I’ll be honest. I love Sherlock Holmes. Not just in the “I’ve read the books” way. I mean in the “I have my own pipe and deerstalker hat” way. And it is as both a theatre reviewer and a Holmesian that I went to see the People’s Light and Theatre Company production of Sherlock Holmes and the Case of the Jersey Lily. Part of their family-friendly subscription, this cheerful and clever new play by Katie Forgette is an excellent primer, introducing the legendary detective to those who don’t already know him. For true devotees of the character, however, the play and the production might be a trifle disappointing.

The play opens with a robbery, after which we are introduced to Holmes (Peter DeLaurier) and Dr. Watson (Mark Lazar) in their traditional Baker Street surroundings. A potential client climbs the stairs, Holmes analyzes her, and then he listens to her problem before deciding to act in her favor. Very familiar to all readers of the stories, except that in this case the clients are the historical figures Lillie Langtry (Susan McKey) and Oscar Wilde (Jeb Kreager.) The following investigation will challenge Holmes to protect a woman’s honor and the jewels of England, while matching wits with his nemesis, Professor James Moriarty (Graham Smith).

Forgette’s script is an intricate one, trying to balance a plot-driven mystery with a character-driven drama. While this show is not based on any one specific Holmes tale, she lifts sections of dialogue from the stories by Sir Arthur Conan Doyle. Some of the more memorable witticisms are drawn directly from the writing of Oscar Wilde. But in an early scene when there are almost too many references for the play to bear, the action itself can call attention to them by making them into a joke of their own. And while the script draws many clues and deductions from both Conan Doyle and the William Gillette melodrama Sherlock Holmes, Forgette’s play is at its best in the quieter human moments between the characters. Particularly moving is a late sequence in which Holmes uncharacteristically wonders “what might have been” before dismissing the idea and returning to his chemical experiments. These flashes of feeling provide sharper moments than any of the broader mystery plot points.

Peter DeLaurier makes for an engaging Holmes, although I would have hoped for a bit more energy or excitement from his performance. Jeb Kreager seems to embody Oscar Wilde, both physically and mentally, and his verbal duels with Holmes crackle with wit. As the famous Lillie Langtry, Susan McKey is stoic, precise, and intelligent, matching her perfectly with DeLaurier’s reserved detective. As Moriarty’s hired criminals, Lenny Haas and Alda Cortese provide the play’s outright physical humor, as well as much of its physical danger. Mark Lazar’s Dr. Watson is one of the finest that I’ve seen. He has little to do in his early scenes, but the character develops into a fully formed and charming Victorian gentleman. His concern and care for Holmes is touching, and his interest in Lillie Langtry is both funny and sweet. Graham Smith’s Professor Moriarty, however, is the scene stealer of the piece. His oily delivery and the concealed look of menace in his eyes are perfect for the good professor, and his energy and presence alone are a substantial threat to Holmes. His role is not one of the more nuanced ones in the script, but Smith sinks his teeth into the man’s intelligence and love of danger.

Steve Umberger’s direction feels uneven. In the softer moments, he allows the romance and character connections to sparkle, resulting in a very human and rather vulnerable Sherlock Holmes. His direction in larger action scenes, however, either creates a visibly “staged” moment of drama or forces the actors into presentational performances to inflate the drama. Umberger is able to keep the story moving, but moments of static inaction leave the audience waiting impatiently for the next thing to happen.

James F. Pyne Jr.’s main set is a two-level representation of London which is used to represent various rooms and buildings. The production uses the full space very well, except for only staging a few brief interludes on the upper level. After the brief opening scene, the center section of the stage revolved to show Mr. Pyne’s stunning rendition of 221b Baker Street. The iconic Holmesian details on that set are subtly evocative of the famous bachelor flat, from the Persian slipper filled with tobacco to the bullet-marked wall. The costumes by Marla J. Jurglanis are wonderful, especially the women’s dresses and the beautifully rendered wardrobe of Mr. Wilde. The period and social class of the characters are established very effectively.

This production ultimately emerges as a wonderful family-friendly evening of theatre. There is comedy, drama, even a second-act swordfight, all wrapped in the familiar faces of Holmes, Watson, and Wilde. There is only the merest hint of Holmes’ dark tendencies, and none of Wilde’s legendary vices. As a theatergoer, it was a fun way to spend the evening. But as a fan of the great detective, surely a theatre can find a way to portray a Holmes that is not so elementary.

“Sherlock Holmes and the Case of the Jersey Lily,” written by Katie Forgette and directed by Steve Umberger. Stars Peter DeLaurier, Mark Lazar, Susan McKey, Jeb Kreager, Alda Cortese, Lenny Haas, Graham Smith, John Anas, and Irene Adler. Runs until July 13 at various times, with tickets $29-$48, discounts available for students, seniors, and groups. For show and ticket information, call the box office at (610) 644-3500, or visit the theatre online at www.peopleslight.org.

For local audiences, the Jersey Shore holds many memories and associations of the summers of their lives. Whether it is merely the place of childhood vacations or where one escapes from the daily grind, it is impossible to think of the shore without conjuring up some significant ideas in the process. By the Sea, By the Sea, By the Beautiful Sea, a collection of three one-act plays, uses the same physical location to unfold three dramatic stories with the very different emotional landscapes.

The three pieces, entitled "Dawn", "Day" and "Dusk" tackle issues of familial relations, justice, power and sexual longing. Plays and Players very cleverly brings the audience into the action by literally putting them onstage as it unfolds. The result is an intimate setting that draws one in and breaks "the fourth wall" to create an engrossing world. Soon the initial shock of being asked to sit two feet from the actors wears off and the audience finds themselves lost in the lives of the characters.

By the Sea, By the Sea, By the Beautiful Sea is a successful combination of great scripts, excellent acting and clever direction. The three plays, written by Joe Pintauro, Lanford Wilson and Terrence McNally are intriguing and thought-provoking. As the viewer is asked to figure out the relationships between the characters, in addition to the history each brings to the stage, there is never a dull or wasted moment of dialogue, as each word is a valuable clue. The plays also challenge preconceptions one might hold of various characters because of the "type" of person they are, making them multi-faceted and engrossing individuals.

By the Sea, By the Sea, By the Beautiful Sea is also a rare treat for its actors - the opportunity to demonstrate their range and versatility - and the cast takes the opportunity and runs with it; all three players are superb and slip seamlessly from one character to the next. Angela Carolfi is excellent as heartbroken Veronica, sexually manipulative and intelligent Macy and vulnerable and downtrodden Dana. A very smart actress, Carolfi fleshes her characters out, giving each a dose of innocence or cunning that might not automatically come to mind when first reading the plays. The result is that three different, multi-dimensional women are created, demanding the audience to look past their first impressions and discover the rich characters that lie beneath.

Bill Egan is also a powerful force on stage. Imposing and thorny as Quentin, a bitter and emotionally confused lawyer, Egan switches gears smoothly twice more as Ace, an honorable and loyal laborer and Willy, a sexually liberated and charismatic beach lover. Egan's agile acting makes him immensely appealing, as the viewer finds themselves either compelled to "figure him out" or root for him as an endearing protagonist. Never pandering to the simplistic embodiments of his characters that he could have easily chosen, Egan broadens the scope of his roles, keeping them exciting and immensely watchable.

Rounding out the talented trio is Janine White, who also creates three dynamic and fascinating personae. She excels as both Pat, an uppity yet flawed wife and the sexually desperate and lonesome Marsha. However, it is as the coarse and troubled yet superbly intelligent Bill that White really shines. White's performance is so rich and committed that the audience finds themselves wishing the second piece were longer so they could learn more about her. Always likeable but never perfect, White's characterizations are the stuff of great theatre.

The cast is intelligently directed by Peggy Connolly, who elicits fantastic performances and maintains a driving pace throughout the piece. She is ably aided by the inspired work of Lance Moore, who creates a physical and emotional environment that is palpable. His set manages to create the atmosphere of the beach by tapping into its most essential elements. Moore does not concern himself with painting a fake sky or sunshine, but instead, hones in on the sounds and the feel of the beach that stay with one long after they've packed up to go home. Without reading the titles of the plays, the audience knows exactly which time of day it is and can almost feel the heat of the sun or the cool night air. It's one of those unique theatrical experiences that reminds one of the beauty of smaller playhouses.

By the Sea, By the Sea, By the Beautiful Sea is an excellent summer treat. Giving life what the local vernacular lovingly and simply calls "the shore", the production gives pause to those who might take its awesome powers for granted. By the Sea, By the Sea, By the Beautiful Sea reminds one that the shore is more than simply the place where ice cream is eaten and sand castles are built; it is also where lives unfold. Hurry up and see it before the tide comes in.

“By the Sea, By the Sea, By the Beautiful Sea” gives the audience a day at the beach. The grouping of three one-act plays entitled, Dawn, Day and Dusk literally spans a day at the beach. Each act brings new characters and a new situation to our beach. The three playwrights, Joe Pintauro, Lanford Wilson and Terrence McNally, have created very different three-character tales. That the tiny ensemble manages to make near instantaneous transformations from one play to the next, particularly given the intimate setting, is clear proof of their skill. Angela Carolfi, Bill Egan, and Janine White all seem to move from one character and circumstance to the next with the ease of turning a page. These impressive performers are given very little in the way of transitions between the stories and there is no intermission at all. A quick costume change takes us from Dawn to Day to Dusk.

Act one opens at a dark shoreline. Soon we meet Pat, Veronica and Quentin awaiting the “Dawn”. The three have come at dawn to make their good-byes. Veronica pushes and pulls her brother and his wife through a string of long-buried memories and never-forgotten slights. The three characters repel and attract one another in interesting and compelling ways. Playwright, Joe Pintauro’s work reminds us of how complex and exquisite family ties can be.

At the start of act two Bill Egan’s Ace shows a brightness and humor that makes us warm to him immediately. It isn’t long before construction worker Ace’s lunchtime solitude is broken by a lovely and welcome young woman, Macy (Angela Carolfi). Interestingly both actors quickly and beautifully establish these characters as whole and distinct from their roles of the first act. And, we never doubt them. The characters in Lanford Wilson’s “Day” are each funny and sad and smart, by turns and all at once. None more so than Janine White’s Bill. In this brief work Wilson explores honor, duty and the import of our choices.

“Dusk” closes the show. Despite the small space and nearness of the audience, the intelligent production manages to convince us that two people are jogging on our beach. We soon learn that Dana, Willy and Marsha have each come to the beach to be alone. Or have they? Terrence McNally plays with our assumptions about who these people are and what they think they have to offer each other.

The production team has decided on a creative bit of staging that takes the audience to the edge of the beach. In this snug Lance Moore design audience members share the stage with the actors. Stadium seating risers meet the beach at the very shoreline. This design is both an interesting choice and a challenging one. Those on the front row may find themselves near nose-to-nose with the performers at times. While this might be a little unsettling for the audience members, not one of the actors ever gave any indication of our presence during their strong and at times very active performances.

Theater goers should note that the intimate staging allows for fewer than 50 seats and makes a prompt arrival very important.

Act II playhouse is a jewel in the renovation of Ambler. This 130 seat theater is the ideal spot for small cast plays and musicals. There isn’t a bad seat in the house. I’ve seen the hilarious THE BIG BANG and two very satisfying reviews based on the story songs of Harry Chapin at Act II as well as some thought provoking dramas.

Founder Steve Blumenthal, has turned 80, has handed over the controls to Bud Martin assisted by Harriet Power for the theater’s 10 anniversary. I’m sure they will continue to provide playgoers with quality productions.

MARRIED ALIVE is the current offering. The Musical with book and lyrics by Sean Grennan and music by Leah Okimoto has been added to their regular season. This two couple review follows a newly married couple and a “veteran of the scene” couple through some of the good and bad experiences of married life. It’s done with a light touch and, for the most part, is enjoyable.

The “older” couple, Ron and Diane (well played by Neal Mayer and Rosemary Loar) suffers through the dreaded conversation-if I die first what will you do?-and finally come to the realization that although they have not succeeded in achieving their life goals they made it through to each other. This is a tender and lovely lyric called We Haven’t Come So Far. I would have loved it to have a better melodic setting, but Mayer and Loar got the feeling just right. Ms Loar acted the lack of communication lyric in It Isn’t Important perfectly. The two of them had a ball with the Viagra spot called O Dar-Lin.

As the younger couple, alto Sarah Shahinian (Erin) and tenor Kevin David Thomas (Paul) were perfect in their roles. The duo sang (and beautifully) the best music in the show—the ballad about long distance marriage- Fly To Me. Ms Shahinian showed a real comic flair in the sports inspired lack of communication song, shared with Mayer and Thomas. Thomas had his moment to shine in his sentiment full solo The Lucky One. He has a super voice and uses it well. The two of them did a superior job on the fight fair song—Always Right/Always Wrong.

All four of the principals were involved in the clever credit card song-Oh We Owe Money_ wearing not much else than credit cards. The pregnancy song- Oh, Knocked UP- was a blast as a gospel song. The holidays got treated laughingly in an extended skit called-Ding Dong/Family. Everyone had a go at a character (in Shaninian’s case two characters) and it was funny if a bit over long. I don’t know where the Rap inspired-That’s Right, Suckas- fit into the framework of the show. It was well done and showed more of the talents of the cast, but it was fit in with a shoe horn.

The Show opened and closed with the speaking of wedding vows (in the beginning the newlyweds, in the end the seniors at a renewal). It was the right touch and brought the show full circle.

Director Bud Martin kept things moving and accented the exact tone to keep the show funny but not trite. Most of it was not new insights but the lyrics were clever and the gags were appropriate. I just wished for a better score.

The unit set by John Hobbie and Lim Leitner’s lighting design worked very well. Mary Folino’s costume design kept the players doing quick changes, but didn’t impede the flow. Mark Valenzuele’s sound design, run by Aaron Simon was perfect.

The accompaniment was kept to the bare minimum, with Music Director Katya Stanislavskasya ably playing the piano down stage right. Choreographer Carmela Mayo kept the dances to what could be accomplished with polish and to good effect.

Married Alive is a perfect summer entertainment with a superior cast. It will be at the Act II playhouse until July 6.

Married life is an enigma; people struggle to find a soul mate with whom to spend the rest of their lives and yet complain once they grasp what the concept of “til death do us part” actually means. Married Alive! at Act II Playhouse explores this dichotomy with light-hearted humor and touching sensitivity that leaves one feeling more hopeful than terrified of the age-old institution.

The story centers around two married couples - one newlyweds, the other seasoned veterans – to explore the highs and lows that occur throughout the journey that is matrimony. The younger couple deals with the fresh excitement and early teething troubles married life presents (career/life balance, pregnancy), while the more established couple works through the difficulties presented in later life (impotency, ageism). As both pairs examine their relationships independently of and in lieu of the other, they discover that married life is a rollercoaster that never lets up in its momentum.

Act II joyfully brings Married Alive! to life with a talented cast and top-notch production values. The show is a delight from beginning to end that places a perfect bookend on the theatre’s incredibly successful 2007-2008 season. In fact, this show is actually an extension to the regular season - a wonderful bonus to Act II devotees.

From the very first number, the cast of Married Alive! proves they are an extremely talented bunch. Sarah Shahinian as Erin captures the hope and anxiety that accompanies a new bride without ever becoming unlikable or shrill. Her comic timing and delivery ensures she hits every mark dead on, and her onstage persona is very disarming. Her counterpart, Kevin David Thomas, is equally as affecting, personifying the modern day groom and his dilemmas perfectly. As Paul, he grapples with questions of the male role in an age of female empowerment and fears of inadequacy beautifully, particularly in his enchanting number, “The Lucky One.”

As the more experienced married couple, Ron and Diane, Neal Mayer and Rosemary Loar are perfectly cast. Mayer is an affable leading man, both irreverent and sensitive at once. He brings a comic sparkle and shrewd shine to his scenes, keeping the action light-hearted and fun. Loar acts as an excellent foil for him, instilling sexuality and intelligence into her character. Her lovely rendition of "It Isn’t Important" gives the audience a poignant pause to consider the evolving nature of human affection.

The cast is ably directed by Bud Martin, who keeps Married Alive! moving at a snappy and energetic pace. Despite the broad comedy of the piece, Martin steers the show away from caricature at crucial moments to ensure they are ultimately relatable to his audience. Married Alive! is infused with a knowing silliness that keeps it light and active even throughout its more serious moments.

In short, Married Alive! is a wonderful piece for anyone who is, has been or is even thinking about getting married. More upbeat and positive than Sondheim’s Company, Married Alive! strives to examine marriage, warts and all, to find out what keeps the world coming back for more. With humor and heart by the bucket load, Married Alive! at Act II Playhouse is, well, engaging!

Lady Windermere’s Fan was Oscar Wilde’s first play and the Town and Country Players open his work with lovely costumes and some very fine acting. Leading the cast is Jen Newby playing the titular part of Lady Windermere. Newby, a graduate of Kutztown University’s theatre program, created some softness for Lady Windermere in the first scene with her admirer Mr. Darlington (played charmingly by John Helmke). This is a nice feat considering Wilde doesn’t provide much “softness” with his cynical dialogue. It’s while bringing out the anger and sense of betrayal her character endures throughout the rest of the play when Newby truly shines. In fact her scenes with the antagonist, Mrs. Erlynne are the highlights of the show.

Erlynne (played by Susan Fowler) is introduced as a scandal-chased woman whom Mr. Windermere (played by Hans Specht) is secretly giving money to. Are they having an affair? Is she a down-on-her-luck widow? Fowler hides the true meaning cleverly, allowing the audience the pleasure of choosing whether to hate Mrs. Erlynne or pity her. Fowler is charming and confident and gives the production its sound depth of purpose while the surrounding caricatures (such as Lord Augustus, Parker the butler, and the Duchess of Berwick) support the scenes with some delightful dry English humor, which unfortunately the somewhat aged audience didn’t get much of.

The play itself largely comments on high-society, like much of Wilde’s work and other works of the time period. The dialogue is typical Wilde-like proper humor about self-revelation and the hard and fast rules of life versus the matters of personal wants. There are constant statements about what men and women are and what can be done about them. The snobbishness of high culture is the order of the day. This all gets somewhat redundant when everything of subject is “tedious” or “dreadful” or “monstrous.” I was numbed by the dialogue when the time came for a character to proclaim “There are two great tragedies in life. One is not getting what one wants, and the other is getting it.” Please understand, this is a comment on Wilde’s first work, not the actors.

The dialogue aside, the actors moved the play along at a good, quick pace but didn’t move much themselves. The party scene was full of crosses, entrances and exits, but there was some station-to-station blocking that took away from other scenes. This might not be something a non-performer will notice, but I was distracted by Newby being stuck behind a couch during a scene where she should have owned the stage. All-in-all this was not a huge detriment to the production itself, but it was bothersome to me personally. Also, while there was some tension between Mr. Windermere and his wife’s admirer Mr. Darlington, I would’ve liked to see a little more. Darlington seems to wilt a little when a real confrontation ensued. Again, this might be nitpicking, but it took away from the production for me.

Overall this was a fine production but with some tweaking, could have been more dynamic. I’d recommend the show for anyone who enjoys Wilde’s other works and this style of dialogue. The play is dry humor with no action which must be expected. There is no foul language and is suitable for all ages, though is designed for an adult audience.

Gypsy tells a story of a mother who never got her big break, living through her two daughters. She pushes them until one runs away and gets married and the other less talented becomes bigger than she ever imagined.

The show opens with a talent show audition with Uncle Jocko, played by Patrick O’Hara, which was absolutely adorable. O’Hara played the curt Uncle Jocko wonderfully; he also plays the roles of Mr. Goldstone and Cigar. He has exquisite comedic timing and really stands out in the cast. The other “stand outs” are Lyndie Moe who plays Baby June (the role is double cast with actress Anastasia Korbal) and Gina Santare as Baby Louise (also a double casting with actress Daisy Zimmerman).

As the show progresses and the girls mature, Beth Wheeler takes over the role of Dainty June. Ms. Wheeler is another actress that truly stands out in the production with her dancing as she belts out the songs she sings with her “Newboys”. Rebecca Schall takes over the role of Louise, she plays the role very genuine. She has great connection with her cast mates.

After Dainty June runs away to marry Tulsa, played by A.J. Garcia to start their own career. Momma, played by Martina Vidmar, pushes Louise into the business as the featured talent with her back up girls, “The Hollywood Blondes”. The girls get booked into a burlesque club and Louise gets serenaded by three strippers giving her the “lay of the land”. Mezzeppa; Kathryn M. Lyles, Tessie Tura; Amy Walton, and Electra; Gerri Weagraff give a colorfully, bumping, and grinding “You Gotta Get A Gimmick”.

The show ends with Momma Rose becoming jealous of her daughter Louise’s success, with a frantic “Rose’s Turn”. Louise becomes the nurturing mother she never had to her own mother.

The cast is rounded out with a strong male and female ensemble, and you can’t forget Chowsie.

Gypsy runs until July 27, 2008. The New Candlelight Dinner Theatre is a not-for-profit Equity Dinner Theatre. For tickets call 302-475-2313 or website www.newcandlelighttheatre.com

The full name of the production, I Have Before Me A Remarkable Document Given to Me By A Young Lady From Rwanda, is almost as long as the play. In a concise 90 minutes, People’s Light & Theater Company makes you live the lives of two real people.

Juliette is a Rwandan survivor of the Genocide that enveloped her native land in 1994. She wants to write about her experiences but needs the help of Simon, a struggling poet, novelist and teacher to write in a more feeling way. Through helping her find the way to honestly tell her story, Simon regains his own literary voice. The powerful storytelling moves them both in different ways to a healing of their souls.

Playwright Sonja Linden has provided a script that draws you into their lives. She delays the horrific details until just the right moment. A little soft and meandering in the middle sections, but poetic and compelling as a whole, she provided a near perfect vehicle for two superb actors.

Miriam Hyman as Juliette is a wonder. She is tender, confused, vibrant, beautiful, wounded and very human. I felt that I knew her intimately. What a nuanced and deeply felt performance.

David Ingram’s Simon was every bit her equal. He was rumpled, unsure, empathetic, humorous and ultimately very proud of his student. He balanced Ms. Hyman in a very effective way.

A two person play can get very problematic if it is not handled deftly. Director David Bradley moved his actors in a sure and intelligent way. I began to wonder what else he could do with only two benches and very minimum props. He kept the production moving and the actors on just the right page.

Arthur R Rotch’s thrust set was a marvel of angles and provided many positions for each of the episodic scenes. I was impressed by the way niches in the floor served as repositories of the needed props. Dennis Parichy provided just the right lighting for the many scenes.

Two things need to be singled out for their invaluable part in making the play live. The Original music and soundscape designed by Micheal Keck was very much in tune (pun intended) with the spirit of this production. Kudos also goes to Dialect Coach Lynne Innderst. The English accent of Simon and the Rwandan of Juliette never went out of kilter. Their consistency was perfect.

This is a play that makes you think. Set in 1999, five years after the Rwandan genocide, you can’t help hearing echoes of the Holocaust and the situation in Darfur today.

For the sheer theater of it, I recommend …A Young Lady from Rwanda. It will be at the Steinbright Theater at People’s light until June 22.

InterAct Theatre Company’s world premiere production of House, Divided does double duty by supporting one of their own while bringing new and politically-charged theatre to the local scene. Playwright Larry Loebell, Philadelphia native and one-time literary manager of InterAct, builds on grains of autobiography with academic and first-hand research enabled by the National Foundation for Jewish Culture ultimately creating the story of the family Goldstein. Within this family framework we are presented with a collection of pairings both tangible and cerebral (distanced brothers, sympathetic cousins, the US and Israel, secular and religious, duty and conscience, youth and age) that twine together in an intricate and beautiful way highlighting the complexity of these pairings while decrying black and white absolutes.

Taking place both in the past and present, the action revolves around estranged brothers Doug and Lou and their respective sons Paul and Oren. Doug and Paul, the US faction of the family, have a relationship that is more friendly than paternal. Lou and Oren, the Israeli faction, are the opposite. They both are highly focused on duty and responsibility in a strict and traditional manner until Oren runs aground on a dilemma that challenges the rules and mores he has been raised to follow. In an attempt to reconcile his warring parts, Oren travels to the US to visit his uncle and cousin. Lou, who has not seen his brother for well over 20 years, quickly follows suit in order to remind Oren of his obligations and the consequences of abandoning them. The unexpected reunion of the whole family opens old wounds and exposes new secrets, all of which must be dealt with if they are to ever move forward.

Normally I am wary of productions that have flashbacks or past history elements, but here the scenes between the younger versions of Lou and Doug are well-placed and purposeful. While they do provide useful backstory and insights into the adult characters, they could easily stand on their own, though it was refreshing to see an instance where the acting is such that the younger versions of characters are clearly visible in the elder versions. The most interesting aspect, though, is how the presentation of the scenes changes and evolves as the play goes on. At first there is a very clear distinction between past and present. The characters in one rarely share the stage with those in the other. However, much like the blurred edges of the set, which are reminiscent of smudged charcoal, as the action continues, the scenes set in the past begin to bleed into those in the present exhibiting unique and meaningful tableaus thanks to director Seth Rozin’s meticulous blocking.

The men that make up the cast work very well together, creating a microcosm of opposing and attracting forces. More importantly, for the most part, they all do an excellent job of showing these conflicts as opposed to letting the text stand alone, thereby preventing a situation wherein the play becomes preachy. David Howey (Lou) and Paul Meshejian (Doug) both inhabit their characters to such a degree that the idea of a false note is rather unfathomable. Dan Hodge, as Paul, has an easy-going, laid-back, open-minded demeanor that underscores the character’s attempt to inhabit the elusive middle ground. Davy Raphaely (Oren) gives a strong performance as a young man torn between duty and desire weighed down by decisions that have no good answers, though his inconsistent accent was a bit off-putting at times. The gentlemen playing the younger versions of the two brothers managed quite well fulfilling the difficult task set out for them as they had to be strong individuals in their own characters while making sure that they were in harmony with those playing the elder versions without being mimics or worse, parodies of them. Noah Herman, as Young Doug, took a few scenes to hit his stride, but once found, carried through consistently and passionately. Robert T. Daponte, as Young Lou, infused his performance with a quiet conviction that served as a compelling counterpoint to Herman’s fire.

The set is evocative of the theme with areas representative of Philadelphia and Israel clearly delineated yet apparently so close that a single step taken from each side would bridge the space. At the same time though it is both broken and blended showing that even across thousands of miles, years of distance and innumerable differences, things are very much the same. The lighting scheme as a whole was unobtrusive and complementary to the show. I only noticed changes on the occasions when the hue and brightness dimmed during the scenes between Young Doug and Young Lou. The light design used indicating time shift to the past created an intimacy that was all the harsher to feel broken upon the return to the brighter, whiter present, which was a subtle reminder of the now pervasive familial discord.

As someone raised Jewish (albeit Reform Judaism) who is no longer religious, it is possible that my enjoyment of the play was increased by my personal familiarity with many of the issues presented. However, to think that having this background is a necessity in order to enjoy the production is a mistake. Regardless of your personal history or views on the political and social issues, you can understand and appreciate the universally human emotions, connections, fears and desires that lie at the core of House, Divided.

The play runs through June 22nd.

*Click on the images for photo details*

Ok, I'll admit it. I'm a virgin. A Les Miserables virgin. I've never seen a live production, or a concert version, and can count on one hand the number of times I've listened to the soundtrack. So on Wednesday night when the curtain went up at the Walnut St. Theatre, I was experiencing for the first time what so many others had experienced before… a musical theatre phenomenon. And all I can say it, I'm so glad the Walnut's production was my first.

Les Miserables follows the story of Jean Valjean over the course of seventeen years as he dedicates his life to redeeming himself from his convict past all while running from Inspector Javert whose made it his life's mission to track him down. Hugh Panaro's passionate portrayal of Valjean is an intense one; his rich, multi-octave voice fills the large house with great ease, and his rendition of "Bring Him Home" sends chills up the spine. As Javert, Paul Schoffler nails the character's stiffness and dedication to getting the job done, but lacks the religious zeal and righteousness that makes "Stars" such a climatic moment for that character. Josh Young gives a beautifully subtle performance as Marius and it seems as though 'Empty Chairs and Empty Tables' was written just for him.

Though a male dominated show, the women definitely hold their own. Christina DiCicco as Eponine gives a genuinely touching portrayal of a young girl in love, struggling for her place in the world. Gianna Bruzzese as young Cosette gives a chilling and saddening "Castle on a Cloud," and Julie Craig shows a refreshing level of maturity as the grown Cosette.

On the supporting cast front: Scott Greer and Dawn Spence are unstoppable as the scheming Thenardiers, and Spence evokes a Mrs. Lovett-like quality that brings an extra level of dementia (and comedy) to the character. Jeffrey Coon as Enjolras the revolutionary leads the other students in a rousing rendition of Red & Black that makes you want to get up and fight the good fight with them. Peter Schmitz's Bishop is wonderfully compassionate, and his turn as a "Lovely Lady' is a funny little bit.

Mark Clements re-imagined version of the "world's most popular musical" has a uniquely cinematic feel; each scene is framed like a movie still that comes to life before your eyes. He uses the ensemble brilliantly, playing up the strengths of each member, and carefully crafting each moment to allow someone to shine. I give him credit for choosing to forgo the infamous turntable; Clement's version focuses more on the story and journey of the characters rather than the dazzle and spectacle that wowed Broadway more than 20 years ago. That's not to say Todd Ivins' set isn't impressive, because it is- from the dingy streets of Paris to the barricade, Ivins manages to create an impressive and detailed world that so many already know. Colleen Grady's costumes and Jeff Nellis' lighting also deserves noteworthy mention as both are remarkable.

Whether you're a long time Les Mis fanatic, or a newbie such as myself, the Walnut's phenomenal production is not to be missed. And with it playing until August 3rd you'll have plenty of chances to catch it when you're not at the Shore.