MEDIA CONTACTS:
Mile Square Theatre: Andrew Baldwin, Managing Director
Email: abaldwin@milesquaretheatre.org
Daryl Stewart Productions: Kabre Dennis, PR/Media
Email: darylstewartproductions@gmail.com

Mile Square Theatre Presents Ntozake Shange’s for colored girls who have considered suicide / when the rainbow is enuf

The Landmark Choreopoem Comes Home to New Jersey for its 50th Anniversary, Directed by Daryl Stewart

HOBOKEN, NJ — Mile Square Theatre, in collaboration with Daryl Stewart Productions, is proud to present Ntozake Shange’s landmark choreopoem, for colored girls who have considered suicide / when the rainbow is enuf, directed by Daryl Stewart. The production runs November 6–15, 2026, marking 50 years since the 1976 Broadway premiere.
New Jersey native Ntozake Shange’s landmark work returns to the state with an extraordinary local team. Led by director Daryl L. Stewart (Paper Mill Playhouse, NJPAC, Luna Stage), co-director/choreographer Justin Dominic, and movement director Nikkia T. Neal, the production stars Dr. Lynn Irby Hill (Lady in Red), CiMa (Lady in Purple), and Brissae Valdes (Lady in Yellow). Legendary Tony Award–winner Trezana Beverly serves as acting coach and production consultant for this milestone revival.

Filled with passion and raw honesty, Shange’s form-changing choreopoem tells the stories of seven women of color using poetry, song, and movement. With unflinching candor and emotion, each woman voices her survival story of having to exist in a world shaped by sexism and racism. This work continues to give voice to the interior lives of women of color with a force and beauty unmatched in our national theater.

“Fifty years after its ground-breaking debut, for colored girls who have considered suicide / when the rainbow is enuf remains a vital reminder that every life holds a story worth telling. At its core, Ntozake Shange’s masterpiece is a soul-stirring, intergenerational invitation to reclaim the full spectrum of our humanity—from the glorious to the gut-wrenching. As we mark this extraordinary 50th anniversary milestone, I am deeply humbled to collaborate with this phenomenal team to bring Shange’s incandescent choreopoem home to New Jersey—honoring the generations who have cherished it while passing its transformative power to the next,” said Daryl Stewart, director.

For New Jersey audiences, this production carries an especially meaningful resonance. More than a revival of a landmark work, it is a homecoming, a 50th anniversary celebration, and an opportunity to experience a piece of theater history through the voices of a new generation of artists. At a moment when whose stories are heard, whose experiences are seen, and who gets to take up space onstage remain vital questions, Shange’s words continue to resonate with urgency and power. Mile Square Theatre invites audiences and media to experience a work that remains as provocative, necessary, and deeply moving as ever.

Tickets are $40 for general admission and $30 for students. Runtime is 90 minutes.

SPECIAL NIGHTS:
11/6 — Opening Night Be among the first to experience the magic! Join us for an unforgettable kickoff complete with a complimentary post performance toast, and the high-energy premiere performance.
11/7 — Post Performance Talkback (7pm Performance) Dive deeper into the story. Stick around immediately following the curtain call for an intimate, interactive Q&A session with the cast, director, and creative team. Get exclusive insights into the production process, character development, and bringing this show to life.
11/13 — Divine Nine Night: A Celebration of Black Excellence Calling all D9 Greeks! Rep your org as we honor the legacy, culture, and brotherhood/sisterhood of the Divine Nine. Wear your letters, bring your yard pride, and enjoy an electric evening celebrating Black artistry, leadership, community, and culture both on and off the stage.

PRODUCTION TEAM:
Playwright: Ntozake Shange
Director: Daryl Stewart
Co-Director/Co-Choreographer: Justin Dominic
Co-Choreographer/Movement Director: Nikkia Tyrie Neal
Performance Coach: Trezana Beverly
Costume Design: Marco Hall

CAST:
Lady in Brown: Zaria Monae
Lady in Red: Lynn Irby Hill
Lady in Blue: Positive
Lady in Green: Camille Upshaw
Lady in Yellow: Brissae Valdes
Lady in Orange: Madison Star Brim
Lady in Purple: CiMa

EVENT LISTING INFORMATION:
for colored girls who have considered suicide / when the rainbow is enuf
Presented by Mile Square Theatre in collaboration with Daryl Stewart Productions
November 6, 7:00 PM
November 7, 2:00 PM & 7:00 PM
November 8, 2:00 PM
November 13, 7:00 PM
November 14, 7:00 PM
November 15, 2:00 PM

Runtime: 90 minutes

General Admission: $40
Students: $30

ABOUT MILE SQUARE THEATRE:
Founded in 2003, Mile Square Theatre is a nonprofit professional theatre dedicated to producing bold, relevant, and engaging theatrical work for audiences of all ages. MST enriches the region through professional productions and innovative arts education.

Mile Square Theatre
1400 Clinton Street
Hoboken, NJ 07030
(201) 683-7014
Website: www.milesquaretheatre.org
Instagram: @milesquaretheatre
Facebook: @milesquaretheatre

Theater/Organization: Mile Square Theatre
Theater Address: 400 Clinton Street, Hoboken, New Jersey 07030 (Map It)
Theater Phone: (201) 683-7014

The post Ntozake Shange’s "for colored girls…" Returns to New Jersey, Nov 6-15 first appeared on Stage Magazine.

DUBLIN BY LAMPLIGHT—written by Michael West in 2004 in collaboration with Dublin’s acclaimed Corn Exchange—is an atmospheric satire set against the simmering backdrop of 1904 Ireland. As a revolutionary fervor sweeps Ireland, a desperate theatre troupe scrambles to stage ‘The Wooing of Emer,’ fighting to birth a national theatre amidst a minefield of political unrest and backstage chaos.

Under David Pica’s direction, six actors bring this world to life portraying principal characters and other small roles filling out the Dublin landscape. Greysen Kessler plays Willie Hayes, the beleaguered producer fighting to keep a collapsing production afloat. Teddy Novak portrays Frank Hayes—Willie’s brother and the leading actor and amateur bombmaker. Chloe Russell commands as Eva St. Jean, a faded leading lady desperate to reclaim her glory, while Ian Higgins plays Martyn Wallace, the romantic lead caught in the eye of the storm. Rounding out the ensemble, Liv Lucano plays Maggie, a sharp-tongued serving wench and costume assistant navigating the shadows of the stage, and Joshua Bridges plays Jimmy Finnegan, the gritty carpenter holding the set—and the troupe—together. Alayna Lino provides well-timed, live foley sound effects.

The set, designed by David Gallo, features a towering theatrical arch that is as attractive as it is imposing – occasionally dwarfing the intimate scale of the cast and the play’s action. Costume Designer Janus Stefanowicz’s costumes effectively capture the stark reality of 1904 class struggle. Eric Haugen’s evocative lighting design deepens the mood and atmosphere of the production. Together, these design elements are quite lovely and aesthetically alluring, perhaps working against the rough and tumble, ragtags-in-rebellion nature of the story. Completing the production’s design elements, Matthew Mastronardi’s sound design infuses the story with Irish folk song.

Originally written to be performed in commedia dell’arte—a specialty of the Corn Exchange, with whom West collaborated—the play calls for masks (here, stylized face makeup) and hyper-attenuated movement, allowing actors to embody stock figures and effortlessly morph into secondary characters.

Director Pica, however, introduces a patchwork of meta-theatrical influences drawn from silent film, radio, and vaudeville. Where commedia’s physical framework should elevate the backstage mayhem into high buffoonery—making the transition to real-world poverty, violence, and heartbreak all the more jarring—Pica’s approach dilutes the style. As a result, the production loses its dramatic punch: while theatrical, it ultimately lacks what we might assume was the author’s intended emotional resonance and depth.

DeSales University Act 1
DUBLIN BY LAMPLIGHT
Runs through 10/11/2026

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.

The post Audience Review: DUBLIN BY LAMPLIGHT at DeSales University Act 1 first appeared on Stage Magazine.

The musical takes place in the modern day and follows a grown-up Wednesday Addams (Abbie Parker), who has reached that certain age when you clash with your parents’ values. Being an Addams, though, this means Wednesday is foregoing her past hobbies such as playing with dynamite and instead is starting to embrace puppy dogs, butterflies, and (gasp) yellow dresses. Worse still, she has fallen in love with an All-American normal boy from Ohio, Lucas Beineke (Galen Graham). When Wednesday tells her odd but genial father Gomez (Damon Bonetti) that she and Lucas are planning to marry, his shock is quickly replaced with horror when she persuades him to keep the engagement a secret from the ever-watchful eye of domineering matriarch Morticia (Lindsey Bliven).

The plot takes place over the course of one day. Lucas and his parents, Mal (Don Daniels) and Alice (Christina Stroup), have been invited to dinner at the Addams Estate. Upon their arrival, their normalcy comically contrasts with the likes of eccentric familiar faces such as moonstruck Uncle Fester (Kelly Briggs), unhinged Grandma (Mary Martello), the pint-sized chainsmoker Pugsley (a role doubled by Kieran Gallagher and Tristan Monaghan; Gallagher performed on opening night), and of course the towering monosyllabic doorman Lurch (Aren Duffy). Even Thing and Cousin Itt make appearances. Sans Gomez, both families are in the dark about Wednesday and Lucas’s plans, and Gomez frantically tries to play peacemaker when disclosures are made, the families’ clash, and things go awry.

THE ADDAMS FAMILY works as a musical because it’s relatable. While it’s helpful to have familiarity with the TV show or movies to get a feel for the different Addams family members, it’s not necessary. The plot and themes are simple and straightforward, borrowing from comic classics, including LA CAGE AUX FOLLES and Kaufman and Hart’s YOU CAN’T TAKE IT WITH YOU. The characters are “pulled” in different directions, and the narrative simply allows the humorous results to play out.

Of course, the show would be nothing without the iconic cast, and Walnut Street Theatre has assembled a troupe of dynamic actors who turn in consistently hilarious performances. Of special note is Bonetti, who masterfully embodies both sides of Gomez. He’s the proud head of the creepy and kooky family, while also being a loving family man desperately trying to please his headstrong wife and his even more headstrong daughter. This relatability, combined with his dynamic comic timing and physical comedy, allows him to command the stage as he jumps from fencing with Lurch, to wooing his wife, to keeping up with the Beinekes.

The vocals among the cast are strong, ranging from solid to stellar. On the stellar side is Parker as Wednesday who, in her solos, exhibits a boisterous belt with excellent breath control. Also, one of my favorite moments of the show is Alice Beineke’s sudden “transformation” from humble housewife to…something else, and Stroup did not disappoint; her late-Act 1 solo “Waiting” can only be classified as a showstopper. The live orchestra (led by rotating conductors across the different performances) backs up the vocals without overpowering. During parts of their fast-paced songs, some of Morticia and Gomez’s lyrics were hard to pick up, but overall this was not a major problem. Some of the musical numbers listed in the opening-night playbill did not match those performed on stage; for instance, the listed duet “Where Did We Go Wrong?” was nowhere to be heard.

Like the performances, the set (designed by John Farrell) is always in motion. It cleverly features forced perspective for depth and several moving set pieces that serve different functions. The choreographed scene changes happen fluidly, not hidden, yet not distracting. Along with the appropriately moody lighting (designed by Julie H. Duro), multiple areas inside and outside the Addams Estate are cleverly depicted. I also enjoyed the smart use of practical effects, including Thing’s puppetry, critters skittering across the stage, and the monster under Pugsley’s bed.

One aspect I particularly admired about this production was Stafford’s use of the ensemble “ancestors.” Near the top of the show, Fester enlists the help of the Addams Family ancestors to help ensure true love prevails and everything works out with the family. This allows more actors than just the leads to take part in the show. In lesser productions, these ancestor actors would be featured in just a few scenes, but Stafford has them all over the place. They’re lounging around the Addams Estate, snooping around Central Park, and appearing in and out in most other scenes. They are fully part of the show, as opposed to an afterthought.

THE ADDAMS FAMILY arrives at Walnut Street just in time for the Halloween season. It’s a great musical for families who enjoy a little of the absurd with a few touching moments among all the hilarity.

Walnut Street Theatre’s
THE ADDAMS FAMILY
Running through 11/01/2026

Review submitted by:
Paul Recupero

Author’s Bio:
PAUL RECUPERO has directed and performed in numerous plays and musicals at various venues in the greater Philadelphia area. Recent favorite productions include Bonnie and Clyde, A Gentleman’s Guide to Love and Murder, City of Angels, and Children of Eden. He also has directed several shows for Devon Prep’s theatre program. Paul enjoys all types of writing and has placed as a semifinalist in two national playwriting contests. He is a two-time winner of The Pennsylvania Lawyer Magazine’s Short Story Contest. Paul earned his J.D. from Villanova University School of Law and works as senior editor for a nonprofit’s national bar exam prep course. He resides in Malvern with his wife and daughter.

The post THE ADDAMS FAMILY at Walnut Street Theatre: A Mysterious and Spooky Good Time first appeared on Stage Magazine.

Set in Duluth, Minnesota, during the harsh winter of 1934, GIRL FROM THE NORTH COUNTRY unfolds as America suffers under the weight of the Great Depression. Featuring a book by Conor McPherson and the music of Bob Dylan, the story gathers a group of wayward travelers and struggling family members inside a run-down boarding house, where they must navigate financial ruin, personal secrets, and their shared search for hope.

Scenic designer James Kronzer provides a simple, rustic set centered around a large dining table and varied playing levels to maintain visual interest. However, the space’s sheer expansiveness slightly undercuts the claustrophobic feel expected of a run-down boarding house. Chris Lee’s lighting design effectively signals shifts in mood, while Alison Roberts’ costumes offer both period authenticity and rich textural detail.

Directed by Terrence J. Nolen with musical direction by Ryan Touhey, Arden Theatre’s production features a 13-member cast of actor-musicians who double as the live orchestra. Beyond serving as a pragmatic cost-saving approach, this trend proves undeniably impressive, creating a far more organic integration between the music and the story. Under Touhey’s music direction, the entire cast boasts exceptional vocals and, as expected, impressive instrumental talent. There are musical moments in this production that are ravishing.

Nolen has forged a tight-knit ensemble capable of mining the piece for both its wry humor and its dramatic weight. The actors shine in their respective roles, wringing as much depth and nuance from the characters as the script allows. But not all is well in the north country. The songs frequently stall the forward momentum of a plot overburdened with too many storylines, peopled by characters who feel more like broad archetypes than fully realized human beings.

But as one hopes from a jukebox musical, the music is the true highlight of the production – Bob Dylan diehards will undoubtedly love the show and even non-fans will find plenty to enjoy.

Arden Theatre Company’s
GIRL FROM THE NORTH COUNTRY
Running through 10/25/2026

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.

The post Audience Review: GIRL FROM THE NORTH COUNTRY at Arden Theatre Company first appeared on Stage Magazine.

First performed on NBC in 1951, AMAHL AND THE NIGHT VISITORS tells the story of Amahl, a young boy who lives with his mother and whose life is transformed one magical evening when three mysterious kings arrive at their home. Traveling to Bethlehem to honor a newborn child, the Kings seek shelter for the night. What follows is a touching story of generosity, faith, sacrifice, and the extraordinary power of a simple gift.

With its beautiful music, enchanting story, and intimate setting, AMAHL AND THE NIGHT VISITORS has become a holiday favorite around the world. LONJ’s production offers audiences the opportunity to experience this treasured work performed live, bringing Menotti’s music and story to life.

Directed by Susan Speidel with music direction by Alla Milchtein, the production captures the childlike wonder at the heart of Menotti’s opera while making it accessible to audiences who may be experiencing opera for the first time.

“We wanted to create more than a performance—we wanted to create a holiday experience that families could share and remember together,” said Artistic Director Jason Tramm. “AMAHL AND THE NIGHT VISITORS captures so much of what makes this season special: beautiful music, humor, wonder, and a story filled with heart. At its core is a timeless reminder that the greatest gifts are often found in generosity, compassion, and what we are willing to give to one another.” The Morristown location, just minutes from downtown Morristown and the Morris Museum, provides an intimate setting for this special holiday production.

Whether you are a longtime opera lover or have never attended an opera before, AMAHL AND THE NIGHT VISITORS offers an opportunity to slow down, enjoy the season, and share a story that reminds us that even the smallest act of generosity can have a profound impact.

Performance Dates: Saturday, December 5 at 2:30 PM and 7:30 PM; and Sunday, December 6 at 2:30 PM

Location: Morristown Unitarian Universalist Fellowship, 21 Normandy Heights Road, Morristown, NJ (just minutes from downtown Morristown and next to the Morris Museum)

Tickets: Tickets Adults $45, Students $25, Children Under 11 Free
https://lightoperaofnewjersey.org/amahl-and-the-night-visitors-2026/

Light Opera of New Jersey is dedicated to producing professional performances of musical theater and opera, showcasing exceptional talent in an engaging and accessible environment for greater New Jersey audiences.

Theater/Organization: Morristown Unitarian Universalist Fellowship, presented by Light Opera of NJ
Theater Address: 21 Normandy Heights Road, Morristown, New Jersey 07960 (Map It)
Theater Phone: (908) 903-0700

The post Light Opera of New Jersey Presents a Holiday Classic: AMAHL AND THE NIGHT VISITORS first appeared on Stage Magazine.

Sponsored by M&T Bank

Show runs Oct 23-Nov. 1, 2026
Oct. 23, 24, 30, 31 (7:30pm)
Oct 25, 31, Nov 1 (2pm)

Forty-seven years after WAIT UNTIL DARK premiered on Broadway, Jeffrey Hatcher has adapted Frederick Knott’s original, giving it a new setting. In 1944 Greenwich Village, Susan Hendrix, a blind yet capable woman, is imperiled by a trio of men in her own apartment. As the climax builds, Susan discovers that her blindness just might be the key to her escape, but she and her tormentors must wait until dark to play out this classic thriller’s chilling conclusion.

Warning: This production includes smoking, mature language, violence, and a complete blackout of the entire space (stage and auditorium) for approximately 5 minutes at the end of Act II.

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 post WAIT UNTIL DARK at DCP Theatre: Twists, deception, and heart-pounding suspense first appeared on Stage Magazine.

Follow the clues and the action as the audience moves through the theater. Solve the crime. Can you find the real villain before Sherlock does?

The cast features Anne Kaufman (Holmes) and Samantha Ambler (Watson) along with John Correll, Kimberly MacKanic, Andrea Wolff, David Beil, and Lynne Cefalo.

This immersive experience has a limited number of assigned seats. Reservations are HIGHLY recommended. If you require mobility assistance, please speak with a staff member upon arrival.

Performances are Fridays & Saturdays, October 2, 3, 9 & 10 at 7:30pm; Matinee performances Saturdays October 3 & 10 at 2:00pm. The library is located at 149 Monmouth Avenue in Atlantic Highlands, New Jersey.

PURCHASE TICKETS ONLINE

Theater/Organization: Magnolia Productions
Theater Address: 149 Monmouth Avenue, Atlantic Highlands, New Jersey 07716 (Map It)

The post Magnolia Productions presents MS HOLMES & MS WATSON, APT. 2B first appeared on Stage Magazine.

September 24th – October 18th
Relaxed Performance 10/1 | ASL performance 10/16

Outdoor Performance

Jimi Hendrix said, “Music doesn’t lie. If there is something to be changed in this world, then it can only happen through music.” From the fields of bondage to compelling social movements, music has rung out with passion to express our deepest human needs. Across many genres, eras and moods, this inspiring outdoor production of song honors that legacy with voices raised in resilience and the unceasing rhythm of freedom.

We imagine – we sing out – as we celebrate the power of our collective spirit and together – we RISE.

Sponsored by: Rich Juro, Friends of the BLUEBARN, Devin Fox & Rob Block, Ron & Chris Blumkin

Theater/Organization: BLUEBARN Theatre
Theater Address: 1106 South 10th Street Omaha, Nebraska 68108 (Map It)
Theater Phone: (402) 345-1576

The post BLUEBARN Theatre to Present: RISE: Songs of Resistance and Resilience first appeared on Stage Magazine.

Two hundred and fifty years ago, a group of opinionated, stubborn and deeply divided delegates gathered in Philadelphia and somehow managed to create a new nation. This November, the Theater League of Clifton brings their story to the stage with 1776, the Tony Award-winning musical about the tumultuous days leading to the Declaration of Independence. Directed by Maren Sugarman, the production will be presented November 13–15, 2026, at the Wayne Community Center, 1 Pike Drive in Wayne.

Set during the sweltering summer of 1776, the musical follows the determined and frequently exasperated John Adams as he tries to convince the Second Continental Congress that the thirteen colonies must declare their independence from Great Britain. Along the way, he finds allies in the irreverent Benjamin Franklin and reluctant Thomas Jefferson — and formidable opposition from delegates who have little interest in revolution.

With music and lyrics by Sherman Edwards and a book by Peter Stone, 1776 transforms the debates surrounding American independence into a battle of personalities, politics and principles. The musical originally opened on Broadway in 1969 and won three Tony Awards, including Best Musical. More than half a century later, its portrayal of an argumentative Congress wrestling with compromise, regional divisions, slavery and the meaning of liberty remains strikingly relevant.

The production also arrives at an especially fitting moment. Throughout 2026, communities across the country are commemorating the 250th anniversary of the Declaration of Independence and reflecting on the ideals, contradictions and continuing story that began in Philadelphia two-and-a-half centuries ago. Sugarman returns to the Theater League of Clifton after directing several previous productions, including “Oliver!”, “Waiting for Christmas”, “Man of La Mancha”, “Murder on the Menu” and “The Altos”.

Performances of 1776 will take place November 13–15, 2026, at the Wayne Community Center, 1 Pike Drive, Wayne, NJ. Tickets are $30, or $25 for seniors and students. Group rates are available for groups of 10 or larger. Tickets can be purchased online at www.theaterleagueofclifton.com or reserved by calling (973) 928-7668 and paid via check mailed to P.O. Box 4072, Clifton, NJ 07012.

Founded in 2005, the Theater League of Clifton is a nonprofit community organization dedicated to fostering an appreciation of the arts through theatrical performances, providing quality entertainment for audiences of all ages and creating opportunities for members of the community to participate in live theater.

About 1776
1776 — America’s Prize Winning Musical
Music and Lyrics by SHERMAN EDWARDS
Book by PETER STONE
Based on a concept by SHERMAN EDWARDS
Original Production Directed by PETER HUNT
Originally Produced on the Broadway Stage by STUART OSTROW

1776 is presented through special arrangement with Music Theatre International (MTI). All authorized performance materials are also supplied by MTI.

Theater/Organization: Wayne Community Center/Theater League of Clifton
Theater Address: 1 Pike Drive Wayne, New Jersey 07470 (Map It)
Theater Phone: (973) 928-7668

The post Theater League of Clifton Presents 1776 — An Epic Musical 250 Years in the Making! first appeared on Stage Magazine.

A 90-minute, collaborative, creative placemaking performance spearheaded by JCWK Dance Lab and The Reading Company Technical and Historical Society (RCT&HS) at the Reading Railroad Heritage Museum (RRHM), the experience blends technological and cultural history, storytelling, contemporary dance, and original music.

“Blending the technology of railroading with the arts contributes to our region’s understanding of the ways the Reading Railroad shaped communities. The employees of the Reading enjoyed many railroad-sponsored musical activities. Now, the Reading Railroad Heritage Museum is happy to welcome everyone to enjoy the arts and technology in this performance of ‘Joy Train,’” said Carol Adams, Outreach Chair of the Reading Railroad Heritage Museum.

Audience members enter the Reading Railroad Heritage Museum and are immediately transported through history. A conductor calls “All Aboard!” and the audience embarks on an immersive journey of contemporary dance, music, memory, and artistic interpretation. The experience includes admission to the Reading Railroad Heritage Museum, performance, audience/ artist/ RRHM staff talk-back, and tour of RRHM grounds and railyard.

“Everyone has a train story,” JCWK Dance Lab Director Jessica Warchal-King reflected. “I’m excited to use dance and music to bring people together in a way that uniquely reflects Berks County’s past and future.”

All Aboard the Joy Train! celebrates the 250th anniversary of the United States, the RCT&HS’s 50th anniversary, and JCWK Dance Lab’s 10th anniversary.

JCWK Dance Lab is a Berks County-based contemporary dance troupe. The company utilizes dance to create Joy, Connection, & Wellness through Kinesthetic (body) stories.

The Reading Railroad Heritage Museum is the educational and interpretive center for the extensive collections of the Reading Company Technical and Historical Society, where broad archival and artifact collections are housed for education and research.

For more information, visit www.jcwkdancelab.org/joytrain

Theater/Organization: JCWK Dance Lab
Theater Address: 500 S 3rd St, Hamburg, Pennsylvania 19526 (Map It)

The post All Aboard the Joy Train! arrives at the Reading Railroad Heritage Museum first appeared on Stage Magazine.

Written by Charles Busch, PSYCHO BEACH PARTY is an hilarious send up of Gidget, Frankie and Annette beach party movies, with a dash of Hitchcock psychological suspense thrillers.

Chicklet Forrest, a teenage tomboy, desperately wants to be part of the surf crowd on Malibu Beach in 1962. One thing getting in her way is her unfortunate tendency towards split personalities. Her most dangerous alter ego is a voracious vixen named Ann Bowman who has nothing less than world domination on her mind.

“Imagine Beach Blanket Bingo taking a very wrong turn,” suggests director Sean Lough. “You get the sun and surf of a 1960s beach party movie and then, well…thing get weird. The waves are high, the hair is higher and the sanity is questionable. The only thing we’re taking seriously is making sure the audience has a good time!”

The cast includes Ryan Green as Provoloney, Tyler Callinan as Yo-Yo, Luke Basile as Starcat, Zach Mazouat as Chicklet, Sherry Mayce as Berdine, Rick Brown as Kanaka, Sommer Mae Campbell as Bettina, Sean Lynch-Littlejohn as Mrs. Forrest and Kate Griggs as Marvel Ann.

The production will run October 9,10, 16,17, 18 with a mix of matinees and evening performances and does contain some adult language, Visit cdctheatre.org for more details and ticket options.

PSYCHO BEACH PARTY is presented by arrangement with Concord Theatricals on behalf of Samuel French, Inc. www.concordtheatricals.com and made possible by funds from the Union County Office of Cultural & Heritage Affairs, a partner of the New Jersey State Council on the Arts.

Theater/Organization: CDC THEATRE
Theater Address: 78 WINANS AVE, CRANFORD, New Jersey 07016 (Map It)
Theater Phone: (908) 276-7611

The post 108th Season at CDC Theatre Opens with PSYCHO BEACH PARTY first appeared on Stage Magazine.

A comical feast that embraces the wackiness in every family, THE ADDAMS FAMILY: The Musical is the magnificently unhinged hit musical featuring everyone’s favorite creepy, kooky characters. Wednesday Addams is the ultimate princess of darkness and has fallen in love with a sweet, smart young man from a respectable family… a man her parents have never met. And if that wasn’t upsetting enough, she confides in her father and begs him not to tell her mother. Now, Gomez Addams must do something he’s never done before – keep a secret from his beloved wife, Morticia. Everything will change for the whole family on the fateful night they host a dinner for Wednesday’s “normal” boyfriend and his parents.

Originally created in 1938 by CHARLES ADDAMS, THE ADDAMS FAMILY did not receive their first names until the 1960s. The iconic characters quickly moved from the comics page to the television screen and became a household name for their quirky archetypes that challenged modern sitcom relationships. In the 1990s, the franchise gained more traction with modern audiences with the production of several movies before becoming a full Broadway musical in 2010 with book by MARSHALL BRICKMAN and RICK ELICE, and music and lyrics by ANDREW LIPPA. The Tony Award-nominated musical ran on Broadway until 2011 and toured internationally until 2021.

RICHARD STAFFORD returns to the Walnut as Director/Choreographer, having previously directed and choreographed numerous Mainstage shows, including A Christmas Story The Musical, Jersey Boys, Legally Blonde, and Mamma Mia!. In addition to his work with the Walnut, Stafford has also choreographed on Broadway and the New York City Opera. Music and vocal direction will be provided by CHRIS BURCHERI, who returns to the Walnut for his seventh season. His Walnut credits include 1776 The Musical, A Christmas Story The Musical, Dreamgirls, ELF The Broadway Musical, Jersey Boys, Beautiful – The Carole King Musical, Disney’s Beauty and the Beast, and more.

Taking on the Addams Family Matriarch and Patriarch are LINDSEY BLIVEN (Beehive – the 60s Musical) as Morticia Addams and DAMON BONETTI (The Best Man) as Gomez Addams. ABBIE PARKER makes her Walnut debut in the role of Wednesday Addams. The role of Pugsley Addams will be shared by KIERAN GALLAGHER (A Christmas Story The Musical) of Philadelphia, PA and TRISTAN MONAGHAN (A Christmas Story The Musical) of Trevose, PA. Portraying other iconic Addams Family members include KELLY BRIGGS (Elvis – A Musical Revolution) as Uncle Fester, AREN DUFFY (Mary Poppins) as Lurch, and MARY MARTELLO (Sherlock Holmes: The Great Detective) as Grandma. Taking on the role of Lucas Beineke, Wednesday’s boyfriend, is GALEN GRAHAM in his Walnut Mainstage debut. Bringing the Beineke parents to life are DON DANIELS (Annie) as Mal Beineke and CHRISTINA STROUP in her Walnut debut as Alice Beineke.

Returning to the Walnut stage as ancestors of the Addams and denizens of New York City are Dance Captain RACHAEL BRITTON HART (Disney’s Beauty and the Beast), ANDREW ECKERT (Disney’s Beauty and the Beast), BONNIE KELLY (A Christmas Story The Musical), MADELINE KENDALL (ELF The Broadway Musical), ANDREW RUGGIERI (Jimmy Buffett’s Escape to Margaritaville), DOMINICK SANNELLI (A Christmas Story The Musical), and AUDREY BIEHL SIMMONS (A Christmas Story The Musical). Rounding out the cast in their Walnut debuts are MELANIE BECKER, JACK GIMPEL, and FILIP PRZYBYCIEŃ.

The familiar faces of the creative team for THE ADDAMS FAMILY: The Musical is equally ready to bring their talent and ideas to life on the Walnut’s stage. Scenic Designer JOHN FARRELL (A Christmas Story The Musical) brings the Addams Family mansion from New York City to Philadelphia and Lighter Designer JULIE DURO (Rocky, the Musical) lights up the stage in the spookiest way. Sound Designer SEAN MCGINLEY (Million Dollar Quartet) returns to create the eeks, creaks, and shrieks of The Addams Family. Costume Designer MARY FOLINO (1776 The Musical) and Wig Designer DESTINEE STEELE (A Christmas Story The Musical) work together to create the iconically gothic wardrobes that the Addams are known for.

Your favorite characters come to life in this heartwarming tale of acceptance, change, and growing up! THE ADDAMS FAMILY: The Musical will keep audiences engaged with wall-to-wall laughter and frights for the Halloween season. Now look alive… or don’t!

The 2026-27 Season starts with THE ADDAMS FAMILY: THE MUSICAL. Previews begin September 22, 2026 and the show runs through November 1, 2026. Open captioning will be available on Sunday, October 4 for the 7pm performance; audio description will be available Thursday, October 15 for the 2pm performance. ASL translation will be available on Thursday, October 15 at 7:30pm. The 2026-27 Season will also include: Disney’s FROZEN The Broadway Musical, David Mamet’s GLENGARRY GLEN ROSS, Noël Coward’s PRESENT LAUGHTER, and COME FROM AWAY The Musical.

Hallo-Week at the Walnut will be a week of evening performances designed to celebrate the Halloween season. Wednesday’s Mezz Madness will be on Wednesday, October 28, 7:30pm performance; all seats in the mezzanine are $28. Kids Night at the Walnut will be on Thursday, October 29, 7:30pm performance; buy one adult ticket at full price to get a youth ticket for free, plus enjoy special pre-show events in the lobby. Two to Tango Date Night will be on Friday, October 30, 7:30pm performance; get two tickets for $140 and enjoy exclusive pre-show events from 6:30-7:30pm. Addams After Dark will be on Saturday, October 31, 7pm performance; all seats are $35, and audiences can enjoy $10 drink specials and pre-show events. For more information on Hallo-Week at the Walnut, please visit our website.
For tickets and information, visit WalnutStreetTheatre.org or Ticketmaster.com or call 215-574-3550.

Theater/Organization: Walnut Street Theatre
Theater Address: 825 Walnut Street, Philadelphia, Pennsylvania 19107 (Map It)
Theater Phone: (215) 574-3550

The post Walnut Street Theatre Kicks Off 218th Season with THE ADDAMS FAMILY: The Musical first appeared on Stage Magazine.

Christopher Durang’s VANYA AND SONIA AND MASHA AND SPIKE won the Tony Award for Best Play in 2013. Celebrated for the absurdist lens through which he viewed the comedy of everyday life, Durang spent the final stage of his life in his farmhouse in Bucks County. It feels especially fitting then that the Barley Sheaf Players—housed in a boutique theater in nearby Lionville—has mounted an intimate production that is as touching as it is funny.

The story follows two delightfully dysfunctional siblings, Vanya and Sonia, who have spent their adult lives caring for their elderly parents—and perfecting the art of mutual exasperation. Their glamorous, globe trotting movie star sister, Masha, sweeps in with her boy toy Spike, upsetting their curated gloom and threatening to sell the house out from under them. With its cheeky riffs on Chekhovian themes, the play gleefully blends sharp humor with tender melancholy, poking fun at mid life crises, the passage of time, and the heroic struggle of trying to adapt to a changing world.

The production succeeds largely on the strength of its cast, whose performances capture both Durang’s razor-sharp wit and the deep reservoir of humanity beneath it.

Michele Bolay’s Sonia is a bundle of nerves—anxious, self deprecating, and emotionally exposed. She captures the Chekhovian ache of missed opportunities with a vulnerable yet seething sarcasm and sharp comedic timing.

Donna Dougherty portrays Masha with melodramatic flair, dripping unapologetic narcissism at every entrance. With a crystalline grasp of the carefully curated mask Masha wears, Dougherty’s Masha is the deliciously arrogant antagonist—forcing her stagnant siblings to confront their life choices and, ultimately, nudging the family toward healing.

John Bell’s Vanya anchors the household chaos with the peacemaker’s sensibility the story depends on. His extended monologue in the second act becomes the play’s emotional and thematic apex. Railing against a world Vanya no longer recognizes, Bell mines the speech for its hilarity while uncovering striking, unexpected moments of pathos. The resulting performance is equal parts bewilderment and heartbreaking desperation.

Rounding out the ensemble is a cohort of comedic actors. Sam Horvath’s Nina radiates optimism, purity, and gentle compassion – the perfect antidote to the siblings’ cynicism. Michael Hildebrand plays the amiable yet self absorbed Spike with an apple-cheeked warmth and quirkiness. Lauren Rozensky Flanagan’s Cassandra—the family’s erratic cleaning lady—delivers her prophecies with gusto keeping her fellow actors (and the audience) on their toes.

Director Robin Werkema is to be commended for her casting. One might wish her staging more fully capitalized on the comic possibilities embedded in Durang’s script. The production is occasionally visually static, relying on the actors to generate momentum. Fortunately, this talented cast proves more than capable of carrying the evening, standing as a vivid reminder of the power of a beautifully written play performed by actors who understand both its comedy and its heart.

VANYA AND SONIA AND MASHA AND SPIKE
The Barley Sheaf Players
thru 9/26/2026

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.

The post Audience Review: VANYA AND SONIA AND MASHA AND SPIKE at The Barley Sheaf Players first appeared on Stage Magazine.

The Ephrata Performing Arts Center continues its 2026 season with Larissa FastHorse’s THE THANKSGIVING PLAY. This satirical comedy premiered on Broadway in 2018, making FastHorse the first female Native American playwright to have a play produced on Broadway.

Determined to stage a culturally conscious Thanksgiving pageant for Native American Heritage Month, four white educator/actors inadvertently set off a crisis of authenticity. When their prospective “Native American” star is revealed to be a white actress who frequently plays marginalized ethnicities, the project collapses into chaos. Forced to confront their own privilege, the team attempts to appease school district guidelines while grappling with historical reality—ultimately revealing how easily noble intentions degenerate into performative fluff.

Gabrielle Sheller delivers a sharp performance as Logan, demonstrating how progressive rhetoric can easily mask unyielding ambition. Sean Caldwell strikes the right balance as Jaxton, her eco-conscious, busker-turned-actor boyfriend, while Bobby Checchia plays Caden with a mix of elementary-teacher awkwardness and obsessive historical devotion. Completing the ensemble, Gabi Hondorp captures the unbothered glamour of Alicia, an L.A. actress content with playing typecast roles for a quick and easy paycheck.

Director Ben Galosi’s production moves at a brisk pace, laced with crisp, occasionally stinging satire. Its ensemble of well-intentioned characters striving for righteous enlightenment calls to mind the affectionate parody of Christopher Guest’s Waiting for Guffman.

Ultimately, however, the production struggles to resonate—a casualty of a rapidly shifting political landscape. What felt like a timely lampooning of “wokeness” in 2018 now reads as outdated in 2026. As culture wars escalate toward censorship and authoritarian control, caricaturing hyper-progressive teachers feels like a trifle, a distraction from more pressing and urgent political threats.

THE THANKSGIVING PLAY
Ephrata Performing Arts Center
Runs thru September 13, 2026

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.

The post Audience Review: THE THANKSGIVING PLAY at Ephrata Performing Arts Center first appeared on Stage Magazine.

Directed by East Lynne Executive Director Mark David Boberick, who also created the scenic design, Boberick is the co-creator and chief creative director of Petals Floral Design & Gifts, established in Wildwood in 2013, and is known throughout the region for his work in floral, interior and theatrical design. “Lunar Eclipse” marks his theatrical directing debut. The production features lighting design by Kirstin Ritch, original music by Mark Lehnowsky and production stage management by Ben Simonetty.

“Lunar Eclipse” follows George and Em, a long-married couple who watch the stages of a lunar eclipse from their family farm. As the moon moves through Earth’s shadow, memories surface and long-held truths emerge, revealing the moments that have defined their life together. What begins as a simple evening of stargazing becomes a profound exploration of love, commitment, loss, and the enduring mysteries of marriage.

Real-life couple Andy Prosky and Rita Rehn star as George and Em. Prosky, the son of the late actor Robert Prosky, has appeared in the films “Up Close & Personal,” “Men in Black” and “Mrs. Doubtfire” and on television in “Blue Bloods,” “John Adams” and “Law & Order.” His extensive stage credits include “King Lear,” “Noises Off” and “Born Yesterday.” Rehn appeared on Broadway in “A Chorus Line” and “Nine” and is a two-time New Jersey theater critics’ award recipient, honored for both Best Actress and Best Featured Actress in a Musical. Her television credits include “The Blacklist” and “Chicago Fire,” among others. Prosky and Rehn have a summer home in Cape May Point.

Margulies, the Pulitzer Prize-winning playwright of “Dinner with Friends,” is celebrated for finding extraordinary emotional depth in everyday life. In “Lunar Eclipse,” he captures the humor, tenderness and complexity shared by two people over a lifetime.

“I wish I could claim we planned it, but the coincidence of a real lunar eclipse is completely genuine,” said Boberick. “We had selected the play, scheduled the production and secured the rights before I discovered that opening night would fall on the night of an actual lunar eclipse. For a play about love, loss and the mysteries we live with, it feels as though nature has become part of the production.”

The Marquee Producers of “Lunar Eclipse” are Petals Floral Design & Gifts, the Dr. Laura Bell Foundation, Nicholas Nastasi, Mark Sucher and Jane Lyons.

“Lunar Eclipse” runs Aug. 27 through Sept. 20 at the Clemans Theater for the Arts, 717 Franklin St., Cape May. Performances are 7 p.m. Wednesdays through Saturdays and 2 p.m. Sundays. A special preview performance is scheduled for Aug. 26. Tickets are $40 for general admission, $35 for seniors and $25 for students and military personnel. Preview tickets are $25. Opening-night tickets are $45 and include a post-show celebration at the Clemans Theater, featuring Cape May Astro’s live HD viewing of the partial lunar eclipse from the theater parking lot; no discounts apply. For tickets and additional 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.
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Theater/Organization: EAST LYNNE THEATER COMPANY
Theater Address: CLEMANS THEATER FOR THE ARTS717 FRANKLIN STREET CAPE MAY, New Jersey 08204 (Map It)
Theater Phone:

The post East Lynne Theater Company’s N.J. Premiere Of Donald Margulies’ LUNAR ECLIPSE Coincides With The Celestial Event That Inspired Story first appeared on Stage Magazine.

Bold, empowering and deeply human, THE VAGINA MONOLOGUES  gives voice to real stories from women around the world through humor, honesty and raw emotion. The play explores topics such as consent, sexual violence, reproductive rights, genital mutilation, sex work, aging, love, and identity while celebrating strength, resilience and the shared experiences that connect us all.

Created in 1996, THE VAGINA MONOLOGUES has become an international movement, raising awareness of violence against women and girls while serving as a catalyst for education, advocacy and healing. Traditionally presented as a benefit production, Gateway Playhouse will donate $1 from every ticket sold to Avanzar, the Atlantic County nonprofit dedicated to empowering individuals and families impacted by domestic violence, sexual assault and human trafficking.

Following the matinee on Aug. 23, audience members are invited to stay for an optional talkback featuring cast members and a representative from Avanzar. The discussion will explore the themes from the play, their relevance within the local community and the cast’s experience performing these powerful monologues. Avanzar will also have information available to learn more about the organization’s services and mission.

“THE VAGINA MONOLOGUES is a brave piece of theater,” said Director Kim Tucker, who said accepting the opportunity to direct the production required careful reflection because of its emotional depth and fearless honesty. “As a survivor of childhood sexual abuse and someone whose family spans the gender spectrum, I know firsthand how shame can silence people. The more we don’t talk about these experiences, the more they’re allowed to continue. Sharing our stories may make some people uncomfortable, but it also empowers others to find their own voices.”

The production features a diverse cast ranging in age from women in their early 20s to performers in their 70s, reflecting the play’s representation of a broad spectrum of experiences. Among the cast is a 75-year-old transgender woman, whose participation underscores the production’s inclusive spirit and message that every voice deserves to be heard.

“THE VAGINA MONOLOGUES is exactly the kind of work we created our Community Spotlight series to make room for,” said Katie Calvi, board chair of the Gateway Playhouse. “This series gives us the opportunity to spotlight important voices, share stories that can create meaningful conversations and bring awareness to a local organization working directly in our community. Kim Tucker has brought tremendous heart and intention to this production, and partnering with Avanzar allows us to take that conversation beyond the stage and directly support an organization doing the impactful work.”

Tickets are $15 and available at the Karen S. Sutherland box office or at GatewayByTheBay.org. Information on Avanzar can be found at AvanzarNow.org. The Gateway is located at 738 Bay Avenue in Somers Point.

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!”
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Theater/Organization: GATEWAY PLAYHOUSE
Theater Address: 738 BAY AVENUE, SOMERS POINT, New Jersey 08244 (Map It)
Theater Phone:

The post Gateway Playhouse Presents THE VAGINA MONOLOGUES: A Powerful Celebration of Women's Voices, Resilience and Community first appeared on Stage Magazine.

The Civic Theatre of Allentown has mounted a three-performance concert presentation of Andrew Lloyd Webber and Tim Rice’s EVITA, the celebrated musical chronicling the meteoric rise, political controversies, and untimely death of Eva Perón, the influential second wife of Argentine president Juan Perón. The concert format is particularly apt, recalling the work’s origins as a 1976 rock opera concept album before its eventual transformation into a full-scale stage musical.

Concert presentations of major musicals have become increasingly popular in recent years. They allow theater companies to capitalize on the appeal of a well-known title while avoiding much of the considerable expense associated with elaborate scenery, costumes, and other production elements the material would typically require. In exchange, the emphasis shifts almost entirely to the score, the storytelling, and the performances themselves.

Directed by William Sanders, with choreography by Mariel Letourneau and musical direction by Steve Reisteter, the production boasts a full-sized orchestra that gives Andrew Lloyd Webber’s and Tim Rice’s score the musical depth it often loses when a reduced orchestration is utilized.

Conducted by Reisteter, the orchestra sounded strongest when a driving rhythm section was supported by the counterpoint of strings, winds, and brass. The percussion was consistently strong—an important element in this Latin-infused score. That said, the orchestra often overpowered the singers.

Any production of EVITA ultimately rests on the shoulders of the actors portraying Eva Perón and Che Guevara, the revolutionary who serves as the show’s sardonic narrator. Both roles demand not only compelling dramatic performances but also the vocal stamina and range required to meet the formidable challenges of Lloyd Webber’s score. Alejandro Rodriguez as Che and Jada Fontanez as Eva both seemed to strain under these demands. Rodriguez’s diction was at times incomprehensible, a problem compounded by aspects of the staging, while Fontanez, though strong in her lower-register belt range, frequently had to shift abruptly into a weaker, less distinct soprano register. As a result, much of the text was lost in both performances, making the story difficult to follow.

As Juan Perón, Marquett Ferrell fared better in both range and diction; however, his youthful presence undercut the authority and command the role requires.

Standout performances included Jarrod Yuskauskas’ Magaldi, who captured the charm and vanity of the popular tango singer who becomes Eva’s first stepping stone on her path to power. His strong vocal performance of “On This Night of a Thousand Stars” jump-started the production. Mia Garcia, as Perón’s Mistress, delivered one of the evening’s finest moments with a still, captivating, and beautifully sung “Another Suitcase in Another Hall.”

Freed from the financial demands of elaborate scenery and extensive costuming—with most of the chorus and dancers dressed in black—director Sanders staged the work fluidly, employing effective moments of dissolve and reveal. Projected narration also helped clarify location and timeline.

The old director’s adage that “casting the production is 90% of the work” rings particularly true here; in this case, one wishes Sanders had cast performers with a stronger vocal arsenal to take on the leading roles.

EVITA IN CONCERT
Civic Theatre of Allentown

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.

The post Audience Review: EVITA IN CONCERT at Civic Theatre of Allentown first appeared on Stage Magazine.

Joy is often mistaken for lightness, when in truth it requires immense courage. It asks us to remain open-hearted in a time that rewards detachment. To stay tender in a culture that often celebrates numbness. To keep imagining beauty, connection, and possibility even when the world feels fractured.

This is what theatre does so powerfully. It creates a space where we remember how to feel again. Where laughter becomes collective. Where silence becomes sacred. Where stories hold a mirror to who we are and who we still have the capacity to become. For a few hours, we are reminded that empathy is alive. That vulnerability still matters. That art can pull us closer instead of pushing us apart. Imagine joy as resistance because despair is easy. Disconnection is easy. Cynicism is easy.

But to create? To hope? To sing anyway? To continue believing in the value of gathering together in one room and sharing a story? That is an act of resilience. That is an act of imagination. That is resistance.

And in the end, we simply say this… we invite you to come IMAGINE with us this season.

Introducing Season 38: IMAGINE – Mainstage Productions

Rise: Songs of Resistance and Resilience by Jill Anderson
September 24th – October 18th, 2026
Musical Arrangement by Jeanne Cahill, Music Direction by Jesse Wohlman
Jimi Hendrix said, “Music doesn’t lie. If there is something to be changed in this world, then it can only happen through music.” From the fields of bondage to compelling social movements, music has rung out with passion to express our deepest human needs. Across many genres, eras and moods, this inspiring outdoor production of song honors that legacy with voices raised in resilience and the unceasing rhythm of freedom. We imagine – we sing out – as we celebrate the power of our collective spirit and together – we RISE. Sponsored by: Rich Juro, Devin Fox & Rob Block, Ron & Chris Blumkin

Silent Night of the Lambs by Ryan Landry
November 19th – December 19th, 2026
Directed by Susan Clement
A twisted comedic take on two classic but vastly different tales returns! Silent Night of the Lambs mixes one part Oscar-winning thriller (The Silence of the Lambs) with one-part beloved holiday TV special (Rudolph the Red-Nosed Reindeer) to serve up an unforgettably twisted recipe for mayhem and mistletoe. Will those damn lambs ever stop laughing?! Sponsored by: Dave & Jane Offutt, Omaha Steaks, Dundee Bank

On the Verge; or, The Geography of Yearning by Eric Overmyer
February 18th – March 14th, 2027
Directed by Jill Anderson
What begins as an expedition into the last unexplored corner of the world transforms into an exhilarating journey beyond the boundaries of time. As three adventurous Victorian women venture into the unknown, they encounter unexpected worlds, evolving language, and endless possibility. Funny, imaginative, and profoundly theatrical, On the Verge is a celebration of curiosity, courage, and the transformative power of saying yes to the unknown. Sponsored by: Sara Foxley

An Iliad by Lisa Peterson & Denis O’Hare
April 1st – April 25th, 2027
Directed by Wai Yim
An immortal storyteller has spent eons watching humanity repeat the same brutal mistakes, and she has come to the conclusion that we are entirely unteachable. In this dark comedy tour de force, one powerhouse actress and original music prove that ancient Greece and modern headlines share the exact same punchline. Brace yourself for a wild, satirical wake-up call that proves our ancestors were just as chaotic, stubborn, and misguided as we are. Sponsored by: Bruce Renaud & Kerry Dobson, Mel & Ben Teply

Liberation by Bess Wohl
Winner of the 2026 Tony Award for Best Play and 2026 Pulitzer Prize Winner for Drama
May 27 – June 27, 2027
Directed by Susan Clement
Bess Wohl’s sharp, bitingly funny, and deeply moving memory play Liberation follows an eclectic group of women in 1970s Ohio who form a consciousness-raising group to redefine feminism. Weaving between the past and present, the daughter of the group’s founder looks back to understand her mother’s unfinished revolution.
Wohl’s historic win makes her the first American woman playwright to secure the Best Play Tony in 40 years. Sponsored by: Laura Peet Erkes & Corey Erkes, Ruth H. Keene

Engagement and Outreach programming will be part of the new season as well, with Art in the BLUE, Books in the BLUE, AfterWords post-show talks, National Theatre Live in partnership with Film Streams, BLUEBARN’s Little Free Pantry, The Giving HeARTs Tree in partnership with ENOA, and more. Engagement programming is always free and open to the public. Engagement, Access, and Outreach sponsors include Nebraska Arts Council, Jeff and Danielle Gordman, The Todd Simon Family.

TRUBLU SEASON MEMBERSHIPS – Memberships will go on sale August 11 at 10am. Memberships will be available at bluebarn.org, by calling the box office (402) 345-1576 (M-F, 10am-4pm), or by mail in brochure at 1106 S. 10th St.

TRUBLU SEASON 38 – PERKS
A Reserved Ticket to all 5 Mainstage productions.
Reserved Seats for TRUBLU Member’s guests.
Advance reservation window before public on sale.
Up to 16% SAVINGS over purchasing single tickets.
One drink ticket per member. First rounds on us!
Discounted tickets in partnership with Film Stream’s 2026/27 National Theatre Live.
Film Streams National Theatre Live Series.
TRUBLU MEMBERSHIP PRICING
TRUBLU Membership: $200
TRUBLU Military, Current Educators, First Responders: $180
TRUBLU BLUCREW Young Arts Patron (35 & Under): $130

Prices are inclusive of sales tax. Skip the online fees by calling or mailing in your order. No Refunds.
Visit bluebarn.org/ or call the box office (402) 345-1576 (M-F, 10am-4pm for questions on memberships

Theater/Organization: THE BLUEBARN THEATRE
Theater Address: 1106 South 10th Street Omaha, Nebraska 68108 (Map It)
Theater Phone: (402) 345-1576

The post BLUEBARN THEATRE unveils: Season 38 – IMAGINE including winner of the 2026 Tony Award for Best Play and 2026 Pulitzer Prize Winner for Drama LIBERATION. TRUBLU Season Memberships On Sale Now. first appeared on Stage Magazine.

Ann Clare Boothe was born on March 10, 1903 in New York City to a former dancer and a violinist. Years later — following in her parents’ artistic footsteps — she would become a world renowned playwright and author as well as a famed journalist, politician, diplomat, and women’s rights activist, one of the most iconic women and figures of the 20th century. She was the first American woman appointed to a major ambassadorial post abroad. Her writings extended from drama and screen scenarios to fiction, journalism, and war reportage.

In 1923 at age 20, she entered into a marriage (arranged by her mother) to millionaire heir to a New York clothing fortune, George Tuttle Brokaw, 23 years her senior. They had one daughter, Ann, together, but Clare divorced him in 1929. After her divorce, Boothe worked as a caption writer for Vogue photography and a journalist for Vanity Fair. Her satire and insight as a journalist quickly led to her becoming associate editor and then managing editor of Vanity Fair before leaving the magazine in 1934.

Her first play, Abide with Me, a serious marital melodrama, was produced in New York 1935 and ran for 36 performances from November 21 until December. It was not successful with audiences or critics, but dealt with the topic of domestic abuse and was perhaps partially influenced by her relationship with Brokaw. On November 23, 1935 she married Henry Luce, publisher of Time, Life and Fortune.

Her next play was a satirical comedy, The Women. Following a premiere December 7, 1936, at the Forrest Theatre in Philadelphia. PA, The Women opened December 26, 1936, at the Ethel Barrymore Theatre in New York City. The original Broadway production was directed by Robert B. Sinclair, and ran for 657 performances with an all-female cast that included: Margalo Gillmore, Ilka Chase, Betty Lawford, Jessie Busley, Phyllis Povah, Marjorie Main, and Arlene Francis. A story of marriage and women (with a cast of no fewer than 40 actresses) in the 1930s society of the Great Depression, The Women received public and critical acclaim and contributed to her increasing popularity as a literary and political figure in the United States. The 1939 film version was directed by George Cukor and starred Norma Shearer and Joan Crawford.

Synopsis of The Women: Contented, kindly Mary Haines, a well-off woman living in New York City, is the envy of her friends, boasting a wholesome, happy marriage, adorable children, and a comfortable home. Unfortunately, she is living in a fool’s paradise…which her tactless friend, the gossip-hungry Sylvia Fowler, discovers, when a favored manicurist spills the beans: Mary’s husband Stephen Haines has been nabbed by Crystal Allen, a sultry, gold-digging man-eater, who sets her traps behind the perfume counter at Saks Fifth Avenue. Mary’s painful dilemma is created: Should she keep silent, keep her marriage, and condone her husband’s cheating ways…or divorce him, making way for a rival to step into her place?

Old Academy Players’ stellar cast is comprised of eighteen individuals playing the roles of 40+ characters. Lead characters are played by: Nicole Gerenyi as Mary (Mrs. Haines), Corynn Smith as Sylvia (Mrs. Fowler), Chloe Richter as Crystal Allen, Daria Husseinzadeh as Edith (Mrs. Potter), and Sonya Aiko Hearn as Nancy (Miss Blake). Supporting roles listed and additional roles are played by: Sally Lomanno as Jane (the maid), Kimberly Hess as Mrs Morehead (Mary’s mother), Kelci Schlierf as Peggy (Mrs. Day), Linda Palmarozza as Countess Flora de Lage, Paige Noelle as Miriam Aarons, Dale Mezzacappa as Instructress, and Lisa Fromica as Olga. Eva Callista is cast as the 1st Girl/model, Anna Kaminetz is cast as 2nd Girl. Both Jiva Shahani and Marie Slavin alternate as Little Mary. Michelle Slaven and Palak Shahani alternate as the Debutante.

The Women is directed by Loretta Lucy Miller and produced by Jerry Jennings, Joan Shupp and Randy Shupp. Costumes are provided by Helga Krauss and Jane Jennings. Tech is provided by Carla Childs and Sarah Labov.

Ticket prices are: $25 per adult; $15 for Students under 25 with valid ID; group rate (15 or more) $21 each. Tickets can be purchased online at www.OldAcademyPlayers.org. Reservations and more information can be obtained by calling the Box Office at 215-843-1109. Advance tickets are highly recommended. Old Academy Players is located at 3544 Indian Queen Lane, Philadelphia, PA 19129. Parking for all performances is free.

The Old Academy Players has provided continuous community theater entertainment since 1923 and is a non-profit community theater in the East Falls neighborhood of Philadelphia. Constructed in 1819, the Old Academy building has been the OAP home since 1932. Old Academy Players is a member of the Greater Philadelphia Cultural Alliance. Most notable alumni include Tony Award-nominated actor Robert Prosky and Hollywood icon, Grace Kelly. Support is provided by the “Philadelphia Cultural Fund” and the “Sylvia W. and Randle M. Kauders Foundation”.

Theater/Organization: Old Academy Players
Theater Address: 3544 Indian Queen Lane Philadelphia, Pennsylvania 19129 (Map It)
Theater Phone: (215) 843-1109

The post The Old Academy Players Presents THE WOMEN, a 1936 satirical comedy by Clare Boothe Luce first appeared on Stage Magazine.

Centenary Stage Company has produced CLOSER THAN EVER, the acclaimed yet lesser-known song cycle featuring the work of Richard Maltby Jr. and David Shire. Conceived by Steven Scott Smith, the revue draws from more than six decades of the duo’s collaboration, weaving together many of their best-known songs into a series of self-contained musical vignettes. Exploring themes of love, heartbreak, aging, second marriages, and the unexpected turns of adult life, CLOSER THAN EVER offers a poignant and often hilarious portrait of the realities that lie beyond the fairy-tale ending.

Directed by Sara Louise Lazarus, with music direction by John Bowen, the production features live accompaniment by Bowen on piano and Evan Finkbeiner on bass. Lazarus has assembled a talented quartet of actor-singers—Broadway veteran John Leone, Julie Galorenzo, Cassandra Krajcik, and Alex Perone—each blessed with a strong voice and a keen ability to bring song lyrics vividly to life.

The show features strong character-driven comedy numbers, beautifully crafted lyrical songs, and enchanting harmony singing. Through a well-balanced mix of solos, duets, trios, and ensemble numbers, every performer is given multiple opportunities to shine, creating a cohesive company in which individual talents are showcased without overshadowing the whole.

In addition to CLOSER THAN EVER, Maltby and Shire’s major collaborations include the acclaimed revue Starting Here, Starting Now and the musical Baby. Because their work favors intimate, sophisticated storytelling over spectacle, it was often overshadowed during the era of blockbuster mega-musicals. Yet their catalog contains some of the finest songs written for the American musical theatre over the past half-century. The work is not produced often, therefore audiences are fortunate that Centenary Stage Company is closing its 2026 Summerfest season, with such a compelling showcase of this extraordinary songwriting partnership. In an era when spectacle often dominates the stage, CLOSER THAN EVER affirms the enduring power of songs that illuminate the complexities, humor, and heartbreak of ordinary lives.

CLOSER THAN EVER
July 30 – August 9, 2026
Centenary Stage Company
Lackland Performing Arts Center
715 Grand Ave
Hackettstown, NJ 07840

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.

The post Audience Review: CLOSER THAN EVER at Centenary Stage Company first appeared on Stage Magazine.