A few years ago my daughter was at a summer theater camp where they staged a production of “Once on this Island Jr.”
The show is set on an unnamed island (Haiti) in the Caribbean (seriously, it’s Haiti). The show is about the class divisions (in Haiti) and depicts a contest among the gods (all named after and patterned on the loa) that plays out as a love story between a peasant girl and the son of a boujwa family.
Seriously, the show couldn’t be more obviously about Haiti if it tried. The social structure is Haitian,the names are all Haitian, and the snippets of language sprinkled through the show are Kreyol. The original Broadway cast even used Haitian accents. These are parts that are all black, except for the boujwa young man, who probably is mulatto, what we in America would call biracial.
Almost everyone at the camp was white. A few kids were Hispanic. One or two were biracial.
White kids playing Haitians. White kids playing the loa.
I didn’t say anything at the time, or at least not too much, but this really bothered me. Being black is essential to the nature of these parts and the country where it’s set. This felt like an act of erasure, of whitewashing. Not intentional, just thoughtless, insensitive, careless and dumb. No excuse.
I love to shake up the casting in shows with an eye toward racial inclusivity, but I feel like if you’re going to do “Once on this Island,” you’d better have either a solidly black cast, or a backup show planned.
If you're looking for something fun to do with the kids this weekend or next, you don't need to search farther than Villagers Theatre and its production of “School House Rock Live Jr.”
School House Rock had its launch in 1973, when it aired on Saturday mornings on ABC as a series of educational cartoons originated by Madison Avenue ad man David McCall, who soon was joined by songwriters Bob Dorough, Dave Frishberg, Lynn Ahrens and others. Before its ultimate cancellation in 1985, School House Rock covered a wide range of topics that included math, science, history and civics, and grammar, among others.
The franchise made the move to live stage with the debut of “School House Rock Live” in 1990. The show is a collection of the most popular installments of the series, loosely strung together around a barebones narrative of a nervous new teacher named Tom as he prepares for his first day on the job.
The junior production at Villagers Theatre contains 11 of the 21 songs contained in the full-scale production, and benefits greatly from Joey Kalet's turn at Tom, the teacher. Kalet, a teen performer, has appeared on stage at Villagers and at other theaters in the area, and his confidence shows as he fully embraces his goofy character without a sign of self-consciousness.
With numbers like “A Noun is a Person, Place or Thing,” “Elbow Room” and “Just a Bill,” the show will please nostalgia-hungry Gen X parents who remember tuning in to watch Bugs Bunny on Saturday morning and catching animated school lessons pushed through on the sly.
On the other hand, the lively tunes and the spirited performances of cast members mean that younger audiences who may not be as familiar with the show, still are going to find plenty to enjoy.
Kalet is supported by five characters who represent Tom's thoughts in their efforts to prepare him for his first day on the job: George (James Kan), Dori (Chloe Garcia), Shulie (Justine Torres), Joe (Kevin Luck) and Dina (Naomi Taylor).
Other soloists include Jocelyn Kalet, Sam Moffett, John Shea and Bhavna Bangalore (“The Preamble”); Lexi Thomas (“Do the Circulation”), Rishika Chakravorty (“Interplanet Janet”); and Sarah Stefaniak and Rebecca McCabe (“Great American Melting Pot”).
The show is directed and choreographed by Devin Massih, with assistance provided by stage manager Jess Kimberlin.
Remaining performances are scheduled for noon March 12 and March 19, and at noon and 3 p.m. March 18. Tickets cost $10 for general admission.
Villagers Theatre is located at 475 Demott Lane, Somerset. For more information, call the theater's box office at (732) 873-2710.
Sometimes the only way to understand people and events is filling in the blanks.
That's the premise of a new play by Khy Garner, debuting Friday at Villagers Theatre in Somerset. The play, which Villagers is presenting as part of its Yellow Brick Road fund-raising drive, will run this weekend only. Performances are scheduled for 8 p.m. Friday and Saturday, and 2 p.m. Sunday.
"In 2005 I started journaling about experiences that had shaped me or changed my perspective on certain social issues," Garner explained in a statement about the origins of the show. "There were things that had happened either to me, someone I knew, or someone I loved."
Sometimes they were events Garner had experienced or witnessed firsthand; other times, he had to rely on what other people had told him to understand. Imagining how those moments unfolded can lead to greater understanding and empathy. It's a practice we all engage in, whether consciously or not.
"For example, you have a friend who is quite obnoxious. We all have a friend like this: pushy, loud and overbearing, but you remain friends," Garner stated. "Ever wonder why they act this way? What happened in this friend’s life to cause these imperfections? What’s the story? Sometimes you are forced to fill in the blanks."
"Filling in the Blanks" will be directed by the playwright. Producing is Linda Giordano, with stage manager Jessica Musolino and technical director Paul Carver.
Tickets for "Filling in the Blanks" cost $15 and are available at the door, or on the Villagers web site. The theater is located in the Franklin Township Municipal Complex, at 450 Demott Lane, Somerset.
PISCATAWAY — King Richard III is one of the most diabolical, deplorable and ruthless villains created by William Shakespeare – or is he?
Audiences can decide for themselves, as Circle Players stages a new production of Shakespeare's historical drama “Richard III,” beginning this weekend. Directed by Jessica Darrow Sherman of Summit, the show promises to give audiences a Richard they can understand and perhaps even feel sorry for, even if in the end they do not like him.
The show has been performed many times, including cinematic adaptations by august actors such as Laurence Olivier in 1955, and Ian McKellan in 1995. But while other productions may focus on Richard's machinations and royal ambitions, Sherman sees the heart of his story primarily in the lives of the women Richard seduces, wrongs and betrays along the way.
“I wanted to streamline that and get down to the man and the relationship he has with the four women,” said Sherman.
Still, given the age of the play – scholars believe Shakespeare wrote “Richard III” in 1591 – connection may seem like a tall order. Much of the play is written in blank verse, and the dialogue contains words that at times may sound unfamiliar to the modern ear.
“The language is the main hurdle,” said Sherman. “It's a hurdle for the audience, and it's a hurdle for the actors. It's a little like walking around in another language.”
But because Shakespeare's language is at least as much of a draw as the stories themselves, don't look for that to change. There are ways to connect with audiences without compromising the writing. This “Richard III” has a contemporary setting, complete with contemporary clothing and accessories. The custom of speech may sound odd to the ear, but the people on stage wouldn't stand out if you met them on the street or in the office.
“I always want to bring my productions that I do of Shakespeare's plays to the present day,” said Sherman. “When you see people walking around and texting one another with their cell phones, you think, 'Yeah, I do that.' I want to take all the walls down so the audience can connect with these characters.”
Academics debate the exact order his plays were written, but generally agree that Shakespeare began with a tetralogy of plays that dramatize the Wars of the Roses, the civil war over the throne of England that ran from 1455-1485. And as she read through the plays about King Henry VI, Sherman — a self-described "Shakespeare nerd" — saw one figure emerging clearly as a key player.
“They all point to Richard III as a play and as a man,” said Sherman. “You're greeted with a very broken politician with a lot of anger.”
This personal interest soon found new fuel that ultimately led to the upcoming production. Tradition long had held that after he died at Bosworth Field, Richard was buried at Greyfriars Friary in Leicester. In September 2012, archaeologists exhumed a skeleton from beneath a parking lot on that site, that seemed like a match for the legendary king. By February, it was official: Archaeologists had found Richard's mortal remains.
“All the sudden, this man who was ruling, fighting and dying in the 1400s was suddenly very real,” said Sherman, who soon began imagining how to stage Shakespeare's play.
The works of William Shakespeare are a regular feature at Circle Players. The past two years have featured a performance of “Romeo and Juliet” in 2014 and a staged reading of “Macbeth” in 2015. Sherman herself has directed productions there of “As You Like It” in 2011 and “Hamlet” in 2012.
Performances of “Richard III” will take place at 8 p.m. Fridays and Saturdays, and at 3 p.m. Sundays, Sept. 23-Oct. 9. Performances are Sept. 23 and 24, and Oct. 1, 2, 7, 8 and 9. Audience members are invited to join the cast in a wine-and-cheese reception in the theater lobby following the opening night performance. Additionally there will be a special talkback with the cast following the Oct. 2 performance.
Circle Players is located at 416 Victoria Ave., Piscataway. Due to the unique layout of this theater-in-the-round, latecomers cannot be seated after the performance has started. Plan to arrive at least 15 minutes before the show opens.
For reservations, call (732) 968-7555, or buy tickets online at www.circleplayers.org. Tickets cost $18 for adults and $17 for students and seniors. Credit cards may not be used at the box office, but will be accepted online.
“Richard III” is produced by Ed Faver of Roselle. The stage manager is Jennifer Robinson of Branchburg.
Appearing in the cast are:
Nils Swanson of North Brunswick as Richard III,
Tess Ammerman of Montclair as Anne,
J.D. Robinson of Branchburg as Clarence, Ratcliff and Brakenbury,
Alicia Harabin of Somerville as Elizabeth,
Steven Mennella of Dunellen as Rivers and the Lord Mayor,
Heidi Carter Hart of Maplewood as Margaret,
David Learn of New Brunswick as Catesby,
Erik Hall of Piscataway as Edward and Richmond,
Donne Petito of Hopewell as Cecily,
Ed Faver of Roselle as Hastings, Ely and Tyrell,
John P. Dowgin of Spotswood as Buckingham,
Ruth Learn of New Brunswick as Young Richard, and
Jacob Hall of Piscataway as Young Edward.
If you've ever got into a yelling match with your partner, Villagers Theatre is bringing a show to its mainstage this weekend that you should be able to relate to.
“Barefoot in the Park,” a comedy written by audience favorite Neil Simon, will play weekends through Oct. 2. The show joins a pair of polar-opposite newlyweds directly after their honeymoon as they decide to play matchmaker for the bride's mother, and discover things about themselves and their own relationship that they hadn't known before. And therein lies the show's broad appeal.
“Simon is popular because his stuff is relatable and funny,” said director Matt Lafargue. “To me, 'Barefoot in the Park' is a lot more relevant and a lot more poignant than it may appear.”
The key is that both drama and comedy have their roots in conflict; and as is true of Simon's other works, the story of “Barefoot in the Park” is one rife with potential for conflict. Paul Bratter, the male lead, is a straitlaced lawyer who plays by the book. His wife, Corie, is a free spirit who pays far less attention to the rulebook than she does to what she enjoys. The combination makes a perfect storm for comedy or for bickering and relationship counseling, as any married couple will attest.
In the Villagers Theatre production that Lafargue is directing, expect both laughter and raw emotion.
“This is not going to be just a cute comedy. The scenes that are intense are going to be intense,” said Lafargue, a resident of Dunellen. “We really are trying to get the heart of the show. We're not tracking it as a light evening of comedy. We're working at making these real, 3-D people.”
The characters in “Barefoot in the Park” engage in Neil Simon's trademark repartee, but the relationship conflict that connects with audiences also gets to the heart of larger themes that Lafargue expects will resonate far beyond a night at the theater. Conflict ends not just when we discover our common humanity, but when we discover how one another's differences enrich us all.
“The central message of 'Barefoot in the Park' is taking the time to get to know people who are different from you,” said Lafargue. “Not only can you connect on what you have in common, but you can connect on what's different.”
First performed on Broadway in 1963, "Barefoot in the Park" closed nearly four years later, in 1967, making it Simon's longest-running show. It was adapted into a movie in 1967 starring Paul Newman and Jane Fonda.
The first show in the Villagers Theatre 2016-17 season, “Barefoot in the Park” runs Sept. 16-Oct. 2, with performances at 8 p.m. Fridays and Saturdays, and at 2 p.m. Sundays. Tickets are available online, at VillagersTheatre.com.
A nonprofit community theatre located at 475 Demott Lane, Somerset, Villagers Theatre has been providing area theatre-goers with a Broadway experience for the cost of a movie ticket since 1960. Upcoming shows this season include the musical “Titanic”; the Civil Rights drama “Mountaintop,” about the Rev. Dr. Martin Luther King Jr.; the comedy musical “Altar Boyz”; and children's shows “A Christmas Cinderella” and “Schoolhouse Rock Live Jr.”
Programs are made possible, in part, by funds from the New Jersey State Council of the Arts/Department of State, a partner agency of the National Endowment for the Arts, and administered by the Somerset County Cultural & Heritage Commission through the State/County Partnership Local Arts Program.
For more information, call Villagers Theatre at (732) 873-2710.
“Barefoot in the Park” features the following actors:
CORIE BRATTER: Kristin Sarboukh of South Bound Brook
PAUL BRATTER: Bryan Siegel of East Brunswick
MRS. BANKS: Debbie Badal of Morristown
VICTOR VELASCO: Richard Butler of Piscataway
HARRY PEPPER: Rupert Ravens of North Brunswick
DELIVERY MAN: Casey Okamoto of Somerset
Circle Players has determined who will be in "Spike Heels" this November.
The show -- the second in the theater's this season, after "Richard III" -- opens Nov. 4. Set in Boston, the play is a contemporary comedy of manners that explores sexual harassment, misplaced affections, and the possibility of a four-sided love triangle. The combatants are a sexy, volatile young woman and three Back Bay types: a writer, a lawyer and a fiancee in sensible shoes.
Written by award-winning playwright Theresa Rebeck, "Spike Heels" is directed by Tom Frascatore and features the talents of Ariana Fort, Danny Siegel, David Bronovicki and Tess Ammerman.
Circle Playhouse is located at 416 Victoria Ave, Piscataway. The show is directed by Tom Frascatore. For more information, write to circleplayersnj@gmail.com.
Circle Players is looking for a few actors to put in Theresa Rebeck's “Spike Heels.”
Pygmalion goes awry in this contemporary comedy of manners which explores sexual harassment, misplaced amour, and the possibility of a four sided love triangle. The combatants are a sexy, volatile young woman and three Back Bay types: a writer, a lawyer and a fiancée in sensible shoes. The setting is Boston, the ending is happy, and laughter abounds.
Auditions are from 7 to 9 p.m. Sept. 9 and 5-7 p.m. Sept. 10, with callbacks from 7 to 9 p.m. Sept. 11. Auditions will be held at Circle Playhouse, 416 Victoria Ave, Piscataway. The show is directed by Tom Frascatore.
All characters are around 30 years old.
ANDREW is a professor of political philosophy at a small college in Boston. He lives alone in an apartment and has befriended his neighbor Georgie, appointing himself her “teacher.” He is engaged to be married to Lydia. As the play opens, Andrew is fastidious, cautious, and averse to risk. However, during the course of the play he becomes less restrained because of Georgie’s influence on him.
EDWARD is an old friend of Andrew’s. Edward is aggressive, extroverted, demanding, and at times a little sleazy. He is a criminal defense lawyer and, as a favor to Andrew, has hired Georgie to be his secretary even though she has not attended college. He dated Andrew’s fiancee, Lydia, before Andrew began dating her.
GEORGIE is Andrew’s neighbor and Edward’s secretary. She comes from a working-class background and has not attended college. She is lusty, earthy, sarcastic and fatalistic, especially in her relationships with men. Six months before the play begins, Andrew has decided to become her friend and to try to diminish her self-destructive tendencies. In befriending her, Andrew has also tried to “improve” her by giving her books to read and encouraging her to speak more properly. She has responded to Andrew’s friendship by falling in love with him.
LYDIA is Andrew’s fiancée and Edward’s ex-girlfriend. She is from an old, upperclass Boston family. In many ways, she is the opposite of Georgie, and the characters talk about her a great deal before she ever actually appears. Edward describes her as cold and unemotional, and Andrew wants to keep her pure. When she does appear, she is quite fiery, convinced that Georgie is trying to steal Andrew from her. Georgie comes to like her when she sees that Lydia is not the “vampire” Edward has portrayed her to be.
Performances will be held Nov. 4, 5, 12, 13, 18, 19 and 20, at 8 p.m. Fridays and Saturdays and at 3 p.m. Sundays.
