South Jersey

Night of 1000 Plays at Haddonfield Plays and Players

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The Man Who Came to Dinner at Haddonfield Plays and Players

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Lecture Review – “Paulsdale Metal Detecting Finds” by Michael F. Burns, PLS

This February 9th I received an introduction to a new method of historical detection. Michael F. Burns, Professional Land Surveyor described the nuances of using a metal detector to unearth clues about the past. The event took place at Paulsdale in Mount Laurel, New Jersey.

Mr. Burns possesses a unique expertise on both the subject of metal detecting and local history. A surveyor by trade, he is also a member of the South Jersey Metal Detecting Club, the Mount Laurel Historical Society, the Federation of Metal Detectors and Archaeology Club. His metal detecting finds include items such as coins, relics, heirlooms and artifacts. Mr. Burns reported on his findings at the Paulsdale property.

After watching the British television show detectorists, he felt inspired to take up the hobby himself. It seemed a natural extension of land surveying.

The speaker opened his remarks by providing a technical synopsis of the field of metal detecting. Fortunately for your correspondent he did so in language lay people could understand.

He began by introducing the audience to his preferred tool, White’s Spectra V3i. Their machine contains both an audio and a visual component. A polar plot displays vectors that plot the different frequencies the device detects. He, however, prefers to interpret the sounds that represent the different signal strengths. Mr. Burns explained that a good detectorist understands how to read them.

Detecting consists of the following steps: sweeping, pin pointing with the detector, digging, pin pointing with a pin pointer, recovering the target, re-checking the hole with the detector and then filling in the hole.

The latter step is crucial. Mr. Burns along with most detectorists practices “responsible metal detecting.” The trade even has a Metal Detecting Code of Ethics. One component entails getting permission from the property owner before detecting. Practitioners perform their craft with the dual goals of both “saving history and protecting the hobby.”

Paulsdale is a six acre property located on Hooton Road in Mount Laurel, New Jersey. In 1991 the Department of the Interior designated it a National Historic Landmark. It’s most famous as the home of legendary suffragist and co-author of the Equal Rights Amendment, Alice Paul. From 1800 until the late 1950s the property operated as a functioning farm.

Mr. Burns displayed both photos and samples of some items he located on the Paulsdale grounds. He presented an interesting array of objects. The property contained some unusual finds. The speaker located part of a toy gun and a lead toy cowboy from the 1950s. He also found a brass brooch of unknown date, an ignition coil from a Model T Ford dating from the 1920s and a silver plated spoon manufactured in Fairfield, England in 1915.

The most common items he located were old coins. He unearthed a 1922 Order of Railway Conductors convention coin, one from 1938 commemorating the 50th anniversary of Collingswood, New Jersey among some regular currency.

There’s an adage among detectorists that: “It’s not what you find, it’s what you find out.” Mr. Burns emphasized that research is the most important part of metal detecting: both in determining where to search and in identifying the items discovered. With his passion for his work, local history buffs will be hearing about Mr. Burns’ discoveries for years to come.

A Streetcar Named Desire at Burlington County Footlighters

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Scrooge: The Musical at The Ritz Theatre Company

What better way to commemorate the Holiday Season than with a high-tech Christmas spectacle? I’ve commented before about how The Ritz Theatre Company has transformed the South Jersey area into the Wonderful World of Disney. This time the company converted it into a Winter Wonderland. I attended their presentation of Scrooge: The Musical on December 21st.

Upon approaching the theatre I noticed the Ritz lettering colored in red and green. Inside the building lit Christmas trees surrounded by gifts adorned the left and right of the stage. A lighted wreath hung over its center flanked by two others on both sides.

It’s not beginning to feel a lot like Christmas, I thought. This is Christmas.

Director Steve Stonis selected an excellent team to coordinate this elaborate production. Kate Orlando choreographed, Marley Boone designed the costumes and Nicholas French served as Musical Director. The show even included a local ballet troupe: the Cooper River Ballet. Ann Moser Trenka choreographed that group’s routines.

Mr. Stonis brought the audience into the show. Two small platforms were placed in the middle of the theatre on both the left and right of the audience. Actors performed several scenes from them. Performers utilized the aisles for both the action and the dance routines, as well.

During the scene where a man requested a charitable donation from Ebenezer Scrooge, performers Michael Arigot and Bruce A. Curless delivered part of the exchange right in front of me. I got an up-close view of two stellar performers perfecting the craft of acting.

While a delightful Holiday experience, the show included a tint of sadness. This run will serve as Bruce A. Curless’ swan song as Scrooge. This production marks the last time he’ll take on the role of everyone’s favorite Christmas curmudgeon. Mr. Curless made it a memorable one.

When directors chose to utilize the entire room, it gives performers opportunities to interact with the audience. Mr. Curless used the opportunity brilliantly. I enjoyed his disgruntled murmurs while looking at audience members.

Scrooge is a pretty complex character. In the Dickens tale, he transformed from a misanthrope into a philanthropist within a few hours. He even transitioned from Isabel’s adoring suitor into an avaricious miser in the same scene. Scrooge: The Musical added another element to the role: humor. Mr. Curless’ performance captured all these facets of Scrooge’s personality while keeping the role entertaining.  

Mr. Curless performed a comical take on “I Hate People.” Scrooge may not have cared for others, but the audience sure loved Mr. Curless’ musical description of it.

Michael Arigot performed various male roles throughout the evening; some rather diverse. Mr. Arigot chose exceptional voices for them. The horrifying one he used for Jacob Marley enhanced his minatory presence; as did the addition of reverb to it. The comical cockney tone of Mr. Fezziwig made that figure quite amusing. The performer’s ebullient Ghost of Christmas Present brought out the character’s essence. His upbeat rendition of “I Like Life” with Mr. Curless enhanced it.

Hannah Keeley played various female characters. They included Mrs. Cratchit, Mrs. Fezziwig, Isabelle and the Ghost of Christmas Past. I enjoyed her shocked reaction in the first role when Mr. Cratchit (played by Steve Stonis) proposed a toast to Ebenezer Scrooge. These characters provided Ms. Keely with various opportunities to showcase her lovely voice. The most enjoyable occurred when she performed the fitting “Somewhere in My Memory” as the Ghost of Christmas Past.

The show included a remarkable duet between Mr. Arigot and Ms. Keeley. While playing the roles of Young Scrooge and Isabele, they performed a somber rendition of “Happiness.” The tune’s minor key melody showed it to be ironically titled. These two performers—accompanied by Mr. Curless—captured the song’s dreary spirit in a way that made it haunting.

Scrooge’s songwriter Leslie Bricusse provided other performers with opportunities to perform vocal numbers. As Tiny Tim, Addie Crow sang a wonderful rendition of “Beautiful Day.” Urchins Megan Lex and Lily Bunting exhibited their vocal prowess on the tunes “Where is Love?” and “Believe” respectively.

Perhaps in homage to The Nutcracker, Scrooged included some stellar ballet routines. They enhanced the show’s entertainment value. The Cooper River Ballet opened the show by accompanying the cast during the “Overture.” During this performance dancers occupied the stage and both platforms in the middle of the theatre. The set-up created a terrific effect. The group also performed during the “Shades”, “Celebration” and “Isabelle” numbers.

Scrooge included an extensive cast. I’d also like to credit performers Holly Guzik, Emily Ferry, Jameson DeMuro, Olivia Bee Sposa, Max Ruggles, Joey Liberson, Dillinger Crow, Olivia Bathurst, Barbara Fraga, Caroline Grexa, Irelyn Wilkinson, and Audrey Mirtos.

The following members of the Cooper River Ballet added their talents as well: Abby Barrett, Taylor Carey, Emily Collins, Madeline Connor, Caroline Filosa, Lucas Filosa, Kim Fiordimondo, Caroline Hanifen, Gemma Miller and Evan Pirouz.

On multiple levels, I found Scrooge The Musical an outstanding show. I did have one criticism. The show began nine minutes late.

This run of Scrooge will probably be best remembered as Mr. Curless’ final performance in the title role. While his fans may wish that’s “humbug,” in the words of Dr. Seuss: Don’t be sad because it’s over. Smile because it happened. The show I attended certainly gave the audience a lot of reasons to do so.

Scrooge: The Musical runs through December 23rd at the Ritz Theatre Company.

Lost in Yonkers at the Village Playbox

The Village Playbox selected the perfect venue to present Neil Simon’s masterpiece, Lost in Yonkers. With the adoration performers show for the late playwright, it seemed fitting to present the show at a location well suited for veneration. The performance occurred at a church. This cast delivered an apotheosis of this Pulitzer Prize winning play through some inspired performances. I attended the November 1oth performance in Haddon Heights.

Steve Allen and Jenn Edwards co-directed this story of an atypical Jewish family living in 1942 New York. In order to afford his late wife’s medical treatment, Eddie (played by Doug Cohen) borrowed a large sum of money from a loan shark. Fortunately, he received a job offer that would allow him to repay the gangster in 10 months. The position required travel throughout the South. In order to accept it, he needed his semi-estranged mother (played by Phyllis Josephson) to allow his sons, 15-1/2 year-old Jay (Ricky Conway) and 13-1/2 year-old Artie (Colin Becker), to move in with her.

Grandma was an austere disciplinarian. Adding to Jay’s and Artie’s adventure, their quirky Aunt Bella (played by Lori Alexio Howard) also lived with her. Their gangster Uncle Louie (Chuck Klotz) and idiosyncratic Aunt Gertie visited.

One has to credit Mr. Simon for his creativity. It’s difficult to imagine characters this unusual coming together. It’s even more remarkable to put them all together at the apartment above a candy story in the early 1940s. He did so while still crafting a coherent, comical and at times heartbreaking story. It’s not surprising Lost in Yonkers receives the myriad accolades it does.

The cast rose to the level of this extraordinary show. Ricky Conway (as Jay) and Colin Becker (as Arty) performed well as a comic team. Mr. Conway played the more emotional of the two; often moving around and gesticulating. Mr. Becker would remain still and deliver his lines in a laconic deadpan fashion. The two roles made for a nice contrast on stage.

Mr. Conway spoke his lines with a perfect New York accent. He still allowed Jay’s excitable nature to come through in his mannerisms and dialog. Mr. Conway showed great professionalism through the subtle way he displayed the character’s personality. Even in scenes where Jay sat still, he tapped his foot.

Mr. Becker would’ve played a great ‘straight-man’; except that the playwright gave his character some funny lines. The performer’s dispassionate means of expressing them made them much more humorous than they appeared on the printed page. I enjoyed his imitation of Uncle Louie’s explanation of “moxie” the best.

Lori Alexio Howard is a Neil Simon fan. It showed. Ms. Howard portrayed Bella. The respect she has for Mr. Simon is the kind of esteem audiences will show her for this performance.

Bella is one of the more complex characters in the Simon catalogue. Ms. Howard played the character with such enthusiasm she may have elevated Bella into the category of a Willy Loman or Blanche DuBois. She captured the funny side of Bella’s personality, the sadder aspects and the heartbreaking ones all with equal skill. Ms. Howard expressed Bella’s dreams and aspirations in a deeply moving fashion. The longing look in her eye as she did so showed just how seriously she prepared for this role.

It’s difficult to select the appropriate words to express Phyllis Josephson’s skill as a performer. She turned in a terrific portrayal of Grandma. She brought out the character’s change very believably. In the opening scene, she captured the character’s stern nature without even speaking. Ms. Josephson walked in a slow gait before sitting down, maintaining perfect posture and remaining silent. When she did talk, she adopted an authentic German accent; at one point, lecturing Eddie on how she never cried.

Following the confrontation scene, she played Grandma as a mellower character. Even while allowing Eddie and the boys to kiss her and permitting music in the apartment, Mr. Josephson still retained a bit of Grandma’s tougher edge. She did so in a measured way that made the character’s transformation seem even more credible.

Ms. Howard and Ms. Josephson made the confrontation scene in Lost in Yonkers much more intense than I anticipated. The emotional turmoil generated by the argument became difficult to watch very quickly. The entire audience even gasped when Ms. Josephson dumped a cup of hot tea on Ms. Howard. All of that is a credit to how genuine the performers made the fight.

Doug Cohen played Eddie. He conveyed the character’s nervousness by dabbing his forehead with a handkerchief. Mr. Cohen showed Eddie’s plight by speaking his monologs with a tint of somberness in his voice. He also delivered the most comical line in the show with perfect style. When Grandma announced that a bag of pistachios disappeared from the candy story, he exclaimed, “That’s still a problem after 35 years!”

I’d also credit Chuck Klotz and Amy Bannister for their performances. Mr. Klotz played an entertaining Uncle Louie. The cocky voice he adopted made the character an amusing presence on stage. Ms. Bannister animated Aunt Gert’s unusual tic brilliantly. Half way through her dialog she would speak while inhaling. She managed this challenging task extremely well.

Lost in Yonkers contained aspects that would give it appeal to a wide range of theatregoers. It included hysterical comic yuks along with intense drama. A person can imagine the eccentric characters as part of one’s own family. Even more important it included a compelling story. Perhaps that explains why performers have such admiration for Mr. Simon’s work. Audiences who’ve had the pleasure of seeing the show at the Village Playbox will no doubt share it.

Lost in Yonkers  runs through November 17th at the Village Playbox. After that it pulls an Uncle Louie-like disappearance.

 

 

The Ghost Tour Presented by the Historical Society of Moorestown

Even the best place to live in America* has its scary side. I heard tales of Quaker apparitions, mysterious shadows and a visit from the Jersey Devil when I took part in the Moorestown Ghost Tour the evening of October 13, 2018.

Like Prince, Fabio and Bono our tour guide opted to forgo a surname. A man referring to himself by the enigmatic one-word Joe led our group through the journey. We explored Moorestown’s macabre memories surrounding Main Street. An entertaining evening ensued.

The weather accommodated the chilling atmosphere. The unseasonable warm temperatures South Jersey’s experienced gave way to the cool caress of an autumn breeze. A crescent moon bathed the area with a haunting glow on this starless night.

Our tour guide didn’t waste time in getting everyone’s attention. After sharing tales of alleged hauntings at Smith-Cadbury Mansion, we embarked.

Joe discussed the horrific occurrences in the area where the TD Bank now stands. Two local celebrities lived in a home near its grounds. Edgar Sanford served as the first rector of the Episcopal Church on Main Street. His wife, Agnes Sanford, founded the Inner Healing movement. Historians cannot identify the precise location where their house stood.

Mrs. Sanford described the Inner Healing Movement as a process of “the healing of memories,” according to Wikipedia. It’s somewhat ironic that she could have used that practice upon herself. She reported her “senses deadened” and witnessing “shadows moving without light” in her Moorestown home.

A later portion of the tour entailed a visit to Trinity Episcopal Churchyard. Joe forewarned my group that some tour goers have experienced discomfort visiting that graveyard at night. In fact, a few reported the appearance of shadows in the absence of light; an intriguing observation regarding the ground next to the church where Reverend Sanford preached.

I encountered a potential run-in with the occult while in the cemetery. The young lady next to me reported seeing “beady eyes” staring at her from off in the darkness. “It must’ve been a cat. At least, I hope it was a cat,” she said. As I prepared to investigate, I thought it would’ve been impolite if I proved her wrong. I figured it more honorable to go along with her suggestion.

The Trinity Episcopal Churchyard serves as the resting place of Edward Harris. Before Iron Maiden fans “run to the hills” and become “invaders” to Moorestown they should be aware: this is a different Edward Harris than the band’s mascot. The Moorestown Edward Harris befriended John J. Audubon and owned Smith-Cadbury Mansion; the Historical Society’s current headquarters.

Joe told multiple tales of spectral figures attired in Quaker garb haunting the community. During the early twentieth century a farm worker encountered one. While at the site where Hooton’s Hall once stood, he witnessed a ghostly figure in a dark suit and hat walking across the hay and through the wall of a barn.

A customer at the real estate company occupying the Hopkins home on Main Street reported a comparable experience. Upon entering the building he witnessed a man dressed like a nineteenth century Quaker sitting on a chair and staring at him. The figure bore an uncanny likeness to the home’s original owner John Clement Hopkins.

Not all supernatural occurrences in Moorestown are of the spectral variety. January 19, 1909 proved a memorable day in the town’s history. Not only did a snowstorm affect the area, but a series of unexplained phenomena occurred. One resident reported hoof-like tracks in the snow near Stokes Hill. They began in his front yard and trailed around to the back of the house. There they stopped abruptly. That seemed rather odd as the snow had just fallen.

Other residents witnessed a UFO over the site of the current Community House. They described it as a small creature about three feet in length with a two foot wingspan. Its head bore that of a collie’s and the face resembled a horse’s. While on his legendary tour of the Mid-Atlantic region in January of 1909, the Jersey Devil apparently decided add Moorestown to his itinerary.

Joe discussed a variety of other stories that do not appear in this article. I didn’t want to spoil the fun for those who haven’t taken the tour, yet.

On a very serious note he asked for assistance on a local cold case. He requested that anyone with information about the August 22, 1975 disappearance of Carolyn Majane please contact the authorities. More information regarding the case can be found on his website.

I later found out that Joe does, in fact, have a last name. More information regarding Mr. Wetterling’s research can be found at moorestownghosts.blogspot.com. As he mentioned during the tour, the newspaper articles posted there are very graphic. Parents should review before allowing their children to read.

You know it’s a popular community when even those who’ve passed on don’t want to leave. After taking the Moorestown Ghost Tour, it’s hard to blame them. The program included a stroll through the downtown area. Tour goers got a close-up view of the historic homes, churches and businesses that flank Main Street. Even those interested in the more earthly aspects of Moorestown’s history would enjoy the program. The town’s beauty may haunt them long after Halloween, however.

 

*Money Magazine declared Moorestown, NJ the “Best Place to Live in America” in 2005.

High Fidelity at Haddonfield Plays and Players

Haddonfield Plays and Players took me back in time this weekend. Not only did the company feature a show set during the 1990s, but Ed Doyle cast a number of familiar faces from his 2017 homage to the 1980s, Rock of Ages. In spite of my enthusiasm for watching Ed “Rico” Santiago, Dana Masterman and Vinnie DiFilippo share the stage again, I had some doubts about the overall program.

If I were to partake in the main character’s favorite past time, the 1990s wouldn’t make my “top five” decades. My “top three” reasons are: our country suffered through a philanderer in the White House, a senior figure in the Federal Government perjuring himself and a sexual misconduct scandal involving a Supreme Court nominee. Bad behavior must’ve been endemic to the 90s as High Fidelity’s protagonist, Rob, engaged in some of his own. The story explored his relationship woes through great music (directed by Jared Moskowitz) and dance routines (choreographed by Katharina Muniz). I attended the October 6th performance.

High Fidelity depicted one man’s quest to cope with heartbreak. Rob (played by Ed “Rico” Santiago) struggled through a difficult breakup with Laura (Dana Masterman). His past relationships with Alison (Jenn Kopesky), Penny (Sara Viniar), Charlie (Krista Reinhardt), Sarah (Trishia Dennis) and Jackie (Amanda Frederick) haunted him. Rob found solace among music and the regulars who frequented his Brooklyn record store.

Someone coping with the loss of his girlfriend while living a dull life may seem like a hackneyed story line. Pulitzer Prize winning playwright David Lindsey-Abaire gave this premise a fresh take. High Fidelity contained unexpected plot twists and several quirky characters. Add the music by Tom Kitt and lyrics by Amanda Green and this musical comedy became an enjoyable evening of theatre.

Ed “Rico” Santiago (as Rob) possesses a rare gift for connecting with spectators. Unlike many performers he regularly makes eye contact with theatregoers. Combine that with his pleasant delivery, witty presence and adeptness for singing upbeat numbers Mr. Santiago’s ability to engage an audience is without peer.

Mr. Santiago displayed great range in High Fidelity. In spite of the character’s despicable behavior, he still induced the audience to support Rob. His stirring rendition of “Laura, Laura” served as a major reason why.

Dana Masterman (as Laura) displayed great talent through her use of non-verbal communication. Even when her character wasn’t singing, speaking or dancing, Ms. Masterman made Laura a key figure on the stage. She ensured the audience always understood precisely what Laura thought and felt about the action. The best example in this show occurred during her first scene with Ian (played by Tommy Balne). The performer captured the situation’s awkwardness perfectly.

Ms. Masterman’s singing capability equals her aptitude for facial expressions. She delivered outstanding vocals on “Number Five with a Bullet”: a track that fused aspects of country, rock and soul music. As if that didn’t provide a challenge, Ms. Masterman performed part of this number while climbing over a couch.

The “She Goes” routine grabbed the number one spot on my “top five” High Fidelity highlights list. While Lauren Hope Gates (as Allison) and Mr. Santiago delivered strong vocals, the back-up dancers made the number a classic. Vinnie DiFillipo, Matthew Weil and Jonathan Greenstein performed a comically choreographed routine that made the evening’s highpoint.

For those romantic minded theatregoers out there, the show included some additional love stories. The one between Dick (Joseph Grosso) and Anna (Faith McLeery) allowed these two performers to sing the delightful reprise to “It’s No Problem” together. I’d add that moment to the “top five” list, also.

The ensemble contained eccentric characters. They made the show even more amusing. Barry (played by Anthony Vitalo) strived to put together a band although he didn’t play anything. When he did assemble the members of Sonic Death Monkey, he showed himself to be quite the balladeer. He performed a terrific rendition of “Saturday Night Girl” accompanied by Matthew Weil and Johnathan Greenstein. The latter used the same hair stylist as Mr. T. for this show, apparently.

Singer Marie (Allison Korn) was “complex.” She engaged in brief affair with Lyle Lovett, but couldn’t say it was with Lyle Lovett although it was with Lyle Lovett. Ms. Korn delivered the sober lament of those coping with difficult breakups, “Ready to Settle”, with somber conviction.

In keeping with the “list” theme, Tommy Balne catapulted his character into the pantheon of “top three” Yogi’s. Joining the distinguished company of the Bear and the Berra, add Ian.

Among a cast of funny and talented performers, Mr. Balne made his role the most humorous. Famed for organizing Kurt Cobain’s intervention, Ian attempted to win over Laura with his mystic appeal. Mr. Balne’s wig, costume and clever insertions of the yoga tree pose would make him any comedy fan’s Ghandi.

I did find one aspect of the show a bit disappointing. Alluding to his earlier work, Mr. Doyle placed one of Stacey Jaxx’s records in the store. Last year Vinnie DiFilippo portrayed that fictional singer in Rock of Ages. The prop kindled my hope that he’d reprise the role in this show. While that character didn’t appear, Mr. DiFilippo compensated by performing a spectacular Bruce Springsteen impression.

I would also like to complement performers Jenn Kopesky, Sara Viniar, Krista Reinhardt, Trisha Dennis, Amanda Frederick and Jeremy Noto for their work in this production.

High Fidelity would make my “top five” list of musical comedies set in the 1990s. We all know the scandals that shamed our nation in the 90s will never recur. However, let’s hope playwrights and musicians craft more period pieces like High Fidelity. Let’s also hope that this cast and crew members from Haddonfield Plays and Players are available to bring it to the stage. No one will ever accuse me of perjury after writing that.

High Fidelity goes the way of grunge music, the Macarena and the US budget surplus after October 20th.