American Animals

American AnimalsIn writer-director Bart Layton’s entertaining new film (trailer), four bored college students plot to steal priceless works from the library of Transylvania College in Lexington, Kentucky. Is this a daydream, or will they go through with it? Should they do more than watch old heist films to prepare?

A vivid demonstration of Murphy’s Law, their wildly inadequate scheme is both hilarious and tension-filled. Yet, as far-fetched as it may seem, the film is based on a real episode from 2004 and includes fourth-wall breaking interviews and current-day reflections of the actual would-be thieves and their parents. Using his skills a documentary filmmaker, Layton cleverly meshes their different perspectives on events (who decided what when), and his energetic recreation of their misbegotten enterprise is “singularly fascinating” says Cary Darling in the Houston Chronicle.

The four criminal masterminds are played by Barry Keoghan, Evan Peters, Jared Abrahamson, and Blake Jenner. The librarian they must disable is played by Ann Dowd (if you’ve watched The Handmaid’s Tale, you’ll recognize her voice before you even see her).

Drifty art student Spencer Reinhard (Barry Keoghan) wants something to happen in his life. The idea of the theft comes to him as a kind of vague “what if?”, but when he shares it with Warren Lipka (Evan Peters), he’s found someone with the single-minded enthusiasm to turn it into a sort-of reality.

Have you ever pursued an idea long past the moment when it makes any sense? Then you can understand how the four students got carried away, trapped by their own momentum. What starts out as an especially brazen prank by privileged college students has a long tail of consequences, and at times the former students’ articulate silences express their belated second thoughts. A visual theme based on the paintings of John James Audubon—one of the works they plan to steal is his Birds of America—recurs throughout, adding grace notes to a tawdry episode.

Rotten Tomatoes critics rating: 85% ; audiences: 91%.

Tartuffe

Tartuffe

photo: JerryDalia

A theatrical work maintains its ability to delight audiences for more than 350 years for one reason: continued relevance. Such is the case with Molière’s comic masterpiece Tartuffe, on stage at the Shakespeare Theatre of New Jersey. This sparkling production, directed by STNJ’s artistic director, Bonnie J. Monte, opened May 19 and runs through June 10.

In 1664, Tartuffe so scandalized the powers-that-be with its take-down of religious hypocrisy and false piety that the right wing clergy banned it. After a few text changes and with French King Louis XIV’s strong support, the ban was lifted five years later. In the current era, with #MeToo, families rent by political divisions, and the difference between truth and lies increasingly contentious, Tartuffe hits home once again.

A 2018 audience responds with fresh outrage to a situation in which a woman is threatened with rape, but the man accusing her attacker is disbelieved—“Now you know what it’s like not to be believed,” says a female character. Today’s audience likewise has a robust appreciation for the wiles of con man and dissembler Tartuffe (played by Brent Harris), his credulous and all-too-willing victim, Orgon (Patrick Toon), and the frustrated household members who cannot convince him of the deception.

That household includes Orgon’s wife Elmire (Caroline Kinsolving), daughter (Sarah Nicole Deaver), son (Aaron McDaniel), Elmire’s brother (William Sturdivant), and the saucy maid Dorine (Victoria Mack). Only Orgon and his mother (Vivian Reed) side with Tartuffe against the family.

Orgon took the pious Tartuffe in when he was a beggar, installed him in his home, and moves him closer and closer to the center of family life. His next plan is to rescind permission for his daughter to marry her love and instead wed her to the odious Tartuffe. Several scenes take place in which Tartuffe’s unwelcome intrusions are thoroughly discussed before we see the man himself. When he does appear, Brent Harris does not disappoint. He is so-o-o-oo smarmy, wearing a long white-blonde wig as pallid as his pieties.

The entire cast is strong, especially Toon and Kinsolving, the delectable Deaver (she has a great scene with her fiancé, played by Mark Hawkins), and Mack and McDaniel’s lively physical comedy. Reed lends an unexpected, preacherly African-American cadence that works admirably with the verse. (The translation is by Pulitzer Prize-winner and former U.S. Poet Laureate, the late Richard Wilbur).While some of the speeches tend to be long, the production is so full of movement and wit that it never flags.

Brittany Vasta’s elegant set is perfect for quick entrances, dramatic exits, and closet-hiding, and the mouth-watering costumes are by Nikki Delhomme.

Shakespeare Theatre of New Jersey productions are hosted at Drew University in Madison, N.J. (easily reachable from NYC by train). For tickets, call the box office at 973-408-5600 or visit http://www.shakespearenj.org. Note that STNJ offers special ticket pricing of $30 for theatergoers under age 30!

Turning Off the Morning News

Turning Off the Morning News

photo: T. Charles Erickson

For the subject of his latest play, Christopher Durang has reached into the stewpot of Americans’ current malaise and plucked out one of the most difficult of all: gun violence. This challenging, yet comic new 90-minute production had its world premiere at McCarter Theatre Center May 12 and runs through June 3. McCarter also premiered Durang’s Vanya and Sonia and Masha and Spike, 2013 winner of  the Tony Award for Best Play.

The new play features Kristine Nielsen as Polly, endlessly talkative, whose dialog is pure stream-of-consciousness. John Pankow plays her underachieving husband Jimmy. He announces at the outset that he’s depressed and considering killing himself, his family, or perhaps strangers at the mall. Nicholas Podany is their 13-year-old son. These bizarre parents have never told him he’s adopted, and when he inadvertently learns it, he’s relieved.

Rachel Nicks (Salena) and Robert Sella (Clifford) play the couple’s new neighbors. They’re meant to be the sane ones, but they have secrets too. And Jean Harris plays Rosalind, a new friend of Salena’s, in a role right out of the theater of the absurd catalog: to avoid skin cancer, she wears a pillowcase over her head and does a manic dance when tension becomes too much.

The underlying story—Jimmy’s threats to kill people—will make this play difficult for some audiences. It was for me. Still, I could appreciate much of the excruciatingly dark humor, and the cast puts it over well. It may be funny, but it isn’t fluff. The play’s director, Emily Mann, says the play not only exposes today’s personal and societal anxieties, “it also gently reveals the antidote—reaching out beyond ourselves to find connection with others.”

Important in the play are what is seen and not seen. Polly introduces this idea when she misplaces a potted plant that is in full audience view. Subsequently, several characters see Jimmy leaving the house in disguise, they don’t see the semi-automatic weapons protruding from the duffel he carries. Polly sees the guns but dismisses their importance. For me, this device directly echoes the typical speculations after a mass shooting: “Why did the shooter even have a gun? Didn’t they (whoever ‘they’ are) see he was unhinged/angry/writing in his diary he wanted to kill people?”

All the performances are solid, but the cast standout is Kristine Nielsen, who keeps her knees slightly bent, ready to move in any direction—physically, mentally, emotionally—and brilliantly captures the play’s lightning-fast changes in mood and tone. Jean Harris is also a gifted physical actor, filling her portrayal with well-realized gestures.

Beowulf Boritt’s set conveys a suburban community of overwhelming—and totally  misleading—sameness. On the outside, the houses are all such a buttery yellow you could spread them on toast. Mark Bennett (sound design) has created jaunty sit-com music to introduce scenes in Polly and Jimmy’s house, which differs sharply from the classical music and cool grey of Salena and Clifford’s residence. In different ways, both households have turned off the morning news and Durang suggests that hasn’t worked well for either of them.

McCarter Theatre is easily reached from New York by car or train (New Jersey Transit to the Princeton Junction station, then the shuttle train into Princeton. The shuttle ends a short walk from the theater and the university’s new arts district, as well as two innovative new restaurants.

For tickets, call the box office at 609-258-2787 or visit the ticket office online.

On the Big Screen: From the Ridiculous to the Sublime

The Death of Stalin

Death of Stalin

Steve Buscemi & Jeffrey Tambor

The Death of Stalin, from director Armando Iannucci (trailer) satirizes the cynical, self-absorbed group of leaders surrounding the Communist dictator and their desperate jockeying for position both before and after his death in 1953.

Banned in Russia, the film is based on a graphic novel by French writers Fabien Nury and Thierry Robin (Amazon link), full of one-liners and sight gags. Undoubtedly, some of the humor arises out of a characters’ sense of release—having lived under such extreme repression, day in and day out, guarding every word and eyebrow twitch, a giddy humanity bubbles up once the leader dies.

Late one evening, Stalin decides he wants to hear an orchestra concert that was broadcast on the radio. No one thought to record it, and the anxious scramble to recreate the concert illustrates the high-pitched fear of displeasing him. (Bringing in baffled street people to pad the audience was a nice touch.) Stalin murdered the pianist’s family, and she slips a vitriolic message into the recording jacket that causes the dictator have a stroke. His comrades can’t find a doctor for him because, they readily acknowledge, all the “good doctors” have been purged.

Stalin’s potential heirs include Nikita Kruschev (played brilliantly by Steve Buscemi), who is put in charge of a lavish state funeral where things, inevitably, go awry. Due to his position on the Central Committee, Georgy Malenkov (Jeffrey Tambor) is “in charge,” with terror and venality at war behind his eyes. Vyacheslov Molotov (Michael Palin) is the only inner circle member unaware that Stalin’s unexpected death has spared him a grim fate in Lubyanka prison. The head of state security, Lavrentiy Beria (Simon Russell Beale) oils his way into nearly every scene, always plotting and loathed by everyone.

As Anthony Lane says in The New Yorker, it’s a comedy, “grossly neglectful of the basic decencies, cavalier toward historical facts, and toxically tasteless” and “ten times funnier . . . than it has any right to be.”

Rotten Tomatoes Critics Rating: 95%; audiences: 79%.

Cezanne: Portraits of a Life

Cezanne

Paul Cézanne, “Self Portrait in a Bowler Hat,” (1885-86)

This beautiful documentary, directed by Phil Grabsky (trailer), was created to accompany a joint exhibition of some 60 of Paul Cézanne’s portraits being mounted by London’s National Portrait Gallery, The National Gallery of Art, Washington, D.C., and the Musée d’Orsay in Paris.

Better known for his still lifes and landscapes, the portraits, which New Yorker critic Peter Schjeldahl says were “the genre most resistant to Cézanne’s struggle” are nevertheless worthy of careful attention. Certainly the museum staff who provide commentary for the film have been captivated by them. Yet the artist’s struggle is evident in his letters to his friends, read in voice-over.

What I found most thrilling were the extreme closeups of the painted surface that seeing the works on a big screen provided. In a postcard (!) or print in a book, or even glanced at in a gallery, the paintings may look rather flat, but the huge enlargement allows you to see the many layers of color used to create that surface and to appreciate these works in a completely new way. Some of the landscapes and a few still lifes also receive this close-in treatment.

Although Cézanne masterfully depicted the faces and the hands of his subjects, he said that these were not what constituted the “portrait” of a person, but indeed the whole canvas—the clothing, the chair, the background, all together, were the true portrait. See it if you can.

The exhibit has had its Paris and London runs and will be in Washington March 25-July 1, 2018.

On Stage: A Loverly New “My Fair Lady”

my-fair-lady-poster2This spring Lincoln Center’s Vivian Beaumont Theatre is presenting the first new production of Lerner and Loewe’s irresistible musical My Fair Lady in a quarter-century. Opening night for this production, directed by Bartlett Sher, is April 19. We were lucky to get good seats for a preview performance and enjoyed it tremendously.

Lauren Ambrose (Claire in Six Feet Under) plays the redoubtable Eliza Doolittle, with spirit and a knock-your-socks-off singing voice. It turns out she had classical voice training, but this is the first time since high school she’s had a role that let her use it.

Ambrose’s Eliza is more than Higgins’s life-sized doll, as she’s transformed from cockney flower girl to elegant lady. In a New York Times interview, she said, “I’m fighting for the dignity of the character.” This helps counter some of the show’s ideas that are uncomfortably dated, though Henry Higgins remains a deliciously irredeemable throwback. His “Why Can’t a Woman Be More Like a Man?” is right out of a time capsule. Yet the play as a whole overcomes that successfully in this #MeToo moment.

You’ll recognize Harry Hadden-Paton, who plays Professor Higgins, from numerous roles on British television, most recently in The Crown. Unlike Rex Harrison, he can actually sing. The cast-member who is our sentimental favorite is Allan Corduner as Colonel Pickering. We met him when he played Poirot in Murder on the Orient Express at McCarter Theatre, and seeing Diana Rigg as Mrs. Higgins was a delicious treat!

Any actor playing Alfred P. Doolittle has the gift of two rousing numbers—“A Little Bit of Luck” and “Get Me to the Church on Time,” and Norbert Leo Butz plays them for all they’re worth, supported by his two semi-sober pals. He has everything he needs to bring the house down, and, boy, does he. Great support from the huge (29 members!) and hugely talented ensemble.

Michael Yeargan’s main set is on a revolving turntable, and the rest is designed for quick scene changes and continuous movement. Catherine Zuber’s costumes are loverly, especially for the scenes at the Ascot races—a golden opportunity for the costume designer to pull all the stops. The red taffeta coat Eliza wears to the Embassy Ball is a brave and dramatic choice for the red-haired Ambrose. That’s a scene where her dress has to be up to the drama of the moment: “She is a princess,” after all. But I’m still trying to figure out what color that dress was.

I especially appreciated that the orchestra—part of which appears on stage for the ballroom scene—did not drown out the singing.

MFL is often considered “the perfect musical.” If you’ve never seen the show, or if you haven’t seen it in years, it will leave a big smile on your face. “What in all of heaven can have prompted you to go?” The promise of a terrific evening at the theater!

The Band’s Visit

The Band's VisitIf you saw the award-winning 2007 Israeli movie The Band’s Visit, you’ll recall what a charming story lies behind this new musical, directed by David Cromer, playing at the Ethel Barrymore Theatre (video clip).

The eight-man Ceremonial Police Orchestra from Alexandria, Egypt, is invited to Israel to play at the opening of a new Arab cultural center in Petah Tikva. Due to a language mix-up, the band members end up in the desolate, nothing-happening-here desert town of Beit Hatikva.

There is no hotel, only a tiny restaurant, and no transportation to their correct destination until for another day. With varying degrees of wariness and acceptance, the townspeople take them in and, suffice it to say, everyone learns something. The leading roles are played by Tony Shalhoub as the band leader and Karina Lenk as the bored restaurant owner, with a large and accomplished supporting cast of actors and actor-musicians.

As it’s a musical, with music and lyrics by David Yazbek and a book by Itamar Moses, there are the requisite singing numbers, as well as numerous opportunities for one or two or three of the band members to play in background, often a folk-derived tune. Those are especially nice.

The production is receiving much positive attention and already considered a shoo-in for several Tony awards, perhaps partly because of its heartwarming message, as well as some endearing performances. The movie was funnier, though, and at times the background music overpowered the singing, so I couldn’t catch the lyrics. Lenk sits awkwardly and undulates a little too much a little too often in some scenes (is she feeling the music?). The contrast between her sensuality and the stiffly upright band leader is evident without that.

This is one of the new 90-minute, no intermission entertainments that are increasingly popular and a good-hearted, pleasing hour and half it is. But you say you’re not in New York? Watch for the touring production already booked in major cities around the country, starting next year.

****Crazy Rhythm

gumshoe, detective

photo: Jason Howell, creative commons license

By T.W. Emory If you need a break from serial killers and world-at-risk mayhem, TW Emory’s Gunnar Nilson mysteries may be a perfect, lighthearted alternative. Crazy Rhythm is entertaining, engaging, and written with tongue in cheek and a big tip of the grey fedora to Raymond Chandler’s wisecracking private eyes.

PI Gunnar Nilson lives in the rain-soaked northwest United States. In the current era, he’s a resident in the Finecare assisted living facility in Everett, Washington, north of Seattle, recuperating from a broken leg. But in his early 1950s heyday, he was a private eye in the city itself. He has stories to tell, and what’s even more gratifying for an old man, attractive Finecare staff member Kirsti Liddell, aged about 20, wants to hear them.

This is the second book having this set-up, and author TW Emory moves you smoothly back to the post-WW II era with its ways of talking and living. Nilson, the detective, lives in a heavily Scandinavian boarding house with his landlady, Mrs. Berger, a former fan dancer with the photographs to prove it, and two other single men.

In the story he tells Kirsti, years ago Rune Granholm, the younger ne’er-do-well brother of an old friend wants Nilson to attend a meeting with him where a significant amount of cash will be exchanged for an expensive Cartier watch. The whole set-up sounds fishy to Nilson, but he agrees to go out of loyalty to his dead friend and an understandable dab of curiosity. When he arrives at Granholm’s apartment to meet up prior to the exchange, he finds Granholm shot dead.

He is soon distracted from looking into Granholm’s death by a potentially lucrative case dropped in his lap. He’s asked to investigate threatening phone calls a wealthy heiress has been receiving. Delving into this woman’s complicated past reveals, well, complications.

Nilson is soon embroiled in more than one tricky situation involving beautiful women who seem rather more ardent than informative. At these points, Kirsti breaks in to remind Nilson that her mother, to whom she relays their conversations, finds his many supposed romantic conquests entirely unbelievable.

Some blood is spilled – Granholm’s certainly – but the whole effect is more charming than nail-biting. Nilson’s evocation of Raymond Chandler is also entertaining, such as, “…it was guys like Rune who eventually got me to believe that the human race was for me to learn from, when I wasn’t bent over laughing at it.”

Nilson is never wrong-footed as he pursues his investigations of various colorful characters, and it’s fun to watch him in action. Writing a pastiche of an author as revered as Chandler is brave, and Emory carries it off in a style aptly embodied in the novel’s title. A fast read—perfect entertainment for a long airplane flight!

Stones in His Pockets

Stones in His Pockets

Garrett Lombard & Aaron Monaghan – photo: T Charles Erickson

When a Hollywood film crew descends on a small County Kerry village, the locals are brought on as extras, a seemingly glamorous job that turns them into observers of their own lives. McCarter Theatre Center is presenting this Olivier Award-winning comedy by Belfast-based playwright Marie Jones through February 11. British Director Lindsay Posner puts the two-person cast through physically sophisticated and antic changes, as they portray 15 characters, never missing a beat.

The two principal characters, Charlie Conlon (played by Garrett Lombard) and Jake Quinn (Aaron Monaghan) are a bit down on their luck and skeptical of Hollywood, yet the allure it holds for them is almost tangible. In addition, they portray numerous townspeople, including the hyperactive, drugged-out Sean who comes to a tragic end—walking into the deep water with stones in his pockets, a literary whiff of Virginia Woolf—and Michael, whose claim to fame is that he’s the last surviving extra from the filming of John Wayne’s The Quiet Man. They also play several of the Americans—the movie’s director Clem, his effervescent assistant Ashley, and the big-time movie star Caroline, whose Irish accent needs serious work, but who manages to dazzle Jake and Charlie anyway.

Charlie, not unexpectedly, has a movie script in his back pocket and is ever-alert for opportunities to show it to members of the cast and crew, with the expected yawning reception. Jake recently returned from New York, with precious little to show for it. Increasingly, they become aware of the falsity of the portrayal of their town and their lives—a brazen example of cultural appropriation—but there’s nothing they can do about it. The bloom is really off the rose with the key conflict of the play: whether the film director will give the townspeople time off to attend Sean’s funeral.

The elegantly simple set by Beowulf Boritt is piled with trunks from which Charlie and Jake grab an occasional bit of costume, but these changes are lightning fast and often in service of what the extras themselves are asked to do. The principal way the audience distinguishes among the many characters is through the considerable skill and talent of the two actors.

It’s a story about community—a community of locals and a community of outsiders, and the actors, who trained at The Samuel Beckett Centre, Trinity College Dublin, make both these discordant communities come alive remarkably well.

McCarter Theatre is easily reached from New York by car or train (New Jersey Transit to the Princeton Junction station, then the shuttle train into Princeton. The shuttle ends a short walk from the theater and the university’s new arts district, as well as two new restaurants.

For tickets, call the box office at 609-258-2787 or visit the ticket office online.

Lady Bird & I, Tonya

Both these movies have garnered impressive award nominations, but if you have “mommy issues,” you may want to make a different pick.

Saoirse Ronan & Laurie Metcalf in Lady Bird

Lady Bird

Written and directed by Greta Gerwig (trailer), Lady Bird is beautifully portrayed by Saoirse Ronan (Golden Globe winner) as teenage Lady Bird and painfully so by Laurie Metcalf (Golden Globe nominee) as her mother. The mother, apparently a psychiatric nurse, has a remarkably limited array of skills in dealing with her adolescent daughter. She certainly knows how to criticize and brow-beat, though, even as she hates the words coming out of her mouth.

Tracy Letts is a huggable, mostly ineffectual father, Lucas Hedges and Timothée Chalamet are Lady Bird’s early, disastrous loves, and Beanie Feldstein and Odeya Rush are sometime high school besties at opposite ends of the cool-kids spectrum.

Attending a Catholic girls school and desperate to escape Sacramento, Lady Bird’s determination to fly to more receptive, less suffocating surroundings will resonate with many (especially female) viewers. For economic and so many other reasons, her mother is determined she stay. The importance of this quest must have touched a chord with critics and with audiences, as it won the Golden Globe for best comedy, and Gerwig was nominated for the screenplay.

Rotten Tomatoes critics rating: a whopping 99%; audiences: 82%.

I, Tonya

Margot Robbie as Tonya Harding

Director Craig Gillespie’s Golden Globe-nominated biopic about national figure-skating champion Tonya Harding—who never fit the little princess image of the figure skater, nor wanted to—takes the mommy problem to another level (trailer).

Tonya (Margot Robbie, Golden Globe nomination) is raised by a chain-smoking mother (Allison Janney, Golden Globe winner) who never gave an inch and wasn’t above hitting Tonya when her words didn’t cut deep enough. Tonya’s eventual “escape” was into a violent marriage with Jeff Gillooly (Sebastian Stan).

This movie is also billed as a comedy, oddly, though Gillooly’s inept friend Shawn (Paul Walter Hauser), who’s convinced himself he’s an international terrorism expert, and the media personality played by Bobby Cannavale are hilarious. The plans to mess with Tonya’s competitor Nancy Kerrigan go wildly awry—but would be funny only to people who don’t understand the many sacrifices and tremendous effort necessary to skate at her level.

The script written by Steven Rogers is compassionate toward Tonya and based on lengthy current-day interviews with the principals—do you wonder, has she changed?—who promise to reveal what “really” happened in Tonya’s life. Their conflicting stories are, of course, riddled with self-justification, leaving you to decide whom to believe. It’s not much of a spoiler to say you won’t believe the mother.

If you remember the 1994 attack on Nancy Kerrigan at the national figure-skating championships in Detroit (I was there!), orchestrated by Gillooly, the movie may make you think differently about that incident. Tonya was never loveable; now we know why.

Rotten Tomatoes critics rating: 89%.

A Christmas Carol

A Christmas Carol

Greg Wood as Ebenezer Scrooge; photo: T. Charles Erickson

Last year, McCarter Theatre Center’s revamped its annual production of Charles Dickens’s A Christmas Carol for the first time in almost two decades. This season is the second with the update, and the new version is really coming into its own. Director Adam Immerwahr has achieved a solid Victorian England vibe for this sparkling production, which runs through December 31.

Immerwahr’s intent is to explore how Scrooge’s redemption “isn’t just the redemption of one man . . . when a person changes, it can transform an entire community.” He has filled it with songs from what Immerwahr calls “the treasure trove of terrific Christmas music of Dickens’s era.” Even some carols not used explicitly have “become part of the underscoring of the play.”

The show manages to be both different with fresh sets and staging and familiar, retaining the adaptation by award-winning  playwright David Thompson. Ebenezer Scrooge (played to perfection by Greg Wood) has never said “Bah! Humbug!” with more feeling, Bob Cratchit (Jon Norman Schneider) never more patiently put-upon, and the rest of the cast, mostly playing multiple parts, never more lively. Dickens’s work is stuffed with memorable characters, giving special mention of Mrs. Dilber (Sue Jin Song), Solicitor David/Mr. Fezziwig (Thom Sesma), Mrs. Cratchit (Jessica Bedford), and Mrs. Fezziwig/Lady Char/Laundress (Anne L. Nathan). Though many parts amount to a cameo, all were quite up to snuff.

The familiar tale of a miser’s comeuppance is all there, how the Ghost of Christmas Past (Adeline Edwards) reminds him how he gave up his youthful opportunities for happiness in order to pursue wealth; the Ghost of Christmas Present (Mimi B. Francis) shows him how others, especially the Cratchits live now; and the Ghost of Christmas Future (Christopher Livingston, who also plays young Marley) lays out a frightening scenario that causes him to vow to change. Old Marley’s ghost (Michael Genet) has my favorite line from the story, the sententious “I wear the chains I forged in life.” The dark scenes change to light as Scrooge wakes Christmas morning a new man.

The cast is augmented by a 36-member community and youth ensemble, whose members greet theater-goers, sing carols, ring bells, and dance exuberantly! The entire audience becomes involved, with the singing of a carol at the beginning and end of the performance.

Production credits to Daniel Ostling (set design); Michael Friedman (composer); Charles Sundquist (musical direction); Darron L. West (sound design); Lorin Latarro (choreography); Linda Cho (costumes); Lap Chi Chu (lighting); Jeremy Chernick (special effects); and Gillian Lane-Plescia (dialect coach).

For tickets, call the box office at 609-258-2787 or visit the box office online.