Thursday, March 31, 2022

Weekend of 4/1/2022

Caption: The ensemble cast of “Godspell” at Cumberland Players this and next weekend.

SOUTH JERSEY — Greetings! It’s good to see theatre is back and going strong in southern N.J. after the wicked pandemic. I was in two shows that fell casualty to Covid, “The Boys in the Band” and “La Cage aux Folles” — but my loss pales in comparison to everyone else’s. I’m healthy, employed, here, and joyous to be living back in South Jersey for the first time in nearly a decade.

Here’s what’s playing this weekend:

GODSPELL — Cumberland Players (Vineland). April 1-9. Stunning new production. I reviewed it Wednesday night. Follows the gospel of John with a litany of wonderful musical performances. Stars the Blandino brothers, Aaron and Phillip, as Jesus and John/Judas respectively. 

THESE WALLS — Eagle Theatre (Hammonton) April 3. Told two decades apart, a mother and daughter come to terms with pivotal moments of their lives. Staged reading. By Salma Elwy.

TICK, TICK … BOOM — Ritz Theatre (Camden) April 1-3. Autobiographical musical about Jonathan Larson (author of RENT) as he navigates life in NYC and producing his musical “Superbia.”

Review: Godspell at Cumberland Players (April 2022)

Caption: Aaron Blandino and the cast of “Godspell” at Cumberland Players.

VINELAND —  “Godspell”, which opens Friday, April 1, at the Little Theatre in Vineland N.J., is a tricky show to produce. I’ve seen it more times than I remember, but the two best I recall were youth productions — it’s nearly impossible for children to go over-the-top — children are already full of wholesome energy, so it’s believable and enjoyable to watch. 

Adult productions, though full of great performances,  sometimes run the risk of appearing, for lack of a better term, corny. Everything is in the script and score; it need not overcompensation. The energy might feel forced.

Be that as it may, however, the Cumberland Players version (an adult production) nails it. 

I looked forward to seeing the show but I admittedly expected the same schmaltz I’ve seen in regional, college/university, and Broadway versions (which is fun, too; don’t let me discredit that). To my delight, however, Director Michael Blandino does not overproduce or ask too much of his performers. His “Godspell” carefully strikes a gentle balance with a blend of soul and nuance. The Little Theatre is an intimate space, so that balance makes the performances especially believable and impactful — both as individual performances and as an ensemble piece.

We’re drawn in with “Tower of Babel”, a polarizing and dissonant observation of a world without a god, only to be interrupted by the triumphant “Prepare Ye” [the way of the Lord] by John the Baptist, played by Phillip Blandino (who doubles as Judas), with a baptism (pardon the word) in song. Phillip Blandino carries us through the full-range of his arch without ever eclipsing his fellow performers — a feat achieved, also, by the entire cast. He sets the standard at the outset of the show and his vocals soar in sync with his tremendous work as an actor in both roles.

His real life brother, Aaron Blandino, is our Jesus. And, is he the King of Kings in this production. Aaron Blandino gives an earnest introduction with “Save the People”, guides us through the parables, only to break through some of the more devastating parts of the character in “Beautiful City”, culminating in an effective conclusion. Again, however, he give equal respect and credence to his ensemble, letting them shine, never pulling rank — a real Jesus move. His acting through this journey is nothing short of emotionally stunning.

Highlights include a wonderful “Day by Day” by Anna Johns, a honky-tonk “Learn Your Lessons” by a great Maddie VanMeter, a powerhouse “Bless the Lord” by Shania Egan (yes, she nails the note!), a soulful, yet gentle “All Good Gifts” by Eric ‘Swifty’ Acierto, a show-stopper (but never over-the-top) “Light of the World” by an excellent Christian Milazzo, a “Turn Back O Man” by Eva Brescia in a sultry romp with the audience (she slays it!), and a breathtaking journey through “By My Side” by the outstanding Nicole Perri and Morgan Kahn.

“On the Willows” performed by Milazzo and Egan, “ Beautiful City” by Aaron Blandino, and the betrayal by Judas, left me in tears — and the chilling but hopeful ending left me emotionally drained and satisfied. I did not prepare or expect to be rendered as such. But, this one hits a special chord. Karen Johns does wonders with the stellar vocals in the cast, and the technical elements reveal layers to Jesus’s profession as a carpenter — and a builder of community. The director, Michael Blandino, respects the text and music while also allowing his performers just enough freedom to make it new. 

Performances: April 1-9, 2022

Tickets: https://ci.ovationtix.com/35692

The Little Theatre

66 E. Sherman Ave.

Vineland N.J. 08360

GODSPELL

BY STEPHEN SCHWARTZ

DIRECTED BY MICHAEL BLANDINO

MUSIC DIRECTION BY KAREN JOHNS

AARON BLANDINO AS JESUS, PHILLIP BLANDINO AS JOHN & JUDAS, ENSEMBLE STARS NICOLE PERRI, MORGAN KAHN, EVA BRESCIA, CHRISTIAN MILAZZO, ERIC ‘SWIFTY’ ACIERTO, SHANIA EGAN, MADDIE VANMETER, AND ANNA JOHNS.


Tuesday, March 29, 2022

Mini-Doc: On Golden Pond at the Levoy Theatre (March 2022)

MILLVILLE — Last weekend, I had the opportunity to speak with the director, crew, and cast of “On Golden Pond” at the Levoy Theatre (produced by the Off Broad Street Players). We spoke about the themes, the technical elements, and what the cast and creative team hoped audiences would take from the show.

Here are two short documentaries I created about “On Golden Pond.”

LEVOY MINI-DOC: ON GOLDEN POND (MARCH 2022)




LEVOY MINI-DOC: TECHNICAL DETAILS IN ON GOLDEN POND (MARCH 2022)

Sunday, November 18, 2018

Review: Joseph dazzles the Levoy

The cast of "Joseph and the Amazing Technicolor Dreamcoat" at the
Levoy Theatre (Millville, N.J.). The show closes Sunday, Nov. 18.
The production stars CJ Jarema as Joseph, Kaitlyn Cox as the Narrator.
Tyler Daddario and Katie Kiessling direct.


After the second Saturday performance of "Joseph and the Amazing Technicolor Dreamcoat" at the Levoy Theatre, I was asked if the quality of production I had just seen was representative of the "dream" the Off Broad Street Players Theatre Company (OBSP) yearned for years ago. (I was a member of the OBSP and volunteer to revitalize the Levoy in the mid-to-late 2000s; they wanted to perform in a theater house of their own instead of local schools and churches).

Yes.

YES. YES. YES. THIS IS THE DREAM! If you were part of those years, just take a deep breath and take a look around because its happening and it's incredible and we're here for it. It began to come true back when the Levoy opened in September 2012, but it seems the grandeur is being perfected with every season.

Katie Kiessling and Tyler Daddario, I'll call them the Kiessling-Daddario Team, direct an extravaganza. This young team of professionals have built one of the most colorful, energized, enjoyable experiences patrons of the Levoy could ask for. They've filled the stage with dreamers, young and old, dream-like sets and costumes, and dreamy-smooth voices in this fresh, new production of the early biblical Joseph, a dream-reader with a colorful coat, betrayed by his brothers into slavery, only to become a royal himself.

A delightful Children's Choir open the show as the marvelous Kaitlyn Cox begins to tell them the Genesis story of Joseph and his coat. Cox's ability as a singer and storyteller captivate the entire theater, inviting us into this cozy mosaic.

We're introduced to Joseph's brothers who each have such a distinct investment in their own narrative, blending with one another brilliantly. Phillip Blandino is first-rate and hilarious with the bright and fun Austin Satinsky in "Those Canaan Days" in the second act, supported by grand-sounding harmonies from chorus of brothers. The female ensemble of the brothers' wives are just as tremendous, especially in "Go, Go, Go Joseph," and well-throughout the second act.

Joseph's brothers betray him early on. He first serves the delights of Potiphar's Wife, played by Melissa Kiessling, who is sensational as the seductress (and did exquisite, smart work as this show's costume designer). Joseph is then tossed into prison by Potiphar, played excellently by Joshua Garrison. Next, he becomes a slave who interprets dreams, and eventually serves an Elvis-like Pharoah, played with a marvelous electric energy by Michael Muzzarelli.

Every corner of this production was polished thanks to great production management by Jason Smith, stage management by Domonic Barnes, wonderful sound design by Sean Pedrick, and, the excellent music direction by Shannon Sheridan (she also conducted the tremendous orchestra).

The great takeaway was the dedicated talent of an outstanding ensemble. From this ensemble, there were many break-out talents: Randy Bock and Corey Critelli as the Butler and Baker, respectively, were gleaming in the first act finale, as was Jake Ewan as Benjamin in the second act finale. Julie DiDomenico's dancing was dazzling in "Canaan Days." Also, the sterling Christopher Cline and radiant Lindsay Nakai are truly smart, scintillating dancers throughout this production.

But, the true break-out performance-of-the-year is undoubtedly CJ Jarema as the humble, warm Joseph. His ability to internalize such a kind, earnest heart, and convey it through his hypnotically smooth vocals and countenance, while also balancing a command of the narrative, is pure magic. In this groundbreaking performance, Jarema earns his star, and cements his legacy as one of South Jersey's finest actors.

The Kiessling-Daddario Team have painted a vibrant mosaic that entertains and keeps us smiling throughout, and, into the insane ending, which I won't ruin for anyone who hasn't seen it, but I hope becomes a new trademark of the Kiessling-Daddario magic. Daddario practically gave us a kaleidoscope of light and Kiessling brought many styles of prismatic dance to the Levoy, in their dual roles, respectively, as lighting designer and choreographer (apart from directing).  We will see much more from them in the coming seasons, I am sure of it, bringing joy to our hearts, making dreams come true.

JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT. LYRICS BY TIM RICE. MUSIC BY ANDREW LLOYD WEBBER. SET DESIGN BY MARY BONER AND TOM KIESSLING. HAIR AND MAKE-UP BY JOHN RATTACASA. COSTUME DESIGN BY MELISSA KIESSLING. SOUND DESIGN BY SEAN PEDRICK. CHILDREN'S CHOIR LEAD BY BRIANNA LUND. PROPERTIES BY GIANNA DOTTI. PUPPETS BY CARRIE ELLIS AND KRISTA SMITH. ASSISTANT STAGE MANAGEMENT BY CARRIE ELLIS AND MELISSA LAURENCIO. PRODUCTION MANAGED BY JASON SMITH. STAGE MANAGED BY DOMONIC BARNES. MUSIC DIRECTION BY SHANNON SHERIDAN. STARRING KAITLYN COX AND CJ JAREMA. ALSO STARRING MICHAEL MUZZARELLI, JOSHUA GARRISON, RANDY BOCK, COREY CRITELLI, MELISSA KIESSLING, GIAN VERDEROSE, JARED DESHIELDS, CHRISTOPHER CLINE, AUSTIN SATINSKY, LAUREN FAZENBAKER, PHILLIP BLANDINO, MATT LAYTON, AIME FERENZ, SHAINA EGAN, APRIL JOHNSON, ANDREW FRALINGER, EMILY LANCETTA, JOHN RATTACASA, JAKE EWAN, JAMIE WADDINGTON, MEGAN BURKE, LEANNE COX, NIAMH SMITH, SANDY LAYTON, KACIE BURNETT, KAYLA CLEARY, JACOB COX, JULIA DENNIS, NEFI EL, ALICIA ELLIS, ANDREA ELLIS, MARLEY GANT, OCTAVIUS JOHNSON, OLIVIA JOHNSON, JENAE LAWSON, MADISON MANNO, DOMINIC MELCHIORRE, RYAN POLLOCK, PHILLY SMITH, HAILEY SUTTON, PAIGE SUTTON, ELIJAH WATTS, AND DANCE CAPTAINS JULIE DIDOMENICO AND LINDSAY NAKAI. DIRECTED BY TYLER DADDARIO AND KATIE KIESSLING.

Thursday, November 15, 2018

Big weekend of openings ahead of Thanksgiving

The cast of "NEWSIES" in rehearsal at the Grand Theatre (Williamstown,
N.J.). The production opens this Friday, Nov. 15, and stars Charlie Barney
as Jack and Karly Jeffers as Katherine.  Kyrus Keenan Westcott directs.


Hey everybody!

With Thanksgiving (one of my favorite holidays) a week from today, we've got plenty to be thankful for on the South Jersey Rialto. This is going to be a huge weekend for show openings.

Mainstage premiers of "Newsies" at the Grand Theatre (Williamstown), "The Spitfire Grill" at the Eagle (Hammonton) and "Oliver!" at Cumberland County College compliment a youth production of "Once On This Island Jr." at Haddonfield Plays and Players, and the annual student-directed fall play "The Lion, the Witch, and the Wardrobe" at Woodstown High School.

Of note, Rowan University student Matthew Vesely will premier his newest piece "Those Who Love You" at Rowan's Lab Theatre this weekend. He made his premier as a playwright and songwriter with "Trigger Warning" last year at the aforementioned theater.

Here is your weekend round-up:

Openings:

THOSE WHO LOVE YOU - Rowan University Lab Theatre at Bunce Hall (Glassboro, N.J.) Nov. 16 & 17 8 p.m. & 9 p.m. both nights; Tickets FREE.

NEWSIES - Road Company @ The Grand (Williamstown, N.J.); Nov. 15 - Dec. 8, 2018; Tickets $17-$25

THE SPITFIRE GRILL - The Eagle Theatre (Hammonton, N.J.); Nov. 16 - Dec. 16, 2018; Tickets $30.

THE LION, THE WITCH, AND THE WARDROBE - Woodstown High School; Nov. 15 & 16 at 7 p.m., Nov. 17 at 4 p.m. with post-show Q&A. Tickets $10 adults, $5 students 10 and under. Nov. 14 performance free to senior citizens at 2 p.m.

OLIVER! - Cumberland County College (Vineland, N.J.); Nov 15 - 18, 2018; Tickets $5-15

ONCE ON THIS ISLAND (JUNIOR EDITION) - Haddonfield Plays & Players (Haddonfield, N.J.); Nov. 15-17; Tickets $10

Continuing & Closing:

JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT - OBSP @ The Levoy (Millville, N.J.); Nov. 15-18); Tickets $20-22.

THE HUNTCHBACK OF NOTRE DAME - Sketch Club Players (Woodbury, N.J.); Nov. 9-11; 16 & 17, 2018; Tickets $25.

KISS ME KATE - Broadway Theatre (Pitman, N.J.); Nov. 9 - 18, 2018; Tickets $35.

CRUMBS FROM THE TABLE OF JOY - South Camden Theatre Co. (Camden, N.J.); Nov. 9-18, 2018; Tickets $20 (Only $5 for Camden residents with proof of residency)

INTO THE WOODS - Ritz Theatre Co. (Oaklyn, N.J.); Nov. 9 - 18, 2018; Tickets $28-34


Enjoy!

Jim


Sunday, November 11, 2018

Something's happening at the Woodstown Opera House

The Woodstown Opera House pictured here in 1901. The opera house has
been closed since May 1964, most recently housing local law firms, but
a new team is assembled and, by the looks of it, could have the theater
operational by 2019 under the name 'Blue Moon Theatre.'
(photo by E.W. Humphreys)


WOODSTOWN --- Can't tell you how excited I am about this.

Most theatre people in or around Woodstown have driven by the old Woodstown Opera House on West Avenue, to the left of the old National Bank, and dreamed of opening it back up as a theater. I know I did.

It closed and reopened intermittently throughout the 1930s and closed for good after a brief revival by the Curtain Call Club in the 1960s. In recent decades the interior has been updated into offices and its current occupants are a law firm. After the interior remodeling, hope for a reopening was long abandoned and the only remnant of the old opera house was the green and white marquee. The white even started to rust in recent years.

But the rust might be buffed away in 2019 as Cheryl and Joe Stark seek to reopen the theater doors to new audiences. And there's quite a bit of chatter in area theatre groups about what's happening at Woodstown's Opera House.

The Woodstown Opera House in the early 2010s. The white
curtain pictured here on the main window is now gone and
passerbys can glimpse into the new performance space.
I drove up to the theater Saturday night for their open house. It had been postponed, but Joe was there -- it appeared he was doing some renovations to the interior. The theater held a tea party earlier in the day for small children. He was gracious enough to exchange numbers and give me a little background of their vision.

I'll hold off on details until I interview Cheryl, the head of the new Blue Moon Theatre.

There's an advertisement in the front window for auditions for their Holiday Cabaret, and I'm sure they'll be participating in Woodstown By Candlelight. The cabaret is Saturday, Dec. 1 at 7 p.m. Their most recent showing was at the local Fall Festival in late September. On Halloween, they hosted a haunted house. 

Joe told me the law firm still exists on the top floor, but the ground floor is morphing back into an intimate theater -- and that's wonderfully exciting news. I've always wanted to see Woodstown perform Thornton Wilder's "Our Town" at the Opera House

According to one of Woodstown's foremost history books O The Great Days (in the distance enchanted), a collection of photographs by local turn-of-the-20th-century entrepreneur Edward W. Humphreys, compiled by Natalie Ware Johnson, courtesy the Salem County Cultural & Heritage Commission, the Woodstown Opera House opened on Christmas Eve, 1885. It hosted professional and amateur plays, minstrel shows, lecture forums, concerts, local and professional vaudeville, high school commencement, film, educational entertainment, and high school commencements. 

The Woodstown Opera House closed in 1918 for short period due to an outbreak of flu in Woodstown, then again in 1939 due to a fire. It was re-opened to usable condition, during the 1960s, but shuttered completely on May 9, 1964. 

The infamous plaque backstage at the Woodstown Opera
House warning performers to keep performances apropos.
It's confirmed there was a plaque backstage that read "To Performers, Your audience is composed largely of women and children.  Kindly omit all coarse or suggestive talk, songs, jokes, etc. If in doubt, cut it out. - E. W. Humphreys, Owner." 

Somewhere it's recorded the ceiling of the Opera House was a celestial dark blue and gold starry night scene. I don't readily have the source for this, and I can't remember where I read it, but I'll keep looking.

In one photo from Great Days the play "Under Two Flags" was performed by the Park Comedy Company in October 1903. The play is about an English aristocrat who runs away to join a French paramilitary group not unlike the French Foreign Legion.

The Woodstown Opera House also hosted the Chautauqua Series, an adult educational series rooted in morality and motivation, and was often in competition and at odds with vaudeville.

The last performance at the opera house (this was just before it closed in 1964) was "The Lute Song." I'm interested to see if this was an original production, organic to the local Curtain Call Club, or the 1946 Broadway musical.

Updates on this story will develop in the coming weeks. Let's hope this sparks a little renaissance in sleepy Woodstown. I'm sure the little green and white marquee will glow again soon. 

If anyone has historic information about the Woodstown Opera House (or photos) to share, shoot me an email at jimcookjr06@gmail.com or give me a call (856) 275-4240 ... I want to know everything.

I purchased a copy of O The Great Days by Edward W. Humphreys at the Woodstown Public Library in 2005. It would come as no surprise if, 13 years later, there are still copies available. Their website shows reference copies on file. It deserves a reprint. Maybe we'll sell them opening night.

---

[Correction: A previous edition of this article used the incorrect first name for Mr. Stark. I regret the error.]

Saturday, November 10, 2018

Review: 'Hunchback' at Sketch Club Players resounds profound and operatic

The iconic gypsy tambourine dance by Eryka Lynne Waller as Esmeralda in
Sketch Club Players' "THE HUNTCHBACK OF NOTRE DAME."
Plays Nov. 1-17, 2018. Jason Mangano directs.


The new "Hunchback of Notre Dame," which opened last weekend at Sketch Club Players in Woodbury, N.J., is peppered with tunes from the Disney animated classic, but is a far cry from saccharine animation. Advertised as a "new musical" based on the novel and "songs from the Disney film," I'd argue this is more of an opera (I mean that sincerely, not pretentiously, as I'm no expert in that stuff) and I was caught rather pleasantly off-guard by this wonderful epic tragedy that left my heart both broken and full in its conclusion. In other words, audiences are in for a darker, substantial, fulfilling treat.

Though Sketch Club's theater is cozy, somehow this small team of less than 20 actors, open as a Chamber Choir echoing through the stone corridors of the Cathedral of Notre Dame in Paris, 1482. The novel was written, in part, as a criticism against destroying Notre Dame's ancient architecture, so it's uniquely fitting, in this musical, to have the cathedral's gargoyle monks be such a poignant character, functioning equally as Greek Chorus, the bell-ringer's imaginary friends, and the bell-ringer's Chekhovian gun -- Chekhov once suggested if we see a gun in Act One, it will be fired in Act Three, and, boy, does it fire away in Hunchback's "Finale Ultimo."

Director Jason Mangano has woven together an outstanding, operatic journey with an intimate, select group of professionals, strikingly malleable to acting, singing, dancing, and functioning as a beautiful chorus of storytellers, while never eclipsing one another. This is an almost insurmountable task, and, Mangano, and mother Pat (the show's superlative Producer), balance the art and leadership it takes to create something so acutely polished and entertaining. Notably, the brilliant sound was created by these actors under the fantastic direction of West Deptford-based music teacher Jill Bradshaw. She and Mangano are fierce.

Almost each chorus member is revealed to be a lead or supporting character; the first we meet is Dom Claude Frollo, played with an admirable mix of control and abandon by the accomplished Dominic R. Santos. Frollo is head of the church and caretaker of the hunchback bell-ringer, a deformed child abandoned by his brother Jehan, played by the sterling, rising talent, and vocally impressive Jason Wade.

Santos's voice is a true basso profundo here, carrying the darkness of the production and the darkness internal to his character's sexual deviance toward Esmeralda and control of Quasimodo.

Esmeralda is introduced in her iconic colorful dance, distinctively choreographed by the director, and executed flawlessly by the blissfully present Eryka Lynne Waller. Some of Esmeralda's recklessness is replaced by a composed stillness, proving great mastery of craft by Waller -- her "God Help the Outcasts" is soulfully poetic. Yet, Waller never compromises Esmeralda's edge, standing up for herself against Frollo, and, ultimately, paying the price.

It goes without question, our break-out star here is Bill Zeoli as Quasimodo. His hunchbacked portrayal of the deformed bell-ringer is alarmingly transcendent, swinging like the irons in the Notre Dame belfry between his accented, gravelly physical speaking voice (his character is hard-of-hearing and forced into seclusion by Frollo), and a youthfully innocent internal voice used to speak to his imaginary friends, the gargoyle monks. That second, internal voice, is greatly complimented by his rhapsodic ability as a tenor, his intimate moments dulcet, his passionate moments euphonious. Zeoli's "Made of Stone" is complexly extraordinary. And on top of it all, his emotions bleed through with his acting, as the death of Esmeralda thrusts him into a murderous, climactic exchange with Frollo, where we're revealed the gargoyle monks as less imaginary friend, more internal demon a.la. Fosse's original "Pippin" chorus.

Despite the new darkness freshening up this classic, David Fusco jovially provides a bit of comic relief as Clopin Trouillefou, leading "Rest and Recreation" in the Parisian Feast of Fools. Fusco really shines here, and, also, in an unforgettable turn as King Louis. Also adding to the comedic relief, a hilarious performance by Cullen Flanagan as a beheaded-gargoyle form of Saint Aprodisius, blazing with careful wit through "Flight into Egypt."

Also, exceptional supporting work by Harrison Pharamond as Captain Phoebus de Martin, the love interest of Esmeralda who shares her feelings with his superb baritone work in the duet "Someday." Pharamond goes through a wonderful arch as stalwart, charming soldier, to outcast. In a small, but enjoyable featured moment, I adored Emma Bennett's gypsy Florika, an impressive mezzo soprano.

I could go on praising. To be frank, the Mangano-led production has distinguished itself in first-rate casting and accomplished execution of the material, allowing his leading players their meritorious moments center-stage, but never compromising the ensemble as the true treasure of this production. It doesn't try to show off. It tells the story. And it stuck with me long after I left the theater into the rainy night.

THE HUNCHBACK OF NOTRE DAME. MUSIC BY ALAN MENKEN LYRICS BY STEPHEN SCHWARTZ BOOK BY PETER PARNELL. ALL PERFORMANCES AT THE SKETCH CLUB PLAYERS. TICKETS $25. NOVEMBER 1-17, 2018. PRODUCED BY PAT MANGANO. MUSIC DIRECTION BY JILL BRADSHAW, STAGE MANAGED BY JEANETTE CARDEN, SET BY SHANE YOUNG, SOUND BY TIMMY KUHN, LIGHTING BY JUSTIN MEAD. STARRING BILL ZEOLI, ERYKA LYNNE WALLER, DOMINIC SANTOS, AND HARRISON PHARAMOND. ALSO STARRING DAVID FUSCO, EMMA BENNETT, JASON WADE, CULLEN FLANAGAN, TEREASA ZUBAK, AARON WACHS, JARED BRITO, ELIZABETH FINN, JENNIFER WEIR, AND DANCE CAPTAIN LEAH JACOBY. DIRECTED & CHOREOGRAPHED BY JASON MANGANO.