Plot: In today’s modern world, Judy and Johnny feel out of place. They’ve chosen to give up the trappings of the Internet age and live life like it’s 1950 all over again, but “Nostalgia ain’t what it used to be…” How can they cope when the fantasy of domestic bliss clashes with cold hard reality? Issues of marriage partnership, identity, and traditional gender roles swirl in this halcyon dream of yesteryear where rules and routines become a love language all their own. “An original, sometimes unsettling look at the masks people put on in order to conceal their pain.” The Evening Standard. WhatsOnStage raves“…sharp, funny, and strikingly perceptive play,”

From the Director: “So often, when we talk about love and marriage, there’s this idea of the “honeymoon phase” and then real life, and we romanticize that honeymoon phase when reality proves itself to be difficult. I think what speaks to me most in HOME, I’M DARLING is that love forged through facing reality and continuing to choose love is so much deeper and more authentic than any of the impressions of love we get in the honeymoon phase. Fantasy can get you so far, and it’s scary to leave fantasy behind, but life becomes so much richer when you take real stock of what actually works for you and what you actually want in the confines of reality.” —Peter Fenton, Director

Director: Peter Fenton Producer: D. Ryan Lafferty
Stage Manager: Terri Bentley Lighting Designer: David Sullivan

Cast:
Kira Stein as Judy
Sara Stepnowski as Fran
Parker Madison as Johnny
Danny Gleason as Marcus
Denise Dole Puchalski as Sylvia
Megan Gramlich as Alex

Tickets are $25 each, available at www.LanghornePlayers.org
(Discounted student admission and group rates are available.)
Special Events: Join us for a gala celebration opening night! – Talk-Back Session (Audience Q&A with the cast immediately following the performance, Sunday 6/19)

Be Advised: Langhorne Players content is intended for a mature audience, ages 17 and older.
For any questions or further information, please contact info@langhorneplayers.org

Theater/Organization: Langhorne Players
Theater Address: 1440 Newtown-Richboro Road Newtown, Pennsylvania 18940 (Map It)
Theater Phone: (215) 860-0818

Similar in construct to the popular Jersey Boys, the show requires its cast to serve as both actors and musicians—a formidable challenge given the technical demands of the material.

While the plot is lean—utilizing career shifts and professional jealousies as mere scaffolding for the musical numbers—the performances are so effective that noting the thin narrative is a mere quibble.

The Pennsylvania Shakespeare Festival production features a powerhouse cast: Jeremy Sevelovitz (Carl Perkins), Nick Voss (Elvis Presley), Chance Michael Wall (Johnny Cash), and Dominique Scott (Jerry Lee Lewis), with Scott pulling double duty as the production’s musical director. The ensemble is rounded out by John Gardiner as Sam Phillips, Shannon Mullen as Dyanne, Mike Lucchetti as Fluke, and Chuck Zayas as Brother Jay.

Perhaps the most impressive achievement here is that, under Jim Helsinger’s direction, the actors find their own voices within these legendary personas. This nuance prevents the piece from devolving into a “Vegas impersonator” showcase and lends the evening a genuine heart.  Helsinger preserves the intimate spirit of the piece, framing it as a quiet, free-wheeling jam session among singers on the cusp of legendary status.

Scenic Designer Bert Scott captures the ramshackle charm of the Sun Records studio, while Eric T. Haugen’s lighting provides vibrant visual variety for the vast song list. Though David M. Greenberg’s sound design is generally balanced, it occasionally borders on being overly aggressive for the space. Lisa Zinni’s costumes effectively anchor the production in 1956 while subtly hinting at the “branded” icons these men would eventually become.

Ultimately, MILLION DOLLAR QUARTET is about the music—and in this production, the music is terrific.

MILLION DOLLAR QUARTET
By Colin Escott and Floyd Mutrux
Original Concept and Direction by Floyd Mutrux
Inspired by Elvis Presley, Johnny Cash, Jerry Lee Lewis, and Carl Perkins
Directed by Jim Helsinger
Music Director: Dominique Scott

Running thru 6/28/2026 at

PENNSYLVANIA SHAKESPEARE FESTIVAL
2755 Station Avenue
Center Valley, PA 18034
Box Office:
610.282.WILL
https://pashakespeare.org/million-dollar-quartet/

Review submitted by:
Franklin Joseph

Author’s Bio:
Franklin Joseph is an avid theatre goer who takes delight in the active theatre arts community of the southeast Pennsylvania region.

What was so special about this show? The cast. The sentiment that echoed night after night from the audience was “it was like watching a real group of friends up there.“ The secret? They were. Although they had met just a few months before under the careful direction of Sharon Coyle, this group of women formed an unbreakable bond. That friendship was the birthplace of Magnolia Productions.

“In community theater you usually do a show, promise to keep in touch and say goodbye,” said Magnolia cofounder Samantha Ambler. “Most times that doesn’t actually happen, though. You may see each other for a little while, but after time, everyone gets busy and moves onto new projects. We knew we weren’t willing to let that happen to this group. We weren’t willing to let go of each other.”

The solution? Ambler and castmate Christa Collier decided to start their own company, dubbing it “Magnolia Productions”. Producing plays with friends was only the first of their goals–the bigger aim was to give a voice to women. Magnolia was founded on the principle of presenting stories by women, for women, to women. They believe every woman has a story worth telling and hearing.

This month they are telling some of the hardest stories to hear. On June 12 they open a production of the still-controversial THE VAGINA MONOLOGUES by V (formerly known as Eve Ensler). “It’s wild that even in 2026, this is still considered a taboo subject,” said board member and co-director Anne Kaufman. “This play gives audiences–women in particular–the chance to connect to each other and to the community that shares these experiences. That’s what community theater is, and should be about.”

The play features monologues with a variety of topics affecting the female body. Some are humorous and lighthearted, others tell stories of abuse and atrocities committed against women. The cast features 13 actresses of diverse backgrounds telling the stories of hundreds of women.

“These are the kinds of stories Magnolia was created to tell. No matter how uncomfortable they may be to hear,” said Ambler, also co-directing this production.

For this show’s community outreach, Magnolia Productions is hosting a donation drive for The She Shed of the Bayshore area. They are asking all audience members to make a donation of new, sealed feminine hygiene products. At the end of the show’s run, all of the donations will be given to The She Shed to help women in the local area who are in need.

Magnolia Productions is a 501(c)(3) not-for-profit community theater group founded and run by women. THE VAGINA MONOLOGUES is the last show in their second complete season. Their first season, which consisted of four shows, garnered them six nominations for excellence in theater from New Jersey Association of Community Theater.

THE VAGINA MONOLOGUES runs June 12-20 with performances Friday and Saturday nights at 7:30, plus 2 PM on Saturdays, at The Theater at the Navesink Library: 149 Monmouth Ave. in Atlantic Highlands. Tickets are available at magnoliaproduction.ludus.com.

Theater/Organization: Magnolia Productions
Theater Address: The Theater at the Navesink Library, 149 Monmouth Ave, Atlantic Highlands, New Jersey 07716 (Map It)
Theater Phone:

North East, MD — The Milburn Stone Theatre at Cecil College is thrilled to announce the upcoming production of Cruel Intentions: The ’90s Musical, running June 12–21, 2025. This edgy, electrifying stage adaptation of the cult-classic film brings scandal, seduction, and ’90s nostalgia to the Milburn Stone stage — and promises to be one of the most talked-about productions of the season.

Based on the beloved film and featuring a book by Roger Kumble, Lindsey Rosin, and Jordan Ross, Cruel Intentions: The ’90s Musical follows step-siblings Sebastian and Kathryn as they scheme, manipulate, and seduce their way through Manhattan’s elite — until real emotions threaten to unravel it all. Set to an unforgettable jukebox soundtrack featuring Britney Spears, R.E.M., The Verve, and more, this production is packed with drama, passion, and dark humor that will keep audiences on the edge of their seats.

Recommended for ages 16+ for mature themes and content.

“If you’re a ’90s kid like myself, you’ll love Cruel Intentions,” said MST Artistic Director Andrew John Mitchell. “It’s the story you know and love, filled with an incredible soundtrack full of songs from the decade. The cast is incredible, the choreography is fantastic, and our live band will keep you rocking all night long. Don’t miss out on Cruel Intentions.”

Performances:
Friday, June 12 at 7:30 pm
Saturday, June 13 at 7:30 pm
Sunday, June 14 at 2:00 pm
Friday, June 20 at 7:30 pm
Saturday, June 21 at 7:30 pm

Cast:
Sebastian Valmont — Cole Hanrahan
Kathryn Merteuil — Marion Jackson
Annette Hargrove — Eliza Davulcu
Cecile Caldwell — Karly Laskowski
Blaine Tuttle — Matt Lucatamo
Greg McConnell — Dalton Watts
Ronald Clifford — Dorian Bean
Dr. Greenbaum / Bunny Caldwell — Karen Decker
Manchester Prep Students / Ensemble — Sabrina Van Voorhis, Jacob Redden, Chase Dove, Lindsay Hamilton

Production Staff:
Director — Andrew John Mitchell
Music Director — Aurelien Eulert
Choreographer — Caitlin Van Driessche
Intimacy Coordinator — Lucy Vavala
Stage Manager — Riley Calpin
Lighting Designer — Matt Coyle
Audio Engineer — Paul Surowiec
Costume Designer — Maggie Dennis
Properties Designer — Daniel Combs

Tickets are available through the Milburn Stone Theatre box office at (410) 287-1037 or online at the Cast98 Studio page. Whether you’re a longtime fan of the film or discovering the story for the first time, Cruel Intentions: The ’90s Musical is a thrilling, unforgettable night where reputations are everything — and no one plays fair.

Cruel Intentions: The ’90s Musical is presented through special permission from Broadway Licensing Global.

The Milburn Stone Theatre is a community theatre located on the campus of Cecil College, open to the entire community. For more information, visit us at One Seahawk Drive, North East, MD 21901 or call (410) 287-1037.

###

Theater/Organization: Milburn Stone Theatre at Cecil College
Theater Address: One Seahawk Drive North East, Maryland 21901 (Map It)
Theater Phone: (410) 287-1037

Media Contact
Michele Danna
Education Director
Email: EducationDirector@milesquaretheatre.org

Mile Square Theatre Presents “An Evening in the Woods: Musical Selections from Into the Woods”

Spring 2026 Education Program Fundraiser Concert to Support Accessible Arts Education

Mile Square Theatre is proud to announce its first-ever Education Program Fundraiser, “An Evening in the Woods: Musical Selections from Into the Woods in Concert,” taking place on Saturday, June 13, 2026 at 7:00 PM, with a preshow reception beginning at 6:00 PM.

Directed by Michele Danna, with Musical Direction by Robert Farruggia and accompaniment by Andrew Sfiris, this special evening will celebrate the talent, artistry, and community that define MST’s growing theatre education program. The concert will feature performances by MST’s youth and adult students alongside professional Teaching Artists and industry professionals.

Guests are invited to arrive early for a festive preshow reception featuring drinks, light bites, raffles, door prizes, and more. Following the performance, audiences are welcome to join the cast for a post-show celebration in the lobby.

Tickets are $25 for adults and $10 for children under 12 and seniors. All proceeds from the event will directly support MST’s Theatre Education Department and its mission to provide high-quality, accessible theatre training and performance opportunities for artists of all ages and experience levels.

“Our goal is to continue growing a program that is both artistically excellent and financially accessible,” said Michele Danna, Education Director at Mile Square Theatre. “This fundraiser allows us to expand scholarship opportunities, support professional Teaching Artists, and create meaningful creative spaces for more members of our community.”

Throughout the year, MST offers a comprehensive theatre education program for youth and adults, including classes in Musical Theatre Voice, Acting, Improv, and more. The youth division serves students ages 4-18 of all skill levels and abilities, while the adult program welcomes everyone from seasoned performers to first-time participants. Summer offerings include youth performance camps and a young adult musical theatre program for performers ages 18-25.

MST’s Education Program is dedicated to fostering an inclusive and welcoming environment where artists can take risks, grow creatively, and build community through the arts. By working with a diverse team of professional Teaching Artists actively engaged in the industry, MST makes high-level theatrical training accessible to performers at every stage of their artistic journey.

Production Team
Director: Michele Danna
Musical Director: Robert Farruggia
Accompanist: Andrew Sfiris

Featured Performers
Adult Students
Maria Dimoka
Gretchen Goldsworthy
Tania Hryckowian
Victoria Ioppolo
Alexa Kirkpatrick
Margaret Leone
Christine Melina
Maria Ruppert
Rachel Schardt
Kenton Williams
Youth Students
Molly Brennan
Bianca Hodge
Abigail Rowan Degnan
Teaching Artists
Ian Brodsky
Yael Chanukov
Rodrigo Ignacio Cruz
Michele Danna
Tarik R. Davis
Robby Farruggia
Cristina Farruggia
Andrew Sfiris
Daryl L. Stewart

For additional information about the event or MST’s Theatre Education Program, please contact Michele Danna at EducationDirector@milesquaretheatre.org.

Event Information:
“An Evening in the Woods: Musical Selections from Into the Woods”
Saturday, June 13, 2026
Preshow Reception: 6:00 PM
Performance: 7:00 PM
Adults: $25
Children under 12 & Seniors: $10
Purchase tickets at www.milesquaretheatre.org

Theater/Organization: Mile Square Theatre
Theater Address: 1400 Clinton St Hoboken, New Jersey 07030 (Map It)
Theater Phone: (201) 683-7014

To celebrate its 100th anniversary, Theatre Harrisburg has partnered with the Harrisburg Symphony Orchestra for a special two-performance concert presentation of the musical. Having previously staged FOLLIES in 1981 and 1999, the company embraces the concert format as a way to avoid the financial burden while placing Stephen Sondheim’s magnificent score at center stage.

From the opening chords—dissonant brass sighs tinged with ghostly melancholy—it is immediately clear that the audience is in excellent hands under the baton of Stuart Malina and the superb Harrisburg Symphony Orchestra. Opportunities to hear a classic Broadway score performed with the full orchestration for which it was originally conceived are increasingly rare, making this production especially rewarding. Malina, whose experience spans conducting, orchestration, and acting, leads with dramatic awareness, sensitivity and assurance.

Perhaps the less obvious achievement of the production is the vocal direction. Under the skilled guidance of vocal director Mitchell Sensenig-Wilshire, the entire cast delivers Sondheim’s soaring melodies and razor-sharp lyrics with clarity and emotional precision. This is fine vocal work, equal to the quality of the symphony orchestra which accompanies it.

At the heart of FOLLIES are two couples: Buddy and Sally Plummer, and Ben and Phyllis Stone. Sally and Phyllis, once glamorous showgirls, married their stage-door Johnnies only to find themselves years later confronting lives marked by compromise, regret, and disillusionment. Director and choreographer Brian Massey has assembled an exceptional cast to navigate these emotional complexities. Maria Petrilak’s Sally beautifully captures the character’s yearning to rekindle her romance alongside her growing fragility and desperation. Eric Mansilla’s Buddy embodies the weary ache of unrequited devotion. Jennifer Hughes gives Phyllis a polished sophistication that barely conceals profound resentment and emptiness, while Michael Kohler’s Ben projects effortless success masking emotional hallowness.

All four leads are outstanding vocalists. Among the evening’s highlights are Petrilak’s haunting rendition of “In Buddy’s Eyes,” her poignant duet with Kohler on “Too Many Mornings,” Hughes’s incisive “Lucy and Jessie,” and Mansilla’s frenetic “Buddy’s Blues.” As the younger incarnations of the four principal characters, Bernadette Bratina, Olivia Kane, Timothy Lupia, and Brad Leer offer a dazzling and joyful “You’re Gonna Love Tomorrow.” Other standout moments include Maria Albani leading “Who’s That Woman?”—a thrilling production number pairing veteran showgirls with their younger selves —and Theresa Croteau’s stirring performance of the anthem of resilience, “I’m Still Here.”

At its core, FOLLIES is about the divergent and often compromised paths people travel through life. The setting—the final night on stage before a once-grand theater is demolished—serves as a potent metaphor for loss and the passage of time. In this concert staging, the absence of a fully realized physical environment is occasionally felt. Nevertheless, Matthew Mitra’s lighting design and Paul Foltz’s costumes do admirable work in establishing period, atmosphere, and emotional tone.

Theatre Harrisburg and the Harrisburg Symphony Orchestra deserve enormous praise for this deeply rewarding collaboration. Opportunities to experience Sondheim’s complete score of FOLLIES are rare; to hear it performed with such musical richness and emotional power is rarer still.

FOLLIES CONCERT VERSION
Book by
JAMES GOLDMAN
Music and Lyrics by
STEPHEN SONDHEIM
Produced Originally on Broadway by
Harold Prince
Orchestrations By
Jonathan Tunik
By special arrangement with
Cameron Mackintosh
PRESENTED IN COLLABORATION WITH THE HARRISBURG
SYMPHONY ORCHESTRA AND CONDUCTED BY MAESTRO STUART MALINA

THEATRE HARRISBURG
513 Hurlock St.
Harrisburg, PA 17110
(717) 232-5501

Review submitted by:
Franklin Joseph

Author’s Bio:
Franklin Joseph is an avid theatre goer who takes delight in the active theatre and arts community of the southeast Pennsylvania region.

Based on the book by Sarah L. Delany and A. Elizabeth Delany with Amy Hill Hearth, the play opens with the sisters, Sadie and Bessie, now 102 and 103 years young, recalling their exceptional lives with warmth, wit and clarity. The sisters guide audiences through the monumental events that shaped our country over the last century, such as the Jim Crow South, two World Wars, the Civil Rights Movement, among others. Throughout their long lives the Delany sisters defied stereotypes: both received a college education, as well as advanced degrees from Columbia University. Bessie earned a Doctor of Dental Surgery (DDS), while Sadie held a Master’s in Education, and both embarked on ground-breaking careers. Over the years the women considered notables like W.E.B. DuBois, Booker T. Washington, Eleanor Roosevelt, Cab Calloway, and Duke Ellington friends.

Their fascinating stories, as well as anecdotes drawn from their rich family history and careers as pioneering African-American professionals, however, unfold into something larger: personal reflections on the American story—its triumphs, its failures and the resilience required to endure both.

“As we mark our first full year at the Clemans Theater for the Arts, the former Allen African Methodist Episcopal Church, this story ties in beautifully to Cape May’s own history, as the Delany sisters and our theater building essentially grew up together and experienced many of the same historical events—in first-person for the sisters, while the other served as a gathering place for faith and community during our country’s toughest times,” says Mark David Boberick, executive director of East Lynne. “We specifically designed this show for this special theater because we’ve discovered that within this space history isn’t distant, it’s present all around us, and our entire company is extremely excited to bring this production to our community.”

Richarda Abrams, a five-time AUDELCO Award-winning actress, plays Sadie Delany, who became the first Black permitted to teach Domestic Science at the high school level in the New York City Public Schools. Abrams’ television and theater credits include “One Life to Live,” “The Vagina Monologues” and “Guess Who’s Coming to Dinner?” Veteran theater and television actress Sharon Hope reprises the role of Bessie Delany, a role she previously performed on tour, the sister who became the second Black woman to practice dentistry in New York State. Hope’s recent TV credits include “Elsbeth” and “Dexter.” The creative team also includes Director Mark Edward Lang (“Ken Ludwig’s Dear Jack, Dear Louise”), Costume Designer Sarah Constable, Production Designer Mark David Boberick and original music by Composer Chris Hajian, who has scored multiple feature films and documentaries.

“This a banner year not only for the country, as we near its 250th anniversary, but also for Cape May, which marks 175 years as a city and 50 years as a National Historic Landmark, a designation that includes our remarkable theater,” says Boberick. “‘Having Our Say’ is not merely a female or an African-American story, it is indeed an all-American story. To that end, East Lynne Theater Company is proud to kick off Season Forty-Six with ‘Having Our Say’.”

“Having Our Say” runs 7 p.m. Wednesdays to Saturdays, 2 p.m. Sundays from June 18 through July 19. Tickets are $40 general admission, $35 seniors, $25 students and military. Tickets to opening night ($45) include an after-party held at The Cricket Club. There will be a special 2 p.m. showing on July 4, and a preview night on June 17 ($25). The Clemans Theater for the Arts is located at 717 Franklin St. in Cape May. For tickets and information, go to EastLynneTheater.org.

About East Lynne Theater Company: Founded in 1980, East Lynne Theater Company has been named by “The New York Times” as one of the Top 75 summer theaters in North America and recognized by the New Jersey Senate and General Assembly as “one of the state’s most important cultural treasures.” In 2023, understanding that the American Theater is itself a growing work of art, East Lynne expanded its mission to “present and preserve America’s theatrical heritage” by including plays about America today. As of 2026, East Lynne continues to raise funds for its Capital Campaign to renovate its new home, the Clemans Theater for the Arts at Allen AME. As the company expands into the Clemans Theater, so does its calendar, which now offers year-round entertainment that includes plays and performances from worldwide writers, actors, musicians, and more. Go to EastLynneTheater.org.

Theater/Organization: EAST LYNNE THEATER COMPANY
Theater Address: CLEMANS THEATER FOR THE ARTS717 FRANKLIN STREET CAPE MAY, New Jersey 08204 (Map It)
Theater Phone:

An acclaimed headliner in Las Vegas and Los Angeles, Bugatti will bring his signature style to the stage in a captivating, story-driven journey through the history of jazz on Broadway. Having performed alongside legends such as Tony Bennett to Michel Legrand, Bugatti combines storytelling and song to illuminate the pivotal moments and timeless compositions that shaped jazz’s enduring influence on musical theater.

Bugatti has held residencies at iconic venues such as the Bellagio in Las Vegas, The Peninsula in Beverly Hills and Eau Resort in Palm Beach. Last year, Bugatti debuted his show “George Bugatti in “Broadway and All That Jazz”” written and produced by concert producer-creator Scott Siegel, at 54 Below in New York City. His New York show has been readapted and retitled for various performing arts venues, such as the Gateway, as “Broadway and All That Jazz,” where audiences can delight in Bugatti’s engaging stories about how many popular Broadway songs became part of the Great American Songbook.

Bugatti will perform with the grace, style and musical command these great songs deserve, and guide audiences through a rich legacy that celebrates the artistry and evolution of jazz on Broadway. He will focus on the music of iconic composers–think, George Gershwin, Irving Berlin, Fats Waller, Cy Coleman, and Kander and Ebb–who infused the stage with rhythm, sophistication and soul, and created timeless music that continues to resonate with audiences today.

Bugatti will be accompanied by Musical Director Demetrios Pappas on piano, Andy Lalasis on bass and Bob Shomo on drums.

Tickets are $40 and can be purchased at GatewayByTheBay.org. The Gateway is located at 738 Bay Ave. in Somers Point. For more information go to SouthJerseyJazz.org or call (609) 289-0326.

About South Jersey Jazz Society: The South Jersey Jazz Society (SJJS) is a 501-(c)3 nonprofit that has been in existence since 2004. The organization offers year-round jazz events including its popular, annual jazz festival, a twice-monthly jazz series and much more. Each event features a variety of either national, regional or local jazz artists. SJJSalso offers scholarship opportunities to local South Jersey students and has donated over $30,000 to support music and arts programs in public schools. Go to SouthJerseyJazz.org for more.

###

Theater/Organization: SOUTH JERSEY JAZZ SOCIETY
Theater Address: GATEWAY PLAYHOUSE, 738 BAY AVENUE, SOMERS POINT, New Jersey 080244 (Map It)
Theater Phone:

“I really wanted a show that would bring people together–a show that’s joyful, familiar and welcoming–and that’s exactly what GUYS AND DOLLS is,” said Phil Pallitto, the Gateway’s artistic director and director of this musical. “Audiences will connect with the very human experiences of the characters, each of whom is flawed–they gamble, they drink to excess, they skirt the law. As the show progresses, you get to see these unforgettable characters grow and mature and form unlikely and lasting bonds with one another, which is something many can relate to.”

Two outstanding casts, led by Jefferson Heller and Eric Williams, who share the role of the slick gambler Sky Masterson, Mason Naman and Nick Efstatos as Nathan Detroit, and Erin Maegerle and Rue Way as the lovelorn Adelaide, are under the musical direction of Debbie Roland who also spearheads the live band, while Karen Cleighton choreographs the show-stopping numbers.

“GUYS AND DOLLS is musical theater at its very best. It honors the work of traditional musical theater but still speaks to today’s audiences with grace, intelligence and vitality,” said Pallitto. “With this show, we’re committed to focusing on the joy and laughter that ‘Guys and Dolls’ provides, tied in to a beautiful message about second chances.”

Performances are 7 p.m. May 28-30 and June 4-6; 2 p.m. May 31 and June 7. Tickets are $25 at GatewayByTheBay.org and at the Karen S. Sutherland Box Office 11 a.m. to 3 p.m. Wednesdays, Thursdays and Fridays. Gateway Playhouse is located at 738 Bay Ave. in Somers Point. More information and ticket reservations can be found at GatewayByTheBay.org or call the box office at 609-653-0553.

About Gateway Playhouse:
Since its reopening in 2017, Gateway Playhouse, a 501-(c)3 nonprofit, has provided quality and affordable year-round entertainment to residents and visitors alike, as well as offered educational opportunities to grammar and high school students, in the hopes of creating future generations of actors, directors and audiences. Aside from an annual MainStage season, the Gateway also produces a variety of comedy and cabaret shows throughout the year. As the saying goes, “see you at the Gateway!”

###

Theater/Organization: GATEWAY PLAYHOUSE
Theater Address: 738 BAY AVENUE SOMERS POINT, New Jersey 08244 (Map It)
Theater Phone:  609-653-0553

Show runs June 12-21, 2026
June 12, 13, 19, 20 (7:30pm)
June 14, 20, 21 (2pm)

In this rollicking comedy, young Oliver Adams is on the brink of a major success. His novel is set to be published and famed Broadway playwrights Charlotte and Arthur Sanders have already adapted his book for what is sure to be a huge stage hit. And who do they have their eye on as the leading lady? Margot Bell, of course – the very person Oliver adores. When everyone converges in Newport, Rhode Island for the weekend, the thin walls of the well-appointed mansion reveal that the angel may not be angelic, and only the power of theatre can save the play, Oliver’s novel, and perhaps most importantly, his heart.

Tickets are $20 for adults, $18 for seniors, students, and children under 12. They are available at the door or online at dcptheatre.org. Groups of 10 or more may contact the box office by emailing boxoffice@dcptheatre.com for a reduced rate.

Theater/Organization: DCP Theatre
Theater Address: 795 Ridge Rd. Telford, Pennsylvania 18969 (Map It)
Theater Phone: (215) 234-0966

The Brewster family—once a distinguished clan tracing their lineage back to the Mayflower—has devolved into a group of eccentric, homicidal misfits. At the center are the elderly aunts, Martha and Abby, who operate out of their Brooklyn home. In a twisted act of “charity,” they poison lonely old men by lacing homemade elderberry wine with arsenic.

The Candlelight Theatre, a dinner theatre in Wilmington, Delaware, has mounted a highly stylish and effective production under the direction of Tom Teti. Teti’s direction is expertly restrained; with an extremely capable cast, he allows the play’s natural rhythms to shine, ensuring the performance style perfectly matches the absurdity of the plot.

The cast is indeed stellar. Susan Giddings (Martha) and Janean Clare (Abby) are frighteningly believable as charity-driven Victorian “old maids” intent on showing mercy to suffering souls. Their chemistry is a marvel—nearly finishing each other’s sentences in a seamless balance between the wholesome and the sinister. Johnny Drumgoole, as their theatre-critic nephew Mortimer, is hilarious as he grapples with the family’s dark secrets and his engagement to Elaine Harper (Laura Mancano). Drumgoole’s physical comedy is a highlight of the production.

The ensemble—including Steven Cannon (Jonathan), David T. Wills (Dr. Einstein), Shaun Yates (Teddy), Jack Dibeler (Mr. Gibbs/Mr. Witherspoon), William R. McHattie (Rev. Harper), and a group of boisterous and sometimes blundering officers played by Dan Healy, David Cuff, Michael Ignudo, and Mac Versak-Kennedy — rounds out the cast perfectly.

The technical elements are equally impressive: Matthew J. Kator’s detailed scenic design, Anthony Connell’s props, Clayton Stacey’s effective wigs and makeup, and Timothy Lamont Cannon’s lovely, period-accurate costumes all contribute to the atmosphere.

This production is a wickedly good evening of theatre.

Runs thru 6/20/2026 at…

THE CANDLELIGHT THEATRE
2208 Millers Rd
Wilmington, DE 19810
302.475.2313
boxoffice@candlelightde.org
https://candlelighttheatredelaware.org/

Review submitted by:
Franklin Joseph

Author’s Bio:
Franklin Joseph is an avid theatre goer who takes delight in the active theatre and arts community of the southeast Pennsylvania region.

From the sewers of despair to the rooftops of rebellion, comes a tale of love, laughter, and… limited bathroom access. In a city not so far from here, a severe water shortage creates a need to control access to toilet facilities. A greedy CEO provides the wrong answer to the right question: how do we ensure every citizen has the right to pee?

‘Urinetown’ is a hilarious musical satire of the legal system, capitalism, social irresponsibility, populism, environmental collapse, privatization of natural resources, bureaucracy, municipal politics, and musical theatre itself.

If you go:
The Barn Playhouse presents ‘Urinetown The Musical’, 1700 Christopher Lane, Jeffersonville
May 29, 30 and June 5, 6, 12, 13 at 7:30 pm
May 31 and Jun 7 at 2:00 pm

Tickets: $24, with a $2 discount for seniors/students
The theatre is handicapped accessible and air conditioned.
Visit: www.barnplayhouse.org or call 610-539-2276 for tickets.

Theater/Organization: The Dramateurs Inc. at The Barn Playhouse
Theater Address: 1700 Christopher Lane Jeffersonville, Pennsylvania 19403 (Map It)
Theater Phone: (610) 539-2276

Nationally Recognized Comedian Adam Sank To Celebrate Pride Month With East Lynne Theater Company
– Sank’s Stand-Up Comedy Show ‘Bad Dates: A One-Man Show About Many Men’ Takes Place June 6 –
​
May 13, 2026 (Cape May, N.J.) – The new East Lynne Theater Company celebrates Pride Month with a raucous one-night-only stand-up comedy show starring nationally recognized veteran comic Adam Sank in his award-winning show “Bad Dates: A One-Man Show About Many Men,” June 6 at the Clemans Theater for the Arts at the Allen AME in Cape May.

Sank, who has performed with comedian Ali Wong as well as on “Last Comic Standing,” the “Today Show” and VH-1’s “I Love the 2000s,” brings “Bad Dates” to the Clemans Theater for its New Jersey debut. The adults-only show takes you on one gay man’s fruitless 30-year search for love. BroadwayWorld.com calls the show “queer comedy gold.”

“‘Bad Dates’ is about a single idea, which is the fact that I’ve spent half my life hunting for men, and what the cost of that is,” Sank explains. “And while I hope people laugh, I’m also hoping they take away something genuine and heartfelt.”

“Bad Dates” debuted at New York City’s legendary Stonewall Inn in 2023, where it won two BroadwayWorld Cabaret Awards – Best Debut Show and Best Spoken Word Show. Following that success, Sank took the show to The Foundry in Wilton Manors, Fla., Oscar’s Palm Springs, The Broadwater in Los Angeles, and Diversionary Theatre in San Diego.

“Pride Month is about celebrating authenticity, joy and the power of community through the arts,” says Mark David Boberick, executive director of East Lynne Theater Company. “Bringing Adam Sank to our stage gives audiences the chance to laugh together while also honoring the importance of LGBTQ+ voices in live performance. Adam’s fearless humor, storytelling and connection with his audiences make him the perfect artist to help us celebrate Pride in Cape May.”

“Bad Dates” takes place 8 p.m., June 6. Tickets for this mature-audiences-only show are $35. The Clemans Theater for the Arts is located at 717 Franklin St. in Cape May. For tickets and information, go to EastLynneTheater.org.

About East Lynne Theater Company: Founded in 1980, East Lynne Theater Company has been named by “The New York Times” as one of the Top 75 summer theaters in North America and recognized by the New Jersey Senate and General Assembly as “one of the state’s most important cultural treasures.” In 2023, understanding that the American Theater is itself a growing work of art, East Lynne expanded its mission to “present and preserve America’s theatrical heritage” by including plays about America today. As of 2025, East Lynne continues to raise funds for its Capital Campaign to renovate its new home, the Clemans Theater for the Arts at Allen AME. As the company expands into the Clemans Theater, so does its calendar, which will offer year-round entertainment that includes plays and performances from worldwide writers, actors, musicians, and more. Go to EastLynneTheater.org.

About Adam Sank: Adam Sank is a two-time Broadway World Cabaret Award winner and one of the most recognized and accomplished openly gay stand-up comics in the country. He has been featured on NBC’s “Last Comic Standing” and the “Today Show,” FOX’s “Laughs,” CBS News, Vh1’s “I Love the 2000s” and “Best Week Ever,” CNN’s “@ThisHour,” CNBC’s “Street Signs” and truTV’s “World’s Dumbest Criminals,” along with countless appearances as both a guest and fill-in host on Sirius-XM satellite radio. His debut comedy album, “Adam Sank: Live from the Stonewall Inn,” went to No. 1 on both Amazon’s list of Comedy Album Downloads and iTunes’s New Comedy Releases, and it plays in rotation on SiriusXM’s Raw Dog channel. From 2017 to 2023, Adam hosted a popular weekly podcast – “The Adam Sank Show” – which was nominated three times for a People’s Choice Podcast Award. Sank rebooted the podcast in 2025, and new episodes currently stream on all major audio platforms. Sank has performed regularly at comedy clubs, special events and festivals throughout New York City and beyond, including appearances at NYC Gay Pride, Gay Days Orlando, Atlantis Events and the Gay Naturists International Annual Gathering. In 2019, Sank retired from stand-up after releasing his second comedy album, “Adam Sank’s Last Comedy Album,” which went to No. 1 on Amazon and iTunes and plays regularly on SiriusXM Raw Dog. In 2023, Sank came out of retirement with a new one-man show “Bad Dates,” which enjoyed sold-out runs in New York, Florida, Los Angeles, San Diego, Palm Springs, and the Poconos. The show was awarded with Broadway World Cabaret Awards for Best Debut Show and Best Spoken Word Show.
###

Theater/Organization: EAST LYNNE THEATER COMPANY
Theater Address: CLEMANS THEATER FOR THE ARTS, 717 FRANKLIN ST. CAPE MAY, New Jersey 08204 (Map It)
Theater Phone:

Spotlight Theatre in Lansdowne offers a mostly effective and comedy-forward staging of the 2008 play (originally written in French and translated here by Christopher Hampton), which won the 2009 Tony Award for Best Play. Under Lorraine Barrett’s direction, the cast of four features Jennifer Trimble as Veronica, Anthony Marsala as Michael, Daria Husseinzadeh as Annette, and Paolo Barolat-Romana as Alan.

Trimble’s Veronica is suitably tense and controlling, exuding passive aggression at every turn. Marsala’s Michael lands convincingly as a laid-back working man whose veneer of civility cracks to reveal his inner brute. Husseinzadeh’s Annette quietly projects a deep sadness while skillfully charting her character’s alcohol-infused unraveling. Barolat-Romana’s Alan is unapologetically arrogant in defending his moral depravity.

Barrett keeps the pacing brisk as the couples advocate first for their children and then for their own versions of dignity. Along the way, allegiances shift—husbands turn on wives, women join forces against men—and the discussion deteriorates into a frenetic dismantling of polite discourse, exposing raw marital resentments and secrets.

The play poses unique challenges for directors and actors alike. It can tempt performers toward broad comedy, even slapstick, which risks diluting the psychological realism. That trap is occasionally sprung here: Trimble and Marsala at times push the humor too forcefully, resorting to volume and bluster over nuance. One wishes Barrett had guided the ensemble toward a slower burn, allowing tension to build organically.

Reza’s ending is deceptively simple yet powerful. In the final moments, one of the mothers speaks tenderly on the phone to her daughter about a lost pet—a brief but devastating reminder of innocence and empathy amid the adults’ cruelty. Ideally, the moment lands with quiet heartbreak and subtle irony. In this production, however, it felt underplayed, resulting in a muted and abrupt conclusion. The preceding seventy-five minutes of sitcom-style broadness left little space for the emotional redemption and social poignancy one imagines the playwright intended.

GOD OF CARNAGE
SPOTLIGHT THEATRE
Twentieth Century Club
84 South Lansdowne Ave.
Lansdowne, PA 19050
484-326-5172
info@spotlighttheatrepa.org
https://spotlighttheatrepa.org/

Review submitted by:
Franklin Joseph

Author’s Bio:
Franklin Joseph is an avid theatre goer. Recently relocated from Chicago, he is delighted to be in southeast Pennsylvania among such an active theatre and arts community.

For anyone not familiar with the play by Larry Shue, THE NERD centers on Willum Cubbert, a mild-mannered architect who’s eager to thank the man who saved his life in Vietnam—only to discover that Rick Steadman, his unexpected guest, is… well… socially impossible. What follows is a brilliantly escalating comedy of manners (or lack thereof), as Rick bulldozes his way through Willum’s carefully constructed life, leaving chaos in his wake.

Jason Benjamin is terrific as Willum Cubbert, serving as the grounded center of the storm. His slow unraveling as Rick’s behavior becomes more outrageous is both believable and hilarious. Katy Cockrell brings charm and intelligence to Tansy McGinnis, giving the audience someone to root for amidst the madness, while Sean Buckley’s Axel Hammond adds just the right touch of theatrical flair and comedic exaggeration.

But let’s talk about the engine of the show—Brad Forenza as Rick Steadman, “The Nerd.” This role is a high-wire act, and Forenza absolutely commits. His physical comedy is fearless, his timing is razor sharp, and his ability to make the audience both cringe and laugh at the same time is impressive. He leans fully into Rick’s obliviousness without ever making him one-note, which keeps the character funny instead of frustrating. It’s a performance that drives the entire production, and he nails it.

The Waldgrave family adds another layer of comic gold. Joe Lozito is wonderfully frazzled as Warnock Waldgrave, capturing that perfect mix of anxiety and desperation. Paula Ehrenberg’s Clelia Waldgrave provides a great comedic counterbalance, and William Lozito as young Thor is a scene-stealer, delivering his moments with confidence and sharp comic instincts well beyond his years.

One of the biggest highlights of the night—the infamous dinner party game with bags over the characters’ heads—was pure comedic chaos in the best possible way. The timing, the physicality, the escalating absurdity… it all landed beautifully. You could feel the entire audience leaning forward, trying to catch every ridiculous beat while laughing nonstop. It’s the kind of scene that reminds you why farce, when done well, is such a joy.

The pacing throughout the production is spot-on, never letting the energy dip. Under the direction of Chris Peterson the cast clearly understands how to build a laugh and then top it, scene after scene. And underneath all the hilarity, there’s a surprisingly warm message about friendship, gratitude, and acceptance that gives the play a satisfying emotional core.

All in all, this is a wonderfully entertaining production from Westfield Community Players—polished, energetic, and genuinely funny. If you’re anywhere near the area, do yourself a favor and grab a ticket. Shows like this are exactly why community theatre matters.

WESTFIELD COMMUNITY PLAYERS
1000 North Ave W
Westfield, NJ 07090
(908) 232-1221
https://www.wcptheatre.org/

THE NERD runs thru 5/16/2026:
Details on the show and tickets here

Review submitted by:
Matthew Helmer

Author’s Bio:
Matthew Helmer is a longtime New Jersey theatre fan who rarely misses an opening weekend. A lover of comedy and classic plays, he’s happiest sitting in a darkened theatre surrounded by a crowd that’s ready to laugh together.

Watching Andrea Keck bring Nancy Donough to life in the world premiere of BANSHEE was one of the most moving experiences I’ve ever had as a mom. She carried this role with such grace, depth, and raw emotion that I found myself forgetting she was my daughter and just being completely swept away by her performance. I was proud and emotional all at once — and that feeling didn’t leave me when the lights came up.

BANSHEE, written by local playwright Adam Richter and directed by Jody Reppert, is a beautifully haunting story about legacy, courage, and the things we carry across generations. The themes hit deep. This isn’t just good local theater — this is the kind of storytelling that stays with you.

And Andrea didn’t do it alone. The entire cast was remarkable. There was a chemistry and commitment on that stage that made every scene feel real and alive. Reading Theater Project has truly outdone themselves with this production.

STAGE Magazine Marquee listing for BANSHEE

READING THEATER PROJECT
P.O. Box 6712
Reading PA 19610
484-706-9719
info@readingtheaterproject.org
https://readingtheaterproject.org/

Review submitted by:
Diane Keck

Fierstein’s concept is bold and thought-provoking. Playcrafters deserves credit for programming such a work. In 1962, cross-dressing was a criminal offense. In today’s climate—where toxic masculinity often dominates cultural discourse—the question of what it means to be a man feels more relevant than ever.

The retreat, Casa Valentina, is owned and operated by George (Greg Kasander), known within the community as Valentina. With the business on the brink of bankruptcy, one member proposes transforming the resort into a national nonprofit organization—with the controversial stipulation that homosexuals be excluded from membership. George/Valentina brings the proposal before the group, sparking a spirited and often fraught debate about going public, risking legal consequences, and confronting shifting social mores.

This ensemble-driven production features a number of strong performances and is directed with attention to detail by Stephanie Weidner. Alongside costume designer Sherry Yerger and wig and makeup designer Julie Kruk, the creative team accomplishes the difficult task of making the characters’ transformations believable without veering into caricature or female impersonation. These are men who find fulfillment in dressing as women, yet their masculine identities remain fully present. It is precisely this duality—the coexistence of masculine and feminine—that gives the play much of its intrigue.

Among the standout moments is a hilarious and revealing scene involving Jonathan (Jack Garton), the youngest and newest member of the group. As the others guide him through his transformation into his alter ego, Miranda, the process unfolds before our eyes with both humor and fascination, showcasing the strength of the ensemble.

Equally compelling is Rita, George’s wife, who serves as the emotional center of the play. Worn and quietly harboring deep sadness, she is both supportive of her husband and apprehensive about what the future may bring. It is a demanding role, and Susan Bolt delivers a nuanced performance, especially in the second act, where she conveys moments of genuine heartbreak with striking authenticity.

The play is not without its challenges. At times, the weight of its subject matter is undercut by dialogue that veers toward sitcom-like simplicity. While it presents itself as a plea for tolerance, it occasionally treads uneasily in its portrayal of cross-dressers in contrast to gay men. The second act, too, can feel somewhat didactic.

Still, despite these imperfections, Playcrafters’ production of CASA VALENTINA delivers a satisfying evening of theater.

PLAYCRAFTERS OF SKIPPACK
2011 Store Road
Skippack, PA 19474
610-584-4005
http://www.playcrafters.org

CASA VALENTINA runs thru May 17, 2026 as follows:
May 1, 2, 8, 9, 14, 15, 16 @ 8 PM
May 3, 10, 17 @ 2 PM

Review submitted by:
Franklin Joseph

Author’s Bio: Franklin Joseph is an avid theatre goer. Recently relocated from Chicago, he is delighted to be in southeast Pennsylvania among such an active theatre and arts community.

From the moment the lights come up, Cathy Leibensperger establishes total control as Karnak, the enigmatic automaton guiding the story. It’s a tricky role—equal parts narrator, philosopher, and unsettling puppet master—but she navigates it with precision and presence. There’s a stillness and authority to her performance that anchors the chaos around her, and it works beautifully.

Rachel Day’s Ocean is a force—ambitious, commanding, and hilariously self-assured. She drives the competitive tension of the show with strong vocals and sharp comedic instincts. Timothy Shuman, Jr. brings warmth and theatrical flair to Noel, delivering his character’s longing and identity with both humor and heart. Tony Quinones gives Mischa a grounded sincerity beneath the bravado, while David Gieringer’s Ricky is a standout in physical storytelling—transforming what could be a quiet role into something imaginative and memorable.

But I have to pause and talk about Leah Zettlemoyer as Constance. Her performance is something special. The way she transitions between humor and vulnerability—sometimes within a single line—is stunning. Those high/low emotional shifts feel completely natural, and when she lands her big moments, you feel it in your chest. It’s the kind of performance that sneaks up on you and stays with you afterward.

And then there’s Isabella Koenig as Jane Doe. Her haunting vocal quality is, quite simply, breathtaking. There’s an eerie purity to her sound that perfectly matches the character’s mystery—and yes, it brought tears. It’s one of those performances where the entire audience seems to collectively hold their breath.

As a whole, this ensemble works beautifully together under Evan Watkins’ direction, embracing the show’s offbeat humor, emotional depth, and surreal style. It’s worth noting that Ride the Cyclone does explore some adult themes—mortality, identity, and existential questions—so a little discretion is advised for younger audiences. That said, the material is handled thoughtfully and with care.

Fleetwood Community Theatre continues to prove that community theatre can be bold, inventive, and deeply impactful. This production is a perfect example of that spirit—ambitious, heartfelt, and thoroughly entertaining. If this is any indication of what’s ahead, you’ll definitely want to keep an eye on their future shows.

FLEETWOOD COMMUNITY THEATRE
P.O. Box 12
Fleetwood, PA 19522
484-793-0918
fleetwoodct@ptd.net
https://fleetwoodcommunitytheatre.com/

Review submitted by:
Claire Montgomery

Author’s Bio:
Claire Montgomery is a lifelong theatre lover who rarely misses a local production. She enjoys everything from classic musicals to bold contemporary works and loves supporting community theatre and the artists who bring stories to life on stage.

With the exception of the title song, many of the songs feel trite and generic. But without a doubt, the highlight of the production is the musical direction by Nathan Diehl. Under his leadership, both orchestra and cast deliver powerhouse vocals supported by a polished, top-notch ensemble.

The production is visually striking. David Gallo’s scenic design is colorful, stylish, and clever, evoking a minimalist vision of the corporate rat race. The stage is gorgeously lit by lighting designer Eric Haugen.

Karen Getz’s choreography is clean and delivers the expected audience-pleasing moments, and the performers execute the movement with confidence. At times, however, the choreography feels at odds with the characters and the period.

Essentially a revenge tale, leaning heavily on sexist stereotypes as a group of female employees take on their chauvinistic male boss, the book is the musical’s weakest element, relying on caricatures rather than fully developed characters. In the context of the #MeToo era, its treatment of misogyny and workplace harassment can feel superficial, reduced to glib one-liners and innuendo, and resolved with an overly tidy conclusion. Strong dramatic writing this is not. Given these limitations, one might wish that Valerie Joyce’s direction engaged more deeply with the material. As it stands, the acting often feels perfunctory and secondary to the production’s technical and musical strengths.

Runs thru May 3, 2026. Tickets: https://desales.app.getcuebox.com/o/LL17K2LQ/shows

ACT 1 DeSALES UNIVERSITY
LABUDA CENTER FOR PERFORMING ARTS
2755 Station Ave
Center Valley, PA 18034
610-282-3192
www.desales.edu/act1

Review submitted by:
Franklin Joseph

Author’s bio: Franklin Joseph is an avid theatre goer. Recently relocated from Chicago, he is delighted to be in southeast Pennsylvania among such an active theatre and arts community.

Hassiem Muhammad as Dr. Martin Luther King and Ken Holloway as Camea in The Mountaintop. Photo: Kim Lorraine

Reviewed by Ellen Webster

Let’s start with what this is: a two-person show. And let’s start with what that means: nowhere to hide. Two actors, one room, one night, and the whole weight of a life hanging in the air between them. No intermission. No exits. No one to hand the scene to when the oxygen gets thin. Just two people who have to hold it — all of it — for the entirety of the evening, and make it look like the most natural thing in the world.

It is not the most natural thing in the world. It is an extraordinary ask. And Hassiem Muhammad and Kendra Holloway deliver.

The Mountaintop, Katori Hall’s fictionalized account of the Reverend Doctor Martin Luther King Jr.’s final hours in Room 306 of the Lorraine Motel, is playing at Hoboken’s Mile Square Theatre, and I’ve seen it twice. Which tells you something.
We live in a culture that loves nothing more than pulling the great ones apart — as though we are owed exposure to all the flaws. But Hall does something bolder: she gives us the mess and keeps the man intact. Perhaps the height of a mountain can only be appreciated from its base. In that way, King’s greatness, residing imperfectly beside his frailties, makes him more remarkable, not less, and I left the theater closer to him because I came to know him better.

Thanks to scenic designer Matthew J. Pick and scenic painter Jordyn Kramer, we walk into the theater and there we are. In Room 306. Two double beds, a dial phone, stained carpet, and — God help us — what may or may not be black mold creeping up from the baseboards near the bathroom. This is not a monument. This is a motel room where a man spent his last night on earth. Mahalia Jackson’s voice opens the show, and the ground is set.

Director Jamil A. C. Mangan, who has himself portrayed King in this very play, describes his entry point as “not reverence for the icon, but care for the human being.” That care is everywhere in this production. The pacing is relentless — dialogue fast and pithy — and the physical life of the show is far more than you’d expect from two people in a fixed space. It’s more choreography than movement. King wrestling with furniture and rolling on the floor, and Camae atop the bed, delivering her own improvised Sermon on the Mount.

Here is King — rendered with restless, kinetic energy by Hassiem Muhammad — a man crushed under the weight of what he must do and who he must be, frightened, coughing, chain-smoking and enjoying a good flirt with the motel maid who has arrived to deliver a cup of coffee. He is a man setting himself aside, over and over, to carry the cause forward. That is not weakness dressed up as strength. That is the actual definition of courage: the internal reckoning, the fear not absent but overruled, the showing up anyway. Muhammad’s portrayal makes it impossible to look away.

Watching all of it — absorbing it, reflecting it back, puncturing it when necessary — is Camae. She is introduced as the maid, but that’s not the half of it. Kendra Holloway plays her with unapologetic sass and a speed that can match Muhammad beat for beat, and she is magnetic in a way that’s genuinely hard to explain except to say it’s as present in her stillness as when she’s speaking. Through her we see what Hall wants us to know of King — the frailty, yes, but also the unbounded humanity that makes the courage mean something. Meanwhile, Camae’s metaphysical qualities creep in so slowly you almost miss them. Until you can’t.

Hall is not writing a gossip tell-all. The warts are present and accounted for. Yet somehow, in her hands, they don’t diminish him. They reveal him—both human and divine, as all of us are, if we’re being honest.

There is a moment, and you’ll know it when it lands, when King is mid-soliloquy about fear, about how we’re all scared of each other and of ourselves:

KING: Fear makes us human. We all need the same basic things. A hug. A smile. A—

CAMAE: Smoke?

The audience laughed. Both times. It’s funny because it’s true, and true because it’s human, and that’s exactly where Hall has been taking us all along.

The ending first belongs to Camae, then to King, and ultimately to each of us. They speak of the baton — not passed over us or around us, but through us. A screen is drawn across the full width of the stage and projected onto it is a media cascade of video and stills, the decades since April 4, 1968, both the heartache and the advancements. And King — still lit, still visible — stands behind the scrim and watches alongside us. It is quietly devastating.

I found myself thinking of what American Benedictine nun Joan Chittester said when asked what we should do in the face of the world’s suffering. Her simple reply: “Something.” Unspoken in the theater as the lights came up was that word, suspended in the air like an invitation.

Notes:

• Accents and dialects are part of the immersion.
• Give yourself a few minutes to settle in and you’ll soon feel at home with the rhythm.
  Because of language, recommended audience age 12+.
• Seats on the far right may have obstructed views.
• Mile Square Theatre seats 116, and that intimacy is a gift to this show.

The Mountaintop runs through May 3, 2026, and it rewards seeing more than once.

Mile Square Theatre
1400 Clinton Street
Hoboken, NJ
(201) 683-7014
https://www.milesquaretheatre.org/events/the-mountaintop#performances

Review submitted by:
Ellen Webster

Author’s Bio:
Ellen is a writer focused on aging and connection. A Maine native now living in Hoboken with her husband, she is curious about life after 60 and opportunities that emerge. She has spent more than a decade hand-writing 13,000+ thank-you notes for acts of kindness and humanity. Join her free Age Buoyantly community at: https://www.ellenwebster.com/