“LIVE MUSICAL THEATER REVUE”: The Princeton Festival organized an online concert of soloists performing songs from classic and recent musicals. Top row, from left: Erin Brittain, Michael Caizzi, Ronald Samm, Rachel Weishoff, and Billy Huyler. Middle row: Matt Flocco, Mekelia Miller, Paloma Friedhoff Bello, Jami Leonard, and James Conrad Smith. Bottom row: Amy Weintraub, Michael Motkowski, Natalie Rose Havens, Jordan Bunshaft, and Shannon Rakow. (Photo montage courtesy of the Princeton Festival)

By Donald H. Sanborn III

Princeton Festival presented a Live Musical Theater Revue on June 20. The free concert was part of the Festival’s ongoing series of online events, “Virtually Yours.” Artistic Director Richard Tang Yuk hosted the livestream, which featured 14 soloists performing selections from Broadway or off-Broadway shows.

The soloists chose the songs they performed. The resulting selection was an eclectic but remarkably well-balanced mixture of numbers from mid-20^th century “Golden Age” classics, and more recent material.

Online concerts present unique technical challenges. One soloist, Mekelia Miller, was unheard due to a lost connection. At times a few of the other performers’ voices were less audible than their instrumental tracks. On the whole, however, the evening proceeded smoothly, with little lag time between performances. Every soloist briefly chatted affably with their predecessor before starting their own song.

The opening soloist was mezzo-soprano Shannon Rakow. who confidently began the concert with a cheerful, sincere rendition of “Don’t Rain on My Parade,” singing to an orchestral track. Composer Jule Styne and lyricist Bob Merrill wrote the exuberant, uptempo number for Funny Girl. Isobel Lennart wrote the book of that 1964 musical, whose semi-biographical plot is based on the life and career of entertainer Fanny Brice (1891-1951). more

“IN CONVERSATION”: McCarter Theatre presented an online conversation between outgoing Artistic Director and Resident Playwright Emily Mann and playwright and librettist Nilo Cruz. (Emily Mann photo by Matt Pilsner; Nilo Cruz photo by Marc Richard Tousignant)

By Donald H. Sanborn III

McCarter LIVE: In Conversation with Nilo Cruz” was presented June 12. Artistic Engagement Manager Paula T. Alekson curated the discussion between playwright and librettist Cruz; and outgoing Artistic Director and Resident Playwright Emily Mann. McCarter’s productions of Cruz’s Anna in the Tropics and Bathing in Moonlight were directed by Mann.

The conversation begins on a somber note. “Given the events of the past two and a half weeks, I felt the need to not simply dive into the past, but to be in the present at the top of our time together,” Alekson says, adding that she felt a responsibility not to create a “structured absence of the outrage, pain, unrest, and division. I thought, as a memorial, we might mark the present moment first.”

Cruz recites “The Weight of a Knee,” a poem he has written in memory of George Floyd. The harrowing elegy is unsparing: “The knee in uniform, made of law, crushed the tendrils of an already buried throat, as it strangled the breath of history once again,” Cruz reads. “The knee, known to be used for the sacred ceremony of prayer, now profaned.”

Reflecting on the ensuing national dialogue about racial justice, Mann offers, “We are at a turning point in history. It’s a seismic shift that has great possibility — and of course great danger in it as well, as all great possibilities do.” She observes “people around the world feeling the need to walk together, and show … their need to see justice and change for their fellow human beings. This is something that artists know: the whole thing is to go deep inside yourselves and dream big, and see where you want to go, so that then you can go there together.” more

“ANTIGONICK”: Performances are underway for “Antigonick.” Presented by Theatre Intime and directed by Paige Elizabeth Allen ‘21, the play runs through February 15 at the Hamilton Murray Theater. Antigone (Allison Spann, center) is visited by the spirits of her dead brothers, personified by NIck (Natalia Orlovsky, left) and Chorus (Kai Torrens). (Photo by Naomi Park ‘21)

By Donald H. Sanborn III

Poet, essayist, and former Princeton University professor Anne Carson’s 2012 play Antigonick originally was published as a book, with illustrations by Bianca Stone. The work is an adaptation of Sophocles’ Antigone (c. 441 B.C.E.), as well as a meditation on previous interpretations of it, including mid-20th century productions by theater practitioners such as Bertolt Brecht.

Theatre Intime, whose cast and production team consist of Princeton University students, is presenting Antigonick. Directed by Paige Elizabeth Allen, the production brings its own point of view to the story, while borrowing some of the book’s imagery.

Carson retains Sophocles’ use of a chorus, whose poetic interludes demarcate the play’s seven scenes. However, Allen has repurposed these lines for a single character, still referred to as “Chorus” (portrayed by Kai Torrens). more

“THE BIG TIME”: Directed by librettist Douglas Carter Beane, and conducted by Fred Lassen, “The Big Time” was presented January 31 at McCarter’s Matthews Theatre. The cast included, from left, Michael McCormick, Jackie Hoffman, Bradley Dean, Raymond Bokhour, Will Swenson, Laura Osnes, Santino Fontana, and Debbie Gravitte. (Photo by Tom Miller)

By Donald H. Sanborn III

During a scene in The Big Time a prim British diplomat, Penelope Briggs-Hopkins, stiffly asserts that she is “not a fan of musical comedy.” She would disapprove of the musical in which she is a character; The Big Time is an unabashedly cheerful comedy, in the style of Hello, Dolly! or The Producers.

A concert performance of The Big Time was presented January 31, to an enthusiastic audience that filled McCarter’s Matthews Theatre. The event was the second installment of the Princeton Pops series, a new collaboration between McCarter and the Princeton Symphony Orchestra.

The show’s witty book is by Douglas Carter Beane, and the sprightly, memorable songs are by Douglas J. Cohen. The lyrics, which match the tone of Beane’s dialogue, have been set to music that evokes the big band era, as well as the sly saxophone-infused sound of a 1960s spy movie. Cohen’s well-crafted score establishes the characters’ personalities, while taking advantage of the performers’ vocal ranges.

Music director Fred Lassen opened the show by leading a band, formed by 16 members of the Princeton Symphony Orchestra, in a crisp rendition of the overture, which established the jaunty musical style. The orchestrations favor the drums, saxophones, and brass; however, the flute and clarinet stand out in other numbers.

In a program note Beane relates that the show originated as a screenplay for Oliver Stone. The plot was crafted to parody the film Under Siege (1992), in which mercenaries, posing as caterers and led by an ex-CIA operative, hijack a battleship. more

“GOODNIGHT NOBODY”: Performances are underway for “Goodnight Nobody.” Directed by Tyne Rafaeli, the play runs through February 9 at McCarter’s Berlind Theatre. While discussing the frustrations of parenthood with a new mother, K (Ariel Woodiwiss, right), Mara (Dana Delany, center) tells a story that embarrasses her grown son, Reggie (Nate Miller, left), who was friends with K in high school. (Photo by T. Charles Erickson)

By Donald H. Sanborn III

Goodnight Nobody is receiving its world premiere at McCarter Theatre, which commissioned the show from playwright Rachel Bonds. This tragicomedy depicts a weekend during which artistic friends reunite, but an initially affable atmosphere becomes contentious when buried feelings erupt.

The effect of motherhood on the life of a creative person is one of several themes that are examined in Goodnight Nobody. The play also offers a more general exploration of inter-generational relationships, including romantic entanglements. It also considers situations in which jovial conversations mask feelings of deep pain that unexpectedly collide.

Mara, an acclaimed sculptor who is in her late 50s or early 60s, lives in a rustic farmhouse in upstate New York. She is dating Bo, a painter who is her age. However, she also has romantic feelings for Nan, a successful artist who is in his 30s — the same age as Mara’s son, Reggie.

To the character of Mara, Emmy Award-winner Dana Delany brings commanding stage presence and smooth, often wry, line delivery. The performance poignantly juxtaposes early scenes, in which Mara bluntly recalls the exasperating aspects of child care, against a later one in which she attempts to be more warmly maternal. more

“A CHRISTMAS CAROL”: Performances are underway for “A Christmas Carol.” Directed by Adam Immerwahr, the play runs through December 29 at McCarter’s Matthews Theatre. Tiny Tim (Aria Song, left) receives a special gift from Scrooge (Greg Wood). (Photo by T. Charles Erickson)

By Donald H. Sanborn III

To fully experience McCarter’s annual production of A Christmas Carol, audiences should arrive at least 15 minutes before curtain time. Dressed in Linda Cho’s opulent costumes, which evoke Dickensian London, members of the community ensemble circulate the lobbies, ready to serenade anyone who will join them in a rendition of “We Wish You a Merry Christmas.” The caroling provides a seamless segue into the start of the show, as the performers exuberantly lead the audience in singing “In Dulci Jubilo.”

McCarter’s diverse and talented cast combines professional actors with nonprofessional performers who comprise a community ensemble (for ages 14 and older), and a young ensemble.

Old Marley’s ghost warns Scrooge, “It is required of every man that the spirit within him should walk … among his fellow men.” Director Adam Immerwahr’s staging lets the cast do this literally, as audience members periodically find characters standing next to them.

A banner bearing the inscription “London, 1843” is placed in front of the curtain. Scrooge climbs on stage and irritably tells the onstage carolers — and us — to stop singing. Then he disdainfully removes the banner. more

“SORTA RICAN”: Passage Theatre has continued its Solo Flights series with “Sorta Rican.” Written and performed by Miss Angelina (above) and directed by Laura Grey, the musical monologue depicts the performer’s search for her cultural identity. (Photo by Rachel Kenaston)

By Donald H. Sanborn III

Passage Theatre has continued its Solo Flights series with Sorta Rican, which was presented November 15-17. Written and performed by actor and recording artist Miss Angelina, this autobiographical monologue is a musical odyssey that humorously follows the singer’s quest to connect with her identity as a Latina.

Miss Angelina is a rapper who has released two albums, and has costarred in a music web series that has been featured on the television series American Latino. She has been touring with Sorta Rican since 2015, presenting it at venues such as the Hard Rock Café (San Juan), Broadway Comedy Club (NYC), and Improv Olympic Theater (LA).

The show itself is a tour. The journey starts with the monologist’s upbringing as part of an immigrant family in Little Silver, New Jersey. From there we follow her to New York City (where she lives in Washington Heights), Miami, and San Juan. These all are places that Miss Angelina visits in the course of a search for her cultural heritage. Along the way she encounters disparate preconceptions about what it means to be a Puerto Rican and/or a Latina. more

“CATCH ME IF YOU CAN”: Performances are underway for The Pennington Players’ production of “Catch Me If You Can.” Directed by Laurie Gougher, the musical runs through November 3 at the Kelsey Theatre. A bright red sweater is one of many costumes — and personas — worn by Frank Abagnale Jr. (Scott Silagy, center), as he tells the story of his many exploits, with the help of the ensemble. (Photo by Jon Cintron)

By Donald H. Sanborn III

As a con artist, Frank Abagnale Jr. gave the authorities plenty of metaphoric song and dance, so it is fitting that he gets to do so, literally, as a character onstage.

Catch Me If You Can is being presented by The Pennington Players at the Kelsey Theatre. This brash, energetic musical is based on the true story that became a hit Steven Spielberg film in 2002.

Abagnale originally detailed his exploits in his 1980 autobiography, which he authored with Stan Redding. The 2011 musical version has a flippant but amiable libretto by Terrence McNally. The music is by Marc Shaiman, and the lyrics are by Shaiman and Scott Wittman.

The score by Shaiman and Wittman is characterized by much of the jocularity and musical flavor present in their songs for Hairspray, which also is set in the 1960s. more

“MARY SHELLEY’S FRANKENSTEIN”: Performances are underway for “Mary Shelley’s Frankenstein.” Directed by playwright David Catlin, Lookingglass Theatre Company’s production runs through November 3 at McCarter’s Matthews Theatre. Mary Shelley (Cordelia Dewdney, left) gazes reflectively at Frankenstein’s Creature (Keith D. Gallagher). (Photo by Liz Lauren)

By Donald H. Sanborn III.

McCarter Theatre is presenting Mary Shelley’s Frankenstein, in time for Halloween. Lookingglass Theatre Company brings its brooding spectacle to Princeton following its premiere in Chicago earlier this year. David Catlin, whose Lookingglass Alice was presented by McCarter in 2007, is the playwright and director.

The title of Mary Shelley’s Frankenstein hints at one of the elements that make this version unique: the author becomes a character. Brief glimpses into Shelley’s stormy life are juxtaposed against scenes from her famous novel.

As with McCarter’s production of Gloria: A Life, seats have been placed on the stage, so that the show is presented in the round. Daniel Ostling’s set is covered by an off-white sheet, which is suspended by a brick cubicle. During the opening scene we see the actors through this sheet, which somewhat separates them from us despite the intimacy inherent in the seating arrangement. more

“DAUPHIN ISLAND”: Performances are underway for “Dauphin Island.” Directed by Amina Robinson, the play runs through October 27 at Passage Theatre. Selwyn (SJ Hannah, left) and Kendra (Shadana Patterson) unexpectedly share an intimate moment, but they both face personal challenges that may present obstacles to their ability to build a life together. (Photo by Jeff Stuart)

By Donald H. Sanborn III

Passage Theatre is opening its season with an outstanding production of Dauphin Island. Jeffry Chastang’s bittersweet romantic comedy depicts an unlikely relationship between Kendra Evans, a cancer survivor who lives in seclusion in the piney woods of Wilcox County, Alabama; and Selwyn Tate, an injured stranger who stops at her house, on the way to start a new job.

Dauphin Island received a New Play Award grant from the Edgerton Foundation. Its world premiere was at the Alabama Shakespeare Festival in 2017.

“This season’s shows all grapple with the question of where we come from,” promises Artistic Director C. Ryanne Domingues. “Our pasts, our families, and the places we grew up all have a huge impact on who we are and how we shape our futures.” She adds, “Dauphin Island is a refreshing play about what happens when we show a little bit of kindness towards each other.”

On the surface “kindness” initially seems an odd word with which to characterize the relationship between the characters. The edgy, gun-wielding Kendra’s first act consists of shackling Selwyn to the railing of her porch, “so you don’t kill me,” she says. Only then does she bandage his injured hand — with cobwebs. more

“TOPDOG/UNDERDOG”: Performances are underway for Princeton Summer Theater’s production of “Topdog/Underdog.” Directed by Lori Elizabeth Parquet, the play runs through August 18 at Princeton University’s Hamilton Murray Theater. Brothers Lincoln (Nathaniel J. Ryan, left) and Booth (Travis Raeburn, right) stare each other down during a game of three-card monte. (Photo by Kirsten Traudt)

By Donald H. Sanborn III

Princeton Summer Theater is concluding its 2019 season with a gripping production of Topdog/Underdog. This edgy, character-driven drama, which depicts the relationship between two African American brothers, is an apt fit for a season whose mission has been to “explore love in all its forms.”

Topdog/Underdog played on Broadway in 2002. It earned playwright Suzan-Lori Parks the Pulitzer Prize, as well as the Outer Critics Circle Award.

Lincoln is a former three-card monte hustler who now earns money at a carnival arcade by impersonating the famous president for whom he is named. This entails wearing whiteface and pretending to be shot.

Booth — the younger brother — has not given up three-card monte, and aspires to emulate his brother’s former success at the game. In his apartment he ceaselessly practices dealing cards, and luring potential victims with smooth chatter, although we will discover that in the past there was a crucial moment in which his skill drastically fell short of his ambition. He persists in attempting to persuade Lincoln to abandon his current occupation and join him. more

“A MIDSUMMER NIGHT’S DREAM”: Performances are underway for Princeton Summer Theater’s production of “A Midsummer Night’s Dream.” Directed by Maeli Goren, the play runs through August 4 at Princeton University’s Hamilton Murray Theater. Nick Bottom (Chamari White-Mink, center) entertains the company with a play within the play. (Photo by Kirsten Traudt)

By Donald H. Sanborn III

Princeton Summer Theater is presenting a bold, somewhat abstract reinterpretation of A Midsummer Night’s Dream. William Shakespeare’s comedy (c. 1595), in which fairies disrupt the romantic lives of ancient Athenians, is an apt choice for a season whose mission is to “explore love in all its forms.”

Director Maeli Goren has added an environmental focus, going so far as to begin the play with a speech that does not appear in the script until the second act. Titania, Queen of Fairies, offers this warning: “The spring, the summer, the childing autumn, angry winter change their wonted liveries, and the mazèd world, by their increase, now knows not which is which. And this same progeny of evils comes from our debate, from our dissension.” more