Press

This is from a handwritten letter I received from a person who saw the play on 7/24/05 (Amelia's 108th birthday).

Doug,

I want to tell you why I enjoyed Amelia's Journey so much and had so much fun watching it. A summary of the joy of Amelia's Journey: the history of it, the mystery of it, the romance, the drama, the incredible research, the wonderful book, the terrific director/choreographer, the wonderfully talented entire cast (more later) and, ah, the music! And it all flows beautifully together, -- a great collaboration among all.

I've always been fascinated by that period of time and how the country managed to survive it and still we had our heroes, a female - Amelia Earhart. And the mystery of her disappearance and how the play begins and ends with that question leaves everyone hanging and still wondering. The history was incredibly researched and written well, great fun to sit, to listen to it and the music surrounding it and being a part of it. I know three women right now that would go see it just for the history of it. And the whole women's issue of strong roles/strong, brave women accomplishing what men were doing at such an early time in the country's history and the difficulties they faced in so doing is so current and involving and provocative. You have an audience for this play. One of the play's great points is that it really is a family production.

I'd love to see Amelia's Journey as a big production with many different sets (as it has so many different locations) in NY, on or off Broadway or here in DC at the Kennedy Center or the National Theatre. I think it's that good and that professional of a production.

I've got some words about the cast, starting with director/choreographer/actor/singer/dancer Christy Stouffer/Annie Page. In simple terms she's great and extraordinarily talented and a joy to watch. How alive she makes the role, and the production is so terrifically choreographed. Next, to Walt League/Mike Harris, the reporter. He's a great actor, so genuine, real, really drawing you in, holding your attention, and gives a very dramatic performance. I thought he was terrific, just a touch of understatement, which I loved. Scott Tanski is terrific in the Putnam role, a terrific actor/singer totally believable (and likable) and his enthusiasm and drive as her promoter was such fun to watch. I started out in PR and a publicist/promoter has to get the client out there and has to be aggressive to do it effectively so I totally empathized with Scott as Putnam and yet he was able to project a tender side with Amelia when their love finally developed. He was great in that role. And I think a lot of people will be able to relate to that role now in this sophisticated era of celebs and politicians. Being constantly promoted Mary (Simmons) Spencer/Amelia was fascinating and, again, really believable in her role and incredibly talented. She did such a wonderful job of projecting softness/strength and then braveness and that jump (while everyone was dancing a the party) , or rather leap, on to Duke's shoulder was breathtaking, daring, dramatic, leading one, or the audience, to wonder if, indeed she and Duke may have had more of a connection than close friends or mentor/student. It was a wonderfully surprising, romantic moment. Diane Ligon (Gwen) and Alex Campbell (Duke) were really wonderful. Duke was a great foil for Putnam and so touching when he sang "If You Were Mine." Great Actor/Singer. Ligon's performance at the end with Gwen's line re the breadlines and the incredible expense of searching for Amelia, stressing she was a brave woman, a strong woman, really added to the history/mystery of the production and she did it beautifully. Elizabeth Lasner (Louise) was just marvelous in her role as Putnam's secretary, capable of great comedy, great drama. The rest of the ensemble, absolutely great, all so talented and so much fun to watch.

But now to the music. I love it. You and your collaborator did a fantastic job -- there are a couple of songs I'd like to see out there on their own. Really Doug, the music was wonderful and such a wonderful part of the production.

I did enjoy the play, an intelligent production and fascinating story.

Sincerely,

VG

Baltimore Sun July 2005

by Mary Johnson

'Amelia's Journey' - a musical about the famous female pilot - emerges
brighter and tighter on the second try.

July 29, 2005

Based on the life of America's most famous female pilot, Amelia Earhart,
the musical Amelia's Journey continues tonight through Sunday at
Chesapeake Arts Center's Studio Theatre, where it premiered last July.

After some fine-tuning at five shortened performances at Colonial Players
during First Night Annapolis, and with more revisions at recent CAC
rehearsals, the current version is tighter and faster-paced than last
year's, and is enlivened by well-executed, stronger choreography and
stronger supporting players.

Annapolis attorney and composer-lyricist Doug Schenker's original musical,
with book supplied by his friend and collaborator Linda Page, was a
sold-out hit at the premiere run, boasting a score that moved the action
forward, memorable characters and solid storytelling. These qualities
remain, with a more exciting and better-performed score. Notably,
Schenker's song "Spread Your Wings" and his longtime music collaborator
John E. Starr's "You're Mighty Lucky to Have Met Me" both sounded better
than remembered.

The current production again benefits from the talent of musical director
Anita O'Connor. Director Christy Stouffer adds energy and life to the
story, and her choreography adds sparkle. Stouffer also plays the role of
pilot Annie Page to perfection. Schenker serves as producer, with his
friend Starr serving as music arranger and performing on the recorded
soundtrack with Gerry Kunkel.

Amelia's Journey concentrates on Earhart's nine-year relationship with
publisher-promoter George Palmer Putnam, who in making her a celebrity
helped her attain her dream to fly around the world. Earhart was a naive
woman of courage and honesty when she met Putnam, who made her dream
possible by transforming her into a celebrity who reached beyond her
piloting skills. Initially annoyed at Putnam's brash manipulation of her,
Earhart gradually developed enough affection to marry him.

Above all, the current production is enriched by Mary Spencer, reprising
her role as Earhart. Spencer has her Earhart grow from an appealing,
innocent young woman to a sophisticated socialite hostess whose honesty,
bravery and earnestness about flying shine through. Spencer finds every
nuance of meaning within each lyric to add emotional impact to the musical
score.

Again in the role of Putnam, Scott Tanski seems stronger, with the right
mix of raw energy, forceful personality and warmth. He shines with a rough
charm in "You're Mighty Lucky to Have Met Me" where he is backed by
Stouffer's inspired choreography. Tanski conveys the complexity of
Putnam's devotion to Earhart, packing emotion in the duet "The Wisdom of
Solomon" that reveals the mutual profound affection this complex couple
shares.

The supporting players are strong, with Diane Ligon as Earhart's lifelong
friend Gwen Bowen conveying warmth and allegiance, while adding needed comedy.

Also adding comedy and authenticity, Elizabeth Lasner is a standout as
Putnam's secretary, Louise Applebaum.

Alex Campbell is an appealing Duke Munroe, Earhart's flying instructor,
and Walt League hits the right note as reporter-narrator Mike Harris, who
keeps the action moving naturally and smoothly.

Fred Taylor does well in the multiple roles of the sheriff, Putnam's
butler and an Irish mayor. Also playing multiple roles, Beth Terranova is
a standout as feisty dance captain Jonnie and is hilarious as a DAR lady,
with her energetic dancing a joy to watch.

With this production, Amelia flies higher than ever and is eminently worth
visiting.

copyright 2005 Baltimore Sun

Bay Weekly

by Dick Wilson

Singapore Airlines last month inaugurated a new scheduled direct flight between Singapore and New York. That’s not really big news these days, but Amelia Earhart’s 1937 attempt to fly a small airplane around the world was very big news at the time.

The story of Earhart’s pioneering attempt to become the first woman to span the globe has become the stuff of legend. The legend goes something like this: Earhart, possessing an overabundance of courage and determination, decided one day to fly around the world, so she climbed into her airplane and took off, disappearing into the vast Pacific Ocean. The real story, and the background leading up to the event, is much more complex and interesting.

Amelia’s Journey, at Chesapeake Arts Center, opened on July 16 to a sold-out house. This play is a musical, and the music is excellent, but the real delight is the discovery of the story within the play: a complex, convincing account of the profound consequences that result from the fateful convergence of two lives.

That Amelia had the qualities of courage and determination is without question. Devoted to aviation in a time when aviation was still in its adolescence and women didn’t do such things, she was a proficient pilot who had set several aviation records. But this play is, at its core, not about flying; it’s about Amelia’s nine-year relationship with George Palmer Putnam, the man who molded her into a legend.

As revealed by author and producer Doug Schenker, who spent more than a decade researching and working on this play, Amelia’s tragic story was fated from the moment she met Putnam, a publicist/promoter whom she would eventually marry.

Putnam (Scott Tanski) is the man who, through stunts and publicity tricks, makes Amelia into a national idol. What is important to Putnam is, in his words, to “make her an icon suitable for the age.” He succeeds; Amelia becomes famous the world over. Then Putnam asks Amelia to pilot an aircraft around the world, becoming the first woman to do so. Amelia agrees even in the face of suggestions (she has her own doubts on this score) that she lacks the experience and piloting expertise to accomplish such a task.

Tanski is brilliant in the role of Putnam, who exudes such an air of serene confidence that it’s obvious that Putnam always knows — even the audience thinks he knows — what’s best for everyone. Putnam is a masterful publicist with a genius for creating and exploiting publicity, and that’s what he does best. He observes reality and then reshapes it to suit his goals. The possibility that he’s not always serving Amelia’s best interests doesn’t seem to enter his mind.

Amelia (Mary Simmons) knows that she’s being manipulated and protests mightily but to no avail. Simmons portrays a woman of ambition and good sense whose emotional turmoil allows Putnam to have undue influence on her decisions. Simmons is a deep study as Amelia wrestles with her feelings toward Putnam, disliking him at first, then allowing love to take root.

Simmons and Tanski work together in a way that leaves no doubt that these roles are portrayals of real people who have human failings. It is a joy to watch these actors develop their characters synchronously; they are like airplanes flying in perfect formation, turning, climbing and descending as one. (I couldn’t resist the simile.)

The 12 songs, most of them written by Schenker, are all original. I found this catchy music on par with many proven Broadway productions. Most of the pieces are fresh, generating feelings that are appropriate to the play’s soaring theme. I particularly liked “Spread Your Wings,” “The Journey’s Not Over” and “Fly Through the Universe with Me.”

Amelia’s Journey is a serious work deserving serious attention. The play and music capture the essence of a tragic story that took place at a time when the unlimited potential of human flight was becoming part of the national consciousness.

Concept by Doug Schenker. Book: Linda Page. Producer: Doug Schenker. Director: Elise Ullman Lyrics: Doug Schenker Music: Doug Schenker and John Starr. Musical arrangements: John Starr. Music Director: Anita O’Connor. Choreographer: Vicki Smith.

copyright 2004 Bay Weekly

Baltimore Sun

by Mary Johnson

July 22, 2004

Klieg lights were the only thing missing from the sold out world premiere of Amelia's Journey Friday at Chesapeake Arts Center's Studio Theatre. Greeting arrivals were composer-lyricist Doug Schenker, playwright Linda Page and director Eloise Ullman, who created the musical based on the life of aviator Amelia Earhart and her husband-promoter George Palmer Putnam.
The opening performance got nearly everything right, including a score filled with songs that move the action forward, a talented and well-rehearsed cast, the innovative and expansive use of theater space, the aura of authenticity in the characters, authentic period costumes and a great art deco door.
Solid storytelling devices include radio broadcasters and reporters relaying historical news bites that help propel the action seamlessly, and the intense audio drama of Amelia's final transmissions from the plane.
Schenker, who first developed the Amelia concept, credited director Ullman for casting and directing the show. Ullman additionally proved so skilled at networking that she attracted highly proficient tech people from the ranks of Colonial Players, who donated their time and talents. From music director Anita O'Connor to leading lady Mary Simmons with a chorus in between - all testified that it was Ullman who drew them into the production.
Page has created a first-rate script that holds audience attention from the first scene to the last, coming full circle with news of Amelia's disappearance.
Contributing to the high level of professionalism are O'Connor, who does her usual excellent job as music director, and Vicki Smith, who brings her unique sparkle to the choreography.
As Amelia, Simmons has a commanding, serene stage presence and enough acting skills to become the character in all her human multi-dimensionality. Simmons sings well and invests genuine feeling into the lyrics. She possesses an innate grace that serves her well in the dance numbers. She also undergoes a major transformation from plain young woman to sophisticated hostess, and is every inch the iconic aviator in authentic flight garb.
Initially, Scott Tanski doesn't quite fit the society mega-mover image of George Palmer Putnam, but he is believable in the demanding role through his dynamism and forceful personality. Tanski also sings well, although at times he is a bit loud for Simmons' Amelia, resulting in occasional balance problems. But Tanski cannot be faulted for his chemistry with Amelia.
Among the outstanding supporting actors, Jud Wegner is attractive as Amelia's flying instructor Duke Munroe, dominating the stage and revealing perhaps the best voice in the cast. His "If You Were Mine" is a showstopper.
Janene Borandi gives a strong performance as Amelia's lifelong friend Gwen Bowen, and Christy Stouffer is terrific as fiesty female pilot Annie Page.
Amelia's Journey continues at the Chesapeake Arts Center's Studio Theatre at 8 p.m. tomorrow and Saturday and at 3 p.m. Sunday. For tickets call 410-636-6597.
Copyright © 2004, The Baltimore Sun

Pat Troy said

The music spoke to me in a profound way.