A hilarious tale of greed, corruption, love, and revolution in a time when water is worth its weight in gold. Due to a 20-year drought (which has led to a government-enforced ban on private toilets) everyone must pay for one of humanity’s most basic needs. URINETOWN is an irreverently humorous satire in which no one is safe from scrutiny. With its outrageous perspective, wickedly modern wit, and sustained ability to produce gales of unbridled laughter, URINETOWN is certain to bring down the house!

Theater Address: 208 Vine Street, Hammonton, New Jersey 08037 (Map It)
Theater Phone: (609)704-5012
Theater Amenities: Wheelchair Accessible, Concessions, Heated/Air Conditioned, Parking Lot, Close to public transportation

Price: 25.00 – $30.00
Purchase tickets online: http://theeagletheatre.tix.com/Schedule.asp?OrganizationNumber=2768

Start date of auditions: 06/17/2013

The Ardensingers of historic Arden DE will hold auditions for principle roles and new chorus members on Monday and Wednesday, June 17 and 19 from 7:00-10:00 pm with callbacks, if required, on Sunday, June 23 for their fall 2013 musical comedy production and U.S. premiere of “The Sleeping Beauty of Savoy,” with the characters of Sir W.S. Gilbert and the music of Sir Arthur Sullivan. All roles are open and auditions will be heard by appointment in 10-minute segments at Gild Hall, 2126 The Highway, Arden DE 19810.

The show is a British pantomime (panto) play, very loosely based on Sleeping Beauty, including lots of on-stage silliness, some audience participation, and Gilbert & Sullivan music – something for everybody, young and old. There are thirteen lead parts (eight female and five male), and we would certainly welcome some new talent. The show also benefits from a large chorus or courtiers, ladies, servants, minions and fiends. Additional information, including descriptions of the main roles, a copy of the libretto, and links to audition music and dialog, are available at www.ardensingers.com.

You won’t want to miss being a part of this incredible show so mark your calendars now! Rehearsals start in mid-September on Tuesday evenings and Sunday afternoons and the show will be performed November 21-23 at 8 pm and November 23 & 24 at 2 pm at the theatre in Gild Hall in Arden DE.

Actors and singers, young and old, are needed. Stage direction is by Michael Carbone, with music direction by Helene Furlong. To schedule an audition, please contact John Newport by phone at (610)388-7680 or by email at jflnewport@comcast.net. Additional information, including descriptions of the main roles, and links to audition music and dialog, are available at www.ardensingers.com

Join us for an evening of improvisational theater: funny, fast-paced, UNSCRIPTED action! Come early for the party, as we OFFICIALLY become Spotlight Theatre!

Theater Address: 129 Park Avenue Swarthmore, Pennsylvania 19081 (Map It)
Theater Phone: (610)328-1079
Theater Amenities: Wheelchair Accessible, Concessions, Heated/Air Conditioned, Parking Lot, Close to public transportation

Price: $10 per person
Purchase tickets online: http://SpotlightTheatrePA.org

View Coz Baldwin’s Resume

View Paul Recupero’s Resume

Dana Corvino talks about her amazing day at work, while Sabrina Betts, Liz McCallum, Cathy Gibbons Mostek, and Brian Gillin take it all in, as HOLLYWOOD ARMS, written by Carrie Hamilton and Carol Burnett, continues at Spotlight Theatre through May 18.

Comedy often stems from tragedy.  Certainly, many who work in the world of comedy relate stories of their own tragic backgrounds. Carol Burnett is among those ranks, with a tragic childhood and adolescence followed by a life of filling the lives and living rooms of multitudes with laughter. HOLLYWOOD ARMS is a comedic tragedy directed by Thomas-Robert Irvin for MN Players/Spotlight Theatre. Chronicling the story of a young Carol Burnett and her life of poverty, alcoholic adults, imperfect relationships and budding comedic genius, HOLLYWOOD ARMS is based on Burnett’s memoir One More Time and was co-written with her daughter, Carrie Louise Hamilton. On Broadway the show only ran for 78 performances. At MN Players/Spotlight Theatre the undertaking was a three weekend run. The boldly truthful script is written with candor and wit.

Music from the 1940′s fills the air as audiences enter. The setting is 1941, Hollywood, California. Using the stage well, the set is designed to allow for a studio bedroom, boasting a working Murphy Bed, hotel lobby and rooftop getaway, complete with a fire escape. Costumes, hair and makeup allow for a fully immersive experience, suggesting the 1940′s – 1950′s well.

The evening is for actresses, as the main characters are primarily Older and Younger Helen, Nanny, and Louise. In truth these are characters based on Burnett, her grandmother and mother respectively. Dana Corvino, as Older Helen, is glimpsed first as the story is set up in retrospect and some fond memories of childhood in Texas are encountered. Irvin uses apron and off stage areas well as to not impose upon the California setting of the bulk of the play. Corvino disappears until much later in the action.

Liz McCallum and Timothy P. Oskin (foreground) argue over the future of Dana Corvino (background).

As Older Helen begins with a glimpse of her youthful self, Young Helen is seen, as if peeking into the mind’s eye of Helen. Emily Selverian portrays Young Helen, in a demanding role for a young actor. Selverian is truthful and innocent in her portrayal which even includes a short appearance on roller skates. The script is not an easy one for a young person, including topics that are often difficult to discuss with trusted adults. Selverian is believable in her initial naiveté and the impact that Helen’s growing and diverse life experience has on her persona. Selverian’s bio in the program clearly tells the story of a devoted young actress, who hopes for a future in performance.

A great deal of the interplay of act one is between Young Helen and Nanny (Liz McCallum). There is true chemistry between these two actresses and seemingly real affection. The pacing of their scenes is especially good. McCallum portrays Nanny as a devoted worrier, who makes sure her health is what those around her worry about. As a foil for both her daughter and granddaughter, she is clearly the matriarch, replacing the mother, Louise, who moved to Hollywood from the Texas home of her daughter and mother. The ensuing struggle between these three females, to take and hold the alpha female position is the stuff of the play. McCallum takes her time to develop and age Nanny. She is believable and interesting. She has the twang of Texas about her and the characteristics of an overbearing and yet loving grandmother. She is protective, afflicted, hopeful, endearing and funny. McCallum helps us to understand the birth of many of Burnett’s characters and characteristics.

Cathy Gibbons Mostek gives us Louise, the character of the overcompensating, alcoholic, sometimes abusive mother to Helen. This is the kind of plumb role that any actress might hope to undertake during a career. Initially awkward and overly enthusiastic in dealings with her transplanted family, Louise spends many of the most memorable moments of the show careening emotionally out of control. Mostek’s Louise gradually gives over to the alcohol, and fills the stage with anger, terror, hopelessness, frustration, and surprisingly, love for her family. Louise’s single motherhood is not an unfamiliar plight. Mostek gives it her all, portraying the emotional emptying of Louise’s tank, allowing the story to unfold as a tragedy on many levels.

Liz McCallum (right) makes her case to Cathy Gibbons Mostek, in HOLLYWOOD ARMS.

Act 2 features Older Helen and the further disintegration of her family unit. Corvino is believable as a frazzled working college student who hopes to make something of herself. Scenes with her younger sister Alice (Sabrina Betts) are poignant. Betts develops well from a young girl into a smart talking adolescent. Corvino really comes alive when her mother is at her worst, and her best. Mostek and Corvino are a formidable pairing.

Brian Gillin as Bill Burgess is sympathetic and appealing. Jessica Stinson fills the role of Dixie well and gives the audience a glimpse into a compassionate character who assisted when the disintegrating family needed it most. Brendan Mostek’s Malcolm is a charming addition to the cast. His talent has been passed along from his mother, who is also in the cast as Louise. Timothy P. Oskin plays Jody, who is the gracious, alcoholic, absentee father of Helen. His portrayal is touching and he is quite likable, despite his character’s lack of control over alcohol.

The ensemble is talented, the story is engaging. For those who enjoy drama and tragedy with a dose of humor, HOLLYWOOD ARMS is a welcome addition to the theater portfolio.

HOLLYWOOD ARMS
by Carol Burnett and Carrie Hamilton
Directed by Thomas-Robert Irvin
May 3-18, 2013
MN Players/Spotlight Theatre
129 Park Avenue
Swarthmore, PA 19081
www.mnplayers.co

Theater/Organization The Ritz Theatre
Theater/Organization Website: http://www.ritztheatreco.org

Theater/Organization Address: 915 White Horse Pike Haddon Twp, New Jersey 08107 (Map It)
Theater/Organization Phone: (856)858-5230

The von Trapp children in a scene from The Broadway Theatre of Pitman’s production of THE SOUND OF MUSIC.

Just ask yourself, “What is it about THE SOUND OF MUSIC that has made you a fan all these years? Was it the music? The beautiful mountain setting? The adorable children? The romance between the stern captain and the postulant, Maria? The drama of the Nazis coming to take over Austria? Though I’d never seen the play, I knew I’d like it – love it even. Of course I had seen the film.

I doubt there are any of us who aren’t familiar with the story of Maria, Captain von Trapp and his children. The story was based on Maria’s own story and first made into a feature film. This musical, of course, takes many liberties with the original story, but not to worry; those rights were signed away before the musical was ever conceived.

In spite of some early lukewarm Broadway reviews that said the play was simplistic and the music did not do much to move the plot along, THE SOUND OF MUSIC, won The Tony for Best Musical in 1959 and was in its time the longest, and became one of the longest running plays on Broadway; it’s been produced in many countries and has been revived many times. The film made six years later would win five Oscars and pull its studio out of debt.

The Richard Rodgers and Oscar Hammerstein songs that we love, in the able hands of The Broadway Theatre of Pitman’s Musical Director William Yerkes and Conductor Christopher Adams are quite wonderful to see performed. THE SOUND OF MUSIC, however simple and jingoistic its music and lyrics are, stays with us. This production of a classic musical was entertaining, beautifully sung, full of great music and lots of love. What more could you ask?

I found Broadway Theatre of Pitman’s musical production of THE SOUND OF MUSIC as I usually find BTP’s productions: very well-done with lots of talented performers (as is possible with a stage venue this size). The productions always look good, sound good, and are musically superb as well. The costumes, which usually seem off-the-rack (nothing wrong with that) cannot be forgotten, nor can the lighting, which is exceptional. There’s always a terrific orchestra to accompany the marvelous singing voices. For the audience, the performances are always winners, especially if the chosen musicals or plays are not too classical, modern or edgy. And that seems to be the important thing.

In BTP’s production of THE SOUND OF MUSIC, all the singers were excellent, which says a lot for the musical direction of William Yerkes. I liked the character of “Maria,” energetically sung by Jamie Beth Weist, although I felt her first song, ironically, “The Sound of Music” did not have the punch it should have. I’m not sure if it was a directing or an acting moment that was lacking. There should have been a beat before she started singing and before she ended. The director (also Yerkes) needed to establish her character or the rest of the story does not make any sense. She is dreamy-eyed while on the mountain and should not move again until she hears the abbey’s bells and realizes then she needs to be back at the abbey. The night I attended, the bells rang while the music was still playing. Would it not be more dramatic for the bells to “wake” from her dream-like state? So, instead of starting on a strong “note,” (the song the musical is named after) there is a slower start and then she livens up with “My Favorite Things.” Weist had terrific energy after that, but the establishing her character was made more difficult because the title song was a bit lacking.

Another favorite of mine was Nicole Corigliano who played “Elsa Schraeder” with some extra pizzazz. She wormed her way delightfully onto the stage and into the Captain’s life. She was quite good at being bad. Her character was well-established. She was consistent in her character development, which led to equally strong acting and beautiful singing; her character never waivers. The scenes she is in work better when others respond with equal disdain, if that is required of their characters. Maria, being demure at one moment, was right on; however, later, when she becomes Elsa’s competition and it should show. Maria should be letting her beautiful blond hair down sooner I think.

Captain von Trapp and his children in The Broadway Theatre of Pitman’s rendition of THE SOUND OF MUSIC.

This is where half the “class” gets upset with me. I am of the notion that theatre requires action between characters, including songs. We cheat to the front, but we rarely turn face forward and sing an entire number unless it is natural in the play to do so. That’s called a music concert, presentation or entertainment–not musical theatre. I attended a set of Broadway tunes at church recently. Loved it. Great performances. But it wasn’t theatre. (Here’s an exception. I saw ALTAR BOYZ at BTP that was performed as a concert venue; it was supposed to be.)

So, answer me this: why was the dialogue lower in volume than the song a character is singing? Confidence? Mic volume? Or, is a song perceived as more important than the “story” leading up to the song? Remember, not all the songs here are considered to move the story along.

Everyone’s acting was good overall, thought it sometimes lacked the crispness and depth of true character and scene analysis. THE SOUND OF MUSIC flew along, usually proof of the tightness of acting, but here it may have been proof of quickly moving through dialogue to get to the songs instead. With the right character motivation, and scene/script analysis–all can be achieved with the songs contributing to a strong, smart and stylishly seamless production.

Important to this show is the military and pre-war background. Missing and important to the Captain’s character and behavior is a true-to-life military bearing or presence. No one gives or receives orders at “Parade Rest;” they do it at “Attention.” And, in Germany or Austria, they would click heels and bow (or do an about face) when dismissed. I kept wondering if the Captain’s arm was pinned to his back due to an injury.

The Captain’s a great singer (though a bit soft in volume), but the contrast between his strength of character (which might have been stronger with analysis) and Maria’s, the postulant, doesn’t work at all. That bit of “slut” in Elsa’s character which we also contrast with the captain’s pride and presence should contrast as well with Maria. Max’s character may have benefited from more in-depth analysis, but he did grow on me.

The singing in this show is phenomenal–especially for community theatre. I was totally amazed by the children who were so well controlled, scurrying to their places on the set for their next set of tunes. At times however, musical direction seemed to supersede staging.

The costumes were great with a few exceptions. The Admiral needed some stripes and ribbons–anything to give him more dignity. I think Rolf might have benefited from a Hitler Youth uniform with a swastika in the early scenes, switching to the long pants later. That would help develop the tension mentioned in the early scenes.

As for the set, the bedroom was lovely, but it was only used once, while the other side was the terrace. The terrace was nicely constructed but left too much (the rest of the house) to the imagination. It might have been a good time to use flats on the sides. This one of those times when a theatre like the BTP that has resources for backdrops and curtains, that the absence of these pieces is more noticeable. Actors traveled in and out of the terrace into darkness. Possible solutions: A lighted flat? Curtain? Something to give the impression of a destination beyond the doors which we see from the audience.

Although BTP’s THE SOUND OF MUSIC is working toward the end of its run, I was very glad to review it. There is still time to see it. The Broadway Theatre of Pitman knows its audience. Bottom line: I was sitting in a filled theatre. The audience enjoyed it very much. They’ve found a place to enjoy theatre and have season tickets. They heard the songs and saw the show they loved and they were entertained. Nothing wrong with that, I guess.

THE SOUND MUSIC
Music by Richard Rodgers
Lyrics by Oscar Hammerstein II
Book by Howard Lindsay and Russell Crouse
Suggested by “The Story of the Trapp Family Singers”
Directed by William Yerkes
Musically Directed by William Yerkes
April 26 – May 19, 2013
The Broadway Theatre of Pitman
43 S. Broadway
Pitman, NJ 08071
856.384.8381
http://thebroadwaytheatre.org

MORRISVILLE, PA –William Shakespeare’s masterwork THE MERCHANT OF VENICE – one of the Bard’s most popular yet trickiest plays – will be interpreted and illuminated May 31 – June 16 on the intimate Heritage Center stage.

The Merchant of Venice is categorized as a Shakespearean comedy. But how many laughs can be found when a money-lender seeks “a pound of flesh” from a man helping his friend find love?

“All the elements of a Shakespearean comedy are there: a trio of love conflicts, a seemingly
Impossible barrier to that love being fulfilled and a woman disguising herself as a man,” explained NET Artistic Director Cheryl Doyle, who directs the show. “But, Shakespeare wrote such a complex character in Shylock, who demands a pound of flesh in to satisfy an unpaid debt, that many productions veer their interpretations more toward the dramatic than the humorous.”

Veteran actor George Hartpence – with the title roles of Hamlet, Macbeth and Richard III under his belt – tackles the challenging role of Shylock. “Back in Shakespeare’s time and well into the 18th century, Shylock was often portrayed as a caricature: a demanding, farcical Jewish rogue lusting for money and revenge. Over time, the depth of the money-lender’s character, so brilliantly underscored in the renowned ‘Hath not a Jew eyes?’ speech, proved irresistible to serious actors who saw in it a chance to tackle anti-Semitism head-on.”

“George gives us a Shylock for our time – a man tormented because he too has been tormented,” Ms. Doyle said. “You won’t root for Shylock, but you will understand him. And you may not find it easy to root for his intended victim, Antonio; DeLarme Landes of Doylestown has the challenge of playing a man whose friends adore him but who is actively and unapologetically anti-Semitic. We are working hard to reconcile the play’s 16th-century attitudes with our 21st-century sensibilities. Fortunately, Shakespeare has given us a lot of human truth to work with . . .and several lighter subplots to balance Shylock’s part of the story.”

Kyla Mostello Donnelly of Levittown co-stars as Portia, whose “quality of mercy” speech ranks among Shakespeare’s best – known. Brian Jason Kelly of Doylestown is Bassanio, Portia’s love interest. Aaron Wexler of Philadelphia and Cat Miller of Bristol play lovers Gratiano and Nerissa. John Helmke of Hamilton, NJ and Amanda Hecht of Levittown portray lovers Lorenzo and Jessica.

Rounding out the cast are Michael Wurzel of Little Silver, NJ; John Wishnie of Morrisville; Mark Swift of Hamilton, NJ; Marco Newton of Yardley; Rob Norman of New Hope; Mort Paterson of Philadelphia; Darryl Thompson of Collingswood, NJ; Jim Cordingley of Lawrenceville, NJ; and Julia Mitchell of Yardley.

Kathleen Landes of Doylestown stage manages. Lighting designer Andrena Wishnie of Morrisville illuminates the set designed by George Hartpence. Costume and sound design are by Ms. Doyle.

The Merchant of Venice performs at the Heritage Center, 635 N. Delmorr Avenue (Route 32), Morrisville, PA. Show times are Fridays and Saturdays at 8 p.m. and Sundays at 2 p.m. Tickets are $20 for adults, $17 for seniors and $10 for children age 12 and under. To reserve, reservations, call 215-295-3694 or email actorsnet@aol.com. On-line tickets can be purchased via www.brownpapertickets.com.

The NET’S website is www.actorsnetbucks.org. Social networking: Facebook page – “ActorsNET, AKA Actors’ NET of Bucks County” and Twitter name @actorsnet.
-net-

Theater/Organization Actors’ NET
Theater/Organization Website: http://www.actorsnetbucks.org

Theater/Organization Address: 635 N. Delmorr Ave Morrisville, Pennsylvania 19067 (Map It)
Theater/Organization Phone: (215)295-3694

Use code STAGE to receive $10 off.

Theater/Organization InterAct Theatre Company
Theater/Organization Website: http://interacttheatre.org

Theater/Organization Address: 2030 Sansom Street Philadelphia, Pennsylvania 19103 (Map It)
Theater/Organization Phone: (215)568-8079

Tickets are $10 for all ages and may be purchased online at www.kelseytheatre.net or by calling the Kelsey Box Office at 609-570-3333. Kelsey Theatre is wheelchair accessible and free parking is available next to the theater.

Theater/Organization Kelsey Theatre
Theater/Organization Website: http://www.kelseytheatre.net

Theater/Organization Address: 1200 Old Trenton Road West Windsor, New Jersey 08550 (Map It)
Theater/Organization Phone: (609)570-3333

Theater/Organization Kelsey Theatre
Theater/Organization Website: http://www.kelseytheatre.net

Theater/Organization Address: 1200 Old Trenton Road West Windsor, New Jersey 08550 (Map It)
Theater/Organization Phone: (609)570-3333

Rounding out the cast of WOMEN ARE FROM VENUS, MEN ARE FROM URANUS are Allison Brooks and Stephanie Williams who portray the Lab Technicians.

Georgiana Staley, she is Woman! Her expressions, physicality, character interpretation and timing reaped much audience reaction. The scene where she is birthing away behind a partition (without much help from Man) just steals the show. Also well executed was the maturation sequencing as Woman progressed through various stages in life. Wayne Meadows plays the quintessential Man, evoking sympathy, and laughter, with his “deer in the headlight” reactions to Woman. The interplay and timing between the two is terrific and adorable. In an interesting switch, female lab techs are featured in this show instead of traditional male casting of these roles. Lab Technician #1, played by Allison Brooks, and Lab Technician #2, played by Stephanie Williams, don’t always agree. They sometimes ignore the Genome Observation Department dictates and are not perfect, but they do stir up the sauce to spill out the laughter. Also appearing on stage in lab coats to assist are backstage crew members Jenn Fleagle and Lukas Vacula.

This production runs under an hour, and there is a fifteen minute intermission. A minimal, but funky set (Ruth K. Brown, David Sokolowski) is used. Sports wear is worn by Woman and Man instead of body suits (Star Timney, Costumer), which seems to work just fine for this production.

The Everett Theatre is an historic building. It is lovingly kept with an old time theater concession stand with fresh popcorn, candy, assorted beverages, and friendly people behind the counter who make one feel welcome. A coupon for this fun show is available at http://www.stagemagazine.org/wp-content/uploads/2013/05/Everett-May-Ad.pdf which also includes a free popcorn.

WOMEN ARE FROM VENUS, MEN ARE FROM URANUS
Written by Judith Sapperstein and Gary Murway
Directed by Ruth K. Brown
May 10 – 19, 2013
The Everett Theatre
45 W. Main Street
Middletown, DE 19709
302-378-7038
http://www.everetttheatre.com/

Jennifer Huth stars as Diana Goodman in NEXT TO NORMAL at Bootless Stageworks. (Photo credit: Blue Hen Studios)

As Bootless Artworks continues its move toward its permanent venue in Newport, it has taken on one of the most challenging and thought-provoking musicals I know, the Tony and Pulitzer prize-winning NEXT TO NORMAL, a show that fearlessly deals with mental illness, grief, and suicide. It’s a tough, emotional show, and it may be strange to think that a show dealing with such heavy issues can also be entertaining with catchy tunes and even bits of humor, but it is.

Bootless presents NEXT TO NORMAL almost as a PSA — there is information about psycho-pharmacology, bipolar disorder, and electroshock treatment in the program and leaflets in the lobby. These are terrific offerings, but don’t let it fool you into thinking that the show is dry and strictly informational. It’s a wonderfully-crafted modern musical; at its heart, it’s a layered story about a family facing issues that are more common than people often think, whether they relate directly or not.

The story centers around a mother, Diana, played by Jennifer Huth, and her daughter, Natalie, played by Valerie Jonkoff. Diana struggles with debilitating depression for which she’s treated aggressively with a cocktail of pills, while Natalie, a brilliant and talented teenager, fades from her mother’s consciousness and finds herself struggling to cope in her own life. Huth and Jonkoff wear their roles like broken-in gloves, delivering characters that are wholly believable while singing beautifully.

Also struggling are the family’s husband and father, Dan, played just as convincingly by Mark Dixon; Diana and Dan’s older son, Gabe, wonderfully played by Corey Buller, and Natalie’s faithful boyfriend, Henry, played by the endearing Daniel Kiernan. Rounding out the cast is John Jerbasi in a dual role as two of Diana’s doctors. There is a twist to the story, which I won’t spoil for readers, but it’s done well.

NEXT TO NORMAL features a live band, which sounded great and never overpowered the singers, aside from a few moments of microphone glitch. The show is almost a rock opera — there are handfuls of non-sung dialogue throughout, but it’s predominantly set to music (there are 37 songs, including reprises).

The set, which uses two levels to represent the upstairs and downstairs of the suburban home, is starkly minimalist and mostly black. This choice keeps the focus on the characters, as the audience is not distracted by a realistic “homey” set. The set, as it is, almost melts away.

This is an important show on an important topic, and Bootless has clearly put their hearts and souls into it. It’s not a show to be missed.

NEXT TO NORMAL
by Brian Yorkey
Music: Tom Kitt
Stage Director: Rosanne DellAversano
Music Director: James W. Fuerst
March 14 – 19, 2013
Bootless Stageworks
401 E. Marsh Lane
Newport, DE 19804
http://www.bootless.org

Burlington County Footlighters’ LEGALLY BLONDE stars: (left to right) Sean Flaherty as Emmett, Rachel Comenzo as Elle and Amanda Fredericks as Paulette, with Rufus.

Burlington County Footlighters’ new production stars Rachel Comenzo as the bubbly yet driven Elle Woods. Comenzo gave a sparkling performance as the vivacious effervescent blonde. Comenzo was joined by Sean Flaherty as the studious graduate assistant, Emmett, who helps Elle discover her true talents and learn that she doesn’t have to change who she is to be successful in law. Flaherty was lovable as the sweet study partner / friend turned fiancé. Tim Petrillo played the incredibly handsome yet shallow Warner who ditches his “Marilyn” Elle for a more “Jackie” version in Emilly Miller Huddell’s  Vivienne.  April Lindley was hysterical as lesbian law student Enid. Lindley’s comic timing was impeccable.  The highlight performance of the show was Amanda Fredericks’ portrayal of beautician and friend, Paulette. Fredericks was vocally outstanding, hilarious and stole the scene every time she was onstage. Finally, the sorority girls / greek chorus commanded the stage with their perky performance, fun attitude and exceptional vocals. The dazzling performance of the chorus truly made the show. Unfortunately, the chorus was so strong that the individual vocals were often over-powered and lost. The show is so strong but the choice not to use microphones for the soloists was tragic as it left the stars’ performances weak in comparison to the chorus and lacked the power necessary to move the audience.

LEGALLY BLONDE THE MUSICAL is a fun evening for the entire family. Packed with humor, fabulous choreography and an outstanding ensemble, the verdict is in, LEGALLY BLONDE THE MUSICAL is a hit.

LEGALLY BLONDE THE MUSICAL
Music & Lyrics by Laurence O’Keefe & Nell Benjamin
Book by Heather Hach
Based on the novel by Amanda Brown
Directed by Jillian Starr-Renbjor
Musical Direction by Sean Melhlbaum
May 3-18, 2013
Burlington County Footlighters
808 Pomona Road
Cinnaminson, NJ 08077
www.bcfootlighters.com

We first meet dear Opal (Alana Caraccio) as she carries out her daily routine with as much eccentricity as one woman who loves to layer, collect junk, and sing about driftwood can muster. Even though this woman may seem to have a few screws loose, we watch her fiddle with some contraptions that look as though they took some skill to make. We’re also introduced to Opal’s faithful feline companion, Mister Tanner, who seems to be the more grounded one in the group.

Alana Caraccio plays Opal. At her feet are Glenn Kraft as Brad (l.) and Joe Perignat as Sol (r.)

Soon, a trio of unique conniving characters are thrown in to really set the play in motion. Each member of this gang is so different, you really start to wonder how they found each other. There’s the Marilyn Monroesque, Gloria (Jennifer Smith) whose short blonde hair, designer-like wardrobe, and Hollywood dreams makes her the perfect naive front woman. It seems the real brains behind the operation come from Bradford (Glenn Kraft), with his high-end vocabulary, college professor ensemble, and smart-ass sense of humor. Then we meet Solomon (Joseph Perignat), the big boss man in his fancy fur and authoritative air who talks a big, mob-boss-like game, but there’s something hiding beneath the boisterousness.

The cast is rounded out by two, real genuine characters, Officer Joe (Matthew Thompson) and the Doctor (Tom McFarland). Both become intertwined with the craziness and take it in stride.

Individually, each actor truly embodies their character, making it easy to believe this story. Once all characters start to interact we see the real talent of each actor playing off the other’s strengths. This cast works so well together, that all the audience has to do is get lost in their interactions, laugh at their plans as they backfire, and believe that good can conquer evil.

In addition to the stellar acting, some “special effects” of the show seemed successful for an opening night. In hindsight, it could have gone a lot worse, but the set-up and coordination of pulleys, ramps, and trap doors was pretty impressive. The only thing that may have made it seamless was the actors’ reactions to what was happening. It felt like they were holding their breath for things to go off without a hitch. Some delayed reactions to the dilemma was the only thing that dimmed the magic.

Props must be given to the Stage Managers and Prop Master (Jesse Roy and Kim O’Byrne Rozman) for the organization and wrangling of the multitude of items on set. If the countless number of knickknacks already on stage wasn’t enough, audience members are invited to bring a small “treasure” with them to the show. One item will be selected to grace the stage for that performance, and the owner will receive a free ticket to another T&C show for this season.

EVERYBODY LOVES OPAL
by John Patrick
Directed by Ken Weigert
May 10-25, 2013s
Town and Country Players
4158 York Rd.
Buckingham, PA 18912
800-838-3006
townandcountryplayers.org

Maryruth Stine, Mahogany Walker, Meredith Beck, Carl Smith, Andrew Parcell, Rebecca Cureton, Joel Guerroro, Zoran Kovcic, Susan Wefel in PRIDE AND PREJUDICE at Hedgerow Theatre.

Jane Austen’s books are beloved around the world; they have continued to sell well for over 200 years and her fans are legion. Rose Valley’s Hedgerow Theatre is presenting a stage adaptation of her 1813 novel PRIDE AND PREJUDICE, one of Austen’s most popular works. This version was written by the former Artistic Director of The Actors Theatre of Louisville, Jon Jory.

The story follows bookish country squire Mr. Bennet, his silly wife and their five daughters who live in the fictional town of Meryton in Hertfordshire, near London.   The family’s financial state is tenuous at best and Mrs. Bennet is determined to find wealthy husbands for each of her daughters. The youngest, Lydia, most takes after Mrs Bennet; the eldest, Jane, is kind-hearted and proper; and the narrator, Elizabeth Bennet, is the second-eldest and most takes after her father, sharing his keen wit and occasionally sarcastic outlook. The main plot follows her as she deals with issues of manners, upbringing, morality, education and marriage in the society of the landed gentry of early 19th-century England.

The narrative opens with Mr Bingley, a wealthy, charismatic young bachelor, moving into Netherfield Park near the Bennet family.  Mr Bingley is soon well received amongst the local gentry; while his friend Mr Darcy makes a less favorable first impression by appearing proud and condescending.  Mr Bingley is attracted to Jane and it soon becomes apparent that the feeling is mutual—though Jane only confesses her feelings to Elizabeth. By contrast, Darcy slights Elizabeth, who overhears and jokes about it despite feeling a budding resentment. On paying a visit to Mr Bingley’s sister, Caroline, Jane is caught in a heavy downpour, catches cold, and is forced to stay at Netherfield for several days. Elizabeth arrives to nurse her sister and is thrown into frequent company with Mr Darcy, who begins to act marginally less coldly towards her. The story progresses to the inevitable moment they both realize they love each other.

Jory’s adaptation does a wonderful job of paring the story down to the essentials and adding humor throughout. And director Jared Reed has staged it nicely on Zoran Kovcic’s lovely open set. Reed has given this 19^th century classic a lightness that contemporary audiences will relate to. The nine cast members portray a total of twenty characters, adding and subtracting assorted costume bits as needed. As Mr. and Mrs. Bennet we have Hedgerow regulars Zoran Kovcic and Susan Wefel, who both turn in solid performances.  Kovcic fully captures Bennet’s acerbic wit and love of his family; while Wefel has a fine time playing Mrs. B’s dithery, dramatic ways. The daughters are played by Meredith Beck (Jane), Mahogany Walker (Mary & Kitty) and Mary Ruth Stine (Lydia). All three are wonderful in their roles, interacting beautifully as sisters.  Ms. Walker and Ms. Stine are particularly entertaining as the giddy two youngest. Company member Rebecca Cureton plays the heroine, Elizabeth Bennet, and she is lovely to watch as she wrestles with her convictions and her attraction to/loathing of Mr. Darcy.  The object of her travails is very nicely brought to life by returning artist Carl N. Smith, who gives a nicely nuanced performance.

Rebecca Cureton, Meredith Beck in a scene from Hedgerow Theatre’s PRIDE AND PREJUDICE.

The younger members of the ensemble do a great job of hopping from character to character.  Company member Joel Guerrero is the busiest of the bunch, he portrays Parson Collins, Sir William Lucas, Mr. Gardiner and Colonel Fitzwilliam—bringing great subtleties and comedic flair to each.   Mr. Bingley and Mr. Wickham are brought to life by returning artist Andrew Parcell, who goes from fop to cad wonderfully.

And the young ladies of the ensemble match them note for note. Walker goes from the young Bennet sisters to the elegant slightly older Charlotte Lucas with great aplomb.  Beck instantly switches from the kind Jane to the haughty Miss Bingley with amazing agility—she really knows how to work a fan.  And Stine is equally adept, bringing great flair to both Lady Catherine de Bough and Mrs. Gardiner.

As I mentioned, Kovcic has provided the cast a lovely space to play in. The 19^th century stone walls of the grist mill lend a verisimilitude to the setting. There is a raised area that spans the back of the stage and each side; the company breezes on and off from the wings, playing some scenes on these areas and others on the stage floor. Six simple stools are moved about in various configurations as furniture, buggies, etc. Director Reed has created solid sound and lighting designs to support the story. And kudos to costumer Cathy Miglionico for absolutely exquisite costume designs.

I’m sure many people will shy away from this production because it is based on an English classic. They would be cheating themselves of a lovely experience as Hedgerow has made this story accessible to today’s viewers. PRIDE AND PREJUDICE is an airy spring confection worth checking out.

PRIDE AND PREJUDICE
by Jane Austen
Adapted for the stage by Jon Jory
Directed by Jared Reed
May 9—June 16, 2013
Hedgerow Theatre
64 Rose Valley Road
Media, PA
610-565-4211
www.hedgerowtheatre.org

MORRISVILLE, PA –On May 18th, The Actors’ NET of Bucks County will “roast” veteran character actor Marco Newton of Yardley, who just completed his 101st show with the nonprofit theatre company. Newton debuted in The NET’s 1999 run of G. B. Shaw’s The Devil’s Disciple. He accompanied his teenage daughter, Alexa, to auditions, and was drafted by artistic director Cheryl Doyle to play a small role in the show. In his fifties, he fell in love with acting and hasn’t stopped since – appearing in all styles of shows – from musical comedies to straight dramas and comedies. Recent stage credits include Cabaret, Gypsy, Once Upon a Mattress, 12 Angry Men, Much Ado About Nothing and Enchanted April.

NET Co-Founder and General Manager Joe Doyle serves as roast master. The dais includes actors Jamie Bradley, Vicky Czarnik, Alexa Gutter (one of Marco’s daughters), George Hartpence, Steve Lobis, Ed Patton, Cheryl Doyle & and Dani Tucci-Juraga. Theatre critic Stuart Duncan is slated to be a special guest “assassin,” along with a few unannounced surprises.

Show time on May 18 is 8 p.m. General admission is $15, and $10 for all NET company members (actors, directors, singers, dancers, technicians and season ticket holders). To reserve, call 215-295-3694 or email actorsnet@aol.com. The Heritage Center Theatre is located at 635 North Delmorr Avenue (Route 32) in Morrisville.
Photo: Marco Newton (right) with George Hartpence in “You Can’t Take it With You”

Theater/Organization Actors’ Net of Bucks County
Theater/Organization Website: http://www.actorsnetbucks.org

Theater/Organization Address: The Heritage Center Theatre 635 N. Delmorr Ave. Morrisville, Pennsylvania 19067 (Map It)
Theater/Organization Phone: (215)295-3694

It’s 2039 in Alice Springs, Australia, when we first meet Gabriel York, a father who nervously anticipates a visit from his estranged son.  He bemoans over the question he knows will be posed, “where do I come from?”  We’re soon off on a journey through time, exploring the family dynamic through four generations of the York and the Law families.  Bouncing back and forth between the 1960’s, 1980’s and towards the future, a sordid story unfolds revealing the deviant dysfunction of a father, and the repercussions the surrounding family members reap.  Director Robert Bauer aids the time changes with multi-media televisions to keep the audience on track.  Through a series of scenes peppered with both humor and melancholy, we see how the sins of the father devastate generation after generation.

Throughout the story Bovell brings his characters both literally and in memoriam to the sandy wilderness of the Coorong, a southern Aussie coastal national park and lagoon ecosystem.  The Coorong’s metaphoric imagery isn’t lost on the audience: the vast loneliness of its beaches, the power of the elements, and the rawness of its primal inhabitants.  These images encompass Bovell’s characters, particularly his star crossed lovers, young Gabriel York and Gabrielle Law, aptly played by Jesse Lehman and Jackie Sherman, complete with their own modern-day R & J chemistry.  We meet some of the story’s tragic heroes in their prime, and in their decline, reminding us all of our fleeting youth, and how easily our lives can be altered by a single transgression.

A cast of nine talented actors take us through the story; particular stand-outs include Carole Mancini, as the elder Elizabeth Law, Marjorie Goldman as the tragic Gabrielle, and Julia Wise’s emotional portrayal of the young Elizabeth Law.  Bovell’s picture of the naïve wife at the launch of London’s post-modern movement toward “enlightenment” whilst his female hero is in the middle of a family crisis of epic proportions is beautifully ironic.  The wife’s praise of Diderot and her place in the new era says it all, “A woman without passion in her life has nothing to do but wait.”  Let’s just say she gets more passion than she asked for.  Beautifully satiric, Mr. Bovell.

Tragically, pardon the pun, it’s far too late in the story for these events to unfold, and keep the audience gripped.  We don’t love the characters enough, Bovell places far too much emphasis on spectacle and metaphor, and lacks in character development and an active plot.  However, the actors made up for what the story lacked.  Simply put, I liked the acting better than the writing.  I greatly appreciated the attention to detail, the adroit accents, and Kim Pelle’s sound and light design.  A story worth examining, performances worth seeing, WHEN THE RAIN STOPS FALLING doesn’t pack a punch, but does make one stop and think.

WHEN THE RAIN STOPS FALLING
Written by Andrew Bovell
Directed by Robert Bauer
May 3 -18, 2013
Allens Lane Theater
601 West Allens Lane
Philadelphia, PA 19119
215.248.0546
http://www.allenslane.org

The Cast of Civic Theatre of Allentown’s NEXT TO NORMAL. (Photo credit: Marco Calderone Photography)

Civic Theatre of Allentown closes its 2013 season with the Pulitzer Prize and Tony Award winning musical NEXT TO NORMAL. This is a very different musical…no feel good story here. The primary character is a 40-something woman with bipolar disorder, trying to deal with her disease, the attendant hallucinations, and her family. It’s not a pretty story, but it is a beautiful musical.

I have to say up front that the voices assembled in this cast were amazing. Every song was spot on vocally…and this music is VERY difficult. However, the score is beautiful, and the cast does a beautiful job performing it.

Playing the mother Diana Goodman, Janis Greim has a very difficult role to portray. Her character has the manic highs and horrible lows of the bipolar sufferer, and has to try to share the internal struggle to the audience. Michael Traupman (Dan Goodman) is the husband who tries to be supportive but hides his own depression behind being strong for his family. Kallie Linder (Natalie Goodman) is the daughter whose growing frustration and anger at her family upheaval make her at first an overachiever then induce her to try to hide from her family’s problems. Will Morris (Henry) is Natalie’s classmate, then boyfriend, a self-professed stoner who tries to help Natalie through her issues. Brian Foley (Dr. Madden/Dr. Fine) are the medical professionals who use varying treatments to try to help Diana. Finally Matthew Meckes (Gabe Goodman) is the son around whom much of the story revolves.

Janis Greim as Diana and Kallie Linder as Natalie in Civic Theatre’s NEXT TO NORMAL. (Photo credit: Marco Calderone Photography)

I am not revealing much of the storyline on purpose…for those of you who have not seen this musical (and you should!) the “Big Reveal” is such a great part of the story, it shouldn’t be ruined. I will say that the musical deals with the relative theoretical nature of dealing with mental illnesses, and the trial and error that goes into trying to help make people “normal.”

As a concert, this was a wonderful production, and the show should not be missed for that reason alone. However, there were some flaws that tempered my enthusiasm for the show as a musical theatre property. Greim looked a bit too young to be playing her role, and the costumes she wore didn’t help…she was dressed “young” and in many cases dressed nicely. Part of the nuance of the character is that when she is in her low periods she just doesn’t care about her appearance. There were times throughout the show where I felt a lack of energy despite the high-energy musical score…the emotional fire from some of the characters was missing, and I felt like I was missing something. The director didn’t assist the characters to set up the “wow” moments in the show…the Big Reveal (which should be a very powerful moment in the show) garnered no reaction from the audience, nor it appeared from the cast. There were also times when I wanted more from the characters…the anger, frustration, jealousy just wasn’t there in their acting, nor in the vocals. I also was confused by some of the choreography…there seemed to be no motive for the movements other than to move, especially in the numbers with all of the characters.

Even with the flaws, you should go see this production. The music is beautiful, and the cast performs the music very well. The audience on the night I attended gave the cast an enthusiastic standing ovation. The story isn’t the usual one for a musical…no happy ending, no resolution…but it’s a very powerful story and well worth the visit.

NEXT TO NORMAL
Music by Tom Kitt, Book & Lyrics by Brian Yorkey
Director/Choreographer William Sanders, Musical Director Justin Brehm
May 3-19, 2013
Civic Theatre of Allentown
Nineteenth Street Theatre
527 N. 19^th St, Allentown PA 18104
610-432-8943
http://www.civictheatre.com/category/live-theatre/