OLIVER

Charleston, SC - The Post and Courier - December 11, 2003 - Diane Sprung

'OLIVER' brings excitement to historic theater

In the production at Dock Street on Wednesday night, Director/Choreographer Dee Dee Sandt, assisted by Marybeth Clark, were the true stars.

Charleston, SC - The City Paper - December 11, 2003 - Jennifer Corley

The Power of Two

The highlights of the production are the big ensemble numbers, such as "Food, Glorious Food," "Consider Yourself," and "Oom Pah Pah," which contains the kind of tight choreography and direction (by Dee Dee Sandt) that signify a high-quality professional performance.

CABARET

Grand Rapids, MI - Grand Rapids Press - August 27, 2003 - by Sue Merrill

ALL That Glitters

Choreographer Dee Dee Sandt has created some nice ensemble movements, from Fosse-like mobile mass in "Money" to a kicky ballroom piece for the engagement party.

Elkhart, IN - The Elkhart Truth - August 28, 2003- by Marcia Fulmer

'Cabaret' still fascinating tale

The choreography by Dee Dee Sandt is provocative without becoming offensive, no easy task, and makes everyone look like a dancer which, this late in the season, is not always true.

Battle Creek, MI - Battle Creek Enquirer - August 28, 2003 - by Chris Towers

Performers shine in Barn's 'Cabaret'

Choreography by Dee Dee Sandt is both authentic and inventive.

Kalamazoo, MI - The Kalamazoo Gazette - August 27, 2003 - by C.J. Gianakaris

Barn's 'Cabaret' showcases fine singers

Choreography by Dee Dee Sandt here was smart, smooth and clearly well-rehearsed.

GERSHWIN AT FOLLY

Charleston,SC - Post and Courier - April 13, 2003- by Diane Sprung

'Gershwin at Folly' production 'S Marvelous show

" Gershwin At Folly" is a show that comes with some guarantees.

1. You're bound to go out humming some of Gershwin's S'Marvelous melodies.

2. Quiet toe tapping during the show is impossible to avoid.

3. When they strike up the band, do not sing along no matter how tempted, nor how well you know the music. It disturbs the top notch actors, led by writer/director Julian Wiles. Caveats finished.

Dee Dee Sandt's staging and dazzling choreography add greatly to Charleston Stage's production. Plaudits to the top notch singing and dancing.

Charleston, SC - City Paper - April 16, 2003- Jennifer Corley

A Musical Odyssey Charleston Stage's Gershwin At Folly

The choreography, by Dee Dee Sandt, is topnotch, and the skill with which the performers accomplish it is on par with every touring company musical of this kind I've seen.

Charleston, SC - Letter to the Editor- Post and Courier - April 16, 2003 - David B. Wham

Glorious 'Gershwin'

The musical " Gershwin at Folly" is wonderful in every sense of the word. As a guest at the Charleston Stage's Director's Circle recent performance, we the audience were transported to a bygone era of the Lowcountry.

The Charleston Renaissance was laid before us on the stage through scenes of black life on the docks of Charleston and revealed in lyrics of DuBose Heyward and the tunes of George Gershwin rising above the white sands of Folly Beach.

This exceptional cast revealed this new production with refreshing vigor and enthusiasm. the acting was superb, the choreography outstanding, the music phenomenal, and the voices moving. The use of tongue-in-cheek local Charleston history gave a vivid personal touch to this unique performance.

The performance is a must see for any local and a wonderful treat for other Carolinians.

My only regret is that this production is not planned to be a part of Spoleto, and that this jewel of a performance will not be shared with the rest of the world.

JERRY'S GIRLS

Kalamazoo, MI - Kalamazoo Gazette December 6, 2002 - by Ben Johnson

'Jerry's Girls' performers dazzle with dance and song

There are 10 diamond-bright reasons to go see "Jerrry's Girls," which opened Thursday night at Western Michigan University's Multiform Theatre, and sometimes all 10 are onstage at once, dazzling you with their dance moves and stunning you with their vocal prowess.

The music revue, which runs through Sunday, stars 10 female WMU students who bring audacity and charm to show tunes from Herry Herman's musicals-"Hello Dolly!" "La Cage Aux Folles," " Mame" and others. The young women's animated interpretations are an equal pleasure to hear and to watch.

Western's habit of hosting a holiday song-and-dance production in the Multiform's intimate space is an annual delight, and this year's version adds even more than the usual spice. Humor abounds and so does glamour as the women wear black satin pants and sheeny, off-the-shoulder tops. Two or three sport '40's-style haridos and makeup.

Director and choreographer Dee Dee Sandt keeps the 90-minute show moving smartly through it's 30- some numbers. The pace is set in the first few songs, when the new performers actually chase those who are just finishing their number off the stage, like kittens at play.

Nicole Horton's rendition of "It Only Takes a Moment," from "Dolly," wows the audience early. Her thrilling vibrato and extended breath control set a high mark for the other women to meet, but, one by one, they set up and deliver, each in her own style.

Seven of the 10 women have solos; others perfom in duets and trios. One of the pleasures of the production is in observing how each woman brings her own vocal timbre, facial espressions and distinctive movements to interpreting her solo number. And when the group performs in full ensemble, the effect of this varied talent only grows more interesting.

On "If He Walked Into My Life," Altamiece Carolyn Ballard exhibited a presence and powerful vocalization that the audience responded to. On the poignant "song on the Sand," Kristyn Hemmingway handled the phrasing and the half-note changes beautifully. And for comic characterization, Kristie J. Kelley played an old stripper to perfection in "Put it Back On": " My figure has fallen/Let's face it, my dear/ Two trampolines would make one good brassiere," she sings with broad inflection-that is, with all the inflection of an old broad.

The show hits its high point early in Act II with the "Movie Medley," where Sandt's spirited choreography in "Just Go to the Movies" has the women imitating Keystone Cops, riding the range, and finally toddling offstage like the Little Tramp himself, imaginary canes in hand.

Immediately thereafter, the show slows for an effective change of mood with "Kiss her Now," a pretty duet sung with feeling by Horton and Sarah E. Ball, perched on stools with their backs to each other.

Another of the show's virtues is the clear enunciation the women bring to the songs, enabling the audience to follow Herman's witty lyrics even when the singer's back is turned. And what priceless lyrics they are. In "Nelson," which ridicules a wooden matinee idel, Hemingway sings, "My hero must stand on a box in our love scenes/And, God, does he act like a lox in our love scenes!"

Sandt employs a variety of techniques to make sure that no side of the four square theatre goes for long without seeing a profile, three-quater or full-on view of the singer or singers.

Nor are Sandt and music director Glenn Wheaton afraid to play with the standards. Ballard and ensemble deliver "I Am What I Am" from "La Cage" at a stately tempo, and the full group performers a hushed version of "Mame" accompanied by drum brushes. Wheaton's seven-piece band deftly underscores the song's phrasings, as Andrew Bunn's trombone comically intrudes on "Put It Back On" or when the drumbeats accent the women's movements on "Show Tune."

It's all such good, frolicking fun that when the women wrap up the show with "We Need a Little Christmas," audience members are inclined to think that, indeed, they have just gotten a little Christmas glow.

KISS OF THE SPIDER WOMAN

Kalamazoo, MI-Kalamazoo Gazette October 11, 2002-by Gordon Bolar

"There's still plenty of passion and power in 'Kiss'

"...By the time Molina is carried off in the narcotic rapture of "Morphine Tango" we are ready to surrender to Dee Dee Sandt's inventive choreography,"

Springfield, MO-News-Leader May 1, 2002 -by Larry Collins

"Movie musicals colorize prison life"

"The prison set strikes just the right note of institutional bleakness, but allows easy movement for the seven inmates who double as Aurora's dancing partners in the stylish movie scenes choreographed by Dee Dee Sandt."

AS BEES IN HONEY DROWN

Springfield, MO- News-Leader February 14, 2002 - by Larry Collins

"Victim con artist hit mark in 'Bees' "

"Director Dee Dee Sandt stages the action in short, fast-moving scenes that skewer the shallowness of comtemporary pop culture."

LITTLE SHOP OF HORRORS

Elkhart, IN - Elkhart Truth July 11, 2002-by Marica Fulmer

"Barn's 'Little Shop' sci-fi fun"

"The girls are a highlight of this "Little Shop," hip-swinging, finger-snapping to Dee Dee Sandt's right-on choreography, they are a cynical Greek chorus (or trio) with a bebop beat. They blend well, deliver articulately and never drop out of character, an outstanding combination.

Battel Creek, MI - Battle Creek Enquirer July 11, 2002 - by Chris Towers

"'Little Shop' another smash hit form Barn"

"Co-directors Dusty Reeds and Haynes fill the show with all sorts of hilarious business aided by Dee Dee Sandt's wonderful choreography."

Kalamazoo, MI - Kalamazoo Gazette July 10, 2002-by Elizabeth Clark

"Humor blooms in 'Little Shop'

"Scott Burkell and George McDaniel's delightfully choreographed pseudo-tango in "Mushnik and Sons" also brought big cheers."

OLIVER

Lansing MI - Lansing State Journal August 15, 2001 - Lamont E. Clegg

"Consider yourself entertained"

Director Dusty Reeds, choreographer Dee Dee Sandt and set designer Andrew Hammer together have crafted a show with a strong vision that is visually strong.

Sandt's choreography demonstrates how dance can be used to advance a stroy, aid in character development and mesmerize an audience. Always fitting with the period and story, the choreography is an integral part of this production. Of particular note is the choreography of "Consider Yourself." You could feel a collective smile from the audience during that number. the dancing during "I'd Do Anything" and the slightly decandent and fun choreography of "Oom-Pah Pah" are also winners.

Battle Creek, MI - Battle Creek Enquirer August 16, 2001 - April Jo Morin

'Oliver!' has crowd begging for more

A combination of Dee Dee Sandt's sharp choreography and director Dusty Reeds' vision was evident from the first number. The work house boys mastered their powerful movements; their faces went from disgust with the orphanage to pleasure with the thought of "Food Glorius Food."

"I'd Do Anything" Showcases the pair ( John C. Brown & Penelope Alex) doing ballet choreography that works perfectly as the ensemble joins in. Other group numbers that shine are "Consider Yourself" and "Oom Pah-Pah".

Stand-out performances by Penelope Alex and John C. Brown and successful group choreography dramatically raise the level of this production.

Kalamazoo, MI - Kalamazoo Gazette August 15, 2001- Gus Gianakaris

Barn's Talent - filled 'Oliver!' a sure hit

Keeping the auience always entertained was Dee Dee Sandt's splendid choreography.

Her dance numbers often involved a stage completely filled with performers (including very young children), and still the patterns of movement always flowed interestingly.