Why would anyone want to set this material to a musical? Because it just might be one of the most life altering yet human experiences ever.

The Bristol Riverside Theater (BRT) in Bristol, Pennsylvania, know for its many unique professional productions have scored well with this Maltby & Shire musical. The BRT took this show to the eighties where the original book by Sybille Pearson was first written in 1983.

The plot is simple; three couples, two college students, a pair of thirty-somethings and a middle aged couple face impending parenthood and the pending changes that each couple must deal with. The staging is simple. Much like the revolving stage of Les Miserables, Baby has a revolving community bed that is the focal point of show. As each couple share their fears hopes, and dreams about parenthood.

All three couples are well seasoned performers with credits ranging from Broadway and film to television. The young college couple (Danny and Lizzie) Steven Goldsmith and Betsy Morgan play their roles as anxious and uncertain new parents. Barely adults themselves, they grow and develop their relationship and face the reality that parenthood may not be as easy as their plans on paper.

Broadway stars, husband and wife Brad Little, The Phantom of The Opera and Barbara McCulloh, Peter Pan, The King and I, bring a wealth of experience to the roles of Nick and Pam, the 30's aged couple. This energetic and athletic pair become delightfully frustrated as the infertile couple who work hard to conceive without losing their minds or their sense of humor. One thing is always present with Little and McCulloh is their charming and realistic chemistry. Little proves to wear his comedy mask just as well as his Phantom mask as he offers to send his wife "to the moon," Gleason- style and McCulloh gives him several Lucille Ball moments to encourage that behavior.

Our middle aged couple Anna and Alan (Leslie Becker and Tim Ewing) accept parenthood a bit more calmly, actually in a bit of shock and dazed about the reality of a fourth child on its way with a youngest daughter in college. This all too familiar situation seriously challenges their frailty and future as a couple. Both are heartwarming.

Not to be taken all too seriously is the clever, charming score written for this schmaltzy sometimes gooey story. All three of the dads find themselves in a softball field batting and belting out a jazzy "Fatherhood Blues", while the would-be mom’s are introduced and each come to life in their own versions of "I Want it All" in the doctor's office waiting room.

There are tender songs, such as "I Know I Chose Right" and "Two People In Love" as Danny and Lizzie express their loyalty to each other, as well as questioning songs such as "And What If We Had Loved Like That?" as Alan and Arlene face the prospect of parting ways. There are the good old "love conquers all songs" such as Nick and Pam’s "With You" and the reality of the song "Romance", a little ditty about three minuets of passion or planned conception in this case.

There are soaring solos such as "The Story Goes On" sung powerfully by the young Betsy Morgan and the heartfelt "Patterns" poignantly sung by Leslie Becker as she reflects her predictable life.

Not to be overlooked is the role of the ditsy , poor sited doctor played by BRT favorite Edward Keith Baker who always brings something special to Bristol’s productions. All in all, Bristol has given birth to another award winning production with Baby.

Baby- Book by Sybille Pearson, Music by David Shire & Richard Maltby, Jr., Director/Choreography: DJ Salisbury

Photo Credits: David Abers, Bristol Riverside Theater

Baby plays at the Bristol Riverside Theater through May 21st, 2006.

For ticket and information about upcoming shows:

www.brtstage.org or call 1.215.785.0100

It is not unusual for a Broadway musical to have small revisions to the book or lyrics once the show has opened in New York, but Baby, which premiered in 1983, had major surgery for a revival last season at Paper Mill Playhouse in Millburn. That newly constructed version is now playing at Bristol's Riverside Theatre.

The evening asks us to follow three couples as they meet first in a doctor's office to confirm pregnancy tests, face the usual challenges during the months ahead and prepare for births. In typical musical showmanship, one of the couples is older (they already have three grown daughters and she is in her mid-40s), one of the couples is very young (in school and not married) and the third couple has been trying for children for years, each time with disappointments.

The original production used film segments to educate the audiences of the past generation about conception without scaring them (thereby managing to escape criticism for the more realistic elements). That has happily been replaced by greater audience understanding and frank dialogue about everyday problems, plus advances in medicine. One of the tunes that was hastily inserted (actually while the show was in paid previews) is not set in its proper place. An attempt to update the show from 1983 to 2006 was scrapped.

What remains is a much better organized, much more interesting evening. The BRT production has its own "insider stories" as well. The middle couple (Barbara McCulloh and Brad Little, who play the MacNallys, the couple trying so hard for a child) actually met at Bristol 18 years ago during its first season (the show was The Robber Bridegroom), fell in love and married. This is their first production together since. Both have been wonderfully successful. In fact, Mr. Little has passed the 2,000th performance of the title role in The Phantom of the Opera, and returns to Hong Kong to pick up the Asian tour once he finishes Baby. Over the years, Ms. McCulloh has played all across the United States and, following Baby, will play the title role in Kiss Me, Kate in St. Louis.

But for now they are having a great time, singing up a storm (both have terrific voices) and spending time on stage (mostly in bed, following kooky ideas on how to get pregnant). Meanwhile, Betsy Morgan and Steven Goldsmith, as the unmarried couple, are pushing the plot into the 21st century. And Tim Ewing and Leslie Becker, as the older couple, are reminding us that the past century had many good ideas as well. Edward Keith Baker, in addition to conducting the five-piece orchestra, appears in a cameo role as the doctor who must advise the middle couple as to the proper procedures for achieving pregnancy. And it is a very funny scene.

Director D.J. Salisbury was associate director on last season's Paper Mill project, and keeps the evening moving at a swift pace, stopping once in a while to smell the flowers, but never giving way to sentiment or pandering to salacious humor. It really is a far better show than it was. And a delightful close to Bristol's 18th season.

Baby continues at Bristol Riverside Theatre, 120 Radcliffe St., Bristol, Pa., through May 21. Performances: Wed., Sat. 2, 8 p.m.; Thurs.-Fri. 8 p.m.; Sun. 3 p.m. Tickets cost $34-$42. For information, call (215) 785-0100. Bristol Riverside Theatre on the Web: www.brtstage.org

A humorous but romantically touching musical about the trials and tribulations of having a baby is being staged at Bristol Riverside Theater,120 Radcliffe Street, Bristol, through May 21.

Baby is a story of three couples living on a university campus. One couple, Dan and Lizzie, are juniors, and have moved in together. They have the stars in their eyes for each other and their futures. That is until Lizzie finds out she’s pregnant. Dan wants to do the right thing and get married, while Lizzie doesn’t see the need.
 

Couple No. 2 is Pam and Nick. Pam’s the girls’ basketball coach and Nick is the track coach. They are having trouble conceiving, because Nick “is shooting 85 percent duds,” information Nick can’t fathom.
 

Couple No. 3 is Alan and Arlene. He’s a dean at the college, and she’s been a stay-at-home mom, who just sent her youngest child to college. The couple have been looking forward to being together, but scared. They celebrate their 20th anniversary, and then find out they’re expecting.
 

Songs like “Fatherhood Blues,” had some of the men sitting up a bit taller and “I Want It All” had the women sitting up taller, while “Baby, Baby, Baby” and “Romance-Part I, Romance-Part II and Romance-Part III” had the audience laughing. But the songs “I Know I Chose Right,” “Easier To Love,” and “And What If We Had Loved Like That” had quite a few tears running amid the audience.
 

The trials and tribulations are apparent between Nick and Pam, as they are “following the book,” to conceive. The strain is taking its toll on the marriage, until they decide their marriage is just – if not more – important than having a child. The news of another child has Alan ecstatic but for Arlene, it means she can’t go to school and get her degree, or do the things she’s been postponing doing. Arlene also realizes that there is nothing between her and Alan, except the children…she ends up leaving Alan. But it’s the birth of Dan and Lizzie’s baby that brings everyone together.
 

Broadway stars – and husband and wife – Brad Little and Barbara McCulloh are Nick and Pam. She a bundle of energy with a great voice; he’s all male, with a voice to match. Broadway stars Tim Ewing and Leslie Becker are Alan and Arlene. Both were perfectly matched for their roles and voices. Bristol newcomers Steven Goldsmith and Betsy Morgan are Dan and Lizzie and were wonderful. And what a voice she has, as she belts out the song, “The Story Goes On.” Edward Keith Baker played the doctor, and something says he had a great time at it! The Ensemble consists of Tiiu Rebane, Kimberly Valde, Keith Schneider, David S. Miller, April Woodall and Brooke Jacob.
 

Bristol’s Baby was a wonderful production, and if you’re looking for a good cry and a good laugh, Baby shouldn’t be missed.
 

Performances are: 8 p.m., Wednesdays through Saturdays; 2 p.m., Wednesdays and Saturdays; and 3 p.m., Sundays. Tickets are $34-$42 depending on day and time of performance. For reservations, directions or information, call 215-785-0100.
 

As the final show in its 2005-2006 season, Bristol Riverside Theatre presents "Baby," a vivacious musical comedy that focuses on that crucial human activity, reproduction. This 1984 concoction garnered numerous Tony Award nominations for book, music, choreography and its leading and featured performers, but it fell before the blockbuster musical "La Cage aux Folles" and the sophisticated "Sunday in the Park with George." Since then, however, it has proved a favorite with audiences for its intimate approach and warmhearted sentiment.

The present version of Sybille Pearson's book is a revised one that somewhat unnecessarily changes the plot outcome, but the essentials are still in place. Three couples face parenthood simultaneously, two of them reluctantly. Alan and Arlene contemplate moving from their family home to a convenient apartment, now that all their children are married or at college. Danny and Lizzie are just setting up housekeeping together in an off-campus basement apartment. Pam and Nick, both young athletic coaches at the university, enjoy financial and emotional stability and are ready to start a

But the tables are turned in more ways than one. To her surprise, Lizzie finds herself pregnant, a circumstance that does not fit her independent view of life. Boyfriend Danny is shocked but pleased, and immediately proposes marriage. Lizzie, however, is not ready to take the conventional route and insists that musician-composer Danny must not sacrifice his ambitions.

At the same time, Arlene starts experiencing strange -- but familiar -- symptoms. Learning she is pregnant, she is aghast, but husband Alan is suddenly elated, rejuvenated even, as he admits he loved being a father. Pam and Nick have a solid loving relationship, but nature is not cooperating.

The three women meet coincidentally at the obstetrician's office and strike up a casual relationship. Danny, Alan and Nick also run into each other on the college playing fields and share some male bonding on the issue of parenting. Joined by some other dads, they join in the insightful "Fatherhood Blues."

The team of composer David Shire and lyricist Richard Maltby Jr. ("Closer than Ever," "Big") supplies a catchy score ranging from the ironic "What Could be Better?" to the subdued ballad, "I Know I Chose Right." Edward Keith Baker's savvy orchestra of Jim Besch, Bob Gargiullo, Lawrence Jacobs and Neil Nemetz keep a rhythmic pulse under the score, and Baker leaves the podium for a funny stint as a fertility doctor.

Director-choreographer DJ Salisbury has a delightful cast to work with. Real life partners and Bristol Riverside favorites Brad Little and Barbara McCulloh portray Nick and Pam, while Tim Ewing and Leslie Becker are warm and winning as Alan and Arlene. Betsy Morgan and Steven Goldsmith show their singing chops as Lizzie and Danny, and the six-person ensemble adds tuneful harmony.

Troy Hourie provides the versatile sets, Charles S. Reece contributes lighting, and Daniel A. Little the impeccable sound design. Linda Bee Stockton gives us an '80s feel in the costumes.

"Baby" continues at 8 p.m. Wednesday through Saturday at The Bristol Riverside Theatre, 120 Radcliffe St., Bristol, Pa., with matinees at 2 p.m. Saturday and 3 p.m. Sunday through May 21. Tickets are $34-$42. (215) 785-0100 or (www.brtstage.org).

People's Light and Theatre Company leads the field with 13 mominations, followed close behind by Prince Music Theatre's 12. As for individual shows, Walnut Street's Singin' in the Rain and Arden Theatre Company's The Baker's Wife tied at the top with 7 nods.

Commenting on the fact that 21 of 27 eligible Philadelphia theatres received at least one nomination, Alliance executive director Melissa Y. Shaner said in a statement, "This reflects the increased professionalism of a broad-based theatre community, as well as the increased sophistication of the judges."

OVERALL PRODUCTION (PLAY)
Book of Days, People's Light & Theatre Company
It's All True, InterAct Theatre Company
Picasso at the Lapin Agile, Arden Theatre Company
The Laramie Project, Philadelphia Theatre Company
The Old Settler, Freedom Repertory Theatre

OVERALL PRODUCTION (MUSICAL)
3hree, Prince Music Theater
Black Nativity, Freedom Repertory Theatre
Candide, Prince Music Theater
Singin' in the Rain, Walnut Street Theatre
The Baker's Wife, Arden Theatre Company

DIRECTION (PLAY)
Abigail Adams, Book of Days, People's Light & Theatre Company
Melia Bensussen, Hearts: The Forward Observer, People's Light & Theatre Company
James J. Christy, The Laramie Project, Philadelphia Theatre Company
Harriet Power, Measure for Measure, Philadelphia Shakespeare Festival
Seth Rozin, It’s All True, InterAct Theatre Company

DIRECTION (MUSICAL)
Charles Abbott, Singin' in the Rain, Walnut Street Theatre
Peter M. Donohue, Children of Eden, Villanova Theatre
Terrence J. Nolen, The Baker's Wife, Arden Theatre Company
Harold Prince, 3hree: The Flight of the Lawnchair Man, Prince Music Theater
Brad Rouse, 3hree: The Mice, Prince Music Theater

LEADING ACTOR (PLAY)
Brandon Demery, Compleat Female Stage Beauty, (Edward Kynaston), Philadelphia Theatre Company
Scott Greer, It's All True, (Orson Welles), InterAct Theatre Company
Adam Grupper, Spin, (Jerry), The Wilma Theater
David Howey, Twelfth Night, (Malvolio), Philadelphia Shakespeare Festival
Frank X, King Lear, (King Lear), Lantern Theater Company

LEADING ACTRESS (PLAY)
Nora Chester, The Beauty Queen of Leenane (Mag Folan), Delaware Theatre Company
Oni Faida Lampley, The Dark Kalamazoo, (She), Freedom Repertory Theatre
Jane Moore, Grace & Glorie, (Grace), Act II Playhouse
Brenda Pressley, The Old Settler (Bess), Freedom Repertory Theatre
Jo Twiss, A Moon for the Misbegotten, (Josie Hogan), Bristol Riverside Theatre

LEADING ACTOR (MUSICAL)
Scott Greer, Lies & Legends: The Music of Harry Chapin, (Scott), Act II Playhouse
Brad Little, Evita, (Che), Bristol Riverside Theatre
Jose Llana, Candide, (Candide), Prince Music Theater
Tom Nelis, Candide, (Voltaire/Pangloss/Governor/Host/Sage), Prince Music Theater
Christopher Sutton, Singin' in the Rain, (Don), Walnut Street Theatre
Tom Teti, The Baker's Wife, (Aimable Castagnet), Arden Theatre Company

LEADING ACTRESS (MUSICAL)
Anna Christy, Candide, (Cunegonde), Prince Music Theater
Ann Duquesnay, Cookin' at the Cookery, (Alberta), Delaware Theatre Company
Maree Johnson, Passion, (Fosca), The Wilma Theater
Jilline Ringle, Mondo Mangia, (Jilline), 1812 Productions
Debra Walton, Cookin' at the Cookery, (The Narrator), Delaware Theatre Company

SUPPORTING ACTOR (PLAY)
David Bardeen, It's All True, (John Houseman), InterAct Theatre Company
Benjamin Lloyd, Rhinoceros, (Jean), Theatre Exile
Paul McElwee, Greetings!, (Mickey Gorski), Westmont Theatre Company
Ian Merrill Peakes, Romeo and Juliet, (Mercutio), Philadelphia Shakespeare Festival
Matt Saunders, Man Measures Man, (Agim Arifi), InterAct Theatre Company

SUPPORTING ACTRESS (PLAY)
Adrienne Carter, No Niggers, No Jews, No Dogs, (Joyce Cheeks), Philadelphia Theatre Company
Karen Hinton, It's All True, (Jeanie Rosenthal/Virginia Welles), InterAct Theatre Company
Rebecca Hatcher Lisak, The Music Lesson, (Kat), People's Light & Theatre Company
Barbara Winters Pinto, The Great Northeast, (Grams), 1812 Productions
Cathy Simpson, The Old Settler, (Doc Quilly McGrath), Freedom Repertory Theatre

SUPPORTING ACTOR (MUSICAL)
Jeffrey Coon, The Baker's Wife, (Dominique), Arden Theatre Company
Ben Dibble, Lies & Legends: The Music of Harry Chapin, (Ben), Act II Playhouse
Michael Tapley, Singin' in the Rain, (Cosmo Brown), Walnut Street Theatre
James Van Treuran, Evita, (Juan Peron), Bristol Riverside Theatre
Bruce Winant, Rags, (Avram Cohen), Walnut Street Theatre

SUPPORTING ACTRESS (MUSICAL)
Beth Beyer, Singin' in the Rain, (Lina Lamont), Walnut Street Theatre
Lizz Fields, Sparkle: The Musical, (Sister), Freedom Repertory Theatre
Mary Martello, The Baker's Wife, (Denise), Arden Theatre Company
Mary Kate McGrath, Rags, (Bella Cohen), Walnut Street Theatre
Connie Nelson, Rags, (Rachel Halpern), Walnut Street Theatre

SET DESIGN
James Kronzer, The Baker's Wife, Arden Theatre Company
Bob Phillips, Picasso at the Lapin Agile, Arden Theatre Company
James F. Pyne, Jr., Macbeth, People's Light & Theatre Company
Jerome Sirlin, Candide, Prince Music Theater
Walt Sprangler, 3hree, Prince Music Theater

LIGHTING DESIGN
Howell Binkley, 3hree, Prince Music Theater
Russell H. Champa, Perfect Pie, The Wilma Theater
Jerold R. Forsyth, Passion, The Wilma Theater
Thomas C. Hase, Macbeth, People's Light & Theatre Company
John Stephen Hoey, The Baker's Wife, Arden Theatre Company

COSTUME DESIGN
Andre D. Harrington, Black Nativity, Freedom Repertory Theatre
Miguel Angel Huidor, Candide, Prince Music Theater
Colleen McMillan, Singin' in the Rain, Walnut Street Theatre
Janus Stefanowicz, Children of Eden, Villanova Theatre
Catherine Zuber, Compleat Female Stage Beauty, Philadelphia Theatre Company

SOUND DESIGN
Charles T. Brastow, The Music Lesson, People's Light & Theatre Company
Jorge Cousineau, Anodyne, Pig Iron Theatre Company
Kevin Francis, Rhinoceros, Theatre Exile
Fabian Obispo, Macbeth, People's Light & Theatre Company
Adam Wernick, Perfect Pie, The Wilma Theater

CHOREOGRAPHY
Whit MacLaughlin/New Paradise Laboratories, The Fab Four Reach the Pearly Gates, New Paradise Laboratories
Karen Getz/John Bellomo, Romeo and Juliet, Philadelphia Shakespeare Festival
Patricia Scott Hobbs, Black Nativity, Freedom Repertory Theatre
Barby Hobyak, Children of Eden, Villanova Theatre
Mary Jane Houdina, Singin' in the Rain, Walnut Street Theatre

ORIGINAL MUSIC
Kevin Campbell, The Dark Kalamazoo, Freedom Repertory Theatre
Fabian Obispo, A Christmas Carol, People's Light & Theatre Company
Fabian Obispo, Macbeth, People's Light & Theatre Company
Fabian Obispo, Romeo and Juliet, Philadelphia Shakespeare Festival
Adam Wernick, The Adventures of a Boy and His Dog on the High Seas, Mum Puppettheatre, Ltd.

NEW PLAY
3hree: The Flight of the Lawnchair Man, Book by Peter Ullian/Music and Lyrics by Robert Lindsay Nassif, Prince Music Theater
Andoyne, created and conceived by Pig Iron Theatre Company, Pig Iron Theatre Company
Hearts: The Forward Observer, Willy Holtzman, People's Light & Theatre Company
Men of Stone, Seth Rozin, Theater Catalyst
No Niggers, No Jews, No Dogs, John Henry Redwood, Philadelphia Theatre Company

ENSEMBLE
Black Nativity, Freedom Repertory Theatre
Book of Days, People's Light & Theatre Company
Forever Plaid, Bristol Riverside Theatre
Hearts: The Forward Observer, People's Light & Theatre Company
The Laramie Project, Philadelphia Theatre Company
 

PHILADELPHIA INQUIRER AND DAILY NEWS AWARD FOR EXCELLENCE IN THEATRE EDUCATION AND COMMUNITY SERVICE
1812 Educational Outreach, 1812 Productions Teen AIDS Prevention Drama and Dance Troupe, AIDS Coalition of Southern New Jersey Project 19123, Mum Puppettheatre, Ltd. Philadelphia Young Playwrights Festival

F. OTTO HAAS AWARD FOR AN EMERGING PHILADELPHIA THEATRE ARTIST
Scott Greer
Peter Jakubowski
Pete Pryor
Catharine K. Slusar
Elizabeth Webster

LIFETIME ACHIEVEMENT AWARD
Catherine “Kaki” Marshall

SPECIAL RECOGNITION AWARD
Geraldine A. Duclow and the Theatre Collection at the Free Library of Philadelphia
 

What the reviewers had to say about Brad as "Che" ~  The following are excerpts from various reviews of the recent Bristol Riverside Theatre's production of Evita. They do not appear in their entirety.

David Anthony Fox - "Both leading men are vocally and dramatically excellent. I like Brad Little's sardonic take on the character of Che, and James Van Treuren's Peron is the first I've seen to actually make his points be scrupulously singing the score. Elisa Sagardia is sweet and kittenish as Peron's mistress."

Philadelphia Weekly (JCR) -  "The good news is Brad Little, who in a magnificent performance as Guevera serves as the show's narrator and a constant counterpoint to the dictatorial Peron. Guevera may not be the hero here, but Little is so impressive with his imposing stage presence and stunning voice groomed from years touring as the lead in Webber's The Phantom of the Opera, you can't help rooting for him."

The Times (Michael Kownacky) -  "Brad Little, another Bristol Riverside veteran, performs the role of Che, a political agitator and Evita's archenemy.  Che's music is also extremely difficult and written in the higher register, but Little is able to manage this nicely."

Press Focus (Frank Rapp and Betty Margerum) - "As Che Guevera, the revolutionary dissident, Brad Little is simply superb.  If there was an award for "stealing a show," Little would win hands down. His meaty part was portrayed with fiery passion as he tries unsuccessfully to point out the hypocrisy and evil behind the Peron regime.  He is like a lone voice crying in the wilderness as he shows that Peron maintains power by ruthlessly squashing newspapers such as La Presna, a paper which continually make public Peron's disingenuous activities."

Time Off (Stuart Duncan) - "Brad Little, as Che, returns to Bristol after many years.  He was a part of the theater's premiere season in The Robber Bridegroom and met his future wife in that show, actress Barbara McCulloh.  He spent the last three-and-a-half years in the title role of The Phantom of the Opera on a national tour.
Mr. Little is comfortable in the role and clearly enjoys himself.  He handles the vocal requirements easily and finds bits of sardonic humor in Tim Rice's lyrics, which he shares with the audience and thereby charms them."

Courier Times (Robyn-Denise Yourse) - "The real reason to see the Riverside's "Evita" is Brad Little - mesmerizing, flawless and rouguishly handsome as the antagonist/narrator, Che. Little, who has starred on tour in another Lloyd Webber hit, "The Phantom of the Opera," has no problem conveying the drift of Tim Rice's sly and witty lyrics - a critical component often lacking  in the production's other performers."

Bristol Pilot (Debbie Kasten) - "It is in the selection of Brad Little as Che that this production is most inspired.  Little has spent the last three and a half years performing the role of the Phantom in The Phantom of the Opera.  He should  reconsider and take on Che as his signature role. His is a commanding presence as the editorial voice of conscience, which provides a counterpoint to the Peron's populist views. His voice moves effortlessly through the challenging musical pieces.  His voice and talents are clearly evident.  Little ignites the fire of Che's personality."

U.S.1 - "Brad Little is her perfect counterpoint as Che, the show's narrator.  With his jocular skepticism aimed at Evita's excesses, he is the voice of somewhat bitter reason. Remarkably, am   idst all the hoopla of dancing and banners, he never becomes a party-pooper.  Little is also an excellent singer and his rich tones of sturdy assurance adds to his likability."

From Bucks County Courier Times ~

Brad Little, mask off savors role in 'Evita'
by Robyn-Denise Yourse

Brad Little, man of (almost) 1,000 faces - judging from the carousel of roles he's juggled in musical theater - has shed the mask and with it, most of the secrets, behind his most famous role, "The Phantom of the Opera."
Still, there's one element the actor won't reveal: his age.
No way, no how.
"I've learned that it just serves no purpose," says the handsome actor with a devilish grin - the same grin that's wowing audiences at the Bristol Riverside Theatre, where Little plays Che in its production of "Evita."
So far, so good.
Nightly standing ovations have become the norm for Little and the lavish production.  There have been sold-out shows, an extended run (due to heavy ticket demands) through Saturday and a nomination for the coveted Barrymore Award - honoring the best in Philadelphia theater - seems a certainty.
"People are flying in from all over the country to see this 'Evita'," Little says "And I was just thrilled when Sue (Susan Atkinson, the BRT's producing director) and Keith (Edward Keith Baker, who directed "Evita") asked me to do this because Che is so different from the Phantom, though the Phantom is a much more difficult role, although Andrew Lloyd Webber composed both musicals.
"But Che is so much fun to perform because he's the Greek chorus of this piece.  With the Phantom, it's very strenuous enunciation.  But with Che, there are a lot of words that come out very fast.  The first day of rehearsal, I apologized to the cast members for spraying them with spit."
The adoring audiences, however, don't seem to mind.
But Little, a California native and son of a university theater professor, barely has time to smell the roses.  He's juggling radio interviews in between two back-to-back performances of his demanding role as Che and jetting off to Wisconsin for a concert with the Green Bay Symphony Orchestra. (Avid fans can keep track of Little via his web site, www.bradlittle.com.)
Oh, and there's also his CD, "Brad Little" Unmasked" - also the theme of last week's solo concert with the Green Bay Symphony.
"Both the CD and concert were filled with songs from shows I've never done but would like to do," says Little, "such as 'Where is the Life I Led?" (from "Kiss Me Kate") and 'All's for the Best' (from "Godspell").
However, Little - who shares a home in Bristol with his wife of eight years, actress Barbara McCulloh (recently seen in both the Broadway and A&E network production of "PeterPan." with Cathy Rigby) - welcomes the challenge.
"We're two actors who have been fortunate to pay our bills doing something we love."  Little syas of himself and McCulloh.  "The theater is full of stories about starving actors and there aren't many people who can say that. In fact there aren't many people who can say that about their jobs, whatever they may be.  Doing something you love and getting paid for it - that's the best feeling.
 
 

For those unfamiliar with this Andrew Llyod Weber piece, it's a history class set to music. At times, somewhat confusing and to some a good place to take a nap ( as did the older gentleman sitting next to me).

To others it's a powerful lesson in politics "Argentina style" and of a woman who made an indelible impression on all of Argentina within her brief, controversial lifetime.

"Evita" is not everyone's cup of tea. It is however, a unique blend of music of different styles. From the hard, flinty "The Art of the Possible" and "Perone's Latest Flame" to the flowing "High Flying Adored". Then there's the ever popular heart tugger, "Don't Cry for Me Argentina". Of course there's an ever present Latino-tango theme both in dance and in songs like "Buenos Aires" and "On This Night of A Thousand Stars".

Bristol Pa.'s Riverside Theater gave it's best effort to capture all of the action and emotions in this true life story.

Eva-Duarte-Perone is played by Bethe B. Austin, a regular talent here at Bristol. A very talented woman and recipient of a Drama Desk Award for "Noises Off" and a Barrymore Award nominee for "Brigadoon". Ms. Austin obviously put her all into this demanding role. However, I thought the role a bit too challenging for her vocally. Her natural sweet voice which matches her physical appearance, was definitely not a strong enough resource to draw on for this power role. One critic commented that she did not "make him cry for Argentina" and I have to agree.

Che, the fatigue- garbed revolutionary, who narrates the entire show as well as exposes the corruption beneath our saintly Eva, is played brilliantly by former Broadway "Phantom", Brad Little. This highly charged rebel is certainty the focus of the show.

For one thing, he's about 6'3'' strutting about, climbing the catwalks everywhere and filling the theater with his cigar smoke. But the real reason is Brad's strong baritone and cocky mocking acting which really grabbed the audience and didn't let go for the duration of the show. Brad's also no stranger to Bristol. In fact he likes it so much that he bought a home there.

James Van Teuren was this show's Argentine president, Juan Perone. His Broadway experience also impressed the crowd in a very classy manner accompanied by a commanding voice and heartfelt acting. He was last seen as Dewhurst in "The Scarlet Pimpernel" both on Broadway and the tour. What a dapper change of character !

"Evita" is certainty not a show that boasts of elaborate costumes apart from Eva's business wardrobe as she toured the world to gain popularity for herself... I mean her husband. This story focuses on the people of Argentina, and the political arena and players.

The sets are fairly simple as they make good use of benches, rocking chairs, tables and of course Eva's bed, which is considered office equipment, from early on in the show.

This theater makes unique use of multi-leveled catwalks that surround three sides of the stage. It was cleverly utilized by most of the cast and a real credit to the direction of this production. During Eva's big song "Don't Cry for Me Argentina", the upper middle catwalk was slid out slowly to the front of the stage for a well executed act of transforming the audience into Eva's adoring crowd below. I only wish she had made me want to cry for Argentina.

This production was directed by Edward Keith Baker and choreographed by Bill Bateman. Set designs were by Nels Anderson and lighting by Scott Pinkney. Costume designer, Lisa Zinni and the production stage manager was Maria Cameron.

"Evita" ran from May 2 to May 28th.
 
 
 

From the "Ticket Section" of Central Bucks Life

Brad Little brings Che to life again in 'Evita' at Bristol Riverside Theatre

By Rita Charleston

Tim Rice and Andrew Lloyd Webber's blockbuster musical "Evita," the fabulous myth of Eva Peron, mistress and wife of Argentine dictator Juan Peron and saint on earth to millions of Argentina's poor, opens at the Bristol Riverside Theatre on May 1 and runs through May 20.

"Evita" is the journey of a little girl from an ordinary, lower class family who became the most powerful woman Latin America has ever seen. It made it's debut on London's Prince Edward Theatre stage in 1978.  One  year later it debuted in the United States with Patti LuPone as Eva Peron, Bob Gunton as Juan Peron, and Mandy Pantinkin as Che.

In the Bristol's version, Bristol resident Brad Little takes on the role of Che, who essentially serves as the narrator throughout the piece.  Little did the role 16 years ago.  "For just two nights," he adds quickly.  It was 1985 and the man who had the role got sick.  So without rehearsals of any kind, they just sort of pushed me out on the stage and there I was. Of course now, 16 years later I'm older and, thank goodness, have had a whole lot more rehearsal time under my belt."

Little says he definitely enjoys playing Che, and the only difficulty thus far has been the vocal range the role requires.  "I played the Phantom in 'The Phantom of the Opera' for over three years and that range is nothing compared to this one. But it's fun to have to stretch those notes that I haven't had to use in quite some time and see that I can still do it."

A short list of Little's credits would attest to the fact that he can do that and a whole lot more.  Recently leaving the road company of "The Phantom of the Opera," he just released his first CD, "Brad Little Unmasked," which includes a selection of Broadway tunes. Before the tour, he was in the Broadway production of "The Phantom of the Opera," playing the role of Raoul.  His other Broadway and national tour credits include "Cyrano, the Musical," "Fiddler on the Roof" and "Anything Goes."
Little received critical acclaim for his portrayal of Willy in "I Married an Angel," his portrayal of Jesus in the European tour of "Jesus Christ Superstar," and Tony in "West Side Story, " among others.

Born into a theatrical family (his father was a theater professor and both his siblings showed an interest in pursuing life on stage), Little says he went through the typical teenage rebellion period where he decided to concentrate on sports.
"But in high school  my girlfriend was in the choir so I decided to forgo sports, mainly basketball, and join the choir too,"  he explains. "As it turns out, that was a very wise decision on my part.  I don't think I'd have ben a very good basketball player anyway.  I'd probably have been the bench warmer."
"Now, almost two decades later, the decision was absolutely the right one for Little, who has played all over the country and the world. And in his travels he says he has noted that audiences differ especially by location.

"In fact, " he says, " I wanted to do a study on that very subject. It's  fascinating  to note, especially on a national tour, how audiences differ. Some are rambunctious and others stay very quiet.  In my experience, it's almost like that old real estate adage - location, location, location.

"I haven't played Bristol in some time (not since "The Robber Bridegroom" over a decade ago),
so I sort of forget how those audiences react. But I'm sure it'll be just fine because this show is wonderful and the relationship between Che and the audience becomes very personal.  That's one of the things that excites me the most about this musical and this role."

My husband Mike and I made the trip to PA to celebrate our 9th wedding
anniversary. It actually isn't until Aug. 31st, but we wanted to explore
that area and see Brad's performance at the same time, so we went on the
17th. The entire evening was wonderful (despite getting lost on the way
to the theatre!). In addition to Brad, who performed last, there were
five other performers who shared some of their own favorite songs.
Brad opened with 'Music of the Night', and brought all our memories of
POTO back to life for us. He then shared with the audience how he and
Barbara met at that very theater, and dedicated his next song, 'She Was
There', to Barbara. He went on to say that as we go through life we make
certain choices, and that sometimes we wonder what would happen if we
chose a different path to walk He then sang a series of songs
surrounding this common theme. He emphasized how in all the 13 years he
and Barbara had been together, he had always been faithful, but what
would happen if...? He sang 'Lost in Loveliness', and as he did so he
came INTO the audience and sang to different ladies, holding their hand
with a very mischievous expression on his face. I should know, as I was
one of them! Needless to say I was very amused (as was my husband) and
couldn't stop laughing! He continued along this line with 'I Am a
Gigolo' and 'Who Can I Turn To?'. He then perfomed 'What Am I Doing?' ,
dealing with obsession. He finished his segment with 'Empty Chairs at
Empty Tables', dedicated to veterans, and 'Soliloquy' from Carousel,
which focuses on being a dad, a path he has yet to walk.This last song
was especially amazing as he had the sound guy cut off his microphone,
and you didn't even notice the difference!
He has put Abby's pictures on his photo page and we couldn't
resist asking if he remembered our little girl. Not only did he remember
her, he grew very excited when we told him we were her parents, and even
added to me, "..and I even sang to you. How perfect!" What a truly nice
person. I hope that someday he and Abby will be able to meet.
Well, you asked for a review from 'Songs in the Key of Life'.