The Paper Mill Playhouse Board of Trustees on Saturday voted to complete the full run of "Seven Brides for Seven Brothers" through May 11.
I'll remind everyone again that we critics are not just being kind. This show would have reviewed well under any circumstances. It's got all the ingredients--terrific sets, appealing stars, strong voices and top-shelf choreography--so skip that "Beauty and the Beast" matinee and take the kids to Paper Mill. You'll have a great time and you just might make a difference.
My sister-in-law saw came all the way from Easton to see it Friday night. And she doesn't even read my reviews. She loved it (the show, not the review).
My wife doesn't read them, either. "I sat next to you at the show and I sat next to you on the way home," she observes. "I need to read something to know what you think?"
Maybe for the thrill of a good read, sweetie?
I'm going to play golf now.
Monday, April 30, 2007
Saturday, April 28, 2007
Review Preview: Aladdin
It's always fun to visit the Palace Theatre, where a special group of professionals have turned back the clock on this historic vaudeville house, nestled on the shores of Lake Musconetcong.
Home now to the Growing Stage, the Children's Theatre of New Jersey, the Palace is living up to its name, as it sets the stage for tales of Arabian Nights, home to the sultan of a mighty palace. Sheherizade , Hamlet, Lady Macbeth and Katherine Hepburn all show up to support the title character, "Aladdin," in Perry Arthur Kroeger's adaptation.
Kroeger, who also directs, can fracture a fairy tale with the best of them. While this crack at "Aladdin" isn't quite as twisted as last year's sleeper hit, "Sleeping Beauty," it's still a lot of fun for any age group you can claim membership to.
Kroeger frames the familiar tale with a group of Commedia dell' arte clowns (Lea Antolini, David Spellman, Danny Campos, Steve Nitka), complete with bad Italian accents, who help Sheherizade (Liz Sheber) tell the last of her 1,001 tales to the silly sultan (Jeremy Hilgert).
All the aforementioned actors, except Nitka, are Equity pros. Additional roles and black-costumed prop handlers are filled by the vast well of young talent the Growing Stage has nurtured over the years.
Kroeger livens up an old story with silly jokes and slapstick that owe much to the Marx Brothers. Aladdin passes himself off as the Prince of Ad Nauseum to woo a pretty princess, while two slaves are names Aphrodyte and Mamasnyte (say the last one slowly). And the evil magician's eyes are blacked out like a silent-movie villain.
The appeal of this "Aladdin" also rises with two wild cards. Black-light effects turn some simple props into genuine eye candy, and also put some pizazz into the introduction of the second wild card--Antolini's manic genie.
Sure, it's been done, but Antolini is a gifted physical comic who doesn't have to imitate Robin Williams to get a laugh. She's been doing this sort of thing here for years, and Kroeger lets her stretch out like Keith Moon during a drum solo. She's a tiny dynamo, with a pretzel for a body, a lovely singing voice and a face that's one part Stan Laurel, one part Margaret Hamilton.
The Growing Stage has had a good year, with strong attendance for five quality shows, including a rare dramatic production of "A Midnight Cry," which was seen by many school classes during Black History Month.
As often happen this time of year, the turnout was comparatively light. Hopefully, Growing Stage regulars, especially those who have enjoyed Antolini's work there, will remember to save a night for this show. The sun will still be there tomorrow.
Home now to the Growing Stage, the Children's Theatre of New Jersey, the Palace is living up to its name, as it sets the stage for tales of Arabian Nights, home to the sultan of a mighty palace. Sheherizade , Hamlet, Lady Macbeth and Katherine Hepburn all show up to support the title character, "Aladdin," in Perry Arthur Kroeger's adaptation.
Kroeger, who also directs, can fracture a fairy tale with the best of them. While this crack at "Aladdin" isn't quite as twisted as last year's sleeper hit, "Sleeping Beauty," it's still a lot of fun for any age group you can claim membership to.
Kroeger frames the familiar tale with a group of Commedia dell' arte clowns (Lea Antolini, David Spellman, Danny Campos, Steve Nitka), complete with bad Italian accents, who help Sheherizade (Liz Sheber) tell the last of her 1,001 tales to the silly sultan (Jeremy Hilgert).
All the aforementioned actors, except Nitka, are Equity pros. Additional roles and black-costumed prop handlers are filled by the vast well of young talent the Growing Stage has nurtured over the years.
Kroeger livens up an old story with silly jokes and slapstick that owe much to the Marx Brothers. Aladdin passes himself off as the Prince of Ad Nauseum to woo a pretty princess, while two slaves are names Aphrodyte and Mamasnyte (say the last one slowly). And the evil magician's eyes are blacked out like a silent-movie villain.
The appeal of this "Aladdin" also rises with two wild cards. Black-light effects turn some simple props into genuine eye candy, and also put some pizazz into the introduction of the second wild card--Antolini's manic genie.
Sure, it's been done, but Antolini is a gifted physical comic who doesn't have to imitate Robin Williams to get a laugh. She's been doing this sort of thing here for years, and Kroeger lets her stretch out like Keith Moon during a drum solo. She's a tiny dynamo, with a pretzel for a body, a lovely singing voice and a face that's one part Stan Laurel, one part Margaret Hamilton.
The Growing Stage has had a good year, with strong attendance for five quality shows, including a rare dramatic production of "A Midnight Cry," which was seen by many school classes during Black History Month.
As often happen this time of year, the turnout was comparatively light. Hopefully, Growing Stage regulars, especially those who have enjoyed Antolini's work there, will remember to save a night for this show. The sun will still be there tomorrow.
Wednesday, April 25, 2007
'Norman Conquests" in Chester
The unusually strong link between the Chester Theatre Group and a legendary British playwright is about to yield another notable production for this ambitious community-theater company.
Michael T. Mooney, who studied theater arts for five years under Alan Ayckbourn, directs the revival of Ayckbourn’s “The Norman Conquests,” which opens May 4 at the Black River Playhouse.
Set in different rooms of one house, “The Norman Conquests” actually is a trilogy of plays, which will be presented over three consecutive weekends. The first part, titled “Table Manners,” will be offered at 8 p.m. May 4 and 4, with an encore Sunday matinee beginning at 3 p.m. on May 13.
The second installment, “Living Together,” begins 8 p.m. on May 11 and 12, while the final chapter, “Round and Round in the Garden,” begins 8 p.m. May 18 and 19.
Finally, on “Marathon Sunday,” May 20, all three plays will be presented, in reverse order, at 1, 4 and 8 p.m., with breaks for afternoon tea and dinner. Final single performances of the respective chapters will be offered on May 24, 25 and 26.
Written in 1973, this comic trilogy details the amorous exploits of Norman, an assistant librarian whose one aim is to make the women in his life happy. Each play stands on its own, and can be enjoyed in any order, but all link with the others to form a puzzle of successive revelations.
The three plays feature the same six characters over the same weekend in a different part of a house. “Table Manners” is set in the dining room; “Living Together” in the living room and “Round and Round the Garden” in the garden.
Knighted by Queen Elizabeth II, Ayckbourn is considered the world’s most frequently performed English-language playwright other than Shakespeare. His “Communicating Doors” was seen at the Bickford Theatre in Morris Township a few years back, while Mooney has directed several Ayckbourn plays in Chester, including three American premiere productions.
Producer and board president Penny Hoadley produced the previous Chester Theatre Group production of “The Norman Conquests” in 1986.
The cast includes Chris Mortenson of Oldwick, David C. Neal of Fanwood, Carol Holland of Long Valley, Patrick Carpenter of Somerset, Ruth Morley of Ridgewood and Roxanna Wagner.
"The Norman Conquests" require some commitment from the audience as well as the production team, but for those who have the time and stamina, this should be quite a theatrical treat.
Advance tickets are $15 for one show, $25 for two and $30 for three. Single tickets at the door are $18, $15 for seniors and students (except Saturday night). Tickets for the marathon, including afternoon tea, are $35. The Black River Playhouse is at the corner of Grove and Maple streets in Chester Borough. For information, call (908) 879-7304 or visit www.chestertheatregroup.org.
Michael T. Mooney, who studied theater arts for five years under Alan Ayckbourn, directs the revival of Ayckbourn’s “The Norman Conquests,” which opens May 4 at the Black River Playhouse.
Set in different rooms of one house, “The Norman Conquests” actually is a trilogy of plays, which will be presented over three consecutive weekends. The first part, titled “Table Manners,” will be offered at 8 p.m. May 4 and 4, with an encore Sunday matinee beginning at 3 p.m. on May 13.
The second installment, “Living Together,” begins 8 p.m. on May 11 and 12, while the final chapter, “Round and Round in the Garden,” begins 8 p.m. May 18 and 19.
Finally, on “Marathon Sunday,” May 20, all three plays will be presented, in reverse order, at 1, 4 and 8 p.m., with breaks for afternoon tea and dinner. Final single performances of the respective chapters will be offered on May 24, 25 and 26.
Written in 1973, this comic trilogy details the amorous exploits of Norman, an assistant librarian whose one aim is to make the women in his life happy. Each play stands on its own, and can be enjoyed in any order, but all link with the others to form a puzzle of successive revelations.
The three plays feature the same six characters over the same weekend in a different part of a house. “Table Manners” is set in the dining room; “Living Together” in the living room and “Round and Round the Garden” in the garden.
Knighted by Queen Elizabeth II, Ayckbourn is considered the world’s most frequently performed English-language playwright other than Shakespeare. His “Communicating Doors” was seen at the Bickford Theatre in Morris Township a few years back, while Mooney has directed several Ayckbourn plays in Chester, including three American premiere productions.
Producer and board president Penny Hoadley produced the previous Chester Theatre Group production of “The Norman Conquests” in 1986.
The cast includes Chris Mortenson of Oldwick, David C. Neal of Fanwood, Carol Holland of Long Valley, Patrick Carpenter of Somerset, Ruth Morley of Ridgewood and Roxanna Wagner.
"The Norman Conquests" require some commitment from the audience as well as the production team, but for those who have the time and stamina, this should be quite a theatrical treat.
Advance tickets are $15 for one show, $25 for two and $30 for three. Single tickets at the door are $18, $15 for seniors and students (except Saturday night). Tickets for the marathon, including afternoon tea, are $35. The Black River Playhouse is at the corner of Grove and Maple streets in Chester Borough. For information, call (908) 879-7304 or visit www.chestertheatregroup.org.
Saturday, April 21, 2007
Review Preview: When Something Wonderful Ends
Playwrights Theatre premiered the final play of its 2006-07 main stage season last night. Playwright Sherry Kramer was in attendance for the New Jersey premiere of her one-woman play, "When Something Wonderful Ends," an absorbing, informative and very interesting work.
Kramer's quite a writer, and has fashioned something of a documentary in dramatic clothing. Actress Bonnie Black representing, presumably, the playwright, does the heavy lifting, playing Sherry, a baby boomer back home to sort through the remnants of her life following the passing of her mother. Taking inventory of her old toys, in particular, her prized collection of Barbie dolls and accessories, Sherry's nostalgia trip detours into a history lesson, mostly involving America's lust for oil and how it, ironically, inspired and ultimately funded the fundamentalist Muslim nation which we are now at war with.
Kramer works history like a prize fighter, bobbing, weaving, jabbing and throwing the occasional haymaker at our arrogant willingness to invade oil rich countries, depose their leaders (righteous or otherwise) and cheat them out of fair profits.
Politically speaking, she leans as far left as Al Gore on a warm day in January, hurling one inconvenient truth after another at her audience. Whichever side of the fence you lean on, she makes a strong argument for us to, metaphorically, "grow up, put our toys away" and make the sacrifices we know we must to make a better world.
But Kramer is so caught up in her own truth that she overlooks the medium of her message, and forgets to entertain her audience. Black, who looks and sounds much like Mary McDonnell (Emmy and Oscar nominated co-star of "Dances With Wolves" and "Battlestar Galactica"), measures her speech and keeps her emotions in check--I kept hoping for a breakthrough or a breakdown, something we could relate to beyond useful information--but it never came. The play's considerable wit never crosses into comedy; touching stories about her family are moving, but seem to function as merely vehicles to help drive her agenda ever forward.
Then again, there is an audience for this sort of thing, as the man who "used to be the next president of the United States" has proven over the last year. And I'm sure I would enjoy sitting down and having a nice long talk with Sherry. But I can't say it was a magical night of theater.
Kramer's quite a writer, and has fashioned something of a documentary in dramatic clothing. Actress Bonnie Black representing, presumably, the playwright, does the heavy lifting, playing Sherry, a baby boomer back home to sort through the remnants of her life following the passing of her mother. Taking inventory of her old toys, in particular, her prized collection of Barbie dolls and accessories, Sherry's nostalgia trip detours into a history lesson, mostly involving America's lust for oil and how it, ironically, inspired and ultimately funded the fundamentalist Muslim nation which we are now at war with.
Kramer works history like a prize fighter, bobbing, weaving, jabbing and throwing the occasional haymaker at our arrogant willingness to invade oil rich countries, depose their leaders (righteous or otherwise) and cheat them out of fair profits.
Politically speaking, she leans as far left as Al Gore on a warm day in January, hurling one inconvenient truth after another at her audience. Whichever side of the fence you lean on, she makes a strong argument for us to, metaphorically, "grow up, put our toys away" and make the sacrifices we know we must to make a better world.
But Kramer is so caught up in her own truth that she overlooks the medium of her message, and forgets to entertain her audience. Black, who looks and sounds much like Mary McDonnell (Emmy and Oscar nominated co-star of "Dances With Wolves" and "Battlestar Galactica"), measures her speech and keeps her emotions in check--I kept hoping for a breakthrough or a breakdown, something we could relate to beyond useful information--but it never came. The play's considerable wit never crosses into comedy; touching stories about her family are moving, but seem to function as merely vehicles to help drive her agenda ever forward.
Then again, there is an audience for this sort of thing, as the man who "used to be the next president of the United States" has proven over the last year. And I'm sure I would enjoy sitting down and having a nice long talk with Sherry. But I can't say it was a magical night of theater.
Brook Arts Center damaged by flood
It's Saturday morning and I'm in my basement performing some delayed triage on my flood damage. Three hours and I'm just finished opening things and letting the water drain out. My wife is a crafter and lost a lot of materials, even though we had most of it in plastic tubs. Probably a few hundred dollars in real damage plus some sentimental value and a lot of sweat equity as we continue to clean and disinfect.
But this dirty, miserable job reminded me that so many people in Bound Brook, Manville and the surrounding area are far worse off than we are here in Parsippany, and a lot of them still can't get back to their homes, let alone start their own cleanup.
Staying on point, I wanted to make sure the theatrical community knew that the recently renovated Brook Arts Center took another hard hit. Devastated by Hurricane Floyd, Gerry Appel spent years restoring this magnificent, historic old vaudeville house, and only recently started putting shows on there.
Here's a link to a Courier News video that shows some of the damage, and includes a lengthy interview with Gerry.
http://www.c-n.com/apps/pbcs.dll/section?category=video
Hope the link works. I'm still getting used to the technology here at Jersey Stages.
I don't think he's quite back to square one, but he's going to need some help. If you have any suggestions, post them here and maybe we can find a way to lend him a hand.
As promised, later today I'll post a Review Preview of "When Something Wonderful Ends," which I caught last night at Playwrights Theatre in Madison.
But this dirty, miserable job reminded me that so many people in Bound Brook, Manville and the surrounding area are far worse off than we are here in Parsippany, and a lot of them still can't get back to their homes, let alone start their own cleanup.
Staying on point, I wanted to make sure the theatrical community knew that the recently renovated Brook Arts Center took another hard hit. Devastated by Hurricane Floyd, Gerry Appel spent years restoring this magnificent, historic old vaudeville house, and only recently started putting shows on there.
Here's a link to a Courier News video that shows some of the damage, and includes a lengthy interview with Gerry.
http://www.c-n.com/apps/pbcs.dll/section?category=video
Hope the link works. I'm still getting used to the technology here at Jersey Stages.
I don't think he's quite back to square one, but he's going to need some help. If you have any suggestions, post them here and maybe we can find a way to lend him a hand.
As promised, later today I'll post a Review Preview of "When Something Wonderful Ends," which I caught last night at Playwrights Theatre in Madison.
Friday, April 20, 2007
Weekend openings: Tri-State, Playwrights
Two notable productions open this weekend in North Jersey. Tri-State Actors Theater in Sussex celebrates the opening of its 20th anniversary season with Shakespeare's "The Twelfth Night," while Playwrights Theatre in Madison presents the New Jersey premiere of "When Something Wonderful Ends."
Tri-State's professional Equity production will continue through May 6 at the Crescent Theatre, 74 Main St. Tickets for regular performances (including tonight's opening-night show, which will be followed by a meet-the-cast reception) are $27, $25 for seniors age 60 and older and $17 for children and students. Tickets for Thursday shows are $18.Tickets and information (including a season brochure) are available online at www.tristateactorstheater.org, by calling the box office at (973) 875-2950 or by stopping by the theater.
Some theater fans in the area may be more familiar with the name “Illyria” than “The Twelfth Night. “Illyria,” a musical based on “The Twelfth Night,” premiered regionally a few years ago at the Shakespeare Theatre of New Jersey and was recently revived by the Chester Theatre Group at the Black River Playhouse.
This production also will feature original music, composed by pianist Vince di Mura, a noted New Jersey musician and veteran performer of concert stages throughout North America, Canada and Latin America. Choreography will be designed by Lisa Brailoff.
The cast includes Bill Edwards (as Sir Andrew Aguecheek), a rising star in the region, seen here last season in “Rounding Third” and playing the lead last fall in the Bickford Theatre’s production of “Catch Me if You Can.” Fellow Equity members Celia Montgomery, Katie Tame, Kevin Shinnick and Craig Dudley also will help to anchor a large cast.
Tri-State’s artistic director and founder, Paul Meacham, will direct.
At Playwrights Theatre, Bonnie Black stars in Sherry Kramer’s “one-woman Barbie play,” directed by Artistic Director John Pietrowski.
Performances continue at the theater, 33 Green Village Road, through May 6. The show is considered appropriate for ages 15 and older. Tickets are $25 to $35. For information, call (973) 514-1787, ext. 30.
Kramer’s humorous and touching story presents a character that weaves together the 1964 SOFA (Status of Forces Agreement) with Iran, passion for Barbie dolls and thirst for petroleum, with the death of a mother.
“When Something Wonderful Ends” was recently named one of the top ten theatrical events of 2006 by the Austin Chronicle and was recently read at the Tokyo International Arts Festival. Additionally, it was performed at Actors Theatre of Louisville (as part of the Humana Festival of New American Plays) and Interact Theatre in Philadelphia.
Coming Up: Shakespeare Theatre of NJ opens 45th season
As far as I'm concerned, spring doesn't officially begin until the Yanks play the Sox and STNJ is back on stage. I get the former this weekend, but will have to wait until next week for the latter.
Yesterday morning, I spoke to Bonnie Monte, STNJ artistic director and director of the season-opener, "Henry V," or "Hank Sanc," as she says they've renamed it it Madison. I'll save some of the details for an upcoming article, but one exciting item to report while you are considering single-ticket vs. subscription. The plan is to share a similar set and production design for "Henry V" and "Blood and Roses" (the edited merge of Henry VI Pts 1,2 and 3), which will come later in the theater's 45th season. The idea is to tie the productions together dramatically by building the set for V and destroying it for VI.
Also spoke to David Conrad, back for a third go on the STNJ stage as the boy king. Again, Interesting guy. I'll save the quotes for the story, but suffice it to say he's looking forward to a break from "The Ghost Whisperer" and getting back in front of a live audience. For those who may be more familiar with his TV work, let me assure you he's got the chops to be a terrific Prince Hal. He was terrific last year in "Rosencrantz and Guildenstern are Dead" and even better here a few years back in the title role of "Richard II."
My weekend schedule--flood update
I'll be at Playwrights tonight, and back here with a Review Preview tomorrow. Otherwise, I'll be in my basement all weekend if you need me. What a mess. The good news is that I managed to light the pilot on my hot water heater all by myself. And I'm assured my eyebrows will grow back.
Hire a professional, folks, that's my advice.
See you in the lobby. Go A-Rod!
Tri-State's professional Equity production will continue through May 6 at the Crescent Theatre, 74 Main St. Tickets for regular performances (including tonight's opening-night show, which will be followed by a meet-the-cast reception) are $27, $25 for seniors age 60 and older and $17 for children and students. Tickets for Thursday shows are $18.Tickets and information (including a season brochure) are available online at www.tristateactorstheater.org, by calling the box office at (973) 875-2950 or by stopping by the theater.
Some theater fans in the area may be more familiar with the name “Illyria” than “The Twelfth Night. “Illyria,” a musical based on “The Twelfth Night,” premiered regionally a few years ago at the Shakespeare Theatre of New Jersey and was recently revived by the Chester Theatre Group at the Black River Playhouse.
This production also will feature original music, composed by pianist Vince di Mura, a noted New Jersey musician and veteran performer of concert stages throughout North America, Canada and Latin America. Choreography will be designed by Lisa Brailoff.
The cast includes Bill Edwards (as Sir Andrew Aguecheek), a rising star in the region, seen here last season in “Rounding Third” and playing the lead last fall in the Bickford Theatre’s production of “Catch Me if You Can.” Fellow Equity members Celia Montgomery, Katie Tame, Kevin Shinnick and Craig Dudley also will help to anchor a large cast.
Tri-State’s artistic director and founder, Paul Meacham, will direct.
At Playwrights Theatre, Bonnie Black stars in Sherry Kramer’s “one-woman Barbie play,” directed by Artistic Director John Pietrowski.
Performances continue at the theater, 33 Green Village Road, through May 6. The show is considered appropriate for ages 15 and older. Tickets are $25 to $35. For information, call (973) 514-1787, ext. 30.
Kramer’s humorous and touching story presents a character that weaves together the 1964 SOFA (Status of Forces Agreement) with Iran, passion for Barbie dolls and thirst for petroleum, with the death of a mother.
“When Something Wonderful Ends” was recently named one of the top ten theatrical events of 2006 by the Austin Chronicle and was recently read at the Tokyo International Arts Festival. Additionally, it was performed at Actors Theatre of Louisville (as part of the Humana Festival of New American Plays) and Interact Theatre in Philadelphia.
Coming Up: Shakespeare Theatre of NJ opens 45th season
As far as I'm concerned, spring doesn't officially begin until the Yanks play the Sox and STNJ is back on stage. I get the former this weekend, but will have to wait until next week for the latter.
Yesterday morning, I spoke to Bonnie Monte, STNJ artistic director and director of the season-opener, "Henry V," or "Hank Sanc," as she says they've renamed it it Madison. I'll save some of the details for an upcoming article, but one exciting item to report while you are considering single-ticket vs. subscription. The plan is to share a similar set and production design for "Henry V" and "Blood and Roses" (the edited merge of Henry VI Pts 1,2 and 3), which will come later in the theater's 45th season. The idea is to tie the productions together dramatically by building the set for V and destroying it for VI.
Also spoke to David Conrad, back for a third go on the STNJ stage as the boy king. Again, Interesting guy. I'll save the quotes for the story, but suffice it to say he's looking forward to a break from "The Ghost Whisperer" and getting back in front of a live audience. For those who may be more familiar with his TV work, let me assure you he's got the chops to be a terrific Prince Hal. He was terrific last year in "Rosencrantz and Guildenstern are Dead" and even better here a few years back in the title role of "Richard II."
My weekend schedule--flood update
I'll be at Playwrights tonight, and back here with a Review Preview tomorrow. Otherwise, I'll be in my basement all weekend if you need me. What a mess. The good news is that I managed to light the pilot on my hot water heater all by myself. And I'm assured my eyebrows will grow back.
Hire a professional, folks, that's my advice.
See you in the lobby. Go A-Rod!
Thursday, April 19, 2007
Kitty Carlisle Hart: 1910-2007
A tip of the hat to Kitty Carlisle, who I got to meet while performing in a revival of her husband's "The American Way" at the Barn Theatre in Montville in 1976 (Womens Theatre Company artistic director Barbara Krajkowski was also part of that show). She was very sweet, giving us a backstage pep talk on opening night, and then went about her business of promoting the arts in New York, New Jersey and the nation.
I know some people remember her more as a "To Tell the Truth" talking head and something of a relic, but she was a pretty cool gal, and a genuine talent, so let's hope she and Moss are together again and front row for the next opening.
I know some people remember her more as a "To Tell the Truth" talking head and something of a relic, but she was a pretty cool gal, and a genuine talent, so let's hope she and Moss are together again and front row for the next opening.
Tuesday, April 17, 2007
Review schedule Redux
Now I'm told review of"Seven Brides" may not run until Friday (Your Life section) in the Courier (and, as always, Friday in the Daily Record). Maybe you guys should just get a subscription.
Hope you can stand the suspense, but if you read the Review Preview, you know I liked it, and can recommend for all ages without reservation.
I also can report that my fellow critics agree. I've read three others so far and we're all gushing. And they say the papers are full of bad news. Not today, boys and girls. Sunshine and lollipops on the theater beat.
Get well soon, Marilyn. We're rooting for some more good news. The show must go on.
Hope you can stand the suspense, but if you read the Review Preview, you know I liked it, and can recommend for all ages without reservation.
I also can report that my fellow critics agree. I've read three others so far and we're all gushing. And they say the papers are full of bad news. Not today, boys and girls. Sunshine and lollipops on the theater beat.
Get well soon, Marilyn. We're rooting for some more good news. The show must go on.
Monday, April 16, 2007
Review schedule--revised
Revising previous post, I'm told "Falsettos" review will run Wednesday in the Courier News (Your Life section), while review of Paper Mill's "Seven Brides" to publish Thursday in Courier Kicks.
Status on my basement is unchanged. Looks like my golf game is going to have to wait another week. I'll be ankle deep in damage this weekend. I can only hope it will be dry by then.
Also will be at Playwrights Theatre in Madison Friday night for the premiere of Sherry Kramer's "When Something Wonderful Ends." Look for a preview later in the week and a "review preview" (I like that phrase) over the weekend.
No rest for Willie.
A lot of people, sad to say, had a worse day than I did. It was quite a shift of startling reports in the newsroom, with local flooding and the massacre at Virginia Tech. And if you'll pardon the plug, there's some great coverage of the flood right now at www.c-n.com and, of course, more to come tonight and tomorrow in the paper proper. Check it out.
I hope you and yours are safe, dry and warm.
Status on my basement is unchanged. Looks like my golf game is going to have to wait another week. I'll be ankle deep in damage this weekend. I can only hope it will be dry by then.
Also will be at Playwrights Theatre in Madison Friday night for the premiere of Sherry Kramer's "When Something Wonderful Ends." Look for a preview later in the week and a "review preview" (I like that phrase) over the weekend.
No rest for Willie.
A lot of people, sad to say, had a worse day than I did. It was quite a shift of startling reports in the newsroom, with local flooding and the massacre at Virginia Tech. And if you'll pardon the plug, there's some great coverage of the flood right now at www.c-n.com and, of course, more to come tonight and tomorrow in the paper proper. Check it out.
I hope you and yours are safe, dry and warm.
Paper Mill survives the flood
Two weeks ago, Paper Mill Playhouse went public with its appeal for donations to stay open. Specifically, New Jersey's largest professional resident theater company said it needed $1.5 million just to make payroll and reach the press opening night of "Seven Brides for Seven Brothers."
Long story short, it got the funding it needed--barely--to stage the press opening.
I return from the press opening with good news--director Scott Schwartz has crafted the kind of humdinger musical that put Paper Mill on the map, and may have the legs to keep it there. Let’s hope “Seven Brides” is more savior than swansong.
The almost-bad news is that the nor'easter that flooded my basement (and I promise a blog on that, as soon as the water level drops and I assess the damage) was also flooding the front rows at Paper Mill just as the show was reaching its final curtain. Talk about your close calls--another few minutes and they would have had to stop the show, which could have been the final nail in the coffin for this snake-bit troupe.
But the show was good enough that people stood their ground and cheered through the complete curtain call before pulling up their cuffs and getting out of there. I know theaters think the critic are sometimes all wet, but we're troupers as well, and stood our ground.
I cannot speak for the orchestra pit, but I'm betting things could have been far more serious down there.
All in all, an eventful day and an eventful night.
I expect my review to run Wednesday in the Courier News and Friday in the Daily Record. In the meantime, I welcome anyone else to chime in with their opinions.
Long story short, it got the funding it needed--barely--to stage the press opening.
I return from the press opening with good news--director Scott Schwartz has crafted the kind of humdinger musical that put Paper Mill on the map, and may have the legs to keep it there. Let’s hope “Seven Brides” is more savior than swansong.
The almost-bad news is that the nor'easter that flooded my basement (and I promise a blog on that, as soon as the water level drops and I assess the damage) was also flooding the front rows at Paper Mill just as the show was reaching its final curtain. Talk about your close calls--another few minutes and they would have had to stop the show, which could have been the final nail in the coffin for this snake-bit troupe.
But the show was good enough that people stood their ground and cheered through the complete curtain call before pulling up their cuffs and getting out of there. I know theaters think the critic are sometimes all wet, but we're troupers as well, and stood our ground.
I cannot speak for the orchestra pit, but I'm betting things could have been far more serious down there.
All in all, an eventful day and an eventful night.
I expect my review to run Wednesday in the Courier News and Friday in the Daily Record. In the meantime, I welcome anyone else to chime in with their opinions.
Saturday, April 14, 2007
First on "Falsettos"
Because Wildsnowflake asked me to (see April 10 post), I went to last night's press opening of "Falsettos" at George Street Playhouse in New Brunswick. Always fun to revisit the Hub City. Was short on time so I ate at Fillippos (how lame is that?), which used to deliver pizzas to my frat house in the 1970s ($3, half a buck for toppings). Need to budget more time when I come here so I can take advantage of the great restaurants in town.
First impressions, in brief: pretty good, certainly a splendid cast. I'm not the huge fan of this show that many others are, but it definitely has its moments. And Liz Larsen most definitely delivers a show-stopper, staggering through "I'm Breaking Down" like Anna Nicole at an awards show. Strategically off-key, waving a rolling pin and wearing a colander on her head, she brought the house to its feet midway through the first act.
Unfortunately, the timing of her triumph illustrates the show's problem with pacing, peaking less than an hour into a show that lasts two-plus hours. Writer William Finn covers a lot of ground, conventional comedy, satire, poignant romantic drama from the heterosexual, homosexual, gay, lesbian and pubescent perspective, and wraps it up with a jolt of mortality and serious social commentary, all done to music, music, music and more music.
It's a bit too much for one show and, not surprisingly, the pieces don't always mix. Fortunately, there are a lot of individual pieces, including Larsen's tour de force and the ridiculous "March of the Falsettos" (must be seen to be believed, and take a bow, costume designer Amela Baksic), that are enormously entertaining on their own.
I expect my formal review will publish Wednesday or Thursday in the Courier News (just buy it both days, OK?) and Friday in the Daily Record.
Sidebar:
Being in New Brunswick at the end of a week where Rutgers University was front-page news 24/7, seeing a show such as "Falsettos" also adds to the ongoing debate about the demise of Imus and the larger argument about who can say what to whom and in what context or media. Certainly, "Falsettos" is tamer than many farces and satires, but also certainly, it's loaded with Jewish jokes, gay jokes and, for what it's worth, casts aspersions on the psychiatry profession. I'm sure there are some people out there who would take offense at some of the lines in this show.
I guess it all comes down to two powerful forces: context and the fickle voice of our beloved democracy. Howard Stern talks smack so often people got tired of complaining, so they don't anymore. Playwrights sometimes get away with outrageous and inappropriate dialogue because they put it in the mouth of a fictional character, even though the words are often there for the same reason Stern and Imus use them: People like to be shocked.
Rappers get away with it because, it would seem, their record sales and popularity serve as some sort of mandate, and they are just "telling it like it is in the street." Of course, in this admittedly rare context, it pays not to be an old white man. Or so it would seem, eh, Imus?
And never make your mistakes during a slow news cycle. Nature, the media and the hungry public they serve all abhor a vaccum.
But here's the thing: haven't we learned from history that selective justice erodes a civilization and its ability to progress? Will we ever learn to just respect each other, forgive our occasional mistakes and participate in some sort of mutual growth, to the end that those occasional lapses don't progress into patterns of behavior?
Alright, enough of the soapbox. Your turn now. Where's the line, people?
Non-sequitur
While we're talking about lines, here's one that has always bothered me: Where's the line that separates grave robbers from archaeologists? How old does your grave have to be before its fair game for scientists?
I'll tell you one thing, it's a powerful argument for cremation. I wonder if George Bush has ever considered that 3,000 years from now, they might dig up his grave and put it on tour. I'll bet King Tut never saw that coming. Poor schmuck.
Gotta stop watching the History Channel. Keeps me up nights.
First impressions, in brief: pretty good, certainly a splendid cast. I'm not the huge fan of this show that many others are, but it definitely has its moments. And Liz Larsen most definitely delivers a show-stopper, staggering through "I'm Breaking Down" like Anna Nicole at an awards show. Strategically off-key, waving a rolling pin and wearing a colander on her head, she brought the house to its feet midway through the first act.
Unfortunately, the timing of her triumph illustrates the show's problem with pacing, peaking less than an hour into a show that lasts two-plus hours. Writer William Finn covers a lot of ground, conventional comedy, satire, poignant romantic drama from the heterosexual, homosexual, gay, lesbian and pubescent perspective, and wraps it up with a jolt of mortality and serious social commentary, all done to music, music, music and more music.
It's a bit too much for one show and, not surprisingly, the pieces don't always mix. Fortunately, there are a lot of individual pieces, including Larsen's tour de force and the ridiculous "March of the Falsettos" (must be seen to be believed, and take a bow, costume designer Amela Baksic), that are enormously entertaining on their own.
I expect my formal review will publish Wednesday or Thursday in the Courier News (just buy it both days, OK?) and Friday in the Daily Record.
Sidebar:
Being in New Brunswick at the end of a week where Rutgers University was front-page news 24/7, seeing a show such as "Falsettos" also adds to the ongoing debate about the demise of Imus and the larger argument about who can say what to whom and in what context or media. Certainly, "Falsettos" is tamer than many farces and satires, but also certainly, it's loaded with Jewish jokes, gay jokes and, for what it's worth, casts aspersions on the psychiatry profession. I'm sure there are some people out there who would take offense at some of the lines in this show.
I guess it all comes down to two powerful forces: context and the fickle voice of our beloved democracy. Howard Stern talks smack so often people got tired of complaining, so they don't anymore. Playwrights sometimes get away with outrageous and inappropriate dialogue because they put it in the mouth of a fictional character, even though the words are often there for the same reason Stern and Imus use them: People like to be shocked.
Rappers get away with it because, it would seem, their record sales and popularity serve as some sort of mandate, and they are just "telling it like it is in the street." Of course, in this admittedly rare context, it pays not to be an old white man. Or so it would seem, eh, Imus?
And never make your mistakes during a slow news cycle. Nature, the media and the hungry public they serve all abhor a vaccum.
But here's the thing: haven't we learned from history that selective justice erodes a civilization and its ability to progress? Will we ever learn to just respect each other, forgive our occasional mistakes and participate in some sort of mutual growth, to the end that those occasional lapses don't progress into patterns of behavior?
Alright, enough of the soapbox. Your turn now. Where's the line, people?
Non-sequitur
While we're talking about lines, here's one that has always bothered me: Where's the line that separates grave robbers from archaeologists? How old does your grave have to be before its fair game for scientists?
I'll tell you one thing, it's a powerful argument for cremation. I wonder if George Bush has ever considered that 3,000 years from now, they might dig up his grave and put it on tour. I'll bet King Tut never saw that coming. Poor schmuck.
Gotta stop watching the History Channel. Keeps me up nights.
Thursday, April 12, 2007
Theater Project opens with "Open Seasons"
The Theater Project, a professional company in residence at Union County College in Cranford, opens its 2007 season this week with a production of Shirley Lauro’s “Open Admissons.”
The show opens Thursday and continues through April 28 at the campus theater, 1033 Springfield Ave.
Under the guidance of Artistic Director Mark Spina, the Theater Project is now in its 12th year of presenting a challenging mix of new works and contemporary classics in an intimate space, where the audience and performers are close enough to touch. Its work has earned good notices and grants from the New Jersey State Arts Council and the Geraldine R. Dodge Foundation.
Spina directs “Open Admissions,” which centers on a disenchanted urban college speech professor and her brilliant, but illiterate, black student who dreams of a racially equal education. Lauro’s Tony- and Drama Desk-nominated drama also was named a Top Ten pick of the year by the New York Times and was adapted for television starring Jane Alexander and Estelle Parsons.
I've hear much about the company's good work, but have yet to get there, so I'm really hoping to find time for this one.
Tickets are $20 or $10 for students, with $12 tickets available for everyone on Thursdays and for seniors on Sundays. For information, call (973) 659-5189 or visit www.thetheaterproject.com.
The show opens Thursday and continues through April 28 at the campus theater, 1033 Springfield Ave.
Under the guidance of Artistic Director Mark Spina, the Theater Project is now in its 12th year of presenting a challenging mix of new works and contemporary classics in an intimate space, where the audience and performers are close enough to touch. Its work has earned good notices and grants from the New Jersey State Arts Council and the Geraldine R. Dodge Foundation.
Spina directs “Open Admissions,” which centers on a disenchanted urban college speech professor and her brilliant, but illiterate, black student who dreams of a racially equal education. Lauro’s Tony- and Drama Desk-nominated drama also was named a Top Ten pick of the year by the New York Times and was adapted for television starring Jane Alexander and Estelle Parsons.
I've hear much about the company's good work, but have yet to get there, so I'm really hoping to find time for this one.
Tickets are $20 or $10 for students, with $12 tickets available for everyone on Thursdays and for seniors on Sundays. For information, call (973) 659-5189 or visit www.thetheaterproject.com.
Tuesday, April 10, 2007
Open Door Theatre re-opening?
I hope you'll read a story I wrote for tomorrow's Courier News (Community section) about North Planfield resident Liz Kendall and her community-theater production of "Godspell," which opens Thursday at the Watchung Avenue Presbyterian Church, 170 Watchung Ave., North Plainfield. Tickets are $10. Call (908) 769-4397.
Kendall was a cofounder of the Open Door Theatre, which put on a decade's worth of shows at the same address before the group disbanded. About 10 years later, she's back at the Church, directing its production of "Godspell," and plans to use the experience as a springboard to revive the Open Door.
A revived theater company is always good news, so let's show up, turn out and help her keep the door open.
Coming Up
I'll be at Paper Mill Sunday night for the press opening of "Seven Brides for Seven Brothers." I'm waffling whether to use my limited time this week to also attend the opening of "Falsettos" at George Street or "Open Admissions" at the Theatre Project at Union County College.
I'll leave it up to the readers: Which one do you want me to report on first? Give the people what they want, that's what I say. I promise if I get more than three responses by Thursday that I'll go with the majority. Manipulate me to your heart's content.
PS: Representatives from the respective theaters are not eligible to vote, but if you do, how the hell would I know the difference?
Kendall was a cofounder of the Open Door Theatre, which put on a decade's worth of shows at the same address before the group disbanded. About 10 years later, she's back at the Church, directing its production of "Godspell," and plans to use the experience as a springboard to revive the Open Door.
A revived theater company is always good news, so let's show up, turn out and help her keep the door open.
Coming Up
I'll be at Paper Mill Sunday night for the press opening of "Seven Brides for Seven Brothers." I'm waffling whether to use my limited time this week to also attend the opening of "Falsettos" at George Street or "Open Admissions" at the Theatre Project at Union County College.
I'll leave it up to the readers: Which one do you want me to report on first? Give the people what they want, that's what I say. I promise if I get more than three responses by Thursday that I'll go with the majority. Manipulate me to your heart's content.
PS: Representatives from the respective theaters are not eligible to vote, but if you do, how the hell would I know the difference?
Sunday, April 8, 2007
Merry Easter
Well, one good resurrection deserves another, and so it seems that Paper Mill Playhouse will play on, at least until the end of the season. And while we're talking resurrections, Liza Minelli has been added to the guest list for Monday's Save the Theatre rally.
I'll be resting comfortably this weekend, enjoying the Masters (drama in the cold air of Augusta, let me tell you), cleaning my garage and figuring out how I'm going to see 10 plays in the next six weeks. Three notable premieres next weekend, including the Theatre Project at Union County College in Cranford (I've heard and read about good things going on there but have yet to see one of their shows); George Street Playhouse ("Falsettos") and, of course, Paper Mill (should be an interesting press opening). Two more the following week.
Gosh. I sound like such a Pagan. I must admit to worshipping the green grass Tiger Woods walks upon and on this particular occasion, he is my Master. Or Masters ... I'll just leave now.
I'll be resting comfortably this weekend, enjoying the Masters (drama in the cold air of Augusta, let me tell you), cleaning my garage and figuring out how I'm going to see 10 plays in the next six weeks. Three notable premieres next weekend, including the Theatre Project at Union County College in Cranford (I've heard and read about good things going on there but have yet to see one of their shows); George Street Playhouse ("Falsettos") and, of course, Paper Mill (should be an interesting press opening). Two more the following week.
Gosh. I sound like such a Pagan. I must admit to worshipping the green grass Tiger Woods walks upon and on this particular occasion, he is my Master. Or Masters ... I'll just leave now.
Friday, April 6, 2007
Paper Mill: Delaying the inevitable?
So its been reported that Paper Mill Playhouse will not close Friday. Donations were impressive, but not enough until two real estate firms guaranteed loans totaling $3 million, which should be enough to finish the season.
Bravo for those fine artists, administrators and staff who will not lose their jobs. And with "Seven Brides for Seven Brothers" and "Pirates," Paper Mill will get to stage two of the biggest potential box-office draws of the season. So maybe this thing can be turned around.
But, as previously reported, the theater's problems have existed for years and have yet to be addressed. So we have to ask, and we should discuss: Are these loans merely delaying the inevitable? Are donors and bank officers throwing good money after bad? Has Paper Mil's ime come and gone? Should we just let the old lady die a dignified death rather than incurring millions more in debt?
Well, what do you think?
Happy holidays to all. I'll be enjoying a rare theater-free weekend and will be watching the Masters. Tiger Woods--now there's a man who knows something about drama, although comedy still seems to elude his grasp.
Bravo for those fine artists, administrators and staff who will not lose their jobs. And with "Seven Brides for Seven Brothers" and "Pirates," Paper Mill will get to stage two of the biggest potential box-office draws of the season. So maybe this thing can be turned around.
But, as previously reported, the theater's problems have existed for years and have yet to be addressed. So we have to ask, and we should discuss: Are these loans merely delaying the inevitable? Are donors and bank officers throwing good money after bad? Has Paper Mil's ime come and gone? Should we just let the old lady die a dignified death rather than incurring millions more in debt?
Well, what do you think?
Happy holidays to all. I'll be enjoying a rare theater-free weekend and will be watching the Masters. Tiger Woods--now there's a man who knows something about drama, although comedy still seems to elude his grasp.
Thursday, April 5, 2007
Audition notice--Equity/nonEquity
The Women’s Theater Company has some plum parts open for its May production of "Painting Churches" by Tina Howe.
Equity auditions Monday at the Parsippany Comunity Center, 1130 Knoll Road, Lake Hiawatha section of Parsipany. 10 a.m. to 3 p.m. for Equity actors. There are two Equity contracts available. NonEquity by appointment.
To make an audition appointment, call Kathrynne Forsbrey, production manager, at (973) 316-3033. ext. 5. A brief monologue should be prepared.
Needed are:
Fanny, age 60+, a Bostonian from a fine old family.
Gardner, 70+, her husband and an eminent New England poet
Margaret Church, 30+, their daughter, a painter.
The production runs May 18 to June 3, on Friday and Saturday evenings and Sunday afternoons. Daytime rehearsals begin on May 1.
For those who aren't familiar with the Womens Theater Company, founder and artistic director Barbara Krajkowski offers an artistically rich environment as she dedicates her company to producing exclusively the works of female playwrights. And her company has found a nice intimate space in Parsippany after a few years on the move. A lot of New Jersey's best regional actors, including fellas such as Duncan Rogers, David Volin, Michael Irvin Pollard and JC Hoyt, have done some of their best work in the company, and, of course, there's always plum roles for the ladies.
Barbara's a fun person to work with, an experienced educator (on staff at Willaim Paterson) and we were both in the same production at the Barn Theatre in Montville in 1976. I assume I might have met her young daughter at the time, but I really don't remember. But she grew up to be Tony and Olivier winner Jane Krakoswki, so there's some good actor mojo following that family.
The company hasn't quite caught on with the community as yet, so the crowds are relatively small. But if I was an actor, I would want to work with these people and in this space.
Equity auditions Monday at the Parsippany Comunity Center, 1130 Knoll Road, Lake Hiawatha section of Parsipany. 10 a.m. to 3 p.m. for Equity actors. There are two Equity contracts available. NonEquity by appointment.
To make an audition appointment, call Kathrynne Forsbrey, production manager, at (973) 316-3033. ext. 5. A brief monologue should be prepared.
Needed are:
Fanny, age 60+, a Bostonian from a fine old family.
Gardner, 70+, her husband and an eminent New England poet
Margaret Church, 30+, their daughter, a painter.
The production runs May 18 to June 3, on Friday and Saturday evenings and Sunday afternoons. Daytime rehearsals begin on May 1.
For those who aren't familiar with the Womens Theater Company, founder and artistic director Barbara Krajkowski offers an artistically rich environment as she dedicates her company to producing exclusively the works of female playwrights. And her company has found a nice intimate space in Parsippany after a few years on the move. A lot of New Jersey's best regional actors, including fellas such as Duncan Rogers, David Volin, Michael Irvin Pollard and JC Hoyt, have done some of their best work in the company, and, of course, there's always plum roles for the ladies.
Barbara's a fun person to work with, an experienced educator (on staff at Willaim Paterson) and we were both in the same production at the Barn Theatre in Montville in 1976. I assume I might have met her young daughter at the time, but I really don't remember. But she grew up to be Tony and Olivier winner Jane Krakoswki, so there's some good actor mojo following that family.
The company hasn't quite caught on with the community as yet, so the crowds are relatively small. But if I was an actor, I would want to work with these people and in this space.
Wednesday, April 4, 2007
Save the Theater Rally April 9 at Paper Mill
E-mail received from Paper Mill late last night, so you get it here right form the source. Take note of the rally planned for April 9 and the list of Paper Mill "alumni," which is nothing short of amazing.
Excerpeted fromthe e-mail:
The reason I am writing all of you today, is because Paper Mill Playhouse needs your help. For years Paper Mill Playhouse has often been perceived as a commercial institution, not a not-for-profit arts organization. We need to inform the general public in a very short amount of time that Paper Mill needs their support! I am convinced that if we can get the word out to those who love this organization, we can save this theater! You all have tremendous power as journalists to make a positive impact on our current crisis. ...
Paper Mill is hosting a "Save The Theater" Rally this coming Monday, April 9th at 7:00pm in the Courtyard at Paper Mill Playhouse. We are expecting crowds in the thousands along with Broadway/Paper Mill Stars, Celebrities, Political Leaders, Performances and more. If you can list this event or better yet, attend, please do! It will truly be a once-in-a-lifetime event, not to be missed.
I know this theater is worth saving and here are a few reasons why:
During the 2006/07 season over 236,000 New Jersey residents will enjoy performances at Paper Mill Playhouse including our mainstage productions, Nutcracker and the New Voices Concert.
In addition, nearly 50,000 students will participate in the outreach, artist training, inter-disciplinary programs, Children’s Theatre series, and On-School Time performances that we create, sustain and provide each season.
Over 130 schools in 18 of the 21 New Jersey counties will participate in Paper
Mill educational outreach programs such as the Rising Star Awards, Adopt-a-School,
and the Young Critics Program.
Over 7,000 theatre lovers with disabilities will take advantage of Paper Mill’s access programs including sign interpreted performances, audio described performances, wheel chair access, sensory seminars and infra-red hearing devices.
New Jersey Ballet’s viability depends on income from its annual production of Nutcracker at Paper Mill.
Each year, 800 W2’s totaling $8 million pass through the payroll department at Paper Mill Playhouse.
In 2006, 15,000 students from 103 schools participated in the Rising Star Awards program. In 2007, 110 schools from 19 counties are participating. $61,000 in college scholarship money is awarded to Rising Star participants each year. This program, now in its 12th year, has been replicated in 14 communities nationwide
6,000 students in 60 schools have participated in Paper Mill’s Adopt-a-School program since its inception in 1989. Since 1994 over 7,000 New Jersey high school students have received free tickets to participate in the Young Critics program.
Each year:
4,000-6,000 students attend special matinee performances of age-appropriate mainstage
productions. Tickets are heavily discounted, study guides are provided and a cast talk
back follows each performance.
Nearly 1,000 students from toddlers to senior citizens attend classes at Paper Mill’s year-round Theatre School, the Summer Conservatory, August Intensive, or Adopt-a-School program.
Nearly 2,500 senior citizens, school students, and children with disabilities are
treated to free performances by the Theatre School’s All-Star Touring Company.
1,900 adults and children take advantage of audience enrichment programming such as Conversation Series, Cast Talkbacks, Director’s Notes, Book Club, back-stage tours and special events.
130 of the state’s most talented musical theatre students attend the Summer Theatre Conservatory program which results in the New Voices Concert attended by an audience of over 3,000.
24,000 children and parents attend Children’s Theatre series, and On-School Time performances.
How many people rely on Paper Mill for work or study each year?
Actors and stage managers: 140
Musicians: 45
Back stage and load in crew: 125-150
Scene shop crew: 50
Directors, designers, choreographers, and their assistants: 96
Students: 50,000
Teachers: 50
Administrative staff: 100 (full- and part-time)
The “Young & Unknown”
For decades Paper Mill has served as stepping stone to Broadway and beyond, discovering many young stars-to-be and launching numerous careers including:
ANNE HATHAWAY
Attended Paper Mill theatre school and Summer Theatre Conservatory for many years, appeared in several mainstage productions as a young teen; nominated for a “Best Actress” Rising Star Award; went on to a television series which launched her rise to movie stardom (Princess Diaries, Brokeback Mountain).
SUSAN STROMAN
Choreographed her very first professional productions at Paper Mill (Sayonara and Rhythm Ranch – both world premieres). She has won numerous Tony Awards for her work on The Producers and Contact among others. She returned to supervise Paper Mill’s revival of her award winning Crazy For You which was aired nationally on PBS’ Great Performances series.
CAROL CHANNING
David Merrick saw her in Paper Mill’s production of The Millionairess (which also starred a young GENE WILDER and JOHN McMARTIN) in 1963 and promptly offered her the lead in Hello Dolly! on Broadway.
LIZA MINNELLI
Played the female lead in Paper Mill’s 1964 production of Carnival, which lead to her leading role in Broadway’s Flora the Red Menace for which she won her first Tony Award that launched her career.
JANE FONDA
Before becoming a multiple Academy Award winning movie star, Jane trained as an actress by appearing in regional theatre productions including Paper Mill’s No Concern of Mine in 1958.
PATRICK SWAYZE
Prior to his Dirty Dancing days, Swayze was honing his craft dancing in Paper Mill’s 1974 production of The Music Man.
SANDY DUNCAN
Appeared in Paper Mill’s 1966 production of The Boy Friend and subsequently appeared in the same role in Broadway revival which too her to stardom.
KRISTEN CHENOWETH
While visiting New York City for a week prior to entering Philadelphia’s Opera Academy, on a whim she attended an audition for Paper Mill’s 1993 production of Animal Crackers. She landed a role, got her Actors’ Equity card and never went to Philly, but went on to Broadway (Tony Award), television, recordings and film.
ROB MARSHALL
Paper Mill gave Rob his first directing job with Chess in 1992. It was a stepping stone to Broadway which led him to direct the Academy Award winning film of Chicago.
MARGE CHAMPION
In 1944, a young dancer names Marjorie Bell appeared at Paper Mill in Sally. She caught the eye of a certain Gower Champion which resulted in one of the best-known dance teams in show business.
DONNA McKECHNIE
Was featured in Redhead in 1960 before going on to Broadway fame and winning a Tony Award for A Chorus Line. She returned to Paper Mill in the 1998 acclaimed Follies.
LAURA BENANTI
Won the first Leading Lady Rising Star Award and received her Equity card following her graduation from high school in our Man of La Mancha. The following year she was cast in the Broadway revival of The Sound of Music, took over the leading role and has appeared in numerous Broadway productions and garnered 3 Tony Award nominations.
JERRY MITCHELL
Choreography for Paper Mill’s 1998 production of Follies brought him to the attention of Broadway. He has gone on to multiple Tony nominations for Hairspray, The Full Monty, Dirty Rotten Scoundrels, and winning for La Cage Aux Folles. He is currently making his Broadway directing debut with Legally Blonde.
DULĚ HILL
Played his first professional stage role in Paper Mill’s 1989 Shenandoah and went on to a starring role in TV’s acclaimed series The West Wing.
CHRISTINE EBERSOLE
Played a leading role in Shenandoah in 1977 just prior to her Broadway musical debut in On the 20th Century the following year. She has gone on to film, television, and Broadway stardom and is currently poised to win her 2nd Tony Award. She returned to Paper Mill to star in Paper Moon in 1993 and Mame in 1999.
JUDY KAYE
First appeared in Paper Mill’s Jesus Christ Superstar in 1977 and would remain a Paper Mill leading lady for over a decade before Broadway claimed her. She has since won 2 Tony Awards.
ROBERT CUCCIOLLI
Achieved leading man status at Paper Mill in the 1980’s in such productions as Rhythm Ranch and Oklahoma. He would rise to Broadway stardom in Jekyl & Hyde and return to Paper Mill many times including Funny Girl, The Sound of Music and Guys & Dolls.
HUNTER FOSTER
Was an unknown before playing a leading role in Paper Mill’s 1997 Children of Eden. He went on to Broadway and numerous Tony Nominations for Urintown, The Producers and Little Shop of Horrors.
LESLIE KRITZER
We literally “discovered” young New Jersey native Leslie Kritzer when we cast her as Fanny Brice in Funny Girl. She has since appeared on Broadway in Hairspray and is currently starring in Legally Blonde.
NIKKI JAMES
Was nominated for a Rising Star Award and attended our Summer Theatre Conservatory. Last season she starred in Broadway’s All Shook Up and was recently cast as the leading role of “Dorothy” in the revival of The Wiz.
JOHN LLOYD YOUNG
Received critical acclaim for his first major professional role in Paper Mill’s The Chosen opposite Theodore Bikel. He would return the following season opposite John Mahoney in The Drawer Boy. A few months later, he was cast in Broadway’s Jersey Boys winning the 2006 Tony Award for Best Actor in a Musical.
SHARON WILKINS
We gave Sharon her Actors Equity card, a leading role in our 1995 DREAMGIRLS and launched a career that would include 3 Broadway shows and numerous film and television appearances.
ROB ASHFORD
Made his professional debut as a Choreographer with 2 productions at Paper Mill. He next choreographer Thoroughly Modern Millie on Broadway winning the Tony Award, followed by The Wedding Singer and the current hit Curtains.
MATTHEW SCOTT
Won the Rising Star Award an unprecedented 3 years in a row, attended our Summer Theatre Conservatory and we helped him win a scholarship to the theatre program at prestigious Carnegie Mellon University. During his summers, he performed in several Paper Mill mainstage productions. Following his college graduation, he landed the Broadway company of Jersey Boys where he understudies 2 of the leading roles.
VERONICA KUEHN
Received multiple Rising Star nominations and won Best Actress in her Senior year. She spent several summers in our Theatre Conservatory, was accepted into Boston Conservatory’s lauded musical theatre program and graduated early in order to accept a job in the Broadway company of Mama Mia!
CHANDRA WILSON
Got her start playing a small role in Paper Mill’s 1993 production of Paper Moon. She recently won the Screen Actors Guild award for Best Female Actress in a Drama for her starring role in TV’s popular Grey’s Anatomy.
GREGG BARNES
As a recent graduate of Manhattan Fashion Institute of Technology, Gregg became Paper Mill’s resident Costume Designer for six years before moving to Broadway and numerous successes culminating in his Tony Award for last season’s The Drowsy Chaperone.
Thank you very much for your support during this very difficult time for Paper Mill Playhouse. I am willing to assist all of you on stories, interviews and any other coverage you can give us to help save this landmark theater. There is some copy below on our "Save The Theater" Campaign. Feel free to contact me at the numbers or email address below. Again, I thank you!
Excerpeted fromthe e-mail:
The reason I am writing all of you today, is because Paper Mill Playhouse needs your help. For years Paper Mill Playhouse has often been perceived as a commercial institution, not a not-for-profit arts organization. We need to inform the general public in a very short amount of time that Paper Mill needs their support! I am convinced that if we can get the word out to those who love this organization, we can save this theater! You all have tremendous power as journalists to make a positive impact on our current crisis. ...
Paper Mill is hosting a "Save The Theater" Rally this coming Monday, April 9th at 7:00pm in the Courtyard at Paper Mill Playhouse. We are expecting crowds in the thousands along with Broadway/Paper Mill Stars, Celebrities, Political Leaders, Performances and more. If you can list this event or better yet, attend, please do! It will truly be a once-in-a-lifetime event, not to be missed.
I know this theater is worth saving and here are a few reasons why:
During the 2006/07 season over 236,000 New Jersey residents will enjoy performances at Paper Mill Playhouse including our mainstage productions, Nutcracker and the New Voices Concert.
In addition, nearly 50,000 students will participate in the outreach, artist training, inter-disciplinary programs, Children’s Theatre series, and On-School Time performances that we create, sustain and provide each season.
Over 130 schools in 18 of the 21 New Jersey counties will participate in Paper
Mill educational outreach programs such as the Rising Star Awards, Adopt-a-School,
and the Young Critics Program.
Over 7,000 theatre lovers with disabilities will take advantage of Paper Mill’s access programs including sign interpreted performances, audio described performances, wheel chair access, sensory seminars and infra-red hearing devices.
New Jersey Ballet’s viability depends on income from its annual production of Nutcracker at Paper Mill.
Each year, 800 W2’s totaling $8 million pass through the payroll department at Paper Mill Playhouse.
In 2006, 15,000 students from 103 schools participated in the Rising Star Awards program. In 2007, 110 schools from 19 counties are participating. $61,000 in college scholarship money is awarded to Rising Star participants each year. This program, now in its 12th year, has been replicated in 14 communities nationwide
6,000 students in 60 schools have participated in Paper Mill’s Adopt-a-School program since its inception in 1989. Since 1994 over 7,000 New Jersey high school students have received free tickets to participate in the Young Critics program.
Each year:
4,000-6,000 students attend special matinee performances of age-appropriate mainstage
productions. Tickets are heavily discounted, study guides are provided and a cast talk
back follows each performance.
Nearly 1,000 students from toddlers to senior citizens attend classes at Paper Mill’s year-round Theatre School, the Summer Conservatory, August Intensive, or Adopt-a-School program.
Nearly 2,500 senior citizens, school students, and children with disabilities are
treated to free performances by the Theatre School’s All-Star Touring Company.
1,900 adults and children take advantage of audience enrichment programming such as Conversation Series, Cast Talkbacks, Director’s Notes, Book Club, back-stage tours and special events.
130 of the state’s most talented musical theatre students attend the Summer Theatre Conservatory program which results in the New Voices Concert attended by an audience of over 3,000.
24,000 children and parents attend Children’s Theatre series, and On-School Time performances.
How many people rely on Paper Mill for work or study each year?
Actors and stage managers: 140
Musicians: 45
Back stage and load in crew: 125-150
Scene shop crew: 50
Directors, designers, choreographers, and their assistants: 96
Students: 50,000
Teachers: 50
Administrative staff: 100 (full- and part-time)
The “Young & Unknown”
For decades Paper Mill has served as stepping stone to Broadway and beyond, discovering many young stars-to-be and launching numerous careers including:
ANNE HATHAWAY
Attended Paper Mill theatre school and Summer Theatre Conservatory for many years, appeared in several mainstage productions as a young teen; nominated for a “Best Actress” Rising Star Award; went on to a television series which launched her rise to movie stardom (Princess Diaries, Brokeback Mountain).
SUSAN STROMAN
Choreographed her very first professional productions at Paper Mill (Sayonara and Rhythm Ranch – both world premieres). She has won numerous Tony Awards for her work on The Producers and Contact among others. She returned to supervise Paper Mill’s revival of her award winning Crazy For You which was aired nationally on PBS’ Great Performances series.
CAROL CHANNING
David Merrick saw her in Paper Mill’s production of The Millionairess (which also starred a young GENE WILDER and JOHN McMARTIN) in 1963 and promptly offered her the lead in Hello Dolly! on Broadway.
LIZA MINNELLI
Played the female lead in Paper Mill’s 1964 production of Carnival, which lead to her leading role in Broadway’s Flora the Red Menace for which she won her first Tony Award that launched her career.
JANE FONDA
Before becoming a multiple Academy Award winning movie star, Jane trained as an actress by appearing in regional theatre productions including Paper Mill’s No Concern of Mine in 1958.
PATRICK SWAYZE
Prior to his Dirty Dancing days, Swayze was honing his craft dancing in Paper Mill’s 1974 production of The Music Man.
SANDY DUNCAN
Appeared in Paper Mill’s 1966 production of The Boy Friend and subsequently appeared in the same role in Broadway revival which too her to stardom.
KRISTEN CHENOWETH
While visiting New York City for a week prior to entering Philadelphia’s Opera Academy, on a whim she attended an audition for Paper Mill’s 1993 production of Animal Crackers. She landed a role, got her Actors’ Equity card and never went to Philly, but went on to Broadway (Tony Award), television, recordings and film.
ROB MARSHALL
Paper Mill gave Rob his first directing job with Chess in 1992. It was a stepping stone to Broadway which led him to direct the Academy Award winning film of Chicago.
MARGE CHAMPION
In 1944, a young dancer names Marjorie Bell appeared at Paper Mill in Sally. She caught the eye of a certain Gower Champion which resulted in one of the best-known dance teams in show business.
DONNA McKECHNIE
Was featured in Redhead in 1960 before going on to Broadway fame and winning a Tony Award for A Chorus Line. She returned to Paper Mill in the 1998 acclaimed Follies.
LAURA BENANTI
Won the first Leading Lady Rising Star Award and received her Equity card following her graduation from high school in our Man of La Mancha. The following year she was cast in the Broadway revival of The Sound of Music, took over the leading role and has appeared in numerous Broadway productions and garnered 3 Tony Award nominations.
JERRY MITCHELL
Choreography for Paper Mill’s 1998 production of Follies brought him to the attention of Broadway. He has gone on to multiple Tony nominations for Hairspray, The Full Monty, Dirty Rotten Scoundrels, and winning for La Cage Aux Folles. He is currently making his Broadway directing debut with Legally Blonde.
DULĚ HILL
Played his first professional stage role in Paper Mill’s 1989 Shenandoah and went on to a starring role in TV’s acclaimed series The West Wing.
CHRISTINE EBERSOLE
Played a leading role in Shenandoah in 1977 just prior to her Broadway musical debut in On the 20th Century the following year. She has gone on to film, television, and Broadway stardom and is currently poised to win her 2nd Tony Award. She returned to Paper Mill to star in Paper Moon in 1993 and Mame in 1999.
JUDY KAYE
First appeared in Paper Mill’s Jesus Christ Superstar in 1977 and would remain a Paper Mill leading lady for over a decade before Broadway claimed her. She has since won 2 Tony Awards.
ROBERT CUCCIOLLI
Achieved leading man status at Paper Mill in the 1980’s in such productions as Rhythm Ranch and Oklahoma. He would rise to Broadway stardom in Jekyl & Hyde and return to Paper Mill many times including Funny Girl, The Sound of Music and Guys & Dolls.
HUNTER FOSTER
Was an unknown before playing a leading role in Paper Mill’s 1997 Children of Eden. He went on to Broadway and numerous Tony Nominations for Urintown, The Producers and Little Shop of Horrors.
LESLIE KRITZER
We literally “discovered” young New Jersey native Leslie Kritzer when we cast her as Fanny Brice in Funny Girl. She has since appeared on Broadway in Hairspray and is currently starring in Legally Blonde.
NIKKI JAMES
Was nominated for a Rising Star Award and attended our Summer Theatre Conservatory. Last season she starred in Broadway’s All Shook Up and was recently cast as the leading role of “Dorothy” in the revival of The Wiz.
JOHN LLOYD YOUNG
Received critical acclaim for his first major professional role in Paper Mill’s The Chosen opposite Theodore Bikel. He would return the following season opposite John Mahoney in The Drawer Boy. A few months later, he was cast in Broadway’s Jersey Boys winning the 2006 Tony Award for Best Actor in a Musical.
SHARON WILKINS
We gave Sharon her Actors Equity card, a leading role in our 1995 DREAMGIRLS and launched a career that would include 3 Broadway shows and numerous film and television appearances.
ROB ASHFORD
Made his professional debut as a Choreographer with 2 productions at Paper Mill. He next choreographer Thoroughly Modern Millie on Broadway winning the Tony Award, followed by The Wedding Singer and the current hit Curtains.
MATTHEW SCOTT
Won the Rising Star Award an unprecedented 3 years in a row, attended our Summer Theatre Conservatory and we helped him win a scholarship to the theatre program at prestigious Carnegie Mellon University. During his summers, he performed in several Paper Mill mainstage productions. Following his college graduation, he landed the Broadway company of Jersey Boys where he understudies 2 of the leading roles.
VERONICA KUEHN
Received multiple Rising Star nominations and won Best Actress in her Senior year. She spent several summers in our Theatre Conservatory, was accepted into Boston Conservatory’s lauded musical theatre program and graduated early in order to accept a job in the Broadway company of Mama Mia!
CHANDRA WILSON
Got her start playing a small role in Paper Mill’s 1993 production of Paper Moon. She recently won the Screen Actors Guild award for Best Female Actress in a Drama for her starring role in TV’s popular Grey’s Anatomy.
GREGG BARNES
As a recent graduate of Manhattan Fashion Institute of Technology, Gregg became Paper Mill’s resident Costume Designer for six years before moving to Broadway and numerous successes culminating in his Tony Award for last season’s The Drowsy Chaperone.
Thank you very much for your support during this very difficult time for Paper Mill Playhouse. I am willing to assist all of you on stories, interviews and any other coverage you can give us to help save this landmark theater. There is some copy below on our "Save The Theater" Campaign. Feel free to contact me at the numbers or email address below. Again, I thank you!
Tuesday, April 3, 2007
Paper Mill -- following up
Regarding the previous post, here's a link to the Paper Mill Playhouse home page, which includes an e-flash plea for donations.
http://www.papermill.org/papermill.html
Confirms earlier reports and includes the phrase, "doors must close." Very dramatic. Very sad.
The flash asks, "Can you imagine New Jersey without Paper Mill Playhouse?" The toughest part of it is that so many jobs will be lost, from actors and musicians to crew to the staff who run the successful educational programs. Sometimes we forget Paper Mill is a nonprofit, although one artistic director once told me that for-profit theater is an oxymoron.
As I blog, I'm watching the Rutgers Lady Knights losing their national championship game to Tennessee, and it doesn't look good with 1:45 left on the clock. But it ain't over, as a sage Yankee once said, till it's over. Here's hoping RU and Paper Mill can both make something happen before the final buzzer.
http://www.papermill.org/papermill.html
Confirms earlier reports and includes the phrase, "doors must close." Very dramatic. Very sad.
The flash asks, "Can you imagine New Jersey without Paper Mill Playhouse?" The toughest part of it is that so many jobs will be lost, from actors and musicians to crew to the staff who run the successful educational programs. Sometimes we forget Paper Mill is a nonprofit, although one artistic director once told me that for-profit theater is an oxymoron.
As I blog, I'm watching the Rutgers Lady Knights losing their national championship game to Tennessee, and it doesn't look good with 1:45 left on the clock. But it ain't over, as a sage Yankee once said, till it's over. Here's hoping RU and Paper Mill can both make something happen before the final buzzer.
Crisis at Paper Mill?
A front-page article in the Star Ledger this morning reported a financial crisis at Paper Mill Playhouse that threatens to close New Jersey's largest resident professional theater.
The report says the theater will cancel its production of "Seven Brides for Seven Brothers," due to open next week, if it does not raise $1.5 million by Friday. Stated causes include a drastically reduced subscriber base, poor single-ticket sales and unsuccessful fund-raising efforts.
The abrupt departure of artistic director Michael Gennaro, after less than four years on the job, accelerated the problems, but Paper Mill's financial problems are well-documented, particularly in the past decade, when the opening of NJPAC in Newark, combined with the Disney-fueled renaissance of the Broadway theater district, made tough work of selling Broadway revivals, even if Paper Mill is pretty good at doing just that.
The report also announces Paper Mill's plans for six shows next season, a typical mix of Broadway hits ("Kiss Me Kate"), misses ("Frankenstein") and popular dramas ("The Miracle Worker"), but if this season is shuttered, there may not be a next season.
HERE'S THE QUESTION, a frequent topic of discussion among journalists and New Jersey theater movers and shakers: has Paper Mill's time come and gone? What does it need to do to survive in the 21st century?
Coming Up
My review of "Radio Golf" at McCarter Theatre in Princeton is scheduled to run tomorrow in the Your Life section of the Courier News and Friday in the TGIF section of the Daily Record. Since the Courier signs my paychecks, I encourage you to read it first in the Courier, then make sure to read it again Friday in the DR.
I guess that's too much to ask, but I'm looking forward to getting some reviews of my review, along with your own "reviews" of this milestone production.
The report says the theater will cancel its production of "Seven Brides for Seven Brothers," due to open next week, if it does not raise $1.5 million by Friday. Stated causes include a drastically reduced subscriber base, poor single-ticket sales and unsuccessful fund-raising efforts.
The abrupt departure of artistic director Michael Gennaro, after less than four years on the job, accelerated the problems, but Paper Mill's financial problems are well-documented, particularly in the past decade, when the opening of NJPAC in Newark, combined with the Disney-fueled renaissance of the Broadway theater district, made tough work of selling Broadway revivals, even if Paper Mill is pretty good at doing just that.
The report also announces Paper Mill's plans for six shows next season, a typical mix of Broadway hits ("Kiss Me Kate"), misses ("Frankenstein") and popular dramas ("The Miracle Worker"), but if this season is shuttered, there may not be a next season.
HERE'S THE QUESTION, a frequent topic of discussion among journalists and New Jersey theater movers and shakers: has Paper Mill's time come and gone? What does it need to do to survive in the 21st century?
Coming Up
My review of "Radio Golf" at McCarter Theatre in Princeton is scheduled to run tomorrow in the Your Life section of the Courier News and Friday in the TGIF section of the Daily Record. Since the Courier signs my paychecks, I encourage you to read it first in the Courier, then make sure to read it again Friday in the DR.
I guess that's too much to ask, but I'm looking forward to getting some reviews of my review, along with your own "reviews" of this milestone production.
Sunday, April 1, 2007
"Radio Golf": First impressions
Caught up with "Radio Golf" at McCarter yesterday afternoon (I love Princeton in the spring, how about you?) and I'm still letting it sink in before I write the review. For the first time, via the Jersey Stages Early Warning System, I'll share some of the knee-jerk reactions that a reviewer sometime has before forming his published opinion.
In shorthand, "Radio Golf" was absorbing, disturbing, funny, well-acted and well-staged and very entertaining. I'm left with a few quibbles, which leave me with the uncomfortable responsibility of criticising a drama god such as August Wilson, but comforted that they are minor. I'm also mindful that Wilson was still tweaking the show at the time of his death, and probably would have laughed at the critics who loved the parts he hated, and shook his head at the parts he liked but we didn't get.
But I'll tell you one thing right now: I bet Tiger Woods isn't happy that Wilson turnd him into the literal poster boy for black Americans who sold out to the racist white establishment. Never mind that Woods is of mixed-race heritage, and can't control the fact that too many people look at him, and others, and see only black or white. But for Woods, this is like a Catholic getting sucker-punched by the bishop. Wilson is exploiting Woods' overachievment and culture-crossing fame to make a dramatic point. I can only hope Wilson was too modest to think that anything he wrote would matter enough to hurt such a rich and powerful celerity, but why attack a positive role model when there's so many Big Shots out that are begging to be taken down?
Can you tell I'm a golfer? So forgive me if I sound a little, ahem, teed off. Oh, well, it's Palm Sunday, so the Masters is just arond Amen Corner.
Anybody else have something to say about "Radio Golf"? This would be the time and place.
In shorthand, "Radio Golf" was absorbing, disturbing, funny, well-acted and well-staged and very entertaining. I'm left with a few quibbles, which leave me with the uncomfortable responsibility of criticising a drama god such as August Wilson, but comforted that they are minor. I'm also mindful that Wilson was still tweaking the show at the time of his death, and probably would have laughed at the critics who loved the parts he hated, and shook his head at the parts he liked but we didn't get.
But I'll tell you one thing right now: I bet Tiger Woods isn't happy that Wilson turnd him into the literal poster boy for black Americans who sold out to the racist white establishment. Never mind that Woods is of mixed-race heritage, and can't control the fact that too many people look at him, and others, and see only black or white. But for Woods, this is like a Catholic getting sucker-punched by the bishop. Wilson is exploiting Woods' overachievment and culture-crossing fame to make a dramatic point. I can only hope Wilson was too modest to think that anything he wrote would matter enough to hurt such a rich and powerful celerity, but why attack a positive role model when there's so many Big Shots out that are begging to be taken down?
Can you tell I'm a golfer? So forgive me if I sound a little, ahem, teed off. Oh, well, it's Palm Sunday, so the Masters is just arond Amen Corner.
Anybody else have something to say about "Radio Golf"? This would be the time and place.
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