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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

This production is a wickedly good evening of theatre.

Runs thru 6/20/2026 at…

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

Review submitted by:
Franklin Joseph

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

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

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

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

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

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

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

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

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

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

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

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

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

About Adam Sank: Adam Sank is a two-time Broadway World Cabaret Award winner and one of the most recognized and accomplished openly gay stand-up comics in the country. He has been featured on NBC’s “Last Comic Standing” and the “Today Show,” FOX’s “Laughs,” CBS News, Vh1’s “I Love the 2000s” and “Best Week Ever,” CNN’s “@ThisHour,” CNBC’s “Street Signs” and truTV’s “World’s Dumbest Criminals,” along with countless appearances as both a guest and fill-in host on Sirius-XM satellite radio. His debut comedy album, “Adam Sank: Live from the Stonewall Inn,” went to No. 1 on both Amazon’s list of Comedy Album Downloads and iTunes’s New Comedy Releases, and it plays in rotation on SiriusXM’s Raw Dog channel. From 2017 to 2023, Adam hosted a popular weekly podcast – “The Adam Sank Show” – which was nominated three times for a People’s Choice Podcast Award. Sank rebooted the podcast in 2025, and new episodes currently stream on all major audio platforms. Sank has performed regularly at comedy clubs, special events and festivals throughout New York City and beyond, including appearances at NYC Gay Pride, Gay Days Orlando, Atlantis Events and the Gay Naturists International Annual Gathering. In 2019, Sank retired from stand-up after releasing his second comedy album, “Adam Sank’s Last Comedy Album,” which went to No. 1 on Amazon and iTunes and plays regularly on SiriusXM Raw Dog. In 2023, Sank came out of retirement with a new one-man show “Bad Dates,” which enjoyed sold-out runs in New York, Florida, Los Angeles, San Diego, Palm Springs, and the Poconos. The show was awarded with Broadway World Cabaret Awards for Best Debut Show and Best Spoken Word Show.
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Theater/Organization: EAST LYNNE THEATER COMPANY
Theater Address: CLEMANS THEATER FOR THE ARTS, 717 FRANKLIN ST. CAPE MAY, New Jersey 08204 (Map It)
Theater Phone:

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

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

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

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

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

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

Review submitted by:
Franklin Joseph

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

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

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

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

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

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

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

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

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

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

Review submitted by:
Matthew Helmer

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

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

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

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

STAGE Magazine Marquee listing for BANSHEE

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

Review submitted by:
Diane Keck

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

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

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

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

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

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

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

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

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

Review submitted by:
Franklin Joseph

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

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

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

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

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

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

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

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

Review submitted by:
Claire Montgomery

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

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

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

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

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

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

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

Review submitted by:
Franklin Joseph

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

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

Reviewed by Ellen Webster

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

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

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

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

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

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

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

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

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

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

CAMAE: Smoke?

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

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

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

Notes:

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

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

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

Review submitted by:
Ellen Webster

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

Conceived and Originally Directed and Choreographed by Michael Bennett | Book by James Kirkwood & Nicholas Dante | Music by Marvin Hamlisch, Lyrics by Edward Kleban

Directed by Susan Clement
Co-Directed & Choreographed by Melanie Epps
Music Direction by Mark Kurtz

A SINGULAR SENSATION. A CULTURAL TOUCHSTONE. AN ICONIC MASTERPIECE.
One shot. One line. One audition.
God I hope I get it!

Generously Sponsored by: Devin Fox & Rob Block, Laura Peet Erkes & Corey Erkes, Jim & Kathy McKain, Ben & Mel Teply, Ruth H. Keene. Cocktail Sponsor: Sips on 10th. With additional support provided by the Nebraska Arts Council | Nebraska Cultural Endowment.

Theater/Organization: BLUEBARN THEATRE
Theater Address: 1106 S. 10TH ST. OMAHA, Nebraska 68108 (Map It)
Theater Phone: (402) 345-1576

Art House Productions Unveils In The Wind
A Large-Scale Public Art Installation at Lincoln Park, Jersey City

(Jersey City, NJ — May 7, 2026) — Art House Productions (Executive Artistic Director Meredith Burns) proudly announces In The Wind, a large-scale public art installation transforming Lincoln Park in Jersey City with artist-designed flags featuring original work by Hudson County artists. Presented in celebration of the organization’s 25th anniversary, the exhibition highlights the depth and diversity of Hudson County’s creative community.

Curated by Tina Maneca, In The Wind showcases original works by artists who live, work, or maintain studios in Hudson County. Installed around Edgewood Lake, the works are presented on flags that move with the wind, creating a dynamic, ever-changing exhibition shaped by light, motion, and the natural landscape. All flags are priced at $500 and will be available for purchase throughout the run of the installation.

In The Wind will be on view at Lincoln Park (1 County Rd 605, Jersey City, NJ) from June through November 2026. The opening will take place during ACCESS JC Fridays on June 5, 2026, with a reception at The View from 6:00 PM to 8:00 PM. For more information, visit jcfridays.com.

This project is supported by funding through the NJEDA’s A.R.T. – Phase II Grant Program, the Hudson County Office of Cultural & Heritage Affairs, and the Hudson County Parks Department.

Selected Artists Include:
Abhishek Tuiwala, Akil Roper, Alex Shammas, Amanda Lopez, Amy Neufeld, Amy Rubinger, Andrea McKenna, Anna Collevecchio, Anne Novado, Ariana Matos, Athena Toledo, Brandon Minieri, Brittany Vogel, Bryant Small, Cheryl Gross, Claudia Kreiss, Crystal Davis, Dan Peyton, Daniela Valencia, Danielle Scott, David Rios Ferreira, Dylan Egon, Eileen Ferara, Eleazar Sanchez, Eric Sosa, Erik Jacobsen, Fabricio Suarez, Farsad Labbauf, Fransmey Freitas, Gail Boykewich, Gina Irizarry, Grigory Gurevich, Iris Kufert-Rivo, Isabelle Duverger, Jada Fabrizio, Jaz Graf, Jen Morris, Jerome China, Jodie Fink, Joe Velez, Joe Waks, John Crittenden, Jose M. Diaz Fernandez, Joshua Tedeschi, Julissa Bedoya, Karen Fuchs, Katie Niewodowski, Kayt Hester-Heitzenrater, Kelsey Reilly, Kristin J. DeAngelis, Lana Abraham-Murawski, Laura McDonald Cuevas, Leslie Sheryll, Marco Lau, Maryann Zulueta, Megan Donohue, Melida Rodas, Michelle Wiemer, Miguel Cardenas, Monique Young, Nanette Reynolds Beachner, Natalie Giugni, Nathalie De Zan, Nathalie Kalbach, Niki Li, Nyugen E. Smith, Orlando Cuevas, Patch Thurlow, Peter Bill, Ray Arcadio, Regina Ruff, Richie Savage, Riham El Sadany, Robert Policastro, Sandy Skoglund, Sean Urie, Sergio Sandino, Serron Green, Shamona Stokes, Tatyana Kazakova, TitoJayDraws, Tolu Olasoji, Tuyvet Truster, Vincent Minervini, Wendy Setzer, Winifred McNeill, and Wushuang Tong.

Meredith Burns, Executive Artistic Director, states:
“This is an incredibly exciting project made possible through the support of the NJEDA A.R.T. – Phase II Grant Program. Hudson County is home to an extraordinary range of talented and diverse artists, and it’s an honor to present their work for the public to experience throughout the summer and fall.
It’s rare to have this level of support—from the county, from state and federal funding, and from our own team—to realize a project of this scale. We don’t take that for granted. This installation reflects the dedication of our board, staff, and community, who make ambitious projects like this possible.”

Tina Maneca, Curator Statement:
“Public art brings tremendous cultural, social, and economic benefits to communities. It enhances neighborhood identity, beautifies public spaces, and sparks conversation, encouraging reflection and connection among residents. By making art accessible to everyone, installations like this contribute to public health and well-being, offering moments of inspiration and joy.

As a West Side resident, it is a privilege to curate a new installation in Lincoln Park. This project highlights a diverse group of Hudson County artists whose work reflects a wide range of mediums and perspectives. Beyond decoration, public art supports local artists and transforms familiar spaces into vibrant cultural destinations for all.”

ACCESSIBILITY
Art House Productions is committed to accessibility and inclusion. Features include:
Wheelchair-accessible seating
ASL interpretation upon request (two weeks’ notice)
Audio description upon request (two weeks’ notice)
Service animals welcome
Fully accessible restrooms
For accommodations, call 201-579-0532 or email Meredith@arthouseproductions.org.

ABOUT ART HOUSE PRODUCTIONS
Art House Productions is a 501(c)(3) nonprofit dedicated to advancing the performing and visual arts in Jersey City. Now celebrating its 25th anniversary, Art House fosters creativity, inclusivity, and accessibility through theater productions, exhibitions, festivals, and community programs presented year-round.

Visit Art House at 345 Marin Boulevard, Jersey City, or online at www.arthouseproductions.org.

SUPPORTERS
Art House’s 2026 programming is made possible through the generous support of An Anonymous American Foundation; an anonymous donor from the Jewish Communal Fund; Hudson County Cultural Affairs’ Arts in Education and Hudson County History Partnership Programs; Hudson County Parks; the Exchange Place Alliance; the Hudson County Department of Parks and Recreation; the New Jersey State Council on the Arts, a partner agency of the NEA; the Historic Downtown Special Improvement District (HDSID); KRE; NJ Beer Co.; Panepinto Properties; public funds from the Jersey City Arts and Culture Trust Fund; RWJ Barnabas | Jersey City Medical Center; SILVERMAN; Super Buy Rite; Tito’s; and many generous volunteers, donors, and sponsors.

Theater/Organization: ART HOUSE PRODUCTIONS
Theater Address: 345 Marin Boulevard Jersey City, New Jersey 07302 (Map It)
Theater Phone: (201) 579-0532

Start date of auditions: 05/26/2026

Open Call Auditions
MERRILY WE ROLL ALONG
What to Prepare
Vocal Audition: Prepare a 16-32 bar cut of a musical theater piece in the style of the show. There will be no accompanist so you may choose to sing acapella or with a track on your phone.

Callbacks: Callbacks will consist of a dance audition, vocal cuts from the show, and cold reads. Vocal material will be provided in advance.

In-person auditions are by appointment only and must be scheduled here.

Self-tape auditions must be submitted to this form by May 28 at 7:00pm.

Important Dates
In-Person Auditions (By Appointment Only): May 26 and 28, 2026

Self-Tape Auditions: Due to this form by Thursday, May 28, 2026 at 7:00pm

Callbacks: Sunday, May 31, 2026 (12pm-4pm)

Load-In/Cue-to-Cue, Tech, and Performances: August 15-23, 2026 (Time TBD- Weekdays will begin after 6pm, Weekends may be full day tech or performance days)

Strike: August 23, 2026 (following final performance)

Rehearsals will take place at Mignolo, 272 Lake Avenue Metuchen, NJ, 08840; tech and performances will take place in Metuchen, NJ.

About “Merrily We Roll Along”
Stephen Sondheim and George Furth’s Merrily We Roll Along tells the story of three friends, Frank, Charley, and Mary, as their idealism fades over the years. Told in reverse, we see how fame, failure, and personal choices pull them apart. As we move backward through the decades, we witness the highs of youthful hope and the heartbreak of what’s lost along the way. Through Sondheim’s intricate score and emotionally layered lyrics, the musical explores the cost of success, the fragility of relationships, and the longing to hold onto who we once were.

Audition Sign-Up
Self-Tape Submission

About Ferrell Studios Community Theatre

Ferrell Studios is an intimate non-profit community theatre organization based in Metuchen, NJ. We aim to produce bold and timely work that fosters a living dialogue between the stage and the world around us and that challenges, inspires, and connects Central New Jersey audiences through shared storytelling. Our company produces seasonal plays and musicals for the Central Jersey Community. Some past productions include Spring Awakening, Cabaret, Godspell, The Last Five Years, Songs for a New World, The Shape of Things, and more! We also offer youth and adult classes, events, and other opportunities for local artists to engage with their craft.

NOTE: Ferrell Studios Community Theatre is a non-profit organization based in Metuchen, NJ. this is a non-equity, non-paid production. All performers must be over the age of 18 at the time of auditions.

Start date of auditions: 05/29/2026

Elf – Milton Theatre Auditions

CASTING CALL RELEASED- May 15, 2026 | DEADLINE FOR AUDITION SUBMISSION May 29, 2026

Seeking:

Non-equity actors for roles in Elf (See breakdown below).

CONTRACT:

Stipend pay starting at $2500 with housing and some meals included.

AUDITION REQUIREMENTS

Please submit headshot, resume, call sheet, dance/movement reel, tap reel and 32-bar cut in the style of the role auditioning for that includes vocal and character range to audition@miltontheatre.com. Submissions without a Call Sheet will not be considered.

Here is the link to the call sheet. Please download the call sheet to complete: Link

PRODUCTION DATES:

Rehearsals: Saturday, November 7, 2026 – Wednesday, November 18, 2026

Shows: 23 SHOWS Thursday, November 19, 2026 – Sunday, December 13, 2026

SHOW SYNOPSIS:

In this heart-warming musical, Santa narrates the story of Buddy, an apparently oversized elf who has been raised in the North Pole. During the lead up to Christmas, Buddy overhears the other elves discussing how he is really a human but hasn’t realized. He is devastated and Santa must reveal to his wannabe elf that baby Buddy mistakenly crawled into Santa’s bag of gifts on Christmas Eve many years ago and was transported to the North Pole on Santa’s return home. With Santa’s blessing, Buddy decides to travel to New York City to find his real father (who is on the naughty list). Shocked that his own father could be on the naughty list, he is further astounded that his half-brother doesn’t believe in Santa. How can this be? Buddy decides to change the outlook and behavior of his new family and bring the true meaning of Christmas back into New York City. Along the way, he discovers friendship, romance, and his true identity. Elf is a modern day holiday classic that aims to spread Christmas cheer for all to hear!

Character List

BUDDY: Male, Any Ethnicity, Vocal Range: Ab2-C5

Buddy is the perfect elf! He is good-natured, he means well, and he is happy all the time. A bull-in-a-china-shop, yet full of fun. Energetically earnest, comedic personality. Excellent singer with improvisation skills and dance skills.

JOVIE, Female, Any Ethnicity, Vocal Range: G3-D5

Guarded, appealing, relatable, yet a bit cynical. When we first meet Jovie, her vulnerability is well-hidden underneath a tough façade. She doesn’t have much Christmas spirit until she meets Buddy, who adores her completely. Excellent singer with dance skills.

WALTER HOBBS, Male, Any Ethnicity, Vocal Range: A2-G4

A strong, authoritative presence, Walter can be stern and unemotional, but we see his softer side when Buddy comes into his life, and he recommit to his family. Strong singer.

EMILY, Female, Any Ethnicity, Vocal Range: F3-Eb5

Emily is warm and witty; the eternal problem solver, as well as a devoted wife and mother. She quickly embraces Buddy and appreciates the renewed sense of childlike innocence she feels with Buddy around. Excellent singer with dance/movement skills.

DEB, Female, Any Ethnicity, Vocal Range: D4-Eb5

Walter’s secretary, who has the big responsibility of keeping her boss and the whole office happy. She does this by sharing her cheerful outlook with everyone. Sharply witty. Excellent singer with dance skills.

SANTA CLAUS, Male, Any Ethnicity, Vocal Range: A2-E4

Just another workingman. Loves his job and Christmas, but also likes to kick-back and watch the game when a rare opportunity arises. A natural storyteller.

GREENWAY, Male, Any Ethnicity, Vocal Range: Bb3-D5

Walter’s boss is a shrewd businessman with a commanding presence and no joy in his heart for the holiday; the antithesis of Santa. Good singer.

CHADWICK, Male, Any Ethnicity

One of Walter’s right-hand men. He is desperate to keep his job, and perhaps the dumber of the two.

MATTHEWS, Male, Any Ethnicity

One of Walter’s right-hand men. He is desperate to keep his job, and perhaps the schemer of the two.

ENSEMBLE, Any Gender, Any Ethnicity

Actors, male and female, who can play a variety of other roles in this production including: Mrs. Claus, Elves, Charlie, Tiara, Mr. Narwhal, Teenager, Employees, Security Guard 1&2, Customer 1&2, Store Manager, Saleswoman, Store Elf 1&2, Fake Santas, Boy, Mother, Policeman 1&2, Sarah, Jim, Vendor, Waitress, Charlotte, Man, Woman. Many of these roles will have solos and featured roles (such as Charlie and Charlotte)

Start date of auditions: 05/30/2026

Brundage Park Playhouse is proud to announce its upcoming auditions for the musical Anything Goes at the playhouse on Carrell Road in Randolph.

In-Person Audition Dates:
Saturday, May 30th 12:30-5pm.
Monday, June 1st from 6:30-9pm.
Callbacks by invitation: Saturday, June 6th from 12pm-5pm

Virtual auditions are also being accepted.

Performance Dates:
Weekend performances August 21-23 and August 28-30, performance times TBD

In-Person Audition Details:

All Auditioners (virtual or in-person) are asked to complete this form to the best of their ability prior to auditions:

Google Form

Open call auditions for performers aged 18 & older

Prepare a 32-bar cut of a song from the show or a musical theater piece of your choice.

Please bring a device to play a track to accompany you or be prepared to sing A Capella. There will be no accompanist.

Please come prepared to dance at auditions.

Sides will be provided at the audition/callback at the director’s discretion.

Virtual submissions are upon request, but we would prefer to see you in person! Virtual submissions must be available to attend in person callbacks if needed.

Please provide a headshot and resume if available.

Virtual Auditions:

Virtual auditions can be submitted upon request, but we would love to see you in person! Email Chrystina Kepreos at anythinggoesBPP@gmail.com for virtual audition instructions.

Virtual auditions are due on May 29th at 5pm. If invited to callbacks, you will be required to attend in-person.

Please email Chrystina before May 29th at anythinggoesBPP@gmail.com if you have any questions!

Rehearsals will take place 3 times a week, usually consisting of two weekday evenings and one weekend day. All performers must be available for the entirety of tech week (August 15th -August 20th) and for all performance dates…No exceptions at this time. Rehearsals will begin the week of June 8th.

Anything Goes
Music and Lyrics by Cole Porter
Book by Guy Bolton, P. G. Wodehouse, Howard Lindsay and Robert Crouse
Directed by Chrystina Kepreos

Set sail aboard the S.S. America before the end of summer with a dazzling production of the classic musical comedy. A toe-tapping, tap-dancing delight, is a madcap cruise full of mistaken identities, romantic entanglements, and show-stopping numbers that have become timeless standards by Cole Porter.

Character Breakdown:

Reno Sweeney
Playing Age: 30–45
Gender: Female
Playing Age: 30-45
Vocal Range: Mezzo-soprano/Alto (Strong Belt)
Notes: A charismatic nightclub singer and former evangelist, she is clever, funny, persuasive and extremely confident. Strong singing and dancing/tap required, as well as comedic timing.

Sir Evelyn Oakleigh
Gender: Male
Playing Age: 30-45
Vocal Range: Tenor
Notes: Eccentric, upper-class Englishman. Dry humor, awkward charm. Strong comedic actor. Hope’s energetic, quirky and good-natured aristocratic fiancé. English accent, strong singing and the ability to move well also required.

Billy Crocker
Gender: Male
Playing Age: 20-30
Vocal Range: Tenor
Notes: A young businessman who is in love with Hope, he is charismatic and charming. Strong singing required and should be able to dance or move well.

Hope Harcourt
Gender: Female
Playing Age: 20-25
Notes: Classic ingénue. A beautiful heiress with a strong sense of duty, she is willing to sacrifice love and marry to satisfy her mother’s wishes. Strong singing and dancing required.

Moonface Martin
Gender: Male
Playing Age: 35-55
Vocal Range: Baritone (character)
Notes: Lovable, second-rate gangster. Big comic role, strong timing and physical comedy.

Bonnie
Gender: Female
Playing Age: 25-40
Vocal Range: Mezzo-soprano / Alto (belt)
Notes: Sassy, confident, comedic. Strong dancer

Elisha J. Whitney
Gender: Male
Playing Age: 45-65
Notes: Wealthy businessman; loud, comedic, often tipsy

Mrs. Harcourt
Gender: Female
Playing Age: 45-65
Vocal Range: Mezzo-soprano (character)
Notes: Snobbish, status-driven socialite. Strong comedic delivery.

Reno’s Angels (Purity, Chasity, Charity, Virtue)
Gender: Female
Playing Age: 18-30
Vocal Range: Various (tight harmonies)
Notes: Strong dancers with a solid vocal blend.

Ching & Ling
Gender: Male-presenting (flexible)
Playing Age: 20-40
Vocal Range: Tenor/Baritone (light singing; may be doubled from ensemble)
Notes: Comic supporting roles and associates of the Bishop, often involved in disguise and mistaken identity plot elements. Strong physical comedy, timing and character work required.

Bishop
Gender: Male
Playing Age: 50-70
Vocal Range: Non-singing/light baritone
Note: Authority figure used in disguise

Captain/Purser/Sailors
Gender: Male
Playing Age: 18 & up
Vocal range: Various
Notes: Featured ensemble, strong character actors and dancers

Start date of auditions: 05/31/2026

AUDITION DATES AND TIMES:
Sunday, May 31 – 7:00 pm – 10:00 pm
Monday, June 1 – 7:00 pm – 10:00 pm
Location:
The Barn Playhouse
1700 Christopher Lane
Jeffersonville, PA 19403
​
AUDITION INFORMATION:
**ADULT AUDITIONS ARE FOR ACTORS AGES 18 AND OVER. NO ONE UNDER 18 WILL BE SEEN OR CAST IN ADULT ROLES. **
​
WHAT TO PREPARE:
– Prepare 16-32 bars of a contemporary musical theater song.
– Bring sheet music (an accompanist will be provided). No a cappella auditions will be accepted.
– Be prepared for a short dance audition.
– After the dance audition, there will be cold readings from the script.

​Audition sign up: https://www.signupgenius.com/go/60B0848AAA62FA1FB6-63860937-nunsense

Questions: Contact the producer at mdinenno@msn.com

Nunsense begins when the Little Sisters of Hoboken discover that their cook, Sister Julia, Child of God, has accidentally poisoned 52 of the sisters, and they are in dire need of funds for the burials. The sisters decide that the best way to raise the money is to put on a variety show, so they take over the school auditorium, which is currently set up for the eighth grade production of Grease. Featuring star turns, tap and ballet dancing, an audience quiz and comic surprises, this show has become an international phenomenon. With more than 5000 productions worldwide, it has been translated into 21 languages. Mega-Nunsense, starring the original five nuns, features five new male and female characters, including the never-before-seen infamous convent cook, Sister Julia, Child of God.
​
Book, Music and Lyrics by Dan Goggin

Run dates:

Thursday, October 1 at 7:30 pm

Friday, October 2 at 7:30 pm

Saturday, October 3 at 7:30 pm

Sunday, October 4 at 2:00 pm

Thursday, October 8 at 7:30 pm

Friday, October 9 at 7:30 pm*

Saturday, October 10 at 7:30 pm

Sunday, October 11 at 2:00 pm

​*Talk-back session after the performance.

Produced through special arrangement with Concord Theatricals.