Theater Review: Ridgefield Theater Barn Spotlights the Twisted History of "Bloody Bloody Andrew Jackson"

Chris Cenatiempo performs the title role in 

Bloody Bloody Andrew Jackson 

Photo Credit: Alicia Dempster

I need to start this review by saying that I absolutely love this show! It is a youthful, refreshing, irreverent, funny, exciting, not-quite-politically-correct look at the twisted history of the United States as told through the strange saga of President Andrew Jackson, rock star. This cult rock musical made its way to Broadway in 2010 and despite favorable reviews, nominations, and awards, closed after only 120 performances. This was Broadway's loss. I am grateful that the Ridgefield Theater Barn took the risk of putting on such an innovative and entertaining show. 

With an award-winning book by Alex Timbers, and music and lyrics by Michael Friedman, Bloody Bloody Andrew Jackson uses the controversial story of our 7th President to explore political concepts such as American populism, the election process, political corruption, the laziness of the American electorate, and the fickle finger of fame. Its arrogant, in-your-face, emo score is instilled with intelligent and thought-provoking political commentary, never losing sight of the irony that our nation was formed on a foundation that includes the shameful practices of slavery and Native American genocide. 

I love the fact that this political lesson is neither preachy or pedantic. In fact, the academic narrator is eliminated early in the show so that Jackson can tell his own story. Under the direction of Alicia Dempster and musical direction of Eli Zoller, actors and the uber-talented on-stage band drive us through songs including "Populism, Yea, Yea!," "I'm Not That Guy," "The Corrupt Bargain" and "Rock Star." The song "Ten Little Indians," where the ensemble women sing about the removal of Native Americans through force or unfair negotiation, is suitably uncomfortable. Another uncomfortable song in the show is "Illness as a Metaphor," which features cutting and blood as a metaphor for love.

The ensemble cast moves easily through the clever set designed by Alicia Dempster. Using a variety of antique and modern props, as well as period and updated costumes designed by Sara Beschle, the actors portray many character types who are easily recognizable and relevant to today's audiences. A high point in the show is the introduction of John Quincy Adams, Henry Clay, John Calhoun, and Martin Van Buren as models parading on a fashion show runway. Other character surprises include cheerleaders representing the American voting public, a modern couple whose relocation to sunny Florida does not endorse the means that Jackson used to make it possible, and the Jackson "groupies" who seem to fawn over his every move.

L-R: Michael Shofi, Samantha Holomakoff, Billy Dempster, Marcelo Calderon, Carly Phypers, Alex Vournazos, Rob Bassett, and Paulette Layton

Photo Credit: Alicia Dempster 

The ensemble cast includes Jasmine Love Barbosa, Rob Bassett, Beth Bonnabeau, Marcelo Calderon, Billy Dempster, Isabelle Dempster, Samantha Holomakoff, Susan Lang, Paulette Layton, Michael Shofi, and Alexis M. Vournazos.  All of them help bring their varying characters to life and infuse the show with their infectious energy and some of its funniest elements. 

Fred Rueck delivers an outstanding performance as Chief Black Fox. He personifies the duplicity and heartbreak of the Native American collaborator who helped broker some of Jackson's early deals to remove tribes from Georgia and Tennessee before witnessing the callous genocide that was later perpetrated on his own people. Carly Phypers is also outstanding as Jackson's wife, Rachel. Her rendition of the song, "The Great Compromise" is moving as she vents her sadness, frustration, and anger at giving up her private life while Jackson pursues his dreams.  

The star of the show is Chris Cenatiempo, who is a true rock star in the role of Andrew Jackson. With powerful vocals, tight jeans, and black eyeliner, Mr. Cenatiempo oozes the natural narcissism, rebellious attitude, sex appeal, and charisma that helps propel the lonely frontiersman into a punk President. His stage presence and personal magnetism make him the focus of attention when he's onstage, making his a truly memorable performance.  

At the end of the show, we are reminded that Andrew Jackson's legacy is still hotly disputed today. Where some see him as a great President, others see him as the "American Hitler." Lauded and idolized for wresting power from the elite and putting it back in the hands of the public on his way to the Presidency, this Andrew Jackson quickly learned that it's lonely at the top. Bloody Bloody Andrew Jackson neither vilifies or vindicates this controversial President. But as a history lesson, it shows us that the more things change, the more they stay the same. 

Bloody Bloody Andrew Jackson runs through June 28th at The Ridgefield Theater Barn in Ridgefield, CT. All Mainstage shows are cabaret style.  Call 203-431-9850 or visit The Ridgefield Theater Barn for more information.

Eastbound Theatre Presents "To Gillian on Her 37th Birthday"

One of the great pleasures of reviewing Connecticut theater is learning about new and innovative theater spaces. This past weekend, I had the pleasure of attending a performance by Eastbound Theatre, a division of the Milford Fine Arts Council. From the outside, it is hard to imagine that a theater in the Milford railroad station would be a comfortable experience, but its inviting interior, vaulted ceilings, and small stage make it appear bigger on the inside. It is the perfect intimate setting for their current production, Michael Brady's To Gillian on Her 37th Birthday. 

I knew this production was going to be special when I first viewed the stage upon entering the theater. This haunting tale of family, love, loss, grief, and acceptance takes place over the course of a weekend at an island beach house. The set design by Kevin Pelkey is perfectly detailed and authentic for our New England shores. It is truly beautiful, and along with the lighting design by Ann Baker and sound design by Tom Rushen, it is easy to imagine that we really are at a picturesque shoreline vacation home.

The tragedy that has befallen the family residing in the home makes it anything but idyllic, however. David has been widowed for 2 years. He is still grieving his dearly departed wife, Gillian, who disturbingly met her demise by falling from a mast on a family sailing trip. In his grief, David stopped teaching college, and spends his days and nights staring at the ocean, talking to himself and imagining conversations with his dead wife. He is so obsessed with her ghost that he becomes, in essence, an absentee father to his 16-year-old daughter Rachel, who is disturbed by his alarming behavior and in need of parental guidance herself.
  

John Bachelder and Deanna Hartog
Photo Credit Danielle Boyke

On this particular weekend, which happens to be the anniversary of Gillian's death, they are visited by Gillian's psychologist sister Esther and her husband Paul. Both of them think it is time for David to move on, and in a clumsy attempt at matchmaking, they bring along a surprise female guest named Kevin. Also along for the weekend visit is Rachel's best friend Cindy, a young lady who seems to have a crush on her best friend's dad. This particular combination of good intentions, bad timing, and emotional instability provide all the fixings for an awkward and potentially volatile weekend.  

What is great about Michael Brady's script is that each character is fully fleshed out, allowing each actor to access elements of sadness, humor, youth, wisdom, friendship and love in all their varying degrees. Under the skillful direction of Nancy A. Herman, the local cast, hailing from Woodbridge, Westport, Milford, and Stratford, all aptly fulfill their roles as pieces of this dysfunctional family but are also able to surprise us with deeper, hidden elements that play against type.  

John Bachelder is perfect as David, a man stuck in the pain, anger, guilt, and depression stages of grief. Mr. Bachelder easily lets us empathize with David's grief, and astounds us as he slides easily from reverie to rage when faced with not only the loss of his wife, but the potential loss of his daughter when it is suggested that she might be better off living with her aunt.  

Leigh Katz is truly amazing as Esther and seems to fit into the role with an ease that says she was born for the stage. Marc Hartog is also a pleasure to watch as Esther's husband Paul who provides a comedic element to the weekend in his role as the beleaguered spouse and buffer between his assertive wife and David. I thought that Alisson Wood, as Kevin, seemed a little young to be a romantic interest for David, but she worked well in her scenes where she befriends and becomes a confidante to Rachel.  

Deanna Hartog is terrific as Rachel, alternately acting out Rachel's sadness over the loss of her mother, concern for her father's well being, fear of being abandoned by her father, and all of the uncertainties that arise from being a 16-year-old girl. I particularly liked the scenes she shared with Emily Pisarra who plays Cindy, her friend with the tough exterior that hides the awkwardness and vulnerability of a girl in the throes of an unrequited crush with an older man. Together, Ms. Hartog and Ms. Pisarra are totally believable as best friends who lean on each other in the best and worst of times.  

Rounding out the cast is Kimberley Lowden as Gillian, the woman whose death is the catalyst for all of the grief in the play. She touches her family with her very presence. A beautifully haunting image was when she stood hovering just over Rachel as she sat forlornly wishing her dead mother a happy birthday. Gillian is at once a loving and exasperating force with David, bewitchingly leading him, and the audience, back to the surprising truth that once unearthed, brings David back to the present and the potential for a new future.   

To Gillian on Her 37th Birthday is an emotionally charged play that ends on a satisfyingly hopeful note. It runs through June 22nd at Milford Center for the Arts, 40 Railroad Avenue, Milford, CT.  Call 203-878-6647 or visit Milford Center for the Arts for tickets.  

Theater Review (Westport): "Sing for Your Shakespeare" at Westport Country Playhouse

L-R: Britney Coleman, Karen Akers, Stephen DeRosa (foreground),
Constantine Germanacos, Darius de Haas, and Laurie Wells.Photo by Carol Rosegg

There is no denying that Westport Country Playhouse has a hit on its hands. Judging from the standing ovations at the end of performances, the extended run due to ticket demand, and stellar reviews by other publications, Sing for Your Shakespeare seems to be pleasing audiences and critics alike. Yet after watching this 90 minute, no intermission show I was left wondering, why did I feel so disappointed?

 

Directed by Playhouse artistic director Mark Lamos, and co-conceived by Wayne Barker, Mark Lamos, and Deborah Grace Winer, Sing for Your Shakespeare is a world-premier musical revue exploring how the American Songbook has been influenced by William Shakespeare. With selections ranging from jazz to Broadway show tunes, a Broadway-caliber cast, a sleek set designed by Riccardo Hernandez, and an excellent on-stage orchestra under the musical direction of Wayne Barker, I had anticipated an entertaining musical that deepened my knowledge of Shakespeare and the shows and songs he inspired. But what was presented was an oh-so-lighthearted pastiche that lacked depth or erudition. It was light; it was airy; it was musical fluff. At certain points in the show, I was reminded of being forced to watch old Lawrence Welk episodes with my grandmother.  All that’s missing are the bubbles.

Riccardo Hernandez’s set is opulent and polished looking. Cleverly displaying Shakespeare’s immortal words on the scrim and the proscenium, with a sleek bandstand for the orchestra along with the added touch of hanging chandeliers, I was reminded of old movies with exclusive nightclubs where people listened to big bands and danced. The costumes designed by Candice Donnelly, consisting of lavish evening gowns with long gloves for the ladies and tuxedoes for the men, added to the image of elegance from days gone by.

There is not a lot of dancing in the show and what is there is not very impressive, despite the extensive experience and past accolades for the show’s choreographer, Dan Knechtges. I was disappointed with the awkward lifts and transitions by dancers Britney Coleman and Darius de Haas, and doubly disappointed when a slow dance sequence was just that – slow dancing in a tight embrace with feet barely moving, like something you’d see in a high school gym — followed by a few dance moves and dancers running off stage with arms dramatically outstretched for effect. Even more disappointing was the “Too Darn Hot” number from Kiss Me Kate. No tap dancing like Ann Miller in the film, no big dance number by steamy cast members like the Broadway show.

The cast sports an impressive list of Broadway, Off-Broadway, film and television credits. The collective experience of Karen Akers, Britney Coleman, Darius De Haas, Stephen DeRosa, Constantine Germanacos, and Laurie Wells makes them seem like a dream team for entertaining musical theater. They all have great singing voices and acting abilities (with Ms. Aker’s well-seasoned voice sticking to lower ranges), but I felt that their years on the stage worked against them. In many instances, their performances were too polished and rehearsed, to the point where the gestures, the smiles, winks, and nods to the audience felt inauthentic and contrived.

There were surprising parts of the show that I did like, including some songs I had never heard before: “Sonnet to Hank Cinq” written by Duke Ellington and Billy Stayhorn, “Ariel” by Emil Adler and Julie Flanders and “Willow, Willow, Willow” by George Forrest, William Shakespeare, and Robert Craig Wright. I enjoyed most of the spoken Shakespeare interspersed throughout the show, and I even loved the opening madrigal,  “It was a Lover and His Lass” from As You Like It.

But many of the songs just didn’t work for me. I did not like the bit of camp that came in the form of the song “Hamlet,” written by Frank Loesser or the “Shakespeare Song” by Richie Webb and David Cohen, that had a bewigged and costumed Stephen DeRosa appearing as a lounge singer Shakespeare, complete with ditsy backup singers.

I didn’t even like some of those songs that I already knew and loved from other musicals and films, not because they were performed poorly, but because when taken out of context, they just did not seem to work. I was unmoved by the selections from West Side Story. Even though they were sung well, I just did not feel the emotion behind songs like “Maria,” “Tonight,” and “Somewhere.”

Darius De Haas and Constantine Germanacos sang “What A Piece of Work is Man” from the musical Hair beautifully, but the song loses its punch when performed on that elegant set, with an elegant orchestral accompaniment, instead of being sung by two younger, clear voices juxtaposed against the carnage of the Vietnam War and violence of 60′s protests. The same was true for the song “Brush Up Your Shakespeare” from the musical Kiss Me Kate. I can still picture Keenan Wynn and James Whitmore as the two mob wiseguys from the film educating us with their particular brand of Shakespearean knowledge. But when sung by the entire company in this musical revue, with affected accents and buffoonery, it just becomes the ‘same old schtick.’

All in all, I liked the concept of celebrating Shakespeare in song but Sing for Your Shakespeare falls short on many levels. The talent is there, but this production plays it too safe. While it is sure to please those seeking very light entertainment, it will not please anyone seeking something new, exciting, or innovative. Sadly, I do not think this is the type of show that will attract new audiences or future generations of subscribers. That may be the biggest disappointment of all.

Sing for Your Shakespeare runs through June 28th at Westport Country Playhouse. For more information, call the box office at (203) 227-4177, or toll-free at 1-888-927-7529.

Theater Review (Westport, CT): "Arcadia" at Westport Community Theatre

L-R: Alexandria Clapp, Emma LaPlace, Ryan Hendrickson, Julia Thaxter Gourlay, Jeremy Funke. 

Photo by KevinMcNairPhotography

Westport Community Theatre closes out its 2013-2014 season with a thought-provoking production of Tom Stoppard's Arcadia. As entertaining as it is complex, this play takes place around a large table in a single room at Sidley Park, Derbyshire, England. With scenes going back and forth from the early 19th century and 1993, the past and present are intertwined to tell a story of math, science, poetry, passion, and the search for truth.

The script is brilliant. Hailed as one of the most important playwrights of our time, Tom Stoppard has written an intricate play filled with mathematical theorems, iterated algorithms, chaos theory, the second law of thermodynamics, history, poetry, Lord Byron, literary pursuits and romanticism. On the surface, these themes can appear intimidating, but they are interwoven into a universal story about innocence and discovery, trust and deceit, the mystery of sex and the pursuit of knowledge. Add in witty and comedic dialogue interspersed with impassioned monologues by compelling characters and you have the makings of a masterpiece.

Director Mat Young skillfully leads the actors and the audience through this time jumping, truth seeking exploration. The plot of the play, with its seemingly disparate themes, almost defies description. The events that take place in Sidley manor in 1809 present a mystery that the characters in 1993 try to unearth. Along the way, we discover the true and often surprising nature of each character, drawing us into their story, and pointing out the folly of the modern academic as well as the difficulty in unearthing true history.

Each member of the cast lives up to the challenge of presenting a character as nuanced and complex as the play. We can marvel at the genius of Thomasina Coverly, the unassuming ingenue who's mathematical discoveries are years before her time. As played by Alexandria Clapp, we witness Thomasina change from wide-eyed innocent to naive coquette as she nears the age of 17, literally playing with fire as she flirts with her tutor, Septimus Hodge.

Septimus is played by Jeremy Funke, an actor who excels at playing characters of great intelligence and guile. His smooth voice and commanding presence, along with his character's superior faculties and clever use of language, make Septimus both a formidable opponent and dangerous ally. The way he verbally manipulates the hapless failed poet Ezra Chater, comically played by Patrick Duffy, out of fighting a duel over his wayward wife is brilliant.  Julie Bell Petrak also shines as Lady Croom, the mistress of the manor whose own pointedly sarcastic admonishments and imposing nature make her a dangerous person to cross.

There are many outstanding performers on the modern side of the cast. Julie Thaxter Gourlay is superb as Hannah Jarvis, author, feminist, and researcher of the hermit of Sidley Park. Hannah is the epitome of the academic who values her research over any kind of romantic notion. She is meticulous in her research methods, and avoids anything to do with love.  Hannah is the voice of reason in the play, and Ms. Gourlay perfectly displays the frustrated consternation at the leaps of logic taken by her adversary, Bernard Nightingale, aptly played by Damian Long.

Bernard is the romantic visionary of the piece, who is led by gut instincts instead of careful research and who bends and manipulates the data in order to fit his already formed conclusion. He is a man who is not really in search of the truth, but who is blinded by the notion of notoriety and accolades. He is a true romantic, as evinced in his histrionic reading of the paper he is about to publish. He also takes umbrage at the way science chips away at romantic ideals, to the detriment of mankind. It is very telling when he says, "We were quite happy with Aristotle's cosmos. Personally, I preferred it. Fifty-five crystal spheres geared to God's crankshaft is my idea of a satisfying universe. I can't think of anything more trivial than the speed of light. Quarks, quasars—big bangs, black holes—who [cares]? How did you people con us out of all that status?"

Ryan Hendrickson plays Valentine Coverly, the modern descendant of Thomasina, and a mathematician in his own right. Valentine serves the role of explaining the math to Hannah and to the audience. To Valentine, the quest for knowledge itself is exciting, and he is not afraid to make mistakes because an error can be a starting off point for more learning. Mr. Hendrickson's portrayal of Valentine's ardent enthusiasm for the act of learning is delightfully infectious.

There are many more characters to fill out the pieces of the Sidley puzzle and all are well suited to their roles. Nick Kaye plays Captain Brice, a significant piece in the Chater mystery; Shelly Lepetich plays  Getrude Noakes, the gardener whose modern landscape provides another piece of the puzzle for Hannah to unearth; Sam Mink as Jellaby, the butler who seems to know all that goes on in the household; Allie Russo as Chloe Coverly, another descendant who postulates that an ordered universe can become disordered by sex; and Emma LaPlace who plays both Augustus and Gus Coverly, acting as the connecting characters between the past and the present.
 
David Eger's set design and Jeff Klein's lighting help to create a Sidley Park that works for both the 19th century and modern timelines. Interestingly, the props used by both the historical and modern cast are kept on the table throughout as additional symbols of how the past and present are related.  One particular prop, an ancient turtle, also serves as a clue for Hannah as to the identity of the Sidley hermit.

Arcadia not only challenges our intellect, but explores many philosophical questions about the nature of what makes us human, the quest for knowledge and the future of our universe. Are we ultimately headed toward destruction and if so, will our emotions or our intellect be our saving grace? Or perhaps a little of both?  Interestingly, perhaps the real marvel of this piece is that we can contemplate such profound questions, and still laugh and be entertained along the way.

Arcadia runs through June 22nd at Westport Community Theatre. Call 203-226-1983 for tickets.

Arts Abound This Weekend

With the summer season ahead of us, local performing arts fans have a lot to look forward to.  My top 3 picks for the weekend:

A Musical Take on Shakespeare:

L-R: Britney Coleman, Karen Akers, Stephen DeRosa (foreground),
Constantine Germanacos, Darius de Haas, and Laurie Wells.
Photo by Carol Rosegg

Westport Country Playhouse’s world premiere musical revue, “Sing for Your Shakespeare,” playing June 3 – 28, will feature a six-member cast of Broadway talents:  Karen Akers, Britney Coleman, Darius de Haas, Stephen DeRosa, Constantine Germanacos, and Laurie Wells.  With selections from Cole Porter's “Kiss Me, Kate,” Leonard Bernstein and Stephen Sondheim's “West Side Story,” and Rodgers and Hart's “The Boys from Syracuse,” as well as numbers by Duke Ellington, Frank Loesser, and others, the production explores how the American Songbook has been inspired for decades by Shakespeare’s works.

Directed by Playhouse artistic director Mark Lamos, co-conceived by Wayne Barker, Lamos, and Deborah Grace Winer, with musical direction by Barker, and choreography by Dan Knechtges, the show is based on an original idea and production for 92nd Street Y’s Lyrics & LyricistsTM, New York, NY, where it was praised by The New York Times as “revelatory,” “rousing,” and having “a free-spirited vitality.”

   

The musical revue’s running time is approximately 90 minutes; no intermission.

For more information, call the box office at (203) 227-4177, or toll-free at 1-888-927-7529, or visit Westport Country Playhouse, 25 Powers Court, off Route 1, Westport. Tickets are available online 24/7 at Westport Country Playhouse, or by using the new Playhouse App or mobile website. Stay connected to the Playhouse on Facebook (Westport Country Playhouse), follow on Twitter (@WCPlayhouse), or view Playhouse videos on YouTube (WestportPlayhouse).

A Contemporary Play that Links the Past and Present:

L-R: Alexandria Clapp, Emma LaPlace, Ryan Hendrickson, Julia Thaxter Gourlay, Jeremy Funke.
Photo by KevinMcNairPhotography

Westport Community Theatre ends the season with what is considered Tom Stoppard’s finest play, the amazing "Arcadia." Directed by Mat Young, "Arcadia" is a tale of two centuries... It is essentially a mystery, set in an English manor house. Arcadia’s action shifts between the 1990s and the 19th century… between the past and the future… between humor and clever wordplay, darkness and vision, scientific laws and mathematical theory… literary truth and human nature… passion and love… and the eternal quest to acquire knowledge of all kinds. It will have you contemplating your own “moments in time”… and the unseen laws of the universe that affect all actions. Most importantly, you will be drawn into the lives of characters past and present in a comedy… a mystery… a drama... a play that you will never forget.

The talented cast features Alexandria Clapp, Patrick Duffy, Jeremy Funke, Julie Thaxter Gourlay, Ryan Hendrickson, Nick Kaye, Emma LaPlace, Shelley Lepetich, Damian Long, Sam Mink, Julie Bell Petrak and Allie Russo.

"Arcadia" opens Friday, June 6 at 8:00 PM and runs through Sunday, June 22 at 2:00 PM – Fridays and Saturdays June 6, 7, 13, 14, 20, 21 and Thursday June 12 at 8:00 PM; Sundays June 8, 15 and 22 at 2:00 PM. Friday, Saturday and Sunday performances are $20 per person; Thursday, June 12 performance $18 per person. Senior citizens, 65 years of age or older, receive a $2 discount on all tickets.

For reservations, click on the “Reserve Tickets” tab at Westport Community Theatre or call the WCT Box Office at 203-226-1983.


Innovative First Annual PLAYATHON in Bridgeport

Bridgeport Theatre Company concludes its fourth season with a presentation of six new 10-minute plays to be written, cast, rehearsed and performed in the course of a 26-hour PLAYATHON.  A group of pre-selected writers, directors, and actors will assemble Friday evening, June 6 to meet and greet one another.  A theme will be selected and role types determined based on the actors present.  The six playwrights will then, overnight, each sit down to create a new work around that theme and the role types.

Beginning early the next morning, the actors and directors will return to the theater for an intensive day of rehearsal leading up to a presentation of the works that very evening.  As an extra challenge, the writers and directors will have three recurring/shared requirements: (1) implementing a recurring prop (for example, an extension cord that must appear in each of the six plays), (2) a recurring ‘acting prompt’ (for example, “each script must include an actor delivering an insincere compliment to another actor”), and (3) a ‘recurring line’ (for example, “each script must contain the line ‘You know I get like this sometimes’).  

The performance is open to the public and will take place at 8pm Saturday evening, June 7, at University of Bridgeport Arnold Bernhard Arts & Humanities Center, 84 Iranistan Ave in Bridgeport.  Seating will begin at 7:30pm.  Similar to other events of this nature, the performance will be presented with minimal scenery, costumes, and technical elements.

The inaugural cast of PLAYATHON features 18 local actors including Heather Abrado, John Atkin, Arielle Boutin, Christian Cardozo, Juliet Dale, Glen Gharardi, Rich Goldstein, Khallid Graham, Lauren Linn, Tondrea Mabins, Raymond Michaud, Kayla Muldoon, Rene Ragan, Claire Regan, Cynthia Rivera, Kitty Robertson, Qesar Veliu, and Lynnette Victoria.

The short plays will be written by  Lance Anthony, Kerry Davies, Chad Kinsman, Mark Lambeck, Christy McIntosh, Jason Parry, and John Stegmaier, and directed by Karen Hanley, Gina Lariccia, Kevin McNair, Maggie Pangrazio, Kevin Pelkey, and Chris Peterson.  Other production staff includes Eli Newsom (Producer), Steve Benko (Associate Producer), Sarah Iannarone (Stage Manager), Phill Hill (Lighting Design), and Chris Gensur (Sound Design).

All tickets are $15 and support the non-profit Bridgeport Theatre Company.  All ages are welcome, however the recommended age is 13+ for this event.  Seating will be general admission and tickets are available now at Bridgeport Theatre Company, via phone at 203.576.1636 (option ‘0’) and will be available at the door.