Theatrical Review: “Annie”

Theatrical Review: “Annie”
Book, Music, and Lyrics by: Thomas Meehan, Charles Strouse, and Martin Charnin
Directed by: Carmela Guiteras Mayo
Theatrical Review by: Paul Adam Smeltz

The Shawnee Playhouse in Shawnee on the Delaware, PA is currently presenting their production of the musical “Annie” written by Thomas Meehan, Charles Strouse, and Martin Charnin. The play is based upon the Comic strip titled, “Little Orphan Annie” which was created by Harold Gray and debuted on August 5th, 1924. The strip took its name from the 1885 poem titled, "Little Orphant Annie" (originally titled, “The Elf Child”) written by James Whitcomb Riley from which the well known line “An' the Gobble-uns 'at gits you Ef you Don't Watch Out!” derives.

While the poem it was inspired by contained cautionary tales of what happens to children who misbehave, the comic strip focuses on the life of an orphaned girl name Annie and her adventures in a mean and corrupt world and attracted an adult readership by providing political commentary to the issues of the day. The Comic Strip’s began its story in an orphanage where Annie is routinely abused by the cold, sarcastic matron until a wealthy but mean-spirited Mrs. Warbucks takes Annie into her home “on trial.” Her husband develops an instant paternal affection for the child and she eventually calls him “Daddy.”

While away on business, his spiteful, jealous wife returns Annie to the orphanage who then sends her out to work as a drudge in Mrs. Bottle's grocery store. One day Annie saves a puppy called Sandy from a gang of cruel boys, but she find she can no longer endure the abuse and runs away. After some wandering the countryside and several adventures, she is reunited with “Daddy“ Warbucks after he offers a huge reward for her return.

Those who have seen the 1977 musical stage version of the life of Annie and her patron “Daddy” Warbucks can find some recognizable remnants of the original 1924 story line. However, one can not help but wonder what a play it would have been if the script was more faithful to it. It may not have become the lighthearted holiday (Christmas) musical it evolved into, but it would be something much more interesting to view. However, to review what might have been is a very foolish and self indulgent enterprise and this reviewer will do his best not to let his speculations influence the content of his critique.

The play takes place during the Great Depression of the 1930’s and begins in an orphanage where Annie (as portrayed by Mackenzie Maula) and her friends (as portrayed by Catherine Ferguson, Hava Parker, Angelyse and Anastacia Cordero, Ava Stripp, Hannah Rau, Jordyn Albanese, Chelsea Cirillo, Elizabeth and Jena Otting, Eirienn Byrne, Jadelyn VanWinkle, and Camile Famularo) lament about their lot in life with hopes for a better tomorrow. Annie tries to escape but her attempts are thwarted. However, her second try proves successful until she is apprehended by Lt. Ward of the police (as portrayed by David Schappert who also served as the Production Manager as well as performing in the roles of Wacky and the Cabinet Member) and returned to the orphanage. She faces a grim future gleefully described to her by the orphanage’s Matron Miss. Hannigan (as portrayed by Sarah McCarroll) until Grace Farrell (as portrayed by Kara Snyder) arrives to announce her employer Oliver Warbucks (as portrayed by Rod Forte) wishes to adopt a girl who uncannily fit’s the description to what is desired.

Annie is taken to her new home to meet her adoptive parent and his staff. “Daddy” Warbucks, Grace Farrell, and Annie soon go out and about throughout the streets of New York City during its Christmas celebrations in order to become acquainted with one another. “Daddy” Warbucks become deeply fond of his new charge and seeks to give her a gift of a new locket. However, upon an attempt to replace her old locket with the new one, he discovers the locket Annie presently has contains her only hope of seeing her birth parents again. So, “Daddy” Warbucks enlists the help of the F. B. I. and President Franklin D. Roosevelt (as portrayed by Dante) himself to help find them. He offers a large reward and is soon inundated with people falsely claiming to be Annie’s parents.

Two of these imposters are a couple known as Rooster (as portrayed by Jim Lynch) who is Miss. Hannigan’s brother and his girlfriend Lilly (as portrayed by Sara Ferguson). They devise a scheme to con “Daddy” Warbucks into giving them the reward by posing as Annie’s parents and presenting him with fraudulent birth documents. They illicit the help of Miss. Hannigan who provides them with information about Annie only the orphanage knows. Thus the perfect plan to set the three on “Easy Street” is put into effect until the discovery the fate of Annie’s true parents are revealed by the president and the F. B. I. The three swindlers are incarcerated and Annie is officially adopted by “Daddy” Warbucks. Merry Christmas.

The production is a nicely done one but this reviewer would not consider it one of the Shawnee Playhouse’s best. There were some unevenness in the acting quality and some of the musical effects made it difficult to hear the spoken dialogue. However, the sound system connected to the actors were turned up when they began to sing. This was a bit bothersome to this reviewer as it almost indicated the songs of the musical was deemed more important than the spoken dialogue. However, this was not the case throughout the play and it’s story was conveyed adequately.

The cast of this production of “Annie” consisted of several main characters (who were mentioned earlier in this review) and quite a number of ensembles. These ensembles featured the talents of Michael Marone, Bridgitte, Krystal, Cory, and Richard Endrulat, Karen Doherty Raub, Marty Courtney, Sean Mc Farlane, Shannon Christmann, Amy Hayakawa, Michelle Handy, Stacey Mattern, Joseph Ambrosia, Maddy Ledergerber, Annalee Marine Paige, Julie Albritton, Samantha Wagner, Elizabeth Wagner, Mira Hartshorn, and Christopher Kirkwood. Other actors appearing in the production were Luke Swierczek as Drake the Butler and Zeus as Sandy the dog.

For this reviewer, this production of Annie seemed be a bit mundane one until the introduction of the Rooster and Lilly characters. The actors portraying them led the play to a more enjoyable space through their antics and approach to life which reflected their criminality. It was like taking a breath of deviant fresh air in an otherwise wholesome holiday family experience. This didn’t lift the entire production from its#humaneness, but it almost did.

The Shawnee Playhouse production of “Annie” by Thomas Meehan, Charles Strouse, and Martin Charnin was Directed by Carmela Guiteras Mayo and Staged Managed by Amanda Malinowski (who also served as a Sound Technician) as assisted by Emily Heller and Natalie Price. Amy Rau served the production as its Music Director with Kyle Donahue on Keyboards. Lou Grillo served the production as Lighting and Sound Technician while Emily Cioc served as an additional Lighting Technician. Missy Benefield served as the production’ costumer while Adam and Philip Benefield served as the production’s Dog Wrangler. The Shawnee Playhouse producers are Ginny and Charlie Kirkwood with Midge McClosky serving as the playhouse’s Executive Director. The Box Office Manager is Mary Horn as assisted by Barbara Ross, Christina McManus, Pam Hudak, and Ariel Hudak. Becky Haskell serves as The Shawnee Playhouse’s Sales and Marketing Director.

Although the this production of “Annie“ and maybe the play itself was not this reviewer‘s cup of tea, there were some aspects to the presentation that made the evening an enjoyable one. Some may find such aspects worth the price of admission while other won’t. If one likes wholesome family fare, then the play is worth the fee. If not, one might want to look up the original comic strip on the internet. You may find it interesting what they published in the funny papers.

This production of “Annie” continues its run at The Shawnee Playhouse in Shawnee on the Delaware, PA until August 27th. Their current productions being presented at the theater are “River’s Edge: The Story of Shawnee,” “Sisters of Swing: The Story of the Andrews Sister” until September 3rd, and “Nunsense 2: The Second Coming” until September 4th, along with their Children’s Theater productions of “Disney’s Alice in Wonderland” being presented until August 26th and “Schoolhouse Rock, JR.” being presented until August 27th. The Shawnee Playhouse upcoming presentations and productions include their Center Stage Players Productions of “Actor‘s Choice/Director‘s Cut” September 9th - 18th and “Postmortem” September 23rd - October 23rd.

Those who enjoy the Passionate Art Lover level of membership in The Forwardian Arts Society are offered a $3.00 discount off the admission fee of The Shawnee Playhouse Productions (excluding Children Theatrical Productions and those presented by non Shawnee Production Companies). Please Explore The Shawnee Playhouse Website at www.theshawneeplayhouse.com or call 570-421-5093 for more information about their productions and to reserve your ticket.

Photograph provided by The Shawnee Playhouse and depicts Mackenzie Maula as Annie and Maddy Ledergerber as Molly.

Theatrical Review: The Seafarer

Theatrical Review: The Seafarer
Written by: Connor McPherson
Directed by: Sue Butler
Theatrical Review by: Paul Adam Smeltz

The Shawnee Playhouse in Shawnee on the Delaware, PA presented The Center Stage Players‘ production of “The Seafarer” by Conor McPherson which was written in 2006. It was first performed in London's National Theatre that same year and received an Olivier Award nomination for Best Play. The play was then performed in the United States where it earned a Tony nomination in 2008. The work is best known for being written in a working-class Dublin use of language while adopting the lyricism found throughout the Irish theatre tradition.

“The Seafarer” takes it name from an Anglo-Saxon poem written circa 755 A. D. and is titled, “The Seafarer.” It is one of the four surviving manuscripts recorded in the Exeter Book and is told from the point of view of an old seafarer who is reminiscing about his life. The play takes place on Christmas eve in North Dublin, Ireland and is about a man named, “James ‘Sharky’ Harkin” (as portrayed by Denny Carrig) who is an Alcoholic. He comes to live with his blind older brother named “Richard Harkin” (as portrayed by Scott E. McIntosh) after losing his job. The play begins as “Sharky” enters the house to discover his brother and a house guest named, “Ivan Curry” (as portrayed by Jack Butler who also served the production as one of its Set Designers) are beginning to awaken from a night of drunkenness.

It may be prudent to note that the play, at this point, moves as slowly as many of the characters in the scene as they begin to awaken from their drunken stupor. While this pacing may be seen as painfully tedious to many theatre goers, it serves as a faithful reflection of the characters state of being and encourages the audience to emphasize with them. It also allows us to not only learn about the characters’ traits and their place in the play, but we also learn of their deeper pain and how it was instilled in their souls.

The play progresses as “Sharkey” discovers his brother, Richard, has invited friends over for a night of drinking and poker. This bothers as “Sharkey” as he had hoped to stay off the bottle for the holidays in order to combat his alcoholic demons. The guest include a man named, “Nicky Giblin” (as portrayed by David Schappert) who has been as “Sharkey‘s” love rival and a mysterious Mr. Lockhart (as portrayed by Patrick Turner who serves as a member of The Center Stage Players’ Board of Directors) whom we soon discover is a demon more insidious than those found in any bottle.

Prior to the game commencing, Mr. Lockhart reminds “Sharky” he had wagered his soul in a game of poker against Lockhart in a bid to gain his freedom after being arrested for the killing of a vagrant twenty-five years ago. We also discover that, in spite of winning that game, “Sharky” inexplicably promised Mr. Lockhart another game in the future so he would have an opportunity to win his soul and take him to Hell. This leads to a gamut of emotions as Mr. Lockhart entices not only “Sharky” into reliving the regrets of his past but of those who enter into the game thus creating a Hell for them to dwell during its duration.

The Center Stage Players’ production of “The Seafarer” by Conor McPherson was very well done as it’s slow methodic pacing compelled the audience to experience each painful wound as this slowly festered before our eyes. This allowed each theatre goer to examine the scares life has placed within them and to contemplate their addictive attachment to them. The play ends with a sense of accomplishment and redemption. Perhaps this may give hope to those who recognize their demons and wish to leave the Hell they have created.

The Shawnee Playhouse presentation of The Center Stage Players’ production of “The Seafarer” by Conor McPherson was Directed by Sue Butler who also serves as The Center Stage Players’ President and as one of the production’s Set Designers. The production was Stage Managed by Juliet Dunham and was assisted by Lillian Ramirez-Gonzalez who also serves as The Center Stage Players’ Secretary. The Program Design and publicity for the production was done by Katerhine Neville who serves as The Center Stage Player’ Treasurer. Other members of The Center Stage Players include Mary Stewart Erm who serves as Vice President along with Pat Van Varick and Dan Eash who serves as members of The Center Stage Players‘ Board of Directors.

The Executive Director of The Shawnee Playhouse is Midge McClosky while the producers are Ginny and Charlie Kirkwood. The Sales Manager is Mary Horn as Becky Haskell serves in Marketing. Members of the Box Office Staff are Barbara Ross and Christina McManus. The Playhouse’s costumer is Missy Benefield. The Shawnee Playhouse publicity is handled by Amy Cramer while David Schrage is its Webmaster.

This presentation of The Center Stage Players’ production of “The Seafarer” by Conor McPherson will conclude its run at The Shawnee Playhouse in Shawnee on the Delaware, PA until May 15th. I would recommend seeing this production as it’s a wonderful opportunity to see actors who love the theatre performing a comedy that truly inspires its audience to laugh. It also allows the audience to explore how the rumors of their lives in which they try to keep hidden from others would look in the bright light of humor.

The Center Stage Players is a non-profit community theater group which was formed in April of 1990 and led by a board of directors. Membership is open to everyone regardless of experience. All auditions to their productions are open to the public as they strive to provide an environment in which persons with an interest in theater can grow and develop in all aspects of theater. Please feel free to Explore The Center Stage Players Website at www.sites.google.com/site/centerstageplayersorg to learn more information about them.

The Shawnee Playhouse provides professional quality year-round entertainment in a historic yet comfortable setting while bringing their guests a variety of theatrical experiences to the residents and vacationers of the area. They also serve as a training ground for young theatre performers and technicians. Future presentations at The Shawnee Playhouse will include “River’s Edge: The Story of Shawnee” by Midge McClosky and Rod Foote May 20th - September 2nd, “Sisters of Swing: The Story of the Andrews Sisters” by Beth Gilleland, Bob Beverage, and Raymond Berg June 1st - September 3rd, and “Nunsense 2: The Second Coming” by Dan Goggin June 17th - September 4th. Please contact The Shawnee Playhouse at 570-421-5093 or Explore their Website at www.theshawneeplayhouse.com for more information and to reserve your ticket.

Those who enjoy the Passionate Art Lover level of membership in The Forwardian Arts Society are offered a $3.00 discount off the admission fee of selected productions (excluding Children Theatrical Productions and those presented by non Shawnee Production Companies) of The Shawnee Playhouse.

Photograph provided by The Shawnee Playhouse and depicts the characters in The Center Stage Players‘ Production of “The Seafarer” by Conor McPherson.

Theatrical Review: Blithe Spirit

Theatrical Review: Blithe Spirit
Written by: Sir Noël Peirce Coward
Directed by: Stephanie French
Theatrical Review by: Paul Adam Smeltz

“HAIL to thee, blithe spirit!
Bird thou never wert—
That from heaven or near it
Pourest thy full heart
In profuse strains of unpremeditated art.”

From “To a Skylark” by Percy Bysshe Shelley

The East Stroudsburg University (ESU) Department of Theatre and Stage II presented their production of “Blithe Spirit” written by Sir Noël Peirce Coward who was well known as a versatile creative force especially during the 1920s, 30s, and 40s. Not only was he a playwright, he also acted and directed a number of productions and composed several songs which were equally popular. His plays became known for their wit and flamboyant style which reflected his own personality traits. He was knighted in 1969 and continued writing until shortly before the time of his death in 1973 at the age of 74.

As with almost all productions presented at ESU, the first experience of the play the audience encounters it the well designed and visually stunning set. The scene created for “Blithe Spirit” is no exception. The scenic designer and the construction crew who built the walls, floors, staircase, and other fixtures didn’t just decorate the stage, but built a house in which became a well pronounced character contributing its impressive attributes to the play. Several audience members were seen stumbling while taking their seats as their attentions were consistently distracted by the shear scope and detail of what lied before them on stage.

However, presenting this degree of detail and craftsmanship upon a stage is a very risky venture. It brings the expectations of what the audience will experience once the play begins to a very high level. If the acting or blocking of the play doesn’t meet the scene’s standards, a great disappointment may become prevalent in spite of the fact the theatrical experience would have been very satisfying with a more modest approach to the set’s design. But, as this reviewer is pleased to report, this was not a concern for this production as the acting and direction not only met the expectations created by the scenic design but exceeded them to a great degree.

“Blithe Spirit” was written in 1941 during the WWII bombing of London and was first presented in the city’s theatrical district known as the “West End” where it set a record for non-musical British plays with nearly 2000 performances. It ran for over 650 performances in the New York, NY theatre district known as Broadway and adapted was to film in 1945. Noel Coward also created a musical version of the play titled “High Spirits” which appeared on Broadway in 1964. The title of the play is taken from the poem “To a Skylark” written by Percy Bysshe Shelley in 1820.

“Blithe Spirit” has often been served as a shining example of a comedic style known as “comedy of Manners” or “Bedroom Comedy” which are considered the highest form of comedy. The lowest forms are often said to be “Puns” and “Slapstick.” Perhaps this is because they generally get more laughs from a larger spectrum of people. Regardless of one’s understanding of comedy or one’s level in regards to their sense of humor, this production manages to mix the sophistication and humor Noel Coward was well known for into a delightful concoction enjoyable to any comedic palate.

The play begins when an author named Charles Condomine (as portrayed by Gabryal Rabinowitz) and his wife Ruth (as portrayed by Kristin Walsh) invites their friends Dr. Bradman (as portrayed by Shamus Halloran) and his wife Mrs. Bradman (as portrayed by Kimberly Konczos) to a séance in order to gather material for a future book relating to the paranormal. Except for the highly infectious comedic entrances made by their maid Edith (as portrayed by Stephanie Clare), the play’s beginning seems rather boring and contains the overly dignified upper crust British traits commonly associated with the well to do citizens of the island nation. However, it is soon revealed these archaic and heavy handed mannerisms merely serves as a counterweight to the frivolity that delightfully dominates the majority of the play.

The entrance of Madame Acarti (as portrayed by Marshall Haskell who also served the production as part of its set construction crew) enlivens the play with her (well his) other worldly presence especially after a few martinis are consumed. This presence of Madame Acarti is soon enhanced by the arrival of the spirit of Charles’ first wife Elvira (as portrayed by Shannon Leigh Christmann). It is interesting to note the play seems rather dull until those akin to the dead show up. As a quote accredited to Sir Noël Peirce Coward presented in the play’s program states, “We have no reliable guarantee that the afterlife will be any less exasperating than this one, have we?” Well, the afterlife may not be “any less exasperating” but it seems those who dwell in it have a bit more fun as they’re able (perhaps due to the lack of the daily cares and social constrictions encountered in the living life) to let their hair down.

The plot of “Blithe Spirit” develops as the relationship between Charles and his long dead wife begins to rekindle. This first concerns his present wife, Ruth, who feels his mental condition is deteriorating. However, once it is proven to her the ghost does exist, she feels the jealousy and frustration known to anyone who ventured into a relationship with someone who has a deceased spouse. It is quite unsettling to have one’s attempts to gain undivided attention and affection when there’s an unseen and irreproachable pedestaled entity in their midst.

However, Ruth does not sit idly by while her husband is our “dilly dallying” (did I really write that?) about with his former wife. She soon contacts Madame Acarti and plots to get rid her undead rival once and for all. She is also not above telling her rival off through a series of angry exchanges which are often misdirected as she doesn’t have any idea where Elvira is at any given point in time. All this adds to the comic effect of the work and it is presented with great deal of relish by the cast. The sense the actors truly enjoyed themselves while being on stage made them a joy to watch.

The play was further enhanced by musical performances of several songs written by Sir Noël Peirce Coward. These songs were sung by members of the cast along with Karen Guilliams (who served the production by providing Sound Effects) and Paula Dixon creating a zeitgeist allowing the audience to place themselves in the times the play was written and first presented. It is rumored the director replaced some scenes from the original work in order to include the songs.

This directorial act may stir some degree of controversy as many theatrical purists feel all works should be presented on stage as written by the playwright unaltered. However, this seldom happens as even the best of actors often forget every single word they’re given in a script and occasionally resort to adlibbing a few words or sentences here and there. This is recognized as acceptable as long as the actor stays in character and it doesn’t cause other actors to forget their lines. There is also a school of thought the director may override the script in order to reveal a more meaningful production. This “going off book” is often done to emphasize aspects found through a deeper analysis of the play and not readily apparent in the work as written.

While this reviewer can readily associate himself with either side of the argument, it seems Ms. French’s approach (if the rumor is true) does the Sir Noël Peirce Coward’s work a great service by including his songs to underscore the period and thus bringing an enhanced understanding to a modern audience. These changes (if they occurred as rumored) reflected a deep respect and admiration to the play which was translated well to the audience. It would be quite a challenge to find any member of the audience not wishing to see another Noel Coward play even if they knew of the alleged changes that was made to the work. Of course, if the rumored this reviewer shared is untrue, a reader might rightfully suppose those who originated it is full of what those who practice the art of theatre refer to as “Blockage.” Regardless of this or any other rumor that may be associated with this production, it is a well acted and directed one.

This reviewer seldom mentions the technical aspects of the theatrical art other then those comments directed to the scenic design of the piece due to the fact technical theatre was never my forte. I do know, however, there are certain effects one can gain with lighting that creates a mood along with a sense of time and space. It would be remiss to conclude this review without mention of the uncanny and impressive lighting presented during the production which illustrates this property in textbook exactness. If for no other reason to see this play (and there are a multitude of reasons beyond this one), the effects of lighting can have to enhance a scene should be experienced.

The East Stroudsburg University (ESU) Department of Theatre and Stage II production of “Blithe Spirit” by Sir Noël Peirce Coward was Directed by Stephanie French (who also served as the production’s Vocal Coach as assisted by Michelle Jones) and was assisted with her directorial duties by Felicia Revero who also served the production as a member of the set construction crew. The production was Stage Managed by Jessica Pachuta who also served as one of the production’s Props Assistants. She was assisted by Elyse Burnett and Zenobia Colah who both served the production further as Prop Assistants. Margaret Joyce Ball served the production as its Musical Director and Vocal Coach while Charles Cole served as the production’s pianist. The English Dialect and Cultural Advisor was Patricia McKenzie.

Yoshinori Tanokura designed the set as assisted by Tiffany Cruz (who also was a part of the Set Construction Crew and was a scenic artist) and Costumes as assisted by Ahleea Zama and Gillian Reinartz. The Lighting was designed by Wilburn Bonnell while Robert McIntyre served as the production‘s Master Electrician (as well as a member of the production’s Set Construction Crew) and was assisted by Katie Dembesky, Kelsey Pulzone (who also served as a member of the production’s Set Construction Crew and prop assistant), Mary Dennis (who also served the production as a member of the Set Construction Crew), Tim Carpenter, and Tyler Whitman who was also the production‘s Spotlight Operator. The Light Board Operator was Meg Dowling who also served the production as a member of the Set Construction Crew and Property Master, Michael Thomas was the production’s Technical Director and also served as a member of the production’s Set Construction Crew.

Stephanie Carifi was the production’s Hair and Make Up Designer as assisted by Agnetta Kerchner who both served as Costume and Makeup Artists alongside Sarah Martins. The hairstylist for Elvira was Caitlyn Pulzone. The House Managers were Joey Dougherty and Joey Goldstein while the Box Office Managers were Justin O’ Hearn and Mervant Rivera. The Poster and Program Cover Design for the production was done by Greg Back. Those members of the Set Construction Crew not already mentioned are Eric Lang, Michelle Tuite, Brad Reigner, Paul Cenci, and Spencer Hartey. Yoshi Tanokura was a Scenic Artist and Tyler Adams and Jackie Knollhuff were part of the running crew.

This production of “Blithe Spirit” by Sir Noël Peirce Coward will continue its run at The East Stroudsburg University (ESU) in East Stroudsburg, PA at The University’s Fine and Performing Arts Center in it’s Smith-McFarland Theatre until April 17th and is recommended for those who wish to partake in a theatrical experience from a bygone time that is kept alive. From its beginning with the high powered frantic entrance of Edith who delighted the audience to the superbly droll appearance of Charles, Ruth, and their borderline snobbish friends, to the wildly bizarre Madame Acarti, to Elvira whose spirited manifestation enchants the entire audience toward some otherworldly laughter, this is one play not to be passed over. Please contact The East Stroudsburg University (ESU) Theatre Department at 570-422-3483 for more information about future productions and to reserve your ticket.

Photograph provided by David Dougherty of www.davedocphotography.com.

Theatrical Review: “Love, Sex, and the I. R. S.”

Theatrical Review: “Love, Sex, and the I. R. S.”
Written by: William “Billy” Zandt and Jane Milmore
Directed by: Debbie Kilfoil
Theatrical Review by: Paul Adam Smeltz

The Shawnee Playhouse in Shawnee on the Delaware, PA presented Prestige Productions’ “Love, Sex, and the I.R.S” by William “Billy” Zandt and Jane Milmore. The play (originally titled, “Tax My Mistress”) was written in 1979 and has become a favorite among numerous community theatre companies who perform it during the US Federal Tax filing season whose deadline is April 15th. However, it has also been presented in foreign countries as well. It is known for its plentiful sight gags, double entendre, and funny lines. This production of “Love, Sex, and the I. R. S” presented them all intact.

The play centers around the premise a young man named “Jon Trachtman” (as portrayed by Joe Arner) has been filing his Federal income tax returns declaring his roommate, “Leslie Arthur” (as portrayed by Jim Lynch), as his wife for several years. Complications (which are more of them in this play than the tax code itself) begin when Jon discovers he’s being audited in which he tells Leslie of his deception and pleads with him to present himself as his wife when the Auditor, named, “Floyd Spinner” (as portrayed by Fred Broadbent) arrives. Of course, he agrees.

I did mention there’s a lot of complications in the plot of this play, didn’t I? Well, here are a few of them. Jon is having a romantic relationship with a woman named “Kate Dennis” (as portrayed by Samantha Crawn) who is also having a romantic relationship with Leslie with whom she plans to leave Jon for. Leslie has a girl friend named “Connie” (as portrayed by Jenell Manzi) who he loves but is broken hearted since he feels his love for her is unrequited. Jon and Leslie rent their apartment from Mr. Jensen (as portrayed by Dan Luddeni) who has a clause in their rental agreement that no unmarried couples are allowed to cohabitate which allows him to check the apartment from time to time to make sure there are no women living there. Then, there’s Jon’s mother “Vivian Trachtman” (as portrayed by Pat Van Varick) who further complicates things as only a mother could. This is especially evident when she obtains a Justice of the Peace, named, “Arnold Grunion” (as portrayed by Merlin Clarke) to marry her son and her “Fiancé.” Are you still with me?

The play does seem a bit dated as many of the attitudes among the characters toward women, homosexuals, and life in general are associated with those prevalent nearly 30 years ago. Even the style of acting is reminiscent of the time. This is especially true of Jim Lynch’s over the top performance of his role which brought to mind a combined Tony Randall and Jack Lemmon “Odd Couple” performance. However, if one can remember they’re watching a play written during (as the author once mentioned in a reminiscence of his work) “a more innocent age when a car jack was something you fixed a tire with and crack was something you saw on a plumber,” its fun and frivolity shines through making it an enjoyable theatrical experience and one comes to realize Jim Lynch could not portray his character any other way without betraying what the author intended.

In fact, the overall acting was spot on and enhanced the comedic effect of the production. The timing was very fast paced as a slapstick comedy requires while taking the time to slow it down long enough for the audience to absorb a gag line delivered in the mayhem. This balance is a very difficult thing to achieve and the direction of the play given by Debbie Kilfoil creates this balance with a great deal of finesse. And, the 1980’s mindset of the play soon becomes as easily forgotten as the realizations modern feminism can be while enjoying William Shakespeare’s “The Taming of the Shrew.”

The Shawnee Playhouse presentation of Prestige Productions of William “Billy” Zandt and Jane Milmore’s “Love, Sex, and the I. R. S.” was Directed by Debbie Kilfoil and was Stage Managed by Irene Garner. The set was designed by Mike Crawn while Joseph Bednarchik served as the production’s Lighting Director. All of the productions presented at The Shawnee Playhouse are produced by Ginny and Charlie Kirkwood. The Executive of The Shawnee Playhouse is Midge McClosky while its group sales manager is Mary Horn. The Box Office Staff includes Chrissy McMannus and Ariel Hudak. Becky Haskell serves as the playhouse’s Sales and Marketing Director.

Prestige Productions’ “Love, Sex, and the I. R. S.” by William “Billy” Zandt and Jane Milmore continues its run until April 17th. It’s fun night at the theatre and I would recommend seeing it to anyone who would enjoy a good laugh or a mere smile. In any case, the joyously complicated roller coaster ride is worth the price of admission. Just bring some smelling sauce or some bad smelling cheese to revive yourself.

Prestige Productions is creator of The State Theatre of Easton, PA Summer Acting Camp. It is directed by Denise Crawn and is now in its 9th year teaching young people the skills associated with the theatrical arts. The 2011 Summer Acting Camp will be held July 11th - 22nd with a camp recital held Saturday July 23rd. To learn more about Prestige Productions and their Summer Acting Camp (including registration information), please Explore The State Theatre Website at www.statetheatre.org of call 610-252-3132.

Future presentations at The Shawnee Playhouse will include The Center Stage Players production of “Love Letters” by A. R. Gurney April 22nd - May 1st, “The Seafarer” by Conor McPherson, “River’s Edge: The Story of Shawnee” by Midge McClosky and Rod Foote May 20th - September 2nd, “Sisters of Swing: The Story of the Andrews Sisters” by Beth Gilleland, Bob Beverage, and Raymond Berg June 1st - September 3rd, and “Nunsense 2: The Second Coming” by Dan Goggin June 17th - September 4th. Those who enjoy the Passionate Art Lover level of membership in The Forwardian Arts Society are offered a $3.00 discount off the admission fee of The Shawnee Playhouse Productions (excluding Children Theatrical Productions and those presented by non Shawnee Production Companies). Please contact The Shawnee Playhouse at 570-421-5093 or Explore their website at www.theshawneeplayhouse.com for more information and to reserve your ticket.

Photograph provided by The Shawnee Playhouse.

Theatrical Review: “Skyscraper”

Theatrical Review: “Skyscraper”
Written by: David Auburn
Directed by: Rob Ramos
Theatrical Review by: Paul Adam Smeltz

The Shawnee Playhouse in Shawnee on the Delaware, PA presented The Worthington Players production of “Skyscraper” by David Auburn who is best known for his play “Proof” which was awarded the 2001 Tony Award for Best Play and The Pulitzer Prize for Drama. It also became a film in 2005. “Skyscraper” was Mr. Auburn’s first full length play and was first presented in 1997. Prior to writing this play, he spent two years in The Juilliard School's playwriting program in which he study under Marsha Norman and Christopher Durang. For those who are familiar with their work, their influence on Mr. Auburn can be clearly seen. Yet, “Skyscraper” does have Mr. Auburn’s individual voice which became more profound in his later works.

This well acted production of “Skyscraper” takes place in the city of Chicago, Ill in 1997 and begins with an awkward prologue in which the characters are introduced. It’s awkward in that it seems unnecessary and does nothing to provide meaning to the play or it’s characters. This awkwardness is made more evident but the fact the characters are clumsily bumping into one another and falling flat upon the stage. Perhaps the playwright was commenting on what he feels about plays who find it necessary to present an air of self importance by adding a pretentious prologue to the work, but it’s real presence in this play eludes this reviewer.

However, once the play begins with a scene on a rooftop between a woman named “Vivian” as portrayed by Amy Cramer (who also as the production’s Scenic Designer) and a 110 year old man named “Louis” as portrayed by Robin Kessler, it begins to captivate the audience by bringing them into the relationship of the two characters. Their pivotally to the play isn’t fully realized until the end of the production, but their comic/tragic relationship faithfully reflects the essence of the theatrical arts as it compels us with a desire to learn more about them.

We are then introduced to characters who aid us in our discovery while establishing their own individual characteristics from which we would like to learn more about. They include Jessica (as portrayed by Juliet Dunham) who is a photographer filled with the desire to save a historic building doomed for demolition, Jane (as portrayed by Kate DiGerolamo) whose purpose in life seems to be to date lots of men, Raymond (as portrayed by John Bradley) who owns the company responsible for the building’s impending demolition, and Joseph (as portrayed by Ryan Moore) who is Raymond’s philosophical employee and brother who becomes unemployed and mistakenly becomes the focus of Jane’s sensual desires. The cast is rounded off by the appearance of Cameron Cramer as the waiter who also serves the production as a stagehand.

It’s been said the “Skyscraper” is “a serious comedy about the deterioration of ingenuity and art.” While it is indeed a serious comedy, it is much more profound than a play about the deterioration of ingenuity and art. But, trying to define this play by placing any description to what it’s about would be a great disservice to the work. It is about a good number of things as the play doesn’t evolve through the typical plot driven narrative most theatre goers are accustomed to. Instead, the play’s exposition is revealed through its characters and the stories they have to tell through their words and deeds.

This theatrical approach tends to involve the audience more deeply into the play as they are inspired to think “Ah, that’s what the play is about” until another exchange between the characters cause the audience to think “Oh, wait. This is what the play is about.” Perceptions of what the play is saying to the audience change throughout the production and this make the theatrical experience much more engaging, Of course, there are times when this approach becomes a devise just used to confuse the audience so they avoid realizing what a bad play it is, but this is certainly not the case with “Skyscraper.”

Except for the presence of the prologue this reviewer has already mentioned, the play is well crafted and the acting presented in this production was very good. This is especially true of the portrayal of Louis by Robin Kessler. It is very difficult for a young actor to play a much older one without succumbing to the temptation of creating a characterization of the role. But, Mr. Kessler’s portrayal brings Louis to life in a very believable way. This does not discount the talents of the other actors in the play as their individual theatrical skills are quite considerable. However, the play does tend to center around the Louis character and any violation to the “suspension of disbelief” by the actor portraying the role diminishes the believability of the entire play along with all of its the characters.

The well crafted direction of the play should be acknowledged as a definitive element to bringing Mr. Auburn’s work to a meaningful and faithful production. Rob Ramos has appeared in several productions presented at The Shawnee Playhouse and other venues. The skills he accumulated as an outstanding actor translates well in his role as a director. It is said a director who wishes to be a good one must first become an accomplished actor. The thought behind this is not only does the director needs to have an intimate understanding of the play and all it’s themes (apparent and implied), but he/she needs to know how to inspire the actors to bring about performances that honors the work. This production of David Auburn’s “Skyscraper” gives credence to this mindset and kudos to Mr. Ramos for giving it a great deal of validity.

The Worthington Players production of “Skyscraper” by David Auburn was directed by Rob Ramos and Stage Managed by Tom Nordon. The Lighting and Sound Technician was David Schappert. All of the productions presented at The Shawnee Playhouse are produced by Ginny and Charlie Kirkwood. The Executive of The Shawnee Playhouse is Midge McClosky while its group sales manager is Mary Horn. The Box Office Staff includes Chrissy McMannus and Ariel Hudak. Becky Haskell serves as the playhouse’s Sales and Marketing Director.

The Worthington Players production of “Skyscraper” by David Auburn continues its run until April 3rd. It’s unfortunate this reviewer was unable to review this production earlier during its presentation, but there is still time for those who read this review to see it. I would recommend doing so as it does hold a great deal of meaning for those who manage to attend the production before it closes. You may do so by contacting The Shawnee Playhouse from the information found at the conclusion of this review.

The Worthington Players serves as the artistic arm of The Shawnee Institute which was formed in December of 1999 as a 501-C3 organization designed to provide diverse, quality artistic programs to the residents of the historic village of Shawnee and the surrounding areas. In addition to holding its Annual Playwright Completion, The Worthington Players performs their non-musical productions from January to March. Please contact The Shawnee Playhouse to learn how you can become a part of The Worthington Players and support The Shawnee Institute.

Future presentations at The Shawnee Playhouse will include The Prestige Productions presentation of “Love, Sex, and The I. R. S.” by William Van Zant and Jane Milmore April 8th - 17th along with The Center Stage Players production of “Love Letters” by A. R. Gurney April 22nd - May 1st and “The Seafarer” by Conor McPherson. Those who enjoy the Passionate Art Lover level of membership in The Forwardian Arts Society are offered a $3.00 discount off the admission fee of The Shawnee Playhouse Productions (excluding Children Theatrical Productions and those presented by non Shawnee Production Companies). Please contact The Shawnee Playhouse at 570-421-5093 or Explore their website at www.theshawneeplayhouse.com for more information and to reserve your ticket.

Photograph provided by The Shawnee Playhouse.

Theatrical Review: “Broadway on the Red Carpet”

Theatrical Review: “Broadway on the Red Carpet”
Book, Music, and Lyrics by: Numerous
Directed and Choreographed by: Brandon Hanks and Kaitie Kaiser
Theatrical Review by: Paul Adam Smeltz

The Shawnee Playhouse in Shawnee on the Delaware, PA recently presented their production of “Broadway on the Red Carpet” which was a musical revue consisting of a collection of songs from Broadway Musicals which later became films. These included “Hair,” “West Side Story,” “Wicked,” “Grease,” “Gypsy,” “Chicago,” “Seussical,” “You’re a Good Man Charlie Brown,” “In the Heights,” “Jekyll and Hyde,” “The Wiz,” “Secret Garden,” and “Rent.” However, songs from films that later became musicals were also featured throughout revue which included “Little Shop of Horrors,” Hairspray,” “The Wizard of OZ,” and “Xanadu.” Selections from the musicals “Singing in the Rain” which had multiple musical sources such as theatrical musicals and popular songs before becoming a film and “White Christmas” which originated from the film, “Holiday Inn.”

The presentation was well done as a very talented, high energy cast sang and danced to recreate the iconic moments of each production represented during the revue. The ensemble cast consisted of Shauna Schopper, Esteban Vasquez, Maria Stein, Kara Snyder, Joseph Ambrosia, Lauren Santerelli, Hailey Canto, Sara Ferguson, Jillian Dente, Kara Snyder, Kristopher Sanchez, Stephanie Clare, and Steve Spangler along with Kaitie Kaiser and Brandon Hanks who served as the production‘s co Director and co Choreographer. Musical accompaniment was provided by Ann Mullen who served the production as the Band’s Music Director on piano, Marshall Haskell on Drums, and Noah Talbot on Bass. An informative narrative strung the performances together with humor and insights to how the transition from theatre to film came about, was received, and other tidbits which enhanced the enjoyment of the show.

And, “Broadway on the Red Carpet” was indeed an enjoyable show which proved to be a very pleasurable evening at the theatre. The only unfortunate aspect of the show was the length of its run which was from February 25th - 27th. So, by the time you read this, the show would have concluded its performance. But, for those who came out to see it, many delightful memories can be tucked away and saved for a day when our hearts needs a cause to smile.

The Shawnee Playhouse production of “Broadway on the Red Carpet” was authored by a variety of sources but was derived from an original concept presented at The Smiling Rhino Theatre. This production was (as mentioned earlier) Directed and Choreographed by Brandon Hanks and Kaitie Kaiser and Staged Managed by Emily Cioc. Brent Schlosshauer served as the Production’s Set Designer while Eric Dwyer served as the Lighting Designer and Operator. Amy Rau served as the production’s Music Director while Missy Benefield served as its costumer. The Shawnee Playhouse producers are Ginny and Charlie Kirkwood with Midge McClosky serving as the playhouse’s Executive Director. The Box Office Manager is Mary Horn as assisted by Christina McManus. Becky Haskell serves as The Shawnee Playhouse’s Sales and Marketing Director.

The Shawnee Playhouse was built in 1904 by C.C. Worthington and was known as the Worthington Hall to provide entertainment and educational benefit to residents and visitors of Shawnee on Delaware, PA. Local actors and actresses formed the troupe called, “The Shawnee Players” and performed from 1904 until World War II when Fred Waring and the Pennsylvanians began broadcasting their famous radio programs from the Hall. The Hall later fell into disuse until the Kirkwood family purchased the Resort in 1978 and began to restoring The Worthington Hall to it‘s present state remaining the building “The Shawnee Playhouse.” The Shawnee Playhouse continues its tradition of providing professional quality live theatre to those who enjoy the art form.

Future presentations at The Shawnee Playhouse will include their production of “Branigan’s Blarney” by Rod Foote March 4th - 20th, The Worthington Players production of “The Skyscraper” by David Auburn March 25th - April 3rd, The Prestige Productions presentation of “Love, Sex, and The I. R. S.” by William Van Zant and Jane Milmore April 8th - 17th, and The Center Stage Players productions of “Love Letters” by A. R. Gurney April 22nd - May 1st and “The Seafarer“ by Connor McPherson May 6th - 15th.

Those who enjoy the Passionate Art Lover level of membership in The Forwardian Arts Society are offered a $3.00 discount off the admission fee of The Shawnee Playhouse Productions (excluding Children Theatrical Productions and those presented by non Shawnee Production Companies). Please Explore The Shawnee Playhouse Website at www.theshawneeplayhouse.com or call 570-421-5093 for more information about their productions and to reserve your ticket.

Photograph provided by The Shawnee Playhouse.

Theatrical Review: “Spanakopita”

Theatrical Review: “Spanakopita”
Written by: Larry Rosler
Directed by: Byrdie Jacques and Sara Ferguson
Theatrical Review by: Paul Adam Smeltz

The Shawnee Playhouse in Shawnee on the Delaware, PA presented The Worthington Players production of “Spanakopita” by Larry Rosler who won the full length play category of their 2010 Playwright Completion. This Annual Competition not only gives local playwrights an opportunity to have their work presented on The Shawnee Playhouse stage but also gives the audiences who frequent the venue a chance to experience some new and interesting work. This production of “Spanakopita” proved to be no exception to this tradition as the audience was treated to a very entertaining experience at the theatre.

The play’s title “Spanakopita” derives from a Greek dessert consisting of chopped spinach and a variety of cheeses along with other ingredients which are combined and wrapped in a pastry. The name of the dish could be translated from the Greek to “spinach pie” in English. A full listing of the ingredients made the dish sound delicious and a danger to any weight loss determinations. However, viewing the play allows one to experience the ecstasy of what can be found while consuming the pastry without the need to run a few extra laps at the gym.

The play takes place on an Island Villa off the Greek coast in which an older couple named “Richard” as portrayed by Glenn Geyser Getz and “Diane” as portrayed by Juliet Dunham are spending their vacation with Diane’s friend “Zoe” as portrayed by Nicole Dietz. While Diane wants to go out to explore and experience all things Grecian, Richard would rather just sit and read. In the meantime, the recently divorced Zoe is having adventures of her own which includes meeting a young Greek man named Andreas as portrayed by Patrick Murphy whom she describes as a god.

The relationship between the characters becomes amusingly complicated when Richard (who has always disliked Zoe) feels he has fallen in love with her. Except for a moment of intoxicated indiscretion, the feeling is not reciprocated. The relationships experience further complications when the sexual opportunist Andreas begins seducing Diane. This seduction is appreciated. The plot of this well written and acted play leads its characters toward revelations about themselves and the relationships they’ve chosen while the audience laughs at their genuinely funny antics. In other words, it was fun play.

The Worthington Players production of “Spanakopita” by Larry Rosler was directed by Byrdie Jacques and Sara Ferguson and Stage Managed by Lydia Sampson. The Lighting and Sound Technician was Robert Kobus. All of the productions presented at The Shawnee Playhouse are produced by Ginny and Charlie Kirkwood. The Executive of The Shawnee Playhouse is Midge McClosky while its group sales manager is Mary Horn. The Box Office Staff includes Chrissy McMannus and Ariel Hudak. Becky Haskell serves as the playhouse’s Sales and Marketing Director.

The Worthington Players production of “Spanakopita” by Larry Rosler continues its run until February 20th. This reviewer would recommend seeing this romantic comedy even if some of those reading this review don‘t particularly like the Rom-Com genre. By admission, this reviewer often finds plays and films of this genre somewhat lacking because many create unbelievable characters doing unbelievable things in unbelievable locations. However, while “Spanakopita” does contain some of the typical Rom-Com elements, it involves the audience with the characters’ lives in such a way they become not only our friends but we begin to see ourselves within them. This has much to do with the talent of the actors, the theatrical abilities of the directors, and the considerable writing skills of the playwright. And, besides, it’s fun.

The Worthington Players Annual Playwright Completion invites local playwrights to send in their original works in which a panel selects a number of finalist from the submissions. The chosen plays are then presented in a series of staged readings which are viewed by an audience. The audiences vote on which plays are to be presented as full productions and those who receive the most votes become one.

Finalist for this year’s competition include “Mark Twain and Livy” by Joseph P. Ritz, “Bill Wilson’s Bicycle” by Peter S Nicholls, A Cabin for a King” by Sarah McCarroll and Julie Luongo, “Visions of Joanna” by Ken White, “The Queens Are Coming” by Salome Kingsly, “The Last Word” by Thomas Hudak, “Four Strangers and a Wedding” by Thomas Hudak, “The Last Drive-In” by Thomas Hudak, “Polar Bares” by Thomas Hudak. “The Emperor’s New Clothes” by Stephen A. Williams, and “Silence Not” by Cynthia L. Cooper. The Staged Readings for these finalist will take place March 4th, 11th, and 18th at 8pm. Please contact The Shawnee Playhouse to learn more about the readings and how you can participate in the 2012 competition.

The Worthington Players serves as the artistic arm of The Shawnee Institute which was formed in December of 1999 as a 501-C3 organization designed to provide diverse, quality artistic programs to the residents of the historic village of Shawnee and the surrounding areas. In addition to holding its Annual Playwright Completion, The Worthington Players performs their non-musical productions from January to March. Please contact The Shawnee Playhouse to learn how you can become a part of The Worthington Players and support The Shawnee Institute.

Future presentations at The Shawnee Playhouse will include their productions of “Broadway on the Red Carpet” February 25th - 27th and “Branigan’s Blarney” by Rod Foote March 4th - 20th, The Worthington Players production of “The Skyscraper” by David Auburn March 25th - April 3rd, The Prestige Productions presentation of “Love, Sex, and The I. R. S.” by William Van Zant and Jane Milmore April 8th - 17th, and The Center Stage Players production of “Love Letters” by A. R. Gurney April 22nd - May 1st.

Those who enjoy the Passionate Art Lover level of membership in The Forwardian Arts Society are offered a $3.00 discount off the admission fee of The Shawnee Playhouse Productions (excluding Children Theatrical Productions and those presented by non Shawnee Production Companies). Please contact The Shawnee Playhouse at 570-421-5093 or Explore their website at www.theshawneeplayhouse.com for more information and to reserve your ticket.

Photograph provided by The Shawnee Playhouse.

Theatrical Review: “Whose Afraid of Virginia Woolf?”

Theatrical Review: “Whose Afraid of Virginia Woolf?”
Written by: Edward Albee
Directed by: Jan Julia
Theatrical Review by: Paul Adam Smeltz

The Shawnee Playhouse in Shawnee on the Delaware, PA presented The Kaleidoscope Players production of Edward Albee’s “Whose Afraid of Virginia Woolf.” The play won numerous well deserved awards including the 1963 Tony Award for Best Play and the 1962-63 New York Drama Critics' Circle Award for Best Play. However, when it was selected for the 1963 Pulitzer Prize for Drama, the award's advisory board objected to the play's controversial use of profanity and sexual themes and overruled the selection committee. Therefore, there were no Pulitzer Prize for drama awarded in 1963. Although much of the objectionable material has become passé to the modern audience, the play’s impact still resonates as it strikes a chord in the psyche of those who experience it.

As eluded to in the Director’s notes, The title of the play derives from an inscription "Who's Afraid of Virginia Woolf?" Edward Albee saw written in soap on a mirror in a bar he frequented. He later said, “When I started to write the play, it cropped up in my mind again. And of course, who's afraid of Virginia Woolf means who's afraid of the big bad wolf (from the song sung in Walt Disney’s version of “The Three Pigs.”) who's afraid of living life without false illusions. And it did strike me as being a rather typical, university intellectual joke.” This joke is told throughout the play, but one can hardly find it a humorous one as it’s told in a malicious manner filled with sarcasm and anger.

The play takes place around 2am on a Sunday Morning in the home of a professor of history named George (as played by Patrick Bresnyan) and his wife Martha (as played by Chrystyna Janak). They’ve just come home from a party when Martha informs George she invited a young couple named Nick (as played by Scott Colin) and his wife Honey (as played by Liza Grando) to come over. What begins as the title of the first act of "Fun and Games" suggests as a night of a gentile get together among colleagues (Nick is a biology professor), soon evolves into an evening filled with pain and regret as revealed through the games’ titles such as "Humiliate the Host," "Get the Guests," "Hump the Hostess," and "Bringing Up Baby."

To say the play is about anger is to oversimplify the work. It is not just about anger but about all its manifestations and how they are materialized in human intercourse. It is hurtful to watch but its presentation makes it compelling. From its very first moments when George and Martha returns home, the play begins a barrage upon the senses and it never lets up. It does relent once in a while, but this is only to allow us to catch our breath as we await the next flow of physiological punches.

What makes such punches more effective is the fact the audience don’t get the feel they’re watching a play. One is taken aback how the dialogue is very natural and had no hint of being scripted. Actors don’t wait until others are finished saying their lines before they speak. It also has little regard for the audience as well. The play and its acts begins whether the audience is seated and ready for them to begin or not. There is no sense there is any separation between the audience and the characters they have come to observe. We were invited to the home of George and Martha as well and subject to their whims.

We are more than witnesses of the tools of war George and Martha are so apt at applying. We are, like Nick and Honey, pawns and fresh meat as they hurl the weapons of making distinctions and clarifications in order to keep their prey off guard and defensive. We come as Nick had come as those who proclaim we won’t become emotionally involved in the affairs of others, but we do. And, of course we do. Otherwise, why did we come at all? Wasn’t it to observe the lives of those who inhabit the play we’ve come to see? Wasn’t it to see how they ticked and tocked as they chime at one another? Are we that surprised when we’re faced with our fear of living a life without the false illusions of remaining unaffected by what we experience? When George finally asks Martha "Who's Afraid of Virginia Woolf?" One wonder how many members of the audience can refrain from echoing her response “I am.”

To say the acting was suburb would be a gross understatement. It was among the best this reviewer has ever seen on The Shawnee Playhouse or on any other stage. Every moment of the play each actor was in the moment reacting and responding to every instance that occurred on stage and in their character’s mind. The pacing enhanced the production and this is often determined by the play’s director. Kudos to director Jan Julia for establishing this realistic pace which allowed the fourth wall separating actors and audience to dissolve thereby bringing a profound sense of reality to the theatrical experience. It was disturbing, uncomfortable, and revealed more than an audience member would want to reveal to him/herself. But, damn this was good theatre.

The Shawnee Playhouse presentation of The Kaleidoscope Players production of Edward Albee’s “Whose Afraid of Virginia Woolf” was Directed by Jan Julia and was Stage Managed by Irene Garner who also served as part of the production’s set construction crews as assisted by Emily Cioc who also served as part of the production’s lighting set construction crews. The Lighting and Sound Technician was David Schappert who also designed the set. He and Patrick Turner, Levi and Robert Young, Bob Walz, and Marshall Haskell. The Music and Sound Technician was Don Slepian. The Production’s Costumer was Missy Benefield.

The producers of the productions presented at The Shawnee Playhouse are Ginny and Charlie Kirkwood while the group sales manager is Mary Horn. The Box Office Staff includes Chrissy McMannus while Becky Haskell serves as the playhouse’s Sales and Marketing Director. The Executive Director of The Shawnee Playhouse is Midge McClosky.

This presentation of The Kaleidoscope Players production of Edward Albee’s “Whose Afraid of Virginia Woolf” will conclude its run at The Shawnee Playhouse in Shawnee on the Delaware, PA on February 6th. I would recommend seeing this production who would like to face their fears of losing the illusions that define who they are. A popular song says, “You have to get to Hell before you get to Heaven” and while this play doesn’t promise a place in paradise, it does bring one to a better place by seeing it.

Future Shawnee Playhouse presentations will include The Worthington Players production of a full length play written by Larry Rossler who won their 2010 playwright competition titled, “Spanakoptia” being presented February 12th - 20th. This year’s competition is currently accepting original work until Monday January 31st with the Staged Readings for the finalist taking place March 4th, 11th, and 18th. You may obtain information regarding The Worthington Players 2011 Playwright Competition submission procedures from The Shawnee Playhouse.

Other productions include The Shawnee Playhouse productions of “Broadway on the Red Carpet” February 25th - 27th and “Branigan’s Blarney” by Rod Foote March 4th - 20th, The Worthington Players production of “The Skyscraper” by David Auburn March 25th - April 3rd, The Prestige Productions presentation of “Love, Sex, and The I. R. S.” by William Van Zant and Jane Milmore April 8th - 17th, and The Center Stage Players production of “Love Letters” by A. R. Gurney April 22nd - May 1st.

Those who enjoy the Passionate Art Lover level of membership in The Forwardian Arts Society are offered a $3.00 discount off the admission fee of The Shawnee Playhouse Productions (excluding Children Theatrical Productions and those presented by non Shawnee Production Companies). Please contact The Shawnee Playhouse at 570-421-5093 or Explore their website at www.theshawneeplayhouse.com for more information (including submissions for The Worthington Players 2011 Playwright Competition) and to reserve your ticket.

Photograph provided by The Shawnee Playhouse.

Theatrical Review: Original One Act Plays

The Shawnee Playhouse in Shawnee on the Delaware, PA presented The Worthington Players production of the Original One Act Plays who won their 2010 Playwright Completion. The annual event is a result of inviting playwrights to send in their original works, forming a panel to select the finalist, presenting the chosen plays in a series of staged readings, and tallying the votes received from the viewing audiences to determine which plays will be presented as full productions. This process not only gives a local playwright an opportunity to have his/her work presented on The Shawnee Playhouse stage but also gives the audiences who frequent the venue a chance to experience some new and interesting work.

The first of the one act plays presented was a piece titled, “A Night in the Toll Booth” written by Tom Hudak and directed by Midge McClosky (who also serves as The Shawnee Playhouse Executive Director). The play was about a Toll Booth Collector named Mike T. Fine as played by Kevin Hillman. His line delivery added much to the comedic effect of the work which took place at (as the title suggests) a Toll during the night shift. Although the play did seem to slow down in some spots, it proved to be an amusing theatrical experience creating an anticipation among the audience eager to learn what the author‘s future endeavors may be.

The second of the one act plays presented was a piece titled, “Ethereal Killers” written by Zanne Hall and directed by Amy Cramer. The play took place in a Psychiatrist’s office in which one of the doctor’s more disturbed patients named Fischer (as played by Luke Swierczek) meets with an unsuspecting patient named Midge (as played by Ariel Hudak who also served as a member of the Playhouse‘s Box Office Staff) who begins her first session not knowing she’s doing so with a psychotic killer who recently murdered her doctor (as played briefly by Chris Martinelli). Although the theatrical air still had some comic residual effects of the previous play, it soon became clear there was something sinister transpiring and once this was fully realized the audience began to experience the sense of dread the scenario inspired.

This sense of dread was enhanced as Fischer’s traits which leads to his murderous endeavors were revealed and Midge’s desperate attempts to avoid becoming his next victim found their way to the realm of hopelessness. The audience soon found themselves relating to Midge’s position as each member began to speculate how they might proceed. However, a sudden death brought a finality to all such thoughts by a piercing gun shot which remained echoing in the audience‘s collective minds as a foreboding of what will be the fate of the Doctor‘s future patients.

The final One Act Play presented was titled, “Whimsical Grimm” which was written by Stephen A. Williams and directed by Sara Ferguson. To say this play was funny or even hilarious would be a very gross understatement. This fairytale like work was part surreal, part stream of consciousness, part theatre of the absurd, and had other theatrical elements my theatre teachers mentioned making me wish I paid more attention so I could relate them all in this review. All this reviewer can say for now is “This play was weird. But in a very good way.”

The play mostly focused on the lives of two sets of people. The first was a couple who have been married for 40 years. The husband named Frederick (as played by Dan Eash) finds coming home a frustrating one as his wife Katelizabeth (as played by Kaitie Kaiser) keeps forgetting his name. As the play progresses, it’s discovered this forgetfulness is the least of his marital woes as she is what many in the mental health profession refer to as “a real ditz.”

The second couple consists of a man named Rupert (as played by Chris Martinelli) who experiences a frustration with his maid Gretel (as played by Sarah McCarroll) who seldom cleans, cooks, or do any other maidly things. The situation becomes a bit complicated when Rupert comes home to announce he’s in love and Greta thinks it’s with her. Alas, she discovers it’s with someone else and she is assigned the task of preparing dinner for them. Those audience members who witnessed the antics of these two characters throughout their scene have very little reason not to expect something deviously hilarious is about to transpire and, keeping true to the entirety of the work, it happens in the most delightful way.

The scenes depicting the lives of the two couples were sewn together by two narrator played by Scott E. McIntosh and Amy O’Brian who also portrayed other characters adding to the mayhem. This exceptionally well written play was a joy to experience as was the performances. Although the merits of the previous plays deserved high praise, this was (in this reviewer’s opinion) the best of the bunch and a fitting way to conclude a satisfying evening at the theatre.

The producers of the productions presented at The Shawnee Playhouse are Ginny and Charlie Kirkwood while the group sales manager is Mary Horn. The Box Office Staff includes Chrissy McMannus while Becky Haskell serves as the playhouse’s Sales and Marketing Director. Special recognition for this production was given to Marshall Haskell, Bob Waltz, and Michelle Handy who served in many capacities including that as Stage Manager.

The Worthington Players production of the One Act Plays who won their playwright competition concluded its run at The Shawnee Playhouse in Shawnee on the Delaware, PA on Sunday January 16th. It is unfortunate this reviewer was unable to experience this collection of new and exciting theatrical pieces earlier due to inclement weather conditions. They are worthy of an audience as they are sure to bring an appreciation to the art form. If any of these plays are shown again at The Shawnee Playhouse or any other theatrical venue, it would be well worth it to attend.

In addition to the One Act Plays presented, a full length play also won the 2010 playwright competition. It is titled, “Spanakoptia” and is written by Larry Rossler. It will be presented at The Shawnee Playhouse February 12th - 20th. This year’s competition is currently accepting original work until Monday January 31st with the Staged Readings for the finalist taking place March 4th, 11th, and 18th. You may obtain information regarding The Worthington Players 2011 Playwright Competition submission procedures from The Shawnee Playhouse.

Other Shawnee Playhouse presentations will be The Kaleidoscope Players production of “Whose Afraid of Virginia Woolf” by Edward Albee January 22nd - February 6th, The Shawnee Playhouse productions of “Broadway on the Red Carpet” February 25th - 27th and “Branigan’s Blarney” by Rod Foote March 4th - 20th, The Worthington Players production of “The Skyscraper” by David Auburn March 25th - April 3rd, The Prestige Productions presentation of “Love, Sex, and The I. R. S.” by William Van Zant and Jane Milmore April 8th - 17th, and The Center Stage Players production of “Love Letters” by A. R. Gurney April 22nd - May 1st.

Those who enjoy the Passionate Art Lover level of membership in The Forwardian Arts Society are offered a $3.00 discount off the admission fee of The Shawnee Playhouse Productions (excluding Children Theatrical Productions and those presented by non Shawnee Production Companies). Please contact The Shawnee Playhouse at 570-421-5093 or Explore their website at www.theshawneeplayhouse.com for more information (including submissions for The Worthington Players 2011 Playwright Competition) and to reserve your ticket.

Photograph provided by The Shawnee Playhouse.

Theatrical Review: Electra

Theatrical Review: Electra
Written by: Sophocles (c. 496 BCE - 405 BCE)
Adaptation by: Frank McGuinness
Directed by: Susan P. O’ Hearn
Theatrical Review by: Paul Adam Smeltz

The East Stroudsburg University (ESU) Department of Theatre and Stage II presented their production of “Electra” written by Sophocles who is one of the three ancient Greek tragedians whose work has survived to this day. The others are Aeschylus and Euripides who also wrote a version of the “Electra” story which was presented on the ESU Stage in 1986. Of the three, Sophocles is noted for his many influences on the art of theatrical presentation. These include introducing a third actor to the dialogue which helped move the plot along reducing the importance of the chorus to do so.

The setting for this production of Sophocles’ “Electra” is placed in a mental institution which enhances the play’s thematic element of pain by adding a psychological dimension to it. The characters are seen early in the play as the institution’s inmates encouraging the audience to examine the nature of each character through a prism of insanity. This is made much easier as the considerable talents of each actor subtly reminds the audience their character is touched with insanity and everything they say and do are subject to their condition.

This is most notable through the delivery of the lines given by many of the actors. At first, their delivery seems forced with too much emotional emphasis on certain phrases and words. However, once the environment they’re in is realized, such an approach become an appropriate one. A less notable reminder is when some characters delivered their lines in a more “normal” tone but even here one can see something peculiar in their eyes and mannerisms which betray their airs of normality. All this involves the audience even deeper into the play as it heightens their perception of all they are witnessing because the performances are physiologically confusing. In other words, it gets into your head.

There is, however, one notable exception. The character Chrythothemis (as portrayed by Erin Lanza) can be considered the only sane one in the bunch. She serves as a counterpoint to the other characters which allows us to see the deeper motivations which lead to their behaviors and perceptions. Her voice of reason is often met with accusations by her sister Electra (as portrayed by Shannon Leah Christmann) of being insane which heralds back to a well know proposition, “If there is only one sane person in an insane world, would that person be deemed sane?”

The character Chrythothemis is not the only voice of reason Electra hears. The chorus, which consisted of Alexandria Bellivan, Michelle Jones (who also served the production as one of its scenic artists and carpenters), Kimberly Konczos, and Jenny Liriano, often reminds Electra many of the wounds she suffers from are self inflicted and it would be wiser to stop injuring herself by letting go of the thoughts and behaviors of others. But, she ignores such heeding since she embraces her pain like a security blanket and only acknowledges the choral beseechments when she wants to confront them in order to justify the resentments she relives with every compounding thought. Although we see the chorus upon the stage with Electra, we wonder if they’re physically there or are they the voices of wellness within her head.

The play has its roots in an act that occurred soon after the Trojan war ended. The King of the city state of Argos named “Agamemnon” was a Greek Ally during the war and was instrumental in securing their victory. Upon his triumphant return home, he was killed by his wife Clytemnestra (as portrayed by Samantha Crawn) and her lover, Agamemnon’s cousin Aegisthus (as portrayed by Christian Monturuno), while taking a bath. This act was committed partly because they wanted to usurp his throne but the main reason was because Agamemnon sacrificed his and Clytemnestra’s infant daughter, Iphigenia, to assure military success in Troy and Clytemnestra wanted to revenge her death. Fearing for her twin brother’s, Orestes (as portrayed by Joey Dougherty), life, Electra rescues him by sending him to Strophius of Phocis with a servant (as portrayed by Luke Thomas Swierczek who also served as one of the production’s Carpenters).

The play itself takes place years later when an adult Orestes returns to Argos with his friend Pylades (as portrayed by Paul Ceni) and the servant with a plot revenge his father’s death and to claim the throne. Part of this plot is to weave a yarn in which Orestes has died in a chariot accident and delivery of an urn with his remains will take place soon. The object of this deception is to allow entry of Orestes and Pylades into the home so they may exact their murderous revenge.

The story of Orestes' revenge was a popular subject in the Ancient Greek tragedies and it loses little of its impact in the modern era. This is especially true when productions like the one occurring on the ESU stage breathes new life into the work though imaginative settings and talented actors who approach the play and all its implications fearlessly. This production of Sophocles’ “Electra” can be held as an example of the well earned reputation of quality theater The East Stroudsburg University (ESU) Department of Theatre and the student theatrical club Stage II has gained throughout the years.

The East Stroudsburg University (ESU) Department of Theatre and Stage II production of “Electra” by Sophocles as adapted by Frank McGuinness was Directed by Susan P. O’ Hearn. The Production was Stage Managed by Melissa Sherry who also served as the production’s Scenic Artist. She was assisted by Karen Guilliams and Katie Dembesky who both also served among the production‘s Carpentry Crew. Yoshinori Tanokura designed the set as assisted by Gillian Reinartz and Costumes as assisted by Felicia Revero (who also was a part of the Carpentry Crew) and Ahleea Zama. The Lighting was designed by David Dougherty, and Michael Thomas was the production’s Technical Director. Meg Dowling was the production’s Light Board Operator and a Carpenter while Marie Steeger served as the production’s Sound Designer and Board Operator with Albert P. Borges who served as the Sound Editor.

The production’s Master Carpenter and Shop Foreman was Robert McIntyre. The Property Master Shamus Halloran who was assisted by Elyse Burnett and Kelsey Pulzone. The Production’s Electricians were Michelle Tuite who also served as a part of the Carpentry Crew and as one of the Scenic Artists and Tim Hahn. Stephanie Clare was part of the running crew. Members of the Carpentry Crew not already mentioned were Jackie Knollhauff and Merrill McGuinness. The House Manager was Tiffany Cruz, the Box Office Manager was Jessica Pachuta, and the Poster and Program Cover Design for the production was done by Lauren Moffett.

This production of “Electra” by Sophocles will continue its run at The East Stroudsburg University (ESU) in East Stroudsburg, PA at The University’s Fine and Performing Arts Center in it’s Smith-McFarland Theatre until December 5th and is recommended for those who are want to see excellent theatre that is fearless in its approach to the art. Future productions include The 2011 Stage II Student Directed One-Act Plays to be presented February 8th - 13th featuring A Tennessee William Festival consisting of the works titled, “The Pink Bedroom,” “The Lady of Larkspur Lotion,” “Auto da-fe,” and “This Property is Condemned.” The East Stroudsburg University Department of Theatre will also present their production of Noel Cowards “Blithe Spirit” April 12th - 17th. Please contact The East Stroudsburg University (ESU) Theatre Department at 570-422-3483 for more information and to reserve your ticket.

No Photographs were provided.

Theatrical Review: “It‘s a Wonderful Life”

Theatrical Review: “It‘s a Wonderful Life”
Book, Music, and Lyrics by: Thomas M. Sharkey
Directed and Choreographed by: Dan Gaouette
Theatrical Review by: Paul Adam Smeltz

The Shawnee Playhouse in Shawnee on the Delaware, PA is currently presenting their production of the musical version of “It‘s a Wonderful Life” written by Thomas M. Sharkey. The play is based upon the 1946 classic Frank Capra film of the same name which was based upon a short story written by Philip Van Doren Stern titled, "The Greatest Gift." Both the short story and film are very similar (but not identical), but their most striking secularity is they were not all that popular when they were first presented.

However, the Capra film became a holiday classic due to the magic of incessant Television Seasonal Broadcasts while the short story has (with few exceptions) entered the realm of virtual obscurity. This is somewhat unfortunate as the Short Story has a few nuances the film doesn’t contain. This makes it a bit of an interesting work to visit and read but the cinematic mastery of Frank Capra enhances the story through the use of the tools available in the medium.

For those of you who haven’t had access to a television for the last 30 years, here is the basic storyline to the film. It begins with George Bailey who is on a bridge considering suicide. An angel, who hasn’t yet earned his wings, is sent to rescue him by granting his wish to never have been born. This allows the angle to show George what life would be like for his family and friends if his considerably good deeds and influence would never had touched their lives. George then wishes to be returned to existence in which his realization “It’s a Wonderful Life” is renewed and the angle (presumably) gets his wings. This musical version of the film reflects all its elements minus much of the cinematic magic that eventually made it a classic.

While it’s true something always gets lost while translating a work from one medium to another, there should be some endeavor made to enhance the original work through the tools the medium the work is being transcribed to has to offer. In this reviewer’s humble opinion, if a filmmaker or playwright is unable to do so, he/she should leave the original work alone with all the good memories of it intact. Adding mostly forgettable songs doesn’t do the trick.

Although it may be considered unfair to compare this musical version (and there has been a few of them) of “It’s a wonderful Life” to the film, it should be considered the film is very well known and it’s doubtful the play would have been written if it wasn’t for the desire to be associated with it. After all, it’s not solely based upon the short story written by Philip Van Doren Stern and it isn’t titled, "The Greatest Gift." This may have made the play a much more interesting one to experience but the only reason similarities to the short story exist is because they existed in the film.

However, in spite all the misgivings this reviewer has in regards to the translation of the film to this theatrical work, the talent of many of the actors who performed in it brought a new life to the familiar characters which made it a nice time at the theater. These actors included Brian Bowman who portrayed George Bailey, Kara Snyder who portrayed Mary Hatch Bailey, Scott E. McIntosh who portrayed Clarence Oddbody (the Angel), Brandon Hanks who portrayed Joseph and Potter’s man, Ray Papay who portrayed Uncle Billy, Jenell Manzi who portrayed Mother Bailey, Sara Ferguson who portrayed Violet Bick, Dante Giammarco who portrayed Henry Potter, Jim Lynch who portrayed Harry Bailey, Rob Eilenberger Howell who portrayed Mr. Gower, Steve Rau who portrayed Bert, David Schappert who portrayed Ernie, and the role of ZuZu was double cast by Chelsea Cirillo and Leah Beairsto. The remainder of the cast consisted of an ensemble who included Kiera Arneaud, Hannah Beairsto, Sarah Beairsto, Alyssa Beveridge, Justine Curcio, Brigitte Endrulat, Krystal Endrulat, Jillian Garvey, Chris Grape-Garvey, Emily Guzman, Beckie Herb, Julia Lofblad, Jadyn Rome Lynah, Gryffin Pedersen, Sarah Principe, Hannah Rau, Kristopher Sanchez, Julia Rose Vecchio, Elizabeth Wagner, Grant Wagner, Griffin Wagner, Joshua Wagner, and Samantha Wagner.

The Shawnee Playhouse production of “It‘s a Wonderful Life” by Thomas M. Sharkey was Directed and Choreographed by Dan Gaouette and Staged Managed by Aubrey Boyd. Scot Cleaveland served as the Production’s Scenic Designer with Marshall Haskel serving the production as its Technical Director and Lighting Designer. Amy Rau served the production as its Music Director and Sound technician while Missy Benefield served as its costumer. Kevin Hillman served as the production’s Property Master. The Shawnee Playhouse producers are Ginny and Charlie Kirkwood with Midge McClosky serving as the playhouse’s Executive Director. The Box Office Manager is Mary Horn as assisted by Barbara Ross, Christina McManus, Pam Hudak, and Ariel Hudak. Becky Haskell serves as The Shawnee Playhouse’s Sales and Marketing Director.

Although the Thomas M. Sharkey theatrical presentation of the Frank Capra 1946 Classic film pales in comparison, the overall production at The Shawnee Playhouse was well done and presented some very good acting. It’s not what this reviewer considers to be the best theatrical presentation the playhouse has produced, but it does manage to bring a holiday smile to the face and eyes of its audience. Perhaps, in retrospect, this is a great gift to those who just want enjoy a nice time at the theater so they can realize how wonderful life can be.

This production of “It‘s a Wonderful Life” continues its run at The Shawnee Playhouse in Shawnee on the Delaware, PA until December 19th. Their current “Mark Mysterrio’s Tales of Magic and Mystery for Kids” is being presented until December 28th. The Shawnee Playhouse upcoming presentations and productions include their Children Productions of “A Winnie the Pooh Christmas Carol” November 19th - December 18th and “Kids’ Kabaret” December 28th and 29th, The Northeast Ballet Ensemble production of Pyotr Ilyich Tchaikovsky‘s “The Nutcracker” December 6th - 26th, and The Shawnee Playhouse Annual “Messiah Sing In Concert” on Tuesday December 21st.

Those who enjoy the Passionate Art Lover level of membership in The Forwardian Arts Society are offered a $3.00 discount off the admission fee of The Shawnee Playhouse Productions (excluding Children Theatrical Productions and those presented by non Shawnee Production Companies). Please Explore The Shawnee Playhouse Website at www.theshawneeplayhouse.com or call 570-421-5093 for more information about their productions and to reserve your ticket.

Photograph provided by The Shawnee Playhouse and depicts the characters in The Shawnee Playhouse’s Production of “It‘s a Wonderful Life” by Thomas M. Sharkey.

Theatrical Review: Rumors

Theatrical Review: Rumors
Written by: Neil Simon
Directed by: Sue Butler
Theatrical Review by: Paul Adam Smeltz

The Shawnee Playhouse in Shawnee on the Delaware, PA presented The Center Stage Players‘ production of “Rumors” by Neil Simon. The original production opened at The Broadhurst Theatre in 1988 for a year before moving to The Ethel Barrymore Theatre for which it ran for over 500 performances. It won and was nominated for several prestigious awards and became a favorite among those who are great fans of the comedic literary talents of Neil Simon.

The work of Playwright Neil Simon is well know for filling the theatres in which they’re performed with a great deal of laughter. They have a wonderful way of presenting familiar situations upon the stage so we can see how humorous they really are. This encourages us to forgo much of worry and despair many of us embrace as we muddle through out life’s experiences and to realize how silly such an approach really is.

In his play “Rumors,” the desire to keep secrets in order to keep up appearances and avoid large problems are explored. It is also one of those interesting theatrical pieces in which the main characters of the play never appear in it. I couldn’t help but to be reminded of the 1949 film “The Third Man” in which the Orson Well’s Character “Harry Lime” doesn’t appear until about two thirds into the film but everything is known about him when he does through the other characters’ conversations. There is much to be known about the characters Charley and Myra Brock although most of what is revealed is through innuendo and rumors.

The play is about the friends of Charley and Myra Brock meeting at their home to celebrate their 10th Anniversary. The first couple, Ken and Chris Gorman (as portrayed by Rob Ramos and Katherine Neville who also serves on The Center Stage Players’ Treasurer), arrives to find the host Charley (who is the deputy mayor) had shot himself through the earlobe and Myra along with the house staff are missing. Ken and Chris do their best to cover everything up even as the other expected house guest begin to arrive. They are Claire and Lenny Ganz as portrayed by Sara Ferguson and Patrick Turner who serves as a member of The Center Stage Players’ Board of Directors, Glen and Cassie Cooper as portrayed by David Schappert and Juliet Dunham and Ernie and Cookie Cusack as portrayed by Jack Butler who designed the sets and Pat Van Varick who serves as a member of The Center Stage Players’ Board of Directors. The role of Cookie Cusack is also played by Paulette Pearson on alternate presentations and did not perform during the one I saw. A great deal of mayhem transpires as the cover up is unraveled and those who discover it soon become its co conspirators. As with all such situations, it’s even funnier when the cops (as portrayed by Daniel Helm and Jessica O’ Brien) show up.

The Center Stage Players’ production of Neil Simon’s “Rumors” was very well done as it’s brisk pacing and exceptional acting enhanced its comedic effect without overwhelming the style of the playwright. This is often a difficult balance to obtain and maintain, but this production does so with great finesse. The acting was a joy to experience as one can easily see each actor’s dedication and enjoyment of their craft. In other words, it was a fun time at the theatre.

The Shawnee Playhouse presentation of The Center Stage Players’ production of “Rumors” by Neil Simon was Directed by Sue Butler who also serves as The Center Stage Players’ President and designed the set. The production was Stage Managed by Lillian Ramirez-Gonzalez who also serves as The Center Stage Players’ Secretary. The Lighting Design was done by Arthur Ritter while the Sound and Light Technicians were Eric Dwyer and Dan Eash who serves as a member of The Center Stage Players‘ Board of Directors. Other members of The Center Stage Players include Mary Stewart Erm who serves as Vice President.

The Executive Director of The Shawnee Playhouse is Midge McClosky while the producers are Ginny and Charlie Kirkwood. The Sales Manager is Mary Horn as Becky Haskell serves in Marketing. Members of the Box Office Staff are Barbara Ross and Christina McManus. The Playhouse’s costumer is Missy Benefield. The Shawnee Playhouse publicity is handled by Amy Cramer while David Schrage is its Webmaster.

This presentation of The Center Stage Players’ production of “Rumors” by Neil Simon will conclude its run at The Shawnee Playhouse in Shawnee on the Delaware, PA until October 24th. I would recommend seeing this production as it’s a wonderful opportunity to see actors who love the theatre performing a comedy that truly inspires its audience to laugh. It also allows the audience to explore how the rumors of their lives in which they try to keep hidden from others would look in the bright light of humor.

The next Shawnee Playhouse in Shawnee on the Delaware, PA presentations will include The Frightening Film Festival featuring 13 Horror Films running October 29th - 31st, “Le Cirque Des Mort” on Saturday October 30th featuring a gothic circus with a musical performance by “This Way to the Egress,” The film “House of White Spiders” on Friday November 5th, “Mark Mysterrio‘s Tales of Magic and Mystery for Kids“ running November 5th - December 28th, “From Lincoln Center to Broadway” running November 6th and 7th, “Cooking in Yesterday’s Grease” running November 13th and 14th, “It’s A Wonderful Life” running November 19th - December 19th, “A Winnie the Pooh Christmas carol” running November 19th - December 18th, Tchaikovsky’s “The Nutcracker” running December 6th - 26th, The “Messiah” Free Sing In Concert on Tuesday December 21st, and “Kids’ Kabaret Rocks” running December 28th and 29th. Please contact The Shawnee Playhouse at 570-421-5093 or Explore their Website at www.theshawneeplayhouse.com for more information and to reserve your ticket. Please feel free to Explore The Center Stage Players’ Website at www.centerstageplayers.org to learn more information about them.

Those who enjoy the Passionate Art Lover level of membership in The Forwardian Arts Society are offered a $3.00 discount off the admission fee of selected productions of The Shawnee Playhouse.

No Photograph from the production was available.