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.

Friday, November 9, 2018

Early reviews: #OBSPDreamcoat at the Levoy Theatre

C.J. Jarema leads the cast of JOSEPH AND THE AMAZING TECHNICOLOR
DREAMCOAT at the Levoy Theatre. Opens Nov. 9, 2018. Tickets $20-22
Walter A Webster, Tyler Daddario, Katie Kiessling direct. 


Looks like "Joseph and the Amazing Technicolor Dreamcoat" is getting outstanding reviews over at the Levoy Theatre. Thursday was their Live Tweet preview. I will likely be seeing and reviewing this next weekend. Can't wait! Looks colorful. Happy Opening Night to the team! Check out the feed here:

Twitter: #OBSPDreamcoat


Thursday, November 8, 2018

Review: The Crucible brings the witching hour to Cumberland Players

The cast of THE CRUCIBLE at Cumberland Players
perform the courtroom scene, led by Arielle Egan
as Abigail. The play runs through Nov. 10, 8 p.m.
Tickets $13-16. Heidi Dugan directs.
It's the witching hour as Cumberland Players (Vineland, N.J.) closes out the 2018 season with Arthur Miller's "The Crucible," a frightening and frustrating retelling of the Salem Witch Trials.

I attended the preview where invitees review the show through Twitter and Instagram using hashtag #CPCrucible to aggregate the reviews online. It's an outstanding concept that Cumberland Players started in 2013 with "Les Miserables" and has since spread to other theaters in South Jersey.

The dark opening of townswomen dancing in the nearby Salem forest preludes to a harrowing story exploring the dissolution of justice, the rise of dogmatic paranoia, and the hysterics behind lies involving the supernatural. To summarize, a young woman named Abigail is having an affair with married man John Proctor, and, when he begins to refuse her advances, she spins a web of lies involving witchcraft that lead to the real-life death of numerous early American puritans in the 17th century.

Arielle Egan gives a powerhouse performance as Abigail, stunning from the moment she steps on stage, and giving everything in the courtroom scene and her moments with Proctor. Maura Mather Jarve, a long-time South Jersey actress, reduces the audience to tears (with her own tears) as a sensitive and still Elizabeth Proctor. Jarve's work has been called, by numerous critics an acting "masterclass."

Samantha Williams stars as Mary Warren, a woman laden with guilt over the power of convicting others of witchcraft, eventually framed for witchcraft-via-poppet by back-stabbing Abigail. Williams gives a tremdously moving break-out performance of guilt and anguish.

The whole production is peppered with electrifying performances by Bobbi Kukal as Ann Putnam, Carey Walden as Tituba, Emily Kukal as Betty Paris, supported by many excellent female players. I have so many wonderful things to say about each of these spectacular performers. The women lead this show, deservedly so.

In his first time ever on stage, John Krug shows a great natural ability playing John Proctor. Without knowing this was his first role, I tweeted during the performance "John Krug plays John Proctor with a spectrum of guilt, pain, and compassion -- a great actor to bring us through this journey." I stand by it even more now.

Ben Hunt, who performed about half-a-decade ago in the Levoy's "Biloxi Blues" returns to South Jersey in an outstanding performance as the conflicted Reverend John Hale, doing his job but searching always for his conscience. Hunt completes a full arch in his role as the moral compass of Salem, fighting the devil, before witnessing John Proctor's conviction, eroding his confidence and falling to disillusionment.

In Act Two we're served with a fabulous duo of John Weiner as Judge Hathorne and Richard Curcio as Deputy Governor Danforth, presiding over the Salem Witch Trials. Rarely have these two been seen together, and here they're literally shoulder-to-shoulder. Curcio and Weiner together give absolute iconic performances.

Finally, I'd be remiss if I left out one of the most earnest performances of the night, Ellen Mather as Rebecca Nurse. How wonderful it is to see her back on stage in Cumberland County. She hasn't missed a beat, breaking our hearts as she is brutally accused of witchcraft, marching to the gallows. And even greater, to see her acting alongside the always-incomparable Hank Chandless as Francis Nurse.

Some great supporting performances here, Robert Cook providing a bit of relief as Giles Corey, Bradley Marcus in a smart, taut performance as Ezekiel Cheever, Jim Dennis opening the play strong as Reverend Parris, and Ahmad Graves-El as Thomas Putnam (another great and underrated performance).

We've all read this in our junior-year high school English class, but Heidi Dugan pulls a cast of seasoned veterans and newcomers together and navigates us through a live tour-de-force. Dugan allows her actors to thrive in a parred down, open setting, giving room for their characters to breath and exercise their craft, supported by excellent assistance from Shaun Laurencio (assistant director), Shannon Sheridan's beautiful costumes, Yasenia Wagner's wonderful stage management, and Jason Smith's tremendous production management. Dugan's the unseen star here. She could have connected this to our current state of affairs, or even McCarthyism, for which it was written, but she does not. She and the cast allow the story to speak for itself, making it more universal than expected. Maybe more relevant.

THE CRUCIBLE BY ARTHUR MILLER. PERFORMANCES NOVEMBER 9 AND 10, 2018 AT 8 P.M. ALL PERFORMANCES AT THE LITTLE THEATRE ON SHERMAN AVENUE IN VINELAND, N.J. TICKETS $13-16. STAGE MANAGED BY YASENIA WAGNER. PRODUCTION MANAGED BY JASON SMITH. ASSISTANT DIRECTED BY SHAUN LAURENCIO. COSTUMES BY SHANNON SHERIDAN. STARRING ARIELLE EGAN, JOHN KRUG, MAURA MATHER JARVE, SAMANTHA WILLIAMS, BENJAMIN HUNT, AND CAREY WALDEN. ALSO STARRING RICHARD CURCIO, ELLEN MATHER, JOHN WEINER, JIM DENNIS, EMILY KUKAL, SHANIA SANTIAGO, AHMAD GRAVES-EL, BRIANNA WEBSTER, ROBRT COOK, HANK CHANDLESS, BRADLEY MARCUS, KEN BUTLER, DESIREE LARA, EMILY CARDILL, AND LEILA MYERS. DIRECTED BY HEIDI DUGAN.

Look who's back in 2018!


THE CRUCIBLE @ Cumberland 
Players closes this Saturday.  It stars
Arielle Egan and John Krug in the 
title roles. Heidi Dugan directs.
Hey everybody!

Well, it's been about seven years since I posted anything here. This started out as a project for an online journalism assignment at Rowan University, and I kept it going for a few years before moving onto bigger places. Now, I'm onto a new career outside of The Journalisms and revving this baby back up. Sure, it isn't the nicest blog layout in the world. Yeah, it's dated. No, it doesn't look professional in the least bit. But, it's mine. Until I want a better solution, I'll be here.

As always, here's our weekend update:

JOSEPH & THE AMAZING TECHNICOLOR DREAMCOAT - OBSP @ The Levoy (Millville, N.J.); Opening night Friday, Nov. 9, 2018 (Runs through Nov. 18); Tickets $20-22.

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

THE CRUCIBLE - Cumberland Players (Vineland, N.J.); Nov. 9 & 10, 2018; Tickets $13-$16.

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

Coming:

THOSE WHO LOVE YOU - Rowan University Lab Theatre (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.

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

Enjoy the shows!

Jim

p.s. "Rialto" is a boojie word for "theatre district"