The New Tampa Players Production of “Dreamgirls” has only three performances left — Feb. 9-11 — at the New Tampa Performing Arts Center. (Above, l.-r.) Caron Davis, Patty Smithey, & NaTasha McKenzie. (Rehearsal photos by Charmaine George)
Get ready, theatre enthusiasts! The vibrant and talented cast of the New Tampa Players’ production of “Dreamgirls” is in the middle of two weekends of an unforgettable experience, as the Players bring this iconic musical to the stage at the brand-new New Tampa Performing Arts Center (off Bruce B. Downs Blvd., behind the plaza that is home to Sprouts).
In what promises to be a showcase of local talent, this production is set to captivate audiences with signature songs, like “Dreamgirls,” “Move” and “Hard to Say Goodbye.”
By the time this issue hits your mailbox, “Dreamgirls” will already have completed its first weekend, with only shows on February 9-11 remaining. If you haven’t seen it as you’re reading this, hurry to NewTampaPlayers.orgto get any of the very few tickets that may be left.
Since its premiere on Broadway in 1981, “Dreamgirls” has had a revival, three US tours, an international tour, and a West End run, as well as a hugely successful movie adaptation. With the New Tampa Players’ production, the musical is receiving a fresh and dynamic interpretation under the skilled direction of Clay Christopher, who brings a unique vision to this beloved classic. The excitement is palpable as the cast and crew pour their combined passions into every rehearsal, promising a show that resonates with energy and spirit.
“‘Dreamgirls’ is more than just a show; it is a celebration of local talent, community spirit, and the transformative power of theater,” says New Tampa Players Producing Artistic Director Nora Paine. “The echoes of the soulful melodies and poignant moments will undoubtedly linger in the hearts of the audience, showing once again that the magic of Broadway is alive and well in our own backyard.”
Dreamgirls isn’t just a Broadway musical spectacle: the plot takes inspiration from the tumultuous rise of R&B and soul music during the 1960s and ‘70s. Written by Tom Eyen with music by Henry Krieger, the show delves into the challenges faced by a female African- American singing group, the Dreams, as they navigate the cutthroat world of the music industry.
The musical’s portrayal of the struggles and triumphs of the Dreams mirrors the real-life stories of several iconic R&B groups, including The Supremes and The Shirelles. The show deals with themes of ambition, betrayal and the cost of success while shedding light on the challenges faced by artists, particularly women of color, in an industry that often prioritized image over talent.
Don’t miss your chance to see the magic unfold on the New Tampa Performing Arts Center (8550 Hunters Village Rd.) stage. Whether you’re a seasoned theatergoer or a first-time attendee, this community production of Dreamgirls promises an evening of entertainment, inspiration, and incredible talent. Get your tickets now at NewTampaPlayers.org.
The members of the crew behind the scenes of “Grease” 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 “Grease,” the iconic musical with toe-tapping tunes, incredible dance moves, and romance and drama at Rydell High. Behind all of the show’s 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, “Grease” is no ordinary musical — it’s a high-energy ride through the fabulous ‘50s, complete with a 1957 Chrysler that has to be dollied on and off stage. A hidden army of talented workers ensures the show’s success, working diligently behind the scenes. They don’t 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, “her theatre saint,” 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 “going to sound very stage managery, but it’s 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.”
Nelson, a medical scribe and first-time assistant stage manager who has performed in some previous NTP productions, says, “My 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.”
A recent high school graduate, Buonaquisiti adds, “I love working with the actors, especially during set changes making sure everything goes smoothly and safely.”
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, “we actually got our stage, and the production came to life. We finally had the space to spread our wings.”
Meekins says that wearing both hats for “Grease” 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. “It’s rewarding when it all comes together,” he says.
Meekins also notes that, “While this show follows the movie that many are familiar with, it’s 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.”
Professional dancer, Atlas Modern Ballet founder and HCC professor Sarah Walston provided the choreography for the show’s memorable dance routines. She taught the cast the hand jives, jitterbugs and other energetic dance routines — a new experience for the ballet and contemporary dance choreographer.
“As a dancer, I love ‘Grease,’” Walston says. “The community feel has made a project like this less stressful with all these moving parts. It’s really been a team effort and a great experience for me to learn what can happen in a musical with a great community.”
You can’t have “Grease” without the iconic T-Birds leather and Pink Ladies jackets and authentic ‘50s attire. Retired engineer and current NTP Board of Directors chair Michell “Shelley” 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.
“My favorite part of the job was being able to make some of the dresses,” says Giles, who is a self-taught seamstress. “As a costumer, I enjoy seeing the actors come to life on stage. My hobby is sewing. I sew everything.”
Cleveland adds, “You want everybody on stage to feel fantastic. I enjoy the creativity, starting from nothing and having it blossom into something.” As an example, Cleveland says, “We took Frenchy’s prom dress apart three or four times — a new bodice was made, and we hand-pleated the skirt. I’m pleased with the results of the work that went into that one.”
Behind the curtain, a small army of costume, prop assistants, stagehands and costume “dressers,” 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.
“During Freddy My Love,” Hosking said, “we made a tradition of dramatically lip-syncing along to the song. I looked forward to that every performance.”
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 children’s orthotist and prosthetist, is the woman behind all the props. From sourcing authentic ‘50s items to crafting realistic-looking food, this creative wizard turns trash into treasure… literally. She says she created Sonny’s “zipgun” from items she found in the trash.
Tami explains how excited she is for NTP to have a new home, “They do everything with such integrity and excellence. Over the years, it made me sad that people didn’t always see the shows because they didn’t 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.”
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, Olivia’s fellow cast member Dakota Henry, Alex DeJoseph and Joshua Paine gave each piece of built-for-the-show set “furniture” its distinctive ‘50s look.
In addition, sound man John Camacho made sure all 24 of the performers’ 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 show’s 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 “Grease” 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 “Grease,” 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 “Grease” — which missed selling out all six shows in the new New Tampa Performing Arts Center by fewer than 10 seats total — but the role rightly went to the much more talented Trevor Lloyd (more on him in a bit).
Instead, I portrayed radio DJ “The Main Brain” Vince Fontaine and was officially the oldest member of an incredible cast of mostly “kids” ages 15-34 — and loved every minute of it.
With five cast members either still in or having just graduated from high school, NTP’s “Grease” had the look and feel of the Broadway hit and the cast didn’t 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.
“We’re season ticket holders at the Straz Center (in downtown Tampa),” one couple told me after the first performance. “And this was a good as anything we’ve seen there.”
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 “Summer Nights” with Olivia Carr’s innocent (but later transformed) Sandy. At 17, “Liv” owns her own music business and she and Dylan also got high marks for the Olivia Newton-John/John Travolta duet “You’re the One that I Want” 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 “Greased Lightning,” with Walston’s 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-‘50s pop star Ricky Nelson by Broadway World.com reviewer Peter Nason, charmed while singing “Those Magic Changes,” while the duet between 18-year-old Tripp Peavyhouse (as Roger, aka “Rump”) and University of Tampa musical theatre major Anna Jeffries (as Jan) on “Mooning” 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 “Freddy, My Love.”
And, commercial leasing agent Alyson Gannon was another audience favorite as the rough-edged Rizzo, whose sarcastic “Look at Me, I’m Sandra Dee” was one of the best-received songs in Act 1, and her heartfelt “There are Worse Things I Could Do” 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 “Born to Hand Jive” and a true show-stopper as the Teen Angel on “Beauty School Dropout.” Oh, how I wish I could match Trevor’s falsetto. “Dropout” 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 “It’s Raining on Prom Night” as a beautiful duet with Sandy — even though Chelsea was off-stage for the entire song, as it was supposed to be coming from a radio in Sandy’s lonely bedroom.
As for the cast members who didn’t 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 Bainbridge’s Miss Lynch character when he wasn’t 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 can’t pronounce anyone else’s name correctly.
Although they’re 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 who’s 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 “Grease” 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 NTP’s 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 else’s, too. I told Zane I would give him a much-deserved “assistant choreographer” credit for his efforts.
The remaining ensemble players also all had beautiful singing voices and auditioned for bigger roles, but that doesn’t mean they weren’t 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 Paine’s 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 can’t imagine that anyone had more fun on stage in “Grease” than I did. I even got my first-ever stage review from BrodwayWorld.com’s Nason, who raved about the show as a whole and called me “such a fun presence.” Thanks, Peter!
‘Shrek’ Is Next!
Although the cast had not yet been announced at our press time for NTP’s production of “Shrek, the Musical” (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 can’t thank Nora, Frank, Sarah and the entire cast and crew (again, see pg. 28) for making me feel so at home. For “Shrek” tickets and more info, visit NewTampaPlayers.org.
(Above, l.-r.) Jan (Anna Jeffries), Rizzo (Alyson Gannon), Kenicke (Kyle Fisher), Danny (Dylan Fidler), Sandy (Olivia Carr), Frenchy (Ariyonna Thomas) and Marty (Heather Rich) headline the cast of ‘Grease’ through July 30, at the New Tampa Performing Arts Center. (Photos by Charmaine George).
Although there already has been a New Tampa Players (NTP) preview show and a Penguin Productions presentation of “Beauty and the Beast” at the sparkling new New Tampa Performing Arts Center (NTPAC), “Grease” — the first official show of NTP’s 2023-24 season — made its debut at the NTPAC last weekend.
Unfortunately, due to the timing of our issues, we aren’t able to share pictures of actual scenes from ‘Grease” in this issue, but as a minor player in the cast, I am able to share these preview pictures we were able to take of some of the cast members, in their costumes.
I will tell you that, even the week before the cast premiered the 1972 Tony Award-winning musical, that “Grease” is a super-fun show with an awesome cast that you should still be able to check out this weekend — although tickets were already getting a little scarce at our press time.
According to NTP producing artistic director Nora Paine, the six performances of “Grease” over two weekends (July 21-23 and July 28-20) were already nearly 70% sold out as this issue went to the printer (on July 16), with the Sunday matinee (3 p.m.) performances both weekends having the fewest tickets remaining.
Vince Fontaine (a certain local publisher & editor) and Miss Lynch (Suzanne Bainbridge) will be cutting a (very brief) rug again this weekend.
More tickets, however, still remained for the Friday and Saturday night (at 8 p.m. both nights) performances, but after what I’m certain was a smash opening weekend — under the direction of G. Frank Meekins with choreography by Sarah Walston — all I can say is don’t wait too long to get yours!
The outstanding ensemble cast delivers too many standout performances to name everyone here, but rest assured, all will be praised (and hopefully, pictured) in our next issue.
Among my favorite moments from the show include Tripp Peavyhouse (“Roger”) and Anna Jeffries (Jan) performing “Mooning,” Heather Rich (Marty) singing “Freddie, My Love,” Kyle Fisher (Kenicke)’s “Greased Lightning,” Alyson Gannon (Rizzo)’s mocking “Look at Me, I’m Sandra Dee,” the perfect falsetto of Trevor Lloyd (who portrays both Teen Angel and Johnny Casino) on “Beauty School Dropout,” and Olivia Carr (as Sandy) on both “Hopelessly Devoted to You” and her duet with Dylan Fidler (“Danny”) on “You’re The One That I Want.”
Michael Figueroa (Sonny) and Heather, Tripp and Anna, Kyle and Alyson and Makayla Raines (as Cha-Cha) and Dylan provide standout dance performances.
Don’t have your tickets yet? Visit NewTampaPlayers.org or see the ad below to get yours now!
Congratulations to everyone who earned a role in “Grease,” the next show to be produced by the New Tampa Players (NTP) theatre troupe at the New Tampa Performing Arts Center (NTPAC).
Tickets are available for the performances of “Grease” the weekends of July 21-23 and 28-30 and NTP also offers Season Tickets to “Grease,” “Shrek The Musical,” “Dreamgirls” and a fourth show to be announced. “Season ticket holders are proud supporters of community performing arts in New Tampa,” says NTP producing artistic director Nora Paine. “You help make the entire season a success! You also get to pick your seats before general ticket sales open, and you will receive a free soft drink or bottled water at every show.”
After 320 people attended NTP’s “Prelude & Recognition Performance” on Mar. 25 and 1,050 were on hand at three sold-out performances of the Penguin Project production of “Beauty & The Beast” in April, NTP is getting used to packing the house at the NTPAC, so get your tickets now! You might even see a certain newspaper editor performing in the cast of “Grease” (see list below & right).
Also, auditions for “Shrek The Musical” at the Uptown Stage at University Mall will be held July 24-25. For more info, see the ad (right) or visit NewTampaPlayers.org.
