South Jersey

The Explorer’s Club at Burlington County Footlighters

Explorer's Club SetThat’s got to be the most underrepresented topic in the history of theatre, I thought when Gaby Affleck described her latest project to me. As an award winning director of shows ranging from Dracula to Of Mice and Men, Ms. Affleck could’ve opted to bring any subject to the stage. Just what did she choose this time? She decided to direct her first farce: a play about explorers. While a topic traditionally overlooked by community theatre companies, the cast and crew at Burlington County Footlighters more than compensated for this history of neglect. I embarked on a voyage of laugher (and TO SCIENCE) during the opening night performance of Nell Benjamin’s The Explorer’s Club this November 3rd.

The story contained a hyper-extreme conflict by the standards of 1879 Victorian society. Explorer Phyllida Spotte-Hume (played by Rachel Comenzo) aspired to be the first woman to join The Explorer’s Club. Ms. Spote-Hume encountered resistance from the membership. Not much of a surprise, there. Initially, I thought the whole ‘farce’ premise had to do with men from that less enlightened era even allowing a woman to enter their building. At any rate, the conflict continued to build as the botanist, Lucius Retaway (played by Michael Muller) and the dashing Harry Percy (played by Tim Petrillo) competed for her affections. In addition, a native she named ‘Luigi’ (played by Matt Dell’Olio) caused an international incident by greeting Queen Victoria in his tribe’s traditional manner: he slapped her across the face. With the overall tone of the story, I wondered if the playwright used this detail to add a bit of subtext.

As one would expect from a farce, the show featured a host of eccentric characters. Also, as anticipated, Ms. Affleck selected the perfect performers to play them. Ethan Rundell met the challenge of portraying the effeminate snake lover, Professor Cope. Lou DiPilla’s expressive performance of religion scholar, Dr. Sloane, blessed the audience. Dennis Dougherty depicted Guniea pig aficionado Professor Walling. Harry Percy (played by Tim Petrillo) seemed to lose all the men who followed him on his expeditions; his latest voyage to discover the East Pole proved no exception. It’s some club when the botanist (played by Michael Muller) who named a coma and death inducing plant after the woman he loved came across as the ‘normal’ one.

Mr. Muller and Mr. Petrillo played opposite one another particularly well. Their performances concretized the conflict between the nerdy botanist and the rugged explorer. Ms. Comenzo deftly displayed interest towards their characters at different times. Her warm smiles towards Lucius and extension of her lips toward Percy in various scenes accentuated the conflict.

Theatrical shows always contain some attribute that makes them unique. Speeches served as this one’s main feature. Ricardo Estevez delivered an impassioned oration regarding his insatiable need for vengeance and retribution…while playing a monk. His inclusion of karate chops and kicks while moving about the entire stage enhanced the performance. He selected impeccable gestures to compliment his delivery.

Rachel Comenzo spoke with flawless diction when delivering her character’s opening lecture. One also has to credit her for keeping a straight face. The new society her character discovered looked like a nation of people from the Blue Man Group. This performer impressed by pronouncing place names most people can’t attempt to spell.

I also applaud Ms. Comenzo for her choice of accent. In the playbill she mentioned devoting a great deal of time towards perfecting it. Her efforts paid off handsomely. She played the dual roles of twin sisters in the show. She adjusted her voice to fit each character and make both distinct.

Matt Dell’Olio possesses a genius for delivering soliloquys. In Dead Man’s Cell Phone, he presented a monologue about Lobster Bisque soup in a method that made it rival the “to be or not to be” monolog from Hamlet. In this show, he presented a solo speech just as gripping. He did so while speaking in gibberish. With a character talking incomprehensibly, gestures and facial expressions become more crucial. He nailed them. Mr. Dell’Olio also displayed phenomenal dexterity prancing around the stage.

Last year Mr. Dell’Olio earned BCF’s Best Actor Award for his performance in Dead Man’s Cell Phone. His robust portrayal in this one may have netted him another one.

I didn’t believe it possible for Jim Frazer to design a better set than the Christmas Village he created for 2016’s A Christmas Carol. This one came close. It captured the essence of a manly “Old Boys’ Club” while including a touch of comedy. The stage featured enormous tusks arranged like an archway, the ubiquitous deer heads, bearskin rugs hung on the wall and a globe displayed off to stage left. I give Mr. Frazer credit for creativity by including the mounted walrus head made by the show’s makeup artist Jasmine Chalfont.

The bar scenes proved a challenge for the cast. Mr. Dell’Olio’s character would say, “Here’s your drink, sir.” Then he would quickly slide a glass towards the front of the counter. It amazed me that every time he did this, the character he tossed the drink towards caught it the moment it slid off the bar…at least until the very end of the show.

Bernard DiCasimirro (as Sir Bernard Humphreys) dropped a glass before taking his curtain call. This performer made the best recovery I’ve witnessed at a live performance. Burlington County Footlighters legend Dan Brothers sat in the first row. While watching the play I thought Mr. Brothers would’ve been a solid addition to this show. He inadvertently got his chance. In response to Mr. Brothers’ jeer, Mr. DiCasimirro tossed the glass’ contents at him. I credit the performer for this improvised move. It made the miscue much more entertaining than it would have been if he’d executed the scene as written.

Harry Percy discussed following up his discovery of the East Pole with a trip to the West Pole. If he embarks on that voyage of exploration, let’s hope this cast and crew is available to tell the story.

I enjoyed Ms. Affleck’s latest journey as a director. “Farce is nothing to laugh at!” She wrote in the playbill. “It’s hard work.” That work paid off in the form of The Explorer’s Club. Audiences may survey it at Burlington County Footlighters through November 18th.

Advertisements

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Rock of Ages at Haddonfield Plays and Players

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Dan Brothers: The Critique Compendium Interview

Dan Brothers Picture

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

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

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

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

He also produced Metamorphosis.

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

 

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

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

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

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

 

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

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

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

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

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

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

I’m the very opposite of Valerie.

 

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

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

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

There was no uncomfortableness during that show.

 

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

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

 

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

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

 

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

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

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

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

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

 

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

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

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

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

 

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

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

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

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

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

It’s quite something to get that reaction.

 

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

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

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

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

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

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

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

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

 

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

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

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

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

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

 

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

Dan Brothers: Chicks. (Laughs)

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

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

 

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

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

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

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

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

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

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

 

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

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

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

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

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

 

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

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

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

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

 

Critique Compendium: What actors have influenced you?

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

 

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

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

 

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

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

 

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

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

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

 

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

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

 

Clybourne Park at Burlington County Footlighters 2nd Stage

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 

City of Angels at Burlington County Footlighters

I spent a long evening of being mesmerized this May 5th. The excessive amount of talent on stage nearly overwhelmed me when I attended the opening of Burlington County Footlighters presentation of City of Angels. This Daryl S. Thompson, Jr. directed piece contained superb acting, great dancing and extraordinary singing. It also featured performances by several South Jersey Community Theatre legends. DJ Hedgepath, Rachel Comenzo and Jillian Starr-Renbjor all returned to the Footlighters stage. To add to the show’s appeal, Jim Frazer designed the set and Cameron Stringham served as musical director. Mallory Beach and Erica Paloucci handled the choreography.

Well, what else is there to say?  Oh, DJ Hedgepath and Rachel Comenzo once again showed us mortals why we all need to keep our day jobs. This is the easiest review I’ve ever written. Enjoy the rest of your day.

For the benefit of those people who like details, I’ll continue.

The show applied the “story-within-a-story” approach to a musical. It told the tale of screenwriter Stine’s (DJ Hedgepath) quest to write the script for a movie called City of Angels. In the course of doing so, he battled Hollywood producer and director Buddy Fidler’s (Steve Rogina) incessant meddling, he struggled to keep his marriage to Gabby (Rachel Comenzo) together; a feat complicated by his infidelity with Donna (Jillian Starr-Renbjor), and the voice of his protagonist, Stone (John Romano), tussled with him in his head.

In a manner reminiscent of The Wizard of Oz, characters from real life ended up in the imagined story. One has to credit the performers who played dual roles during the same evening.

Kaitlyn Delengowski stood out as portraying the two most diverse characters. I really enjoyed the high-pitched squealy voice she selected for the Carla character; quite a departure from that of the haughty, Alaura Kingsley.

As to where the story went after that: your guess is as good as mine. With the Hollywood characters becoming the movie characters, the plot twists in the detective’s quest and Stine’s re-writes, I found it far too complicated to follow. It didn’t matter, though. The fantastic singing and superb performances made for a very enjoyable evening.

The story didn’t possess the same complexity as some of the melodies, however. David Zippel’s lyrics didn’t quite compliment Cy Coleman’s odd musical phrasing, either. They gave the singers a challenge.

Rachel Comenzo delivered a transcendent performance on the intricate “It Needs Work”. Perhaps inspired by her skill, DJ Hedgepath followed it up several tunes later with his stellar rendition of the equally difficult “Funny”.

The musical began with an unconventional and difficult opening to perform. It started as scat singing that transitioned into a barber shop quartet. Performers Stephen Jackson, Matthew Maerten, Emily Huddell and Kori Rife accepted the challenge of hooking the audience with this unusual material. They executed this task brilliantly.

Not many players would volunteer for the opportunity to sing a duet containing sixteenth notes. Fans familiar with them already know that Rachel Comenzo and Jillian Starr-Renbjor possess exceptional vocal prowess. They showed it with their rendition of “What You Don’t Know about Women.”

DJ Hedgepath and John Romano shared their own dual moment in the spotlight, as well. They delivered an outstanding performance on the “You’re Nothing without Me” number.

The cast delivered outstanding presentations. Mr. Romano tuned in a solid performance as the hard-boiled detective. I enjoyed his interactions with his edgy secretary (Jillian Star-Renbjor), the wealthy wife (Kaitlyn Delengowski) and the gangsters (Wayne Renbjor and the brilliantly comical Tony Flores). Noel McLeer played the missing girl very well, too. This group made me feel like I watched a musical interpretation of a Dashiell Hammett novel. Steve Rogina’s portrayal of the arrogant Hollywood director added a nice element to the story, as well.

Unlike many directors, Darryl Thompson, Jr. chose not to spend the night in the control booth. Instead, he opted to add his own superior vocal talents to the show. I’ve heard him sing bluesy and soulful material in the past. In this production, he showcased his ability to croon jazzy tracks with “Ya Gotta Look Out for Yourself” and the tender ballad “Stay with Me.”

I’d also like to credit Vitaliy Kin’s performance in the roles of Pancho Vargas and Lt. Munoz. I still remember several years ago hearing him perform Spandau Ballet’s “True” in Yiddish in The Wedding Singer. As comical as it was, he sang the tune very well. In this show, he delivered an awesome “All Ya Have to Do is Wait” number featuring a salsa and conga dance.

It thrilled me to hear Rachel Comenzo showcase her vocal talents once again. I watched her perform several non-singing roles last year. Ms. Comenzo’s rendition of “With Every Breath I Take” as nightclub singer, Bobbi, made up for the long wait. Her voice delivered great vibrato, soft inflection and outstanding modulation. I thought the band a little too loud on this number. Without a microphone, she still found a way to deliver soft notes in a manner so the audience could still hear her clearly. I’m still trying to figure out how that was even possible.

While crooning this moving number she also used extraordinary facial expressions toward Mr. Romano’s character. As difficult as this may be to believe, she conveyed Bobbi’s emotions non-verbally so well, that the scene would’ve been just as effective had she been silent.

With the possible exception of Mr. Hedgepath, I’ve never watched a performer get into character as well as Ms. Comenzo. Somehow, she manages this so flawlessly, that one sometimes loses sight of just how proficient she is at doing so. That’s talent.

It’s always difficult to select a ‘best’ DJ Hedgepath moment. His duets with Mr. Romano and monumental solo rendition of “Funny” would be good contenders. I also liked when he stepped out of the spotlight to put on the trench coat, glasses and hat and become one of the background dancers. In addition to his superior skill as a performer, you have to respect actors who are willing to accept any role to remain on the stage.

The City of Angels title aptly fit the show. The cast took the audience to heaven. The production impressed so much that “you can always count on me” to tout its praises “with every breath I take.” It’s true that “ya gotta look out for yourself.” There’s nothing “funny” about that, but “eve’rybody’s gotta be somewhere.” So why not use “the buddy system” and take a friend to go see it? “All ya have to do is wait” until the next performance.

 

The Critique Compendium Interview: Gaby Affleck

gabrielle-affleck-headshotGaby Affleck advises those starting out in the arts to “never stop learning.” As she’s established a remarkable career as both an actress and director throughout the South Jersey community theatre circuit, performers would be wise to study what follows. Ms. Affleck kindly provided readers the opportunity to learn some things about her. We conducted this interview via email during the winter of 2017.

 

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

Gaby Affleck: Way, WAY back when I was in 7th grade, I saw my sister’s friend, Joan Kratowitz Tenaglia, play Julie Jordan in Carousel in a high school production. I was so enamored by her performance that I knew that’s what I wanted to do! But, alas, I was terribly shy.

When I enrolled at St. Hubert High School for Girls, I joined Glee Club, following in my sister Melissa’s footsteps. I found I could perform, but just be a face in the crowd. That was until my Glee Club instructor, Sr. Pat Cashman, encouraged me to audition for The Wizard of Oz, our Spring Musical. I was cast as part of the ensemble, and had a small role. AND…I was bitten by the Acting Bug!

 

Critique Compendium: In addition to acting, you also direct. Which do you prefer? Why?

Gaby Affleck: I don’t have a preference, per se. I like them both for different reasons. I like to act because it gives me an opportunity to show off my talents, and hone my craft. To quote one of my favorite characters, Ursula in The Little Mermaid, “It’s what I LIVE for…” Okay, let’s be honest, I do it for the applause. Applause is like a drug. Once you experience it, you want it over and over again.

Directing, on the other hand, like putting together a puzzle. It’s making sure all of the moving parts are working properly. It’s also “the thrill of the chase” finding the perfect actors, costumes, props & set pieces. I do so love working with the actors to push them to dig a little deeper and find the heart and soul of their characters. I also enjoy collaborating with the set designers and the tech gurus, the costume designers and producers, and together, as a team, building the final product! Then I get to take the credit for everyone’s hard work. (I KID! I KID!)

Directing is a different kind of satisfaction. It’s being able to look at the final outcome and say, “That’s my vison come to life!” It’s a proud moment.

 

Critique Compendium: What types of things interest you in prospective projects? Why?

Gaby Affleck: In the acting department, I like two kinds of roles: Ones that allow my current wheelhouse of talents to shine. BUT, I also love to play roles that are far from the “real me” and make me really work hard for the outcome. They are actually more fulfilling.

In the directing department, I like scripts that scream out “direct me, Gaby!” They must have meaty characters that need to be brought to life! I prefer to direct shows that aren’t often produced. I also tend to lean towards thrillers. In short, I’m drawn to scripts that speak to my soul.

 

Critique Compendium: What’s the most challenging show in which you’ve participated? Why?

Gaby Affleck: That’s a tough one. I’ve been involved with many challenging shows, from both sides of the stage.

I think I it would be when I directed Dracula at Burlington County Footlighters. Dracula was the most technically involved show I’ve ever worked on. We had a plethora of special effects: On-stage transformations, disappearing vampires, creatures with glowing eyes, books opening of their own accord, vampire stakings (complete with a geysers of blood,) crosses that caught fire, exploding coffins…just to name a few!

To accomplish all of that, you need the BEST OF THE BEST on your team! I’m looking at you, Jim Frazer (Set Design,) Bob Beaucheane (Tech. Design,) Torben Christensen (Producer,) Pat Frazer (Assistant Director,) Jasmine Chalfont (Blood FX Specialist,) Valerie Brothers (Makeup and Hair Design,) Lynne Johnson (Costumes,) Kristina VanName (Props) and Sarah Flanagan (Stage Manager.) I could not have done this show without them, and I can’t thank them enough for having faith in my ability to stage this show!

Dracula also boasted a brilliant cast, with whom I’m honored to have had the opportunity to work.

We also won a few awards that year. Best child actor (Lisa Krier as The Girl,) Best Supporting Actor (Bernard DiCassimiro as Renfield,) Best Technical Show, and Best Show! So, yeah, I’m very proud of that one!

 

Critique Compendium: Describe your most memorable theatrical moment: either performing or directing.

Gaby Affleck: Just one? That’s not easy.

I’d have to say playing Mama Rose in Gypsy to sold out houses. I’ve been lucky enough to play Rose twice, and I’d do it again in a heartbeat. Rose is the role of a lifetime, and she is larger than life. And based on a REAL PERSON, with so many layers to peel back. I think I’ve a lot more to learn about her.

 

Critique Compendium: In addition to acting and directing, you’re also an excellent vocalist. What inspired you to learn singing?

Gaby Affleck: I’m going to give St. Pat Cashman another shout-out here. I grew up singing for my own personal pleasure, but it was Sr. Pat who convinced me that I actually had talent. She encouraged me to audition for the school play, gave me my first solo, had me sing “God Bless America” for the Rotary Club, and she even submitted my audition tape for the 1988 Coca-Cola World Chorus (for which I went on to be a semi-finalist.) She really was my guiding force.

 

Critique Compendium: What performance artists have influenced you? Why?

Gaby Affleck: I don’t think there is any one in particular. There are some wonderful actors out there that I just adore watching because I know they always deliver. Some of them are (in no particular order): Meryl Streep, Gary Sinise, Liev Schrieber, Denzel Washington, Helen Mirren, Kathy Bates, John Malkovich…

I always enjoy when I’m watching someone perform and they deliver a line, or make a physical choice, that is so NOT what I was expecting! I think to myself “Wow! That was a fantastic choice. I never would have thought to go that way.” Then I wonder, “Was that their choice or something the director asked them to do?” I’m constantly watching from both sides.

 

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

Gaby Affleck: Again, just one?

Meryl Streep because she is an amazing actress and I think I could learn a lot from her. There’s nothing she can’t do!

I want to be Meryl Streep when I grow up!

 

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

Gaby Affleck: Sleeping is a favorite. The occasional adult beverage. (stop laughing)

 

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

Gaby Affleck: I don’t. Theatre wins. Every time.

 

Critique Compendium: How do you prepare to direct a show?

Gaby Affleck: I read several scripts until I find one that speaks to me. Then I read it again to be sure. Sometimes I give it to other people to read to get their opinions. And, if it’s a tricky script, like in the case of Dracula, I put together a team before I even submit the show to a theater for consideration.

Then I read it about 20 more times, taking character, set, costume and prop notes.

If the script is based on a book, I will read that book. But, I don’t like to watch the movie, or other performances as I do not want to be influenced by other director’s choices. I want my show to be my own. (For better or worse.)

 

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

Gaby Affleck: I’m big on character development and honesty.

I develop a new character for each production I am in. I’ve never re-used a character, though I do occasionally borrow bits and pieces to create others.

For me a character is not just a voice affectation. It’s everything: demeanor, style of dress, posture, gait, how do they respond to different situations/people, what is their backstory? All of these things factor into creating a believable character.

I’m also big on research. I will scour the internet for information about eras to learn how people looked, dressed, behaved, wore their hair.

As for honesty, I believe one must literally become the character to be believable in the role. You cannot just deliver lines. You can’t pretend to cry or laugh. An audience knows when you are not being honest, and they will find you boring or stilted. To be true to the character, and the author, you must live the role. You have to feel what they are feeling, and react as they would. That’s what makes a performance believable.

 

Critique Compendium: What’s the most difficult part of performing in front of a live audience?

Gaby Affleck: Going up on lines. Sometimes there is just no graceful way to recover.

Oh, and there was that time I walked out on stage with my dress tucked into my pantyhose, but, I’d like to forget about that.

 

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

Gaby Affleck: Well, I don’t want to be remembered as the girl who walked out on stage with her dress tucked into her pantyhose.

I’d like to be remembered for making the audience feel something. Whether I make them laugh, or cry or become angry, I want the audience to leave feeling differently than when they came in. (Same goes for when I direct.)

 

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

Gaby Affleck: As an actress I’d like to think that they would tell you I’m a hard working actress, who comes prepared and is enjoyable to work with. And that they CAN’T WAIT to work with me again!

As I director I hope people would tell you that I’m a dedicated director who has a vision, and who has the creativity and know-how to bring her vision to the stage. Also, that I’m serious, but lots of fun to work with….and that they CAN’T WAIT to work with me again!

 

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

Gaby Affleck:

1) Never stop learning!

2) Take something away from every experience.

3) If you don’t push yourself, you won’t grow!

4) If it doesn’t scare you a little, you’re not doing it right!

 

Critique Compendium: What adjective best describes your theater career?

Gaby Affleck: Eclectic!

 

Critique Compendium: I’d like to ask a bit of a personal question involving two characters with whom you’re familiar. If you were available with whom would you rather take a Hawaiian cruise: Count Dracula or Aldolpho from The Drowsy Chaperone?

Gaby Affleck: Tough choice.

Dracula is sexy on a cerebral level. Adolpho is pure physical sexual attraction.

Dracula would hide from the sun, making it difficult to enjoy the daylight hours. While Adolpho would “keep me awake” all night, also making it difficult to enjoy the daylight hours.

I think when it comes down to it, I’d pick Dracula. He’s a man (?) with whom I could enjoy intelligent conversations and long walks on the beach (after sunset.) He’s a snappy dresser, he owns his own castle, and he won’t drink any of my…wine.

 

Critique Compendium: And the big question I know readers are curious about: are you related to Matt Damon in any way? Just kidding. Any relation to Ben Affleck?

Gaby Affleck: Me personally, no.

As to whether he is a relation of my husband…well, we don’t receive a card from him at Christmas, so….

 

Critique Compendium: What’s next for Gaby Affleck?

Gaby Affleck: (Squealing with excitement) I’m going to be playing Ursula in The Little Mermaid! A Dream Role! She’s evil yet witty, with a little sexy tossed in for good measure. And she sings the best villain song every written: POOR UNFORTUNATE SOULS!

Come see me and the rest of this amazing cast! May 26, 27, 28 June 2, 3, 4 Yardley Players Theatre Company at The Kelsey Theatre at Mercer County Community College.

 

Lecture Review – “New Jersey’s Multiple Municipal Madness” by Michael DiCamilo

The preeminent of all American ideological conflicts found a fertile battle ground in the Garden State. The debate over a Hamiltonian approach to big government versus the Jeffersonian preference for more localized administration ended in favor of the latter. It resulted in New Jersey spawning 566 municipalities: even more than California. Just what caused this northern state to adopt the political philosophy of the gentleman planter from Virginia?

Historian Michael DiCamilo set out to elucidate this phenomenon as part of the History Speaks series on January 18, 2017. The Elizabeth Tuttle Fund, the Historical Society of Moorestown and the Moorestown Library sponsored the event which the latter hosted. Professor DiCamilo teaches American History at LaSalle. He’s also on the Historical Society of Moorestown’s board of trustees where currently serves as Vice President.

Mr. DiCamilo utilized the work of former Garden State politician Alan Karcher’s 1989 work New Jersey’s Municipal Madness illustrate this phenomena. The former Assembly Speaker explored the reasons why myriad towns and boroughs incorporated in the state. He discovered five key reasons: street fights, railroad towns, school district boroughs, dry versus wet towns, and exclusive enclaves. Mr. DiCamilo took the audience through each one.

The portion on “street fights” intrigued me the most. With the advent of the automobile road maintenance became a major political issue. Residents of a community elected “road superintendents” to represent their interests at the municipal level. They argued to secure the most funding for their streets. When these officials couldn’t acquire the municipal money they wanted, they’d return to their constituents with an interesting proposition. They’d encourage the “street” to form its own town. Of course, these road superintendents would play prominent roles in the new polis; even serving as their mayors.

I found this outcome rather interesting. A road superintendent would fail in his duties to his constituency. The populace would proceed to elect them to govern the new town; a much more complex challenge than fundraising. In essence, these officials would receive a promotion from the same people they disappointed. As historian Richard Hofstadter observed, “Politics has a logic of its own.”

I also enjoyed Mr. DiCamilo’s discussion of the conflicts leading to dry and wet towns. He described how the “camp meeting movement” inspired people to exit the cities in favor of country life. These new communities would serve as places of worship where residents could avoid the excesses of modern life. A number of these municipalities such as Ocean Grove, Bradley Beach and Avon-by-the-Sea developed along the coast. More locally, the towns of Bellmawr and Delanco began as part of this phenomenon.

The disparity between pro and anti-prohibition forces masked more nefarious motives, as well. One of the rationales for the “camp meeting movement” germinated from a desire to control rowdy youths and immigrants. Latent and, at times, overt racism even led to the development of some municipalities.

While the pursuit of a moral life free of vice caused many communities to form, the rejection of these principles inspired others. Centre Township prohibited playing golf on Sundays. It also rigorously enforced prohibition. Some individuals rejected these mores to such a degree they decided to form their own town. Thus, Tavistock incorporated in 1921.

In a fitting move, Mr. DiCamilo made his discussion of local history hyperlocal. Founded in 1688, Chester Township experienced numerous splits before the name disappeared from South Jersey in 1945. Cinnaminson left in 1860. Delran broke off from the latter in 1885. Riverside separated from Delran in the same year. Riverton left Cinnaminson in 1893 then Palmyra did the same a year later. In 1922 Moorestown parted from Chester Township. The remaining community changed its name to Maple Shade in 1945. Interestingly, with the exceptions of Moorestown and Riverside (which incorporated over street fights) all the others were “railroad towns.”

Mr. DiCamilo focused his talk on the political aspects of the subject; which he delivered exceptionally well. Throughout the lecture he presented balanced analyses of the Hamiltonian and Jeffersonian visions. With respect to the latter he explained as one positive: the smaller the community, the easier for citizens to become part of government. While correct, not everyone has an interest in being an active member of the political process. In addition many individuals who live in the same area share the same political views. I’d encourage another historian to follow-up on this lecture with a discussion of the social implications of so many municipalities.

Mr. Camilo presented a solid case that the Jeffersonian vision of government entrenched itself in the Garden State. While no new municipalities have incorporated in New Jersey since 1957, to his knowledge, only Princeton Township and Princeton Boro chose to consolidate over the last two decades.

The monument on Mr. Jefferson’s grave describes him as the author of the Declaration of American Independence, author of the Statute of Virginia for Religious Freedom and Father of the University of Virginia. Had the third President lived long enough, he just may have added: “instrumental inspiration for the municipal system of government in New Jersey” to his legacy.

Theatre Review – The Fox on the Fairway at Burlington County Footlighters

Ken Ludwig crafted the most atypical adaption of a classical work of literature ever performed on the stage. In her giddy and bubbly way, Louise (played by Bailey Shaw) introduced The Fox on the Fairway as essentially a modern rendition of Thucydides’ History of the Peloponnesian War. The setting took place not along the Aegean Sea, but at the Quail Valley Country Club. In lieu of javelins and arrows, the combatants took the field with irons, drivers and putters. While eschewing traditional combat tactics such as blockades and sieges, the Pericles and Alcibades of the links utilized chicanery and gambling to vanquish their opponent. The result: a farcical spin on golf. I attended Burlington County Footlighters opening night performance of this comic piece on January 20, 2017.

The story contained a lot of conflict for a light comedy. A synopsis of it shares the complexity of Thucydides’ masterpiece. You might want to bring a score card to keep track of this one.

Henry Bingham (played by Dan Brothers) faced a dilemma. Every year his organization, the Quail Valley Country Club, would lose the big tournament to Silly Squirrel; a rival club run by his arch nemesis Dickie Bell (Alan Krier). Knowing he had a star golfer (of dubious membership) who would guarantee victory, Bingham wagered a substantial sum on this annual contest. Since he knew he couldn’t lose he agreed to add his wife’s antique shop to the bet without her knowledge. After making the deal Dickie revealed that the star golfer had quit Quail Valley and just joined his club. Then Quail Valley’s Vice President, Mrs. Peabody (played by Elizabeth Deal), informed Bingham that the board decided to fire him if the club lost the big tournament again.

Fortunately, Bingham discovered that Justin (played by Kevin Pavon), one of his new employees, shot rounds in the mid-sixties. He and Mrs. Peabody connived to make Justin a member of the club and enter him in the tournament. Problems solved, right?

No, there’s more. Justin had recently become engaged to Louise (played by Bailey Shaw). His fast track admission to a prestigious country club combined with the love of a beautiful woman should’ve put Justin at the top of his game, so to speak. But another complication ensued. Louise happened to be the most emotionally high-strung person ever to grace this earth. Justin also had a bit of a quirk himself: he’d become a horrible golfer when anything upset him.

Louise then lost her engagement ring (originally Justin’s grandmother’s) while her beau played in the tournament. The two quarreled over the matter causing both their relationship and his golf game to suffer. At the same time, Bingham’s wife Muriel (played by Eileen Rackus) learned of his reckless gamble.

Director Valerie Brothers selected the perfect cast of players for such an amusing story. Their superb complimenting of one another allowed me to follow what would have been a very confusing series of connections. Mrs. Brothers assembled a group of people who displayed the best chemistry I’ve witnessed on a live stage together. It showed when they tossed a “nineteenth century English Ming vase” around the room.  The object travelled back-and-forth through the air to different players standing several feet apart. Each member of the ensemble impressed me by catching it cleanly.

The best moment of the evening occurred at the conclusion. Following the curtain call, the ensemble shouted, “One more time!” The cast then proceeded to re-enact the entire show in about two minutes. The first time around they delivered an impressive performance. They did the whirlwind version just as brilliantly.

Even when paired in twos, the players complimented one another extremely well. Dan Brothers and Alan Krier performed like a classic comedy team together. Mr. Brothers and Mr. Krier worked off each other exceptionally well when they made the bet. The former took a cocky, uptight approach to the scene while Mr. Krier delivered his lines like a cocky, carefree persona. Their attire reflected these personalities. Mr. Brothers’ conservative gray suit contrasted brilliantly with Mr. Krier’s increasingly outlandish sweaters. Kudos to Dana Marie Marquart: the silly squirrel sweater seamstress.

Mr. Brothers and Ms. Deal enhanced one another’s performances in their shared scenes; he portraying the unhappy husband, she as the lovelorn woman with three failed marriages. They developed the characters’ relationship steadily throughout the show. The most memorable part occurred when they attempted to set-up a romantic dinner for Justin and Louise. Its unforeseen consequences led to the two sharing a few drinks. As they drowned their inhibitions, comedic hijinks ensued. Ms. Deal lay on the ground and presented Mr. Brothers the opportunity to hit a golf ball out of her mouth. His character unwittingly professed his longing for her into an open microphone; thus revealing his deepest most intimate desires to the entire tournament crowd.

Bailey Shaw showcased an exceptional rendition of a rather hyper and emotionally volatile woman. When Kevin Pavon’s character proposed to her she became giddy and ecstatic. Upon losing her engagement ring she converted into a tearful and despondent person; doing so in a way that still got laughs. That’s not an easy achievement. When Mr. Pavon forgave her he made an offhand comment related to the incident. That’s not a good thing to do to a rather hyper and emotionally volatile woman. She abruptly became livid and stomped around stage before exiting.

Kevin Pavon’s character ran through a range of emotions as well. He needed to in order to cope with Louise’s caprices and to deal with Bingham’s machinations. This performer played them all convincingly. I could empathize with him when he tried to console Louise and unwittingly made the situation worse. A pretty comical pre-golf shot dance became part of his repertoire, as well.

For lack of a better expression, Eileen Rackus’ character served as the comic relief. That’s quite a challenge among this group of quirky performers. She played best opposite Mr. Krier. I liked the dynamic of a gruff unhappily married woman interacting with a carefree lothario. I credit her selection of a great voice for her character. She spoke in a tone both angry and loud; at times she sounded as though growling. While speaking in this manner, she still kept it funny.

The cast of Footlighters’ productions often makes the audience feel like part of the show. For this performance they brought me personally into the action much more than usual. When seeking a replacement golfer for the tournament, Ms. Deal suggested a series of names to Mr. Brothers. His character rejected all of them as being poor golfers. One name that came up during the discussion was Kevin Stephany.

I would inform Mr. Brothers I’m a very consistent golfer. I always shoot between the high 50s and low 60s…at least until the third hole…when playing miniature golf.

From a story standpoint, I can’t dispute the choice of Ms. Shaw’s character over me to participate in the contest. While I’m often very critical of myself, I strongly suspect she wore the red dress better than I would have. Nor will I make any effort to prove that wrong.

They say all is fair in love and war. Burlington County Footlighters’ presentation of Ken Ludwig’s The Fox on the Fairway proved that golf pushes the envelope when it comes to that premise. After watching the six characters interact all evening, it made the Peloponnesian War seem like a game of touch football and a golf outing seem like a rugby match. While the show didn’t inspire me to join a country club, it did provide an audience with a very funny and entertaining evening. Now to paraphrase one of Mr. Krier’s more colorful sweaters: if you “like big putts” check it out.

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.