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MTC and director Amy Haynes Rapnicki have chosen to present this behemoth piece in a modified concert setting, and the decision proves wise, allowing the upstart company to focus on their art and not the massive (and costly) sets and props, in particular bulky pianos and the usually prohibitive but requisite Model T Ford automobile that features predominantly in the tale.

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Amy Haynes Rapnicki had a daunting challenge before her in taking on this mammoth project, and she tackled it. Her scenes and transitions blend fluidly, her characters are well-developed and imperfect, and her story-telling skills on easy display. I give her special praise for presenting the libretto as written by McNally, maintaining the offensive racial slurs and use of the N-word to deliver the impact the piece was conceived for. Most local (and even the occasional regional or dinner theatre production) shy away from this for fear of offending a tender audience and soften the language. Yes, to hear it live onstage is shocking and uncomfortable, but sometimes we need to be jolted into uncomfortable territory to get the full emotional historical impact. […] I admire Haynes Rapnicki’s conviction and dedication to the message of her piece.

http://www.theatrebloom.com/2023/11/ragtime-at-maryland-theatre-collective/

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The show’s costumes are unlike any you could imagine for Rent though in the best way possible. In attempting to make this production “not your grandma’s Rent” (which is a very popular trend with mounting musical theatre post-pandemic, across the board) both Malek and Wardrobe Coordinator Amy Haynes Rapnicki have pulled out all the stops when it comes to clever, creative, fantastical costuming. Rent is an iconic show and while some characters are expected to appear in certain togs and threads— like Mark with his sort of disheveled scarf and glasses or Joanne in her posh suits and Doc Martins— Rapnicki and Malek breathe innovative life into retooling some of these costumes. When we first meet Angel, she’s in boring street clothes— but check that Christmas tree painted on the derriere of her jeans! (Gives excellent new meaning to Collins’ line “nice tree.”) Of course Angel gets a total transformation with a fluffy black petticoat, corset and a fabulous faux fur red and green tree-skirt cape! Maureen’s pants are also on point for “Over The Moon” colored in cow print, with MOOOOO printed across the seat of the pants, and spotted with other Elsie references. The detailed work on these costumes are just off the hook. Even the core-six (the non-named characters of the ensemble) get some pretty nifty threads, like that fur-coat seen early in the show on Ayanna Tucker; it looks like somebody swatch-sampled a sasquatch. The show’s costumes well-reflect that gritty, grungy, urban life of the early 90’s, matching the poster-graffiti plastered wall and Jonathan Larson’s reality.

http://www.theatrebloom.com/2022/07/rent-at-the-heritage-players/

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Despite some technical hiccups and a directorial switch-up, with Amy Haynes Rapnicki stepping in just a week before opening night, Third Wall’s Producers is a solid show that features a great many talented performers, giving enthusiastic and energetic performances from start to finish.

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A great many congratulations are owed to Director Amy Haynes Rapnicki for swooping into the production at the last minute and to the incredible cast and crew who have worked tirelessly to get the production off the ground.

http://www.theatrebloom.com/2019/05/the-producers-at-third-wall-productions/

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Director Amy E. Haynes is showing off her stuff
She’s unearthing layers in Seussical, and that’s pretty tough!
In the Rice Auditorium on the proscenium stage she gets everything set
You’re in for a treat!
Ih the creativity you will get!
Haynes coaxes out nuances from each performance you see
There are unique personalities from A to Z!

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Haynes partners up with Andrew Worthington, the show’s Musical Director
When it comes to producing quality sound, well he’s certainly no defector!
Worthington and Haynes when it comes to excellence with this show they just won’t quit
They both make the very smart decision to exclude from this show a musical pit!

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Back to Haynes and her vision, which is very adept
She’s got this imagination in the box as her framework concept.
When the story gets started, it’s all about imagination you see
The physical box is Jojo’s imagination, which he shares with you and with me!
This allows for simplistic beauty, like turning the whole cast into fish with just masks
And letting little light tricks do wonders, it’s genius, just in case anyone asks.
But enough about Haynes, we all know she’s swell and her ideas are mighty great too
Let’s get onto the cast— because boy, what a show! What a marvel is waiting for you!

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To see this production of Seussical that Amy E. Haynes has done up right
It’s a fantastical production, good afternoon and night!
You won’t want to miss this Seussical, trust me when I say this— I know.
I’ve seen more than a dozen, and The Heritage Players’ one is a great show!

http://www.theatrebloom.com/2017/07/seussical-at-the-heritage-players/

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