“An Illustrated History of RCA/Victor” by Frederick O. Barnum III

There’s a cliché that a picture paints a thousand words. One could easily say that a lot of pictures provide material for one excellent lecture. On December 3^rd, Frederick O. Barnum III delivered a speech inspired his 1991 book: His Master’s Voice in America. The Moorestown Library hosted the event.

The book contains numerous photos documenting the history of Victor Records through the RCA years. Mr. Barnum III drew upon “a lot of material” for his project. He spent 35 years working for the organization’s Camden plant. He retired there in 2017.

Shortly after Mr. Barnum III began working for RCA, he inherited ten to twelve filing cabinets containing the company’s archives. He decided to compile the photos he discovered for a book that he titled His Master’s Voice in America. The company only printed five thousand copies that it released on November 18, 1991. Extant editions are rare. Fortunately, for those interested in the history of Victor Records and RCA, Mr. Barnum III shared its images with the audience.

Mr. Barnum III opened his remarks by noting that most of those in attendance “had a connection to RCA.” He delivered his presentation so that both those familiar with the material and those new to it could be equally entertained.

Mr. Barnum III began by discussing Camden, New Jersey’s industrial background. He described the city as a “manufacturing mecca one hundred years ago.” Camden provided a home for companies as diverse as Campbell Soup, the Van Sciver Furniture Company and Camden Beer.

Camden hosted a number of firsts. The Boston Symphony Orchestra became the first such ensemble recorded there in 1918. The first music video took place there in 1928. In 1933, the world’s first drive-in movie theatre opened along the Admiral Wilson Boulevard. During 1934, first fax machine was produced in the city. The first television production line went into operation there in 1946. Both the 45 record and the corresponding record player entered the world through Camden in 1949.

The main portion of interest for Moorestown residents occurred when Mr. Barnum described the early years of Victor Records. Moorestown resident Eldridge Johnson founded the organization. He incorporated it on October 3, 1901.

Johnson moved to Moorestown in 1920. He purchased the former home of Flexible Flyer Sed founder Samuel Leeds Allen. While known as Bridenhart Castle, Johnson named it “The Towers.” In the present day, the building serves as the Lutheran Home.

Johnson donated the funds to construct the Community House located on Main Street. That building opened in 1926.

According to Mr. Barnum III, Johnson’s visionary acumen allowed him to foresee a market for home entertainment. He sought out the talent needed to accomodate this niche. Enrico Caruso became the first entertainer he signed to the Victor label.

Mr. Johnson possessed a genius for business. He developed the record player / cabinet called the Victrola in 1906. From 1912 through 1917 he reinvested his profits back into Victor Records. The company grew so large that it needed its own railroad to travel between buildings.

His efforts allowed Johnson to enjoy a comfortable retirement. In 1927 he cashed in his stock for $28 million dollars. He sold the business for $50 million to investment bankers. Even without Johnson’s leadership, Victor continued to grow. In 1929, the same investors sold the company to RCA for $150 million.

Mr. Barnum III then discussed the history of Radio Corporation of America (RCA). His remarks covered the time the organization purchased Victor through its time in Camden and Moorestown and into a period that included a mind-twisting series of mergers.

The speaker shared some amusing anecdotes about the company. In 1937 RCA sponsored a contest for its dealers and distributors. The first prize winner received a free trip to Camden.

He added that the National Broadcasting Corporation (NBC) received the first ever trademark for a tone. The company’s musical theme includes three pitches: G, E and C. The letters represent the initials of NBC’s parent company: the General Electric Corporation. GE purchased RCA in 1985.

RCA’s Camden facility continued to produce significant products. RCA built the radar that mapped the surface of the moon during the final Apollo mission. The plant manufactured the television antenna positioned on top of the World Trade Center’s North Tower.

In 1953, RCA opened its Moorestown facility. That plant also manufactured systems for the Apollo missions. That branch built the satellite dish used on the lunar module that accompanied the last three.

RCA/Victor has a rich history in the South Jersey area. While copies of His Master’s Voice in America may be difficult to locate, fortunately its author isn’t. Mr. Barnum III mentioned that the library only scheduled the lecture for an hour. He joked that he knew it would be impossible to hold him to that time limit. With his engaging presence, the interesting nature of his talk and the abundance of material he compiled, it’s easy to understand why.

 

The King’s Highway by Jason Sherman at The Historical Society of Moorestown

The latest installment of the Historical Society of Moorestown’s History Speaks lecture series included a format change. In lieu of a lecturer, this one featured a film. The Society both educated and entertained audience members with its screening of The King’s Highway; a documentary film written, directed and narrated by Jason Sherman.

Mr. Sherman’s website describes him as an entrepreneur, a film maker, an author and journalist. In spite of this busy schedule, Mr. Sherman visited the Historical Society of Moorestown on January 8^th.  After the audience watched his documentary regarding one of “the most important roads in American History,” he participated in a talk back.

1650 King Charles planned development of a road that extended from Boston to Charleston. The actual King’s Highway proved an ambitious endeavor. So did the film documenting its history. Mr. Sherman explained that he performed 90 per cent of the work himself. He self-funded the project through its first six months.

The documentary included beautiful panoramic views of the Delaware Valley. The film maker added interviews with local historians and political leaders. They provided insights and valuable information for local history buffs.

The King’s Highway included three themes. The history of the area the road traversed took the forefront. People have resided in the Philadelphia area for over six thousand years. The film described the cultures of indigenous people who served as its first inhabitants. The film also showed how European settlers lived. Both groups shared a common interest in the King’s Highway.

The film then showed how Northeast Philadelphia played as crucial a role to the development of the American republic as events in Center City Philadelphia did. The community’s inns and taverns entertained a host of important figures from American history. They included George Washington, John Adams and Benjamin Franklin. The documentary reported an anecdote about the “Frankfort Advice.” John Adams claimed that these ideas discussed at Frankfort’s Jolly Post Inn were later included in the Declaration of Independence.

The final third of The King’s Highway explored the issue of building preservation. When Mr. Sherman made the film in 2016, Philadelphia allocated $500,000 to address this issue. Only two per cent of the city’s historic buildings were designated for preservation. In the film’s most dramatic scene, the director included footage of a nineteenth century home getting demolished by a wrecking crew. The image made one member of the audience gasp.

Mr. Sherman explained that his film has stimulated an interest in historical awareness. Since its release, he has conducted walking tours of Northeast Philadelphia, he’s posted his own historical markers and he’s hosted reenactments. The City of Philadelphia has declared August 20^th “King’s Highway Day.” The documentary has also sparked a movement for historical preservation.

The King’s Highway received the Best Feature Documentary Award at the 2016 First Glance Film festival. It is available for viewing on Amazon Prime. Those interested in learning more can visit the website: kingshighwayfilm.com.

Holmes and Watson at Burlington County Footlighters

Theatre fans won’t have to do a lot of sleuthing to find good theatre this winter. Burlington County Footlighters is presenting Holmes and Watson. The game was afoot on Friday, January 17^th. Your correspondent attended the opening night performance that evening.

Playwright Jeffrey Hatcher put Sherlock Holmes’ observation that “what one man can invent, another can discover” into crafting this play. He also disproved the fictional sleuth’s musing that, “There is nothing new under the sun. It has all been done before.” Mr. Hatcher expanded on the “whodunit” premise and added a “whoisit” element to the tale. Holmes and Watson explored a mystery in which the famous detective served as the source.

Three years following Holmes’ death, Dr. John Watson (played by Ed Marcinkiewicz) received a strange memo. A man named Dr. Evans (played by Kevin Esmond) summoned him to an asylum off the coast of Scotland. Three men had arrived each claiming to be Sherlock Holmes. Dr. Evans invited Watson to identify the correct one. In a set-up that seemed a bit like a Victorian version of the game show To Tell the Truth, Watson went to this island and then interviewed each alleged Holmes.

Each supposed Holmes had an eclectic personality. Three outstanding actors portrayed the alleged sleuth.

Performer Matt Becker played the most conventional of the three. Mr. Becker captured the attributes of the confident, analytical Holmes. He spoke in a quick fashion, reminiscent of Jeremy Brett, and exhibited the detective’s self-assurance. He best portrayed these features during his first meeting with Watson. Mr. Becker illustrated the sleuth’s powers of deduction by interpreting the scent of the tobacco on his clothes and evaluating the cut of his suit.

Joe Chialastri portrayed the neurotic version of Holmes. Mr. Chialstri showed superb delivery with his narration of Holmes’ final encounter with his nemesis Professor Moriarty. He deftly varied his character’s lines by talking in both American and convincing British accents. His hurried speaking expressed the character’s anxieties. His nervous demeanor added humor to the show; as did the straight jacket he wore throughout the entire performance.

Dave Pallas enacted the deaf, mute and blind incarnation of Holmes. These personality traits didn’t provide Mr. Pallas many opportunities to flex his histrionic muscle. C’est dommage. The performer, however, exploited the opportunities the script presented him. When hypnotized by Dr. Evans he delivered a gripping description of Holmes’ last confrontation with Moriarty.

Like many detective stories, this one became more complex as the story developed. To add to the mystery, Dr. Evans revealed that an inspector (played by Bernard DiCasimirro) arrived before Watson. Someone murdered this investigator. His final words were, “Sherlock Holmes.”

The plot then became even more involved. A missing document and the arrival of a woman (played by Kristin Curley) who claimed to be “murdered” became part of the story. Dr. Evans and Dr. Watson each struggled to solve these mysteries while attempting to identify the true Holmes.

“It has been a long axiom of mine that the little things are infinitely the most important,” Holmes said in A Case of Identity. The same premise applies to directing.

A story featuring a legendary character requires a renowned director to present it. Burlington County Footlighters chose theatrical maven Gabrielle Affleck to lead this project. Ms. Affleck has directed several shows at Footlighters including Kimberly Akimbo (on BCF’s 2^nd Stage) and the award winning productions Dracula and The Explorers’ Club. For the latter, Ms. Affleck received the Best Director honor for Footlighters’ 2017 – 2018 season.

Ms. Affleck may have found inspiration from Arthur Conan Doyle’s character. Perhaps recalling Sherlock Holmes’ observation that he couldn’t “make bricks without clay,” Ms. Affleck selected excellent performers to bring Holmes and Watson to the stage.

Mr. Marcinkiewicz applied Holmes powers’ of deduction into Watson’s character. The performer displayed calmness and cunning reasoning ability. He also delivered the quick reasoning more often identified with Holmes’ character. His slow walk as he explained his analysis showed an underlying arrogance.

Kevin Esmond played the guarded Dr. Evans as an enigmatic figure. His laconic responses showed that he knew much more than he was willing to tell. His character gave Watson incomplete information; in many cases telling him that he couldn’t share the details. The only ideas he expressed openly were those on Watson’s writings. His character harbored a belief that he understood them better than Watson himself. Mr. Esmond’s critiques made his character even more intriguing.

The two characters’ personalities allowed Mr. Marcinkiewicz and Mr. Esmond to perform gripping exchanges opposite one another. These two thespians’ performances made them much more engaging than the dialog suggested.

Mr. Hatcher added elements of literary criticism to the script. Mr. Esmond accused Watson of writing exaggerated “stories” about Holmes. He argued they enhanced the Holmes mystique at the expense of facts. Mr. Marcinkiewicz countered that he wrote accurate “accounts” of Holmes’ deeds. A tense, yet witty conversation resulted.

Kristin Curley played all the female roles in the show. They required a range of acting skills. Ms. Curley expressed the different accents and character traits believably. Her characters included the traumatized “woman”, the unemotional Irish orderly and the ebullient woman in red.

Bernard DiCasimirro added his monumental talents to the show. Even while in the background, Mr. DiCasimirro’s presence hovered over the scenes. His funny accent, shuffle and bushy beard allowed the Orderly to provide excellent comic relief.

Mr. DiCasimirro played another very notable role in the show. He took on the role of the detective genre’s most famous villain in the form of Professor Moriarty. The dark hat and cape he wore gave him a Snidely Whiplash aura sans the handlebar mustache. Mr. DiCasimirro brought out the character’s malicious persona without degenerating into melodrama.

This portrayal of Moriarty once more showed Mr. DiCasimirro rather adept at playing “bad guys.” In October of 2018, Mr. DiCasimirro played an outstanding Richard Nixon in Burlington County Footlighters’ 2^nd Stage production of Frost/Nixon. After his mastery of portraying antagonists, it would be interesting to watch Mr. DiCasimirro play a likable protagonist. The strength of his recent performances shows that he has the ability. Perhaps Mr. DiCasimirro should consider trying the role of someone like Sherlock Holmes. If his performance in this show is any indication, he could do so without audiences even knowing that he’s acting.

“You see, but you do not observe. The distinction is clear.” Holmes said in A Scandal in Bohemia. Judging from the gasps of surprise your correspondent heard during the show, this audience did much more of the former than the latter. The script contained more plot twists and surprises than the last two minutes of a Saw film. While mind-bending at times, the shifts made the suspension of disbelief more interesting.

Once again, Jim Frazer proved himself a set designer beyond comparison. In the past, he’s turned the Footlighters stage into a Christmas village, a Victorian explorers’ club and the Bonnie and Clyde death car among many other locations. This time he transformed it into both Switzerland and a late-Victorian asylum.

Holmes and Watson contained flashbacks to the final confrontation between Holmes and Moriarty. This scene occurred at the Reichenbach Falls in the Bernese Oberland. The rocks combined with creative lighting (also designed by Mr. Frazer) to simulate moving water made Mr. Frazer’s set appear even more uncannily authentic than usual.

Mr. Frazer displayed excellent attention to detail with the asylum. Exposed brick showed through sections of the gray concrete walls. The archways leading off-stage added to the dreary ambiance.

This set provided the director with opportunities for some mesmerizing visual spectacles. Ms. Affleck used them brilliantly. The scene at the falls where the silhouette of Holmes played his violin looked more like a movie scene than live action theatre.

Ms. Affleck used lighting ingeniously for another key scene. When Kristin Curley (as “the woman”) explained the events that led to her situation, Ms. Affleck had her move to center stage. A spotlight provided the only illumination. This staging gave the scene more impact.

Mr. Frazer and Sound Designer Bob Beaucheane combined their talents to create realistic thunder and lighting. The crashes and flashes enhanced the tension on stage at the appropriate times.

“They say that genius is an infinite capacity for taking pains,” He (Sherlock Holmes) remarked with a smile. “It is a very bad definition, but it does apply to detective work.”

The same premise applies to theatrical performances. The cast and crew at Footlighters sure showed their own brand of genius for Holmes and Watson.

Other members of the production team included: Assistant Director Pat Frazer, Producer Torben Christiansen, Stage Manager Chrissy Wick and Props/Special Effects Coordinator Jasmine Chalfont. Amanda Cogdell, Ty Chalfont, Jen Scache Bloomberg managed costumes. Valerie Brothers performed hair and make-up.

The real mystery is why theatrical fans would miss the opportunity to see Holmes and Watson. Fans of Arthur Conan Doyle’s work will enjoy the show; as will anyone interested in detective stories. Its plot twists will also appeal to fans of Harry Potter and the Cursed Child. South Jersey’s community theatre fans don’t need someone as smart as Mycroft Holmes to tell them to see it. The decision to watch this show is “elementary.” It runs through February 1^st at Burlington County Footlighters.

 

Sweet Charity at the Ritz Theatre Company

Valentine’s Day comes early this year compliments of the Ritz Theatre Company. The production team replaced all the theatre’s Holiday decorations with hearts, red streamers and a musical about the joys and sorrows of looking for love. The fickle finger of fate led your correspondent to attend Sweet Charity on Saturday, January 11^th.

Charity Hope Valentine (played by Lauren Bristow) endeavored upon a quest for love. A series of unfortunate choices caused some navigational problems along her voyage. One boyfriend threw her into a lake. Another used her as his personal ATM machine. The third time seemed more promising.

An encounter with Oscar Lindquist (played by Matthew Weil) led to a blossoming romance. Unfortunately, quirks riddled Mr. Lundquist’s personality. His pathological obsession with purity functioned as the most glaring. Charity feared her job as a ‘dancehall hostess’ would cause him to terminate their relationship. It caused Lundquist to wonder if his taste in women could be as flawed as Charity’s taste in men.

That’s pretty heavy material for a book written by Neil Simon based on a concept by Bob Fosse. While witty at first, the story contained the potential of becoming a 1960s answer to Tess of the d’Urbervilles. Fortunately for theatre fans, directors Bruce A. Curless and Roberta Curless kept the performance lighthearted and entertaining.

Sweet Charity featured a host of impressive dance routines choreographed by Co-Director Roberta Curless. Most of them highlighted Charity. Lauren Bristow proved herself the perfect performer to play the part. Ms. Bristow opened the show with a wonderful solo dance that contained no vocal accompaniment. She deftly incorporated a hat and a cane into the “If My Friends Could See Me Now” number while singing Dorothy Fields’ lyrics. (Cy Coleman wrote the music.) Later in the show, Ms. Bristow executed a series of quick twirls while performing “Where Am I Going.”

The other cast members performed a memorable sequence themselves. The instrumental “Rich Man’s Shrug” included an eclectic mix of music. It allowed the choreographer and ensemble to explore their creativity. During the number’s first part, this reviewer thought: if Mike Myers wrote Austin Powers as a musical, this song would be in it. The piece’s second section hearkened back to the sound of the Roaring Twenties. The routines Ms. Curless crafted well suited both these unique musical styles.

Charity may have struggled to find love, but audiences will find it easy to love Lauren Bristow as Charity. Ms. Bristow turned in a superlative performance. Because of the strength of her solo dance routines, her dancing ability impressed the most. She also showcased stellar vocals all evening on songs such as “If My Friends Could See Me Now”, “Ciao Baby” and “Where Am I Going” as well as on the ensemble tracks.

Through her acting ability, Ms. Bristow captured the character’s inner hopefulness. In spite of Charity’s romantic turmoil, Ms. Bristow’s smile expressed her indomitable optimism. Her curious yet amused facial expressions during the Rhythm of Life church scene, showed how the character could find amusement in even the most awkward situations. In addition, Ms. Bristow delivered her many comic lines with both seriousness and the proper timing.

Ms. Bristow also captured the serious side of the character’s personality. For a story written in 1966, Charity evolved into a model of female empowerment. Ms. Bristow portrayed this change with believability; in large due to her skillful display of Charity’s inner optimism.

After the completion of his latest directorial project, Willy Wonka, Matt Weil returned to the stage for another show about sweetness. Mr. Weil pulled his own version of a ‘Nicholas French at the Ritz’ performance.* Mr. Weil played all three of Charity’s boyfriends. He played the first two as humorous characters. He wore a pompadour wig and dark sunglasses for Charlie. Mr. Weil adopted a silly voice while wearing a shaggy wig for the second beau.

Well known for his directing prowess, Mr. Weil showed himself just as adept a performer while on stage. In the role of Oscar Lundquist, Mr. Weil sang an impassioned rendition of “Sweet Charity.” He displayed a comical, yet believable case of nerves when trapped on the elevator with Ms. Bristow. His vocals on “I’m the Bravest Individual” expressed his anxiety.

Ms. Bristow and Mr. Weil complimented one another very well. When Ms. Bristow confessed Charity’s real profession, Mr. Weil exhibited empathy and understanding. Later, Mr. Weil did an excellent enactment of Oscar’s inner conflict. He modulated his character’s attitude making the confrontation scene much more moving. Ms. Bristow’s response gave the resolution added impact.

Vocal Director Tim Brown conducted wonderful arrangements. “Big Spender” featured performers Lauren Bristow, Lindsey Krier, Kelly Govak, Kristin Hegel and Melanie Ervin singing together. Mr. Brown split the vocal sections between the performers. The organization allowed the melody to create a unique audio effect.

Other memorable tunes populated the set list. Ms. Krier and Ms. Govak turned in a strong performance of “Baby Dream Your Dream.” Craig Bazan led a terrific rendition of “I Love to Cry at Weddings.” Terrance T. Hart delivered an operatic sounding “Too Many Tomorrows.”

Sweet Charity’s ambiance gave the performance an excellent 60s vibe. The set (designed by William Bryant) contained a mix of bright and semi-dark colors. The choices reminded this reviewer of the cover of Cream’s Disraeli Gears album.

Costume Designer Tina Greene-Heinze used the same patterns in her work. She placed Ms. Govak in a bright yellow dress. The sequins on Ms. Krier’s blue dress sparkled and enhance the brilliance. The black dress Ms. Bristow wore and the tuxedo on Terrance T. Hart offset the bright colors. The psychedelic patterns on the Rhythm of Life Church members’ clothes fit the time period.

Jim Reed’s wig designs kept the audience rooted in the period as well. They comprised currant buns, long shaggy hair and big Afros. With all the high impact dancing, it surprised this reviewer than none of the performers lost their wigs during the show.

Other members of the Production Team included: Sound Designer Matthew Gallagher, Lighting Designer Chris Miller, Technical Director Nathan Kunst, Stage Manager Brian Gensel, Properties, Meg Iafolla, Assistant Stage Managers Melissa Harnois and Alyssa Sendler, Sound Board Operators Anastasia Swan and Natasha Swann and Spot Operators Gabe Slimm and Jessi Meisel.

The show your correspondent witnessed included a moment for the blooper reel. Since there is no video recording of live theatre, fans will have to be content to read about it. When Matt Weil’s character entered the dancehall, performer Craig Bazan (as the proprietor Herman) called him by his real name, Matt.

Charity observed, “Without love, life has no purpose.” Without shows as fun as Sweet Charity, musical theatre has no purpose. Make a date to see it at the Ritz no later than February 2^nd. After that, this run will seem as ephemeral as one of Charity’s relationships.

 

*In the Ritz Theatre’s January 2019 production of A Gentleman’s Guide to Love and Murder, performer Nicholas French played all eight members of the D’Yasquith family.

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 Past. 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.