Burlington County Footlighters

A Night of Comedy Improv Featuring The Hotspurs! at The 2nd Stage at Burlington County Footlighters

Back on February 23rd, the 2nd Stage at Burlington County Footlighters hosted their 7th annual 24-Hour Play Festival. For that endeavor, teams of actors arrived at the theatre on a Friday evening. They selected genres, props, characters, tasks, lines and delivery styles at random. They then had 24 hours to write and perform a play using these attributes. A comedy trio called the Perfect Nobodies consisting of John Hager, Evan Harris and Andrew Snellen competed. They performed a comical take on a detective noir story called A Sleight of Hand.

Building upon that successful debut, the group added members Andrew Snellen and Brendan Rucci and changed their name to The Hotspurs!  This May 25th the 2nd Stage at Burlington County Footlighters hosted an evening with this quintet. Performers John Hager, Evan Harris, Sean O’Malley, Andrew Snellin and Brendan Rucci teamed up for an hour-and-a-half of improvisational comedy. Their efforts were serious, but the results were hysterical.

It takes tremendous courage to take the stage without knowing what one will be performing. To add to the pressure Footlighters originally scheduled this event to take place in a 35 seat room. Because of the demand for tickets, the company moved the show to the 92 seat Main Stage. Even that forum sold out. At the show’s beginning, Mr. Harris announced that Burlington County Footlighters already booked the group for another show in August. “They haven’t even seen us do this one, yet!” He observed.

The bar was already pretty high before The Hotspurs! took the stage. Would their performance meet expectations?

The group selected an outstanding opening. In addition to performing in sketches, Brendan Rucci provided musical accompaniment on the keyboard. He played a somber piece written in a minor key. Then an upbeat number broadcast through the auditorium as the other performers entered the stage. It set the tone for the festivities to come.

The evening included a series of “improv games” that the performers presented. They solicited ideas from the audience and then they performed a scene based on their suggestions.

They began the show with one called Half Life. The group asked the audience to provide both a relationship and a location. Performers Sean O’Malley and Andrew Snellen enacted an exchange between a father and son at an amusement park: but with a twist. The actors had to play the same scene during five different time intervals. They first had one minute to perform it, then 30 seconds, then 15 seconds, then seven seconds and, finally, one second. Their witty banter over whether the son (Mr. Snellen) inherited his beard from his father or mother made for one of the evening’s most hysterical moments.

Mr. Harris and Mr. Hager reprised the detective noir theme from their earlier work. When asked to provide a location for the scene of the crime, the audience selected a basketball court. Mr. Harris played an investigator attempting to locate a basketball stolen from him decades prior. Mr. Hager took on the role of the thief. Mr. Hager provided creative and unanticipated responses to the detective’s inquiries. To Mr. Harris’ credit, he managed to stay in character, not laugh and work with the unusual material Mr. Hager gave him.

After soliciting ideas from the audience, The Hotspurs! added their own improvisational ideas. The audience gave the setting of a dentist’s office in Cuba for the Director game. John Hager, Evan Harris and Sean O’Malley played a group of actors performing the scene. Mr. Snellen entered and performed the role of director. He told them to re-enact the scene as an interpretive dance. Following that rendition he had them play it as an opera. After that one, he had them perform it as a PBS special for children.

New Choice made one of the more challenging games. The audience provided the setting in which Mr. Harris’ character took Mr. Hager’s to a funeral for a first date. As they improvised the scene, the other performers would say, “new choice.” That cued Mr. Harris and Mr. Hager to change their responses. That’s quite a challenge for actors making up lines on the spot while in front of a live audience. The fact that the scene entailed an $18 funeral for a dog didn’t make it any less difficult.

The Hotspurs! added the musical genre to their repertoire, as well. Mr. Hager, Mr. O’Malley and Mr. Snellen performed the role of a three headed Broadway star. The audience selected The Cows Are Coming Home as the title of the show. They tasked the performers to sing a song entitled “Milk Me.” Each performer delivered one word that the one who followed would add to.

The group concluded the show with a musical number, as well. The audience picked “having a baby” as the topic. Mr. Rucci accompanied the group on piano as they sang about the miracle of life in the form of an Irish drinking song.

All the performers showed great poise and imagination. My favorite moment occurred during the “scenes from a hat” game. When given the topic of “the world’s worst game show host,” Mr. Harris came up with the following: “One gun. Six chambers. One bullet. One million dollars.”

I had one criticism of the show. It began nine minutes late. This was more due to the audience than either the performers or the company. Long after the 8:00 PM scheduled start-time I noticed audience members still taking their seats. This isn’t an issue endemic to community theatre performances. I would remind everyone of some wise advice someone gave me: “If you can’t be on time, be early.”

Comedy is serious business. It’s always amazed me that farces such as Noises Off! and The Fox on the Fairway are more intricate and involved than anything Tennessee Williams, Arthur Miller or Eugene O’Neill ever wrote. Improv isn’t much easier. The ability to write material on the spot that’s funny and then be able to perform it without laughing is quite a skill.  It’s a talent at which The Hotspurs! excel. The group will return to the 2nd Stage at Burlington County Footlighters on August 24th.

Advertisements

Bright Star at Burlington County Footlighters

“Is it better to hope or to know?” Jimmy Ray (played by DJ Hedgepath) asked.

When Burlington County Footlighters announced their 2018 – 2019 season, Darryl Thompson, Jr. issued a statement via Facebook. Mr. Thompson lamented that he had to wait a year to bring Bright Star to the stage. With over 12 months to plan, organize and prepare this show, was he better off “hoping” audiences would remember it as a spectacular piece or is he now better for “knowing” the answer? I discovered for myself when I attended the opening night performance on May 3rd.

Legendary performer Steve Martin wrote the book and Edie Brickell composed Bright Star’s music. Critics heralded this show. It received myriad award nominations including one for a Grammy. It won the 2016 Drama Desk Award for Outstanding Music, the 2016 Outer Critics Circle Award for Outstanding New Score and the 2016 Outer Critics Circle Award for Outstanding New Broadway Musical. To bring a show of this caliber to the Footlighters stage, Mr. Thompson utilized that year of preparation very effectively.

Bright Star contained a very rare combination of theatrical elements. It featured excellent choreography, catchy Bluegrass musical numbers and an extraordinary story. As Alice (played by Caitlin Alvarez) sang in the opening number:

If you knew my story

You’d have a good story to tell.

The show contained two alternating plot lines. One followed the star crossed love affair between Alice (Caitlyn Alvarez) and Jimmy Ray Dobbs (DJ Hedgepath). The second showed aspiring writer Billy Cane (Robert Stoop) in his pursuit of Margo (Rachel Comenzo) while trying to get published in the Ashville Southern Journal. The latter became the harder challenge. The journal’s editor read new writers with fastidious discernment. This portion of the story occurred twenty years after the first. An older Alice worked as the journal’s editor.

It shows Steve Martin’s brilliance in that he managed to make the life of a writer sound interesting.

Mr. Thompson selected many Footlighters legends as cast members. However, he selected a newcomer to the company’s stage for the lead role. Caitlyn Alvarez earned her place among performers such as DJ Hedgepath, Rachel Comenzo and Jillian Star-Renbjor.

Ms. Alvarez’s character appeared in two different incarnations. In one story line, Alice was both the “black sheep” of her family and a love struck teenager. In the other her character became an unemotional, jaded professional more comfortable with texts than with people. Ms. Alvarez animated both aspects of Alice’s personality with equal dexterity.

Ms. Alvarez also possesses a beautiful voice. She opened the show with a wonderful performance of “If You Knew My Story.” Her duets with Mr. Hedgepath on “Whoa, Mama”, “What Could Be Better” and “I Can’t Wait” expressed the hopeful optimism of youth beautifully.

Even allowing for the high standards audiences have for Mr. Hedgepath’s work, he still managed to exceed them. One has to credit him and Ms. Alvarez for their chemistry. That’s quite an achievement for two people working together for the first time.

Several years ago DJ Hedgepath’s mother commented on one of my reviews. She expressed her pride in her son. The way I praised his abilities in my article made her cry. I replied that Mr. Hedgepath is an immensely talented actor. I suggested she start stockpiling boxes of tissues.

I’m not sure whether or not Mrs. Hedgepath accepted my advice. If she did, I’d ask that she donate some of those boxes to Burlington County Footlighters for this run of Bright Star.

Mr. Hedgepath delivered his strongest vocal performance to date in the form of “Heartbreaker.” Through his emotive signing he made an affecting scene even more intense. He and Ms. Alvarez performed a duet on “I Had a Vision” that was even more moving. Mr. Hedgepath’s performance made the audience experience the same emotions as his character. That’s genius.

In the role of Billy, Robert Stoop delivered a stellar version of the show’s title track. In addition, Mr. Stoop had a witty interaction with Ms. Alvarez. He handed her a letter claiming that author Thomas Wolfe wrote a letter praising his writing. Using a monotone voice, Ms. Alvarez informed him that Mr. Wolfe passed away several years prior.

Mr. Stoop also performed an excellent number with Nicholas French (as Daddy Cane). The two sang a banjo accompanied funeral dirge for Billy’s mother with the somber “She’s Gone.”

In the playbill, Rachel Comenzo thanked Mr. Thompson for “the opportunity to sing again.” Audiences should express their appreciation to the director, as well. Ms. Comenzo proved herself quite the country crooner with her rendition of “Asheville.” She accompanied Mr. Stoop on a wonderful duet of “Always Will.”

Ms. Comenzo has that rare gift where she truly becomes the characters she plays. In her performance as Margo she always found the proper facial expressions to accentuate the scene. Her subtle wincing whenever Max (Christian DeCola) expressed his interest made their interaction more engaging.

Fans know Burlington County Footlighters for the comedy team of Al Krier and Dan Brothers. Performers Stephen Jackson and Alex Davis showed they may be the next great comedy team to originate from that company. The two provided a much needed catharsis to the intense drama that occurred in the show. In addition to their humorous interactions, they performed a catchy song and dance number with Mr. Stoop on “Another Round.”

Audrey DiEnno-Lacroce coordinated spectacular choreography. Several numbers involved the ensemble. The cast executed the intricate maneuvers well. Their skill made an entertaining performance into an awesome one.

Thomas Stone played the villain, Mayor Dobbs. He personified Larouchefoucault’s admonition that: “the evil wouldn’t be so dangerous if it weren’t for the good in them.” Mr. Stone’s character wanted his son, Jimmy Ray, to live a rewarding life. He erred by pursuing that end with unrestrained cruelty. Mr. Stone expressed that sentiment through his excellent rendition of the “A Man’s Gotta Do” reprise. His baritone repetition of the line “a man must protect his family” made it ominous. This brings me to my one criticism of the show.

When Mr. Stone took his curtain call I heard hissing from the audience. Folks: MR. STONE IS A GIFTED ACTOR. HE PLAYED THE ROLE AS WRITTEN BY THE PLAYWRIGHT. HE DID A SUPERB JOB OF IT.

Please do not confuse performers with the characters they play. In that sense, Mr. Stone should take pride in the fact audience members found his performance as Mayor Stone so authentic.

The following performers rounded out the cast: John Romano, Jillian Star-Renbjor, Matt Maerten, Tony Flores, Becky Crunk, Ally Masson, Rachel Ricci, Audrey DiEnno, Lena Dougherty, Shaina Eagan, Gabrielle Hansson, Mark Henley, Riley Rancani, Mackenzie Smith, and Luke Szyskiewicz. Michelle Foster served as Musical Director and Chuck Jackson designed the set.

Ms. Davis’ character described the task of a writer as: “to drink alcohol and feel sorry for yourself.” After watching Bright Star at Burlington County Footlighters, theatre critics will struggle to follow that follow that advice; at least the second part of it. Mr. Thompson and his team receive this critic’s praise for giving this phenomenal show the presentation it deserved. We can all drink to that.

Bright Star will shine at Burlington County Footlighters until May 18th.

 

Red Wrench at Burlington County Footlighters’ 2nd Stage

Playwright Tesia Nicoli received a unique birthday present from Burlington County Footlighters’ 2nd Stage. The company chose to present the opening night performance of this gifted playwright’s work on her actual birthday. Ms. Nicoli attended this show in-person. The audience felt like they’d received a present following this powerful performance of Red Wrench on April 5th.

This evening also featured a first for Burlington County Footlighters’s 2nd Stage. It marked the first time the group produced the work of a new playwright. They selected Ms. Nicoli’s Red Wrench for this inaugural endeavor.

Director Carla Ezell continued the tradition of bringing intense drama to the 2nd Stage. The playbill included the following tag line: Following a tragic car accident, a family struggles with their darkest secrets as their father’s life hangs in the balance. Ms. Nicoli’s website provided this summation: Once we know someone’s shocking secrets, can we still love them? The emotional turbulence in Red Wrench rivaled other works performed there.

Red Wrench told the story of a family drama. Harris family patriarch, Bill, (played by Lou DiPilla III) lay dying in the hospital following a car accident. Or was it? Speculation abounded that he intentionally collided with a tree. His son (Jonathan Edmonson), and daughters Casey (Lauren DiPilla) and Sofie (Kori Rife) gathered in the hospital waiting room. As they discussed their lives, past scandals, and family secrets bitterness came to the fore.

The resulting conflict made it seem the Harris family’s members contained more baggage than a Samsonite warehouse. The playwright offset this nicely by including unexpected sources of redemption in the forms of the eccentric stepmother Shannon Harris (Kathy Harmer) and people arriving in the visiting room from outside the Harris family: Daisy (Shay Fuller), Rosie (Stevie Neale) and Mikyla (Angel Ezell).

Ms. Nicoli provided an excellent setting for the actors to exhibit their craft. The hospital waiting room put characters that harbored deep grudges against each other in close proximity. They interrupted and spoke over one another. The behavior showed their latent animosities and lack of respect.

Lou DiPilla III delivered an impassioned performance as Bill Harris. He played an intense scene performing opposite the character’s son, Andy (Jonathan Edmonson). A discussion about Andy taking over the family business segued in Mr. Edmonson’s interjection of a family secret. The conversation became unsettling. Both performers captured the tension inherent in the moment.

Mr. DiPilla also played opposite his real life daughter, Lauren DiPilla. This dynamic carried over into the performance. Their most powerful scene together came as his character lay on his death bed. He revealed his guilt over a past action. The actors displayed the anxiety and the underlying hope in Ms. Nicoli’s dialog.

Jonathan Edmonson and Angel Ezell showed wonderful chemistry during their scenes working with one another. Mr. Edmonson played an unhappy, emotionally adrift adult while Ms. Ezell portrayed a teenage girl who collected unusual facts. This unusual pairing of characters led to one of the show’s pivotal moments. Both performers made for a memorable concretization of Mr. Edmonson’s character’s self-discovery.

Mr. Edmonson, Ms. DiPilla and Kori Rife impressed by playing the feuding siblings. They provided another one of the show’s impressive scenes. The rancor Mr. Edmonson and Ms. Rife exhibited in their performances made their exchange very realistic. Ms. DiPilla’s effort to serve as de facto referee added to the scene’s believability.

Kathy Harmer played the stepmother, Shannon Harris. Her interpretation of the eccentric free-spirit added levity to this intense drama. The playwright used the character to provide a moment of clarity for the Harris siblings later in the show. Ms. Harmer’s performance made the scene impactful.

Performers Shay Fuller, Patrice Cantrell Frazer, Stevie Neale and John Weber rounded out this extraordinary cast.

The incomparable Jim Frazer leant his stellar talents to this production. In addition to the scenic design, Mr. Frazer managed the lighting and sound. His use of the former for The Ether scenes created an unearthly ambiance throughout the theatre.

The opening night performance included a bonus for theatregoers. Following the show the company presented a “talk back” with the playwright, the director and the cast. Those in attendance were treated to insights on the writing of, rehearsal and final production of the show. Footlighters provided wine and cheese, as well. Another “talk back” is scheduled following the closing night performance on Saturday, April 13th.

An emotionally gripping story that at times became uncomfortable to watch, the theme of love ran through Red Wrench. Audiences who like their theatre to contain a lot of conflict moderated by the hope of redemption will love Red Wrench. These theatrical fans should give themselves either an early or belated birthday present by seeing it at Burlington County Footlighters’ 2nd Stage.

 

24-Hour Theatre Festival at Burlington County Footlighters 2nd Stage

Once again Burlington County Footlighters proved that the spirit of American ingenuity continues to thrive among South Jersey Community Theatre performers. On Saturday, February 23, 2019 Footlighters’ 2nd Stage presented their 7th Annual 24-Hour Theatre Festival. One of the most entertaining evenings out that I’ve ever had resulted.

For those unfamiliar with the program, at 8:00 PM on Friday, February 22nd, four teams of actors assembled at the Burlington County Footlighters 2nd Stage theatre. They were presented with six hats. Each contained slips of paper. They contained: a genre, a prop, a character, a task, a line or quote and a delivery style. Once the teams selected one of each, they had 24 hours to write a play that met all the criteria. The curtain would go up on their creation the evening of February 23rd.

For those who are familiar with Footlighters’ 24-Hour Theatre Festival, this year the organizers added a twist. They selected a “mystery” prop that each team had to use in its play. The prop would be drawn by an audience member at random via lot. The performers wouldn’t discover what that prop was until DURING their performance.

BCF established the evening’s improvisational nature even before the festivities commenced. The emcee, Carla Ezell, stated that she discovered she’d be hosting the program just a few hours before the show. Ms. Ezell’s improvisational aptitude set a high bar for the performers to match. Would they?

Internal Affairs featuring CGI Paul Walker performed a black comedy called Lady Luck. Team members Alex Davis and Josh Ireland presented the best one act play that I’ve either read or watched. Mr. Ireland played a troubled loner with a fascination for birds. Ms. Davis took on the role of a disgruntled Dear Abby responding to his inquiries. This duo presented a 25 minute play while even working clever alliteration into their script. The writing was so good that I’d encourage them to publish the play. Although, I’m sure it wouldn’t be as entertaining without Mr. Ireland and Ms. Davis starring in it.

The Drunken Kruk team took the stage next. Performers Emily O’Connell, Susan Paschkes, Caroline Piotrowski and Ellis Skamarakas presented a pirate musical titled The Drunken Kuk and the Kracken. (You read that right: they selected “musical” as a genre. Those BCF organizers have no mercy on these participants.) The team met some other unique challenges. One character only spoke with either slogans or tag lines. They also had to work a game of patty-cake into their show. This group pushed the limits of creativity. While not asked to, they managed to do the latter while forming a conga line.

Next, the Perfect Nobodies team performed A Sleight of Hand. In this show, John Hager, Evan Newlin and Andrew Snellen presented a story about two detectives attempting to solve a murder. The narrative contained a twist in that the prime suspect could only say the opposite of whatever he meant. The group freelanced by turning this premise into an absolutely hysterical farce. They worked their “mystery” prop into the story with both brilliance and wit. I also admired how while working with a script less than 24 hours old, no one used notes. Everyone still delivered their lines flawlessly.

A love of animals bracketed the program’s play portion. (Now Internal Affairs has me doing the alliteration thing.) The Lusty Dolphins received the challenge of performing in mime and incorporating the task of playing Jenga. Performers Alex Levitt, Dave Pallas, Angelo Ratini and Chrissy Wick showed some monumental creativity on this one. They split up the duties. Mr. Levitt and Ms. Wick played a married couple preparing for a Jenga match. Mr. Pallas and Mr. Ratini performed the mime roles. They mimed the same dialog that Mr. Levitt and Ms. Wick spoke to one another. The actors used a series of different situations to do so. The cleverest came when they mimed a husband driving his pregnant wife to the hospital. Her water broke and forced the husband to deliver the baby. Without giving away spoilers, they made it apparent that the child wasn’t his.

Following the, for lack of a better word, “prepared” plays, the actors participated in a series of improv games.

For the first, performers formed teams of two each. They were tasked with delivering a line that described a situation written by a member of the audience. Once that concluded, they were asked to do something creative with props.

Three actors then played dating game contestants. They selected cards that described whom they were. An audience member played the role of either the bachelor or the bachelorette by asking them questions. The bachelor(ette) then had to guess the character’s identity.

All the contestants deserve credit for participating in these challenges. None of them were easy. Because of that I’d credit Alex Levitt and Evan Newlin for displaying two of the quickest minds I’ve encountered. They both came up with some quality material on-the-spot. Could one of them be the next Robin Williams?

Jim Frazer did fantastic work on the lighting and sound. Angel Ezell also assisted with the evening’s festivities.

Footlighters icon Alan Krier once told me: “I’ve always found that the kids that are involved in the performing arts are always the ones that are exceling in school. The two seem to go hand in hand.” The 7th Annual 24-Hour Theatre Festival showed that those same traits carry over into life after school.

On the morning of February 23rd a Facebook post announced that the theatre would open at 10:00 AM that morning. I happened to pass the building around 11:00 AM. I noticed six cars already in the parking lot.

All participants behaved like the professionals they are. No one got frustrated or gave up because their task was “too hard.”

This wasn’t a contest, either. No team was declared the “winner.” No one offered them any prize money. The actors participated because they wanted to participate. In this era that says something.

I’m no Dear Abby, because if I were I’m sure I’d conduct myself in the vein of the character envisioned by Alex Davis. Periodically, though, people still ask me for advice. Whenever someone wants to know if they should quit something, I suggest the following: “Do you like what you do? Do you want to learn how to do it better? If the answer to either of them is ‘no’, then you need to do something else.” To the delight of South Jersey Community Theatre fans, the participants in the 7th Annual 24-Hour Theatre festival showed the audience just how they affirmatively they would answer those questions.

A Streetcar Named Desire at Burlington County Footlighters

Several years ago it seemed like every South Jersey community theatre produced a version of Sister Act. Now it seems like they’ve graduated to more sophisticated material. Tennessee Williams has become the new ubiquitous feature on community theatre marquees.

Burlington County Footlighters presented the latest rendition of Mr. Williams’ work in the form of A Streetcar Named Desire. I attended the opening night performance on January 25th.

Streetcar told the story of down-on-her luck dilettante Blanche DuBois (played by Morgan Petronis). She’d lost her husband, her job and the family estate in quick succession. While a common theme in country music, Williams applied this trio to the stage. He did so magnificently. The show received the 1948 Pulitzer Prize for Drama in the process.

Blanche’s sister Stella (played by Alex Davis) agreed to let her stay in the New Orleans home she shared with her husband Stanley Kowalski (John Helmke). Blanche found the accommodations lacking in the sophistication to which she’d accustomed herself. She also discovered Stanley to be a boorish “madman.” Stanley responded to Blanche’s contempt and haughty attitude by working to destroy her reputation.

So do audiences really need another installment of Tennessee Williams? With conflict this strong how could a real theatre fan ever get enough of it?

Tennessee Williams’ work presents a host of challenges for actors. Director Lou DiPilla selected a superb cast with which to meet them.

Morgan Petronis played an exceptional Blanche DuBois. The performer first deserves credit for taking on one of the most iconic roles in American theatre. In addition, the character presents several difficulties for those with the courage to play it. Let’s start with the writing.

Watching this show reminded me of a conversation I once had with the late Glenn Walker. In a discussion regarding HP Lovecraft, he criticized the author’s use of narration. When thumbing through one of Lovecraft’s stores, one can see blocks and blocks of text without dialog.

A reader could criticize the text of Streetcar for a similar reason. After perusing its pages just now, I witnessed blocks and blocks of dialog. This creates a problem for actors. People in the modern era are used to 5 second sound bites and Tweets of less than 140 characters. How can one engage contemporary audiences with such verbose material?

Ms. Petronis got it done. She delivered her lines in keeping with the sing-song lyricism of Williams’ dialog; adopting a very authentic Southern accent. One has to credit her for keeping the cadence without misspeaking any of her lines.

Now that was just the speaking facet of the role. Not only did Williams’ protagonist change throughout the story, the character became more of a fabulist than even Willy Loman.

Ms. Petronis played this liar very believably. Even as someone familiar with the play, I struggled to tell when Blanche told the truth or fibbed. I liked the casual ways Ms. Petronis said that she’d only have one drink…or two. She strolled around the stage in finery claiming an old suitor tried to contact her. While the audience could tell the character had begun losing touch with reality, Ms. Petronis portrayed Blanche as though SHE believed the things she said. That’s a very difficult balance and the performer executed it brilliantly.

Tennessee Williams didn’t limit himself to only making Blanche a complex character. His antagonist possessed some complexities of his own. The Stanley role reminded me a bit of the title character from Eugene O’Neill’s The Hairy Ape. Only this one contained much more attitude, anger and vindictiveness. John Helmke met the role’s demands.

Mr. Helmke played well opposite Ms. Petronis. As highbrow as she made Blanche seem he enacted Stanley as the opposite. His rough accent and the way he shifted his weight while walking suited the character. With equal dexterity Mr. Helmke played a hard-drinking “one-of-the-guys”, a destructive alcoholic and a contrite husband. The latter a challenging task for a character harboring a low opinion of women. The realistic way he begged for Stella’s forgiveness made me cringe.

Alex Davis played Stella, the bridge between these two poles. The character harkened back to Shakespeare’s Brutus. Like him, Stella meant well, but always made the wrong decisions. The nonchalant way in which Ms. Davis would either make excuses for or express enjoyment over Stanley’s behavior was chilling. Ms. Davis’ rendition showed Stella didn’t see any flaws with his actions.

Fran Pedersen played a phenomenal love interest for Blanche, Harold “Mitch” Mitchell. Mr. Pedersen stumbled over his words and laughed awkwardly while attempting to woo her. When Stanley told him what he’d discovered about Blanche, Mr. Pederson adapted. With disheveled hair he raged at her, sounding almost as angry as Stanley. At the show’s end he gave her sad looks that expressed his regret better than words.

Blanche complained about her “nerves” throughout the show. After watching performances this powerful, I’m sure the audience felt a little unsettled.

The following performers rounded out the cast: Kori Rife, Matt Dell’Olio, Shay Fuller, Jeff Rife, Tim Schumann, Lauren DiPilla and Brian Wayman.

In December of 2016 I attended Burlington County Footlighters’ presentation of A Christmas Carol. Set designer Jim Frazer crafted a Christmas village that converted the stage into a real-life Norman Rockwell painting. I didn’t think it possible to create a stage set better than that one. Then came The Explorers’ Club. After this show, I’ll start adding the words to date whenever I describe Mr. Frazer’s “best.”

When I entered the building I felt like I strolled right into the French Quarter.  The set for Streetcar transformed the stage into vintage New Orleans. The broken shutters, the wood balcony and the cerulean backdrop gave the setting authenticity. The flickering streetlamps at both sides of the audience created an eerie ambiance when the house lights (also designed by Mr. Frazer) dimmed.

One wouldn’t expect a non-musical drama to contain good singing. Footlighters’ presentation of Streetcar did. Carla Ezell added her soulful vocal prowess to the production. Since the action occurred in the Big Easy, instrumental jazz music played throughout the performance.

That brings me to my one criticism of the show. With all the jazz music I’d hoped the Mike Parisi Trio would return to the Footlighters stage. They played at the Winter Warmer the company hosted in December. Their jazz stylings would have fit well with this ambiance. Maybe the next theatre company will take note when it presents Tennessee Williams.

The brutality and brilliance of A Streetcar Named Desire will never lack relevance. The cast and crew at Burlington County Footlighters demonstrated why it will always be a timeless masterpiece.

While Williams’ work may be timeless, time is running out at Burlington County Footlighters. Theatre fans shouldn’t depend on the kindness of strangers to buy tickets for them. They have until February 9th to see the show. After that they can still stand outside the building yelling, “Stella! Stella!” They’ll receive a much different response than Stanley Kowalski, however.

The Winter Warmer at Burlington County Footlighters

In the movie The Return of Spinal Tap, Paul Schaffer’s character observed: “It’s funny how the business does a thing.” I still recall DJ Hedgepath’s breathtaking rendition of Judas Iscariot in Jesus Christ Superstar at the Collingswood Community Theatre. I also remember Cynthia Reynolds’ superb performance as the lead in Carrie: The Musical at Burlington County Footlighters this past May. This December 14th I attended a show in which they both sang Christmas songs. To quote the late Sammy Davis, Jr.: “Only in this business.”

All kidding aside, South Jersey features immense talent that performs at local community theatre shows. With so many gifted performers sharing the stage, the skill of individual players can get overlooked. I’ve wondered what it would be like to listen to some of them just standing in front of a microphone and singing. I found out at the Burlington County Footlighters Winter Warmer.

The program featured local community theatre actors singing Christmas songs. The organizers bracketed the performance with some stellar Jazz performances. The evening opened with music by The Mike Parisi Trio featuring Ryan Smith on piano, Mike Parisi on bass and Evan Smith on saxophone. They warmed up the audience by playing jazz versions of Christmas carols. A supreme performance by Stephen Mitnaul and the Smooth Show concluded the evening’s festivities. John Romano emceed.

The show featured some deeply moving versions of Christmas classics. Jerrod Ganesh delivered emotional renditions of “Have Yourself a Merry Little Christmas” and “Mary, Did You Know?” Shaina Egan performed a stirring version of “O, Holy Night” accompanied by Darryl S. Thompson, Jr. on harmony vocals. Mother and daughter team Carla and Angel Ezell teamed up for the soulful “Miss You Most at Christmas Time.”

The latter tune affected me personally. For Rhythm and Blues fans, Christmas time always brings a tinge of sadness. We lost two legends of the genre during the Holiday Season. James Brown passed away on Christmas Day on 2006 and Curtis Mayfield left us on Boxing Day 1999. While their talent can never be replaced, the performances turned in by singers such as DJ. Hedgepath, Mr. Thompson and Ms. Ezell showed that the spirit of their music has continued into the next generation.

The show featured a range of styles in the song selection. It included several upbeat numbers. Stephen Jackson applied his charming vocal stylings to “It’s the Most Wonderful Time of the Year” and “The Christmas Waltz.” In a radical departure from the dirge-like minor key melodies of Carrie, Cynthia Reynolds delivered the popular Holiday staple “Rockin’ around the Christmas Tree” just as brilliantly.

What Christmas show would be complete without a little romance to spice up the Holiday Season? Ms. Reynolds performed the affectionate “Merry Christmas, Darling.” Emily Huddell geared up the audience for the next Holiday with the inviting “What Are You Doing New Year’s Eve?”

The event included an original take on a seasonal classic. Alex Davis sang a cheery version of “White Christmas.” At the end of the song, Ms. Davis interpolated the somber mood of the original. It rounded out this unique rendition nicely.

You know it’s a good show when even the intermission includes outstanding music. During the break, The Mike Parisi Trio took the stage. They performed an instrumental version of “The Christmas Song” that would’ve impressed both Nat King Cole and Bill Evans.

America’s original art form made its way into the regular program, as well. Darryl S. Thompson, Jr. delivered a high energy rendition of “I’ll Be Home for Christmas.”

During his performance of “This Christmas”, DJ Hedgepath informed the audience: “This is a very special Christmas for me.” It was just as special for his fans. Mr. Hedgepath treated them to the Holiday favorite “Jingle Bells.” He brought the audience into the show with “This Christmas.” When the music started he told them that he expected to hear “foot tapping” and “hand clapping.” A lot of the former occurred while he performed and even more of the latter took place when he concluded.

Following the individual performances, saxophonist Stephen Mitnaul and the Smooth Show took the stage. They opened their set by backing-up Darryl S. Thompson, Jr as he performed a moving rendition of “Christmastime is Here.” They then treated the audience Mr. Mitnaul’s unique blend of jazz, gospel, funk and soul/R&B.

The band’s sound reminded me of Miles Davis’ when he experimented with Jazz Fusion. That seemed appropriate. Mr. Mitnaul’s style contains the soul of Miles Davis with the chops of John Coltrane.

Like Miles Davis, Mr. Mitnaul has an ear for talent. He surrounded himself with a group of stellar musicians. The Smooth Show included Hasan Govan on bass, Jared Alston on keyboards and Clayton Carothers on drums.

Mr. Mitnaul informed the audience that the band didn’t realize they were playing a Christmas show. They didn’t know many Christmas songs, but could try and include a few in the set.

This seemed a little cliché to me. Did I just hear a jazz musician suggest he might be able to improvise? Isn’t ‘the ability to improvise’ the number one task listed on a jazz musician’s job description?

Mr. Mitnaul and the Smooth Show proceeded to prove themselves worthy of the title: jazz musicians. They worked some Holiday tunes into their set; concluding with an awesome rendition of “This Christmas.”

All the musicians demonstrated remarkable soloing ability. Special credit must go to Clayton Carothers. Mr. Carothers played one of the most outstanding drum solos I’ve ever heard: and I’m an Art Blakey fan who’s attended several Rush concerts. Even more remarkable, his kit consisted of just the basics: a snare drum, a floor tom, a tom, a high-hat and some cymbals. All you drummers who need to be air-lifted into your sets please take note.

The band showed that this wasn’t just a job to them. They genuinely enjoyed playing this gig. Its members often smiled at each other throughout the evening. So did their audience.

Christmas only comes once a year. Unfortunately, so does Burlington County Footlighters’ Winter Warmer. During the show Darryl Thompson, Jr. announced that the company planned to make this a regular annual event. Now I know what to ask Santa to bring me next Christmas: a ticket to the 2019 Winter Warmer.

 

 

 

Rosencrantz and Guildenstern are Dead at Burlington County Footlighters

This is not an easy show, as director Alex Davis prefaced her remarks in the playbill. That’s a trenchant point. Rosencrantz and Guildenstern are Dead included themes from the disciplines of rhetoric, philosophy and mathematics. Add to that some Shakespearean dialog and an approach to action that made sitting through a Beckett play seem like watching the X-Games. Some would argue that Tom Stoppard produced the theatrical equivalent to Jerry Seinfeld’s “show about nothing.” Whatever one’s take, I’m sure most would agree it makes for some pretty deep theatre. I attended the opening night performance on November 2nd at Burlington County Footlighters.

High minded dialog combined with stretches where little action occurs puts a lot of pressure on the actors. Ms. Davis selected the perfect duo for this challenge with Josh Ireland and Matt Dell’Olio.

One of the key precepts of writing is to hook the reader with the first sentence. The same goes for drama. Mr. Stoppard proved himself quite the iconoclast. This show began with two characters discussing the results of coin tosses for several minutes. That forced the actors to interest the audience through their histrionic skills alone. Mr. Ireland and Mr. Dell’Olio deserve great respect for meeting this challenge.

The conversations seemed to shift topic randomly. While ostensibly about dry subjects on the surface, it contained serious philosophical undertones. The dialog even modulated into Shakespearean language during several scenes. Once again: Mr. Ireland and Mr. Dell’Olio didn’t allow the difficult material to impede their performances.

Mr. Ireland played a spirited Rosencrantz. In addition to his natural means of speaking, he displayed the perfect gestures. At times they reflected my own confusion with some of Mr. Stoppard’s complex dialog.

Mr. Ireland showed poise when a miscue occurred. During the opening scene one of the coins rolled into the audience. He leapt off the stage, said, “Excuse me”, took it from the spectator who had it, and resumed playing the scene. Even during this unexpected incident, he remained in character.

In 2016 Mr. Dell’Olio took delivering a soliloquy to a new level. In Dead Man’s Cell Phone he made the selfish justifications of a narcissist sound as weighty as Hamlet’s “To Be or Not to Be” oration. It seemed fitting that he’d play a role that interacted with the same character who delivered it.

Mr. Dell’Olio treated audiences to another sublime performance. He showed exceptional stage presence as Guildenstern. Mr. Dell’Olio displays a method of speaking that makes even the commonplace sound profound. Through his gestures he brings powerful emotion to his roles. It’s a testament to his abilities that even this material didn’t restrain him from delivering a Matt Dell’Olio style performance.

As The Player, Dennis Doherty delivered the funniest line of the show. “We’re actors! We’re the opposite of people!” Mr. Doherty also brought out one of the script’s most serious themes. His character demonstrated the subtext that explored the relationship between reality and art. Mr. Doherty executed both the humorous and serious attributes of this character brilliantly.

It’s quite an achievement to make madness and a hunger for vengeance comical. Enter John Hager. He transformed Hamlet into one of the funniest characters I’ve seen performed on stage. Mr. Hager selected the perfect voice for the role. Through his eccentric mannerisms, he made the audience laugh even when not speaking.

Performers Howard Goldberg, Jenny Scudder, David Rizzo, Liz Baldwin, Courtney Bundens, Joshua Kurtz, John Salera and Michael Mueller rounded out the cast.

This high minded show became a high tech spectacle. Jim Frazer’s set and lighting design established a perfect setting for the dramatic action. The use of projections and lighting created flawless impressions of nighttime and daybreak. Amanda Cogdell’s period costuming transformed the stage into a replica of seventeenth century Denmark.

Rosencrantz and Guildenstern are Dead made for an evening of sophisticated theatre. Ms. Davis added:

You could look at it through the lens of existentialism, questioning whether or not these men truly are free to choose their own paths, or if their fate is sealed and, in turn question your own reality, and whether or not YOU choose your own destiny.

The show may not be “easy”, but the choice to see it is. For those allowing fate to decide whether they should, flip a coin: preferably one of Rosencrantz’s. For South Jersey theatregoers who prefer to control their own destinies, the show runs through November 17th at Burlington County Footlighters. After that it meets the same fate as Rosencrantz and Guildenstern…and Hamlet…and Ophelia…and Polonius…and Claudius…

Frost/Nixon at Burlington County Footlighters’ Second Stage

A flurry of entertainment masquerading as politics has infected the news cycle for the last two years. To ameliorate this madness I opted to watch a theatrical presentation exploring the thin line between politics and show business. Granted, that decision may sound like the drunken whim of a law student out celebrating the only time he ever managed to pass a bar. Nonetheless, I was sober as a judge when I attended the opening night performance of Frost/Nixon at Burlington County Footlighters’ Second Stage this October 5th.

Tim Kirk directed this analysis of two unlikely adversaries. Both men reached vertiginous heights of success at the summit of their professions; one in television, the other as the leader of the free world. Failures crushed each man plummeting them to the ground like modern day Icaruses. But a burning ambition ignited both to strive for that apex again. The only obstacle preventing each man’s return to glory was the other man.

A night of engaging theatre quickly transitioned into a verbal chess match. With Matt Becker in the role of David Frost and Bernard DiCasimirro portraying Richard Nixon it was game on.

Matt Becker did a wonderful job transitioning Frost from a carefree talk show host into a credible journalist. The English accent he adopted reflected the character’s cheery persona. Mr. Becker showed the audience that means of speaking masked a facade. As the show progressed, he brought out the complexities of Frost’s character. I liked the uncomfortable way he avoided the question when Caroline (played by Emily Huddell) accused him of being “sad.”

My favorite scene occurred when Frost received an unexpected phone call. Mr. Becker lamented the poor quality of the interviews and how he’d gambled his career on them. Then an inebriated Nixon contacted him. With a slight slur and an abundance of bravado, Mr. DiCasimirro drew comparisons between the two men. Mr. Becker listened while a poker face for the ages came over his expression. The look captured the character’s determination and frustration. As he sat silently listening to the President’s drunken oration, Mr. Becker drew my attention even better than Mr. DiCasimirro’s brilliant portrayal of the intoxicated former President.

Richard Nixon assured the American people that he was “not a crook.” In the role of the former President, Bernard DiCasimirro sure stole the spotlight. His witty delivery of anecdotes captured both Nixon’s disarming charm and social discomfort. His efforts to rattle Frost before he began the interviews captured the character’s ruthlessness. Through his skillful portrayal he managed to inspire empathy for the disgraced former Chief Executive; transitioning him from a cynical political operator into a vanquished and broken man. Nixon may have let down the American people. Mr. DiCasimirro certainly didn’t let down the audience at Burlington County Footlighters’ Second Stage.

Mr. DiCassimiro captured the character’s essence brilliantly. My favorite moment came when Nixon learned that Frost made the $200,000 down payment for the interview with his own money. Mr. DiCasimirro nonchalantly quipped to an aide: “If I’d known that, I would’ve offered him tea.”

In addition to directing, Tim Kirk played several roles in this piece. He delivered a terrific rendition of negotiator extraordinaire Swifty Lazaar. He played it so well that I had to avoid him after the show. I worried that he’d be able to talk me into spending a fortune on a pair of those Italian shoes Mr. Becker wore.

I usually don’t agree with the inclusion of a narrator in theatrical productions. Frost /Nixon featured two. To my surprise, Mr. Morgan crafted both roles very well. The playwright used them to provide insights into both the Frost and Nixon camps. The audience got to learn about the motivations behind each character’s supporters. The performers who played the narrators animated the text beautifully. Dave Pallas (as Jim Reston) presented the story from the Frost camp. I enjoyed the way brought out the anxiety and frustration with the project. Francis B. Pedersen (Jack Brennan) provided a convincing point-of-view from a dogged Nixon loyalist.

I also credit performers Richard E. Brown II, Alex Levitt, Scott Alexander Ross, Emily Huddell and Eilis Skamarakas for their contributions to the performance.

I had one criticism of the show. The story’s premise defied belief. My mind couldn’t process the idea of a Republican politician talking to a reporter not representing Fox News. I understand that the events in the story occurred 19 years prior to the network’s advent, but still: I would have found a musical version of Tolkien’s The Hobbit performed on an ice skating rink much more believable.

Media and politicians do share some common practices. In addition to sensationalism, both tend to frame issues as zero-sum games. The latter does not provide the best source material for a fun evening of theatre. The cast and crew of Burlington County Footlighters’ Second Stage still did extraordinary work making Frost/Nixon enjoyable. Mr. DiCasimirro’s rendition of Nixon made him into a tragic figure worthy of Shakespeare. Mr. DiCasimirro’s character told Mr. Becker’s, “Only one of us can win. The other ends up in the wilderness.” In staying true to Nixon’s personality, this statement proved inaccurate. The audience walked away the victors from this contest.

Frost/Nixon heads out to the wilderness from Burlington County Footlighters’ Second Stage after October 13th.

Spring Awakening at Burlington County Footlighters

South Jersey community theatre fans experienced an historic evening on Friday, September 14th. Both a mother and son directed shows that opened on the same day. Tami Gordon Brody, the matriarch of the Brody acting family, directed a second run of Love, Loss and What I Wore presented by Haddonfield Plays and Players. Following his mother’s lead Evan Brody made his directorial debut with Spring Awakening. I attended the latter.

With the waning days of summer upon us, Burlington County Footlighters opted to open their 81st season with Spring Awakening. This show contained elements that would appeal to a wide variety of theatrical fans. It included a unique interpolation of the Aeneid, the music reminiscent of mid-1990s pop along with a whole lot of teenage angst added for dramatic effect. The story combined Nihilistic philosophy with myriad references to onanism. I have to admit: I never would’ve expected someone to fuse that kind of range into any medium; especially a dramatic production. For a show set in the bland days of the late nineteenth century, this musical by Steven Sater and Duncan Sheik sure didn’t lack for diversity.

Several years ago I attended a performance of Marsha Norman’s ‘night Mother at Burlington County Footlighters’ Second Stage. At the time I didn’t think it possible to present a show more intense than that one. Well, Footlighters raised that bar again. Imagine something like ‘night Mother put to music with a passionate ill-fated love affair worked into the story. Then add the moral universe of Grimm’s Fairy Tales where children who disobey authority face brutal retribution.

As harsh as all that may seem, Spring Awakening presented a solid exploration regarding the tragedy of the human condition. The music (under the direction of Anthony Sinigaglio) and dancing (choreographed by Tiara Nock) made the heavy themes easier to process. The gifted actors who brought the story to life with such passion required it to balance out the mood.

Spring Awakening told the story of star-crossed lovers Melchoir (Evan Newlin) and Wendla (Jenna German); he an idealistic intellectual driven by reason and she a repressed and isolated young lady with little understanding the world’s ways. They attended unisex schools in Germany during an era when authority figures viewed any nonconformity to society’s mores as anathema. In spite of this bleak background, Melchoir and Wendla developed a friendship that evolved into a deep passionate relationship.

At this point I understood why Footlighters decided to present this show in September. With all the ragweed in the air, people in the South Jersey area have been stocking up on tissues. After processing this set-up I knew they were going to need them. I did not expect the story to end well. The cast and crew’s skill in presenting these characters’ tragic journey allowed me to enjoy the voyage.

Both Mr. Newlin and Ms. German played complex roles to perfection. They exhibited profound capability to bring out the suppressed aspects of their characters’ personalities. These two performers expressed Melchoir’s and Wendla’s inner conflict with holding back their feelings very believably.

Mr. Newlin and Ms. German proved just as adept with their musical numbers. Ms. German delivered a somber rendition of “Mama Who Bore Me” to open the show. It sounded absolutely haunting and established the mood that dwelled over the performance. Mr. Newlin changed tack and showed strong comedic skills, as well. He and the cast added a humorous take on hopeless situations with the “Totally F*cked” number.

Vincent DiFilippo delivered another awesome performance. He nailed the essence of the jittery Moritz. Mr. DiFilppo transitioned from playing the role as a comic character with a nervous disposition to a tragic figure overwhelmed by circumstances. He turned in one of the most powerful performances I’ve ever seen.

Rachael Grodzielanek and Michael Sheldon played evil authority figures brilliantly. The military style marches they employed when approaching each other added to the characters’ malevolence while adding just a slight touch of the comic.

I liked that the playwright provided opportunities for the supporting characters to perform solos. I’d credit everyone in the ensemble for their contributions to a strong show. Paul Sigall, Evan Hairston, Aaron Wachs, Jerrod Ganesh, Melany Rosa, Alexis Short, Shannon Forbes and Cynthia Reynolds added their talents to a wonderful production.

The visual atmospherics gave this show an exceptional ambiance. During the climax, the stage became eerie. Lighting Designers Naomi Burton and Rebekah Macchione (who also assistant directed) crafted flawless illumination for this moment. While providing a sensual atmosphere a sense of doom pervaded during this pivotal scene. The candles held by the cast members made the moment absolutely ominous.

I must caution theatre goers that Spring Awakening is a show for mature audiences. It includes adult themes, language and an explicit love scene: all of which are legitimate artistic means to present a story. With all that material I’m a little surprised they let me in the door. I would strongly advise those offended by any of the above to avoid this show, but to get out of the house more often.

Set in a world devoid of love yet rife with mindless conservatism, Spring Awakening presented an excruciating take on the tribulations of adolescence. Even though the story took place over a century ago and a continent away, the concepts and themes give it a chilling relevance in our own era. That’s what makes it so impactful. To quote Nietzche, “Madness is rare in individuals – but in groups, parties, nations, and ages it is the rule.”

Spring Awakening goes into eternal slumber at Footlighters after September 29th.

Carrie: The Musical at Burlington County Footlighters

Not for the first time, Burlington County Footlighters bewildered me. When I heard they’d present a musical about “Carrie”, I cringed. Who would want to see Theodore Dreiser’s 1900 novel Sister Carrie put to music? The answer is apparently no one.* Lucky for theatre fans the show they presented took its inspiration from the Stephen King novel of the same name. I guess I should read the marquee the next time I hear buzz about upcoming Footlighters’ productions.

Now the real question came to mind: would the theatrical production of King’s Carrie terrify me more than a melodic rendition of Dreiser’s prose? I found out when I attended the opening night performance on May 4th.

As the concept originated from the mind of the ‘master of horror’, it wasn’t a typical story of teen angst. Carrie White (played by Cynthia Reynolds) experienced torment from her peers at school. Her home life offered no succor. Her hyper-religious mother (played by Jillian Starr-Renbjor) sheltered her from the outside world. Mrs. White preferred to indoctrinate her daughter with religious thought. In fact she couldn’t utter a sentence unless it contained at least one passage from the Bible.

A repressed socially inept loner subject to incessant bullying: this would not end well, I thought.

And there’s more. Throughout the show Carrie discovered that she possessed telekinetic powers…and a pretty bad temper. I rubbed my hands together and anxiously anticipated a train wreck for the ages.

Connor Twigg both directed and choreographed this tale of teen tragedy. Carrie presented challenges on both accounts. It featured a host of sophisticated dance routines involving multiple performers. It also contained a touching story of an outcast struggling to find her place in the world. Mr. Twigg made an excellent choice in Cynthia Reynolds to take on the lead role.

Ms. Reynolds played the timid, frightened pariah exceptionally. She kept her face pointed down and spoke like someone afraid of letting the words out. Her voice still contained enough volume so the audience could hear her clearly. The mannerisms she chose helped to bring me into the story. She made me very interested to see how her character would behave as the abuse intensified. Ms. Reynolds’s non-verbal cues made me even antsier about the show’s conclusion. I knew it led to a good one.

Michael Gore crafted some unusual melodies for this show. Dean Pitchford’s lyrics didn’t make them any easier to sing. Ms. Reynolds’ character had the most challenging. She handled them like a true theatrical professional. She displayed extraordinary ability sustain notes and navigate the leaps.

One also has to credit Ms. Reynolds for what she’s willing to do for her art. Iggy Pop bled for his. Ms. Reynolds showed a lot of dedication to the craft. She took a bucket of fake blood on the top of her head for her own. From my vantage point, the substance appeared viscous like syrup.

Jillian Starr-Renbjor took on the role of Carrie’s mother, Margaret. Mrs. White possessed two personality traits: an overprotective attitude towards her daughter and religious zealotry. Ms. Starr-Renbjor delivered her lines with a calm, cryptic assuredness. Her performance made Margaret the most terrifying character in the show.

I smiled whenever her character took the stage. This show kept building to a climax my 20 times great-grandchildren would talk about.

I enjoyed how Ms. Starr-Renbjor brought an aspect of her own behavior to the role. She delivered some awesome vocal numbers. Her duets with Ms. Reynolds on “Stay Here Instead” and the minatory “I Remember How Those Boys Could Dance” made the show much more enjoyable. Ms. Starr-Renbjor’s solo number “When There’s No One” made the production remarkable.

Alix Vitarelli played the closest thing Carrie had to a friend as Sue Snell. Aside from her outstanding singing on tracks such as “Once You See” and superb chemistry with her love interest (played by Evan Brody) she played the most challenging role in the show to perfection.

Throughout Carrie, a spotlight (worked by community theatre legend DJ Hedgepath) would shine on Ms. Vitarelli. A voice would question her on the events leading up to prom night. The performer would tremble and nervously explain what occurred.

One scene transitioned from Ms. Vitarelli speaking in the spotlight to interacting with Mr. Stephens (played by John Romano Jr.) and Miss Gardner (played by Mackenzie Smith). She adjusted from playing an uneasy persona to someone having a normal conversation. That’s not an easy achievement with so little time to alter focus.

Ms. Vitarelli’s character also underwent the most internal change during the show. She started out as one of Carrie’s harassers and developed into an unselfish person with compassion. She portrayed this change very believably.

Danielle Janco played an exceptional villain in the role of Chris Hargenson. She also served as dance captain and co-choreographed the “You Shine” number with Mr. Twigg. As the choreography featured a lot of vitality, she did a marvelous job keeping up the dancers’ intensity until the final curtain.

Some time ago I described the Krier family as “the Royal Family of South Jersey Community Theatre.” Now, unlike a certain monarchy that’s been in the news lately, South Jersey community theatre has two royal families. Joining Tami and Taylor among the Brody family acting dynasty enter Evan.

Mr. Brody played Ms. Vitarelli’s love interest, Tommy Ross. The character also served as the object of Carrie’s affections. This development enhanced the build-up to the story’s end. I felt so glad I brushed my teeth before going to the theatre. My smile kept getting wider as the conflict built. I kept anticipating a nastier and nastier conclusion.

Mr. Brody delivered an emotional musical rendition of the character’s poem “Dreamer in Disguise.” He also interacted with a variety of types of characters. He played the dutiful boyfriend in his scenes with Ms. Vitarelli. He played ‘one of the guys’ when on-stage with his classmates. He became the empathetic friend when he performed with Ms. Reynolds. Like Ms. Vitarelli’s character, the one Mr. Brody played also experienced a change in his view of Carrie. He portrayed that transition convincingly.

Jim Frazer designed both the set and the lighting; the latter with the aid of Rebekah Macchione.  He combined the two for an eerie effect even before the show started. The illumination made the school gymnasium’s walls appear the color of blood. Yet again, I anticipated a show ending climax for the ages.

Then came the ending. The show contained a literal “blood bath” at the end. I preferred a figurative type. While reminiscent of Hamlet I found the conclusion a colossal disappointment. With all the conflict in the story combined with the themes of anger, cruelty and revenge I anticipated serious retribution at the end. The confrontation ended in mere seconds. I believed that Carrie’s enemies got off pretty easy. She allowed them to suffer exponentially less than the torture they inflicted on her would have warranted.

Aside from that one shortcoming, I found the show outstanding. To the cast I say: “you shine.” I’d also like to credit performers Joey Adams, Mackenzie Smith, John Romano, Jr., Brittany Petti, Shannon Forbes, Dannie Romanuski, Evan Hairston, Gavin Petersen and Luke Szyszkiewicz for their contributions to the production. I’d compliment Musical Director, Deborah Bergen and the live band, as well.

In my final assessment of Carrie: The Musical, I’d tell theatregoers “once you see it” at Burlington County Footlighters, you’ll have “a night we’ll never forget.” “The destruction” of this run occurs soon. You can add it to your “evening prayers”, but there’s no guarantee there will be an “epilogue” to the show’s schedule. So “when there’s no one” to go with you, “do me a favor” and go anyway. You may hope it would “stay here instead”, but you only have until May 19th to see it.

 

*Sister Carrie has been adapted into both a musical (1978) and an opera (2016). For the record neither received the same acclaim that Hamilton did.