Kirk Lawrence as Ludwig von Beethoven; Robert Torres as Anton Diabelli; Michael Contreras as Schindler in Civic Theatre of Allentown's 33 VARIATIONS. (Photo credit Ken Ek)

33 VARIATIONS, a play by Moises Kauffman, opened Friday evening at Civic Theatre of Allentown on 19^th Street, near the winter-quiet fairgrounds.

I approached my first visit to this historic theatre with uncertain expectations. Having researched the play, I had some doubts about how interesting it could be. What a delightful surprise awaited my companions and me.

This is a play about the progressive deaths of two people, which could be an audience “downer,” but if you have seen MAN OF LA MANCHA, JULIUS CAESAR, TUESDAYS WITH MORRIE, LOVE STORY, for instance, you know they are not just about the deaths of strong persons with missions, they tell the story of the fascinating journeys of the protagonists.

33 VARIATIONS is a story of musicologist Dr. Katherine Brandt on a journey to uncover the reason Ludwig von Beethoven wrote 33 variations on a waltz written by composer Anton Diabelli.  We watch Brandt pursue her Beethoven research in Bonn, Germany, more and more determined to complete her work as she becomes increasingly incapacitated from her recently diagnosed ALS (Lou Gehrig’s) Disease.

At the same time, in a parallel universe, we see Beethoven losing his hearing as he frenetically continues to write more variations on the Diabelli waltz.

Artistic Director William Sanders’ direction is superb. His vision, experience and skill are evident in every actor’s move. Designing the unusual set covered with pieces of music, was technical director, Will Morris, who also designed costumes and sound, assisted in sound design by Helena Confer.

Kirk Lawrence as Ludwig von Beethoven in Civic Theatre of Allentown's 33 VARIATIONS. (Photo credit: Ken Ek)

Technology is as integral to the success of the production as is the acting; lighting, sound, and projections were incorporated almost flawlessly throughout.

Nearly all of the actors in this non-Equity cast performed to professional standards. Kirk Lawrence becomes Beethoven from the first moment we see him in 1819 to his death in 1823. He lives and breathes his music, arriving at his pinnacle in a second act scene when, after his hearing is gone, he conducts one of his 33 variations alone, center stage, while the audience hears the music playing in his mind.  That soliloquy was simply breathtaking! Lawrence received an ovation from the appreciative opening night audience.

Becky Engborg skillfully embraces the difficult role of Catherine Brandt, played by Jane Fonda on Broadway in 2009. Not always likeable, Brandt’s personality is cold, determined and strong. She pushes through the dwindling use of her hands and limbs and her lack of ability to breathe, making believable the progression of the disease. It is only as she nears the end of life that she accepts her daughter’s help and comfort. Through pain and fear, the musicologist persevered, completing a manuscript which her daughter presents to colleagues back in New York after Brandt’s death.

Andrea Wittchen as Gertie and Becky Engborg as Dr. Catherine Brandt in Civic Theatre of Allentown's 33 VARIATIONS. (Photo credit: Ken Ek)

Elegantly costumed Robert Torres delightfully portrays a humorous Anton Diabelli, composer and music publisher.  He is both a foil and friend of Beethoven, pleased that Beethoven continues to create variations on his waltz, but determined to have the music published in a timely fashion.

Michael S. Contereras is Anton Schindler, assistant and friend of Beethoven. His performance is interesting and well done.  He shows fondness, anger, love, devotion and compassion for his “Master,” often bringing him food when he forgets to eat, yet sometimes being on the verge of leaving the nearly crazy, unappreciative composer.

Andrea Witchen stoically shows the reserved personality of Dr. Gertrude Ladenburger, the German librarian of Beethoven’s music archives in Bonn. During their time together, she offers support and compassion to Brandt as her condition worsens.

Alexandra Griffin plays the less-developed character of daughter, Clara Brandt.  Her portrayal strengthens as the play progresses and the necessity of her role grows.  By show’s end, Griffin becomes believable as the oft-ignored and unappreciated daughter.

Christopher Olson is Katherine Brandt’s male nurse, Mike Clark. A chance meeting develops sweetly into a relationship between Clara and Mike, continuing when he joins Clara on her trip to Germany where he, too helps to care for Clara’s dying mother.

Scenes ranged from quiet and thoughtful and touching to strong and shocking as 33 VARIATIONS provides an entertaining, yet intellectually stimulating evening at the theatre. This play meets my test: It is worth doing and it is being done well at the Civic Theatre of Allentown.

Listen to what audience members have to say…

http://www.youtube.com/watch?v=Q-QCM8ObZ2g

33 VARIATIONS
by Moises Kauffman
Directed by William Sanders
February 24-March 10, 2012
CIVIC THEATRE OF ALLENTOWN
527 N. 19^TH Street
Allentown, PA  18104
610.432.8943
www.CivicTheatre.com

Carla (left: Faith Yesner of Media) and Fern (right: Megan O'Donnell of Drexel Hill) wait for the catatonic Maple (center: Erin Carr of Philadelphia) to show some signs of life, in THE VIEW FROM HERE on The Players Club of Swarthmore Theater's Second Stage.

The Players Club of Swarthmore Theater continues its Second Stage season with THE VIEW FROM HERE, by Margaret Dulaney, opening March 2nd.

Thirty-four year old Fern Arbor is perfectly happy watching the world scoot past her front door – or so she says. But Fern must recognize and battle her own agoraphobia in order to go in person to the Super Kroger and claim the brand new Microwave she won in a raffle. In addition to her own plight, Fern must deal with her sister Maple – who is in the middle of an identity crisis; her golf-loving neighbor Arnold – who has just been abandoned with a newborn to care for; and her best friend Carla – who has a whacky horror story for every occasion.

Director Jennine Dinote-Weber chose the script in part because of it’s approachability, “Whether it’s your nosy neighbor or your own personal deep-set fear, this is one of those plays where you can instantly find someone or something to relate to.” But she needed to find actors who the audience could relate to, as well. She found them in Megan O’Donnell of Drexel Hill, Erin Carr of Philadelphia, Faith Yesner of Media/Marple Township and Michael Sheldon of Wayne.

THE VIEW FROM HERE performs on The Players Club of Swarthmore’s Raymond W. Smith Second Stage: March 2^nd, 3^rd, 9^th, 10^th, 11^th, 16^th and 17^th. Friday and Saturday shows begin at 8:00pm, and Sunday’s matinee begins at 2:00pm. Admission is $10 at the door.

The Players Club is located at 614 Fairview Road, just off of route 320, only minutes from I-95 and Route 476. There is plenty of free off-street parking. For those taking public transit, the R3 Regional Rail line is less than a mile from The Players Club, at the edge of the Swarthmore College Campus.

For more information about PCS, their Second Stage and Main Stage offerings, visit: www.pcstheater.org.

Mark your calendars for February 24 through 26, Friday and Saturday, 8:00pm and Sunday at 3:00pm.

Location:
The Wheaton Glassworks
1101 Wheaton Avenue
Millville, NJ 08332

The play is about an Italian-American family that is facing change; changes
that will provide a future full of excitement for the grandson of the family,
while being at odds with his two sets of grandparents’ strong family values.
This belief in family is essential to positive values that are passed down from
generation to generation. Even if you got a chance to see this in May, come
again, bring a friend who didn’t see it and enjoy dessert with this powerful and
entertaining performance.

The Cast:
Nick Cristano- A.J Mendini
Frank Gianell- Mark Leigh
Aida Gianelli- Joyce Massey
Nunzio Cristano- John Muller
Emma Cristano- Mary Beth Thierolf
Caitlin O’Hare- Maura Javre

Director: Ellen Mather
Production Manager: John Stephan
Stage Manager: Linda Grant
Costume Design: Ellen Mather & Cast
Set Construction & Design: Mary Boner

Directions to the Wheaton Glassworks can be found at the following address:
http://www.obsp.org/​directions-to-the-glasswork​s/

Ticket Pricing:
Adults- $20
Seniors 60+/ Students w/ ID- $17
Children (5-17 inclusive)- $10

Tickets can be purchased online at the following address:
http://www.obsp.org/​tickets/

Tickets may also be purchased at the door or by calling 856.451.5437

If you have any questions please contact Jason Smith, our Director of
Technology at jsmith@obsp.org.

The restaurant is large, with a spacious dining area, and two outdoor decks overlooking a duck pond for dining when the weather permits. The décor is clean and friendly, as are the people working there. The menu is huge, with a large and varied soup and salad menu, starters, and sandwiches available for lunch and dinner, as well as an extensive dinner entrée menu encompassing over twenty different dishes.

Our party had Fried Calamari with a Lemon Basil Sauce, Wasabi Crusted Yellow Fin Tuna served over a sweet vegetable slaw, and some Spicy Wings with Bleu Cheese and Celery. I enjoyed the sauce on the calamari, giving a twang to the crisp seafood. The tuna was rare, the wasabi understated, and the slaw was crunchy and delicious. The wings were spicy hot, not vinegary (bonus points for that!)

Main courses were Diver Scallops and Lobster Ravioli with sautéed spinach and a maple beurre blanc, Filet Mignon with a Portobello mushroom, fingerling potatoes and red wine veal reduction, Seafood Risotto with clams, crabmeat, shrimp, mussels and lobster sauce, and Pepper Crusted Tuna with baby bok choy, with garlic mashed potatoes on the side. My dish (the scallops and ravioli) was delicious, the scallops cooked to perfection, the ravioli slightly al dente and the beurre blanc a perfect complement to the dish.

The Parkside American Grille is open 7 days a week, offering lunch and dinner hours Monday through Saturday, and a Sunday Brunch. BYOB if you wish to have wine with your meal. Mondays and Tuesdays offer 20% off starters with the purchase of an entrée. Monday-Thursday there is a limited menu that offers 3 courses for $15 if you order prior to 6 PM.

If you are in the Harleysville area and looking for someplace different to dine with a quiet inviting atmosphere, find the Parkside American Grille.

PARKSIDE AMERICAN GRILLE
315 Alumni Avenue
Harleysville, PA 19438
(215) 932-8381
http://parksideamericangrille.com

Orphans have a "Hard Knock Life" in the Temple Ohev Shalom production of ANNIE.

Ohev Shalom synagogue in Richboro, Bucks County, usually performs one major production a year, alternating plays and musicals.

Last year, their well-done play was TWELVE ANGRY MEN; then, they added a children’s production later, SEUSSICAL THE MUSICAL, so young people could participate.

This year, the big production this week and next is the always-popular family musical, ANNIE. It was produced by Shelley Rosen, Rona Remstein and Barbara Berman.

Michael Schwartz, director of Ohev productions, has a rather awesome challenge: he must choose a cast from synagogue members, select a show which can be performed by members only, and then find the right people to play all the roles, including demanding leads.

Fortunately, Schwartz has many talented people from which to choose. In fact, there were so many participants this year that he double-cast several of the leading roles, including Annie, Miss Hannigan, Rooster, Grace, Mollie, and Kate.

There are times when the stage is so full that the 51 actors listed in the program — some of whom play two roles in this large cast — have difficulty getting to their spots.

Fourteen musicians under the direction of Joel Greengard provide fine live music from the side orchestra pit.

Interestingly, Ken Marblestone plays bass clarinet during the first three scenes, then hurries backstage to make an entrance as the very important and very bald Oliver (Daddy) Warbucks. Marblestone is a multi-talented actor, singer and musician, and a pleasure to watch.

Barbara Berman, a very active member and past president of the Ohev Shalom congregation is very funny as the drunken, unpleasant, miserable Miss Hannigan.  She staggers, recovers, reacts and sings appropriately.

This cast demonstrates many levels of acting talents and vocal abilities.  It appeared that the young lady who played ANNIE on Sunday evening is not yet totally comfortable in sincerely interacting with others on stage. Phyllis Parkansky’s only prior experience has been in camp shows, but she sings on pitch, comes in on cue, and has a very nice smile. It’s a demanding role for any young person.

The cast of ANNIE, the annual fundraiser production at Temple Ohev Shalom in Richboro PA.

Certain performers were stand-outs.  Among them are Anita Dorfman as Oliver Warbuck’s secretary, Eric Rothstein as Rooster, Eric Froberg as Bert Healey, Madison Dedieu as a feisty orphan Mollie, Lee Jaffee as Drake, and various roles. The female orphans all did quite well singing and dancing together, as did the boys in the street gang, and the chorus of maids and butlers.

Also fun to watch was Elise Weinstein as Rooster’s girlfriend, Lily St. Regis, and her competent work as choreographer was evident.

As often happens when animals appear on stage, a four-year old golden retriever stole the show as Annie’s adopted dog “Sandy.” He was calm, disciplined, and delightful, appropriate since he also works as a therapy dog, visiting nursing homes and a camp for children with autism, and he competes in agility and obedience trials.

From the long list of names in the program, it appears that several hundred members of the congregation become involved in some manner with this production. It’s no wonder it is the major fund-raiser of the year for Ohev.

In a bit of a twist and to the delight of the audience, there were references to Hanukkah as well as Christmas in the production.  At one point, a painting of the Mona Lisa is displayed with a photo of Rabbi Elliot Pearlstein replacing her face….”the ‘Elliot Lisa’” a friend told me with a smile. “We always try to work our Rabbi into the shows somehow, somewhere, just for fun,” he said.

Mention needs to be made of the clever set design and execution, fine lighting by Howard Berman and Mark Kolber on sound. Kudos to all of the production and backstage people, as well.

A sense of strong community abounds at Ohev Shalom, as evidenced by this ebullient, cohesive production.  Portable seating can be arranged for 225 to 350+ people.

ANNIE
Book by Thomas Meehan
Lyrics by Martin Charnin
Music by Charles Strouse
Directed by Michael Schwartz
Ohev Shalom of Bucks County
944 Second Street Pike
Richboro, PA 18954
Thursday, Feb. 23, at 7 PM
Saturday, Feb 25 at 8 PM
Sunday, Feb. 26 at 12:30 and 5 PM
www.ohev.org

Most surprising of all are the plans to have the interior ready to open a preview performance of their first show on Monday, July 2^rd, just 73 years and a day after the 1939 historic theatre first opened with SPRINGTIME FOR HENRY.  The second show will open in August.  Neither title has been announced, but each show will run for three weeks.

It seems really ambitious to accomplish all the interior remodeling in just 5½ months, but that is the goal. They believe they can do it, and the architectural firm of Mills & Schnoerring is well on its way, displaying some of their plans at the Playhouse for the meeting.

Equity performers will be the principals of each summer season and Christmas show even as the philosophy is to return to training good actors along with experienced ones in each production.

They also expect that former actors who are now famous and well-known will return to perform upon the stage.

The theatre was about 2/3 filled with interested – often passionate — people for the meeting Thursday evening, all of whom had come for different personal reasons.

When invited, about half of those people stood up to declare they had already become members of Bucks County Theatre at memberships of $80 for individuals, $160 for families, and $500 for business.  To become a member, visit www.bcptheater.org or call 215-315-7788.

Additionally, there is a Founders Club program with a goal of reaching contributions of $1,000,00 or more as people show their support.

At Thursday’s meeting one person stood up and pledged a $500 membership on the spot.

Jed Bernstein speaks during meeting at Bucks County Playhouse.

Another man said that many years ago, he had retrieved about 25 of the “lost” wall plaques from a dumpster outside the Playhouse the previous tenants so indiscriminately discarded. The treasured plaques listed the shows of each year.  That gentleman said he will share them with the Playhouse once again.

Managing director, Jed Bernstein stated management is looking for any and all memorabilia people can find of old programs, posters, and so on.  If you can contribute any items please contact the group at the office phone number shown above.

Bernstein reiterated that the Playhouse will have many activities involving classes, producing community theatre productions in the off season, musical events, and so much more.

Rounds and rounds of applause sounded for the leaders of this effort, especially for Kevin and Sherri Daughterty whose funding has made the beginning of this project possible along with the vision of Peggy McRae, champion of saving Bucks County Playhouse, Jed Bernstein, managing director, and so many others.

Not only is Bucks County Playhouse rising again, but it will be a hub of activity, drawing people to New Hope, supporting the merchants as well as the theatre.

Students of the Premier Centre for the Arts performed on February 18 at Disney World.

Students of Premier Centre for the Arts prepared their talents and packed their bags for their stage appearance at Disney! The excitement was pouring from the studios as they rehearsed their performance for the Disney debut. Students from such classes as Triple Threat, Musical Theatre Ensemble (Middletown and Dover) and a variety of dance classes have been working for months to prepare for this once-in-a-lifetime experience of being seen and heard by Disney-goers and be part of the magic.

“They have had only 12 hours to learn and rehearse 5 songs that will be featured on the Walt Disney World stage,” says the show director Nick Manerchia. These youths may someday be the Prince and Princess that transform Disney into a place where dreams come to life. This is just the beginning of their fairy tale and Premier Centre for the Arts was able to get them there, along with the hard work and passion for the arts that each puts into the classes they take every week there!

A cast of over 20 performers from Premier Centre for the Arts performed several songs on February 18 at 12pm on the Waterside Stage in Downtown Disney. Featuring songs from GLEE and Broadway shows “We Got The Beat”, “Dog Days Are Over”, “Pure Imagination” and several others. This will be the third time Premier Centre for the Arts has traveled to Orlando, Florida to perform on the Walt Disney World stage.

Premier Centre for the Arts in located at 27 Anderson Street Middletown, DE 19709. PCA focuses its performance-based educational programs on nurturing a well-rounded performer. Over 400 students study weekly in their educational programs and many of those students participate in over 200 performances each season. The facility includes: café, retail store, recording studio, video/photography studio, dressing rooms, costume/prop shop, 14 studios, and a theatre.

More info can be found on their website: www.pcade.com

Sessions will be held March 10, 17, 24 and 31, 2012, 10:00 am to Noon

at the Medford Arts Center (The MAC), 18 N. Main Street, Medford, NJ

Cost: $80 per student

Instructors* for these classes include members of the production staff of Pineland Players:

Mrs. Fay Schanne, Choreographer

Laurel Hutt Thomas, Director

Jennifer Walker, Associate Director/Choreographer

Steve Lottes, Technical Director

and these guest instructors:

Paul Russell, NY Casting Director and author of “ACTING: Making It Your Business”

Kathleen Junkins, Director and Stage Manager for Langhorne Players

Kendra Cancellari, Chorus Director for Tabernacle Schools

Dean Walton, Drama Coach for Haddonfield Plays and Players, Director at The Ritz Theatre Company, The Muse Theatre Company and Stagecoach Theatre Arts Schools

To Register, call our information line at 609-286-3485 and leave your name and contact number. We will return your call and complete your registration. You can also email us with your contact information at pinelandplayers@aol.com, indicate “Theater 101″ in the Subject Line, and we will call to confirm your registration.

Pete Pryor as George and Ian Bedford as Lennie in People’s Light & Theatre Company’s OF MICE AND MEN. (Photo credit: Mark Garvin)

John Steinbeck’s devastating tale of down-and-out migrant workers in Depression-era California is an American classic, and required reading for virtually everyone schooled in our country. The challenge of staging such a well-known work–the subject of countless theatrical productions since its premiere in 1937, an Oscar-nominated film of 1939, a remake in 1992, and a made-for-TV movie of 1981–is to retain the emotional impact of Steinbeck’s crushing narrative and harrowing conclusion, since they will come as no surprise to anyone in the audience. People’s Light has done just that, with an outstanding cast, powerful direction, and a respectful adherence to the text.

Peter DeLaurier (an Artistic Associate and long-time company member of People’s Light), who plays the aging ranch-hand Candy with heart-rending pathos, acknowledges that, emotionally, “It’s a costly show for all of us. But Steinbeck is so great, that the best way—the only way–to do it is without adding or changing anything, by just keeping to the original.”

Mark Lazar as Carlson and Peter DeLaurier as Candy with his beloved dog in People’s Light & Theatre Company’s OF MICE AND MEN. (Photo credit: Mark Garvin)

Director David Bradley does not temper the hardened brutality and shocking bigotry of Steinbeck’s novella/play. The production is filled with disturbing language and haunting images that will never leave you, of a lonely and disconnected subclass whose rare sentimental attachments (to a pet, a spouse, a friend) end in even more ravaging heartbreak than their nomadic isolation.

OF MICE AND MEN is not for the faint-hearted. It is difficult to watch the utter hopelessness of these characters’ lives and their dashed dreams of something better—of, according to DeLaurier, “what could have been.” But it is their cruelty to each other that is the most unsettling, with their prejudiced views of blacks, women, and the mentally challenged, mistreating the weakest among them even worse than they have been treated themselves.

The entire ensemble expertly conveys the grim situations and personal misery of Steinbeck’s disenfranchised figures, whose only way out of their wretched existence is a bullet to the head or a broken neck. Ian Bedford as the doomed Lennie is both physically and psychologically empathetic; he combines a childlike excitement and heartwarming innocence with a dull-eyed, mouth-breathing incomprehension of life, and of his own strength. Pete Pryor is fully three-dimensional as Lennie’s devoted friend George; he is at times short-tempered, rough, and impatient, but always protective, concerned, and ultimately merciful. Mark Lazar is loathsome as the predatory Carlson, the relentless bully whose every solution is to take a gun to the less fortunate. And Jessica Bedford balances brassiness with softness as the ranch owner’s unhappy daughter-in-law, who falls victim to Lennie’s unintentional man-handling and triggers the story’s tragic ending.

Ian Bedford, Jessica Bedford, Peter DeLaurier, and Pete Pryor in People’s Light & Theatre Company’s OF MICE AND MEN (Photo credit: Mark Garvin)

The supporting cast of Tom Teti as the boss, Chris Faith as his son Curley, Jerry Richardson as Slim, Andrew Kane as Whit, and Lou Ferguson as Crooks brings their legendary roles to life with believability and conviction, and an ingenious set design by Wilson Chin captures the claustrophobic closeness of the men’s bunkhouse and the expansiveness of the Northern California landscape, split by the running water of the Salinas River.

Though set during The Great Depression, OF MICE AND MEN retains its relevancy in our own period of economic decline, unemployment, and proposed cuts to the vital resources of healthcare, social security, and welfare. Its theme of the predicament of migrant workers in our country (shared with the company’s previous production of FALLOW), brings home the need for a culture of compassion, in which others “with a hard life and special needs”–in the words of Pryor–are treated with benevolence and humanity, not savagery or disdain.

Jessica Bedford as Curley’s wife and Ian Bedford as Lennie in People’s Light & Theatre Company’s OF MICE AND MEN. (Photo credit: Mark Garvin)

OF MICE AND MEN
By John Steinbeck
Directed by David Bradley
February 15–March 25, 2012
People’s Light & Theatre Company
Main Stage
39 Conestoga Road
Malvern, PA  19355
610.644.3500
www.PeoplesLight.org

The cast of LEADING LADIES at Playmasters: (Back row from left to right:) Nigel Rogers, Tim Kirk, Dave Kirby, Angie Schlauch; (Front row from left to right:) Joe Szumila, Carole Mancini, Joe Mattern, Laura Buttenbusch,

Playwright Ken Ludwig, known for LEND ME A TENOR and MOON OVER BUFFALO continues to demonstrate his ability to write exceptionally funny farces with his play, LEADING LADIES.

This play fulfills the dictionary definition: “A broadly comic dramatic work based on ludicrously, improbable events.”  But, not all farce is really funny.  It must be played sincerely, and more experienced actors know how to deliver the punch lines.

In a 2008 review in the Gaston (NC) Gazette, reviewer Bernie Petit correctly commented, “LEADING LADIES offers something audiences can’t get enough of: burly men disguised as women.”  What he didn’t say is those men must be good performers; they must play their roles believably.

This story is about two male Shakespearean actors down on their luck, almost penniless, and stuck in York, PA.

Learning of the story of a local woman who is dying with money to leave to relatives, Leo persuades Jack to help him impersonate her long lost nephews in order to inherit a million dollars each.  However, they soon discover a problem: the nephews really are nieces, so Leo and Jack choose to use their acting abilities and pretend to be nieces disguised in Shakespearean dresses from their suitcase. Aunt Florence has not seen her nieces since they were babies, so she will not know, Leo feels certain.  Leo instructs Jack to portray the deaf niece, setting up another set of farcical situations.

But, even a well-written farce requires good direction and good acting to make it work.  Fortunately, the participants at Playmasters in Bensalem, have met both.

Heather MacHenry, vice president of Playmasters Theatre Workshop, directed the play assisted by Fran Kane.  Both women are experienced actresses and directors.  They know the importance of good casting and excellent pacing, both of which were obvious in this production.

Not surprisingly, the more experienced actors gave the best performances in this production.

For instance, Nigel Rogers as Jack, the reluctant but always persuadable co-actor is a delight to watch with his fantastic facial expressions, excellent timing, and beautifully controlled broad interpretations.  He’s not “burly,” but he’s tall, gangly, and he looks perfectly silly in a wig and heels. It would be tempting, but Nigel needs to be careful not to do any more.  His role is done so well now, to exaggerate more would be a mistake actors often make when they get big laughs.

Tim Kirk, as Leo, has a large role and gives a strong performance.  He IS burly, and hairy. The off-shoulder dress he wears during his first “female” entrance precipitates much laughter. It was hard for Tim not to laugh, too, but he would be more convincing if he did not smile at his own very funny lines.

Everyone in the cast played their roles well. Joe Mattern, as the doctor, and Carole Mancini, as Aunt Florence, deserve special mention.  Their theatre experience is evident. They played their roles with sincerity and perfect timing, making them even funnier.

Angie Schlauch, an essential part of the story as Audrey, was exceptional in her portrayal, delivering some terrific lines with believability. She also managed to roller skate on stage without falling.  She is very comfortable on stage.

Laura Buttenbusch as leading ingénue, Meg, is pretty and showed good stage presence.  If she projects more, she will be heard better. She also needs to wait for the laughter to die down before continuing her dialogue.  We missed some of it.

In the role of Pastor Duncan, Joe Szumila was appropriately unlikable. David Kirby, a relative newcomer to the stage, played Butch, the doctor’s son, a not-too-bright guy in love with Audrey.

During the curtain call, I heard the woman sitting next to me say, “That’s the funniest show I ever saw!”   Based on the applause, it was obvious many people in the audience concurred.  LEADING LADIES provides a fun, inexpensive night (or matinee) seeing live theatre.

LEADING LADIES
by Ken Ludwig
Directed by Heather MacHenry
The Playmasters
February 17-March 4, 2012
State Road
Neshaminy State Park
Bensalem, PA
215-245-7850
www.playmasters.org