September 23, 2015

Lindsey Ferrentino     Playwright Patricia McGregor     Director Tim Brown     Set Design Dede Ayite     Costume Design Jiyoun Chang     Lighting Design Jessica Paz     Sound Design Caite Hevner Kemp     Projections Vincent T. Schicchi and Thomas Denier

DANGEROUS LIAISON: Silva Vaccaro (Dylan McDermott) pursues his seduction of Baby Doll (Susannah Hoffman), as passions for vengeance and love coincide, in Tennessee Williams’s  “ Baby Doll,”  adapted for the stage by Pierre Laville and Emily Mann at McCarter’s Berlind Theatre through October 11. (Photo by Richard Termine)

Baby Doll Meighan, 19-year-old virgin wife of middle-aged Archie Meighan, lies provocatively sucking her thumb in her tiny bed as the lights rise on McCarter Theatre’s American premiere production of Baby Doll, adapted by Pierre Laville and Emily Mann from Tennessee Williams’s “scandalous” 1956 movie. more

September 16, 2015

Alice Theater web

IT’S A MAD, MAD WORLD: Alice spends time with a tea-drinking mouse and other wondrous creatures in an original musical adaptation of Alice in Wonderland, presented by the award-winning Kaleidoscope Theatre at Mercer County Community College’s Kelsey Theatre on Saturday, September 19 at 2 p.m. and 4 p.m. Tickets are available at or by calling (609) 570-3333.

Kaleidoscope Theatre at Mercer County Community College present the Lewis Carroll classic, Alice in Wonderland. Performances are scheduled for Saturday, September 19 at 2 p.m. and 4 p.m. at Kelsey Theatre, located at MCCC’s West Windsor campus, 1200 Old Trenton Road.  more

September 9, 2015


French Theater ArtistsPrinceton University’s Lewis Center for the Arts, Department of French and Italian, and L’Avant-Scène will present the fourth annual Seuls en Scène French Theater Festival, which will take place from September 24 through October 24 at venues across the University’s campus. All performances are free and open to the public. While performances will be in French, three productions will include English subtitles: Jaz, Le 20 novembre, and De mes propres mains.

Marking the launch of the fifteenth season of the student French theater workshop L’Avant-Scène, Seuls en Scène brings celebrated French actors and directors to the University and the local community. This year’s festival features an exciting line-up, including a play from the 2012 Avignon Theater Festival, a preview of a new production to premiere at the 2016 Avignon Festival, and works by some of the greatest contemporary playwrights in Europe and the Francophone world. Seuls en Scène has been organized by Florent Masse, Senior Lecturer in the Department of French and Italian and director of L’Avant-Scène. more

September 2, 2015

Dance 1

LEAPING INTO A NEW SEASON: American Repertory Ballet dancer Mattia Pallozzi is among those to be introduced to the public at the company’s first “On Pointe” event of the fall at Rider University on September 23. The series is designed to familiarize the community with the company, it’s dancers, and repertory. (Photo by Richard Termine)

When Douglas Martin took over as artistic director of the American Repertory Ballet five years ago, he knew he wanted to forge relationships inside and outside the studio. Having a continuing dialogue with the public was as important as training his dancers. So Mr. Martin, who was a principal dancer with the Joffrey Ballet and later with ARB before becoming its director, began to focus on a monthly series called “On Pointe.” more

August 12, 2015
DON’T LOOK BACK!: Orpheus (Brad Wilson) defies Hades’ warning not to look back, as his bride Eurydice (Caroline Hertz) follows him out of the Underworld, in Princeton Summer Theater’s production of Sarah Ruhl’s “Eurydice” (2003), playing at the Hamilton Murray Theater on the Princeton University campus through August 16.

DON’T LOOK BACK!: Orpheus (Brad Wilson) defies Hades’ warning not to look back, as his bride Eurydice (Caroline Hertz) follows him out of the Underworld, in Princeton Summer Theater’s production of Sarah Ruhl’s “Eurydice” (2003), playing at the Hamilton Murray Theater on the Princeton University campus through August 16.

In Eurydice (2003), currently playing at Princeton Summer Theater, Sarah Ruhl takes an original slant on this familiar myth of the brilliant musician Orpheus, his bride Eurydice, who dies on their wedding day, and his journey to the Underworld to try to bring her back to life. Ms. Ruhl’s version presents quirky, contemporary characters, relates the story from Eurydice’s perspective and brings the relationship between Eurydice and her father, who does not appear in the original myth, to center stage. more

July 29, 2015


Princeton Summer Theater’s double bill of one-acts, The Actor’s Nightmare (1981) by Christopher Durang and The Real Inspector Hound (1968) by Tom Stoppard, is an insider’s delight with both plays set in a theater, both plays about plays, performances and actors (and, in the latter case, critics too). The highly skilled young performers of these brilliantly clever works at the Hamilton Murray Theater on the Princeton University campus through August 2, enjoy themselves immensely in their madcap endeavors, and the enjoyment inexorably spreads through the loudly laughing audience.  more

July 15, 2015
WARS OF WORDS: Eliza Doolittle (Bits Sola) has successfully discarded her lower class background and learned from Henry Higgins (Jake Robertson) how to speak and behave like a duchess, but where does that leave their relationship and her future? Princeton Summer Theater’s production of George Bernard Shaw’s “Pygmalion” (1913) runs through July 19 at the Hamilton Murray Theater on the Princeton University campus.

WARS OF WORDS: Eliza Doolittle (Bits Sola) has successfully discarded her lower class background and learned from Henry Higgins (Jake Robertson) how to speak and behave like a duchess, but where does that leave their relationship and her future? Princeton Summer Theater’s production of George Bernard Shaw’s “Pygmalion” (1913) runs through July 19 at the Hamilton Murray Theater on the Princeton University campus.

There are reasons why Pygmalion has been the most popular and most famous of George Bernard Shaw’s plays. More than 100 years after its 1914 London premiere those reasons ring out loudly and clearly in Princeton Summer Theater’s (PST) striking production.

Shaw’s fiery, intelligent language, his rich sense of comedy and his irreverent and searing social commentary all sparkle in this play, and the top-flight PST ensemble of eight with a polished professional production crew under the direction of R.N. Sandberg make the most of this brilliant text.  more

June 24, 2015


TREACHEROUS SEAS—Ceyx (Ross Baron) stands tall on deck, sailing far from home, as his wife Alcyone suffers alone waiting for him, in Princeton Summer Theater’s production of Mary Zimmerman’s Metamorphoses (1998),  based on Ovid’s tales of Greek myths, at the Hamilton Murray Theater on the Princeton University campus through June 28.

TREACHEROUS SEAS—Ceyx (Ross Baron) stands tall on deck, sailing far from home, as his wife Alcyone suffers alone waiting for him, in Princeton Summer Theater’s production of Mary Zimmerman’s Metamorphoses (1998), based on Ovid’s tales of Greek myths, at the Hamilton Murray Theater on the Princeton University campus through June 28.

Metamorphoses, Mary Zimmerman’s 1998 theatrical updating of Ovid’s 8 AD fifteen-volume poetic masterpiece based on Greek myths, is, as the title indicates, all about changes. The ten tales featured in Ms. Zimmerman’s 75-minute narrative drama, opening the Princeton Summer Theater season at Hamilton Murray Theater on the Princeton University campus, range widely from the most familiar (King Midas, Orpheus and Eurydice) to the most obscure (Erysichthon, Myrrha) and from comical to deeply somber. Often it is death that brings about the transformations here.

The transformations are sometimes literal, as characters turn into gold, into birds, into flowers and trees or literally dissolve into tears, but also psychological, as characters learn how to love, how to forgive, how to live through the pain and suffering to experience a catharsis, a purging of emotions. The play is also about the transforming power of story-telling and theater, as characters and audience find meaning, understanding and redemption in the telling and performing, the hearing and seeing of these stories.

The staging, as Ms. Zimmerman points out in her notes to the script, should “provide images that amplify the text, lend it poetic resonance, or, even, sometimes contradict it.” The myths from Ancient Greece are rich in the textures of life and psychology, timeless in the human passions, joys and sorrows that they evoke.  The challenge here is to communicate this richness to contemporary theater audiences.

This Princeton Summer Theater ensemble, under the direction of Maeli Goren, is abundantly creative, imaginative and talented, and they do succeed—albeit unevenly—in finding visual metaphors for the ideas and emotions embedded in these powerful stories and bringing this text to life. Made up this year mostly of recent Princeton University graduates, the PST Company of three men and three women, shows extraordinary energy and flexibility in taking on numerous different roles, shifting rapidly from scene to scene, and collaborating seamlessly as a unit.

Each actor assists in telling the stories and must also convincingly embody many different characters. The evening is replete with humor and emotion. Memorable characters come to life, and unforgettably moving moments—King Midas with his daughter who has turned to gold, the beautiful reunion and transformation of Alcyone and Ceyx into seabirds, the moment of Eurydice’s final farewell and return to the Underworld, the shocking realization and confrontation between incestuous father Cinyras and daughter Myrrha, a cocky, brash, contemporary Phaeton out of control behind the wheel of his father Apollo’s sun chariot, and the eternally loving (“Let me die the moment my love dies”) Baucis and Philemon transforming into trees with branches intertwined—leave no doubt about why these myths have survived,  stirring human hearts and souls for thousands of years. Some of the staging here, however, (Narcissus, Pomona and Vertumnus, Eros and Psyche) is less clear and effective.

Beginning with her colorful retelling of The Odyssey in 2000, Mary Zimmerman has brought several plays to Princeton’s McCarter Theatre, including also The Secret in the Wings, Argonautika and The White Snake, all featuring captivating storytelling and dynamically visual, inventive staging, Winner of a MacArthur Fellowship in 1998, aptly called “the genius grant,” Ms. Zimmerman is as renowned for her directing as for her playwriting. Her magic touch would be helpful here.

All these plays rely heavily on the versatility and imagination of actors, director and designers, with minimal set, props and costuming, but this PST production is at times too minimalistic to deliver these stories in their full power and clarity. Audiences, even those well versed in Greek mythology, will have some difficulty following two or three of these tales.  Jeffrey Van Velsor’s set and props include ingenious use of several bedsheets hoisted and lowered, six colorful chairs employed for numerous purposes, seven multi-purpose hula hoops, a collection of buckets with an ocean-blue floor and sky-blue backdrop, admirably complemented by Alex Mannix’s dramatic and nuanced lighting design, Steven Tran’s indispensable musical composition and piano playing, and Keating Helfrich’s all-white costume design.

But a bit more color and a few more props and costume pieces would help greatly in activating the audience’s imagination and clarifying, enlivening these characters, situations and stories. How about an actual plant to help illustrate Narcissus’ transformation from self-absorbed young man to flower? And for Vertumnus, whose courting of Pomona is all about disguises, how about a couple of costume pieces, maybe a wig and hat, to help the actor to embody this contrast between his disguised and real selves?

In her director’s notes in the program, Ms. Goren describes how in staging the action of the play her collaborative company has departed from the traditional large pond on stage and “decided to ditch the pool in favor of a grown-up surrealist playground that shifts and changes along with the stories we present.” This is a smart, creative director with a highly talented ensemble of actors and a first-rate professional crew, all making the most of the Hamilton Murray performance space. But we do miss the pond, which brilliantly would highlight so many details and themes of these stories, and was such a strikingly memorable feature of the original production at Chicago’s Lookingglass Theatre in 1998, then in New York, eventually, where I first saw it in 2002, at Circle in the Square on Broadway.

The six actors provide a model of collaborative, ensemble performance, making it impossible to single out individual stars here. Ross Baron is a tall, strong, manly husband and sea captain as Ceyx, and certainly impressive in a range of roles from Myrrha’s father to the immature teenage dude Phaeton. Evan Thompson creates an affecting King Midas, who learns his lesson; a sympathetic Orpheus, with some fine fiddle playing; and an array of humorous supporting characters. Brad Wilson, from Bacchus to Hermes to Eros and Vertumnus, proves highly resourceful, adaptable and consistently engaging.

Maeve Brady, as Midas’s daughter, Eurydice, Psyche, and other narrative and character roles, is convincing, focused and appealing. Caroline Hertz is powerfully affecting as Alcyone, Myrrha and others.  And Bits Sola bravely overcomes crutches and bandaged foot to skillfully portray Pomona, Baucis, Phaeton’s therapist and numerous different narrators.

In her final commentary on the fatal Phaeton episode, the therapist reflects on the meaning of it all: “It has been said that the myth is a public dream, dreams are private myths. Unfortunately we give our mythic side scant attention these days. As a result, a great deal escapes us and we no longer understand our own actions.”

Dreams public and private come dramatically to life here in this Princeton Summer Theater opening production.  It’s important to consider the enigmatic, irrational and ambiguous in life as well as the rational and easily understood.   And remember, “love conquers all, so don’t scorn Aphrodite.”

Princeton Summer Theater’s production of Mary Zimmerman’s Metamorphoses (1998) will run at the Hamilton Murray Theater on the Princeton University campus for just one more weekend, Thursday through Sunday, June 25-28, with performances at 8 p.m. Thursday through Saturday and at 2 p.m. on Saturday and Sunday.  Call (732) 997-0205 or visit for tickets and further information.

April 22, 2015
FAMILY MATTERS: Albin (Carey Camel, left) as the drag star Zaza, and Georges (Evan Strasnick), manager of La Cage Aux Folles transvestite nightclub, share an intimate moment amidst conflict and chaos over their son’s new fiancée and his conservative in-laws, in the Theatre Intime — Princeton University Players’ production of Harvey Fierstein and Jerry Herman’s 1983 musical comedy, “La Cage Aux Folles,” at Hamilton Murray Theater on the Princeton University campus through April 25.

FAMILY MATTERS: Albin (Carey Camel, left) as the drag star Zaza, and Georges (Evan Strasnick), manager of La Cage Aux Folles transvestite nightclub, share an intimate moment amidst conflict and chaos over their son’s new fiancée and his conservative in-laws, in the Theatre Intime — Princeton University Players’ production of Harvey Fierstein and Jerry Herman’s 1983 musical comedy, “La Cage Aux Folles,” at Hamilton Murray Theater on the Princeton University campus through April 25.

“I beg you, open your eyes … you have arrived at La Cage Aux Folles,” announces the master of ceremonies for the evening. In the opening number, “We Are What We Are,” of the 1983 hit Broadway musical La Cage Aux Folles, book by Harvey Fierstein, music and lyrics by Jerry Herman, the characters of the show present themselves and their world, a popular drag nightclub theater on the French Riviera.

The captivating Theatre Intime-Princeton University Players’ production currently at Hamilton Murray Theater on the Princeton University campus, does indeed present a remarkable array of characters from the glittering world of drag performance. “What we are is an illusion,” they sing, “We love how it feels, putting on heels, causing confusion,” and, as the lyrics of the opening number declare, “You’ll find it tough guessing our gender.”

Directed by Princeton University junior Morgan Young with a talented cast of 14 undergraduate performers, this production is fun and appealing, to the eye and the ear. Though it was the first Broadway musical to focus on a gay romantic relationship, it was designed as a family-friendly, song-and-dance entertainment in 1983 when it debuted, ran for four years and won six Tony Awards, including Best Musical, Best Book, and Best Score.

Thirty-two years later, though at times overly sentimental or stereotypical or old-fashioned in characterization, plot and theme, La Cage Aux Folles still resonates powerfully in its moving portrayal of a loving couple — and family — and in the ensemble’s dynamic presentation of these characters and their theatrical world of glitter, performance, and illusion.

Carey Camel as Albin, aka the temperamental star Zaza, and Evan Strasnick as Georges, manager and emcee of the nightclub, are first-rate, committed, and convincing both individually and through the ups and downs of their loving relationship. The seven lively, quirky, flamboyant “Cagelles” are also consistently fun and fascinating to watch in their dramatic performances onstage and backstage at La Cage nightclub.

Based on a popular 1973 French stage play by Jean Poiret and a 1978 movie, which was followed by two sequels in 1980 and 1985, “Les Cages Aux Folles” is set in the St. Tropez nightclub, backstage and onstage, and in the adjoining apartment of Georges, Albin and their 24-year-old son Jean-Michel (Paddy Boroughs), who, conceived by Georges in a brief tryst long ago, hasn’t seen his actual mother in more than 20 years.

Early in the evening the point of conflict arises and the stakes rise rapidly as Jean-Michel prepares to marry — a female — and has invited not just his fiancée Anne (Lydia Watt) but also her ultra-conservative — Dad is the leader of the Tradition, Family, and Morality Party — parents (Dan Caprera and Nadia Diamond) home to dinner to meet his family. The situation is ripe for humor and dramatic tension (shades of the Sycamore family in Kaufman and Hart’s 1936 You Can’t Take It With You trying to act normally as they entertain their daughter’s stuffy future in-laws), as Georges and Jean-Michel revamp their apartment, Georges straightens up his deportment and they struggle to figure out what to do with the flamboyant Albin, who is first uninvited, then transformed into a macho Uncle Al (“walk like John Wayne”), before he takes matters into his own hands with startling results.

In addition to the French films and the original Broadway musical version, this show has seen numerous other productions in the U.S. and around the world, including two popular Broadway revivals, 2004 and 2010, both of which won the Tony Award for Best Revival. Also, Mike Nichols directed a successful U.S. film adaptation, The Birdcage, in 1996, set in South Beach (Miami) and starring Robin Williams and Nathan Lane.

Mr. Camel’s Albin provides the heart of the show here, as he draws the audience into his life as an aging prima donna, and also a devoted partner to Georges and “mother’ to Jean-Michel. His numbers provide high spots of the evening, including “A Little More Mascara,” as he reflects at the make-up table on the illusions of theater and life before going on stage as Zaza, then in his show-stopping, act one solo finale “I Am What I Am,” as he publicly refuses to compromise his identity to accommodate the expectations of society, and also in a second-act Edith Piaf-style refrain that brings his whole audience — onstage and off — into the beautiful world of his song.

Mr. Strasnick is a worthy counterpart, presiding over “La Cage Aux Folles” nightclub and the larger Hamilton Murray stage. Caught in the middle between the demands of his life with Albin at La Cage and his son’s plans for the future, Georges is a sympathetic character, and Mr. Strasnick presents a credible, interesting figure. Though at times uneven vocally, he is particularly effective in leading the nightclub proceedings and in portraying the depth and emotion of his 20-year relationship with Albin.

Mr. Boroughs as Jean-Michel, contrasting sharply with the world of “La Cage Aux Folles,” presents a clean-cut, likeable young man in love but desperately apprehensive as he prepares to introduce his fiancée and her parents to his unusual family. Ms. Watt is suitably sweet and innocent as the fiancée, and Mr. Caprera and Ms. Diamond successfully portray the one-dimensional, cartoon-like characters of the straitlaced, shocked parents of the bride.

The wonderfully creative — in dress, movement, dance, and characterization — Cagelles deliver memorable, relentlessly interesting and entertaining characters, including the alluring and athletic Jacqueline (Victoria Lee, who deftly doubles as an effusively distinguished restaurateur), the expressive, sarcastic Jacob (Dylan Blau-Edelstein, who also plays with panache the sassy butler/maid for Albin and George and is outrageously funny enough to almost steal the show in a couple of scenes), the amazing operatic-voiced Chantal (Julia Peiperl), Phaedra (Matt Blazejewski) with the acrobatic tongue, the dominatrix Hanna (Kat Giordano) in black leather, red boots, and a whip that she knows how to use, the curiously mustachioed but feminine Mercedes (Alex Vogelsang) and the colorfully cross-dressed Nicole (Brian McSwiggen). Cat Sharp provides a down-to-earth, believable contrast to the gaudy Cagelles as Francis, the nightclub stage manager (though her visible injuries, apparently due to her relationship with Hanna, upsettingly miss the mark for humor).

Choreography by Tess Marchant is simple but successful in rendering this diverse assortment of characters in their wild nightclub setting — with a rich variety of slithering, undulating movements and provocative poses and a kick line or two that might challenge Princeton Triangle Show’s all-male chorus.

The capable eight-piece orchestra positioned behind the set, under the direction of Sam Kaseta, provides strong, appropriate musical accompaniment to the action and singing on stage. David White’s set, depicting backstage and onstage at The Cage nightclub, as well as the apartment of Georges and Albin and several other scenes around town, is less than lavish, but effectively economical, in creating multiple locales without delay between scenes, and striking in its centerpiece curtain made up of dozens of gold mylar strips shimmering in the wind and light (designed by Marissa Applegate) to create the tone and ambience of this play and its world. Rebecca Schnell’s numerous, vivid costumes are on target in further complementing characterizations and tone in the production.

Despite the uniform youthfulness and relative inexperience of the undergraduate cast, some problems and unevenness in the book and score, and the ambitious scope of the entire undertaking, Ms. Young has directed with such fine intelligence and spirit, and her company performs with such admirable focus, energy, and commitment that the show transcends its limitations.

Ms. Young’s wise, perceptive comments in her program note get the last word here and provide compelling motivation to see La Cage Aux Folles in its last weekend at Hamilton Murray Theater: “I have always been drawn to drag as an art form. The eccentricity, excess and inherent performativity of drag is a form particularly suited to musical theatre, the singing, dancing, sparkling queen of the stage world. I find it is also a form particularly suited to self-expression. Drag, to me, is not a disguise, deception or escape, but a heightened representation of self. When something is more extravagant than it is natural or “real” — when someone’s inner monologue is musical, someone’s face is covered in make-up, someone’s hair was bought at Party City — it is not, as a consequence, less “truthful.” Drag performances can be moments of pure self-acceptance, a medium through which everyone can strut their assorted stuff and proclaim, “We are what we are!”

March 18, 2015
MYSTERY ON THE MOORS: Doctor Watson (Lucas Hall) and Sherlock Holmes (Gregory Wooddell) investigate reports of a deadly gigantic hound on the Devonshire Moors, in McCarter Theatre’s world premiere production of Ken Ludwig’s “Baskerville: A Sherlock Holmes Mystery” at McCarter’s Matthews Theatre through March 29.(Photo by Margot Shulman)

MYSTERY ON THE MOORS: Doctor Watson (Lucas Hall) and Sherlock Holmes (Gregory Wooddell) investigate reports of a deadly gigantic hound on the Devonshire Moors, in McCarter Theatre’s world premiere production of Ken Ludwig’s “Baskerville: A Sherlock Holmes Mystery” at McCarter’s Matthews Theatre through March 29. (Photo by Margot Shulman)

You might think you know Sir Arthur Conan Doyle’s legendary detective, but Ken Ludwig’s Baskerville: A Sherlock Holmes Mystery will take you into surprising, hilarious realms of sheer theatricality, wild inventiveness, and over-the-top farce.

Running at McCarter‘s Matthews Theatre through March 29, Mr. Ludwig’s world premiere adaptation of The Hound of the Baskervilles, a bloodcurdling 1901 story of a family curse, a gigantic hound attacking its victims on the foggy Devonshire Moors, and the indomitable Sherlock Holmes and his sidekick Doctor Watson navigating a slew of suspicious characters and situations to pursue the case, is as much about the magic of theater as it is about murder and mystery.

Baskerville is larger than life in its spirited embrace of the melodrama of the original story and also in its sheer delight in the rich array of theatrical contrivances necessary to create this world on a bare stage: the exuberant, versatile acting with just five actors playing more than 40 parts; wildly imaginative props and set; the astonishing abundance, cleverness and speed of costuming; and the sensational lighting, music, and sound effects.

Sherlockians and other murder mystery fans will enjoy the intrigues, the shrewd plotting and brilliant detective work, the colorful late 19th century world of London, the moors and the baronial manor of the Baskervilles, not to mention this “hero we can really believe in,” as Ludwig describes his protagonist, and the inevitable comparisons to Basil Rathbone (1939 movie), Jeremy Brett (1988 TV movie), and Benedict Cumberbatch (2012 BBC production).

But the greatest gifts to the audience here are the wild comedy, as Mr. Ludwig plays with plot, character and theatrical conventions, and the outstanding production values driven by the five brilliant actors and the dazzling technical feats involved in staging this action-packed melodrama.

The story is, of course, full of suspense and thrilling drama, but Baskerville delights in breaking through the fourth wall to show its audience its clever theatricality, as props and set pieces fly in through trap doors or from the wings or the rafters, venues change with the rising of a sunken platform, characters appear and disappear, then appear and disappear again, with the speed of a change of costume or maybe just hat and wig and accent. Over the top? Larger than life? Contrived? Artificial? That’s melodrama. That’s farce. Maybe that’s what theater — or at least this particular brand of theater — is all about. The performers and crews are obviously relishing the theatrical adventure, and it’s impossible not to enjoy it with them.

Director Amanda Dehnert keeps the complicated plot moving at a torrid pace and skillfully balances suspenseful drama with broad, deftly timed comedy. Mr. Ludwig (Lend Me a Tenor, Moon Over Buffalo) knows his craft, and McCarter’s first-rate actors and production team ensure that this material engages the audience and never becomes tedious.

Produced in association with Washington D.C.’s Arena Stage, where it opened in January, Baskerville is a classic whodunit. Of course, as Doctor Watson, both narrator and major player, draws the audience into the intrigue, the question is not only “who?” but also “why?” and “how?” and “when will he or she do it again?”

 Early in the first of two acts, a visit to Sherlock Holmes’ 221B Baker Street London residence by an eccentric Dr. Mortimer (Stanley Bahorek) draws the redoubtable Sherlock Holmes (Gregory Wooddell) and his no-nonsense assistant Doctor Watson (Lucas Hall) into the mystery of the Baskerville curse.

Mr. Wooddell and Mr. Hall create a dynamic duo indeed, contrasting and complementary in their teamwork as they collaborate to solve the case. Mr. Wooddell’s Holmes is a dashing, histrionic figure, fearless and charismatic, while Mr. Hall’s Watson, more conservative, cautious, and approachable, provides the audience with a character foil to Holmes and an entrée into this wild Sherlockian world. As Mr. Ludwig states in his program notes, “[Sherlock Holmes] is quixotic, dangerous, and inspiring. Watson meanwhile is steady, stalwart, and wonderfully earthbound. Together they are Don Quixote and Sancho Panza, Ariel and Caliban, fire and earth.” Mr. Wooddell and Mr. Hall are powerful and convincing in portraying these figures and their legendary, crime-solving teamwork.

Threatening to upstage this duo, however, are the three supporting players and the more than 40 characters that they play. Mr. Bahorek’s transformations, for example, are a delight to behold, from the business-like Mortimer to the ominous, misshapen Barrymore, gothic caretaker of the Baskerville estate, to the Castilian hotel clerk, then the shadowy figure of the Devonshire naturalist, butterfly-catcher Stapleton and others.

Michael Glenn as the Texan (one of Mr. Ludwig’s liberties with the original text) nephew and heir to the deceased Sir Charles Baskerville, injects a generous dose of humor — lots of Texas jokes for starters — and incongruity into the proceedings, as he and Watson probe the mysteries of the moors. Though Mr. Glenn, also playing the prickly, provocative rival Inspector Lestrade of Scotland Yard, as well as a scullery maid and others, is no less busy than Mr. Bahorek, it is the amazing Jane Pfitsch who wins the chameleon prize for most characters, costumes, and wigs, not to mention the prize for most chaotic, fast-paced backstage costume changes. Her bewildering array of roles includes an eager London lad assisting Holmes and Watson, the frighteningly austere housekeeper Mrs. Barrymore, the lovely ingénue Miss Stapleton, mystery woman Laura Lyons, and, by her own count (I lost count early on!) as reported in an interview, 11 or 12 additional characters requiring seven wigs and three additional special hats with hair attached!

All of these transformations are great fun to watch, thanks to the extraordinarily proficient actors, who are able to present rapid-fire characterizations through voice, gesture, body language, and emotion and the brilliant, creative costume designs by Jess Goldstein, with the expert assistance of wig designer Leah J. Loukas and dialect coach Gillian Lane-Plescia.

Daniel Ostling’s set design, lighting design by Philip S. Rosenberg, and sound design by Joshua Horvath and Ray Nardelli provide ample opportunities for theater magic in action. The mostly bare stage with lighting instruments clearly visible on scaffolding and lighting poles, footlights, and a cyclorama on the back wall, along with bone-chilling sound and music effects, in keeping with the larger-than-life murder mystery tone here, help to create the numerous rapidly changing locales.

“My hope,” Mr. Ludwig writes in his program notes, “is that Baskerville is about the theater as much as it is about Sherlock Holmes and Doctor Watson. I want it to be seen not only as a tale of fellowship and courage, but also as an adventure in theater making itself.” This Arena Stage-McCarter production, with its infinitely creative design and production team and these high-energy, high-versatility, highly imaginative performers more than fulfill Mr. Ludwig’s hope. It’s an entertaining evening for Sherlockians, theater-lovers and audiences of all ages.

McCarter Theatre’s production of Ken Ludwig’s “Baskerville” will run through March 29 at McCarter’s Matthews Theatre, 91 University Place in Princeton. Visit www. or call (609) 258-2787 for tickets and information.

February 25, 2015
SEX, LOVE AND SHOW BIZ: Hollywood star Mitchell Green (Nico Krell, on left) and Alex (Cody O’Neill), his rent boy, confront each other in Mitchell’s hotel room — Are they gay?  embarking on a relationship?  just curious? — in Theatre Intime’s production of Douglas Carter Beane’s “The Little Dog Laughed” (2006) at the Hamilton-Murray Theater on the Princeton University campus through February 28.

SEX, LOVE AND SHOW BIZ: Hollywood star Mitchell Green (Nico Krell, on left) and Alex (Cody O’Neill), his rent boy, confront each other in Mitchell’s hotel room — Are they gay? embarking on a relationship? just curious? — in Theatre Intime’s production of Douglas Carter Beane’s “The Little Dog Laughed” (2006) at the Hamilton-Murray Theater on the Princeton University campus through February 28.

The Little Dog Laughed, Douglas Carter Beane’s 2006 Tony-nominated hit comedy, is a play about Hollywood, about truths and illusions, unbridled ambition and control. It is also about relationships, working through gender confusions, making meaningful connections, and struggling to sustain those connections. Mr. Beane is a skilled craftsman, and his play is also about language and theatrics and how humans (including writers) use that language in the pursuit of power and love and the creation of worlds, both fictional and actual. Theatre Intime’s current revival, directed by Princeton University senior Jack Moore, capitalizes on creative, intelligent, tasteful staging and four dynamic, committed performances to deliver the sharp humor and depth of human relationships here.

The four characters in The Little Dog Laughed develop a sort of love rectangle. As Diane, a high-powered Hollywood agent, explains, “My rule of thumb is that in the first act you put your people in a tree, in the second act you throw stones at them while they’re in the tree, and in the third act take them down from the tree.” At the end of the second of only two acts in The Little Dog Laughed, Diane promises the audience that she will “sort this all out,” and she proceeds to do just that.

Diane’s principal client is the rising Hollywood star Mitchell Green, whose homosexuality, though hesitant and mostly closeted, is causing public relations problems for her. Ever the consummate pragmatist, problem-solver, epitome of the Hollywood businesswoman, she warns Mitchell about his budding gay relationship undermining the new movie they are planning: “We are investing money into a property that will fill the common woman with lust and fill the common man with envy. My problem is that if you start walking around with your “friend” over there. You will not inspire lust in common women and every common man will feel superior to you.”

Meanwhile Mitchell and his rent boy Alex are developing a serious relationship, despite confusion and questioning of sexual preferences on both sides. To further complicate matters, in residence back at Alex’s apartment, where he’s been missing for five days, is his girlfriend, or ex-girlfriend, Ellen.

Theatre Intime’s undergraduate ensemble is in top form here. The actors make the most of Mr. Beane’s polished dialogue and clever plotting. The play develops its characters and moves the plot forward with a captivating counterpoint between interior monologues spoken to the audience and dynamic exchanges among the characters.

Katie Frorer as Diane presides with authority and style over the evening’s misadventures. The age stretch here is challenging — Diane is a hardened veteran of the Hollywood wars, probably twice the age of Ms. Frorer. — but this witty, cynical, charismatic woman comes across in technicolor. Despicable? Perhaps, but she is devilishly charming, funny, and devastating in her skewering of the hypocrisies and delusions of Hollywood and its denizens. From her long opening monologue through frequent asides and extended commentary to the audience, Ms. Frorer’s Diane serves as narrator and the driving force in “problem-solving” and moving the plot forward. She frequently breaks the fourth wall to engage the audience, as she seems to be supervising the writing and directing of the action.

As the closeted Hollywood star Mitchell, at the center of the clash here, Nico Krell creates a convincingly conflicted character, often self-absorbed but trying hard to find meaning and love in his unusual life amidst the demands of Hollywood stardom. The comedic Hollywood exchanges with Diane are perhaps more convincing than the romantic scenes with Alex, but Mr. Krell, also stretching to portray a character twice his age, is on target and sympathetic throughout. There are many fine scenes during the evening, moments of poignant emotion, as well as high hilarity, but Mitchell and Diane’s ingratiating themselves with a pretentious playwright over a fashionable lunch is most memorable in its razor-sharp, humorous satiric commentary — impressive evidence of these two actors’ ability to create, out of thin air, the setting, the third (invisible) character, his (silent) comments, and the whole “Hollywood” scene for the audience’s enjoyment.

As the rent boy/prostitute, Cody O’Neill’s Alex is probably the most sympathetic of the four characters — and the most vulnerable to the brutalities of the Hollywood he encounters in the personas of Mitchell and Diane. Mr. O’Neill creates an intriguing three-dimensional young character, exploring his sexuality and his life with a certain toughness and independence that the other characters do not possess. In a range of challenging scenes, Mr. O’Neill, whether communicating directly to the audience, trying to cope with his distraught girlfriend, or charting his path in the awkward relationship with Mitchell, conveys convincingly the bravura and the vulnerability of the sensitive young hustler.

Abby Melick’s Ellen establishes the fourth side of the romantic rectangle with her lingering relationship — friend? girlfriend? ex? — with Alex and plays a crucial role in Diane’s ultimate scheme. Though in some ways more of a supporting character than a protagonist, Ms. Melick’s Abby also creates a three-dimensional persona for her 24-year-old character and delivers a credible, strong stage presence, established early on in a memorable monologue about returning home to visit “Screecher,” her mother, and witnessing the horror of what has happened to her old room.

David White’s set design here vividly and economically establishes the hotel room of Mitchell and Alex at center stage, a large desk stage left for Diane’s domain, and minimal furniture for Alex’s apartment and a home base for him and Ellen stage right. Diane as narrator and master problem-solver-manipulator-director of the action frequently wanders to center stage and downstage to address the audience or engage in the action. Lighting by Michael Kim enhances both mood and creation of these locales, as it also speeds the rapid shifts from scene to scene throughout more than 20 scenes over the course of the play. Costume designs by Emma Claire Jones are realistic, appropriate, and expressive of each of these four interesting individuals.

This world of big-money Hollywood power plays and publicity, of movie stars and their rent boys, may seem rather removed from the average Princeton audience’s frame of reference, but The Little Dog Laughed successfully draws its viewers into the intriguing lives of these four characters. Skillful playwriting, intelligent staging, and dedicated, talented acting grab the audience’s attention from the start and make us laugh and care about these four characters and their lives.

Theatre Intime’s production of Douglas Carter Beane’s “The Little Dog Laughed” will run through February 28 at the Hamilton-Murray Theater on the Princeton University campus. Call (609) 258-1742 or visit for tickets and further information.

January 28, 2015
PASS BOOK OPPRESSION: Buntu (Atandwa Kani, left) helps Sizwe Bansi (Mncedisi Shabangu) survive in apartheid South Africa through taking another man’s pass book and giving up his own identity, in McCarter Theatre’s production of Athol Fugard, John Kani and Winston Ntshona’s “Sizwe Bansi is Dead” (1972), playing at McCarter’s Berlind Theatre through February 15.

PASS BOOK OPPRESSION: Buntu (Atandwa Kani, left) helps Sizwe Bansi (Mncedisi Shabangu) survive in apartheid South Africa through taking another man’s pass book and giving up his own identity, in McCarter Theatre’s production of Athol Fugard, John Kani and Winston Ntshona’s “Sizwe Bansi is Dead” (1972), playing at McCarter’s Berlind Theatre through February 15.

“You have to understand,” Styles, in his photo studio in the black township of New Brighton outside Port Elizabeth, South Africa, tells us, “we have nothing except ourselves. We own nothing except ourselves. This government and its laws leaves us with nothing except ourselves. Even when we die, we leave nothing behind except the memories of ourselves. That is my job.”

As the culmination of his genial, chatty opening monologue, Styles’ comments about the role of the photographer strike central themes of identity, who we are as human beings, and appearance vs. reality in Sizwe Bansi is Dead. Created by Athol Fugard, John Kani and Winston Ntshona in 1972 at the mid-point of South Africa’s four and a half decades of apartheid government, the play shifts back and forth in tone between low-key, light, humorous and intensely, painfully serious. It delivers a scathing indictment of the harsh system of racial discrimination and segregation imposed by the white South African government on its majority dark-skinned population.

Seeing this production of Sizwe Bansi, at McCarter’s Berlind Theatre, more than 20 years after the dismantling of apartheid in South Africa, is a different experience from seeing the original on Broadway, where Mr. Kani and Mr. Ntshona shared Tony Awards for best actor, after its 1972 opening in South Africa and subsequent run in London. I remember feeling the political tension at that time. There was the sense that this controversial play was doing something dangerous. Mr. Kani, who played the role of Styles in the original and has directed this production with his son Atandwa Kani as Styles here, and Mr. Ntshona had, surprisingly in 1974, been allowed to travel outside of South Africa, but only with the official designation as servants to Mr. Fugard. After a subsequent performance of the play in South Africa, Mr. Kani and Mr. Ntshona were jailed for 23 days.

Unsparing in its detail of the world of apartheid South Africa, Sizwe Bansi presents a vivid, memorable picture of three characters, played by the two actors. But, though this production may have lost its specific political immediacy after 43 years, it reveals the rich universality and timelessness of human beings struggling to assert their identity against the oppressive forces of a society that would deny them that right. Along with blacks in apartheid South Africa, think of blacks in the segregated U.S. South (The recently released movie “Selma” comes readily to mind.) or of recent demands that African-American lives in Ferguson, New York and elsewhere matter and must be recognized and treated with dignity, or of other oppressed peoples throughout the world.

In the spirit and style of South African township theater, sets and costumes (designed by John Kani), props and staging are minimal. The two seasoned, brilliantly captivating actors create the world of Sizwe Bansi with their actions and their words. John Kani’s direction is focused, intelligent and on-target. The pacing is swift and nuanced, and the 90-minute show holds its audience from start to finish.

Atandwa Kani’s Styles is a dynamically personable, appealing character. In his opening monologue he reflects shrewdly, pointedly on events of the world and he describes working for the Ford Motor Company in South Africa, preparing the plant for a visit from the big boss, telling his white employers what they want to hear. But Styles has since persevered to surmount some of the bureaucratic and financial obstacles that the apartheid society placed in his way, and he has acquired his own tiny photography studio. With his irrepressible affability, his sharp sense of humor and his broad smile, he readily wins over the audience, even welcomes two audience members on stage to see his photos.

People come to him for passbook photos, family photos—selfies of 20th century South Africa?—in the hopes of creating and asserting their identities and preserving those identities into the future. “This is a strong-room of dreams,” he boasts. “The dreamers, mightiful…These are the people that would have been forgotten with their dreams, their hopes, their aspirations if it wasn’t for me, Styles.”

Sizwe Bansi (Mncedisi Shabangu) enters the photo studio, dressed in a white double-breasted suit and fedora, with both pipe and cigarette, seeking a single snapshot to send to his wife in King William’s Town to show her how he is doing. But, clearly, he is unsure of his own identity. His suit seems too large for him, and he is uncomfortable as he hesitates before telling Styles his name is “Robert Zwelinzima.” In the form of a letter to his wife, who had to stay in far-off King William’s Town with their four children while Sizwe went to find work in Port Elizabeth, Sizwe tells the audience the story of his transformation. “Sizwe Bansi, in a manner of speaking, is dead.”

As he tells his story, illustrating so dramatically the destructive effects of the pass book laws, the scene changes in a flashback, and we observe Sizwe’s struggles with the repressive conditions of living as a black man under the South African apartheid government. Soon after Sizwe arrived in New Brighton outside Port Elizabeth, where he stayed with a friend, the police raided his friend’s house and put a stamp in Sizwe’s pass book demanding that he leave Port Elizabeth immediately. He could have found work in Port Elizabeth, but would surely have been arrested and either jailed or forcibly returned to King William’s Town where he could not find work to support his family except in the dangerous, back-breaking job of mining gold and diamonds.

Sizwe moves into hiding with a man named Buntu (also played by Atandwa Kani), who explains to him the harsh pass book system, but is unable to help him until, late at night, after a drunken visit to the local bar (the shebeen), Buntu and Sizwe come upon the body of a dead man in an alley. The dead man’s pass book is in order. Sizwe can take the book, assume the identity of Robert Zwelinzima, then live and work in Port Elizabeth.

In a world that treats people as pass book numbers rather than human beings, the decision for Sizwe, Buntu argues, is a simple, practical one. But Sizwe, confronting the existential dilemma of what it means to be a human being, protests, “I don’t want to lose my name…How do I live as another man’s ghost?” Echoing Shylock’s angry declaration of his humanity as a Jew in Shakespeare’s Merchant of Venice, Sizwe asserts his pride and dignity as a man: “Am I not a human being? I’ve got eyes to see. I’ve got ears. I’ve got a head to think good things. Am I not a human being?”

The final scene of the play returns to Styles’ photo studio and the present, as Sizwe, now Robert Zwelinzima, smiles for the camera.

“Survival can involve betrayal of everything—beliefs, values, ideals—except Life itself,” Mr. Fugard wrote in his Notebooks 1960-1977. In Sizwe Bansi is Dead the title character lives in a world where, to survive, he must give up his very name and identity as a human being. It’s difficult to imagine a more powerful, moving depiction of a racist society that inflicts such devastating, pernicious effects on individuals and families.

McCarter Theatre’s production of “Sizwe Bansi Is Dead,” co-produced with the Market Theatre of Johannesburg and Syracuse Stage, will run through February 15 at McCarter’s Berlind Theatre at 91 University Place in Princeton. Call (609) 258-2787 or visit for tickets and further information.

November 12, 2014
STAR-CROSSED LOVERS: Romeo (Robby Keown) and Juliet (Rachel Stone) put on their masks before the Capulets’ ball in rehearsal for Theatre Intime and Princeton Shakespeare Company’s production of Shakespeare’s “Romeo and Juliet” at the Hamilton-Murray Theater on the Princeton University campus through November 15.

STAR-CROSSED LOVERS: Romeo (Robby Keown) and Juliet (Rachel Stone) put on their masks before the Capulets’ ball in rehearsal for Theatre Intime and Princeton Shakespeare Company’s production of Shakespeare’s “Romeo and Juliet” at the Hamilton-Murray Theater on the Princeton University campus through November 15.

Near the end of Shakespeare’s A Midsummer Night’s Dream, Duke Theseus offers his bride Hippolyta a witty and wise critique of the play-within-the-play that they are watching. “The best in this kind are but shadows;” he says, “and the worst are no worse if imagination amend them.” The Theatre Intime — Princeton Shakespeare Company collaborative production of Shakespeare’s Romeo and Juliet, at Hamilton-Murray Theater on the Princeton University campus through November 15, takes on the daunting challenges of Shakespeare’s early romantic tragedy with energy and intelligence, but at times makes inordinate demands on the audience’s imagination and ability to suspend disbelief.

The production features some strong individual performances, consistently high production values, and clear, effective staging of the numerous scenes and the complex action of the play. The difficult lines — richly poetic, full of figurative language, colorful imagery, paradoxes and puns — are mostly well memorized and seemingly well understood by the actors, but the audience’s imagination is indeed strained, as performers often fail to communicate those lines and their characters with clear and dramatic expression and meaning.

Charlie Baker’s Mercutio, Sean Toland’s Friar Laurence, Robby Keown’s Romeo, and Justin Poser’s Tybalt provide strong, lucid, captivating characterizations, but other actors at times do not credibly and clearly deliver the Shakespearean language and engage the audience. In this play, clashing attitudes and concerns between adults and youths are crucial issues, but the age stretches for the six of these fourteen mostly undergraduate — one graduate student — actors playing adult roles are formidable. With luck, demands on the audience’s imagination to fill in credibility gaps may diminish as the play moves into its second weekend; these performers should settle more comfortably and confidently into their roles, diction and projection should sharpen, and the chemistry between the title character lovers should warm up.

Shakespeare wrote Romeo and Juliet, early in his career, before the great tragedies, in the same years (1595-96) as A Midsummer Night’s Dream. Both plays are concerned with how the “course of true love never did run smooth,” and they share similar comedic elements until the tone of Romeo and Juliet darkens half way through and the play turns to the tragic mode.

Romeo and Juliet is the most famous love story in Western literature, perhaps in all literature. Over the 420 years since its creation it has inspired thousands of productions and hundreds of different adaptations for stage and screen around the world. Franco Zeffirelli’s 1968 movie with its beautiful Italian settings and unforgettable musical score, Baz Luhrmann’s 1996 film with Leonardo DiCaprio and Claire Danes and the action updated to present-day Verona Beach, Florida, the great 1957 musical West Side Story, set in the streets of New York City, and Sergei Prokofiev’s ballet come most readily to mind, but there has also been a gnome version (“Gnomeo and Juliet”), a feline version, a sea lions cartoon version, a martial arts version — is there a time period in history or a place on the globe that has not served as a setting for the retelling of this powerful tale?

“It is too rash, too unadvis’d, too sudden, too like the lightning, which doth cease to be ere one can say ‘It lightens,’” Juliet (Rachel Stone) warns Romeo after they exchange their first vows of love. And soon afterwards, from Friar Laurence, Romeo receives another warning, similar in its dramatic imagery and urgency: “These violent delights have violent ends and in their triumph die, like fire and powder, which as they kiss consume.”

Of course, the nature and intensity of their passion make it impossible for Romeo and Juliet to heed these warnings, impossible for them to do anything but self-destruct in pursuing their desires. Amidst a bitter feud between their powerful families, Romeo and Juliet suffer a combination of bad luck, feckless adult influences, and mocking, impetuous friends to help speed them on their tragic trajectory. From Romeo’s first glimpse of Juliet (“Beauty too rich for use, for earth too dear!”) at her father’s masquerade party, to their shyness and first kiss, Juliet’s realization that their families are dire enemies, through the balcony scene and their first declarations of love for each other (“My bounty,” says Juliet, “is as boundless as the sea, my love as deep; the more I give to thee, the more I have, for both are infinite.”), their secret marriage, Romeo’s banishment, and their final encounter, their romance is enthralling, the poetic language is rich and moving, but their doom is inevitable.

Mr. Keown’s Romeo is worthy and convincing as both fighter and lover. Dressed all in white, a strong costuming statement, he and Ms. Stone are set apart from their more darkly clad peers. All are in contemporary attire, although the language and other elements of the play remain traditional. Ms. Stone is an appealing Juliet, though her words and her shifting emotions do not always project with sufficient clarity and impact. Too much of the rich language is lost here.

Mr. Baker as the eloquent, ebullient Mercutio, ill-fated comrade to Romeo, is the most successful of the company in communicating character, dramatic movement and the rich poetry — so sad, for many reasons, that he does not survive past intermission. Mr. Toland, as a bespectacled, side-burned Friar Laurence, presents the most convincing of the older generation characters, while Mr. Poser’s “fiery” cousin Tybalt proves a suitably fearsome adversary for Mercutio and Romeo.

Jessica Li as Juliet’s nurse is entertainingly playful, talkative, bawdy and meddlesome, though less than convincing as a maternal figure. Miranda Bolef as a female transformation of Benvolio, Sam Kessler as an authoritative Prince Escalus, and Christian Gray as Juliet’s hapless fiancé Paris all present sound characterizations and deliver the 16th century prose and poetry with understanding and intelligibility. T.J. Smith and Kristin Coke as the Capulets, irascible father and fretful mother, Lydia Watt as Montague and Joseph Labatt and Jacob Zweiback, each in a variety of different roles, lend support throughout the evening.

Rachel Wilson, Princeton University junior, has directed this challenging production with skill and sensitivity. The action moves swiftly from scene to scene, and the plot — though not always all the lines — flows smoothly and dynamically from start to finish of this two-and-a-half-hour production. Wesley Cornwell’s unit set, constructed entirely of hundreds of wooden pallets stacked from floor to ceiling, provides the smell of a lumberyard and a bit of the look of a ramshackle shantytown, but the simplicity is effective in staging the action economically, providing the requisite entrances, exits and multiple levels for more than twenty different scenes, including balcony, bedroom, ballroom, street, underground tomb and others. Hannah Yang’s creative, nuanced lighting design contributes significantly in establishing the changing venues and in communicating the ominous shifts in mood as the action darkens from comedy to romance to tragedy. Savannah Marquandt’s contemporary costumes and Matt Smith’s portentous sound contribute further to the creation of the intense, dangerous, shifting world of the play.

“More light and light, more dark and dark our woes!” Romeo observes as he leaves Juliet at sunrise to serve out his sentence of banishment. As the stage lights darken for the final time at the end of this play, the Prince intones his final tragic pronouncement on the proceedings: “For never was a story of more woe/Than this of Juliet and her Romeo.” Despite some lapses in this production, the audience reaps abundant reminders of the greatness of the Bard (even so early in his career), the beauty and richness of his poetry, and the power of these two lovers to remain, more than four centuries later, our enduring model of true love.

The Theatre Intime’s and Princeton Shakespeare Company’s production of Shakespeare’s “Romeo and Juliet” will run for one more weekend, November 13-15, with performances Thursday and Friday at 8 p.m. and Saturday at 2 and 8 p.m. in the Hamilton-Murray Theater on the Princeton University campus. Call (609) 258-1742 or visit for tickets and information.

October 22, 2014
REHEARSAL WOES: Harry (Adam Green), in the title role, is surprised to find that his jilted ex-fiancee Roxanne (Danielle Skraastad) is the stage manager, running the understudy rehearsal - and that's just one of many mishaps that ensue in McCarter Theatre's production of Theresa Rebeck's "The Understudy," playing at McCarter's Matthews Theatre through November 2.

REHEARSAL WOES: Harry (Adam Green), in the title role, is surprised to find that his jilted ex-fiancee Roxanne (Danielle Skraastad) is the stage manager, running the understudy rehearsal – and that’s just one of many mishaps that ensue in McCarter Theatre’s production of Theresa Rebeck’s “The Understudy,” playing at McCarter’s Matthews Theatre through November 2.

Theresa Rebeck’s The Understudy (2008) is a comical, 90-minute, one-act depiction of life in the theater. The setting is a theater during a special rehearsal to help prepare the new understudy for a Broadway premiere of a recently discovered work by Franz Kafka. On the big stage at McCarter’s Matthews Theatre through November 2, The Understudy presents a humorous and affectionate representation of two actors and their stage manager — all under unusual personal and occupational stresses.

From the opening sound of a gunshot until the final curtain, high tension and multiple mishaps, both human and technical, proliferate. It’s a funny play, with some razor sharp wit, clever dialogue, and rich comical situations evolving as rehearsal and personal relationships progress. Ms. Rebeck is also delivering an indictment of the American Theater’s obsession with celebrity and the debilitating, dehumanizing effects of that obsession on the dedicated artists who continue the work they love as actors, stage managers, and other theater artists. The fact that the play-within-the-play is a lost work by Franz Kafka helps to ensure that the comedy served here will at times be dark and satirical.

This production, under the resourceful direction of Adam Immerwahr, in his first time directing on a McCarter main stage, merges a dynamically interesting, energetic, and talented cast of three with an extravagantly engaging set design and dazzling production values. What the script may lack in depth or development of plot and characters, this vibrant trio of experienced young actors, along with Eugene Lee’s fascinating, frequently moving set as a fourth character, provide to successfully capture the audience’s attention and interest.

The central metaphor here compares these anxious, isolated actors to characters from Kafka’s stories, particularly The Trial and The Castle — placed in mysterious, surreal situations, controlled by irrational forces in a dark, absurd world where there is no choice but to forge ahead. In The Understudy those tyrannical, invisible, offstage forces include not just the Hollywood-driven financial powers of the acting hierarchy and the whims of the businessmen producers, but also the erratic behavior of a stoned light board operator with her abundant supply of wheeling and flying scenery and special effects. Roxanne, the stage manager character, and her two actors, Harry and Jake, are, of course, also subject to the vicissitudes of human behavior in the tangles of a romantic triangle of sorts.

As the McCarter program points out, however, “everything you need to know about Kafka to enjoy The Understudy is “nothing at all …” Despite Kafka’s brooding black and white visage and a greatly enlarged page from an edited manuscript hanging over the stage, profundity, character exploration, and plot development are not priorities here. Comedy and a fascinating, quirky glimpse at the creative process of theater are the order of the day for this show, and the opening-night audience responded with abundant laughter from start to finish.

In the role of Harry the understudy, Adam Green establishes a winning rapport with the audience in his brilliantly funny, satiric, psychologically-revealing opening monologue. He continues to navigate skillfully the difficulties of the journeyman actor confronting first Jake (JD Taylor), his rival “Hollywood” scene counterpart, then Roxanne (Danielle Skraastad), his stage manager/boss, who also happens to be the woman he jilted just two weeks before their scheduled wedding. Mr. Green, who played Figaro in last spring’s acclaimed McCarter productions of The Barber of Seville and The Marriage of Figaro, is charming and sympathetic in his frustrations (“I mean it’s not — and it’s not that I’m bitter. People look at you; they say oh he’s an actor who’s not liked so he must be kind of bitter, and I am, I am bitter, but that doesn’t mean that movies don’t suck …”) — an ideal guide to lead us into the crazy backstage world of actors and the rehearsal process.

Mr. Taylor’s Jake, a screen star known for his roles in action movies, commands $2 million for his film roles, yet remains at the mercy of bigger Hollywood names and ruthless producers. His conventional good looks and dashing presence have gone a long way for Jake, who knows how to draw a gun with panache and apparently reached the apex of his career with his recent movie line: “Get on the truck!” Mr. Taylor persuasively embodies both the much mocked matinee idol/action movie star and also a more sympathetic actor coming to terms with a challenging stage role, two psychologically complex colleagues and the realities of life in the theater.

Ms. Skraastad’s Roxanne is commanding and larger than life as stage manager and woman scorned. She battles valiantly against the forces of fate and theatrical mischance to try to keep the rehearsal and her life moving forward. Harry explains that “the stage manager is the one person in the theater you’re supposed to be able to count on to keep her head. That’s the job description: to always have six kinds of duct tape, a pencil sharpener, Band-Aids, and a cool head” — but under the circumstances the cool head is too much to expect. Roxanne is understandably, comically flummoxed in her struggles with the intoxicated light board operator, the actors and the producers on the phone — not to mention the unexpected appearance of her ex-fiancé. With her air of authority, barely covering fierce anger and hysteria, she is funny and admirably convincing.

Mr. Lee’s set uses the immense Matthews stage and many of its accessories to full advantage, representing, and at the same time exaggerating and satirizing, the excesses of the big-budget Broadway show. With dozens of lighting instruments on all sides, a giant wind machine, melodramatic music and sound effects, picturesque onstage precipitation, a ghost light at center stage, a vast “Broadway-style” proscenium arch complete with golden-harp motif, along with a variety of set pieces wheeling on and off, and huge backdrops of a study, a tavern, and a dungeon — this animated set creates a comedy of its own. And of course there’s the face and manuscript of Kafka hanging at center stage above this Kafka-esque world. A large, well-equipped stage manager’s table in the front section amidst the orchestra seats provides Roxanne with a command post from which she vainly attempts to rein in the chaos of this rehearsal. The much acclaimed Mr. Lee, designer of The Tonight Show with Jimmy Fallon and at Saturday Night Live since 1974, has designed many Broadway shows, including the current long-running musical Wicked.

Kafka, who, supposedly, actually wrote a play that no longer exists and whose aura does pervade The Understudy and the play-within-the-play, once stated: “There is plenty of hope, an infinite amount of hope in the universe — but not for us.” In the end, however, Ms. Rebeck’s indomitable characters and her comedic perspective on the underbelly of the theater world, succeed in transcending the hopelessness and leaving us with a joyful affirmation of life and theater.

October 1, 2014
MASTER CLASS: Mark Rothko (John Fairchild, on left) uses his assistant Dan (Ryan Gedrich) as student, sounding board, and lackey, as the two clash frequently while creating Rothko’s massive paintings, in Theatre Intime’s production of John Logan’s “Red” (2009) at the Hamilton-Murray Theater on the Princeton University campus through October 4.

MASTER CLASS: Mark Rothko (John Fairchild, on left) uses his assistant Dan (Ryan Gedrich) as student, sounding board, and lackey, as the two clash frequently while creating Rothko’s massive paintings, in Theatre Intime’s production of John Logan’s “Red” (2009) at the Hamilton-Murray Theater on the Princeton University campus through October 4.

In 1958, Mark Rothko, in his mid-50s, vastly successful and in the final years of transition towards abstraction in his painting, undertook one of the most prestigious and lucrative commissions ever offered to an artist. At the behest of architects Phillip Johnson and Mies van der Rohe, Rothko began work on his Seagram Murals for the Four Seasons Restaurant in the new Seagram Building on Park Avenue. Rothko created these massive, magnificent canvases, rectangular fields of reds and black, in his old gymnasium studio in the Bowery, New York City.

Intensely serious, brilliant, arrogant, fiercely opinionated, and obsessive, Rothko painted at least 30 of these murals, though only seven were required, but he eventually repudiated the commission, and returned the advance money. The famous Seagram Murals today hang in the Tate Museum in London, the National Gallery in Washington D.C. and the Kawamura Memorial Museum in Japan.

John Logan’s two-character drama Red (2009), originally produced at the Donmar Warehouse in London with Alfred Molina in the role of Rothko, then brought to Broadway the following year, and now through October 4 at Theatre Intime on the Princeton University campus, portrays the artist in his studio over a period of a few months in 1958-59. The play, winner of six Tony Awards, including Best Play, is about the relationship between the artist and his work, and also about the growing, conflict-ridden connection between Rothko and his young assistant. Rothko’s work and increasingly dark aesthetic focused on engaging with and enveloping the viewer, and Mr. Logan’s play also attempts to embrace the audience and explore the relationship between the artistic work and the spectator.

Felicitously scheduled to coincide with an exhibit of abstract expressionist works, including a painting by Rothko, at the Princeton University Art Museum, this production of Red provides, in five scenes without intermission, a rich theoretical discussion of modern art, a master class of sorts, and a glimpse into the world of Rothko’s atelier. Red is also an intriguing human drama and a compelling story of a young artist coming of age through his struggles with the overpowering shadow of his controlling mentor/father figure.

Mr. Logan’s dramatic device here of presenting Rothko and his work through his interactions and dialogue with his young assistant Ken is a rewarding stratagem that both reveals the man and his art and tells a dramatically engaging story — occasionally contrived and not quite historically accurate, but mostly convincing and full of striking truths.

The Theatre Intime Princeton University undergraduate company, under the direction here of junior Oge Ude, has taken on this serious, challenging script, with focus, thoughtful intelligence, creativity and commitment that befit the subject matter and the artist they are portraying.

John Fairchild, as Rothko, making the stretch to portray this domineering icon more than twice his own age, does, unsurprisingly, lack the gravitas of this fearsome artist. The moments when Rothko should be roaring are somewhat toned down here, but Mr. Fairchild succeeds in bringing to life the profound seriousness and passion of the character. Lightly bearded with shaved head and glasses, short-tempered, nervous and full of pent-up energy, he makes this character, in his anger, despair and transcendent intensity, both credible and thoroughly absorbing.

As the new assistant Ken, Ryan Gedrich provides a strong counterpart to the powerful Rothko. From the opening line, Rothko’s “What do you see?” followed by his first diatribe/sermon, Ken listens and, throughout the play, increasingly finds his own voice, develops his own independent character and identity as an artist, despite the overweening dominance of his dogmatic mentor. Mr. Gedrich’s depiction of this young man coming of age, who, as it turns out, has a dark secret of his own, is dynamically interesting and sympathetic, deftly providing the audience with an illuminating perspective on Rothko the man, Rothko the artist and his realm of abstract expressionism. “This is the first time you’ve existed,” Rothko tells Ken after his protégé, for the first time in their mounting Oedipal conflict, challenges Rothko, fights back, and asserts himself. Besides being a counterbalance to the monumental Rothko, Ken also speaks for the new generation of artists — Jasper Johns, Robert Rauschenberg, Andy Warhol, and others — whom Rothko sees as threats to his supremacy.

Becoming an integral part of this production between scenes, sometimes on stage and sometimes in the aisles, is a six-person modern dance troupe: Peter Deffeback, Selah Hampton, Kamber Hart, Casey Ivanovich, Tess Marchant and Glenna Yu. Contributing to the abstract expressionism of the style, theme, and subject matter of the rest of the production, the dancers also interact with the paint, and in paint-splattered t-shirts and fiery red light they reflect the tension and movement in the paintings and in the psychological struggles of the drama. Less skilled dancers or a less subtle, sensitive, sophisticated director could make this choreographic addition to the play an intrusion or distraction, but here the dance interludes are both riveting and appropriately complementary to the human drama at center stage.

Original, mostly atonal music by Sam Kaseta is also highly effective in establishing the dark, unsettling tone and mood of the piece. Marissa Applegate’s unit set design, with scenic design by David White and lighting by Alana Jaskir, is realistic, detailed, and believable in creating Rothko’s cluttered gymnasium studio with vivid, specific details: paint cans, brushes, bottles of Scotch, a phonograph and records, stovetop, phone, and, most importantly, large representations of three of Rothko’s canvases in red with black lines. The lighting appropriately remains dim throughout most of the play, as Rothko himself demanded dim lighting in attempting to control the environment in which his work would be seen.

Rothko orders his assistant Ken to read Freud, Jung, Shakespeare, and Nietzsche’s Birth of Tragedy. (The battle in the work of art and in life is always the battle of Greek tragedy, the battle between the order and reason of Apollo and the irrational passion and energy of Dionysus.) The references here to artists, writers, and thinkers are abundant. The 90-minute play, among other things, is certainly a sort of master class for the audience. Rothko’s question, “What do you see?” at both the beginning and end of the play, as he looks at the imaginary fourth-wall painting hanging in front of the audience, is a crucial question for Ken and for us. We too are the work. It is our class, and we too must accept the invitation to become immersed and enlightened in our encounters with the artist’s creation.

Theatre Intime’s production of John Logan’s “Red” will run for one more weekend with performances at 8 p.m. Thursday and Friday, October 2 and 3, and at 2 and 8 p.m. on Saturday, October 4, in the Hamilton-Murray Theater on the Princeton University campus. For tickets and information call (609) 258-1742 or visit

September 17, 2014
“LET ROME IN TIBER MELT”: Mark Antony (Esau Pritchett), general and co-ruler of Rome, romances the Egyptian queen Cleopatra (Nicole Ari Parker), as civil wars rage throughout the Roman world, in William Shakespeare’s “Antony and Cleopatra” at McCarter’s Berlind Theatre through October 5.(Photo by T. Charles Erickson}

“LET ROME IN TIBER MELT”: Mark Antony (Esau Pritchett), general and co-ruler of Rome, romances the Egyptian queen Cleopatra (Nicole Ari Parker), as civil wars rage throughout the Roman world, in William Shakespeare’s “Antony and Cleopatra” at McCarter’s Berlind Theatre through October 5. (Photo by T. Charles Erickson}

Shakespeare’s Antony and Cleopatra (1606-07), written after the great tragedies of Hamlet, Othello, King Lear, and Macbeth, is seen by scholars and theater practitioners as a “problem play.” Despite the fame of its protagonists and the richness of the plot and poetry, the play is seldom produced, and assessments of its text and its characters diverge widely. Emily Mann’s current production of Antony and Cleopatra at McCarter’s Berlind Theatre in Princeton is an exciting theatrical event and a bold, engaging endeavor to present and overcome the challenges of this perplexing masterwork.

The problems start with the play’s genre. Is it history, tragedy, romance, comedy, or something else? (The McCarter website,, gives you an opportunity to vote on this question.) The historical detail here is extensive — Plutarch’s Lives (translated into English in 1579) is Shakespeare’s principal source — as Antony, Cleopatra, Octavius Caesar and others engage in the civil wars, after the death of Julius Caesar, which eventually lead to the end of the Roman Republic and the establishment of the Roman Empire. The grandeur of the two protagonists and the sense of loss and waste in their devastating fall certainly evoke the thoughts and emotions of tragedy. But there is also a spirit and tone here that is lighter than that of the great tragedies. The romance here — both in the love between Antony and Cleopatra and in the contrasts between the stern, efficient reality of Rome and the exotic, emotional, sensual attractions of Egypt — is a powerful element of the play.

The problems, both practical and theoretical, multiply for producers of this play. How do you stage a script that includes 42 scenes, as the action of the play shifts rapidly back and forth between Rome and Alexandria in Egypt, from palaces to battlefields and elsewhere throughout the Mediterranean, and calls for more than 40 different characters? And how do you interpret these heroic, larger-than-life, even mythical main characters with their fatal flaws, their moral ambiguity, and their destructive actions?

Ms. Mann has made judicious cuts in the original script, eliminating several short scenes and merging or eliminating a few minor characters, in order to focus the action and bring the running time to just two and a half hours. Only 11 actors here play 21 different roles. Audiences are not likely to miss the deleted lines, characters, or events. Also streamlining the action and enhancing pace, continuity, and dramatic tension are Daniel Ostling’s unit set design, finely coordinated with Paul Tazewell’s striking costumes, Edward Pierce’s lavish and varied expressionistic lighting and Mark Bennett’s original music and sound, mostly performed onstage by percussionist Mark Katsaounis.

The simple set, following the principle of Shakespeare’s bare platform stage without curtains, consists only of three large panels — like three huge sails? — golden in color and origami-like in their texture and folds. The actors and their lines, aided by costumes, music and lighting, splendidly and clearly delineate the shifting locales and contrasting worlds of this play. Individually and in finely coordinated collaboration, the clothing, the soundscape, the colors, and the nuances of light reflect the clashing of the cold, martial efficiency of Octavius’s Rome with the warmer, less rigid, more mysterious allures of Egypt.

An even bigger challenge with this problem play lies in the two monumental protagonists and their troubled, intense relationship. Again Ms. Mann has risen to the challenges in her casting of Esau Pritchett and Nicole Ari Parker. Mr. Pritchett played the leading role of Troy Maxson in August Wilson’s Fences at McCarter last January and last spring performed as a younger Antony in Shakespeare’s Julius Caesar (1599) at the Orlando Shakespeare Theatre. The imposing character of Troy, albeit in mid-20th century Pittsburgh rather than first century B.C. Rome, shares a number of Antony’s strengths and flaws, and Mr. Pritchett, with numerous other Shakespearean roles on his resume, is superbly qualified to don the mantel of Antony here. He is physically and vocally able to command the stage — convincing as the great, aging military and political leader and also fully believable as the lover of Cleopatra. As he moves back and forth between Rome and Egypt, Mr. Pritchett’s Antony vividly embodies the noble, admirable qualities and the morally ambiguous, flawed qualities of both worlds. He is convincing as both mighty warrior and infatuated lover, in grandeur and in human weakness. He is both “the triple pillar of the world” and ”a strumpet’s fool,” as he is described by one of his followers in the opening scene.

As Cleopatra, Ms. Parker, star of films and Showtime’s Soul Food series, is, in many ways, a worthy counterpart to this Antony. Dazzlingly beautiful in an array of stunning costumes, she brings the character to life with a contemporary flair that works effectively in portraying Cleopatra in many of her more human moments of worry, of anger, of cattiness, of bantering affection with Antony, of jealousy when she hears of Antony’s arranged marriage. She is less adept than Mr. Pritchett with the poetic lines, however, less clear in communicating the rich language and less able to rise to the grand stature of this mighty queen and last reigning pharaoh of Egypt.

As Antony’s friend and follower Enobarbus, Michael Siberry creates a sympathetic character, torn by central conflicts of the play. He also provides a valuable, often ambivalent perspective on the proceedings and delivers, most eloquently, some of the Bard’s finest poetry. For example, he describes Cleopatra: “The barge she sat in, like a burnished throne,/Burnt on the water. The poop was beaten gold;/Purple the sails, and so perfumed that/The winds were lovesick with them … Age cannot wither her, nor custom stale/Her infinite variety.”

As Cleopatra’s eunuch Mardian, the incomparable Everett Quinton, bedecked in bright orange with appropriate nail polish and shimmering handbag, creates a character — fascinating, extravagant, at times comical, yet believable too — to embody the gender conflicts and ambiguities of the play. Mr. Quinton plays a second very different role, also convincing, in the final scene of the play as he delivers the basket of deadly asps to his queen.

As Octavius Caesar, the cold, calculating, consummate leader, nephew, and adoptive son of Julius Caesar, soon to become the triumphant Caesar Augustus, Tobias Segal, not large in size but mighty in authority, delivers his part with imperious command.

The first-rate supporting cast is impressively strong, well-rehearsed and consistently in character. Mairin Lee in two roles as Octavia, sister of Octavius, betrothed to Antony in an arranged political marriage, and also as Cleopatra’s servant Iras is on target and affecting, as is Zainab Jah as another attendant on the queen. Tom Sesma in a variety of roles, Philippe Bowgen as Octavius’ stern lieutenant, Keith Eric Chappelle as a mesmerizing soothsayer and other roles, and Warner Miller as Antony’s faithful right-hand man–all lend credible, invaluable support.

Mr. Katsaounis, the percussionist, ensconced on stage left but emerging at key moments with an enormous red, war drum, rightfully joins the cast list, as a significant dynamic player in the drama.

“Give me my robe. Put on my crown. I have/Immortal longings in me,” Cleopatra tells her attendants as her end approaches in the final scene of the play.

Despite all the “problems” of Shakespeare’s Antony and Cleopatra, the play is undeniably one of the Bard’s greatest poetic masterpieces and a brilliant study of two of the most fascinating, memorable characters in all literature and history. The theatricality here is brilliant. Ms. Mann and the McCarter company successfully bring Shakespeare’s colorful, transcendently poetic vision to life in this stirring production.


August 13, 2014
SCAMMERS AND THEIR PREY: Subtle (Bruce Cromer, left), posing as the all-knowing alchemist, foresees business prospects for Abel Drugger (Jeffrey M. Bender) in New Jersey Shakespeare Theatre’s production of Ben Jonson’s “The Alchemist” (1610), playing through August 31 at the F.M. Kirby Shakespeare Theatre in Madison.(Photo by Jerry Dalia)

SCAMMERS AND THEIR PREY: Subtle (Bruce Cromer, left), posing as the all-knowing alchemist, foresees business prospects for Abel Drugger (Jeffrey M. Bender) in New Jersey Shakespeare Theatre’s production of Ben Jonson’s “The Alchemist” (1610), playing through August 31 at the F.M. Kirby Shakespeare Theatre in Madison. (Photo by Jerry Dalia)

“O Rare Ben Jonson!” reads the epitaph on the tomb, in London’s Westminster Abbey, of the great Elizabethan and Jacobean poet and playwright. Though Jonson is considered, along with Shakespeare, to be one of the two towering figures of English Renaissance drama, his “rarity” is most clearly manifested today in the unlikelihood of anyone reading or producing his plays.

Undaunted, Bonnie Monte, New Jersey Shakespeare Theatre’s artistic director, has painstakingly and lovingly adapted and staged Mr. Jonson’s The Alchemist (1610), a wild, irreverent satiric comedy, one of his two most famous plays (along with Volpone from 1605). Even in this streamlined, artfully directed, skillfully acted, impressively fine and funny production, the reasons why you may never have had an opportunity to see a Ben Jonson play are obvious.

While Shakespeare may have been, as Jonson himself described him, “not of an age but for all time,” Jonson lived in the moment and was decidedly a man of his time. The Alchemist, for example, takes place in Jonson’s present-day Blackfriars, a suburb of London, during the Plague. Firmly rooted in the corruptions of the real world, Mr. Jonson’s comedy is satiric, holding the mirror up to human beings and their actions, showing us our folly and foibles so that we can make amends.

Heroism? Idealism? Admirable characters? True romance? Not likely in Jonson’s world. Money takes priority over love here, and these characters, all driven by greed and ego-centrism, are not easy to warm up to, despite an enormous, boisterous energy, a vitality and even grandeur emanating from the sheer cunning, creativity, and enjoyment in their out-and-out knavery. And there may also be particular resonances, some lessons to be learned by contemporary audiences, engulfed in the relentless self-promotions, aggressive marketing, and offensive sales pitches of our materialistic world.

Ms. Monte’s adaptation of The Alchemist, including “at least 1000 changes to Jonson’s original text,” deletion of “various minor characters and locations,” “hundreds of cuts and word changes,” and many lines rewritten is helpful in clarifying or eliminating eccentric and incomprehensible syntax, topical allusions, obscure vocabulary and colloquialisms. Those changes, along with some superb performances and a fine sense of comic timing throughout, help to ensure that the humor comes across here. At three hours running time, however, with sustained close listening a requisite and some comprehension challenges remaining, even this new, more accessible Alchemist will not appeal to all tastes.

Jonson follows a classical dramatic structure to frame what looks like almost a celebration of anarchy in his plot. The Alchemist respects the three unities of time (one day), place (the Blackfriars’ house of Lovewit who has left town), and action (Lovewit’s servant and two friends take over the residence as a headquarters for operating their “alchemy” business, involving various fraudulent enterprises that thrive on the gullibility and greed of their victims).

The elaborate unit set, artfully designed by Jonathan Wentz, is rich in detail and scores top marks for functionality and aesthetics. Representing the interior of Lovewit’s house and offering twelve different entrances and exits on two levels, this setting, like a 17th century version of the interior for Michael Frayn’s 1982 Noises Off, puts us squarely in the realm of farcical comedy. The action to take place here is bound to be fast and frenetic.

Nikki Delhomme’s bold, wildly creative costumes, are just sufficiently extreme to enrich the characters’ over-the-top behaviors and personalities. The colorful, memorable wardrobe choices greatly add to the spirit and comedy of the world of The Alchemist. Lighting by Steven Rosen contributes to the relatively clear staging of the chaotic action of this play and also enhances the energetic, buoyant tone, and mood of the piece.

At the core of the action in The Alchemist are the three ‘dirty rotten scoundrels’ — Lovewit’s butler Face (Jon Barker), Subtle the “alchemist” (Bruce Cromer), and a prostitute, Dol Common (Aedin Moloney) — who take over the house while the owner Lovewit (John Ahlin) is away. Although the house is supposed to be kept closed to guard against spread of the Plague, the clever trio entertain a steady stream of eager customers.

First comes Dapper (Jon Sprik), a naïve young lawyer’s clerk seeking a “familiar,” a fairy queen summoned through Subtle’s magical powers, to assist Dapper’s gambling ventures. Then Abel Drugger (Jeffrey M. Bender) appears, begging supernatural assistance for his tobacco business. Next to arrive is the wealthy Sir Epicure Mammon (Brent Harris), voracious in his appetites for money, food, and women, and determined to enlist Subtle’s alchemy in acquiring the legendary philosopher’s stone, that turns all metals into gold. Accompanying Sir Epicure is Pertinax Surly (Kevin Isola), a voice of reason and skepticism, who quickly assesses the fraudulence of Face and his cohorts, but, of course, is ignored and scorned by all.

Two Anabaptist religious figures, an angry Ananias (James Michael Reilly) and his colleague Tribulation Wholesome (Raphael Nash Thompson), also prove ready victims in their greedy scheme to see their money turned into gold. Drugger returns and introduces a rich, alluring young widow, Dame Pliant (Kristen Kittel) and her brother Kastril (Seamus Mulcahy) into the mix.

As Face and Subtle battle over the affections of Dame Pliant, Dol, in the guise of a “royal lady” who has gone mad, romances Sir Epicure. Dapper is gagged and blindfolded and hustled off to the privy, where he spends most of the rest of the play. Drugger and Surly, who is now disguised as a Spanish nobleman, join the heated pursuit of the comely widow, and a huge explosion from the alchemy laboratory, offstage left, adds yet another layer to the madcap confusion.

The unexpectedly early return home of Lovewit finally brings the chaos and increasingly feverish, creative machinations of the three con artists to a head, and a hilarious final scene ensues, where Face, back to his actual persona as Jeremy the housekeeper/ butler, must sort out the insanity and explain the bizarre situation to his bewildered master.

The ensemble of thirteen, all experienced Shakespeare Theatre professionals, take on this challenging work with energy, intelligence, and finely honed comedic style. The characters with their particular quirks and vanities come across clearly and memorably. The actors successfully communicate the difficult language here and, under Ms. Monte’s careful direction, the wild convolutions of this zany plot become mostly coherent.

In this summer of darkness for Princeton Summer Theater, New Jersey Shakespeare Theatre’s highly entertaining production of Ben Jonson’s classic The Alchemist is well worth the hour-long trip north to Madison, especially for aficionados of Ben Jonson and classic English theater. Ms. Monte has composed a remarkable adaptation of a masterpiece and staged it brilliantly to win over contemporary audiences. This is a production to garner appreciation and enjoyment of the rarity of “rare Ben Jonson” and to offer hope that his plays will grace 21st century stages more often in the future.


August 6, 2014
DOGPATCH, USA: Pappy (from left, Pat Parton), Li’l Abner (Glenn Kraft), Daisy Mae (Amber Payne), and Mammy Yokum (Kathy Kutalek) enjoy a pause amidst the pandemonium in M&M Stage’s production of the 1956 musical comedy “Li’l Abner” at Mercer County Community College’s Kelsey Theatre through August 10.

DOGPATCH, USA: Pappy (from left, Pat Parton), Li’l Abner (Glenn Kraft), Daisy Mae (Amber Payne), and Mammy Yokum (Kathy Kutalek) enjoy a pause amidst the pandemonium in M&M Stage’s production of the 1956 musical comedy “Li’l Abner” at Mercer County Community College’s Kelsey Theatre through August 10.

It’s “a typical day in Dogpatch, USA,” which means that the menfolk are doing a lot of sleeping, fishing, swapping lies, making Kickapoo Joy Juice moonshine and collecting unemployment, while the women are doing all of the work and looking forward to the Sadie Hawkins Day race when they hope to catch and marry the men of their dreams. The beautiful young Daisy Mae declares her “one aim in life is to be a good wife, and marry Li’l Abner someday!” The “mystical” and pugilistical” Mammy Yokum is “sassiety’s queen,” who “heads the local machine.” Meanwhile her tall, handsome, good-hearted son Abner, a model of innocence in a corrupt, scheming world, spends most of his energy running away from Daisy and other marriage-seeking young women.

Currently playing at Kelsey Theatre at Mercer County College in an M&M Stage production, the 1956 musical Li’l Abner is based on characters created by Al Capp in his long running (1934-1977) comic strip. It features an array of larger-than-life stereotypes of the rural South, of male-female relationships and of heroes and villains in the world of the 1950s.

The original production, with lyrics and music by Johnny Mercer and Gene de Paul and book by Norman Panama and Melvin Frank, ran for 693 performances on Broadway in 1956-57, followed by a nationwide tour and 1959 movie. The show has remained popular in schools, colleges, and community theaters, though there has never been a major professional revival. The show includes an assortment of amusing, appealing characters, some memorable musical numbers, and some mostly mild satire that often, in the style of Mark Twain via Al Capp, hits home, even six decades after its composition. Despite this worthy, spirited Kelsey production, however, Li’l Abner does suffer from a bit of creakiness and corniness in the plot, seems a bit dated in its 1950s subject matter and traditional musical comedy style, and, at two hours and 45 minutes, goes on about half an hour too long.

Under the skillful direction of Matt South, the capable M&M (Mike Almstedt and Mike Dilorio, producers) ensemble cast of 26 successfully brings the world of Dogpatch, USA to life. Strong voices and experienced actors in most of the leading roles, along with lively, sure-handed choreography by Laura Murey-Ghaffoor and the capable pit orchestra of 15 under the baton of Charlie DeMets ensure a smooth-running, engaging evening.

The “Typical Day” in Dogpatch, with Li’l Abner (Glenn Kraft) and Daisy Mae (Amber Payne) at an enamored yet uncommitted stand-off, quickly spirals into pandemonium when Senator Phogbound (Chuck Denk) arrives to inform the town that the government plans to turn Dogpatch into a nuclear testing ground. Even worse, the evacuation of the townspeople is scheduled to take place before Sadie Hawkins Day, when the local young ladies were all counting on catching their desired mates. Marryin’ Sam (Del Howard), of course, was looking forward to the resulting boost in income.

The only way to save the day is to find something necessary about the town. Could the secret lie in the Yokumberry tonic that Mammy Yokum (Kathy Kutalek) has spoon fed to Li’l Abner every day since he was a baby? Li’l Abner courageously heads to Washington D.C. with the secret formula, but General Bullmoose (Tom Bessellieu), a consummate businessman, plans to trap him into marrying Bullmoose’s secretary Appassionata Von Climax (Kristina Lunetta) and acquire Yokumberry tonic for his own purposes. Meanwhile Daisy Mae has agreed to marry Earthquake McGoon (Evan Bilinski) if he will help her to rescue Li’l Abner, and they, along with an animated contingent of Dogpatchers, descend upon General Bullmoose’s mansion and the government testing laboratory, where the eccentric Dr. Finsdale (Joe Zedeny) and his colleagues are working assiduously to use the Yokumberry formula to create a “brave new world” of superior human beings (“Oh Happy Day”). How will Daisy Mae and Li’l Abner ever get together? How will Dogpatch ever survive?

Mr. Kraft and Ms. Payne in the starring roles are a convincing, attractive romantic duo. In duets (“Namely You” and “Love in a Home”) and other individual and ensemble numbers, they present harmonious, beautiful singing, on-target character work and fine chemistry.

Ms. Kutalek’s Mammy Yokum is suitably feisty, energetic, even acrobatic, strong-willed and entertaining, while Mr. Howard, as Marryin Sam, slick and dapper in black hat and suit with blue vest, provides a vibrant character and a dynamic catalyst for several of the best numbers in the show. A polished dancer with a strong singing voice, Mr. Howard leads the ensemble in the hilarious and rousing “Jubilation T. Cornpone,” in praise of the bumbling Confederate general whose statue graces the Dogpatch town square (“Stonewall Jackson got his name by standing firm in the fray./But who was known to all his men as good ol’ ‘Paper Mache?’”), and also in the sharply satirical, and timely — some things never change, at least not for the better — “The Country’s In the Very Best of Hands” and “The Matrimonial Stomp.”

Mr. Bessellieu’s General Bullmoose delivers a forcefully dramatic caricature of “the military industrial complex” that President Eisenhower warned against, and his two signature numbers, “What’s Good for General Bullmoose” (“is good for the USA”) and “Progress Is the Root of All Evil,” help to reveal and develop this charismatic villain.

Other colorfully striking characters populating the production include Mr. Parton’s laid-back Pappy Yokum (with interesting resemblance to Jerry Garcia), Mr. Bilinski’s powerfully threatening McGoon, Ms. Lunetta’s alluring Appassionata, and Mr. Zedeny’s zany Dr. Finsdale. The supporting ensemble, representing a range of experience and talent, displays fine vocal accomplishments, simple and appealing choreography, and amusing characterizations of the eccentric, zealous Dogpatchers and others to keep the evening moving with energy and focus.

Mr. Almstedt’s brightly-colored set design is functional and effective in helping to create the several different locales in Dogpatch and Washington, D.C., though more speedy set changes would be helpful in driving the plot forward and keeping audience focus. Robert Rutt’s lighting, Louisa Murey’s costumes and Nick Mastalesz’s sound all coordinate together smoothly to bring Al Capp’s wacky world to life on the Kelsey stage.

All in all, M&M’s Li’l Abner — though a bit corny, a lot dated, occasionally tiresome — nonetheless delivers an enjoyable evening of lively music, captivating characters, witty satire, and entertaining humor.

M&M’s production ofLi’l Abner” runs for one more weekend, with performances at 8 p.m. Friday and Saturday, August 8 and 9, and at 2 p.m. Sunday, August 10, in the Kelsey Theatre at Mercer County Community College on the college’s West Windsor campus, 1200 Old Trenton Road. Call (609) 570-3333 or visit for tickets and information.


July 23, 2014
The Bucks County Playhouse’s production of Christopher Durang’s “Vanya and Sonya and Masha and Spike” will run through August 10 at 70 South Main Street in New Hope, Pa. Call (215) 862-2121 or visit for show times, tickets, and further information.

The Bucks County Playhouse’s production of Christopher Durang’s “Vanya and Sonya and Masha and Spike” will run through August 10 at 70 South Main Street in New Hope, Pa. Call (215) 862-2121 or visit for show times, tickets, and further information.

The Bucks County Playhouse summoned all the appropriate muses last Friday night for the opening of its current production of Christopher Durang’s highly acclaimed comedy, Vanya and Sonya and Masha and Spike. It’s a wonderful script, cleverly combining Durangian absurdity and hilarity with Chekhovian references (starting with the names of the three protagonists), a certain tone of poignant melancholy and a richness of characterization.

Also intriguing is the notion of the playwright himself playing the role of Vanya and the proximity of the theater just a few miles from the “lovely farmhouse in Bucks County” where the play is set, with numerous local references, along with Mr. Durang’s usual vast quota of humorous contemporary pop culture allusions throughout the evening. Production values here are consistently strong, and the Bucks County Playhouse (BCP), refurbished and reopened two years ago after a two-year hiatus, seems to be on a roll with high quality Equity productions (Mothers and Sons, starring Tyne Daly premiered at BCP last season before debuting on Broadway four months ago). Marilu Henner and Deirdre Madigan lead a top-flight cast in Vanya and Sonia…, under the skillful direction of Sheryl Kaller, who also directed the debut of Mothers and Sons.

A beautiful summer evening on the banks of the Delaware seemed to indicate all the planets and muses aligned, but the mother of the Greek muses, Mnemosyne, goddess of memory, was a conspicuous no-show. Mr. Durang, at several points during the evening forgot lines, derailed in the middle of a long climactic monologue, and needed prompting from off-stage. His characterization of the middle-aged Vanya was appealing, mostly on-target and effective, and he has, in the past, successfully taken on major roles in his own works on stage, but here, the lapses undermined the power and credibility of the character and caused problems for both audience and other actors.

Tales of famous actors “going up” on their lines are legendary, but there is the inescapable irony of this happening to the playwright who created the lines, in a character who, like his creator, is a middle-aged Bucks County resident and who voices much of the playwright’s wit, humor, and attitude towards contemporary life. Spencer Tracy’s terse advice to actors — “Remember your lines and don’t bump into the furniture,” at least the first part, is not to be scoffed at, and let’s invoke the mighty Mnemosyne to bestow her gift of memory on future performances.

The three protagonists here are middle-aged siblings, given names from Chekhov’s Uncle Vanya and Three Sisters — Vanya (Mr. Durang), Sonia (Ms. Madigan), and Masha (Ms. Henner) — because their professor parents were enthusiasts of community theater and Chekhov in particular.

The action of the play takes place in the sunroom, vividly and realistically presented in great detail in Lauren Helpern’s fine set, of the old family farmhouse where Vanya and Sonia have lived for their whole lives. From the sunroom, characters can look out on a pond, as they eagerly await — still waiting hopefully at the end of the play — the appearance of a propitious blue heron.

Early in the first of two acts, Masha, a narcissistic, movie-star actress who has been gallivanting around the world being a celebrity, arrives with her much younger boyfriend Spike (Jimmy Mason), an aspiring actor who was “almost cast in the sequel to Entourage, Entourage 2,” and specializes in taking off his clothes and parading around in his underpants.

Also appearing is a wildly dramatic cleaning lady Cassandra (Mahira Kakkar), who reveals an array of psychic powers, blood-curdling prophecies, and excruciatingly painful voodoo techniques. Nina (Clea Alsip), a star-struck ingénue from next door also drops in, much to Masha’s dismay, on invitation from Spike.

Masha, who has been financially supporting her siblings, announces — shades of Chekhov, and, yes, they do have a cherry orchard — “I’ve decided to sell the house.” Vanya and Sonia are devastated, but Masha, ever self-absorbed, moves forward with her plans to attend a local costume party as Walt Disney’s Snow White, with Spike as her Prince Charming and her siblings as attendant dwarves. She has, characteristically, brought all the requisite costumes with her.

As the action proceeds through the evening into the next day, Masha’s efforts to self-promote and hold onto Spike meet with some surprising obstacles, and Vanya and Sonia both experience potentially life-changing moments. As in Chekhov, in some ways it seems as if “nothing happens,” but indeed something meaningful does happen for all of the characters, and, in Mr. Durang’s play, those happenings keep the audience laughing throughout.

This vastly entertaining Bucks County Playhouse production in many ways compares favorably with the 2012 McCarter Theatre world premiere production that went on from Princeton to Lincoln Center then Broadway, where it enjoyed a long run and numerous awards including the Tony for Best Play.

Ms. Madigan’s Sonia is extravagantly funny and sympathetic, larger than life in her Chekhovian gloom and world-weariness (“I’m in mourning for my life”), delightfully energized in her anger and animosities, poignantly moving in her desire for love, attention, a life. She is especially memorable in donning tiara and sequins for the costume party to defy her sister and play the role of evil queen in the mode of Maggie Smith, then later in a tour-de-force extended phone conversation with her first-ever prospective suitor.

In the prima donna part, written for and performed by Sigouney Weaver in the McCarter production, Ms. Henner brings her own star-studded credentials — Broadway, movies and TV, most memorably perhaps in the long-running TV series Taxi. She embraces the aging, ego-centric starlet role with panache, and contributes a new, more appealing, more human dimension or two to the characterization.

Mr. Mason’s hilarious boy toy Spike provides an occasionally shocking, sexually-charged glimpse of the new generation and creates an entertaining incongruity in the Chekhovian setting and a source of sharp conflict for the older generation.

Ms. Kakkar in her flamboyant, attention-grabbing role and Ms. Alsip in a more understated, realistic part, both provide strong support and contribute significantly to the eventual outcome of events.

Ms. Kaller has directed with finesse, fine comic timing, and an intelligent balance between the serious and the hilarious. The ensemble interacts credibly and effectively, and we do care about these three engaging, aging siblings, as they struggle to work out their individual destinies.

This production does need the blessing of the goddess of memory and the advice of Spencer Tracy during the next three weeks of its run, and audience members who saw the McCarter-Lincoln Center-Broadway production will certainly miss the brilliant David Hyde Pierce, who originated the role of Vanya. But the script is a masterpiece of comic writing, one of the best from the pen of one of the finest American playwrights of the past fifty years, and Ms. Kaller and company have provided an evening rich in laughter and dramatic interest — well worth the trip to Bucks County.


July 2, 2014
SCOUNDRELS IN COMPETITION: Lawrence Jameson (Steve Lobis, right) and his protégé ­Freddy Benson (Travis Przybylski) wager over who can first win over and extract $50,000 from a rich American soap heiress, in Off-Broadstreet Theatre’s revival of the musical comedy “Dirty Rotten Scoundrels,” playing in Hopewell.

SCOUNDRELS IN COMPETITION: Lawrence Jameson (Steve Lobis, right) and his protégé ­Freddy Benson (Travis Przybylski) wager over who can first win over and extract $50,000 from a rich American soap heiress, in Off-Broadstreet Theatre’s revival of the musical comedy “Dirty Rotten Scoundrels,” playing in Hopewell.

“What you lack in grace, you certainly make up for in vulgarity,” the suave con-man Lawrence Jameson advises his young rival Freddy Benson, as the two compete for supremacy in the swindling of rich heiresses on the French Riviera in the musical comedy Dirty Rotten Scoundrels, playing through July 26 at The Off-Broadstreet Theatre in Hopewell.

A Broadway hit of 2005 starring John Lithgow and Norbert Leo Butz, based on a 1988 movie starring Michael Caine and Steve Martin, Dirty Rotten Scoundrels re-emerges here with a cast of seasoned area professionals along with a contingent of young and talented Rider College performers — all under the able direction of Robert Thick.

Dirty Rotten Scoundrels, book by Jeffrey Lane and music and lyrics by David Yazbek, is funny and engaging. But, like its main characters, a couple of scurrilous international charlatans, the show, under a veneer of suaveness and style, does at times lack grace, and it does occasionally push the boundaries of good taste with an abundance of silly shtick and bawdy humor. Mr. Thick and company have taken on a big, challenging, difficult production.

So this week you’ll get two reviews, two perspectives.

The Good News

The protagonist explains his philosophy of the art of the con in his opening number. “Give Them What They Want,” he says, and last Saturday night’s sold-out audience appeared to be thoroughly entertained from pre-curtain desserts to final bows, responding with frequent loud laughter and applause. The show is at times hilarious, as Lawrence and Freddy take on multiple guises and disguises in pursuing their romantic and financial interests. There is much clever dialogue, with richly inventive, amusing, and outrageous song lyrics.

The cast of ten is well rehearsed, extremely versatile — with most taking on multiple roles — and skilled in acting, singing, and dancing. The older veterans blend well with the energetic, attractive younger performers. The motley array of characters is interesting and engaging, the plot takes a number of intriguing twists and turns, and the evening passes swiftly and pleasantly.

Mr. Thick knows his craft and directs with a swift pace and a deft touch. The simple, brightly colored set design serves to move the action by spinning a large staircase and wall through 18 scenes, as the action shifts to different interior and exterior locales throughout the elegant Riviera resort town.

The music, though hardly memorable, is mostly tuneful, with at least three or four strikingly clever and entertaining numbers. The pit band, under the direction of Philip Orr, with three keyboards, a bass and a percussionist, is thoroughly professional and consistently strong in support of the soloists and ensemble members.

There are abundant reasons why this show was nominated for 10 Tony Awards and 10 Drama Desk Awards and ran for a year and a half, followed by a year-long national tour from 2005 to 2007. But,

The Less Positive Perspective

There are also problems, with both the show itself and the Off-Broadstreet production. The humor misfires at least as often as it hits the target — sometimes just through inanity, sometimes in a tiresome flatness, sometimes in its tastelessness. The lyrics are often more corny than clever, the musical score fails to offer a single number that resonates in the memory, and there is some unevenness in the power and quality of the voices here.

Though Mr. Thick has indeed staged the action resourcefully, the seams sometimes show in this frugal production, as performers spread themselves a bit thin in taking on many different roles; the scenery — literally and figuratively — at times creaks; and what should pass for the luxury and polish of the rich and famous on the Riviera sometimes looks a bit shabby here.

Dirty Rotten Scoundrels opens with the debonair Jameson (Steve Lobis) in the process of working his art on Muriel Eubanks (Melissa Rittman), a bejeweled American heiress. Posing as a prince and aided by his friendly local gendarme, Andre Thibault (Michael Lawrence), Jameson has no difficulty in quickly acquiring the lady’s jewels and affections. “What Was a Woman to Do?” Muriel laments in chorus with a small support group of sympathetic women.

Jameson then decides to take on the coarse, brash, young Freddy (Travis Przybylski) as an apprentice con artist, and Jameson proceeds to demonstrate his craft on an Oklahoma oil heiress, Jolene (Milika Cheree Griffiths). In order to extract himself from an imminent marriage, he enlists the services of his protégé to play the role of the prince’s mentally defective brother.

Next to arrive on the scene is purported American soap heiress, Christine Colgate (Ally Hern), and the bet is on. Who can be the first to extort $50,000 from her? The battle of the two scoundrels quickly comes to a head in a dramatic Act One finale, as Freddy poses as a paralyzed wheelchair veteran in need of a $50,000 operation from a distinguished Viennese doctor. And who should suddenly appear at the Riviera resort, but Jameson in the guise of the illustrious Dr. Shuffhausen himself.

Both scoundrels are taxed to their limits in the ongoing deceptions, stings, and desperate battles for one-upmanship. No spoilers here, but more than a few twists and turns ensue, and the action-packed second act even features a comically romantic subplot, with Muriel and Andre, before it reaches its surprising finale.

As the aging virtuoso con man, Mr. Lobis is convincing, comical, poised, and consistently in character, with relentless resourcefulness and the requisite “supreme confidence.” His voice is sturdy and strong. His expressive reactions are fun to watch in his varied interactions.

He delivers his most memorable number, however, when caught in an uncharacteristic, serious, vulnerable moment in the second act, as he confesses, in a romantic ballad, that “Love Sneaks In.”

The rivalry between Lawrence and Freddy is especially entertaining, fast-moving and rich in bristling repartee:

“Freddy, what I am trying to say is know your limitations.”

“Which are?”

“You’re a moron.”

Mr. Przybylski’s Freddy, pink-cheeked and youthful in an over-the-top, rock-star mode with bouffant hair and aggressive demeanor, lives up to his billing of “Great Big Stuff,” as his hilarious signature number is titled. He threatens to steal the show with his energy and comical, larger-than-life persona (though his scene as the “prince’s” mentally defective, lascivious brother crosses the boundaries of good taste). He and Ms. Hern provide another highlight of the evening, accompanied by the vibrant, sure-footed chorus, in “Love is My Legs,” one of several amorous encounters during the evening.

Ms. Hern’s Christine is appropriately charming and focused, though not always strong enough vocally to embrace fully this powerful leading lady role. More successful, albeit in a supporting role, is Ms. Griffith’s Jolene, who plays to the hilt the bright-eyed, straight-from-the-prairie, husband-seeking Oklahoma oil heiress, complete with a chorus of country-and-western line dancers and a spoof on the musical “Oklahoma.”

Ms. Rittman’s Muriel and Mr. Lawrence’s Andre supply further strong support, some deft footwork, and a diverting, romantic second-act interlude.

Emily Elliott, Sarah Whiteford, Sean Magnacca, and Robert Risch, all first-rate Rider College-trained performers, make up the talented, attractive ensemble, taking on four, five, six, even seven different roles apiece throughout the evening. Julie Thick has choreographed the enjoyable dance numbers here, and, though occasionally spread thin — needing perhaps another member or two, this ensemble is vocally, dramatically and physically, kinesthetically up to the challenges of the demanding show.

Ultimately, Off-Broadstreet Theatre’s spirited, ambitious, at times scintillating production of this flawed musical romp provides a diverting evening. You might not find yourself humming the tunes, and you might not care too deeply about these two-dimensional scoundrels and their shenanigans. But, especially with Princeton Summer Theater dark this season, fans of musical comedy will find it worth the short trip to Hopewell to see Dirty Rotten Scoundrels and to celebrate Off-Broadstreet’s 30years (and 238 shows!) of popular, entertaining theater — and delicious desserts too.

Dirty Rotten Scoundrels” runs through July 26, with performances at 8 p.m. on Fridays and Saturdays, 2:30 p.m. Sundays, and dessert served from an hour before curtain time. Call (609) 466-2766 for reservations and further information or visit


June 25, 2014
BIRD WHISPERER: The endangered mangrove hummingbird is one of the subjects of Jared Flesher’s documentary “Field Biologist,” being screened Saturday at Princeton Public Library as a special event of the Princeton Environmental Film Festival. Mr. Flesher followed Hopewell Township resident Tyler Christensen in his travels through Costa Rica, where he found rare species.

BIRD WHISPERER: The endangered mangrove hummingbird is one of the subjects of Jared Flesher’s documentary “Field Biologist,” being screened Saturday at Princeton Public Library as a special event of the Princeton Environmental Film Festival. Mr. Flesher followed Hopewell Township resident Tyler Christensen in his travels through Costa Rica, where he found rare species.

While shooting the documentary Sourlands a few years ago, filmmaker Jared Flesher was having trouble getting some needed shots of birds in the forest. A friend suggested someone he thought would be able to help.

“He said, ‘You have to meet Tyler Christensen, he’s the best,” recalled Mr. Flesher, who has screened Sourlands and The Farmer and the Horse at previous Princeton Environmental Film Festival (PEFF) showings. “I got in touch with him and we went into the woods together. Sure enough, he found birds that would otherwise have been really hard to see. We got some great shots.”

A friendship developed between the two men, and inevitably, another film. Field Biologist, Mr. Flesher’s account of Mr. Christensen’s bird-researching venture to Costa Rica, will have its New Jersey premiere this Saturday night at the Princeton Public Library. At the screening, a special event of the PEFF, the two men will be on hand to answer questions after the 7 p.m. showing in the library’s Community Room.

Mr. Flesher, who is 31 and lives in East Amwell Township, followed Mr. Christensen, 22, a resident of Hopewell Township, through travels to the cloud forests of Monteverde and the mangrove swamps of the Nicoya Peninsula. In the film, Mr. Christensen comes up with a plan to try and help save the highly endangered mangrove hummingbird.

Talking about his colleague last week, Mr. Flesher was clearly enthusiastic. “This is a guy who loves the natural world,” he said. “When you go out into the woods with him, he’s an incredible communicator. He finds birds, bugs, frogs, and snakes, and he can tell a really interesting story about everything he finds.”

The fact that Mr. Christensen failed biology in high school is an irony not lost on Mr. Flesher. “Tyler wasn’t a great student. He didn’t really know how he was going to put his passion for nature into a career,” he said. “But he got really interested in studying birds. He just kind of traveled a bit, and did some rock-climbing. He was working at a couple of places in New Jersey doing bird-banding. He eventually decided to pick up, one winter, and head down to Costa Rica, and he started doing his own research on migratory birds. No background, no degree — just amazing passion.”

Field Biologist has dual themes. “There’s the age-old question of ‘What should I do with my life,’ and finding your way,” Mr. Flesher said. “And then there is the bigger story, which is that scientists say we stand to lose 50 percent of the species on earth in this century due to habitat destruction, climate change, and over-harvesting. There is definitely a bio-diversity crisis. My goal is to bring up some of these issues and tell the story through Tyler’s eyes, focusing not just on the problem but on why we should bother to save what we have left. It’s ultimately a positive story about the natural world.”

Mr. Flesher trailed Mr. Christensen in Costa Rica two winters ago. “We spent eight weeks there,” Mr. Flesher said. “The plan was ‘wherever he goes, I go.’ So I just followed him. We were chasing incredible birds, snakes, and butterflies. It was really special, which I hope comes through in the film.”

Susan Conlon, Princeton Public Library’s Youth Services Team Leader and the librarian in charge of the PEFF, said the showing of Field Biologist this weekend is part of an effort to broaden the popular annual event, which takes place in January. “We want to expand the reach of the PEFF and continue to screen even more films year-round,” she said in an email. “It is also exciting to have the opportunity to present new films like Field Biologist, and for the film to have its New Jersey premiere with us, with Jared and the film’s subject, Tyler Christensen, here for a question and answer session.”

Admission to the screening is free. Visit or call (609) 924-9529 for more information.


May 14, 2014
BACK ON STAGE: Charles Wiley, center, who was in the original cast of “Our Town,” visited the cast of the current revival of the play at George Street Playhouse on May 3. He is pictured with Aaron Ballard, left, who plays Emily Webb; and Tony Award winner Boyd Gaines, who plays the Stage Manager.(Photo by Jackie Brady)

BACK ON STAGE: Charles Wiley, center, who was in the original cast of “Our Town,” visited the cast of the current revival of the play at George Street Playhouse on May 3. He is pictured with Aaron Ballard, left, who plays Emily Webb; and Tony Award winner Boyd Gaines, who plays the Stage Manager. (Photo by Jackie Brady)

He was in the cast of two Pulitzer-Prize-winning plays, performed during the golden age of radio, and entertained the troops at USO shows during World War II. But Charles Wiley has never rested on his show business laurels.

This 87-year-old, who splits his time between New Jersey and California, also spent years as a journalist and photographer, covering 11 wars in 100 countries and getting arrested eight times in the process. There was a stint in the life insurance field, too. And he once ran for Congress.

But Mr. Wiley’s 13-year show business career figures prominently in his extraordinary memory, even though he was just a kid when he was cast as Wally Webb in Thornton Wilder’s Our Town 76 years ago. The play about an average American town in the early 20th century is currently being revived at George Street Playhouse through May 25. Its world premiere was at McCarter Theatre, and it went on to Broadway before winning the author a Pulitzer.

On May 3, Mr. Wiley traveled from his Sayreville home with his 13-year-old grandson to attend a performance of the drama at George Street Playhouse. After meeting the cast, he was moved enough to send a note of appreciation, writing, “It was a trip that brought tears to my eyes — from sheer emotion, not sadness. I was reminded: ‘There’s something way down deep that’s eternal about every human being.’ That’s easy to forget when you’re caught up in modern day-to-day living.”

This isn’t the first time Mr. Wiley has been asked to appear at a revival of Our Town. When McCarter Theatre marked the 50th anniversary of the play, he was invited to attend and was introduced after the show. “It looks like I’ll be doing this every 25 years,” he joked during an phone interview from his home in California.

“Ninety-nine percent of my friends don’t know I used to be an actor,” he said. “But I worked steadily for 13 years, from the time I first walked on stage at age seven until I joined the Navy. I was the only actor in the world in the original cast of two Pulitzer-Prize winners. The other was The Old Maid, in 1934. Very few people remember that play, which was made into a movie starring Bette Davis.”

It all started for Mr. Wiley in vaudeville, where as a youngster he was part of a standup comedy routine with his father. “Vaudeville was already dying by then,” he recalled. “This was a period when they would have four acts and a movie. By 1933, it was over.”

The father and son transitioned into radio, where they worked constantly. By the time Our Town came along, Mr. Wiley was a seasoned show business veteran of 11. His recollections are what one might expect of a child that age.

“My biggest memory at the Morosco Theater was being adopted by the guy who owned the Piccadilly ticket office, who by the way was one of the Damon Runyon characters based on real people,” he said. “He used to see me coming to work all the time with my baseball glove. One day he said, ‘Hey Butch, what are you doing with a baseball glove half a block from Times Square?’ After that he kind of adopted me, taking me to ball games, and introducing me to the players. It was a kid’s dream world.”

Mr. Wiley also remembers the pre-Broadway tryouts of Our Town at McCarter, where the notoriously difficult director Jed Harris worked the cast so late into the night during rehearsals that they ended up sleeping on the floor underneath the seats.

Mr. Wiley’s parents were personal friends of Thornton Wilder. “We used to visit him in Connecticut,” he said. “I was a kid, so I didn’t appreciate it at the time. But I think Our Town is one of the great plays. It reminds me of Seinfeld, because it’s about nothing. It’s just life.”

After the Broadway run of Our Town, Mr. Wiley was among those in the cast to join the road company. “In those days, usually the original cast would stay for the road company, except for the top stars. And you’d go all over the country,” he said.

His show business career was over by the time he returned from the Pacific after World War II. “I never looked back, never thought of going back,” he said. There was one major opportunity to get back on stage, when he was offered the part of Officer Krupke in a production of West Side Story. “I had too many other commitments,” he said. “But that was fine with me.”


April 16, 2014
SUBVERSIVE SCHEMERS: Figaro (Adam Green) and Suzanne (Maggie Lacey) plot together to foil the lustful Count and finally hold their wedding ceremony in McCarter Theatre’s production of Pierre Beaumarchais’s “The Marriage of Figaro,” second half of “The Figaro Plays” at McCarter’s Matthews Theatre through May 4. Call (609) 258-2787 or visit for tickets and further information.(Photo by T. Charles Erickson)

SUBVERSIVE SCHEMERS: Figaro (Adam Green) and Suzanne (Maggie Lacey) plot together to foil the lustful Count and finally hold their wedding ceremony in McCarter Theatre’s production of Pierre Beaumarchais’s “The Marriage of Figaro,” second half of “The Figaro Plays” at McCarter’s Matthews Theatre through May 4. Call (609) 258-2787 or visit for tickets and further information. (Photo by T. Charles Erickson)

Pierre Beaumarchais is best known, at least in this country, as the author of two plays that were adapted into two of the most famous operas in the repertory, Rossini’s The Barber of Seville and Mozart’s The Marriage of Figaro. The plays themselves, rarely produced in the United States, have remained, until now anyway, mostly unfamiliar to American audiences. It is the mission of McCarter Theatre and translator/adaptor/director Stephen Wadsworth to change that situation with their delightfully rich, incisively staged productions of both of those plays, running through May 4 at McCarter’s Matthews Theatre. 

These are period pieces, and Mr. Wadsworth’s elaborate, painstaking staging, with an extraordinarily fine cast of 19 and a first-rate production team, effectively welcomes the audience into the world of 18th century Europe, while at the same time appealing powerfully to 21st century sensibilities, in his dynamic translation/adaptation of the original and in the company’s formidable abilities to communicate the meaning, emotion and humor of the originals.

In addition to bridging the 18th and 21st centuries here, Mr. Wadsworth, leading director of opera and plays throughout Europe and the United States (including, at McCarter, a trilogy of plays by Marivaux, Goldoni’s Mirandolina, Moliere’s Don Juan, Coward’s Private Lives and Design for Living and Francesca Faridany’s Fraulein Elise) and director of the acting program for singers at Juilliard School, delivers with spirit and skill Beaumarchais’s fine combination of hilarious farce, poignant romance, and scathing social-political satire.

The world of “The Figaro Plays,” as McCarter has named this two-play event, does offer a number of the qualities of opera. There is actual music and singing in both plays, as, realistically, part of the plots, and the dramatic elements here are heightened and intensified. These characters are both realistic and larger-than-life, as are the drama and the comedy. That heightened reality and intensity are vividly reflected in the broad acting styles and in the carefully researched, artfully composed designs of the set by Charles Corcoran, the amazing costumes by Camille Assaf, and the dramatic lighting by Joan Arhelger.

Frequent asides to the audience, occasionally expanding into dramatic monologues and soliloquies by major characters, further enhance the operatic effects and skillfully communicate the humor, emotion, and politics of these memorable individuals.

Though opera lovers may at times find themselves missing the beautiful arias of Rossini and Mozart, and at times even singing along in their heads with the opera music that parallels the action of the plays, Beaumarchais’s Barber and Figaro, as Mr. Wadsworth and company decisively demonstrate here, warrant attention and ample appreciation in their own right, as something less sentimental and more edgy: rich, hilarious, and subversive farce, poignant character drama with powerful social criticism and political assaults. As Louis XVI prophetically admonished, “For this play not to be a danger, the Bastille would have to be pulled down first.”

The Barber of Seville presents a stock comedic plot, one frequently employed by the Italian commedia dell’arte of Beaumarchais’s day. It is the story of the Count Almaviva (Neal Bledsoe), assisted by Figaro (Adam Green), his former servant now the local barber, and his courtship of the beautiful Rosine (Naomi O’Connell), the ward of old Doctor Bartolo (Derek Smith), who wants to marry her himself. The action of the play involves the Count’s amorous endeavors, mostly driven by Figaro (an Arlecchino figure in the commedia dell’arte), to outwit the austere Bartolo (Pantalone in the Italian comedy). It’s a sure-fire comedic situation with timeless appeal, but Beaumarchais, and Wadsworth, take it a step or two further.

It’s the servant, and title character, who takes center stage here, as Figaro — self-reflective and questioning, constantly challenging those in superior social positions — devises numerous ingenious schemes to get the better of Bartolo, insinuate the Count into Bartolo’s house and Rosine’s heart, and derive some personal benefits along the way!

Before the wild finale is achieved, Figaro’s machinations require two different disguises for the Count, as a drunken soldier seeking lodging at Bartolo’s house then as a music teacher to instruct Rosine. Also required are the outmaneuvering of Bazile (Cameron Folmar), meddlesome, eccentric singing teacher and Bartolo ally; secret messages intercepted; surreptitious entrances and exits through bedroom windows; mistaken identities; and much rich dramatic irony and hilarity as the tension rises and the audience observes the surprised characters’ reactions to the wild proceedings.

The Marriage of Figaro (1778), written four years later than The Barber, though banned from production until 1784, takes place at the Count’s chateau, three years after the action of the earlier play. The Count, married to Rosine for three years at this point, is seeking other romantic adventures, including a liaison with Figaro’s fiancée Suzanne (Maggie Lacey).

Longer, with more characters, scenes, intrigues, and plot twists than The Barber, The Marriage of Figaro, in the play as in the opera, opens in the room in the chateau that the Count has selected for Figaro, his valet, and Suzanne, the countess’s maid. Figaro is taking measurements for their matrimonial bed and Suzanne is preparing to warn her future husband of the Count’s plans to revive the obsolete droit de seigneur that would allow the Count to sleep with Suzanne on the night of her wedding.

Figaro is furious and quickly makes plans to foil the Count’s intentions and keep Suzanne to himself. Complicating matters is the aging housekeeper Marceline (Jeanne Paulsen), who wants to marry Figaro herself and, for leverage, holds an old contract that demands marriage if funds are not paid back. Marceline, a significant figure as Bartolo’s housekeeper in The Barber, enlists her former employer to help her, and Bartolo, of course, is still resentful of Figaro’s trickery that helped to win Rosine for the Count three years earlier.

Numerous other entertaining distractions, mostly of romantic nature, arise as the Countess (Rosine) laments the falling off of her husband’s affections; the lovesick young page Cherubin (Magan Wiles, in a trouser role) expresses his boyish passion for Fanchette (Betsy Hogg), the gardener’s daughter, and for Rosine, thereby inciting the Count’s outraged jealousy; the Count actually experiences some self-reflection and growth as a character; Marceline’s endeavors meet with an astonishing obstacle; Bazile meddles some more to complicate matters; a wonderfully wild courtroom scene presided over by the incomparably hilarious judge Brid’oison (Frank Corrado), followed by an even wilder nighttime garden rendezvous scene ensues; and Figaro, throughout, struggles tirelessly to out-scheme the Count and direct the proceedings to his advantage.

From top to bottom, the ensemble, 10 for Barber and an additional nine for Marriage, could not be better. These are experienced, consummate professionals — all credible in their eccentricities, all well versed in the requisite classic style, all with carefully calibrated comic timing and the appropriate energy to bring across the comedy, the drama, and the satire to the audience.

Mr. Green stands out with his boldness and winning manner in his masterful manipulations of his fellow characters, of the plot, and of the audience. He fulfills Mr. Wadsworth’s description of the character of Figaro as “irrepressible, resourceful, practical, empathetic, and full of joy.”

The authoritative Mr. Bledsoe is on target throughout the two plays in his multiple moods and guises as the amorous Count. Ms. Campbell is a warm, appealing Rosine, later countess Almaviva, and Mr. Smith succeeds in delivering a three-dimensional characterization of Bartolo that transcends the stock Pantalone figure.

Mr. Folmar’s Bazile is consistently funny and fun to watch in both plays, and Ms. Lacey as Suzanne proves a charming, outspoken, intelligent, and formidable counterpart to her fiancé. Ms. Paulsen’s Marceline, with a role expanded in Mr. Wadsworth’s adaptation of Barber, serves as a humorous and also strikingly serious spokeswoman for the plight of women and one of at least three outspoken, articulate and highly accomplished female characters in “The Figaro Plays.”

“He offered me strategies for survival in adverse circumstances,” Mr. Wadsworth writes in his director’s notes about the character Figaro. With his subversive humor and his skill in undermining the pretensions and privileges of the aristocracy, Figaro also helped to promote social equality and precipitate the French Revolution — dazzling evidence of the power of theater!

These plays, with their period settings, their extensive verbiage which requires close attention to appreciate the humor and plot, and their length — two hours and twenty minutes for Barber, three hours and ten minutes for Marriage — may not suit all modern tastes, but The Figaro Plays are a remarkable achievement for Mr. Wadsworth and the McCarter Company and they provide two brilliant, funny, entertaining and memorable evenings at the theater.

McCarter Theatre’s productions of Pierre Beaumarchais’s “The Barber of Seville” and “The Marriage of Figaro” will be playing at McCarter’s Matthews Theatre through May 4. Call (609) 258-2787 or visit www. for show times for the two plays, tickets, and information.



April 2, 2014
WHO’S AUDITIONING WHOM?: Thomas (Dan Ames), director of the play-within-the-play, helps his intriguing auditioner Vanda (Evelyn Giovine) to fasten her dress in Theatre Intime’s production of David Ives’s “Venus in Fur,” playing at the Hamilton Murray Theater on the Princeton University campus through April 5.

WHO’S AUDITIONING WHOM?: Thomas (Dan Ames), director of the play-within-the-play, helps his intriguing auditioner Vanda (Evelyn Giovine) to fasten her dress in Theatre Intime’s production of David Ives’s “Venus in Fur,” playing at the Hamilton Murray Theater on the Princeton University campus through April 5.

Bursting into the audition room, she looks like every director’s worst nightmare: crude, ditzy, desperate, needy, self-pitying, late, and completely wrong for the classy role. She seems like a composite of all the auditioners that Thomas, the earnest, cerebral director, has been complaining about in his phone conversation with his fiancée in the opening minutes of Venus in Fur, David Ives’s 2010 tour de force of wit and eroticism currently playing at Theatre Intime on the Princeton University campus 

Thomas needs a female lead for “Venus in Fur,” his adaptation of the classic sadomasochistic 1870 novella by the Austrian Leopold von Sacher-Masoch, whose name has given us the word “masochism” — but at this point Thomas is packing up to go home.

Thomas does not go home. The would-be actress, strangely and conveniently named Vanda, the name of the female character in the play, persuades Thomas, through force of will and multiple manipulations, to let her read the first three pages of the script with him.

The ensuing 90 minutes becomes a psycho-sexual battle, with the erotic tensions of the two characters in Thomas’ play blurring with the tensions between the director and this increasingly beguiling actress in the ongoing audition. He is auditioning her, but she turns out to have a surprisingly thorough knowledge and understanding of the script and its passionate characters, not to mention a huge bag full of necessary costumes and props — and, increasingly and mysteriously as the play progresses and the balance of power swings back and forth, she also seems to be auditioning and directing him — for what purposes, remains to be seen.

Mr. Ives, a New York playwright perhaps best known for his brilliant collection of one-acts comprising the off-Broadway hit All in the Timing (1993), is a master of wit, of word play and dramatic twists and turns, of comic timing, and of the intellectual acrobatics that blur the lines between theater and life. He’s at the top of his game in Venus in Fur (2010), a Broadway hit and Tony Award nominee for best play. The dialogue is sharp, realistic, and funny. The two characters are thoroughly engaging, as they struggle for dominance and power, and their relationship develops. The tension rises and the plot moves swiftly towards its climax.

Evelyn Giovine as Vanda is magnificent. The challenging role requires so many shifts, subtle and unsubtle — from the desperate, classless auditioner to the sophisticated woman who knows what she wants, from scrappy, foul-mouthed 21st century New Yorker into her sophisticated character role as Vanda von Dunayev and her constant maneuvers and manipulations, erotic and otherwise, as she contends with Thomas. Whether in leather skirt, black lingerie and dominatrix black boots, or elegant white 19th century gown, Ms. Giovine, a Princeton University sophomore, is captivating — in more than one sense of the word, funny and sometimes charmingly, sometimes frighteningly, believable, as she progresses from chatty, gum-chewing, wanna-be actress chick to no less than an evocation of the mighty love goddess Aphrodite (Venus) or even the vengeful god Dionysus with his Bacchae bent on cruel revenge against any mortal who denies his dark powers.

Ives’ dialogue includes much dispute between Thomas and Vanda about the quality of the play she is auditioning for and whether it is pornography or great literature. Venus in Fur, in the hands of a lesser playwright or a less talented female lead, could easily have misfired or descended to tasteless, pornographic titillation. This production, however, under the intelligent, capable direction of Princeton University junior Julia Hammer, seldom lets down the erotic tension, but remains tasteful and entertaining throughout.

Princeton graduate student Dan Ames as Thomas, though overshadowed at times by the powerful, charismatic Ms. Giovine, is a worthy counterpart and a credible young director, finding himself in a power struggle with this Venus figure and caught between the erotic urgings of Vanda and the insistent phone calls of his fiancée. The sexual chemistry between Thomas and Vanda is palpable and potentially powerful, but needs to build as the performers settle into these demanding roles in the second weekend on stage.

Matt Seely’s bare-bones, rehearsal-room set effectively creates the stark world of director and auditioner, with Marissa Applegate’s lighting to help shift the mood when necessary and to give Vanda, who operates the fuse box light switches, yet another means of control over the proceedings. Annika Bennett’s costumes – Vanda’s and Thomas’, though they never stop “acting,” actually change back and forth from 1870 setting to real life attire several times during the course of the evening — are spot on, and vital to the depiction of these characters and particularly of Vanda’s increasing dominance.

The production does need, and with luck will see in its second weekend on stage, some clarification — in the line delivery by Mr. Ames and in articulate projection of Ms. Giovine’s European accent in the role of Dunayev — and quickening of the pace, which occasionally drags, at times diminishing, rather than building the erotic tension.

Thomas auditions Vanda. Vanda auditions Thomas, as the characters in Thomas’ play intertwine with the characters of the director Thomas and the actress Vanda. Intrigues surrounding the identity and psychology of these characters deepen, as the stakes rise and the roles — director-actress, Kushemski-Dunyaev, master-slave, man-woman — reverse again and again.

Venus in Fur is hard to beat for a combination of powerful drama and captivating psychosexual fun and games. With David Ives, Evvy Giovine, and the fine Intime company as the games masters/mistresses, the evening is a memorable one.


March 19, 2014
THE THINGS WE DO FOR LOVE: This poster for a new short film by Princeton resident Charles Evered shows actors Marty James and Joshua Fardon. The film will have a free screening on Saturday, March 22 at 3:30 p.m. at the Arts Council of Princeton before it premieres at the Newport Beach Film Festival in Los Angeles next month.(Courtesy of Charles Evered)

THE THINGS WE DO FOR LOVE: This poster for a new short film by Princeton resident Charles Evered shows actors Marty James and Joshua Fardon. The film will have a free screening on Saturday, March 22 at 3:30 p.m. at the Arts Council of Princeton before it premieres at the Newport Beach Film Festival in Los Angeles next month. (Courtesy of Charles Evered)

Out, a 19-minute long comedy begins as its main character, Raymond Bilotti, arrives home to find the County Sheriff knocking on his door, and progresses through a series of bizarre scenes to what shall be called a satisfying conclusion, so as not to give away too much and spoil the fun. Out will screen at the Arts Council of Princeton this Saturday, March 22, at 3:30 p.m. 

“The screening is free and there is bound to be a party atmosphere,” said playwright, director and screenwriter Charles Evered. “There will most definitely be Bundt cake.”

If you are wondering why Bundt cake, you’ll have to see the film to find out.

“Marty James plays Raymond, a down on his luck ‘everyman’ who in less than twenty minutes faces the prospect of losing his home, his mother, and his most closely held secret, not necessarily in that order,” said Mr. Evered, who lives in Princeton with his wife Wendy and their two children, and works in Los Angeles.

“I have the longest commute but it’s worth it to have my kids grow up in Princeton,” said Mr. Evered, in a telephone interview, Monday. “We love the schools and we love the history and all that the town has to offer and when we had our kids, John is 13 and Margaret is 14, we didn’t want to raise them in Los Angeles. Besides I have family here,” said the filmmaker who grew up in Bergen County.

Mr. Evered is no stranger to the Arts Council where he was an artist in residence 2006/2007.

Out, which Mr. Evered wrote and directed and his wife Wendy produced, was shown to the cast and crew at Disney Studios in Burbank last month and will premiere at the Newport Beach Film Festival in Los Angeles in late April.

Like most short films, it was made on spec, with professional actors. “Shorts are made for the love of it. They are great fun to make. Out was shot in four days with a budget of $6,000,” said Mr. Evered.

Written shortly after Mr. Evered had completed a much darker feature film, the thriller, A Thousand Cuts, which was nominated for a Saturn Award and starred Academy Award nominee Michael O’Keefe, Out riffs on several meanings of the word “out.” Beside the “gay” connotation of coming out, and the rather charming almost defunct usage of having a gay old time, there’s also being “kicked out,” being “out on a limb,” and being “found out.”

The character Raymond just happens to be gay, said Mr. Evered, who acknowledges that while this features in the film’s plot, it is not what he would call “integral” to the machinations of the story. “We all have secrets, we all face pressures and each and every one of us will end up having to deal with loss,” said the filmmaker who eschewed pressure from one publicist to label the film as a “gay” film and market it as such.

“That struck me as kind of funny at first,” said Mr. Evered, who feels that his film is much more in tune with having a “gay old time” with a few laughs as well as a few moving moments. “But the idea of ‘labeling’ the film itself in a marketing strategy seemed at odds with the spirit in which we made it in the first place. Because our film isn’t about being gay, it’s about being human. Our hope was it would be a non-issue. And I’m pleased to say that thus far, it is. At the screening at Disney, it never came up. In various private screenings on both coasts, no one bothered to mention it. It’s a new film rather than a new gay film.”

“If I continue to have any control over the film at all, I will never let it be ‘categorized’ or cornered or swept under the rug and into a marketable niche. Because to me, it’s a story about all of us and any of us, at any time in our lives. The fact that we don’t feel compelled to create special categories or marketing strategies seems to me to imply nothing but progress. And a kind of progress we can all be proud of,” said Mr. Evered.

Out was shot using a digital camera which allowed for exactly the sort of intimacy the filmmaker was aiming for. “I come from a background in the theater so I like to stay close to my characters,” he explained. “Besides being less expensive, a small digital camera requires a small crew and is easy to maneuver.”

He credits his wife for finding the veteran actress Gloria Leroy, who plays Raymond’s mother. “Gloria is not all that mobile and had to be persuaded into the part,” said Mr. Evered. “I told her that she would have to stay in bed for two days and that we would supply everything she could want. She was doted on by everyone.”

Other films by Mr. Evered include Adopt a Sailor, starring Emmy winners Peter Coyote and Bebe Neuwirth.

Why doesn’t the public see more short films? “Not all festivals have short films and they are not all that easy to see, although You Tube has changed that,” said Mr. Evered. After Out has been shown at festivals, it will be made available via You Tube, he said.

The Arts Council’s showing is the east coast premiere of Out. The screening is free and open to the public. For more information, please go to: