Wednesday, December 31, 2014

The 2014 New Jersey Footlights Awards*


2014 footlights

As the year comes to a close we looked back at the more than 60 plays that we (with Michael T. Mooney, Ruth Ross, and Sheila Abrams as guest contributors) had the opportunity to review since January 2014. The plays covered included mostly professional plus a small group of community theatre productions.
Due to overlapping schedules and travel concerns because of weather and other considerations (this year it also involved a bit of heart bypass surgery!) it was, of course, not physically possible to cover the nearly 100 productions that invited us to review. That said...here (with our review comments) is our selection of performers and/or productions to which we award a "Footlight" for excellence.
This was no easy task, the level of performances were equal to most of the activity across the Hudson. Not surprising since much of our talent works both sides of the river. Simply put...theater is alive and well in New Jersey.

INDIVIDUAL (Professional)

LEA ANTOLINI-LID (“Peter Pan” Centenary Stage Company-Hackettstown)
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“Now, here is where a barrage of superlatives are in order to describe the performance of Lea Antolini–Lid (photo). Her Peter Pan is extraordinary. She is a pure joy to watch (yes, worth the price of admission!). Clearly she is having the time of her (stage) life in this role. Her dancing and singing abilities have possibly never been more perfectly showcased. She charms from the dramatic first arrival in the Darling nursery in search of her shadow....flying of course, to the touching reunion with Wendy, a mother herself in the final scene.“

ANTOINETTE LaVECCHIA  (‘'I Loved, I Lost, I Made Spaghetti” George Street Playhouse-New Brunswick)
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“A funny one-woman show with dinner made live on stage! The one-woman play is based on a memoir of the same name by Giulia Melucci, adapted for the stage by Jacques LeMarre. Giulia (played by the irresistible Antoinette LaVecchia). The banquet is one part “Shirley Valentine” with a generous dollop of “Moonstruck” thrown in for local flavor. The entertaining result is as if Rachael Ray were on Dr. Phil – while cooking.

What the play itself might lack in dramatic spice is more than made up for by Ms. LaVecchia's 'abbondanza' of talent. Thanks to her, equal parts warmth and wit subtly flavor the evening and manage to elevate this culinary confessional from light repast to theatrical feast. Buon appetito!” (edited)


AMES ADAMSON (“Butler” New Jersey Repertory Theatre-Long Branch)
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“With a rock-solid script and assured direction, the success of the play falls to the actor cast as Butler. NJ Rep regular Ames Adamson (photo above right) is nothing short of magnificent in the title role. His is a considered, exacting performance that keeps us riveted throughout. Thanks to his odd period hairstyle and desk-jockey paunch, Adamson also looks alarmingly like photographs of the real-life Butler. The actor inhabits the character inside and out.”

GLORY CRAMPTON (“My Fair Lady” Algonquin Arts Theatre-Manasquan)
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“Glory days have returned to the Jersey Shore! Not Springsteen, but Crampton. Nationally known stage and recording star Glory Crampton (photo above right) is currently lighting up Manasquan's Algonquin Arts Theatre as Eliza Doolittle in MY FAIR LADY. New Jerseyans can be forgiven for having a moment of deja vu. Crampton starred in the classic Lerner and Loewe musical for the venerable Paper Mill Playhouse in 2002. A dozen years later, her 'squashed cabbage leaf' of a Cockney flower girl seems even more 'delightfully downtrodden', more 'deliciously dirty' (as her tutor Henry Higgins calls her).”

STEVEN L.BARRON (“Harvey” Centenary Stage Company)
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“Director Carl Wallnau has beautifully brought to life this tale of a man whose best friend and constant companion is a six foot and one inch tall rabbit… that only he, of course, can see. 
The success of the comedy belongs in large part to the performance of Steven L. Barron,  Barron is excellent. His Elwood has the perfect gentle, honest, naive qualities and gentlemanly demeanor so necessary to the success of the play. Barron's Elwood reminds us of the marvelous French comedian and film maker of the post war period, Jacques Tati. His character ​Monsieur Hulot had the same gentle quality. (edited)

PLAYS

THE ALCHEMIST (Shakespeare Theatre of New Jersey-Madison)
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“Madcap comedy opens at Shakespeare Theatre of New Jersey...think a cross of 'Kind Hearts and Coronets' and 'Noises Off​, with a heavy dose of the Marx Brothers​ at their zaniest.
The play is the rarely produced bawdy satire The Alchemist ​ by Ben Jonson.
Director (Bonnie) Monte (a recognized NJ theatre treasure), has skillfully brought this play to life with an outstanding ensemble of actors, all masters of comedy. This terrific cast of pros is led by four of the most eccentric characters in this play (where the lunatics rule)…Jon Barker excellent as Face, master of disguises; Bruce Cromer better than perfect as the charlatan Subtle; Aedin Moloney spot-on as the friendly prostitute and Brent Harris as the outrageous nobleman (magnificent gold costume). Harris performs with exceptional exuberance…a showstopper turn. Moloney is a very special, one-of-a-kind actress who greatly impressed us last season as George Eliot in the world premiere production of A Most Dangerous Woman. She teams beautifully with Barker and Cromer to make this a special theater event. The Alchemist​ is ​a bit of a marathon event… Monte has reworked the plot to a still robust 2 hours and forty-five minutes. Her remarkable effort required hundreds of cuts and word changes, ​plus deleted minor characters and locations. The result is outstanding theater.” Edited

BUTLER (New Jersey Repertory Theatre-Long Branch)
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                                                                   (Left-Right: John G. Williams, Ames Adamson)

“ A solid new play about the Civil War by Richard Strand. The play is pitch perfect in both structure and dialogue – a rarity for a world premiere. He paints a textual picture of a man who is more at home on the bench than the battlefield. Butler is a complex character, one with moral ambiguities – a beast with a brain. In his NJ Rep debut, director Joseph Discher stages the play with a no-nonsense briskness that always values words over movement, something that would please the Major General, no doubt.’

OUR TOWN (George Street Playhouse, New Brunswick)
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“ A wonderfully simple and heartfelt production returning the show to its NJ roots.
“Director David Esbjornson wisely eschews directorial trickery to present a clean, concise and ultimately traditional OUR TOWN that manages to fulfill Wilder's mission of being palpably modern while simultaneously recalling a lost time and place.  Esbjornson brilliantly reinforces those themes with subtle touches. Act Two's nuptials are set amid the orchestra section, involving us, the audience, in a way that never seems forced or gimmicky.
Mid-way through the play, Thornton Wilder has one of the town's youngest citizens muse on their place in the world: “Grover's Corners; Sutton County; New Hampshire; United States of America; Continent of North America; Western Hemisphere; the Earth; the Solar System; the Universe; the Mind of God.” Specific and universal – that's the brilliance of OUR TOWN and in aim this production excels.” (edited)

MARRY HARRY (American Theatre Group, Rahway)
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“A new old fashioned musical about love and romance.  As the title might suggest, MARRY HARRY is an old-fashioned boy-meets-girl love story….The tuneful new score by Dan Martin and Michael Biello is a lot like biscotti – sweet, satisfying and easily digested. If all this sounds terribly conventional – it is. Delightfully so! Book writer Jennifer Robbins inserts a modern sensibility, but it is really the uniformly excellent cast that grounds MARRY HARRY and keeps it consistently entertaining.
Director Kent Nicholson never forgets that the most important ingredient in this character-driven show is chemistry and toward that end he has assembled a first rate cast. Howie Michael Smith and Jillian Louis are bright and attractive nearly thirty-somethings – just as delightful to watch fall 'head over heals' as they are to listen to when they sing about it. As Big Harry and Debby, Danny Rutigliano and Michele Ragusa match them witty word for word and notable note for note. There isn't a finer musical theater character actress than Ragusa, who infuses every moment with expert comic timing and nuance. 
It's obvious that the development process has fine-tuned MARRY HARRY, an old-fashioned musical about falling in love. The result is a heart-felt love letter to musical comedy.” (edited)

CAMELOT (Two River Theatre-Red Bank)
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“By thinking out of the box, the creative team at Two River has given us a play that is less spectacle and more human. Eschewing the elaborate scenery and costumes of most other productions (e.g., Broadway, the Paper Mill Playhouse), director David Lee and his crackerjack production team provide this classic romantic triangle with more nuance than we usually associate with it. It's all about the people, folks.
“As Arthur, Oliver Thornton ---has a beautiful voice and a playful manner, as showcased in "I Wonder What the King Is Doing Tonight" and his vivid explanation of what simple folk do when they're blue.
Britney Coleman is a fetching Guenevere, a strong young woman who nevertheless longs to have men fight for her honor in the traditional way!
Nicholas Rodriguez (a Channing Tatum look-alike) is magnificent in the role of the arrogant French knight who crosses the Channel to join the Round Table. --And his rendition of "If Ever I Would Leave You" brings tears to the eyes.
Best of all, real chemistry, physical and psychological, is exhibited by this trio. We feel their longing, love and pain very keenly, unobscured by pomp and ceremony.” (edited)

SOUTH PACIFIC (Paper Mill Playhouse-Millburn)
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“Opening night of South Pacific at the Paper Mill Playhouse was truly "some enchanted evening" as Richard Rodgers' lush melodies and Oscar Hammerstein's clever and affecting lyrics, sung by attractive and talented actors, enveloped the playhouse's cavernous auditorium, transporting the audience to the South Pacific Ocean where Americans battled the Japanese in the 1940's.
Director Rob Ruggiero, choreographer Ralph Perkins and music director Brad Haak give us a production worthy of Broadway. The cast they have assembled is talented, energetic, attractive and have no trouble carrying both the music and the dance steps. Erin Mackey is a lovely Nellie. Her clear soprano soars as she reveals she's a cockeyed optimist who's in love with a wonderful guy whom she later wants to wash right outta her hair! (photo above).  As Emile de Becque, Mike McGowan conveys the man's gravity while letting us see how besotted he is with Nellie. He is very handsome, and his baritone bowls us over as he sings of that enchanted evening when he first spied Nellie. As Nellie slips through his fingers, he sings "This Nearly Was Mine" so poignantly that it brings a tear to the eye.
Doug Carpenter, as Lt. Joseph Cable, conveys the yearning of a young man far from home who falls in love with a native girl, winsomely played by Jessica Wu. Carpenter's tenor is especially suited to the song that Oscar Hammerstein wrote that sums up the play in a nutshell (and caused quite a stir when it was sung at the premiere), "You've Got to Be Taught." Tally Sessions' Luther Billis is a real operator, but one who can sing and dance, kicking up his heels as he leads the Seabees in their lament "There is Nothin' Like a Dame" or as Honeybun at the camp variety show. And Loretta Ables Sayre brings down the house as the conniving and profane Bloody Mary; her rendition of "Bali H'ai" will not be forgotten.
This sublime example of American Musical Theater reminds us of how much we have missed with the passing of two musical geniuses. A big thank you goes to the Paper Mill Playhouse for reviving South Pacific just in time for its 65th anniversary. When it opened in 1949, starring Broadway's darling Mary Martin and opera great Ezio Pinza, its themes were edgy and the war had been over for just a half decade. That it has stood the test of time is testament to its brilliance and, yes, to the fact that racial prejudice is still with us. And, it is a prime example of the heights to which the Paper Mill Playhouse will go to entertain us.
There are no special effects, cartoon figures brought to life or jukebox melodies; what there is onstage is what the American theater does best: musical theater in all its glory.” (edited)

WITTENBERG (Shakespeare Theatre of New Jersey-Madison)
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“If you have ever wondered what a critic meant when he or she described a production as a tour de force, I suggest you run, do not walk, over to the F.M. Kirby Shakespeare Theatre in Madison to see one in the flesh. There, the Shakespeare Theatre of New Jersey has mounted the dazzling New Jersey premiere of a wickedly clever play about the Protestant Reformation (yes, the Reformation, really) called Wittenberg, penned by David Davalos, and it is a production you won't want to miss. Davalos has likened the University of Wittenberg as akin to Berkeley in the 1960s, "a center for intellectual ferment" and "a certain amount of invention"—a perfect setting for the exhilarating verbal pyrotechnics and war of ideas that play out before our eyes.
The brilliant cast Joe Discher (Note: he also directed BUTLER!) has assembled delivers these lines with wry humor. Jordan Coughtry's Hamlet is the quintessential collegian, caught up in the intellectual foment around him while worried about an upcoming tennis match with a player named Laertes from the University of Paris. Torn between the theology of Luther and the philosophical pronouncements of Faustus, he has wild nightmares about a bottomless abyss upon whose edge he teeters; Coughtry's recital of his dream is a wonder to behold!
But it is the two actors playing Faustus and Luther who carry the brunt of the action as they struggle for the young man's attention. Anthony Marble  is excellent as a very contemporary Faustus (he plays guitar in a coffeehouse called The Bunghole), a lawyer and physician who dispenses coffee and special candies that contain a drug suspiciously like marijuana as antidotes to Luther's constipation and Hamlet's emotional turmoil. He cavorts around the stage, jumping on benches and tables, a veritable whirlwind of ideas and knowledge. As Luther, Mark H. Dold wrestles mightily with his bowels and his faith, while dueling with Faustus over Hamlet's fate. Rounding out this quartet of talent is Erin Partin (above left, with Marble and Coughtry) as the Eternal Feminine. As Helen of Troy, she rejects Faustus' marriage proposal, but allows him to make love to her in a wild scene that accompanies a lecture given by Luther on a Biblical text. She also appears in other female incarnations, all of them different, and all of them comical. The four actors exhibit spot-on comedic timing that keep the quips coming quickly and hilariously.” (edited)

COMMUNITY THEATER

INDIVIDUAL

ALAN SEMOK (Dicken’s Christmas Carol-Chatham Players-Chatham
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“Playing Scrooge for the eleventh time (since 1988!) is the veteran actor Alan Semok (photo above). Semok’s performance this year, as it the past editions, deserves a rave review. He is outstanding as Ebenezer making the transformation from the "cold-hearted, tight-fisted and greedy man, who despises Christmas and all things which give people happiness." His "Only A Fool" song brought tears to the eyes of more than a few in the full audience.” Semok’s recognition is long overdue.

BOB MACKASEK  (“A Christmas Story” Barn Theatre in Montville)
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“Bringing this fun tale to life is a wonderful, exuberant cast led by Bob Mackasek as Jean Shepherd. Mackasek (above left) is simply terrific. Not hard seeing him in the same role on any stage including NYC. His warm, at-ease style, with a twinkle in his voice, is the glue that holds the show together-a bit of a cliché, but appropriate.

CARLA KENDALL (“Master Class” Barn Theatre-Montville
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“Last year we wrote ‘Carla Kendall excels as Diane, the opera singer ready to advance her career via the casting couch, in this case, the bed…in “Lend Me A Tenor” at the Barn Theatre. Now… Carla Kendall is back on that stage again as an opera singer, but this time center stage giving a master class in acting, in the aptly named "Master Class." The Tony award-winning play by Terrence McNally is based on a series of master classes given by fiery opera diva Maria Callas at Julliard in New York….The role of Maria Callas is exceptionally demanding for an actress. This is her story, her play, she is on stage for the entire play. The five other roles in Master Class could be likened to opera spear-carriers....important, but vastly over shadowed by the star...and Kendall is the star in every sense of the word. To say she is simply "terrific," is an understatement. She is marvelous. Always in full control of the emotional roller-coaster the demanding part requires.” (edited)

GLORIA LAMOUREUX (“Good People” Chester Theatre Group-Chester)
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“With Good People Lindsay-Abaire has written a remarkable play about the struggles of life in the blue collar, working class area of South Boston where he grew up and a local is called "Southie." The heroine-victim of “Good People” is Margaret, played by Perry award winner (New Jersey Community Theater Association's "Tony" —for Outstanding Lead Actress in a Play-Shirley Valentine) Gloria Lamoureux (photo 2nd from left).

Gloria Lamoureux' touching, sensitive performance in Good People is truly outstanding. She may be on her way to another Perry. It is exciting to see how such a fine actress, with a superior, well directed, cast can light the stage and remind us of the magic that is unique to live theater.” (edited)
 
TERRI STURTEVANT (“Ping” Chatham Playhouse-“Jersey Voices”)
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Ping by Mary Jane Walsh
“A one-woman play that depicts, in a riveting fashion, a mother's unwavering love for her grown child. This production featured Terri Sturtevant. Directed by Arnold J. Buchiane. Terri Sturtevant won the 2012 ‘Best Actress’ Perry Award for this role. She is not only a marvelous comedy actress, but in Ping wins our hearts with this show stopping dramatic performance. There wasn’t a dry eye in the theater. The play and Terri can best be described with one word…”WOW.” (edited)  Terri earned this encore recognition.

PLAYS

A CHRISTMAS STORY (Barn Theatre-Montville)\
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“A Christmas Story the Musical had its New Jersey premiere last night at the Barn Theatre in Montville. It is directed by Scott Hart, one of the producers of the Broadway musical (a Tony nominee last year). We are doubtful if anyone not as intimately involved with the New York production as Hart could have pulled-off this amazing large scale production. The sheer size of the cast-- combining some of the most experienced, most talented, area performers with a sprinkling of talented novices, largely of the juvenile variety, has to have been a major challenge. Wow… did he with musical director Charles Santoro, choreographer Megan Ferentinos and producer Nancy Zeidenberg deliver in all areas. This production can best be described with two words...JOY and JOY--one for each act.” (edited)

RUTHLESS! the Musical  (Chester Theatre Group- Chester)
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“Ruthless! the musical is an outrageously campy delight. It is a parody of Broadway musicals and iconic Hollywood movies such as The Bad Seed,Gypsy, and All About Eve.

​Rarely have we seen a play with stand-out performances from all cast members, but each member had a show stopping star-turn.
Young Molly Farrell was truly remarkable as the evil singing and tap dancing Tina. Maria Ludwig Brodeur was terrific as wimpy Judy Denmark and the​n the confident, arrogant Ginger Del Marco. Michael Foley was sensational as Sylvia St. Croix. He delivered a spot-on performance as a manipulating ​(female) agent. Beth Amiano Gleason wowed with both her Miss Thorn, the third grade teacher, and the black leather dressed reporter Ms.Block. Director Cindy Alexander, musical director Clifford Parrish, choreographer Megan Ferentinos, producer Ellen Fraker-Glasscock ​ and assistant director Bob Longstreet deserve their own ovations for the impressive effort in overcoming a tough situation (last minute cast change) and our admiration for the outstanding production they produced. The phoenix did not just rise it soared!​“ (edited)


BARNUM (Chatham Community Players-Chatham Playhouse-Chatham
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“It is that love of novelty and excitement that animates the Barnum being performed by the Chatham Community Players as their final offering of the 2013-2014 theatrical season. It has never been revived in the United States (Broadway 1980-82), nor has it been performed much, if at all, by community theaters. One glance at this production makes the reason clear.
A musical about the circus has to present the circus, and that means physical tricks, acrobatics, clowns and magic—all the things one would expect to see at such a spectacle—posing a high hurdle for any director. Never one to shy away from a challenge, Jeffrey Fiorello has gathered a talented group of singers, dancers and circus-type performers to turn the little black box Chatham Playhouse into a rousing, exciting circus, no mean feat, that!
To the accompaniment of a five piece band, the actors in Barnum cavort around the small stage and sing and dance to a fare-thee-well. Christopher Abbott is singularly terrific as Barnum. He commands the entire production with his agility, fine voice and great stage presence. He is complemented by Kathleen Campbell Jackson  as his wife Chairy.... Jackson's looks and beautiful smile make manifest the reasons Barnum loves and respects her so much. It doesn't hurt that her magnificent voice soars to the rafters, especially in her duets with Abbott.
Michael Healy is an imperious Ringmaster, calling the shots as the times and venues change; his magic tricks before the show entrance the audience.... The ensemble of dancers, acrobats, jugglers and plate/hat twirlers keep the spectacle energy high as they perform Megan Ferentinos' energetic and inventive choreography.
Kudos to Chatham Community Players for undertaking this little-performed piece of musical theater. So come on out and "join the circus like you wanted to when you were a kid," but this time, don't forget to bring the kids.” (edited)
All photos supplied by the theatres.

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FORUM: Playwrights Theatre Presents a Free Reading Roundtable Series “Soundings” 13 New Plays During January 2015

 

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Playwrights Theatre’s roundtable reading series FORUM will present “Soundings” at Fairleigh Dickinson University, The Barn Theatre, 285 Madison Avenue, Madison. Readings will begin promptly at 7:00pm each evening,January 12 – January 25, 2015 (no reading on January 20, 2015). Full descriptions of the plays, author bios, interviews with the writers, are available on the website www.ptnj.org/freereadings.php.

The reading of Little Rock by Rajendra Ramoon Maharaj is part of NJ Stage Exchange, a partnership with NJPAC, Yendor Productions and Playwrights Theatre and this reading will be held in the Chase Room at NJPAC, Newark. Reservations can be made http://www.njpac.org/events/detail/njpac-stage-exchange-little-rock.

FORUM brings playwrights, actors and audience members together to enjoy the creative process of bringing a play to life. Staged readings of 13 innovative new plays by some of the country’s best writers with intimate discussions between author and audience following each performance. Playwrights Theatre will present these readings free of charge, with an optional donation of $10. A $25 dollar donation will get patrons a FORUM pass that covers all of the readings. Reservations can be made online at www.ptnj.org or call (973) 514-1787 X10.

“We’ve assembled an exciting group of plays and writers, some familiar to Playwrights Theatre audiences, some who are new to our process,” said John Pietrowski, Artistic Director. “Audiences will remember David Wiltse, the author ofThe Good German and Sedition, D.W. Gregory, author of Radium Girls, and Guillermo Reyes, author of Sunrise at Monticello, A Southern Christmas, andMiss Consuelo. Three of the plays are written by participants in our New Jersey Emerging Women Playwrights program. It promises to be a very enjoyable and informative two weeks.”

FORUM Schedule:
Monday, January 12 – Maimed by Barry Levey
Tuesday, January 13 – Stone by David Wiltse
Wednesday, January 14 – In the Car with Blossom and Len by Joni Fritz*
Thursday, January 15 – A Grand Design by D.W. Gregory
Friday, January 16 – Dudes and Bros by Guillermo Reyes
Saturday, January 17 – Little Rock by Rajendra Ramoon Maharaj**
Sunday, January 18 – Happy Yet?? by Joe Sutton
Monday, January 19 – Mr. Wheeler’s by Rob Zellers

Tuesday, January 20 Day Off

Wednesday, January 21 – Ecstasy by Ken Scarborough
Thursday, January 22 – A Perfect Fit by Lia Romeo***
Friday, January 23 – Above Water by Bob Clyman
Saturday, January 24 – Jasmine Spring by Yasmine Beverly Rana***
Sunday, January 25 – The Wedding Gift by Chisa Hutchinson***
Programs are subject to change. Please visit the website www.ptnj.org for up-to-the-minute details

*Presented in partnership with Centenary Stage Company’s Women Playwrights Seris, in preparation for their production February 20- March 8
** Part of NJ Stage Exchange, a partnership with NJPAC, Yendor Productions and Playwrights Theatre and this reading will be held in the Chase Room at NJPAC, Newark. Reservations can be made http://www.njpac.org/events/detail/njpac-stage-exchange-little-rock .
*** Previous participants in Playwrights Theatre’s NJ Emerging Women Playwrights Program

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About Playwrights Theatre:

Founded in 1986, Playwrights Theatre is a 501(c) 3 not-for-profit professional theatre and arts education institution dedicated to developing and nurturing the dramatic imagination of artists, students, and audiences. Our New Play Program, which includes the The New Jersey Emerging Women Playwrights Program and the Literary Artist Fellowship Program creates development opportunities for professional writers through readings, workshops and productions, and invites audiences to participate in authentic feedback experiences. Our New Jersey Writers Project, Poetry Out Loud, New Jersey Young Playwrights Contest and Festival, and Creative Arts Academy programs provide a comprehensive and hands-on arts education experience to over 31,000 students, Pre-K through adult.

Writers in the New Play Program are drawn from across the country, including our affiliation with the National New Play Network, a nation-wide group of theatres dedicated to the development and production of new work. Teaching Artists in our Education Programs are professional artists working in their field in the New Jersey, New York, and Philadelphia metropolitan areas. From 2003-2016, we have been designated a Major Arts Institution by the New Jersey State Council on the Arts (along with only five other theatres: The Shakespeare Theatre of New Jersey, George Street Playhouse, McCarter Theatre Center, Two River Theatre and Paper Mill Playhouse) as “an anchor institution that contributes vitally to the quality of life in New Jersey.”

Funding for our activities comes from: the New Jersey State Council on the Arts/Department of State, a Partner Agency of the National Endowment for the Arts, the Geraldine R. Dodge Foundation, the Community Foundation, the F.M. Kirby Foundation, Inc., Dramatist Guild Fund, The Horizon Foundation for New Jersey, The Shubert Foundation, Novartis, The Victoria Foundation, and many corporations, foundations and individuals.
Playwrights Theatre is a member of the New Jersey Theatre Alliance, the National New Play Network, and Madison Arts & Culture Alliance.

 

 

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Monday, December 29, 2014

‘Body Awareness’ next at Circle Players

 

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Circle Players will present “Body Awareness,” a 2009 Drama Desk award-winning play written by Annie Baker.

It’s “Body Awareness Week” on a Vermont college campus and the organizer, Phyllis, and her partner, Joyce, are hosting one of the guest artists, Frank, in their home. Frank is a photographer famous for his portraits of female nudes. His presence in the home and his chosen subject create tension from the start. Phyllis is furious with his art, but Joyce is intrigued and considers posing for him. As Joyce and Phyllis bicker, Joyce’s young adult son, Jared, who may or may not have Asperger’s Disorder, struggles to develop relationships with young women, with heartbreaking results.

The play will be directed by Ed Faver of Roselle, and produced by Elyse Halloran of Somerset. Stage manager is Stephanie Scuccimarri of Piscataway.

Appearing in the cast are Kate Soriano, Jersey City; Chris DeBono, Madison; Heidi Hart, Maplewood; and Charles Deitz, Tinton Falls.

Performances run 8 p.m. Fridays and Saturdays, Jan. 16-31, with one 3 p.m. matinee on Sunday, Feb. 1.

The audience is invited to a wine and cheese reception in the lobby following the opening night performance.

The theater is located at 416 Victoria Ave., Piscataway. Because of the unique layout of the theater, latecomers cannot be seated once the performance has started. Please plan to arrive at least 15 minutes before curtain.

For reservations, call (732) 968-7555, or buy tickets online at www.circleplayers.com. Tickets are $18 for adults and $17 for students and seniors. Sorry, no credit cards may be used at the box office, but will be accepted online.

 

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Auditions: Circle Players for “Glengarry Glen Ross”

 

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Circle Players will hold auditions for “Glengarry Glen Ross,” a scalding comedy by David Mamet. The play won the 1984 Pulitzer Prize and was nominated for four Tony Awards.

Small-time, cutthroat real estate salesmen try to grind out a living by pushing plots of land on reluctant buyers in a never-ending scramble for their fair share of the American Dream. Here is Mamet at his very best, writing with brutal power about the tough life of tough characters who cajole, connive, wheedle, and wheel and deal for a piece of the action -- where closing a sale can mean a brand new Cadillac but losing one can mean losing it all.

The play will be directed by John Dowgin and produced by Faith Dowgin, both from Spotswood.

Actors are needed for the following roles:

Ricky Roma (age 30-50)
Shelly Levene (age 50-plus)
James Lingk (age 20-60)
John Williamson (age 20-30)
George Aaronow (age 40 plus)
Dave Moss (age 30-50)
Detective Baylen (age 30 plus)

Auditions will be held at Circle Players, 416 Victoria Ave., Piscataway, at 7 p.m. Monday, Jan. 19 and Tuesday, Jan. 20.

Invited callbacks will be 7 p.m. Wednesday, Jan. 21. Come early to sign up and fill out an audition sheet, and plan to arrive within the first hour of auditions.

Please be familiar with the play and be prepared to read several times if asked. Sides will be provided.

Show dates are 8 p.m. Fridays and Saturdays, April 17-May 2, with a 3 p.m. matinee Sunday, May 3.

For more information, email director John Dowgin at circleplayersnj@gmail.com.

Saturday, December 27, 2014

The cast of The Strollers: ‘How the World Got Wisdom: A Celebration of African Folklore’

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How the World Got Wisdom: A Celebration of African Folklore
depicts several tales from the rich treasure of African legend.  These fables are enacted through dance, music, stories and scenes.  While showing the colorful wealth of African history and folklore, these fables also make their morals relevant to contemporary life.

Directed by Carol Cornicelli

Drumming & Dances by Yahaya Kamate

INTRODUCING OUR CAST!

Noah Akinnuoye ......... Maplewood        Beverly McCutcheon..... East Orange

Teresita Blake Kellenyi ...Maplewood     Doreen Oliver ....... Maplewood

Anne-Marie Christians .... Newark          Erica Philpot ...... Maplewood

Lucy Freeman............Maplewood           Mya Pope Aparicio ....Maplewood

Jacob Gonmiah ........ Newark                 Cassandra Rathevich ... Maplewood

Ashley Heacock ....... Maplewood           Vicki Ridley ................. East Orange

Ibrahim Kamate ........South Orange        Iliana Weisberg ............ Short Hills

Victor Kamate .......... South Orange        Rebecca Weisberg ...... Short Hills

Alex Klint .................. Maplewood

A SPECIAL PERFORMANCE FOR “FIRST NIGHT”:

We are performing a dance and a story at 5:00P and 5:20P in the Columbia High School cafeteria downstairs on New Year’s Eve!  If you are partaking of the First Night festivities, come join us!

c1301d73fcffb60e5d51cbd019dfaa3c10 PERFORMANCES:

Fri, January 23rd at 7:00PM
Sat, Jan 24th at 12:00P and 2:00PM
Sun, Jan 25th at 12:00P and 2:00PM

Fri, January 30th at 7:00PM
Sat, Jan 31st at 12:00P and 2:00PM
Sun, Feb 1st at 12:00P and 2:00PM

The Burgdorff Center for the Performing Arts
10 Durand Road
Maplewood, New Jersey, 07040

Photo:  first row - Yahaya Kamate (drummer/choreographer), Iliana & Rebecca Weisberg, Cassandra Rathevich, Lucy Freeman, back row - Mya Pope-Aparicio, Beverly McCutcheon, Alex Klint, Ashley Heacock, Vicki Ridley, Anne-Marie Christians, Erica Philpot, and Teresita Blake Kellenyi.  (Missing are Doreen & Noah Oliver, and Victor & Ibraham Kamate.)

Time to support your local theatre?

TheatreIs Alive1

Here is a year-end message from THE COMPANY with a request for support….this request is not unique. Time to send tax deductible dollars to your local theater group?

Hello

“As we close 2014, we here at the company hope you are enjoying the Holiday season!  And, we just wanted to take a moment to ask you to remember one of your favorite theatre companies as we close the year.  The Company had a very nice year, and we wanted to ask you to help us make 2015 even better.  So:

First, please consider a tax deductible donation for 2015 before the end of 2014. Only through your continuing, generous support can we continue to bring live, professional theatre to the community.  Your generous gift will help us bring our brand of thought-provoking, live entertainment to a very under-served community. In addition, your tax deductible dollars help us give free tickets to many local seniors who otherwise would not be able to see live theatre.  And, they are very grateful to you for it.

http://www.theatrecompany.biz/our_current_fund_raising_drive

Also, our 2015 season is up.  Tickets are available for our Feb show at a discount until the 1st of January.  And there is also a full season pass online, as well.  We would love to see you in the audience.  But, we do expect the first show, Woody Allen's comedy, Central Park West, to go fast.  So, please get your tickets soon.

http://www.theatrecompany.biz/tickets

Finally, as many of you know, we opened our acting school about 4 months ago, and the first few classes have been fantastic!  If you have a teen or know an adult who hopes to be an actor, just improve their skills, or just wants to develop confidence and self esteem in public, please consider one of our 2015 courses:

http://www.njacademy.org/

From all of us here at The Company, we wish you & your family a Prosperous & Joyous New Year!!!”

Louis Scarpati

Managing Artistic Director

The Company Theatre Group, Inc.

a 501c3 non-profit organization

____________________________________

Visit the THEATRE WEBSITE link (upper right) to reach your favorite theatre company.

Wednesday, December 24, 2014

Pennington Player’s Production of ‘INTO THE WOODS’ next at The Kelsey Theatre

 

Little Red Natalie Romeo

Natalie Romeo as Little Red Riding Hood

While the movie is still fresh in movie theaters, The Pennington Players will be bringing the classic story to New Jersey with the live-staged production of INTO THE WOODS – set for a limited two-weekend run inside The Kelsey Theatre from January 23, 2015 to February 1, 2015.

The forests are not always what they seem in Stephen Sondheim’s spellbinding, romantic, and brilliant INTO THE WOODS Weaving everyone’s favorite fairy tales together, this delightful, dark, and witty musical asks: What happens AFTER happily ever after?

In this story, you will see many of the fairy tale characters that you have grown to love come to life in one epic story. These characters include Cinderella, her Prince, her wicked Stepmother and Stepsisters, 

Little Red Riding Hood, Jack (and his beanstalk), Rapunzel, and her Prince. All of these tales are woven together by an original story that involves a Baker and his Wife – and their wish to begin a family sets off a series of twisted events within the confines of the dark woods.

“Audiences have a very unique opportunity to see two versions of INTO THE WOODS in two different mediums, all within a month of each other,” said Kyrus Keenan Westcott, the production’s director and choreographer, “and The Kelsey Theatre provides a unique, intimate space that allows for theater-goers to be fully immersed in this epic and extraordinary story.”

intoThe live production features a unique and diverse cast that will surely take audiences by storm. The show stars Ben Menahem (Plainsboro, NJ) as Cinderella’s Prince, Bill Weir (Chalfont, PA) as the Narrator, Christina Kosyla (Lawrence, NJ) as Cinderella, Frank Ferrara (West Windsor, NJ) as The Steward, Jenna O’Neill (Hamilton, NJ) as The Witch, Jennifer Winn (Ewing, NJ) as Jack’s Mother, John Zimmerman (Hamilton, NJ) as The Baker, Julie Stein (Monroe, NJ) as Florinda, Kara Wilson (Rahway, NJ) as The Baker’s Wife, Karl Weigand (Lawrence, NJ) as Jack, Kyla Mostello Donnelly (Levittown, PA) as Cinderella’s Stepmother, Kevin Palardy (Doylestown, PA) as Rapunzel’s Prince, Misha Barker (Plainsboro, NJ) as Rapunzel, Natalie Romeo (Piscataway, NJ) as Little Red Riding Hood (photo above), E. Nicole Spadafino (Flemington, NJ) as Milky White Puppeteer, and Taylor Lloyd (Hamilton, NJ) as Lucinda.

3029589The show is directed and choreographed by Kyrus Keenan Westcott-Left (Hamilton, NJ), and musically directed by Mike Gilch (Princeton, NJ). The rest of the creative team includes set design by Bryan Schendlinger, costume design by Rusty Miller, stage management by Sally Page, sound design by Wayne Irons, properties by Dottie Farina, and lighting design by Vicki Kaiser.

Tickets for Into the Woods are $18 for adults, $16 for seniors and $14 for students and children. Free parking is available next to the theater. Tickets and additional show information can be found by visiting http://www.PenningtonPlayers.org and then clicking on the INTO THE WOODS link.

The Pennington Players have been entertaining local audiences since 1951. In 1964, they became the first group ever to perform at the Washington Crossing State Park Open Air Theatre (the OAT) with their production of George Bernard Shaw’s The Devil’s Disciple. The following year, they performed their first musical, Plain and Fancy, which was also the first musical to appear at the OAT.

Over the years, the Pennington Players have performed and worked in numerous venues, including the old Players Barn, various churches, the OAT, and now, The Kelsey Theatre, located in West Windsor, NJ on the campus of Mercer County Community College. No matter where the performances were held, the Pennington Players have always strived to produce high quality productions. The Pennington Players are also committed to various genres having produced musicals, dramas, comedies and children’s theater. Over the years, they have also produced several New Jersey premieres.

Insert Photo: Baker & Wife: John Zimmerman and Kara Wilson (PP)

 

McCARTER THEATRE CENTER OPENS 2015 WITH SIZWE BANZI IS DEAD

 

SizweBanziisDead-bg

Original co-creator and Tony Award®-winner John Kani directs international co-production with The Market Theatre (Johannesburg) and Syracuse Stage .
Sizwe Banzi is Dead runs Jan. 16 – Feb. 15 on McCarter’s Berlind Stage.

McCarter Theatre Center starts the New Year with an international co-production of Sizwe Banzi is Dead, the landmark creative collaboration from South African artists Athol Fugard, John Kani, and Winston Ntshona.

First staged in 1972, Sizwe Banzi is Dead dominated the theatre landscape both at home and around the world, bringing international attention to the horrors and injustices inherent in South Africa’s apartheid system. The Broadway run of Sizwe garnered Tony Awards® for both Mr. Kani and Mr. Ntshona in 1975, co-winners for Best Actor in a Play.
Sizwe Banzi is Dead, set in a humble photography studio in South Africa, follows Sizwe Banzi’s quest for survival. Having been caught without proper paperwork, he must either return to an uncertain future in his poverty-stricken hometown or travel a risky and dangerous path searching for a brighter future. What follows is a story ricocheting between comedy and despair amid homespun humor and bureaucratic absurdity.
According to director and co-creator John Kani, “The passbook was the tool the Apartheid Regime used to control the movements of Black people in South Africa. (For us), it all began with the photograph of a man with a pipe and a cigarette in his mouth. The question was asked - ‘Why would a respectable man walk into a photographic studio to take a picture like that?’ The answer was very simple… he has got his passbook in order.”

Forty years after its U.S. premiere, Sizwe Banzi is returning in a new incarnation, featuring Atandwa Kani (son of co-creator John Kani) and Mncedisi Shabangu - a new generation of South African talent. Directed by Mr. Kani himself, Sizwe Banzi is Dead retains it relevancy for 21st century audiences. Called “a triumph” and “riveting” by The Times (South Africa), Sizwe Banzi continues to shine a light on the fragile state of the human condition in the modern world and the true cost of maintaining personal identity amid oppression.
On the collaboration among McCarter, Market, and Syracuse Stages, McCarter Artistic Director Emily Mann notes: “Not long after the passing of Nelson Mandela in December of 2013, I learned that my friends at the esteemed Market Theatre were planning to remount the iconic Sizwe Banzi is Dead with one of the originators—John Kani—at the helm and featuring two of the most promising young actors in South Africa. The timeliness of this revival struck me immediately, and I leaped at the opportunity to partner with Syracuse Stage to bring the production to the United States and to share this important and joyous story with the McCarter audience.

The production’s scenic elements are derived from the original production, focusing on what made “Township Theatre” such a revolutionary concept – hints of modular scenery and spare (yet stark) visuals aimed at heightening the connection between the actors and the audience. The production features performances from Atandwa Kani (Styles/Buntu) and Mncedisi Shabangu (Sizwe Banzi), two actors with a host of impressive stage and film credits at home and abroad. The production is directed by John Kani, with a lighting design by Market Theatre co-founder Mannie Manim.

About The Market Theatre
Johannesburg’s Market Theatre’s history is intertwined with the cultural, social and political struggle for freedom in South Africa. Founded in Johannesburg in 1976 by Mannie Manim and the late Barney Simon, the theatre itself was constructed out of Johannesburg’s Indian Fruit Market - built in 1913. The theatre went on to become internationally renowned as South Africa’s “Theatre of the Struggle”. The Market Theatre challenged the apartheid regime, armed with little more than the conviction that culture can change society. The strength and truth of that conviction was acknowledged in 1995 when the theatre received the American Jujamcyn Award. In providing a voice to the voiceless, The Market Theatre did not forego artistic excellence, but, rather, made a point of it. Its twenty-one international and over three hundred South African theatre awards bears eloquent testimony to the courage and artistic quality of its work. During the past three decades, The Market Theatre has evolved into a cultural complex for theatre, music, dance and the allied arts. Today, The Market Theatre remains at the forefront of South African theatre, actively encouraging new works that continue to reach international stages.http://markettheatre.co.za/

About McCarter Theatre Center

mccarter-theatre-princetonUnder the leadership of Artistic Director Emily Mann and Managing Director Timothy J. Shields, McCarter Theatre Center is recognized as one of the nation’s premier theater companies. Renowned for major contributions to the theatrical canon, McCarter premieres include Christopher Durang’s Vanya and Sonia and Masha and Spike (winner of the 2013 Tony Award® for Best Play) and Miss Witherspoon (both commissions); Tarell Alvin McCraney’s The Brother/Sister Plays; Will Power’s Fetch Clay, Make Man(commission); Edward Albee’s Me, Myself & I (commission); Emily Mann’s Having Our Say; Danai Gurira’s The Convert; Beth Henley’s Ridiculous Fraud (commission); Regina Taylor’s Crowns (commission); Dael Orlandersmith’s Yellowman (commission); Athol Fugard’s Valley Song; and Stephen Wadsworth’s Marivaux trilogy. McCarter has also produced major new productions of Brian Friel’s Translations, directed by Garry Hynes; Nilo Cruz’s Anna in the Tropics and Edward Albee’s All Over, directed by Emily Mann; and Electra, directed by David Leveaux. McCarter is supported by Princeton University, the New Jersey State Council on the Arts, and over 3,000 individuals, corporations, and foundations. McCarter Theatre is located at 91 University Place in Princeton, NJ. For more information, www.mccarter.org.


Sizwe Banzi is Dead
– Production Facts
Creative, Production, and Design Team

Written by: Athol Fugard, John Kani, and Winston Ntshona
Direction: John Kani
Associate Producer/Lighting Design: Manni Manim
Set and Costume Design: John Kani
Props and Furniture: Nthabiseng Makone
Assoc. Artistic Director: Adam Immerwahr
Production Stage Manager: Cheryl Mintz
Director of Production: David York
Artistic Director: Emily Mann

Managing Director: Timothy J. Shields

CAST

Styles/Buntu: Atandwa Kani

Sizwe Banzi: Mncedisi Shabangu

Ticket Information and Performance Schedule

Single tickets for Sizwe Banzi is Dead start as low as $25 and are on sale now online at mccarter.org, by phone at (609) 258-2787, or in person at the McCarter Theatre Ticket Office, located at 91 University Place in Princeton.
Sizwe Banzi is Dead will be performed on the Berlind Stage. The production will run 85 minutes without an intermission.
Friday                    January 16                           8:00 p.m.
Saturday              January 17                           8:00 p.m.

Sunday                 January 18                           2:00 p.m.

Tuesday               January 20                           7:30 p.m.
Wednesday        January 21                           7:30 p.m.
Thursday             January 22                           7:30 p.m.
Friday                    January 23                           8:00 p.m. (Opening Night/Press Opening)
Saturday              January 24                           3:00 p.m.
Saturday              January 24                           8:00p.m.
Sunday                 January 25                           2:00 p.m. (Dialogue on Drama with John Kani)
Tuesday               January 27                           7:30 p.m.
Wednesday        January 28                           7:30 p.m. (Post-Show Discussion)
Thursday             January 29                           7:30 p.m.

Friday                    January 30                           8:00 p.m.

Saturday              January 31                           3:00 p.m.
Saturday              January 31                           8:00 p.m.
Sunday                 February 1                          2:00 p.m. (Post-Show Discussion)
Sunday                 February 1                          7:30 p.m.

Wednesday        February 4                          7:30 p.m.
Thursday             February 5                          7:30 p.m.
Friday                    February 6                          8:00 p.m.
Saturday              February 7                          3:00 p.m. (Open Captioning Performance)

Saturday              February 7                          8:00 p.m.
Sunday                 February 8                          2:00 p.m.
Sunday                 February 8                          7:30 p.m.

Tuesday               February 10                        7:30 p.m.

Wednesday        February 11                        7:30 p.m. (Audio Described Performance)

Thursday             February 12                        7:30 p.m.
Friday                    February 13                        8:00 p.m.
Saturday              February 14                        3:00 p.m. (ASL Interpreted Performance)
Saturday              February 14                        8:00 p.m.
Sunday                 February 15                        2:00 p.m. (Closing Performance)                 

This production is sponsored by the Robert Sterling Clark Foundation.


The Understudy
is made possible 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.
For more info about Sizwe Banzi is Dead, please visit the production’s dedicated website.


Construction Updates

Construction continues around McCarter for Princeton University’s Arts & Transit project and the expansion of the Lewis Center for the Arts. This will have an impact on parking, traffic, and transit in and around McCarter through the summer of 2017. Stay informed by visiting mccarter.org/VisitorInfo to get the latest construction updates.

Tuesday, December 23, 2014

Auditions: ‘How to Succeed in Business without Really Trying’ at Cranford Dramatic Club

how to succeed

CDC Theatre announces Auditions for “How to Succeed in Business without Really Trying”
Book by Abe Burrows & Jack Weinstock & Willie Gilbert
Music & Lyrics by Frank Loesser
Based on “How to Succeed in Business without Really Trying” by Shepherd Mead

Auditions:
Sunday, January 4, 2015 at 1:00 p.m., and
Tuesday, January 6, 2015 at 7:00 p.m.
Callbacks: by Request ONLY – Saturday, January 10, 2015 (by appointment)
Rehearsals to begin in February.

Performances: May 1, 2, 8, 9, 10, 15, 16
Preparation: Please prepare a song (in the style of the show), and bring sheet music in the appropriate key. An Accompanist will be provided. Headshots and Resumes are not required by gladly received.Production Staff:
Producer: Leslie Riccie
Director: Jeffrey Fiorello
Music Director: Jack Bender
Choreographer: Megan Leahiff Ferentinos

The Story:
Big Business means big laughs in this delightfully clever lampoon of life on the corporate ladder. A tune-filled comic gem that took Broadway by storm winning both the tony Award for Best Musical and a Pulitzer Prize.
A satire of “Big Business” and all it holds sacred, H2$ follows the rise of J. Pierrepont Finch, who uses a little handbook called “How to Succeed in Business without Really Trying” to climb the corporate ladder from lowly window washer to high-powered executive, tackling such familiar but potent dangers as the aggressively compliant “company man”, the office party, backstabbing co-workers, caffeine addiction and, of course, true live.
H2$ is an irreverent and tuneful romp, jam-packed with, swift and sharp jabs to the funny bone.

Casting:
12 Men
12 Women
Characters:
J. Pierrepont Finch: Male (18 – 25). Our story’s protagonist. An irrepressible, clear-eyed, almost puckish hero, he is a window washer who applies for a job at the World Wide Wicket Company and attempts to climb the “ladder of success.” Tenor (C3 – G4).
Rosemary Pilkington: Female (20 – 30). A secretary at the company who is more interested in finding a man than advancing her career. She becomes Finich’s love interest. Mezzo (A3 – B5).
J. B. Biggley: Male (45 – 65). The stuffed-shirt philandering President of World Wide Wicket. Beneath his ruthless exterior, he is a college lad at heart with a passion for knitting. Baritone (C3 – A4).
Smitty: Female (25 – 35). A secretary with a painfully dry sense of humor. She is a cynical, working woman who is on the lookout for a man. Mezzo (A#3 – G5).
Bud Frump: Male (20 – 30). Biggley’s nephew and scheming employee. He is an arrogant sycophant who tries to advance his career by exploiting his family connections. Baritone (C3 – F4).
Miss Jones: Female (45 – 70). J.B.’s stuffy secretary who is abrupt and tough, but soft and kind to those who are good to her. Soprano (Bb3 – Gb5).
Mr. Twimble: Male (50 – 70). He is a fussy, old-fashioned, yet loyal employee at the company. Supervisor of the mailroom, he believes his success is due to his lack of ambition and ability to remain unnoticed. Baritone (C#3 – E4)
Hedy LaRue: Female (25 – 45). A voluptuous, sexually-charged woman adored by all of the men. She may appear dim-witted, but she knows how to manipulate men to get what she wants. Mezzo (C4 – Eb5)
Gatch: Male (35 – 60). An almost-successful, yet sleazy executive with a penchant for the ladies. Speaking Role.
Bratt: Male (30 – 45). The Personnel Manager adept in the main skill required for holding his job – agreeing with the boss. Baritone (C3 – F4).
Miss Krumholtz: Female (30 – 45). Secretary in the Company. Mezzo (A3 – A5).
Ovington: Male (40 – 60). Executive. Speaking Role.
Wally Womper: Male (50 – 70). The Company’s Chief Executive Officer and a former window-washer. Baritone (D3 – E4).

Ensemble: Scrubwomen, Executives, Secretaries.

 

Auditions: Light Opera of New Jersey 2015

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Auditions for 2015 productions will be held:
Tuesday January 27, 2015 starting at 8pm                                                                                                                                                  Friday January 30, 2015 starting at 7pm
Saturday January 31, 2015 starting at 10am

St. Mark’s Episcopal Church
140 South Finley Ave
Basking Ridge, NJ 07920

Auditions are by appointment only. Primarily seeking performers based in New Jersey. Principal roles are paid positions and includes commuting travel stipend based on distance and transit type. Email photo and resume toadmin@lightoperaofnewjersey.org for consideration.  There is a $10 audition fee to cover accompaniment costs, waived for non-leading role auditions and cast members of prior company productions

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Timeless Tonys  original LONJ cabaret based on Tony Award winning shows

April 30th, May 1st & 2nd and an additional alternate weekend to be announced

4 Men and 4 Women Cabaret style and crossover singers

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A Little Night Music by Stephen Sondheim

July 10th, 11th, 17th 18th at 8pm

July 12th, 19th at 2pm

  • Fredrik Egerman: Baritone. A successful widowed middle-aged lawyer. He is married to the 18-year-old Anne and has one son from his previous marriage, Henrik.
  • Anne Egerman: Soprano. Fredrik’s new, naive wife.
  • Henrik Egerman: Tenor. Fredrik’s son, 20 years old and Anne’s stepson. He is serious but confused, as he reads the works of philosophers and theologians as he studies for the Lutheran priesthood.
  • Petra: Mezzo Belt. Anne’s maid and closest confidante.
  • Desiree Armfeldt: Mezzo. Self-absorbed, once-successful actress, now touring the country-side in what is clearly not the “glamorous life”.
  • Fredrika Armfeldt: Treble. Desiree’s thirteen-year-old daughter, who may or may not be the product (unbeknownst to Fredrik) of the actress’s and Fredrik’s affair.
  • Madame Armfeldt: Sop/Mezzo. Desiree’s mother, who has had “liaisons” with royalty.
  • Count Carl-Magnus Malcolm: Baritone. A military dragoon who is Desiree’s latest lover.
  • Charlotte Malcolm: Soprano. Carl-Magnus’ wife.
  • Frid: Baritone. Madame Armfeldt’s manservant.
  • The Quintet: Mr. Lindquist, Mrs. Nordstrom, Mrs. Anderssen, Mr. Erlanson and Mrs. Segstrom. A group of five singers that act as a Greek Chorus. Sometimes referred to as the Liebeslieder Singers

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The True Story of Cinderella by Warren Martin

October 9th, 10th, 15th, 16th and 17th at 8pm

October 11th at 2pm

  • Narrator
  • King, Baritone
  • Queen, Lyric Soprano
  • Stepmother, Contralto
  • 1st Stepsister, Soprano
  • 2nd Stepsister, Mezzo
  • Cinderella, Soprano
  • Fairy Godmother, Soprano
  • Prince, Tenor
  • Herald, Baritone
  • Hermits 1,2 and 3, Tenors

Also part of the October show:

Speed Dating Tonight by Dean Anthony and Michael Ching

5 to 6 Women

5 to 6 Men

Various voice types, crossover singers

Extensive character acting required

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Amahl and the Night Visitors

December 4th, 5th  at 5pm and 7pm both nights

  • Amahl, Treble  (we will not be hearing auditions for the role of Amahl at this time)
  • Mother, Lyric Soprano
  • King Kaspar, Tenor
  • King Melchior, Baritone
  • King Balthazar, Bass
  • Page, Baritone
  • Significant ensemble of all voice parts
  • Three dancers

NOTE: LONJ is hiring a salaried Administrative Manager starting January 1, 2014. Please reply to this address for a job description and details.

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