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.

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.

The ceremony will take place on Sunday, October 4, 2026, at the historic Strand Center for the Arts in Lakewood, New Jersey. Doors open at 5:30pm, with the awards presentation beginning at 7:00pm. The evening celebrates not only this year’s nominees and award recipients, but also the remarkable work taking place on community theater stages throughout New Jersey. Performers, directors, musicians, designers, technicians, volunteers, reviewers, theater leaders, family members, and patrons will
come together to recognize another outstanding season of artistic achievement.

The Perry Awards recognize excellence in New Jersey community theater and honor the dedication, creativity, and countless volunteer hours that bring live performances to audiences throughout the state. From actors and directors to musicians, designers, technicians, and entire production teams, the awards celebrate the collaborative spirit that makes community theater thrive.

The 2025–2026 review season was one of NJACT’s most active to date. Member theaters posted 241 productions, resulting in 482 adjudicated reviews completed by NJACT’s trained volunteer reviewers. For the fifth consecutive year, every production submitted for Perry Award consideration received 100% reviewer coverage, a milestone that reflects both the organization’s commitment to a fair and consistent adjudication process and the dedication of its volunteer reviewers. The NJACT Perry Awards are the culmination of a year-long adjudication process conducted by reviewers from all over the state who attend productions at participating member theaters across New Jersey. Their thoughtful evaluations help recognize excellence while supporting NJACT’s mission of promoting artistic growth, collaboration, and a vibrant statewide community theater network.

Tickets for the 2026 NJACT Perry Awards Ceremony are now available. For tickets, the complete list of nominees, and additional information, visit www.njact.org. You can also follow them on Facebook at NJACT Perry Awards or Instagram – @njactperryawards.

About the New Jersey Association of Community Theaters

The New Jersey Association of Community Theaters (NJACT) is a statewide nonprofit organization dedicated to supporting, promoting, and strengthening community theater throughout New Jersey. Through advocacy, education, networking, and the annual Perry Awards program, NJACT celebrates excellence in theatrical achievement while fostering collaboration among member theaters across the state.

Theater/Organization: New Jersey Association of Community Theaters (NJACT)
Theater Address: 110 Daffodil Drive Jackson, New Jersey 08527 (Map It)

The post New Jersey Community Theaters to be Honored at the 2026 NJACT Perry Awards first appeared on Stage Magazine.

Given the current state of American politics, Shakespeare’s CORIOLANUS—a cautionary tale about hubristic leadership and the fragility of democracy—feels startlingly contemporary. Addressing themes of political extremism and the blurred line between honor and treason, the play centers on Coriolanus, an egotistical leader whose primary political platform is little more than a catalog of personal grievances. Blundering from one crisis to the next, he leaves a trail of betrayal and destruction in his wake.

The Pennsylvania Shakespeare Festival’s production is billed as “Extreme Shakespeare,” a process in which actors arrive at the first rehearsal with their lines fully memorized and, without a director, collaboratively rehearse the play before opening just days later.

The result is electrifying. Rather than relying on a heavy-handed directorial concept to manufacture relevance, this PSF production trusts Shakespeare’s text to speak for itself. The actors dig deeply into the language and fearlessly inhabit the story, transforming the intimate black box theater into a space of remarkable immediacy and focused emotional power. The performance feels timeless, as though the play has simply been allowed to reveal itself.

The fully committed ensemble is led by Geoffrey Kent, whose commanding performance as Coriolanus—a celebrated military hero whose towering pride and unchecked ambition ultimately lead to his downfall—anchors the production. Kent also serves as the fight choreographer. Susan Riley Stevens delivers a striking performance as Coriolanus’s mother, Volumnia, embodying a formidable blend of warrior matriarch and calculating political strategist. David Pica’s Aufidius is equally compelling, charting the character’s ruthless evolution from bitter rival to uneasy ally before his inevitable descent into betrayal. The ensemble also includes Katrina Clark, Akeem Davis, Sarah Gilko, John Hedges, Elliot Jones, Mark Thomas McKenna, Michael Covel, Ian Higgins, Mariana Marcel, Joanna Marie, Isabella Marin, Christian Tuffy, Sophia Twohig, Alice Zelenko, and Greg Wood who also adapted the script.

As the festival enters its final weeks, it is gratifying to see this production of a lesser-produced Shakespeare play emerge as one of its defining achievements. This caliber of work—created by a company of professional, imaginative artists liberated from the usual constraints of direction and elaborate design—seems to embody the very spirit of the festival’s mission, revealing Shakespeare’s work as urgent and deeply resonant. It is not only a compelling theatrical experience but a powerful reminder of Shakespeare’s enduring ability to illuminate – through his words – the political and moral crises of any age.

Pennsylvania Shakespeare Festival
CORIOLANUS
By William Shakespeare
July 22 to August 2, 2026
Schubert Theatre
2755 Station Avenue
Center Valley, PA 18034
PURCHASE TICKETS

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: CORIOLANUS at Pennsylvania Shakespeare Festival first appeared on Stage Magazine.

MATAWAN, N.J. – Most people think magic announces itself with fireworks. Roald Dahl knew it usually begins much more quietly. Sometimes it begins with a chocolate bar. Sometimes with a child who refuses to stop believing. And sometimes, it begins in the basement of a church.

This August, Spotlight Players invites audiences into Roald Dahl’s CHARLIE AND THE CHOCOLATE FACTORY, the beloved Broadway musical based on one of the world’s most enduring stories. Filled with unforgettable songs, inventive stagecraft, colorful characters, and all the delightful eccentricity audiences have come to expect from Willy Wonka’s extraordinary world, the production promises laughter, heart, and a reminder that kindness never goes out of style.

But the story audiences will see on stage is only half the story.

Long before Charlie unwraps his Golden Ticket, before the chocolate river begins to flow, and before the Oompa Loompas deliver their wonderfully pointed observations, another story has already begun behind the scenes. It’s the story of artists, volunteers, families, and dreamers who gather night after night to create something none of them could create alone.

This is that story.

The Story Behind the Story
Before anyone steps inside Wonka’s factory, someone has to imagine it.

For Roald Dahl’s CHARLIE AND THE CHOCOLATE FACTORY, that responsibility belongs to codirectors Christine deSimas and Sophia deSimas, a mother and daughter whose creative partnership has grown out of years of conversations about theatre.

Long after most audiences have gone home, the two are usually still talking about the show they’ve just seen. They replay scenes during the drive home, debate character choices over coffee, imagine different ways to stage a moment, and challenge one another’s ideas. Somewhere along the way, those conversations stopped being hypothetical. Their first collaboration as co-directors, The Guy Who Didn’t Like Musicals, confirmed something they had quietly suspected all along.

They simply work better together.

For Christine, sharing the director’s chair with her daughter has become one of the greatest joys of her theatrical life.

“I’m just the luckiest. Sophia is so creative and has such a good eye that I can’t imagine doing this without her. We bounce ideas off each other constantly, and when something finally clicks, we both know it. We can be honest with each other because we’re always working toward the same goal.”

Sophia is just as quick to return the compliment.

“I learned from the best before I realized I did. Growing up with a director gives you an eye for storytelling before you even know you’re learning it. Every rehearsal leaves me grateful that I get to do this with my mom.”

Their perspectives are different, but their vision is shared. Christine naturally gravitates toward the emotional heartbeat of a story, while Sophia brings a fresh perspective and an instinct for visual storytelling. Together, they’ve built something every creative team hopes to find: a partnership where ideas are challenged, trust is never questioned, and the work is always stronger because it’s created together.

Why Charlie? Why Now?
Choosing a musical isn’t as simple as flipping through a licensing catalog and picking a favorite title. For Christine and Sophia, the process begins with questions rather than songs. Will this story still resonate today? Does it offer something meaningful to the people creating it? Will audiences leave talking about more than the scenery and the score?

Sometimes that search takes weeks. Sometimes it takes months. Scripts pile up on the table, productions are streamed late into the evening, and ideas are enthusiastically debated. More than once, Christine admits with a laugh, they’ve fallen in love with a show before realizing the performance rights weren’t even available.

When Roald Dahl’s CHARLIE AND THE CHOCOLATE FACTORY entered the conversation, however, the decision came surprisingly quickly.

For Christine, the musical offered an opportunity to bring generations together, both onstage and in the audience. With roles for children and adults alike, it reflected the kind of community theatre she loves most: one where families create together and audiences of every age can share the same sense of wonder.

Sophia saw something else beneath the chocolate waterfalls, candy inventions, and larger-than-life characters.

She saw a story that has never stopped speaking to the world around us.

Greed.

Ego.

Overconsumption.

The temptation to lose sight of what truly matters.

Charlie has always been about far more than candy. Each child who enters Wonka’s factory represents a different flaw, while Charlie Bucket quietly reminds us that kindness, humility, curiosity, and gratitude are qualities worth celebrating. Nearly sixty years after Roald Dahl first introduced readers to Charlie, those ideas remain just as relevant today.

Perhaps that’s why the story has endured through generations of readers, multiple film adaptations, and now a new generation discovering it through live theatre. The chocolate is simply how Roald Dahl gets us through the front door. The heart is what stays with us long after we leave.

Building Wonka’s World
When audiences arrive on opening night, they’ll see the finished product. The orchestra will begin, the lights will rise, and Wonka’s factory will spring to life as though it has always existed.

What they won’t see are the hundreds of decisions that made those moments possible. The conversations over sketches spread across a rehearsal table. Costume fittings that run a little longer because someone has found the perfect detail. Set pieces rebuilt after a better idea emerges. Music rehearsed again. Lighting cues adjusted one more time.

Community theatre is built in moments like these, one conversation, one problem solved, and one act of generosity at a time.

Christine is the first to point out that Roald Dahl’s CHARLIE AND THE CHOCOLATE FACTORY isn’t the vision of one director. It’s the result of an entire creative team choosing to build something together.

“The production team is very unique and special, and it’s difficult imagining doing this without them,” she says. “Charlie is definitely a sum of its parts. From the talented eye to the genuine love and care that goes into every choreographed movement, sketch, build, lighting cue, sound cue, marketing piece, stage management note, costume, and our producer who’s always on top of it all… every single person is invested in making this show the very best it can be.”

Then she pauses before adding three words that say far more than a list of titles ever could.

“They’re my people.”

Christine doesn’t talk about her production team as colleagues. She talks about them like family.

Producer Frank Rosano somehow keeps countless moving pieces moving forward with steady hands. Choreographer Emily Rosano transforms movement into storytelling. Music Director Teddy Kernizan shapes the musical heartbeat of the production, while Stage Manager Lauren Hynes keeps rehearsals, cues, and countless details moving in harmony. Scenic Designer Gwen Heffron, Lighting Designer Alex Fritsch, Costume Designers Dina Hunt and Sonia Trench, Sound Designer Sophia deSimas, and an army of volunteers each bring their own artistry to Wonka’s world.

Individually, they’re accomplished artists. Together, they’re creating something none of them could build alone.

For Christine, that’s where the real joy of directing begins.

“I’ll come to them and say, ‘How about this thing?’ and nobody laughs. They always ‘yes, and…’ me. They see it too, then build from it in ways I couldn’t imagine on my own.”

That’s the kind of trust every creative person hopes to find. Community theatre asks ordinary people to do extraordinary things… after work.

Every piece of Wonka’s factory was built by someone who could have been somewhere else that evening. Instead, they chose to paint scenery after dinner. They chose to sew costumes after putting their own families to bed. They chose to rehearse after work, learn music, hang lights, answer emails, organize props, build sets, create choreography, solve problems, and imagine impossible things.

Not because anyone asked them to.

Because they believed a story was worth telling.

And because they believed an audience deserved to walk into a chocolate factory.

The Company That Makes It All Possible

Walk into a rehearsal for Roald Dahl’s CHARLIE AND THE CHOCOLATE FACTORY and one thing becomes immediately clear: this isn’t simply a cast. It’s a community.

Children rehearse alongside adults. First-time performers share the stage with longtime Spotlight Players veterans. Parents watch proudly from the audience while volunteers quietly paint scenery in the next room. Between scenes, choreography is polished, harmonies are refined, props find their places, and someone inevitably discovers a new laugh that makes its way into rehearsal. Every corner of the room is filled with people contributing something uniquely their own.

From the youngest cast member to the most seasoned veteran, every rehearsal is a reminder that community theatre isn’t measured by budgets or buildings. It’s measured by the people who choose to show up.

Some performers have spent years under stage lights. Others are stepping into a production of this scale for the very first time. Several of the youth roles have been double cast, giving even more young performers the opportunity to experience the joy, responsibility, and camaraderie that only live theatre can offer. Every rehearsal brings new discoveries, unexpected moments, and fresh ideas that quietly become part of the production.

For Christine and Sophia, one of the greatest surprises has been watching the company shape the show in ways neither of them could have anticipated.

“The talent that came out for this show has been amazing,” Christine says. “Everyone genuinely wants to be here. It’s the best environment to create in.”

Sophia agrees, especially when speaking about the youngest members of the cast.

“The kids surprise us all the time. They discover things about their characters that neither of us had even considered. Watching them make those discoveries has been one of the greatest joys of this process.”

Perhaps that’s the most remarkable thing about community theatre.

No matter how carefully a production is planned, it never truly belongs to its directors. It slowly becomes the cast’s story, too.

Each rehearsal adds another layer. A new laugh. A different reaction. An unexpected moment that suddenly feels so right it couldn’t have happened any other way. The production grows because every person in the room is invited to leave a little piece of themselves inside it.

By opening night, Charlie Bucket’s journey will belong to everyone standing beneath those stage lights. And when the final curtain falls, the audience won’t simply be applauding a cast. They’ll be celebrating an entire community that chose, night after night, to turn the basement of a church into the most extraordinary chocolate factory in the world.

After the Factory Gates Close…

When the final curtain falls, the scenery will eventually be struck. Costumes will be carefully packed away. The lights will go dark, the orchestra will play its final note, and Wonka’s factory will once again become the basement of a church. That’s the practical side of theatre.

The remarkable part is what leaves with the audience. When asked what she hopes people are talking about on the ride home, Christine doesn’t mention standing ovations or spectacular special effects. She talks about conversations.

“I want people to be amazed by the magic that can happen in the basement of a church theatre. I want them excitedly talking about the characters, saying, ‘Can you believe they…?’ or ‘Remember when…?’ Whatever those moments are for each family, we hope there are plenty of them.”

She smiles before explaining why those conversations matter so much. “Sophia and I always leave the theatre talking about the shows we’ve just seen. We hope families leave talking the same way. We want to ignite that same passion we feel about theatre. That’s really why we do any of this. Audiences walking out happy and excited… that’s the best thing ever.”

Perhaps that’s the real Golden Ticket.

Not the one Charlie found tucked inside a Wonka Bar. The one every audience member carries home. A memory. A conversation. A favorite character. A song they find themselves humming the next morning. Community theatre doesn’t ask audiences to believe in magic. It simply invites them into a room where ordinary people have spent months creating it for someone else.

For a few remarkable hours this August, a community of dreamers will transform lumber, fabric, paint, music, light, laughter, and an enormous amount of heart into the most extraordinary chocolate factory imaginable.

And when the factory gates finally close, the greatest thing audiences will take home won’t be the spectacle they witnessed.

It will be the feeling that, for just a little while, they believed right alongside the people who built it.

Maybe that’s the sweetest part of the story after all.

Performance Information
Roald Dahl’s CHARLIE AND THE CHOCOLATE FACTORY
Presented by Spotlight Players
Performance Dates
* Friday, August 7 at 7:30 p.m.
* Saturday, August 8 at 7:30 p.m.
* Sunday, August 9 at 3:00 p.m.
* Friday, August 14 at 7:30 p.m.
* Saturday, August 15 at 7:30 p.m.
* Sunday, August 16 at 3:00 p.m.
Tickets: our.show/spotlight/catcf
Spotlight Players @ The First Presbyterian Church of Matawan
883 NJ 34, Matawan NJ 07747

About Spotlight Players
Spotlight Players is a nonprofit community theatre dedicated to producing high-quality theatrical experiences that entertain, inspire, and bring people together. Through musicals, plays, educational programming, and the dedication of passionate volunteers, Spotlight Players provides artists of all ages an opportunity to grow, collaborate, and share stories that enrich the community. The company is committed to creating a welcoming environment where creativity flourishes and audiences experience the transformative power of live theatre.
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About Roald Dahl’s CHARLIE AND THE CHOCOLATE FACTORY
Based on Roald Dahl’s beloved novel, Roald Dahl’s CHARLIE AND THE CHOCOLATE FACTORY
features a book by David Greig, music by Marc Shaiman, and lyrics by Marc Shaiman and Scott Wittman.
Combining memorable songs, inventive theatrical storytelling, and the timeless message that kindness is life’s greatest reward, the Broadway musical has delighted audiences around the world.

Roald Dahl’s CHARLIE AND THE CHOCOLATE FACTORY is presented through special arrangement with Music Theatre International (MTI). All authorized performance materials are also supplied by MTI.
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Theater/Organization: Spotlight Players
Theater Address: 883 NJ-34 Matawan, New Jersey 07747 (Map It)

The post A Mother, a Daughter, and a Community of Dreamers Bring Roald Dahl’s CHARLIE AND THE CHOCOLATE FACTORY to Life first appeared on Stage Magazine.

In this compelling new play, Amazia, hoping to discover a way to eradicate Malaria, leaves her family in Tanzania to pursue a PhD abroad. Experiences with love and loss force her to decide between staying in the West and going back home to honor a promise.

The professional design team includes Scenic Designer David M. Barber, Costume Designer Niiamar Felder, Lighting Designer Zack Gage, Sound Designer Tyler Sautner, Composer Carter “Roc” Mangan Jr., Props Master Mary Gragen, Dialect Coach Karishma Bhagani and Intimacy Coordinator Brooke M. Haney. Dale Smallwood is the Production Stage Manager.

Mala Aria runs July through August 2 in the Bauer Boucher Theatre Center on the Kean University main campus in Union, N.J. The performance schedule is Thursdays at 1:00pm, Fridays at 7:30pm, Saturdays at 3pm & 7:30pm and Sundays at 3pm.

Tickets are $42 standard, $32 for senior citizens and Kean alumni and staff, $27 for patrons with disabilities and $18 for students. Ticket prices include all fees. Significant discounts for groups of ten or more apply. To make reservations or to order a season brochure, please call the box office at 908-737-7469 or visit Premiere Stages online at premierestagesatkean.com.

Assistive listening devices and large print programs are available at all times; publications in alternate formats are available with advance notice. Sign-interpreted and audio described performances are available by request, at least three weeks in advance. Please call 908-737-4077 or email premiere@kean.edu to request these services. For more information, please visit Premiere Stages online at premierestagesatkean.com.

Premiere Stages is made possible in part through funding from W. John Bauer and Nancy Boucher, The New Jersey State Council on the Arts, The Shubert Foundation, The 1772 Foundation, The Masterwork Music and Art Foundation, an Anonymous Grant Donor, Carole Shaffer-Koros and Robert Koros, The Northfield Bank Foundation, Blue Foundry Charitable Foundation, Union County Savings Bank Charitable Foundation, The Hyde and Watson Foundation, The Union Foundation, E.J. Grassmann Trust, The New Jersey Theatre Alliance, The Union County HEART Grant and through the generous support of individual patrons and local organizations. Discover Jersey Arts is our marketing partner. Visit JerseyArts.com for more information about other arts programming happening around the Garden State.

Premiere Stages is committed to producing topical plays and interactive programs that reflect people of all ethnic and racial backgrounds, national origins, nationalities, ancestry, religious groups, gender expression or identities, sexual orientation, political beliefs, ages, abilities and disabilities.

ABOUT PREMIERE STAGES
Created in 2004, Premiere Stages is the professional Equity theatre in residence at Kean University. Through its unique partnership with Kean, Premiere’s play development programs, educational initiatives, and professional development opportunities actively embrace the university’s academic curriculum while expanding the scope, accessibility, and prestige of the professional programming on campus. For more information, please visit us online at premierestagesatkean.com

ABOUT KEAN UNIVERSITY
Kean University, New Jersey’s urban research university, is a national institution of higher education recognized for its diversity, innovation and the social mobility of its graduates. Designated an R2 research university by the Carnegie Classification of Institutions of Higher Education, Kean ranks among the top eight percent of U.S. universities for research and doctorate production. Founded in 1855 as a teachers college, Kean has evolved into a thriving research university that supports nearly 25,000 students worldwide as they persist to graduation, give back to their communities and launch successful careers. Kean’s six colleges offer more than 75 undergraduate programs, 10 doctoral programs and more than 90 graduate options leading to master’s degrees, professional diplomas or certifications, across a full range of academic subjects. With campuses in Union, Jersey City, Toms River and Manahawkin, New Jersey, and Wenzhou, China, as well as Kean Global, the University provides students of all backgrounds an affordable and accessible world-class education. Learn more at kean.edu

Theater/Organization: Premiere Stages at Kean University
Theater Address: Bauer Boucher Theatre Center, 1000 Morris Avenue, Union, New Jersey 07083 (Map It)
Theater Phone: (908) 737-7469

The post MALA ARIA Continues Performances at Premiere Stages first appeared on Stage Magazine.

Summer of Kaos
A comedy by Stephen Murray
Directed by Braden Dell’Aquila
ONE NIGHT ONLY
SATURDAY, AUGUST 15, 2026
8PM

Confusion and fun are the business of the day at Kamp KAOS, a summer camp that boasts its own 12-watt radio station. It’s opening day at the camp and director Wally Schneider is already in trouble: the mortgage is due; the world’s wealthiest woman wants to buy the land the camp sits on; the county health inspector is coming; and the mysterious weather phenomenon El Gordo has brought a migration of mice! It’s up to the wacky gang of counselors and campers to save the day when Wally eats cheese laced with sedative.

There are no reservations or tickets for this performance. Doors will open at 7pm and seats are general admission. Cash donations would be gratefully accepted

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

The post The Family Comedy, "Summer of Kaos" by Stephen Murray to be performed for one night only! first appeared on Stage Magazine.

The musical 1776 was destined to appear prodigiously throughout the summer of 2026 as the United States celebrated its 250th birthday, and productions have sprung up across the region. The show—music and lyrics by Sherman Edwards, book by Peter Stone—premiered on Broadway in 1969 and centers on John Adams’ efforts to persuade the Second Continental Congress to write, vote for and sign, the Declaration of Independence.

Recent revivals have reimagined the traditionally male dominated story by casting performers who identify as female, non binary, and trans, an attempt to counter the patriarchal notion that “all men are created equal” and instead reflect the broader fabric of the American people. That is the approach taken by the Ephrata Performing Arts Center’s production, directed by Bobby Checchia with musical direction by Matthew C. Kidd and choreography by Sarah Reynolds.

1776 has always been a paradox: how do you craft a compelling musical when everyone already knows the ending? Act I, famously wordy, often feels interminable, and while the score contains a few rousing numbers, it offers no truly memorable hits. With a progressive casting concept layered on top, there’s an added risk that the show becomes overly complicated or muddled.

The EPAC cast brings dedication and occasional spark, but they cannot fully overcome the show’s structural challenges; the musical is fundamentally about indecision, and the writers never quite determined whether they were crafting a comedy, a historical drama, or a piece of political suspense. Likewise, the performances show promise but rarely achieve full dramatic lift. The production feels weighed down, as though a pall hangs over the theatre—talented actors unable to fully release into the material.

A few performers stand out. Sean Caldwell brings abrasive, needling force to John Adams, supplying much needed sparks of energy throughout; his singing is among the production’s highlights. Ryan Slusky’s Edward Rutledge is chilling in his Southern defense of slavery, and his “Molasses to Rum” gives the musical a jolt of emotional clarity, illuminating the stakes of the young republic’s moral contradictions.

Similarly, Kat Thorpe’s Courier offers a tender, haunting “Mama, Look Sharp,” asserting the human cost of war. Yet this is also a moment where the casting concept may dull the impact: the song centers on a young boy shot down and his mother’s desperate search for him, and having it sung by a female softens the historical specificity and the intended emotional punch.

Susan Kresge delivers a bawdy and irreverent, yet wise Benjamin Franklin, and Sean Reynolds’ Thomas Jefferson is amusing in his recalcitrant reluctance. Carlos Kohls’ Richard Henry Lee delivers a buoyant “The Lees of Old Virginia.”

But despite these standout moments, Checchia’s direction never fully animates the musical’s long stretches of dialogue. With the dialogue frequently dragging, at times the production loses its urgency and momentum.

Ephrata Performing Arts Center
1776
Runs through August 1, 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: 1776 at Ephrata Performing Arts Center first appeared on Stage Magazine.

Performances will take place July 24, 25, 30, and 31, and August 1 at 7:00 p.m., with a special matinee on Sunday, July 26 at 3:00 p.m.

Based on the beloved works of Dr. Seuss, Seussical brings together your favorite characters in a story celebrating imagination, friendship, loyalty, and believing in yourself. Under the direction of Asia Jenine and Howard Whitmore, with music direction by David Sherman and choreography by Adam Vincent, MVP’s production has gathered a talented cast of performers from all over NJ bringing the whimsical world of Seuss to vibrant life.

Leading the cast is RJ Clemens as the kind-hearted Horton the Elephant, alongside Alexander Varona making his MVP debut as the energetic and mischievous Cat in the Hat. Newcomer Isabella Lawton stars as the lovable Gertrude McFuzz, Taityanna Carter plays the glamorous Mayzie La Bird, Isabella Garcia moves up from our Children’s Summer Theatre Workshop as the imaginative JoJo, and fan favorite Karen Carratura rounds out the principal cast as the opinionated Sour Kangaroo.

“Seussical reminds us that every voice matters, no matter how small,” says Whitmore. “The message that everyone just wants to be seen is something that resonates with children and adults alike.”

Whether you’re introducing a new generation to Dr. Seuss or reliving childhood favorites, Seussical promises an unforgettable theatrical experience filled with vibrant costumes, energetic choreography, beautiful music, and plenty of heart.

Tickets are available now. Families, theatre lovers, and anyone looking for an evening of fun are encouraged to reserve their seats in advance.

For tickets and additional information, visit www.mysticvisionplayers.com.

Performance Schedule
Friday, July 24 – 7:00 p.m.
Saturday, July 25 – 7:00 p.m.
Sunday, July 26 – 3:00 p.m.
Thursday, July 30 – 7:00 p.m.
Friday, July 31 – 7:00 p.m.
Saturday, August 1 – 7:00 p.m.

Theater/Organization: Mystic Vision Players
Theater Address: 121 W. St. Georges Ave. Linden High School, Linden, New Jersey 07036 (Map It)
Theater Phone: (848) 628-4349

The post Oh, the Thinks You Can Think! Mystic Vision Players Brings Seussical to the Stage This Summer first appeared on Stage Magazine.

Scholars and critics have long debated the merits of ROMEO AND JULIET. Some celebrate its vision of transcendent love and the beauty of Shakespeare’s language; others point to its improbable timeline – a three-day descent from initial meeting to marriage and, ultimately, tragedy – and the protagonists’ impulsive behavior as evidence of a plot that strains credibility. The debate ultimately hinges on the chemistry between the title characters. When their connection feels urgent and authentic, the romance can eclipse the play’s structural flaws. When it doesn’t, those flaws become impossible to ignore.

In the Pennsylvania Shakespeare Festival production, directed by festival Artistic Director Jason King Jones, that essential spark is missing. The relationship between Juliet and Romeo lacks the physical and emotional intimacy and believability needed to ground the story, robbing the play of its emotional pulse.

Jones’ decision to set the play in a timeless, Mad Max-like, dystopian world, further contributes to the disconnect. In aiming for relevance, the production adopts a cool detachment that distracts and drains the play of passion. This framing pushes Romeo, played by Austin Nedrow, into a familiar but reductive brooding teen mold, while Maya Jean’s Juliet appears more guarded and aloof than innocent—undercutting the “first love” ignition on which the play depends.

Overall, the casting throughout feels uneven. Some ensemble members beautifully command the language with clarity and confidence; others appear less experienced, often mumbling, speaking in monotone, or conveying only the general mood of a scene rather than the precise meaning of the text.

Among the stronger performances, Suzanne O’Donnell’s Nurse stands out for her deft balance of humor and grounded moral insight. Maboud Ebrahimzadeh and Cassia Thompson capture the rigidity and self absorption of Lord and Lady Capulet, and Doug Hara offers a thoughtful Friar Lawrence whose misguided hope for reconciliation drives his choices.

Scenic designer Brian Sidney Bembridge offers a utilitarian structure that is competent but conceptually muddled, gesturing vaguely toward the past while sprinkling in futuristic touches that never fully cohere. Costume designer Nancy L. Leary’s work spans an apparent 300 year time frame, but the mash ups of historical silhouettes with imagined future wear often feel arbitrary rather than purposeful, creating visual noise instead of meaning.

The temporally dislocated setting also exposes the play’s long standing structural challenges. In an age of instant, digital communication, the delayed message that triggers the tragedy feels implausible. Violence that once signified honor now resembles street crime or paramilitary threat. And the teenagers’ intense infatuation reads less as epic passion and more as toxic co-dependence—an effect the production unintentionally heightens.

Is ROMEO AND JULIET a romance, a meditation on the universality of intolerance, or a plea for forgiveness? Many argue its power lies in the language itself—and it is there, along with the choice to modernize the setting, that this production falters, leaving it stranded in an unsatisfying middle ground.

Pennsylvania Shakespeare Festival

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: ROMEO AND JULIET at Pennsylvania Shakespeare Festival first appeared on Stage Magazine.

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

Mile Square Theatre Presents “Urinetown: The Musical”
Local Young Artists Take the Stage in MST’s Bold New Pre-Professional Program

HOBOKEN, NJ – Mile Square Theatre (MST) is proud to present its first-ever Pre-Professional Theatre Program production, “Urinetown: The Musical,” book and lyrics by Greg Kotis, music and lyrics by Mark Hollmann. The entire production is led by a team of professionals—our assistants and cast are all young artists ages 18 to 25, based right here in Hudson County and from across North and Central New Jersey. The production opens Friday, July 24, and runs through Sunday, July 26.

Directed by Michele Danna, with Musical Direction by Nathan Morrissey, “Urinetown” is a hilariously funny and touchingly honest musical satire. In a Gotham-like city, a terrible water shortage, caused by a 20-year drought, has led to a government-enforced ban on private toilets. The citizens must use public amenities, regulated by a single malevolent company that profits by charging admission for one of humanity’s most basic needs. Amid the people, a hero decides that he’s had enough and plans a revolution to lead them all to freedom.

Tickets are $25 for general admission and $10 for seniors and children under 12.

“MST is thrilled to be introducing this new program to our community,” said Michele Danna, MST Education Director. “Our Pre-Professional Program bridges the gap between educational theatre and the professional world by providing young artists with the opportunity to collaborate with professional directors, music directors, and technical artists while performing on a professional stage. The program also extends beyond the production itself. Participants take part in our Workshop for the Working Actor, where they receive audition coaching, feedback on their professional materials, and participate in discussions with working theatre professionals. Whether they’re returning to college in the fall or preparing to enter their next audition room, participants leave with valuable experience and practical tools to support the next step in their artistic journey.”

PRODUCTION TEAM
Director: Michele Danna
Musical Director: Nathan Morrissey
Choreographer: Ellen Grace Diehl
Stage Manager: Tais Fontanez
Technical Director: Justin Wyble
Assistant Technical Director: Chris Gardner

CAST
Tiffany Albornoz
Charlie Ambrocio
Collin Eagen
Mircea Florescu
Chloe Garcia
Chloe Gulvin
Leah Israeli
Alexa Kirkpatrick
Addie Kriegel
Georgina Lopez
Jaylene Lugo
Gianna Mainor
Mikayla Monclova
Vincent Simpson
Emily Torres
Ethan Young

URINETOWN: THE MUSICAL
July 24–25, 7:00 PM–9:30 PM
July 26, 3:00 PM–4:30 PM
Runtime: 2 ½ hours
General Admission: $25
Seniors & Children under 12: $10

Purchase tickets at https://www.milesquaretheatre.org/events/urinetown-the-musical

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

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

The post Local Young Artists Take the Stage in MST’s Bold New Pre-Professional Program first appeared on Stage Magazine.