Scrooge: The Musical “Revitalized and Reimagined” at the Ritz Theatre Company

The “Weil”d December continues for South Jersey community theatre fans.

Under Matthew Weil’s direction, the Ritz Theatre Company premiered the “revitalized and reimagined” version of Scrooge: The Musical this week. This perennial Holiday classic took the stage sans Bruce A. Curless in the lead role. It’s also the second Holiday show that Mr. Weil is directing this month: and it’s one extraordinary Christmas tour-de-force. Your correspondent attended the Saturday evening show on December 14^th.

While approaching the Ritz, a series of illuminated Christmas wreaths adorning the Ritz building captured your correspondent’s attention. As did the evergreen strands descending from the roof onto the marquee. The red and green colors of the iconic R-I-T-Z letters distinguished this historic South Jersey institution from the other edifices along the White Horse Pike.

As much as those features established the Holiday mood, the Ritz staff made the interior even more festive. Scrooge purists will be delighted that the production team retained the familiar wreath, evergreen garland and Christmas trees that framed the stage.

The “Weil”d December turned into one “Weil”d Winter Wonderland.

The wrapped gifts underneath the Christmas tree seemed superfluous, however. The real present was the one the performers delivered to the audience.

Alan Krier demonstrates courage when selecting theatrical projects. He played dual roles in Bruce Norris’ exploration of housing discrimination: Clybourne Park. For his first directorial endeavor he chose David Lindsey-Abaire’s Rabbit Hole: a Pulitzer Prize winning play centered on a family coping with the death of their child. Mr. Krier’s decision to play the role of everyone’s favorite Christmas curmudgeon may be his bravest choice yet.

As South Jersey community theatre fans know, 2019 marks the first time the Ritz is presenting Scrooge without Bruce A. Curless in the lead role. He is, in essence, the Tom Brady of Scrooge performers. He’s played that role every December for over twenty years. Unlike actors such as George C. Scott, Winfred Owen and Seymour Hicks, Mr. Curless is a veritable institution as Scrooge. When the Ritz’s production team decided to return this South Jersey “Holiday tradition” to the stage, they only thought of one performer to take the mantle of Scrooge from him: Alan Krier.

Mr. Krier pulled off a theatrical Jimmy Garoppolo, as it were. When stepping out of a master’s shadow, he took a franchise with an uncertain future to another level. The witty delivery he employed for the “I Hate People” number drew laughs from the audience. As did his riposte to Marley’s (played by John Nicodemo) announcement that Scrooge would be visited by three ghosts. The nervous, “I’d rather not,” added to the legacy of vintage Krier comedy.

Director Weil made this incarnation of Scrooge much more dramatic than last year’s performance. He discarded the fluff and pageantry (and thankfully, the platforms in the middle of the room) to focus on the story. By removing those layers, he allowed the depth of Charles Dickens’ original tale to surface. A fable of greed, poverty and redemption played out on stage.

Mr. Krier enacted the dramatic scenes with extraordinary skill. His interactions with John Nicodemo (in the roles of Marley and the Ghost of Christmas Future) equalled the strongest performances he’s delivered on stage. His somber pining when watching his younger self (played by Robert Repici) and his lost love Isabelle (Lindsey Krier) moved this reviewer. The sorrow on his face when Lindsey Krier performed “Isabelle’s Dance” to end the first act concretized Scrooge’s heart shattering.

The Ritz team understood that the comparisons between Mr. Krier and Mr. Curless would occur. Director Weil didn’t burden Mr. Krier with carrying the show on his own. Mr. Weil surrounded him with a cast of monumentally talented performers. They gave the “revitalized and reimagined” Scrooge its own identity.

Robert Repici and Lindsey Krier delivered a gripping version of “Happiness.” The cool baritone of Mr. Repici’s voice accentuated the song’s bittersweet lyrics. Ms. Krier applied palpable passion and enthusiasm to this number. The addition of the dark background, lighting and snow made the scene a visual spectacle for the ages.

The Cratchit kids (Adalyn Crow, Anna Bizhko, Jeffrey Smith and Lillian Low) delivered the “cute factor” for the “Good Times” number. Kaitlyn Healey’s vocals and Steve Stonis’ operatic syllables made this another unforgettable number.

Mr. Weil ensured that each of Scrooge’s spectral visitors possessed their own distinct personalities.

John Nicodemo’s anguished delivery as Jacob Marley captured the character’s torment. His slouching under the weight of the chains showed it. Mr. Nicodemo’s silence and slow movements made the Ghost of Christmas Future even more minatory.

Daio Fumilayo delivered a haunting performance as the Ghost of Christmas Present. The lighting and white gown gave her character an ethereal ambiance. Ms. Fumilayo’s calm delivery (with just a touch of reverb added) and blank stares at Scrooge reflected the character’s otherworldly nature.

John Romano, Jr. made the Ghost of Christmas Present just as jolly as Good Old Saint Nick himself. His Marc Bolan style wig added good comedic effect. The laughter and mannerisms Mr. Romano used while showing Scrooge both the Cratchits’ and Harry’s Christmas festivities gave the impression that he enjoyed the show just as much as the audience. Mr. Romano moderated his character’s frivolity when Scrooge inquired about Tiny Tim’s fate. The tempered anger in his voice while repeating Scrooge’s point about “excess population” gave the point more impact.

Thanks to Mr. Weil’s hospitality, your correspondent attended a rehearsal for Scrooge. During that session Musical Director Nicholas French and Alan Krier teamed up for “Thank You Very Much.” The two brought immense energy to that run through. They displayed even more vitality during the actual show. This reviewer wouldn’t have through that possible.

Steve Stonis, who directed Scrooge last year, and Adalyn Crow performed outstanding acapella numbers, as well.

While this year’s Scrooge didn’t include a ballet company, it did contain a solo dance in that style. Lisa Krier performed a wonderful routine on the “Celebration” number; the latter composed by Bob Cerulli.

In addition to the talent, Mr. Weil added spellbinding visuals to this version of Scrooge. The snow falling from the ceiling along with the strategic use of lighting (designed by Mr. Weil and operated by Stage Manager Melissa Harnois) enhanced the action on the stage. The periodic illuminating and dimming of the wreath above the stage and Christmas trees on stage left and stage right made the show a spectacular Christmas spectacle.

The other performers who provided their talents for this outstanding show included: Charles Bandler, Liz Baldwin, Jay Burton, Sadie McKenna, Audrey Mitros, Dillinger Crow, Beatrice (Bee) Fraga, Gwen Low and Ella Samuel-Seigel.

Assistant Stage Manager Brian Gensel, Costume Designer Briana Bailey and Sound Operators Sam Tait and Natasia Swan rounded out the production team.

Community theatre fans have the opportunity to get the full range of Mr. Weil’s directorial talents this December. Those impressed with the “revitalized and reimagined” Scrooge are encouraged to attend Roald Dahl’s Willy Wonka at Haddonfield Plays and Players. Mr. Weil also directed that show; Scrooge’s Stage Manager Melissa Harnois assistant directed. Wonka runs through December 21^st.

Mr. Weil’s direction ensured he won’t be visited by any apparitions this Holiday Season. The stage set, the marquee and the overall story would satisfy the Ghost of Christmas Past. Mr. Krier’s interpretation of Scrooge, the performance of the cast and crew as well as the “reimagined and revitalized” franchise would captivate the Ghost of Christmas Present. (He’d probably be happy that the platforms in the middle of the building are gone, too.) All the new faces in the cast would make even the dreadful Ghost of Christmas Future smile. These performers may ensure the Scrooge franchise a home at the Ritz for the next two decades.

This run, however, passes from the domain of the Ghost of Christmas Present to the Ghost of Christmas Past on December 22^nd. Fans should see Scrooge: The Musical before the Ghost of Christmas Future haunts them about the prospect of missing it.

 

Roald Dahl’s Willy Wonka at Haddonfield Plays and Players

Theatre fans get ready for one “Weil”d December. This month legendary South Jersey community theatre director Matt Weil is directing not one, but TWO shows for the Holiday Season. Talk about a gift for audiences. This reviewer attended the first, Roald Dahl’s Willy Wonka, at Haddonfield Plays and Players on December 7^th.

Several weeks ago Director Weil spoke with your correspondent. When asked if he directs Holiday shows any differently than he approaches others, Mr. Weil replied, “No. The purpose is to tell a story.” And what a story he and the cast at Haddonfield Plays and Players told.

Willy Wonka (played by Tommy Balne) faced a dilemma. He longed to retire from the chocolate business. His lack of either an heir or a successor forced him to continue working.

Young Charlie Bucket (played by Matthew Goodrich) also experienced troubles. His family lacked money. His father’s (Michael Wemer) job at the toothpaste factory provided the household’s only source of income. This extended family consisted of Mrs. Bucket (Marissa Wolf) and both sets of Charlie’s grandparents. Then the toothpaste factory closed.

In the wake of this, Willy Wonka announced a contest. The winners would receive tours of his factory as well as a lifetime supply of chocolate. The contestants needed to find one of five golden tickets placed in packets of Wonka Bars. In spite of his poverty, Charlie found the means to purchase one bar. It contained a winning ticket.

The show opened with Tommy Balne delivering a beautiful version of “Pure Imagination.” That theme continued throughout the evening. Director Matt Weil deserves immense credit for the ingenuity he applied to this project. He took a piece with the spectacular visuals audiences remember from the 1971 film and made it just as memorable on the stage. Mr. Weil also executed this task with minimal scenery. The set itself (also designed by Mr. Weil) consisted of a checkerboard floor and a series of bay openings with flashing lights.

Without the accoutrements of a fantastic confection producing paradise, the suspension of the audience’s disbelief became an immediate challenge for the cast. The performers showed superlative acting ability to create the illusion. The actors’ expressions and reactions reflected the grandeur and wonder of the chocolate factory. The performers also showed fear and rocked to simulate the motion of the boat as Willy led them down the river into the unknown.

Willy Wonka did not lack for special effects, however. Violet Beauregarde (played by Sophie Holliday) turned into a blueberry. The crew executed this task by inflating her costume and through a creative use of lighting. When Charlie and Grandpa Joe (Tony Killian) floated towards the ceiling, Mr. Weil and his team used an innovative means of presenting this scene on the stage. The bubbles added a nice touch.

In the playbill, Mr. Weil described his initial reluctance over directing Willy Wonka:

Frivolous, saccharine, and lacking in in any major substance, Willy Wonka represented everything I was taught to avoid as an artist – or so I thought.                 

The show did contain similarities to Mr. Weil’s other work. For one, the story contained characters just as gluttonous and socially maladjusted as those in The Heiress and The Pillowman.

The kids who found the golden tickets were not ideal children. Veruca Salt (Cassidy Scherz) was even more spoiled than a Siamese kit kat. Her father (Cory Laslocky) enabled her by believing every day was payday and he could buy anything his little girl wanted.  Augustus Gloop (Dominick T. McNew, Jr.) ate to the extent that he made those suffering from hyperphagia seem like vegan dieters. It took three cooks to prepare his feasts. His ebullient mother (Faith McCleery) encouraged him in his gastronomical pursuits. Mike Teavee’s (Jake Gilman) appetite for television eclipsed Gloop’s hunger for food. His mother (Victoria Tatulli) kept him out of school so he could focus on his interest in television. This group made Violet Beauregarde the most normal member of the bunch. She had an addiction to chewing gum. Her Southern belle mom (Lori Alexio Howard) allowed her to do so as often as she liked.

Phineous Trout (Alex Leavitt) played the reporter tasked with interviewing these lucky “winners.” Mr. Leavitt’s caricaturish grin, initial enthusiasm and later astonishment with these characters drew snickers from the audience.

The Oompa-Loompas provided commentary on the children’s behavior. Performers Abigail Brown, Lorelei Ohnishi, Nathan Laslocky, Logan Murphy, Sera Scherz and Gabriel Werner played the roles of Willy Wonka’s factory workers. They performed fantastic renditions of the “Oompa-Loompa” songs while executing Katharina Muniz’s choreography. Costumer Renee McCleery and Assistant to the Costumer Jenn Doyle designed authentic looking garb for these iconic characters.

Tommy Balne turned in one of the best performances your reviewer has seen on this side of the Milky Way. Mr. Balne possesses a phenomenal ability to talk with his eyes. His communicative facial expressions were so proficient that your correspondent would’ve been just as entertained watching him all evening.

The role required some physical adeptness. Mr. Balne also executed these challenges without flaw. One of the demands included the ability to twirl a cane. Mr. Balne didn’t have butterfingers. He utilized the prop brilliantly all evening.

In addition to his expressive mannerisms, Mr. Balne proved himself a stellar triple threat. Besides the lead role, he also played the character of The Candy Man. As with his rendition of “Put on A Happy Face” in Bye Bye Birdie, Mr. Balne took a theatrical standard and infused it with his own personality. Besides his awesome vocal stylings, he completed an outstanding dance routine with Tess Smith, Michael Thompson, Leah Cedar and Quinn Wood while delivering the popular tune: “The Candy Man.”

The scene reminded this reviewer of a drum battle between Gene Krupa and Buddy Rich. Another famous “Candy Man” crooner hosted it on The Sammy Davis, Jr. Show. Mr. Rich joked to Mr. Davis, Jr. that the winner should receive one of Mr. Davis, Jr.’s shoes. After his performance in Willy Wonka, one of Mr. Balne’s shoes would’ve been a better prize than the tour of factory or a lifetime supply of chocolate.

Matthew Goodrich also performed outstanding song and dance routines. His execution of the “Think Positive” sequence made for one of the show’s most memorable moments. Mr. Goodrich completed some intricate twirls that added superb showmanship to the scene.

Performers Marge Triplo and Lori Clark also added their talents to this extensive cast.

Other members of the Production Team included: Assistant Director Melissa Harnois, Producer Megan Knowlton Balne, Vocal Director Kendra C. Heckler, Stage Manager Sara Viniar, Assistant Stage Manager Brennan Diorio, Set Construction Dan Boris, Lighting Designer Jen Donsky and Props Designer Debbie Mitchell.

South Jersey community theatre aficionados will feel glad Mr. Weil decided to add Roald Dahl’s Willy Wonka to his repertoire. He wrote:

Today, my assumption is that you may be sitting there feeling very much the same way I felt one year ago. My hope is that our show will tickle and delight you, that you may take a similar journey as my own, and that you will find Willy Wonka simple, sweet and satisfying – like a bite of chocolate.

The “Weil”d December continues at the Ritz Theatre Company. The director’s next Holiday project is Scrooge: The Musical. That show runs from December 12^th through December 22^nd.

Audiences don’t need to win a golden ticket at one in ten million odds to see Willy Wonka. It runs through December 21^st. After that, the chocolate factory closes forever at Haddonfield Plays and Players.

Little Women at Bridge Players Theatre Company

After spending Thanksgiving with family, audiences now have the opportunity to spend some time with one of the most iconic families in American literature; compliments of the Bridge Players Theatre Company. For the second show in their 2019 – 2020 season of “celebrating the joy, complexity and strength of women” the group presented Marian DeForest’s theatrical adaptation of Louisa May Alcott’s Little Women. Your correspondent boxed up his Thanksgiving leftovers, made an early New Year’s Resolution to lose weight and headed over to the theatre to spend an evening with the March family on November 30^th.

In keeping with the upcoming Holiday Season, the story began in December 1863. The family lamented not having their father home for Christmas. (The War Between the States had inspired him to serve in the army.) While his daughters rehearsed for a play that Jo (played by Allie Shaw) wrote, their mother (Ashley Carragher) received word of Mr. March’s illness. She left their Concord home to attend to her husband in Washington. Following her departure, the March girls began their transformation from girls into women.

Director Maureen Broadbent wrote in the playbill: I am sure, however, that we can nonetheless relate to one or more of these characters in our own lives. The author and the playwright made it easy to do so. The writers ensured each of the four March daughters possessed their own unique traits.

Jo March (played by Allie Shaw) possessed the qualities of a non-conformist and temperamental artist. In keeping with mid-nineteenth century society’s conventions, Meg (played by Emily Rose O’Connell) longed to become a wife and mother. Amy (Mia Zambrano) harbored aspirations of becoming a woman of high society. Other than an interest in nature, the timid Beth (Arielle Kline), to put it charitably, didn’t share her sisters’ having ambitions.

These four diverse dispositions created myriad opportunities for conflict. The performers utilized the clashes for both dramatic and comedic effect. Ms. Zambrano delivered frequent mispronunciations when alluding to Jo’s lack of sophistication. Mr. Shaw’s book toss when discussing Meg’s pending engagement captured the character’s frustration. Ms. Shaw accomplishedly combined anger and humor when discovering Meg and John Brooke (played by Aaron Wachs) making their marital plans official. She called her parents by saying, “Mr. Brooke is being disagreeable with Meg (beat) and Meg’s liking it!”

SPOILER ALERT: Little Women also contained a nineteenth century version of a love triangle. Family friend, Teddy Laurence (Alex Stork), often took Amy on various excursions. He secretly longed for Jo’s love. Mr. Stork and Ms. Shaw both brought strong emotions into the scene when he expressed his feelings. Both performers made it a very powerful and uncomfortable episode to watch. Ms. Shaw became just as devastated while rejecting Mr. Stork’s advance as his character felt receiving her response to it.

Allie Shaw enacted Jo’s myriad emotional states magnificently. Ms. Shaw’s gift for facial expressions showed the passion within Jo. The performer executed wonderful overacting while performing Jo’s play-within-the-play. Ms. Shaw displayed the same skill during the tragic scenes. She also showed tenderness playing opposite Ms. Kline during Beth’s illness. Ms. Shaw turned in an all-around outstanding acting performance.

While the weekend after Thanksgiving is a busy one for most people, this reviewer found the attendance at the November 30th performance of Little Women disappointing. During a time of year when audiences will be inundated with plays, programs and movies featuring images of mutton chops, the sounds of British accents and the scenery of Victorian London, why not escape the monotony by enjoying a classic American story set in Civil War era Massachusetts?* Besides, the cast at Bridge Players Theatre turned in an incredible interpretation of it.

Other performers in the show included: Cynthia Young, Bob Rossi and Gavin Knox. Timothy Kirk, the current captain of the Bridge Players Theatre Company enterprise, played Mr. March.

The following served as members of the Production Team: Assistant Director Patti Keefer, Producer Gwen Ricks-Spencer, Stage Manager Lori Gilmore, Technical Director Kristian Kauker, Lighting Design/Lighting Technician Bob Beaucheane, and Set Construction Manager Bob Broadbent. Bob Broadbent, Dave McGrath, Bob Shaughnessy, Bob Rossi and the cast worked on set construction. Nora Krahenbuhl, Noelle Small and Mary Kay Hansen handled the costuming.

Your correspondent enjoyed the time he spent with the March family. The experience gave him something else for which to be thankful during this Thanksgiving weekend. Time is running out for those who haven’t had the opportunity. Make an early New Year’s Resolution to see Little Women at Bridge Players Theatre Company. The show runs through December 7^th.

 

*It is with embarrassment that your correspondent acknowledges he’s never read Louisa May Alcott’s novel.

The Doll: A Magical Christmas at the Village Playbox

What do you do when a Broadway producer tells you your show needs “a hook”? Local playwright Rob Kristie received this advice in response to his touching tale The Doll. The show already contained compelling characters and a strong soundtrack. Just what kind of “hook” did it lack? To incorporate the producer’s suggestion, Mr. Kristie transformed the piece into a “magical” Christmas show.

Appropriately, the Village Playbox launched the Holiday Season on Black Friday. This November 29^th the company presented Mr. Kristie’s The Doll: A Magical Christmas. Your correspondent attended this opening night performance.

Samantha Flannery (played by Amanda Rose Kipila) felt alone and isolated due to her blindness. Samantha’s mother, Ann (played by Mary Simrin) provided her only companionship. After the grand opening of his new store, also called Grand Opening!, Adam Barter (Doug Cohen) presented Samantha with a doll that she named Flopsy (Gracie Sokoloff). The latter came to life and encouraged Samantha to experience life. Adam found himself interested in Ann, a widow.

Mr. Kristie and John Blackwell co-directed this outstanding Christmas spectacle. The directors employed a unique means of drawing the spectators into the show at the beginning. Cast members threw “snowballs” into the audience. Those fortunate enough to catch one received a complimentary Christmas ornament. Without giving away spoilers, they crafted an even more spectacular finale.

Vocal Director Mark Kozachyn worked with a host of diverse styles presented by Mr. Kristie’s songwriting. The cast provided him with a lot of talent to guide.

The Neighborhood Children performed as a wonderful acapella chorus on “Children’s Carol.” Doug Cohen and Mary Simrin sang a bossa nova tinged duet on “Completed Day.” Ms. Simrin performed an acapella track on “Any Completed Day.” Mr. Cohen sang a passionate reflection on the true meaning of the Holiday with “Just Like Christmas.”

Because of the range of genres the soundtrack contains, The Doll will appeal to a wide variety of musical tastes. Mary Simrin executed the complexities of “Don’t Take My Time” brilliantly. This majestic song featured a melody in 12/8 time with a bass line that would please both Bootsy Collins and George Clinton. The “2-4” duet performed by Ms. Kipila and Ms. Sokoloff included flamenco style muted guitar strumming a la Jimi Hendrix performed on a 12- string acoustic.  Ms. Sokoloff sang the synthesizer driven “If You Can Imagine.” The performer’s vocals captured the song’s 1980s vibe. Ms. Kipila navigated the disco portions of “Why Can’t I” like an authentic 70s diva.

Perhaps for the first time in the history of musical theatre, a songwriter was influenced by the music of the Drifters. This reviewer heard references to the bass line for “Under the Boardwalk” in “I Really Don’t Care” and “Completed Day.”

Amanda Rose Kipila played an outstanding Samantha. Ms. Kipila possesses a beautiful voice. It complimented Mr. Kristie’s lyrics and melodies on tracks such as “I Really Don’t Care” and “I Don’t Know.” The performer also showed exceptional acting prowess. Ms. Kipila captured Samantha feelings towards a range of experiences such as her loneliness and her surprise upon discovering that Flopsy talked. Ms. Kipila made her character’s change appear realistic.

Gracie Sokoloff applied a lot of energy to her performance as Flopsy. She made the character very likable. Ms. Sololoff “broke the fourth wall” to introduce Scene 3 of Act 2. The performer engaged the audience with great charm, wit and enthusiasm. She maintained that engaging persona throughout the entire show.

Ms. Kipila and Ms. Sololoff complimented one another very well. The former played the character timid about experiencing life. The latter performed as an upbeat free spirit with a zeal for life. The two enacted the conflict very credibly.

Stevie Rose Gerhart coordinated outstanding choreography. The opening number featured the neighborhood children singing while performing an intricate dance routine on “Christmas Time.” Ms. Sokoloff’s effort at showing Ms. Kipila how to dance on “I’ll Lead the Way” became one of the show’s most enjoyable scenes.

Production Teams at the Village Playbox optimize the space allotted to them. When performing at the First Presbyterian Church of Haddon Heights, they transformed the stage into the world of Dr. Seuss for Seussical. The quick set-changes they executed during the intermissions for Noises Off! will go down in the annals of South Jersey theatrical lore. They proved they could show the same creativity when performing at the Fellowship Methodist Church a few blocks from that venue.

The set created fantastic ambiance. Set designers Paul Becker and Gary Kochey (and the cast members who helped construct it) converted a small stage into the front of the Flannery home, both the inside and outside of Grand Opening!, the exterior of candy store South Street Sweets, a hospital room and a bedroom. They also allowed for Ms. Kipila and Ms. Sokoloff to perform a scene in silhouette from behind a shade.

The sparse use of Christmas lights on the stage worked very well. They allowed the audience to understand that the story occurred during the Holiday Season. They weren’t so prominent that they distracted the audience from the action on stage. The intermittent lighting of the Christmas tree to house right enhanced the mood perfectly. Compliments to Jack Bozzuffi for his work on the sound and lights and Gary Kochey as the light operator.

Other members of the cast included: Mia Grace, Karen Smith, Lisa Aliquo, Chrissy Luther, Gregory Furman, Colin Becker, Michael Mellor, Emily Joyce Kipila, Sophia Izabella Vaughn and Lily Allen.

The Production Crew comprised of: Producer Steve Allen, Costumer, Props and spot light operator Leslie Romanuski, Denise Lallier and Rob Kristie handled props, Stage Manager Paul Becker, and Stage Crew Angela Becker.

The Doll: A Magical Christmas will hook audiences. This performance can be summarized in one word: smileicious. The show runs through December 8^th at the Village Playbox.

 

Lecture Review – “The Disaffected: Britain’s Occupation of Philadelphia” by Aaron Sullivan

Aaron Sullivan likes to “complicate things and tell stories.” As he would say, “It’s what historians do.” The Historical Society of Moorestown’s members learned that Mr. Sullivan isn’t a typical historian. In addition to sharing engaging tales with the group he managed to find lucidity in complexity. Not only did he discuss Britain’s nine-month occupation of the Colonial capital from 1777 to 1778, he used that as a back drop to explain a little known and less understood part of the “Glorious Cause.” The speaker explored the plight of people who didn’t side with either the Loyalists or the Patriots. He called these people the “disaffected.” It’s difficult to imagine anyone in the audience at the Moorestown Library wasn’t “unaffected” by his speech this November 6, 2019.

Mr. Sullivan possesses an extraordinary gift for public speaking. He infused both wit and erudition to his stories of how people in the Philadelphia area reacted to the Revolution. Tales of the “disaffected” gave him interesting material with which to do so.

Henry Drinker and his wife Elizabeth were both pacifist Quakers. They lived in Philadelphia when the American Revolution began. They remained neutral: neither siding with the Loyalists nor with the Patriots. For his non-alignment, Colonial troops arrested Henry as an “enemy of the State.”

When a judge ordered Drinker released, the pro-Patriot Pennsylvania legislature passed a law allowing authorities to detain him. Lawmakers took the added measure of making it retroactive to ensure Drinker could be detained. He was denied habeas corpus, transported away from his Philadelphia home and imprisoned in Virginia.

Drinker’s case wasn’t unique. So why did the state view pacifists and neutrals as such a threat?

Mr. Sullivan explained that Britain had myriad resources with which to conduct the war. The Patriots had to rely on “the will of the people.” Because of that, people who refused to participate undermined the justification for independence. These “disaffected” became propaganda tools for the British. Loyalists accused the Patriots of “forcing the revolution” on the American people.

Benjamin Towne made for the most interesting “disaffected” individual Mr. Sullivan discussed. Towne worked as the The Pennsylvania Evening Post’s publisher. As his was the only publication that operated in Philadelphia before, during and after the British occupation, the speaker used Towne’s newspaper as a means to provide insights into the man.

In 1776, Towne adopted a pro-independence position. Upon the British occupation, The Pennsylvania Evening Post became pro-Loyalist. Once the British evacuated the city, Towne and his newspaper reverted to their original stance by supporting the Patriots once again.

Mr. Sullivan noted that then, as now, newspapers made money by selling advertising space. Supporting the dominant political position of the time enhanced the publication’s financial position.

The speaker used some creative examples to explain his ideas. At one portion of the program he used the graphic of a red hat that contained the lettering I Don’t Want to Get Involved. He even explored what would happen if the organization hosting his lecture attempted to form an independent nation. He called it the Historical Society of the Democratic Republic of Moorestown. For the latter demonstration, he applied the concepts he discussed by dividing the room into people who supported the Historical Society’s bid for nationhood, members of the audience who didn’t and other spectators who didn’t care either way.

The most difficult question Mr. Sullivan sought to answer was, in essence, “If the disaffected didn’t care, why should we care about them?” Once again, the speaker utilized an imaginative example. He speculated that 20% to 40% of Americans didn’t take a side in the American Revolution. Then he showed how a comparable percentage of citizens didn’t participate in a more recent event in the nation’s history. In the 2016 Presidential election, 44.3% of eligible voters didn’t vote. They had diverse reasons for avoiding the polls. He explained that, in spite of the pressures upon them, the disaffected during the War of Independence had many motives for their non-participation, too.

Mr. Sullivan asked, “Is it possible to be neutral during a revolution? Is not choosing a side really choosing a side?” It’s difficult to suspect his audience being ambivalent regarding his lecture. The speaker took a narrow academic topic and presented it in an entertaining way while making it relevant to the present day. Mr. Sullivan is quite the revolutionary himself.

 

Preview of Scrooge “Revitalized and Reimagined” at the Ritz Theatre Company

This December will be an historic one at the Ritz Theatre Company. While the company will be reviving its popular Holiday show Scrooge: The Musical, this year it will include a significant change. For the first time in over two decades, Bruce Curless will not play the lead role.

This November 23^rd, your correspondent sat down with Director Matt Weil, as well as the Ritz’s Communications and Group Sales Manager Robert Repici (who is also playing the roles of Young Scrooge and Harry) and the new Scrooge himself, Alan Krier. We discussed the upcoming “revitalized and reimagined” production of Scrooge.

Prior to the 2018 production of Scrooge, Mr. Curless announced he would no longer play Scrooge after that run. The organization’s production team explored other options for their 2019 Holiday program. While Scrooge had been among the Ritz’s top revenue producers last year, financial considerations weren’t the only reason the group decided to return it to the stage.

“The show has a rich history,” Mr. Repici explained. The “thematic potency” appeals to audiences. Watching it at the Ritz during the Holiday Season is “a family tradition.”

“Tradition is a big, big factor,” Mr. Weil added.

So what inspired the director of shows such as Brighton Beach Memoirs, The Pillowman and Big River to add a Christmas production to his repertoire? “It’s impossible to watch a show and not direct it in your head,” Matthew Weil said. For the last four years, Mr. Weil has been: “watching (Scrooge) in various capacities…This show keeps coming back. I wanted to do it.”

While an immense talent in his own right, Mr. Krier understands that he is following a legendary performer in the lead role. He acknowledged that the comparisons to Mr. Curless will be “inescapable.” “I see it as a tribute. No one can fill Bruce’s shoes.” Mr. Krier’s goal is to “entertain the audience.”

Mr. Krier added that, “We’re doing it so differently this year.”

Audience members will not have to crane their necks or turn around in their seats. Mr. Weil and Mr. Repici explained that this version of Scrooge will not include the platforms in the middle of the Ritz Theatre. Mr. Weil described them as “polarizing.” “I’m not a fan artistically,” he added. He prefers to: “build layers on the suspension of disbelief.” He believes that the platforms “break the spell.”

The actors will not perform in the aisles, either. Mr. Weil is sensitive to the fact that some “audience members aren’t comfortable getting close to the characters.” This year, all of the action will occur on stage.

The “reimagined and revisited” Scrooge also will not include the ballet routines. “It gave the show more of a pageant feel,” Mr. Repici said. As a director, Mr. Weil explained that he “focuses on the story and this one is character driven.” For Scrooge, he wants to “strip away the fluff and get back to the story.”

The Ritz has made “major changes” to the show in the past. Mr. Weil noted that one year they made all the characters into animals. He referred to the 2019 version as “another iteration.”

The Ritz production team allowed your correspondent to remain for the rehearsal. The scenery from the Ritz’s current production of The Wiz in the background seemed fitting. Mr. Weil displayed intelligence, heart and courage through his own magical wizardry. He coordinated various scenes and integrated the dance numbers into the larger production with the grace of a conductor leading a symphony.

Under Mr. Weil’s direction, Kaitlyn Healy delivered differing versions of “Good Times.” Each contained very moving sections. “The cute factor is high (in the Cratchit dance number),” Mr. Weil said. Nicholas French and Mr. Krier performed a high-energy rendition of “Thank You Very Much.” With that much passion, potency and appeal at a rehearsal, it will be interesting to see the quality of the finished product.

Mr. Krier worked his own ideas into the role of Scrooge. In addition to getting many laughs from his cast mates, he even incorporated a jig into one scene. Dancing ability must run in the Krier family. Mr. Krier’s daughter, Lindsey, is the show’s choreographer.

The Ghost of Christmas Future puppet (which Mr. Weil built) is no more. This time John Nicodemo will play the role. Your correspondent got a sampling of his climactic confrontation with Scrooge. This one contained an unexpected twist that will delight audiences.

The “revitalized and reimagined” Scrooge contains elements that will appeal to both purists and those interested in a new take on a classic. Regarding the changes, Mr. Weil said, “If (the show is) good, the audience will like it.” Scrooge runs from December 12^th through December 22^nd at the Ritz Theatre Company.

The Wiz at the Ritz Theatre Company

While many in South Jersey lamented not seeing some individuals with no heart, no brain and no guts wearing green this weekend, The Ritz Theatre Company provided an outlet. They treated audiences to a rhythm and blues infused extravaganza down the Yellow Brick Road and into the Emerald City compliments of The Wiz. Your correspondent attended the November 9^th performance. Kyrus Keenan Westcott directed.

L. Frank Baum’s 1900 children’s novel The Wonderful Wizard of Oz inspired this musical. It’s unlikely that Baum anticipated the story presented as a dance extravaganza accompanied by the funky soul music of the 1970s. William F. Brown’s and Charlie Smalls’ concept worked, however. Perhaps the Hamilton of its day, The Wiz premiered in 1974 with an all African American cast.

 The Wiz described an amazing journey. Following an argument with her Aunt Em (played by Danielle Harley-Scott), Dorothy (played by Olivia West) longed to escape from Kansas. A wind storm then came through town transporting her to a place called Oz. Upon arrival, Dorothy then longed to return to her Kansas home. A group of Munchkins suggested she visit the Emerald City and ask The Wiz (Darryl Thompson, Jr.) for advice.

While traveling along the Yellow Brick Road she encountered a trio of interesting characters. They included a Scarecrow (Kyle Smith), a Tin Man (Malik Muhammad) and a Lion (Craig Bazan). As these individuals also needed The Wiz’s assistance with their problems, they accompanied her. Upon meeting him, he offered to help, but on the condition they first kill Evillene, the Wicked Witch of the West. (Danielle Harley-Scott) The four companions’ journey had only just begun.

Devon Sinclair performed exceptional choreography for this show. The mesmerizing dance sequences included groups of Tornados, Monkeys, Poppies as well as other members of the cast. Mr. Sinclair arranged stellar moves for these entertaining scenes. The ensemble impressed by executing them so well.

Olivia West’s acting made Dorothy a very easy character with whom to empathize. Ms. West accentuated this trait through her singing. She delivered moving numbers such as “Soon as I Get Home” and the “Finale” beautifully. Her duet with the Lion (Craig Bazan) on “Be a Lion” was also very touching. The performer showed the same vocal proficiency when singing upbeat numbers such as the iconic “Ease on Down the Road.”

Kyle Smith approached the role of the Scarecrow with a lot of intelligence. His raggedy costume (designed by Yu’seph Cornish) made his character appear very authentic. Mr. Smith added further realism to the role with the way he wobbled while walking. He also sang a marvelous rendition of “Born on the Day Before Yesterday.”

Malik Muhammad put his heart into playing the Tin Man. Mr. Muhammad performed fantastic dance moves. He impressed by doing so in such an elaborate costume. The sparkles he wore in his beard complimented it very well. The axe he carried seemed symbolic of the outstanding vocal chops he delivered all evening. His warm voice well suited “Slide Some Oil to Me” and “What Would I Do if I Could Feel.”

Craig Bazan showed a lot of courage taking on the role of the Lion. In addition to strong dancing and vocal skills, Mr. Bazan displayed a strong aptitude for comedy. He played a hysterical scene when enticed by the Poppies. His delivery on the ironically titled “Mean Ole Lion” made the song much more comical.

The title of “The Wiz” would well suit Darryl Thompson, Jr. even better than the character he played. Once again Mr. Thompson, Jr. showcased the wizardry of his voice for theatre fans. Mr. Thompson, Jr. sang an inspirational version of “Believe in Yourself.” He also performed “Meet the Wizard” so powerfully that it would’ve have been just as easy to hear him without a microphone.

 1970s Oz experienced a bigger witch infestation problem than Salem did during the late seventeenth century. All three of Oz’s enchantresses put the audience under a spell. They achieved it through their vocal charms. Siiyara Nelson played Addaperle, April Johnson performed Glinda, and Danielle Harley-Scott took on the role of Evillene.

The ensemble included performers: April Johnson, John Clark, Terrance T Hart, Dhameer Kennedy, Shakeer Hood, Rafi Mills, Kiara Johnson, Zoe Holmes, Melanie Camille, Breyona Coleman and Mikaela Rada.

The production team comprised: Director Kyrus Keenan Westcott, Vocal Director Michelle Foster, Costume Designer Yu’seph Cornish, Sound Designer Matthew Gallagher and Set and Light Designer Chris Miller.

Director Kyrus Keenan Westcott wrote in the playbill:

 …I don’t want you to think of this as “the black version of The Wizard of Oz.” I think this story and these characters and this music deserve so much more than that notion. While it does tell the story through the eyes and musicality of African Americans, it speaks a universal language that everybody can enjoy.

That’s so true. A tale of someone struggling to overcome obstacles on a quest to find “home” is one that all people can understand. The Wiz’s powerful message of believing in one’s self resonates with everyone.

The Wiz works its magic through November 24^th. After that, it’s back to Kansas for the Ritz Theatre Company; well, make that Haddon Township’s Arts District.

Arsenic and Old Lace at Burlington County Footlighters

Just when theatre fans thought the horrors of Halloween had passed. Burlington County Footlighters added a touch of terror to the Thanksgiving season this November. After attending this run of Arsenic and Old Lace, no audience members will be able to complain about spending Turkey Day with the family this year. Your correspondent attended the opening night performance on Friday, November 8^th.

First time director Matt Dell’Olio (assisted by A. Robert Basile) presented a dark comedy with a disturbing plot. Elaine Harper (played by Alex Davis), a minister’s daughter, became engaged to the most odious creature this planet has produced since humans evolved out of the primordial ooze. She’d planned on marrying the real-life version of H. P. Lovecraft’s the thing that should not be. Her fiancé, Mortimer Brewster (played by Russell Palmieri) worked as a…gasp… theatre critic.

It says something about the Brewster family that a dramatic critic served as its paragon of normalcy. Showing outstating imagination, playwright Joseph Kesselring ensured that one did.

Mortimer’s spinster aunts, Abby Brewster (Susan Dewey) and Martha Brewster (Jeanne Wayman), killed a dozen people. His brother Teddy (Benjamin Couey) believed himself to be Theodore Roosevelt. His other brother Jonathan (Daniel McDevitt) was a serial killer with ambition. He aspired to kill more people than his aunts did.

Mortimer’s realization that no amount of chlorine could cleanse this gene pool caused him to contemplate ending his engagement. At the same time, he attempted to keep his aunts’ macabre hobby from law enforcement. The latter became difficult due to the many visits from police officers (Mark Henley, Tyler Conklin Jeffrey Rife and Nanci Cope). They seemed to spend as much time at the Brewster home as the family did. Mortimer also struggled not to become the latest statistic in Jonathan’s quest.

As one can discern from the plot summary, performer Russell Palmieri had a busy evening playing Mortimer. Mr. Palmieri balanced his facial expressions so they displayed terror, but always with a touch of humor. His best occurred when performer Nanci Cope explained that her character (Officer O’Hara) was a playwright. His reaction to her narrative showed more perturbation than when on the receiving end of Jonathan’s and Dr. Einstein’s (Kori Rife) machinations.

Daniel McDevitt played an outstanding villain in the form of Jonathan. His character may not have liked the comparison to Boris Karloff, but his voice reminded this reviewer of Bobby “Boris” Pickett. His addition of a malevolent tone to his deep baritone made listening to him more enjoyable.

Kori Rife played a terrific sidekick to him as Dr. Einstein. She expressed her lines in a German accent that was easy to understand.

Susan Dewey and Jeanne Wyman made the Brewster sisters’ murderous mayhem witty. Both performers used soft voices when calmly discussing the killings. They maintained the same facial expressions one would use when describing something as benign as the weather. Their deliveries and mannerisms enhanced the comedy in Mr. Kesselring’s script brilliantly.

Footlighters legend Alex Davis added her histrionic talents to the ensemble; as did Footlighters newcomers Ron Brining and Benjamin Couey.

The production team included Stage Manager Will Nelson, Producer Dennis Dougherty, Costumers Amanda Cogdell and Leslie Romanuski.

This production of Arsenic and Old Lace was unique in that two of the best set designers in South Jersey were involved in the project. Jeff Rife opted to forgo working on set design in this one, however, instead focusing on his acting. He played the dual roles of Mr. Gibbs and Lieutenant Rooney. Footlighters’ sublime set specialist, Jim Frazer, handled the set design.

For this show, Mr. Frazer placed a window at stage right that led to an opening outside the Brewster home. It appeared realistic and served its functional purpose by allowing for Mr. McDevitt and Ms. Rife to climb through it.

The set included a real staircase that led to a landing. There it turned a full 90 degrees leading to an upper balcony. In addition to the aesthetic appeal it also served a practical use. Multiple performers climbed it during the show. Benjamin Couey utilized it throughout the evening as his character led imaginary troops into combat.

To borrow one of Teddy’s favorite phrases, theatre fans should “chaaaaarrrrge” to Burlington County Footlighters. After watching this killer comedy, audiences won’t feel quite as disturbed by eccentric relatives at Thanksgiving Dinner: unless they happen to be theatre critics. Everyone will still avoid the elderberry wine, though.

Arsenic and Old Lace runs through November 23^rd at Burlington County Footlighters. After that, it succumbs to community theatre’s version of “yellow fever” and will rest in one of the metaphorical locks at Teddy’s Panama Canal.

Brighton Beach Memoirs at the Village Playbox

The Village Playbox is taking theatregoers back to the beach this autumn. Audiences should pack up their cars and head not to the shore, but to Haddon Heights, NJ. Something more entertaining than sand and surf awaits them there. The company is presenting first volume of Neil Simon’s Eugene trilogy: Brighton Beach Memoirs. Your correspondent attended the Saturday, 11/02/19 performance.

What is it about families that makes them so interesting? Director Steve Allen inquired in the playbill. If one is to use Mr. Simon’s fictitious Morton family as an example that answer is “a lot.” The clan included a mix of both lovable and quirky characters. Their dreams and flaws made for a lot of conflict and confrontations in a show billed as a comedy.

Ostensibly a story following Eugene Morris Jerome’s (played by Ricky Conway) transition from adolescence into manhood, the show really focused on the trials facing the Jerome’s family. Eugene’s Aunt Blanche (Jennifer Wilson) and her two daughters had moved in with his family after her husband’s passing. She’d become withdrawn and emotionally lost following the tragedy. Her youngest daughter Laurie (Sofia DiCostanzo) had a heart condition that limited her physical activity. Nora (Madeline Johnston), the elder, harbored aspirations of quitting high school to become a Broadway dancer.

Eugene’s father Jack (Dave Helgeson) worked several jobs to earn the money needed to support this extended family. The strain impacted his heath. Eugene’s brother Stanley’s (Jonathan Wallace) immaturity caused him to make reckless financial decisions. Eugene’s mother Kate (Amy Bannister) endured the most difficult task of all. She had to hold this unit together: while trying to find Blanche a husband.

Ricky Conaway played Eugene: a challenging role. Eugene served as both the narrator and a character in the story. Mr. Conway brought passion and energy to his performance. He rattled off the myriad zingers in Mr. Simon’s script with ease. The more memorable included:

“I love tense moments! Especially when I’m not the one they’re all tense about.”

“The tension in the air was so thick you could cut it with a knife. Which is more than I could say for the liver.”

“If only I was born Italian…All the best Yankess are Italian…My mother makes spaghetti with ketchup. What chance do I have?”

Fittingly, Eugene longed to become a writer.

Mr. Conway also showed the same skill when performing dramatic scenes. He and Jonathan Wallace worked very well together. The two performers made it easy to visualize them as brothers. They showed the characters’ love for one another while still fighting like siblings. During their confrontation scene Mr. Conway showed Eugene’s change from the mindset of a child into that of an adult.

Amy Bannister wrote that she was elated to be in her sixth show by her favorite playwright in her cast bio. Her enthusiasm came through in her performance as Kate. Ms. Bannister captured her character’s essence by enacting her diverse traits. She portrayed the wise and stern mother when telling Eugene to put away the cookie he took from the kitchen. She became the empathetic confidant when telling Jack that the family would find a means of managing their financial problems. Mr. Bannister expressed strong feelings during her confrontation scene with Jennifer Wilson.

Ms. Bannister and Ms. Wilson engaged in a heated argument. As Mr. Helgeson said when refereeing this dispute, “You’re having the fight you should have had 25 years ago.” Ms. Bannister became emotional to the point of crying. She and Ms. Wilson made the fight so genuine that it became unnerving to watch.

Steve Allen has a skill for finding the latent nuances within argumentative dialog. He possesses a profound understanding of the underlying emotions the characters are experiencing. Scenes that could turn into shouting matches become much deeper and meaningful through his interpretation of them. His direction of Jennifer Wilson’s confrontation scene with Madeline Johnston served as an excellent example.

Ms. Wilson’s character loved Nora, but didn’t know how to show it. Ms. Johnson’s character wanted Blanche to love her, but didn’t feel like she did. The two performers contrasted one another very well. Ms. Wilson played the low-key character to Ms. Johnston’s more animated one. Ms. Johnson is a very expressive performer in both the way she says her lines and through her non-verbal actions. The two different styles added to the conflict and made the scene much more powerful. Thanks to Mr. Allen they did so without rattling the audiences’ eardrums.

The crew at the Village Playbox always shows remarkable skill at maximizing the space allotted to them. For Brighton Beach Memoirs, set designer/builder Gary Kochey transformed the stage into the Jerome house. It contained two upstairs bedrooms, a living room and a dining room: all with the appropriate furniture. The layout allowed performers not involved in the main action to remain on-stage. It gave the audience a real sense of being in a Brooklyn home circa 1937.

Other members of the production crew included: Producer, Stage Manager and Costumer Anita Rowland; Stage Manager Donna Allen; Set Construction and Lighting/ Sound Effects Gary Kochey and Amy Bannister along with the cast also handled the costuming.

On the weekend South Jersey residents turned the clocks back, the Village Playbox turned back time to the late 1930s. The cast and crew showed that what may seem like a simpler time was anything but. To borrow one of Mr. Allen’s observations, it did show that family can be so many things. One is a wonderful evening of entertainment when described by talented playwright and a portrayed by an outstanding cast.

Brighton Beach Memoirs runs through November 16^th at the Village Playbox. After that audiences can add this production to their memoirs.

 

When You Wish Upon a Star: Magical Musical Memories at the Village Playbox

Yet again a South Jersey community theatre company transformed the region into the Wonderful World of Disney. The Village Playbox presented a spectacular musical tribute to a land of mermaids, toys that come to life and just plain old good music. Your correspondent attended the October 26 performance directed by John Michael Demchak.

The program took fans on a musical journey that spanned seventy years. The songs included material from 1949’s The Legend of Sleepy Hollow through 2019’s Descendants 3. It contained tracks from popular movies such as 1989’s The Little Mermaid and 1991’s Beauty and the Beast, songs from Broadway versions of those shows (produced in 2008 and 1994 respectively) and even cuts from some lesser known films in the Disney catalog such as The Rescuers and Pete’s Dragon; both released in 1977.

The set-list incorporated a variety of musical styles. Ryan Bogie delivered a jazzy rendition of “One Last Hope.” He incorporated some entertaining dance moves to enhance this song from Hercules. Paul Rather followed him with another track in the style of America’s original art form. He performed a toe tapping take on “The Headless Horseman.”

Jazz isn’t the only musical genre songwriters draw upon for Disney tunes. Jennifer Campbell performed the rhythm and bluesy “He’s a Tramp” from Lady and the Tramp. Zach Wiseley’s piano playing served as the perfect accompaniment to Ms. Campbell’s singing.

Musical duo Rusty and Jan contributed their musical skills to the show. Flautist Jan accompanied Rusty as he sang played guitar on Toy Story’s “You’ve Got a Friend in Me.” With the guitar capoed at the third fret and the addition of the flute, their sound brought to mind Bob Dylan meets Jethro Tull: quite an achievement with Disney material.

No tribute to the music of Disney would be complete without some heartwarming and heartbreaking numbers. Nancy Bailey delivered a moving rendition of the somber “Feed the Birds” from Mary Poppins. Rusty and Jan accompanied Katie Beth Burow on an emotional “Someone’s Waiting for You” from The Rescuers. Musical Director John Michael Demchak sang a powerful version of “If I Can’t Love Her” from the Broadway version of Beauty and the Beast.

Even Disney songs contain melodies that would impress Robert Fripp. Nikki Zane sang an outstanding version of “My Once Upon a Time.” This track from Decendants 3 contained a melody that seemed more like a medley. “Candle on the Water” from Pete’s Dragon included some intricate musical phrasing, as well. It didn’t inhibit Ariel Golan from performing a beautiful version of it.

The event organizers included a very topical song in the set. William Young performed the macabre “Jack’s Lament” from The Nightmare before Christmas. The tune worked as both a commemoration of Halloween and as a prelude to the upcoming Christmas Season.

As the Village Playbox hosted this event, the show included some theatrical performances. Accompanied by Nikki Zane, Kelsey Brown sang a colorful version of “Poor Unfortunate Souls” from the Broadway version of The Little Mermaid. Colin Becker added humor to the evening with his comical performance of “Les Poissons” from the film version of the latter.

With all the talent prevalent at theatrical performances, costuming tends get overshadowed. Emcee Geri Watson ensured that didn’t happen at Magical Musical Memories. Ms. Watson complimented the “bomb dress” performer Bella Kokotajlo wore. Besides appealing to fashionistas, Ms. Kokotajlo delivered an outstanding version of “Part of Your World” from The Little Mermaid.

The show included exceptional singing from other South Jersey community theatre performers. Presley Terch, Samantha Harner, Madeline Johnston, Katelynn Kokotajlo and Haley Melvin added their stellar vocals to this wonderful tribute to Disney.

Director Demchak included three Disney medleys in the program. All the performers stood on stage and performed them together. Pianist Zach Wiseley provided the sole musical accompaniment. With the elaborate orchestral arrangements common in Disney songs, it’s easy for the beauty of the melodies to get lost in the mix. Mr. Demchak ensured that didn’t happen during these numbers. The choral effect on the melodies and harmonies enhanced the beauty of these magical numbers. Credit goes to the musical director for his arrangement and to the performers for their perfect execution of it.

Other members of the production team included: Gary Kochey managed the technical aspects, Chuck Watson handed props and Anita Rowland produced.

The Magical Musical Memories program created some magical musical memories of its own. Audiences should wish upon a star that this isn’t the last time a South Jersey community theatre company transforms the Garden State into the Wonderful World of Disney.