Told you I would post soon; no reason to wait, I guess.
Abstract: Great fun, very colorful, touches of MontyPython, and most adults should enjoy it as well. Lotta fart jokes, though, so stuffy (and regular) parents should beware: you'll have to explain on the way home why the giant was wrong to do all that "whizzpoppping."
Theater review
What: “The B.F.G. (Big Friendly Giant)”
When: through Feb. 10
Where: The Palace Theatre, 7 Ledgewood Ave. (Route 183), Netcong
How much: $14; $10 seniors and students
Info: (973) 347-4946; www.growingstage.org
By WILLIAM WESTHOVEN
Staff Writer
Last weekend was a good one for giant fans. Not only did the New York football Giants earn a ticket to the Super Bowl, but another big giant made quite an impression in Netcong.
At the Growing Stage, however, the giants are battling each other in “The B.F.G. (Big Friendly Giant),” another stage adaptation of a story by Roald Dahl, better known for “Charlie and the Chocolate Factory” and “James and the Giant Peach.” English, Oxford-educated David Wood adapted the Welsh writer’s story, but this production carries the unmistakable trademarks of longtime Growing Stage designer-director Perry Arthur Kroeger.
Kroeger knows how to delight the children these shows are meant for, but also knows how to twist the action in ways that will keep the parents from squirming in their seats. He pushes the limits of good taste at times — parents may have to review good and bad body noises with their kids on the way home — but Kroeger enlivens this colorful romp with nearly 100 props and some cheeky, Monty Python-inspired silliness.
Dahl dabbled in black humor as well, and “B.F.G.” also reprises one of his familiar scenarios, which presents a single adult who becomes a champion for children persecuted by other adults. At first, we’re not so sure the hero is very nice, since the play begins with the unnamed giant kidnapping a pigtailed orphan, Sophie, and bringing her to giant country.
Sophie is quickly relieved to learn that he is known as the Big Friendly Giant, or B.F.G. for short, and spends his day catching dreams for children. He’s also a vegetarian, in contrast to the other giants, who like to snack on children (one prefers Turks, another favors English).
A plot of sorts develops when Sophie and B.F.G. learn the other giants plan to turn her orphanage into a British buffet. With the help of the Queen of England, they manage to serve up the happy ending that you can always count on at the Growing Stage, the state’s only professional resident company devoted to children’s theater.
Equity professionals anchor the cast, beginning with Jason Szamreta as the B.F.G. Nikole Sara Rizzo makes her Palace Theatre debut as Sophie, while Bill Edwards, a regular on the regional scene, makes his Growing stage debut in a variety of roles.
Szamreta affects a chewy Down Under accent (Dahl hints at Giant Country being west of East Rutherford, in the neighborhood of Australia or New Zealand) that complements the B.F.G.’s colloquial English, full of playful words including snozzcumber (a revolting vegetable) and whizzpopping (a body noise similar to a burp, but originating further south).
Rizzo manages to be convincing as a child without resorting to the whiny, cloying clichés grownups use when acting childish, and operates a small puppet twin that the giant speaks to, which establishes Szamereta’s giant perspective.
Edwards and the remaining ensemble (including another professional newcomer, Rachel Schwartz, along with community artists Caitlin Orvetz, David Yashin and Ralph Wallace) have their share of fun, but the second act belongs to Lori B. Lawrence, who channels her inner ham as the wobbly, warbling Queen of England. Mugging and cooing under a tiara and a purple-grey wig, her portrayal of this silly monarch is more John Cleese than Helen Mirren, and is the comic highlight of a very young 2008 theater season.
Kroeger also takes some inspiration from the British school of broad humor. His cardboard, cartoon-cutout “costumes” used to portray many characters will remind adults of Terry Gilliam’s animated skits on the old “Monty Python’s Flying Circus” and had the audience in stitches.
Black lights, smoke and other effects give this show a slightly psychedelic quality that will appeal to a broad range of ages. Again, Kroeger flirts with the edges of good taste — the whizzpopping jokes go on so long that one character sprays Lysol — but sometimes, it’s worth the guilt to laugh this much.
Monday, January 21, 2008
Getting busy
Nearly over the hump, dayjob-wise, and not a minute too soon. Skipped the big premieres last weekend at George Street and Two River, and will skip the delayed Albee premiere Friday at McCarter. But I did get to the Growin Stage to see a fun "B.F.G. (Big Friendly Giant)" last Friday, cause that was the geographical imperative. Review preview will post very soon.
In the same spirit, this weekend I'll be at the premiere of "Almost Maine" at the Bickford and "The Miracle Worker" at Paper Mill. I'll catch up with Albee's "Me Myself and I" soon, while the world premiere of "Flying Crows" opens Jan. 31 at Playwrights Theatre.
Hmm ... perhaps I'll do a double-review of the two world premieres, which by my calendar will make the paper by Feb. 8.
There's something for you guys to look forward to. In the meantime, big deadlines still loom, so let me go.
Congrats to the Giants. Like they say in Piscataway, gotta keep choppin'.
In the same spirit, this weekend I'll be at the premiere of "Almost Maine" at the Bickford and "The Miracle Worker" at Paper Mill. I'll catch up with Albee's "Me Myself and I" soon, while the world premiere of "Flying Crows" opens Jan. 31 at Playwrights Theatre.
Hmm ... perhaps I'll do a double-review of the two world premieres, which by my calendar will make the paper by Feb. 8.
There's something for you guys to look forward to. In the meantime, big deadlines still loom, so let me go.
Congrats to the Giants. Like they say in Piscataway, gotta keep choppin'.
Catching up with Paper Mill
I'm a little late in posting this but since I didn't get the exclusive, I guess there was no hurry.
Congrats to Mark S. Hoebee on his elevation from interim to permanent artistic director at Paper Mill Playhouse. He's certainly earned it, staying on the sinking ship while others bailed. Hard to blame many of them, given the circumstances, but the ship didn't sink, so Hoebee appropriately gets to keep steering.
He still faces daunting challenges--and must adjust to a new managing administration--so the future is anything but certain. But we'll be rooting for him and Paper Mill.
The complete release follows.
Hoebee Takes Top Artistic Leadership Post
at Paper Mill Playhouse
(Millburn, NJ) January 17, 2008 – The Paper Mill Playhouse Board of Trustees is proud to announce that Mark S. Hoebee, Paper Mill’s Acting Artistic Director since March of 2007 has been promoted to Artistic Director effective immediately. Mr. Hoebee joined Paper Mill Playhouse in June of 2000 as Associate Artistic Director. Most recently Mr. Hoebee directed the critically acclaimed production of Meet Me in St. Louis at the New Jersey theatre.
Mark S. Hoebee is a director and choreographer whose work has been seen at theaters all over North America. In the fall of 2006, Mark directed the Actors Fund Benefit Concert of The Best Little Whorehouse in Texas at the August Wilson Theatre which starred Emily Skinner, Terry Mann and Academy Award winner Jennifer Hudson as well as Songs For NU York, a benefit for Northwestern University at The Promenade Theatre which starred Tony Roberts, Penny Fuller and Patricia Neal. In recent years he has directed five companies of Victor/Victoria including the first national tour starring Grammy® Award winner Toni Tennille, Almost Like Being In Love: An Evening With Lerner and Loewe which toured the United States and Canada starring Diahann Carroll and regional tours of Company and Dreamgirls. He directed Paper Mill’s highly lauded productions of Meet Me in St. Louis, Hello, Dolly! starring Tovah Feldshuh, The King & I starring Kevin Gray and Carolee Carmello, Dreamgirls, and in 2002 was granted special permission from Sir Cameron Macintosh to direct an all-new production of Miss Saigon for Paper Mill's stage.
In spring of 2005, Mark worked along side Richard Maltby, Jr. and David Shire as he directed and choreographed the new version of their 1983 Broadway show Baby and the following winter he directed and choreographed the world premiere of Tom Jones and Joseph Thalken’s Harold and Maude: The Musical starring Estelle Parsons.
“Mark has been an essential leader during the ‘Save the Paper Mill’ campaign,” says Kenneth Thorn, Paper Mill’s Board Chair. “Mark’s artistic excellence has a national reputation and we are proud to call him our Artistic Director.”
“Mark Hoebee and I have developed a terrific working relationship over the past several months,” says Mark W. Jones, Paper Mill’s Executive Director, “he has a true artistic vision for the theatre that our audiences can relate to.”
“I hope to continue, as well as deepen, Paper Mill’s historic role of providing a stage for excellence in American musical theatre,” says Mark S. Hoebee. “Paper Mill is my home, I understand what our patrons are looking for and I know Mark Jones and I can revitalize this flagship theatre.”
Mark S. Hoebee has over forty shows to his credit as a director and/or choreographer including such standards as 42nd Street, Gypsy, Brigadoon, Singin’ In the Rain, West Side Story and Sweet Charity (for which he was awarded Chicago’s Joseph Jefferson Award as Best Choreographer), as well as rarely produced shows like Grand Hotel (the American Stock Premiere), Baby (starring Liz Callaway), 70 Girls 70, The First, Romance/Romance and Windy City. Mark made his Network television debut as choreographer for the highly rated CBS show Touched by an Angel. The episode guest starred Carol Burnett, Rita Moreno, Carol Channing and Tim Conway.
His performance credits include the Broadway companies of Jerome Robbins’ Broadway, Nick & Nora, Beauty and the Beast, the Menken/Ahrens A Christmas Carol, as well as working alongside Blake Edwards and Rob Marshall in Victor/Victoria starring Julie Andrews. He has also appeared in national touring companies of Guys and Dolls, A Chorus Line – The Broadway Tour of America, Sweet Charity directed by Bob Fosse, Camelot with Richard Harris, and The Best Little Whorehouse in Texas.
Coming up next at Paper Mill Playhouse is the heart-warming mainstage production of The Miracle Worker. Before Helen Keller became a world famous speaker, author, and advocate, she was a blind, deaf, and mostly mute child living in Alabama in the 1880's. Misunderstood, pitied, and consequently spoiled by her family, at the age of six she terrorized the household with her tantrums and tricks. Then, Anne Sullivan arrived. She was merely twenty years old herself, but Anne held the key that would unlock the door between Helen and the world. William Gibson's Tony Award-winning play (adapted into the Academy Award-winning film) unfolds the trials and tribulations Anne and Helen encountered as they forged what would become a 49-year-long friendship. From their isolation in the family cottage house to the watershed moment when Helen finally understood the concept of language and communication, The Miracle Worker is a profoundly moving retelling of the groundbreaking work of two pioneers, as well as the volatile relationship between them. The Miracle Worker will run at the Millburn theatre from January 23, 2008 through February 24, 2008. There are three added student matinee performances on February 6, 13 and 14 at 11:00am. The Miracle Worker is supported in part by an award from the National Endowment for the Arts.
The Miracle Worker will play the following performance schedule: Wednesdays at 7:30PM, Thursdays at 2:00PM & 7:30PM, Fridays at 8:00PM, Saturdays at 2:00PM & 8:00PM and Sundays at 2:00PM & 7:30PM. Single tickets are now on sale and range in price from $25 to $92. Student rush tickets are $20 and are available the day of performance in person with current student ID. Tickets may be purchased by calling 973-376-4343, or at the Paper Mill Box Office on Brookside Drive in Millburn, or online at www.papermill.org. Visa, MasterCard, Discover and American Express accepted. Groups of ten or more can receive up to a 25% discount on tickets and student groups can attend any performance for only $20 per ticket. For more information regarding group purchases please call 973-379-3636 ext. 2438. For all performances from Wednesday, January 23rd through Sunday, January 27th, buy an adult ticket and receive a children’s ticket for half price (some restrictions may apply).
Rounding out the season is the enduring comedy Steel Magnolias (March 5-April 6), the classic Cole Porter Masterpiece Kiss Me, Kate (April 16-May18) and the “freakishly funny” musical Little Shop of Horrors (June 4-July 6). Visit Paper Mill’s website for a complete list of programming at www.papermill.org.
PAPER MILL PLAYHOUSE, a not-for-profit arts organization, is one of the country's leading regional theatres and is supported in part by funds from the New Jersey State Council on the Arts/Department of State, A Partner Agency of the National Endowment for the Arts and by funds from the National Endowment for the Arts, in addition to contributions from many corporations, foundations, and individuals. Paper Mill Playhouse is a member of Theatre Communications Group, the National Alliance for Musical Theatre, the Council of Stock Theatres, and the New Jersey Theatre Alliance.
Congrats to Mark S. Hoebee on his elevation from interim to permanent artistic director at Paper Mill Playhouse. He's certainly earned it, staying on the sinking ship while others bailed. Hard to blame many of them, given the circumstances, but the ship didn't sink, so Hoebee appropriately gets to keep steering.
He still faces daunting challenges--and must adjust to a new managing administration--so the future is anything but certain. But we'll be rooting for him and Paper Mill.
The complete release follows.
Hoebee Takes Top Artistic Leadership Post
at Paper Mill Playhouse
(Millburn, NJ) January 17, 2008 – The Paper Mill Playhouse Board of Trustees is proud to announce that Mark S. Hoebee, Paper Mill’s Acting Artistic Director since March of 2007 has been promoted to Artistic Director effective immediately. Mr. Hoebee joined Paper Mill Playhouse in June of 2000 as Associate Artistic Director. Most recently Mr. Hoebee directed the critically acclaimed production of Meet Me in St. Louis at the New Jersey theatre.
Mark S. Hoebee is a director and choreographer whose work has been seen at theaters all over North America. In the fall of 2006, Mark directed the Actors Fund Benefit Concert of The Best Little Whorehouse in Texas at the August Wilson Theatre which starred Emily Skinner, Terry Mann and Academy Award winner Jennifer Hudson as well as Songs For NU York, a benefit for Northwestern University at The Promenade Theatre which starred Tony Roberts, Penny Fuller and Patricia Neal. In recent years he has directed five companies of Victor/Victoria including the first national tour starring Grammy® Award winner Toni Tennille, Almost Like Being In Love: An Evening With Lerner and Loewe which toured the United States and Canada starring Diahann Carroll and regional tours of Company and Dreamgirls. He directed Paper Mill’s highly lauded productions of Meet Me in St. Louis, Hello, Dolly! starring Tovah Feldshuh, The King & I starring Kevin Gray and Carolee Carmello, Dreamgirls, and in 2002 was granted special permission from Sir Cameron Macintosh to direct an all-new production of Miss Saigon for Paper Mill's stage.
In spring of 2005, Mark worked along side Richard Maltby, Jr. and David Shire as he directed and choreographed the new version of their 1983 Broadway show Baby and the following winter he directed and choreographed the world premiere of Tom Jones and Joseph Thalken’s Harold and Maude: The Musical starring Estelle Parsons.
“Mark has been an essential leader during the ‘Save the Paper Mill’ campaign,” says Kenneth Thorn, Paper Mill’s Board Chair. “Mark’s artistic excellence has a national reputation and we are proud to call him our Artistic Director.”
“Mark Hoebee and I have developed a terrific working relationship over the past several months,” says Mark W. Jones, Paper Mill’s Executive Director, “he has a true artistic vision for the theatre that our audiences can relate to.”
“I hope to continue, as well as deepen, Paper Mill’s historic role of providing a stage for excellence in American musical theatre,” says Mark S. Hoebee. “Paper Mill is my home, I understand what our patrons are looking for and I know Mark Jones and I can revitalize this flagship theatre.”
Mark S. Hoebee has over forty shows to his credit as a director and/or choreographer including such standards as 42nd Street, Gypsy, Brigadoon, Singin’ In the Rain, West Side Story and Sweet Charity (for which he was awarded Chicago’s Joseph Jefferson Award as Best Choreographer), as well as rarely produced shows like Grand Hotel (the American Stock Premiere), Baby (starring Liz Callaway), 70 Girls 70, The First, Romance/Romance and Windy City. Mark made his Network television debut as choreographer for the highly rated CBS show Touched by an Angel. The episode guest starred Carol Burnett, Rita Moreno, Carol Channing and Tim Conway.
His performance credits include the Broadway companies of Jerome Robbins’ Broadway, Nick & Nora, Beauty and the Beast, the Menken/Ahrens A Christmas Carol, as well as working alongside Blake Edwards and Rob Marshall in Victor/Victoria starring Julie Andrews. He has also appeared in national touring companies of Guys and Dolls, A Chorus Line – The Broadway Tour of America, Sweet Charity directed by Bob Fosse, Camelot with Richard Harris, and The Best Little Whorehouse in Texas.
Coming up next at Paper Mill Playhouse is the heart-warming mainstage production of The Miracle Worker. Before Helen Keller became a world famous speaker, author, and advocate, she was a blind, deaf, and mostly mute child living in Alabama in the 1880's. Misunderstood, pitied, and consequently spoiled by her family, at the age of six she terrorized the household with her tantrums and tricks. Then, Anne Sullivan arrived. She was merely twenty years old herself, but Anne held the key that would unlock the door between Helen and the world. William Gibson's Tony Award-winning play (adapted into the Academy Award-winning film) unfolds the trials and tribulations Anne and Helen encountered as they forged what would become a 49-year-long friendship. From their isolation in the family cottage house to the watershed moment when Helen finally understood the concept of language and communication, The Miracle Worker is a profoundly moving retelling of the groundbreaking work of two pioneers, as well as the volatile relationship between them. The Miracle Worker will run at the Millburn theatre from January 23, 2008 through February 24, 2008. There are three added student matinee performances on February 6, 13 and 14 at 11:00am. The Miracle Worker is supported in part by an award from the National Endowment for the Arts.
The Miracle Worker will play the following performance schedule: Wednesdays at 7:30PM, Thursdays at 2:00PM & 7:30PM, Fridays at 8:00PM, Saturdays at 2:00PM & 8:00PM and Sundays at 2:00PM & 7:30PM. Single tickets are now on sale and range in price from $25 to $92. Student rush tickets are $20 and are available the day of performance in person with current student ID. Tickets may be purchased by calling 973-376-4343, or at the Paper Mill Box Office on Brookside Drive in Millburn, or online at www.papermill.org. Visa, MasterCard, Discover and American Express accepted. Groups of ten or more can receive up to a 25% discount on tickets and student groups can attend any performance for only $20 per ticket. For more information regarding group purchases please call 973-379-3636 ext. 2438. For all performances from Wednesday, January 23rd through Sunday, January 27th, buy an adult ticket and receive a children’s ticket for half price (some restrictions may apply).
Rounding out the season is the enduring comedy Steel Magnolias (March 5-April 6), the classic Cole Porter Masterpiece Kiss Me, Kate (April 16-May18) and the “freakishly funny” musical Little Shop of Horrors (June 4-July 6). Visit Paper Mill’s website for a complete list of programming at www.papermill.org.
PAPER MILL PLAYHOUSE, a not-for-profit arts organization, is one of the country's leading regional theatres and is supported in part by funds from the New Jersey State Council on the Arts/Department of State, A Partner Agency of the National Endowment for the Arts and by funds from the National Endowment for the Arts, in addition to contributions from many corporations, foundations, and individuals. Paper Mill Playhouse is a member of Theatre Communications Group, the National Alliance for Musical Theatre, the Council of Stock Theatres, and the New Jersey Theatre Alliance.
Thursday, January 17, 2008
SNEAK PREVIEW STNJ 20008
Yes, he's still alive.
Sorry for the sporadic posts of late, but just hasn't been any time. Still working on the Daily Record's two-part Forecast business section. Good thing there haven't been any openings since early December (another reason for the lack of posts), since I've been working weekends as well.
That all changes this week. I'll be at the Growing Stage this weekend (while still in full deadline mode). Following week, I've got the Bickford ("Almost Maine") and Paper Mill ("The Miracle Worker").
But the big news of the moment is we got the release on the 2008 schedule at Shakespeare Theatre of New Jersey. I'll post the whole shebang following my notes, but the highlight will likely be Bonnie Monte directing Laila Robins in "Streetcar." Too bad we're going to have to wait many months for that one--reminds me of when I have to buy concert tickets six months in advance, and you just can't wait one more day!
Also should be fun to see "Compleat Works of Wm. Shakespeare Abridged" on the outdoor stage. And, of course, it will be interesting to see who gets the few, but plumb, comic roles this comedy offers. I've got a few ideas (Greg Jackson, anyone? And we haven't seen David Foubert in a while--these guys are funny) but we'll lave it to the professionals.
A few others--"Comedy of Errors," "Romeo and Juliet," are somewhat overdone but typically crowd pleasers, and you have to put fannies in the seats.
Anyway, it's exciting news from what I call the state's most consistent source of top-rate professional theater.
PS: We read this morning in another Paper that Mark S. Hoebee was promoted from acting to permanent artistic director. Congrats to him and well-deserved, after keeping the ship from sinking for the past year. I probably overlooked him in consideration for my 2007 "Hardest Working Man in NJ Showbiz" award.
PPSS: I may have some career and blog future announcements coming soon--all good. Stay tuned.
Anyway, here's the release:
The Shakespeare Theatre of New Jersey
Announces an epic 2008 Season
Increased discounts for subscriptions and ticket packages also announced
Madison, NJ – The Shakespeare Theatre of New Jersey today announced seven of the eight productions of its 2008 Season, on the heels of closing its record-breaking 45th Anniversary Season which saw the addition of a 7th play on the Main Stage. “The 2007 season was extraordinary,” said Artistic Director Bonnie J. Monte who begins her 18th Season in 2008. “In addition to each of our productions receiving tremendous critical acclaim, we saw an increase in attendance including our famed Outdoor Stage which broke all records with a more than 40 percent increase. Our 2008 Season promises to be an equally thrilling one, with an amazing line-up of masterpieces appealing to a broad many generations of theatergoers!”
The Shakespeare Theatre also announced today that the 2008 Season would feature increased discounts on subscriptions and ticket packages—offering subscribers substantial discounts of up to 45% off single ticket prices. “Our priority has always been to make our performances available to the broadest spectrum of audiences as possible. We believe, with these increased discounts, we have a subscription for everyone,” said Ms. Monte. With the new pricing, Complete Works subscriptions, which provide a ticket to each of the seven Main Stage productions of the 2008 season, begin at $105—a savings of more than $90 if tickets were purchased individually. As always, student Complete Works subscriptions are available for $70. In addition to the substantial discounts, subscriber benefits include free ticket exchanges and an exchange policy that even allows for last minute exchanges. “In 2008, we’re starting an exclusive Subscriber email address, so if a patron is stuck at work, or even stuck in traffic, they can instantly send us an email, or, of course, give us a call,” Ms. Monte explained.
Laughter kicks off the 2008 Season on April 29th with William Shakespeare’s The Comedy of Errors. Two sets of identical twins, separated at birth, find themselves in the same city on the same fast-paced, bewildering day in Shakespeare’s riotous farce of wild misadventures and mistaken identities. The Comedy of Errors will run from April 29th through May 18th.
Beginning May 28th and continuing through June 22 will be Amadeus – Peter Shaffer’s thrilling tale of the young and brilliant Mozart and the fanatic malcontent Salieri who plots to ruin his career and smother his genius.
The summer season will also feature the entire Shakespeare canon “under the stars” at the Shakespeare Theatre’s Outdoor Stage – the Greek Theatre on the campus of the College of St. Elizabeth in Morristown. Beginning June 18th and running through July 20th, family audiences will roar with laughter at The Compleat Works of Wllm Shkspr (abridged). All of Shakespeare’s 37 plays are “performed” with lightning speed (sometimes backwards!) in this unique and wildly celebrated romp penned by the popular and zany Reduced Shakespeare Company.
One of Shakespeare’s greatest masterpieces—King Lear—takes the Main Stage July 2nd and continues through July 27th. This production will star renowned classic actor and Tony Award nominee Daniel Davis, known for his brilliant work on Broadway and at the nation’s most prestigious theatres, as well as for his witty and acerbic portrayal of Niles the butler on the television series The Nanny. Davis also starred in the Tony Award winning Broadway revival of La Cage aux Folles and The Frogs.
Noel Coward’s comedy Private Lives begins performances on August 6th and continues through August 31st. A divorced couple, each newly remarried, accidently find themselves in adjoining honeymoon hotel suites in this quick-witted “confection” by the modern master of comedies of manners.
Beginning the Fall portion of the season will be Tennessee Williams’ A Streetcar Named Desire running September 10th through October 5th. Seen for the first time at The Shakespeare Theatre under the artistic direction of Bonnie J. Monte, this American classic will feature Shakespeare Theatre and Broadway veteran Laila Robins as the legendary Blanche DuBois. Robins was last seen on the Shakespeare Theatre stage in highly acclaimed The Cherry Orchard. Her Broadway credits include The Heartbreak House, Frozen and The Real Thing.
The most famous of all love stories, Shakespeare’s Romeo and Juliet, will begin performances on October 15th and continue through November 16th. Seen on the Main Stage for the first time in a decade, this production will also feature special morning performances for students.
The 2008 Season will conclude with a yet to be announced production. Beginning performances on December 3rd and continuing through December 28th, the holiday offering promises to be in the same family-oriented tradition of past holiday productions such as A Midwinter Night’s Dream, As You Like It, and A Christmas Carol.
Advance orders for Complete Works subscriptions, featuring tickets to all seven Main Stage productions, are now being taken. Complete Works subscriptions range in price from $105 to $378. Student subscriptions are available for $70. Call The Shakespeare Theatre Box Office at 973-408-5600. The Complete Works subscription features up to 45% percent savings off the cost of regular tickets, the best seats to all seven Main Stage productions; free, easy and unlimited ticket exchanges should your schedule change; discounts on additional tickets; and the convenience of having your tickets in hand and dates scheduled in advance. Call the box office at 973-408-5600. Look for more information at www.ShakespeareNJ.org
The Shakespeare Theatre of New Jersey’s Main Stage, the 308-seat F.M. Kirby Shakespeare Theatre, is conveniently located in Madison at 36 Madison Avenue (Route 124) at Lancaster Road (on the Drew University campus), just minutes from routes 287, 78 and 10. Parking is free. The Outdoor Stage is located at the Greek Theatre on the campus of the College of St. Elizabeth in Morristown. The F.M. Kirby Shakespeare Theatre is barrier free with access into the Theatre via a ramp and elevator access to all floors. Wheelchair seating and transfer seating is available. Braille and large print programs are available. Infrared listening devices are available free of charge. Some performances are audio described, captioned and sign-language interpreted. Contact the theatre for more information. For more information, or to purchase tickets, call 973-408-5600 or visit www.ShakespeareNJ.org.
Sorry for the sporadic posts of late, but just hasn't been any time. Still working on the Daily Record's two-part Forecast business section. Good thing there haven't been any openings since early December (another reason for the lack of posts), since I've been working weekends as well.
That all changes this week. I'll be at the Growing Stage this weekend (while still in full deadline mode). Following week, I've got the Bickford ("Almost Maine") and Paper Mill ("The Miracle Worker").
But the big news of the moment is we got the release on the 2008 schedule at Shakespeare Theatre of New Jersey. I'll post the whole shebang following my notes, but the highlight will likely be Bonnie Monte directing Laila Robins in "Streetcar." Too bad we're going to have to wait many months for that one--reminds me of when I have to buy concert tickets six months in advance, and you just can't wait one more day!
Also should be fun to see "Compleat Works of Wm. Shakespeare Abridged" on the outdoor stage. And, of course, it will be interesting to see who gets the few, but plumb, comic roles this comedy offers. I've got a few ideas (Greg Jackson, anyone? And we haven't seen David Foubert in a while--these guys are funny) but we'll lave it to the professionals.
A few others--"Comedy of Errors," "Romeo and Juliet," are somewhat overdone but typically crowd pleasers, and you have to put fannies in the seats.
Anyway, it's exciting news from what I call the state's most consistent source of top-rate professional theater.
PS: We read this morning in another Paper that Mark S. Hoebee was promoted from acting to permanent artistic director. Congrats to him and well-deserved, after keeping the ship from sinking for the past year. I probably overlooked him in consideration for my 2007 "Hardest Working Man in NJ Showbiz" award.
PPSS: I may have some career and blog future announcements coming soon--all good. Stay tuned.
Anyway, here's the release:
The Shakespeare Theatre of New Jersey
Announces an epic 2008 Season
Increased discounts for subscriptions and ticket packages also announced
Madison, NJ – The Shakespeare Theatre of New Jersey today announced seven of the eight productions of its 2008 Season, on the heels of closing its record-breaking 45th Anniversary Season which saw the addition of a 7th play on the Main Stage. “The 2007 season was extraordinary,” said Artistic Director Bonnie J. Monte who begins her 18th Season in 2008. “In addition to each of our productions receiving tremendous critical acclaim, we saw an increase in attendance including our famed Outdoor Stage which broke all records with a more than 40 percent increase. Our 2008 Season promises to be an equally thrilling one, with an amazing line-up of masterpieces appealing to a broad many generations of theatergoers!”
The Shakespeare Theatre also announced today that the 2008 Season would feature increased discounts on subscriptions and ticket packages—offering subscribers substantial discounts of up to 45% off single ticket prices. “Our priority has always been to make our performances available to the broadest spectrum of audiences as possible. We believe, with these increased discounts, we have a subscription for everyone,” said Ms. Monte. With the new pricing, Complete Works subscriptions, which provide a ticket to each of the seven Main Stage productions of the 2008 season, begin at $105—a savings of more than $90 if tickets were purchased individually. As always, student Complete Works subscriptions are available for $70. In addition to the substantial discounts, subscriber benefits include free ticket exchanges and an exchange policy that even allows for last minute exchanges. “In 2008, we’re starting an exclusive Subscriber email address, so if a patron is stuck at work, or even stuck in traffic, they can instantly send us an email, or, of course, give us a call,” Ms. Monte explained.
Laughter kicks off the 2008 Season on April 29th with William Shakespeare’s The Comedy of Errors. Two sets of identical twins, separated at birth, find themselves in the same city on the same fast-paced, bewildering day in Shakespeare’s riotous farce of wild misadventures and mistaken identities. The Comedy of Errors will run from April 29th through May 18th.
Beginning May 28th and continuing through June 22 will be Amadeus – Peter Shaffer’s thrilling tale of the young and brilliant Mozart and the fanatic malcontent Salieri who plots to ruin his career and smother his genius.
The summer season will also feature the entire Shakespeare canon “under the stars” at the Shakespeare Theatre’s Outdoor Stage – the Greek Theatre on the campus of the College of St. Elizabeth in Morristown. Beginning June 18th and running through July 20th, family audiences will roar with laughter at The Compleat Works of Wllm Shkspr (abridged). All of Shakespeare’s 37 plays are “performed” with lightning speed (sometimes backwards!) in this unique and wildly celebrated romp penned by the popular and zany Reduced Shakespeare Company.
One of Shakespeare’s greatest masterpieces—King Lear—takes the Main Stage July 2nd and continues through July 27th. This production will star renowned classic actor and Tony Award nominee Daniel Davis, known for his brilliant work on Broadway and at the nation’s most prestigious theatres, as well as for his witty and acerbic portrayal of Niles the butler on the television series The Nanny. Davis also starred in the Tony Award winning Broadway revival of La Cage aux Folles and The Frogs.
Noel Coward’s comedy Private Lives begins performances on August 6th and continues through August 31st. A divorced couple, each newly remarried, accidently find themselves in adjoining honeymoon hotel suites in this quick-witted “confection” by the modern master of comedies of manners.
Beginning the Fall portion of the season will be Tennessee Williams’ A Streetcar Named Desire running September 10th through October 5th. Seen for the first time at The Shakespeare Theatre under the artistic direction of Bonnie J. Monte, this American classic will feature Shakespeare Theatre and Broadway veteran Laila Robins as the legendary Blanche DuBois. Robins was last seen on the Shakespeare Theatre stage in highly acclaimed The Cherry Orchard. Her Broadway credits include The Heartbreak House, Frozen and The Real Thing.
The most famous of all love stories, Shakespeare’s Romeo and Juliet, will begin performances on October 15th and continue through November 16th. Seen on the Main Stage for the first time in a decade, this production will also feature special morning performances for students.
The 2008 Season will conclude with a yet to be announced production. Beginning performances on December 3rd and continuing through December 28th, the holiday offering promises to be in the same family-oriented tradition of past holiday productions such as A Midwinter Night’s Dream, As You Like It, and A Christmas Carol.
Advance orders for Complete Works subscriptions, featuring tickets to all seven Main Stage productions, are now being taken. Complete Works subscriptions range in price from $105 to $378. Student subscriptions are available for $70. Call The Shakespeare Theatre Box Office at 973-408-5600. The Complete Works subscription features up to 45% percent savings off the cost of regular tickets, the best seats to all seven Main Stage productions; free, easy and unlimited ticket exchanges should your schedule change; discounts on additional tickets; and the convenience of having your tickets in hand and dates scheduled in advance. Call the box office at 973-408-5600. Look for more information at www.ShakespeareNJ.org
The Shakespeare Theatre of New Jersey’s Main Stage, the 308-seat F.M. Kirby Shakespeare Theatre, is conveniently located in Madison at 36 Madison Avenue (Route 124) at Lancaster Road (on the Drew University campus), just minutes from routes 287, 78 and 10. Parking is free. The Outdoor Stage is located at the Greek Theatre on the campus of the College of St. Elizabeth in Morristown. The F.M. Kirby Shakespeare Theatre is barrier free with access into the Theatre via a ramp and elevator access to all floors. Wheelchair seating and transfer seating is available. Braille and large print programs are available. Infrared listening devices are available free of charge. Some performances are audio described, captioned and sign-language interpreted. Contact the theatre for more information. For more information, or to purchase tickets, call 973-408-5600 or visit www.ShakespeareNJ.org.
Thursday, January 3, 2008
Happy New Year
Greetings from the next year of the rest of your life. Sorry that the posts have been sparse lately, but its been a perfect storm of work, holidays and the lack of new plays opening anywhere west of the Hudson.
January's going to be a tough month as it is the busy month for the business editor,including two Sunday forecast special sections coming out at the end of the month. Also a flurry of premieres beginning Jan. 18.
But I'll get through it. Don't I always?
In the meantime, follow the link below to my year-end awards column. And remember, you too, can win one of my unofficial awards in 2008. Just e-mail me and I'll send you a price list.
Just kidding, boss.
http://www.dailyrecord.com/apps/pbcs.dll/article?AID=/20071230/LIFE/712300324/1113
January's going to be a tough month as it is the busy month for the business editor,including two Sunday forecast special sections coming out at the end of the month. Also a flurry of premieres beginning Jan. 18.
But I'll get through it. Don't I always?
In the meantime, follow the link below to my year-end awards column. And remember, you too, can win one of my unofficial awards in 2008. Just e-mail me and I'll send you a price list.
Just kidding, boss.
http://www.dailyrecord.com/apps/pbcs.dll/article?AID=/20071230/LIFE/712300324/1113
Thursday, December 20, 2007
Checking in with Edward Albee
Just wanted to say hi and check in with you all. Between being so busy at work and, now, the lull that always follows the openings of Christmas shows, there's not much to blog about. It will be a light month here at Jersey Stages, but I'm looking forward to 2008, which promises to be full of top actors and, of course, the excitement of a new Edward Albee play at Princeton.
Speaking of Albee, I'm sadly going to have to skip the media meet with him on Friday, but I thought I would share the press release, which is kind of amusing. It follows at the end of this posting.
This weekend, I'll be working on my annual end-of-the-year awards, which won't be published untl Dec. 30. But some of the awards may leak out before that. Keep reading, because this is where the leak drips.
For those of you who don't plan to spend your Christmas break reading blogs, let me throw out an advance Merry Christmas and Happy Holiday to you all.
And to all a good night.
Read on, Albee-philes:
McCarter Theatre will be hosting a MEDIA MORNING
with America's premier living playwright EDWARD ALBEE
on Friday, December 21 from 11:30 to Noon
Mr. Albee is in Princeton for rehearsals of his newest play Me, Myself & I, which will have its world premiere from January 11 through February 17. Directed by McCarter Artistic Director Emily Mann, the production features Tyne Daly, Brian Murray, Colin Donnell, Michael Esper, Charlotte Parry and Stephen Payne.
This new play, commissioned by McCarter Theatre Center and Princeton University, is part of "The Albee Season," celebrating Mr. Albee's 80th birthday, and includes Peter and Jerry at Second Stage; The Sandbox and The American Dream at Cherry Lane Theatre and Occupant at Signature Theatre.
If you are interested in speaking with Ms. Mann or any cast members prior to 11:30 please let me know and I will do my best to arrange.
For background, please read Emily Mann's interview with Mr. Albee, which can be found at the McCarter blog http://www.mccarter.org/ under
Me, Myself & I. It's in four parts.
About the play
When identical twin brothers are both named Otto, how’s a mother (Tyne Daly) supposed to keep them straight? Master playwright Edward Albee is in top form with this dark, funny and moving play that takes sibling rivalry to existential heights.
To arrange an interview with Ms. Mann or cast members, please contact me ASAP at (contacts deleted) Also, please let me know if you plan to join Mr. Albee at 11:30 so that I can plan accordingly.
Thanks, Dan
Please note, Mr. Albee will not talk about what the play is about. Below, is a letter that will appear in the playbill for Me, Myself & I:
A Letter To An Audience I tend to become uncooperative—and occasionally downright hostile—when people ask me what my plays “are about”, especially the new ones, about which I’ve usually not assembled a provocative yet vague enough short paragraph to avoid answering the question, yet seeming to. What is Me, Myself & I about? Oh, about 2 hours, including intermission. Will that do? No; I guess not, though I do like it as an answer, for any play that can be explained (or properly described) in the desired sentence or two should be no longer than its description. A play is, after all, about everything that happens to the characters from the beginning of the play to the end and (unless the author has killed them all off by curtain) the characters’ lives before the play begins and after it ends. This means, as I see it, that a play is fully described (or explained) by the experience of seeing it. My plays are infrequently opaque, only occasionally complicated (though now and again complex) and can be enjoyed to their full, unless you bring to the theatre with you the baggage of predetermination—“a play must go like this!” So....pretend you’re at the first play you’ve ever seen—have that experience—and I think “what the play is about” will reveal itself quite readily. And, if you care to, let me know what you’ve experienced. Best wishes, Edward Albee
Speaking of Albee, I'm sadly going to have to skip the media meet with him on Friday, but I thought I would share the press release, which is kind of amusing. It follows at the end of this posting.
This weekend, I'll be working on my annual end-of-the-year awards, which won't be published untl Dec. 30. But some of the awards may leak out before that. Keep reading, because this is where the leak drips.
For those of you who don't plan to spend your Christmas break reading blogs, let me throw out an advance Merry Christmas and Happy Holiday to you all.
And to all a good night.
Read on, Albee-philes:
McCarter Theatre will be hosting a MEDIA MORNING
with America's premier living playwright EDWARD ALBEE
on Friday, December 21 from 11:30 to Noon
Mr. Albee is in Princeton for rehearsals of his newest play Me, Myself & I, which will have its world premiere from January 11 through February 17. Directed by McCarter Artistic Director Emily Mann, the production features Tyne Daly, Brian Murray, Colin Donnell, Michael Esper, Charlotte Parry and Stephen Payne.
This new play, commissioned by McCarter Theatre Center and Princeton University, is part of "The Albee Season," celebrating Mr. Albee's 80th birthday, and includes Peter and Jerry at Second Stage; The Sandbox and The American Dream at Cherry Lane Theatre and Occupant at Signature Theatre.
If you are interested in speaking with Ms. Mann or any cast members prior to 11:30 please let me know and I will do my best to arrange.
For background, please read Emily Mann's interview with Mr. Albee, which can be found at the McCarter blog http://www.mccarter.org/ under
Me, Myself & I. It's in four parts.
About the play
When identical twin brothers are both named Otto, how’s a mother (Tyne Daly) supposed to keep them straight? Master playwright Edward Albee is in top form with this dark, funny and moving play that takes sibling rivalry to existential heights.
To arrange an interview with Ms. Mann or cast members, please contact me ASAP at (contacts deleted) Also, please let me know if you plan to join Mr. Albee at 11:30 so that I can plan accordingly.
Thanks, Dan
Please note, Mr. Albee will not talk about what the play is about. Below, is a letter that will appear in the playbill for Me, Myself & I:
A Letter To An Audience I tend to become uncooperative—and occasionally downright hostile—when people ask me what my plays “are about”, especially the new ones, about which I’ve usually not assembled a provocative yet vague enough short paragraph to avoid answering the question, yet seeming to. What is Me, Myself & I about? Oh, about 2 hours, including intermission. Will that do? No; I guess not, though I do like it as an answer, for any play that can be explained (or properly described) in the desired sentence or two should be no longer than its description. A play is, after all, about everything that happens to the characters from the beginning of the play to the end and (unless the author has killed them all off by curtain) the characters’ lives before the play begins and after it ends. This means, as I see it, that a play is fully described (or explained) by the experience of seeing it. My plays are infrequently opaque, only occasionally complicated (though now and again complex) and can be enjoyed to their full, unless you bring to the theatre with you the baggage of predetermination—“a play must go like this!” So....pretend you’re at the first play you’ve ever seen—have that experience—and I think “what the play is about” will reveal itself quite readily. And, if you care to, let me know what you’ve experienced. Best wishes, Edward Albee
Monday, December 10, 2007
Review Preview: Doubt
So me and the missus took the Porsche to New Brunswick Saturday night to see "Doubt" at George Street Playhouse, and, wouldn't you know it, the valet parking was full and closed.
Don't you hate when that happens?
True story, but allow me to clarify: I've got a Porsche Cayenne on loan for a week to do a story on this four-wheeled, 400-horsepower high-roller suite.
No, I cannot afford a Porsche on a blogger's salary.
Anyway, here's a review of "Doubt" from a 10-year altar boy who, for the record, was never abused on or off the job. The only thing I worry about is the long-term effects of beathing in all that incense.
Theater review
If you want to go:
What: “Doubt”
When: through Dec. 23
Where: George Street Playhouse, 9 Livingston Ave., New Brunswick
How much: $28 to $64
Info: (732) 246-7717; www.gsponline.org
By WILLIAM WESTHOVEN
Staff Writer
Having conquered Broadway, the most celebrated new play of the millennium is now on the regional theater circuit. Having made its way to New Brunswick, there’s no doubt that “Doubt” is having a similar impact in New Jersey.
John Patrick Shanley’s powerhouse drama touts the aura of an Ali-Frazier fight at the Garden. In a single 90-minute act, some clever wordplay precedes a few rounds of bobbing and weaving before two heavyweights trade life-changing blows.
But instead of athletes in boxer shorts, Shanley matches soldiers of the cloth. In this corner, Sister Aloysius (Ann Dowd) is a no-nonsense principal of a Catholic School in the Bronx. In the other corner, charming Father Flynn (Dylan Chalfy), who may be engaging in some inappropriate nonsense with an adolescent male student.
In any era, the pairing puts Aloysius at a disadvantage, but particularly so in 1964, when the diocesan order would all but forbid even a principal nun to reprimand a priest.
“There’s no man I can go to, and the men run everything,” Aloysius tells her reluctant confidant, the brittle Sister James (Meghan Andrews). But full of righteous indignation, Aloysius mounts a crusade to force a confession out of the charismatic priest, who denies it all.
The sensitive subject matter adds a keen focus to the drama, but is secondary to the psychological conflict. The play’s opening lines, spoken by Flynn while preaching a sermon to the audience, put the author’s goal out front.
“What do you do when you’re not sure?” he asks. “Doubt can be a bond as powerful as certainty. When you have doubt, you are not alone.”
Aloysuis, though, has no doubts, despite her lack of evidence or witnesses. All she needed to see was one child pull his hand back when brushed by Flynn’s, and she knew what was going on.
“How can you be so sure?” James asks. “Experience,” Alyosius says, confident enough to lie and break vows to protect the children in her charge.
The quietly powerful conclusion measures justice for all, but some suffer more for their crimes than others. If you leave with doubt that everyone got what they deserved, you, too, will not be alone.
“Doubt” certainly won’t be mistaken for the feel-good holiday show of the season, but for people who crave a challenging night of theater regardless of the calendar, this production stands in a crowd of stocking-stuffer competition. Shanley, whose resume includes the screenplays for both the wonderful “Moonstruck” and the painfully bad “Joe vs. the Volcano,” has crafted a taught thriller that’s part mystery and part morality tale, a sledgehammer of conflict tempered with a delicate complement of humor and nostalgia.
Baby boomer graduates of Catholic school will laugh—and possibly wince—at early scenes in which Aloysius instructs James to curb her enthusiasm and deliver her lessons with a cold discipline. Dowd is an intimidating force of nature, dispensing her precise direction with syncopated diction. Still, you can’t help but laugh when she rails about the pagan heresy of “Frosty the Snowman,” or how ball-point pens lead to lazy children who “write like monkeys.”
Andrews is easy to identify and sympathize with, as she smoothly evolves from an eager novitiate to a conflicted educator who can’t understand how doing the right thing may require her to distance herself from God.
Chalfy also is convincing as the handsome priest whose charm works on everyone except Aloysius, while Rosalyn Coleman is slightly chilling in her single scene, as the mother of an abused child who is willing to look the other way as long as the boy graduates.
Director Anders Cato makes good use of the theater’s rotating stage. There’s only two sets—the principal’s Spartan office (set designer Hugh Landwehr nails the time and place, right down to the multicolored cinder blocks) and a weathered courtyard—but we experience the courtyard from different angles as different sides of the story are explored.
Now an essential part of the American theater landscape, there surely will be many future opportunities to see a production of this Pulitzer and Tony-winning treasure. But with the Broadway-level standard of this “Doubt,” there’s no reason to wait until next time.
Don't you hate when that happens?
True story, but allow me to clarify: I've got a Porsche Cayenne on loan for a week to do a story on this four-wheeled, 400-horsepower high-roller suite.
No, I cannot afford a Porsche on a blogger's salary.
Anyway, here's a review of "Doubt" from a 10-year altar boy who, for the record, was never abused on or off the job. The only thing I worry about is the long-term effects of beathing in all that incense.
Theater review
If you want to go:
What: “Doubt”
When: through Dec. 23
Where: George Street Playhouse, 9 Livingston Ave., New Brunswick
How much: $28 to $64
Info: (732) 246-7717; www.gsponline.org
By WILLIAM WESTHOVEN
Staff Writer
Having conquered Broadway, the most celebrated new play of the millennium is now on the regional theater circuit. Having made its way to New Brunswick, there’s no doubt that “Doubt” is having a similar impact in New Jersey.
John Patrick Shanley’s powerhouse drama touts the aura of an Ali-Frazier fight at the Garden. In a single 90-minute act, some clever wordplay precedes a few rounds of bobbing and weaving before two heavyweights trade life-changing blows.
But instead of athletes in boxer shorts, Shanley matches soldiers of the cloth. In this corner, Sister Aloysius (Ann Dowd) is a no-nonsense principal of a Catholic School in the Bronx. In the other corner, charming Father Flynn (Dylan Chalfy), who may be engaging in some inappropriate nonsense with an adolescent male student.
In any era, the pairing puts Aloysius at a disadvantage, but particularly so in 1964, when the diocesan order would all but forbid even a principal nun to reprimand a priest.
“There’s no man I can go to, and the men run everything,” Aloysius tells her reluctant confidant, the brittle Sister James (Meghan Andrews). But full of righteous indignation, Aloysius mounts a crusade to force a confession out of the charismatic priest, who denies it all.
The sensitive subject matter adds a keen focus to the drama, but is secondary to the psychological conflict. The play’s opening lines, spoken by Flynn while preaching a sermon to the audience, put the author’s goal out front.
“What do you do when you’re not sure?” he asks. “Doubt can be a bond as powerful as certainty. When you have doubt, you are not alone.”
Aloysuis, though, has no doubts, despite her lack of evidence or witnesses. All she needed to see was one child pull his hand back when brushed by Flynn’s, and she knew what was going on.
“How can you be so sure?” James asks. “Experience,” Alyosius says, confident enough to lie and break vows to protect the children in her charge.
The quietly powerful conclusion measures justice for all, but some suffer more for their crimes than others. If you leave with doubt that everyone got what they deserved, you, too, will not be alone.
“Doubt” certainly won’t be mistaken for the feel-good holiday show of the season, but for people who crave a challenging night of theater regardless of the calendar, this production stands in a crowd of stocking-stuffer competition. Shanley, whose resume includes the screenplays for both the wonderful “Moonstruck” and the painfully bad “Joe vs. the Volcano,” has crafted a taught thriller that’s part mystery and part morality tale, a sledgehammer of conflict tempered with a delicate complement of humor and nostalgia.
Baby boomer graduates of Catholic school will laugh—and possibly wince—at early scenes in which Aloysius instructs James to curb her enthusiasm and deliver her lessons with a cold discipline. Dowd is an intimidating force of nature, dispensing her precise direction with syncopated diction. Still, you can’t help but laugh when she rails about the pagan heresy of “Frosty the Snowman,” or how ball-point pens lead to lazy children who “write like monkeys.”
Andrews is easy to identify and sympathize with, as she smoothly evolves from an eager novitiate to a conflicted educator who can’t understand how doing the right thing may require her to distance herself from God.
Chalfy also is convincing as the handsome priest whose charm works on everyone except Aloysius, while Rosalyn Coleman is slightly chilling in her single scene, as the mother of an abused child who is willing to look the other way as long as the boy graduates.
Director Anders Cato makes good use of the theater’s rotating stage. There’s only two sets—the principal’s Spartan office (set designer Hugh Landwehr nails the time and place, right down to the multicolored cinder blocks) and a weathered courtyard—but we experience the courtyard from different angles as different sides of the story are explored.
Now an essential part of the American theater landscape, there surely will be many future opportunities to see a production of this Pulitzer and Tony-winning treasure. But with the Broadway-level standard of this “Doubt,” there’s no reason to wait until next time.
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