Disney’s Beauty and the Beast at the Ritz Theatre Company

The magic of Disney transformed South Jersey into a mystical wonderland; well, more so than usual. Twenty-first century exurbia altered into the form of a rustic medieval village. A mysterious enchanted castle settled on the outskirts. The Ritz Theatre served as the source of this enchantment. The building became even more bewitching this July 28^th. I experienced a supernatural evening in the form of Disney’s Beauty and the Beast directed by Craig Hutchinson.

In the prologue voiceover, Rick Williams delivered a stellar reading of the backstory for this “tale as old as time.” In it, a handsome prince discovered the perils of vanity in the most unpleasant way possible. He turned a homely beggar woman away from his door because of her appearance. Spoiler alert for those who’ve never had contact with the outside world: a witch bore the guise of the old woman. She cursed the good-looking young man, making him into a hideous beast. In the process, his servants experienced their own metamorphoses. They started changing into various items in the household.

Only one thing could end the curse. Spoiler alert for those surprised by the first spoiler alert: it’s the love of a good woman. The beast must find a young lady who can look past his horrifying appearance. But this quest contained an added challenge. The Beast must complete it before all the petals fell off the rose the witch gave him. At the story’s beginning, the rose was almost bare.

The action then turned to the bookish Belle (Annabelle Garcia). Somewhat of an outcast due to her love of literature, she still drew the interest of the most desirable man in town, Gaston (Nicholas French). While spurning his affections, her father, Maurice, (played by Bruce A. Curless), became lost in the woods. In order to avoid a coven of wolves, he took shelter in the Beast’s castle. The latter didn’t take kindly to uninvited guests, so he imprisoned the father. In order to free him, Belle promised the Beast she would stay with him forever. Then as the rose withered, their relationship bloomed.

Annabelle Garcia interpreted her character’s role as “beauty” very broadly. I witnessed no paucity of pulchritude from this performer. Ms. Garcia showcased a beautiful voice, beautiful dance moves and beautiful acting ability. Belle proved quite a demanding role, and this thespian rose to the level it required.

Ms. Garcia turned Belle into the epitome of a Disney heroine. Her selection of voice brought to mind Judy Garland’s from The Wizard of Oz; only more mellifluous. Even when delivering lines, her voice contained a melodic quality to it. This performer treated the audience with impressive singing. Her delivery of “A Change in Me” drew on the character’s feelings and expressed them proficeintly.

Ms. Garcia also wowed theatregoers with her dancing ability. Her most memorable scene occurred when she took part in the fast, high-energy “Be Our Guest” routine along with the ensemble.

A true triple threat, Ms. Garcia also exhibited superb aptitude for non-verbal communication. Even when other action occurred on stage, she remained in character through her perfect use of facial expressions. The way she laughed in her scenes with Maurice (Bruce A. Curliss) showed the character’s genuine affection for her father. It came across as believable and sincere. Bravo.

Bryan M. Pitt put on one beast of a performance as the Beast. I liked the way he brought out the character’s inner turmoil through his vocals. He delivered “If I Can’t Love Her” in a dolorous tone that stirred me. One has to credit him for doing this so well without allowing a burdensome costume to distract him.

Mr. Pitt varied the monster’s emotions very well. Through his character interpretation he showed the Beast possessed much more depth and complexity than what appeared on the surface. When required, he played an angry, frightening creature speaking in a harsh tone that invoked terror. The reverb added to his voice in the first act enhanced this effect.

Like a true stage veteran, he portrayed the character’s change in a measured way that made it credible. Mr. Pitt brought out the Beast’s vulnerability when admitting to Belle he didn’t know how to read. He also got laughs when squealing as Belle bandaged his wounds.

I always enjoy the opportunity to hear Tami Gordon Brody sing. Her rendition of “Beauty and the Beast” didn’t disappoint. It provided the perfect background to Belle’s and the Beast’s solo dance.

This show featured elaborate costuming. To illustrate just how extravagant, it’s difficult to argue the Beast’s as the best. David M. Mooney (as Cogsworth) played a realistic appearing clock. Tami Gordon Brody (Mrs. Potts) took the stage as a tea-kettle. Achilles Inverso (as Luminaire) donned the attire of candelabra. Nicky Intrieri performed as a teacup. Brittany Marie (Babette) played a feather duster. Jane Ericksen wore a dresser most of the evening. The ensemble acted as various pieces of silverware. These players deserve immense respect for not allowing costumes that inhibited movement to affect their performances. That’s true professionalism.

In addition, the “normal” characters wore authentic appearing gowns from the 18^th century. They made for quite a visual spectacle.

David M. Mooney and Achilles Inverso displayed outstanding comedic chemistry working together. Their respective costuming added to the humorous effect, but they didn’t allow themselves to become reliant on them for humor. As with Ms. Garcia, they selected the perfect voices to correspond with their characters. I enjoyed Mr. Mooney’s English accent and Mr. Inverso’s French intonation. The inflections enhanced the witty banter between the two.

Nicholas French (Gaston) and Matt Flocco (Lefou) performed well as a comedy team. In addition, I  enjoyed their singing together on the apotheosis of self-admiration the appropriately titled “Gaston.”

Nicholas French may have played a reprehensible character in the form of Gaston, but I still relished they way he performed. It’s quite a trial to play a lothario in an appropriate way to a Disney audience, but Mr. French did so. He teamed up with Ms. Garcia on the outstanding duet: “Me.”

I had one minor issue with the show. I know this is Disney, but dancing wolves? In the story’s context, they were supposed to be threatening creatures. Seeing them dance, made them less so; and Beauty and the Beast isn’t Cats. That’s not to diminish the work of the dancers. More thought out writing would’ve gotten the playwright’s point across better.

Choreographer Jessica Quindlen put together memorable routines. I’d credit dancers Casey Clark, Olivia West, Lindsey Krier, Nicky O’Neal, Kaitlyn Delengowski, Margot Adams, Matthew Janis, Madeline Kendall, Annie Raczko, Kahlil Wyatt, Mike Wemer, Brian Gensel and John Sayles for the technical ability to execute them.

I also enjoyed Taylor Brody in the role of the malevolent Monseiur D’Arque. Bruce A. Curless played the eccentric Maurice exceptionally well.

During intermission, the Ritz allowed theatregoers the opportunity to purchase illuminating roses. When the proper scene arose a series of roseate glows dotted the auditorium. Watching a dark theatre light up with red flowers added to the optical display.

Some “tales as old as time” never get old; Disney’s Beauty and the Beast among them. A curse may have ignited the main story spark, but it blessed the audience with a truly enchanting evening. Unfortunately for theatre fans, the petals are falling off the rose while you’re reading this. The magical opportunity to see Beauty and the Beast ends this August 6^th.

Rock of Ages at Haddonfield Plays and Players

When narrator Lonny described the action in Rock of Ages as taking place during “the Reagan Era” my face scrunched. Whatchu talkin’ ‘bout, Lonnie? I thought. My entire memory of that period consists of spending the summer watching the Iran-Contra Hearings. I hoped I wouldn’t start wiggin’ out in the theatre. Then I took a chill pill. I realized that I live in a time when people in government “just say no” to engaging in illegal deals with a hostile foreign power. Theatre goers should feel even more stoked that Haddonfield Plays and Players opted to bring back the era’s best attribute fer sure: the gnarly music. They delivered some schweet renditions in Rock of Ages when I attended the mahvelous performance on July 22, 2017.

The show featured a most fresh premise. Author Christopher D’Arienzo re-worked the old small-town girl goes to Hollywood concept. He crafted the musical in a way so that host of hit songs from the 1980s delivered the 411.

The dancers in this show earned my respect fast; and continued to earn it throughout the entire performance. La’Nise Ambrose did monumental work in coordinating the moves. I give immense credit to dudettes Audrey DiEnno, Katharina Munoz, Tiara Nock and Nicolette Palombo. They kept up the same level of intensity the entire evening; and the show required a lot of intensity to maintain.

The high tech production quality impressed me. Rock of Ages featured a live band and a big screen. Combined with the singing and dancing, it made for a complex show. Director Ed Doyle did an extraordinary job coordinating all these facets.

Anyone interested in the popular music of the 1980s MUST see this show. As a fan of the era’s tunes, I got stoked to hear the rock-o-rama presented in this type of forum. The quality of singing enhanced the tracks much more than I’d expected. How much better these songs sounded when performed by the cast surprised me.

Few would dispute Lou Gramm delivered outstanding vocals during Foreigner’s prime. Performers Michael Robert Anderson and Dana Masterman made him sound dag. They sang one of the best duets I’ve ever heard on “Waiting for a Girl Like You.” They combined with Vinnie DiFillipo to deliver a passionate “I Want to Know What Love Is.”

Mr. Anderson and Ms. Masterman weren’t the only performers who delivered memorable duets. Ed “Rico” Santiago and Aaron Blake combined their skills for a comical rendition of REO Speedwagon’s “I Can’t Fight This Feelin’.”I liked the way they managed to sing this tender ballad in their characters’ voices.

Dana Masterman turned in a totally ace performance. While an extremely gifted vocalist, she possesses boss skills for non-verbal communication. This performer’s smiling and upbeat facial expressions reflected those of an idealistic young woman. As the show progressed, Ms. Masterman deftly conveyed disillusion over her character’s romantic problems and career failures. Her shibby inability to quite master pole dancing got laughs, as well.

After hearing Michael Robert Anderson croon these 80s classics, fans would gag on a spoon listening to the originals. Mr. Anderson sang so remarkably well that I had trouble imagining a struggling musician could have such talent. Still, he acted the role of Drew very convincingly. He sustained a high note on “Oh, Sherrie” without vibrato. Singers in 80s cover bands would be well served to study his technique.

The show contained a large cast. No one person could bogart all the accolades. The posse worked very well together and complimented one another’s talents to the max.

Holly Birch Knapp’s performance as the radical Reginia was, well, radical. She displayed exceptional passion leading the “We’re Not Gonna Take It” number.

Vinnie DiFillipo showed fantastic comedy prowess as the randy rock star. Monette Solomon delivered outstanding vocals on “Anyway You Want It” and “Shadows of the Night.” I applaud Bill Zeoli and David Fusco for the ability to sing with authentic German accents. I’d also compliment performers Armando Mendez, Trisha Dennis, Jenn Kopesky-Doyle, Faith McCleery, Jenni Pines, Amanda Frederick, Cara Dickinson, Shannon McClernan and Jeremy Noto for their contributions to the ensemble.

I also enjoyed hearing the live band under Mark Kozachyn’s direction. Eric Madden shred his guitar like a true 80s axe-man.

“So what’s your damage with this production?” You may ask. I found it grody that Antonio Baldasari didn’t have more stage time as Aresenal’s new lead singer. The man possesses a genius for comedy. If Mr. Baldasari stood in front of an audience reading the phone book he’d find a way to make people laugh. In his limited scenes, he still amused the audience.

Rock of Ages reminded me that the 80s contained some choice music. I’m not being bogus when I write that that the cast and crew presented one tubular production. I’ve fallen for this show and I can’t get up. Cowabunga! Grab the Bartles and Jaymes and jet to the theatre. Where’s the beef? It’s totally happening at Haddonfield Plays and Players until August 4^th.

Sister Act at the Maple Shade Arts Council

Many South Jersey community theatre fans have attended at least one Sister Act production staged this year. When the Maple Shade Arts Council announced that they’d be producing it this July, I’m sure some asked, “Do we really need another Sister Act show..again?” Well, theatre legend Michael Melvin directed this one. So don’t think of it as “just another Sister Act” show. Think of it as the New Testament. I attended the showing at the Maple Shade High School Auditorium on July 15, 2017.

Since Sister Act has been such a popular show this season, I’ll spare readers the usual plot summary. However, to paraphrase director Michael Melvin, I will report that the cast and crew “put together one hell of a heavenly show.”

Watching Phyllis Josephson take the stage again was a true pleasure. I’ve seen her perform in numerous shows; in fact most recently in Sister Act at Haddonfield Plays and Players. She delivered a rap number in that one, but this is the first time I experienced her ethereal vocal style. I found her emotional rendition of “I Haven’t Got a Prayer” very moving.

Ms. Josephson turned in a supreme performance as Mother Superior. She balanced the character’s austere nature while still getting laughs at the proper times. After her passionate rendition of the number mentioned above, she followed it up with a stellar on-liner. She also shared great chemistry with her nemesis, Dolores, played by Danielle Harley-Scott.

Ms. Harley-Scott played a wild free spirit and aspiring disco diva forced to masquerade as a nun. This required some range and she executed the challenge very well. She crooned the upbeat numbers “Take Me to Heaven” and “Fabulous Baby!” with spirit. Later in the show she adjusted and delivered a passionate rendition of “Sister Act.” Maintaining her focus while the lights reflected off her sequined blouse was an achievement in itself. Her comedic attempt to lead the nuns in grace made one of the funniest moments of the show.

In a bit of ironic casting, Darryl Thompson, Jr. played “Sweaty” Eddie. I wrote ironic, because I didn’t notice him sweat all evening. The challenging number “I Could Be That Guy” would’ve given most performers a reason to perspire. Mr. Thompson already earned a reputation as a phenomenal vocalist through his previous work. With that acknowledgement, he sang a version of the song that would’ve impressed Berry Gordy.

Casey Grouser (as Sister Mary Robert) displayed extraordinary talent in this production. This performer possesses the strongest voice I’ve ever heard. The brilliant way she modulated it all evening impressed me. Unlike many singers, Ms. Grouser managed to hit high notes without her voice sounding piping. Ms. Grouser shone in her passionate rendition of “The Life I Never Led.”

In other scenes, Ms. Grouser captured her character’s initial timidity by hugging a book, looking down or quickly shuffling off stage. She believably enacted the character’s transformation into a self-confident person. Her overall performance deftly brought out Sister Mary Robert’s inner feelings.

I called Antonio Flores “brilliantly comical” when he played a gangster in City of Angels at Burlington County Footlighters. I delighted in watching him step up into the role of crime lord, Curtis. The witty flair he added to “When I Find My Baby” enhanced the tune’s unusual lyrics.

Lori A. Howard and Vitaliy Kin demonstrated great comedic collaboration. Mr. Kin possesses a unique ability to stand out no matter what role he’s playing. Ask anyone who heard him sing Spandau Ballet’s “True” in Yiddish during The Wedding Singer. Listening to him shout in Spanish while Ms. Howard translated became my favorite moment in the show.

Erica Pallucci choreographed some extraordinary high-energy dancing. Casey Grouser, Gina Petti and MacKenzie Smith put on a clinic. There’s no question the choreographer deserves some credit for the routines. I’m just thinking these dancers found a lot of inspiration from the funky moves Mr. Melvin showcased when he played TJ this January.

The way Sister Act combined comedy, singing and dancing in the same scenes made it distinct. Matt Maerten, Evan Hairston and Vitaliy Kin combined their talents for the “Lady in the Long Black Dress” number. It made for an unforgettable scene.

I’d also credit performers Jillian Starr-Renbjor, Brian Blanks, Debra Heckmann, Andrea Veneziano William Smith and the ensemble for their comedic and vocal contributions to this stellar production.

The live band made the show even more special. Cameron Stringham did an excellent job coordinating the music. It sounded spectacular without overshadowing the vocals.

One of the advantages we community theatre critics enjoy is the opportunity to interact with influential people. I’ve had the privilege to sit next to famous performers, directors and producers at various shows I’ve attended. The Maple Shade Arts Council took this perk to a whole new level. Michael Melvin occupied the next seat over from me when he played Pius VI. (I give him credit for staying in character while doing so.) So this time, I got to sit next to the director, the organization’s president and a Pope. Now I’ve made it as a writer!

So do we really need another version of Sister Act in South Jersey? After watching the Maple Shade Arts Council’s production, an emphatic YES answers that question. This performance contained phenomenal singing, dancing and acting. Just perhaps, a series of Sister Act Two shows may be a welcome addition to the 2017 – 2018 theatrical season. For now, fans can see the original at the Maple Shade High School Auditorium through July 22.

Sweeney Todd at Collingswood Community Theatre

Without question, Sweeney Todd: The Demon Barber of Fleet Street is the show that best combines the trilogy of vengeance, cannibalism and hairstyling. This mix gave it an originality seldom witnessed in the annals of theatre. I experienced the pleasure of the Collingswood Community Theatre’s presentation of this Stephen Sondheim musical on July 13, 2017.

The atmosphere director Mary Baldwin created far exceeded what one would expect from community theatre. The cast and crew transformed the Grand Ballroom at the Scottish Rite into an eerie incarnation of Victorian London. The smoke, dim lighting and ominous music fashioned a chilling atmosphere. The lantern carrying cast members pacing onto the stage from all directions added to the sense of dread. It created the perfect mood for the story.

Sweeney Todd presented the tale of its pseudonymous character originally known as Benjamin Barker (played by CJ Kish). Judge Turpin (Ryan Adams) imprisoned him on false charges. A nefarious desire motivated this deed: the magistrate longed for Mrs. Barker. The man formerly known as Benjamin Barker escaped a penal colony in Australia. He returned to London calling himself Sweeney Todd. He revealed his lugubrious story to a man he encountered on the street, Anthony (played by Chris Fitting). Then he entered his former residence. Now it housed the pie shop of a widow, Mrs. Lovett (Lisa Kain Marcelli).

The woman revealed that Mrs. Barker poisoned herself following Judge Turpin’s attack. In case some audience members still didn’t quite understand just how evil the judge’s nature: he also took in Todd’s daughter, Johanna (Stacie Krawiecki) as his ward. Now he wanted to marry her. Mr. Todd didn’t take this news well. Through his reaction, Mrs. Lovett determined his true identity.

In a somewhat unexpected lifestyle choice from a good Christian gentleman brought up on the values of Victorian England, Todd consecrated his life to vengeance. At the same time, Mrs. Lovett lamented the high cost of ingredients for her pies. The two then came up with a resourceful solution to both their dilemmas.

CJ Kish delivered an extraordinary performance as Todd. He nailed every one of the role’s complex facets. He sang impeccably. While bringing the character’s dark nature to life, he got laughs, as well. I relished watching him enact myriad emotions when Judge Turpin (Ryan Adams) sat in his barber’s chair. Mr. Kish varied his demeanor from resentment to obsequiousness with each sentence he delivered.

I’ve commented before on the energy Mr. Kish displays on stage. I appreciated the passion he brought to this character, as well. He maintained the same level of intensity from the beginning until the end of the show; not an easy feat with this role’s demands.

I also have to credit Mr. Kish for his appearance. With his bushy hair and mutton chops, I could visualize him as the “Demon Barber of Fleet Street.” His malign facial expressions rounded out the persona. The careful use of red lights accentuated his horrifying vibe. If someone would allow a figure that ominous to place a razor at his throat, he probably deserved what he got.

Lisa Kain Marcelli did an extraordinary job transforming into her character, Mrs. Lovett. Her British accent sounded very authentic. Vocally, it made me think of Edith Bunker, only from England. One has to credit her for singing so well with that inflection. I especially enjoyed her crooning on “By the Sea.”

As with The Producers, I enjoyed watching Mr. Kish and Chris Fitting work together. Mr. Fitting delivered stellar vocals on the pining ballad “Johanna.” I also appreciated his impassioned acting performance in the scene where he rescued his love from the madhouse.

Faith Charlton had a busy night. This performer portrayed the Beggar Woman and the barber, Pirelli. Ms. Carlton possesses an amazing voice. She showed off her vocal prowess in “The Contest.” In her various roles, she spoke in the accents of a British woman and an Italian man. Later in the show she also delivered dialog in an Irish brogue. That’s quite a range.

If someone asked me, “What provides a better bass tone: a Fender Bass Guitar or Ryan Adams’ voice?” While a difficult choice, I’d be inclined to answer the latter. Mr. Adams selected a great baritone inflection for the judge. His scat singing to Mr. Kish’s whistling on “Pretty Women” served as my favorite moment from the show.

Rounding out the cast, Cara Davis played the role of a young boy. Her measured interpretation of the child’s descent into madness chilled me. Patrick Waldron performed the role of the judge’s henchman, Beadle. I liked how he fused the traits of a viscous thug with those of a music lover into the same character. Stacie Krawiecki contributed her remarkable vocals to the performance, as well. I enjoyed her rendition of “Green Finch and Linnet Bird.”

This Collingswood Community Theatre production featured authentic looking costumes. Ellen Geigel’s designs made the sojourn back to Victorian times even more convincing.

Brian Kain did a superb job conducting a fabulous orchestra.

Sweeney Todd may not be everyone’s favorite musical about cannibalism, revenge and hairstyling. I’m pretty sure it would at least make most people’s top twenty containing that combination. If all had the privilege to watch the Collingswood Community Theatre present it in the Grand Ballroom, it would undoubtedly move up to number one on the list. I’ll never forget it. And I’ll never forgive Collingswood Community Theatre for ending their summer season so soon…well, only until next summer.

 

Dan Brothers: The Critique Compendium Interview

Dan has been involved in theater since 2003 with Burlington County Bridge Players production of The Complete History of America as Assistant Director.  Since then he has appeared in worked on the following productions:

At the Burlington County Bridge Players he assistant directed Arsenic and Old Lace. He acted in A Christmas Carol, Exit Date, and Don’t Dress For Dinner.

He acted in The Champagne Charlie Stakes at the Hanover Street Theater.

He acted in the following shows at Burlington Country Footlighters: The Nerd, Dangerous Liaisons, The Boys Next Door, Assassins, As Bees in Honey Drown, Rumors, Legally Blonde, And The Winner Is, Glengarry Glen Ross, The Foreigner, Rabbit Hole and The Fox on the Fairway.

He also produced Metamorphosis.

Mr. Brothers graciously consented to an interview on 7/7/17. An edited transcript of our conversation follows.

 

Critique Compendium: In a recent interview, Al Krier expressed some pretty strong thoughts about you. He said, and I quote, “Dan is the best! I will share a stage with him anytime. He is very generous as an actor.” Do you agree?

Dan Brothers: Vice versa. Al’s a good friend. Playing opposite him is cake. I’m very comfortable working with him.

You have no choice but to raise your game around him. He’s one of that select few that do that. He’s that good. It’s a joy to work with him. Kudos.

In Glengarry Glen Ross we were both funny together. It gelled. Sometimes you know you got it. With that show we both knew we had it.

 

Critique Compendium: What was it like to perform in shows directed by your wife, Valerie Brothers?

Dan Brothers: It’s a good time. It’s fun, but different. She’s allowed to come down on me much more because I’m her husband. She comes down on me anyway. (Laughs.)

She’s a perfectionist. I’ve known her for 11 years. When she does a project she’s all in.

We have different ways of preparing. The clash can be fun and challenging at the same time.

She really takes care of a script. She does extensive preparation. Eight to 12 months out, she has something laid out.

The Nerd was the first show I auditioned for at Footlighters. I got the lead and at the first read through with the cast I learned that there’s a surprise ending regarding my character. That’s the first time I knew about the ending because I didn’t read the entire script before auditioning.  Pretty sad isn’t it.

I’m the very opposite of Valerie.

 

Critique Compendium: Your character in The Fox on the Fairway had quite an infatuation with Elizabeth Deal’s character. Did having your wife as the director influence your performance in any way?

Dan Brothers: Not in the slightest. Liz and I became good friends over the last few years. We got to know each other quite well during Rumors.

That’s one of the unseen things that happens in community theatre. Meeting people and making friends is the best part. It’s the best reward.

There was no uncomfortableness during that show.

 

Critique Compendium: You’ve worked as an assistant director in the past. Have you ever considered directing yourself?

Dan Brothers: I’ve daydreamed about it. I don’t know when it’s going to happen. It could be a couple of years from now.

 

Critique Compendium: You’ve also performed on stage with your wife, Valerie, most recently in Rumors. The two of you also played a married couple in Exit Date. What’s it like sharing the stage with your spouse?

Dan Brothers: That’s a good time. We met during The Nerd and would laugh and flirt quite a bit…we still do that.

 

Critique Compendium: In the scene where yours and Al Krier’s character made the bet in The Fox on the Fairway, how did you keep a straight face? Between his silly sweater and the tone of voice he used, that must’ve been difficult.

Dan Brothers: Good question. There’ve been so many moments like that. What happens for me is I get the laughs out of the way during rehearsal.

When it’s “game time” you’re conscious of the fact people paid to see the show. People should see us performing to the best of our abilities.

On stage, I’m more focused on staying in character. I find that more difficult that not laughing or giggling.

I’m actually more nervous about misspeaking a line or stuttering than laughing.

 

Critique Compendium: You’ve performed with Mr. Krier regularly. You also played the male lead in his directorial debut, Rabbit Hole. Was it any different working with him as a director?

Dan Brothers: Yes. That show was extremely rewarding. Al’s a very laid-back individual and that was exactly how he directed. I was very grateful to be cast in that show.

People are familiar with me playing funny roles. I remember a compliment Brenda Kelly Bacon gave me after seeing Rabbit Hole, she said something to the effect: “When you first came out I expected to laugh but as the show went on I forgot I was watching you.” Those are the compliments that really hit home.

I love getting laughs, but if I can move people it’s that much more rewarding because it’s not something I normally do. I’ll always cherish the role for that reason.

 

Critique Compendium: In Rabbit Hole, you played a father struggling to cope with the loss of his four-year-old son. The scene of you watching the videos of him really moved me.  How did you condition yourself to get through that a show that emotionally demanding every night?

Dan Brothers: I take personal experiences. Not all our days are happy. Many years ago I lost someone very close to me. I resort to what it was like to lose her.

It’s got to be unbelievably devastating to lose a child. I’m not a parent, but I do know what loss is.

When you’re on stage you want to do the best you can. I drew on my personal experiences to drive it home.

In The Boys Next Door I played a boy abused by his father. My mother said there were a couple of times during the show there was silence instead of applause after a scene I was in and that in itself is the audience’s reaction to what they just witnessed. I learned in that show that silent audience is actually high praise.

It’s quite something to get that reaction.

 

Critique Compendium: Rumors featured an abundance of slapstick humor. You played a physically demanding role in that show. In fact, the character you played got hit by a door and even broke his nose. How did you prepare for it?

Dan Brothers: I drank lattes and sat on the couch.

To the kids who want to get into theatre: don’t prepare like Dan. I really don’t prepare. That should prove helpful for any future directors who might consider casting me.

You’ve got to listen to your director. Scott (Angehr) casts you because you earned it. Now you’ve got to prove it to him. You’ve got to prove him right.

Take the vase toss and “one more time” in the Fox on the Fairway. In “one more time” we reenacted the show in three minutes. It comes down to rehearsals.

I can be a real bitch when I’m rehearsing. During “one more time” there was a lot of bumping and dropping things. You just keep going even if there’s a mistake.

As far as the vase toss goes the vase never dropped. Liz (Deal) made a catch like Odell Beckham, Jr. one night, but the vase never dropped.

You rehearse the hell out of it and get it right.

 

Critique Compendium: You and Rachel Comenzo played a married couple in Rumors. What was it like playing opposite her?

Dan Brothers: She’s a delightful young woman. She’s great to work with. Rachel and I would actually find time alone to run lines and ideas about our characters together which really made our first scene together very strong and enjoyable. She’s great to play against.

With that show our characters didn’t go on stage until 45 minutes in. Backstage, we’d play games. Liz’s (Deal’s) character didn’t enter until late into the second act. We all had a blast. The show was a great time.

Critique Compendium: One of your strongest traits is your voice. You can do soothing baritone. You can also broadcast very well. Is that something you were born with or did you develop it?

Dan Brothers: My parents gave me my voice. I use it a lot. Some might say too much. It’s cool to have compliments on my voice.

 

Critique Compendium: What first interested you in the performing arts?

Dan Brothers: Chicks. (Laughs)

Kevin Esmond and I went to high school together. The guy’s amazing. Holy Cross was doing a show of Anything Goes. Kevin rattled names of girls involved in the theatre. I decided to try out and got cast. It was amazing. There was tap and singing in the show. I never thought I’d do it.

I returned to South Jersey from Florida in 2006 and once again Kevin reached out to me to asst. direct Burlington County Bridge Players production of Arsenic and Old Lace. I’ve been involved in community theatre since.

 

Critique Compendium: What types of things interest you in playing a role?

Dan Brothers: Quite a bit. My roles have been very diverse. Howie (in Rabbit Hole) and Bingham (in The Fox on the Fairway) were very different. I’d have to say it has to be someone I can relate to in a pretty good way.

In Rabbit Hole, for instance, while I’m not a parent, I do know how to be a good husband. The character had a desire to seek affection elsewhere. That’s very foreign to me because of Valerie. Ultimately, he wanted to be with his wife. I know how to be a good man.

Valerie is greatest thing that happened to me. I’m crazy about this woman. I like bringing that into a character.

Rabbit Hole was very real and needed to be performed as such. I didn’t want to make fun of this character.

Rebekah (Masters) and I had a scene where we really laid into one another. We worked very hard with Al and Val to make sure we got it right. It really worked. That was my favorite scene in the show.

Quite frankly it’s hard to specify what turns me on to a particular role.

 

Critique Compendium: What’s been you’re favorite role that you’ve performed so far?

Dan Brothers: I’d have to pick more than one.

Rick Stedman in The Nerd. I don’t toot my own horn very often, but there are times when you know you’ve got a character locked in and this was certainly one of those times.

Howie Corbett in Rabbit Hole is another one, for reasons I mentioned earlier.

Barry Klemper in Boys Next Door. He’s a great character. It wasn’t even the one I wanted in the show. But getting cast as Barry was wonderful learning experience. That’s where I learned drama can be as rewarding as making someone laugh. It was a good lesson.

 

Critique Compendium: What’s the most difficult role you’ve played?

Dan Brothers: I had a hard time with Henry Bingham (The Fox on the Fairway), but I wouldn’t say it’s the most difficult. I find comedies easier than dramas.

I had to sing two lines in Legally Blonde which was actually quite nerve-wracking since I’m not musically gifted.

I would probably say Barry. It took me a while to learn. I didn’t get the part I auditioned for but I needed to get over it. The show dealt with some pretty tough issues in a direct way and also a lighthearted approach. It’s a beautifully written show and will always be grateful for being a part of it.

 

Critique Compendium: What actors have influenced you?

Dan Brothers: Jack Nicholson. He was in my favorite movie, The Shining. Talk about natural ability! The guy just knows how to do it. He can convey so much without ever saying a word.

 

Critique Compendium: If you had the opportunity to work with any other actor either living or dead, who would it be?

Dan Brothers: Nicholson. I would love to work with him. It would be very intimidating but very cool as well.

 

Critique Compendium: What do you do when you’re not on stage? What are your hobbies?

Dan Brothers: Golf. Val loves it. She has cats. I have golf. It works beautifully.

 

Critique Compendium: How do you balance a career, family and other activities with the demands of performing in community theater productions?

Dan Brothers: It’s pretty easy for me. I’ll separate work from theatre. I get in game mode for theatre.

These days I’m getting my lines down quicker. If you have lines down faster, it gives you more time to work on the role. I like playing with the role. When you’re in a show your wife is directing, you have to get your lines down quicker.

 

Critique Compendium: What adjective would best describe your theater career?

Dan Brothers: Rewarding. It’s all been rewarding.

 

Alan Krier: The Critique Compendium Interview

Alan has been performing in and around the Philly/South Jersey area for over 25 years. He has been married to his wonderful wife Donna for 30 years as of May of this year and has three talented children, Lindsey, A.J., and Lisa, who also perform. He was last seen on the BCF 2nd stage in the Pulitzer Prize winning play, Clybourne Park. Other BCF appearances include The Fox On The Fairway (Dickie Bell), The Who’s Tommy (Uncle Ernie), How To Succeed…(Twimble/Womper), Glengarry Glen Ross (George Arronow), Little Shop of Horrors (Mushnik), The Foreigner (Charlie Baker), Assassins (Hinckley), and Urinetown (Lockstock). Other area appearances include You Can’t Take It With You (Paul Sycamore), A Funny Thing Happened On The Way To The Forum (Pseudolus), and The Full Monty (Dave Bukatinsky) at the Ritz Theatre; also Joseph and the Amazing Technicolor Dreamcoat (Pharaoh) and Children of Eden (Father) with McMagical Productions.

Mr. Krier kindly agreed to share thoughts on his craft. We conducted the following interview via email 7/2/17 – 7/3/17.

Critique Compendium: After seeing you wear those sweaters in The Fox on the Fairway, I have to ask the question readers are dying to know: did the title really refer to Bailey Shaw’s character?

Al Krier: Well, I don’t think anyone would ever mistake me for a fox so I would say, “Yes.” The incredibly talented and lovely Bailey Shaw is the fox to whom the title refers.

 

Critique Compendium: You’ve done serious drama (Glengarry, Glen Ross) as well as farces (The Fox on the Fairway). In Clybourne Park you played both a serious role and the comic relief. Are there differences in how you prepare for dramatic versus comedic roles?

Al Krier: In a dramatic role I typically look at the script and the situation and try to determine how I would react if the events of the story were actually happening to me. I try to think of the character’s back story to help give it some depth.

When it comes to comedy I will do just about anything to get a laugh. I also look to some of my comic heroes such as John Belushi and John Candy. I’m not ashamed to say I steal from them whenever I can.

 

Critique Compendium: You’ve also performed in musicals such as Tommy and How to Succeed in Business without Really Trying. Those shows were quite a departure from your other work. Why did you decide to perform in them?

Al Krier: I’ve been doing musicals since the mid ‘90s. Tommy is the definitive rock opera and I’ve been listening to it since the early ‘70s and I saw the movie in the theatre when it came out in 1975 so I’ve always been a fan. To get a chance to be a part of it and sing those songs with a live band was just awesome.

How To Succeed… is one of those quintessential musicals that I had on my bucket list. I don’t think there is a better closing number in musical theatre than “Brotherhood of Man.”

 

Critique Compendium: Your son A. J. and your daughter Lindsey also perform. Did they learn the craft from you?

Al Krier: I would love to say that I taught them everything they know but they are both uniquely talented in their own right.

Lindsey has been involved in the performing arts since she was 3-4 years old and while I would say that my involvement in theatre may have influenced her, I think she would have gone that route anyway. She has done some incredible work. My favorites are Natalie in Next to Normal (brought tears to my eyes) and Kate Monster in Avenue Q. She is currently rehearsing for Beauty and the Beast at the Ritz Theatre.

A.J. got involved in theatre on his own when he went away to college. He auditioned for a show on a whim and has been acting since then. He has performed in dramas, comedies, and musicals. His senior capstone project was an amazing one man show called Thom Pain (based on nothing) by Will Eno. It was an incredible performance for which he won an award.

My youngest daughter, Lisa, has also been involved from a very young age – she’ll be a sophomore in high school this fall. She dances with The Next Stage Dance Company but has also been on stage at BCF as the young girl in Dracula. I got to share the stage with her in Scrooge: The Musical at the Ritz several years ago.

 

Critique Compendium: You and Lindsey both performed in Tommy at Burlington County Footlighters. What was it like sharing the stage with your daughter?

Al Krier: I was very proud to share the stage in Tommy, especially since she also choreographed it. We’ve done a few shows together but we really haven’t had any scenes together. It’s always fun to work with family.

 

Critique Compendium: You selected David Lindsey-Abaire’s Pulitzer Prize winning play Rabbit Hole for your directorial debut. What interested you in that project?

Al Krier: Rabbit Hole was the first show my son did at college. When we drove up to his school to see the show, first we were blown away at his acting. Then I thought that the play itself was outstanding and would be a perfect fit for the BCF stage. I decided right then that would be the first show I direct.

 

Critique Compendium: Do you plan on directing again?

Al Krier: I would like to direct again. There is a one act play I would like to put on The 2^nd Stage and I have a few ideas for the main stage but nothing scheduled yet.

 

Critique Compendium: You and Dan Brothers have worked together on several projects. The two of you have fantastic chemistry as both a dramatic and comedy duo. What’s it like working with him?

Al Krier: Dan is the best! I will share a stage with him anytime. He is very generous as an actor and we are always able to bounce ideas off one another. I can’t say why it works but it does and I’m just very happy that it does.

 

Critique Compendium: What first interested you in the performing arts?

Al Krier: One of the first plays I ever saw was when my brother was in a high school performance of Heaven Can Wait. I was just enamored with the entire experience and could not wait for my chance to try it.

My parents always took us to see movie musicals and I distinctly remember seeing Oliver at the movies. My parents bought the soundtrack album and I used to listen to it all the time.

Sometime in the late 70s they took us to see A Chorus Line at the Forrest Theatre in Philly. Just a great experience. I just always loved watching live performances including rock concerts. That’s pretty much all I did in the 80’s – went to concerts and got married. But I digress, movie musicals, my brother’s show, A Chorus Line, rock concerts.

 

Critique Compendium: What types of things make you want to play a role?

Al Krier: There are roles that I want to play because they are a perfect fit for me and then there are roles that are a challenge. I enjoy both because the ones for which I am perfect, I can go on stage and feel very confident. The roles that are a challenge make me feel accomplished if I am successful at performing them.

 

Critique Compendium: What’s been you’re favorite role that you’ve performed?

Al Krier: Dave Bukatinsky in The Full Monty at The Ritz Theatre. Just an incredible experience from the show itself to the cast & crew and the audience reaction. If you know the show it is about a bunch of out-of-work guys trying to make some money by stripping. In real life I had just been laid off from my job that I had for 23 years so that part of it was completely relatable. I love the music in the show and we had just a perfect group of guys.

 

Critique Compendium: What’s the most difficult role you’ve played?

Al Krier: I always wanted to play Pseodolus in A Funny Thing Happened on the way to the Forum. I got my chance to do that at The Ritz and I just don’t think it was my best performance. I was full of nerves every night before the show and that doesn’t happen to me very often. My comedic instincts just didn’t seem to gel with the part. I can’t say why – it was just one of those things.

 

Critique Compendium: Describe your most memorable moment on stage.

Al Krier: Going back to The Full Monty, one particular night let’s just say there was a lighting miscue at a very important part of the show. We performed that show over 20 times with close to sold out shows every time, yet it seems that no matter who I meet that says they saw that show, claims they were there the night of the lighting mishap.

 

Critique Compendium: What actors have influenced you?

Al Krier: There are so many but DeNiro and Pacino are probably the most influential. I’ve just enjoyed watching them in so many films it’s hard not to be influenced. John Candy has also been an inspiration just for his natural comedic delivery – gone way too soon.

 

Critique Compendium: If you had the opportunity to work with any other actor either living or dead, who would it be?

Al Krier: Again, too many. DeNiro would be up there. Also, Spencer Tracy. His delivery of lines was just so natural. Watch him in Inherit the Wind. One of my all-time favorites.

 

Critique Compendium: What do you do when you’re not on stage?

Al Krier: When I’m not on stage I wonder why I’m not on stage. Just kidding. In real life I’m a technical instructor. I teach technicians how to fix copiers. Everything from basic xerography to networking. Pretty boring stuff.

As far as hobbies I just started getting back into one of my childhood hobbies of building and flying model rockets. It’s been and on again off again hobby that I really enjoy. I also enjoy golf but I don’t get to play nearly enough and I really suck at it.

 

Critique Compendium: How do you balance a career, family and other activities with the demands of performing in community theater productions?

Al Krier: Since my entire family is involved in theatre there is an understanding when it comes to the demands. We all know that there will be struggles, time commitments, scheduling conflicts, etc. There are no guidelines for balance, we just do our best. Most of the time it works, when it doesn’t we figure it out.

 

Critique Compendium: What do you bring to your roles that other performers don’t?

Al Krier: I bring Al Krier. Nobody else can say they are Al Krier.

Seriously, I can’t say what others don’t bring. Obviously I won’t name names but I’ve worked with some actors that simply struggled to deliver a line naturally. That may seem like a simple thing but I will practice a single line over and over again until I think it is coming out in a very natural, conversational way. I don’t know if I have always been successful at that, but I know that is always my goal.

 

Critique Compendium: How would you like audiences to remember you?

Al Krier: I would hope they would say, “Remember that guy, in that show that time, yea, he was really good. So what are you ordering?” I would hope audiences remembered that they were entertained anytime they saw me on stage and that if they met me after the show I was gracious and humble. And that they didn’t avoid a show because they saw my name in the cast list.

 

Critique Compendium: If I asked people with whom you’ve performed what it was like working with you, what would they tell me?

Al Krier: Hopefully, they would say that I was someone that they could trust on stage and was completely committed to the role. And funny, heavy on the funny.

 

Critique Compendium: What advice would you give to young people interested in participating in the performing arts?

Al Krier: Do it! Don’t be afraid. There is nothing like being involved in a production and watching it go from the first read through to the final product. I’ve worked with a lot of young people and I’ve always found that the kids that are involved in the performing arts are always the ones that are exceling in school. The two seem to go hand in hand.

 

Critique Compendium: What’s next for you?

Al Krier: I’ll probably have some lunch. Oh you mean in life, theatre etc. Ok, gotcha. I don’t have anything in the pipeline right now. I started a new job in February so I’m still getting my bearings in that respect. I do have a few shows I am looking at for which I may audition but I haven’t decided yet. We’ll see how things go.

 

Drama Review: Oslo by J. T. Rogers

A social scientist and his diplomat wife decided to change the world. While embarking on the quest to do so, they expanded the boundaries of the word quixotic. After witnessing the fear in eyes of two child soldiers firsthand, Terje Rod-Larsen and Mona Juul chose to seek a lasting peace in the Middle East on their own. Now here’s the really bizarre part: their back-channel efforts led to the Oslo Accords of 1993. J. T. Rogers’ Tony Award Winning play delivered a fictitious take on their efforts.

To borrow an expression from the musical Hamilton , Oslo presented readers with a seat in “the room where it happens.” The playwright allowed his audience to witness for themselves the negotiation process that takes place with international agreements. Mr. Rogers selected a very unconventional back-channel, in the forms of an idealistic couple and some unorthodox diplomats. That made the story much more interesting and engaging.

The author described his work as, “a scrupulously researched, meticulously written fiction.” (Page X) I enjoyed the inclusion of such famous historical figures as Ahmed Qurie (the PLO’s Finance Minister) and Shimon Peres (the Israeli Foreign Minister). Although not actually a character in the play itself, PLO Chairman Yasser Arafat’s presence injected itself into the narrative.

I enjoyed the way the playwright humanized his figures. Simon Peres liked to begin conversations with a story. Ahmed Qurie expressed his love for his daughter. Terje and Mona’s marriage felt the strain of their seemingly naïve quest to end hostilities between the Israelis and the Palestinians.

I also liked the witty way the author injected humor into the narrative. He included a few jokes that while referencing other cultures, didn’t come across as offensive or objectionable. That’s quite a delicate balance, but he executed it extraordinarily well.

The play’s major strength also became its biggest weakness. At times I found it difficult to read through 115 pages of diplomatic exchanges. Mr. Rogers varied the pace as well as he could by bringing in new characters to serve as negotiators. Through them, he interjected new sources of conflict into the story. Still, a few hours reading about the intricacies of international diplomacy may not appeal to some booklovers.

J. T. Rogers presented a realistic description of history’s perhaps most unconventional diplomatic undertaking. While the Oslo Accords didn’t achieve an enduring peace in the Middle East, the playwright still found a hopeful lesson from the entire process. Perhaps, someday events will provide the author with a more positive ending for a sequel. After all, no one thought an idealistic Norwegian couple could’ve come this close to ending the conflict less than 25 years ago.

perhaps

Valerie Brothers: The Critique Compendium Interview

Valerie Brothers has been active in South Jersey community theaters for the last 18 years both on stage and behind the scenes. Her love of theater was inherited from her mother who instilled in her at a very young age an appreciation of the theatrical arts, especially Rodgers and Hammerstein musicals!

She has been involved in all facets of theater from acting and directing to stage managing, producing, costuming, hair and makeup artist as well as special effects makeup.

Favorite past roles include Lina Lamont in “Singin’ in the Rain”, Truvy Jones in “Steel Magnolias”, Tansy McGinnis in “The Nerd”, Mary in “The Champagne Charlie Stakes” and Lizzie Borden in “Blood Relations”.

Directing credits: “The Foreigner”, “Fidelity Farce”, “Glengarry Glen Ross” and “The Fox on the Fairway”.

Mrs. Brothers graciously agreed to an interview on June 29, 2017. An edited transcript of our conversation follows.

 

 

Critique Compendium: You’ve produced shows in the past. Could you tell me: what percentage of a show’s budget goes to pay for Al Krier’s wardrobe?

Valerie Brothers: I made all the sweaters (for The Fox on the Fairway). Just two days before opening I finished. I have degree in fashion merchandising. It came in handy.

I picked up the materials at Village Thrift.

 

Critique Compendium: You’ve been involved in the just about every facet of theatre as a performer, a director and a producer among other roles. Which is the most challenging for you?

Valerie Brothers: Directing is the most challenging because I am I perfectionist. I want everything exactly right. I try to stay as close to playwright’s vision as I do to my own.

When you’re the director the responsibility falls on you. There’s only one person to blame if something’s not right.

 

Critique Compendium: You credit you mother for instilling your interest in theatre. When did you start performing?

Valerie Brothers: I was incredibly shy in grade school and high school. I auditioned for one show in high school and didn’t get cast.

I was working back stage when a Footlighters director tried to get me over my shyness. She pushed me into playing a hooker. Getting me to walking out on stage while scantily clad did it.

 

Critique Compendium: How do you select the shows you’d like to direct?

Valerie Brothers: I love farces and comedies. I like to make people laugh. The sillier the show the better.

I worked as the assistant director on Rabbit Hole. After spending three months on a show about a four-year-old getting killed after a car hit him I needed to laugh.

 

Critique Compendium: Do you take a different approach when directing a drama versus directing a comedy?

Valerie Brothers: Yes and no.

With comedy everything still has to be true to the script and vice versa. I have more fun with comedy.

Doing drama can be depressing. Especially when rehearsing it three nights a week.

 

Critique Compendium: In The Fox on the Fairway, you directed the comedy team of Dan Brothers and Al Krier. What was it like working with those two performers?

Valerie Brothers: They’re my “go to couple.” They have undeniable chemistry. They’re also good friends off stage. When they’re on stage they raise each other up.

Working with them is a hoot. Any crazy idea I throw at them they’ll do. In Fidelity Farce their characters kissed at the end. They went at it so hard I think Dan chipped a tooth.

 

Critique Compendium: In both The Fox on the Fairway and Glengarry, Glen Ross, you had the opportunity to direct your husband, Dan Brothers. What was it like to find yourself directing your own spouse?

Valerie Brothers: He’s such a diva. (Laughs.)

I treat him like any other actor. Since we live together I have a lot more opportunities to talk to him than I do with the other cast members.

We actually had a long talk about his Fox on the Fairway character. You wouldn’t know it from way he performed in the show, but up until two days before it opened he struggled with the role. We discussed it and worked on it together until he nailed it.

 

Critique Compendium: In The Fox on the Fairway, you found yourself in a very unusual situation as a director. In the show a woman takes a romantic interest in the character your husband plays. Do you feel that situation affected your artistic judgement?

Valerie Brothers: No. I’ve known Liz (Deal – the performer who played her husband’s love interest) for years. She’s a professional. Everyone I’ve worked with in community theatre is professional.

There were no worries. Plus, Dan knows I would just kill him if something happened. (Laughs.)

 

Critique Compendium: There’s a scene in The Fox on the Fairway where the characters get into a circle and toss a vase back-and-forth. What was it like coordinating that incident? Did you have a dozen spare vases handy in case someone dropped it?

Valerie Brothers: No. We just had the one vase.

We started off with a plastic vase. It was larger than the one we used in the show. We did the scene over and over until it was second nature. We must’ve done it ten times during a night’s rehearsal.

The assistant director’s girlfriend brought in the vase we used in the show. It’s Japanese.

I was a little afraid. Theatre people are not sports people. There’s a reason we did drama in high school and not sports.

 

Critique Compendium: Both you and Mr. Brothers performed together in Rumors. What’s it like to share the stage with your spouse?

Valerie Brothers: It’s always great to have your spouse out there. Every night I got to observe the things he would change up.

We played a husband and wife team in Exit Date at Bridge Players.  The characters were totally unlike ourselves, but it was fun to play a married couple together.

 

Critique Compendium: The role of Cookie Cusack in Rumors was physically demanding. Walking on your palms and the balls of your feet couldn’t have been comfortable. What did you do to prepare yourself for that show?

Valerie Brothers: I got a hip replacement. I called it my bionic hip.

The sillier the role the better. If people will laugh at me I’ll do it.

 

Critique Compendium: What types of things interest you in playing a role?

Valerie Brothers: I like stepping into someone else’s shoes. It’s challenging to see if you can pull it off. Playing Lizzie Borden is a good example.

 

Critique Compendium: What’s been your favorite role that you’ve performed so far?

Valerie Brothers: Singing in the Rain was an iconic movie musical. It harkened back to when my mom instilled that appreciation of the theatrical arts. I wanted to be the people on the screen, but I can’t sing.

I’d also say The Nerd. I met Dan there. It was a fun show.

 

Critique Compendium: What’s the most difficult role you’ve played?

Valerie Brothers: Lizzie Borden was a very complex character. I liked trying to understand her side. It was a heavy drama piece. I had fun watching everyone in the audience gasp. It was a very challenging emotional roller coaster. One moment she’s sweet, in another she’s crying and then she’s wielding an axe.

 

Critique Compendium: Describe your most memorable moment on stage so far.

Valerie Brothers: I played the lead hooker part in No Sex Please, We’re British. The director was adamant that I had to carry a guy on my shoulders across the stage in six inch heels: not piggyback. She insisted it had to be on my shoulders. I had to come out a door, too. Like Seabiscut, I carried this man across the stage every night.

It was a challenge doing it so that he didn’t go flying or fall; but it got a laugh every night.

 

Critique Compendium: What actors have influenced you?

Valerie Brothers: For comedy, Goldie Hawn has great comic timing. Melissa McCarthy will do anything for a laugh.

I have to add Meryl Streep, too, because she’s Meryl Streep.

 

Critique Compendium: If you had the opportunity to work with any other actor either living or dead, who would it be?

Valerie Brothers: I’m a very big nostalgia buff. I’d say Cary Grant or Katherine Hepburn. They had class. Actors back then held themselves to a higher standard.

That’s not to say that actors today don’t have high standards. I just don’t think actors should make political statements like Johnny Depp did recently.

 

Critique Compendium: How do you prepare for a role?

Valerie Brothers: When I played Lizzie Borden, I read every book I could find on her. If I’m playing a fictional character I’ll research the situation to make my performance as believable as possible.

 

Critique Compendium: What do you bring to your roles that other performers don’t?

Valerie Brothers: This isn’t to say that other performers aren’t, but I’m a perfectionist. If it ain’t right I won’t do it. I feel it’s important to the author to get the lines right.

 

Critique Compendium: How would you like audiences to remember you?

Valerie Brothers: Just as somebody who entertained them, gave them a good laugh and gave them their 20 bucks worth.

 

Critique Compendium: If I asked people with whom you’ve performed what it was like working with you, what would they tell me?

Valerie Brothers: I think they’ll tell you I’m open to suggestions. They may see something I’m missing. We talk about it. I go into it with a vision, but they see me as being open to possibilities.

 

Critique Compendium: What do you do when you’re not on stage? What are your hobbies?

Valerie Brothers: My cats. I’m a huge animal lover. I’ll do anything for an animal. Both of my cats are rescues. I enjoy trying to find homes for homeless animals and would like to foster shelter animals someday. I’m also quite adept at spoiling my kitties and am well on my way to becoming a crazy cat lady!

I visit my mom in the nursing home. I’ll go over pictures with her.

I also go kickboxing with Liz (Deal).

 

Critique Compendium: How do you balance a career, family and other activities with your involvement in community theater productions?

Valerie Brothers: That’s why I take time off between shows. I love being involved, but it’s nice to sit on the couch and relax. Theatre doesn’t leave much time for other commitments.

 

Critique Compendium: What’s next for you?

Valerie Brothers: I’m going to assistant direct Crossing Delancey at Burlington County Footlighters 2nd Stage in June. Torben Christensen will be directing.  

 

Critique Compendium: What advice would you give to young people interested in participating in the performing arts?

Valerie Brothers: Just have no fear. I always had dreams of performing, but my shyness inhibited me for a long time. Just go for it.

Clybourne Park at Burlington County Footlighters 2nd Stage

My most memorable moment as a theatre critic occurred several months ago at Burlington County Footlighters. During a production of The Fox on the Fairway, they used my name during the show. I’m sure glad my name didn’t come up during their 2^nd Stage presentation of Clybourne Park. I much rather prefer having my golfing ability questioned in a public forum than getting associated with the themes in this story. In addition to a sense of relief, Footlighters treated me to a thought provoking and entertaining performance on June 16^th.

Bruce Norris’ 2011 Pulitzer Prize winning drama also received the 2012 Tony Award for best play. The story addressed the topic of racism in America. The first act occurred in 1959 and the second fifty years later in 2009. With housing as the background, it explored the state of race relations in American society during two different time periods.

The playwright used an interesting technique. The same actors played different characters in acts one and two. All had a personal connection to either the neighborhood or the home that served as the play’s lone setting. It led to some unsettling discussions involving race. In the first act, white people fought the perceived encroachment by African Americans into the community. Over time the neighborhood demographic shifted becoming predominantly African American. Mr. Norris then added an interesting twist. In the second act, the African Americans fought to preserve the neighborhood’s historical heritage from white people’s interference.

Sensitive theatregoers should be forewarned: Mr. Norris’ show featured raw dialog. It made me feel uncomfortable during the second act when the characters discussed racial matters. During the first act I found the conversation just painful. The characters seemed very timid as though they struggled to understand one another, but just couldn’t find the right way to communicate their thoughts.  The discussion in the 2009 act deteriorated into anger and resentment. The racist jokes from both sides compounded the animosity.

Shows that require actors to play multiple characters challenge thespians. Most times that’s because their roles possess antithetical traits to one another. Clybourne Park took an original approach to this technique. Even though the cast played different characters, the roles they performed possessed the same values and beliefs. The difference showed in how they chose to express them.

Performers Sheldon Jackson and Nina Law played the African American couple in both scenes. In the first act, Ms. Law took on the role of an ostensibly obedient domestic servant. She always seemed hesitant or uncomfortable when speaking to her employer Bev (Kathy Harmer). Her open expressions of frustration and defiance towards her husband showed her true character. I credit Ms. Law for executing this challenging balancing act so well.

Mr. Jackson removed his hat and recited a series of “yes, ma’am”s when addressing his wife’s employer. While overtly polite, his mannerisms and speech reflected an underlying tension.

In the second act, they transitioned into more assertive people. Mr. Jackson physically confronted Steve (Fred Ezell) in response to his insulting his wife. Ms. Law crossed her arms and legs, pursed her lips while attending the meeting, thus expressing contempt through her mannerisms. Then she confronted Steve when he intimated his views on race.

Both Mr. Jackson and Ms. Law animated these challenging emotions brilliantly. Their counterparts as the white couple, Fred Ezell and Stevie Neale, did the same.

In the first act, Mr. Ezell looked and sounded the role of someone fighting to preserve his “progressive community.” He struggled when explaining how “different” people were, well, “different.” He held his hat in front of him as if metaphorically trying to conceal the character’s true inner feelings.

Stevie Neale turned in an extraordinary performance as a deaf woman; someone incapable of hearing the goings on around her. Ms. Neale’s manner of speaking demonstrated that she took the time to research and comprehend the role.

In the second act, the hat was gone and Mr. Ezell’s character let loose. While managing to repress and feign his feelings he eventually expressed his views with abandon; even telling a bigoted joke.

During this portion of the show Ms. Neale’s character couldn’t avoid hearing her husband’s views. While reserved at first, she also became enraged at the course of the conversation. As with the African American wife in the first act, she directed it at her husband.

In the first act, Kathy Harmer played an outstanding 1950s wife. She expressively pranced about the room discussing trite matters with her husband. Even with the stresses of an uncertain future following a horrible family tragedy, she exhibited a sense of optimism. In the second she became a dull lawyer.

Jonathan Edmonson ran the emotional gamut in Clybourne Park. This performer transitioned from a priest in the first act to an attorney in the second. (It’s hard to imagine any two roles more oppositional than these.) His calm reserve in response to Russ’ (Al Krier) insults gave way to impatience and aggravation in act two.  Later in the show he returned in the role of a somber, distraught man.

Al Krier always makes himself unique in his performances. Usually he does so through his costuming. While the bandana he wore in act two did present a rather unique look for him, he distinguished himself in the first act. In yet another example of why I’m glad my name didn’t come up the show, he instructed a priest (Jonathan Edmonson) to go “f–k himself.”

Mr. Krier turned in an extraordinary performance even by the standard of excellence I expect from him. In the first act, he played a father with anger issues over a family tragedy. He convincingly played someone trying to repress his emotions; especially, by the calm way he delivered the line in the preceding paragraph. Later in the scene he vented his rage at the community itself. In the second act, he refocused and became the show’s comic relief.

The play contained a range of dialog; some of it very tense and other portions rather comical. I didn’t care for the opening of both acts with banal discussions. The conversations droned on far too long for the effect the playwright wanted to achieve. I’d encourage audience members to be patient and endure them. Beyond that one shortcoming, I found the rest of the story well written.

As with a previous visit to Footlighters 2^nd Stage, I had the opportunity to sit next to the director. (Blogging about community theatre has its perks.) Carla Ezell laughed heartily during the comedic lines. That impressed me. She’s worked on this show with the cast and crew for months. Familiar dialog still drawing that kind of reaction from her demonstrated her enthusiasm. That passion carried over into the performances.

Clybourne Park brought an uncomfortable part of the American experience to the stage. With that noted, a diverse audience attended the same performance I did. Not one attendee walked out. No one reacted in anger. It led me to believe that just maybe, should Mr. Norris add a third act covering the year 2059, the characters would behave with more civility towards one another. For now, theatre fans can attend the conflict laden version at Burlington County Footlighters’ 2^nd stage through June 24^th.

 

Drama Review: Sweat by Lynn Nottage

Lynn Nottage crafted the most gripping tale of an American tragedy I’ve ever read. Sweat presented a realistic depiction of the disintegration of the middle class’ dreams and aspirations in recent years. A masterpiece of the highest order resulted.

As in Ms. Nottage’s 2008 drama, Ruined, the playwright displayed her extraordinary artistic aptitude. Once again, she paired the perfect characters with the appropriate setting in the proper time frame. Sweat took place in Reading, Pennsylvania. The action occurred in the years 2000 and 2008. The characters reflected the diversity in American society. They included two generations of African Americans, two generations of German Americans, a Columbian American and an Italian American; all born in Berks County, Pennsylvania. NAFTA’s effects coupled with the ensuing economic uncertainty it wrought caused this melting pot to boil over. It did so in the form of resentment, nascent racism and xenophobia.

I applaud Ms. Nottage’s brilliance in using events from the recent past to present a modern story. The show premiered at the Oregon Shakespeare Festival on July 29, 2015. The events it described occurred either seven or fifteen years prior. Still, the narrative’s immediacy impressed me greatly.

Ms. Nottage crafted very believable characters. I could imagine sitting down and sharing a beer with the likes of Tracey, Brucie, Jason and Chris. Their values and respective mentalities captivated me even more.

The playwright did an unparalleled job in creating balance throughout the story. One of the factory workers, Cynthia, received a promotion to supervisor. Making one of the “workers” a member of “management” made it difficult to completely vilify the “white hats.” That made the true “villain” in the story a bit nebulous. The “heroes” also struggled with their own hubris.

The playwright captured society’s carefree attitude at the advent of the twenty first century. While drinking together at a bar the subject of the modern business environment became a topic of discussion. An inebriated forty-five year old Tracey said, “We’ve been having the same conversation for twenty years. So, let’s stop complaining and have some fun.” (Page 27)

Jason, the twenty one year old white American, discussed his plans to retire at 50. He envisioned his “killa” pension would provide him with the means to purchase a condo in Myrtle Beach. Possessing “money to burn” would supply the means to buy into a donut franchise and run his own business. (Page 32)

Not all the characters possessed this boundless optimism, however. After Brucie’s plant locked out its workers, he struggled to cope not just financially, but personally. His very identity evaporated with the loss of his job. Like many in his generation he struggled to understand his plight. When comparing his time as a factory worker to that of his father’s, he asked Stan the bartender: “Where did I go wrong?” (Page 36)

The playwright creatively alluded to the title throughout the text. Evan, the parole officer, commented, “It’s no sweat off my back.” (Page 9) Stan observed that the new managerial generation didn’t enter the shop floor because they didn’t want their diplomas “stained with sweat.” (Page 26) Chris declared that he broke up with his girlfriend due to her “sweating” him. (Page 98)

Many writers become overwhelmed by their own research. Ms. Nottage avoided this mistake. Each scene opened with the date followed by a brief description of news events. They included both national political and financial happenings as well as occurrences specific to the Reading area. It provided for a good contrast. The use of the old beer commercial line “Wazzup” in the dialog provided a true voice from the era.

Stan, the bartender observed, “Nostalgia’s a disease.” (Page 97) The drama illustrated the wisdom in that aphorism. It didn’t offer much of a prescription to ameliorate its impact in the future, either. With the myriad warnings about increasing economic inequality in our society, all of us should sweat about that.