Mary Baldwin

Seussical at Collingswood Community Theatre

When evaluating the most imaginative directors in South Jersey, Mary Baldwin’s name always makes the short list. It seemed fitting that Ms. Baldwin would select a show inspired by “the thinks you can think” for her next project. She and the Collingswood Community Theatre presented a piece drawn from the creative mind of Dr. Seuss: Seussical: The Musical. I attended the opening night performance on Thursday, July 11th.

Seussical presented a musical take on Dr. Seuss’ beloved works. It included story elements from Horton Hears a Who!, Horton Hatches the Egg, Green Eggs and Ham and others. The show incorporated iconic characters such as Horton the Elephant (played by Stephen Jackson), the Grinch (Sean Coyle) and, the sine qua non of the Seuss universe: the Cat in the Hat (Jeff McGrail).

The Collingswood Community Theatre presented this show in the Main Ballroom of the Scottish Rite building. The room well suited the extensive cast and elaborate staging. The size accommodated my personal preference for musical performances: a live band. Brian Kain directed the orchestra located in the balcony.

Ms. Baldwin opted to forego the “theatre in the round” format CCT has used for its summer shows in recent years. She chose instead the traditional “picture frame” format for Seussical. I liked the artistic decision. With so many performers and multiple interactions between characters occurring during the scenes, it kept all the action within the audience’s rage of vision.

The characters still walked through the aisles and interacted with the spectators. I nearly got splashed by the Cat’s (Jeff McGrail) “tears” as he lamented a sad point in the story. While searching for the Whos, Horton (Stephen Jackson) inspected one of the clover patches held by the audience member sitting next to me. One of the Wickersham Brothers jumped out from behind a curtain a few rows from where I sat. His monkeyshines startled me.

As with every summer performance at the Collingswood Community Theatre, this one contained a spectacular visual spectacle. All audience members received complimentary bracelets upon entering the theatre. Perhaps owing to the magic of Seuss, the devices would light up in different colors during certain scenes. Looking out at the audience and witnessing a series of hues lighting the dark theatre created a wonderful ambiance.

Jeff McGrail took on the iconic role of The Cat in the Hat. Mr. McGrail captured the character’s energy, humor and mischievousness. He also performed outstanding vocal numbers. The high powered opening, “Oh, the Thinks You Can Think”, set the tone for the show.

I liked how Mr. McGrail added a bit of improvisation to the role. He provided an unexpected segue to the ironically titled “How Lucky You Are.” He tripped over the last step on his way to the stage. After a brief smile he broke into song.

Later when The Cat conducted an auction with the audience, Mr. McGrail informed one bidder: “Not you. You laughed at me when I fell.”

On his Facebook page Stephen Jackson commented on how thrilled he felt to be cast as Horton the Elephant. Mr. Jackson showed how much the role meant to him on opening night.

Mr. Jackson showcased the tender side of his vocal prowess in Seussical. He performed a moving duet with JoJo (played by Rory Bernardo) on “Alone in the Universe.” Mr. Jackson sang another deeply affecting piece in the form of “Solla Sollew.”

The following line recurred throughout Horton’s lyrics.

A person’s a person

No matter how small.

Mr. Jackson’s soft intonation expressed how much his character believed it.

Cara Davis has played a variety of secondary characters at the Collingswood Community Theatre. Gertrude provided her with some much deserved time in the spotlight. Ms. Davis delivered wonderfully funny renditions of “The One Feather Tale of Miss Gertrude McFuzz” and “Amazing Gertrude.” She sang an emotional version of “Notice Me Horton” accompanied by Mr. Jackson.

John Dunn played the role of General Genghis Khan Schmitz. The character led a war against people who eat their toast butter side down. That’s not the type of figure an audience would take seriously. Mr. Dunn found ways to make the general even more comical. His choice of voice, repeated twitching of his mustache and cowardly way he explained Jojo’s disappearance to Mr. and Mrs. Mayor made the role even funnier.

The show’s soundtrack contained more than the sentimental numbers mentioned above. The tunes “Monkey Around” and “Chasing the Whos” put the “fun” in Funk. Kaitlyn Woolford’s vocals injected serious soul into “Biggest Blame Fool.” Jessica Hale added her sultry singing style to “Amazing Mayzie.” Compliments go to Brian Kain and his orchestra for their proficient accompaniment.

Seussical also included Kate Schraff’s elaborate choreography. The Bird Girls (Emily Jackson, Kate Thomas Arter, Jen Laksh, Maria Leonen, and Kara Hasings) and the Wickersham Brothers (Hannah Morris, Jack Hastings. Sean Coyle, Ross Shannon, Cassidy Scherz, Ian McGowan, Dylan McGowan, Charlie Temple and Mallory Beach) performed stellar routines. The combination of dance, singing and lighting worked very well together on the “Havin’ a Hunch” number.

This production involved a lot of people. Between the cast and the near sold out audience, I thought we’d need to elect our own congressman before the show started. The following performers completed the ensemble: Matt Griffin, Emily Oleaga Talley, Joey Liberson, Olivia Bee Spinosa, Henry Kain, Ross Shannon, Ava Leacock, Millie Griffin, Caelan Gaines, Sera Scherz, Lydia Ncely, Charlie Temple, Susie Cook, Grace Janco, Cailyn Talley, Griffin Maylath, Buddy Neal, Millie Griffin, Alicia Smartt, Ava Leacock and Clark Griffin.

Several South Jersey community theatre companies have presented Seussical over the last few years. “How lucky you are” if you’ve seen it. The high-tech production at the Collingswood Community Theatre makes it well worth watching again. For those who feel “alone in the universe” for not having seen it yet: the show runs through July 13th at the Scottish Rite. Get your tickets now. Don’t “monkey around.” After Saturday, to quote Dr. Seuss: “Don’t be sad because it’s over. Smile because it happened.”

Advertisements

Avenue Q at Collingswood Community Theatre

It’s not often one encounters a musical that so well captures the essence of the generation that inspired it. Avenue Q featured iconic anthems to the new millennium such as “What Do You Do with a B.A. in English?”, “It Sucks to Be Me” and “The Internet is for Porn.” To those unfamiliar with it, a show like this would seem to possess the life-affirming nature of something out of Ibsen or O’Neill. Instead, Avenue Q’s creators opted to explore this era from a lighter point-of-view. They utilized an unusual technique in that they added puppets as characters; even including an explicit love scene between two of them. The Collingswood Community Theatre’s production even included a cameo by the town’s mayor.

You’d have to see this one to believe it.

I attended the Saturday evening performance on January 12, 2019. It took place at the Scottish Rite Theatre in Collingswood.

Director Mary Baldwin established the ambiance the moment I entered the theatre. The set designer, Chuck Jackson, crafted a set that resembled both the buildings from Sesame Street and the neighborhood from Rent. It provided the perfect background for this story.

As those unfamiliar with the show have guessed, Avenue Q contained a pretty complicated plot. A muppet named Princeton (played by Sean Coyle) needed a place to live. He found apartments from Avenue A through Avenue P too expensive. Arriving at Avenue Q, he met a series of eccentric characters. They included: 32 year old Brian (Ross Shannon), an aspiring stand-up comic ten years out of college; his fiancée, a Japanese woman with two masters degrees, named Christmas Eve (Linda Mozdzen); a closeted homosexual muppet investment banker, Rod (played by John Dunn); his muppet roommate Nicky (CJ Kish), pornography addicted muppet Trekkie Monster (also played by CJ Kish) and the building superintendent, former child star Gary Coleman (Alicia Smartt). Muppet Kate Monster (Lisa Kain Marcelli) developed a romantic interest in Princeton. Through all this he sought his purpose.

There’s an old cliché that a person “can never be too rich or too thin.” Avenue Q’s author (Jeff Witty) along with its lyricists and songwriters Robert Lopez and Jeff Marx apparently believed that a musical can never be “too original.” To complete the ensemble they included muppet Lucy the Slut (Stef Bucholski) to complicate Princeton’s and Kate’s romance. The Bad Idea Bears (performed by Cara Davis and Kate Scharff) served as Princeton’s and Kate’s demons. Kate’s muppet boss, Mrs. Thistletwat (Kaitlyn Halligan) antagonized Kate.

It amazed me that, even including intermission, all this wrapped up in under 2-1/2 hours.

Since the show contained a cartoonish premise, it required actors with skill for voices. I’d credit them for their abilities to, not only speak in unusual voices, but to sing in them as well. My two favorites were the neurotic whining John Dunn chose for Rod and the gravelly tone CJ Kish provided for Trekkie.

Lisa Kain Marcelli performed an extraordinary rendition of “There’s a Fine, Fine Line” to conclude Act One. Last summer I complimented Ms. Marcelli for her rendition of “Tell Me It’s Not True” at the Collingswood Community Theatre production of Blood Brothers. She impressed by being able to cry, sing in an English accent while still remaining in key. In retrospect, it seems that she used that performance to practice for this one.

Ms. Marcelli delivered an impassioned version of “There’s a Fine, Fine Line.” She explored a range of sad and angry emotions during the performance. She used excellent facial expressions to compliment the number’s somber lyrics while singing like someone becoming unhinged. Ms. Marcelli managed to do all this while operating a puppet. Bravo.

2018 was a sad time for Rhythm and Blues fans. After losing Aretha Franklin in August, we commemorated the 12th anniversary of James Brown’s passing this Christmas. On Boxing Day we recognized the 19th anniversary of losing Curtis Mayfield. It’s refreshing to hear the spirit of real R&B living on in performers such as Stef Bucholski.

It takes a certain kind of talent to make a muppet seem seductive. Enter Stef Bucholski. This performer delivered a sultry, soulful version of “Special.” It showed just how special her singing is.

The group worked in something that’s becoming a tradition at the Collingswood Community Theatre’s winter shows. After the curtain call, the cast performed an encore. They returned to the stage and sang the Philadelphia Eagles fight song.

Olivia Marcelli and Emily Jackson completed the ensemble. Brian Kain directed the music and Katie Scharff choreographed.

Avenue Q showed the lives of twenty-somethings struggling to cope with life after college. In effect, it centered on the resulting conflict when a person’s reality falls short of his/her dreams. It made for some pretty interesting theatre. The show premiered in 2003. The so-called “Great Recession”, the explosion of the opioid epidemic, and the rise of populism hadn’t occurred at that time. It would be curious to watch the same characters attempt to deal with these kinds of problems. A sequel would make for even more interesting theatre.

The Collingswood Community Theatre will perform Avenue Q through January 20th at the Scottish Rite Theatre.

Shrek the Musical at Collingswood Community Theatre

When I found out the NFL scheduled the first Eagles playoff game during the late afternoon of January 13th I knew I had a decision to make. Did I want to witness a serious tragedy or light-hearted musical comedy on that evening? I opted for the latter. I’m sure glad that I did. The Collingswood Community Theatre treated me to a fantastic performance of Shrek the Musical.

When I read the program I discovered David Lindsay-Abaire wrote the book and lyrics. After attending a performance of Rabbit Hole, his play regarding a family struggling to cope with the death of their four year old son, I thought I may be attending yet another serious tragedy. Fortunately, the playwright changed tack while Director Mary Baldwin and Musical Director Brian Kain kept it lighthearted.

Over the years I’ve watched Ryan Adams play a variety of supporting roles at Collingswood Community Theatre. I’ve been a long-time fan of this King of the F Clef’s baritone vocals. Mr. Adams showed he’s just as adept with tenor based material through his performance in the title role. It thrilled me to hear him sing some fantastic duets with his co-stars. He complimented Jeff McGrail on “Travel Song” and April Lindley on “I Think I Got You Beat.”

Mr. Adams delivered a moving rendition of the ballad “When Words Fail.” His delivery captured both the awkwardness and emotional challenge of expressing one’s feelings to a love interest. He brought profound pathos into this performance.

I credit his voice selection for the Shrek character. He used an accent that sounded Scottish with a tinge of Swedish. I didn’t hear an instance of him wavering from it the entire evening. That’s quite impressive with the amount of dialog and quantity of musical numbers he performed. That shows how hard he prepared for the role.

Jeff McGrail complimented Mr. Adams as his wise-cracking sidekick, the Donkey. There aren’t many ‘sassy donkey’ roles in musical theatre, or in any medium, for that matter. Mr. McGrail displayed immense imagination in bringing this role to the stage. I found his character very entertaining and enjoyable to watch. He also displayed fabulous vocals on tracks such as his solo number “Don’t Let Me Go.”

April Lindley did masterful work in her role as Princess Fiona. She delivered operatic vocals, danced and played each of the character’s (many) mood changes with equal skill while still getting laughs from the audience. Somehow, she fused all three of these traits together to open Act Two in her performance of “Morning Person.”

Ms. Lindley excelled at non-verbal communication. Her facial expressions always reflected the dialog and lyrics. I should add that I sat in the ‘nose bleed’ section of the Scottish Rite Theatre. I’m also nearsighted, but I did wear my glasses. (I was so far away from everyone else in the building that my vanity didn’t inhibit me from doing so.) Even under those conditions, I could still read Ms. Lindley’s expressions perfectly.

There’s an old saw that, “there are no small roles, just small actors.” Patrick Waldron gave a whole new interpretation of that expression in his performance as the diminutive Lord Farquaad. The role presented an interesting physical challenge. Mr. Waldron spent the evening on his knees. His appearance on stage first reminded me a bit of characters Tim Conway used to play. Mr. Conway didn’t possess Mr. Waldron’s dexterity, however. Mr. Waldron danced during one of the numbers while kneeling.

One of the most challenging roles for an actor is what I call that of the ‘comic relief in a comedy.’ In Shrek, the villain, Lord Farquaad, served as that character. Mr. Waldron performed spectacularly. Even though he played an unlikable and hyper-sarcastic personality, he managed his delivery to make his dialog sound funny. Through his skill as a performer, he found ways to make what could’ve been an annoying role into a most amusing one.

Many refer to Aretha Franklin as the undisputed “The Queen of Soul.” I’m a fan of Ms. Franklin’s, as well. But I have to admit that Stefanie Bucholski’s rendition of “Forever” made Ms. Franklin into a distant cousin of the royal family. Ms. Bucholski turned in some astounding soulful vocals in her role as the Dragon. She didn’t have to ask me to “respect” her talent: she earned it with that singing.

Choreographer Kate Scharff and Assistant Choreographer Kate Thomas Arter coordinated some extraordinary dance sequences. I found the ones featuring the Duloc Performers, the Three Blind Mice and the Pied Piper’s mice the most memorable. The superb costuming by Ellen Geigel enhanced the visual spectacle.

I’ve attended summer performances of Jesus Christ Superstar and Sweeney Todd presented by the Collingswood Community Theatre. They enacted those shows in the Main Ballroom at the Scottish Rite building. The sets combined with the lighting made for a mesmerizing theatrical experience. I didn’t think it possible that they’d be able to do anything comparable in the actual Scottish Rite Theatre.

Shrek proved me wrong. The show featured a very professional set. The performance’s high-tech nature included images projected on a movie screen. I especially liked the starlit backdrop they used for the night scenes.

I’d also like to compliment the other performers who made Shrek the Musical such a fun show: Caelan Gaines, Millie Griffin, Suzi Cook, Kate Schell, Caitlin Halligan, Emily Jackson, Ryann Burke, Karen McShane, Tom Geigel, Henry Kain, Jenni Maienza, Matt Griffin, Maria Leonen, Marcy Smith, Julia Maia, Anne Marie Dunn, John Dunn, Patty Nigro, Grace Janco, Cara Davis, Mike Smith, Pauli Bucholsky, Tracy Levy, Patty Walsh, Jen Laksh, Dave Routzahn, Kaitlyn Woolford, Dylan McGowan, Chris Geigel, Ernest Neal, Matt Griffin, Dylan McGowan, Kara Hastings, Emily Jackson, Erica Paolucci, Shannon Ewing, Alicia Smartt, Erin Daly, and Mallory Beach.

As things turned out on January 13th, the Eagles game didn’t become the tragedy I expected. They won and will advance to the NFC Championship game. I thought it clever how the Collingswood Community Theatre cleverly interpolated the Birds’ fight song into the finale. I have to say I found the performance of Shrek more entertaining than any of their games this season. Anyone familiar with the team knows: that’s saying something. The show runs through January 21st.

Sweeney Todd at Collingswood Community Theatre

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Brian Kain did a superb job conducting a fabulous orchestra.

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

 

Theatre Review – The Producers at Collingswood Community Theatre

The Collingswood Community Theatre presented an evening of politically incorrect statements, myriad references to unscrupulous business practices along with a host of crass comments objectifying women. This took place on January 14th of this year, so, no, they did not host a 2016 Presidential Debate. Instead, they staged a spectacle intentionally meant to be comical. Under Mary Baldwin’s direction, they staged Mel Brooks’ irreverent take on the theatre business The Producers.

The musical told the story of Max Bialystock (played by CJ Kish). Once a producer of legendary Broadway shows, his recent work “flopped.” More complications ensued when accountant Leo Bloom (played by Chris Fitting) audited his books. Upon discovering Max stole two thousand dollars from the production, he observed that, “under the right conditions, a producer can make more money with a flop than with a hit.” Max’s extraordinary cajoling convinced this self-described “nobody” to become his partner and aid in producing a theatrical disaster; thus providing Leo with the vehicle to pursue his ambition to become a Broadway producer. Then the real hijinks commenced.

In their quest to find the “worst script” the pair optioned Springtime for Hitler: an encomium written by Franz (Tyler Cunnion), an erstwhile Nazi turned pigeon keeper. Then they sought out the “worst director” in New York. Initially reluctant, Roger De Bris (played by Ryan Adams), after some encouragement from his “common law assistant” Carmer Ghia (Jeff Mc Grail), agreed to direct the show; so long as he could “Keep it Gay.” Max proceeded to pursue his main means of raising money: seducing old lady “investors.”

To add to the scheme’s complications, a lovely young Swedish woman with the long first name of Ulla Inga Hansen Benson Yansen Tallen Hallen Svaden (played by April Lindley) entered Max’s and Leo’s lives. Longing to audition for the show she stayed on as the duo’s housekeeper until presented the opportunity. Her presence and romantic interest in Leo led to complications in the producers’ partnership.

CJ Kish turned in a transcendent performance as Max; a very challenging role. It required singing, dancing and delivering comedic chops. Mr. Kish delivered a stellar performance in all three areas. His rendition made an unscrupulous and despicable character funny and likable. Through his moving recitation of “Till Him” he even inspired empathy for Max.

Mr. Kish brought unparalleled enthusiasm to his performance. I attended the second show CCT presented on Saturday. The energy he displayed on stage reflected that of someone just back from vacation. During the “Betrayed” number, he summarized the entire musical to that point, even acting out highlights from various scenes. That took a lot of skill, especially at the end of the night. He seemed as fired-up then as he did at the evening’s beginning.

As Leo, Chris Fitting played the role of a “nobody” evolving into a “somebody” very well. He convincingly brought to life a dull accountant with an unorthodox nervous tick. When anxious this bean counter would remove a blue baby blanket and rub his face with it. (And some people think actors have strange habits.) His performance worked as a great contrast with both Mr. Kish and Leo’s love interest, the alluring Ulla. (April Lindley) He also performed an outstanding song and dance number with the ensemble on “I Wanna Be a Producer.”

Ms. Lindley and Mr. Adams deserve great credit for both singing and dancing in heels. On a personal note, I struggle to walk right for a few days after buying new loafers. I can’t imagine the challenge of navigating a stage during a routine while wearing elevated shoes.

In terms of Mr. Brooks’ show itself, I didn’t like that it broke the “fourth wall” several times. When Max and Leo asked Ulla when she’d cleaned the office she replied, “Intermission.” Shortly after, she asked Leo why he walked so far “stage right.” During the “Betrayal” number, Max mentioned that “it’s a long show.”

I can, however, appreciate that Mr. Brooks likes poking fun at many subjects. I do have to commend including his own work among them.

I also discovered a few typos in the playbill. Both Mr. Kish’s and Mr. McGrail’s bios got cut off in my version. Performers memorize pages of text and spend countless hours rehearsing musical dance numbers. They exhibit their craft in a medium that allows them one chance to “get it right.” And many do this several times a year in multiple productions. These people aren’t like the rest of us. I’m always interested in learning about the kind of people with the courage and inspiration to do this. I would’ve liked to read their full comments.

In addition to the great performances Collingswood Community Theatre treated the audience to a fantastic multi-media spectacle. Brian Cain did an outstanding job as musical director. Kate Scharff crafted complex choreography with a large ensemble. Chuck Jackson’s set construction provided theatregoers with a true sense of being in the actual locations where the action occurred.

The Producers opened with a fictitious audience leaving the theatre grumbling about the poor quality of Max Bialystock’s show. No one did that for this Collingswood Community Theatre production. This cast and crew sure took Ulla’s musical advice “When You’ve Got It, Flaunt It” in terms of their skills during this performance.

For the finale the entire ensemble gathered on stage and sang a number called “Goodbye.” In it they instructed the audience to leave. It’s good they did. With their superb rendition of this Mel Brooks musical I’m sure people would’ve hung around waiting for an encore…even if Max produced it.