Tuesday, February 28, 2017

Shattering Muslim Stereotypes: ‘Dirty Paki Lingerie’ Gets N.J. Premiere


Dirty Paki Lingerie by Aizzah Fatima – a one-woman show about Muslim life in America that has toured overseas and throughout the U.S. – makes its New Jersey premiere as part of Borderless, the ongoing series about the repercussions of 21st Century globalization, presented by Jersey City Theater Center (JCTC).

Dirty Paki Lingerie explores the lives of six Pakistani-American women as they struggle to negotiate their identities in post-9/11 America. Fatima’s thought-provoking play delves into how immigrants negotiate the cultural clash between the traditional and the contemporary while also shattering preconceptions about Muslim life by showing the real lives of women rarely depicted on the stage.

Borderless – the new series by JCTC that runs through March – brings a diverse array of new and emerging voices to audiences with a comprehensive range of art, theatre, readings and performances. Dirty Paki Lingerie is presented by Jersey City Theater Center (JCTC) on Saturday March 11/7:30 pm at Merseles Studios, 339 Newark Avenue, Jersey City, NJ 07302.

Light Opera of NJ to present ‘The Barber of Seville’ one weekend only

The Barber of Seville


April 7 and 8, 2017 at 8pm

Tickets $30, $35 and $40 Reserved Seating
Tickets are available for purchase HERE or by calling (908) 655-6023.

LONJ is proud to present The Barber of Seville, Gioachino Rossini's classic and beloved comic opera, under the direction of Jamie Baer Peterson with musical direction by Robert Butts.



  L-R: Ben Boskoff , David Murray,  Jessica Renfro, Chuck Schneider

L-R: Cornelia Lottito, Jason Barrameda, Michael Baruffi, Hyong Sik Jo

L-R: Heath Weisberg, Zachary Morehouse, Anthony Alberti, Will Roper

This program 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 administered by the Somerset County Cultural & Heritage Commission through the State/County Partnership Local Arts Program.

Award-winning comedy ‘ART’ in Art Gallery


Pegasus Theatre Project, the professional resident theatre company of the West Windsor Arts Council, will present Yasmina Reza’s award-winning comedy ‘ART’ March 31-April 9 at the West Windsor Arts Center.

‘ART’ is a timeless comedy about three friends whose friendship is thrown into chaos when one of them buys a modern painting that another considers a joke, while the third is caught in the middle trying to keep the peace.  By exploring questions about what is art and what one’s taste in art says about the person, the friends come to address bigger issues that have been challenging their relationship.  Will they be able to resolve their differences, or have they grown too far apart?

All Pegasus Theatre Project productions are staged in the Performance Gallery at the West Windsor Arts Center. “It’s a wonderful opportunity to be able to stage this play in a gallery surrounded by art of varying genres and styles,” said ‘ART’ Director Jennifer Nasta Zefutie.  “Although, at its heart, this play is about the relationship between these three men, the discussion throughout regarding how we define art is made all the more powerful by the space.”

Premiere Stages at Kean University to Stage Free Public Readings of 2017 Play Festival Finalists

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UNION, N.J. – Premiere Stages, the professional theatre company in residence at Kean University, has announced its four finalists for the 2017 Premiere Stages Play Festival, and will offer free public readings of the plays by professional actors during its 13th Annual Spring Readings Series. The readings will take place Thursday, March 9 through Saturday, March 11 at 7 p.m. and Sunday, March 12 at 3 p.m. in the Murphy Dunn Theatre, located in Vaughn Eames Hall on Kean’s main campus (1000 Morris Avenue, Union, N.J.).

This year’s readings will feature the following finalists: Foster Mom by Chris Cragin-Day, a founding member of Firebone Theatre and alumna of The Public Theater’s Emerging Writers Group; Cam Baby by Jessica Moss, a Canadian Comedy Award nominee and a Lila Acheson Wallace Playwriting Fellow at The Juilliard School in New York; 1980 (Or Why I’m Voting For John Anderson) by Patricia Cotter, an Emmy Award-winning writer for Comedy Central’s Win Ben Stein's Money and recipient of the American Academy of Arts & Letters Richard Rodgers Award for Musical Theater; and Seder by Sarah Gancher, whose recent projects include Hundred Days at The Public Theater’s Under the Radar Festival and commissions for Ars Nova and Second City Theatricals. One new play will be read by professional actors at each performance, and the public is encouraged to actively participate in the new play development process through post-reading dialogues with the writers and written evaluations.
The Premiere Stages Play Festival is an annual competition for unproduced scripts that offers developmental opportunities to playwrights with a connection to the greater metropolitan area (New Jersey, New York, Pennsylvania, and Connecticut).

Four finalist plays are selected from approximately 400 submissions, given professional readings, and considered for expanded development as part of Premiere Stages’ 2017 Season. One of the four plays will be selected for an Actors’ Equity Association (AEA) staged reading in June, and the most promising play will be awarded a fully produced AEA production in September. All of the finalists also receive cash awards ranging from $500 to $2,000.

The Festival has become one of America’s leading programs for new play development, with a focus on social issues that afford opportunities for collaboration and engagement with local communities. Numerous plays developed through the Festival have been subsequently published, produced and honored by the American Theatre Critics Association.

Staged reading do’s and don’ts

by Sam Graber

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Wouldn’t it have been nice if the all-mighty Lord, right after handing down the five Books of Moses, issued a short addendum listing all the protocols for staged reading do’s and don’ts?

Like you, I’ve been to a ton of script readings. Many have been superb. Some have made me question humanity. Of those in the latter category I’ve come to notice how the dreadful readings rarely deal with quality of script. Instead, reading disasters all share one thing in common – they abandon the standard conventions.

After attending the most recent disaster, I figured I would I ask around and see if anyone knew of a one-stop resource detailing how best to run script readings. No answer. I took to online and searched around but still failed to find a go-to list of do’s and don’ts. There’s probably a thousand blog postings on the subject and I couldn’t find one. Given the absence of an easily accessible list, I decided to create my own.

But before we get to the list, let’s define some key terms, especially since staged reading is a loaded term with lots of interpretation. Some staged readings are fully costumed, semi-blocked productions with script in hand. Yet, the good news is that today’s theatrical industry seems to have defined the standard staged reading as a rehearsed presentation of a new script, to a seated audience, in a theater setting, with theater lighting, under stage and audience management.

Staged readings are different from table reads. A table read is a private, non-rehearsed reading to give the playwright early insight to a nascent script’s attributes. A table read is around a table and considered a working reading. A table read usually comes before a staged read. At the staged read a script is burgeoning into fuller form and ready for first audience impressions.staged-reading-3-370x247

The primary purpose of a staged reading is for an audience to inform the playwright of script positives and negatives. A secondary purpose is to help the director and/or theater company determine if the script merits either further development or full production.

I offer my friendly list of staged reading dos (PLEASE YES) and don’ts (NEVER EVER). Order of presentation is not meant to indicate ranking of importance.

  1. Meet the cast. A playwright should meet the cast and crew before the reading. Go backstage, get a tour, shake hands with the Board of Directors. Acquaint with the folks investing in your work. And NEVER EVER disregard the nice old lady working the concessions booth as she’s likely the most important person in the place (file under Things That Have Happened To Me).
  2. Print a program. PLEASE YES have a single sheet of paper announcing the play, playwright, actors and ongoing play development program. It educates the audience that readings are not throwaway projects nor off-night fillers but a special part of theater-making which demands attention. It’s also a touch of class.
  3. Kickoff message. Something needs to be said to the audience before the reading begins. Recently, I was at a reading of one of my plays where no kickoff message to the audience was given from the artistic director; simply a curt rolling off of names from the cast. If readings are not a typical part of what the theater company does, then the audience needs some direction as to why they are there and how they can best help develop a new work.
  4. NEVER EVER use a table. I walked into a staged reading for one of my plays and saw all the actors on stage crowded around a single table. Folks, it’s not a table read, it’s a presented read. And then, to make matters worse, because of the small surface dimension of the table, one of the actresses was placed on the side of the table, so that she read across the table towards offstage, not looking at the audience. With her hair in the way, I couldn’t see her face throughout the entire read. I essentially watched Cousin It play a part.
  5. Use music stands. PLEASE YES put scripts in binders and put the binders on the music stands.
  6. Print legible scripts. I endured a reading where an artistic director (to save money) shrunk two pages of normal sized script down to a single sheet of paper. The miniaturized font forced the actors to squint downward into paper. I was looking at heads for the entire read as actors harnessed their full mental focus for deciphering miniscule font. And I wrote ‘print’ not ‘furnish’ legible scripts. A reading of a serious drama turned into comedy when one actor couldn’t figure out how to follow the script on the iPad. Yes, you are so totally hip showing up at a reading with the script on your iPad. Unfortunately, each time you have to speak we all wait for you to find your line on the screen.
  7. Dedicate stage directions. Assign someone not in the cast to read stage directions. NEVER EVER have one of the actor characters also read stage directions as double duty. Never do this.
  8. Slash stage directions. Dear theater, we don’t need to hear every single stage direction in the script get read aloud. Sincerely, the audience.
  9. Cast smart. The director can only do so much at staged readings. However, one of the things the director can do is cast smart. I as the playwright will totally understand small misses on demographic when the talent cast by the director is strong. In fact, I recently benefitted from a reading when a strong older actress was cast for a young character role. The older actresses was such a talent that she helped me see the weak spots in my script. Of course, there is a limit to leeway. If the script calls for an Asian-American man, and the Asian-American is an important leading role with important cultural implications for the play, then maybe not so much with the casting of a white man.
  10. Honor the playwright. This might be the most important thing on my list. Recently, one actress wouldn’t act out the part the way it was intended in the script. She felt the part didn’t work for her so she didn’t want to play along at the reading. I had another experience in which a director wanted to move around the order of scenes before the reading even occurred. People, let’s save post-mortems for post-reading. I may not disagree with the ideas presented but save it for talkback. Honor the process for the playwright. The process is designed to help make the new script the best it can be.
  11. Use lighting. Get a basic wash on stage and turn down the house. If available, a simple light design can help indicate mood, time passing, etc.
  12. Follow intermissions. If there is an intermission, or act break designated in the script, use that intermission at the reading. Don’t plow through or alter the placement of the intermission.
  13. Avoid surprises. The people or theater company producing a reading should learn the script before casting and before presenting. Do not wait for the reading to find out the play is four hours long. I watched a mutiny of actors who voted to stop performance halfway through because they weren’t aware of the time obligation. If you aren’t aware of the nature of the script because the playwright just finished it two hours before the audience showed up, then why are you presenting the script?
  14. Remove noise interference. Dear theater, PLEASE YES turn off your rattling HVAC. Warmest regards, the audience.
  15. Rehearse. Every theatre company which creates, seeks and develops new works should be very clear as to why they do so. Having a quick rehearsal just to orchestrate logistics is not serving the playwright. You might as well do a table read. New scripts going into a reading deserve a modicum of time and effort. Otherwise, a non-rehearsed staged reading as a cheap way to fill schedule results in everyone seeing what uselessness and bad decision-making comes of it.
  16. Keep It Real. I realize that everyone involved on the performance side of a staged reading wants to make it the best it can be. Sometimes this natural tendency to outperform places within the performance team the idea to do weird stuff. Folks, there is no Tony Award for Best Staged Reading. Actors leaving their music stands and trying to interact with other characters who aren’t there is weird. Actors trying to creatively involve parts of a set on stage for another play is weird. I like weird, just not why-are-you-trying-too-hard weird.
  17. Moderate the talkback. I once was imbued with everlasting joy when a talkback session for a play of mine was deftly moderated by a savvy artistic director. Unfortunately, those tingles of mirth are cancelled out when recalling a recent instance when a reading for another play of mine finished and the artistic director opened up talkback by asking me directly, “so whaddya think?”, before letting everyone ramble and argue for the next hour. Have a set of questions prepared to guide discussion. And NEVER EVER ask the playwright publicly what he/she thought.
  18. Start with positives. PLEASE YES begin with discussing the positive qualities of the play. NEVER EVER begin talkback with questions that are basically, ‘what sucked?’. Yes, there are things that sucked. Let’s just not start there.
  19. Maximize audience feedback. Again, the primary purpose here involves putting a script to an audience. Get as much as you can from the audience. Squeeze and yank from the audience their thoughts. It’s surprising how often audience members possess subject matter expertise related to the script. As part of this endeavor, attempt to cap the amount of actor logorrhea. Actors are brave, incredible people who chariot scripts to the heavens. But this right now happens to be audience time.
  20. Shut Up and Smile. From the great Allison Moore I learned my most valuable playwrighting lesson, which has nothing to do with technique but everything to do with personal conduct. A playwright during feedback should demonstrate gratitude. How does one do this? During feedback one might get a comment of profound genius. When this happens, shut up and smile. During feedback one might get a comment of staggering inanity. When this happens, shut up and smile. PLEASE YES shut up and smile. A playwright refrains from debate and defense of work. Defensiveness and argumentation are clear indicators of an amateur. A playwright’s futile attempts at eliciting agreement from the audience will only anger them.

staged reading

Monday, February 27, 2017

‘The Merry Wives of Windsor’ now at Two River Theater


Two River Theater’s production of The Merry Wives of Windsor, adapted and directed by Eric Tucker opens Friday, March 3 at 8 pm.  Performances will continue through Sunday, March 26.

Featuring only three actors—Nicole Lewis, Jason O’Connell, and Zuzanna Szadkowski—this production of The Merry Wives of Windsor explores the darker undercurrent of one of Shakespeare’s silliest comedies. In the play, the lecherous buffoon John Falstaff decides to seduce both Mistress Page and Mistress Ford, respectable married women of Windsor. When the two women immediately see through Falstaff’s plot, they decide to turn the tables on him and devise a plot of their own.

Two River Theater, under the leadership of Artistic Director John Dias and Managing Director Michael Hurst, continues its 2016/17 Season with Shakespeare’s The Merry Wives of Windsor, directed by Eric Tucker. Performances will began in Two River’s Marion Huber Theater, 21 Bridge Avenue, on Saturday, February 25 and continue through Sunday, March 26. The opening night performance is Friday, March 3 at 8pm. Tickets are available from 732.345.1400 or

During the run of The Merry Wives of Windsor, from March 7-12, Two River will present A Little Shakespeare: The Merry Wives of Windsor, a 75-minute version of the play—adapted and directed by Nicole A. Watson and designed by professional artists—on the stage of the Rechnitz Theater. Eighteen students from area high schools will perform in the production and an additional 10 students are working behind the scenes assisting each member of the artistic team.  The 28 students are from 12 area high schools. There will be eight performances, including four student matinees geared toward audiences age 9 and up. Student matinees include an in-school pre-show workshop for each class conducted by a professional Two River teaching artist, as well as a talkback after the show with the student actors. For tickets and a performance schedule, call 732.345.1400 or visit

The Merry Wives of Windsor and A Little Shakespeare: The Merry Wives of Windsor are supported by Shakespeare in American Communities, a program of the National Endowment for the Arts in partnership with Arts Midwest.

The Merry Wives of Windsor

This production of The Merry Wives of Windsor will explore the darker undercurrent of one of Shakespeare’s silliest comedies. In the play, the lecherous buffoon John Falstaff (perhaps Shakespeare’s greatest comic character) decides to seduce both Mistress Page and Mistress Ford, respectable married women of Windsor. When the two women immediately see through Falstaff’s plot, they decide to turn the tables on him and devise a plot of their own—for hilarious revenge.

Adaptor and director Eric Tucker was named the Wall Street Journal’s Director of the Year in 2014. He is the Artistic Director of Bedlam Theatre, where his credits include Sense & Sensibility, A Midsummer Night’s Dream, Saint Joan, and Hamlet.

Says Artistic Director John Dias, “Eric Tucker’s work as a director is imaginative and inventive; he distills the theatricality of Shakespeare’s plays into intimate, small-scale productions that capture the fullness of the text. He wrestles with the plays—and, at the same time, is deeply respectful of them. He makes Shakespeare’s language joyously accessible to audiences.  And our three marvelous actors—Nicole Lewis, Jason O’Connell, and Zuzanna Szadkowski—bring an extraordinary combination of physical comedy and fresh, performative use of language to their work.”

Nicole Lewis has appeared on Broadway in the Tony Award-winning revival of Hair and as Joanne in Rent, among other productions in New York and around the country; her TV credits include The Blacklist and Mozart in the Jungle.

Jason O’Connell concocted the idea to perform The Merry Wives of Windsor with only three actors alongside a fellow actor, Dan Matisa. He recently enjoyed a long run in Bedlam’s acclaimed production of Sense & Sensibility; he also won accolades for his performance as both Bottom and Puck in A Midsummer Night's Dream at The Pearl Theatre, a co-production with the Hudson Valley Shakespeare Festival, where he has performed for eight seasons.

Zuzanna Szadkowski played Dorota in the CW’s hit drama series Gossip Girl and can be seen as Nurse Pell on the Cinemax series from Steven Soderbergh, The Knick. Her theater credits include The Comedy of Errors as part of the Public Theater’s Mobile Shakespeare Unit and Nora and Delia Ephron’s Love, Loss and What I Wore.

The creative team for The Merry Wives of Windsor includes scenic designer Lee Savage, costume designer Jessica Pabst, lighting designer Eric Southern, and sound designer Karin Graybash. The casting is by Heidi Griffiths & Kate Murray, and the production stage manager is Brett Anders.

Ticket Information

Ticket prices for The Merry Wives of Windsor range from $50 to $70, with discounts available for groups, seniors, and U.S. military personnel, their families, and veterans. A limited number of $20 tickets are available for every performance; $20 tickets may be partial view. Tickets for patrons under 30 are $20 and include the best available seats at every performance. Tickets are available from or 732.345.1400.


New Plays New Jersey is Back!

Writers Theatre of New Jersey Logo

New Plays New Jersey is Back!

Starting this Wednesday, join us at the Bickford Theatre for New Plays New Jersey!

Five straight days of wonderful new plays from playwrights you know and love are coming your way. NPNJ is presented as part of the New Jersey Theatre Alliance's Stages Festival - we've teamed up with them to bring you plays from Luna Stage, Passage Theatre, Mile Square Theatre, and The Bickford Theatre.

Check out this wonderful article in The Daily Record about New Plays New Jersey and click here or look below for the full schedule and more information.  We can't wait to see you there!

Where: The Bickford Theatre - 6 Normandy Heights Rd.

Morristown, NJ - Click here for directions.

When:  See the table below for showtime information.

Tickets: Available here or at the door.

Presenting Theatre

Wed., March 1

7 pm


Yasmine Rana

Writers Theatre

luna logo

Thu., March 2

7 pm

A Progressive Man

Phoebe Farber

Luna Stage


Fri., March 3

7 pm

Rocket Sex Magic

David Lee White

Passage Theatre


Sat., March 4

7 pm


Oded Gross

Mile Square Theatre


Sun., March 5

5 pm

Ghost Story

Lia Romeo

The Bickford Theatre

Review:Ken Ludwig’s ‘Moon Over Buffalo’


By Ruth Ross

moonoverbuffalo - logo - web

As a dramatic genre, farce is a delicate thing. Oh, it is loud, with lots of slamming doors and over-the-top characters and performances, but if the actors don’t hit their marks with precision or the comedic timing is a nanosecond off, the entire enterprise can collapse in a confusing—and decidedly unfunny—heap.

Luckily for us, director Tom Frascatore and the talented folks at the Chatham Community Players nail the genre in their recent production of Moon Over Buffalo by none other than the farce-meister par excellence, Ken Ludwig. Adding to our delight is that this is a play about the theater—one that reveals the back-biting pettiness and feet of clay exhibited some of the people we revere the most: celebrities!

Image may contain: 2 people, people sitting, child, baby and indoorIn the summer of 1953, former Broadway stars George and Charlotte Hay have taken their run-down touring company on the road to Buffalo, New York, where they intend to produce Cyrano de Bergerac and Private Lives in repertory, all the while grumbling about missed Hollywood opportunities. With the news that noted Hollywood director Frank Capra is coming to hire the couple for his swashbuckling Scarlet Pimpernel epic, their fortunes seem to be looking up, but their marital and professional relationships are endangered by the news of George’s infidelity Image may contain: 2 people, people standingwith the company’s ingénue. The entire Hay family—including scornful mother-in-law Ethel, determinedly practical daughter Rosalind and Rosalind’s ex-boyfriend/actor/company manager Paul (right, Tess Ammerman and Thom Boyer)—work overtime to get sloppy drunk George into his Cyrano hat and nose…or is it his Elyot Chase smoking jacket? Mistaken identities, foiled plot lines, pratfalls, slamming doors aplenty and backstage shenanigans ensue in this screwball comic farce and love letter to the theater and the larger-than-life personalities who inhabit the world of the theater. (Above: Stacey Petricha and David Romankow)

Paper Mill’s 2017-2018 season to include Four Premieres

Paper Mill Playhouse (Mark S. Hoebee-Producing Artistic Director, Todd Schmidt-Managing Director), recipient of the 2016 Regional Theatre Tony Award, has announced the lineup for its 2017-2018 season with four premieres including one play and four musicals. Season subscriptions are on sale now and are available by calling 973-379-3717 or by visiting the theater’s website at Paper Mill Playhouse’s 2017-2018 season is proudly sponsored by Investors Bank.

Paper Mill Playhouse will open its 2017-2018 season with beloved television characters Ralph, Alice, Ed and Trixie in a world-premiere musical of The Honeymooners (September 28-October 29). Next, your favorite little redhead, Annie (November 22-December 31), comes to Paper Mill Playhouse just in time for the holidays.  The world’s best-loved family musical returns with all the unforgettable songs like “It’s the Hard-Knock Life,” “Easy Street,” and “Tomorrow.” Next winter, Paper Mill Playhouse presents the East Coast premiere of The Outsider (January 24-February 18), a hilarious and very timely commentary on modern American politics. The spring brings the world premiere of The Sting, a new musical (March 29-April 29) in a new musical stage adaptation of the Oscar-winning film that starred Robert Redford and Paul Newman.  The final production of the season, Half Time, a new musical (May 31-July 1), is choreographed and directed by Jerry Mitchell in the East Coast premiere of an uplifting true story of ten New Jersey seniors with extraordinary dreams who audition to dance at halftime for a major basketball team.

“I am thrilled our new musical Half Time will be a part of the very exciting 2017-2018 Paper Mill season,” stated Tony Award-winning director and choreographer Jerry Mitchell. “Half Time celebrates the singular power of music and dance to unleash big emotions and bring people together.  We can’t wait to share it with the amazing audiences at Paper Mill.”

“Paper Mill Playhouse is thrilled to produce two world premieres, two East Coast premieres, and a tried-and-true family classic for all ages in our exciting 2017-18 season,” commented Mark S. Hoebee, Producing Artistic Director for the Millburn theater. “With two of our recent productions currently playing on Broadway (A Bronx Tale and Bandstand), Paper Mill Playhouse has become one of the nation’s leading theater incubators, nurturing shows in multiple stages of development. This season we're honored to collaborate with some of the finest creative talent in the industry including Tony Award winners Jerry Mitchell and John Rando.”

“We are excited to launch Paper Mill Playhouse’s new season with the world premiere of The Honeymooners, said John Rando, the show’s Tony Award-winning director. “This new American musical comedy celebrates the universal story of two underdogs striving to achieve their dreams, and the compromises of their married lives.  I believe this hilarious and touching show will strongly resonate with Paper Mill audiences.”

Saturday, February 25, 2017

Audition: ‘A Man of No Importance’ at the Barn Theatre

A Man of No Importance Auditions March 5 and 6, 2017
A Man of No Importancebook by Terrence McNally
Music & Lyrics by Lynn Ahrens and Stephen Flaherty
directed by Mary Ryzuk
WHEN: Friday, March 3rd, 7pm to 10 pm; Monday, March 6th, 7pm to 10 pm
The Barn Theatre is located at 32 Skyline Drive in Montville, NJ, just minutes off Route 287 (Exit 47)
PERFORMANCE DATES: May 12, 19, 20, 25, 26, 27, June 1, 2, 3 at 8 pm and May 13, 14, 21, 28 at 2 pm (Thursdays, Fridays, Saturdays and Sundays).
Alfie Byrne is a bus driver in 1964 Dublin, whose heart holds secrets he can't share with anyone but his imagined confidante, Oscar Wilde. When he attempts to put on an amateur production of Wilde's Salome in the local church hall, he confronts the forces of bigotry and shame over a love "that dare not speak its name." But the redemptive power of theater changes his life and brings his friends back to his side.
A Man Of No Importance is the second successful collaboration by the team of Terrence McNally, Lynn Ahrens and Stephen Flaherty, all of whom won Tony Awards for Ragtime.

‘Pride & Prejudice’ at InterAct


Pride & Prejudice
Adapted by Jon Jory
From the novel by Jane Austen
March 10-12, 17-18, 24&25, 2017
Directed by Billy Mitchell
Online Tickets:
Adult-$19 Student/Senior-$16
At The Door:

Don Flynn, Christine Orzepowski, Jessie Thiele, Pierce Vosper Lo, Jessica Michelle Albano, Theodore Michael Newton, Marlo Avidon, Mike Press, Kara Lee Lawson, Wynn McClenahan, Matteo Moreno, Jerry Narciso, Sharon Quinn, Esq., and Leah DeGruchy

All of the wit and romance of Jane Austen's classic 1813 novel come to life in this refreshingly fast-paced and engaging new adaptation. Finding a husband is hardly Elizabeth Bennet's most urgent priority. But with four sisters, an overzealous match-making mother, and a string of unsuitable suitors, it's difficult to escape the subject. When the independent-minded Elizabeth meets the handsome but enigmatic Mr. Darcy, she is determined not to let her feelings triumph over her own good sense -- but the truth turns out to be slipperier than it seems. In a society where subtle snubs and deceit proliferate, is it possible for Elizabeth and Darcy to look beyond his pride and her prejudice, and to make the best match of all?

5 Mead St
South Orange, NJ 07079

(973) 544-8489

Friday, February 24, 2017

Five NJ Playwrights Showcased in Morristown Play Festival


Morristown, NJ – The first week of March will see five professional New Jersey theatres bring five brand new plays to The Bickford Theatre in Morristown, New Jersey as the third annual New Plays New Jersey reading series kicks off. Writers Theatre of New Jersey is coordinating the staged readings with The Bickford Theatre, Mile Square Theatre, Luna Stage, and Passage Theatre as part of the New Jersey Theatre Alliance’s Stages Festival.
The readings are produced by the individual theatres and feature plays from some of New Jersey’s best playwrights, directed by professional directors and performed by professional New Jersey and New York actors. Further, every reading is followed by a community discussion with the writer, director, and Writers Theatre's Artistic Director, giving the audience an opportunity to share their insights and opinions and helping to further shape the work.

John PietrowskiThe plays to be presented are Olomouc by Yasmine Rana from Teaneck, A Progressive Man by Montclair resident Phoebe Farber, Rocket Sex Magic by David Lee White from Bordentown, Tragedy by Oded Gross (also from Montclair), and Ghost Story by Lia Romeo, a Hoboken resident.
“The month-long New Jersey Theatre Alliance Stages Festival is the perfect event to showcase the amazing work that New Jersey Theatres are doing with New Jersey Playwrights,” said John Pietrowski, Writers Theatre of New Jersey Artistic Director (photo). “These theatres have forged long-term relationships with the writers, and we intend to celebrate and share those connections during the week. We are grateful to The Bickford Theatre for hosting the event, and we look forward to spirited talkbacks after the plays. This is a strong crop of work, and we encourage everyone to see all five.”

The reading schedule is as follows:

  • On Wednesday March 1 at 7 PM is "Olomouc" by Yasmine Rana (Writers Theatre of New Jersey, Madison)
  • On Thursday, March 2 at 7 PM is "A Progressive Man" by Phoebe Farber (Luna Stage, West Orange)
  • On Friday, March 3 at 7 PM is "Rocket Sex Magic" by David Lee White (Passage Theatre, Trenton)
  • On Saturday, March 4 at 7 PM is "Tragedy" by Oded Gross (Mile Square Theatre, Hoboken)
  • On Sunday, March 5 at 5 PM is "Ghost Story" by Lia Romeo (The Bickford Theatre, Morristown)

289369-morris_museumReadings are free of charge, with a $10.00 recommended donation (or donate what you can). The performances will occur at The Bickford Theatre, located in the Morris Museum at 6 Normandy Heights Road in Morristown, NJ.

For more information on any of Writers Theatre’s programs, please visit, or contact Writers Theatre at P.O. Box 1295, Madison, NJ, 07940, 973-514-1787 x20 or For more information about the New Jersey Theatre Alliance or the NJTA's Stages Festival, please visit or, respectively.

Shakespeare Theatre’s Annual Gala Kicks Off Its 55th Season

MADISON, N.J — The Shakespeare Theatre of New Jersey launches the start of its 55th season with their 2017 Annual Gala on Saturday, April 1, 2017. In honor of April Fool’s Day, this year’s Gala takes inspiration from Shakespeare’s fools, the art of comedy and the gift of laughter. The Board of Trustees, staff and artists of The Shakespeare Theatre invite patrons, fellow artists, and community leaders to celebrate at the Theatre’s largest annual fundraiser.

The centerpiece of the evening will be a glittering Cabaret featuring music dedicated to fools in love, comedy sketches performed by some of the company’s best Shakespearean “clowns,” and much more. Past performers have included luminaries such as Cyndi Lauper, Dick Cavett, Blythe Danner, Allison Janney, Tamara Tunie, Laila Robins, Robert Cuccioli, Christopher Durang, Baby Jane Dexter, Vivian Reed, Christiane Noll, Ciarán Sheehan and many more.

The Gala is the Theatre’s largest fundraising event of the year, and welcomes guests to the “Theatre Factory.” Located in Florham Park, the 50,000 square foot building is home to the Theatre’s administrative, educational, artistic, and technical operations. Guests can view the company’s sets, costumes, props, and stage weapons which are displayed throughout the building, as well as the Boulevard of Dreams, a stunning hallway featuring murals and artwork designed by the Theatre’s scenic artists.

The Theatre will transform its space for this fools-inspired, black-tie event beginning at 6:30 p.m. Guests will dine, mingle and explore the “factory” as well as bid on spectacular and unique silent auction offerings, including handcrafted artwork, jewelry, and furniture, and one-of-a-kind theatrical opportunities, ranging from tickets to the Broadway hit Hamilton to the chance to bid on a one-night appearance in the Theatre’s fall production of Shakespeare in Love. At 8:45 p.m., the Silent Auction will close and guests are invited into the “Grand Ballroom” for dessert, coffee and the star-studded Cabaret.

Gala tickets range from $295 to $1,000 per person. A portion of each ticket is tax-deductible to the fullest extent provided by law.  For more information or reservations, call 973-845-6732 or visit


Fun Kids Play at Main Street Theatre Company Saturday

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Looking for something fun to do with the kids this weekend? Come out to Main Street Theatre Company. Our Kidworks shows are a wonderful way to introduce your children to live theater. They are shorter shows with an engaging plot that really capture the younger audience's attention. Snacks are available for purchase as well.

See the Royal Family Bowling Team as they try to find a suitable princess for the prince. This hilarious take on the classic Princess and the Pea story is great fun for kids of all ages! Get your tickets now at Only $7 when you purchase online!

‘Beyond the Oak Trees’ final performances at Crossroads

Beyond the Oak Trees now

through Sunday ONLY!

Ademide Akintilo,* Abigail Ramsay

Steal away to CROSSROADS,

before it is too late!

Elijah J. Coleman,*Abigail Ramsay, Ademide Akintilo*

Tickets still available for

the following performances:

Thursday Feb 23rd at 8pm
Friday Feb 24th at 8pm

Saturday Feb 25th at 3pm SOLD OUT

Saturday Feb 25th at 8pm

Sunday Feb 26th at 3pm SOLD OUT

Read reviews for Dreamcatcher’s fun ‘Shipwrecked! An Entertainment’

3 Actors in 30 Different Roles- including these two proper ladies.

Nicole Callender and Scott McGowan as 2 of the 30 characters sip tea and comment on the wonder of it all in Shipwrecked!

Shipwrecked! An Entertainment

The Amazing Adventures of Louis de Rougemont

(as Told by Himself)
By Donald Margulies

The adventurous Louis de Rougemont invites you to hear his amazing story of bravery, survival and celebrity that left nineteenth-century England spellbound. Dare to be whisked away in a story of the high seas, populated by exotic islanders, flying wombats, giant sea turtles and a monstrous man-eating octopus. SHIPWRECKED examines how far we're willing to blur the line between fact and fiction in order to leave our mark on the world.

Make your reservations here:
Brown Paper Tickets

$35 adults, $30 seniors 65+, $30 students 25. Buy in advance; no fees!

Use code MARG or BOOK to receive $3 off full price $35/$30 tickets. 

Read Liz Keill's review at

Read Ruth Ross' review at NJ Arts Maven  

Read Natalie Pompilio's piece  at