Paper Mill Playhouse, by arrangement with Jeffrey Finn, has announced complete casting for its world-premiere production of the new musical comedy The Honeymooners, based on the CBS television series of the same name.
Directed by Tony Award winner John Rando, with choreography by Emmy Award winner Joshua Bergasse, and musical direction and vocal arrangements by Remy Kurs, the production is scheduled to begin previews at the New Jersey venue September 28 for a limited run through October 29.
The cast will be headed by Tony Award winner Michael McGrath as Ralph Kramden, Michael Mastro as Ed Norton, Leslie Kritzer as Alice Kramden, and Tony nominee Laura Bell Bundy as Trixie Norton, with Lewis Cleale as Bryce Bennett, Lewis J. Stadlen as Old Man Faciamatta, and David Wohl as Allen Upshaw.
The ensemble will feature Holly Ann Butler, Chris Dwan, Hannah Florence, Tessa Grady, Stacey Todd Holt, Ryan Kasprzak, Drew King, Eloise Kropp, Harris Milgrim, Justin Prescott, Lance Roberts, Jeffrey Schecter, Britton Smith, Alison Solomon, Michael Walters, and Kevin Worley.
With a book by Dusty Kay and Bill Nuss, music by Stephen Weiner, and lyrics by Peter Mills, the new musical concerns Ralph Kramden and buddy Ed Norton, who are still shooting for the moon. “After shocking their wives by winning a high-profile jingle contest,” press notes state, “they are catapulted out of Brooklyn and into the cutthroat world of Madison Avenue advertising, where they discover that their quest for the American Dream might cost them their friendship.”
The production will also have set design by Beowulf Boritt; costume design by Jess Goldstein; lighting design by Jason Lyons; sound design by Kai Harada; hair, wig, and makeup design by Leah J. Loukas; with orchestrations by Doug Besterman and dance arrangements by Sam Davis. The production stage manager is Timothy R. Semon. Casting is by Telsey + Company, Patrick Goodwin, CSA.
Tickets are on sale now starting at $34 and may be purchased by calling (973) 376-4343, at the Paper Mill Playhouse Box Office at 22 Brookside Drive in Millburn, or online at www.PaperMill.org.
Learn more from Playbill.com here.
Sometimes what you’re searching for is right where you started. The Fountain Theatre presents a powerful, funny and deeply moving mother-daughter story by Jeremy J. Kamps. Multiple award-winning Shirley Jo Finney returns to the Fountain to direct the world premiere of Runaway Home for a Sept. 16 opening.
Three years after Hurricane Katrina, the unhealed wounds of New Orleans’ Lower 9th Ward continue to fester. Camille Spirlin(ABC’s American Koko, Fox TV’sRosewood, Nickelodeon’s Marvin Marvin) stars as 14-year-old runaway Kali. Rhyming, stealing and scamming her way through the still-destroyed neighborhood, she embarks on a journey to pick through the wreckage of what used to be her life. While the rest of the country’s attention drifts, the neighborhood’s residents are left to repair the damage from the inside out. As their attempts at renewal leave a path of destruction in their wake, Kali bears witness to what the floodwaters left behind…
“This play couldn’t be more timely,” says Fountain co-artistic director Stephen Sachs. “Hurricane Katrina may have ceased in 2005, but the storm of racism, poverty and class inequality rages on in our country to this day. We need look no further than Flint, Michigan, to see systemic government prejudice against citizens of color and the poor. But as Jeremy’s play so beautifully demonstrates, the bonds of family and community will weather any storm.”
When Kamps traveled to New Orleans two years after Katrina to volunteer “gutting and mucking” (stripping homes to the studs to remove mold), he had been teaching middle school in Connecticut. He already had an idea in his head about a runaway girl who collects other people’s garbage, finding meaning in the meaningless.
“Kali’s world paralleled the displacement, hope for renewal, fracture and resilience I was seeing in the social-political reality of the Lower 9th Ward,” he explains. “Whenever a character’s inner life and experience are so congruent with an important social issue, that’s the story I want to write.”
While in New Orleans, Kamps met Antoine, a man in his ’70s who had just returned to what had been his family’s home for generations. Antoine was going from house to house trying to trace relatives, friends, acquaintances and neighbors, to find out what had happened to them in the years since the storm. “His friendship helped me honor the stories of this community in a truthful way – to see the past, present and future of the Lower 9th through their eyes,” says the playwright.
Read the full article from Broadway World here.
Like so much of America, Hammond began following the story art collective Pussy Riot after their it slammed onto our social media feeds in February of 2012. That month, five young women entered Moscow’s Church of Christ the Savior, covered their faces in bright balaclavas, and yarled a punk prayer—“Virgin Mary, put Putin away!” The action was short—guards dragged them out after less than one minute—but the resulting media firestorm was long. After Pussy Riot uploaded a video of the event to YouTube the girls were charged with “inciting religious hatred,” tried and sent to labor camps for two years.
To tell their story, Hammond flooded herself with research material—she read exhaustively, attended protests at the Russian Embassy in New York, traveled to Moscow. The resulting piece, woven from real text and rich with music and audience participation (though not of an arbitrary, invasive variety), views the Pussy Riot story from many angles: the women themselves, the Western media that fixated on them, an orthodox Church employee, a Russian political prisoner without the advantage of Western media attention.
The play premiered at the Contemporary American Theater Festival at Shepard University in 2015, where it was a commissioned work. Hammond and Ellis met the following year at San Francisco’s Magic Theatre, and she mentioned she’d written a sort-of-musical about Pussy Riot. “When [Theatre Battery] read the play all together, what stood out was how it’s reaching out about international, socio-political events that might feel alien to our audience, but that because of current events in our country are going to feel extremely prescient.”
“This play and this company are a great fit because Pussy Riot was an anonymous art collective, and Theatre Battery is a loose collective of like-minded people with a collective voice,” Hammond says. “Pussy Riot was adamant that no admission was charged to any of their events, and Theatre Battery has radical hospitality.”
Radical Hospitality, a concept pioneered by Mixed Blood Theatre in Minneapolis, is about eliminating barriers to entry. “Nobody who is not a traditional theatergoer has any reason to believe that 25 dollars or even 10 dollars is a good deal on a play,” Ellis says. “When you have no context, stepping into a storefront theatre with a play that you’ve never heard of is actually a big risk for people and a good reason to not want to do it.” And so, Theatre Battery tickets are free.
“It allows people to get away from the expectation that you’re purchasing a piece of entertainment, and more into the idea that you’re tapping into a community resource,” he says. “Just like a library or a church, everyone is welcome to this, and walking in isn’t going to cost you anything.”
Read the full article from City Arts here.
Academia. Culture. Anthropology. In-depth study. Research. Data collection. These hardly seem the buzz words for an impactful and insightful play, yet each of those weighty words holds sway in HUMAN RITES, which is currently playing at Phoenix Theatre in Indianapolis…
However, I have saved the best key phrase for last because this powerhouse play centers on two pivotal words: female circumcision. Or is it female genital mutilation? That is the heated and impassioned debate sparked in the close office of Michaela Richards, played by Milicent Wright. This debate unfolds in a riveting fashion that is both jarring and eye-opening as only three characters never cease discussing its many twists, turns, and viewpoints.
It is very clear that the actors in this production made a study of the people they portrayed, for which I am very grateful. As an audience member, you have to watch these individuals talking for 90 straight minutes. And yet, I was never once tempted to look at the clock because I felt like the unwitting scientist who puts his or her subject of study under a microscope and is caught off guard by what awaits…
HUMAN RITES is a fast-paced and riveting invitation to see how deeply perception dictates our reality. Be prepared to have your own eyes opened, your own pre-conceived notions debunked, and your head left spinning with some inevitable questions: who would I be in this debate? And did I win?…
With the flow of HUMAN RITES never stopping and considering the deep, gritty content of the show, I was exhausted as just an audience member by the time it finished. The show covers the cultural view of the practice of female circumcision in explicit detail, so be aware of that before coming in. The constant banter of the actors makes it feel like you are in the room, taking side with the mere three actors.
Not only was I greatly impressed by the acting, but also the sheer stamina it takes to perform this show by Seth Rozin is beyond amazing. Zero stops, zero scene changes, zero costume changes, and pure emotion make this show different than any I have ever seen, which made it all the more impressive.
Read the full stunning review from Broadway World here.