Andrea Veneziano

The Crucible at Haddonfield Plays and Players

Boy did I pick the right time to listen to Black Sabbath on the way to the theatre. “Voodoo”, “Lady Evil” and “Black Sabbath” put this reviewer in right frame of mind to experience The Crucible. The cool autumn air along with the full moon weaving through the breaks in the overcast sky added superb ambiance. I attended the opening night performance on October 11th at Haddonfield Plays and Players.

Director Pat DeFusco selected an excellent show to follow up HPP’s 24 Hour Play Festival. Mr. DeFusco also directed that performance in which a number of writers crafted tales applicable to Twilight Zone episodes. It seemed appropriate that he would select Arthur Miller’s 1953 masterpiece The Crucible for his next endeavor.

In 1960 Twilight Zone creator Rod Serling developed his short story “The Monsters Are Due on Maple Avenue” into one of the series’ most memorable and chilling episodes. A power outage drove the residents of a suburban community into a state of madness, fear and paranoia. Their mania drove them to accuse one another of being the source of the anomaly. The horror in that piece didn’t lie in the supernatural, but in the way ‘normal’ people treated one another in the wake of an unexplainable event. Apply that premise to the seventeenth century and one has the world of The Crucible.

Arthur Miller wrote The Crucible to draw parallels between the Salem Witch Trials of the 1690s and the McCarthyism he experienced during the 1950s. While lacking in historical accuracy, the play made for some gripping theatre. It brought audiences uncomfortably close to a world of ambition, greed and selfishness exacerbated by suspicion.

For a settlement predicated upon deep religious convictions, the Massachusetts Bay Colony sure contained a host of unscrupulous characters.

Nick French played an exceptional Reverend Parris. Mr. French performed like a man possessed…with a gift for acting. The method with which he enacted the character’s quick temper brought out the reverend’s demons. Mr. French’s vocal inflections captured Parris’ anxiety over losing his job due to the ‘bewitched’ girl in his household. I also enjoyed the animated way he argued over the wages and firewood the congregation owed him. Mr. French’s portrayal allowed me to understand why so many of Salem’s residents were skipping services on Sundays.

Grace Narducci played 17 year old Abagail Williams. Ms. Narducci made Abigail into the embodiment of evil itself. Ms. Narducci’s facial expressions captured the malice lurking behind her character’s eyes. She also demonstrated Abigail’s duplicity just as believably. The performer entered into a frenzy of trembling and shaking while being attacked by spirits. They always seemed to strike her at the most opportune moments. Ms. Narducci’s convincing performance showed Abagail capable of the horrific things she did. Bravo and a belated Happy Birthday to Ms. Narducci.

The Putnams made for an interesting couple. Gary Werner portrayed landowner Thomas Putnam. The character stood to acquire land from someone he accused of witchcraft. His wife, Ann Putnam (played by Andrea Veneziano), accused a midwife of witchcraft due to several of her children dying in childbirth.

And then there was Judge Danforth (played by Robert Bush). Reverend Hale (played by Taylor Brody) asked him to postpone the executions of seven people convicted of witchcraft. The judge opted not to because, to paraphrase using modern parlance: “We’ve already executed 12 people. If we let these people live it would look bad.” That’s an extreme way to make a decision based on sunk costs.

Even had the witch trials never occurred one suspects 1690s Salem still would have provided ample fodder for playwrights.

To balance this company of the conniving, Mr. Miller included noble characters.

Justin Walsh delivered an outstanding portrayal of John Proctor. The character endured a conflict between the man he was and the man he wanted to be. Mr. Walsh concretized it brilliantly through his interactions with Ms. Narducci and Marissa Wolf.

Taylor Brody portrayed the change in Reverend Hale very well. While first a proponent of the witch trials, his doubt grew as they progressed. Mr. Brody showed the character’s development in a very measured way.

Marissa Wolf played an outstanding Elizabeth Proctor. Ms. Wolf demonstrated the torment her character experienced over both a troubled marriage and the fear she’d be accused of witchery. The performer selected exceptional facial expressions and modulated her voice with extraordinary skill all evening. Her enactment of her character’s inner strength during the show’s final moments was without peer.

This summer I watched Marissa Wolf deliver a powerful soliloquy during a production of The Laramie Project at the Maple Shade Arts Council. With the final scene in The Crucible, Ms. Wolf showed she can express thoughts just as compellingly without words.

Mr. DeFusco has a reputation for producing work of the highest quality. Even by that standard, The Crucible featured fantastic direction.

The opening captured the audience’s attention. While Tituba (Salina Nicole Miller) and the girls of Salem danced in the woods, a fog machine generated a ghostly mist that enveloped the stage. The background projection of a forest at dusk with a small fire in the foreground added to the eerie ambiance. Mr. DeFusco’s decision to have Reverend Parris enter the through the aisle aided in bringing the spectators into the story.

The trial scene burned like white heat. Mr. DeFusco still enhanced the intensity. Mr. Walsh and Ms. Narducci gave each other looks of unvarnished hostility while walking past one another. This brief incident was both well-conceived and well-performed. It made this pivotal scene even more dramatic.

The distress in the story required performers to cry on stage. Sarah Dolhansky’s character (Mary Warren) played the majority of these emotional incidents. Ms. Dolahnsky’s performance brought out the fear and torment tearing at her character.

Mr. Miller wrote late-seventeenth century verbiage and syntax into the script. The entire cast deserves credit for navigating this challenging dialog. The performers also managed to deliver it in ways so that I could understand its meaning.

Justin Mead designed authentic period costuming for this show. He demonstrated solid attention to historical detail with the buckles the reverends and judges wore on their shoes.

I’d also acknowledge Tami Funkhouser for her portrayal of Rebecca Nurse. Ms. Funkhouser’s make-up was marvelous. When she first appeared on stage I didn’t recognize her.

The Crucible contained an extensive cast. Other members included: Emma Scherz, Salina Nicole Miller, Sophia Frances, Rachel Aspen, Cassidy Scherz, Sera Scherz, Sabrina Gipple, Rebecca Kaserkie, Penelope Incollingo, Joe Sweeney, Kristine Bonaventura, Sheila McDonald, Doug Cohen, Julieann Calabrese, Tina Currado, Melynda Morrone, Tony Killian, Peter Tancini, Kacper Miklus, Ben Morris, Jeremy Noto, Dennis Dougherty, and Olivia Bee Sposa.

The following individuals completed the production team: Artistic Coordinator Nicole DeRosa Lukatis, Producer Sue C. Stein, Stage Manager and Light Board Operator Omi Parrilla-Dunne, Lighting Design Chris Miller, Properties Anna Diaczynski and Donna Scherz, Set Construction Mike Snyder. In addition to directing, Pat DeFusco served as Artistic Director, Set Designer, Sound Designer and Engineer.

When first performed The Crucible provided disturbing commentary on the Salem Witch Trials with latent parallels to McCarthyism. Is it still relevant sixty-six years later?

Last October your correspondent attended a three part lecture series on the Salem Witch Trials. Mickey DiCamillo, the President of the Historical Society of Moorestown, delivered them. Mr. DiCamillo explored the socio-political dimensions of this disturbing episode in American history. He explained that three elements led to the trials: Puritan society was divided into many factions, a rampant belief that the government lacked the capability to govern and what he termed an internal “fear factor.”

During The Crucible Judge Danforth asked those accused: “Have you seen Satan?” This reviewer saw him in most of the characters portrayed on stage. To quote a Black Sabbath lyric:

When you listen to fools

The mob rules.

 The Crucible runs through October 26th at Haddonfield Plays and Players.

Night of 1000 Plays at Haddonfield Plays and Players

The play’s the thing, William Shakespeare wrote. This June 7th and 8th, plays were about a lot of things. Haddonfield Plays and Players hosted their annual Night of 1000 Plays special program. The company presented 24 short pieces submitted by local playwrights. I attended the Saturday, June 8th performance.

HPP Artistic Director Pat DeFusco directed the program. Mr. DeFusco selected a variety of dramatic styles for this endeavor. They ranged from the comical (such as David Lewinson’s Crazy), to the topical (Allie Costa’s Failure to Communicate) to the absurd (Absurdity by Jim Moss). They even included a philosophical piece contrasting the ancients’ views of gender roles with the modern one. (RA Pauli’s Man & Woman) Drama containing powerful soliloquys made the bill, as well. (Scot Walker’s Whole and Lily’s Fine by John O’Hara.)

The program’s sequence reminded me of Pink Floyd’s Echoes. On that best of compilation, producers mixed various songs from the band’s catalog into a sequence. The arrangement made them flow together naturally. Some have said the mix makes the album sound like one song.

The same could be said of Mr. DeFusco’s arrangement for this program. Somehow all these diverse plays flowed well with one another. That’s a testament to Mr. DeFusco’s creativity.

The Haddonfield Plays and Players stage became a busy place on Friday and Saturday nights. They still managed to present all 24 plays in less than two hours. Your correspondent has a rule about writing: the running time of anything I review should be greater than the time it takes to read my assessment of it. To adhere to that philosophy, I’m going to borrow an idea from another show I attended at HPP. High Fidelity’s protagonist, Rob, had a “top five” list for everything. For this post, I’m going to present my “top six” plays performed.

Two shows impressed through their imaginative use of language. Ron Baruch’s Love (directed by Pat DeFusco) took a minimalist approach. The playwright selected a difficult setting in which to do so. Amber Kusching played a director instructing two actors on how to play a scene. Performers Maddox Morfit-Tighe and Cassidy Scherz enacted a heartwarming result.

Jack Helbig crafted creative language in Thinking of Her Made Him Think of Her (directed by Bill Fikaris). The dialog included repetition a bit reminiscent of some passages in Harold Pinter’s Betrayal. Performers Zach Martin and Amanda Barrish played a couple expressing their inner feelings towards one another. Repeating the same words in different context can become comparable to speaking in tongue twisters. Both performers handled this challenge flawlessly.

George Sapio also used language ingeniously in his The One-Minute Mamet (directed by Pat DeFusco). Anecdotally it’s said that the average person uses only 23 different English words during a 24 hour period. Based on Mr. Sapio’s dialog, it seems Mr. Mamet gets by with two. Performers Lisa Croce, Pat DeFusco, Andrea Veneziano, Victor A. Martinez and Steve Kreal expressed the delicate nuances of the Pulitzer Prize winning playwright’s prose.

Playwright John O’Hara drew on the subject of theatre for his work. Cast (directed by Omi Parrilla-Dunne) envisioned what happens to actors after they die. Performers Steve Kreal, Lisa Croce, Connor Twigg and Lili Myers took the audience on a journey through the theatrical equivalent of the afterlife.

Mr. O’Hara’s Fan-Tastic (directed by Pat DeFusco) presented a twist on the traditional sports bar. The playwright envisioned the concept of a “theatre bar”: a place where supporters of the arts could pound a few brewskies with like-minded people. Performers Steve Kreal, Bonnie Kapenstein, Victor A. Martinez and Pat DeFusco brought this world to life.

Patti Perry both wrote and directed the evening’s concluding piece, Young Miss Sissy Fanning. This parody of Inside the Actors’ Studio contemplated the extremes aging actresses will pursue in order to remain relevant. It featured performers Pat DeFusco, Bonnie Kapenstein, Ricky Conway, Lili Myers, Brynne Gaffney, Andrea Veneziano and Cassidy Scherz.

The following shows rounded out the program: Complete Stranger or Completely Strange written by Carol M. Rice and directed by Lisa Croce, Air Rage written by Shirley King and directed by Omi Parrilla-Dunne, Balls written by Emily Hageman and directed by Alex Hawthorne, Remove Your Belt and Shoes written by Shirley King and directed by Bill Fikaris, It’s All in the Breast written by Robin Rice and directed by Bill Fikaris, The Down-Low Dating Show written by Steven G. Martin and directed by Pat DeFusco, Pseudo-Human Resources written by Rex McGregor and directed by Randy Hendler, In the Heist written by Allie Costa and directed by Nicole DeRosa Lukatis, Diagnosis: Improv written by Peter Dakutis and directed by Amanda Frederick, Proverbs written by Donna Latham and directed by Lisa Croce, Post-Apocalyptic Romance written by JJ Steinfeld and directed by Amanda Frederick, and Suit Yourself written by Chip Bolick and directed by Alex Hawthorne.

This elaborate show contained an extensive cast and crew. The following actors performed in various skits: Amanda Barrish, Amber Kushing, Andrea Veneziano, Bobby Kramer, Bonnie Kapenstein, Brynne Gaffney, Cassidy Scherz, Connor Twigg, Debbie Tighe, Isabella Capelli, Lana Croce, Lili Myers, Lisa Croce, Liza Chesebro, Maddox Morfit-Tighe, Melynda Morrone, Pat DeFusco, Ricky Conway, Sarah Pardys, Sera Scherz, Steve Kreal, Victor A. Martinez, and Zach Martin.

Pat DeFusco produced the show and handled the sound and projection design, Omi Parilla Dunne stage managed and designed the lighting, and Kalman Dunne worked as the sound engineer. Lana Croce and Emma Scherz assisted the Stage Manager.

Night of 1000 Plays treated audiences to an entertaining evening of theatre. For those who missed it, Haddonfield Plays and Players has more opportunities for budding playwrights on their calendar. This August 24th, they will present a 24 Hour Play Festival. On September 13th and 14th, they will host a Teen One Act Play Showcase.

Haddonfield Plays and Players received an “overwhelming” number of submissions for Night of 1000 Plays. They presented 24 of them. Playwrights have crafted plays since the fifth century BC. In a world where sources of entertainment change regularly, theatre still retains its popularity. To paraphrase Shakespeare: the play will always be the thing.

 

The Man Who Came to Dinner at Haddonfield Plays and Players

Who hasn’t had a guest who overstayed his or her welcome? Playwrights Moss Hart and George S. Kaufman took this premise to a new level with their comic masterpiece The Man Who Came to Dinner. The unwelcome guest in this case overstayed not just a few hours or days. He didn’t leave their house for several weeks; and this extended stay occurred during the Christmas Season. The visitor in this story also happened to be an obnoxious, arrogant journalist, radio personality and worst of all a critic. He also had a penchant for meddling in other people’s affairs. The hosts may not have enjoyed his visit, but the audience at Haddonfield Plays and Players delighted at watching the ensuing mayhem. I attended the opening night performance on May 10th.

The dramatic version of The Man Who Came to Dinner premiered in 1939. The film version followed in 1942. Hart and Kaufman included numerous cultural references from the time period in the play. Because of these outdated examples, some of the references from the 30s and 40s may go over the heads of modern audiences just like the bluebirds flying over the White Cliffs of Dover. (I wrote that example and even I had to look up the reference.)

In the playbill Director Shannon Gingell included a website to consult. It provided a good summary of the era to aid theatregoers in understanding the play. The analysis also included details about the real life people upon whom the playwrights based their characters.

For those who enjoy watching eccentric characters interact on the stage, The Man Who Came to Dinner is a must see. While walking up the steps to Mr. and Mrs.  Stanley’s (Wes Anderson and Phyllis Josephson) Ohio home, Sheridan “Sherry” Whiteside (played by Pat DeFusco) fell on the ice. Dr. Bradley (Tim Sagges) diagnosed that Sherry fractured his hip and couldn’t leave the Stanley’s house for several weeks. While there, Sherry tormented his hosts, his nurse, Miss Preen (Gina Petti Baldasari) and his secretary Maggie Cutler (Sarah Blake).

Local reporter Bert Jefferson (Joe Godley) arrived and talked Sherry into giving him an interview. In the course of their discussion, Bert mentioned he aspired to be a playwright. He gave Sherry a copy of his play to read.

Following that development, Bert and Maggie became romantically involved. Maggie told Sherry that she’d planned on quitting her job to become Bert’s wife.

Good administrative assistants must have been hard to find circa 1940. In order to keep Maggie working for him, Sherry came up with a plan to break up the relationship through Bert’s literary aspirations.

Sheridan Whiteside was not a likable character. To use contemporary references, his personality melded that of a pompous radio host with the mindset of a self-help guru who received an Ivy League education. Director Shannon Gingell selected the legendary Pat DeFusco for the role. Mr. DeFusco captured all these components of Sherry’s personality while keeping the role funny.

Mr. DeFusco introduced the character brilliantly. From his wheelchair, he ordered the Stanleys that he was taking over their home. Later he sarcastically informed them that he would be suing them for his broken hip. When Mr. Stanley (Wes Anderson) complained out the $700 plus phone bill, Mr. DeFusco said he would pay it. With sardonic wit he informed Mr. Stanley he’d deduct the cost from the money he’d win in the lawsuit.

And then there were Sherry’s bad qualities. The Stanley’s daughter June (Taylor Kellar) explained in her uniquely emotional way that she wanted to marry Sandy (Victor E. Martinez). The gentleman worked at Mr. Stanley’s factory. He was also a union organizer. Carl Sandburg once said, “Beware of advice: even this.” Mr. DeFusco’s character proved that statement’s veracity by nonchalantly advising the two to marry.

But there was more. The Stanley’s son Richard (Zach Martin) longed to become a photographer. Sherry recommended he leave home to follow that pursuit.

Mr. DeFusco and Gina Petti Baldasari played well opposite one another. Mr. DeFusco shouted insults at her every time she (as the nurse Miss Preen) tried attending to him. Ms. Baldasari made Miss Preen more neurotic with every interaction the two had. By the end of the show, she transitioned her character into a bitter, cynic with a hatred of humankind: all thanks to Sherry. Ms. Baldasari also showed tremendous imagination through her enactment of a penguin attack victim.

Wes Anderson and Phyllis Josephson portrayed their characters’ contrasting personalities well. Both harbored different attitudes towards their “guest.” Ms. Josephson exhibited Mrs. Stanley’s star struck attitude towards Sherry. She gushed over the celebrities who called and sent Sherry Christmas presents. Mr. Anderson showed increasing agitation with Sherry’s annoying behavior.

As one can tell by this point, Sherry was not the person one would want stuck in his/her home. In addition to his abrasive personality, he liked to entertain guests.

Sherry received a series of visitors at the Stanley’s home for the Christmas Season. To put it politely, they were not the Three Wise Men. Professor Metz (played by Rob Repici) would be the closest. With his emphatic German accent Mr. Repici raved over the gift he presented. The professor gave Sherry a cockroach village; think an ant farm, only with actual buildings. It included a speaker so Sherry could listen to the bugs.

Other intriguing guests included the hyperactive movie star, Banjo (also played by Rob Repici). The overly histrionic actors Beverly (Jim Bloss) and Lorraine Sheldon (Julia Terruso) wished Sherry a Merry Christmas in person. Prison Guard Baker (Victor E. Martinez) brought along two convicts (Andrew Chaput and Kacper Milkus).

Although she already lived in the home, Mr. Stanley’s sister, Harriet, (Sheila McDonald) proved Sherry’s most intriguing visitor. Ms. McDonald spoke in a quiet voice and talked enigmatically. I’d suggest audience members pay close attention to Ms. McDonald’s eccentric behavior while watching the show.

Sarah Blake made Maggie into the strongest character in the cast. Ms. Blake played the role of someone falling in love during her scenes with Mr. Godley. She made Maggie into a tough counterpart to Mr. DeFusco’s bullying. Ms. Blake portrayed Maggie’s indomitability very believably.

I enjoyed The Man Who Came to Dinner more for the performances than the script. Hart and Kaufman based some of the characters on real people. The playwrights developed them as caricatures for this comedy. The depictions fit the show and made it much more entertaining. The performers conveyed the essences of the roles they brought to the stage.

Taylor Kellar played Sarah as a highly emotional and dramatic teenaged girl. Jim Bloss portrayed Beverly as an actor who put the “drama” into the word dramatic. Julia Terruso presented Lorraine as a self-absorbed stardom addicted actress willing to do anything to remain popular. Rob Repici brought tremendous energy to the stage in his performance as the colorful actor Banjo. Tim Sagges added his comedy skills to the wannabe author Dr. Bradley. All these performers selected excellent voices to suit their roles.

One line from the show grabbed my attention. Mr. DeFusco introduced one of the convicts as a murder named “Stephany.” My great-uncle John Stephany lived in Stockton, California during the 1940s. It’s doubtful he ever encountered either Hart or Kaufman, however. By all accounts my great-uncle was a well behaved gentleman. For these reasons, I suspect my surname didn’t appear in the original script.

In addition, Mr. DeFusco is familiar with my writing. I’m sure he’s well aware that the only thing I’ve ever “butchered” is the English language. I do have to acknowledge that particular slaughter will continue for years to come.

I’d also credit performers Gary Werner (who also worked as Technical Director while designing and building the set), Lisa Croce, dee Stenton-Litchford and Andrea Veneziano for their contributions to the performance. Omi Parrilla-Dunne made her debut as producer. She also stage managed and designed the lighting. Pat DeFusco served as Artistic Director, Renee McCleery designed the costumes, Anna Diaczynsky handled the properties. Sound Engineer Kalman Dunne worked on the set design, as well. Jen Tracy served as the Scenic Artist.

The Man Who Came to Dinner affected me on a personal level. After the curtain call I didn’t want to leave the theatre. It wasn’t just because of the hospitality I received from Phyllis Josephson, Lisa Croce, Rob Repici and Omi Parrilla-Dunne, either. Theatre fans have until May 25th to see this show at Haddonfield Plays and Players. After that HPP will do to Sherry what the Stanleys couldn’t.

The Boys Next Door at Bridge Players Theatre Company

“I can’t tell if this is the saddest place I’ve ever been or the happiest,” social worker Jack observed. That’s a good summation of The Boys Next Door. It contained both a heart-rending and heart-warming story. I attending this opening night performance at the Bridge Players Theatre Company on February 1st. Edwin Howard directed.

The Boys Next Door related the stories of several men living at a group home. Arnold Wiggins (played by Stephen Jackson) possessed a compulsive and nervous disposition. Mentally retarded middle aged man Lucien P. Smith (Jay Scott Burton) had a fascination with books. Norman Bulanski (Matthew Brent) fixated on donuts and locks. Schizophrenic Barry Klemper (Jeff Skomsky) believed himself a golf instructor.

Case worker Jack Palmer (Thomas Everett) attended to these clients. The continuous struggles of helping these men fit into society strained him. He confessed to feeling burned out. “Either they deserve better or I deserve better,” he mused. Maintaining his composure proved a challenge.

Bridge Players’ production featured some powerful performances. Stephen Jackson played a convincing compulsive obsessive personality. His repeated counting, quick pacing and even faster talking captured Arnold’s essence. It’s difficult to speak clearly when delivering a machine-gun like barrage of words. I credit Mr. Jackson as he spoke in a way that I could still understand him.

Jay Scott Burton delivered the most powerful speech in the show. After his genuine portrayal of a man with mental deficiencies, he stood upon a soap box. Mr. Burton delivered a disquisition on the plight of the mentally retarded. He animated playwright Tom Griffin’s dialog with authority.

Matthew Brent played the lovable donut aficionado, Norman Bulanski. Perhaps, because of that, his character was the only one with a love interest. His scenes with Lisa Croce (as Sheila, the resident of a different group home) made for the show’s most sentimental. I give Mr. Howard and the performers credit for not allowing this relationship to deteriorate into melodrama. Their portrayal of the conflict that resulted when Ms. Croce innocently asked for Mr. Brent’s keyes aided in that regard.

The most moving scene occurred at the end of Act One. Mr. Bulanski and Ms. Croce danced together. They performed a well-choreographed routine. They showed each character’s affection for each other by smiling the entire time. So did the audience.

Jeff Skomsky played an exceptional Barry. Through the serious way he discussed “business” and conducted his golf lessons, I had difficulty telling why the character was even in the group home. Then Barry found out that the father he hadn’t seen in nine years was coming to visit him. At this point, Mr. Skomsky brought out the character’s inner turmoil.

Mr. Skomsky kept a blank look on his face while staring straight ahead. In an eerie monotone he told unbelievable stories about Barry’s father. He described “Kipper” Klemper as a third base coach for the Yankees, a defensive coach for the 49ers and Ted Williams’ fishing buddy. The performer’s interpretation of Barry’s mental state showed that the two men’s reunion would not end happily.

This segued into the show’s most memorable scene. Russ Walsh played Mr. Klemper as socially inept and crass. When he asked Jack to leave the two alone, Mr. Everett paused and gave him an uncomfortable look. Mr. Walsh then showed the dark side of “Kipper” Klemper’s personality. He and Mr. Skomsky played a very unsettling scene together. The emotions involved and the quality of the acting made it very difficult to watch.

With characters of this nature, humor becomes a challenge. The cast and director conveyed it respectfully. One of the most comical moments occurred when a neighbor (played by Andrea Veneziano) visited. While sitting on the couch sandwiched between Mr. Brent and Mr. Skomsky she asked if they’d seen her son’s hamster. I’ll avoid giving away spoilers, but the startled looks on their faces showed that they had.

The production also included some spectacular lighting. It figured. Bob Beaucheane is one of the best lighting designers in South Jersey community theatre. The Boys Next Door showed why. The multi-colored lights that simulated the dance hall looked very authentic. It complimented the music very well. (Mr. Beaucheane also handled the sound design.) The full moon projected on the backdrop created a superb ambiance for the outdoor night scenes.

Bridge Players Theatre Company President Timothy Kirk rounded out the ensemble.

Director Edwin Howard wrote in the playbill:

In today’s world of tolerance and acceptance, sometimes we forget that everyone has wants and needs. Just because simple things are harder to do for some people, doesn’t mean they are any less human and deserve any less care and love.

The Boys Next Door is a solid commentary on these sentiments. The show runs through February 16th at the Bridge Players Theatre Company.

Dirty Rotten Scoundrels at Haddonfield Plays and Players

This Friday the 13th theatregoers got lucky. Haddonfield Plays and Players decided to present a witty take on some dirty rotten scoundrels. There may not be honor among thieves, but they sure displayed some pretty good acting, singing and dancing chops. I attended the opening night performance on July 13th.

Dirty Rotten Scoundrels told the story of aging con-man Lawrence Jameson (played by Chris Fitting). Accompanied by his assistant, police Inspector Andre Thibault (Kacper Miklus), he took on the guise of a fictitious prince. He travelled the Riviera swindling women. During one con he encountered Freddie Benson (Sidney (Syd) Manfred Maycock III). The latter aspired to a life of chicanery but struggled to get his start. He asked Jameson to teach him the art of the craft.

Initially reluctant, Jameson discovered that one of his marks, the gun toting Jolene Oakes, (Lauren Elisabeth) already arranged their wedding. Facing an exile to the prairies of Oklahoma Jameson reconsidered the novice’s offer. The two teamed up on a comical skit to dissuade her. Then the partnership deteriorated.

The two made a deal. Whoever could swindle the next wealthy woman they met for $50,000 could remain in the area. The loser would leave town. Enter the “soap girl”, Christine Colgate (Kristina Coia). As they utilized some creative hijinks to win the challenge, both men found themselves falling in love with her.

I’ll avoid giving away spoilers. I will note that the script contained outstanding use of foreshadowing. Author Jeffrey Lane and lyricist David Yazbek used it with great subtlety, but it all made sense at the story’s conclusion: and what a conclusion! The ending contained plot twists that rivaled the Saw movies finales.

This show gets my Sienkiewicz Award. This honor comes from a line in Henryk Sienkiewicz’s Quo Vadis: “I wish it had been worse, because only then could I find the appropriate words to praise it.” Dirty Rotten Scoundrels (directed by Ryk Lewis) impressed me that much.

Chris Fitting cemented his reputation as the sharpest dressed man in South Jersey community theatre. There’s only performance I’ve seen where Mr. Fitting didn’t wear either a suit or a tuxedo. It’s refreshing that even in the modern era some people still find it appropriate to dress up for a night at the theatre.

The wardrobe aside Mr. Fitting’s style of performing puts him in a unique class. The aristocratic tone with the hint of a British accent suited his character brilliantly. He also displayed exceptional skill in adding an Austrian accent to it when his character played the doctor from Vienna.

Mr. Fitting executed some complex song and dance numbers flawlessly. I enjoyed his somber rendition of the ballad, “Love Sneaks In.” Through this tune he added an unexpected dimension to the con-man’s personality. He performed this adjustment in a believable manner.

Syd Maycock possesses a genius for comedy. His befuddled facial expressions while Ms. Koia sang “Nothing is Too Wonderful to Be True” were just as superb as her singing. He made it obvious he couldn’t believe the things she said. When she prodded him to continue the song, he stumbled over lyrics like he was hearing them for the first time.

When trying to deceive Ms. Coia’s character into giving him the money Mr. Maycock utilized a tender voice of his own. The way he exaggerated it made the inflection hysterical.

His best number occurred when he performed “Great Big Stuff.” Ryk Lewis’ choreography turned it into an awesome song and dance routine with the ensemble. After a performance like this some great big stuff is in store for Mr. Maycock.

Kristina Coia wins the first ever Sienkiewicz Award for Best Actress. Ms. Coia pulled off the most ingenious character transformation I’ve ever seen, heard or read. I won’t give it away as it would ruin the experience for those unfamiliar with the story. Ms. Coia enacted the change in a way that will still surprise audiences.

Aside from revolutionizing the concept of character transformations, Ms. Coia also displayed exceptional vocal capability. She selected the proper voice to sing her character’s songs. Ms. Coia’s soft, tender vocals worked very well on numbers such as “Nothing is Too Wonderful to Be True.”

These three thespians complimented each other wonderfully. The “Ruffhousin’ Mit Shuffhausen” made for the show’s highpoint. Mr. Fitting attempted to win the bet by forcing Mr. Maycock to admit he could feel below his waist. Mr. Fitting made this effort while singing, dancing and hitting him on the thighs with a cane. Mr. Maycock’s expressions and strained denials were impeccable. Ms. Coia’s concern and naïveté added the perfect enhancement to the scene.

I’m familiar with Gina Petti’s skill as a dancer. Ms. Petti displayed it often in Dirty Rotten Scoundrels. I’d never heard the performer’s singing skills. The show provided the opportunity. As Muriel Ms. Petti performed lovely renditions of “What Was a Woman to Do” and the “Like Zis/Like Zat” reprise.

Kacper Miklus delivered and sang his lines in a perfect French accent. He joined Ms. Petti for the duet “Like Zis/Like Zat” and crooned the solo “Chimp in a Suit.” He got laughs trying to play the suave suitor to Ms. Petti while struggling to ignite a cigarette with an empty lighter.

Jennifer Gordon choreographed the “Oklahoma?” routine. This one combined elaborate dancing with comedy. Lauren Elizabeth led the ensemble through one rockin’ hoedown.

I would also credit performers Mary Simrin, Julieann Calabrese, Tony Yates, Sarah Blake, Jen Stefan, Rebecca Dilks, Sheila M. Haswell, Andrea Veneziano, Briant Lopez, Ryan Fanelli, and Robert Haggerty for their contributions to the performance.

I had some minor issues with the script. The show broke fourth wall a few times. Most notably when Jolene informed Lawrence that she arranged their wedding, he asked, “Did I miss a scene?”

I also couldn’t tell when the story occurred. The script contained references to Bob Guccione, Hugh Hefner and Donald Trump; the latter because of his wealth. As the movie of the same name released in 1988, I figured it took place during the 1980s. Then Lawrence made a joke alluding to George W. Bush. I found this inconsistent.

In the “Give Them What They Want” number, Lawrence added, “then you leave them wanting more.” The cast and crew of Dirty Rotten Scoundrels did just that. The same song borrowed a line from John Keats’ Endymion:  “Truth is beauty.” It may be, but it’s not as beautiful as this performance. If you don’t believe me you have until August 3rd to determine for yourself.

 

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.