Moorestown Theatre Company’s Production of “Bye Bye Birdie” Will Make You “Put on a Happy Face”

by Amber Kusching

What happens when rock ‘n’ roll hits suburbia? The 1960 musical Bye Bye Birdie—with music by Charles Strouse, lyrics by Lee Adams, and book by Michael Stewart—explores the mayhem that results from the 1950’s rhythmic revolution seeping into the quaint and quiet town of Sweet Apple, Ohio. Chaos ensures when the studded leather-stud, Conrad Birdie (based on Elvis Presley), arrives in the small town to bestow a farewell kiss on one adoring fan (Kim MacAfee) live on TV before he is set to leave for the Army. The scheme is set up by the cunning Rosie Alvarez who devises the plan to get her love interest Albert Peterson (Conrad Birdie’s manager and songwriter) to settle down and become an English teacher like he always wanted to be. Throughout the play, the plan is thwarted by several parties ranging from Kim’s “steady” Hugo, Albert’s mother Mae, and even Rosie herself. 

The musical, which originally played on Broadway from 1960-1961, was a critically acclaimed hit and Tony Award-winning success. It notably featured Dick Van Dyke and Chita Rivera as Albert and Rosie respectively. This past week, Sweet Apple came to life on the modest but enthusiastic stage at the First United Methodist Church in Moorestown, NJ. In a kaleidoscope of colorful poodle skirts (thanks to Costume Designer Thom Sirkot, Costume Manager/Props Designer Carol Ann Murray, Costume Assistant Ethan Kavalunas and Hair/Wigs & Make-up Designer Bridget Gionta) and dazzling dances, Moorestown Theater Company’s production is filled with charm and nostalgia. From the moment the lights come up to the second the final blackout is called the stage explodes with energy and excitement. There is no dull moment in this show. 

From tenacious tappers to shirked Shriners, Lizi Baldwin’s choreography is tasteful and true to the period in which the show takes place. Bye Bye Birdie is a typical mid-century musical featuring a whirlwind of large cast dance numbers, and Baldwin makes use of everyone’s talents, creating routines that are suitable for all skill levels while showing every actor’s best with the help of her Dance Captains Giovanna Barcia & Abigail Fried. The iconic “Put on a Happy Face” is sure to make even the most dreary crack a smile and it is a highlight of the show.

The stage is sparse, and small set pieces such as tables, benches and lampposts are brought on and off by actors. The main set design is projected onto the backdrop, allowing room onstage for the many large scenes. The set design is utilitarian- functional and featuring minimal set pieces. But this production is not about an elaborate set, it is all about the actors and allowing the actors the room to take up space. While there is no Set Designer listed in the playbill, we have the Set Construction Managers and Assistant to thank for this set Dan Drechsler, Jeff Wienand and John Caruso as well as Projections Designer Scott Minieri.

MTC’s production alternates leading characters with a “Black” and “Gold” cast. This review was written after seeing the “Gold” cast’s performance. 

Something that particularly stands out about MTC’s production is the family-centric nature of it. Many cast members have other family members involved in the show. And in the “Gold” cast, the actors playing the doting Doris and Harry MacAfee are the actual real life married couple of Jocelyn and Rick Williams (Rick of whom you may know from ABC’s Action News). Plus, as a pleasant surprise, their son Nick Williams is the “Gold” cast’s titular Conrad Birdie himself.

MTC Founding Producing Artistic Director, Producer, and Bye Bye Birdie Director, Mark Morgan, writes in the playbill, “Here at the Moorestown Theater Company, we especially believe that there is a place for ‘ev’ryone’ in a musical theatre production, whether it is on-stage back-stage, or in the orchestra pit.” And when Morgan says ev’ryone, he means it! MTC’s production of Bye Bye Birdie includes 67 cast members, 10 stage crew members, a 12-piece live pit orchestra, and more than a dozen volunteers. 

The live orchestra is a big asset to this production. Conducted by Dr. Nicholas DiSalvio, the band adds pizazz and life to the show. Congrats to the orchestra: Patti Walz, Sara Bennett, Michael Binkins, Craig Cleveland, Andrew Gaus, Robert Jacob, Helen Mack, Gale Reid, Alan Salkowitz, Sue Staaf, Ernie Volpe and Edmund Weiss. Overall, from the audience’s perspective, the sound mixing is quite good thanks to Technical Directors Jack Morgan and Scotty Minieri. The main actors are mic'd, but neither the music nor the singing overshadow each other, even when solos are sung. And you will want to hear every solo. in addition to the great work of Music Director Beverly Bennett and Vocal Director Mark Pinzur the cast features extremely talented singers. Rebecca James (Rosie Alvarez) starts the show with a lovely rendition of “An English Teacher.” Returning to the stage after a 10+ year hiatus, her voice is clean and precise, as if she never missed a beat. Her counterpart, Jeffrey Wienand (Albert Peterson), who is also an acclaimed vocalist and previous MTC vocal director, showcases his voice with a timeless tone and vibrant vibrato right out of the 1950s. The pair are simply stunning to listen to. 

Young standout Sienna Long as 15-year-old Kim MacAfee, sings a charmingly ironic rendition of “How Lovely to be a Woman”.  Her superb soprano voice is like a clear bell, and her tone matches melodically with Rebecca James’ when the duo sing “What Did I Ever See in Him”. Nick Williams’ (Conrad Birdie) rendition of “Honestly Sincere” is honestly and sincerely one of the best numbers in the show. Williams’ voice has the perfect tone for the period. He has the Elvis singing (and swagger) down pact. His music and moves leave the cast and the audience faint. Some other lovely vocal moments include the intimate harmonies in “One Boy” and “Baby, Talk to Me” as well as the explosively energetic teen chorus in “The Telephone Hour” and “A Lot of Livin’ to Do”.

But it’s not just the singing and dancing that makes this production special, it is also the acting. All of the actors in this show are committed to their roles and bring integrity to their characters. James and Wienand are focused and invested. Their complicated relationship is especially heartbreaking in Act two and they perform every second as if it were their last. Long and Williams are spritely and engaging. Long passionately plays her role as a Conrad Birdie fangirl and Williams plays more than just the superficial aspects of the celebrity, he shows the struggles too. 

Some other notable performances are Sophia Diamond as the excitable mega fan Ursula Merkle, Nick Hehl as the lovable but sometimes oblivious lover-boy Hugo Peabody, Edna Rich as the comically overbearing Mae Peterson, and Rick and Jocelyn Williams as Kim’s lovingly humorous parents Harry and Doris. Some charming cameos include Chris Smith as the silly shy Harvey Johnson, Andie Drechsler as the forever fainting Mayor’s Wife, Logan Sager as the persistent Randolph MacAfee, and Jennifer Reid as tap-dancing, cart-wheeling Gloria Rasputin.   

To round out this astoundingly talented and ginormous cast are Kayla Pates (Mrs. Merkle), Danielle Sager (Mrs. Johnson), Anika Patel (Helen), Giovanna Barcia (Nancy), Abigail Fried (Alice), Maya Toeppner (Margie), Madeline Broadwater (Penelope), Dia Patel (Suzie), Haley Caruso (Debra Sue), Gabby Gray and Donna Nowak (reporters 1 & 2), Mark Morgan (Mayor & Charles F. Maude), Jeff Marcoccia (Ed Sullivan), Joe Barcia (Stage Manager), and Dan Drechsler, Chris Brodt, Sandhun Mendis & Dave Harp (Roadside Retreat Quartet). And we cannot forget to mention the brilliant folks in the Adult, Teen and Kid Chorus: Angela Caruso, Scarlett Catalfamo, Gianna DiGiovanni, Amanda Fletcher, Bridget Gionta, Kathleen Leone, Laura Pendergast, Peggy Slamp, Cathy Tetreault, Colin Cassidy, Sage Diamond, Blake Sager, Syrus Tuvell, Aaron Wilkie, Dylan Wilson, Sam Wolfrom, Vanessa Barcia, Remy Leone, Shawn Pendergast, Piper Reid, Nora Weinstein and Bobbie Wienand. It's the brilliance of these performers that truly brings this show to life plus the hard work of Stage Manager Joe Barcia and Assistant Stage Manager Chris Brodt along with Stage Crew John Caruso, Jamie Diamond, Brian Hehl, Jesse Moreland and Jeff Price.

Mark Morgan’s directing is skilled. He knows when and where to put his actors to make the space work. With sometimes over 60 actors onstage at one time, he creates pictures that make sense. He uses the whole space, even parading actors through the audience at key moments and utilizing a platform on stage left for Kim’s bedroom. But more than blocking, he knows how to draw out what he needs from his cast, and the way he leads them is impeccable.  

This show is fun for all. With cast members as young as 8, Bye Bye Birdie is a musical for the whole family. It delves into family dynamics and discusses the discrepancies in generations. The show is relatable, and the relationships depicted are timeless. Though the show was written in 1958, it still has themes that ring true today. Though heavy at times, the overall tone is comedic and fun. You’ll surely be leaving the theatre singing “We love you, Conrad. Oh yes, we do!” With Ursula and rest of the teen chorus. 

This production is truly a labor of love from and for the community. Even Moorestown Mayor Quinton Law appears as the Sweet Apple Mayor in the July 30^th and 31^st productions. You don’t want to miss that! Bye Bye Birdie runs through July 31^st at the First United Methodist Church in Moorestown, NJ. For more information about Moorestown Theater Company and to purchase tickets for the remaining shows of Bye Bye Birdie, please visit https://www.moorestowntheatercompany.org/newevents.