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

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

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

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

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

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

Review submitted by:
Franklin Joseph

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

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

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

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

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

This is that story.

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

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

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

They simply work better together.

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

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

Sophia is just as quick to return the compliment.

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

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

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

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

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

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

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

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

Greed.

Ego.

Overconsumption.

The temptation to lose sight of what truly matters.

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

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

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

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

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

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

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

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

“They’re my people.”

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

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

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

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

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

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

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

Not because anyone asked them to.

Because they believed a story was worth telling.

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

The Company That Makes It All Possible

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

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

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

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

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

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

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

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

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

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

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

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

After the Factory Gates Close…

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

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

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

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

Perhaps that’s the real Golden Ticket.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Ephrata Performing Arts Center
1776
Runs through August 1, 2026

Review submitted by:
Franklin Joseph

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Pennsylvania Shakespeare Festival

Review submitted by:
Franklin Joseph

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

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

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

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

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

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

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

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

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

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

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

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

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

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

With no prior experience producing work at an international festival and no corporate sponsors backing them, the group independently formed Cheese Platter Productions specifically to bring their award-winning production to the Edinburgh Festival Fringe in Scotland this August. The effort is entirely grassroots: self-produced, self-funded, and organized from the ground up by the performers themselves.

The original Nutley Little Theatre production went on to win the 2024 Perry Award for Best Play, one of New Jersey community theatre’s most competitive honors, with cast member Danielle Levitt also earning a nomination for Best Actress. Four of the five original cast members — Sinead Kerr of Bayonne, Kayla Torres of Nutley, Danielle Levitt of Westfield, and Jessa Blackthorne of Carlstadt — will reprise their roles in Scotland, joined by newcomer Mia Jacobs of Caldwell.

Though none of the performers have previously traveled overseas to perform, all come from strong community theatre backgrounds, having built their experience on local, volunteer-driven stages throughout northern New Jersey. What makes this story especially meaningful is that their Fringe journey was born not out of institutional backing, but from friendship. The cast remained close after their 2024 run and made the decision together to revive the production for an international audience despite the steep logistical and financial challenges involved.

Adding a full-circle element to the story, cast member Sinead Kerr is a Scotland native and former Olympic ice dancer who competed for Great Britain in the 2006 and 2010 Winter Olympic Games. Her return to Scotland with this theatrical production marks a unique homecoming moment within the company’s Fringe debut.

The Fringe production will be rehelmed, with Jessa Blackthorne stepping into the role of Director while continuing to perform in the show. Kayla Torres will serve as Assistant Director. Together, the team is refining the award-winning staging for a global audience while preserving the camaraderie and sharp comedic timing that made the original production so successful.

The production will preview on August 7, 2026, followed by performances August 8–15 at The Studio at Paradise Green as part of the Edinburgh Festival Fringe (no performance on August 9). Performance times will begin between 12:25 p.m. and 1:55 p.m. on scheduled dates, and the production runs approximately 1 hour and 15 minutes. This amateur production of 5 LESBIANS EATING A QUICHE is presented by arrangement with Concord Theatricals Ltd. on behalf of Samuel French, Inc. www.concordtheatricals.co.uk

5 LESBIANS EATING A QUICHE is a tenderhearted but raucous comedy set in 1956. The “widows” of the Susan B. Anthony Society for the Sisters of Gertrude Stein are gathered for their annual quiche breakfast when atomic bomb sirens sound. Has the Communist threat finally come to pass? As their idyllic town and carefully constructed world begins to crumble, secrets emerge and the women wrestle with hysteria, survival, and a fate worse than death: a world without quiche!

5 LESBIANS EATING A QUICHE was first presented by The New Colony, under Co-Artistic directors Andrew Hobgood and Evan Linder and producing director Will Rogers, at Dank Haus in Chicago, Illinois, on June 24, 2011. It was directed by Sarah Gitenstein. This production was subsequently presented in New York City at the 2012 New York International Fringe Festival, before transferring to the SoHo Playhouse, off-Broadway, on October 20, 2012. Notably, this marks the first time the production has been presented at the Edinburgh Festival Fringe.

Cheese Platter Productions is funding the venture entirely through community support and local fundraising efforts throughout northern New Jersey. Fundraising event will be held on July 26 – GET ALL THE DETAILS HERE. Those wishing to contribute immediately may visit the group’s GoFundMe page.

For media inquiries, interviews, or additional information, please contact:
Jessa Blackthorne
cheeseplatterproductions@gmail.com

Theater/Organization: Cheese Platter Productions
Theater Address: The Studio at Paradise Green, Paradise in Augustines, 41 George IV Bridge, Edinburgh, Scotland EH1 1EL (Map It)
Theater Phone: 0131 5100119

Directed by Ryan Daly, who directed the Gateway’s productions of “The Man Who Came to Dinner” and “Much Ado About Nothing,” with assistant director Janelle Hawkes, the show is part of the Gateway’s Community Spotlight Series, three popular plays with scaled-down settings that help round out the Gateway’s first-ever, all-musical MainStage Season. This is Daly’s first experience working on a play by Simon, who also famously wrote “The Sunshine Boys,” “Brighton Beach Memoirs,” “The Odd Couple,” and many more.

“I have a real appreciation for his work. He has a great ear for dialogue,” said Daly. “For an actor, his dialogue is easy to learn and his characters are highly relatable, not cartoonish.”

“London Suite” is one of three of Simon’s “Suite” plays; the others being “Plaza Suite” and “California Suite.” Daly believes “London Suite” is the funniest of the three. The four acts detail the following:
• “Settling Accounts:” A Welsh writer charges his long-time business manager of stealing his money.
• “Going Home:” An American daughter tries to convince her widowed mother, abroad for a shopping trip, to spend an evening with a rich Scotsman.
• “The Man on the Floor:” Married New Yorkers have misplaced their tickets to Wimbledon and are about to lose their suite to actor Kevin Costner who needs it immediately.
• “Diana and Sidney:” Characters from Simon’s “California Suite,” Diana, a famous actress, and Sidney, her bisexual ex-husband, see each other for the first time in years. He’s in love with someone else; she still loves him.

Daly’s cast is filled with a mix of familiar faces seen at the Gateway, such as Joe Chialastri, Andrew Czekalski and Victoria Biron, as well as new performers like Jacob Van Tine, Ginger Liberatore and Maria Black. In order to accommodate as many actors as possible who came to audition, Daly devised additional characters to create an entire hotel “staff,” such as chambermaids, to help transition scene changes.

Performances are 7 p.m. Saturday and Sunday, July 11 and 12, and a 1 p.m. matinee on July 12. Tickets for all Community Spotlight performances are only $15 and can be purchased 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 tickets 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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PHOTOS (Provided): Neil Simon’s ‘London Suite,’ part of Gateway Playhouse’s ‘Community Spotlight Series,’ will run for three shows in two days, July 11 and 12. Tickets are only $15.

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

The audience is invited to join the discussion, which will provide an opportunity to reflect on the relevance of the play’s themes to civic engagement and our democracy today.

Details and ticket information can be found at https://www.pioneerproductionscompany.org/seasontickets/Constitution

About the show: Fifteen-year-old Heidi earned her college tuition by winning Constitutional debate competitions across the United States. In this hilarious, hopeful, and achingly human play, she resurrects her teenage self to trace the profound relationship between four generations of women and the founding document that shaped their lives. What the Constitution Means to Me won the Obie Award for Best New American Play and the New York Drama Critics’ Circle Award for Best American Play. The play was also nominated for the Tony Award for Best Play and was a finalist for the Pulitzer Prize for Drama.

Pioneer Productions was incorporated in 2003 as a 501(c)(3) nonprofit theatre company by founding members Dan Vissers, Shanna Levine-Phelps, and Jon Mantes. The Company’s mission is to share our collective human story through live theatrical performance by producing shows that are relevant to our time and inspire audiences to attend live theater. For more information about Pioneer Productions, visit https://www.pioneerproductionscompany.org.

The League of Women Voters (LWV) of the Morris Area is a nonpartisan, grassroots civic organization that empowers voters and defends democracy. Originally formed in 1947 as the League of Women Voters of the Morristown Area, the organization officially rebranded to the League of Women Voters of the Morris Area to reflect its expanded outreach and service to the broader Morris County community. The League encourages active, informed participation in government and works to increase understanding of major public policy issues. It never supports or opposes any political party or candidate. Membership is open to anyone aged 16 or older.

Theater/Organization: Pioneer Productions
Theater Address: The Stanley Center, 94 Fairmount Ave, Chatham, New Jersey 07928 (Map It)
Theater Phone: (973) 298-0821

The Pennsylvania Shakespeare Festival extends this tradition with THE COMPLETE WORKS OF JANE AUSTEN, ABRIDGED. Written by Jessica Bedford, Kathryn MacMillan, Charlotte Northeast, and Meghan Winch, the piece joins a growing wave of Austen spoof and homage theatre, from Jane Austen in 48 Minutes to Lauren Gunderson’s Pemberley sequels.

THE COMPLETE WORKS touches on most of Austen’s major novels—layered with pop culture nods, feminist commentary, and frequent fourth wall breaks—but its heavy emphasis on the most famous titles leaves the lesser known works underserved. For dedicated “Janeites” – who were out in full force at the performance observed – this seems fine. But for the perhaps less initiated, this feels like a missed opportunity; the best parodies spark curiosity about the originals.

Gabby S. Trice’s set and props transform the intimate ¾ round space into a whimsical swirl of Regency era lunacy, complete with pastel colored furniture pieces set against a green wall of doors and bookshelves. Janus Stefanowicz’s costumes, however, while largely true to the period, often appear ill fitted and not especially flattering on the actors, softening the impact of the Regency aesthetic the production aims to evoke.

Directed by co-playwright Bedford, the trio of actors —Madeleine Garcia, Sarah Gilko, and David Pica—prove nimble, charming, and impressively versatile in portraying multiple characters with the hop of a hat or the shift of a shawl. The staging, however, isn’t always as precise. In such a tight venue, actor placement and inconsistent projection occasionally muddy the text and challenge audibility —an issue in a show driven almost entirely by rapid fire language.

The production also falls into a familiar trap: the gimmick loses steam. Eventually, the comedic ideas stop building while the increasingly frenetic pace makes the storytelling hard to follow unless you’re already steeped in Austen. What begins as witty gradually turns forced and repetitive leading to a sense of fatigue rather than escalating fun.

Pennsylvania Shakespeare Festival

Review submitted by:
Franklin Joseph

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

On Saturday, June 20th, I finally indulged in a dream to attend your production of ‘H.M.S. Pinafore’, and I write now to compliment you on your performance. Your spirited vision of Gilbert & Sullivan’s classic lampoon of rigid Victorian social class set in the microcosm on a Ship of the Line both uplifted and delighted my friend Bill, my wife Allison and myself, and I hope you found as much joy performing as we felt watching. I’m sure you did, as you projected it on stage.

I’ve always found that the apotheosis of art happens when your audience channels your joy, your esprit, the passion you invest in your creation, and we certainly joined that current, sharing an intimacy of spirit that only such a talented and passionate cast can galvanize.

‘Penzance’ has always been my preferred show followed by the Mikado. I grew up with ‘Penzance’, and the Tarantula has plowed an indelible wake into my consciousness—truce to navigation, take another station. . . But after seeing your performance, ‘Pinafore’ has sailed its way to First Sea-Lord of my heart. All it took was to see it performed by a most-talented cast who lived their passion on stage.

I also compliment your professional theater support staff, who helped me deal with a ticket issue.

I wish you many good years of production.

Brava & Bravo.

Your Servant,

T. Fox Dunham

Bucks County Gilbert & Sullivan Society

Review submitted by:
T. Fox Dunham

Author’s Bio:
T. Fox Dunham lives in Philadelphia, Pennsylvania with his wife, Allison. He’s a cancer survivor, disabled author, modern bard, herbalist, baker and historian. His first book, The Street Martyr, is in production by Throughline Films. He’s a well-published crime, horror and Sci-fi author and a member of the Horror Writers Association. Fox is proud to have contributed to official Stargate canon with a story published in the Stargate Anthology Points of Origin. And his op-eds have been published by The Philadelphia Inquirer, Pittsburgh Gazette, MSN and many more. More information at tfoxdunham.com & Twitter: @TFoxDunham

The Philadelphia Summer Residency Series was devised by East Lynne’s Executive Director Mark David Boberick as a way to build an artistic bridge between Philadelphia and Cape May.

“Philadelphia is one of our greatest resources for talent,” said Boberick, “so it only makes sense to utilize those actors, directors and writers for whom theaters are primarily dark in the summer, which, for us, is our busiest and most exciting time of year. This initiative is yet another new chapter for East Lynne and a way to connect two historic cities that share an artistic culture.”

“Funny Girls,” created and performed by Childs, is a celebration of the revolutionary women who transformed American comedy. With sharp wit and remarkable physical precision, Childs brings to life the comedic styles of icons such as Fanny Brice, Mae West, Phyllis Diller, Joan Rivers, Gilda Radner and others who helped redefine what women could do on stage and screen.

Childs is also the co-founder and producing artistic director of Philadelphia’s 1812 Productions, for which she has created over 25 original works including “To the Moon,” “It’s My Party: The Women and Comedy Project,” “The Carols,” and the annual political humor show, “This Is The Week That Is.” Most recently, Childs debuted another one-woman show, “She Gets Around,” this spring at 1812 Productions.

“We are elated to kick off this new summer residency with Jennifer Childs,” said Boberick. “She is one of Philadelphia’s most creative and celebrated comedic voices. If our audiences don’t already know and love her work, they soon will become huge fans.”

“Funny Girls” will be presented in the Clemans Theater’s intimate cabaret setting, with musical direction by Owen Robbins. The show runs 7 p.m. Fridays, Saturdays, Mondays, Tuesdays; 2 p.m. Sundays from July 24 through Aug. 4. Tickets are $40 general admission, $35 seniors, $25 students and military. 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.

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PHOTO CAPTION:
Renowned Philadelphia actress Jennifer Childs will help East Lynne Theater Company of Cape May debut its annual Philadelphia Summer Residency Series with her one-woman show ‘Funny Girls’ from July 24 to Aug. 4.

Theater/Organization: East Lynne Theater Company
Theater Address: Clemans Theater for the Arts at the Allen AME, 717 Franklin St, Cape May, NJ 08204 (Map It)
Theater Phone:  609-602-8703

Celebrating the timeless music, charm and swagger of the legendary Rat Pack era, Tomasello will bring the unforgettable sounds of Frank Sinatra, Dean Martin and Sammy Davis Jr. to life in a dynamic solo performance backed by the renowned Ocean City Pops. The evening will be an entertaining blend of classic hits, storytelling and vintage Vegas-style showmanship.

The concert officially launches the Ocean City Pops’ 2026 summer season, offering audiences a journey through the Great American Songbook. According to the O.C. Pops’ website, the performance will feature “class, comedy and flair” as Tomasello recreates the atmosphere of the Sinatra era with his signature vocal style and engaging stage presence.

A favorite among Jersey Shore and Philadelphia audiences, Tomasello is regarded for his interpretations of swingtime favorites and his ability to connect with audiences of all ages. For his “One Man Rat Pack” show, Tomasello will perform hits such as Sinatra’s “Fly Me To The Moon,” Martin’s “Everybody Loves Somebody” and Davis’ “The Candy Man,” among others. In a rare treat for audiences, several of these Rat Pack hits will be performed in their original arrangements, providing ticketholders the unique opportunity to hear this music the way it was intended with a full orchestra. Tomasello secured the arrangements himself for his standout tribute to these three iconic entertainers. Local musician and band leader Ed Vezinho, of Egg Harbor Township, also specially arranged some tunes for Tomasello’s performance.

“I am so excited to be back performing with Conductor Vince Lee and the Ocean City Pops–and even more ecstatic to help them kick off their summer season,” said Tomasello. “To to perform and share these songs, most in their original arrangements, with this orchestra is something that I know audiences will cherish. And I can’t wait to debut Ed Vezinho’s arrangements which are sure to knock some socks off.”

The concert takes place 7:30 p.m. Sunday, June 28, at the Ocean City Music Pier, 825 Boardwalk in Ocean City. Tickets are $27 and $32 at ShowPass.com. Tomasello’s new album “The Lost Sinatra-Basie” will be for sale at the show.

About Brandon Tomasello:
Brandon Tomasello is an American vocalist renowned for his dedication to the Great American Songbook and the Big Band era. His passion for classic music brings timeless melodies to life with a modern flair. At 19, Tomasello proved that Big Band music still resonated with his generation by opening at Resorts Casino Hotel’s Superstar Theater to a sold-out crowd in Atlantic City. This led to a six-month residency, making him the youngest entertainer in A.C. history to have his own headlining extended stay show. Throughout his career, Tomasello has performed at venues such as Borgata, Golden Nugget, Hard Rock, Harrah’s, and Tropicana. He has collaborated with notable artists such as SNL alumnus Joe Piscopo. In 2020, Tomasello released his first full-length studio album “My Kind of Swing,” and in 2025 he released an album with the City Rhythm Orchestra, “The Lost Sinatra-Basie” featuring never-before-heard arrangements written by Billy Byers for Frank Sinatra and the Count Basie Band. Tomasello shares his love for the Great American Songbook and Big Band music with audiences nationwide. His dedication ensures that the golden age of swing remains alive and vibrant for new generations.

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Theater/Organization: OCEAN CITY MUSIC PIER
Theater Address: 825 BOARDWALK OCEAN CITY, New Jersey 08226 (Map It)
Theater Phone:

The loose narrative follows Claude, a young man facing the draft, as he wrestles with whether to embrace a free spirited life among a tribe of countercultural bohemians led by Berger or to enter military service. The musical takes Claude—and the audience—on a whirlwind journey through the sexual revolution, drug abuse, racial tension, political protest, and even moments of brief nudity.

The cast at the Civic Theatre of Allentown, under the musical direction of Steve Reisteter delivers the score’s highlights — “Aquarius,” “Let the Sunshine In,” and “Good Morning Starshine”— with energy and warmth, filling the theatre with a sense of communal joy that evokes the era’s blend of upheaval and hope.

But much of the vocal work elsewhere becomes muddled, with lyrics often rendered incomprehensible—whether because the tempos are too fast, the choreography (by Rose Fortkamp and Sarai Misic) competes with the actors’ ability to deliver the text, or simply due to careless articulation. This blurring of the lyrical clarity undercuts the impact of several musical moments and impedes the narrative development of the story.

Occasionally, the actors appear to struggle with the vocal ranges of their songs, often slipping out of intonation. A few bright spots do shine through: Makenna Copeland’s Dionne opens the production with a vibrant, full voiced “Aquarius,” and Melody Portnoy’s Chrissy offers a tender, heartfelt rendition of “Frank Mills.”

Anthony Rizzuto’s Berger establishes the character’s necessary anti-establishment irreverence but lacks the character’s magnetic swagger and commanding showmanship. Liam Thompson’s Claude emerges as a gentle, film loving dreamer facing uncertainty in the face of the looming weight of the draft. Rachel Kemmerer’s Jeannie glows with wide eyed idealism, grounding her pregnancy and earth mother aura in genuine warmth.

Josephine Genuardi’s set design creates an eclectic hippie enclave, using rolling stair units, platforms, and an array of found objects salvaged from the excesses of throw away materialism. Lighting designer Sarah Goldstein adds visual variety and sculptural dimension, shaping the space with nuance and energy. Rigby Maitico’s costumes capture the 1960s aesthetic with flair, grounding the production firmly in its era.

Director William Sanders’ production captures much of the show’s exuberant celebration of free will and anti establishment idealism. One might wish that Sanders’ production relied less on spectacle as mere shock value and instead pursued a deeper emotional core and higher dramatic stakes. Without this depth, the weaknesses in the book and story arcs become more apparent, and the production occasionally slips into feeling like a disjointed hippie revue.

Run continues thru July 5, 2026 at:

Civic Theatre of Allentown
527 N 19th Street
Allentown, PA 18104

Review submitted by:
Franklin Joseph

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

SUSSEX COUNTY, NJ — Get ready for a rock-and-roll good time as Rising Stars Youth Theatre Company (RSYTC) proudly presents Bye Bye Birdie, the first production of its 2026 Summer Season. Tickets are now on sale for this beloved Broadway classic, performed by an outstanding cast of young performers from grades 2–12.

Filled with laughter, romance, catchy songs, and 1950s charm, Bye Bye Birdie remains one of musical theatre’s most entertaining and enduring favorites. Audiences will follow the hilarious chaos that unfolds when teen idol Conrad Birdie is drafted into the Army and his publicity team devises one final publicity stunt before he ships out.

Featuring memorable musical numbers, colorful characters, and plenty of surprises, this family-friendly production showcases the incredible talent, dedication, and hard work of RSYTC’s young performers.

“Our students have been working tirelessly to bring this classic musical to life,” said RSYTC leadership. “From the energetic dance numbers to the laugh-out-loud comedy, audiences are in for a fantastic theatrical experience. We invite the entire community to come support these talented young performers and enjoy a wonderful night at the theatre.”

Known for producing high-quality youth theatre productions, Rising Stars Youth Theatre Company continues to provide opportunities for young actors, singers, and dancers to develop their skills while creating memorable performances for local audiences.

Don’t Miss It!

Come see Sussex County’s best young talent in grades 2–12 as they bring this Broadway favorite to the stage.

Tickets On Sale Now

Purchase Tickets:
www.risingstarsytc.com/boxoffice

Learn More About RSYTC:
www.risingstarsytc.com

Gather your family and friends and join Rising Stars Youth Theatre Company for an unforgettable production of Bye Bye Birdie this summer. Seats are expected to sell quickly, so purchase your tickets today!

Bye Bye Birdie
Presented by Rising Stars Youth Theatre Company
Where tomorrow’s stars shine today.

Theater/Organization: RISING STARS YOUTH THEATRE CO.
Theater Address: 32 MAIN STREET SPARTA, New Jersey 07871 (Map It)
Theater Phone: (973) 346-2426

SUSSEX COUNTY, NJ — Journey to the Pride Lands this summer as Rising Stars Youth Theatre Company (RSYTC) proudly presents Disney’s THE LION KING JR., performed by the talented members of our Junior Division (Grades 2–8). Tickets are now on sale for this beloved Disney musical that has captivated audiences around the world.

Featuring unforgettable songs, colorful characters, and an inspiring story about courage, friendship, and finding your place in the world, THE LION KING JR. brings the magic of Disney to life through the incredible talents of Sussex County’s young performers.

Audiences will follow Simba’s unforgettable journey from playful cub to future king as he discovers the true meaning of responsibility, family, and believing in himself. Filled with stunning music, exciting performances, and heartwarming moments, this production is perfect for audiences of all ages.

“Our Junior Division students have worked incredibly hard to bring this iconic story to the stage,” said RSYTC leadership. “Their enthusiasm, creativity, and dedication shine in every scene. We can’t wait for audiences to experience the magic they’ve created together.”

Produced by some of Sussex County’s most promising young performers, The Lion King Jr. showcases the talent, confidence, and teamwork that make Rising Stars Youth Theatre Company a special place for young artists to grow and thrive.

DON’T MISS THE ADVENTURE!

Come see Sussex County’s best young talent in grades 2–8 as they bring Disney’s beloved classic to life on stage.

TICKETS ON SALE NOW

Purchase Tickets:
www.risingstarsytc.com/boxoffice

Learn More About RSYTC:
www.risingstarsytc.com

Gather your family and friends and join us for an unforgettable theatrical adventure filled with music, laughter, and Disney magic.
Seats are expected to sell quickly, so purchase your tickets today!

Disney’s THE LION KING JR.
Presented by Rising Stars Youth Theatre Company

Theater/Organization: RISING STARS YOUTH THEATRE CO.
Theater Address: 32 MAIN STREET SPARTA, New Jersey 07871 (Map It)
Theater Phone: (973) 346-2426

SUSSEX COUNTY, NJ — Seize the day and join Rising Stars Youth Theatre Company (RSYTC) for an unforgettable production of Disney’s NEWSIES, performed by an outstanding cast of young performers in our Mixed Division (Grades 2–12). Tickets are now on sale for this high-energy Broadway favorite that is sure to inspire audiences of all ages.

Based on the true story of New York City’s young newspaper carriers, Newsies is a thrilling tale of courage, determination, and the power of standing together for what is right. Featuring unforgettable songs, electrifying dance numbers, and a powerful message of teamwork and perseverance, this beloved musical has become one of the most celebrated family shows on stage today.

Audiences will follow Jack Kelly and the Newsies as they rally together to fight for a fair future, proving that even the youngest voices can make the biggest difference. Packed with excitement, humor, heart, and nonstop energy, this production promises to be one of the highlights of the summer theatre season.

“Our cast has poured an incredible amount of hard work, talent, and passion into this production,” said RSYTC leadership. “From the powerful music to the exciting choreography, NEWSIES showcases the dedication and creativity of our performers. We can’t wait to share their work with the community.”

Featuring performers from grades 2–12, this production highlights the remarkable talent found throughout Sussex County and provides audiences with an inspiring theatrical experience they won’t soon forget.

DON’T MISS THE NEWS EVENT OF THE SUMMER!

Come see Sussex County’s best young talent in grades 2–12 bring this beloved Broadway hit to life on stage.

TICKETS ON SALE NOW

Purchase Tickets:
www.risingstarsytc.com/boxoffice

Learn More About RSYTC:
www.risingstarsytc.com

Gather your family and friends and join us for an inspiring, action-packed production filled with unforgettable music, spectacular performances, and plenty of heart. Purchase your tickets today and discover why everyone is talking about NEWSIES!

Disney’s NEWSIES
Presented by Rising Stars Youth Theatre Company

Theater/Organization: RISING STARS YOUTH THEATRE CO.
Theater Address: 32 MAIN STREET SPARTA, New Jersey 07871 (Map It)
Theater Phone: (973) 346-2426

Plot: In today’s modern world, Judy and Johnny feel out of place. They’ve chosen to give up the trappings of the Internet age and live life like it’s 1950 all over again, but “Nostalgia ain’t what it used to be…” How can they cope when the fantasy of domestic bliss clashes with cold hard reality? Issues of marriage partnership, identity, and traditional gender roles swirl in this halcyon dream of yesteryear where rules and routines become a love language all their own. “An original, sometimes unsettling look at the masks people put on in order to conceal their pain.” The Evening Standard. WhatsOnStage raves“…sharp, funny, and strikingly perceptive play,”

From the Director: “So often, when we talk about love and marriage, there’s this idea of the “honeymoon phase” and then real life, and we romanticize that honeymoon phase when reality proves itself to be difficult. I think what speaks to me most in HOME, I’M DARLING is that love forged through facing reality and continuing to choose love is so much deeper and more authentic than any of the impressions of love we get in the honeymoon phase. Fantasy can get you so far, and it’s scary to leave fantasy behind, but life becomes so much richer when you take real stock of what actually works for you and what you actually want in the confines of reality.” —Peter Fenton, Director

Director: Peter Fenton Producer: D. Ryan Lafferty
Stage Manager: Terri Bentley Lighting Designer: David Sullivan

Cast:
Kira Stein as Judy
Sara Stepnowski as Fran
Parker Madison as Johnny
Danny Gleason as Marcus
Denise Dole Puchalski as Sylvia
Megan Gramlich as Alex

Tickets are $25 each, available at www.LanghornePlayers.org
(Discounted student admission and group rates are available.)
Special Events: Join us for a gala celebration opening night! – Talk-Back Session (Audience Q&A with the cast immediately following the performance, Sunday 6/19)

Be Advised: Langhorne Players content is intended for a mature audience, ages 17 and older.
For any questions or further information, please contact info@langhorneplayers.org

Theater/Organization: Langhorne Players
Theater Address: 1440 Newtown-Richboro Road Newtown, Pennsylvania 18940 (Map It)
Theater Phone: (215) 860-0818