carefully chosen for their complementary pastel hues; the kinetic lighting by Heather Reynolds and a well-balanced sound design by Nate Dickson contribute to making this revue offers a feast for eyes and ears. Working seamlessly as an ensemble, the youthful cast gives their all both in the big production numbers and in focused solos, amply illustrating the meaning of the musical theatre term 'triple threat.' They sing beautifully; they dance with technical aplomb, and they act with irresistible charm. Moreover, each and every one of them knows how to interpret a song - to make it more than a lyrical moment. Each has several occasions to shine, and Clark and Dumont have skillfully mined their individual strengths. Among the many highlights are a perky rendition of 'Surrey with the Fringe on Top' (Eric Berry-Sandelin, Katie Whittemore, Cameron Wright, Rachel Grindle, Hugh Cipparone, Berkley Jones), inspired vocal interpretations of 'If I Loved You (Jennifer Kennedy), 'It Might As Well Be Spring' (Berkely Jones)'This Nearly Was Mine,'(Matthew LaBerge), a smoldering account of 'Maria' (Alex Drost), a romantic 'We Kiss in a Shadow' (Giovanni DiGabrieli), a winsome 'All At Once' (Marty Lauter, Cipparone), and a single verse in 'Love Look Away' to bring tears to the eyes (Lauter), a feisty 'Stepsisters' Lament,' (Ali Sarnacchiaro, Haley Ostir, Megan Flynn), a spirited 'I Can't Say No' (Molly Keane-Dreyer, Kennedy), and a witty 'The Gentleman Is A Dope' (Alex Drost, Kyle Laing, Ostir, DiGabrieli, Lauter). The numerous ensemble numbers are enhanced by the strong camaraderie and chemistry among the players, making for some memorable comic and romantic moments such as the women's septet in sunny 'Wash That Man' and the men's octet in a plaintive 'Love Look Away.' The choreography is expressive, lyrical, and catchy by turns - ranging from ballet and modern to jazz and tap - with such numbers as the sweeping polka of 'Shall We Dance?' or the dueling tap in 'Kansas City' garnering special attention. Special mention to Berkely Jones, Marty Lauter, and Kyle Laing for their dance solos and impressive technique. To spend an evening with these magnificent Rodgers and Hammerstein classics makes it impossible not to take away a renewed appreciation for their geniuses and a love of their legacy. But A Grand Night for Singing does something else as well. It proves to be one more piece of evidence that MSMT is truly, as its catchphrase promises, 'Bringing Broadway to Brunswick.' Photos courtesy of MSMT, Roger S.Duncan, potographer Evita which begins on June 29 - July 16 at the Pickard Theater, 1 Bath Rd., Brunswick, ME, on Monday, June 20 at 2:00 p.m. and 7:30 p.m. For tickets call box office at 207-725-8769 or visit online at www.msmt.org
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