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

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

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

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

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 What felt like a timely lampooning of “wokeness” in 2018 now reads as outdated in 2026.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

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

Review submitted by:
Franklin Joseph

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

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

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

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

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

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

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

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

“Lunar Eclipse” runs Aug. 27 through Sept. 20 at the Clemans Theater for the Arts, 717 Franklin St., Cape May. Performances are 7 p.m. Wednesdays through Saturdays and 2 p.m. Sundays. A special preview performance is scheduled for Aug. 26. Tickets are $40 for general admission, $35 for seniors and $25 for students and military personnel. Preview tickets are $25. Opening-night tickets are $45 and include a post-show celebration at the Clemans Theater, featuring Cape May Astro’s live HD viewing of the partial lunar eclipse from the theater parking lot; no discounts apply. For tickets and additional information, go to EastLynneTheater.org.

About East Lynne Theater Company: Founded in 1980, East Lynne Theater Company has been named by “The New York Times” as one of the Top 75 summer theaters in North America and recognized by the New Jersey Senate and General Assembly as “one of the state’s most important cultural treasures.” In 2023, understanding that the American Theater is itself a growing work of art, East Lynne expanded its mission to “present and preserve America’s theatrical heritage” by including plays about America today. As of 2026, East Lynne continues to raise funds for its Capital Campaign to renovate its new home, the Clemans Theater for the Arts at Allen AME. As the company expands into the Clemans Theater, so does its calendar, which now offers year-round entertainment that includes plays and performances from worldwide writers, actors, musicians, and more. Go to EastLynneTheater.org.
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Theater/Organization: EAST LYNNE THEATER COMPANY
Theater Address: CLEMANS THEATER FOR THE ARTS717 FRANKLIN STREET CAPE MAY, New Jersey 08204 (Map It)
Theater Phone:

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

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

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

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

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

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

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

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

About Gateway Playhouse: Since its reopening in 2017, Gateway Playhouse, a 501-(c)3 nonprofit, has provided quality and affordable year-round entertainment to residents and visitors alike, as well as offered educational opportunities to grammar and high school students, in the hopes of creating future generations of actors, directors and audiences. Aside from an annual MainStage season, the Gateway also produces a variety of comedy and cabaret shows throughout the year. As the saying goes, “see you at the Gateway!”
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Theater/Organization: GATEWAY PLAYHOUSE
Theater Address: 738 BAY AVENUE, SOMERS POINT, New Jersey 08244 (Map It)
Theater Phone:

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

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

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

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

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

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

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

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

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

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

EVITA IN CONCERT
Civic Theatre of Allentown

Review submitted by:
Franklin Joseph

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

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

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

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

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

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

Introducing Season 38: IMAGINE – Mainstage Productions

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Review submitted by:
Franklin Joseph

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

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

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

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

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

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

About the New Jersey Association of Community Theaters

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

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

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

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

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

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

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

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

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

Review submitted by:
Franklin Joseph

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

The post Audience Review: CORIOLANUS at Pennsylvania Shakespeare Festival first appeared on Stage Magazine.

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

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

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

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

This is that story.

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

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

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

They simply work better together.

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

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

Sophia is just as quick to return the compliment.

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

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

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

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

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

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

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

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

Greed.

Ego.

Overconsumption.

The temptation to lose sight of what truly matters.

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

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

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

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

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

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

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

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

“They’re my people.”

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

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

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

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

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

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

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

Not because anyone asked them to.

Because they believed a story was worth telling.

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

The Company That Makes It All Possible

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

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

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

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

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

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

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

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

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

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

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

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

After the Factory Gates Close…

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

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

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

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

Perhaps that’s the real Golden Ticket.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Ephrata Performing Arts Center
1776
Runs through August 1, 2026

Review submitted by:
Franklin Joseph

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

The post Audience Review: 1776 at Ephrata Performing Arts Center first appeared on Stage Magazine.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Pennsylvania Shakespeare Festival

Review submitted by:
Franklin Joseph

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

The post Audience Review: ROMEO AND JULIET at Pennsylvania Shakespeare Festival first appeared on Stage Magazine.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The post Grassroots NJ Theatre Company Formed by Local Actresses to Bring Award-Winning Production to the Edinburgh Fringe Festival first appeared on Stage Magazine.

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 post Neil Simon’s ‘London Suite’ To Open at Gateway Playhouse first appeared on Stage Magazine.

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 post League of Women Voters of the Morris Area to host “talk back” at WHAT THE CONSTITUTION MEANS TO ME in Chatham Borough on July 12 first appeared on Stage Magazine.

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.

The post THE COMPLETE WORKS OF JANE AUSTEN, ABRIDGED at Pennsylvania Shakespeare Festival first appeared on Stage Magazine.