Edwardians, featuring Abigail Mitchell. Photo courtesy of he British Players.
The British Players’ annual Music Hall reaches new heights this year with its 60th Anniversary celebration, “In With the Old & IN With the New.” As Director Charles Hoag writes, the production is “a celebration of our shared history and a testament to the unwavering dedication of our talented casts and crew.” A tribute to the past and present, local and global, and communal and individual, Music Hall celebrates heritage in a way that can be felt.
…reaches new heights this year… joyous entertainment…enjoy the special feeling that only comes from being immersed in a long-established group celebrating its history while welcoming the future.
Music Hall is a particular variety of entertainment that originated in Great Britain in the 18th century. It was comprised of popular songs, comedy acts, and solos performed in a venue flowing with libations and tasty eats. The art form appealed to working, middle class groups and reached its zenith during the two world wars, but that does not make it any less enjoyable today. In fact, The British Players (formerly known as the British Embassy Players) have kept the fun alive for the last six decades.
For this show, set designer Mike Lewis and the production staff helped guests feel at home the moment they entered the play venue. Kensington Town Hall was tastefully filled with round tables featuring striped tablecloths and baskets of snacks that begged guests to relax and enjoy some pre-show conversation. Festively dressed barmaids and barmen made sure everyone had a beer, wine, or non-alcoholic beverage of choice. All the while, a beautiful thrust stage—bedecked with blue sashes, red bows, candles, and the British Crest—hinted at the show to come.
As with all Music Hall productions, the evening’s events were overseen by Mr. Chairman, played in this case by the illustrious Robert Leembruggen. Leembruggen kept the show rolling by introducing the artists and acts and filling the spaces in between with jokes and commentary. He also joined in for a few musical numbers, demonstrating impressive musical chops. Leembruggen handled the role with reverence, paying tribute to Shakespeare and the power of art in between more risqué comments. He also led the cast and the entire show in embracing the audience and community by highlighting some honored guests in the audience.
Music Hall shows are also carried by a chorus of Edwardians and a group of Bow Belle dancers. Aside from a few numbers featuring the Bow Belles (Shannon Cron, Abigail Mitchell, Lauren Pacuit, Rachel Schlaff, and Jamie Sinks), you won’t find fancy steps and Broadway numbers here. What you will find is a group that brings life to the stage and represents the power of community. From the hilarious Cheeky Chappie (Albert Coia) to the talented soloists (Nicola Hoag, Jordyn Nicole, Clare Palace, Carol Strachan, and Nicola Willis-Jones) to the Edwardians (John Allnutt, Michelle Buteau, Matt Carun, Amanda D Jones, Justine D’Souza, Sue Edwards, Charles Hoag, Kris Humphrey, Richard Jacobson, Ellen Kaplan, Robert Teachout, Missi Tessier, and Aubrey Tingler), the entire group was focused, committed, and well-rehearsed. They set themselves apart through comedic timing and beautiful harmonies.
Standouts among the group include Aubrey Tingler, who had the entire audience in her sympathies after singing “Now I Have to Call Him Father;” Charles Hoag, with his angelic rendition of “Road to Mandalay;” Nicola Willis-Jones with her hilarious spoken word offering, “The Dinner Party;” and Jordyn Nicole, whose voice, spirit, and presence lit the stage in each of her numbers. John Allnutt also brought wonderful presence to his scenes (at one point donning a sloth inner tube for “The Seaside Medley”) and Richard Jacobson brought a pleasing voice and characterization to his roles.
Then of course there’s the Cheeky Chappie. Coia brought the house down with each of his songs. Giving a slightly different spin to each number, “Dickie,” “The Night That She Cried in My Beer,” and “The Night I Appeared as Macbeth” took on lives of their own while retaining a unique, comic presence that is utterly Coia (when the Coia show comes out, I’m going!)
Comedic skits such as “Phobias” and “Jobs” show the group’s mastery of spatial awareness, and numbers such as the “Coconut Opera” show their creativity and mastery of the double entendre. With jokes old and new, each number touched upon a universal vulnerability, longing, frustration in a way that united the audience more deeply than the laughter (which is saying something as it was constant).
Perhaps this ability to have profundity beneath the humor is testament to The British Player’s love for their company’s heritage. As anyone who has participated knows, theatre people are a special bunch. The Music Hall had an entire number (“I’ll Never Find Another You,” sung by Humphrey, Jacobson, and Teachout) dedicated to beloved members who have since passed on. As Leembruggen noted, “Forever remembered, forever loved.” In a more general way, the show honored both England and America through classic songs and even a visit from The Beatles.
Truly, the evening was a family affair. If you look in the program, every barmaid/barman, production staff, member of The British Players’ board is mentioned and many serve on more than one position. Costume Designer Nicola Hoag went all out in ensuring each cast member was dressed in beautiful suits, gowns, and other early 20th century fashions. Cathy Dunn ensured that everyone had impeccable hair, makeup, and wig designs, while Valerie Matthews saw to it that hankies, tennis rackets, a pheasant plushie, and any other needed props were on hand. The Palace Variety Orchestra, led by pianist Sue Mason McElroy, kept the score on time and track. Lighting designer Don Slater and sound designer Matthew Mills kept transitions flowing without a hitch. From my seat near the orchestra, I did find it difficult to hear some of the lines of the songs and skits at times. However, the actor’s physicality was strong enough to carry the vignettes.
A unique aspect of its show is the variety of ages, nationalities, and experience levels that filled the stage. Such diversity brought a lot of depth and a sense of celebration to the evening. Whether it was cheering for artists making their Music Hall debuts or appreciating the impeccable reactions of stage veterans, the show had something for everyone. It was enjoyable, joyous entertainment that could be felt. The audience even joined in during the pre-show and intermission group sing segments.
For an enjoyable night on the town, come to the British Players’ 60th Anniversary Music Hall and join in the celebration. Not only will you enjoy some good entertainment, beer, and pretzels, but you’ll also enjoy the special feeling that only comes from being immersed in a long-established group celebrating its history while welcoming the future.
Running Time: Approximately three hours with one intermission.
“The 60th Anniversary Old Time Music Hall: In With the Old & IN With the New” runs through June 22, 2024 at Kensington Town Hall 3710 Mitchell Street, Kensington, MD 20895. For more information and to purchase tickets, go online.
