2011 Broadway Chorus Boys and Girls: The Report Card, Part I

At the beginning of the "Spring" half of the 2010 - 2011 season, which was really mid-winter, I blogged about chorus boys and girls (archaic terms, I know) for each of the remaining musicals to open that season.  I promised to watch them carefully and report back to you on these budding Ann Reinkings and Rob Ashfords.  The first part of those blogs is HERE.  And the second part is HERE.

Before I talk about how they did, a few notes and changes:

• Since Spider-Man: Turn Off the Dark did not open yet, I will not be discussing my choices, Collin Baja and Dana Marie Ingraham.  Both remain in the cast, and I will be sure to report on them when it is appropriate.
• Sarah O'Gleby is a dance captain and swing in How to Succeed... so I didn't see her perform.  Instead, I'll discuss Cameron Adams' contributions to the show.
• Similarly, Nick Kenkel is a swing and associate choreographer for Catch Me If You Can, and I did not see him perform.  Instead, I'll talk about Charlie Sutton.
• Allison Cimmet is a standby in Baby It's You!; I will talk about Kelly Barrett instead.

Today, I'll talk about them in reverse order, talking about the show that most recently opened.

"Blow, Gabriel, Blow"

Anything Goes: Adam Perry and Joyce Chittick

Both ensemble members are consummate professionals, with dancing, singing and acting skills.  I a show rife with stereotypes and old school "bits," it was nice to see them create characters beyond just being in the background.  Ms. Chittick is featured as Virtue, one of Reno's Angels.  As such, she is pointedly un-virtuous and quite funny as a sassy dame.  Mr. Perry, one of the sailors aboard ship, is a bit player as an FBI Agent, playing the role with the requisite style, getting the necessary laugh and getting off stage.  Somewhat tall and blonde, he was easy to notice throughout the performance, though, appropriately, he never pulled focus.  Ms. Chittick needs to be in bigger roles, period!  She is a riot to watch, and she is one of those people your eye is drawn to.

The White Knight and the Knights

Wonderland: Derek Ferguson and Sae La Chin

Because Mr. Ferguson is featured as one of the White Knight's knights, it was easy to follow him.  And because every time they were onstage, the show was at its full potential, I'd have to say he did a terrific job, especially with the "boy band" style of mugging and posturing.  Ms. Chin, I'm sure did a great job with whatever she was given to do - none of the ensemble made mistakes, nor did any of them stand out inappropriately.  But hidden in a wide array of costumes and face obscuring makeup, I couldn't follow her too specifically, either.  I hope they both find better and more successful shows in the years to come.

The Sisters of Sister Act

Sister Act: Blake Hammond and Christina DiCicco

The ensemble in Sister Act probably functioned the most traditionally of any musical this season:  background and scene fillers, all.  That is not to say that their work went unnoticed.  Mr. Hammond, not being in a featured role still had scenes to play, and he is interesting to watch.  A full character was there every time he was on, and his sense of humor and understanding of the piece and his place in it were evident.  Ms. DiCicco had more to do as one of the nuns, and as I said in my review, each and every one of them had characters to follow, if you so choose.  That said, appropriately, she did not stand out in the chorus numbers where singing and unison movement were key.  I have seen both of the actors in much larger roles, he in Hairspray, and she as Glinda in the National Tour of Wicked.  Both were spectacular, and I look forward to seeing both of them more prominently featured now that they've broken through onto Broadway!

Baby It's You!

Baby It's You!: Brandon Uranowitz and Kelly Barret

Neither Mr. Uranowitz nor Ms. Barrett are really ensemble members, as every cast member plays at least a supporting character in Baby It's You!  Still, they come the closest, both playing more than one role.  He plays the blind son of Florence Greenberg (Beth Leavel), and several other smaller roles, including the funny bit as the singer from the Kingsmen doing "Louie, Louie" including being unintelligible with the lyrics.  Ms. Barrett actually was part of the most dramatic moments in the show: a showdown between Florence and her daughter Mary Jane.  But she also did great by the Lesley Gore standard, "It's My Party," another of the few highlights.  Here's hoping both get better material to work with in their next Broadway outing.

The People in the Picture

The People in the Picture: Jeffrey Schechter and Megan Reinking

These are two of my favorite Broadway babies ever.  They never disappoint.  Both are terrific triple threats, and in The People in the Picture, they do wonderful work, yet again.  They are both excellent dancers, and do well with Andy Blankenbeuhler's intricate blend of stylized Broadway dancing and traditional Yiddish styles.  Both have featured roles in addition to their ensemble duties.  He plays one of the hoodlums implicit in the bigoted taunting of one of the key members of the Yiddish theatre company, and ultimately plays a role in his death.  Above, Ms. Reinking is featured as a woman who agrees to save Raisel's (Donna Murphy) daughter from certain death by taking her from the ghetto and raising the daughter as her own.  The penultimate scene, featuring both Ms. Murphy and Ms. Reinking, was powerfully moving, leaving not a dry eye in the house.


Comments?  Leave one here, email me at jkstheatrescene@yahoo.com or Tweet me!
Jeff
2.276

REVIEW: The People in the Picture

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Review of the April 30 matinee performance. At Studio 54 on Broadway, New York City. 2 hours, 20 minutes, including an intermission. Starring Donna Murphy, Alexander Gemignani, Christopher Innvar, Nicole Parker, Rachel Resheff, Hal Robinson, Lewis J. Stadlen, Joyce Van Patten and Chip Zien. Book and lyrics by Iris Rainer Dart. Music by Mike Stoller and Artie Butler. Choreography by Andy Blankenbuehler.   Direction by Leonard Foglia.

Grade: B+

In the interest of complete honesty, there are three things that really push my emotional buttons: anything to do with grandmothers, a deathbed scene that has the full range of familial angst, anger and sorrow, and anything to do with the Holocaust.  So it probably isn't hard to understand why I, unlike many critics, found The People in the Picture to be the almost perfect mix of the three all wrapped up in a musical theatre gift box.  Is it schmaltzy? Oy vey, is it!  Is it sentimental?  To a fault.  But it is also thought-provoking, sad, triumphant and even funny.  And what is wrong with a well-crafted, if obvious, tale that leads to the inevitable sobs heard all around Studio 54 last Saturday?  Does everything have to be so extreme - riotously funny/mildly profane or deeply, profoundly serious with historic repercussions?  NO!  There is room in the Broadway season for some pasty-faced Mormons, some unjustly incarcerated kids in the Jim Crow south and a lesson about knowing where you come from being just as important as where you are going through the filter of oppressed Jews in Warsaw during World War II.

The first act is the more flawed of the two.  Book writer Iris Rainer Dart lets too many cats out of the bag too soon.  Within minutes, she has revealed who the titular people are in the picture (at least the first one of two), introduced about a dozen or so characters, and the construct that we will be going back and forth between past and present as Bubbie desperately tries to get her family history recorded with the help of her completely smitten granddaughter, who drinks in every word.  Time is running out, as Bubbie wrestles with her past, her grown daughter and memory loss; being sent to a nursing home is akin to going back to the ghetto.  In some shows, it takes way too long to get into the story; here a little more time to savor the plot elements and less abruptly introduce a long-gone acting style might have made everything a little less obvious (plot-wise) and easier to understand (the Yiddish theatre conventions utilized) in the conceptual aspects of the show. 

The People in the Picture: Alexander Gemignani,

Chip Zien, Joyce Van Patten, Louis J. Stadlen and

(seated, center) Donna Murphy

For example, we are so quickly whisked away into the world of the Yiddish theatre that we are given almost no time to digest that it is completely foreign to today's theatre, resulting in visual confusion and missed laughs.  The deliciously bad puns and extremity of emotions meant to garner fast and easy laughs come across more like really really bad (really) stand-up comedy without the requisite drum roll rim shot that usually accompanies such schlock.  It also robs us of the chance to appreciate the desperation of these actors to take their audiences as far from the reality of the Warsaw ghetto as they can.  Yes, the jokes make you groan, and the "types" they play make your eyes roll - and they should, even back then.  But in the context of the bigger picture, we should have been more moved than put off.  Again, all of this happens in the first 15 minutes of the show, which includes a danced Prologue and a major production number.

Things calm down as the story - the modern part, anyway - gets going, and we start to see the dynamic between three generations of strong women.  The oldest, Bubbie (Donna Murphy), knows her time is running out and stubbornly clings to life while she tries to get the family history down on record, hampered by a rapidly aging body and a mind that is like a steel trap for the details of long ago, but like a sieve for things of the day.  Her daughter, Red (Nicole Parker) is as strong-willed as her mother, but wants nothing to do with her heritage, while Red's daughter/Bubbie's granddaughter (Rachel Reshoff) indulges Bubbie's every whim, so in love with her grandmother is she, while trying to keep her own mother from putting the eldest away for good.  Then, as we start to get more of The Warsaw Gang, and see more of Bubbie's younger self, Raisel, the picture as it were is much clearer.  And guess what?  The extremes of the Yiddish theatre are easier to take and even poignant as they entertain.

Two Generations: Bubbie and Jenny, while Chaim looks on.

From left: Christopher Innvar, Donna Murphy and Rachel Resheff

And then, a small miracle happens: act two.  It may just be one of the more perfect acts written for the musical theatre in recent years.  Here, the story carries us away through all of the glorious ways a musical can.  Andy Blankenbuehler's ethereal dances, evocative of Fiddler on the Roof, Zorba and his own work on In the Heights, move like silent whispers of memory as the dancers (superb, all) weave in and out of the scenes, there, but not really.  The score, by rock and roll legend Mike Stoller and his protege, and big name in his own right, Artie Butler, subliminally weaves the traditional sounds of that long ago era and modern Broadway together in such a way that it makes the transitions all the smoother between time shifts, until, ultimately, past and present collide.  Under the legendary baton of Paul Gemignani, the small orchestra sounds huge when it needs to, and small when it needs to be in the background.  And I have to say, Iris Rainer Dart, who wrote the book and the novel Beaches, knows how to write one hell of a moving death scene.  The final moments of the show are so moving and empowering at the same time, it is only afterwards that you can admit that you knew all along how it would end, but that knowledge somehow added to the moment instead of taking something away from it.  In a perfect world, they could take the time to tweak act one to match act two - in retrospect, act one isn't that far from being all it could be.  It just needs to slow down a hair.  And I bet a second viewing would reveal many treasures in act one that to the unknowing eye whiz right by the first time.

In probably her best performance since Fosca in Passion, Donna Murphy again proves what an absolute gem she is, and what a true musical theatre star.  Had she hit her peak (and I'm not implying she's past hers yet) in another era, she'd be a household name.  The kind of celebrity that people all over the country would drive miles to see as she headlines the tour of her Broadway smash hit.  Thank the theatrical heavens that she behaves like a true theatre star.  She takes the work seriously, stretches herself, and never "calls it in."  But her brilliance in this vehicle is simply jaw-dropping.  Just to watch her transform, back and forth between 30-something actress Raisel and 70-something Bubbie, is a study in acting magic.  Aided only by a scarf and easily changed costumes (excellently designed and implemented by designer Ann Hould-Ward), a slight change in pace and gait, and an almost invisibly changed posture, the transformation occurs in mere seconds.  Once, the transformation goes back and forth over the space of one uttered sentence.  Ms. Murphy is transcendent in a role that was perfectly matched to her considerable gifts.  There are not many great actresses that can make you laugh and cry almost simultaneously, whose physicality is so engrossing and real that a stage fall is cause for a genuine gasp and a flash of concern (is she alright?) until you realize that she is acting so damned well.  A demanding role, she must be able to do tough dramatic scenes, arguing and fighting for her life, be warm and almost cuddly as a cookie-scented grandma should be, and as grand and voracious about life as a young woman thrown unwillingly into an impossible situation can be.  It is this very range that allows us to laugh with, be angered by, and ultimately cheer for the heroine that both Raisel and Bubbie are.  It would be a shame if Ms. Murphy did not earn her third Tony for this breathtaking tour-de-force performance.

Her supporting cast is no bunch of slouches, either, including her youngest co-star, Rachel Resheff, who gives a grounded, sweet performance as the granddaughter, Jenny.  It is clear that Miss Resheff is as smitten with her leading lady as her character is, and one senses that this child actress is soaking up everything she can from Ms. Murphy at every performance.  In a season full of (THANK YOU GOD) child actors who are "real' and not annoying Annie clones, she has the most to work with and turns in a performance most adult actors only wish they could pull off.  Your heart will break right along with hers in the final moments.

Two generations: Jenny and Red

Rachel Resheff and Nicole Parker

In a way, Nicole Parker has the most difficult role in the show.  As Raisel's grown daughter, Red, she has to be strong enough to play well with Ms. Murphy.  Her character has to be strong enough to stand up to and not be steamrolled over by her own mother.  And she has the tricky task of being angry and hurtful to a warm adored-by-the-audience character, while not being so impossible that you can still sympathize with her.  Then, to top it all off, you have to believe that she has the right to be angry and then believe that this previously hard as stone woman can forgive her mother for a past she had no control over.  Well, Ms. Parker does just that.  She is strong, yet vulnerable, scared, yet brave.  And she has a lovely voice to add to the whole mix.

Raisel and Chaim dream of Hollywood

(Donna Murphy and Christopher Innvar)

The titular people in the picture are those friends from Bubbie's past, The Warsaw Gang (loosely based on a real troupe of actors who got their word out to Hollywood at the risk of their own lives).  They come to life as they help Jenny get the history, and beckon Raisel to rejoin them in the afterlife.  And what a fine bunch of ghosts they are:  Alexander Gemignani radiates warmth and intrigue as a Jew with more than his share of secrets; Lewis J. Stadlen and Chip Zien are an old school comic team, a precursor to Abbott and Costello and even the Three Stooges.  Both men are funny, understand the nuances of this kind of unmodern comedy, and make you like them as people.  And there is Hal Robinson and Joyce Van Patten as the elder couple of the troupe, who give off such an incredible amount of nostalgia you'd think both really were actors born in the 19th century.  Mr. Robinson gives off that grandfatherly air, even as he grouses and complains, while Ms. Van Patten is the very personification of actorly ego.  Christopher Innvar rounds out the troupe as its leader and acting partner to Raisel.  His character is an enigma, mainly because it is under-written (more for him in act one would solve two problems at once) and some of his motivations and actions are simply left hanging.  Still, he, like the rest, do a fine job in making us care about them, what their place in history is, and for a craft no longer practiced.

Megan Reinking and Donna Murphy

In minor supporting roles, Megan Reinking and Paul Anthony Stewart do remarkable work in two short bursts as Jewish sympathizers.  They figure prominently in the story, but to reveal anything about them would detract from the impact of the one story element that you'd probably not predict in the first 15 minutes of the show.  And Louis Hobson, as one might suspect from his performance in next to normal, makes a decent, caring doctor.  (I have to admit to giggling, the minute he came out and started talking... it was a "Psychopharmacologist and I" flashback!)

Unfortunately, this show opened in a particularly competitive season, where, in comparison, it might have come out better with the critics.  Still, it provides a thoughtful, emotional and ultimately satisfying end to a chaotic season of extremes.  And it gave us another brilliant performance by a true Broadway star.  Brava, Donna Murphy!  The show ends its limited run on June 19th.  I strongly urge you not to miss this performance or this quiet little gem of a show.

(Photos by Joan Marcus)



Comments?  Leave one here, email me at jkstheatrescene@yahoo.com or Tweet me!
Jeff
2.249

LOGOS: The People in the Picture

It is very rare that I am divided on a show logo, but that is definitely the case with Roundabout Theatre Company’s The People in the Picture. And since it has been completely overhauled, and they are resorting to ads that include a Donna Murphy head shot, I can only guess that whoever is in charge of their artwork is at a loss as to what to do with it. I have a suggestion: combine the two versions and skip the picture of Ms. Murphy. Her name above the title is all a theatergoer will likely need. (If they are trying to reach a broader audience, then I can say nothing more than “quit while you’re ahead.”)

The initial artwork/title work was a simple thing, evocative and simple, perhaps too simple. But as a title alone, it works. The framed, bent-cornered image coupled with a faded, sometimes rubbed out light blue color is evocative of an old photo and of home. That light blue shade most definitely gives off a “homey” feeling; it personally reminds me of the color of plates my grandmother used to serve lunch on. (The darker blue, more detailed plates were, without a doubt, Sunday-only dinnerware!) Of course, by making the title on a “picture,” it references the title itself, while the typeset is old-fashioned and manages to be both familial and formal. And so, without so much as an icon, the title in this treatment at least tells us that the story has to do with family, and a few generations at the least given the “aging.”

Then, all of a sudden, the show logo emerged, and odd mix of interesting iconography and unattractive typeface. Now we have a very un-warm shade of purple against a beige/peachy-ish background, the title in places looks 3D, and a cold box lettering style throughout. I have to admit I simply do not get what they are doing with this titling; what I do know is that I don’t like it. It looks thrown together. Perhaps it is a compromise? No matter. It is ugly.

But then there is the image that goes with it. Purple-shaded sepia toned (to match, I assume, the title) photo of a happy, curly haired little girl in overalls. I think we can assume from the tones of color that it is meant to be an old-time photo, but she could be a child of today (my niece wears similar overalls at age 4). This, I think is interesting, as the story of the show goes back and forth between generations.

Even more interesting is the way the photo is presented. At first glance, it looks like a simply torn photo, which begs the question: who got torn out of the picture? And are the missing ones (+ the child) the “People in the Picture”? Then you look closer and notice that the torn corners are not just rips, they are silhouettes of people that look like they are looking at the child. The same questions remain, but much deeper. Are the torn “faces” contemporary people looking at the girl from the past? After all, the “tears” have to have happened AFTER the picture was taken. And the “tears” in the paper are white, not aged, hinting that they are more recently made still.

And so there is an enigma. Half of the logo works, the other half doesn’t. And as good as the part that works is, it isn’t THAT compelling to start with. I’d have gone with a “two photo” logo if it were my decision. One, the original title “picture” perhaps aged or stained, maybe “fastened” down with yellowing tape; the other the torn image of the girl, with some of it “under” the title, as if the photos had been stacked but are now askew. That would have created one cohesive title-image, and have made it more interesting.

As it stands now, only the name above the title interests me enough to buy a ticket. I guess it is a good thing Roundabout has a big subscription base.

Grade: C+



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Jeff
2.225

Casting: The People in the Picture

With the tragic demise of The Scottsboro Boys this fall, it looks like The People in the Picture will be this season's potential "art show" musical.  I'm sure you know what I mean - the one show that is serious, artistic...the one that theatre snobs point to as "the future of the American musical."  Sometimes, as in the case of next to normal, the balance of art and entertainment is found and pleases enough people in both camps to have a long, successful run.  But usually, despite critical acclaim and a bevy of awards, these shows are fast closers.  In recent seasons, we've had LoveMusik, A Catered Affair, and further back, Passion, Sunday in the Park with George...I could go on.

With a book by the author of Beaches (Iris Rainer Dart), one can be certain that emotional buttons will be pushed with laughs turning to tears and tissues passed all around the theatre.  On paper, this multi-generational show about a Jewish immigrant reads either as the next Grey Gardens or a schmaltz fest ready for community theatres to devour and overdo.  The presence of Donna Murphy and director Leonard Foglia, however, tends to make look at this with more seriousness than I might have otherwise, for neither has a track record of just doing a show to do a show.  In fact, the casting of the show in its entirety brings this little show, which has flown almost completely under the radar, into potential "take it all away from the big, splashy shows" potential.

Donna Murphy

Again having two time Tony winner (Passion, The King and I) and multi-Tony nominee Donna Murphy in the leading role - one that requires her to play a range of ages - really does up the ante.  She is a genuine Broadway stage actress who happens to specialize in musicals.  Rare, indeed.

She is being supported by a cast of pretty decent heavy-hitters, as well.  Joining her will be Alexander Gemignani (Sweeney Todd, Assassins), Christopher Innvar (Les Miserables - original, 110 in the Shade, Victor/Victoria), Nicole Parker (Wicked, Martin Short: fame Becomes Me), Rachel Resheff (Shrek, Billy Elliot, Mary Poppins), Hal Robinson (Grand Hotel: The Musical, Nich and Nora, Cabaret - 1998), Lewis J. Stadlen (The Producers, Minnie's Boys, 45 Seconds from Broadway), Joyce Van Patten (Brighton Beach Memoirs, Rumors), and Chip Zien (Into the Woods, Falsettos, A New Brain).

Alexander Gemignani, Nicole Parker and Christopher Innvar

The ensemble/supporting cast includes: Brad Bradley (Steel Pier, Spamalot, Billy Elliot), Rachel Bress (9 to 5: The Musical, Mamma Mia!), Jeremy Davis (9 to 5: The Musical, Billy Elliot, South Pacific), Emilee Dupre (debut), Maya Goldman (Shrek: The Musical), Louis Hobson (next to normal), Shannon Lewis (Contact, Fosse, Curtains), Jessica Lea Patty (A Chorus Line, The Addams Family), Andie Mechanic (debut), Megan Reinking (Hair, Lestat), Jeffrey Schecter (A Chorus Line, The Pajama Game) and Paul Anthony Stewart (Cyrano: The Musical, Fiddler on the Roof).  Several of these people have carried large roles in big musicals, which really speaks to the depth of talent in this company.

Louis Hobson, Shannon Lewis and Paul Anthony Stewart

And with a score by legendary songwriter Mike Stoller (Smokey Joe's Cafe), musical direction by theatre legend Paul Gemignani, and staging by hot Broadway director/choreographer Andy Blankenbuehler, this Roundabout Theater production has a whole lot going for it.

I have a good feeling about this show, after all.

Comments?  Leave one here, email me at jkstheatrescene@yahoo.com or Tweet me!
Jeff
2.189

2011 Chorus Boys and Girls, Part II

Late last month, I selected two cast members from each of the first five musicals to begin previews in this "second half" of the 2010 - 2011 season, the idea being that I'd try to focus some more of my viewing energy on the unsung heroes of the Broadway musical - the chorus or ensemble.  And specifically, I'd keep my eye on one guy and one gal in each show's ensemble.  My selections for Spider-Man: Turn Off the Dark, The Book of Mormon, How to Succeed in Business without Really Trying, Priscilla: Queen of the Desert and Catch Me If You Can are HERE.

And here are my selections for the final 5 musicals to begin previews this season:

Anything Goes
Previews: March 10     Opening Night: April 7

Chorus Boy: Adam Perry (Ensemble)
Credits: A Chorus Line, Promises, Promises, Wicked

Chorus Girl: Joyce Chittick (Angel/Ensemble)
Credits: Cabaret, The Pajama Game

Why Them: He: Still somewhat new, but with a wide variety of experience in dancing.  She: Ms. Chittick is the very definition of "Broadway gypsy" and deserves my undivided attention.

Perry (center) in Broadway Backwards 5

Chittick in Broadway Musicals of '64

 

Wonderland
Previews: March 21     Opening Night: April 17

Chorus Boy: Derek Ferguson (Ensemble)
Credits: Broadway debut; We Will Rock You, High School Musical National Tour

Chorus Girl: Sae La Chin (Ensemble)
Credits: White Christmas, Fosse, The King and I

Why Them: Aside from a variety of credits, he has toured/danced with Miley Cyrus, Ne-Yo and Paula Abdul, and she has danced as a Radio City Rockette.  Both have made a career out of shining in the background without pulling focus from the front!

(Top) The National Tour of Disney's High School Musical

(Bottom) Broadway's Irving Berlin's White Christmas

Sister Act
Previews: March 24     Opening Night: April 20

Chorus Boy: Blake Hammond (Ensemble)
Credits: Hairspray, Elf: The Musical, Kiss Me, Kate

Chorus Girl: Christina DeCicco (Ensemble)
Credits: Broadway debut, Wicked National Tour as Glinda

Why Them:  Can these two, who have played major leading roles in two giant musicals, do good work in the background?

He was Pumbaa in The Lion King;

she was Glinda in the National Tour of Wicked

Baby, It's You!
Previews: March 26     Opening Night: April 27

Chorus Boy: Brandon Uranowitz (Ensemble)
Credits: Broadway debut; regional/tour credits: Brighton Beach Memoirs, RENT

Chorus Girl: Alison Cimmet (Ensemble)
Credits: A Tale of Two Cities

Why Them:  Two Broadway newbies...

Brandon was in Broadway Bound regionally with Karen Ziemba.

Alison has apppeard in Don't Quit Your Night Job with Marc Kudisch.

The People in the Picture
Previews: April 1     Opening Night: April 28

Chorus Boy: Jeremy Schecter (Ensemble)
Credits: A Chorus Line, The Pajama Game, Beauty and the Beast

Chorus Girl: Megan Reinking (Ensemble)
Credits: Hair, Lestat, Dracula: The Musical

Why Them: Can they go from featured roles to ensemble members?  You bet they can!

Both center: he in A Chorus Line; she in Hair

Any chorus folks you think I missed?  Let me know!  Leave your thoughts her, email me at jkstheatrescene@yahoo.com or Tweet me!
Jeff
2.162