“PIPELINE”: Performances are underway for “Pipeline.” Directed by Alex Conboy, the play runs through March 3 at the Hamilton Murray Theater.Above, from left: Omari (Matthew Oke), a student who faces expulsion from a private school, and his mother, Nya (Alex Conboy), a public school teacher who desperately wants her son to have opportunities that her students may never have. (Photo by Lucy Shea)

By Donald H. Sanborn III

Prior to her career as an actor and award-winning playwright, as well as a story editor and co-producer of the Showtime series Shameless, Dominique Morisseau taught drama at the Henry Ford Academy, a high school near Detroit, where her mother also taught.

So Morisseau’s moving and poetic drama Pipeline (2017), in which the central protagonist is a teacher, is informed by firsthand experience. The play won the Edgerton Foundation New Play Award, and premiered at Lincoln Center Theater. more

“GHETTO GODS IN DIVINELAND”: Performances are underway for “Ghetto Gods in Divineland.” Written by Richard Bradford and Anthony Martinez-Briggs, and directed by Ozzie Jones, the play with music runs through February 25 at Passage Theatre. Above, from left, Gekiyla (Tasha Holmes), Papi Shh (Carlo Campbell), and Ameen (Davon Cochran) meet on the Lower Trenton Bridge — a tableau that recalls the Poor Righteous Teachers’ 1990 video for their song “Rock Dis Funky Joint.” (Photo by Jeff Stewart)

By Donald H. Sanborn III

In honor of the 50th anniversary of hip-hop, Passage Theatre is presenting the world premiere of Ghetto Gods in Divineland. The play — a vibrant and poignant blend of drama, music, and dance — is a salute to the Poor Righteous Teachers (PRT), a hip-hop group whose members — Wise Intelligent, Culture Freedom, and the late Father Shaheed — were from Trenton.

A press release describes the show as an “experimental Afrofuturism play” that portrays “Trenton’s political and social issues through the lens of the ‘Divineland’ neighborhood — also known as the Mayor Donnelly Project Homes, where the members of PRT met and grew up. The play dramatizes the social trauma of Trenton’s Divineland using progressiveness, modern science, technology, and wisdom from the ancestors.”  more

“LOW PAY? DON’T PAY!”: Performances are underway for “Low Pay? Don’t Pay!” Directed by Elena Milliken, the play runs through October 8 at the Hamilton Murray Theater. Above, from left: Fed up with exorbitant grocery prices, Margherita (Gabe Robare) and Antonia (Sophia Vernon) commit a theft that they must conceal, not only from the police, but from Antonia’s husband Giovanni (Tate Keuler). (Photo by Rilla McKeegan)

By Donald H. Sanborn III

The farce Low Pay? Don’t Pay! follows two women who become fed up with increasingly exorbitant food prices. The play’s action begins when they take matters — specifically, armfuls of groceries — into their own hands, and leave a store without paying.

A Google search for “high grocery prices” yields an abundance of articles, from a variety of sources, published within the past few months. Given the painful topicality of the subject matter, casual audiences might think that the play is recent.  more

“BLUES FOR AN ALABAMA SKY”: McCarter Theatre Center will present “Blues for an Alabama Sky.” Written by Pearl Cleage, and directed by Associate Artistic Director Nicole A. Watson (above), the play will run May 6-28 at McCarter’s Berlind Theatre. (Photo courtesy of McCarter Theatre)

By Donald H. Sanborn III

McCarter will present Blues for an Alabama Sky. Written by Pearl Cleage, the 1995 drama depicts a circle of friends living in a Depression-era apartment building amid the Harlem Renaissance. Performances start May 6.

New roommates — Angel, a recently fired blues singer; and Guy, a promising costume designer with Paris in his sights — live across the hall from Delia, a social worker “who sparks a relationship with the hardworking doctor Sam,” states McCarter’s website, summarizing the plot. “Their lives are upturned when Southern newcomer Leland arrives and falls hard for Angel, who is torn between a stable life in New York City and an exhilarating overseas adventure with Guy. Angel chooses her path, but the decision leads to devastating consequences that shift the trajectory of everyone’s futures and long-held dreams.” more

“CLEAN SLATE”: Rider University and Passage Theatre presented “Clean Slate” March 10-12. Written by Kate Brennan and David Lee White, and directed by Artistic Director C. Ryanne Domingues, the musical will be available to stream March 21-26. Above, rehabilitation camp participant Andi (Ellie Pearlman, left) meets Cassie (Rylee Carpenter) from another time — and the two discover that they share a crucial bond. (Photo by Pete Borg. Courtesy of Rider University)

By Donald H. Sanborn III

Passage Theatre has partnered with Rider University to present a world premiere musical, Clean Slate. The book is by David Lee White; the music and lyrics are by Kate Brennan. Artistic Director C. Ryanne Domingues directs the production, which was staged at Rider University two weeks before its presentation at Passage.

A feisty, embittered thief, 17-year-old Andi (portrayed by Ellie Pearlman) is sent to a rehabilitation camp, Clean Slate, when her overwhelmed foster mothers Sarah (Miriam White) and Gina (Jessy Gruver) no longer know how to discipline her.

Andi is not the character’s real name. Like all participants at Clean Slate, she is assigned a nickname on arrival, to protect her privacy. Per camp tradition, the nicknames are based on Greek mythology.  more

“BETWEEN TWO KNEES”: McCarter Theatre Center presents “Between Two Knees.” Written by The 1491s, and directed by Eric Ting, the play runs through February 12 at McCarter’s Matthews Theatre. Above, back row (from left): Justin Gauthier, James Ryen (behind the parasol), Shaun Taylor-Corbett, Rachel Crowl, Wotko Long, and Jennifer Bobiwash. Front row: Derek Garza and Shyla Lefner. (Photo by T. Charles Erickson)

By Donald H. Sanborn III

“That was like three plays in one act,” Larry, portrayed by Justin “Jud” Gauthier, quips at the end of the first act of Between Two Knees. The play started performances January 31 at McCarter.

A January 26 “Director’s Cut” offers a glimpse into the rehearsal process (as the production entered tech week). A bright red curtain; Regina Garcia’s scenery; and Elizabeth Harper’s unabashedly, artfully gaudy lighting suggest that theater itself — especially from Vaudeville to the mid-20th century — will be satirized.

As a perk of membership at McCarter, the audience is given an opportunity to watch a brief excerpt until the actors are dismissed for a break. Subsequently, McCarter’s Director of Artistic Initiatives Julie Felise Dubiner co-hosts a discussion and Q&A with Director of Production Dixie Uffelman.

Written by the Intertribal sketch comedy troupe The 1491s, Between Two Knees blends Native American history with humor that multiple cast and production team members liken to that of Mel Brooks. Eric Ting directs the production. more

“A CHRISTMAS CAROL”: Performances are underway for “A Christmas Carol.” Adapted and directed by Lauren Keating, the new production runs through December 24 at McCarter’s Matthews Theatre. Above, from left, the Cratchits — Tiny Tim (Yoyo Huang), Margaret (Gisela Chípe), Belinda (Zuriaya Holliman-York), Peter (Desmond Elyseev), and Bob (Kenneth DeAbrew) — celebrate, as Scrooge (Dee Pelletier) watches. (Photo by Matt Pilsner)

By Donald H. Sanborn III

McCarter has resumed its annual tradition of presenting A Christmas Carol — with a new production adapted and directed by Lauren Keating. This version retains some conceptual and design elements that succeeded in past productions, while bringing a fresh viewpoint.

As Town Topics previously noted, “A woman, actor Dee Pelletier, plays Scrooge (as a male character) for the first time. Keating’s additional casting pays particularly close attention to diversity, based on research she has done on London’s population during Dickens’ time.”

It is worth mentioning that a female actor has played Scrooge in other recent productions. Sally Nystuen Vahle played the role for Dallas Theatre Center, and in 2021 Adrienne Sweeney starred in a production by Minnesota’s Commonweal Theatre. However, Pelletier is the first female actor to fill the role for McCarter.

Although Scrooge is still depicted as male in Keating’s version (the young adult version of the character is portrayed, with suitably intense brusqueness, by male actor Matt Monaco), a few other characters have been “re-gendered.”

The crooked Old Joe, to whom Scrooge’s housekeeper Mrs. Dilber (Polly Lee) sells his belongings (Keating develops this sequence, establishing a rapport between the characters much earlier in the story than Dickens does) is refashioned as the more kindly, wholesome Old Jo (Vilma Silva). The solicitors for charity, who usually are depicted as male, here are named Cate (Julie Ann Earls) and Mary (Legna Cedillo). more

A TRIPLE ANNIVERSARY WEEKEND: The 100th anniversary of Theatre Intime, and the 50th anniversary of Princeton Summer Theater (PST), will be honored at a three-day reunion of alumni “Princeton theater-makers.” Both troupes mount their productions at the Hamilton Murray Theater in Murray-Dodge Hall, above, where Theatre Intime has performed since their 1921-1922 season. (Photo by Bill Charrier ‘69. Courtesy of Friends of Intime)

By Donald H. Sanborn III

Princeton University’s Theatre Intime was founded by a group of Princeton undergraduates in 1920. The Friends of Theatre Intime had hoped to schedule a centennial celebration for the fall of 2020, but the pandemic halted those plans.

However, after a two-year delay, “A Triple Anniversary Weekend” will be held from November 4-6. This commemorates the centennial of Theatre Intime, the 50th anniversary of Princeton Summer Theater, and the Hamilton Murray Theater’s centennial as a venue. The event’s website describes the celebration as a “reunion of Princeton theater-makers across the years.”

To ensure that the Princeton community can participate, a Community Pass ($50) is available. This pass provides admission to all events except the alumni meals.

A centerpiece of the reunion will be a gala dinner, “Théâtre Intime’s 100th & PST’s 50th Banquet Fete,” at which Winnie Holzman will be the keynote speaker. Among numerous writing credits, Holzman is especially known as the creator of the television series My So-Called Life;  and as the librettist of the musical Wicked. Acting credits include Thirtysomething, Roswell, and Curb Your Enthusiasm.

A Hamilton Murray Theater Centennial Film Festival will run throughout the weekend. The anniversary celebration’s website describes the festival as a “mix of full production features and short subjects expressly created for the festival.” The films will “play on big screens on campus throughout the celebration weekend.”

Friday’s events will include a “Welcome & Convocation” at Richardson Hall (this event is free and open to all, though registration is required); an “Intime & PST Archive & Exhibition” at Mudd Library, during which memorabilia such as programs, photos, letters, and newspaper articles will be on display; and an “Alumni Piano Bar,” a cabaret session at which pianists will be available to accompany any participants who would like to sing.

On Saturday there will be “Alumni All-Stars” panel discussions featuring alumni who work in the entertainment industry. The conversations are titled “Storytellers” and “How Theater influenced my (non-theater) career.” The gala dinner, at which Holzman will deliver the keynote address, will take place on Saturday evening. more

“CELEBRATION/PARTY TIME”: Theatre Intime has staged two plays by Harold Pinter: “Celebration” and “Party Time.” Directed by Kat McLaughlin, the double bill was presented September 30-October 9 at the Hamilton Murray Theater. Above, from left,are Gavin (Andrew Duke), Melissa (Ellie Makar-Limanov), Terry (Solomon Bergquist), and Dusty (Lara Danisman) in “Party Time.” (Photo by Emily Yang)

By Donald H. Sanborn III

Princeton University’s Theatre Intime has opened its season with a double bill of one-act plays by Harold Pinter (1930-2008): Celebration and Party Time. Both works offer a caustic look at social gatherings of the affluent and powerful.

Celebration (2000) depicts two concurrent dinners at an expensive restaurant, while the darker Party Time (1991) portrays a lavish house party, some of whose guests are connected with sinister political machinations.

Both plays are directed by Kat McLaughlin, who effectively uses the scripts’ examination of social hierarchies as a point of departure for an exploration of physical space. “What is it to exist in, to observe, to desperately maintain a space?” McLaughin asks rhetorically in a program note. She explains that she chose Celebration as a “comedy to mirror, reflect, and lighten the tensions raised in Party Time.” She acknowledges that the plays are “similar in tone.”

Celebration begins when a mild-mannered, dignified Waiter (Solomon Bergquist) strides from the audience to the dark stage. Lighting Designer Nicabec Casido lights the two tables only after the Waiter has approached them. Behind one of the tables is a bar, at which the Waiter stands for much of the play, further separated from the affluent clientele. Later, he moves claustrophobically between a wall and a chair to wait one of the tables. more

“THE WOLVES”: Performances are underway for “The Wolves.” Produced by McCarter Theatre, and directed by Artistic Director Sarah Rasmussen, the play runs through October 16 at McCarter’s Berlind Theatre. Above, from left: Teammates 8 (Maggie Thompson), 14 (Isabel Pask), 7 (Jasmine Sharma, 25 (Mikey Gray), 46 (Maria Habeeb), 00 (Renea S. Brown), 2 (Katie Griffith), 11 (Owen Laheen), and 13 (Annie Fox) discuss current events while they practice soccer. (Photo by T. Charles Erickson)

By Donald H. Sanborn III

McCarter is opening its season with The Wolves. The 2016 drama depicts a high school women’s soccer team, whose diverse members discuss current news events — among other, sometimes lighter subjects — as they practice for their games. The Wolves was a 2017 Pulitzer Prize finalist in drama.

Artistic Director Sarah Rasmussen directs the spirited production. Although this marks the McCarter debut of The Wolves, Rasmussen has prior experience staging the play. Her 2019 production at the Jungle Theater earned her a Minnesota Theater Award for Exceptional Performative Direction.

While writing The Wolves, Sarah DeLappe (who played soccer from ages 8 to 14) was tutoring teenage girls. An exhibit in the McCarter lobby quotes her as saying, “I felt very close to the current experience of female adolescence.” In a 2017 Lincoln Center Theater interview that is excerpted in McCarter’s printed program, DeLappe explains that she conceived the play “as a war movie. But instead of a bunch of men who are going into battle, you have a bunch of young women who are preparing for their soccer games.”

Scenic Designer Junghyun Georgia Lee covers the brightly lit Berlind stage with green Astroturf, honoring DeLappe’s opening stage direction that describes an indoor “soccer field that feels like it goes on forever.” The background is white and gray, but this is deceptive; Jackie Fox’s lighting often adds splashes of color.

As The Wolves begins, the lighting moves in rhythm to contemporary pop music procured by Sound Designer Pornchanok Kanchanabanca. As the soccer players enter, they are dancing as though they are in a nightclub. Immediately we know that the play will be infused with youthful energy.  more

“THE WOLVES”: McCarter Theatre Center will present “The Wolves.” Written by Sarah DeLappe, and directed by Artistic Director Sarah Rasmussen, above, the play will run September 17-October 16 at McCarter’s Berlind Theatre. (Photo by William Clark)

By Donald H. Sanborn III

McCarter will open its season with The Wolves. Written by Sarah DeLappe, the 2016 drama depicts a high school women’s soccer team. Artistic Director Sarah Rasmussen directs the production, which starts performances September 17.

On August 30 the Princeton Public Library hosted a “Live at the Library” discussion about the production. McCarter’s Artistic Engagement Manager Paula Alekson moderated a conversation between Rasmussen and actor Katharine Powell.

A September 7 “Director’s Cut” offered a glimpse into the rehearsal process. As a perk of membership at McCarter, the audience was given an opportunity to watch Rasmussen direct the actors until they were dismissed for the day, after which McCarter’s BOLD Associate Artistic Director Nicole A. Watson hosted a conversation with Rasmussen. more

“THE GREAT GATSBY”: Princeton Summer Theater has staged “The Great Gatsby.” Directed by PST’s 2022 Artistic Director Ethan Boll, the play with music has been presented June 24-July 3 at the Hamilton Murray Theater. Above: Narrator Nick Carraway (Jay White, center) encounters Jordan Baker (Megan Pan, left) at the home of his cousin, Daisy (Allison Spann, right). (Photo by Raquel Ramirez)

By Donald H. Sanborn III

A bit over a century ago, F. Scott Fitzgerald arrived at Princeton University, which he attended from 1913-1917. As a student, the aspiring author wrote stories and poems for the Triangle Club, the Princeton Tiger, and Nassau Lit.

During his sophomore year, Fitzgerald returned home to Saint Paul, Minn., during Christmas break. There, he met and fell in love with Ginevra King. The Chicago socialite became the basis of several characters in Fitzgerald’s novels — particularly Daisy Buchanan in The Great Gatsby.

Although the 1925 novel is told from the point of view of Daisy’s cousin Nick Carraway, Gatsby and Daisy’s relationship mirrors Fitzgerald’s courtship of King. Prefiguring a line in the novel, King’s father disdainfully told Fitzgerald, “Poor boys shouldn’t think of marrying rich girls.” (Eventually King married a wealthy Chicago businessman, and Fitzgerald married Zelda Sayre.)

In The Great Gatsby the now-wealthy title character buys a house across from Daisy’s home, with the express purpose of persuading her to resume their relationship. This arouses the jealousy of Daisy’s domineering and philandering husband, Tom, who contrives to eliminate his rival.

Almost a century after the publication of The Great Gatsby, a stage version of the classic novel has been presented at Fitzgerald’s alma mater. Making a welcome return following a (pandemic-enforced) three-year hiatus, the student-run Princeton Summer Theater (PST) has opened their 2022 season with Simon Levy’s adaptation, which received its world premiere at the Guthrie Theater in 2006.

Levy successfully adapts the novel for the stage, succinctly highlighting the backstory and dynamics between the characters. He is faithful to the plot but does not follow the novel slavishly; he converts some of Fitzgerald’s prose into dialogue for the narrator, Nick Carraway, highlighting the character’s development.

PST’s production adopts Levy’s suggestion (printed in the script) to include live music; an onstage band performs before and during the performance. Saxophonist and clarinetist Henry Raker, drummer Paolo Montoya, and bassist Cliff Wilson — led by Music Director Ned Furlong — establish the grit and glamour of the Jazz Age. more

“BROADWAY POPS!”: Princeton Festival has presented “Broadway POPS!” Above: Broadway and West End star Sierra Boggess, left, joined the PSO in a program of highlights from musical theater. The concert was conducted by Rossen Milanov, right. (Photo by Carolo Pascale.)

By Donald H. Sanborn III

Princeton Festival has presented Broadway POPS! Broadway and West End star Sierra Boggess joined the Princeton Symphony Orchestra in a program of highlights from musical theater. The June 24 concert was conducted by the orchestra’s Edward T. Cone Music Director Rossen Milanov.

Boggess made her Broadway debut in the 2007 stage version of Disney’s The Little Mermaid. She has portrayed Christine Daaé in multiple productions of Lord Andrew Lloyd Webber’s The Phantom of the Opera (including the 25^th anniversary concert at Royal Albert Hall), as well as the West End premiere of its sequel, Love Never Dies. With Julian Ovenden she has released an album of duets, Together at a Distance.

Broadway POPS! marks Boggess’ third collaboration with the PSO, following appearances in 2017 and 2018. The Olivier Award nominee also starred in The Age of Innocence (2018) at McCarter Theatre.

Boggess and Milanov created a selection that alternated between orchestral and vocal pieces, letting most of the featured composers be represented by at least one of each. The resulting program delighted the audience that packed the Festival’s performance tent on the grounds of Morven Museum & Garden. Boggess remarked that she chose pieces that she wanted to hear the orchestra perform.

The concert opened with an orchestral selection: “The Music Man: Symphonic Impressions,” crafted by Richard Hayman from Meredith Willson’s score. The woodwinds, especially the flutes, shone with the strings in the lush ballad “’Till There Was You.”  The piece closes with the rousing “76 Trombones.” A Broadway revival of the show opened this past February.

Boggess entered, sporting a bright red dress. Despite her long association with Lloyd Webber’s The Phantom of the Opera, she chose as her first selection “Home,” a song from a different stage adaptation of the Gaston Leroux novel. Phantom (1991) has a book by Arthur Kopit; the music and lyrics are by Maury Yeston. “Home” is a number that opens delicately and ends operatically — a progression often favored by Boggess — waiting until the end to let the singer reveal her high soprano.  more

“YOURS SINCERELY, STEPHEN SONDHEIM”: Princeton Festival has presented “Yours Sincerely, Stephen Sondheim” in tribute to the late Broadway legend. Matthew Stephens was the music director and accompanist for the concert, which was presented June 15 in a performance tent outside Morven Museum & Garden. Above: vocal duo Alyssa Giannetti and Jason Forbach. (Photo by Carolo Pascale)

By Donald H. Sanborn III

Into the Woods is a musical in which familiar fairy tale characters meet, and their stories intersect. In the prologue, the characters sing about their reasons for journeying into the titular forest. Cinderella sings, “I wish to go to the festival.”

Last Wednesday she could have been referring to the Princeton Festival, which presented Yours Sincerely, Stephen Sondheim, a tribute to the show’s late composer and lyricist. Vocalists Alyssa Giannetti and Jason Forbach performed several of the Broadway legend’s songs, interspersed with quotes from his letters — many of which his correspondents have shared via social media since his death last November. Music Director Matthew Stephens accompanied the duo.

The June 15 concert was presented in a performance tent outside Morven Museum & Garden. The seating was configured to resemble a dinner theater or cabaret; tables were set up so that audiences could enjoy drinks and light (but elegant) snacks — the latter served before the show and during intermission. A set for the Festival’s subsequent production in the tent (Albert Herring) resembled a bar, adding to the illusion of being in a Times Square nightspot.

A classically trained singer, Giannetti made her professional debut as an understudy for the role of Christine Daaé in the first national tour of Love Never Dies. She was in the cast of the Paper Mill Playhouse’s world premiere of UNMASKED: The Music of Andrew Lloyd Webber.  more