Sadly, because of the timing of our print issues, we didnât get to put a full review of the New Tampa Playersâ production of âShrek The Musicalâ (at the end of last month) in print, but what a fun, touching, magical show it was!
Chris Cordero as the titular ogre & Brianna Fillippelli as his love interest Fiona were the outstanding stars, but the performances by Evan Lomba as Donkey, 6â-4â Kyle Fisher as the diminutive Lord Farquaad (which he impressively played on his knees) and 7-year-old Jordan Boyer as both Young Fiona & Baby Bear, plus a terrific supporting cast & great costumes & sets, really made the show something special.
Tickets are on sale now for NTP and Atlas Ballet Theatreâs one night only âWinter Wonderâ on Dec. 8, and for NTPâs âDreamgirlsâ in Feb.
The New Tampa Players (NTP) theatre troupe has been operating for 20 years and more than 70 productions, but âShrek The Musicalâ will be only the second Broadway musical the troupe has presented at the New Tampa Performing Arts Center (NTPAC), the beautiful, 350-seat facility located across Bruce B. Downs (BBD) Blvd. from the main entrance to Hunterâs Green that opened its doors earlier this year.Â
As we have already come to expect from our NTP, âShrek The Musicalâ will have a shockingly-talented local cast, a live orchestra and gorgeous costumes, sets, and lights. NTPâs previous Broadway musical, âGrease,â completely sold out the last four of its six performances in July, with a waiting list of 60, so if you want to catch everyoneâs favorite green ogre, you should pick up those âShrekâ tickets right away.
âOnce upon a time, there was a little ogre named ShrekâŠ.â â thus begins the tale of an unlikely hero who finds himself on a life-changing journey alongside a wisecracking Donkey and a feisty princess who resists being rescued. Throw in a short-tempered bad guy, a cookie with an attitude and more than a dozen other fairy tale misfits, and youâve got the kind of mess that calls for a real hero. And luckily, thereâs one on hand, and his name is Shrek.
Shrek the Musicalâs cast of 30 includes residents from New Tampa and the local area, including Chris Cordero (photo below) as Shrek, Brianna Filippelli-Peterson as Fiona, Evan Lomba as Donkey, and Kyle Fisher as Lord Farquaad. Cordero, Filippelli- Peterson and Fisher were featured performers in NTPACâs dedication performance in March, and if you were lucky enough to catch âGrease,â you saw Fisher as Kenickie.Â
Chris Cordero will play the titular ogre.
NTP also has assembled an amazing artistic team with newcomers Karissa Barber, Megan Zietler and Victoria Zisi as director, music director, and choreographer, respectively.
For Barber, Shrek is a passion project and very dear to her heart.
âShrek is about loving yourself and finding your people in life,â she says.
Cordero, as the titular ogre, agrees wholeheartedly with Barber, âMost of the characters have to learn not to judge a book by its cover. Everyone has their own story, their own dreams and things that make them special. This show is about acceptance, vulnerability and love. These themes are universal to everyone, and everyone will find something in this show that will touch their hearts.â
âShrek The Musicalâ is funny and fast-paced with a warm heart. Seeing familiar characters brought to life on stage (along with some truly stunning costumes and effects) makes the show exciting and accessible for kids, parents, grandparents, and anyone who enjoys a musical good time. Similar to the animated film, âShrek the Musicalâ is considered appropriate for ages 12 and up, due to mild language and some crass humor. Some jokes will be over the younger kidsâ heads and, as always, parents should use their own judgement.
Mark your calendars and get your tickets now for âShrek The Musicalâ on Fri. & Sat., Oct 20-21, both at 8 p.m. & Sun., Oct. 22, at 3 p.m.; it also will be performed Fri.-Sat., Oct. 27-28, at 8 p.m., & Sun., Oct. 29, at 3 p.m., all at the beautiful New Tampa Performing Arts Center. Tickets can be purchased at NewTampaPlayers.org.
Dancers from the Tampa City Ballet catch some air during the ballet companyâs performance at the first-ever Fall Festival at the New Tampa Performing Arts Center Sept. 8-10. (Photo by Charmaine George and Gary Nager)
If you somehow missed the first-ever Fall Festival at the all-new New Tampa Performing Arts Center (NTPAC), you missed a truly special weekend (Sept. 8-10) of 100% free performances of virtually every kind.Â
A spectacular dance performance by the Jansen Dance Company.
Everything from ballet to modern dance and from Broadway to traditional Indian dance was available to attendees, thousands of whom packed the NTPAC throughout the weekend. NTPAC executive director Keith Arsenault (photo below) was clearly beaming all three days of the Fall Festival.Â
âWe couldnât be happier with the performances, the attendance and the feedback weâve received from everyone who visited this weekend,â Arsenault said. âItâs clear that this community has been hungry for more cultural opportunities.â
Although we werenât able to take pictures at every performance, Neighborhood News photographer Charmaine George and I were proud to be on hand for most of the weekendâs festivities, which also included Arsenault unveiling a plaque of thanks (bottom middle) to Hillsborough County Commissioner Ken Hagan (bottom left). Arsenault said that the land for the NTPAC was dedicated 15 years ago, and that it took 15 County Commission votes to make the Center a reality. âWe have many people at the county to thank,â Arsenault said, âbut we would not be standing here today without the long-standing efforts of Ken Hagan.âÂ
Hagan was clearly moved by the plaque. âPoliticians are rarely at a loss for words, but I am blown away by this. Thank you!â
Among the memorable performances and activities on Friday afternoon and evening at the NTPACâs Fall Festival were song-&- dance routines by the Freedom High chorus.A hands-on âInstrument Petting Zooâ sponsored by The Florida Orchestra.Members of the New Tampa Players theatre troupe (l.-r., Makayla Raines, TrevorLloyd, Alyson Gannon, pianist G. Frank Meekins & Kyle Billington) kept the huge crowd entertained with a cabaret lounge-style set of timeless classics.
After the impressive and super-fun performances on Friday afternoon and evening, the NTPACâs Fall Festival didnât rest on its laurels. To the contrary, it may have even stepped it up to another level on Saturday, as the outstanding Wharton High band (above) first filled the main stage theater and no one left disappointed.Â
But, as great as the âCats musicians were, the performance by the Tampa City Ballet (above pics) Saturday evening was the first of the weekend to have to turn away people who wanted to check out this professional-level ballet company, as somewhere between 20-30 people had to watch the dancers and the troupeâs incredible backgrounds that were projected onto the cyclorama (cyc) at the back of the NTPAC stage on a TV in the lobby.Â
There was no let-up on Sunday, either, as the Rudram Dance Company brought a huge number of traditionally-costumed Indian dancers to the NTPACâs main stage. Then, before two one-act plays (âCo-Workersâ and âSherlock Holmes & Case of the 5-Pound Noteâ) were presented by winners of the Tampa Bay Theatre Festival, the folk rock acoustic duo of Daisies & Axes performed in Studio 2. There also was a âFun with Broadway Triviaâ game presented by the New Tampa Players, followed by ATLAS Modern Balletâs contemporary dance performance, but we didnât get to shoot those because of our deadline. Wow! Canât wait âtil next year!âGNÂ
The Rudram Dance Company âs performance filled the Theaterâs stage with traditional Indian dance, costumes & pageantry. Daisies & Axes perform acoustic folk rock in Studio 2. âSherlock Holmes & the 5-Pound Note.âÂ
The members of the crew behind the scenes of âGreaseâ were just as important as the cast members. Pictured are (l.-r) Shelley Giles, Mark Weisenmiller, Amogha Kuppaa, Emma Hosking, Jannah Nager, Emily Buonaquisiti, Bella Otte, Kristin Nelson,Tami Carr, Katie Carr, James Cass, Nora Paine, Heather Cleveland & Ereka Morton. (Photo courtesy of Picture This of Palma Ceia).
Nearly everyone knows âGrease,â the iconic musical with toe-tapping tunes, incredible dance moves, and romance and drama at Rydell High. Behind all of the showâs glitz and glamour lies tremendous hard work from a dedicated team making the cast look (and sound) as good as possible.
As the first official New Tampa Players (NTP) performance at the New Tampa Performing Arts Center, âGreaseâ is no ordinary musical â itâs a high-energy ride through the fabulous â50s, complete with a 1957 Chrysler that has to be dollied on and off stage. A hidden army of talented workers ensures the showâs success, working diligently behind the scenes. They donât often get the spotlight, but the show could not go on without them.
NTP producing artistic director Nora Paine, a homeschool mom of four and the producing artistic director, also manages the stage, with the help of assistant stage managers Kristin Nelson, Emily Buonaquisiti and aspiring playwright Mark Weisenmiller. With her headset on and monitor in place, the company feels secure as Paine calls out cues from a barely lit space backstage. Her techy husband Joshua, âher theatre saint,â and son Sebastian also play vital roles, helping with support and lights (while Keith Eisenstadt designed the lighting).
Paine jokes that her favorite part of being a stage manager is âgoing to sound very stage managery, but itâs when a set change goes well. The stage lights go down at the right time. The set pieces move in the choreography that you need them to. Everything slides in. The next set piece comes in. The lights go up, and the orchestra syncs all together.â
Nelson, a medical scribe and first-time assistant stage manager who has performed in some previous NTP productions, says, âMy favorite thing has been watching the cast grow. I enjoy getting to be part of the magic behind the scenes. Creating this world was super cool.â
A recent high school graduate, Buonaquisiti adds, âI love working with the actors, especially during set changes making sure everything goes smoothly and safely.â
While the performers spend months perfecting their lines, vocals and choreography, the director and music director are the masterminds behind the magic. In this musical, those roles are handled by the same person.
A computer programmer by day, director and musical director G. Frank Meekins says his favorite moment was when, âwe actually got our stage, and the production came to life. We finally had the space to spread our wings.â
Meekins says that wearing both hats for âGreaseâ required more effort, as his attention was split between the two different roles; however, having true directorial control allowed him the creativity to make the dialogue and music gel. âItâs rewarding when it all comes together,â he says.
Meekins also notes that, âWhile this show follows the movie that many are familiar with, itâs also a little more gritty and deals with adult situations differently than the movie did. We are actually performing the original Broadway version from 1972. We maintained (most of) the items that would now be considered taboo in keeping the style of society back then.â
Professional dancer, Atlas Modern Ballet founder and HCC professor Sarah Walston provided the choreography for the showâs memorable dance routines. She taught the cast the hand jives, jitterbugs and other energetic dance routines â a new experience for the ballet and contemporary dance choreographer.
âAs a dancer, I love âGrease,ââ Walston says. âThe community feel has made a project like this less stressful with all these moving parts. Itâs really been a team effort and a great experience for me to learn what can happen in a musical with a great community.â
You canât have âGreaseâ without the iconic T-Birds leather and Pink Ladies jackets and authentic â50s attire. Retired engineer and current NTP Board of Directors chair Michell âShelleyâ Giles and engineer/teacher Heather Cleveland meticulously assembled more than 100 different costumes for the show, going as far as to research if each fabric and pattern would be appropriate for the period. Both women say working with costumes is like solving a satisfying puzzle, especially with an extremely limited budget to purchase the costumes and the materials to make them.
âMy favorite part of the job was being able to make some of the dresses,â says Giles, who is a self-taught seamstress. âAs a costumer, I enjoy seeing the actors come to life on stage. My hobby is sewing. I sew everything.â
Cleveland adds, âYou want everybody on stage to feel fantastic. I enjoy the creativity, starting from nothing and having it blossom into something.â As an example, Cleveland says, âWe took Frenchyâs prom dress apart three or four times â a new bodice was made, and we hand-pleated the skirt. Iâm pleased with the results of the work that went into that one.â
Behind the curtain, a small army of costume, prop assistants, stagehands and costume âdressers,â including college senior and aerial acrobat Emma Hosking, assist by waiting in the wings to help the actors with quick costume changes and to make sure they all have the props they need for each scene.
âDuring Freddy My Love,â Hosking said, âwe made a tradition of dramatically lip-syncing along to the song. I looked forward to that every performance.â
Among the costume and stage crew, all coordinated by Giles, Cleveland and prop master Tami Carr (the mom of Olivia, who played Sandy, and Sean Carr, who played bass in the orchestra) were Amogha Kuppaa, Ereka Morton, Ryan Pettaway, Bella Otte, Tracy Stemm, Katie Guerra, Jannah Nager and Katie Carr.
Tami Carr, a retired childrenâs orthotist and prosthetist, is the woman behind all the props. From sourcing authentic â50s items to crafting realistic-looking food, this creative wizard turns trash into treasure⊠literally. She says she created Sonnyâs âzipgunâ from items she found in the trash.
Tami explains how excited she is for NTP to have a new home, âThey do everything with such integrity and excellence. Over the years, it made me sad that people didnât always see the shows because they didnât have a consistent place. To have all these sold-out shows, I feel not just happy for the cast of Grease but for everyone. Finally, people can experience and appreciate what they do.â
Assisted by most members of the cast, the set stagehands, led by Paul McColgan, work swiftly and silently, changing scenes with precision and coordination, like ninjas in black. Scenic artists Leiann Klein, Kyle Billington, Tami and Olivia Carr, Oliviaâs fellow cast member Dakota Henry, Alex DeJoseph and Joshua Paine gave each piece of built-for-the-show set âfurnitureâ its distinctive â50s look.
In addition, sound man John Camacho made sure all 24 of the performersâ microphones not only worked but also had compatible levels of volume before every performance. Stagehand James Cass of Picture This of Palma Ceia also served as the showâs official photgrapher. The orchestra included Meekins, rehearsal pianist Rick Barclay, Stan Martindale (guitar), Todd DuPriest (drums), Josh Hollenbeck and Elliott Domagola (sax) and Sean Carr. Diana Diaz designed the âGreaseâ program.
Photo above courtesy of Picture This Photography of Palma Ceia. All other photos on these pages by Charmaine George
The last time I performed in âGrease,â the 1972 Tony Award-winning musical about mythical Rydell High in 1959, I was Teen Angel and Johnny Casino in summer camp.
I auditioned to be Teen Angel in the New Tampa Players production of âGreaseâ â which missed selling out all six shows in the new New Tampa Performing Arts Center by fewer than 10 seats total â but the role rightly went to the much more talented Trevor Lloyd (more on him in a bit).
Instead, I portrayed radio DJ âThe Main Brainâ Vince Fontaine and was officially the oldest member of an incredible cast of mostly âkidsâ ages 15-34 â and loved every minute of it.
With five cast members either still in or having just graduated from high school, NTPâs âGreaseâ had the look and feel of the Broadway hit and the cast didnât disappoint. Under the direction and musical direction of G. Frank Meekins, with great choreography by Sarah Walston, these very young performers wowed close to 2,000 people between the six shows.
âWeâre season ticket holders at the Straz Center (in downtown Tampa),â one couple told me after the first performance. âAnd this was a good as anything weâve seen there.â
Were they kidding or exaggerating? Not in my book. Real-life substitute teacher Dylan Fidler was a powerhouse as Danny, especially his hand jive contest-winning duet dance with Makayla Raines as Cha-Cha DiGregorio, and crowd-pleasing karaoke favorite duet âSummer Nightsâ with Olivia Carrâs innocent (but later transformed) Sandy. At 17, âLivâ owns her own music business and she and Dylan also got high marks for the Olivia Newton-John/John Travolta duet âYouâre the One that I Wantâ from the hit 1978 movie version of the show.
But, the rest of the cast members were all so talented and fun to work with, too.
Kyle Fisher, who works for USAA Insurance, was perfectly cast as Kenickie. His rendition of âGreased Lightning,â with Walstonâs outstanding choreography with both the full-sized 1957 Chrysler and most of the guys in the cast, definitely rocked the house.
Target employee Jake Veit, 22, who was rightfully likened to late-â50s pop star Ricky Nelson by Broadway World.com reviewer Peter Nason, charmed while singing âThose Magic Changes,â while the duet between 18-year-old Tripp Peavyhouse (as Roger, aka âRumpâ) and University of Tampa musical theatre major Anna Jeffries (as Jan) on âMooningâ was so sweet and cute it gave me a toothache every time.
Meanwhile, 22-year-old Heather Rich (Marty), who hopes to be a forensic psychologist after graduating with Psychology and Theatre degrees from the same program at UT as Jeffries, belted out a stirring âFreddy, My Love.â
And, commercial leasing agent Alyson Gannon was another audience favorite as the rough-edged Rizzo, whose sarcastic âLook at Me, Iâm Sandra Deeâ was one of the best-received songs in Act 1, and her heartfelt âThere are Worse Things I Could Doâ was one of the top moments from Act 2.
Speaking of Act 2, Lloyd, who previously wrote for another local publication and who currently writes for Savvy Dealer automotive websites, was a super-cool Johnny Casino on âBorn to Hand Jiveâ and a true show-stopper as the Teen Angel on âBeauty School Dropout.â Oh, how I wish I could match Trevorâs falsetto. âDropoutâ also featured most of the female cast members in pyramidic hair curlers providing comic relief. Props also go out to Chelsea Orvis, an ensemble player who not only rejects my Vince character at the dance but who also sang âItâs Raining on Prom Nightâ as a beautiful duet with Sandy â even though Chelsea was off-stage for the entire song, as it was supposed to be coming from a radio in Sandyâs lonely bedroom.
As for the cast members who didnât have solo songs or duets, whether featured players or members of the ensemble, their backing vocals were always outstanding and their dance moves were super-impressive. One such standout was Michael Figueroa as the crude Sonny, who spent as much time being battered around the stage by Kenickie, Danny and even stay-at-home mom Suzanne Bainbridgeâs Miss Lynch character when he wasnât turning cartwheels or other athletic dance moves (which he says he learned how to do from the Just Dance! video game; who knew?).
Ariyonna Thomas, who manages two local Join Chiropractic centers, was super-cute as the high school and beauty school dropout Frenchy, who loves her friends but canât pronounce anyone elseâs name correctly.
Although theyâre also really good singers and dancers as part of the ensemble on most of the musical numbers, Starbucks barista Cassidy Haberland was great as Patty, the peppy cheerleader whoâs sweet on Danny, while young substitute teacher Zach Smith provided lots of laughs as the bumbling class valedictorian Eugene. Meekins, Walston and NTP producing artistic director (and âGreaseâ stage manager) Nora Paine also did a great job of picking their ensemble players.
Not only was Raines, a behavioral therapist who works with special needs kids (including as one of the on-stage mentors during NTPâs Penguin Productions), amazing as Cha-Cha, her voice was as impressive as her dancing and her acting was spot-on, too.
Dakota Henry, at 15, was the youngest cast member. She is just starting her sophomore year at Pasco High, but she already is an accomplished singer who also has professional dance credits and is a standout in every ensemble dance number. Also fantastic was credit card processor Zane Sanrsour, who also learned how to dance from Just Dance!, but who somehow knew not only his own dance steps, but everyone elseâs, too. I told Zane I would give him a much-deserved âassistant choreographerâ credit for his efforts.
The remaining ensemble players also all had beautiful singing voices and auditioned for bigger roles, but that doesnât mean they werenât just as important to the success of the show, as they were the people most responsible for moving and locking down the brakes on the big, rolling set pieces between every scene.
Michael Neary, a remote IT tech for Stavvy in Boston, was Paineâs go-to guy for making sure everything was in its proper place on stage. He also earned laughs for his over-the-top solo hand jive during the dance contest.
Amanda Schapiro, a high school math teacher; Wesley Santana, who works for GTE Financial; and youngsters Mia De Choudens, a 17-year-old Wharton High senior; and Cypress Creek high junior Julian Rebelo, 16 (who also works at Sbarro at the Tampa Premium Outlets); rounded out the cast.
Yes, I was by far the oldest of the performers and had the smallest of all the speaking parts, but I canât imagine that anyone had more fun on stage in âGreaseâ than I did. I even got my first-ever stage review from BrodwayWorld.comâs Nason, who raved about the show as a whole and called me âsuch a fun presence.â Thanks, Peter!
âShrekâ Is Next!
Although the cast had not yet been announced at our press time for NTPâs production of âShrek, the Musicalâ (with shows Oct. 20-22 & 27-29) the auditions already were held and I chose to not try out, after seeing what a huge commitment it was to perform with this community theatre troupe. I canât thank Nora, Frank, Sarah and the entire cast and crew (again, see pg. 28) for making me feel so at home. For âShrekâ tickets and more info, visit NewTampaPlayers.org.